Toho 30cm Series Yuji Sakai Modeling Collection Godzilla (1984) "Shinjuku Fukutoshin Battle" Soft Vinyl Assembly Kit, 東宝30cmシリーズ 酒井ゆうじ造形コレクション ゴジラ(1984)「新宿副都心決戦」 ソフビ組立キット

MyKaiju Godzilla 1984 Box Art

New X-Plus Yuji Sakai Model Kit


I am proud to announce the release of the latest MyKaiju box art for the X-Plus Toho 30cm Series Yuji Sakai Modeling Collection Godzilla (1984) “Shinjuku Fukutoshin Battle” Soft Vinyl Assembly Kit [東宝30cmシリーズ 酒井ゆうじ造形コレクション ゴジラ (1984)「新宿副都心決戦」ソフビ組立キット], created in collaboration with friend and colleague, Jeremy Summit Kaiju International and under the supervision of Master Yuji Sakai. I received the new assignment just  days after Godzilla had returned from Japan last year. I’m always stoked to see a message from Matsubara. This time I was more excited than usual because it is unusual to have two projects in a single year. But 2024 is the big celebration of Godzilla’s 70th anniversary with merch that’s sure to blow the fandom away. And I learned that the next X-Plus release would be Master Sakai’s Return of Godzilla celebrating 40 years since his appearance in 1984, which is one of my favorite movies and creations.

Toho 30cm Series Yuji Sakai Modeling Collection Godzilla (1984) “Shinjuku Fukutoshin Battle” Soft Vinyl Assembly Kit

Everything is right about this figure which feels like it just fell off the screen onto my shelf. 84Goji has distinctive and distinguishing features making his appearance unique among the many incarnations before and after it. Shooting 84Goji is always fun but not without challenges. To show off Sakai’s exceptional craftsmanship and ability to capture Godzilla’s likeness so accurately requires finding the best angles to shoot and positioning lighting to reproduce his movie screen moments. The smallest change in height, depth and tilt of the camera reveals a different Godzilla from the same film.

Shots for study from Godzilla (1984)

In preparation, I always assemble and closely study as many production and promotional movie shots and stills as possible. After an extensive Google search, I turned to my Godzilla library to understand what are the defining features of Godzilla design, suit and appearance in each shot. 84Goji has a distinctive face, eyes and jaw that needs just the right amount of light to appreciate. His dorsal fins are set low on his back unlike any other suit and for that reason should be visible in the shot. After examining how Godzilla is captured on camera. In general, scenes from 84 are grainy set in the evening with a blue tint. Godzilla is cast in darkness and shadows with highlights on his head and sides of his body. Such details would be part of our memories and must figure into my post-production editing. Lastly before shooting, I go back to my previous recreational shots to recall what I had learnt and to see how well I captured his movie look. I have coined MyKaiju Retro(D)Rama, playing on retro, diorama, and the drama that I seek to suggest in every shot.

MyKaiju Godzilla 1984 books

Godzilla 1984 books for reference and study

As I process the shot request and requirements from X-Plus such as a pose, I find the movie scene(s) in which the pose occurs and then determine the best lighting, shot depth, detail and texture. I assess what additional elements (eg, ground, background) are needed to recreate or suggest the scene without the use of props and miniatures that will not be included in the model kit. Next I schedule a series of shots over several days up until the deadlines. I shoot during the day with the assistance of natural light and in the evening with only artificial lighting. After each shot, every day I spend hours in post-production editing in Adobe Photoshop generating large files as I go. I assess the quality of each shot marking what is right, what went wrong and what I needed to do better. Even if I got the shot so that more shots are not required, I will continue shooting and editing each day until the deadline. I sleep on my post-production work and look at it again with fresh eyes in the morning, when I more easily identify what should have been glaring mistakes. I look for unbalance, inconsistencies, missed details and anything that takes from the subject matter. Creating box art requires the skills of a photographer and also that of an artist painting a picture. There are a lot of things to keep in mind when shooting Godzilla for box art. When I’m finished, I always know I could do more and do better.

MyKaiju mockup for Toho 30cm Series Yuji Sakai Modeling Collection Godzilla (1984) "Shinjuku Fukutoshin Battle" Soft Vinyl Assembly Kit

MyKaiju box art mockup for the X-PLus Yuji Sakai Modeling Collection Godzilla (1984)

This is my seventh box art project for X-Plus. I’m so grateful for and indebted to the entire X-Plus team with special thanks and appreciation for Jeremy, Matsubara, Gee-san and Yuji Sakai. I’m thankful for all the tough and difficult work they do to bring the amazing work of Master Sakai to the shelves of Godzilla collectors. Godzilla (1984) “Shinjuku Fukutoshin Battle” Soft Vinyl Assembly Kit will be released by X-Plus at Wonder Festival 2024 Winter on February 11. There will only be 100 available at 12,000円 each.