I, Hiroshi Nohara, the star of Japanese cinema

Chapter 229 The Power of the Information Cocoon! Everyone values ​​Hiroshi Nohara highly! Happy Mid-Autumn Festival and National Day!

At nine o'clock in the morning, the rich aroma of Colombian coffee wafted from the president's office on the 30th floor of the Tokyo TV production headquarters building.

Two silver desk lamps stood side by side on the walnut wood desk, their warm yellow light falling on the open "Tokyo Mayor Election Campaign Plan," making the densely packed Song typeface characters exceptionally clear.

Yoshihiro Shimazu sat in a black leather chair, his fingers gently stroking the gold-embossed "TV Tokyo" lettering on the cover of the proposal.

He was wearing a dark gray custom-made suit today, and his gray hair was neatly combed. However, the wrinkles at the corners of his eyes were deeper than they were three months ago—after all, he had just completed his resignation procedures, and the positions of president of TV Tokyo and president of the broadcasting group would be officially handed over to Nobuhiko Sakata.

"Knock, knock, knock," the sound of knocking rang out as the foam in the coffee cup was still gently swaying.

"Please come in." Yoshihiro Shimazu's voice remained steady, but there was a hint of relief in his tone as if he had been relieved of a heavy burden.

The door was pushed open, and Nobuhiko Sakata walked in with several people.

He was wearing a navy blue suit with a neatly tied tie, holding a thick folder in his hands. Behind him were Asumi, the deputy director of the production department; Toshihide Takada, the executive deputy director; Takeru Satoh, the director of the technology department; and Ryuichi Suzuki, the director of the planning department—all of whom are now the core management team of TV Tokyo.

"Shimazu-san, you look great today."

Nobuhiko Sakata bowed respectfully and gently placed the folder on the corner of the desk, as if afraid of knocking over the bone china coffee cup beside it: "As per your request, we have compiled the details of the election campaign plan, and we have come here today to report to you."

Yoshihiro Shimazu gestured for everyone to sit down, his gaze sweeping over the people on the sofa before finally settling on Nobuhiko Sakata: "I've skimmed through the plan. The idea of ​​an 'information cocoon' is quite interesting. How exactly do we implement it? Tell me in detail—don't use official jargon, just tell me what our TV station can do and how we can make voters remember us."

Nobuhiko Sakata immediately opened the folder, pulled out a colorful time slot schedule, and spread it on the table: "Look, we have divided the existing program resources of TV Tokyo into four sections, each corresponding to voters of different age groups, and promoted your campaign ideas in the way that they can most easily accept."

He pointed to the "Morning Time (6:00-8:00)" section in the form, his tone becoming more detailed: "This time slot is mainly watched by housewives and middle-aged and elderly voters. We plan to add a 'Policy Mini-Drama' to 'Morning Healthy Kitchen'—for example, having the host make miso soup that you often ate when you were a child, talking about your mother saying 'Be honest and down-to-earth,' and naturally bringing out your philosophy of 'people's livelihood policies should not be just for show'; in the weather forecast segment after 'Morning News,' we will add a 'Shimazu-san's Weather Reminder,' such as 'It will be colder tomorrow, remember to add clothes, just like I will keep the people of Tokyo warm,' using everyday language to bring people closer."

Takada Toshihide added from the side, pointing to the viewership data in the table: "We've done research, and housewives have the strongest viewership during the morning time slot. They not only vote themselves, but also influence their family members' choices. This kind of 'soft placement' is more effective than directly airing campaign ads—last year, Tanaka Mikami aired ads during the morning time slot, and viewers complained that it 'affected their mood for cooking,' which actually cost him a lot of votes."

Yoshihiro Shimazu picked up his coffee, took a sip, and his brow relaxed slightly. "That's a good idea. Policies for people's livelihoods need to be grounded in reality. What about lunchtime? Young people rarely watch lunchtime programs, right?"

"During the lunch break (12:00-14:00), we mainly target office workers and students."

Asumi took over the conversation, dressed in a beige suit skirt, her tone calm yet delicate: "The 'Midday Workplace Interview' will invite your former colleagues and subordinates as guests to talk about your past when you worked at the TV station—for example, how you withstood pressure to keep 'Tokyo Culture Weekly' and supported young directors in their innovation, highlighting your image of 'valuing talent and daring to take responsibility'; on the student side, we will cooperate with the student councils of the University of Tokyo and Waseda University to insert 'Shimazu-san's Youth Story' into the 'Campus Music Chart,' telling your experience of working hard and studying diligently to get into Waseda University, thus bridging the gap with young voters."

