To express a world that has become the future while retaining the retro feel of the Showa era, we used a combination of low-poly and GI techniques. It also pairs well with retro-style sound effects and audio sources, and although one purpose behind the low-poly production was to significantly shorten the production schedule, I believe that, in the end, it allowed us to draw out the song and the artist’s worldview within the limited time available.

In yesworld, in addition to visually direct words like “driver,” expressions such as “you” and “give me back myself” are used. Although we did not discuss the lyrics in detail, we began creating the work by interpreting that “you” as a personified form of the great currents and absurdities that human beings cannot resist. In life, there are many things beyond our control, and everyone loses something important, to a greater or lesser extent. To express the chaotic worldview of the song, in which these overwhelming absurdities surrounding human beings—a nightmare-like world—and, within it, a certain kind of human radiance that cannot be lost are all intermingled, I was conscious of the degree of jump between the impressions of each cut, the sense of looping, and the nightmare-like atmosphere.

Using techniques such as double exposure commonly used in photography, I depicted the band’s dreamlike atmosphere and an alternative world that might have existed. I was surprised that Ibaraki has so many beautiful places.

The lyrics and the song itself had strong sci-fi elements, so I gave the music video my own sci-fi setting. I was glad that I could create a spaceship based on a feather motif, and, although it was shot during the day, achieve a sense of post-apocalyptic atmosphere that feels neither day nor night through color grading. Since Morse code is used in the music video, the motion graphics for the lyrics were also inspired by that.