Godzilla followed me home

Godzilla followed me home

A Perfect MireGoji Figure

1.1.2024

I had lunch with Godzilla in November and he followed me home in December. On the last day of my trip to Japan I got a sit down visit with the Godzilla Millennium suit on display at the Setagaya Literary Museum in the Tokyo area. After much anticipation, the amazing Godzilla Store Limited Super Toho 30cm Series Godzilla (1999) [ゴジラ・ストア限定 スーパー東宝30cmシリーズ ゴジラ (1999)] has arrived on time for Christmas. As promised this figure delivered a replica miniature of that MireGoji suit. In hand, this Godzilla is bigger and better than I expected. This Godzilla is definitely ready to rumble.

Godzilla 1999 suit at Cafe Donguri in Setagaya Museum

Godzilla 1999 suit at Cafe Donguri in Setagaya Literary Museum during my trip to Japan

There are not many Godzilla production suits remaining. The MireGoji suit survived and is on display. After a much-needed restoration, the suit underwent a detailed 3D scan and modeling under the supervision of Godzilla suit-maker Shinichi Wakasa documented on episode 22 of Godzilla Store TV. Shinichi Wakasa has been involved in the design of many special effects movies. In 1998, he became the first design producer in the Japanese film industry for Mothra 3. In Toho’s “Godzilla” series, Wakasa was in charge of modeling Godzilla in the movies “Godzilla 2000 Millennium,” “Godzilla x Megaguirus,” “Godzilla x Mechagodzilla,” “Godzilla x Mothra x Mechagodzilla Tokyo SOS,” and “Godzilla FINAL WARS.”

  • gallery-item
  • gallery-item
  • gallery-item
  • gallery-item
  • gallery-item
  • gallery-item
  • gallery-item
  • gallery-item
  • gallery-item
  • gallery-item
  • gallery-item
  • gallery-item
  • gallery-item
  • gallery-item
  • gallery-item

Making of the Super Toho 30cm Series Godzilla 1999 (Making of スーパー東宝30cmシリーズ) and Scanning existing suits to create ultra-detailed figures (現存するスーツをスキャンして超精巧なフィギュアを作る) (Source:【第22回】ゴジラ・ストア TV 8/27 (日) featuring Shinichi Wakasa)

The coloring and paint application followed the process used by Shigemasa Yoshida who was in charge of the coloring at the time the suit was made. With the use of modern cutting-edge technology, this beautiful figure was conceived. This soft vinyl figure is 30 cm high and about 43 cm long. The eyes are an exception capturing MireGoji piercing look perfectly. The texture is unlike sculpted figures. It resembles latex and reveals the process of modeling Godzilla. The paint application appears thick like that of the suit. This miniature gives a glimpse into the process of making a Godzilla suit.

ゴジラの造形(表皮を作る) Modeling Godzilla (creating the skin)

ゴジラの造形(表皮を作る) Modeling Godzilla (creating the skin)

製作: 若狭新一 Production: Shinichi Wakasa/ 協力: 三浦徳之(MONSTERS,INC.) Cooperation: Noriyuki Miura (MONSTERS, INC.)

1 ゴジラの左足の型を使い表皮を再現する。この型は粘土原型からFRP樹脂で型どりしたもので、ゴジラのような大きな着ぐるみは、全身をいくつものパーツに分割して製作する。Reproduce the epidermis using the mold of Godzilla’s left foot. This mold is made from a clay prototype with FRP resin, and a large costume like Godzilla is made by dividing the whole body into several parts.

2 ラテックスに緑と黒の塗料を混ぜる。乾くとラテックスはアメ色に、塗料の色はやや濃くなるので、透明板にラテックスを薄く塗って乾かし、完成時の色を確認する。Mix green and black paint with latex. When it dries, the latex turns amber and the color of the paint becomes a little darker.

3 刷毛を使いラテックスを型に塗っていく。岩肌のような独特のテクスチャを表現するため、凹凸にラテックスを押し込むように、手早く均一に塗る。その後、1時間ほど天日で乾燥させる。Using a brush, latex is applied to the mold. In order to create a unique rock-like texture, the latex is applied quickly and evenly, as if pushing the latex into the irregularities. Then let it dry in the sun for about an hour.

