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KIKAKUGAI Blog

M3GAN—the AI Doll—Joins the HORROR BISHOUJO Series!

"She’s more than just a toy... She's part of the family." From the sci-fi psychological thriller M3GAN, which follows the love and eventual rampage of the tiny and adorable AI doll, M3GAN, comes a new figure based on an illustration by Shunya Yamashita. This figure brings M3GAN to Kotobukiya's HORROR BISHOUJO series! M3GAN is a 2023 American film centered on M3GAN (Model 3 Generative ANdroid), a prototype fully autonomous consumer humanoid robot created by Gemma, a researcher at the toy company Funki. Designed to look like a young girl, M3GAN is equipped with AI that has the ability to constantly learn and evolve on its own. While spending time with a girl named Cady, she forms a deep bond. But M3GAN's overwhelming devotion gradually turns into madness and leads to terrifying consequences. Her innocent look contrasts with her blank android gaze, unsettling movements, and viral dance scene, elements that helped the film break past the usual psycho-thriller mold. And the figure we're highlighting today is, of course, not from Funki, but from Kotobukiya! The HORROR BISHOUJO series has transformed countless movie monsters and characters into beautiful figures, but since M3GAN was already designed as a cute doll to begin with, this BISHOUJO adaptation takes her cuteness to explosive new levels. Let's take a closer look at her charm. "It's really fun." Her head sculpt faithfully captures M3GAN's design—graceful, but with a subtle, inhuman chill. Her doll-like, glassy yet refined face is perfectly balanced with a faint archaic smile. And her eyes give away nothing. She may not have the titanium endoskeleton or the A17 bionic fusion chip that powers her thinking in the film, but the unique Shunya Yamashita styling more than makes up for it. The figure's concept is based on the memorable final scene where M3GAN reveals what she truly is. 1/7 scale. This figure stands at approximately 210mm tall (including the base) with an aptly petite frame. Her white dress is simple but sculpted with a soft, airy flow that highlights her innocence and elegance. The large ribbon on her chest and striped inner top give her a pure, distinctly childlike look. White tights, which also add to her childlike appearance, trace the natural line of her legs, complete with subtle fabric wrinkles at the knees. Paired with classic strap shoes, the sculpt presents the unmistakably pure presence of a young girl. ...And yet, in those innocent hands, she grips the large blade of a paper cutter. That contrast is quintessential to the character of M3GAN. M3GAN walks quietly down the halls of Funki. The contrast between her still expression and the movement of her swaying clothes and softly waving blond hair creates a blend of near-ethereal beauty and subtle eeriness. Who might M3GAN come after next? ...You? The base is modeled after Funki's red hallways, complete with a raised movie logo. It perfectly captures the world of the film. "Well, hold on a second, I thought we were having a conversation." There's still something important left to show. Take a look at the horror-themed alternate expression part, available exclusively through the Kotobukiya Shop. The skin on her forehead is split open, exposing a titanium inner frame, clearly something not human. Her widened, intense eyes convey her very first moment of "rage." This is M3GAN in her fully awakened form. Balancing cuteness and terror, M3GAN stands as a new icon in modern horror cinema. This BISHOUJO interpretation reimagines that impact with bold creativity. And given that the real M3GAN is said to cost around $10,000, this figure is a far more accessible way to bring her home. Become M3GAN's primary user through the HORROR BISHOUJO series! The undying M3GAN just might decide to be your protector—with you placed above everything else. Product Name M3GAN BISHOUJO STATUE SRP $169.99 Release Date Summer 2026 Manufacturer Pre-order Deadline January 20, 2026 Product Page https://www.kotobukiya.co.jp/en/product/detail/p4934054062904/ ▼Pre-order from KOTOBUKIYA US ONLINE▼https://kotobukiya-us.com/products/190526059849 ◆ More Info Kotobukiya BISHOUJO Series Official Sitehttps://bishoujoseries.com/ © Universal City Studios LLC. All Rights Reserved.

2025.11.11

KOTOBUKIYA Figure Blog

【Sculptor's Interview】 ARTFX J Millions Knives TRIGUN STAMPEDE Ver.

Introduction Staff M:Mr. Hattori, thank you for joining us today.I just recently learned that a Millions Knives figure was being made. As a fan, what I always felt about TRIGUN STAMPEDE is that at its core, it’s a story about brothers. At the center are Knives and Vash, with the story unfolding around their past, what they want to protect, and the friends they make. Knives ends up being a powerful enemy, but he’s also the protagonist’s brother. He’s a very complex character and, for me personally, one who really lingers in the heart. His tragic story almost brings you to tears. Hattori:Oh, wow. It makes you tear up? That’s such a unique way of putting it! Staff M:So, the Kotobukiya TRIGUN STAMPEDE figure series has already reached its fourth release, but I don’t think it would have been complete as a full collection without Knives.How about you? Hattori:Yeah...but before we get into that, I want to talk about you, Staff M.You’ve appeared in the previous interview too, and a lot of readers said they couldn’t stop wondering about you. I thought it might be good if you explained a little more about who you are, lol. Staff M:Me?! lol Hattori:People have been wondering if you worked on Trigun, if you’re a sculptor, or maybe you’re someone from an overseas media outlet. Staff M:Yes. So, I belong to Kotobukiya’s licensing team.I handle such things as communications with the licensors, including our company’s Trigun projects. Of course, I’m also an OG Trigun fan, too.The reason this interview series began was because, when I first saw the Stampede Vash figure, I immediately felt this immense aura emanating from its face.I realized that a sculptor’s job isn’t just to take the character design sheet and faithfully recreate the same face. That Vash figure made me realize that there’s something deeper, that sculptors must use new and old skills and techniques they’ve built up over the years to capture the complexities of the character. That was the inspiration for this interview series. Hattori:Interesting! Staff M:Sculptors like yourself are able to express so much in the face, like Vash’s