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.

The AR game “Overbeast,” powered by VERIZON’s 5G network, launched in the U.S. in spring 2023. WOW was responsible for the character design, modeling, and animation of the beasts featured in the game. By leveraging 5G pixel streaming, the project aimed to deliver a grander, more vivid visual experience than had previously been possible with AR. Based on the concept of “kings of each animal kingdom with special abilities,” the beasts were designed in both juvenile and adult forms. Various simulations were used to emphasize each creature’s individuality, bringing them to life as dynamic beings. In addition, while the animation speed was slowed down to make the beasts feel massive, battle actions were made quick, creating a sense of both realistic scale and unreal speed to heighten immersion and realism in the game world. OVERBEAST: https://www.overbeast.world/

Under the creative concept for the Yomiuri Giants’ 2022 season, “Let the Light of Glory Shine,” WOW directed and produced a series of videos that maximized the team’s worldview. Using “orange light symbolizing glory” as the key motif, we created the following videos to be shown on the main display inside the ballpark. - GIANTS PRIDE - Starting lineup announcement video - Chance-time video shown depending on the game situation - Headshot videos of all players - CI Aiming for an immersive experience that would set these visuals apart from conventional stadium video, we designed powerful camera work using 3D player data captured through Sony volumetric filming, along with projection-mapping-style direction that made the most of the massive screen. By stripping text elements such as player names and numbers down to the bare minimum and adopting simple, bold graphic design, we expressed the refined worldview of the Yomiuri Giants as a “premium brand.” We also produced the “main gate video,” “ambient video,” “postgame thank-you video,” and “premium lounge video” shown on the giant screens and signage installed inside the dome. Centered on the motif of orange light, we created nearly 800 videos with a wide range of variations to keep spectators engaged, delivering a unified brand experience throughout the ballpark and dome interior.

We participated as maxilla in ONE PIECE’s art project “BUSTERCALL.” Drawing on the history woven throughout the story and its intricate foreshadowing, this is a media-mix work combining audiovisual elements and sculpture, expressing the mythic nature of ONE PIECE through sculpture. It portrays those who strive to reach the summit of the seas and Gol D. Roger, the origin at the heart of that pursuit, along with the many elements scattered throughout the work, as a myth that transcends eras.

Responsible for the planning, direction, and production of the three main contents inside “DMM Kariyushi Aquarium,” a new kind of entertainment aquarium in Okinawa that blends visual expression with spatial design. A story of “water” and “life” projected on a multi-screen large display A large-scale video content experience through which visitors first encounter the “beauty of Okinawa” (approximately 12 m wide by 4 m high, with 6 m of depth on both sides). It takes visitors on a virtual flight across Okinawa’s rich natural scenery, including its distinctive sea, sky, and the Yanbaru forest, as well as historical structures such as Shuri Castle. The Shuri Castle featured in the work was filmed with permission from the Okinawa Commemorative National Government Park Office. A 3D model was created using photogrammetry. A giant diorama space recreating Okinawa’s skies and coastlines Okinawa’s beautiful sea reveals different faces throughout the day. This space was designed so visitors can experience that appeal firsthand. On the faux rockwork surrounding an approximately 18-meter-wide tank, lighting and video work in sync to create colors and shadows that recreate the changing states of the “sky,” “sea,” and “shoreline.” In this space, which shifts from daytime to dusk and then into night, visitors can experience the scenery of each moment. In addition to realistic landscape depiction, the installation also reflects the emotional image of “the Okinawa sea that everyone envisions,” expressing a view that invites people to gaze at it and lose track of time. A fantastical space woven from light and jellyfish A space filled with cylindrical tanks stretching from floor to ceiling. Jellyfish drift gently, illuminated by pillars of light that emit vivid gradients. The space, adorned by the jellyfish and the pillars of light, was designed to evoke a dreamlike, extraordinary atmosphere through repeated transparency and reflection. The tank lighting, the visuals of the light pillars, and the music are all synchronized as part of the production.

About the Work On July 19, 2019, Grand Cinema Sunshine, a large 12-screen cinema complex, opened in Ikebukuro. Grand Cinema Sunshine offers future-standard entertainment through facilities and services that go beyond the conventional standards of cinema complexes, including the state-of-the-art “IMAX® Laser / GT Technology,” the largest permanent cinema installation in Japan, and “4DX with ScreenX,” an immersive theater making its debut in Japan, as well as playful interior design that allows visitors to immerse themselves in the world of film. WOW was responsible for the direction of “Lumière,” the chandelier installed in the 4th-floor entrance lobby of the facility, and “Motion Ceiling,” the giant LED display covering the ceiling on the 12th floor. We also created a linked visual presentation for 47 vertical 55-inch signage displays installed on the walls and pillars throughout the facility, extracting the world of “Motion Ceiling.” Lumière We created a chandelier that serves as an icon of Grand Cinema Sunshine, as “a new art form incorporating contemporary interpretation and technology.” The surface of a 2.7-meter-diameter sphere made of stainless steel with a mirror finish was divided into 47 Voronoi sections, and by projecting images from four directions, the visuals displayed on the screen embedded at the center are repeatedly and intricately reflected. The chandelier’s design and structural concept were handled by Tofu Architects. Evoking a colossal kaleidoscope of light, the chandelier adds a dazzling presence to the entrance space of Grand Cinema Sunshine. Motion Ceiling Covering the enormous ceiling, approximately 31 meters wide and 10 meters high, is the art motion graphics work “Motion Ceiling.” Inspired by a beautiful ceiling painting, this work was created around three themes: “GEOMETRY,” characterized by nimble tile actions; “REFLECTION,” depicting a giant cloth gracefully fluttering in the sky; and “LIGHT,” which expresses a glittering city enveloped by countless particles. The LED display spanning the entire ceiling is so massive that it can also be seen from the surrounding streets. The presentation was designed with both the people relaxing in the café and lounge spaces and those viewing it from the nearby streets, looking up at it, in mind.