INTERVIEW

Q.Last year, you two, Kana Hashimoto and Keiji Iwakura, achieved a remarkable victory in "The Zoukeiou" battle. Could you tell us about the circumstances behind your participation this year?

Kana Hashimoto) The very first project I was in charge of after joining the company was "Ichiban Kuji EX Kongou Jizo," and the sculptor for that project was Keiji. Since then, we've worked together on countless projects. Last year, we teamed up and were so grateful to win, so I really wanted to participate with him again this year.

Keiji Iwakura) When I got the offer this year, I was so happy I almost started dancing. I've been in charge of the Ichiban Kuji series for over 10 years, and I've always put my all into every figure, as if I were in the "The Zoukeiou" battle. Kana's illustrations always move my heart, and this time, I almost cried just looking at the drawing. I thought, "It's that Señor Pink!"

Kana Hashimoto) Choosing this year's character was really difficult. Last year, I asked him to sculpt Kalgara to make the most of his incredible muscle sculpting, and it was so well-received by the fans that we ended up winning. So this time, I thought hard about a character that "only Keiji could bring to life" and was "much loved but not often made into a figure." That's how I arrived at Señor Pink. I reread the comics, teared up again during his fight with Franky... and I wanted to give form to those emotions!

Keiji Iwakura) Even though he doesn't have a lot of screen time, Señor Pink is a character who's incredibly loved, isn't he? To be honest, I loved him so much even before I started sculpting... I felt "this is the best!" (laughs).

Q.The scene is centered around Señor Pink's "last punch" as he stands against Franky. Can you tell us about your particular focus on the overall composition?

Kana Hashimoto) When Señor Pink faces off against Franky, he also confronts his own past. With that in mind, I consciously aimed for a composition that seemed to envelop his past. However, I felt that when he looks back on his past, he probably feels more nostalgia for his memories with Russian and Gimlet as opposed to regret. I wanted to convey that sense of loneliness—that feeling of "I want to see them, but I can't anymore"—so I intentionally didn't include Russian or their son, Gimlet. Also, the front depicts Señor Pink's family life, and when you go through the middle and come out the back, it connects to the Smile factory, making it a diorama that links his past and present. In the early stages of the project, we considered only having effects on the back to express his melancholy, but Keiji suggested we include the Smile factory instead.

Keiji Iwakura) Kana’s drawing was so dramatic and tear-jerking that I felt anyone who sculpted it would do a great job. So, I thought about what I could personally add, and that was a touch of hard-boiled essence. I think that's my job. I want people to see it and think, "Señor Pink is so cool!" I particularly want everyone to pay attention to the sculpting on his back.

Kana Hashimoto) Even his scars reveal a history of battles he has endured. The sculpture has both meticulously detailed parts and rough, rugged expressions. Each single brick on the roof of the smokestack has texture. There's not a single smooth spot, including the effects—that's how thorough he was. It really made me feel again that the concepts and compositions we as planners come up with only become real through a sculptor's expression.

Keiji Iwakura) I love intricate details, and it’s a lot of fun to include little tricks and hidden elements that no one might even notice. When I have a figure at home and suddenly discover something like that, I feel incredibly happy. I sometimes see those kinds of details in foreign figures.

Kana Hashimoto) Speaking of which, the first time I saw the prototype set up, I was amazed the moment I saw the base. I couldn't believe Keiji had sculpted something even in that part that's not easily visible! You can't see the "ceiling part" of the interior unless you shine a light on it... so this is a special privilege for the people who purchase it. I hope they look forward to it.

Q.What were some of the biggest challenges during the specific production process?

Kana Hashimoto) Due to durability concerns, there aren't many examples of figures with a hollow, dome-shaped structure where the inside itself is a key highlight. One of the biggest challenges this time was this unique "shape." I really wanted to have the window open, so I worked closely with the development team from the illustration stage. In the manga, the window is closed because it's raining, but I wanted to express the feeling of liberation from that moment after he loses the fight, when he sheds a tear with a clear expression, through an "open window." I wanted to convey not just sadness but also hope for the future. I believe this kind of creative adaptation is a unique challenge of the "The Zoukeiou" battle.

Keiji Iwakura) While I did add some parts to the back, my main focus was to faithfully reproduce Kana's illustration. The only other challenge was how to express "hard-boiled essence within the crying" (laughs).

Q.Starting this time, "The Zoukeiou" battle will include overseas voting. How do you feel about that?

Kana Hashimoto) I guess things will just happen as they're meant to happen. I would be happy if everyone enjoyed the process of looking at all the wonderful sculptures from the other participants and casting their votes.

Keiji Iwakura) The happiest moments for me are when fans tell me, "Looking at your figures gives me energy before I go to work," so it would be amazing to get that kind of reaction from people overseas as well. If everyone loves figures, maybe it'll make the world a little more peaceful.

Q.Finally, please share your thoughts on participating in this year's "The Zoukeiou" battle and your feelings on the finished product.

Kana Hashimoto) The high level of freedom and the ability to do whatever we want is something unique to "The Zoukeiou" battle. I don't know if we'll ever get another chance to make a young Señor Pink at this size, and since there was no price limit, I was able to do what I wanted by saying, "It's fine if it gets bigger!" I think the final product is a 120-out-of-100 success.

Keiji Iwakura) After finishing the sculpting, when my wife and I were packing it for shipping, I was so completely exhausted and drained that I almost gave up. But I was able to do everything I wanted, right down to the last detail (laughs). It was unbelievably fun!