Chapter 257: Hiroshi Nohara Is The Seed! The Future Of Neon! Recognition From Everyone!
In the early morning pantry of Tokyo TV, the coffee machine gurgled with hot steam, and freshly baked red bean bread emitted a sweet aroma.
Nanako Sato, the young editor in charge of post-production for An Shizhi, held the freshly printed promotion notice in her hand, her voice full of excitement: “Look at this, everyone! Hiroshi-san really got promoted to Second-Class Director! And he’s also taking on the role of Deputy Director of Kanto Stage! This is too amazing!”
Keisuke Yamada, in charge of animation storyboards nearby, leaned over with eyes wide open: “Is it real? But it should be like this! No surprise! Last time I consulted Hiroshi-san about storyboard design, he just glanced at my sketch and pointed out ‘the rice straw man lens needs a low angle to highlight the sense of oppression.’ That segment later became the hottest part of An Shizhi! With his talent, he should have been promoted long ago!”
“Exactly!” Jin Hyakukawa, in charge of sound effects, walked over holding a coffee cup and nodded repeatedly. “Before recording the ‘Rainy Night Ghost’ unit of World of the Strange, I always felt the sound effects were missing something. Hiroshi-san had me add the ‘hollow echo of rain hitting a tin roof,’ and instantly it had that eerie feeling! This kind of control over details, I couldn’t catch up even after studying for another five years!”
Sumiko Tanaka, the cleaning aunt wiping the table, overheard their conversation and couldn’t help but chime in: “I clean Hiroshi-san’s office every day and always see his desk piled with artisan materials. He’s still revising proposals at night, sometimes working overtime until dawn without going home. A young person this hardworking and talented deserves the promotion!”
Nanako Sato shook the notice in her hand, her tone full of worship: “Look what it says in the notice: ‘Specially approved promotion to commend his outstanding contributions to cultural inheritance and program innovation’! Even the Station Manager personally signed it—this kind of treatment is rare!”
Keisuke Yamada scratched the back of his head and smiled: “I heard Section Chief Ichiro Hashimoto say before that for filming Taste of Neon, Hiroshi-san specially went to Chiba Fishing Port to learn net casting from fishermen for half a month. He got several blisters on his hands but didn’t complain of pain. With this kind of dedication, who can compare?”
Jin Hyakukawa took a sip of coffee and sighed: “I used to think ‘geniuses’ were born that way, until I saw Hiroshi-san. Now I know geniuses have to work ten times harder than others! Him getting promoted to Second-Class Director is no surprise to me—I even think it’s late!”
In Masao Iwata’s office, sunlight filtered through the blinds onto the desk, with the script for Oni-bō Samurai still spread at the corner.
He held an Asahi Shimbun with the news of Hiroshi Nohara’s promotion, and let out a soft sigh: “I used to be unconvinced, thinking his An Shizhi was just luck. But after seeing the rough cut of Seven Samurai—the lens switching between the hoe and the samurai sword during the farmers’ rebellion against the bully, that class conflict tension, I couldn’t achieve it.”
Soji Ashikaga, sitting opposite, held the storyboard script for Seven Samurai, his tone full of emotion: “When I directed costume dramas before, I only thought about making the armor shiny and the fights flashy, forgetting the core of the story. Hiroshi-san filming Seven Samurai even paid attention to the patches on the farmers’ clothes, saying ‘the position of the patches reveals the hardship of life’—this understanding of characters, I’m far behind.”
Masao Iwata put down the newspaper, tapping his fingers lightly on the desk: “Last time the station organized director training, Hiroshi-san lectured on ‘how to convey emotion through lenses’ and used the example from Late-night Diner of ‘the boss cooking ramen for a lonely old man,’ saying ‘no need to close-up the crying face; shooting the old man’s hand gripping the chopsticks is enough.’ At that moment, I felt he sees through things more clearly than us veteran directors.”