complex feelings and emotional scars. I wonder, how do you all do that? I’m always saying to myself, sculptors really are artists.So that’s why I’m here interviewing you. Hattori:So Staff M, you’re a Trigun fan and you also work on the Kotobukiya Trigun projects. Staff M:I’m really interested in the work of sculptors. But I’m not a sculptor myself. Hattori:Ah, I see, I see, lol. Staff M:Having an in-house sculpting team is rare, right? It’s one of the things that makes Kotobukiya so unique. Hattori:Yeah, for a manufacturer to have its own sculptors, and a whole team at that, that’s pretty uncommon. Staff M:Not every company has that. Here, we can actually plan products together with the sculptors. Since it’s such an important part of the process, I’ll always randomly invite them over to have a chat. That’s the kind of person I am. Hattori:Good, I think I finally understand you a little more now. Staff M:There was also pressure from within the company. Like, “Staff M, give them a better explanation of who you are.” Hattori:I get it, people were also telling me “We can’t concentrate on what you're saying.”Everyone was too interested in Staff M, like, who’s this guy? Staff M:I’m also involved in product promotion and stuff too, you know! Main Interview Topic 1. Recreating Knives as a Figure Hattori:So, the Knives figure!As far as I know, there’s never been a full-scale figure of Knives. Not anywhere in the world.Or at least one that’s been commercially available.So, right off the bat, that right there is a huge pressure. Staff M:Yeah, we at least know for sure that this will be the first Kotobukiya Millions Knives figure.We did make Vash and Wolfwood for the Trigun: Badlands Rumble movie series, but Knives is completely new, right?The sculpt has already started a little, right? Hattori:Actually, yes. At the time of this interview, we’ve already begun a little. Staff M:So, you're really feeling the pressure then, huh? Hattori:Yes! It’s fun, but bringing a character into 3D and being responsible for its figure debut comes with a lot of pressure.As a sculptor, you need people to actually see the piece before anything can really be said.But as of now, there’s nothing to show. Staff M:Yeah. We are doing this under special circumstances after all. Usually, we talk after the painted master is finished.But this time, we’re doing this at the very beginning. What are you thinking and feeling at the moment? Hattori:When we do these interviews when the figure is already finished, honestly, I’m pretty relaxed, lol.When it’s finished, I can talk about everything. Like, “So, this part was made this way.”But since we don’t have anything, I honestly don’t even know how things will turn out. Staff M:I’d love to share your thoughts and feelings at this stage of the process with our readers. Hattori:I’m panicking lol. Staff M:I can’t blame you! Hattori:Also, you know how Kotobukiya does those year-end surveys asking what fans want made into products? Knives got a huge number of votes last year. That greatly influenced making this figure happen. We got the message loud and clear, no mistake. Staff M:See! It’s not just me, everyone’s excited!For me, Knives was a character who really left a deep impression on me, so I’ve always wanted a figure of him.It makes me very happy to know that everyone else wanted one too. Topic 2. Knives Staff M:So, while it’s a bit scary with the pressure, do you also have things you’re excited about as a sculptor? Like designs or new techniques you want to try, or things you want to do differently. Hattori:Yes! After all, if people just look and think, “Oh yeah, I’ve seen this before,” then there’s no point in making it, right? If it doesn’t feel very new, then it’s not interesting, so I always make sure to include something I’ve never done before.Knives’ pose and composition have already been decided, but figuring out how to bring that into the figure will involve a lot of fresh challenges. Staff M:Right, Knives’ knives themselves have an incredibly complex mechanic. I saw the detailed design sheets at the Trigun Exhibition and thought making them would be really tough.Recreating the knives seems like it will definitely be a challenge. Hattori:I mean, his name is “Millions” Knives, right? So, how do you show such a massive number of knives in a figure? It’s not like you can just cram in thousands or tens of thousands of them. The question is, how do you make it look good as a display piece, something pleasing to look at?Staff M, do you get where I’m coming from? Staff M:After all, even a single knife feels like it has a million details.Each and every one. Hattori:And then on top of that, there’s an insane number of them. It’s crazy, haha. Staff M:Not only beautifully recreating them in figure form, but also working out how to incorporate them into the pose, that will be really tough, right? Hattori:Making the knives themselves will be manageable, but then how do I show the sense of motion? That’s what’s stumping me. Staff M:Yeah, with Nicholas, you expressed motion by making it appear like there was wind blowing from below. Hattori:Yeah. Back then I even said I wanted people to “feel the sound” of it. But with knives, what kind of movement do they have, what kind of sound do they make? Knives are kind of scary, you know? Staff M:Yeah, words like “beautiful” don't really go together with knives. Topic 3. Contrast Between Brothers Hattori:Also, in the anime, Knives first appears as an eerie, non-human figure. He’s got an inhuman feel to him. I want to capture that eeriness too. Staff M:Right! That’s an important part of Knives too.But while he’s this eerie figure, he also still loves Vash. Hattori:He loves him way too much. Staff M:What resonated with me in the anime is how clearly Knives’ pure heart is portrayed. Even though he’s fighting so fiercely, in the end, he’s still Vash’s brother. He wants to protect Vash, and he loves him dearly. That’s made crystal clear. And honestly, what I’m looking forward to is how that feeling will be incorporated into the figure. Hattori:I’ve been thinking about that a lot too. When deciding the pose and composition, I wanted to make sure to include the “twin brothers” element, that contrast between the older and younger one.But in truth, they both share the same feelings, right? Like, they're two sides of the same coin. I feel like that’s kind of the underlying concept of their relationship. But then, how do you express that in a figure? What Knives is trying to protect, and what Vash is trying to protect. Staff