Kanetake Ebikawa , the mechanical designer for " Mobile Police Patlabor EZY," the new anime in the popular "Mobile Police Patlabor " series, and Hitoshi Moriizumi, the CG director, spoke about the behind-the-scenes aspects of its production. The appearance of the Zero Type and Helldiver in the trailer for the first chapter has also generated buzz, and the design of the Zero Type and the behind-the-scenes aspects of its CG production were revealed.
◇ Kanetake Ebikawa
--What are the key points of the mecha design?
I was really surprised when the Zero Type appeared. My role this time was to adjust the form and add details for the 3D model. Director Yutaka Izubuchi requested that I adjust the styling so that it would be recognizable as the successor to the Ingram. Many of the three-dimensional models that have been commercialized in the past have a rather unusual balance, but the EZY version of the Zero Type is a bit more toned down in that respect. It was truly a joy to be able to refine the Zero Type, which I have loved since I was a child, as an EZY version under the supervision of Director Izubuchi, who is also the original designer, while consulting with him on various things (laughs).
--What were some of the challenges you faced, and what aspects did you focus on?
Because CG has limitations in terms of structural accuracy, adjusting the scale in relation to the characters (mainly the cockpit) was the most challenging aspect. Increasing the amount of detail for modeling was also quite difficult. Episode 3 features the internal frame of the EX-13, a machine that only appears in the comic version. Here too, we first designed the entire machine, including the exterior, and then refined the internal structure from there.
--Which mecha do you particularly like?
It wasn't my responsibility, but I'd say it's Ingram Plus. What's amazing about Ingram Plus is that no matter which official illustration you look at for EZY, you can tell at a glance that it's "EZY's new Ingram." You can recognize it as Ingram without any sense of incongruity, yet it's definitely a new Ingram. I think the shape of the shoulders, which was intentionally deviated from the original Ingram's lines, is a major draw. In the works I was in charge of...it makes a brief appearance in the opening, but I'll talk about that another time...
--Labors are strongly associated with general-purpose humanoid work machines = working robots. What aspects do you focus on to bring them to life?
For example, construction machinery in the 1990s had a strong image of being bulky and rugged, but nowadays it often features sleek, streamlined lines. I was conscious of trying to reflect that kind of 30-year evolution in the Labors as well. In previous works, the Labors were positioned as existing in a "future that might exist 10 years from now," but this time, the position is a bit more difficult: "30 years after the world in which those possible Labors existed." I hope that I can leave even just a small bit of new "30-year evolution" in Patlabor without destroying the original worldview.
--Finally, could you tell us about the appeal of EZY?
This is the first new "Patlabor" film in a long time. I think it's a fun film that will be enjoyed by both long-time fans and those who are experiencing it for the first time. Along with the drama woven by the new members of Special Vehicles Division 2, the updated 3DCG Labors are one of the major highlights of this film. Please be sure to check them out on the big screen!
◇Hitoshi Moriizumi
--What are the key points of the CG?
Creating the 3D model of Ingram was challenging because Mr. Izubuchi was reluctant to give his approval, requiring numerous revisions. I began to think that Mr. Izubuchi had a 3D image of Ingram in his mind, and that the impression he had of the 3D model data was different from what he perceived. So, I repeatedly reviewed the three-view drawings of the design that Mr. Izubuchi had drawn, reconstructed the 3D in my mind, and then adjusted the actual 3D model data again until the final model data was completed. Ingram, in particular, had a very well-defined and logically sound internal structure, so I created the 3D model to be movable while taking that structure into account. However, even when I created it according to the logic of the design, there were times when I couldn't create a good frame, so I used CG to express those parts as much as possible so that they wouldn't look inferior to the hand-drawn animation.
--What were some of the challenges you faced, and what aspects did you focus on?
I took care to ensure that the hand-drawn characters and the 3D mechs and vehicles did not diverge. In the animation process, I mainly used frame-by-frame animation rather than full-frame animation. To make the visuals blend in with the hand-drawn character cels, I created materials that were close to cel animation while incorporating nuances such as brushwork and special effects. I paid great attention to the comparison (sense of size) with the background and people. I wanted viewers to be able to imagine and feel the size of these things if they actually existed.
--Which mecha do you particularly like?
I have a lot of affection for the Ingram Unit 2 and Type Zero, and I'm very fond of them. For Unit 2, I went back and forth with Mr. Izubuchi many times to create the shape of the head. For Type Zero, I tried to maintain the impression of the original while also complementing the Type Zero's unique characteristics in the animation, as well as the model itself. I watched the original series many times while creating it.
--Labors are strongly associated with general-purpose humanoid work machines = working robots. What aspects do you focus on to bring them to life?
For Labors that lacked internal structure settings, I researched the structures of similar real-world heavy machinery, used the Ingram's internal structure as a reference to imagine how they would move, and animated them to give the impression of mechanical movement. I also paid attention to the lighting and shadows to give them a sense of weight. I can see construction sites from my office window, so I was able to observe heavy machinery in operation, which was also a good reference.
--Finally, could you tell us about the appeal of EZY?
I think one of the charms of "Patlabor," and this time "EZY," is the human drama unfolded by the unique characters of Special Vehicles Division 2. Of course, Ingram also plays an active role. And although it's not certain what will happen 10 years later, real-life cities appear and it depicts an extension of the present, so I think one of the things to look forward to when watching "EZY" is the slightly futuristic 10 years from now that it imagines.
"Mobile Police Patlabor EZY" is set in Japan in the 2030s, a time when the working population is declining and automation through AI technology is advancing. Labors, once cutting-edge technology, have become an established part of supporting the social infrastructure. Standalone Labors piloted by humans are being replaced by autonomous robots and are becoming obsolete. No matter how times change, the work of Special Vehicles Division 2 remains the same: protecting people and the city. The Second Platoon, along with the AV-98Plus Ingram, a tuned-up version of the old Type 98 AV Ingram, confronts new technological crimes with their wit and courage.
Izubuchi, a member of the legendary creative group "HEADGEAR" who worked on "Mobile Police Patlabor" and was in charge of mechanical design, will direct the series, with Kazunori Ito, also from "HEADGEAR," handling the script and series composition. JCSTAFF will produce the animation. The series will consist of three chapters and eight episodes in total, with the first chapter released in theaters on May 15th, the second chapter on August 14th, and the third chapter in March 2027.