Soji Ashikaga nodded in agreement: “Exactly! When I directed War Chronicles before, I wanted to show the general’s loneliness with lots of empty shots, but viewers said ‘it’s incomprehensible.’ After watching Hiroshi-san’s World of the Strange, I realized ‘loneliness’ can be shown through the detail of the general repeatedly polishing an old sword—this ability to let details speak, I need to learn it well.”
Masao Iwata picked up his coffee cup, took a sip, and his tone carried a bit more relief: “Him getting promoted to Second-Class Director, no one can gossip. I used to always want to compete with him, but now I understand true greatness isn’t beating others—it’s driving the whole industry forward. With him at Tokyo TV, us veteran directors have to progress too, or we’ll really be eliminated.”
In Kei Tanaka’s office, the latest recording plan for Super Change Change Change was spread on the desk, with several young directors gathered around discussing Hiroshi Nohara’s promotion.
“Kei-san, you’ve collaborated with Hiroshi-san the longest. Tell us, hasn’t he deserved this promotion for a long time?” Nanako Takahashi, the director in charge of the family creativity segment, asked with full expectation in her tone.
Kei Tanaka put down his pen and nodded with a smile: “Of course! I still remember when Super Change Change Change first started, everyone thought ‘family transformations’ had no appeal. But Hiroshi-san insisted on ‘filming the process of families rehearsing together—that tacit understanding is more touching than the transformations themselves.’ After the first episode aired, one family resolved their parent-child conflict through rehearsing together, and viewer letters piled up a table!”
Kenta Watanabe, the director in charge of props, held a newly made “robot” prop and sighed: “Last time recording the ‘future world’ theme, my robot always felt like it was missing something. Hiroshi-san had me add a ‘family photo sticker’ on the robot’s chest, saying ‘no matter how advanced the tech, it can’t match the warmth of family.’ That segment became the most popular part of the episode!”
Nanako Takahashi shook a viewer letter in her hand, her tone full of worship: “Look at this letter: ‘Because of Super Change Change Change, our family does crafts together every week, and the neighbors are all envious’! Hiroshi-san doesn’t just make programs; he changes people’s lives. Who can compare to that skill?”
Kei Tanaka took a sip of tea and added: “There was also a time when a little kid forgot his lines on stage from nervousness. Hiroshi-san didn’t stop recording; instead, he had the host interact with the kid, and the kid eventually completed the performance smoothly. He always says ‘the program is important, but people’s feelings are more important’—this empathy is more precious than any technique.”
Kenta Watanabe scratched his head and smiled: “Now that Hiroshi-san is promoted to Deputy Director, he’ll definitely bring more great ideas to our Variety Department! I’m already looking forward to the new themes for Super Change Change Change!”
In the office of Tokyo TV’s Administration Department, several clerks were sorting documents when the topic naturally turned to Hiroshi Nohara’s promotion.
“Have you heard? Hiroshi-san got promoted to Second-Class Director and is also taking on Deputy Director of Kanto Stage!” Miho Kobayashi, the clerk in charge of filing documents, said in a voice full of surprise.
Kenichi Sato, the clerk in charge of expense reimbursements, held the just-reviewed Taste of Neon budget report and nodded: “He should have been promoted long ago! I saw the Taste of Neon budget report—every penny was spent wisely, like buying equipment for artisans or doing local research, never a cent wasted. Before, some director spent over 100 million just on star appearance fees for a variety show, yet the ratings weren’t even a fraction of Taste of Neon!”
Ryoko Takahashi, the clerk in charge of personnel files, held Hiroshi Nohara’s file and sighed: “Look at Hiroshi-san’s file—he’s been at the station less than two years, won three major industry awards, and his programs either drive cultural inheritance or change social trends. A talent like this, which station wouldn’t want?”
Miho Kobayashi put down her documents, her tone full of admiration: “Last time I delivered files to Hiroshi-san, I saw his office walls covered in artisan contact info, with notes like ‘call the old baker once a week to check bread sales.’ Who can be this dedicated?”
