Both Loved and scorned by her co-pilots due to her reclusive tendency, Rei Ayanami hails from the series Neon Genesis Evangelion which has bestowed upon her world popularity. She is a clone and is known as “the first child” that pilots Eva – 00. There are a vast number of Rei figures; however, none contain the crucial ingredients Yamato acquired in order to deliver a truly fabulous figure. These ingredients consist of a dynamic paring of the hobby’s beloved artist Shunya Yamashita and master sculptor Mitsumasa Yoshizawa (Reflect). Both delivered their best. Yamashita with his personification of Rei served as Yoshizawa’s inspiration in creating a flawless, professional and high quality sculpt. Rei’s production regarding sculpt, paint, posing, base and packaging was undertaken by Yamato; a company like Rei that is too, loved and scorned by hobby enthusiast.
With an anatomy to envy and admire, Yoshizawa’s sculpt unleashes Rei’s undeniable sultriness. The sculpt features Rei in her skin tight plug suit; however, this is not the same plug suit everyone who has watched the series is familiar with. Here Rei wears a suit reminiscent of a 1950’s swimsuit. Her thighs, shoulders and chest are all exposed in a non vulgar manner. Furthermore, her sculpt in its entirety is very well done, except for particular details. An example would be her zipper near her breasts; it’s a bit rough in appearance but not distracting at all. The rest of the plug suit’s details are very volumetric and move with Rei’s silhouette folding in some places. Her proportions are all well balanced and pay a good amount of emphasis on leg and arm contours. The highlight here is Rei’s head, which was sculpted perfectly. Moreover, her face is extremely detailed to the extent where one can appreciate Rei’s lips and teeth and face that doesn’t look flat when viewed from different angles. Her hair consists of many strands that frame her bone structure. Lastly her hands and their gestures are very expressive and theatrical. Yoshizawa’s sculpt is truly perfect and it’s up to Yamato to take initiative and produce sharper sculpts when it comes to small details. When comparing her sculpt to the prototype pictures Rei definitely raises to the occasion. It’s also important to note that Rei is not twenty-six centimeters tall; she’s actually twenty-four centimeters tall.
Every company has its distinct style and signature paint job and Yamato is no exception. One can say that Yamato aims at a different audience; their craftsmanship possesses a delicacy that aspires to match the greatness of its collaborators. When it comes to their paint jobs, Yamato is not as terrible as some point it out to be. To start Rei’s plug suit has a latex feel to it with glossy black areas on her hips, back and rib cage. Also the metal buttons, zipper and bulging details that accentuate her hips all have a metallic coat applied to them. Trims are very clean. Areas of Rei’s gloves, panties and thigh high boots have a matte finish. Her skin is a soft peachy tone with shaded areas located on her armpits, chest, buttocks, shoulders and cheeks. Once again her head and the paint applied to it is a major highlight of this figure. Its superb paint job adds life and warmth to Rei’s already gorgeous expression in addition to her pink stained glossy lips. Lastly, her hair’s strands are shaded by what seems to be a pen of some sort, very subtle but does its job well. Yamato may be criticized for delivering “sloppy” paint applications (which is not the case here), but those who can see past that will acknowledge their ambition when tackling sophisticated pieces of art.
Illustrations play a major role in the final pose of a figure; although, the sculptor also tends to put a little bit of his or her on personal touches on the final product. Rei’s pose greatly reassembles Yamashita’s illustration but also has Yoshizawa’s essence. Her pose is very subtle but speaks through body language. Not only is she on her tippy toes, but she’s in a slight contrapposto. Due to this many would think she is prone to leaning and actually tipping over. However, this is quite the opposite as she is very stable as her legs are made of ABS. Yamato takes care of such worries that many companies have and still rarely neglect. In addition, Rei’s slim waist line complements both her curvaceous hips and breasts. Finally, her arms are beautifully arranged over her head adding to a greater balance.
Bases are highly important; due to how without them even the most extravagant figure would not fulfill its potential glory. Here Yamato created a light blue base with “Rei Ayanami” printed on it along with her silhouette. It’s rather small and one would question its stability. Yet once again it’s the complete opposite as Rei holds up perfectly. Added to the base are supports on Rei’s feet which keep her from wobbling. This is really a great base that does its job as she is unlikely to fall (unless you intentionally knock her down).
Yamato’s packaging on this production is quite nice; it has Shunya Yamashita’s artwork of the figure that covers both front and back. On the sides it has Rei’s name printed and most importantly the artist’s and sculptor’s names. It’s always nice to know who’s responsible in bringing illustrations to life, which is the reason why crediting those responsible is important. The packaging also has a window on the front and top, which gives one a clear view of the figure. On the top it also has her name and silhouette.
