“Pictographs,” which are characters drawn by depicting the shapes of objects, make up only 12.6% of the commonly used kanji in Japan, surprisingly. As someone who loves pictographs, that felt a little disappointing, so I tried making my own original pseudo-pictographs. Some of them seem to roughly match their meanings, while others are completely unrelated, yet they still suggest some kind of story. This reflects the limitless possibilities of “characters.” It is also an attempt at my own kind of “mitate” — seeing one thing as something else. I compiled several pieces I had posted on social media into one video. I titled it “like,” which can mean both “something like ○○” and “to like.” I hope you enjoy watching it. The main production tools used were Adobe After Effects, Premiere, Illustrator, and Autodesk 3ds Max. The music used is “Tulip” by VESHZA from Artlist. https://artlist.io/royalty-free-music/song/tulip/8864

About the Project As part of a technical tutorial on video production for the “PLATEAU” project promoted by the Ministry of Land, Infrastructure, Transport and Tourism, WOW was responsible for planning, producing, and directing a video work themed around Niigata Prefecture. PLATEAU provides 3D city models from across Japan as open data, helping to drive digital transformation in urban development and foster open innovation. In this project, we created a film, tutorial, and hands-on video using Niigata Prefecture’s 3D city model. Through this effort, we explored the creative potential and expressive possibilities of PLATEAU. Video Work “NIIGATA WONDER by PLATEAU” With the ظهور of a dragon, the god of water, mysterious gigantic objects begin to appear in various places across Niigata Prefecture. Their true identities are Niigata’s famous local specialties: Tochio Aburaage, sasadango, poppo-yaki, hegi soba, and snow crab. Guided by the dragon, these giant local delicacies eventually gather at Bandai Bridge in the center of Niigata City—. Combining a 3D model of Niigata City, live-action footage, and VFX, the work portrays the character and unique qualities of the city on a grand scale as a “fictional PR video.” PLATEAU PLATEAU is a project to realize digital twins of cities across Japan, promoted by the Ministry of Land, Infrastructure, Transport and Tourism in collaboration with a variety of stakeholders. It develops 3D city models as platform data for urban activity and creates use cases across diverse fields. In addition, PLATEAU provides 3D city models as open data so that anyone can freely access urban data. By advancing the development, utilization, and open-data deployment of 3D city models, PLATEAU aims to realize digital transformation in urban development and generate open innovation.

This music video was created starting from the members sharing the feelings they put into the song with us. Although it was produced remotely between Taiwan and Japan, I believe we were able to fully translate the concept of the song into the visuals.

This is a music video for Saki Hanami, the protagonist of The Idolmaster: Gakuen. It was produced with a focus on delivering a powerful, impactful impression that matches her stoic character. The video is primarily composed of dynamic graphics reminiscent of those seen in sports scenes.

This is a reel carefully selected from videos created from the start of my career in 2022 up to the present (2025). It brings together mainly self-initiated projects and contest submissions into a single video. The opening approximately 15 seconds were newly created specifically for this video.

A song themed around yokan, often seen as a plain sweet, overshadowed by more eye-catching confections. I depicted the yokan in a playful and cute way, with moments that also evoke a sense of melancholy.

In order to let the live-action footage evoke the original work’s charming world, we paid close attention to every detail, from the shooting locations to the fabric and fit of the uniforms. I also believe we were able to create a tone for the footage that is rarely seen in television dramas.

I have been entrusted with directing the commemorative film for Aoyama Gakuin’s 150th anniversary. As an alumnus of Aoyama Gakuin Senior High School and Aoyama Gakuin University, I am truly honored and delighted to have been given this opportunity. It was unprecedented for me, as a YouTuber, to take on a project like this, but I poured my heart and soul into every scene, striving to fully express my own style and create the best possible work with meticulous attention to detail. I believe that the feelings of everyone who has been connected to Aoyama Gakuin are each unique, but I feel this film conveys the certainty that the 150 years of history and spirit continue to be passed down today, like a relay baton. I am proud to have been given such a wonderful opportunity, and I will continue to dedicate myself even more earnestly from here on.

Since the story progresses through narration, we needed to make sure the audience would not get bored. In particular, with short dramas, if viewers lose focus, the work won’t perform well, so at the script stage we asked for more dialogue. We then recorded it at a fast pace and increased the speed by 20% in editing, packing in as much information as possible so there would be no dead air. The script originally started from the idea of “You know how your imagination would always drift during class?” and had a structure in which the protagonist, Kimura, would point out the boss’s verbal slip-up. But it was changed into a structure where Kimura keeps getting carried away after pointing out the mistake, and in the end never manages to actually point it out. As for the wordplay and phrasing, I’m truly grateful for the scriptwriter’s sense of humor and style. My honest reaction the first time I read it was, “Wow, that’s impressive.” For the filming, I had always associated short dramas with an overwhelming number of cuts and a fast pace, but for this project, we wanted to see how much fun we could create through direction and make a new style of short drama. So across the five episodes, we used every gimmick we could, including episodes that played around with text animation in the editing, as well as episodes that experimented with high-speed and slow-shutter techniques. The direction had a basic structure in place, but on the day of shooting we kept adding things and adjusting them on set. Thanks to the cast freely performing, a lot of ideas came to mind, and I’m really grateful for that.

A commemorative PV for the release of Volume 5 of Kagurabachi, which is currently being serialized by Shueisha. The video features cinematography and effects tied to the abilities of the enchanted blade Enten and to the protagonist Chihiro Rokuhira, bringing out the unique appeal of Kagurabachi to the fullest.

I don’t dislike rainy days. The lively plants, the sparkling ground, and the moist air all feel pleasant to me. As I’ve grown older, I’ve come to think that I don’t dislike rainy days after all, and in fact I’ve started to enjoy them. This piece was created inspired by the stories and photographs about rainy days that I heard from Ms. Shoko. As for the technique, I drew it on paper with oil-based pens. To evoke the image of rain lines sparkling and to create a cheerful feeling, I used a variety of lines. Set to rhythmic music, this work depicts the everyday life of a girl and her cat enjoying a rainy day with high spirits.

An attempt to maximize spatial perception through motion expression using points, lines, and surfaces This video repeatedly proposes a different space through the next motion, as if resetting the setup the moment the viewer tries to recognize some kind of space from the movement of points and lines. Through this continuous spatial transition, it seeks to visualize the internal imagery of the brain in a trance state, as found in festivals and similar experiences.