Kenichi Sato took a sip of tea and added: “There was also a time when Seven Samurai’s budget was tight, and Hiroshi-san voluntarily proposed ‘cut my own director fee and use the money for filming.’ Which director now doesn’t want more money? Only Hiroshi-san can do this!”
Ryoko Takahashi closed the file and smiled: “With Hiroshi-san at Tokyo TV, our station will definitely develop better in the future! I’ve already told my friends—I’ll follow all Tokyo TV programs from now on!”
In the Kanto Stage Production Department’s office, Yuichi Matsui held Hiroshi Nohara’s promotion notice and said to Ryuji Yamada, Ken Fujishita, and others, his tone full of emotion: “I used to think Tokyo TV people didn’t understand Kanto traditional crafts, until Nohara-kun talked to me about Ibaraki Prefecture lacquerware’s ‘sinking gold technique,’ even knowing the most obscure ‘red ground sinking gold’ method—that awe for culture is deeper than us native Kanto people. Him taking on Deputy Director, I’m convinced.”
Ryuji Yamada put down his “Kanto Lacquerware” proposal and nodded: “The ‘fishing port changes’ proposal I submitted before felt lacking to me, but Nohara-kun’s suggestion of ‘track filming fishermen families’ seasonal changes’ instantly brought it to life. Now when I chat with old fishermen in Chiba, they’re all eager for filming to start soon, saying ‘we want more people to know our lives.’ This ability to connect ‘works and hearts,’ he deserves the promotion.”
Ken Fujishita walked in hugging a stack of ad contracts, his chubby face squeezed into a grin: “Good news! The hesitant ‘Asakusa House’ sushi place heard Nohara-kun is taking on Deputy Director and immediately signed an annual ad contract, even saying they’ll sponsor Kanto Stage documentaries! Their boss said, ‘Programs following Nohara-kun will definitely touch hearts’!”
Kojiro Kobayashi leaned over too, his notebook filled with dense notes: “My previously rejected ‘old street visits’ and ‘traditional dyeing’ proposals have all been revived by Hiroshi-san! He said ‘every old craft has a story; the key is finding the point that resonates with young people.’ Now my proposals are booked through next year, and even NHK asked about co-production!”
Shigeru Saito, who had been silent, quietly pulled out his phone and showed footage from Taste of Neon filming—Hiroshi Nohara squatting on the ground kneading dough with the old baker, holding a small notebook seriously recording “yeast fermentation temperature controlled at 28 degrees.”
He shook his phone at everyone: “A director who can squat down to learn from artisans is a hundred times better than those who just sit behind the monitor barking orders.”
Yuichi Matsui watched the footage and nodded gently: “I used to think documentaries just needed to clearly film the crafts, until Nohara-kun told me ‘crafts are dead, people are alive; only by filming live people can you film live crafts.’ Now I understand why his programs are hits—because he films hearts!”
……
In Osaka Television Station’s meeting room, Kosaku Yamada held an Asahi Shimbun and said to the station’s directors, his tone full of emotion: “I’ve directed documentaries for thirty years, always trying to capture ‘tradition’ in its pure form, but forgot viewers need ‘resonance.’ Nohara-kun’s Taste of Neon puts the old baker’s longing into the dough, hides the fishermen’s resilience in the waves—this ‘seeing the big in the small’ skill is truly impressive.”
Director Yosuke Saeki, in charge of variety, held footage from Super Change Change Change and sighed: “Our station tried imitating Super Change Change Change with a family talent show, but it turned out like a farce. Later I learned Nohara-kun added ‘neighborly mutual help’ details, like neighbors helping with props or kids teaching elders transformations—that human connection, we didn’t capture at all.”
