Chapter 248: Social Sensation! All Of Neon’s Media Gets Swept Up! The Documentary Explodes!
On the morning of October 17th, the streets and alleys of Tokyo were filled with the fresh scent of newspaper ink.
Whether at the newsstand in Shinjuku subway station or the shelves of Ginza convenience stores, 《Asahi Shimbun》《Yomiuri Shimbun》《Mainichi Shimbun》 and other mainstream newspapers’ front pages were all dominated by the same news—Taste of Neon》’s 24.1% ratings set a record, ushering in a golden era for humanistic documentaries.
《Asahi Shimbun》’s front page featured bold black letters: “24.1%! Rewrites Neon Documentary History,” with a black-and-white photo below of Masayasu Nomizu piloting his boat out to sea. The text beside the photo was particularly striking: “This documentary, directed by Hiroshi Nohara of Tokyo TV, uses the daily life of Chiba fisherman Masayasu Nomizu as its entry point, linking food and humanities with delicate cinematic language. Not only did it achieve the highest documentary ratings in nearly a decade, it also prompted audiences across Neon to reexamine the value of native culture and ordinary lives.”
《Yomiuri Shimbun》 focused on “social impact,” with a front-page headline: ” Effect: Chiba Fish Market Foot Traffic Doubles, Traditional Crafts Revived.”
The article detailed: “Since airing on October 15th, daily foot traffic at Chiba Prefecture’s fish market has risen from 3,000 to 6,500 people, with a 300% surge in tuna sales at Masayasu Nomizu’s fish shop. Even more noteworthy, traditional shops like Gunma Prefecture’s soba noodle shop ‘Sato-ya’ and Saitama Prefecture’s old bakery ‘Tanaka-ya’ have received apprentice applications from young people—Hiroshi Nohara’s documentary has awakened public attention and desire to preserve traditional crafts.”
Even 《Nikkei》, which typically emphasizes economic news, devoted a column in the corner of its front page titled “‘s Economic Value: Native Ingredient Orders Up 20%, Cultural Tourism Sees New Opportunities.”
The column noted: “Companies like Marui Soy Sauce and Hokkaido Fisheries Cooperative have leveraged Taste of Neon’s popularity to launch ‘limited products,’ with orders up 22% month-over-month; Chiba, Gunma, and Saitama prefectures have jointly introduced a ‘Taste Journey’ tourism route, selling 12,000 copies in the first week of pre-sales. Industry insiders predict this documentary will drive over 5 billion yen in revenue for related sectors.”
In Osaka, 《Osaka Asahi Shimbun》’s front page was also dominated by 《Taste of Neon》, with a headline full of Kansai enthusiasm: ” Takes Kansai by Storm! Audiences Call for ‘Broadcasting Rights, Osaka Food Story Version.'”
The article quoted an interview with Yomiuri TV Osaka Department Head Kiyoshi Matsumoto: “Hiroshi Nohara’s filming techniques are worth studying by all practitioners—he avoids flashy effects, focusing solely on real people and events. We have applied to Tokyo TV for Taste of Neon》 broadcasting rights and are planning an , hoping to capture Kansai’s humanistic warmth.”
Hokkaido’s 《Hokkaido News》 approached from the angle of “regional resonance,” with a front-page photo of local fishermen gathered around a TV, headlined “‘s Sea Sentiment Touches Hokkaido Fishermen’s Hearts.”
The article stated: “After watching the documentary, fisherman Kenji Sato from Kushiro City, Hokkaido, sent a letter to Tokyo TV: ‘Masayasu Nomizu’s words “The sea gives what we eat” echo our ancestors’ creed. Taste of Neon》 shows us that whether in Chiba or Hokkaido, fishermen’s awe and dedication to the sea are universal.'”
These newspapers not only featured major front-page reports but also dedicated special sections in their culture pages, collecting submissions from film critics, scholars, and ordinary viewers.
