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The History of Garage Kit Culture and Wonder Festival | The Role Played by Kaiyodo

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The History of Garage Kit Culture and Wonder Festival | The Role Played by Kaiyodo

The History of Garage Kit Culture and Wonder Festival | The Role of Kaiyodo

In the 1980s in Japan, a world of handmade figures, distinct from mass-produced plastic models, flourished. This is the garage kit culture. In the development of this culture, Kaiyodo transformed from a model shop to a manufacturer, took over Japan's largest garage kit event, "Wonder Festival," and established the innovative one-day licensing system, supporting the overall health of the industry and the creative activities of creators. This article will detail the role that Kaiyodo has played from the rise of garage kit culture to the present day of Wonder Festival in chronological order.

【Related Articles】: Complete Guide to the History of Kaiyodo | From Its Founding in 1964 to the Birth of Revoltech, a 60-Year Journey that Changed Japanese Figure Culture

What is Garage Kit Culture | The World of Handmade Figures that Emerged in 1980s Japan

Garage kit culture is a movement of handmade figures that significantly developed in Japan during the 1980s. It established itself as a culture where individuals and circles produce and sell unique sculptural works that cannot be expressed with commercially available plastic models in small quantities. The foundation of this culture is the resin casting technology, which made it possible for individuals to create authentic figures, leading many creators to begin their creative activities.

Definition and Characteristics of Garage Kits

Garage kits refer to small-batch figure kits produced by individuals or small circles by hand. Unlike plastic models mass-produced by large manufacturers, garage kits are typically limited production of several dozen to several hundred pieces. The name "garage" comes from the fact that individual creators in America literally produced them in their home garages. In Japan, they are often sold at events where fans and creators can interact directly, similar to doujinshi sales events, and their rarity makes them appealing. A major characteristic is the high degree of freedom in sculpting, allowing for the realization of original designs and niche characters that cannot be achieved with commercial products.

Spread of Resin Casting Technology

The technological foundation that supported garage kit culture is resin casting technology. Resin refers to polyurethane resin, which is a material that hardens through a chemical reaction when two liquids are mixed. By creating molds with silicone rubber and pouring resin into them for replication, individuals can now produce authentic figures at home. In the early 1980s, this technology spread among Japanese model fans, enabling the creation of intricate three-dimensional works without professional equipment. Resin has high reproducibility of details and a high degree of freedom in sculpting, making it suitable for expressing characters with complex details and organic curves. This technological innovation supported the explosive growth of garage kit culture.

The Rise in 1980s Japan

In 1980s Japan, the anime and tokusatsu boom and the growth of otaku culture coincided, leading to the rapid development of garage kit culture. Following the societal phenomenon hit of Mobile Suit Gundam (1979), the desire of fans to create three-dimensional representations of anime and tokusatsu characters increased. However, at that time, the characters that large manufacturers commercialized were limited, and the realization of niche works or minor characters was not expected. The garage kit culture filled this gap between demand and supply. Individual creators sculpted their favorite characters freely and sold them to fans with the same interests—this cycle spread throughout Japan from the mid to late 1980s.

The Turning Point for Kaiyodo | From Model Shop to Garage Kit Manufacturer (1980-1984)

In the early 1980s, Kaiyodo operated as a model shop in Osaka, but it reached a significant turning point during this period. With the establishment of the sculpting studio in 1980, Kaiyodo transformed from "the seller" to "the maker." The decision to adopt resin casting technology and start producing garage kits in-house became a crucial turning point that determined the future development of Kaiyodo. In 1984, it expanded to Tokyo and established its position as a garage kit manufacturer.

In 1980, the establishment of the modeling room and the start of garage kit production

In 1980, Shu Miyawaki, the founder of Kaiyodo, established a "modeling room" within the company. The background of this decision was a strong belief that if there was nothing we wanted, we should create it ourselves. At that time, enthusiastic fans visiting model shops were seeking figures of characters and works that were not commercially available. However, major manufacturers only commercialized works that were expected to be commercially successful. Witnessing this situation, Miyawaki decided to produce in-house. He invited talented sculptors to the modeling room and started full-scale garage kit production. This shift was not merely a business decision but a decision based on a sense of mission to realize the dreams of model fans. Kaiyodo transformed from a "store selling models" to a "manufacturer creating models."