Director Mai Kobayashi, in charge of documentaries, held the Taste of Neon storyboard script, her tone full of admiration: “Look at this lens—the old baker’s hand trembles slightly when brushing egg wash on the bread. Nohara-kun gave this close-up five seconds, paired with the old baker’s hummed old tune—this ‘thunder in silence’ detail, why didn’t I think of it?”
Kosaku Yamada took a sip of tea and added: “Last time I went to Tokyo for an industry conference, I chatted with Nohara-kun about Seven Samurai’s creative approach. He said ‘farmers aren’t symbols of weakness; they have their own wisdom and courage.’ Rewatching Seven Samurai later, I realized the hoe in farmers’ hands has more power than the samurai sword during rebellion—this depth of character understanding, I’m far behind.”
Yosuke Saeki put down the footage and sighed: “Our station’s variety ratings are dropping lower. I told the team ‘learn Nohara-kun’s approach, film more warm details,’ but they always say ‘viewers just like spectacle.’ Seeing Nohara-kun’s promotion now confirms it—only heart-touching programs last.”
Mai Kobayashi closed the storyboard script and smiled: “I’ve applied to the Station Manager—next time in Tokyo, I must visit Nohara-kun and learn how to film warm documentaries. With people like him, Neon’s documentaries have a future!”
……
In Nagoya Television Station’s office, several young directors crowded around the computer, repeatedly watching Seven Samurai footage, discussing animatedly.
“Look at this lens—the farmer’s hand gripping the hoe has swollen finger joints and dirt under the nails—Nohara-kun even noticed this detail!” Kenta Takahashi, the director in charge of costume dramas, pointed at the screen, his tone full of surprise.
Nanako Sato, the director in charge of documentaries, held Taste of Neon shooting notes and nodded: “When I filmed ‘Nagoya Miso,’ I only focused on the production process, and viewers said ‘too dry.’ After seeing Nohara-kun’s shooting notes, I realized he didn’t just film the old baker kneading dough but also saving favorite flavors for old customers—this ‘human touch,’ I never considered before!”
Keisuke Suzuki, the director in charge of post-production, held World of the Strange editing materials and sighed: “Last time editing the ‘Clockmaker’s Secret’ unit, the pacing felt off. Learning Nohara-kun’s editing approach, I intercut close-ups of the clockmaker repairing watches with his daughter’s photos, and viewers said ‘it made us cry’! This skill of linking emotions with details is too impressive!”
Kenta Takahashi took a sip of coffee and added: “In my previous costume dramas, actors’ armor was brand new and shiny. Nohara-kun said ‘scratches and rust on armor reveal the general’s experiences.’ Later, I had props aged with battle scars, and viewers said ‘it feels immersive’—this obsession with details, I need to learn well.”
Nanako Sato put down the shooting notes and smiled: “Now that Nohara-kun is promoted to Deputy Director, I hear he’s pushing the ‘cultural export’ project. Maybe Nagoya’s miso and lacquerware will get into documentaries and go global!”
Keisuke Suzuki nodded, his tone full of expectation: “If we can collaborate with Nohara-kun, I definitely want to learn from him how to film warm works. With directors like him, Neon’s film and television industry will only get better!”
……
In Hokkaido Television Station’s meeting room, Ryo Takeuchi held footage from Taste of Neon on Hokkaido fishing season and said to the young directors, his tone full of emotion: “When I filmed fishing season, I only thought to record how fishermen catch fish, forgetting to film wives preparing hot tea at 3 a.m. when they get up. Nohara-kun captured these details—viewers aren’t watching fishing techniques, but the human touch behind it!”
Kenta Kobayashi, the director in charge of documentaries, held Taste of Neon research materials and nodded: “I went to Asahikawa in Hokkaido to film ‘ramen master,’ only capturing the production process, and viewers said ‘no feeling.’ After seeing Nohara-kun’s research materials, I learned he lived with the old baker for a month before filming to understand his story—this ‘immerse in life’ attitude, I couldn’t do before!”
