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

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

Complete Guide to Kaiyodo's History | From Its Founding in 1964 to the Birth of Revoltech, a 60-Year Journey that Changed Japanese Figure Culture

Kaiyodo is a world-renowned sculpting company that has led Japanese figure culture. Founded in 1964 as a small model shop in Moriguchi City, Osaka Prefecture, it has spent 60 years establishing the term "garage kit" in Japan, igniting a food toy boom with Choco Eggs, and revolutionizing the action figure market with Revoltech.

Founder Osamu Miyawaki, after working in over 30 different jobs, established Kaiyodo with the spirit of "If we can't find what we want, we'll make it ourselves." The small store that started as a plastic model shop transformed into a garage kit manufacturer in the 1980s, eventually establishing sculpting techniques that garnered exhibition requests from the American Museum of Natural History.

In 1999, the Choco Egg "Japanese Animal Collection" recorded an unprecedented hit of 130 million units, spreading figure culture to the general public. In 2006, the Revoltech series by Katsuhisa Yamaguchi was born, changing the action figure market with "non-floppy joints."

In February 2025, founder Osamu Miyawaki passed away at the age of 96, but his spirit has been inherited by the second generation, Shuichi Miyawaki (Senmu). This article thoroughly explains the 60-year history of Kaiyodo in chronological order, tracing the path from the establishment of garage kit culture to the birth of Revoltech.

What is Kaiyodo | From a Small Model Shop to a Global Figure Manufacturer

Basic Information about Kaiyodo

Kaiyodo (Kaiyodo Co., Ltd.) is a figure and model sculpting planning and production company based in Kadoma City, Osaka Prefecture. Since its founding on April 1, 1964, it has developed a wide range of sculpting fields, from plastic model sales to garage kit production, food toy figures, and finished figures.

Notable product series include the action figure "Revoltech," food toy "Choco Egg," and capsule figure "Capsule Q Museum." It is characterized not just as a toy manufacturer, but also as a company that has received high praise in academic and artistic fields, producing models for museum exhibitions and CG materials for Hollywood films.

The Philosophy of "Bringing the Joy of Creation to Everyone"

Kaiyodo's corporate philosophy is "Bringing the Joy of Creation to Everyone." This phrase embodies founder Osamu Miyawaki's desire to deliver the joy of sculpting, assembling, and displaying figures and models, rather than merely selling them as products.

This philosophy was most prominently reflected in the transition to garage kit culture in the 1980s. With the spirit of "If we can't find what we want, we'll make it ourselves," Kaiyodo began to provide "the joy of creation" not just by selling finished products, but also in the form of assembly kits. This attitude, which resonates with DIY culture, became the driving force behind the growth of Japan's garage kit culture.

Sculpting Techniques that Gained Global Recognition

Kaiyodo's sculpting techniques are highly regarded not only in Japan but also globally. The most symbolic instance is receiving a request from the American Museum of Natural History for dinosaur models. This can be seen as proof of the academic accuracy and artistic expressiveness recognized at the museum level.

Additionally, in the 1993 film "Jurassic Park," Kaiyodo's dinosaur figures were used as reference materials for CG production. The biological knowledge and sculpting techniques of the sculptors, led by Shinobu Matsumura, contributed to this historic case in Hollywood films. Furthermore, BOME's beautiful girl figures received the title of "King of Otaku" from the Cartier Contemporary Art Foundation in 2001, and in 2022, they were awarded the Minister of Education, Culture, Sports, Science and Technology Award, creating an opportunity for figures to be recognized as art pieces.

The Life and Management Philosophy of Founder Osamu Miyawaki

Kaiyodo's founder, Osamu Miyawaki, was born in 1928 in Kochi Prefecture. His life was tumultuous, having worked in over 30 different jobs, ultimately building a global company by mastering what he loved. Until his passing at the age of 96 in February 2025, he remained the spiritual pillar of Kaiyodo.

Opened a Model Shop after Working in Over 30 Jobs

Shu Miyawaki did not grow up in a privileged environment. Born into a poor family in Kochi Prefecture, he experienced over 30 different jobs to make a living. He worked various jobs, including as a coal miner, port worker, and peddler, but never lost his passion for models.

In the early 1960s, while running a rental bookstore in Moriguchi City, Osaka Prefecture, Miyawaki witnessed the decline of the rental book industry. What he chose to do was to pivot to his hobby of modeling. On April 1, 1964, he opened "Model Shop Kaiyodo" in a tiny store just one and a half tsubo in front of Doi Station in Moriguchi City. Initially a small shop selling plastic models and imported models, this decision became the first step in transforming Japan's figure culture.

