LUNAR Remastered Collection interview with character designer Toshiyuki Kubooka – classic designs, animation, and modern perspectives

Gematsu recently sat down with Toshiyuki Kubooka, the character designer and animation director behind the LUNAR series, to discuss the remastered editions of LUNAR: Silver Star Story and LUNAR: Eternal Blue in LUNAR Remastered Collection. Kubooka reflected on his original designs, the challenges of blending animation and storytelling, and how the remasters bring the series to a new generation. He also shared insights into how the designs have evolved, and what both new and returning players can look forward to in the collection.

Get the full interview below.

What was your original idea for LUNAR: Silver Star Story‘s character designs? What distinguishing features did you want them to have over other RPGs at the time?

Toshiyuki Kubooka: “The game was set in a somewhat cold location, so I think there was a request to design the costumes to match this climate. Since the setting was quite grounded, and I personally wanted to avoid revealing costumes (…except for Evil Luna), I incorporated many cultural patterns.

“Also, because the in-game characters would be about two heads tall, I was asked to design a silhouette that would stand out in pixel form. Especially in the first game, the design was influenced more by these practical needs rather than strictly artistic vision.”

Emotional, anime-style sequences are a staple of the series. Considering the limits of development costs and time, how did you go about using animation to create these moments?

Kubooka: “Unlike a typical anime workflow, we began by first extracting parts to be animated from the synopsis and writing the script for those sections. But since the events weren’t fully connected yet, it was difficult to get a sense of the characters’ emotional arcs.

“On top of that, a lot of the script at this stage was more like flavor text. There were key lines here and there, but not enough detail, which sometimes made things feel a bit lacking (sorry [LUNAR series writer Kei] Shigema-san, haha).

“There were important lines in each scene, but the buildup to them wasn’t always there, so some moments felt abrupt. Figuring out how to fill in those gaps was really challenging.

“But after many discussions, I think it actually helped us get a clearer understanding of the characters, and in the end, it all came together really nicely.”

Is there a particular scene or instance from LUNAR: Silver Star Story or LUNAR: Eternal Blue that you think stands out to you in particular?

Kubooka: “In LUNAR: Silver Star Story, the opening scene, Luna’s song on the ship, and the battle between Vane and the Grindery were memorable.

“In LUNAR 2: Eternal Blue, the fight against Zophar and the ending were particularly notable.

—Rough sketches of the new artwork by Kubooka for LUNAR Remastered Collection. This art is featured on the cover of the physical edition, and used as promotional material for the collection.

How did you choose the appearance and feel of major characters like Alex, Luna, and Ghaleon? What key elements of their personalities did you try to convey in their designs?

Kubooka: “Alex was the playable character, so we kept his design relatively neutral to make it easier for players to see themselves in him (this was also part of the design request).

“Since LUNAR 1 was set in a slightly colder climate, fur was a recurring design. Looking back, the Dragonmaster armor could have been flashier, but we deliberately avoided shiny, plate-mail-like designs, and instead, aimed for something rough and rugged, as if it were made from dragon materials.

“Luna, being Alex’s childhood friend, was designed to look warm and approachable, with a slightly older, sister-like presence. Her overall design was inspired by the designs of various indigenous cultures, but her scarf and hairstyle were inspired by an assistant at a dentist I used to visit. She always had her hair draped over one shoulder, just like Luna.

“Hiro, on the other hand, is from a desert, so for his design I drew direct inspiration from Bedouin culture. Since LUNAR 2 featured a much hotter climate than the first game, I reflected that in his design. He is also pictured to be a bit older and more reckless than Alex. In general, the setting of LUNAR 2 felt more advanced, so I incorporated that industrialized aesthetic into the characters.

“Lucia’s design originally started with the uniform, but the character that best captured her image was Maetel from Galaxy Express 999. Inspired by Maetel, I wanted to depict a girl with slender legs. Compared to Luna, her casual outfit had a more modern feel, but I focused on making her appear delicate and fragile. Even though she’s a girl with immense power, I wanted her to have an air of vulnerability—someone you’d want to protect.”

How did you make sure the character designs and animation in LUNAR: Eternal Blue evolved without sacrificing the essence of the original game?