She pulled a student questionnaire from the folder and handed it to Yoshihiro Shimazu: "This is a survey we conducted at five universities last week. 68% of the students said they would 'prefer to vote for candidates with real experience' rather than politicians who just shout slogans. We also plan to include a 'Shimazu-san's Question Box' in the program, where students can ask questions about employment and housing, and you can personally record videos to answer them—young people like this kind of 'interaction' these days, and there will definitely be a lot of pager messages."

As Yoshihiro Shimazu flipped through the questionnaires, he couldn't help but nod when he saw the comment, "I hope candidates can understand the pressures young people face." He said, "Young people these days have it tough. The bubble economy looks impressive, but in reality, they have a hard time finding jobs and buying houses. Your 'question box' is excellent. It makes them feel that I'm not a high and mighty politician, but someone who can listen to them."

"The prime time in the evening (19:00 PM - 22:00 PM) is the highlight."

Nobuhiko Sakata's tone turned serious, and he tapped the table heavily with his finger: "This time slot has the widest viewership, so we plan to focus our efforts in three directions: First, for the Tokyo Evening News, we'll dedicate five minutes each day to 'Shimazu-san's Policy Interpretation,' for example, when discussing your 'Housing Security Plan,' we'll take reporters to the public housing project in Suginami Ward for on-site filming, allowing residents to speak the truth—last year, Tanaka Mikami's 'Housing Policy' only featured model rooms, which the media exposed as temporary renovations, resulting in a breach of trust."

"Secondly, there are TV dramas and variety shows."

He paused, then continued, "Our upcoming family drama, 'A Tokyo Family,' will subtly incorporate your policies into the storyline—for example, the main character's family applied for your 'Youth Housing Subsidy,' solving their housing problem; 'Super Transformation' will feature a 'Policy-Themed Costume Contest,' where contestants will use their bodies to mimic 'Tokyo Subway Expansion' and 'Elderly Care Facility Upgrades,' which will be both entertaining and help viewers remember your key policy priorities;"

Takeru Satoh, head of the Technology Bureau, adjusted his glasses and added, "We will also optimize signal coverage during the evening hours to ensure that all 23 wards of Tokyo and surrounding municipalities can receive the signal clearly. Last test found that the signal was weak in some areas of Tama City, and we have already arranged for technicians to adjust the signal towers to ensure that the publicity effect will not be affected by technical issues."

Yoshihiro Shimazu tapped his fingers lightly on the table and suddenly asked, "How should we arrange the advertising slots? I remember that Tanaka Mikami bought a lot of advertising space during prime time last year. We can't be worse than him, but we can't waste too much money either—the broadcasting group's budget still needs to be reserved for program production in the second half of the year."

"Don't worry, we've done targeted advertising."

Ryuichi Suzuki, the head of the planning bureau, presented an advertising schedule: "We analyzed Tanaka Mikami's advertising data from last year and found that he wasted a lot of budget during the late-night hours—most of the viewers at night are young people, whose willingness to vote is already low. We cut the advertising budget for the late-night hours and added it to the evening (17:00-19:00 PM) commuting hours, inserting short ads in 'Traffic News' and 'After-get off work Food Guide,' keeping the length to 15 seconds, with content highlighting your policy achievements, such as '20 new nursing homes to be built within 3 years' or 'Subway Line 10 to start construction next year,' using concise language to help commuters remember them."

Takada Toshihide added from the side, his tone tinged with emotion: "We've also partnered with Kanto TV—after all, Kanto TV is now a subsidiary of our Tokyo TV, and their audience covers Kanagawa, Chiba, and other surrounding prefectures. Many of their viewers work in Tokyo and have voting rights. We plan to have Kanto TV's 'Kanto People's Livelihood News' broadcast your policy interpretations daily, and we'll also jointly launch a special program, 'Shimazu-san's Kanto Trip,' taking you to factories in Kanagawa and farmlands in Chiba to discuss your 'Tokyo Metropolitan Area Coordinated Development' concept—Tanaka Mikami has always only focused on Tokyo city proper, neglecting the surrounding areas; this is our opportunity."

Upon hearing "Kanto Television," Yoshihiro Shimazu couldn't help but laugh: "When we acquired Kanto Television back then, many people objected, saying it would drag down our performance. Now it seems that the decision was right. By the way, how will the newspaper and other publications coordinate? There are still many middle-aged and elderly people who are used to reading newspapers, and we can't ignore this group of voters."