Self-production using resin casting

Along with the establishment of the modeling room, Kaiyodo fully introduced resin casting technology. From the prototypes sculpted by sculptors using clay and putty, molds were made with silicone, and resin was poured in for duplication—this entire process was done by hand. The early garage kits were labor-intensive, with each one being hand-molded, resin poured, bubbles removed, and polished after hardening. The production efficiency was low, with only a few to several dozen being made in a day, but each one was infused with the passion of its creator. The first garage kits produced by Kaiyodo included characters from special effects works and original creatures, attracting attention for their intricate sculpting and beautiful details. Due to their limited production, the rarity of Kaiyodo's garage kits began to earn them high praise among collectors.

In 1984, Kaiyodo opened a base in Tokyo and launched the "Kaiyodo Gallery." This was not just a sales store but a gallery space to exhibit garage kit works and interact directly with fans. With the expansion to Tokyo, Kaiyodo was able to operate closer to the center of garage kit culture, allowing for more connections with fans and sculptors. The gallery hosted exhibitions of new works and limited sales, functioning as a holy place for garage kit fans. Additionally, dialogue events with sculptors and demonstrations of production techniques were held, making it a hub for the enlightenment of garage kit culture. This expansion to Tokyo significantly raised Kaiyodo's profile nationwide and established its position as a garage kit manufacturer. With a dual base in Osaka and Tokyo, Kaiyodo became a leading force in Japan's garage kit culture.

Transition to Licensing Business | Contracts with Tsuburaya Productions and Toho and the Path to Becoming an Original Figure Manufacturer

While the garage kit culture was growing, a significant challenge emerged: licensing issues. When creating three-dimensional representations of existing characters, it was necessary to obtain permission from the copyright holders, but it was difficult for individual creators to acquire licenses. Kaiyodo took on this issue head-on. They formally contracted with major copyright holders like Tsuburaya Productions and Toho, paving the way for the legal commercialization of characters. This transition allowed Kaiyodo to evolve from a mere garage kit manufacturer to an original figure manufacturer with official licenses.

Why was obtaining licenses necessary?

The garage kit culture of the 1980s developed in a gray zone where the handling of copyrights was ambiguous. Many garage kits were unauthorized three-dimensional representations of existing anime, special effects, and game characters, which could strictly be considered copyright infringement. However, since they were produced in small quantities as personal hobbies, the copyright holders were in a state of tacit approval. The founder of Kaiyodo, Nobuhiro Miyawaki, did not consider this situation to be healthy. He judged that in order to develop the garage kit culture in the long term, it was necessary to build formal relationships with copyright holders. There was also a practical reason that as a company expanding its business, they could not continue to operate with legal risks. By officially acquiring copyrights, creators could focus on their creative activities with peace of mind, copyright holders could receive fair compensation, and fans could obtain high-quality products legally—this win-win relationship for all three parties was essential for copyright acquisition.

Historical Contract with Tsuburaya Productions and Toho

The first negotiations Kaiyodo undertook for copyright acquisition were with Tsuburaya Productions (Ultraman series) and Toho (Godzilla series). In the mid-1980s, Nobuhiro Miyawaki visited these companies directly and proposed "merchandising in the new form of garage kits." Initially, the copyright holders were skeptical about contracts with small garage kit manufacturers, but they came to understand the high level of Kaiyodo's sculpting technology and the potential of the garage kit culture, leading to a contract. This contract allowed Kaiyodo to officially merchandise iconic special effects characters like Ultraman and Godzilla. By paying royalties and producing products that met quality standards, Kaiyodo gained the trust of the copyright holders. This success opened the door to contracts with other copyright holders, allowing Kaiyodo to establish a system for legally merchandising characters from a variety of works.

Establishment as an Original Figure Manufacturer

With the acquisition of copyrights, Kaiyodo transformed from a "gray zone garage kit manufacturer" to a legitimate figure manufacturer. Holding copyrights allowed them to promote products openly and expand distribution routes. Additionally, due to the trust established with copyright holders, they could also realize product planning in line with the release of new anime and movies. This transformation not only represented a business success but also had a significant impact on the entire garage kit industry. Other manufacturers, seeing Kaiyodo's success, began to pursue copyright acquisition, creating a trend toward the healthy development of the industry as a whole. While maintaining the founding spirit of "creating what we want," Kaiyodo established a legal and sustainable business model, laying the foundation for Japan's figure industry.

Birth of General Products and Wonder Festival

With the development of the garage kit culture, the need for events where creators and fans could interact directly was increasing. In response to this demand, "Wonder Festival" was born. In 1984, General Products (later Gainax) held the first event in Osaka, which quickly grew into a festival of garage kit culture. Kaiyodo also had a deep involvement with this event, supporting the development of the garage kit culture.

