From “Chainsaw Man” to “My Dress-Up Darling”! The Alluring “Nuesto” Sitting Pose Figures Celebrate 10 Years! A Developer Interview Tracing Its History with an Image Collection!
The popular prize figure series, “Noodle Stopper Figures” (hereinafter referred to as “Nuesto”), was born as figures that not only look great on display but also serve a practical purpose as stoppers for cup noodle lids. This beloved prize series, managed by FuRyu Corporation’s prize business, is celebrating its 10th anniversary since its launch in November 2014.
The first release was a figure of **Suupaa Soniko**, commercialized in November 2014. Since then, the series has continued to grow its fanbase regardless of gender or nationality, by releasing numerous figures from popular works such as **Touken Ranbu ONLINE**, **Hatsune Miku**, **Jujutsu Kaisen**, and **Oshi no Ko**. Its cumulative sales have remarkably exceeded 7 million units! (As of the end of March 2025, Japan domestic sales only, according to FuRyu’s research)
The greatest charm of “Nuesto” lies in the meticulous detail of its expression, bringing out the characters’ appeal while incorporating the unique concept of holding down cup noodle lids. Developed with original poses, costumes, and concepts, their exquisitely crafted world-view representation has captivated and continued to be cherished by fans worldwide.
In this article, we interviewed Yoshida Ryou-san from FuRyu Corporation’s Worldview Business Division, Character MD Department, Development 1st Section, who is in charge of “Nuesto” product development. He shared behind-the-scenes stories of the “Nuesto” creation and development, including the challenges and triumphs that come with bringing these figures to life! This interview delves into the unique initiatives undertaken by a company with extensive experience in figure and hobby production.
Why a Figure to Hold Down Cup Noodle Lids? The Secret Story Behind “Nuesto’s” Birth
――”Nuesto” figures are quite unique because they function perfectly as standalone figures yet also serve a practical purpose. What was the impetus behind their development?
Yoshida-san: Our company entered the prize industry in 2002, making us a latecomer. Our competitors are major players, so when we first joined, it was difficult to differentiate ourselves by simply releasing similar prizes. To secure licenses for popular IPs (intellectual properties) from copyright holders, we needed to highlight our unique selling points. Sitting pose figures were still quite rare at the time, and by having them sit, we could market them as a “practical item for holding down cup noodle lids.” We believed this originality would help us obtain permission from the copyright holders.
Thanks to this, we received an overwhelmingly positive response from both copyright holders and amusement facilities, allowing us to gradually expand. “Nuesto” became synonymous with sitting pose figures, and to date, we’ve sold a cumulative total of around 7 million units.
Initially, we also commercialized figures designed to hold PET bottles or glasses, but “Nuesto” particularly stands out for its wide range of applications and display variations, which is likely why it has enjoyed long-lasting support.
――Isn’t it challenging to make them stably hold a pose in a specific spot like a cup noodle lid?
Yoshida-san: Exactly! We pay extreme attention to ensuring they can be displayed properly without losing their balance. For humans, hair and limbs, even if they have the same volume, have different weights. However, in figures, the hair and legs are made of the same plastic resin, so they all weigh the same. Even for a natural sitting pose, it’s not uncommon for figures to tip forward or fall backward depending on their design. In some cases, we even put weights inside the figures to adjust their center of gravity. They might sit perfectly on the inverse frustum shape of a cup noodle container, but then on a right-angled surface like a desk corner, their bent legs might stick out, causing their bottom to lift off… situations like that can occur.
――Since this year marks the 10th anniversary, have you noticed any changes over these past 10 years?
Yoshida-san: Indeed, just like the very first “Nuesto” product, **Suupaa Soniko**, the initial lineup primarily featured *bishojo* (beautiful girl) characters. From there, our range has expanded significantly. Now we’re producing figures from shonen manga series, VTubers, and even cute two-head-tall mascot characters. We’ve also seen a shift in our user base; what started with core collectors has broadened to include a wide range of people who casually display our figures on their desks, computers, bookshelves, or in their entryways.
“We Want to Create Works That Really Hit the Mark, Making Fans Say, ‘The Developers Get It!'”
Touken Ranbu ONLINE – Heshikiri Hasebe (2016.5)
――Over these past 10 years, which products have received the most significant feedback?
Yoshida-san: We’ve consistently worked on “Nuesto” figures for **Touken Ranbu ONLINE**, and among them, the “Nuesto” of **Heshikiri Hasebe** in his *seiza* (formal kneeling) pose received a particularly strong response. When we unveiled it at events, we heard many exclamations like, “We’ve been waiting for this!” While it took a considerable amount of time to commercialize due to our meticulous attention to details like his gaze and costume sculpting, I feel that our dedication paid off, and fans were highly satisfied with both the concept and the quality.
