Through the voice of VOICY, a circle of diverse people continues to expand. We expressed this abstractly through shapes. We hope this fan festa will be the same.

One night, the dogs set out on a grand walk in search of freedom. It was their night to sing, dance, and celebrate.

This is my reel I have created as a freelancer!​​​​​​​ A reel of the works I have been involved in as a motion designer can be found below. https://hiromuoka.com/worksplus If you would like to know the password, please contact the following address. okatheponjuice@gmail.com If you are interested in collaborating, please let me know. I look forward to hearing from you!

Created a video based on the theme of the “Paleozoic Era.” Characters were cut out of paper and animated one frame at a time, then filmed with a camera.

This video is a re-edited vision piece based on the invasive species Reeves’s muntjac, which causes agricultural damage and affects ecosystems on Izu Oshima, and on the practices and narratives surrounding the regional utilization of its meat. It reconstructs, as a single story, the narratives gained through an interactive workshop consisting of a booklet-based understanding of the current situation and problem-posing, a dissection demonstration, tasting, and dialogue, along with insights obtained through fieldwork. It visualizes, in narrative form, signs of aversion, hesitation, reevaluation, and sharing, depicting the process of rethinking a pest not merely as a target for extermination, but as part of the region’s food culture through the act of gratefully and deliciously consuming life. It presents the issue surrounding the Reeves’s muntjac as a subject for reconsidering the relationship between the region, life, and social coexistence.

Handled the visuals and music video for Taiwanese band Shallow Levée’s single “Don’t Bother Me.” Technique: stop-motion, line-drawing animation After one of the members bought a Last Resort Fuji Rock T-shirt as a last resort, Shallow Levée learned about Last Resort. By chance, we met for the first time at a music event in Taiwan, which led to the decision to create this music video.

In this work, built around a new song by Phantom Siita, I sought to foreground the group’s aesthetic beauty and darkness while using Le Fanu’s vampire tale Carmilla as a motif, creating a world that unfolds like a Gothic short film. I had long thought that I wanted to make a vampire film at least once in my lifetime, and when I saw “Carmilla” written in a note from producer Ado, I was extremely excited. Among films based on Carmilla, Carl Theodor Dreyer’s Vampyr is one of my all-time favorites, and throughout this production I also kept thinking about the ashen, anemic pallor of Isabelle Adjani and Klaus Kinski in Werner Herzog’s Nosferatu, another vampire film. The setting is an old mansion that appears on a night of the full moon. Through the process of the girl Heine wandering into the mansion and getting swept up in the Phantom Siita’s—vampires’—festival, the film hints at an unnameable emotional wavering that cannot be clearly defined as romance, dependence, or illness. Visually, while drawing on European Gothic sensibilities and the decadent atmosphere of filmmakers such as Daniel Schmid, I aimed for a textured expression that combines live action and analog collage to depict “illness ≠ love.” That emotion is strictly not equal; here, I do not present it in an easy-to-understand way as “love is an illness.” By portraying, on the same plane, emotions that cannot be labeled—“I love you, I’m drawn to you, I want to hold on to you but I don’t want to, I want to run away, I want to live, I want to die, and I don’t want to die either”—alongside a body that grows weaker and more exhausted, I tried to express that this ungraspable feeling is real. As for the collage, rather than shooting against a green screen, we filmed in a studio filled with vintage props and similar items. Because the relationship between space and the people within it was necessary, and because collage needed to draw out that magnetic field in order to create a distortion of reality, I have lately tried to avoid using green screen as much as possible. By dismantling those elements, I wanted to portray a blurred consciousness and memory shaped by the dislocation of time and space. As for the collage method itself, we would print out live-action frames that had been shot and create animation while rearranging them, and even before shooting there were times when fragments of blurred consciousness, the mansion, or parts of scenes were assembled into analog collages.

Description: Drifting through nights that should never sink into the depths of the unconscious is a time that ought not to exist. As I lie quietly, a fairy is born from my spine, dissolving memories and the nocturnal city. A film work created through cutout animation. [Synopsis] On sleepless nights, a fairy is born from my spine. Time that should not exist flows on, and fragments of memory form the city. The fairy drifts through that once-seen landscape, reaching out toward the stars.

Concept movie for the women creators’ community “mimosa sisters.” It depicts women from a variety of professions meeting and sparking creative chemistry through hand-drawn animation and glittering sequins. Techniques: hand-drawn animation, live-action stop motion, After Effects

Method: Stop motion I created this piece while sharing backgrounds and characters with Moji Tsuchiya, each of us imitating the other’s characters. Tsuchiya created the basic storyboard, and we worked out the overall feel of the film by sharing the footage as it was completed. There is a Go scene in the video, and it felt like we were making it while watching each other’s moves, as though I were playing Go with Tsuchiya.

Description: “Scuffin” refers to the lines etched into a bottle through repeated use. A returnable bottle requires the extra step of being returned in order to be used again. This is the story of a bottle journeying around the earth, marked with “scuffin” as proof that someone returned it. A web movie for Pocari Sweat’s returnable bottle. The scenes in which the bottle glows were filmed by shining projector light onto cut-paper artwork.

A convenience store in a rural town. Everyone who gathered there liked to drink the same beverage. A strange incident begins to occur in that town, where people disappear, leaving only their clothes behind. The sheriff spots a suspicious man on a full-moon night, but... A music video for Toma Baba’s “PRIME,” combining paper three-dimensional puppetry by Shotaro Kitada with cutout animation by Moji Tsuchiya.

“Feel free to do anything as long as it’s not obscene.” With that request, I made sure the world of the music and the poem, its mood, and its forms would become as strange and disjointed as possible. The references I drew on were works that feel feverish and nightmarish to watch, such as Stephen King’s The Devil Truck, Sam Peckinpah’s Convoy, and Ken Russell’s Gothic. Above all, I wanted to express the absurdity of a gigantic thing racing at full speed, and the image of something that crosses some kind of limit or is mixed together until it turns into an uncanny form. If you trace the history of Gothic, from the Christian view of life and death to the monsters like gargoyles placed on church Gothic architecture, there is a sense of life and death repeating like summer and winter. I am always drawn to the coexistence of ambivalent things. The zombie in the passenger seat is always embodying the ambivalent state of life and death. Though dead, he wears a T-shirt that says “flesh and blood,” or gets an IV drip, as if he refuses to accept death. The method is my usual collage, but it is difficult to create something without straying from the world I have set up. The shape of the truck, on which I put special emphasis, also has to maintain a certain level of consistency from the front, the diagonal, and the side in order to connect properly. A lack of consistency is in a sense an inherent quality of collage, but this nauseating lack of balance was the most exciting and enjoyable part of my recent work.

Description: Inspired by the episode of the two samillia who, after 20 years, arrived in the city of Melbourne, Australia, I created this animation. Even when we are in Japan and Australia, which feel far apart, looking at the same moon at the same time reminds us that we are living beings on the planet Earth in the universe. Technique: hand-drawn animation, stop motion, After Effects, loop animation

Description: The first MV for Shinapushu created from visuals (This is an MV in which the visuals were created first, and the music was added later.) Since it was a winter song, we centered the animation around the theme of “hibernation,” blending it with “naptime,” something small children do as part of everyday life. Technique: Stop-motion animation ◆Gunna-pushu The December monthly song, which closes out 2023, is a song that makes “bedtime” fun, while gently leading you into a dream world and letting you feel the sparkle of winter! May all the Shinapushu kids have sweet dreams tonight♪

The world of Kinoko. Ho’s song “Opening Self-Declaration” is expressed through collage and stop-motion-style visuals.