What is General Products (predecessor of Gainax)

General Products was a group of SF and anime fans established in 1983 by Toshio Okada, Takami Akai, and Yasuhiro Takeda. Based in Osaka, they engaged in the production and sale of garage kits and the planning and management of anime events. The members of General Products aimed not just to conduct business but to create works they genuinely enjoyed and share them with fans who had the same interests. This attitude embodied the spirit of the garage kit culture at the time. General Products later changed its name to "Gainax" and became an anime production company, creating masterpieces such as "Aim for the Top!" and "Neon Genesis Evangelion," but its roots lay in the garage kit culture. The Wonder Festival they held played a central role in connecting creators and fans across Japan as a key event in the garage kit culture.

Birth of Wonder Festival (1984)

In 1984, General Products held the 1st Wonder Festival in Osaka. This was not just a sales event, but a comprehensive event aimed at showcasing, selling, and contesting garage kit works, as well as facilitating交流 among creators. From the very first event, many garage kit fans gathered, and the venue was filled with excitement. A characteristic of the Wonder Festival was its open atmosphere where both professionals and amateurs could participate without distinction. There were times when the works of unknown individual creators attracted attention, and professional sculptors presented prototypes. Additionally, visitors could directly interact with the creators, learn about production techniques, and hear their thoughts on the works. This "closeness between creators and recipients" was the charm of the Wonder Festival and a cultural feature that resonated with the doujinshi sales event "Comic Market." With each annual event, the Wonder Festival grew into a symbolic event of garage kit culture.

Relationship with Kaiyodo

Kaiyodo and General Products had a deep relationship as entities supporting garage kit culture. Since Kaiyodo was based in Osaka and General Products also operated from Osaka, the two were geographically close and had exchanges between their founders. Kaiyodo participated in the Wonder Festival from its first event, announcing and selling new garage kits. Moreover, the sculptors from Kaiyodo competed with other creators in techniques at Wonder Festival, gaining inspiration. General Products specialized in event management, while Kaiyodo focused on product manufacturing, and together they nurtured garage kit culture through their division of roles. This cooperative relationship continued until 1992 when Kaiyodo took over the Wonder Festival, becoming the foundation that supported the golden age of Japan's garage kit culture.

[Related Article]: The Truth Behind Choco Eggs and the Food Toy Boom | How Kaiyodo Changed Figure Culture in Three Years provides a detailed explanation of how Kaiyodo transitioned from garage kit culture to the food toy boom.

1992: Kaiyodo Takes Over Wonder Festival

In 1992, the Wonder Festival reached a significant turning point. General Products (Gainax) decided to withdraw from event management to focus on anime production. At this time, it was Kaiyodo that decided to continue the Wonder Festival. Nobuaki Miyawaki resolved to take over the event out of a sense of mission to "preserve garage kit culture." At the same time, by relocating the venue to Makuhari Messe and expanding its scale, Wonder Festival entered a new era.

Background of the Transition from General Products

In 1992, Gainax (formerly General Products) found it difficult to continue operating the Wonder Festival as it concentrated its management resources on anime production. However, Wonder Festival had already established itself as a core event of garage kit culture, and it was clear that canceling it would have a significant impact on the entire industry. Knowing this situation, Nobuaki Miyawaki of Kaiyodo decided to take over Wonder Festival. For Miyawaki, Wonder Festival was not just a business event, but a symbol of garage kit culture itself. A strong sense of mission that "this culture must not be extinguished" supported the decision to take over. Event management was a significant burden and came with economic risks, but Kaiyodo took on this responsibility with the awareness of giving back to garage kit culture. The handover from Gainax to Kaiyodo was a historically significant event in the inheritance of garage kit culture.

Relocation to Makuhari Messe and Scale Expansion

Kaiyodo, which took over Wonder Festival, relocated the venue from Osaka to Makuhari Messe in Chiba. This was not just a change of location, but a strategic decision to significantly expand the scale of the event. Makuhari Messe is located near Tokyo, has good access from all over the country, and features a vast exhibition space as an international exhibition hall. As a result of this relocation, the number of participating circles increased dramatically, and the number of visitors surged. By the late 1990s, the number of participating circles exceeded several hundred, and the number of visitors grew to tens of thousands. With the expansion of the venue, corporate booths were also established, functioning as a platform for major manufacturers to announce new products. The Wonder Festival at Makuhari Messe evolved from a mere garage kit event into a festival for the entire figure industry. This expansion contributed to raising the social recognition of garage kit culture and helped the otaku culture gain citizenship.