"If what you want doesn't exist, make it yourself" Spirit

The phrase that best represents Shu Miyawaki's management philosophy is "If what you want doesn't exist, make it yourself." In the late 1970s, while Kaiyodo was growing steadily as a model shop, Miyawaki was not satisfied with just selling ready-made products.

From the idea that "the only way to obtain models that do not exist in the market is to make them ourselves," Kaiyodo established a modeling studio in 1980. By introducing the technique of resin casting, they began producing garage kits in small quantities. This shift involved significant risk, but Miyawaki's belief in "making what you love" transformed Kaiyodo from a mere retailer into a creative manufacturer.

A Management Philosophy of Mastering What You Love

Shu Miyawaki's management was far removed from conventional business theories. He adhered to a unique philosophy of "mastering what you love rather than pursuing profit." In management meetings, the criterion for judgment was not "Is this profitable?" but rather "Is this interesting?"

This unconventional management often led to difficulties. The split with Furuta Confectionery, which had achieved great success with Choco Eggs in 2002, is a prime example. Kaiyodo rejected a proposal to acquire the rights to Disney characters, which was a "surely profitable" opportunity, citing a mismatch in philosophy. While this decision resulted in a significant loss of short-term revenue, it is regarded as having preserved Kaiyodo's brand value and artisan culture.

Miyawaki placed the utmost importance on the individuality of sculptors, referring to them as "sculptors" rather than "model makers," thereby respecting them as artists. This attitude attracted talents like BOME, Katsuhisa Yamaguchi, and Shinobu Matsumura, helping Kaiyodo grow into one of the world's leading modeling collectives.

Passed Away in February 2025 at the Age of 96

In February 2025, Shu Miyawaki passed away at the age of 96. His death, after leading Kaiyodo for over 60 years and revolutionizing Japan's figure culture, sent shockwaves throughout the industry. However, the spirit of "mastering what you love" that he built is surely being passed down to his successor, Shuichi Miyawaki (Senmu), and the sculptors of Kaiyodo. Shu Miyawaki's legacy is not just that of Kaiyodo as a company, but of the entire figure culture in Japan.

The Founding and Early Steps of Kaiyodo (1964-1979)

The history of Kaiyodo began on April 1, 1964. It was a time when the plastic model boom was sweeping through Japan during the period of rapid economic growth. Shu Miyawaki decided to transition from a rental bookstore to a model shop, starting Kaiyodo in a very small store of just one and a half tsubo in front of Doi Station in Moriguchi City.

Founded on April 1, 1964, as a One-and-a-Half Tsubo Model Shop

The founding location of Kaiyodo was an extremely small store in front of Doi Station in Moriguchi City, Osaka Prefecture. The scale of "one and a half tsubo" is incredibly small by modern standards. However, this tiny space became the starting point for a company that would later transform Japan's figure culture.

At that time, Japan was in the midst of rapid economic growth, and a plastic model boom was occurring among children. Manufacturers like Tamiya and Bandai were releasing new products one after another, and model shops were thriving. Shu Miyawaki rode this wave and decided to transition from a rental bookstore to a model shop. The initial products were mainly domestic plastic models and imported models, and he continued to operate as a small store beloved by local children and model fans.

Sales of Plastic Models and Imported Models

In its early days, Kaiyodo was an ordinary retail store, just like other model shops. They stocked Tamiya tank plastic models, Bandai character models, and precision models from overseas, which were rare at the time. Shu Miyawaki had a unique commitment to sourcing, actively handling niche imported items that other stores did not carry.

Particularly focused on were overseas military models and SF figures. From the late 1960s to the 1970s, precision models imported from America and Europe were objects of admiration for Japanese model fans. Kaiyodo gradually increased its recognition among enthusiasts by handling such rare imports. The attitude cultivated during this period of "dealing with things that are not available elsewhere" laid the groundwork for later garage kit production.

Shuichi Miyawaki (Son) Participation and Growth

Shuichi Miyawaki, the son of founder Shu Miyawaki, grew up in his father's model shop from a young age. After school, he helped out at the store, and growing up surrounded by plastic models, he naturally deepened his understanding of the model industry.

Shuichi Miyawaki later became the second president of Kaiyodo and became affectionately known as "Senmu." In the 1970s, he was still young and in the stage of learning his father's business, but the experiences from this period greatly influenced his later management. Growing up closely observing his father Shu Miyawaki's attitude of "mastering what you love," Shuichi inherited that spirit while beginning to think about more strategic business development. The rapid growth of Kaiyodo after the 1980s can be said to have been brought about by the combination of the founder's passion and the management skills of the second generation.

