At Hoshino Resorts Aomoriya, a hot spring inn where you can fully immerse yourself in the culture of Aomori, the stage show “Michinoku Matsuriya,” which expresses the seasonal scenery and festive energy of Aomori through an original performance, reopened on April 1, 2022. At the same facility, Daisuke Hashimoto (P.I.C.S. management) of LIL served as general director and producer for the currently running program.

I just absolutely love the song! The moment I heard it, colorful candies started spinning around in my head. Since it’s “daishikyuu,” I wanted to make something fast-paced, chaotic, and above all super cute, so we had lots of costumes prepared, along with a bike, props, and all kinds of things for the shoot. With the theme of dreams you see while sleeping, I imagined a story like this: you desperately need to wake up, but you can’t get out of the dream world and end up going on a wild rampage! Also, I planned it with an image of a struggle over who has dominion over the dream—whether it’s Kana-chan’s dream or Sakina-chan’s dream, whose dream is it, anyway!? In the end, the domination battle element was removed, and it was shaped into more of a dream world, a cute little space, and that sort of image... When I listen to the song, it gives me the image of the two of them playing sports, and I pictured them wearing baseball uniforms in a gyaru style. I thought it would be absolutely adorable, so we went with it. (Kind of like Ayaya’s “Tropica~l Koi Shite~ru” lol) I also pushed for us to film the bike scene. When you think of speed, you think of a bike. The animation is also gorgeous, and for the very first OP animation, I asked misa to create something based on the idea that it takes place inside a girl’s dream. It’s insanely cute and amazing. The animation for the first chorus is the scene where they blow away the nightmare, and that was created by RaParu-san. I’ve loved RaParu-san for a long time and always hoped we’d get to work together someday... so I was really happy that my wish finally came true. And for the flashy effect animation in the baseball scene, of course it had to be Tetsuya Tatamiya-kun, the reliable go-to for effect animation!

I was in charge of the animation for the September song on the baby program “Sina Pushu” (TV Tokyo).

An XR audio-visual showcase by COSMIC LAB, which has continually explored spatial expression where the visible and invisible intersect as VJs. Using the XR (Expanded Reality) Live System, developed and advanced by COSMIC LAB, the performance was live-streamed from an expanded reality space at Universe in Misono, Osaka. COSMIC LAB amplified into an XR visual space a luminous sound performance by ∈Y∋, who continues to push experimental expression to its limits, performed with the body connected to two specialized devices: a wrist-mounted type and a cone-shaped type.

This is the latest showreel, featuring a collection of client work and personal projects.

A space live entertainment project that opens up the universe to everyone. We want to open up the stage of space, where only astronauts have been able to play an active role until now, to everyone through the power of the internet and design. With that vision, we established a live broadcast studio in Kibo, the Japanese Experiment Module aboard the International Space Station, to connect space and Earth in both directions. While gazing at the blue Earth, people around the world freely express themselves and talk about KIBO. Together with artists and companies, we will co-create this entirely new borderless form of entertainment.

A reel compiling self-produced and commercial works created between 2019 and 2021.

Concept movie for sake MIYOSHI HANA. Released to commemorate the 2021 international competition CINVE, where MIYOSHI Green won Gold and MIYOSHI Blue won Silver. Every step in the process—from how the sake is made to how it reaches someone and is enjoyed—was individually expressed through graphics and animation. Just as the sake is carefully crafted over time, we focused on creating the movie with the same level of care and attention.

This work exists somewhere in some era, and also here and now. In the work’s world, under the same flow of time as the real world, morning comes with sunrise at the place where the work is installed, and night begins with sunset. If it rains in the real world at the place where the work is installed, it also rains in the work’s world. Flowers and grasses change day by day with the seasons. People’s lives also change constantly according to the time of day and weather in the real world, while festivals and events are held with the seasons. As various stories are added each day, people’s activities continue on permanently. The work’s world is influenced by the viewer’s behavior. When the viewer touches the people in the work’s world, they react, but if the contact is slight, they return to their everyday lives. However, if the viewer continues to touch the people, those nearby begin to quarrel, which escalates into killing, and before long the conflict spreads throughout the town, engulfing it in flames. The fire continues for more than a year, the people die out, and the town is completely burned away. Even in the devastated town with no one left, as time passes in the real world, the sun rises and sets, the seasons of spring, summer, autumn, and winter come and go, and a few months later, new grasses and flowers sprout from the charred remains. Flowers and grasses are born, bloom, and fall in repeated cycles, changing day by day in the flow of real time. And over a long period of time, trees and plants grow thick and dense, repeating the changing of flowers each year, continuing forever. Once this world begins to burn, it can never again be seen as it was before the fire. And the viewer is also a participant in its consequences. Related exhibition: Aomori Museum of Art https://www.teamlab.art/jp/e/aomorimuseum/ Work details: https://www.teamlab.art/jp/w/world_of_irreversiblechange/