M:I can’t wait to see! Hattori:Vash’s figure has already been released, so you already know, but behind him we included the townscape of Jeneora Rock. That town was meant as a symbol of Vash’s desire to protect people.So then what about Knives? That’s kind of the million-dollar question, haha. Staff M:The bases have always been quite distinctive. So I’m very curious what will be included in this one. I bet it’s already been decided, hasn’t it? Hattori:Yes, it’s been decided. It hasn’t been made yet, but we know what the concept will be.Actually, I consulted with you back when we were deciding on the concept. I asked what you think we should do. So, in a way, you’ve been pretty deeply involved in this Knives figure since the planning stage. Staff M:I remember answering honestly, too. There was something I thought only I liked, but then you said you liked it too, and I was surprised. Hattori:Yeah. We liked the exact same thing. Staff M:It was the robe! I thought I was in the minority for liking it. I remember, I even said it quietly, “I like his robe.” Hattori:I might be giving too much away, but I think the robe is part of what gives him that ominous, uncanny feeling. If you saw him creeping towards you with it on, it’d be terrifying! Staff M:It’s kind of mysterious, right? Hattori:Exactly. And from a figure perspective, it makes it easier to create that uncanny, mysterious feeling, too. Staff M:This is something I’d like to ask Orange (creators of the second Trigun anime series) about, but that robe has a hood, right? Another person also has a hood. It’s Vash, right? Hattori:Yes! Staff M:They’re two halves of one whole. Hattori:Yeah, definitely. They embody this idea of contrasting brothers.Since the original series didn’t have that robe or hood, I feel like Orange’s anime emphasized their relationship even more by adding that hooded robe.Or that’s my fan theory at least, haha. Staff M:That robe is so unique, it almost makes him look alien.But it suits him perfectly.Isn’t it really hard to turn that kind of design into a figure? Hattori:It is! Staff M:I’m sure it’s tough. Sorry, I’m just saying whatever comes to mind, haha.Another part of the character of Knives is the skin, right? It’s incredibly detailed, so I’m really interested to see what you do. Hattori:You’re talking about the jagged Plant pattern that shows up on his skin, right? They’re incredibly prominent on Knives, but they only appear occasionally on Vash. It’s definitely an aspect of his character that we have to include in this figure. Staff M:Actually, I really pushed for that. At the concept stage, I said, “You absolutely have to include this.” It’s such an awesome part of his design. Hattori:There’s no way we could do this figure without it, but the issue is figuring out how to show it! Staff M:It’s easy for me to say that something should be included, but for you, as the actual artist, you have to figure out how to balance it with the rest of the figure, right? Hattori:Yeah, I’m trembling at the thought of even approaching it! Staff M:The combination of the hood, the robe, and the skin is incredibly striking. It’s one of the things I’m most excited about.Sorry, me saying that just adds to the pressure, doesn’t it? Topic 4. Challenges Creating the Figure Staff M:Out of the elements of the figure, are there any you think will be particularly hard to tackle? Any you wonder, “Can we even do this?” Hattori:With Knives, honestly, almost everything. It’s all difficult!Creating the character itself isn’t the problem, but all the details, like the knives, the Plant patterns, the base, everything has some new element we’ve never done.It’s completely different from Vash or Wolfwood.The only thing I can breathe a little easier about is the hexagonal base. That part is fixed and the same. But what goes on top of it, that’s going to be tough. Staff M:You’ve been thinking about a lot of stuff such as the Plants, right? Hattori:Yes, we have.We obviously want it to look good on display, so a lot is still up in the air, haha. Staff M:I hope everyone’s looking forward to it!Thank you. In Closing Staff M:Among all the characters in Stampede, Knives definitely has the most complexity in his thoughts and motivations. I’m really looking forward to seeing how that gets expressed in the figure’s face, eyes, and overall vibe. Hattori:You mentioned the eyes, that’s also another contrast with Vash.Like, “Since Vash’s figure looks like this, then we’ve got to make Knives look like that.” Staff M:Right, Knives’ figure exists because there’s already a Vash the Stampede figure!It’s not just a standalone figure but part of a larger Kotobukiya series. Hattori:Exactly! It’s a whole series.But when I was working on Vash, nothing had been decided yet about Wolfwood or Knives. And I know you know that, Staff M. It was just a standalone Vash project.Then it was like, “What’s next?” and Wolfwood got the green light. But even then, Knives hadn't been decided at that time. Staff M:I only found out about the Knives figure very recently. Hattori:Exactly! But in the end, when you line them up as a series, it looks like there was a big overarching concept behind it all. Staff M:Yes, that’s really important. That sense of unity, the consistent design language.Beloved works always have those intentional commonalities between characters and designs.It’s super satisfying as a customer when a series has that unity. Hattori:One other piece of good luck is that I’ve been able to sculpt all of them myself. The schedules lined up perfectly. If they hadn’t, another sculptor might have been assigned. But thankfully, I got to do them, and that’s why I’m able to give them that sense of unity. Staff M:And the project leads understand that too.They know how important it is for you to be the one making them. Hattori:They’ve stayed consistent about that. Staff M:I can’t wait to see the figure!We’re doing this interview on June 4, 2025, but it won’t be coming out for some time.Once the painted master is finished, I’d like to sit down for another interview.Thank you so much for your time today! Hattori:Thank you! Check out the sculpt of Knives here! Xhttps://x.com/Kotobukiya_EN/status/1984693680620687548 Instagramhttps://www.instagram.com/p/DQhkIMtE2Nk/ Facebookhttp://facebook.com/kotobukiyaofficial/posts/pfbid0ZJd2bvwjgHHSfASHEznokWrraEUrp5K39TBda7uQsuFt7LBv8AVkxNaC7ymLZAyEl © 2026 Yasuhiro Nightow, SHONENGAHOSHA / TRIGUN STARGAZE Project

2025.10.24

KOTOBUKIYA Figure Blog

【Sculptor Interview】 ARTFX J Nicholas D. Wolfwood TRIGUN STAMPEDE Ver.

