The Japanese are renowned for otaku-levels of devotion to their hobbies, whatever they may be, and this is especially true for “garage kits,” plastic models of anime and game figures that are constructed by hand and are as professional as products produced by major companies.

Garage kits, like anime, came of age in the 1980s. The growth of the hobby has been channeled through Wonder Festival (Won-fes, for short), a biannual convention where garage kit artists have been displaying and selling their wares since 1984. In the beginning, the kits occupied a legal gray market, which led to a uniquely Japanese moment of corporate compromise – the invention of “day-of copyrights” (tojitsu hanken, 当日版権). These copyrights are issued through the event, which is hosted by Kaiyodo, a company that produces garage kits, figures and other toys. Dealers who apply can receive a copyright that allows them to sell and display only accepted models only during the event. They can’t take reservations during the event and ship them later. They can’t sell models that haven’t been accepted. The copyright ends when the event does. This year there will be 1,900 dealers selling their kits on July 25.

If the '80s was the boom of garage kits, which created a so-called “garage kit spirit” where artists aimed to create the most detailed models possible, then the '90s was when it became more corporate. Notably, the popularity of “Neon Genesis Evangelion” baptized a generation with the breasts of Asuka and Rei, the two main female characters from the legendary sci-fi anime. Almost singlehandedly, the show increased the number of casual fans of garage kits, fans who were more interested in seeing the characters they liked (in revealing positions, nonetheless) and less interested in the quality the models. Additionally, corporations have taken advantage of the event to release limited edition, already completed models that pander to non-fanatics.