BE@RBRICK is a Japanese figure that has enthusiastic fans both in Japan and around the world.
An animated series based on BE@RBRICK was made possible through a joint production between Dentsu and DreamWorks Animation (hereafter “DreamWorks”), the creator of numerous global hits.
How did the Japanese content BE@RBRICK become a global animated series? Here to tell us are Tatsuhiko Akashi, President of MEDICOM TOY and creator of BE@RBRICK, DreamWorks CCO (Chief Creative Officer) Peter Gal, and Tempei Shikama, a content creator at Dentsu.
BE@RBRICK was made into a 13-episode animated series that uses a lot of CG animation. It was released on Apple TV+ on March 21, 2025.
The ultimate simplicity of BE@RBRICK has an appeal that resonates with Hollywood
Shikama: First, I’d like to talk about how we came to create this project.
All the way back in 2016, my colleague approached Mr. Akashi about making BE@RBRICK into an animated work that would be spread across the globe, and he readily agreed. Based on that, we approached DreamWorks and decided to work on this together. After seven years of development, we were able to move forward with production, and it is now finally being released this year, after nearly a decade. It’s deeply moving.
Our original motivation was Dentsu’s goal to “create works that would have an impact on the world.” I think there are two types of works that have a global impact. One type are works that “master the unique cultural characteristics of the country.” For instance, the movie “Departures” is a great example of this.
The other type are works in which the “quality is raised to the ultimate level” and the edges are smoothed out so that people of any cultural background can enjoy them. This is represented by the ultimate traditional style of Hollywood, of which I think DreamWorks is at the top.
What got me thinking about this project is that the very existence of BE@RBRICK embodied this Hollywood style.
Shikama: The popularity of BE@RBRICK is not limited to Japan; it’s a figure that is loved by people all over the world. When I ask myself why this is the case, I think it is because it’s extremely simple form, stripped of any decoration, has the flexibility to become any color, and this is what makes it so appealing to Hollywood and the world.
I would like to ask Mr. Akashi, what were your thoughts at the time? I think one of the reasons why many fans are attracted to BE@RBRICK is because of its lack of a narrative; in other words, people are free to imagine what they want. So I’m curious what made you decide to adapt it into an animation?
Akashi: I was contacted by a friend who I’d known for ten years and who was working at DreamWorks at the time. He said he really wanted to make the BE@RBRICK animation which had been proposed by Dentsu. I said that if he was willing to take the helm of the project, then let’s work on it together. So that’s the reason I decided to go for it.
Shikama: Ah, so it wasn’t because of Dentsu’s proposal then (laughs). DreamWorks also got on board right away, but what were you thinking at the time, Peter?
Peter: When Dentsu showed me the image of BE@RBRICK, I had already seen it in stores in Los Angeles, and I knew that it had no narrative or backstory. However, it had a certain appeal that caught my interest.
What I mean by this is, BE@RBRICK all have a uniform shape, and symbolize the building of a community or world, but at the same time, each one has a customized design and a unique personality, which I find to be extremely interesting. I immediately thought that “creativity and individuality” would be the core of this story. And that’s what made DreamWorks want to take on this project.
The revolution caused by BE@RBRICK, and its theme, which continues in the animated series
Shikama: This animated series will finally be released on March 21 on Apple TV+. Peter, can you tell us a little bit about the theme and story of the series without giving away any spoilers?
Peter: The series takes place in a world where you must follow the rules. A BE@RBRICK’s body is painted as soon as you graduate from high school, and this determines your job and establishes your identity.
However, the protagonists of the story want to pursue their dreams and maintain their individuality rather than being told to “have this face, have this job.” So instead, they form a secret band, and sings songs with the message to be your true self and be free. The story is about how their message, music, and actions change the public consciousness and change the world.
Shikama: What sets this animated series apart from other works by DreamWorks, and were there any particular elements of BE@RBRICK that you focused on?
Peter: I think its what we have in common that is so much more important.
“Shrek” really established DreamWorks’ voice in the industry. Shrek is an unlikely hero who is not perfect, and we place great value in telling the stories of those kinds of characters. The challenge that the protagonists of BE@RBRICK face to change the world with their message overlaps with the philosophy of DreamWorks, and I feel that this is very important. BE@RBRICK aren’t perfect either. I think this uniqueness is what makes it wonderful.
Shikama: It’s very important that a company’s productions have themes that overlap with their philosophy.