Transition to Garage Kit Culture (1980-1998)

In the 1980s, Kaiyodo underwent a dramatic transformation from a model retail store to a sculpting manufacturer. This period was when Shu Miyawaki's spirit of "if what you want doesn't exist, then make it yourself" was most prominently displayed, marking the dawn of Japan's garage kit culture. Kaiyodo, as a central figure in this culture, devoted itself to the spread of resin casting technology and the production of original figures.

1980: Establishment of the Sculpting Room and Start of Garage Kit Production

In 1980, Kaiyodo established a sculpting room within the company. This was a historic moment when Kaiyodo transformed from a model shop into a creative manufacturer. Shu Miyawaki decided that "the only way to obtain models that do not exist in the market is to make them ourselves" and introduced a new technology called resin casting.

Resin casting is a manufacturing technique that involves pouring liquid resin into a silicone mold and allowing it to harden. Compared to plastic injection molding, it required less initial investment and was suitable for small-scale production. This technology allowed Kaiyodo to produce original models in small lots ranging from dozens to hundreds.

At the establishment of the sculpting room, they were producing unofficial figures of special effects characters like Ultraman and Godzilla. At that time, the concept of licensing was still vague, and garage kits were being made as an extension of fan activities. Kaiyodo's products gained a reputation for their intricate sculpting and meticulous painting, and among enthusiasts, it became recognized that "Kaiyodo's kits are in a class of their own."

Transition to Licensing Business

In the mid-1980s, a turning point occurred in the garage kit industry. Licensing issues became apparent, and the production of unofficial replicas began to be legally scrutinized. Many garage kit manufacturers were forced to go out of business or downsize, while Kaiyodo made a bold decision. That was to produce original figures under formal licensing agreements.

Kaiyodo signed licensing contracts with Tsuburaya Productions (Ultraman series) and Toho (Godzilla series), choosing to produce garage kits as officially licensed products. This was a groundbreaking attempt at the time. Although the payment of licensing fees put pressure on management, it allowed them to gain reliability as legitimate products and the freedom to sell.

This transition allowed Kaiyodo to surpass mere fan activities and establish itself as a professional figure manufacturer. They gained the evaluation from licensors that "Kaiyodo's sculpting can be trusted," which became the foundation for their future business development.

In 1984, Kaiyodo expanded to Tokyo and opened the Kaiyodo Gallery. For Kaiyodo, which had been based in Osaka, this move to the metropolitan area was a significant gamble. However, this decision greatly contributed to the increase in Kaiyodo's national recognition.

The Kaiyodo Gallery functioned not just as a sales outlet, but as a hub for the garage kit culture. In the exhibition space, the latest works from Kaiyodo and sculptors were displayed, and on weekends, fans gathered to exchange information. This gallery became one of the important bases for the flourishing of otaku culture and garage kit culture in Tokyo.

Relationship with General Products

When discussing Kaiyodo in the 1980s, the relationship with General Products is indispensable. General Products was the predecessor of the anime production company Gainax and was involved in the production and sale of SF and anime garage kits.

Since 1984, General Products had been hosting the "Wonder Festival," a garage kit sales event. Kaiyodo participated as a major exhibitor at this event, deepening interactions with many fans. In 1992, General Products handed over the management of Wonder Festival to Kaiyodo to focus on anime production. This decision elevated Kaiyodo to a central figure in garage kit culture.

The Legendary Garage Kit "Evil God Soldier" (1986)

Released in 1986, the "Evil God Soldier" is a legendary work that symbolizes the golden age of Kaiyodo's garage kits. It is a large resin kit over 50 cm tall, boasting an unusual size and intricacy for its time.

The "Evil God Soldier" is a three-dimensional representation of a mechanical design from Go Nagai's manga, characterized by its complex parts composition and meticulous details. Although it was expensive at the time, its overwhelming presence and sculptural beauty captivated many enthusiasts. This kit is still spoken of as a pinnacle of garage kits and is traded at premium prices in the second-hand market.

Hosting Wonder Festival and the Development of Garage Kit Culture

In 1992, Kaiyodo took over the management of Wonder Festival from General Products. This decision marked a historical turning point, positioning Kaiyodo as the guardian of garage kit culture. Since then, Kaiyodo has established a one-day licensing system through Wonder Festival, supporting the healthy development of garage kit culture.

[Related Article]: The History of Garage Kit Culture and the Role of Kaiyodo in Wonder Festival provides a detailed explanation of the history of Wonder Festival and the role of Kaiyodo.