Introduction Staff M:Today, we will once again be sitting down with the sculptor, Hattori-san. Thank you for joining us today. First and foremost, I would like to say that I am thrilled to speak to you again, this time about the ARTFX J Nicholas D. Wolfwood TRIGUN STAMPEDE Ver. figure that you sculpted.One of the reasons I wanted to do this interview was because of the sculpt. The first time I saw it was at February's Kotobukiya Collection. I was absolutely blown away. I crouched down to get a picture from the front, but then I had to get up to take one from the top as well... and then move this way and that to take it from every other angle I could. Because, you know, you can't move the sculpt itself. Hattori:So you have to move yourself. Staff M:Exactly! I know the people behind me were probably like, "What is this guy doing?" Hattori:I bet they had no idea you were actually a Kotobukiya blog writer. Staff M:If they read this, some might realize that that weirdo was actually me, haha. I knew the figure would be on display there, but I had no idea I'd get that excited. Hattori:Thank you. I'm glad to hear that. Staff M:Did you know that it was going to be at Kotobukiya Collection? Hattori:Yeah, of course. We'd been working on the figure to show at the event, and I'm just thankful we made it in time. It was amazing to see everyone posting about it on social media. Staff M:Last time I sat down to interview you about the ARTFX J Vash the Stampede -The Gunman in Black- TRIGUN STAMPEDE Ver. figure, you said that you first learned about the Trigun series through a figure, not the anime or manga. Do you remember which character the figure was? Hattori:It was Vash. The red is so hard to miss, you know? Even if you don't know who it is, it still makes you think, "Who's this red guy?" He just seemed so cool the more I looked at him. So yeah, Vash was the character that introduced me to the series. Staff M:But after that, you also bought figures of the other characters too, right? Hattori:Yeah, pretty much all of them—from Kaiyodo's action figures to busts and statues. The sculptors who work on the Trigun figures, both back then and now, are incredibly talented. There's Masaki Apsy, who's worked with us here at Kotobukiya, Katsuhisa Yamaguchi, who is behind the now iconic "Amazing Yamaguchi" articulation, and Tomohide Enoki, who makes busts and vignettes. With such renowned names working on Trigun, the figures are, of course, incredible. Staff M:Did you sort of look up to their figures? Hattori:Yeah, and I still do. Staff M:It seems like that first Trigun figure was a real turning point in your career. The reason I asked was because I thought there was a chance the first figure you saw was of Wolfwood. Hattori:I mean, I fell in love with Wolfwood at the same time too. Do you remember the Vash action figure that Mcfarlane released? That was crazy too. Staff M:I'm impressed you were able to get your hands on something like that. Hattori:It was actually easy to get in Japan. But, man, was it something else. Staff M:I remember the coat looking so cool. Vash's coat is one of the first things that really sticks with you, right? Not just the color but the detailing as well. They really stay with you. Hattori:Yeah. Staff M:Thanks for telling us all of that.The reason I brought up how you came across the series was because I wanted to ask about Wolfwood in TRIGUN STAMPEDE.I loved his new design when I first watched the series. His slightly cropped pants—and this kind of gets into the weeds a bit—but I love that they gave him these light-weight, low-cut black shoes too. What did you think when you first saw him? Hattori:Did you know that they're called kung fu shoes? You know what kung fu is, right? Like Bruce Lee and Jackie Chan. Staff M:Really?! I had no idea! Hattori:As for the pants, I think they went with a cropped look because the anime's character designer has a really keen eye for what's trendy at the moment. Staff M:They're small details but super important, right? Hattori:Yeah, because you can see his ankles now. Staff M:Exactly! I love how it completely changes his vibe. Hattori:Yeah, he looks very cool. Staff M:Thanks for telling us all of that. Changing topics a little—we couldn't bring the paint master of ARTFX J Nicholas D. Wolfwood TRIGUN STAMPEDE Ver. to this interview, so we have the sculpt that I actually first saw at Kotobukiya Collection. The reason we couldn't bring the painted version is, fortunately, because it's currently on display at the TRIGUN STAMPEDE EXHIBITION in Ikebukuro (at the time of this interview). I haven't had a chance to go yet, but you've already been, right? Hattori:I have! We're doing this interview right in the middle of the TRIGUN STAMPEDE EXHIBITION, haha. By the time this blog gets uploaded, the exhibition will probably already be over. But since the fully painted version of Wolfwood is over there at the moment, we just have the unpainted one here today. I had work the day it started so I couldn't make it but I managed to go on the second day. Staff M:I wanna go soon, too! Hattori:You should! ASAP!!! Staff M:So yeah, I still haven't seen the paint master. Hattori:You'll be blown away. Staff M:I think so, too. I'll try not to look too weird to the people behind me when I take photos this time though, haha. Hattori:Also, my replica Peace Bringer is also on display there! We really didn’t know if it would be a part of the exhibition yet when we were doing the last interview Staff M:Right. I remember you didn't know if it would be put on display when we talked about how you made the replica for the Vash figure. I was so curious to see if it would be there that I immediately hopped on the internet to see what people were saying on the morning of the exhibit, and there it was! Hattori:Yup! You'll see when you go, but it's in a great spot, too. Right by the entrance. It's at the very beginning of the exhibit. I'm so grateful they put it somewhere like that. Staff M:I bet all the Trigun fans out there can't wait to see it. Especially since the Peace Bringer is essential to the show. And you almost never see it in this scale ever. So I guess that means both your fully painted Wolfwood figure and replica of Vash's Peace Bringer made it into the exhibit! Hattori:They did! Staff M:It's funny how things work out sometimes. I remember seeing the replica on your work desk and going "What is this thing?!" Hattori:Yeah, I just had it sitting around. Staff M:But then that became the trigger for this interview. Hattori:And now it's being displayed at an exhibition. Staff M:What are the chances, huh? Hattori:No kidding. Staff M:Thanks for telling us all about that.And now I'd like to start asking you about the figure. Topic 1. The Miracle Pose Staff M:This is a topic I had to ask about since it's one of the things that made me fall in love with the figure so much. I feel like you came up with the perfect pose for this figure. It's super hard to explain, but you captured both Wolfwood's vibe and personality. I'd love to hear how you landed on this pose in particular. Hattori:When we were first designing the figure, we actually put forward three different poses. I think this was back in June of 2023. But of those three, this was the one we ended up going with. Both the product planner, Naito-san and I felt that it had to be this one. The pose itself was almost ripped straight out of the reference materials we received from Studio Orange. And speaking of the Trigun exhibition, those reference materials are actually on display as well. I'm sure that some of you may have noticed that the figure is based on one of those drawings. Staff M:So that’s where you got that amazing pose from! Hattori:From the line work and hand-written