Keisuke Sato, the director in charge of cinematography, held Seven Samurai cinematography notes and sighed: “Last time filming ‘Hokkaido Snowscape’ documentary, the images felt lacking. Learning Nohara-kun’s cinematography approach, using low angles on footprints in the snow with wind sounds, viewers said ‘immersive’! This ability to convey atmosphere through lenses is too impressive!”
Ryo Takeuchi took a sip of tea and added: “I chatted with Nohara-kun before about the creative approach for Flavors Across Mountains and Seas. He said ‘film collisions of different cultures, like Hokkaido catches combined with Southeast Asian spices’—this international vision, us local station directors are far behind.”
Kenta Kobayashi put down the research materials and smiled: “Now that Nohara-kun is promoted to Deputy Director, I hear NHK wants to collaborate with him on ‘cultural export’ projects. Our Hokkaido fishing season and Sapporo ramen might get filmed. Then, the whole world can see Hokkaido’s beauty!”
Keisuke Sato nodded, his tone full of expectation: “If I can film with Nohara-kun, I definitely want to learn from him how to use lenses to record culture and convey emotion. With people like him, Neon’s traditional crafts and stories will be known by more people!”
……
The discussion in the Neon Broadcasting Association meeting room continued, afternoon sunlight filtering through the floor-to-ceiling window, casting dappled light and shadow on the desk.
Masao Watanabe hung up the phone with Yuichi Miyazawa, turned to the group, his eyes more serious: “Everyone, I just talked with Minister Miyazawa. He agrees with our idea—Hiroshi Nohara isn’t just Tokyo TV’s talent; he’s a ‘blue-chip stock’ for Neon’s entire cultural field. Our association must cultivate him as a key target.”
Kiyokazu Sato immediately put down his documents, leaning forward slightly: “Chairman Watanabe is right. Now in Neon’s film and television industry, the older directors mostly stick to tradition, and the younger generation lacks capable leaders. Hiroshi Nohara perfectly fills this gap—he understands the value of traditional crafts, gets young people’s aesthetics, and grasps international market needs. Not focusing on cultivating him would be a pity.”
“Exactly!” Ryuji Yamada took over, tapping his fingers lightly on the desk. “I talked with the Ministry of Education’s Cultural Bureau Director before. He said the cabinet’s biggest headaches are ‘cultural inheritance gaps’ and ‘weak international promotion.’ Hiroshi Nohara’s Taste of Neon solves both: making young people re-engage with traditional crafts and letting foreigners understand Neon culture through gourmet. Pushing him to higher platforms benefits the nation’s cultural strategy.”
Masao Watanabe nodded, pulling a thick folder from the drawer and placing it on the desk: “This is all of Hiroshi Nohara’s works and industry evaluations compiled by my secretary. See, from An Shizhi to Seven Samurai, every work is a breakthrough; from regular director to Independent Production Department Head, now to Second-Class Director and Kanto Stage Production Bureau Deputy Director—his growth outpaces peers. More importantly, he has talent and understands ‘responsibility’—pushing neighbor interactions in Super Change Change Change, focusing on lonely groups’ needs in Late-night Diner. Such responsible youth deserves our full resource support.”
Kiyokazu Sato picked up the folder, flipping quickly, his tone full of emotion: “Look at this viewer survey—Taste of Neon has over 60% viewers aged 20-30, plus 15% foreigners. Traditional craft documentaries used to attract mostly middle-aged and elderly; Hiroshi Nohara makes young people and foreigners interested—this ‘breaking circles’ ability is innate and from hard work.”
Ryuji Yamada suddenly thought of something, his tone with more expectation: “I have an idea. Our association can partner with Tokyo TV to set up a ‘Cultural Innovation Special Fund’ for Hiroshi Nohara, supporting ‘tradition-modern fusion’ projects. Like a ‘youthifying traditional crafts’ documentary or developing Taste of Neon overseas derivatives—this expands his creative boundaries and sets an ‘innovation benchmark’ for the industry.”