1992, Transfer of Wonder Festival

In 1992, General Products delegated the management of Wonder Festival to Kaiyodo to focus on anime production (Gainax). Kaiyodo took on the hosting of this large-scale event and moved the venue to Makuhari Messe.

Wonder Festival is Japan's largest event where both professional and amateur sculptors can sell their original garage kits. Since Kaiyodo took over the management, the number of participants has increased year by year, growing into a massive event attended by tens of thousands in the 2000s. Through this event, Kaiyodo has significantly contributed to the dissemination of garage kit culture and the development of young sculptors. The event also serves as a platform for presenting Kaiyodo's latest works and facilitates direct interaction with fans.

Industry Improvement through One-Day Licensing System

The most significant feature of Wonder Festival is the "one-day licensing system." This system allows garage kits of licensed characters to be sold only on the day of the event, with Kaiyodo acting as an intermediary to coordinate with the rights-holding companies.

Before the one-day licensing system, secondary creation figures of licensed characters existed in a legal gray area. However, this system allows individual sculptors to officially pay licensing fees and sell their works legally. For rights-holding companies, it provides the benefit of officially recognizing fan activities while managing rights appropriately, creating a win-win relationship. This system is unique to Japan and is regarded as a groundbreaking invention in the history of global figure culture.

2000 Reset Declaration and Resumption from Crisis

In 2000, Wonder Festival faced a significant crisis. Criticism grew that the purpose of the event was changing due to the advancement of commercialization. Kaiyodo announced a "Reset Declaration" and decided to review the event once again.

The Reset Declaration stated a return to the original concept of Wonder Festival as a "venue for individual sculptors to present their work." Reforms were implemented, such as reducing the scale of commercial booths and expanding the space for individual circles. This decision led to a short-term decrease in revenue, but in the long term, it maintained the event's health and became the foundation for its ongoing popularity. This was a moment when Nobuhiro Miyawaki's management philosophy of "Ideals over Profits" was once again demonstrated.

International Expansion (Bangkok, Shanghai)

Since the 2000s, Wonder Festival has expanded overseas. Particularly in Asia, there has been a high interest in Japanese figure culture, leading to the hosting of Wonder Festival in Bangkok, Thailand, and Shanghai, China.

The overseas Wonder Festival plays an important role in conveying Japan's garage kit culture to the world. Interactions with local sculptors have also emerged, advancing the globalization of figure culture. For Kaiyodo, this has become an important initiative that leads to the development of overseas markets and an increase in international brand recognition.

The Snack Toy Boom and the Popularization of Figure Culture (1999-2005)

In 1999, Kaiyodo partnered with Furuta Confectionery to release the "Choco Egg Japanese Animal Collection," revolutionizing Japanese figure culture. Figures that had previously been a hobby for enthusiasts spread to the general public through this snack toy. However, this success would later come to an end in the form of a split with Furuta Confectionery.

The Shock of the 1999 Choco Egg "Japanese Animal Collection"

In September 1999, the "Choco Egg Japanese Animal Collection" released by Furuta Confectionery was a product that overturned the common sense of snack toy figures. This series, created by Kaiyodo's sculptors led by Shinobu Matsumura, brought museum-level intricacy to animal figures just a few centimeters tall.

Previously, snack toy figures were positioned as children's bonuses, but Choco Egg was different. The sculpting that reproduced the skeletal structure, muscle attachment, and texture of the fur of animals captivated adult collectors. There were even voices saying, "The chocolate is a bonus; the figure is the main attraction," highlighting its exceptional quality. Shinobu Matsumura's deep understanding of animals and sculpting skills produced this innovative product.

130 Million Units Sold and Becoming a Social Phenomenon

Choco Egg became an explosive hit upon its release, ultimately recording an astonishing sales figure of 130 million units. Choco Eggs disappeared from convenience stores and supermarkets, and scenes of adults lining up from the morning were reported by various media as a social phenomenon.

This success marked a turning point in elevating figures from "children's toys" to "sculptural art that adults can enjoy." People who began collecting figures due to Choco Egg eventually expanded their interests to garage kits and finished figures. For Kaiyodo, brand recognition skyrocketed, and it became a company known even among the general public.

[Related Article]: The Truth Behind Choco Egg and the Snack Toy Boom | How Kaiyodo Changed Figure Culture in Three Years details the entire process from the planning of Choco Egg to its massive success.

2002: The Split with Furuta Confectionery

However, in 2002, Kaiyodo terminated its contract with Furuta Confectionery, which had achieved great success with Choco Egg. The reason was a resale issue involving employees on Furuta's side and a difference in policy regarding the acquisition of Disney character licenses.

