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Lala Satalin Deviluke - 1/6 (Max Factory) ReviewLala Satalin Deviluke - 1/6 (Max Factory) Review

ragoo37ragoo37Il y a 1 moisReview
Cette publication n'est pas adaptée aux mineurs.
J'ai plus de 18 ans
A long time ago, when I reviewed Lala’s Marilyn-Monroe-Style Figure, I’d actually just got this figure as well. I was looking forward to getting another review out soon, while she was new. And that was about as far as that went. But now a few months have passed, I have some time, and most importantly this figure is well and truly on the aftermarket.Right now there are four on Mandarake, all for a pretty heavy discount, so you might be weighing up whether to add her to your collection. This figure’s great if you like lingerie figures or if you were a big fan of To Love-Ru Darkness. There’s not quite enough really good with it to make it a must-have at her release price, especially when Lala has so many nice figures out. But at the current price of ~9000¥, you’re getting much more value for money.

The Box

Your first experience with this figure is going to be a box which is a cut about the usual, but not a stand out. It’s hard to make a box unique and still have a functional purpose, so they haven’t really tried anything new. Instead they’ve put a bit of attention into all the usual stuff, and it works well. The windows (this box has three) are never just rectangles. They’ve been made into interesting, elegant shapes. Together with the lacy patterns and the delicate colours, this box is has a sense of elegance to it that’s quite striking. Lala is a princess, after all.


The inside of the box is in the same theme, using the same pattern as the outside (which is actually tiny flowers), and her name in the same flowing script.

You’re not getting anything radical, but what you are getting is done well. I wouldn’t recommend displaying her in the box though. As you’ll see, she has quite an impressive visual impact, and you just don’t get that unless she’s freed.

The Pose / Overall Impression

This figure presents Lala in bridal lingerie, smiling softly out at you. You get a couple of options with this figure; her veil and tiara can be swapped out for bare hair. There’s the highly unusual choice to have her floating on a plinth rather than just standing on her base. I’m not sure it adds a lot. The other figures in the line can stand on their bases just fine. It makes her legs look longer and more graceful, but it’s a pretty marginal effect.


A word I find myself using a lot when I think about this figure is delicate. So many aspects of this figure express softness and gentleness, and it becomes your main impression of the figure. The slight tilt of her body, small bends in her legs and the dainty way she holds her arms at her sides all give the impression of gentle movement, without sharp angles or a sense of action. Her tail is curled neatly around her body. Her face, which I’ll assess in more detail on its own, stares at you with a gentle, kind smile. Again, not a wide grin, but a delicate, closed-mouth smile.


The commitment to creating this sense of delicacy has been consciously added throughout the figure, it didn’t just end up this way because that’s how the art the figure was based off was done. In the original one of Lala’s hands was hidden, placed comfortingly on her younger sisters Nana’s back. In this Nana-free recreation, her fingers are curled daintily instead. Gentle and elegant touches like this dominate the impression the figure gives off.


I think the reason this is such an important part of the figure has to do with the narrative of To Love-Ru (so skip to the next section if you don’t care about To Love-Ru politics). The artwork that led to this figure comes from To Love-Ru Venus, a major artbook released after To Love-Ru Darkness had got underway. Darkness altered series’ approach, making it more (though not completely) narrative driven. To do this a lot of the characters were overhauled, and Lala had one of the most radical changes. She went from a main character to a secondary character, and her older sister relationship with Nana and Momo became a lot more important. As part of that older sister narrative, Darkness Lala is a much more emotionally mature and perceptive character than To Love-Ru Lala. This figure captures the new Lala. Instead of carefree and energetic, this Lala is kind, tender and gentle.

That’s why I say this figure is one for fans of To Love-Ru Darkness. If you really like the overhauled Lala, this figure is going to be the clearest expression of her – it comes together well, enough that you might want to overlook some of the figure’s deficiencies to have this nice presentation of the new Lala. If you’re like me, you might have more mixed feelings. To be clear, I completely approve of the direction Darkness took the series. But I can’t get over grinning, manic-pixie-dream-girl, main-heroine Lala, so I can’t get quite as excited about this figure.

