Production Materials - Sokihei M.D. Geist: Complete Collection Record - "Mechanism Design" - Pages 76~85

Geist mecha design

A number of mechanical designs by Koichi Ohata, whose previous work includes “Ninja Senshi Tobikage” and “Galvion”. You can feel his enthusiasm in what he staked on “Geist” through his meticulously detailed illustrations. On the right is the satellite Geist is imprisoned in. Below that is the watch he picks up from the ground after the crash.

Powered Suits

Six views of the powered fighting suit. If you look closely, you can see that details of the two in the lower right are slightly different. This is the design for the fleeing soldier who was killed by Golem and his crew. Geist stripped this suit and modified it for himself. It’s interesting to see how many parts are different by comparison (the mask is particularly different). 

Sharply-designed bikes

On the above page are the various bikes rode by the biker gang. The biggest one is for Geist. The top left one is for Mash, below that from the left is for Beast, another for Geist, and Gista. On the right of this page is the wagon that Golem and Paia ride on. On appearance, it utilises the facade of an antique buffalo husk, the wheel portion beneath it uses a caterpillar-track tyre specification, this near future pastiche is a fun one, (however, riding it has to feel bad). On the page below are the various other miscellaneous mechanical designs. Though the gun of Item 11 was only in one scene, it’s of a good design. Do you know which design appears in which scene? If you know half, you’ve done well. If you know all of them, you’re great! 

• 1. Paia's fibrescope
• 2. The fibrescope screen
• 3~4. Tool for tightening the powered suit's protectors
• 5. Golem's spear
• 6. The knife which is used to fell Golem
• 7. Mash's knife
• 8. The clock which Geist finds after the satellite crash
• 9. The knife which is used to fell the Brain Palace robot
• 10. Paia's flare
• 11. Gun which appears briefly in the still image scene when Crutes explains Geist
• 12. Geist's name tag
• 13. Gun which is used during the rescue of the Noah Guards when the Negsrom are fought off, also the grenade launcher rifle in the opening 

Battleship Noah Guards

The Jerra Regular Army land battleship “Noah Guards”, which Colonel Crutes captains. It has a total of 4 rotating turrets, 2 on the left and the right. Though it appears almost caterpillar-like externally, it is very important to Colonel Crutes as a home. On the bridge is the emblem of the Jerra Regular Army. Also, the interior has a very realistic setting. The radio operator’s headphones which cannot be seen fully in the film can be illustrated here satisfactorily.  

Brain Palace Mechanics

To stop Program D, Colonel Crutes leads his Jerra Regular Army Special Commandos in a charge on the Brain Palace.  Below is the “monster bird machine” which disrupts the raid. The body is that of a beast with wings, they are programmed for defence by the graveyard that is the Brain Palace. Perhaps it could be said this is the image of a futuristic Sphinx? They descend from the ceiling, delivering a powerful impression of speed. On the bottom left is the Program D computer system. On the bottom right, the shutter for the elevator that leads to the computer room.  

Battle Suit “FITEX” of the Jerra commandos from the raid on the Brain Palace. Rank is indicated by slight variations in colour and suit shape. 

Building interior mechanics also drawn in detail.

Hiroshi Negishi

Unit Director

Freelance following Toei Animation. Notable works include “Govarion”, “Galvion” and others.  

"It was hellish, but I want to work with the same staff again". 

“Geist” is a high-voltage piece of work, even if everyone is fully on board at the start, toward the end approximately is when things begin to tone down on the whole, but in this instance the entirety of the staff persevered through to the end, and an extremely high degree of work was achieved. Speaking frankly, because this was such a difficult task, at the halfway point I was worried the key animators wouldn’t make it through, you know? (laughs). By the end though, the animators endured with zeal, they said “I want to make a good film” and “I don’t want to lose to anyone!”, there was a good sense of competition. At the planning stage, I decided “I can’t fit the story into 45 minutes, so let’s make action the focus”. That was the idea that Director Ikeda and Ohata mutually agreed on. I think that the strength of Mr. Ohata’s ability to plan was the No. 1 factor in producing an interesting piece of media, even to the extent of having to cut the story down quite a bit. If you ask me, in anything ‘Action’ up to now, the fight scenes are just occasionally finished half-baked. Therefore, it was now our challenge to complete full fight scenes. A few of the fight scenes became one note, but I think that the energy is sufficiently conveyed to the viewer. In truth, a plan for a hot-blooded hero, totally opposite to “Geist”, also came from Ohata, and we rather liked that hot-blooded direction. However, as what “Geist” had been visualised as had been decided upon, I thought “alright, this is fine” and we began. On the contrary however, once I was within the actual work, I became completely absorbed in the setting and characters of “Geist” (laughs). I was constantly on site for the job, but it really was a bloodbath. About a month after completion though, when the staff were all at a drinking party, they said “I want to do it again”. At that point I was really happy. If the opportunity arises, I think I would like to produce a piece of work with the same staff again.”

These are the machines of the Negsrom Army

To the right is the Negsrom Army “VTOL” transport unit. Geist tragically destroys this during the opening. Centre, are the Powered Machines, below are the soldiers in their fighting suits. They look like crayfish.   

Utsuki Masanobu

Production Assistant

Production Wave personnel. Also participated as an assistant director on the new production “Roots Search”.

"I want to keep focusing on creating animation that leaves an impression after seeing it".

“I began working in animation about a year ago. As of now I have participated as a production assistant on “M.D. Geist”: Director Ikeda, Unit Director Negishi, the other drawing and animation personnel etc., I was able to study very hard under the work of such wonderful staff. As I wanted to be a scenario writer, I attended Scenario Centre. There were short-term animation courses at Scenario Centre, I studied how to write synopses and how to build together project plans, but when I actually got there, it was really quite different to being taught at a school. I was very grateful for the staff around me teaching me various things during that time. My reason for entering the world of anime was because I wanted to work in something related to directing or producing. Prior to that, I wasn’t particularly embedded in anime, and I think I still have a way to go to pick up specialised knowledge for the future. Even then, I didn’t have any particular stance about  whether “anime should be like this” or “it shouldn’t be like this”, so I think I have a pure approach to taking part in the production of something. My feelings throughout “Geist” are that, the director has to be at the centre of the operation, the content’s parts have to be overseen simultaneously, and just as vitally, I would say the role has to be fulfilled like that of a site foreman. I felt that depending on the work, the weight of the supervision grows in as much as the weight of the production grows, the director really must keep a keen eye. I will also have a role on “Roots Search” as an assistant, but I think I would like to make the most of the things I have learned over this period. Partly because I came in on the scenario side, I like productions with a storyline. Still, something comes to mind after watching it back, and I think that I want to create productions that stay with me personally. I want to make something like “Naussica: Valley of the Wind” myself one day. On that account, I want to aim to make works and productions that the mass public like to see and are entertained by. I might still be inexperienced, but I would like to keep working my hardest after this”.