Following the success of Choco Egg, Furuta Confectionery proposed acquiring Disney character licenses to target a larger market. However, Kaiyodo rejected this. Nobuhiro Miyawaki feared losing the "Kaiyodo identity" and announced the split with Furuta Confectionery with the statement "Farewell, Choco Egg." This decision meant losing a massive revenue opportunity in the short term, but it is evaluated as having protected Kaiyodo's uniqueness and artisan culture.

Transition to Choco Q (Takara)

After parting ways with Furuta Confectionery, Kaiyodo partnered with Takara (now Takara Tomy) to launch a series called "Choco Q." In Choco Q, they utilized the know-how of animal modeling cultivated through Choco Eggs, allowing for a more flexible product development.

The Choco Q series was developed as themed animal figure series such as "Animatales" and "Aquatailes," creating a product line with a unique charm distinct from Choco Eggs. For Kaiyodo, the split from Furuta Confectionery was a temporary setback, but ultimately it became a new start that enabled more creative freedom.

Birth of the Revoltech Series (2006-2019)

In 2006, Kaiyodo launched the "Revoltech" series, which would revolutionize the articulated figure market. Thanks to the unique joint technology called Revolver Joint, Revoltech achieved "non-sagging" articulated figures, setting a new standard in the figure industry. The central figure behind this series was sculptor Katsuhisa Yamaguchi.

Birth of the Revoltech Series in 2006

In 2006, Kaiyodo confidently released the Revoltech series. The first figure chosen was "Shin Getter 1" from Ken Ishikawa's masterpiece "Getter Robo." This choice was a strategic decision aimed at a clear target audience of robot anime fans. The greatest feature of Revoltech is its wide range of motion and pose-holding ability. Traditional articulated figures often suffer from "sagging" due to joint wear over time, making it difficult to maintain poses. However, Revoltech overcame this challenge, gaining attention as a groundbreaking figure that does not loosen its joints no matter how many times poses are changed.

Innovative Nature of Revolver Joint Technology

At the heart of Revoltech is the unique joint mechanism called the "Revolver Joint." Invented by Yasuhiro Naito and Kuniyuki Jinguji, this technology features a ratchet mechanism as its main characteristic. The interlocking gear-like protrusions allow the joints to click and stop at specific angles, maintaining a consistent holding power and virtually eliminating sagging due to aging. Furthermore, by combining ball joints with the ratchet mechanism, it achieved both a wide range of motion and high holding power. Another innovation is the compatibility of joints. Since joints can be exchanged between figures in the Revoltech series, customization is possible by rearranging parts to create original forms.

Establishment of Yamaguchi-style Articulation by Katsuhisa Yamaguchi

The sculptor responsible for the Revoltech series was Katsuhisa Yamaguchi, a leading figure at Kaiyodo. He established a design philosophy called "Yamaguchi-style articulation" that maximizes the use of Revolver Joint technology. The characteristic of Yamaguchi-style articulation is its exquisite balance, pursuing the limits of motion range while not compromising on aesthetic beauty. Additionally, Katsuhisa Yamaguchi was a pioneer in the transition to digital sculpting. After ten years of trial and error, he established sculpting techniques using 3DCG software, enabling efficient design of the complex structures of Revoltech.

[Related Article]: The Birth of Revoltech and Technological Innovation | How Revolver Joint Changed Articulated Figures provides a detailed introduction to the mechanisms of Revolver Joint technology and Katsuhisa Yamaguchi's design philosophy.

NEO Revoltech (2009) and Amazing Yamaguchi

In 2009, the Revoltech series was refreshed as "NEO Revoltech." This series further refined the technology cultivated in the original Revoltech, achieving a more natural joint structure and high sculptural beauty. Currently, the latest form of Revoltech is the "Amazing Yamaguchi" series. Comic book heroes (such as Spider-Man and Batman) and popular anime characters have been produced as articulated figures that embody Katsuhisa Yamaguchi's design philosophy.

Kaiyodo's Sculptors | The Philosophy Behind the Title "Sculptor"

Kaiyodo's strength lies in having some of the world's top sculptors. At Kaiyodo, craftsmen who create figure prototypes are referred to as "sculptors" rather than "prototype makers." This title reflects the philosophy of Osamu Miyawaki, who believes in respecting them as artists rather than mere technicians.