The Sculpt

There’s a lot going right with the sculpting of this figure but it’s also where my biggest beef with it comes in, personal conflicts about To Love-Ru Darkness excluded.

On the good side, this is a complex sculpt and it works. The standout is her lingerie. It’s covered in small details: bows, ruffles, cross-hatched ribbons along the front, little creases where the corset tightens. All done to a high standard. The result looks gorgeous, and it adds a lot of complexity to the figure.


The tight corset (a basque, specifically) also plays up her curves, while the long stockings do an excellent job of making her legs look long and graceful. A nice touch is that her garters aren’t completely attached to her body. That’s craftsmanship, even if they are just crafting plastic lingerie. That craftsmanship also shows up in hair: Lala has a lot of it, in many separate elements, but they have a consistent sense of movement. They’ve even gone to the trouble of sculpting intricate detail on the back of her corset, her spine and her shoulders, despite it being almost completely invisible under her hair. That commitment to a good sculpt is the best element of this figure.


Since this is a NSFW review, and Lala is from an ecchi series, there’s also the sex appeal to consider. In the last review I did, she had a sexy pose, but that can’t really be done here (thanks to the art, where is a variation done an part of artwork where she was clothed). So if you can’t put ecchi in the pose, where do you put it? You sculpt it in. As I mentioned, her lingerie plays her up curves, and all the sculpting detail has the side effect of keeping your eyes down on her body.

Normally, I’d go to talk about the obvious point of emphasis for To Love-Ru’s most well-endowed heroine (yes, larger than Yui, by 1cm). But in this figure, that’s not the focus. Instead, Lala’s ass is god-tier. She’s wearing tiny panties which show off a lot front and back. From the rear, as we can tell from the little creases sculpted in, they’re struggling to hold Lala’s curvaceous body. The end result is underwear squeezed tightly over gorgeous cheeks, buttocks spilling out either side. Not much is left to the imagination, and it’s a great reason to turn this figure around on the regular. Speaking of squeezing, the little bit of squishiness around her hips her panties squeeze into is a nice touch.


Now I’m done with the creepy-uncle commentary, I wasn’t impressed with her veil. It looks awful. I can appreciate what they tried to do. They wanted a nice, floaty look, to fit the delicate theme of the rest of it and the artwork. So they molded it carefully to look frozen in the moment, made out of translucent, glittering plastic. They put effort into it – the bottom of the veil even has seamlines and tiny patterns of love hearts inlaid on it (hearts are a recurring image – they’re on her tiara and her garters as well). But despite all the effort, it doesn’t work. Even though the plastic is thinner than it first looks, it still can’t recreate that floaty impression of a veil. So it always looks a little strange. If you look at the figure from a high angle or from the side, the billowing veil ends up looking like a weird dome.


Fortunately you can take the veil off. So, not a real problem, just a disappointment. I suspect the manufacturers realised the veils weren’t working. In this figure line most of the characters who had veils in the original art have an option without them, but the characters who didn’t originally don’t get a bonus veil. So it’s not a blanket policy to give all the figures more options. Instead, it seems like it’s because the veils look weird. Unfortunately, the alternate piece for Lala doesn’t have her tiara; I would’ve liked one more extra piece for just that on its own. If you do want to display her with the veil, make sure you display her above your eye level. It looks fine as long as you see it from below.

The Detailing

The most eyecatching element of this figure is the paintwork. All her lingerie is done in a pearly, iridescent paint. Add that to the curves and details on her lingerie and it shines, literally. Under even natural light her clothes glow, shimmering as you or the figure moves. From a distance, even across the room, that makes the whole figure stand out, which is absolutely one of the most impressive parts of this figure. As a bonus, from up close this means that even though her lingerie and skin are similar colours, they contrast quite strongly, since her clothes reflect light. This is why I call this a must-have for lovers of lingerie figures. With the pearly colour, all the detail, and the way it’s filled out by Lala’s top-tier body, there’s so much going on here to make her lingerie look amazing. Just get ready to have to brush dust off her all the time, because you’ll notice it straight away.