notes, I think Nightow probably drew it himself. I'm not certain though. Staff M:Maybe that's why it captures Wolfwood's personality so well. How awesome is that. The other proposed poses are cool too, but this one just stands out. Hattori:Yeah, the other two poses had the Punisher almost touching the ground, but in the one we ended up going with, he's got it fully slung over his shoulder. It just has a completely different aura. Staff M:I feel like that may be the key to this pose. You, the sculptor would have had to picture the figure from every angle to bring such a cool drawing to life, right? I imagine that was quite a challenge. ※Completed Sculpt Hattori:Yeah, it always is. But that's my job. I believe it's our job as sculptors to take a drawing and make it look cool from all angles when bringing it into 3D—when turning it into a figure. So, I just did what I could to make that happen, haha. Staff M:Yeah, because it's not like you'd ever see someone doing this pose in real life either, right? So you have to imagine what it would look like for someone to carry something so massive in 360 degrees. It must be really tough figuring out how things like his clothes will flow and move, right? Hattori:Well, exactly, because it's not like we can go and make a full-scale replica of the Punisher either. Staff M:True. Wolfwood's carrying this massive Punisher, but he doesn't seem to be straining very much. It's like he's got it perfectly balanced. Hattori:I feel like being able to handle the Punisher so easily is part of his character. If he was straining, it wouldn't look very cool, right? It's not like it's effortless or light, but the way he handles it with ease is what makes Wolfwood so cool. I think we did a good job expressing that in the figure. Staff M:This pose reflects his character so well, and I think that’s why it feels so perfect. But more than that, thanks to this pose, both Wolfwood and the Punisher can be appreciated from all angles. I think there is a ton to enjoy about this figure for both collectors and fans of the character alike. Hattori:Thank you. Staff M:I'm glad we were able to learn how this pose came about.So far, we've been talking about the pose, but now I'd like to ask about the face. Topic 2: Style Eyes Staff M:Spoiler alert for those who haven’t watched the anime yet, but while there are a lot of scenes where Wolfwood is smiling, he is actually quite a troubled character. I feel like you can really see his serious side in the figure. Was that intentional?　 Hattori:Of course. The fact that he has the Punisher fully opened shows you just how serious he is. We wanted to make it look like he's ready to go out before Vash and take care of business. Because, you know, that's the kind of guy he is. Staff M:I think you really brought out that tension. You also captured each of their feelings, too—with Vash being one to avoid fights, while Wolfwood steps up to fight. The eyes were one of my favorite parts of the figure. I bet it's difficult to express the nuances with just the eyes and face, especially for such a strong character like Wolfwood, but I guess sculptors are always thinking about that kind of stuff, right? Hattori:Yeah, fans of the series will know—Vash and Wolfwood have fundamentally different ways of seeing the world, which leads to them butting heads sometimes. But because that's such a core aspect of their characters, I really wanted to make sure we expressed that in the figures, too. Staff M:Thank you. Sunglasses Staff M:I think a lot of people immediately think of his sunglasses when picturing Wolfwood. It's one of the character's most defining features. Also, choosing sunglasses usually takes ages, so it must have been tough coming up with a pair that suits him. Hattori:Yeah, while I do have plenty of experience sculpting glasses for characters, what's more important is the anime reference material. Anime creators spend hours upon hours deciding on every little detail before committing it to paper and we are simply borrowing that design. The anime already has it down pat, so it's our job to take that and bring every minute detail into 3D and the sunglasses naturally suited him. So, you know, it's really the animation staff at Studio Orange who are doing the heavy lifting. Staff M:When I first saw the prototype, it was all-grey, so I couldn't see his eyes, but his face with the sunglasses on stood out so much that I had to get up close and take a photo. I just thought they suited him so well. Hattori:Oh, there's one more thing. The sculpt is all gray, right? Which means the sunglasses aren't see-through. This was another huge challenge because I couldn’t actually see his eyes through the lenses. Staff M:So you had to imagine the eyes behind the glasses. That's amazing! Hattori:On the computer, we can make the lenses translucent, but the most important part is how the finished product looks in real life. So, we had to think hard about how the eyes would look once the clear parts come in and the glasses are made see-through. Staff M:And this is the result—you can see them clearly in the paint master. Hattori:Right, you can see the eyes through the glasses and where they're placed—whether it's up or down. For Wolfwood, his eyes come near the upper rim of the glasses. But because we can't see that in the grey unpainted sculpt, we had to simply imagine what they would look like. Hair Staff M:I heard that this figure comes with interchangeable hair parts. Hattori:That's right—there are two versions of the front hair piece to display the figure with or without sunglasses. Now, this might be exclusive info just for those of you reading this blog, but...The front hair pieces actually have a slightly different sculpt. We had a technical reason for this too. It's surprisingly difficult to fit sunglasses into such a small, detailed part. So, we made a version of the hair with the sunglasses already attached. But for the version without sunglasses, we slightly adjusted the bangs to reduce the gap between the face and the hair. Staff M:And that's how you balanced the hair and glasses? Hattori:Yeah. At first glance, they might look the same, but they're actually different. Staff M:It sounds like there was a lot of trial and error involved. I imagine there was a lot of "Should the hair come down to here?" or "Maybe it should sit a little further back?," trying to fine tune the design. Hattori:Yes. That's why we ended up with two versions. It was quite a challenge to get right… Now that you mention it, it's coming back to me just how hard it was, haha. Staff M:Thank you. Suit Staff M:Another key aspect of Wolfwood is his suit. I think the wrinkles and creases in his shirt and jacket really create movement in the figure. Hattori:That's actually my favorite part, haha. We gave Vash those same kinds of creases. Staff M:I'm glad I asked! Hattori:Fabric wrinkles can be simulated in recent software, but I still like to do everything by hand. That being said, I don't take poses and use myself as reference to see how the clothes would wrinkle in real life, either. While it might look realistic, it wouldn't make for a very interesting looking sculpt. That would be like simply replicating reality. Instead, I think it through and run a simulation in my head—like, "If the character moves this way, would the folds appear like this?" I feel like that approach makes it look more like what you expect from a figure. So, while I'm happy if the wrinkles and creases look realistic, they're actually totally unrealistic. They're made up and stylized for each figure. Staff M:They're stylized! Interesting! Hattori:Yes. It's all part of the look. Staff M:I think you just hit on something really important. I personally love all