"Not a 'Sculptor' but a 'Modeler'"

In the figure industry, craftsmen who create prototypes are generally referred to as "sculptors." However, since its founding, Kaiyodo has used the term "modeler." The term "sculptor" carries the nuance of a craftsman who makes molds for industrial products. In contrast, "modeler" evokes the image of artists such as sculptors and creators. Osamu Miyawaki treated the modelers at Kaiyodo not merely as craftsmen but as artists with unique personalities and styles. This attitude attracted talented creators such as BOME, Katsuhisa Yamaguchi, and Shinobu Matsumura, creating an environment that maximizes their individuality.

"Hand-Painted Techniques"

An essential aspect of discussing Kaiyodo's figures is the hand-painted techniques. While machine painting in factories is common for mass-produced figures, Kaiyodo's garage kits and high-end lines feature hand painting by skilled painters. Hand painting allows for subtle gradations from brush strokes and meticulous attention to detail. Particularly in animal figures, multiple layers of paint are applied to express the texture of fur and the nuances of skin color.

"Introduction of Major Modelers"

The three major modelers representing Kaiyodo are BOME, Katsuhisa Yamaguchi, and Shinobu Matsumura. BOME, as a pioneer of beautiful girl figures, elevated this genre to the realm of art. Katsuhisa Yamaguchi opened a new era of articulated figures through the Revoltech series and became a pioneer in the introduction of digital sculpting technology. Shinobu Matsumura, a leading figure in animal and dinosaur modeling, supported the success of Choco Eggs and gained global recognition for his museum-level precision. Each possesses exceptional skills in their respective fields, serving as pillars that support the brand value of Kaiyodo.

BOME and the Establishment of Beautiful Girl Figures

BOME (real name: Nobuharu Yoneya) is a modeler who established the culture of beautiful girl figures in Japan. His works have transcended from symbols of otaku culture to works of art, receiving the title "King of Otaku" from the Cartier Foundation for Contemporary Art in 2001 and the Minister of Education, Culture, Sports, Science and Technology Award in 2022.

"BOME's Career and Contributions to Beautiful Girl Figures"

BOME began his activities at Kaiyodo in the 1980s, pioneering the genre of beautiful girl figures that had not yet been established. His works are characterized not only by the three-dimensional representation of anime and manga characters but also by the addition of unique interpretations and artistry. BOME's sculpting excels in the beauty of curves and delicate expressions. In particular, his technique of capturing the "momentary expressions" that convey the character's inner qualities and narrative is unmatched. This expressive power has elevated beautiful girl figures from "moe goods" to "sculptural art worthy of appreciation."

"Establishment of BOME Size (1/4 Scale)"

BOME established a unique standard called "BOME Size," which refers to large beautiful girl figures approximately 1/4 scale, around 50 cm tall. While typical figures are 1/8 to 1/6 scale, BOME Size possesses an overwhelming presence. The advantages of larger size include enhanced expressiveness in details. Elements such as the wrinkles in clothing, the flow of hair, and the texture of skin, which cannot be fully expressed in smaller scales, can be reproduced without compromise in BOME Size.

"Collaboration with Takashi Murakami"

In 2001, BOME collaborated with contemporary artist Takashi Murakami and participated in an exhibition held at the Cartier Foundation for Contemporary Art in Paris. In this exhibition, Murakami referred to BOME as the "King of Otaku," showcasing the artistic value of otaku culture to the world. This collaboration marked a turning point in recognizing figures not merely as subculture but as a form of contemporary art.

"2022 Minister of Education, Culture, Sports, Science and Technology Award"

In 2022, BOME received the Minister of Education, Culture, Sports, Science and Technology Award. This is a remarkable achievement as the first figure sculptor to receive such an honor. The reason for the award was "contribution to the dissemination of figure culture and enhancement of its artistic value." This recognition signifies not only BOME's personal achievements but also the official acknowledgment of the entire Japanese figure culture. The era has arrived when figures, once regarded as "otaku hobbies," are evaluated as cultural assets of Japan.

Shinobu Matsumura and the World of Animal and Dinosaur Sculpting

Shinobu Matsumura is a leading figure in animal and dinosaur sculpting, proudly representing Kaiyodo. Known as the planner of the Choco Egg "Japanese Animal Collection," he has gained global recognition for his sculpting techniques, which possess museum-level precision, receiving requests from Hollywood films and science museums.

Status as a Leading Figure in Animal Sculpting

Shinobu Matsumura's animal sculptures achieve a high level of biological accuracy and artistry. His works are sculpted after thorough observation and research of actual animals, considering skeletal structure, muscle attachment, and the texture of fur and scales. This high level of expertise is why he is trusted by science museums and research institutions.

Planning and Great Success of Choco Egg

The "Choco Egg Japanese Animal Collection" launched in 1999 was a series planned primarily by Shinobu Matsumura. The challenge of bringing museum-level intricacy to small figures just a few centimeters tall could not have been realized without his sculpting skills. The success of this series helped spread Shinobu Matsumura's name to the general public.