Abehide Suzuki immediately nodded in agreement: “Great idea! The special fund provides not just funding but resource connections—like Ministry of Education artisan channels, Foreign Ministry overseas promotion, even cabinet cultural export policies. With these, Hiroshi Nohara’s works can influence far more.”
Masao Watanabe smiled gratified at the heated discussion: “Your ideas are spot on. But we need to think longer-term—Hiroshi Nohara is only 23, with decades ahead. We support not just his creation but build ‘industry influence’ and ‘social recognition.’ Like recommending him to the Agency for Cultural Affairs’ ‘Traditional Crafts Protection Committee,’ inviting him as International Documentary Festival judge, or involving him in cabinet ‘Cultural Strategy Seminars.'”
Kiyokazu Sato paused, then understood: “Chairman Watanabe, you want… him to develop toward ‘cultural policy’?”
Masao Watanabe didn’t answer directly, looking out at Tokyo streetscape, his tone with a touch of emotion: “Neon most lacks ‘culture-savvy, promotion-savvy, policy-savvy’ composite talents. Hiroshi Nohara has creation ability, understands grassroots needs; international vision for overseas markets; responsibility for cultural inheritance. If he gradually engages politics, he could bridge ‘cultural circle’ and ‘political circle’—more valuable for the nation’s long-term development than just being a director.”
Ryuji Yamada’s eyes lit up: “Right! Cabinet cultural policies are mostly politicians’ whims, rarely considering actual promotion effects. If Hiroshi Nohara participates, he can suggest from creator’s view, making policies fit market and people. Like Ministry of Education’s ‘traditional crafts promotion plan’—too rigid, poor results. If Hiroshi Nohara designs it, maybe like Taste of Neon, land policies through ‘storytelling.'”
Kiyokazu Sato nodded too, full of agreement: “I talked with Minister Tadashi Hattori before. He said Tokyo Metropolis’ ‘cultural revitalization plan’ lacks a ‘promotion-savvy’ consultant. If we recommend Hiroshi Nohara to Minister Hattori for plan formulation and promotion, it could elevate Tokyo’s cultural influence. Plus his great public reputation boosts policy acceptance.”
Abehide Suzuki suddenly raised a concern, tone worried: “But Hiroshi Nohara focuses on creation now—will he resist politics? Many creators hate ‘policy binding.'”
Masao Watanabe smiled and shook his head: “I’m not worried. I talked with Nobuhiko Sakata before—he said Hiroshi Nohara focuses on creation but knows ‘culture needs policy support.’ For Taste of Neon, he proactively linked local governments for ‘traditional crafts protection subsidies’; for ‘cultural export’ plans, he’s willing to communicate with cabinet departments. He’s not ‘closed-door creator’ but knows ‘riding the momentum’—engaging politics won’t lose his creative heart but better push cultural development via policy.”
Ryuji Yamada picked up the file to the Flavors Across Mountains and Seas proposal, tone full of expectation: “Look at this proposal—Hiroshi Nohara plans to film Neon artisans collaborating with locals in Southeast Asia, Middle East, Europe. If done well, it boosts Neon culture’s international influence and aids cabinet ‘cultural diplomacy.’ If our association connects him with Foreign Ministry embassies and local Neon cultural centers for filming support, effects double with half effort.”
Kiyokazu Sato added: “I can coordinate with NHK to promote Flavors Across Mountains and Seas as ‘annual key project’—prime time domestic airing plus NHK overseas channels for global reach. This spreads Hiroshi Nohara’s influence internationally faster, showing cabinet his ‘strategic value’—paving for higher policy access.”
Masao Watanabe smiled knowingly at the back-and-forth: “Everyone has clear ideas. Next, three steps: first, partner Tokyo TV for ‘Cultural Innovation Special Fund’ supporting his creation; second, recommend him to Agency for Cultural Affairs and cabinet meetings for policy experience; third, connect international resources to boost his global profile. We show cabinet Hiroshi Nohara can not only make great works but be Neon’s cultural strategy ‘core driver.'”
