At Nanao Akari’s experimental livestream concert, I created the visual direction for “Raika.” The performance was filmed at Zepp Shinjuku, where Nanao Akari and the band performed against a massive LED screen backdrop. I experimented with various approaches to visually match the song’s dense sound.

Description of the work: An experimental video piece in which the visuals change in sync with the classical piece “Bolero.” As more instruments are added, the corresponding movements are layered in, and the way the screen descends into delightful chaos is fun just to watch.

In March 2025, TAKANAWA GATEWAY CITY, a new urban district directly connected to JR Takanawa Gateway Station and one of the largest in central Tokyo, opened to the public. On the same site, THE LINKPILLAR 1 and Takanawa Gateway Station also fully opened. The remaining buildings will be completed and the grand opening will take place in spring 2026. From March 27 to June 28, the “Future Experience Theater” was open to the public at THE LINKPILLAR 1. WOW was responsible for planning, directing, and producing the film screened in this theater. Under the mission of “experiencing TAKANAWA GATEWAY CITY through film,” we chose an approach centered not on explanatory direction, but on storytelling that encourages emotional engagement. Featuring a modern-day boy as the protagonist, the story is set as a time-travel journey through Takanawa’s memories and the future envisioned for this city. Through the boy’s eyes, it portrays urban life and human connections born from history and culture, with the aim of creating a story that would inspire people who may one day live here to feel hope and anticipation for TAKANAWA GATEWAY CITY. The music was commissioned from the alternative rock band hitsujibungaku. The immersive experience of the full 3DCG film projected in a 180-degree cylindrical theater, combined with the world of the film woven by hitsujibungaku’s music, created an even more emotional viewing experience. (Courtesy of JR East)

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.