NAGNAGNAG, an enigmatic figure who continues to profoundly influence toy artists worldwide. One of their signature works, "FOUR EYES," has been realized in a colossal 6-foot (approx. 180cm) size. It will be available via lottery sale at MEDICOM TOY's pop-up event, "AKASHIC RECORDS," held from Friday, October 16th to Tuesday, November 3rd, 2020, at POP BY JUN on the first floor of Shibuya PARCO. How was this singular art piece brought into existence? We spoke with Tatsuhiko Akashi, President and CEO of MEDICOM TOY; Akiteru Nakata, President of ZOMBIE STOCK; and Tomoyuki Saegusa, General Manager of the Surface Treatment Division at KANEBAN, to delve into the full scope of this project.

The encounter between NAGNAGNAG and MEDICOM TOY dates back several years. President and CEO Tatsuhiko Akashi of the company recounts.

AkashiWe first met at a rather mysterious live event in Nishi-Azabu. Since then, MEDICOM TOY has collaborated with NAGNAGNAG on projects such as BE@RBRICK and with Tara McPherson. I have the impression that they pursue their creative work with a very sharp vision. While perhaps intuitive, they possess a strength that is not swayed by trends, and I deeply respect NAGNAGNAG's unwavering perspective.

The original "NAGNAGNAG FOUR EYES" is a soft vinyl figure approximately 30cm tall. Its defining characteristic is its monstrous, otherworldly appearance, incorporating doll eyes that close when the figure is laid down. The decision to recreate this, including the eye-closing gimmick, in a 6-foot size was for its exhibition at "AKASHIC RECORDS," for which Mr. Akashi serves as curator.

AkashiWhen we decided to hold "AKASHIC RECORDS," I wanted to collaborate with NAGNAGNAG on a piece that would serve as a landmark for the event, and initially proposed a 24-foot (approx. 730cm) version. After various considerations regarding installation space, production time, and structural integrity, it was scaled down to 6 feet.

Giant figures comparable in size to an adult bring to mind the display figures produced for store windows during the kaiju boom of the late 1960s to early 1970s, or the outdoor installations by artists like KAWS in recent years. Is this project related to those?

AkashiOne could say it's related to both, and also not related to either. Both are likely imprinted in our subconscious. However, the fundamental reason is a very simple desire to see a large-scale NAGNAGNAG sculpture. NAGNAGNAG's appeal lies in its uniqueness, unlike anything else in the world. That is incredibly difficult to achieve.

Once production was decided, Mr. Akashi commissioned ZOMBIE STOCK and KANEBAN for the actual work. ZOMBIE STOCK is a company that has undertaken numerous special effects makeup and sculpting projects across various genres, including film, television, commercials, music videos, and stage productions. Their past works include widely recognized titles such as the films "The Exhilaration of Falling," "Sekigahara," and "The Fable"; the TV shows "Tales of the Unusual" and "GARO"; and the "Kamen Rider Zero-One" series, as well as stage plays for "Gekidan Shinkansen." KANEBAN, on the other hand, began with the sales and repair of Italian motorcycles and has since expanded into a wide range of businesses, including the production and development of character goods and content development and distribution. They also have staff with extensive experience in figure production.

Now, we'd like to ask Akiteru Nakata, President of ZOMBIE STOCK, and Tomoyuki Saegusa, General Manager of the Surface Treatment Division at KANEBAN, about the production process.

Nakata (ZOMBIE STOCK)We've worked with KANEBAN on the "GARO" series directed by Keita Amemiya, where the hero wears armor that shines gold all over. That armor required special plating, and we've always relied on KANEBAN for that. I met Mr. Akashi of MEDICOM TOY through my wife, who is a toy enthusiast. This is our first collaboration with NAGNAGNAG, and we've become good friends with them; they possess a wonderful blend of talent and humor.

Saegusa (KANEBAN)We have had business dealings with MEDICOM TOY on other projects, but this is our first time working with NAGNAGNAG.

NakataHonestly, I was surprised when I heard we'd be making "NAGNAGNAG FOUR EYES" in a 6-foot size. Seeing the original figure, I remember feeling overwhelmed at the thought of scaling that volume up to about two meters. But I was impressed by Mr. Akashi's audacious idea.

SaegusaI've always been very interested in creating life-sized figures, so I was delighted to accept the offer. However, upon actually seeing the design of "NAGNAGNAG FOUR EYES," I was struck by its impact. I wondered if we could reproduce the delicate details within its seemingly bold form at a life-size scale. Since our company had no prior experience in creating life-sized figures, ZOMBIE STOCK provided overall supervision for the master mold and FRP mold creation, as well as FRP application. We handled the design and production of the eye gimmick (blinking), the base design and production, FRP application, and painting.

NakataWhen Mr. Kaneko of KANEBAN first approached us with the request, I don't think we fully grasped the magnitude of the challenge we were undertaking. Our work often starts with a master model sculpted from clay, but this time, an acquaintance of Mr. Kaneko's had the capability to mill Kapok. Based on the approximate silhouette of the Kapok milled from 3D data, we assembled and finished the piece. We were also responsible for finishing the master model, including its details, and for creating the large silicone mold and the molds for the eyeballs.