"We have reached cooperation agreements with Asahi Shimbun and Yomiuri Shimbun."

Nobuhiko Sakata said, “Your column will be published every Wednesday in the ‘Tokyo Livelihood’ section of the Asahi Shimbun, featuring your thoughts on Tokyo’s development, such as ‘How to solve the difficulty of primary and secondary school enrollment’ and ‘How to improve medical care for the elderly’, attracting attention with in-depth content; the weekend edition of the Yomiuri Shimbun will do a special report called ‘A Day in the Life of Shimazu-san’, filming you conducting community surveys and chatting with voters, highlighting your ‘people-friendly’ image; we also collaborate with the Tokyo Family Magazine to insert your policy introductions in the ‘Childcare’ and ‘Elderly Care’ columns, such as mentioning your plan to ‘increase the number of daycare centers’ when discussing childcare topics, making it easier for housewives to accept.”

Asumi added, "We will also place brochures in convenience stores and subway stations. The content is a summary of your policies, with pictures and text, making it easy for voters to take. We have also put a lot of effort into the design of the brochures, using warm colors as the main color, avoiding the use of bright red and green like other candidates, so that they appear more approachable. Last week, we placed 500 copies in a convenience store in Ginza as a trial, and they were all taken within half a day. The feedback was very good."

Looking at the planning table, questionnaire, and schedule on the table, Yoshihiro Shimazu felt a weight lift from his shoulders.

He picked up his coffee cup and found that the coffee had gone cold, but he still took a sip: "You've thought things through very thoroughly, even more meticulously than I expected. To be honest, I was worried that you lacked experience, but now it seems that I was overthinking it—Sakata, I'm at ease with you taking over TV Tokyo."

Nobuhiko Sakata bowed deeply and said, "It's all thanks to your excellent teaching back then, and everyone in the team has been working hard, especially Asumi and Takada. They've been working overtime every day to revise the plans, and haven't even had a weekend off."

Asumi smiled faintly: "This is what we should do. You have worked at TV Tokyo for so many years and made a lot of contributions to the station. Now that you are running for mayor, we will definitely give you our full support. Moreover, we believe that if you become mayor, you will pay more attention to cultural and media development, which will also be a good thing for TV Tokyo."

Takada Toshihide nodded in agreement, his tone sincere: "I used to think you were too conservative, but now I realize you have foresight. If Tanaka Mikami were to become mayor, he would definitely use the TV station as a propaganda tool and wouldn't consider our development—only you truly care about TV Tokyo."

Upon hearing this, Yoshihiro Shimazu suddenly sighed, his gaze sweeping across the office's floor-to-ceiling windows as he looked at the endless stream of cars below: "It's a pity that Hiroshi Nohara isn't here. If he were, he could definitely come up with some good ideas for the plan—that kid is quick-witted, whether it's making a program or doing publicity, he always manages to think of angles that others haven't considered. Last time, during the promotion of 'Seven Samurai,' his 'Samurai Spirit Enters the Community' event was so effective, even the Ministry of Education praised it."

Nobuhiko Sakata couldn't help but laugh: "You're still thinking about him? He's on vacation in Kumamoto right now, saying he's going to spend time with Misae-san and draw some manga—you know, he has to meet deadlines for his three manga, *Yu Yu Hakusho*, *Doraemon*, and *Midnight Diner*, and Shueisha is pushing him hard, so he really can't find the time. But don't worry, he said he'll be back in Tokyo at the end of this week, and I'll have him come and report to you then, to see if there's anything that needs adjusting the plan."

"A vacation is great, a vacation is great."

Yoshihiro Shimazu smiled and nodded, his eyes full of admiration: "That kid is too tired. He's directing, drawing manga, and managing the production department all at the same time. He really needs a good rest. But when he comes back, I'll have to have a good talk with him—I heard that Doraemon is getting an anime adaptation? If we can air a few episodes during the election period, using the themes of 'dreams' and 'friendship' to bridge the gap, it might be quite effective."

"You know about Doraemon?" Nobuhiko Sakata asked, somewhat surprised. "I thought you didn't read comics."

“Why don’t you read it? My granddaughter reads the Doraemon manga every day at home and tells me, ‘Grandpa, Doraemon’s pocket is amazing; it can solve all problems.’”