Abehide Suzuki suddenly recalled something: “Chairman Watanabe, should we communicate with Tokyo TV first? After all, he’s Tokyo TV’s—our cultivation plan needs Nobuhiko Sakata’s support.”
Masao Watanabe nodded with a smile: “Already considered. This afternoon I’ll visit Station Manager Sakata at Tokyo TV to discuss in detail. Given his regard for Hiroshi Nohara, he’ll fully cooperate—not just for him personally, but for Tokyo TV and Neon’s cultural future.”
The meeting room atmosphere grew heated, topic shifting from “cultivation plan” to “young generation’s responsibility.”
Kiyokazu Sato put down his folder, tone emotional: “Actually, our emphasis on Hiroshi Nohara has another key reason—Neon’s young generation mostly lacks ‘responsibility’ and ‘long-term vision.’ Many young people enter film and TV just for quick-money variety or idol dramas, few willing to focus on cultural-value works. Hiroshi Nohara is the exception—spending half a year tracking an old baker, polishing a single lens repeatedly—this ‘artisan spirit’ all youth should learn.”
Ryuji Yamada agreed deeply, pointing at Taste of Neon filming footage on the desk—Hiroshi Nohara squatting learning dough-kneading from old artisan: “See this lens—for Saitama old bakery segment, he stayed a full month, up at 3 a.m. daily prepping ingredients with Mr. Sato, blisters on hands without complaint. Few young people today have this ‘patience.'”
Abehide Suzuki continued, tone helpless: “I’ve met recent grad directors who don’t even research interview subjects for documentaries, just rush to finish. Compared to Hiroshi Nohara, they lack not just talent but attitude. Cultivating him sets a ‘model’ for the young generation—telling them, success needs not just talent but effort and responsibility.”
Masao Watanabe nodded, tone grave: “Neon’s economy grows uncertain, real estate bubble will burst eventually, bringing ‘confidence crisis’ to society. That’s when warm, powerful cultural works are needed to unite hearts. Hiroshi Nohara’s works do that—Late-night Diner warms the lonely, Seven Samurai shows courage against dilemmas, Taste of Neon rediscovers everyday beauty. Such works touch hearts more than any policy slogan.”
Kiyokazu Sato added immediately: “And his works drive ‘cultural economy.’ After Taste of Neon, Saitama old bakeries’ monthly sales tripled, Chiba Fishing Port got more tourists, local taxes rose. Scaling this ‘culture drives economy’ model could be a ‘new path’ for economic crisis. Hiroshi Nohara is the ‘pioneer.'”
Ryuji Yamada looked at the files and said: “Another idea—our association partners education departments to include Hiroshi Nohara’s works in ‘elementary-middle school cultural textbooks.’ Use Taste of Neon clips to teach kids traditional crafts, World of the Strange units for human nature’s good-evil. This spreads his works to more youth, cultivating cultural identity from young—far more effective than plain policy propaganda.”
Masao Watanabe’s eyes lit up, nodding: “Great! Tomorrow I’ll contact Ministry of Education’s education committee to push this. His works have artistry and education value, perfect for textbooks. This penetrates broader groups, building foundation for his cultural policy involvement.”
Discussion continued—from cultivation to role modeling, cultural economy to education promotion—everyone strategizing for Hiroshi Nohara’s future and Neon’s cultural development.
Outside, dusk fell, city neon lights flickering, lighting expectant faces in the meeting room.
……
At dusk, Masao Watanabe drove to the cabinet office building with compiled Hiroshi Nohara materials.
In the Agency for Cultural Affairs meeting room, he met Chief Cabinet Secretary Kenichi Matsumoto and Minister of Education Takashi Tanaka.
“Chief Secretary Matsumoto, Minister Tanaka, thank you for seeing me amid your busy schedules.” Masao Watanabe handed over the materials, tone respectful yet firm. “Today, I mainly want to recommend someone to you—Hiroshi Nohara from Tokyo TV.”