the wrinkles and creases throughout the figure. It made me realize that for sculptors and artists, the real joy doesn't come from simply replicating reality—for them, it's about imagination and creating something with their own hands. Hattori:When the creases turn out just right, the movements of the character come to life, too. It's something that makes the figure just that much more satisfying. That's the true appeal of handmade art. Staff M:I really hope those who buy the figure take a close look. These aren't any ordinary wrinkles, they're HANDMADE wrinkles. Hattori:Yeah, you're not seeing wrinkles like these in real life, haha.I'll be happy if some of them go "whoa!" at the sculpting I've done. Staff M:I also love that you can tell he's supporting the weight of his body and the Punisher with his core thanks to the wrinkles around the midriff. Hattori:Yeah, it's like wrinkles all go to one place. Staff M:Your eyes naturally look there too, so I think it's a really important detail. Thanks for telling us all of that. The Cigarette Staff M:Another thing I'd really like to ask about is the cigarette. Personally, one of my favorite aspects of this figure is how he has it in his hand instead of his mouth. Hattori:There were definitely people within the company saying it'd be better to have it in his mouth. But with the composition as it is, having it in his hand gives the figure a better balance. You've got the massive Punisher on top of him, and then down below in his left hand, a thin, little cigarette. Plus, the way the smoke gently curls upward really balances everything out. So, when people suggested putting the cigarette in his mouth, I'd immediately shot it down, haha. No way, absolutely not. Staff M:It was ruled out from the beginning? Haha. In the last interview, you mentioned how important it was to get Vash's hand expression just right, especially the way he's gripping the cube.This time, you've done another amazing job crafting Wolfwood's hand holding the cigarette. Can you tell us a little about the hand? Hattori:Well, Wolfwood's hands need to look like they could carry the Punisher, right? If they're not a little bulky, it doesn't feel convincing, so we made sure his fingers have a muscular, brawny look. They might even be bulkier than Vash's—at least, that's what we were going for, haha. Staff M:Well, they have to be able to handle the Punisher. That makes perfect sense! Hattori:Even the joints and knuckles in the fingers have been carefully sculpted to better suit the character. Staff M:It's not just about the cigarette—the personality of the character, the weapon he carries—all of that influenced how his hands were designed. That's why it turned out looking so cool. Thank you. The Magic Gap Staff M:This next question is going to be pretty nerdy. Ever since I first saw the sculpt, there's something that's really stuck with me. There's a subtle but deliberate gap between the cigarette and the smoke. I really hope those who buy the figure take a closer look, because I think that small distance is incredibly important. Some people might think, “What are you even talking about?”—but can you tell us a little about this? Hattori:Normally, you'd try connect the smoke directly to the tip of the cigarette, right? That would be the obvious approach. But from a technical standpoint, we couldn't insert a peg there. In other words, we couldn't physically join the tip of the cigarette to the base of the smoke. And we also wanted the starting point of the smoke to be super fine and delicate. So then we thought, what if we just separate them? Create a small gap. But then the question became, how do we attach the smoke? The solution was to attach the peg to Wolfwood's thigh instead. That way, we could give the smoke a little gap that would preserve the airy, drifting feeling that makes it look like it's coming from the cigarette while still having it connected. That's what I'd call killing two birds with one stone. Staff M:I’m out of words. All I can say is that it’s beautiful. Listening to your explanation just now, I realized that the smoke tapers off into a sharp point, right? That must have been crucial for the overall look. Hattori:Absolutely. That was something we definitely wanted to do. I wanted to make sure it tapered. Staff M:I've never seen cigarette smoke sculpted so beautifully in a figure. And the fact that such a tiny gap adds so much to the overall balance is also just incredible. Hattori:I really feel like it was the right call to separate them. Five years ago, I probably would've just connected them. But now, realizing, "Wait a second, we don't have to connect them," was huge. Staff M:From the moment I first saw it, I couldn't stop wondering about that magical gap. I wanted to know why you'd done it. Hattori:You’d automatically think that the smoke is coming from the cigarette, right? Staff M:Yeah. You don't think twice about it. Hattori:It was a real revelation for us. Even just a cigarette can add a bit of style. Staff M:This was something I desperately wanted to ask you about today. Readers are probably thinking, "This guy is obsessed,” but hey, I don't mind, haha. Topic 3. The Punisher Punisher Unleashed Staff M:We've talked about the pose, the face, the hands, and the suit—but more than anything else, Nicholas D. Wolfwood is defined by his weapon, the Punisher. Its design and visual impact make it practically a character in its own. What made me really happy when I first saw this figure was how prominently the beam cannon was featured in its fully open mode. Did you plan to show it like this from the beginning? Hattori:Feeling-wise, yes. I wanted to make it look like this from the start. But then there was the difficult question of, "Okay, so how do we actually make this thing?" Haha. Staff M:Was that a technical issue? Hattori:Yeah, there were a lot of technical challenges. I make figures all the time, but I don't usually do this kind of mech-like sculpting. So honestly, my first thought was, “Can I even pull this off?” Staff M:You were unsure if you could pull it off? Hattori:Yeah, I was. But I had to do it. I didn't want to hand it off to others. I wanted to do it myself if possible. I managed to sculpt Vash's gun on my own, so I thought I could pull this off too... probably, haha.I started by sculpting the Punisher in its closed form, just to get a sense of the overall balance. From there, I began thinking about how it would look when it’s open. I'm not sure if readers can see the pictures, but there was a 3D printed model I made that I'd like to show. I made this first. Staff M:Like a prototype? Hattori:Yeah. I also made a version of the figure in a neutral pose first, too. From there, I thought about, "Okay, what would it look like if Wolfwood moved this way or if we opened up the Punisher?" The closed version had to look like how the Punisher looks when it's closed. Staff M:Right, you have to think about the fact that the weapon is actually meant to open and close. Hattori:In my head, the design opened and closed properly. I didn't include any of the gaps you see in the final product, but I sculpted this 3D printed prototype with the Punisher open in mind. Staff M:Being able to appreciate every part of the Punisher is definitely one of this figure's biggest highlights. Hattori:One more thing. In the other figure of Wolfwood and the Punisher, TRIGUN Badlands Rumble, Wolfwood's Punisher is wrapped up in cloth. Since we already did that version, we felt like this time, we had to do the fully exposed mech version. Staff M:Does that mean it was your first time sculpting the Punisher fully opened like this? Hattori:Yeah. When do you get the chance to build something this crazy? Haha. Staff M:True, this