On streets and alleys, people everywhere were seen holding newspapers discussing 《Taste of Neon》—office workers passing around film reviews on the subway, housewives in supermarkets sharing plans to “eat tuna in Chiba,” students debating in classrooms “whether to learn soba making.” Taste of Neon》 is no longer just a documentary; it has become a hot social topic across Neon.
……
With the overwhelming newspaper coverage, Neon’s film and television industry has ignited a heated discussion on the “educational value of humanistic documentaries.”
On the afternoon of October 17th, the Tokyo Film and Television Practitioners Association held a special seminar, attended by nearly a hundred directors, screenwriters, and producers. The core topic was “How Redefines the Educational Significance of Humanistic Documentaries.”
Of course, the Tokyo Film and Television Practitioners Association is essentially Tokyo Television Station’s own turf.
Naturally, it would promote Hiroshi Nohara’s work.
Association Chairman and veteran director Eiji Kurosawa spoke first, dressed in a dark kimono, clutching the Taste of Neon》 broadcast disc, his tone solemn: “In this era overrun by idol variety shows, many have forgotten the essence of documentaries—recording truth and conveying values. Hiroshi Nohara-kun’s achieves this in the simplest way. In the first episode, Masayasu Nomizu heads out to sea at 3 a.m., his callused hands pulling in the net, his focus inspecting tuna—these details teach audiences the meaning of labor better than any textbook. This is the best education—not rigid preaching, but stories that spark resonance.”
First-class director Keiko Matsumoto, seated nearby, nodded in agreement. She set down her coffee cup, her tone full of affirmation: “I’ve directed romance dramas for thirty years and always believed ’emotional resonance’ is content’s core. But showed me humanistic documentaries have even greater power. At the end of the first episode, Masayasu Nomizu stands at the pier saying ‘The sea gives what we eat’—no ornate rhetoric, yet it embodies awe for nature and restraint of desires. This value transmission has more educational meaning than any entertainment show. Young people today often say they’re ‘confused,’ perhaps because they’ve gone too long without seeing such real lives, without understanding the weight of ‘persistence’ and ‘cherishing.'”
Newcomer director Soji Ashikaga unusually set aside his arrogance, his tone sincere: “I used to direct period dramas chasing grand scenes and twisty plots. But Taste of Neon》 taught me true ‘grandeur’ lies in details. Masayasu Nomizu untying ropes, the auctioneer’s bidding rhythm, banter among old fish shop customers—these build a real fisherman world. Through it, audiences learn fishery operations and the hardship of ingredients—this is the most vivid ‘native cultural education.’ In future period dramas, I’ll add such details so viewers not only follow the story but understand history and culture.”
After the seminar, the association issued the 《Humanistic Documentary Development Initiative》, calling on the industry to “use as a benchmark, emphasize documentaries’ educational value, and focus on native culture and ordinary lives.”
The initiative specifically noted: “Taste of Neon》’s success proves humanistic documentaries are not ‘niche products’ but ‘mainstream content’ sparking nationwide resonance. Its educational significance lies in preserving traditional culture, promoting labor spirit, guiding values—these are core values Neon’s film and television industry must uphold.”
Of course, this was also a Tokyo Television Station promotion tactic.
And not just the film and television circle.
Traditional media like newspapers also began large-scale promotion.
Weighty reports started appearing one after another:
Kanto region newspapers: In-depth interpretations by professional film critics 《Asahi Shimbun》 culture page: 《’s Cinematic Language Reconstructs Humanistic Documentary Aesthetics》
（Film Critic: Akira Saeki）
Taste of Neon》’s first episode uses 50 minutes to reconstruct humanistic documentary aesthetics. Hiroshi Nohara’s collaboration with Director of Photography Shigeru Saito perfectly balances “authenticity” and “beauty.”