Jurassic Park and the American Museum of Natural History

In the 1993 film "Jurassic Park," dinosaur figures from Kaiyodo, centered around Shinobu Matsumura, were used as reference materials for CG production. Additionally, he received requests from the American Museum of Natural History for the production of display dinosaur models, gaining global recognition. These achievements prove that Matsumura's sculptures are not merely products but artistic works of academic value.

Aqua Tales and Aquatic Animal Sculpting

Shinobu Matsumura developed aquatic animal sculpting in the "Aqua Tales" series. The techniques to express the movement and texture of fish, marine mammals, and amphibians underwater present different challenges compared to terrestrial animals. Through research at aquariums and collaboration with experts, Matsumura has established his position as a leading figure in this field.

Kaiyodo Museum and Cultural Dissemination

Kaiyodo has established museums across Japan to showcase its products. These facilities serve as hubs for disseminating figure culture while also functioning as resources for regional revitalization and tourism.

Kaiyodo Hobby Museum Shimanto (Opened in 2011)

Opened in 2011, the Kaiyodo Hobby Museum Shimanto is located in Shimanto Town, Kochi Prefecture. Established in the hometown of founder Osamu Miyawaki, this unique museum utilizes a former elementary school. The exhibition room displays thousands of figures that tell the history of Kaiyodo, and the workshop space offers sculpting experiences.

Kaiyodo Figure Museum Kurokabe (Opened in 2005)

Opened in 2005, the Kaiyodo Figure Museum Kurokabe is located within the Kurokabe Square in Nagahama City, Shiga Prefecture. Positioned in a historic townscape with buildings from the Edo to Meiji periods, it is noted as a facility that embodies the fusion of traditional culture and modern pop culture.

Miraisa Osaka Castle (Opened in December 2022)

Opened in December 2022, Miraisa Osaka Castle is the latest museum located within Osaka Castle Park. Designed to showcase around 3,000 figures, it serves as a facility where visitors can overview the 60-year history of Kaiyodo. As the birthplace of Kaiyodo, Osaka has become a base for disseminating its history and culture.

Regional Contribution and Tourism Resource Development

The Kaiyodo Museum is not just a corporate facility; it also plays a role in regional revitalization. In particular, the Shimanto Museum has become an important tourist resource in a region facing depopulation, attracting tens of thousands of visitors each year. The contribution to the community through the modern culture of figures can be seen as a good example of Kaiyodo's social significance.

Artistic Evaluation and Significance of Figure Culture

The 60-year history of Kaiyodo has also been a process in which figures have transcended from "children's toys" to "artworks." This section examines how figure culture has gained social recognition.

From Otaku Culture to Art

The awarding of the title "King of Otaku" to BOME in 2001 and the Minister of Education, Culture, Sports, Science and Technology Award in 2022 symbolize the process by which figures have been recognized as art from subculture. The collaboration with Takashi Murakami and the exhibition in the "high culture" space of museums marked a culturally significant turning point.

Establishment of the Term "Figure"

In the past, three-dimensional models in Japan were referred to by various names such as "dolls," "models," and "dolls." By actively using the English term "figure," Kaiyodo established this designation as the industry standard, which eventually permeated the general public. The establishment of the term is an important indicator of cultural maturity.

Cultural Genealogy from Clay Figurines and Haniwa

The Japanese have long been familiar with three-dimensional forms, from the clay figurines of the Jomon period to the haniwa of the Kofun period. Modern figure culture can be said to be on the extension of this long history. The sculptors at Kaiyodo express the cultural DNA of the Japanese's affection for three-dimensional forms in a contemporary manner.

Exhibitions in Museums and Art Galleries

Kaiyodo's figures have begun to be exhibited in academic and artistic venues, such as dinosaur displays in science museums and contemporary art exhibitions in art galleries. This is evidence that figures are recognized for their educational and artistic value.

Kaiyodo's Technological Innovation | From Analog to Digital

The 60 years of Kaiyodo also represent a history of the evolution of sculpting technology. Starting from manual resin casting, it has now progressed to utilizing digital sculpting and 3D printing.

Resin Casting Technology and the Golden Age of Garage Kits

In the 1980s, the resin casting technology introduced by Kaiyodo became the foundation of garage kit culture. The method of pouring liquid resin into silicone molds was suitable for small-scale production, allowing individual sculptors to commercialize their work. This technology nurtured Japan's garage kit culture.

