光学合成の質感、コンピューターを用いて出力したドット絵のアニメーション、スーパーインポーズで合成されたテロップ、レタリング、手描きのアニメーション、3DCGの背景など、異なる時代の表現手法を、ごった煮にして映像に落としこんだ。青く淡白な基本のトーンに差し色として彩度の高い色をしたモチーフが挿入される雰囲気が、楽曲のローテンションながら輪郭にエッジをもつ雰囲気を補強できるようこころみた。

The composition and movement of the letters do not align with their meanings. The letters were freed from the meanings they carry and treated as mere rhythmic forms. The locations and styling were infused with the four seasons.

A short animation created for the short reel album featuring the song “I Want to Live!” by Freedom Hiruko and various artists/collectives. Of the three videos, two were produced with a focus on traversing between images and videos, so the first and second are connected.

The Design Ah! Exhibition neo, held at TOKYO NODE GALLERY from April 2025 Mametarou participated by creating the clutch video. The mesmerizing visuals, which let viewers immerse themselves in Mametaro’s signature “just barely” and “squishy” sensations, blend a slight tension into their comfort, creating a strange feeling that makes it impossible to look away.

This is the music video for the original song “Nibi,” released in 2026. I created the song, the visual system, and the web app. “Nibi” refers to a dull grayish color. In this work, I made ink-like coloration the basis of the visuals. Particles in the four CMYK colors drift through 3D space, repeatedly gathering into and dispersing from the shapes of lyrics and motifs to construct the imagery. For the overlapping colors, I used subtractive color mixing calculations; the denser the particles become, the darker they sink as the inks blend together. Although the work is presented on a display, a texture like dynamic printed matter emerges, as if halftone dots on paper were dancing. The particles converge from flat shapes, noise, pendulums, and other geometric patterns into letters, then scatter once again. Rather than a continuous sequence of completed letters, the transitions of gathering and dispersing themselves are the main visual attraction. All of the visuals in this work are rendered as a continuous video within a web app, and the MV video was exported as a single uninterrupted shot with no cut editing. The lyric text is placed in 3D space and is framed by the camera angles set by the creator. I released this web app itself as a viewer, allowing viewers to freely move the camera in the browser and explore areas beyond the viewpoints selected for the MV. This is an attempt to open up both the production process of the visual work and the experience of the creator’s selection of viewpoint itself. The source code is also available on GitHub. For the particle physics calculations, I used Three.js WebGPU’s TSL compute shaders to enable real-time GPU processing of a large number of particles. In environments that do not support WebGPU, it falls back to WebGL 2 and also works on smartphones. MV website https://monotonmusic.com/nibi/

A special opening created to commemorate the 30th anniversary of the hugely popular training simulation mode “Success,” produced in collaboration between Konami Digital Entertainment and KOO-KI. It depicts characters who have long battled as rivals now fighting together as teammates on the same Japan national team.

2025 Asia Digital Art Award FUKUOKA Award Winner Mitaka no Mori Animation Festa 2026, 24th Indies Animation Festa Award Winner "The Seed of Stars" One day, these words casually spoken by my daughter gently planted a seed within me. Drawn in by their tenderness and a poetic afterglow, I began to imagine stars descending into a quiet forest, and the landscapes where small creatures live. The story begins with stars drifting softly down from the night sky into the forest. There, the stars become tiny seeds on the ground, eventually sprouting and blooming into “star flowers.” The creatures living in the forest quietly keep them company, making music and watching over the flowers. I wanted to portray a serene, warm world filled with light, sound, and the slow flow of air in the night forest. For the visual production, I used Blender, which I have been using for many years. I expressed the natural elements I love—forests, stars, flowers, and small living creatures—in a simple, unadorned style, and by focusing on light, shadow, and texture, I created a landscape that seems to drift between reality and imagination. Rather than aligning the music and visuals perfectly, I aimed for a relationship in which they gently resonate with one another while remaining quietly close. The music was composed by cokiyu, a musician with whom I have long collaborated, and who has also provided music for the film Confessions (directed by Tetsuya Nakashima). In this work, her transparent vocals gently layer over delicate piano melodies suited to a forest at night. The lyrics carry the theme of this story, and each word resonates softly, as if speaking directly to the listener. The presence of the voice subtly deepens the visual atmosphere, conveying the depth of the imagery, time, and the world of "The Seed of Stars" more richly. I would be delighted if "The Seed of Stars" could quietly take root in the hearts of viewers as well, allowing free imagination and feeling to gently spread from there. This work was selected as an award-winning entry at the 2025 Asia Digital Art Award FUKUOKA and the Mitaka no Mori Animation Festa 2026, 24th Indies Animation Festa.

I directed the winter version of TOYO TIRES’ “Carve the Blue.”

Watching things move or shine with your eyes is enjoyable. “Element” is a small animated specimen focused on primal sensations.

Every gift creates a connection. More than an object, every present is filled with someone’s presence. This holiday, give your joy, your warmth, your presence.

We produced a brand film for Nissay MIRAIQA, a company 100% funded by Nippon Life Insurance, which operates under the concept of “solving the small questions people encounter in daily life through services and apps rather than insurance.” Centered on the meaning behind the company name—“questions (Q) and answers (A) for the future (MIRAI)”—and the logo concept combining “?” and “!”, we created a story that begins with a question (?) and leads to an answer (!), expressed through a single-line animation. For the visual expression, we blended an analog feel that evokes human warmth and hope, reminiscent of an insurance company, with a digital sensibility that suggests the future and technology. We aimed to create a motion design that conveys a sense of reassurance and stability to a wide range of generations.

SOUL BUBBLE is an immersive art installation that visualises an individual’s mental and physical state. Inside a space surrounded by eleven screens, visitors sit on a single-seat sofa equipped with AI and sensors. The sofa reads changes in posture and centre of gravity, heart rate, breathing, and hand movements, visualising these signals in real time. States of mind and body such as relaxation, focus, tension, anxiety, excitement, meditation, and confusion are analysed and transformed into microbial-like patterns that spread throughout the entire space. At the end of the experience, the participant’s own behavioural data is projected onto the screens, stored, and used to advance the AI system. As more participants join, individual and collective data accumulate, revealing differences, distributions, and new tendencies. This ongoing process continually evolves the installation, forming an endless archive that keeps recording human states. Interestingly, many visitors were highly interested in their own results and came expecting to find a pattern of “high relaxation.” SOUL BUBBLE gently envelops the body like a bubble, while also presenting itself as a prototype for future sensing devices, where technology stays close to the body, responds to the soul, and brings to light the hidden layers beneath mind and existence.