4 ラテックスのスキン層が2~3ミリ厚になるまで、塗りの作業を5~6回繰り返す。1回1回の塗りを丁寧に回数を重ねることで、厚みが均一なスキン層を作ることができる。Repeat the process 5-6 times until the latex skin layer is 2-3mm thick. By carefully applying one coat at a time, you can create a skin layer with a uniform thickness.

5 さらに強度を増すため、ラテックスを糊にして生地(綿ジャージー)を裏打ちする。どんな生地が適しているかは、試行錯誤の繰り返しだ。ゴム製のルーラーなどで丁寧に貼り込む。For added strength, the fabric (cotton jersey) is lined with latex as a glue. It is a process of repeated trial and error to find out what kind of fabric is suitable. Paste carefully with a rubber ruler.

6 裏打ちの上にもう1層ラテックスを塗り重ねる。裏打ちの上に直接発泡ウレタンを流すと固い質感になるため、ラテックスを1層入れるのがポイント。スキン層はおよそ5ミリ厚に。Apply another layer of latex over the backing. If you pour urethane foam directly onto the lining, it will have a hard texture, so it is important to add a layer of latex. The skin layer is about 5 mm thick.

7 速乾ボンドを専用のボンドうすめ液でうすめたものを塗る。ラテックスと発泡ウレタンをより強固に接着するため、このひと手間が重要だ。Apply a quick-drying bond diluted with a special bond thinner. This one step is important to bond latex and urethane foam more firmly.

8 ウレタンを流し込む前に、型の周囲を布製ガムテープなどで養生する。またウレタンが溢れ出すのを防ぐため、建築用断熱材で壁を作りビニールシートで覆って型を袋状にする。Before pouring the urethane, cover the area around the mold with cloth packing tape. In order to prevent the urethane from overflowing, the mold is made into a bag by building a wall with insulating material for construction and covering it with a vinyl sheet.

9 養生を済ませた型に軟質発泡ウレタンを流し込み、型をゆすりながら均一にゆきわたらせる。ウレタンの容積は約30倍に膨らむので、流し込む分量は経験が頼りだ。Soft urethane foam is poured into the cured mold, and the mold is shaken to spread evenly. The volume of urethane swells about 30 times, so the amount to pour depends on your experience.

10 1時間ほど自然乾燥させてから慎重に型からゴジラを取り出す。チカラがいる作業だ。メリメリとゴジラが生まれる音に耳を傾けて! Let it air dry for about an hour, then carefully remove Godzilla from the mold. It is work that requires power. Listen to the sound of merimeri [groaning, onomatopoeic or mimetic word] and Godzilla being born!

11 表皮の周りの余計なラテックスをカットする。型から抜いたパーツとパーツをきれいに繋ぎ合わせるため、端の処理は丁寧に行う。Cut excess latex around the epidermis. In order to neatly connect the parts removed from the mold, the edges are carefully processed.

12 表皮の外側にうすめたボンドを塗る。塗料を混ぜた色ボンドを塗ることもある。乾いたらスプレーでベースの塗装をして、ついに完成! Apply a thin bond to the outside of the epidermis. Sometimes a color bond mixed with paint is applied. Once dry, spray paint the base and you’re done!

仕上げに塗料をスポンジで叩きつけて調子を整える。撮影現場ではさらに埃などを付着させ、表皮のリアルな質感を表現している。To finish, pat the paint with a sponge to set the tone. At the shooting site, dust is added to express the realistic texture of the skin.

「ゴジラ2000」に登場したゴジラの左足の表皮を、当時製作した型を使って造形師・若狭新一が18年ぶりに再現!実際の着ぐるみと同じ製作工程で再現した本物のゴジラの“触感”を自由にさわってお確かめください。For the first time in 18 years, sculptor Shinichi Wakasa has recreated the skin on Godzilla’s left leg that appeared in “Godzilla 2000” using the molds he made at the time! Please feel free to check it out.