Most of the time Shunya Yamashita’s famous artwork is brought to life by many sculptors and companies and rarely do they turn out as great as Rei (and the original illustrations). Companies take advantage of Yamashita’s popularity and stamp his name on figures that fail to translate Yamashita’s sexy but tasteful style. Breasts don’t need exposure in order to make a figure sexually appealing (although that entices many); it might be safe to say that that isn’t how Yamashita thought companies would interpret his work. Luckily Rei was sculpted by one of the greatest sculptors in the business and manufactured by a company who tries to go beyond its capabilities and that is steadily growing. Rei is an exquisite figure that will captivate any collector. She will definitely not disappoint and is highly recommended.
With an anatomy to envy and admire, Yoshizawa’s sculpt unleashes Rei’s undeniable sultriness. The sculpt features Rei in her skin tight plug suit; however, this is not the same plug suit everyone who has watched the series is familiar with. Here Rei wears a suit reminiscent of a 1950’s swimsuit. Her thighs, shoulders and chest are all exposed in a non vulgar manner. Furthermore, her sculpt in its entirety is very well done, except for particular details. An example would be her zipper near her breasts; it’s a bit rough in appearance but not distracting at all. The rest of the plug suit’s details are very volumetric and move with Rei’s silhouette folding in some places. Her proportions are all well balanced and pay a good amount of emphasis on leg and arm contours. The highlight here is Rei’s head, which was sculpted perfectly. Moreover, her face is extremely detailed to the extent where one can appreciate Rei’s lips and teeth and face that doesn’t look flat when viewed from different angles. Her hair consists of many strands that frame her bone structure. Lastly her hands and their gestures are very expressive and theatrical. Yoshizawa’s sculpt is truly perfect and it’s up to Yamato to take initiative and produce sharper sculpts when it comes to small details. When comparing her sculpt to the prototype pictures Rei definitely raises to the occasion. It’s also important to note that Rei is not twenty-six centimeters tall; she’s actually twenty-four centimeters tall.
Every company has its distinct style and signature paint job and Yamato is no exception. One can say that Yamato aims at a different audience; their craftsmanship possesses a delicacy that aspires to match the greatness of its collaborators. When it comes to their paint jobs, Yamato is not as terrible as some point it out to be. To start Rei’s plug suit has a latex feel to it with glossy black areas on her hips, back and rib cage. Also the metal buttons, zipper and bulging details that accentuate her hips all have a metallic coat applied to them. Trims are very clean. Areas of Rei’s gloves, panties and thigh high boots have a matte finish. Her skin is a soft peachy tone with shaded areas located on her armpits, chest, buttocks, shoulders and cheeks. Once again her head and the paint applied to it is a major highlight of this figure. Its superb paint job adds life and warmth to Rei’s already gorgeous expression in addition to her pink stained glossy lips. Lastly, her hair’s strands are shaded by what seems to be a pen of some sort, very subtle but does its job well. Yamato may be criticized for delivering “sloppy” paint applications (which is not the case here), but those who can see past that will acknowledge their ambition when tackling sophisticated pieces of art.
Illustrations play a major role in the final pose of a figure; although, the sculptor also tends to put a little bit of his or her on personal touches on the final product. Rei’s pose greatly reassembles Yamashita’s illustration but also has Yoshizawa’s essence. Her pose is very subtle but speaks through body language. Not only is she on her tippy toes, but she’s in a slight contrapposto. Due to this many would think she is prone to leaning and actually tipping over. However, this is quite the opposite as she is very stable as her legs are made of ABS. Yamato takes care of such worries that many companies have and still rarely neglect. In addition, Rei’s slim waist line complements both her curvaceous hips and breasts. Finally, her arms are beautifully arranged over her head adding to a greater balance.
Bases are highly important; due to how without them even the most extravagant figure would not fulfill its potential glory. Here Yamato created a light blue base with “Rei Ayanami” printed on it along with her silhouette. It’s rather small and one would question its stability. Yet once again it’s the complete opposite as Rei holds up perfectly. Added to the base are supports on Rei’s feet which keep her from wobbling. This is really a great base that does its job as she is unlikely to fall (unless you intentionally knock her down).
Yamato’s packaging on this production is quite nice; it has Shunya Yamashita’s artwork of the figure that covers both front and back. On the sides it has Rei’s name printed and most importantly the artist’s and sculptor’s names. It’s always nice to know who’s responsible in bringing illustrations to life, which is the reason why crediting those responsible is important. The packaging also has a window on the front and top, which gives one a clear view of the figure. On the top it also has her name and silhouette.
Most of the time Shunya Yamashita’s famous artwork is brought to life by many sculptors and companies and rarely do they turn out as great as Rei (and the original illustrations). Companies take advantage of Yamashita’s popularity and stamp his name on figures that fail to translate Yamashita’s sexy but tasteful style. Breasts don’t need exposure in order to make a figure sexually appealing (although that entices many); it might be safe to say that that isn’t how Yamashita thought companies would interpret his work. Luckily Rei was sculpted by one of the greatest sculptors in the business and manufactured by a company who tries to go beyond its capabilities and that is steadily growing. Rei is an exquisite figure that will captivate any collector. She will definitely not disappoint and is highly recommended.
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