Kenichi Matsumoto took the materials, flipped a few pages, tone curious: “Hiroshi Nohara? I’ve heard of him—the young director who did Taste of Neon?”
“Exactly!”
Masao Watanabe nodded, full of praise: “He didn’t just do Taste of Neon but also An Shizhi, Seven Samurai, Super Change Change Change, and more excellent works. Now specially approved by Tokyo TV to Second-Class Director, also Kanto Stage Production Bureau Deputy Director. I’m here to suggest the cabinet treat him as ‘cultural field key cultivation talent.'”
Takashi Tanaka took the materials, scrutinizing Taste of Neon overseas data, eyes full of surprise: “Taste of Neon has 8 million on-demand views in Southeast Asia? And boosted local tourism and traditional crafts revival? This young man has real skill.”
Masao Watanabe quickly added: “His skills go beyond. See this—Super Change Change Change changed Neon’s ‘neighbor indifference’ social trend, sparking community family activities; Seven Samurai acclaimed as ‘new samurai film benchmark’ with international film festival nomination. Importantly, he’s only 23, unlimited potential.”
Kenichi Matsumoto put down the materials, tapping the desk, tone contemplative: “Chairman Watanabe, you mean the cabinet gives this young man more resources and platforms?”
“Yes!”
Masao Watanabe firm: “Cabinet pushes ‘cultural export’ and ‘traditional crafts revival’ strategies—Hiroshi Nohara is perfect ‘core executor.’ He knows creation for domestic-international appeal; promotion to truly ‘go global’; responsibility for cultural inheritance. Cabinet support accelerates strategy and cultivates a capable ‘young leader.'”
Takashi Tanaka nodded, full of agreement: “Ministry of Education’s headaches are ‘no inheritance for traditional crafts’ and ‘stale cultural promotion.’ Hiroshi Nohara’s Taste of Neon solves both. If he leads more like ‘youthifying traditional crafts’ or ‘international cultural exchange documentaries,’ great help for our cultural strategy.”
Kenichi Matsumoto looked at them: “Besides resource support, what else for this young man? Involve him in cabinet cultural policy meetings?”
Masao Watanabe’s eyes brightened, nodding: “Exactly my suggestion! Policy meetings let him suggest from creator view for practical policies, building ‘policy vision.’ Future, he could bridge ‘cultural circle’ and ‘political circle’—Neon lacks culture-promotion-savvy political composites.”
Takashi Tanaka agreed: “I concur. First invite as ‘cultural consultant’ to Ministry of Education ‘Traditional Crafts Protection Committee,’ then gradually higher policy. Like ‘cultural export special plan’ formulation or ‘elementary-middle school cultural education reform’ research—leverages strengths, familiarizes him with politics.”
Kenichi Matsumoto pondered, then serious: “Good! Follow your suggestions. Chairman Watanabe, coordinate with Tokyo TV’s Nobuhiko Sakata—cabinet provides special funding/policy support, invites him to meetings/projects. Let him know cabinet values him; the nation needs such talent.”
Masao Watanabe smiled gratified: “Thank you, Chief Secretary Matsumoto, Minister Tanaka! With cabinet support, Hiroshi Nohara will contribute more to Neon’s cultural development.”
Leaving the cabinet building, night had fallen, Tokyo streets ablaze with lights.
Masao Watanabe gazed at distant glittering skyscrapers, heart full of expectation—this recommendation paves a broader path for Hiroshi Nohara and plants a hopeful seed for Neon’s cultural future.
And this seed will soon grow into a “towering tree” supporting the industry, even national cultural development.
Masao Watanabe’s eyes sparkled with radiance, his heart filled with unparalleled pride: “If confronting the rice pigs again in the future, Hiroshi Nohara is the seed I’ve left for Neon’s resurgence!”
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