From the Rebel 3199 Chapter 3 program book

Mika Akitaka Mechanical Design

The new mecha for the Bolar Federation and Dezarium that he is working on will continue to appear in the next chapter

Mika Akitaka profile

Born on April 17 in Saitama Prefecture. Mechanic designer. As an editorial writer for Shindosha, he participated in the editing and writing of articles for Dual Magazine. He later participated in various design works for Zeta Gundam (uncredited). In the sequel Gundam ZZ, which aired the following year, he took center stage as the main mecha designer.

Since then, while continuing to work on anime production, his “MS Girl” series published in Model Graphix magazine gained widespread attention. His subsequent activities have expanded beyond mecha design to include game design, original manga works, and more. His recent works include Let Me Hear Your Singing Voice and Gundam: Next Universal Century. He joined the remake series with Yamato 2205 and is responsible for the mechanical design of Dezarium and the Bolar Federation.

Interviewer: You joined the series with Yamato 2205. Please tell us how that came about.

Akitaka: Just before the pre-production of 2205 began, I heard about the project through Kadokawa and was approached by the director, Harutoshi Fukui, who asked me to join the team. At that point, he mentioned that 3199 was also being considered, so I worked on the mecha designs while imagining what they might look like in the future.

Interviewer: The direction of the Dezarium mecha was solidified during the 2205 project, wasn’t it?

Akitaka: The original Dark Nebula Empire mecha had a strong sense of being from a different civilization, so I was conscious of how to update that for the modern era. The color scheme, with black as the base and red lines and shading for warning colors, is very striking and gives a clear visual impression at a glance that they’re the enemy. Their characteristic disc-shaped form is also important. Actually, even though they’re similar in length to Earth-type ships, their width is completely different. For example, the Great Pleaides is 400 meters long, but it’s almost as wide, so it looks huge. Its overwhelming size expresses the pressure of an invader. It would be a bit difficult to release a plastic model at the standard scale. (Laughs)

Interviewer: First, please tell us about the Grand Reverse, which is an important element in this work.

Akitaka: First, we focused on differentiating it from Goruba. When it flies, it resembles Goruba, but when it lands, its legs deploy to become the front-line command center for the Earth conquest operation. Like the original Be Forever Yamato, it houses a Hyperon Bomb, but in this story, it functions as the base camp for the operation.

The legs of the Grand Reverse were designed as “defense legs” equipped with numerous cannons. I suggested the image of spreading the legs to expand the defensive range. Actually, I had an idea of separating it further to become a combat ship, but we didn’t go that far. Overall, I wanted to emphasize the persuasiveness of a huge weapon changing the tide of battle just by landing. The size was decided to be slightly larger than the original, considering how it would look from the new city.

Left and top right: Rough design of the eight defensive legs. Bottom right: Interceptor probes that function as defensive weapons.

Interviewer: The tentacle-like probes are also a distinctive feature of the weapon.

Akitaka: Actually, this design was already in the original setting. When I proposed it, it was adopted as a defensive weapon and used impressively in Chapter 3. The length was decided to be just short of reaching Arizona.

The original image of the ground-conquering Gabalia has been updated as-is.
Due to its concept as a giant with a total height of 54 meters, the size of the giant transport ship was increased.

Interviewer: Another memorable mecha is the three-legged tank Gabalia.

Akitaka: It’s the first full-fledged robot weapon in the Yamato series, isn’t it? When I looked up the original work, I found out it’s 57 meters tall. I wondered why such a weapon was designed, and concluded that it’s meant to be a helicopter-like weapon for firepower projection from high altitudes. The legs prevent it from crashing. From the perspective of suppressing ground forces from high altitudes, or the efficiency of attacks against the ground, I felt there’s meaning in having such a massive humanoid weapon. That’s why the beam cannons, which resemble tentacles, are basically aimed downward (toward the ground). It’s equipped with various anti-personnel weapons, making it a true ground suppression weapon.

In terms of design, I aimed for an atmosphere reminiscent of the old plastic model package art, and I tried to incorporate it in a way that traces that style. It’s a design you don’t see in recent anime, so it might feel fresh. Also, this is unavoidable, but it’s a bit disappointing that there doesn’t seem to be a situation where the Sweeping Tripod Tank and Yamato directly fight each other. (Laughs)

Interviewer: Not as a replacement, but the Yamato does engage in combat with the annihilation multi-legged tank Garm Biu, right?

Rough design for the Garm Biu, seen in 2205. Read more about Akitaka’s work for that series here, here, and here.

Akitaka: In 2205, as a kind of bluff, I proposed a scene where they appear with their legs aligned to look like tripod tanks. In Chapter 3, as a replacement for the patrol tanks from the original work, Fukui-san suggested a “folded leg configuration,” which also appears in the final work. We hadn’t originally planned for them to fold, so we tested it with the CG team to see if it was possible and made adjustments.

Taygeta-class giant transport ship: a large vessel used for transporting weapons and immigrant groups.
Aircraft are launched from the central hangar through an energy-charging zone and ejected from the bow via catapults.
Ground weapons are launched from the rear storage area using large hatches.

Interviewer: I hear that the Taygeta-class large transport ship was made 1,000 meters long to accommodate the giant three-legged tanks.

Akitaka: It was impossible to fit them in at the size of the original work. So we calculated it based on the three-legged tanks and arrived at this size. As a result, it also serves as a backdrop for the landing forces that appear in droves, and I think it adds to the persuasiveness of the “scientific power of the Dark Nebula Empire.”