Significance of Continuing the Event

The significance of Kaiyodo continuing the Wonder Festival was not just about keeping the event alive. Wonder Festival is a valuable venue for creators to present their works and gain recognition, and for fans, it was a unique opportunity to interact directly with creators. Losing this venue would mean a decline for the entire garage kit culture. Kaiyodo discovered new creators through the event and promoted the overall level of the industry. Additionally, works that gained attention at Wonder Festival were sometimes commercialized, serving as a stepping stone for creators to become professionals. Furthermore, Wonder Festival played a role in maintaining the community of garage kit culture and strengthening the network among creators. The continuation of Wonder Festival by Kaiyodo is regarded as a historical contribution that preserved the foundation for the development of Japan's figure culture.

One-Day License System | A Revolutionary Mechanism Created by Wonder Festival

The most innovative system of Wonder Festival is the "One-Day License." This system allows individual creators to legally sell licensed characters only on the day of the event. Traditionally, obtaining licenses was difficult for individuals unless they were companies, and selling garage kits of existing characters was legally a gray area. With this system established by Kaiyodo, creators can engage in creative activities with peace of mind, rights holders can receive fair compensation, and fans can obtain works legally. This win-win mechanism for all three parties has contributed significantly to the healthy development of the garage kit industry and the advancement of Japan's figure culture.

What is the One-Day License System?

The One-Day License System is a mechanism that allows individual garage kit creators to obtain permission to produce and sell three-dimensional works of existing characters only on the day of Wonder Festival. Normally, to commercialize characters from anime or games, it is necessary to enter into a formal contract with the rights holder and pay licensing fees. However, it was practically difficult for individual creators to enter into the same contracts as companies. The One-Day License System was devised as a groundbreaking solution to this problem. Creators who apply before the event and receive approval from the rights holder can sell garage kits of licensed characters on the day of the event. Importantly, sales are limited to the venue on that day, and mail order or resale after the event is prohibited. This ensures that the business of rights holders is not infringed upon while guaranteeing the creative freedom of creators.

The one-day copyright application process is clearly systematized. First, creators must submit their application forms through Kaiyodo's official website several months before the Wonder Festival. The application form includes the title of the work, the character name, the number of units to be produced, and the selling price. Kaiyodo forwards the application details to the copyright holder and requests a review. The copyright holder checks the content of the work and decides whether to approve or disapprove it. If approved, the creator pays the stipulated copyright fee. The copyright fee is calculated based on the expected number of sales and price, and is paid to the copyright holder. On the day of the event, creators can only sell the approved works, and the number of units sold must not exceed the quantity applied for. Additionally, the works are tagged with a one-day copyright label, clearly indicating that they are legally sold. This strict process ensures the proper management of copyrights and the coexistence of creative activities.

The excellent point of the one-day copyright system is that it benefits all three parties involved. For copyright holders, officially recognizing fan-made secondary creations helps maintain the popularity of their works and develop new fan bases. They also gain income from copyright fees. Furthermore, they can explore commercialization possibilities based on the reactions at Wonder Festival. For Kaiyodo, promoting the healthy development of garage kit culture contributes to the revitalization of the entire industry, which ultimately benefits their own business in the long run. For creators, there is joy in legally bringing their favorite characters to life and delivering them to fans. Additionally, if they receive high praise at Wonder Festival, it opens the possibility of becoming a professional sculptor. This Win-Win structure among the three parties allows the one-day copyright system to function as a sustainable system, which has been in operation for over 20 years.

Industry Health and Creator Protection

The introduction of the one-day copyright system has greatly contributed to the overall health of the garage kit industry. Before the system was implemented, copyright issues existed in a gray area, leaving creators with constant legal risks. With the one-day copyright, creators can now operate legally as long as they follow proper procedures, allowing them to focus on their creations with peace of mind. Moreover, the distinction from illegal pirated versions has become clear, and legitimate creative activities are now protected. On the copyright holder's side, instead of uniformly cracking down, they chose to coexist by officially recognizing fan creative activities, which has helped build good relationships with fans. This system is unique to Japan, and similar mechanisms have been seen in overseas events. The one-day copyright system established by Kaiyodo is recognized internationally as an advanced model that balances creative freedom and the protection of intellectual property rights.

[Related Article]: The Birth of Revoltech and Technological Innovation | How Revolver Joints Changed Action Figures provides a detailed introduction to the innovative action figure technology presented at Wonder Festival.

