This PV was created to commemorate the release of Volume 2 of Jujutsu Kaisen Modulo. It was also screened on the Cat Vision and Uni-Ca Vision displays in Shinjuku. In order to meet the high expectations surrounding the highly popular Jujutsu Kaisen series, we began by creating the music to heighten immersion and build anticipation for the new volume’s release. The collapsing buildings were created with CG. The animation was produced with the utmost focus on filling in the gaps between the manga panels. For the overall design, we aimed to follow the tone of Jujutsu Kaisen while art directing the piece so that elements of the near-future setting of Modulo were subtly woven throughout.

One day, Cornelius and Zira of the Grey Men came from outer space. The place they visited was an abandoned school at night. There, yokai and UMAs lived freely, as if enjoying a moment of release on a “dance floor”……. We produced the music video for “ODORIBA,” a song by SKYTOPIA and rapper Sigma-T, which depicts the “dance floor” that changes along with the flow of life. Based on Sigma-T’s analogical way of thinking—expressing the frustrations of life by drawing an analogy from the word “dance floor”—we also developed the MV’s setting and plot by combining the homophones “stairs” and “ghost story.” From the urban-legend-like subculture of encounters between the unknown and the unknown, it unravels the sense of transgression and exhilaration that humans have continued to seek at night.

2nd single「化け物のサーカス」 怒り、孤独、自己嫌悪。他者への憎しみと、 自分すらもわからなくなる不安。 そんな言葉にできない感情を、 鋭利で狂気的なリリックと破壊的なサウンドと ぎこちなくて目まぐるしいビジュアルにのせて訴える。 過激な表現の奥に潜むのは、どうしようもなく不器用な本音。 “化け物”として生きざるを得なかった者たちへの鎮魂歌であり、 言いたくても言えない想いを抱える人々の代弁となる歌。

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.

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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.

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.

WOW participated in the BLUE OCEAN DOME at Expo 2025 Osaka, Kansai. At this pavilion, where visitors can learn about the sustainable use of marine resources and the protection of marine ecosystems, WOW was responsible for the direction and production of the video content. BLUE OCEAN DOME consists of three spaces under the theme of “the revival of the ocean.” It includes an installation expressing the spectrum of water, a video installation depicting the miracles and crises of Earth as the planet of water, and a space that presents a path toward restoring the ocean through documentary footage. WOW developed a hemispherical LED visual device about 10 meters in diameter together with Azlab. Through this one-of-a-kind, ultra-high-definition giant hemispherical LED screen, it brought Earth as seen from space to life. —The beautiful Earth, a miraculous water planet, is on the verge of being gravely damaged by human activity. This work depicts the ocean, where the brilliance of the chain of life and pollution progress simultaneously, across a range of scales from a vast view like looking at Earth from space to the cellular level. By fusing realistic depictions so true to life they could be mistaken for the real thing with dreamlike imagination, the piece sought to create an audiovisual experience as a “device for transforming consciousness” that appeals to the senses of visitors. The footage, supervised after fieldwork in biologically diverse marine areas and by the Japan Agency for Marine-Earth Science and Technology, vividly portrays everything from vibrant life to the realities of marine pollution through the meticulously crafted 3DCG for which WOW is known. In addition, Hatis Noit’s voice, resonating as if with the voices of all beings living in the sea, gave the imagery multidimensional depth. The hemispherical screen, covered by a parabolic cover, was precisely designed down to the number and arrangement of its supports, realizing two distortion-free curved surfaces. For the parabolic cover serving as the backdrop for the LED screen, a special paint that appears darker than black by absorbing light was used. A smooth base finish achieved through plasterwork and painstaking hand-applied painting created a jet-black screening space. The hemispherical screen itself was fabricated by hand, one small panel at a time. This ultra-high-definition display, with approximately 160,000 LED chips arranged at a 2.5 mm pitch, supported the overwhelming visual experience.

An original animation set inside a refrigerator late at night. From planning, script, character design, and animation to BGM production, every stage was completed independently. The vulnerabilities that ingredients have as fresh produce—such as “tending to turn black” or “being weak to drying out”—are redefined not merely as traits, but as their “worries” and “personality.” By turning the question of “how to overcome one’s own flaws, or storage-related concerns” into a heartfelt yet comedic drama, the work aims to create a piece that balances practicality and artistry, allowing viewers to learn while enjoying it. The entire video is a stylized full 3DCG work produced in Blender. The BGM, created to synchronize with the timing of the dialogue exchanges and the punchlines, as well as the opening and ending jingles, were also independently produced in Ableton Live.

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/