Yoshihiro Shimazu's tone softened: "Actually, elections are the same. Voters are like children, hoping for a leader who can 'solve problems.' Nohara was able to grasp this point and make Doraemon so popular, which shows that he understands people's hearts—the advice of someone who understands people's hearts is bound to be effective."

Everyone laughed, and the atmosphere in the office became much more relaxed.

Yoshihiro Shimazu's smile faded, and his tone became firm: "I must win this election. That guy, Mikami Tanaka, when I ran for president of TV Tokyo, he secretly tripped me up, saying I 'didn't understand management'; later, when I pushed for television station reform, he told the city government that I 'wasted taxpayers' money.' If he becomes mayor this time, he will definitely target TV Tokyo at every turn, and might even break up the broadcasting group—I can't let my decades of hard work be ruined in his hands."

Asumi said softly, “Don’t worry, we all support you. Tanaka Mikami’s policies are too radical. Last year, his ‘Tokyo CBD Expansion Plan’ demolished many old neighborhoods and offended many long-time voters. Moreover, he is too close to real estate developers, and many people are worried that if he becomes mayor, he will cause housing prices to rise even more. These are our breakthrough points.”

Takada Toshihide added, “We have collected a lot of negative material about Tanaka Mikami, such as his acceptance of valuable calligraphy and paintings at a real estate developer’s banquet last year; and his promised ‘new school’ that has not yet started construction. However, we will not attack him proactively, but will make comparisons when promoting your policies, allowing voters to judge for themselves. For example, when talking about your ‘housing security plan,’ we will mention ‘we will not let real estate hold people’s livelihoods hostage,’ and that will be enough.”

Yoshihiro Shimazu nodded, his tone tinged with emotion: "You did the right thing. Elections should be based on merit, not on smearing your opponents. When I was promoting reforms at the television station, I relied on solid achievements, not tricks—this election should be the same."

He suddenly sighed and tapped his fingers lightly on the table: "Actually, this election is also a showdown between our internal factions. Tanaka Mikami represents the 'real estate-driven economy' faction, who believe that as long as housing prices are driven up and the CBD is built, Tokyo's economy will be fine; while we represent the 'economic regulation' faction, who believe that the economy should not be hijacked by real estate, but should be driven by manufacturing, cultural industries, and consumer industries—the contradiction between these two factions has existed for many years."

Ryuichi Suzuki nodded beside him, his tone tinged with helplessness: "You're right. Tokyo's housing prices have risen outrageously in recent years. Last year, I wanted to buy an apartment for my son, but a secondhand apartment in Suginami Ward cost 50 million yen, more than double the price three years ago. Many young people can't afford to buy a house and can only rent in the suburbs, commuting two or three hours every day—if this continues, Tokyo will lose its population."

Takeru Satoh added, “Several of our young employees in the technical department want to quit and go back to their hometowns—they say they see no hope in Tokyo, rent takes up half their salary, and they don’t even have money to date. Tanaka Mikami even said that ‘high housing prices mean Tokyo is vibrant,’ which is utter nonsense.”

Takada Toshihide coughed, his tone somewhat awkward: "Actually... I also bought an apartment in the Minato Ward two years ago. The property value has increased quite a bit, and my assets have indeed appreciated. To be honest, at first I also thought it was good for real estate to rise a bit, since I could benefit from it."

His words caused everyone on the sofa to fall silent.

Those present are all management personnel at TV Tokyo, with substantial incomes and most own property in Tokyo. The rise in property prices has indeed increased their assets, so it's unrealistic to say they completely disapprove of real estate.

Yoshihiro Shimazu looked at them, his expression turning serious: "I know most of you own property, and you're happy that prices have gone up—I also own property, and my assets increased quite a bit when they were appraised last year. But we can't just look at our own interests; we have to think about Tokyo's future. Making money from real estate appreciation is just paper wealth; it can't create real economic value—factories don't produce products, shops don't sell things, and if we rely solely on rising house prices, the economy will run into problems sooner or later."

He paused, then raised his voice a few decibels: "A real economy is one that allows young people to have jobs and income, to afford houses and support their families; it's one that allows factories to produce good products and sell them all over Japan and even the world; it's one that allows the cultural industry to produce good programs and good comics, making Tokyo a cultural center—these are the things that can last, not the false prosperity built on a real estate bubble."

The office was completely silent, with only the faint sound of a tram coming from outside the window.

After a long while, Nobuhiko Sakata stood up, bowed, and said, "You're right, we were too narrow-minded. From now on, we will focus more on promoting the 'real economy' and 'people's livelihood,' so that voters understand that your policies are truly for the future of Tokyo."

