Aiming for the kind of thrill that makes your mouth corners rise involuntarily, as if you’ve seen something you were never supposed to see, I expressed Insekai Joucho’s sacred atmosphere with regular, inorganic shapes, and contrasted it with visceral motion and grotesque, unsettling elements rendered in a poppy 2D look. For the lyrics, since I was thinking about the image of movement before the form itself, I created the lyric motion in Cinema 4D, where I could make the movements just as I envisioned them.

Inspired by the title “The Last Man in Europe,” one of the other proposed titles for George Orwell’s science fiction novel 1984, I created a story about a protagonist being swallowed up by internet society. For the world-building, I drew influence not only from 1984 but also from PSYCHO-PASS and Discipline and Punish. I tried to portray contemporary society as a sacred yet eerie world permeated by gods, likening the internet itself, or the “sense of common decency” fostered there, to God as an omnipresent watcher, and smartphones, as internet devices, to angels as God’s messengers. The protagonist, an existence before being exposed to God’s surveillance—that is, before internalizing the watcher—is modeled on the devil, the symbol of chaos and the antithesis of angels. I personally like the atmosphere in which mischief and a sense of tragedy coexist, so the overall design ended up having a cute quality. Since the comic panel layout was a familiar structure for depicting the story, I organized the sequence of information toward the climax and carefully examined the role and function of each cut.

I created the music video for Sana Natori's "Amakami-sama."

By treating long-lasting “artificial flowers” as the “works” left behind by people who make their living through creation, I linked them with “bones,” the material that remains in the human body the longest. I hoped to evoke the fragility that becomes all the more striking precisely because she is a virtual singer, a figure that is so prominent in the present moment, as well as the emptiness of basing the motif on “bones” while she herself, as data, has none.

It was the first music video in which Isekaijoucho’s 3D model was unveiled, so we created it with the hope of giving the entire video a world that would make the costume symbolize both her outer and inner selves.

円盤の展開やワンカットが長めのカメラワークなどで曲全体をちょっとした物語に見立てたり、楽曲の浮遊感に合わせてモーションデザインからタイポグラフィを組み立てて作字したり、少しずつの「次が気になる要素」を散りばめ、５分３０秒という比較的長尺の曲で「ぼーっと画面を見てたら曲が終わっていた」という視聴体験を届けたいという意図で制作しました。

A creepy society ruled by the god called the internet and the angel called the smartphone

Because the sound carries a somewhat nostalgic feel, I aimed for visuals that evoke the spirit of the ’90s. I focused on pen strokes and the depiction of light bleeding into the image, emphasizing a pleasant indie vibe that doesn’t feel too cheap, one that resonates when viewed by adults looking back.