It may be presumptuous of me to say this, but I feel that BE@RBRICK has caused a revolution. It changed the world’s perception that it’s okay for adults to like figures as well, in fact, it’s cool to like them. Even if you loved teddy bears as a child, as you grow older, you start to think that they’re childish, and you leave these feelings behind. But when I first saw BE@RBRICK as an adult, I was shocked, and thought “Bears are cool!” “I want to display them in my room!” I think many people around the world felt the same way that I did.
I believe that the revolutionary appeal of BE@RBRICK is directly linked to this animated series.
The elementary and middle school students who are the main target audience for this series are just taking their first steps towards adulthood. They are discarding their stuffed animals and getting manicures, or discarding their toys and taking up skateboarding. This series is aimed at these baby adults who are at the point in life where they are getting rid of their “bears.”
This series contains the message that I also learned from BE@RBRICK: “It’s okay to like what you like. You don’t need to worry about what other people think.” And I think this also ties into the core message of this series, which is “You can be what you want to be, and change the world.”
Peter: And what’s more, you can repaint yourself whenever you want. I think that’s also an important point.
Shikama: It’s just like life.
Shikama: Mr. Akashi, as the creator of BE@RBRICK, how do you feel about the story and theme of this series?
Akashi: I think the series’ theme of “Be what you want to be” is also the underlying theme of MEDICOM TOY. We have always conducted our work under the theme of “making what we want,” so we were very grateful.
Shikama: The theme of this series combines what is important to DreamWorks and what is important to MEDICOM TOY.
First co-production with a Japanese company. The importance of sharing a “common understanding”
Shikama: This is strange for me to ask (laughs), but I think this was DreamWorks’ first co-production with a Japanese company—how was it to actually work with Dentsu?
Peter: Yes, this was our first endeavor. A successful partnership requires common goals and common values, and it was great to be able to have that with Dentsu. It was very easy to work together since we share a common understanding of the philosophy and worldview of BE@RBRICK.
Shikama: We often act as a middleman between the original author and the production company, but there are often creative differences that prevent us from moving forward. However, that really wasn’t the case with this project. Mr. Akash, you have a lot of respect for the creativity of others, don’t you?
Akashi: Yes, I do. As we work with creators from around the world, we focus on how they express themselves on the canvas that is BE@RBRICK, and how freely they are able to expand their imagination in that expression. Rather than requesting that something be done a certain way, we prefer the anticipation of “I wonder what they’re going to show us?” The “dream” that DreamWorks showed me was truly wonderful.
Peter: Still, we always kept in mind what both of you valued throughout the entire development process. I think the most important thing is that all of our partners are truly satisfied before we release our work to the world. If Mr. Akashi considered the story we made to be a dream, then nothing could make me happier.
Shikama: While there are many projects that never see the light of day due to clashes, I think it was truly fortunate that the vision of our three companies meshed together so well and allowed this project to move forward. Although it took a long time (laughs).
Peter: That’s true (laughs). But there’s actually a positive aspect to it taking so long, since it allowed us to bring together many different people and fans. For instance, I think that us taking our time on the project is what allowed us to get the world-famous music producer Timbaland on board.
The appeal of Japanese content as seen through the times
Shikama: Lastly, I’d like to talk a little more broadly about Japanese content in general. Peter, from your perspective, what kind of potential do you think there is for Japanese content, not just BE@RBRICK?
Peter: I think it depends on how globally appealing the content is, but I think that it’s got two major things going for it. First, unlike in the past, anime itself now has a much larger fanbase around the world. The second is that content that is wildly popular in a certain area, such as Korean dramas, is spread horizontally across the globe through distribution platforms. Given this trend, I believe there is a great opportunity for a lot of Japanese content to spread across the world.
Shikama: So you’re saying there’s now a chance for Japanese content that has wanted to go global but wasn’t able to?
Peter: Yes. I saw the stage version of “My Neighbor Totoro” in London, and I found the actors and the staging to be absolutely amazing. I believe there is potential for Japanese content to be shown in theaters worldwide, like Totoro, and for a variety of content—not just anime, but also music and others—to spread around the world.
Shikama: It’s true that not long ago, it was unheard of to watch foreign films with subtitles in the United States, but now there are more and more people who prefer to enjoy them in the original audio, and I’m surprised at how much has changed in the last few years.
Mr. Akashi, from your standpoint as someone who continues to create BE@RBRICK, which has a global following, do you have any thoughts regarding the appeal of Japanese content?
Akashi: There are many different types of content in the world, but I think Japanese content tends to be a little unique. Because of this, there is content that cannot leave Japan, but there is also a lot of content that I think would be great if they spread more widely around the world.
