I aimed to create visuals that, through motion, bring out the energy of the music and design, along with the images from the film footage shot by the director, while making them feel darker and more beautiful, leaving a stronger impression through the composition of each shot.

I aimed to create a video that conveys the imbalance between the work’s cute style and characters, and its content.

Description: The shifting feelings of a girl torn by love, and her charm, are vividly expressed through colorful, lively illustrations and lyric motion.

Hololive’s 3rd Generation MV. By combining hand-drawn animation, motion graphics, CG, and various other elements, this work playfully projects the chaotic moe culture of the 2010s onto today’s popular VTubers in a chaotic and cute way. Character design by Kanako Nonoka of FiFS, deformed character design by Wataru Uekusa. Design by .MP. Motion graphics by Kana Tatsumatsu and Tetsushi Ono. CG artist: yonayona graphics. Animation drawings were handled mainly by Liberty Animation, along with Andrafut and others. Many animation studios and animators took part. This was made possible through the participation of a wide range of creatives and creators. © COVER

MV for “Aizome Summertime!!,” the main theme song of Hololive’s summer event, Holo Natsu Paradise. Based on a 3DCG sugoroku board game scene, this MV follows the Holomem’s summer青春 and their journey toward the live performance. Character design by Hiroyuki Ooyama (Umber). The CG scenes were handled by kumo.productions, the design by .MP, and the motion graphics by Kana Tatematsu. The animated scenes were produced mainly by Liberty Animation, with the participation of various animation studios. © COVER

Tatematsu Natsuna, yonayona graphics, and I each divided the project into separate parts and directed them individually. We set the world of the deep web, which is the theme of Madobe Rika’s song, in an abandoned school, treating it as a Japanese liminal space. Also, to create a noisy texture that could not be achieved with effects alone, we used a VX-1000— a camera from the early 2000s, when the deep web and underground sites were thriving — along with DV tape, a low-resolution digital format, to recreate the low-resolution visual tone that filled the internet at the time.