Feel free to feel the “tactile sensation” of the real Godzilla, which was reproduced in the same production process as the sculptor and the actual costume, using the mold made at the time of Godzilla’s left leg skin that appeared in “Godzilla 2000.”

※ ジオラマに展示中のゴジラも、同じ型から作られました。※ Godzilla on display in the diorama was also made from the same mold.

「ゴジラの造形(表皮を作る)」メイキング映像、上映中! “Godzilla modeling (making the epidermis)” making video, now showing!

特報 Special News | この世にミレニアムゴジラのスーツって1体しかいないので There is only one Millennium Godzilla suit in this world. | 現存するスーツをスキャンして超精巧なフィギュアを作る Scanning existing suits to create ultra-detailed figures | 映画公開から24年?25年?経って It’s been 24? 25? years since the movie was released. | これだけ緻密な精密なフィギュアが出せるというのは時代の進化もあるかもしれないけど It may be due to the evolution of the times that we are able to produce such detailed and precise figures. | すごいですね That’s amazing | そのままですね It’s just like that | そのまんまですね That’s exactly what it is | 僕は作ったやつをそのままスキャンして作っているから I make it by scanning the one I made as it is. | 僕のクセもちゃんと出てるし My quirks are also showing clearly. | オリジナルの復元ということで言えば一番だと思うんで I think it’s the best in terms of restoring the original. | なんとなくかっこいいとか It’s somehow cool | これだといいとかっていう感覚ではないのでその時の色味に近い感覚を目指す I don’t have a feeling that this is good, so I aim for a feeling that is close to the color tone at that time. | 一番きれいだし It’s the most beautiful | 本物に近い It’s close to the real thing | スーツから3Dスキャンした 3D scanned from suit | デコレーションマスターを持ってきまして I brought the decoration master | ここまで再現度が高いものはなかったと思う I don’t think I’ve ever seen anything with such high reproducibility. | これはアーカイブと言っていいね You can call this an archive | スーパー東宝30cmシリーズ Super Toho 30cm series

The MireGoji figure is highly detailed following the contours of the suit. The suit accuracy is clearly seen around the hips. The placement and gaps between the dorsal fins are spot on. His claws and teeth are sharp. And his mouth is wide and deep. The bubble and buckle around the outside of the right foot matches the suit. Inside the clear plastic eyes are rings of gold recreating the suit eyes so well. MireGoji’s tail is long curling off to his left. This truly is Godzilla as seen on the movie set and big screen. Inspired by the MireGoji spread in Godzilla 2000 Millennium Super Complete Works (てれびくんデラックスゴジラ2000ミレニアム超全集), I created a specs chart for the figure.

Godzilla Store Limited Super Toho 30cm Series Godzilla (1999) [ゴジラ・ストア限定 スーパー東宝30cmシリーズ ゴジラ (1999)]
Godzilla Store Limited Super Toho 30cm Series Godzilla (1999) [ゴジラ・ストア限定 スーパー東宝30cmシリーズ ゴジラ (1999)]

Toho Super 30cm Godzilla 1999 Specifications: Painted PVC finished product | Total height: approx. 30cm | Total length: approx. 43cm | Set contents: main body, tail |Prototype: Shinichi Wakasa | Coloring: Shigemasa Yoshida | Planning and production: Toho Stella | 3D production: UNrealize | Cooperation: Toho Visual Art/Digital Noise | Publisher: Plex | Distributor: XPlus | Price: 33,000 yen (tax included)

“This project is a dream-like collaboration in which scanning technology supplements details that are difficult to reproduce manually, and the film staff at the time compliments poses and coloring that cannot be reproduced by scanning technology alone. The first item, this item, is a 3D model of the Millennium Godzilla suit from the existing movie “Godzilla 2000 Millennium,” which has been restored for exhibition purposes.”1 The Super Toho 30cm Series Godzilla (1999) is a home run and dream realized! The Godzilla Store has delivered a perfect Godzilla suit representation for the fans and collectors. There is so much to look forward to in the next release in this series.