Kubooka: “As you know, the LUNAR series first debuted on the Mega-CD (Sega-CD) before releasing on the Saturn and PlayStation as remakes. We created LUNAR 2: Eternal Blue with the goal of surpassing the first game on the Mega-CD, and then aimed to go even further when remaking LUNAR: Silver Star Story for the Saturn and PlayStation. Because of this progression, we felt that LUNAR 2 needed to scale up even more.

“Additionally, since LUNAR 2 had a much more serious story than the first game, we wanted the overall visual style to have a harder, more mature touch.

“That’s the big difference in character design between the two games.”

LUNAR‘s animation is frequently commended for its expressive characters and smoothness. How did you make sure that the actions of every character reflected their personalities and roles in the narrative?

Kubooka: “Having exceptional artists in the team helped make stunning animation. Starting with Yu Honda, professionals from GAINAX and GONZO joined the team.

“I also wanted to convey emotions and situations through movement and not rely on the voice.

“I thought of how I could draw memorable introductions of the characters in a short time, or in the highlight scenes, I wanted to create a contrast by showcasing the characters extensively to the point of overdoing it. I think that approach contributed to the overall success.”

What was your thought process in deciding to integrate 3D CGI with 2D animation when creating the LUNAR series’ animated cutscenes?

Kubooka: “We simply used 3D and 2D where they made the most sense to bring our vision to life.

“For example, in the scene where Luna sings on the ship, the camera rotates around her, which is something 3D handles well. The same goes for massive structures like Althena’s Fortress.

“On the other hand, character animation was still difficult to do in 3D at the time, so we used 2D animation instead.

“Drawing 2D animation to match a 3D environment is difficult, but thanks to the incredible skills of animator Yu Honda, the scenes ended up being both precise and expressive. Without talented people like him, it would have been much harder to pull off.”

With the LUNAR series being remastered for modern platforms after more than three decades, how does it feel to have your contributions to those games presented to a new audience?

Kubooka: “I’m genuinely very happy. I once mentioned in an old interview that it’s very unfortunate that films can last a hundred years, but games don’t. I thought they are destined to disappear and become forgotten when their hardware becomes obsolete.

“If I told my past self, ‘LUNAR will still be around 30 years later,’ I probably wouldn’t believe it.

“I’m deeply grateful to the people who worked on restoring and remastering the game, just as there are people who are grateful to those who restore and preserve old films.”

When it comes to your animations and character designs, what do you think new and returning players will appreciate most from LUNAR Remastered Collection?

Kubooka: “New players will likely find that, despite its age, LUNAR is enjoyable and has a unique charm not found in modern games.

“Returning players may not only feel nostalgia but also gain new perspectives on the story. Especially for LUNAR 2, Lucia’s inner conflict might resonate with them even more, and I think players will find they’re more able to empathize with Luna’s decision.”

How do you feel people are going to perceive the LUNAR series today, now that a new generation of players can enjoy the games? Do you have any advice for first-time players?

Kubooka: “I’m sorry but I have no idea. I’d love to hear their impressions though.

“For those playing for the first time, please play to the end. I’m sure you’ll be glad you made the long journey.”

What are your thoughts on the current state of animation in video games? Are there any modern methods or trends that you find especially fascinating or motivating? Or anything you possibly dislike, compared to older methods?

Kubooka: “I don’t play games much anymore, but from what I see on YouTube, hardware improvements have made animation and gameplay blend more seamlessly.

“I don’t know much about Genshin Impact as a game, but its animation quality is incredible.

“I also liked the visual style of Sable. Its dry, Moebius-like aesthetic would suit LUNAR well. More importantly, I love how its events and gameplay are seamlessly integrated. Chibi-style characters are cute, but I always struggled with its stark contrast to the anime cutscenes. It would have been great if we were able to do something similar for LUNAR.

“As for modern production methods, there’s nothing I particularly dislike compared to back then. In fact, I often find myself thinking, ‘if only we had these tools back then.’”

Is there anything else that you’d like to share before we let you go?

Kubooka: “LUNAR is a deeply meaningful work for everyone involved, including myself. Please let us know what you thought of it. Thank you very much.”

Thank you so much for the opportunity to speak with you, Mr. Kubooka!

LUNAR Remastered Collection is due out for PlayStation 4, Xbox One, Switch, and PC via Steam on April 18.