SaegusaRegarding the material, we chose FRP (Fiber-Reinforced Plastic) to ensure the necessary strength and to accurately reproduce the design. FRP is lightweight, strong, and excels in moldability and design reproduction. For a life-sized creation, FRP is also suitable for ensuring strength against its own weight and external forces, and for the production process. We believed FRP was the most suitable material to recreate the delicate yet hard texture of "NAGNAGNAG FOUR EYES" at a life-size scale. For the paintwork, we selected paints and painting methods based on color accuracy and durability. The process involved: base design and prototyping (both shape and surface treatment in several patterns) → movable part (eye blinking gimmick) design and prototyping → master model creation (styrene model) → FRP mold creation → FRP application → surface preparation → painting → assembly of individual parts. In parallel, we created the base, the eye gimmick, and the eyelashes.

What kind of requests did NAGNAGNAG have during the production process?

NakataWhen NAGNAGNAG saw the prototype of the large-scale FOUR EYES, they requested that the shoulders appear weak in balance and asked for more volume. Indeed, adding volume gave it a more powerful presence.

SaegusaRegarding the blinking gimmick, the initial design was changed because the movement was too fast; we created a smoother mechanism. The irises were painted black, mirroring the sample figure provided, but NAGNAGNAG requested a more realistic representation. We went through several prototypes to get closer to that image. After painting the eyeballs and assembling them into the head, we received feedback that the depth of the whites (yellow part) was insufficient. Under NAGNAGNAG's guidance, we added shading to the whites. (Shading was also added to the head and torso.) We also repainted the subtle skin tone on the center of the head and abdomen to faithfully reproduce NAGNAGNAG's vision.

When asked about the challenges during the production process, it became clear that numerous revisions and improvements were made to even the smallest details.

SaegusaFirst, the creation of the eye blinking gimmick. Although designed using 3D modeling, we repeatedly revised the design due to issues with movement optimization and production processes. Then, the creation of the eyelashes. Scaling up to life-size meant finding suitable materials (hair thickness, texture, etc.) was difficult. We gathered over a dozen types of materials and selected the most appropriate ones through dozens of combinations of surface treatments and molding methods. Processing the parting lines during FRP molding was also challenging. The design is intricate and complex, so standard processing methods like sanding would damage the details. We repeatedly experimented to find a way to process it seamlessly while preserving the original form. NAGNAGNAG's attention to detail is extreme, so as we neared completion, the number of revisions increased, leading me to worry if it would ever be finished; it was mentally taxing.

NakataOur production lead, Kasai, mentioned, 'I was mindful of maintaining the overall balance while working on something larger than myself. The details were also recreated to match the scale without compromising the original design.' Furthermore, the most challenging part was creating the silicone mold from the finished master prototype and then producing the FRP jacket.

SaegusaThe weight is approximately 31kg (figure only, excluding base). To make it self-standing, it's essential to place the center of gravity within the body's center (aligned with the center of the feet). The sample figure already had this balance, and ZOMBIE STOCK faithfully recreated that center of gravity in the master prototype. We took great care during the FRP lamination and the joining of parts to ensure this balance was not compromised. Although it's secured to the base to prevent tipping from external forces, it can stand firmly on its own without the base.

It is said that their accumulated expertise was invaluable in faithfully reproducing the original colors in the paintwork.

SaegusaWe understood their meticulousness regarding the paint colors, so we took great care to reproduce the intended image. Furthermore, we not only focused on the color but also adjusted the tones with the particle size of the pigment in mind for the scaled-up version. For the painting, I meticulously studied the sample figure, observing every detail. We paid close attention to the painting order, the angle of the spray gun, the transparency, and how the mist dispersed, aiming to replicate these aspects. I believe our experience in restoring vintage motorcycles and cars over many years proved useful here.

We asked for their impressions upon seeing the completed "6FT NAGNAGNAG FOUR EYES."

AkashiIt's simply astounding. First and foremost, I want to express my gratitude to NAGNAGNAG and the production team, KANEBAN and ZOMBIE STOCK, for successfully completing this project after so many revisions (around 18, I believe?).

SaegusaThis was our first experience creating a life-sized figure, and we tackled it with all our effort while navigating uncharted territory. Seeing the finished figure is deeply moving.

NakataI believe that at this scale, the brilliance of NAGNAGNAG's design sense can be fully appreciated. The presence and impact are truly different. I'm a huge fan of figures and toys myself, especially horror-themed ones, and having larger pieces brings a completely different level of satisfaction. Although, I don't own anything this size myself (laughs). But if more innovative projects like this emerge and fans can experience unparalleled satisfaction, I'd be eager to participate in their production.

Its overwhelming presence will undoubtedly fulfill its role as the landmark of "AKASHIC RECORDS" as originally intended. Finally, we asked Mr. Akashi how this "6FT NAGNAGNAG FOUR EYES" might influence the current art toy scene.

AkashiTo be honest, my intention isn't to influence the art toy field specifically, but rather to simply see NAGNAGNAG gain even greater recognition and appreciation worldwide. We already have new projects with NAGNAGNAG in the works, so please look forward to them.

Note: To prevent confusion and trouble at the venue during the exhibition period, there will be dates where entry will be restricted based on a lottery conducted online.