Left: design for the main hatches arranged along the lower part of the hull. The slopes for personnel were used for the disembarkation of the immigrant group. Right: Honeycomb-shaped electromagnetic catapult launch/landing ports inspired by a beehive.

What I wanted to do with the transport ship was to add the orange-colored catapult that was also in the original. Yuka Minagawa added the literary description that during launch, the “Caterpillar” attack fighters charge energy using this catapult. We also properly set the positions of the catapult and hangar this time. Since it would also be used as an immigrant ship, we added a slope structure so that people can disembark. Considering the large number of personnel and supplies to be transported, 1,000 meters seemed like a reasonable size.

Grodez-class annihilation battleship: a large battleship of the new fleet that appears at the end of Be Forever.
The concept of a worm-like shape and infinite beta cannons at the bow has been updated.

Interviewer: Please tell us about the Grodez-class annihilation battleship Grodez, which will be the rival ship of Yamato.

Left: original design by Leiji Matsumoto (1980). It was flipped upside-down for the finished version.
Right: Rough design of the bridge interior.

Akitaka: In the original work, it was just a vague impression of a “black, bulky mass,” but since the original design was drawn by Leiji Matsumoto, I wanted to pay proper respect and incorporate the original design elements. Upon closer observation, the insect-like, pupa-shaped form reminded me of the “worm-shaped fighter” and other designs from the Dark Nebula Empire mecha, reinforcing that it is an extension of that design language.

This time, I kept in mind that it was a rival ship and followed Mr. Fukui’s request for a “less heroic direction,” resulting in an unconventional design with prominent curves and protrusions. The orange parts around the bridge are also found in the original Grodez, but I set them as shield generators that become transparent.

Disk-shaped fighter Alctea: a stylish refinement of the disk-shaped fighter. The turret on the upper part
of the fuselage has been designed to resemble antennae, a common element of Dezarium mecha.

Left: the bottom has a retractable engine pod. Right: Color schemes for Alphon’s machine and general machines.

Interviewer: Please tell us about the disc-shaped fighter destroyer Alctea.

Akitaka: When I first saw the Dark Nebula’s disc-shaped fighter jet, I was surprised that it had a white body and red lines. I didn’t expect it to be such a bright color. I had already sketched a rough design for 2205, and this is the final version. I suggested two types, thinking that black would also be necessary, but in the end, white was decided for Alphon’s special aircraft.

Interviewer: I hear you also worked on the interior of the Grand Reverse.

Akitaka: Grand Reverse is a command center with various rooms, but I had a particularly hard time designing the Thalamus room. Since it’s decorated with real art, I couldn’t fake the dimensions. I designed the entire room by working backward from the size of the canvases. I also put a lot of effort into the design of the Holy Emperor’s throne.

In addition to the art, I also worked on props and devices used in Dezarium. The rough sketches for the “com-medal” were also drawn by me. I wanted Dezarium’s technology to have a uniqueness that differed from Earth and Garmillas, so I made sure the shapes were convincing and gave the impression that “this faction has this kind of technology.”

Mind transfer capsule, exterior and interior. Akitaka was in charge of the design
for Dezarium-related elements. Several proposals were presented.

Interviewer: Are you also involved in mecha animation?

Akitaka: Since Dezarium’s mecha could appear as dangerous black masses, we collaborated with the CG team to add details like edges and retouching. It’s time-consuming, but it’s an essential step for the final visual quality.

Interviewer: From your perspective, what are the highlights of Chapter 3?

Akitaka: Up until now, we’ve been following the original story, but here, the unique elements of the remake really come into play. Kodai’s revival and the battle against Grodez using the all-sky radar room are some of the most intense scenes. It feels like “Finally, Yamato is striking back!” and it’s really satisfying to watch. I think this is a turning point in the story.

Another subtle but important aspect is the character development. The scenes from elementary school and the Tsubasa episode are connected to later parts of the story. Fukui’s script is really good at portraying human beings. Of course, the appearance of the battleship Arizona is also a highlight.

Interviewer: Please tell us your impressions of the original Be Forever Yamato.

Akitaka: My impressions from seeing it in the theater are vivid. I was impressed by how beautiful Yamato was and how it had been refined from a TV series into a movie. The structure was like a roller coaster. The plot unfolded at a rapid pace, keeping the audience engaged. Looking back, there are parts that seem a bit forced (laughs), but at the time, I was so overwhelmed by the sheer scale of the event that I didn’t notice. What stood out to me was the horizontal composition of the screen and the beauty of Yamato‘s silhouette.

Interviewer: Can you tell us a little about what’s to come?

Akitaka: New mecha from the Bolar Federation and Dezarium that I’m working on will appear in the next chapter. After all, there are some big names waiting in the wings for Dezarium. I’m grateful, but it’s a challenge. (Laughs)

This time around, I really feel like we’re creating something completely new with Yamato. It’s been rebuilt to fit the current era. For longtime fans, there will be moments where they think, “They went there!?” while those seeing it for the first time will be surprised by the freshness of the worldview. As designers, it’s really fun to be involved in a project of this scale, and above all, we want to live up to the audience’s surprise and expectations. It’s going to get even more interesting from here on out, so please look forward to it!

Click here for the REBEL 3199 Dezarium mecha guide

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