must have been a rare opportunity. You did an incredible job. Hattori:Even I think so, haha. Staff M:Thank you. Operating the Punisher Staff M:One of the things I love about the Punisher is how it's operated—how you have to grip the handle, open the right parts, and slide this specific piece to get the beam cannon. You can't just pull the trigger and fire. I just love that complexity. Hattori:It's, of course, based on Nightow's original weapon design, and then Studio Orange took that and brought it to life using the latest animation technology. But animating such an intricate weapon must have been such an insane challenge. Staff M:Yes, there are scenes that are just crazy, haha. Hattori:For this project, I think Studio Orange took on the most difficult challenge. Then, for me, translating that into 3D was super tough. But, you know, that's what makes this job so great. It's tough, but it's also fun at the same time. Staff M:Right, haha. It was challenging, but that challenge led to what we have here in front of us. Hattori:When it was finally done, I looked back and thought it was all worth it. The Grip Staff M:One detail I really hope people don't overlook Wolfwood's hand that's so precisely placed on the rear grip—I like to call it the skull grip. The way the hand fits in there is just beautiful. Hattori:Yeah, getting this to work was really hard!!First off, his hand doesn't even fit in the grip. He has to grip it with two fingers in each opening, plus the thumb. It has to be this way. Plus, the grip isn’t just large but it’s deep as well. Staff M:Right, if it's too thick, he can't grip it. And then there's also the issue of the finger placement. Hattori:Exactly—and we had to make sure the hand could actually grip it. Also, I'm not sure if you noticed, but the skull grip isn't symmetrical either. Staff M:Interesting! Tell us about that. Hattori:We chose to make the design asymmetrical. The original design is meant to be symmetrical, I think, but for this figure, doing so wouldn't allow the thick fingers to fit properly. Staff M:Plus, it makes the skull look more menacing. Hattori:I really have to thank Studio Orange for being kind enough to approve this. Staff M:Interesting. Did you kind of have to move things around a little? Hattori:Making the skull slightly asymmetrical not only helped make it look more sinister but also allowed the fingers to fit. It's a small thing, but I think it has a big impact on the overall look. Staff M:True, because this part really stands out. Hattori:It might be hard to notice how asymmetric it is from just the photos, but this is the kind of thing that can only be expressed in figures. Staff M:I think that little tweak really added to the appeal. Hattori:If we had been told to make it perfectly symmetrical, we wouldn't have been able to make the hand look this good. The look we were able to achieve might've been lost. Staff M:For anyone who picks up the figure, definitely give the skull grip a closer look. The figure obviously looks great from the front, but I love how he has his arm behind him holding the Punisher. Hattori:Yeah, I'm impressed he's able to carry it like that. Staff M:Thank you for letting us in on how you got the hand gripping the skull grip to look so good. Topic 4. The Paintwork on the Punisher The New Punisher Staff M:Now, I'd like to talk about the paintwork on the Punisher. The combination of black framing and fluorescent green parts gives it such a striking color scheme. How did you approach recreating the colors we see in the anime in real life? Hattori:The painter for this figure is the same person who did Vash and The Gunman in Black Vash, so since this is the third in the series, we were already confident that they would do a good job. For the finer details, we focused on how to make them more visually striking.Instead of just using plain black or gray, we blended in metallic tones. Staff M:The frame isn't reflective, but it still looks metallic. It's also different from the color of the suit. Hattori:Yeah, the contrast between the suit and the Punisher was intentional. Staff M:One of my favorite parts is all the small scuffs and scratches where the black paint has worn away to reveal the neon green underneath, like around the barrel of the beam cannon. A completely unscratched Punisher just wouldn't feel right. Hattori:Yeah, we added weathering around the Punisher. Staff M:I absolutely love it. Hattori:This was also super difficult. Creating the weathering and painting it isn't that hard, but then mass producing that same effect is a whole other story, haha.It made us think, "Okay, so how many points of weathering are there actually?" Staff M:There's quite a few, isn't there? Hattori:Yeah. I had to discuss with the development team how many points of weathering we could realistically include in the mass-produced version. They said we could maybe do around 40 at max. I got them to discuss with the manufacturer beforehand and get a concrete number. Then, I made a mock-up of where I'd like to weather. See these red marks? ※The marked sections on the Punisher sculpt are for the painting team and designate the painted damaged areas that are possible for production. Staff M:This red was part of the weather mock-up. Hattori:But then, when I actually got to painting, 40 wasn't actually that many. Staff M:Really? It feels like it would be a lot. Hattori:Yeah. So it was really important that we strategically place the weathering across about 40 points to achieve the most visual impact. Staff M:That sounds really tough. Even in the prototyping stage, you already had to map out where you'd put the weather around the muzzle, barrel and frame to make it look the best it could, right? Hattori:Yes. Then, I passed that layout over to the painter and they matched it exactly. Staff M:The paintwork definitely became one of the standout features of the Punisher. Thank you. Topic 5. Clear Parts Inner Parts of the Punisher Staff M:This might be a bit nerdy, but I love the clear parts. I only got to see the prototype at Kotobukiya Collection, so I had no idea there would be clear parts until I saw photos of the fully painted version the other day. Could you tell us a bit about the clear parts? Hattori:Well, it wouldn't be the Punisher if it wasn’t packed with mechanical parts inside , right? When you use clear parts, if what's behind them is blank, it defeats the whole purpose. So, we designed it to look like the weapon actually contains mechanical components. Sculptors will immediately know how we did it, but I wonder if regular folks know? What do you think is going on behind the clear parts? Staff M:There's something inside there, right? Hattori:Yes. Or so I want you to believe, haha. Staff M:I think that there's mechanical detailing inside, and the clear parts are placed on top of them. Hattori:Yes, that's exactly what I want you to think! In reality, though, it's kind of different... but I can't tell you how we did it. But yes, the inside is filled with mechanical detailing. Staff M:If there was nothing inside, it would feel like something was missing, right? Plus, seeing that there is something inside makes you want to take a closer look. Thank you. The Grip Staff M:I think the paint job of the part I've been calling the skull grip really stands out. Hattori:It's the face of the Punisher after all, so making it stand out and look cool was very intentional. Staff M:Sorry, I keep talking about the Punisher. It's such a big part of Wolfwood's character that I can't help myself. There's so much more I'd like to ask, haha. Topic 6: The Base Base Design Staff M:Next, I'd like to talk about the base. In Stampede, when we first see Wolfwood, it's in this vast desert. I immediately thought of