A few colour gradients have made it into the figure. As usual a faint blush of red is present on her tail. There are also colour gradients on her hair used to create an artificial sense of lighting. The top of her head, and the very tips of her hair, are a slightly lighter pink, while you can see a darker pink band along her forehead. In this figure, the lighting effect is subtle enough that it actually does what it’s supposed to, which is to make it look less plastic and more lifelike. In the original art the dark band was actually a light band, so they’ve changed it to get the effect working in 3D.


In her face you can see the clearest expression of that delicate Lala. All the detailing goes in to make her expression look soft and feminine. Her eyes have lots of different colours (more than the original art) to create a shimmering effect, and the creases around them have been replicated. The unusually thick colour around her lips draws attention to the fullness of her lips and the soft smile, which otherwise might be too small to see the nuance on. A lot of the effect is actually created by the sculpting on her face, which it didn’t talk about earlier because it fits best with the picture here. Her lips are an actual crease in her face, and with the puffy cheeks you get a realistic impression of her tender smile.

At least, that’s the intention, and it does work out that way. But I also think in the process they went a bit overboard on her face. Her cheeks look a bit too puffy, and her nose is a bit too pointy. She’s got the chipmunk vibe coming through a bit too strong. In the original art her cheeks a blush effect was used to create the effect; maybe mixing slightly less sculpting with some colour detailing like that could have given a better result.

The Base

Keeping in with the theme of delicacy, her base is muted pink with her name in elegant curly font. For comparison purposes, my other Lala figure’s base is a hot pink love heart with an aggressively large kiss mark by her name. This is deliberately creating a very different tone. It’s a difference that seems to come from channelling the original art – The flower petals on the base are taken from the background of the art. The designs works well, fitting in with the figure itself.

The hard-edged hexagonal shape doesn’t match the elegance of the design, however. It has a functional purpose instead, to allow the figures from this line to fit together for display. I don’t have any others to check, but it seems like they would block each other easily, so how well that works is up for debate.


As I mentioned, the base’s most striking feature is the little plinth she stands on so that she appears to be floating. The plinth itself looks natural and unobtrusive, largely vanishing under her foot. It’s also sturdy, with a metal peg, so you don’t need to be worried structurally. Why they chose the pose remains unclear to me, but I’m not a fan. It takes away a bit of realism, without serving a particular purpose.

Compared to the Art

In the original art this figure line is based on, Lala is half-hidden in the back. If there is art of each character individually, I’ve never seen it (though it is possible the designers had access to some; I’ve seen a version where Momo isn’t present and so Lala is more visible). To capture Lala with possibly limited artistic reference, the designers of the figure had to pull a lot of weight. The crosshatching on her corset (just visible behind Momo’s bouquet) had to be added back in for the figure without an impression to base it on. The fact such nice sculpting came from just hints in the original art is testament to the good work done on this figure. They’ve even added a few creases in to make her lingerie look that bit more realistic.


The closeness to the art is enough that there’s not really a lot to say. You can see most of the strands of hair in their right place, for example. The subtlety in Yabuki Kentarou’s art that makes the face doesn’t quite translate into the figure, which is a bit disappointing. But then, Yabuki Kentarou is an exceptional artist, and it doesn’t feel fair to hold the a figure to that standard.

Final Thoughts

Looking at what works and what doesn’t, this figure really is one more for lingerie lovers than Lala fanboys. If you really liked the new, more mature Lala of To Love-Ru Darkness you’ll probably want to pick this figure up; you’ll get her softer side captured in 3D in a faithful rendition of Yabuki Kentarou’s art. But if you’re less of a fan of the new Lala, her case of chipmunk-face and lack of dynamism might stop this figure excelling for you. The best part of this figure is honestly just that she looks hot. Her lingerie has gorgeous detailing and a pearly shine, and it’s on one of the sexist bodies in anime history.

Assembly Notes:

You get two choices of headpiece, either a tiara and veil or bareheaded. To get the fringe pieces off hold them from the side just behind the stray strands, rather than the front, and pull up. This may require some force, in which case expect the small fringe piece to fly off into the ether. Similarly, you may have to place a finger under her chin to push the fringe piece down fully. The veil slots into the tiara-fringe piece, going in fine and coming out with a bit of a wiggle. Her ahoge can be reinserted if necessary.

