▶️Overview A one-minute animation of living creatures (and even inanimate objects like everyday items!) as they drift off to sleep. After finishing work, returning to their room, and settling into a relaxed state before falling asleep, they appear defenseless, a little pitiful, and somehow endearing. ▶️Production Method 2D digital animation

Under Wakui’s direction and technical support, this all-green-screen music video was produced using the VeAble office for the first time. As an external creator, Yu Takahashi, known for Blender short films such as “Showa 124,” participated and handled the background modeling.

Conceptually, it is an antithesis to the sense of confinement and fixed ideas that living things and phenomena must be reduced to symbols. Reality in our lives often contains many incomprehensible, inexplicable things, and everyone experiences this. I aimed to depict the lived-in feel of a collage world without a protagonist, with scenes that may or may not connect to one another, and a surrealistic expression in which people and objects exist in a fragmented world while breaking free of symbols and transforming. For painting, I mainly referred to Hieronymus Bosch and Bruegel; for film, Leos Carax, Sergei Parajanov, and Luis Buñuel. Originally, this piece of music itself was composed by NISHINA specifically for a GMO CLICK Securities commercial, and since it was inspired by the rough collage I was creating for that commercial, I think it became a work with a very strong affinity.

Music video for OGRE YOU ASSHOLE’s “More Like You Than You Yourself.” As the title suggests, since the song was about oneself and a person very similar to oneself—perhaps not a mere look-alike, but an existence created by technology such as a robot, AI, or clone—the idea began with wondering whether it would be interesting to make a video in which two different looks are going back and forth. While symbolically treating hand-drawn scenes created with pen on paper and scenes that have been reduced in resolution and pixelated, the two textures gradually blend together and follow a path toward becoming particles in the end. The basic approach is simple hand-drawn animation, with everything drawn on paper with a pen. To create a live-action-like quality of movement rather than a cartoonish one, many scenes were first animated in 3DCG and then rotoscoped by hand.