that scene when I saw this base. Hattori:The original Trigun takes place on a desert planet, so I knew I had to go with a desert scene for the base. There was also one other reason. I got practice making desert scenes with Vash, so I'm better at them now, haha. Staff M:In person, I only got to see the prototype, so I was really glad it was a desert when I saw the paint master. Hattori:You should check it out at the Trigun exhibition. The way the lighting hits it from above, it casts this awesome silhouette of Wolfwood on the sand. Staff M:There it is! The miracle pose again! Hattori:Yes! Again!We didn't plan for any of that during production. Staff M:Yeah, you wouldn't normally think about how it casts a shadow, right? Hattori:Exactly! When I saw the exhibit, I was like, "Whoa! Look at this super cool shadow!" Staff M:Some display cases have built-in lighting, so if you have one at home, try it out for yourself! The Golden Ratio Staff M:There are two things I absolutely have to ask you about. First, what is the planet behind the base and the effects under the moon? I thought the effect parts might be lightning at first, but whatever it is, it looks great including the size of the moon! The second thing is the sense of movement you get from the figure, including the base. There seems to be this flowing motion that comes from underneath the planet and continues up into the cigarette smoke. When I look at it, I can literally hear the wind howling in my head. Hattori:Oh wow! Thank you so much! When people look at the figure, I want them to hear the wind and the sound of the desert. As for the lightning-like effect, that's actually meant to be sandstorms or dust clouds. That's what I was trying to go for. Staff M:It's slightly see-through, isn't it? Hattori:Yeah, we used slightly transparent clear parts. There's this sense of wind blowing with the sand and the cigarette smoke, but then amongst all that, there's Wolfwood, standing ready to fight. As a composition, it's kind of beautiful, don't you think? Staff M:It is beautiful. I was kind of blown away. Every part of the sculpt has meaning, huh? Hattori:Yeah, so on a more conceptual level, Vash is a triangle and Wolfwood is a square. They naturally kind of feel like those shapes. That in and of itself is already a beautiful contrast. But then one day, I realized, maybe Wolfwood's composition actually fits into the golden ratio. Staff M:That's incredible! Can you show us what you mean? Hattori:When I tried applying it, the flow of the wind, starting from the sandstorm, spirals around and lands exactly on the Punisher's skull. This isn't something you can plan from the start. It's something I noticed as I was designing the figure. It sort of gave me goosebumps. Staff M:That's amazing! I don't think I've ever heard of a figure that incorporates the golden ratio! Hattori:It's impossible to design a composition like that from the beginning, so I don't think I'll ever achieve a golden ratio like the one that starts from the wind here again. Staff M:So it really is a miraculous pose then! Hattori:Yeah, you were saying from the beginning that it's a miracle, that it's beautiful, but I think it all comes back to this. Staff M:Maybe this is why I was so obsessed with the figure, haha.Figures are a visual medium so how they make you feel is really important. I'm amazed you arrived at the golden ratio. Hattori:It was just a coincidence, though. Staff M:Still, thank you so much for sharing such a cool story. Two Bases Staff M:Personally, I'm someone who really pays attention to the bases of figures, and when you place Vash and Wolfwood side by side, they form a scene straight out of the world of TRIGUN STAMPEDE. They look even better when displayed together. Hattori:When you put Vash and Wolfwood's bases together, you can see five moons behind them. Those familiar with Trigun will immediately know what this means. Staff M:Was that something you had planned in advance? Hattori:Yes—we intentionally made it five. Also, since we created that amazing cityscape of Jeneora Rock for Vash, I felt like I had to do something for Wolfwood, too. I ended up making things harder for myself though, haha. Staff M:I'm really excited for our next question, but would you mind letting us know about ARTFX J Nicholas D. Wolfwood TRIGUN STAMPEDE Ver. DX Edition? Hattori:First off, for all the Kotobukiya Trigun figure fans out there, we've prepared awesome-looking acrylic bases. Which means... That's right! We're giving you extra bases in addition to the desert base, where you can freely display your figures! Staff M:What?! There are TWO bases?! Haha.Does that mean there's a base for Vash, too? Hattori:That's right! So, for those who don't have Vash yet, you have to get him now. Staff M:This makes the Vash figure even better as well! Hattori:It adds a brand-new layer of fun. You know, with figures, you buy them, take them out, and display them. But this adds another layer of fun. Staff M:Now we can display them at the same height as the The Gunman in Black Vash figure. Hattori:Yeah, exactly! Fans of the series will surely want to get all three. And with this acrylic base, you can place them really close together, or anywhere you like, in whatever situation you like. Staff M:Oh, nice! So even with limited space, you can display all three. I never even thought about giving the regular Vash a new base! Hattori:You didn't think we'd have even more up our sleeves, did you? Plus, like The Gunman in Black Vash, the pattern on the base was designed by Ikeda-san from the design team, so it looks super cool too. Staff M:The base for The Gunman in Black Vash was so cool. I can't believe you kept this a secret from me too! Hattori:Hahahaha!And now, you can even set them up for a showdown. Staff M:I'm definitely getting the DX version! Hattori:Yeah, you'll have no regrets if you get the DX version. Staff M:Especially since this is the only way to get these acrylic bases. I'm really looking forward to it. Thanks for telling us all of that. Finally Staff M:Thank you for sharing such valuable insights. This isn't exactly a continuation from last time, but having the figure in front of me, the word craftsmanship really comes to mind. This idea of crafting your work that everyone at Kotobukiya shares. Whether it's about the work itself, the product, or the creation process, everyone pours their heart and soul into it. Craftsmanship is present throughout the entire process that eventually leads to what we see as the final product. It's hard to put into words, but I can't help but smile when I think about the craftsmanship going on behind the scenes. Hattori:I think you're someone with that drive for creation. The last blog interview we did together is one example. The fact that you're able to do something like that is a testament to your ability to create. Staff M:It's not just me though. There are like 10 people that work on these posts. But, I agree, we all embody the spirit of craftsmanship. And that's why the tiny little details that we discussed today make me so happy whenever I see anyone's creations. Thanks for telling us all of that. Hattori:Thank you. Staff M:I'm sure we'll get the chance to talk about craftsmanship again. Thank you for sitting down with us today. ※Left: Tatsuya Hattori (Sculptor) / Right: Staff M (Interviewer) Special Thanks:A portion of the sculpt images and all ofthe paint master images were taken by the professional photographer Ken Kubota. ※PROTOTYPES SHOWN, FINAL PRODUCT MAY VARY.※Colors and composition may change based on photography conditions and your viewing environment. © 2026 Yasuhiro Nightow, SHONENGAHOSHA / TRIGUN STARGAZE Project

2025.05.22

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