The opening shot of Chiba Pier in morning mist is one of the film’s most iconic. Shigeru Saito uses “side lighting + slow motion,” giving the mist layered texture—clear silhouettes of fishing boats in the foreground, shimmering sea in midground, sky fading to pale pink in background. This light and shadow avoids over-beautification yet infuses the “morning departure” scene with poetry. Even better, the lens doesn’t linger on the “scene” but pushes in slowly to Masayasu Nomizu untying ropes—rough skin, callused knuckles, sea salt in nail crevices, all strikingly clear in side light. Hiroshi Nohara’s “scene enhances person, person conveys emotion” lets viewers feel the image’s beauty while instantly empathizing with Masayasu Nomizu’s labor hardships.
The tuna auction scene demonstrates precise “rhythm” control. The lens starts with a wide shot of the bustling market, capturing crowd noise and movement; cuts to mid-shot on the auctioneer’s gestures and expressions; ends in close-up—Masayasu Nomizu eyeing the tuna, fingers gently pressing. This “wide-mid-close” progression, synced with accelerating bids, infuses the mundane auction with tension. Cleverly, Hiroshi Nohara skips voiceover, letting ambient sounds flow—bidding, footsteps, tuna thuds—building immersion as if onsite. This “sound conveys rhythm, lens guides emotion” breaks traditional “voiceover-dominant” documentaries, drawing viewers deeper.
The ending shot of Masayasu Nomizu gazing at the sunset from the pier is textbook-level humanistic documentary closure. Using “low-angle upward shot,” it forms a triangular composition with his figure, sunset, and sea, emphasizing the subject’s prominence and human-nature harmony. Piano piece weaves with waves as his line “The sea gives what we eat” rises softly—no excess explanation, yet the “awe nature, restrain desires” theme elevates naturally. This perfect fusion of “image, sound, dialogue” amplifies emotional power, leaving lingering aftertaste.
Taste of Neon》’s cinematic language eschews flashy effects and edits, yet reveals humanistic documentary aesthetics in simplest form—authenticity is beauty, details are beauty, emotion is beauty. It sets a benchmark for creators: great cinematic language isn’t for “looking good” but “conveying”—real lives, profound emotions, valuable ideas.
……
《Yomiuri Shimbun》 entertainment page: 《’s Narrative Structure Gives Humanistic Documentaries “Warmth and Depth”》
（Film Critic: Kiyoshi Sato）
Before Taste of Neon》’s first episode aired, many feared “fishermen’s daily life” would be dull. But Hiroshi Nohara’s ingenious narrative structure makes it both “warm” and “deep,” shattering stereotypes.
The film uses “dual-line narrative”: one follows Masayasu Nomizu’s “day”—pre-dawn fishing, morning tuna auction, afternoon fish shop sales and customer chats; the other “stories behind food”—via his perspective, showing fishermen’s labor, auctioneer’s expertise, chefs’ craftsmanship. Interwoven, the “day” expands to “fishery ecosystem.” E.g., during sea departure, brief cut to co-op staff checking nets; post-auction, restaurant chefs selecting tuna. These “side details” enhance completeness without disrupting pace, showing “one sashimi needs many hands.” This elevates beyond “single biography” to broader vision.
For “emotional delivery,” Hiroshi Nohara uses “blank space narrative”—no forced sentiment, yet warmth everywhere. Out at sea with crew, no dialogue, just tacit coordination—steering, net sorting, sea watching. Lens quietly records, conveying “team warmth”; at shop with old customers, simple “Today’s tuna is fresh” evokes neighborly familiarity. Most touching: mentioning “son unwilling to inherit fishery,” lens freezes on his back wiping the boat, no probing. This “non-intrusive” lets emotions feel real, giving space for reflection—traditional crafts face what dilemmas?
Rarer still, it weaves “deep reflection.” “The sea gives what we eat” is fishermen’s philosophy, implying “sustainability”; auctioneer’s “tuna numbers down, control catches” highlights environmental protection. Not preachy, but natural via dialogue and scenes. Viewers feel warmth while pondering “human-nature relations” and “tradition-modern balance”—humanistic documentary depth.