Fate/Grand Order – Foreigner/Katsushika Hokusai (2019.6)
I also recall the immense joy customers expressed for the “Nuesto” of **Katsushika Hokusai**, a popular character from **Fate/Grand Order**. This figure was created with impressive quality, featuring intricate posing, lavish Japanese attire, and a detachable large brush. It truly became a product that prompted a re-evaluation of “Nuesto” figures in terms of their overall quality.
Furthermore, the “Nuesto” figures for **Hatsune Miku** are consistently well-received because we commission various illustrators for each release, allowing fans to see different interpretations of **Hatsune Miku**. Since Vocaloid itself enjoys immense global popularity, the significant response from international customers is also particularly noteworthy.
――What is it that drives you, Yoshida-san, to continue developing “Nuesto” and other prize figures?
Yoshida-san: What I find incredibly gratifying is that these are products where users respond very clearly, especially on social media. We receive all sorts of comments, but hearing “This is fantastic!” truly makes me happy. It’s especially rewarding as a developer when a product with an original pose, costume, or concept elicits comments like, “FuRyu’s team really gets it!” or “If you’re making a Noodle Stopper for [X character], this pose is absolutely perfect!”
――”Getting it” is indeed a wonderful compliment.
Yoshida-san: Exactly. It’s because we share the same passion for the characters and their respective works as the users that we “get it.” For example, Fine Motion from **Uma Musume Pretty Derby** hadn’t even been implemented in the game when we were planning her Nuesto figure. But once we learned about her “loves ramen” setting, I proposed, “If we’re making a Nuesto for *Uma Musume*, this character is a must-have!” and the copyright holders kindly approved. Of course, from a design perspective too, if we feel “this is how this character should be,” we reflect even the most minute character settings.
――Do you regularly check user reactions on social media and other platforms?
Yoshida-san: Oh, absolutely, I check them! Besides social media, I sometimes visit amusement facilities and events to observe. There was one time, not for “Nuesto” specifically, but I saw fans of a certain series leaving a live event, and I wondered, “Why is everyone wearing FuRyu’s plushies that were released quite a while ago?” I looked into it, and when I discovered through a fan’s post that the prize plushies had become a popular topic on social media because they were “so cute!”, I was thrilled.
We definitely pay close attention to what fans are saying. At FuRyu, it’s often the on-site staff, who share the same passion as the fans, who raise their hands and say, “I want to make this!” to bring a product to life. I believe it’s precisely because the on-site staff, who are closely attuned to the works and the voices of the fans, hold the discretion, rather than upper management, that we can propose products that fans truly desire with a sense of speed.
For “Nuesto,” we even ran a campaign on social media called “#MakeNuesto10thAnniversary,” where we asked fans to post the names of works and characters they’d like to see as Nuesto figures with a hashtag. We really want fans to look forward to future developments, and since FuRyu values the voices of its fans, we would be delighted to receive many more opinions from everyone going forward.
Behind the Scenes of Development Revealed! A Documentary on How “Nuesto” Figures Are Made!
1. Planning: Balancing Maximizing Character Appeal with Business-Oriented “Subtraction”
Yoshida-san: Prize figure production typically begins planning at least a year in advance, and sometimes even earlier for certain projects. For instance, we collaborate closely with copyright holders to determine the key elements that will maximize a character’s appeal in a “Nuesto” figure, discussing things like whether to recreate a pose from the original work or design an entirely new one.
Moreover, prize figures are often referred to as an exercise in “subtraction.” Since they are game prizes rather than retail products, the Act on Control and Improvement of Amusement Businesses, etc. (Fūei-hō) sets a retail price cap per unit. Operating within a fixed production budget while striving for quality means we have to strategically “subtract” specifications that incur high manufacturing costs to stay within that budget – this is often the most challenging aspect. Consequently, we begin brainstorming how to balance quality and budget from the earliest planning stages.
2. Illustration Production: Considering if it can be rendered in 3D as a “Nuesto”
Yoshida-san: Sometimes we create the illustrations in-house at FuRyu, and other times we convey our plans to an illustrator and have them draw it for us. For example, in addition to suggesting a pose that is characteristic of the character, we also provide specific instructions to ensure proper balance when it’s rendered in 3D, such as, “Please have the hair flow backward because the sitting position is shallow and the center of gravity tends to shift forward,” or “Please ensure the toes don’t turn too far inward.”
3. 3D Model & Prototype Production: Creating the Prototype from a 3D Model Based on Illustrations
Yoshida-san: For figures, we first create a “prototype,” which is the single base model for mass production. From this prototype, a mold is created, and resin is poured into that mold to proceed with mass production. A few years ago, what was known as “hand-sculpted prototypes” were the mainstream, but recently, it has become more common to first create a 3D model from an illustration using software, and then output the prototype with a 3D printer.