Asahi nodded in agreement: "I'll tell the publicity department tomorrow to adjust the publicity focus in the plan, and mention more of your plans for 'supporting the manufacturing industry' and 'developing the cultural industry', so that voters can see that you are not only focused on immediate interests, but have long-term plans."

Looking at them, Yoshihiro Shimazu's seriousness gradually faded, replaced by a hint of weariness: "Forget it, you don't need to blame yourselves too much—the temptation of real estate is too great, and it's not easy to stay true to yourselves. When Hiroshi Nohara comes back, I'll talk to him again. That kid sees things more clearly than you, and he might be able to give you some good advice."

He glanced at his watch and realized it was almost eleven o'clock: "It's getting late. You've all been busy all morning. Go have lunch first. We'll proceed with the plan as you suggested. If you have any questions, feel free to contact me anytime—even though I've stepped down, I'm always here for you if you need me."

Nobuhiko Sakata and the others quickly stood up and bowed deeply, saying, "Thank you, Shimazu-san! We will certainly not let you down!"

As everyone left the office, Nobuhiko Sakata was the last to leave, glancing back as he closed the door. Yoshihiro Shimazu sat at his desk, looking out at the Tokyo cityscape, the sunlight casting a somewhat melancholy glow on him.

He suddenly felt a pang of emotion.

This former president has dedicated decades to TV Tokyo, and now he's working tirelessly for the future of Tokyo. This sense of responsibility is something not everyone possesses.

……

The afternoons in Kumamoto Prefecture always have a lazy warmth. Sunlight filters through the wooden lattice windows of the study in Koyama's house, casting dappled light on the tatami mats. The air is filled with the faint scent of ink and paper.

Hiroshi Nohara sat at the low table, a pencil in his right hand, the tip moving quickly across the drawing paper, leaving smooth lines—the storyboard for the final volume of Yu Yu Hakusho was nearing completion, and the action in each panel on the paper was so precise that it was as if he had rehearsed it countless times in his mind beforehand.

To his left was a thick stack of drawings, neatly arranged, with the latest chapter of "Doraemon" on top, depicting Nobita holding a dorayaki and sitting under a cherry blossom tree with Doraemon, laughing.

In the middle is the original manuscript of "Midnight Diner". The owner is bending down to serve miso soup to customers, and the scar casts a faint shadow on his side.

At the bottom is the newly completed "Yu Yu Hakusho," a total of ninety chapters. Although it hasn't been colored yet, the black and white lines have already sketched out a moving story.

"Phew—" Hiroshi Nohara finally finished the last stroke, put the pencil in the brush washer, stretched, and his knuckles made a slight "click" sound.

He turned his head and saw Misae sitting on the cushion next to him, her elbows propped on the low table, her little hands supporting her chin, her bright eyes staring at him without blinking, even her breathing was very soft, as if she was afraid of disturbing him.

Her light purple loungewear made her skin appear even whiter, and the ends of her hair fell beside her cheeks, swaying gently with her breath.

Hiroshi Nohara couldn't help but laugh, reaching out to gently stroke the tip of her nose. His fingertips touched her delicate skin, feeling a slight warmth. "What are you looking at? You're so engrossed. I've finished drawing and you still haven't reacted."

Misae felt a tickle on her nose from his playful touch, instinctively shrinking back. Her cheeks flushed, and she quickly sat up straight, her gaze fixed on the pile of drawings. Her voice was full of amazement: "Hiroshi-kun, you're so fast! When I came this morning, you were still drawing *Yu Yu Hakusho*, and you've finished it all in just three hours? And every panel is so detailed, you even drew the sweat droplets on Yusuke's hair…"

She reached out and gently touched the artwork, her fingertips delicate, as if she were touching something precious: "Before, Kobayashi-san in our club would spend three whole days drawing a twenty-page chapter, and she was always worried that the plot wouldn't connect. Last time, she cried for a long time because of a wrong panel. Before I got into comics, I thought everyone drew comics like you, so fast and well. It wasn't until we founded Future Comics Club that I realized how difficult it is to draw comics—now when I look at your artwork, I really think you're like a god."