Taste of Neon》’s structure proves humanistic documentaries can be engaging and substantial: “dual-line” for breadth, “blank space” for warmth, “implicit reflection” for depth—worthy of all creators’ study.
……
《Mainichi Shimbun》 arts page: 《’s Humanistic Care Makes “Ordinary People” Protagonists》
（Film Critic: Keisuke Yamada）
What moved me most in Taste of Neon》’s first episode wasn’t exquisite lenses or clever narrative, but consistent “humanistic care”—Hiroshi Nohara makes “ordinary people” absolute stars, letting their stories, emotions, values be seen nationwide.
Masayasu Nomizu breaks the “documentary leads need legends” myth. No epic feats, just ordinary fisherman—pre-dawn seas, experience-spotting shoals, strength-hauling nets, eye-picking tuna. Yet Hiroshi Nohara captures his “sparkles”: sea awe（bows to sea before departing）, work focus（intent gaze checking tuna）, customer sincerity（extra tuna belly for regulars）. Unexaggerated, they make him vivid and real. Viewers see not a “symbolic” fisherman, but a flesh-and-blood person with emotions and convictions. This “eye-level” view is humanistic care’s core—neither condescending nor adoring, just objective, sincere recording of ordinary lives.
Beyond him, “supporting roles” brim with warmth. Auctioneer Kosuke Sato gets a close-up—sweat beads bidding, fingers flipping price cards show “professionalism”; fish shop regular Sumie Tanaka chats “Today’s sashimi as fresh as when my late spouse bought it,” evoking nostalgia and cherishing. Brief parts enrich the story, affirming “every ordinary person has value.” Hiroshi Nohara doesn’t sideline these “little people” for the lead, but respects them with lenses—this “no one overlooked” is humanistic documentaries’ treasure.
Crucially, this care sparks “self-resonance.” Post-viewing messages: “Reminds me of my fisherman grandpa, out dawn to dusk” “Masayasu Nomizu checking tuna recalls Dad’s work focus.” From authentic ordinary life records—no beautifying hardships, no dodging inheritance woes. Viewers see family, friends, selves in these lives—this “seeing” transcends entertainment, linking people and life.
Taste of Neon》’s humanistic care tells us: ordinary stories deserve recording; ordinary persistence, respect; ordinary values, transmission. This is humanistic documentaries’ true meaning.
……
Other regional newspapers reported similarly:
《Osaka Asahi Shimbun》 culture page: 《’s “Worldly Life,” Captures Kansai Hearts》
（Film Critic: Yoko Nishimura）
As a born-and-bred Osakan, I thought “Chiba fisherman life” irrelevant to Kansai. But Taste of Neon》’s first episode, thick with “worldly life,” strongly resonated with this Kansai viewer.
The resonance stems from shared “labor spirit” recognition. Masayasu Nomizu out at 3 a.m., arm muscles taut hauling nets, sweat trickling—evokes Osaka okonomiyaki bosses prepping batter and ingredients from 5 a.m., busy till late. Chiba fishermen or Osaka artisans share dedication to work, obsession with craft. Hiroshi Nohara doesn’t belabor it, but details naturally reveal: handing fresh tuna to smiling customer mirrors okonomiyaki handover—that “labor brings joy” satisfaction transcends regions.
The “food culture” feels intimate too. Chiba sea-focused, Osaka snack-famous, but “ingredient respect” unites. Masayasu Nomizu checks tuna freshness, sells only best; Osaka takoyaki vendors pick freshest octopus, perfect batter for crisp-outside-tender-inside balls. In first episode, slicing sashimi—blade glides fish meat, clear texture, pure freshness moves sans decoration. This “ingredient-first” aligns with Kansai food ethos. Post-viewing Kansai messages: “Want to take kids to Chiba for tuna, show them Osaka takoyaki’s artisan persistence too.”