Yoshida-san: Since this is the foundational model, we conduct rigorous checks here. The key points are “Is it good as a figure?” and “Can it be produced as a product?” “Goodness as a figure” refers to whether the character’s unique cuteness is expressed and if every detail of the design adheres to the original settings. “Product feasibility” means ensuring the sculpt isn’t impossible to manufacture and can be mass-produced within budget. Even if there are no issues with the 3D printer, sometimes delicate parts can get caught when trying to remove them from the mold.
We have the copyright holders, and sometimes even the original creators, supervise the process, often going through about 3 to 4 revisions, and in complex cases, even up to 10 times.
4. Decoration Master (Decomas) Production: The One-of-a-Kind Figure
Yoshida-san: Once the prototype, meaning the shape, is approved, we then create a single “Decoration Master” (Decomas) with coloring applied to that shape. Specialist professionals, often called “finishers,” meticulously mix colors to match the settings and apply decals (transfer sheets) to the eyes to complete it. Since its creation method differs from mass-produced items, a single Decomas figure is quite expensive.
Once it’s finished, it undergoes another round of supervision, and if approved, this Decomas is used for promotional photos. We work with specialized photography studios to express the figure’s worldview, photographing it with actual backgrounds and props, not just CG.
5. Mold Making: Adjusting from Prototype to Mass Production
Yoshida-san: Actually, up to this point, we’re only about halfway to completion. Prototypes and mass-produced items are entirely different things, so getting them ready for mass production is a long process. We go back and forth with the factory, making sub-millimeter adjustments like “slightly embedding the pleats of a skirt that might get caught so it can be smoothly removed from the mold,” or “shifting the eye printing position by 0.2mm.” Since prototypes made with 3D printers and Decomas figures differ fundamentally in their creation method from mass-produced items made with molds, there will inevitably be differences. However, customers look forward to the Decomas, so we want to make the final product as close to it as possible. That’s why we’ll redo it as many times as the schedule allows.
6. Completion & Delivery: Including Packaging and Poster Production
Yoshida-san: In the final stage, the developer consistently directs everything, from the packaging to the posters displayed on crane game machines. A distinctive feature of FuRyu Corporation’s prize development is that the planning manager oversees all the aforementioned steps, from 1 to 6. I believe that precisely because the same person who creates the prototype also drives the mass production, we can be more meticulous about cuteness and quality. I truly feel that the developer’s passion is reflected in the final product.
“It’s Exciting Because It’s a Company Where One Person Can Handle Various Prizes from Start to Finish”
――So, Yoshida-san, your department is called the “Worldview Business Division,” correct?
Yoshida-san: It’s a somewhat unusual name for a department, but it stems from our approach: we don’t just create merchandise for characters; we commercialize them by including their background and entire worldview. That’s why we strive to understand and value each character’s worldview, and our responsibilities are assigned per character, not per product. I, too, am involved in every prize figure related to the characters I’m in charge of.
――Does that mean you also work on prize figures other than “Nuesto,” Yoshida-san?
Yoshida-san: That’s right. For prize figures, even before “Nuesto,” cute plushies have been a core product for us. We also have other prize items like miscellaneous goods. As I explained earlier, one developer can handle various product genres from start to finish, including figures, plushies, and even sundries. The ability to plan and create the products you truly want might just be what makes this job so engaging.
FuRyu Corporation originally started its print sticker machine business in 1997 as a new business development project for Omron Corporation. In 2002, leveraging its relationships with amusement facilities, FuRyu entered the prize business. Since then, as part of its Worldview Business, it has also handled e-commerce sales for high-quality hobby brands like **F:NEX** (pronounced “Fenekusu”), and the appealingly affordable **TENITOL** (pronounced “Tenitoru”), as well as games and anime. We hope you’ll also pay attention to our other ventures.
――Finally, could you share your vision for the future of “Nuesto”?
Yoshida-san: We plan to further expand our lineup in the future. Of course, we’ll continue to express the characters’ charm, but we also intend to introduce new projects that will make people exclaim, “Nuesto is so interesting!” With our 10th anniversary, we have various promotional campaigns planned, and we’re committed to working hard to make “Nuesto” known to even more people.
【Interviewee Profile】
Yoshida Ryou-san, Leader, Development 1st Section, Development 1st Department, Character MD Department, Worldview Business Division, FuRyu Corporation
Joined the company as a new graduate in 2017. After working as a prize sales representative, he became involved in prize development from March 2020. In 2024, he was appointed team leader, and alongside product development, he also handles team project review, budget management, and product development progress management. Key IPs he has been in charge of include **Touhou Project**, **Uma Musume Pretty Derby**, **Hokuto no Ken**, **Shouri no Megami: NIKKE**, **Oshi no Ko**, **Love Live! Series**, and others.
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