Hiroshi Nohara picked up the green tea on the table and handed a cup to Misae. Watching her sip the tea with both hands, a gentle look appeared in his eyes: "It's not that exaggerated. I just made sure I understood the story's outline beforehand. There are many intricacies to drawing manga; it's not just about being fast. For example, the rhythm of the panels—when to use large panels to highlight emotions and when to use small panels to advance the plot—you have to think about all of that in advance. Like in 'Midnight Diner,' when the owner hands food to a customer, you use large panels to capture the steam from the food and the customer's expression, so that the reader can feel the warmth. And in 'Yu Yu Hakusho,' the fight scenes require quick switching between small panels to make the action look more fluid and create tension."

He casually picked up a Doraemon manuscript and pointed to the panel where Nobita fell down: "The characters' expressions and actions also need to match their personalities. Nobita is a bit clumsy, so when he falls, his eyebrows should furrow, his mouth should open in an 'O' shape, and his hands should instinctively brace himself. That's realistic. If it were Shizuka, she would cover her skirt first when she falls, and her expression would be a bit shy and a bit aggrieved. That's the difference in character design. A common mistake many manga artists make is making characters do things that don't fit their personalities. For example, if you suddenly make Gian become gentle, readers will feel 'incongruous,' and the plot will fall apart."

Misae listened attentively, nodding occasionally, and even took out a small notebook from her pocket to jot down notes, the pen scratching on the paper: "So there are so many details! I used to see Sato-san from the company drawing manga, where the female protagonist suddenly fights the villain without being scared at all, and I thought it was 'amazing.' Now I realize that this is a character breakdown—the female protagonist is usually very timid, so how could she suddenly become so brave? No wonder readers say they 'don't understand' it."

She looked up, her eyes full of curiosity, like a student eager for knowledge: "But Hiroshi-kun, it seems like you never have to consider these issues? Whether it's Yusuke's passion in 'Yu Yu Hakusho,' Doraemon's gentleness in 'Doraemon,' or the calmness of the owner in 'Midnight Diner,' they all feel so real, and readers have never said anything 'out of place.' How do you manage to do that?"

Hiroshi Nohara touched his nose, a slightly sly smile playing on his lips, and tapped the artwork lightly with his fingertips: "Maybe... I am the god of manga?"

Upon hearing this, Misae immediately burst out laughing, her eyes curving into crescents: "Hiroshi-kun, you're joking again! There's no such thing as a god of manga. You must have secretly put in the effort, but you just didn't tell anyone."

Hiroshi Nohara didn't explain further. He simply picked up a manuscript of "Doraemon," looked at the blue robot cat and Nobita on it, and felt a pang of emotion—he was no god of manga, but merely stood on the shoulders of giants.

The predecessors in the Japanese comic book industry had already polished these stories to perfection; the character personalities, plot pacing, and panel design have all stood the test of time.

He simply "replicated" those classics etched in his memory into this world, stroke by stroke. In fact, we should thank those predecessors for their contributions, which allowed him to convey warmth through comics in this world.

"Oh, right, Hiroshi-kun."

Misae suddenly remembered something, put down her notebook, and said with anticipation, "The manga artists in the company asked me yesterday if you could come back and give them a lesson. Kobayashi-san said she wanted to hear how you designed the food scenes in 'Midnight Diner.' She said that every time she sees your tamagoyaki, it smells so good, as if she can smell it. Sato-san wanted to know how you came up with Doraemon's gadgets. He said that when he comes up with a magical gadget, it takes him several days to come up with it, and he still doesn't find it interesting."

Looking at her expectant eyes, Hiroshi Nohara smiled and nodded: "No problem. I'll go to the company one afternoon when I go back to Tokyo next week. Actually, the key to drawing food scenes is the details—the tamagoyaki should have a glossy sheen, with slightly browned edges, a small dish of soy sauce next to it, and some chopped green onions. That'll give it a visual appeal. As for prop design, it should be close to real life. Doraemon's Anywhere Door is actually everyone's wish to 'go somewhere immediately.' If you make this wish concrete, the props will make people think, 'I wish it really existed,' and that will naturally make it interesting."

Wow! So that's how it is!

Misae's eyes lit up, and she quickly jotted it down in her notebook, the sound of her pen gliding across the paper particularly crisp: "I'll tell everyone in the company tomorrow, they'll definitely be thrilled! Oh, and there's something else—Shueisha's editor Tadokoro left me a message on my pager yesterday, saying he wants our company to be in charge of coloring the characters in the Doraemon anime. He said you recommended us, and that if we do a good job, we'll also be in charge of coloring the Yu Yu Hakusho anime in the future!"

At this point, Misae's voice rose a few decibels, her face full of excitement: "You have no idea, my hands were shaking when I saw the comments yesterday! The manga artists in the company were worried that they would be looked down upon for only coloring your manga and not having their own works. Now that they can participate in the animation production, they will definitely be even more motivated!"