Most touching: the “human relations.” At Masayasu Nomizu’s shop, old customers chat family; crew beers post-net; auctioneer jokes fishermen—this neighborly familiarity, friend tacit understanding abounds Osaka old streets. My building’s soba shop boss
remembers every regular’s taste, even no-scallion or thick-broth preferences; neighbor veggie auntie saves freshest radish for steady old woman granny. This everyday “human relations” warmth is universal. Hiroshi Nohara films it finely, no forced tears, yet I called the soba boss post-viewing for weekend cold noodles—Taste of Neon》’s magic awakens cherishing nearby “worldly life.”
……
《Hokkaido News》 arts page: 《’s “Sea Sentiment,” Heart-to-Heart with Hokkaido Fishermen》
（Film Critic: Kenta Kitajima）
As Kushiro City native, raised on fisherman tales, Masayasu Nomizu’s boat scene in Taste of Neon》’s first episode teared me up—familiar waves, boat sway, weathered faces mirror Hokkaido fishing villages.
Hiroshi Nohara best grasps “sea-fisherman bond.” “The sea gives what we eat” unlocks Hokkaido fishermen memories. My late grandpa, a fisherman, said “sea generous but temperamental, no greed.” Hokkaido seasons follow “catch big release small,” no overfishing; storms, mutual “stay ashore” warnings despite income loss. This awe, nature-yielding is Masayasu Nomizu and Hokkaido kin’s “survival philosophy.” No voiceover; via daily—net checks pre-sea, releasing small fish, rational auction pricing—viewers grasp “fishermen-sea symbiosis.”
Details hit home for Hokkaido fishermen. Masayasu Nomizu rubs anti-slip fish oil pre-untying—old Hokkaido habit; finger-pressing tuna elasticity for freshness—ancestral “secret.” Unseen elsewhere, precisely captured by Hiroshi Nohara. Neighbor fisherman Uncle Sato wrote Tokyo TV: “Nohara-kun filmed not Chiba but all Neon’s fishermen. We Hokkaido ones ice-fish winter, save best seafood for customers—seen, we’re happy.”
Rarer, Taste of Neon》 spotlights Hokkaido “fishing village culture.” Lately, tourism bureau gets calls: “Can visit Kushiro fishing villages for fishing experience?” “Fresh cod roe where?” Old fishermen excited, prepping heirloom gear to share “sea stories.” Hiroshi Nohara connects Chiba-Hokkaido villages, reveals Neon’s sea culture beyond Chiba tuna—Hokkaido cod, scallops too—each coast’s fishermen guard seas, pass culture their way.
……
《Nagoya News》 entertainment page: 《’s “Craft Inheritance,” Gives Nagoya Artisans Hope》
（Film Critic: Masako Nakamura）
Nagoya famed for eel rice, tempura, many decades-old shops. But lately, youth shun inheritance, shops face “no successors.” Post-Taste of Neon》 episode 1, Nagoya artisan circles buzzed—saw selves in Masayasu Nomizu, hope for craft passing.
Hiroshi Nohara films “inheritance dilemmas” raw. Masayasu Nomizu on “Tokyo office worker son won’t fish,” tone helpless. Nagoya artisans know it well. My regular “Suzuki Eel Rice” boss Hiroshi Suzuki, 60, son Osaka programmer; inheritance talk gets “too hard, office easier.” No dodging or tears; records mood—he stares son photo, tells crew “when old, boat to sea-willing youth.” This rings true, resonates Nagoya artisans, prompts youth reflection on “craft inheritance.”
The “persistence” empowers Nagoya artisans. Masayasu Nomizu decades fishing, sticks wood boat old nets despite modern gear; sells only fresh tuna despite price swings. This “non-conformist” mirrors Nagoya: “Tanaka Tempura” boss Haruji Tanaka uses sesame oil, 30% costlier; “Matsumoto Wagashi” landlady Shizuka Matsumoto handmakes “nama-yatsuhashi,” 200 daily, sells out closes. Once overlooked, post-Taste of Neon》 youth enter shops: “Teach eel rice?” “Record artisan stories.” Tanaka grins: “Thought craft dies with me, now youth interest reignites drive.”