In terms of BE@RBRICK, I actually prefer that it is as stateless as possible. I think it would be interesting if people from many different countries watch this series and mistakenly think that this series is made by their country. BE@RBRICK is like a blank canvas on which people can draw freely, so I deliberately avoided adding any of the colors of Japan.
Peter: That’s interesting. In this day and age, people tend to subconsciously create divisions. So I think that BE@RBRICK, which is genderless, ageless, and even stateless, has tremendous value.
When I ask the artists and musicians who collaborated with us why they decided to work with us, they say that it is because of BE@RBRICK’s humanity. I think they can feel the essence of humanity in BE@RBRICK.
Shikama: In terms of the times, we were very conscious of making this animated series forward-thinking and positive. This is because we wanted to brighten people’s moods as much as possible, given the Covid pandemic and global uncertainty. However, things may be different in three years’ time. I think it’s an important part of the creative process to update our work based on the mood of the times.
Peter: The great thing about characters is that once you breathe life into them, they take on a life of their own. I look forward to seeing where the characters take us if we make it to a Season 2.
Just as each of us lives our lives with a mission and strives to achieve it, the BE@RBRICK characters are also trying to live their lives to the fullest. I think this will strike a common chord with viewers around the world.
Shikama: I hope many people will watch the series, and that we will be able to follow the characters’ stories through a second and third season, and a movie adaptation.
It’s not easy to find source material as special as BE@RBRICK, but it is Dentsu’s wish to find original works that tell stories that inspire hope for people around the world, and work with DreamWorks again in the future to adapt them for the screen.
About BE@RBRICK:
BE@RBRICK is a 7 cm tall bear-shaped block type figure born in 2001 which was the 100th anniversary year of the world-famous teddy bear.
BE@RBRICK was born through the concept of "creating a digital imaged teddy bear" which has been designed under a strict rule which is to “design only by print” and adding no extra parts except for the nine parts which compose the body.
BE@RBRICK has developed various collaboration with many artists, brands, characters and companies who resonate to this “big possibility in a limited rule” and has released over thousand items but still continues to attract fans all over the world who love “art toy”.
Author profiles
Peter Gal
DreamWorks Animation
Chief Creative Officer, Television
As Chief Creative Officer, Television, for DreamWorks Animation, Peter Gal oversees development, casting, music, current series and creative talent management for the studio’s rapidly growing slate of award-winning original series, including content for Netflix, Apple TV+, Peacock, Hulu, and other leading broadcasters around the world. As part of the studio’s global initiatives, Gal and his creative team are tasked with developing original animated programming inspired by characters from DreamWorks’ iconic franchises and upcoming features, Universal Pictures films and projects based on original and acquired IP. Recent series include BE@RBRICK, a music-driven series inspired by the iconic collectibles from Medicom Toy, Jurassic World: Chaos Theory, the preschool powerhouse Gabby’s Dollhouse, Mighty Monsterwheelies and the studio’s first animated horror series for older kids, Fright Krewe from horror master Eli Roth and CURSES! from executive producer John Krasinski. Gal was also integral in bringing The Boss Baby: Back in Business, Kung Fu Panda: The Dragon Knight, Jurassic World: Camp Cretaceous, Abominable & the Invisible City and The Croods: Family Tree to global audiences.
Tatsuhiko Akashi
MEDICOM TOY CORPORATION
President & CEO
Born in Tokyo, Tatsuhiko Akashi established MEDICOM TOY CORPORATION in 1996 under the concept of “creating what we truly want.” The company designs and produces character figures across a wide range of fields, including movies, TV shows, comics, and video games.
In 2001, he introduced BE@RBRICK, which has since become a platform for diverse collaboration with artists, brands, companies, and characters from around the world. Beyond figures, he has expanded into various ventures, including the textile brand “FABRICK®” and “sofvi.tokyo.” His company operates six directly-managed stores in three major cities—Tokyo, Osaka, and Nagoya.
Tempei Shikama
DENTSU INC.
Entertainment Business Center
Content Creator
Tempei Shikama moved to the United States after dropping out of Rikkyo University. After studying film production in Hollywood for five years, he joined Dentsu in 2011.
He then founded “Oni Movie,” a team specialized in producing online videos, and worked as an expert in videos that generate buzz. In 2019, he was appointed CEO of Dentsu Entertainment USA, a subsidiary based in Los Angeles, where he worked on planning and producing co-productions with Hollywood. He returned to Japan in 2021, and is currently planning the launch of an exciting new project.