Transition to Digital Sculpting

In the 2000s, led by Katsuhisa Yamaguchi, Kaiyodo advanced the introduction of digital sculpting technology. After ten years of trial and error, sculpting using 3D CG software (such as ZBrush) became possible. The advantages of digital sculpting include the ease of designing complex structures and the simplicity of sharing and modifying data. However, the challenge remained on how to retain the warmth of manual work. Kaiyodo has overcome this challenge by merging digital and analog methods.

3D Printing and Digital Garage Kits

As a latest technology, Kaiyodo has also begun to utilize 3D printing. With the advancement of 3D printing technology, individuals can now create high-precision sculptures. Kaiyodo is exploring a new form called "digital garage kits," proposing a next-generation garage kit culture where 3D data is sold for users to print at home.

The Future of Kaiyodo and Developments in the New Era (2020-Present)

In the 2020s, Kaiyodo is entering a new era. We will look at the developments of Kaiyodo during this time of change, including the passing of founder Osamu Miyawaki, partnerships with MSD Corporate Investments, and collaborations with EXPO 2025.

In 2020, Capital and Business Alliance with MSD Corporate Investment

In 2020, Kaiyodo formed a capital and business alliance with MSD Corporate Investment Co., Ltd. This partnership aims to strengthen the management foundation and expand business operations. The capital alliance is a crucial step for Kaiyodo to enter the next growth phase, enabling global expansion and investment in new businesses.

The Passing of Osamu Miyawaki and Management by the Second Generation, Shuichi Miyawaki

In February 2025, founder Osamu Miyawaki passed away at the age of 96. The death of this great leader, who led Kaiyodo for over 60 years, had a significant impact on the industry. However, the second generation, Shuichi Miyawaki (Senmu), is carrying on his father's spirit of "mastering what you love" while implementing a more strategic management approach. Shuichi Miyawaki is promoting initiatives for Kaiyodo's future, such as responding to digitalization, developing overseas markets, and nurturing young sculptors.

Collaboration with EXPO2025 and Myakumyaku Figure

At the Osaka-Kansai Expo (EXPO2025) to be held in 2025, Kaiyodo is producing figures of the official character "Myakumyaku." Participating in the expo held in their hometown of Osaka holds special significance for Kaiyodo. This collaboration is proof that Kaiyodo is recognized not just as a figure manufacturer but as a company representing Japanese culture.

Masterpiece Reproduction Project (Sofubi Legacy, Capsule CLASSICA)

Kaiyodo is developing projects such as "Sofubi Legacy" and "Capsule CLASSICA" to reproduce masterpiece figures from the 1980s and 90s. By utilizing the molds from that time, they cater to the nostalgia of long-time fans while also playing a role in conveying Kaiyodo's history to younger generations. This initiative to connect past heritage to the future can be seen as a form of cultural inheritance unique to Kaiyodo.

Summary | The Figure Culture Built by Kaiyodo

Founded in 1964 as a small model shop in Moriguchi City, Osaka Prefecture, Kaiyodo has spent 60 years building Japanese figure culture. The establishment of garage kit culture, hosting Wonder Festival, the food toy boom through Choco Eggs, and technological innovations with Revoltech—Kaiyodo's history is the history of Japanese figure culture itself.

The unconventional management philosophy of founder Osamu Miyawaki, which emphasizes "mastering what you love," fostered a corporate culture that pursues the art of sculpting rather than short-term profits. This attitude attracted world-renowned sculptors such as BOME, Katsuhisa Yamaguchi, and Shinobu Matsumura, helping Kaiyodo grow into one of the world's leading sculpting collectives.

Figures were once regarded as "children's toys" or "otaku hobbies." However, thanks to Kaiyodo's 60 years of effort, figures are now recognized as works of art and cultural assets. BOME's Cultural Agency Commissioner Award, exhibition requests from the American Museum of Natural History, and displays at the Cartier Foundation for Contemporary Art—these honors are proof that figure culture has gained social recognition.

In February 2025, Osamu Miyawaki passed away at the age of 96, but the spirit and culture he built are being passed down to the second generation, Shuichi Miyawaki, and the sculptors at Kaiyodo. The partnership with MSD Corporate Investment, collaboration with EXPO2025, and the introduction of digital sculpting technology—Kaiyodo continues to evolve without resting on its past heritage.

Kaiyodo's 60-year history is proof that if you pursue what you love without giving up, you can change the world. A small dream that began as a one-and-a-half-tatami mat model shop has grown to nurture the entire figure culture of Japan and influence the world. The legacy of "figure culture" built by Kaiyodo will continue to deliver the "joy of creation" to many people.

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