Now, Nagoya Artisans Association contacts Tokyo TV for Hiroshi Nohara collab on “Nagoya Food Story.” Want lenses show Nagoya traditional foods, artisan persistence—like Taste of Neon》 nationalized Chiba tuna, make eel rice, tempura “craft spirit” carriers.
……
Even Tokyo City local paper 《Tokyo Metropolis News》 culture page published Taste of Neon》 commentary.
Unlike other papers’ fervent praise, this review drips “sour grapes” helplessness, yet concedes excellence.
Titled “‘s Success: Unreplicable ‘Authenticity’ and City Stage’s Reflection,” by senior film critic Ken Fukuda.
Opens with stark “contrast”: “October 15th prime time, Tokyo City Stage’s 《Shunsuke’s Tokyo Roaming》 vs. Tokyo TV’s 《Taste of Neon》—former 1.9% flop, latter 24.1% record. Gap not just numbers, but content philosophy chasm.”
Ken Fukuda “must admit” analyzes merits: “Objectively, Taste of Neon》’s success no fluke. First episode: no contrived ‘conflicts,’ no ‘star power,’ yet ‘authenticity’ wins. Pre-dawn fatigue, tuna focus, customer chats—these ‘unscripted’ details outpower City Stage variety ‘staged interactions’ ‘forced laughs.’ Hiroshi Nohara neither beautifies life nor evades woes, presents raw fisherman reality—this ‘non-fawning, genuine’ attitude lacks in City Stage.”
Pivot: “Of course, Taste of Neon》’s theme ‘cheap shots’—fisher life, sea sentiment inherently ‘story-rich’ vs. City Stage ‘net-red restaurant check-ins.’ Plus Tokyo TV’s Hiroshi Nohara ‘humanities digger,’ Shigeru Saito ‘light-shadow master’—resources City Stage can’t match short-term.”
Even sour, concedes “impeccable”: “Must admit Taste of Neon》 ‘purely upright’—respects tradition, promotes labor, awes nature; uncontroversial values bar City Stage content nitpicks. End line ‘The sea gives what we eat’ is philosophy plus modern ‘overconsumption’ ‘traffic-chasing’ reflection—depth City Stage variety can’t reach.”
End bluntly states City Stage woe: “As Tokyo City local paper, hoped City Stage showcase metropolis vitality. But Taste of Neon》 shows ‘good content’ region-agnostic, star-independent, only ‘authenticity’ ‘warmth’ matter. City Stage for comeback, drop ‘traffic thinking,’ learn Taste of Neon》’s ‘humanistic thinking’—audiences scream for ‘stars’ briefly, linger for ‘truth’ longer.”
……
Taste of Neon》’s success sparked external frenzy and Tokyo TV internal departmental focus.
October 18th lunch break, Tokyo TV Production Bureau pantry: directors, directors from departments spontaneously held “《Taste of Neon》 Filming Techniques Seminar.”
Professionally dissecting success, words brimming Hiroshi Nohara admiration.
Of course, centered on Hiroshi Nohara’s special production department.
First, Period Drama Department’s second-class director Kouta Asano set down bento, sincere: “Rewatched Taste of Neon》 episode 1 five times, new finds each. Nohara-kun’s ‘lens rhythm’ masterful—tuna auction wide-to-mid-to-close seamless, emotion-driving sans jarring. I favored long takes in warm dramas, but Taste of Neon》 shows vary pace: fast when needed, slow for immersion. Next drama, borrow that control.”
Technical Department’s third-class director Masako Onotera added: “As tech, admire Shigeru Saito-san’s ‘lighting.’ Mist pier: side light layers fog sans dark faces; sashimi close-up: soft light highlights tuna texture, ultra-fresh. We overused harsh light for vivid colors, but Taste of Neon》 proves soft conveys ‘warmth.’ Tech colleagues studying Saito techniques for next shows.”