Hiroshi Nohara reached out and ruffled her hair, his voice gentle: "This is what you deserve. Last time you colored 'Midnight Diner,' you handled the wrinkles on the owner's apron and the wood grain on the table with great detail. Editor Tadokoro praised you several times, saying that you did a better job than professional animation companies. Moreover, you know these characters better, knowing that Shizuka's hair should be light brown and that Doraemon's bell should be drawn sparkly. I trust you with my work."

Misae blushed even more from his praise, lowered her head, twisted the hem of her clothes with her fingers, and whispered, "Actually, I learned it all from you... You taught me before that when coloring, you should pay attention to light and shadow. For example, in 'Midnight Diner,' when the light shines down from above, you should leave a shadow around the edge of the table to make it look more three-dimensional. I remembered all of that and then taught it to the people in the club."

"Knock knock knock—" Just then, Koyama Takaya's voice came from downstairs, with a hint of laughter: "Hiroshi! Misae! Come down for lunch! I made your favorite tempura and tonkotsu soup today, it'll get cold if you don't eat it soon!"

Hiroshi Nohara stood up and reached out to pull Misae up: "Come on, let's go eat. I'm a little hungry too."

Misae quickly and carefully put the drawings into her sketchbook, holding them close to her chest as if they were precious treasures: "These drawings must be kept safe, they can't be lost, these are the original drafts that can be turned into animations!"

Hiroshi Nohara couldn't help but smile as he looked at her earnest expression, and reached out to take the sketchbook: "Let me carry it, don't tire yourself out."

The two walked downstairs side by side. The aroma of tempura wafted through the stairwell, mixed with the rich smell of tonkotsu broth, making one's mouth water.

As soon as I reached the living room on the first floor, I saw Yoshiji Koyama sitting at the dining table, holding a newspaper from Kumamoto Prefecture, reading it with great interest. Hearing footsteps, he immediately looked up, his face full of smiles: "Hiroshi is back! Come on, sit down. Today's tempura is freshly fried, crispy on the outside and tender on the inside. I'm sure you'll love it."

Koyama Takaya came out of the kitchen carrying a tray with tempura, rice, and tonkotsu soup. She placed the tray on the table and said with a smile, "Hiroshi, you don't know, Kumamon is everywhere in Kumamoto Castle lately. Yesterday I went to the supermarket and saw a lot of people crowding around the Kumamon plush toy shelf, all scrambling to buy them. There were even kids crying and saying, 'If I don't have a Kumamon plush toy, I can't sleep at night.'"

Yoshiji Koyama put down his newspaper, took a sip of tea, and said with admiration, "You're absolutely right! I went to the park to play Go yesterday, and all my old friends were saying, 'Hiroshi, your design for Kumamon is simply divine!' Kumamoto wasn't very well-known in Kyushu before. When people from other places mentioned Kyushu, they only knew about Fukuoka and Nagasaki. But now, whether it's tourists from Tokyo or businessmen from Osaka, the first thing they say when they mention Kyushu is, 'I want to go to Kumamoto to see Kumamon.'"

He pointed to a news article in the newspaper, the headline of which read, "Kumamon boosts tourism, March visitor numbers up 40% year-on-year": "Look, it's written in the newspaper. Because of Kumamon, hotel occupancy rates in Kumamoto have risen to 90%. Even the area around Mount Aso, which used to be deserted, has seen several new guesthouses open. And local specialty shops, where horse meat sashimi and strawberry daifuku used to be hard to sell, now sell out every day with Kumamon designs on them. The shop owners are all smiles."

Hiroshi Nohara picked up his chopsticks and took a piece of tempura. The outer skin was crispy, and the shrimp inside was fresh and juicy.

He nodded, a hint of relief in his voice: "It's good that it can help Kumamoto. By the way, Uncle, how's the company we talked about setting up to oversee Kumamon's production in the local area? Have you encountered any problems?"

Mentioning this, Yoshiharu Koyama immediately perked up, straightening his back considerably, his tone full of pride: "No problem! I called up a few old buddies who used to work at the county government. They all know the procedures. Registering the company and applying for the trademark were all done in a week! Now the company is called 'Kumamon Culture Development Co., Ltd.' I'm the president, and three old buddies are the vice presidents, specifically responsible for supervising the production of Kumamon merchandise, planning offline events, and coordinating with businesses."

