I am currently producing a work tentatively titled “A,” and this piece was created as a prelude and foreshadowing for it. Within a short runtime of about 10 seconds, it is filled to the brim with elegant motions evoked by the music. Unlike my usual self-initiated works, this piece and the next one (“A”) aim primarily to express, as purely and directly as possible, the simple emotions that the music calls to mind, setting aside detailed intentions and lines of thought. As a result, while introducing vivid colors with bright yellow-green as the main tone—something I had tended to avoid until now—the rest is largely kept in monochrome, emphasizing that one color even more strongly. Although it is a modern motion graphic grounded in a flat, pop-oriented style, I made heavy use of post-processing such as color shifts and noise, pursuing rich textural expression and aiming for a gap that leaves even this fleeting runtime feeling somehow warm. Around the 3-second mark, I attempted an illusion-like expression in which an X (the bowling strike symbol) encountered after passing through a tunnel transitions into a three-dimensional rotation. Incidentally, in my self-initiated work “Glancent,” released last February, I also created a similar connection in the latter half, where 2D graphics seamlessly transitioned into a three-dimensional structure. Since these kinds of “illusion” effects are not often seen in the realm of 2D shape motion, I would like to actively devise more of them going forward. Now that commercials and visual works making heavy use of motion graphics interwoven with text, images, and video—while incorporating short-form shape motion—have increased dramatically compared with a while ago, is there still room for what pure【shape-only】 or【2D-only】 motion can do? At a time when creators are becoming saturated and are also being threatened by the presence of AI, what more can I do as someone who continues to pursue handmade shape motion in the most literal sense? I want to explore the potential of a short, one-shot shape motion that can be seen as a return to origins. In the end credits, the conventional 【Music】 credit becomes 【つかったおんがく】, and 【Video】 becomes 【今見とる映像を作った人】, flexibly departing even from the format I had maintained as a template up to now, and suggesting prospects for a new style of work in the future.