Variety Department’s fourth-class director Nanako Kawashima excitedly: “Taste of Neon》 shows variety can have ‘humanistic depth.’ We chased laughs/topics, but sans, it outdraws many. E.g., Nomizu-san crew beers: unscripted, real, warm. Next family variety, fewer forced games, more real interactions for family warmth—like Taste of Neon》’s sea warmth.”
Animation Department’s Ichiro Hashishita spoke up: “Though animation, Taste of Neon》’s ‘detail control’ inspires. Nomizu-san rope-untying, finger calluses make three-dimensional. Animation overlooks gestures/expressions for ‘exaggeration,’ forgets ‘real’ moves hearts. Next An Shizhi》 series, have animators observe real actions for precise details.”
Film Department’s second-class director Soji Ashikaga summed: “All valid, but Taste of Neon》 core success: Nohara-kun’s ‘humanistic care.’ Not ‘filming documentary’ but ‘recording people’—persistence, emotions, values. ‘People-first’ trumps techniques. Film, TV drama, entertainers, animation—forget “people” core, tech/handy empty.” Paused, admiring: “24-year-old insight, executed in work—Nohara-kun’s talent awes. Now get why Director Sakata exceptionally gave independent production department.”
Pantry chat lasted full lunch unwittingly.
Some pulled phone Taste of Neon》 clips for frame-by-frame lens analysis; some notebooked “detail control” “rhythm design”; others planned next projects borrowing Taste of Neon》 ideas.
Afternoon work, Technical Department’s Shigeru Saito passed pantry, heard buzz, smiled.
Back office, compiled discussions to doc for Hiroshi Nohara, ended: “All learning Taste of Neon》 techniques, admiring your persistence.”
Quick reply from Hiroshi Nohara: simple “Good content worth collective discussion. Next time, formal sharing session to pass great experiences.”
Shigeru Saito read, realized clearly—Taste of Neon》 success not only ignited humanistic documentaries, but planted Tokyo TV-internal “value authenticity, focus humanities” seeds. These will grow more fine works.
……
As Taste of Neon》 episode 1 discussions deepen, all Neon anticipates episode 2.
October 19th, even 《Asahi Shimbun》 polled “Will Taste of Neon》 episode 2 break records?”
87% said “yes,” reasons uniform—”Episode 1 quality astonishing, trust Hiroshi Nohara maintains” “Want Gunma soba shop story, as moving as tuna.”
Kanto Stage internal brims episode 2 confidence.
October 20th Production Department meeting, Toshihide Takada showed episode 2 rough cut clips, grinning: “Showed critics yesterday, they said ‘warmer than episode 1.’ Gunma soba shop Kosuke Sato’s son-reconciliation touches deep, old buckwheat mill, old street worldly life finer than episode 1. Bet episode 2 tops it, maybe 30%.”
Asumi added: “Gunma Prefectural Office reports travel agencies pre-selling ‘Soba Culture Tours’ for post-episode 2 launch. Marui Soy Sauce ups sponsorship for ‘soba soy sauce’ ad, promises offline events—boosts ratings.”
Hiroshi Nohara steady beside: “Thanks trust, but no complacency. Episode 2 edit needs polish: Sato-san’s son-reconciliation, lighter music highlight dialogue; mill sounds clearer for old craft texture. Nail details to honor expectations.”
No rebuttals—post-episode 1 success, all believe Hiroshi Nohara’s “detail obsession” keys heart-moving works.
Meeting room buzzed determined, all prepping episode 2 broadcast, silently awaiting “record-break” moment.
This anticipation belongs not just Tokyo TV, but all Neon’s viewers.
Streets and alleys countdown: “Three days left, Taste of Neon》 episode 2 airs—must watch live!”
All await episode 2 broadcast.