Representative Works of the Golden Age of Garage Kits (1980s-1990s) and Kaiyodo's Masterpieces

From the 1980s to the 1990s, garage kit culture reached its golden age. During this period, many talented creators emerged, presenting intricate and artistic works one after another. The genres diversified, including not only characters from special effects and anime but also original creatures and beautiful girl figures. One of the representative works of this golden age is the "Evil God Soldier" released by Kaiyodo in 1986. This large resin kit, exceeding 50 cm in height, is a crystallization of the technology and passion of the garage kit culture at the time, and it is still spoken of as a legendary work today.

Golden Age of Garage Kits in the 1980s-1990s

From the late 1980s to the 1990s, the garage kit culture reached its peak. The characteristics of this period were the improvement of creators' technical skills and the diversification of genres. Works from all genres, including special effects heroes, monsters, robot anime mechanics, and fantasy creatures, were three-dimensionalized. Additionally, from the mid-1990s, the genre of beautiful girl figures emerged, and works that three-dimensionalized heroines from anime and games became popular. During this time, many talents who would later thrive as professional sculptors were discovered at events like Wonder Festival. The golden age of garage kits was also a time when they established their value as sculptural art, surpassing mere hobby status.

Kaiyodo's Legendary Masterpiece "Jashinhei" (1986)

In 1986, Kaiyodo announced "Jashinhei," a legendary work in the history of garage kits. This large resin kit, approximately 50 cm tall, was based on the prototype by sculptor Takayuki Takeya, challenging the limits of resin casting technology of the time with its muscular protrusions, detailed armor, and intricate weapons. Jashinhei is an original design creature, not based on existing anime or special effects characters, but a pure work of art born from the sculptor's creativity. Although the selling price was very high by the standards of the time, its overwhelming presence and sculptural beauty led to it selling out immediately upon release. It has now become a rare item that is difficult to obtain, often trading at auction for several times its original price. Jashinhei is one of the works that marked the moment when garage kits were recognized as sculptural art beyond mere models.

Other Representative Garage Kits

During the golden age, many masterpieces were created beyond just Kaiyodo. In the special effects genre, monsters from the Ultraman series and characters from the Godzilla series were intricately three-dimensionalized. In the anime genre, the mechanics of Mobile Suit Gundam and Neon Genesis Evangelion were created with unique interpretations that could not be realized with commercially available plastic models. Furthermore, in the late 1990s, beautiful girl figures rapidly gained popularity, with works that three-dimensionalized heroines from anime and games. Many professional prototype sculptors who would later thrive in the figure industry emerged from individual creators, indicating that the garage kit culture also functioned as a training ground for talent in Japan's figure industry. This diversity and creativity were the charm of the golden age of garage kits.

2000 Reset Declaration and Restart from Crisis

In 2000, Wonder Festival faced a significant crisis. Kaiyodo announced the Reset Declaration, suggesting the possibility of canceling the event. Several factors contributed to this, including the increasing burden of event management and changes in garage kit culture. However, in response to strong demands and support from fans and creators, Kaiyodo decided to continue Wonder Festival. This crisis and the subsequent revival became an event that reaffirmed the social significance of Wonder Festival.

Crisis of Event Cancellation and Reset Declaration

In 2000, Kaiyodo announced the "Reset Declaration," suggesting a reevaluation of the continuation of Wonder Festival. The background to this was the increased operational burden due to the expansion of event scale. With a rapid increase in the number of participating circles and attendees, the burdens on Kaiyodo, such as securing venues, safety management, and processing one-day licenses, were increasing year by year. Additionally, the garage kit culture itself was changing, with a relative decrease in demand for handmade garage kits due to the improved quality of commercial figures. Furthermore, the increase in corporate booths raised concerns that the nature of the event was shifting from a "platform for individual creators" to a "commercial trade fair." The Reset Declaration was a statement to organize these issues and reflect on the origins of Wonder Festival.

Path to Revival and Continuation

After the announcement of the reset declaration, there was an overwhelming response from the garage kit industry and fan community, with calls for the continuation of Wonder Festival flooding in. Creators argued that "without Wonder Festival, there is no platform for announcements," and fans expressed their desire for its continuation, stating that "Wonder Festival is a symbol of Japan's garage kit culture." In response to this reaction, Kaiyodo decided to continue Wonder Festival once again. However, rather than simply returning to the previous format, they implemented reforms to ensure a sustainable event, including a review of the operational structure, clarification of rules, and adjustment of the balance between corporate and individual exhibitors. Throughout this process, the social significance of Wonder Festival was reaffirmed, and it was recognized as something that should be preserved not just as a commercial event, but as a cultural heritage.