He put down his teacup, tapping his fingers lightly on the table, a hint of nostalgia in his eyes: "Speaking of which, since retiring, I've spent my days at home playing chess and reading the newspaper, but I always felt uneasy, as if something was missing. Now it's much better. I go to the company every day and discuss with my old buddies how to promote Kumamon and how to sell our Kumamoto specialties. I feel more energetic, sleep better at night, and even my blood pressure has dropped a lot."

Koyama Takaya brought over a bowl of tonkotsu soup and placed it in front of Nohara Hiroshi, nodding with a smile: "That's right! Before, when he retired, he would sigh all day long, saying he was 'useless,' and he would even get distracted while watering the flowers. Now, he's all better. He gets up at six in the morning, more enthusiastic than when he was working. When he comes home in the evening, he tells me about things at the company, about which business he negotiated a cooperation with today, and about the Kumamon event he's going to do at the school tomorrow. He's just as energetic as he was when he was young. I haven't seen him so energetic in a long time."

Misae took a sip of the tonkotsu soup, the delicious flavor spreading in her mouth. She couldn't help but pout and smile: "I think this is what it means for power to make people young again! Dad used to be just a headmaster with no real power, but now that he's the club president, he can make decisions, so naturally he's full of energy."

Yoshiji Koyama didn't deny it; instead, he laughed heartily, the wrinkles at the corners of his eyes smoothing out: "You little rascal, you're quite perceptive! It's true, once people lose their goals and have nothing to do, they age quickly. I used to think that retirement meant enjoying life, but when that time actually came, I realized I couldn't stay idle at all. Now, with this company and the Kumamon project, I feel like I can work for another ten years!"

He looked at Hiroshi Nohara, his eyes filled with gratitude: "Hiroshi, to be honest, if it weren't for you, I'd still be a 'relic' at home! You gave me this opportunity to do something for Kumamoto again, and you also helped me rediscover the energy I had when I was young. I, Yoshiji Koyama, will remember this kindness. In the future, no matter what you need, just say the word, and I'll definitely help!"

Hiroshi Nohara put down his chopsticks and said sincerely, "Uncle, you're too kind. I only offered an idea. It's you and all the old brothers who will really do it well. Besides, Kumamoto is Misae's hometown, so I'm happy to be able to do something for this place. As long as Uncle and Auntie are happy and can find what they want to do, that's more important than anything else."

Koyama Takaya looked at the harmonious scene on the table with a smile on her face. She put a piece of tempura on Nohara Hiroshi's plate: "Hiroshi, you should eat more too. I've noticed you've lost weight lately from drawing manga. If you're too busy in Tokyo, come back to Kumamoto for a few days. Auntie will make you your favorite tonkotsu ramen and strawberry daifuku."

"Thank you, Auntie." Hiroshi Nohara accepted the tempura, his heart filled with warmth.

Sunlight streamed through the living room windows, falling on the dining table and gilding everyone's faces.

The aroma of tempura, the rich flavor of tonkotsu broth, and everyone's laughter intertwined to create the most heartwarming scene.

Yoshiharu Koyama then talked about the company's upcoming plans, saying that they would build a giant Kumamon statue at the entrance of Kumamoto Castle and hold a "Kumamon Cultural Festival" to invite manga artists from all over Japan to draw fan art of Kumamon.

Misae then talked about the future manga club's new plans, saying that they want to recruit more young manga artists, not only to color Hiroshi Nohara's manga, but also to create their own works.

Hiroshi Nohara sat beside them, listening to their discussion with a smile on his face.

He suddenly realized that this kind of life was really good.

Having a career he loves, people he cares about, the ability to bring joy to those around him, and the capacity to contribute to this place—this is probably the greatest fortune he has ever had since transmigrating to this world.

Lunch ended amidst lively discussions. Koyama Takaya cleared the table, while Koyama Yoshiji pulled Nohara Hiroshi aside to look at the company's proposal. Misae sat beside them, helping to organize the drawings while occasionally chiming in with a few words. The laughter in the living room lingered for a long time.

The cherry blossom trees outside the window have already sprouted buds, and soon they will bloom into pink flowers.

And their story, like the cherry blossoms about to bloom, is slowly unfolding in a hopeful direction.

P.S.: Still shamelessly asking for some recommendation tickets and monthly passes, and by the way, wishing everyone a happy National Day and Mid-Autumn Festival! Hope you all have a great time! But remember to keep track of your schedule during the holidays~
(End of this chapter)