In my figure her head also comes off. This isn’t on the instruction sheet, so I’m not sure it’s meant to happen past the assembly stage. Doesn’t cause any problems on my one though, but don’t blame me if you try to tear her head off and something breaks.

The base is intimidating, but not an actual problem. Just hold her by the legs and be prepared to have to try a few angles. I haven’t found an easy way to get her off. Just hold the legs and use as much force as you are comfortable with straight out.

From the bottom of her base to the top of her veil this figure is ~30cm high, or ~29.5cm without it. Her height from her soles to the top of her head is ~26.5cm, or about 6.2 scale. But she’s not standing up quite straight, so it’s right on scale.

Afterword: Comparison

Since I have two of Lala’s recent figures, I just want to draw your attention to some interesting design disagreements. Namely, the 1/7th scale Lala appears to have bigger breasts and hips than the 1/6th scale (this one). Like, by a lot. Differences in design for the same character aren’t that uncommon; for example, Ques Q and Max Factory’s upcoming Shuten Douji figures design the back of her outfit differently. But here it seems particularly obvious, and in ‘areas’ which should be well established canon.

I’m about to fully nerd out looking into this, so if you’re well bored by now the short version is Voir le spoilerCacher le spoiler1/6th scale Lala is right on this hips but way too small on the chest, while 1/7th Lala is fine on top but just too thicc.

I get the 1/7th scale is posed so her breasts would be sticking out, whereas this 1/6th has a corset on which should bind her breasts slightly, etc. but it shouldn’t be this much of a difference. To get to the bottom of this I took my measuring tape and did some Pulitzer-worthy investigative journalism.

Lala’s measurements are B89cm-W57cm-H87cm. Frist I tried to do direct comparisons. The 1/7th scale is also impossible to measure directly due to her pose, but I could do the 1/6th. Her hip measurement, which shouldn’t be affected by her clothes, was ~14cm, or 84cm if she was full size. So about right. Her chest measurement should be slightly off because I had to measure at a small angle to fit the tape under her arms, and there is her corset over top (highballing the estimate), but also because the corset might have a compressing effect as it pushes the breasts into a different shape (lowering her bust size, probably the most significant possibility), From my measurement I recorded ~11.5cm, or 69cm if she was full size. That’s a difference of 20cm compared to the real Lala. The corset must be having some effect, but I also think we’ve been shortchanged here.


Since I couldn’t directly measure the 1/7th scape, I did some partial measurements I could compare to the 1/6th. This adds some additional error, but allows for comparison. A testament to the jury-rigged nature of my approach, I used multiple approaches to measure her bust and got very different results. If 1/7th scale Lala was full size, her bust size could be anywhere from 80.5cm to 96.6cm. The higher estimate comes from slightly more precise methodology, so 1/7th scale Lala is probably about right size-wise. As for hips, where I’m more confident, 1/7th Lala’s hip size would be somewhere around 104cm, a massive overestimation. TLDR waifu too THICC.


It’s worth noting 1/7th Lala is slightly larger than 1/7th, possibly closer to 1/6th. In this light her hips size is less extreme (though still too large), and her bust size is probably still reasonably accurate. At least she isn’t way too small in the chest department like our 1/6th.

If you were curious, 1/6th Lala’s hips measurement is would be about 54cm if she were full scale. A modern corset can shrink your waist by anywhere up to 10cm, so this seems to be a realistic waist size for Lala. Don’t quote these numbers as fact though, the level of she’ll-be-right-ness is through the roof. At best they are reliable enough to corroborate something that there really is something strange going on.
784 vues • 4 commentaires


Nice and concise review, and very clear pictures! Thanks for sharing :)
Il y a 28 jours
Great review! Lala is my favorite, so I'm super tempted to go find her now...
Il y a 1 mois
Informative review. The price has gone down you say, I'm tempted to purchase a second one.
Il y a 1 mois
It was interesting to see a comparison of the Max Factory Lala with the Ques Q one.

I was surprised to see that the Max Factory Lala price dropped pretty fast post release, and from your review it's clear there are some little issues that might explain the price drop. It still looks like a nice figure, though.
Il y a 1 mois