Evolution of Wonder Festival After the Reset

After the reset declaration, Wonder Festival evolved into a new phase. The operational rules were clarified, and the application process for one-day rights was also streamlined. By clearly separating corporate booths and individual circles, the event was able to maintain its diversity while leveraging the unique characteristics of each. Furthermore, the establishment of biannual events (summer and winter) increased opportunities for creators to present their work. Since the 2000s, with the spread of digital sculpting technology, garage kits using 3D printers have emerged, ushering in a new technological era. Having experienced the reset, Wonder Festival has grown into an event with a more solid foundation, continuing to hold its position as Japan's largest garage kit event.

International Expansion of Wonder Festival (Bangkok, Shanghai)

Since the late 2000s, Wonder Festival has begun its path towards internationalization. In various Asian countries influenced by Japanese garage kit culture, interest in figures and garage kits has been rising. Kaiyodo responded to this demand by holding Wonder Festival in Bangkok and Shanghai. This led to the export of Japan's unique garage kit culture overseas and the formation of an international creator network.

Internationalization of Wonder Festival

The internationalization of Wonder Festival is backed by the growth of figure culture in Asian countries. Particularly in Thailand and China, Japanese anime and games have been widely accepted, leading to a rapid increase in demand for figures and garage kits. Kaiyodo decided to hold Wonder Festival overseas, leveraging this cultural affinity. The purpose of internationalization was not merely market expansion, but to convey the philosophy and know-how of garage kit culture overseas and support creators in each country. Unique Japanese systems like the one-day rights system were also introduced, contributing to the building of relationships between rights holders and creators in various countries.

Events in Bangkok and Shanghai

Wonder Festival has started to be held regularly in Bangkok and Shanghai. In Bangkok, creators and fans from not only Thailand but also various Southeast Asian countries gather, making it the central event of the regional garage kit culture. The Wonder Festival in Shanghai has grown into the largest event in Asia, backed by China's vast market and creator population. These overseas events have become a venue for local creators and Japanese creators to interact and share technology and culture. Additionally, local rights holders have participated, and systems similar to one-day rights have been introduced, allowing Japan's experiences to be utilized overseas.

Significance of Overseas Expansion

The overseas expansion of Wonder Festival holds significance as cultural diplomacy in conveying Japan's garage kit culture to the world. Rather than merely exporting a commercial event, a shared philosophy of "respecting creators' creations and aiming for coexistence with rights holders" has formed an international creator community. As overseas creators participate in Japan's Wonder Festival and Japanese creators exhibit at overseas events, a cross-border network is being established. Through this internationalization, garage kit culture is evolving from something unique to Japan into a cultural movement spreading to Asia and the world.

Conclusion | The Garage Kit Culture and the Future of Wonder Festival Nurtured and Protected by Kaiyodo

Since the rise of garage kit culture in the 1980s to the present, it has formed the foundation of Japan's figure industry. The role played by Kaiyodo in its development is immeasurable. The transition from a model shop to a garage kit manufacturer, the establishment of the licensing business, the continuation and inheritance of Wonder Festival, and the establishment of the innovative one-day licensing system—all of these were essential for the healthy development of garage kit culture.

The spirit of Kaiyodo's founder, Osamu Miyawaki, who said, "If what you want doesn't exist, then create it yourself," is the very essence of garage kit culture. This spirit supports the creative activities of individual creators, builds a symbiotic relationship with copyright holders, and creates a cycle that brings joy to fans. The one-day licensing system is a symbolic achievement of this, and it is highly regarded internationally as an advanced model that balances creative freedom with the protection of intellectual property rights.

Wonder Festival has survived the crisis of the reset declaration in 2000 and continues to be Japan's largest garage kit event, held twice a year. Additionally, with events held in Bangkok and Shanghai, garage kit culture is showing international expansion. With the spread of digital sculpting technology and 3D printers, it is entering a new technological era, but the essence of garage kit culture, which is "the closeness between creators and consumers," has not changed.

Moving forward, the garage kit culture and Wonder Festival, nurtured and protected by Kaiyodo, will continue to support the creative activities of creators, discover new talents, and contribute to the overall development of figure culture. The handmade figure culture that sprouted in the 1980s has, after more than 40 years, established a solid position as one of the representative cultures of Japan's subculture.

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The History of Kaiyodo | From Its Founding in 1964 to a Global Figure Brand