I, Hiroshi Nohara, the star of Japanese cinema

Chapter 250: The Ministry of Education Meeting! A National-Level Strategy! Hiroshi Nohara's name will surely resound throughout Japan!

At 9:00 a.m. on October 23, in the conference room on the top floor of the Tokyo Ministry of Education building, sunlight streamed through the long windows onto the dark brown conference table, making the documents on the table gleam.

The attendees were all core officials from the Ministry of Education, Culture, Sports, Science and Technology. Dressed in suits, they filled both sides of the long table, and sitting at the head of the table was none other than Tokyo Governor Ryuichi Koike.

As a key member of Ryuichi Koike's reformist faction, the Ministry of Education has always been a crucial department in his efforts to promote the "Greater Tokyo Metropolitan Area" plan—from cultural integration to the consolidation of educational resources, every policy directly relates to the cohesion of the metropolitan area.

At this moment, the conference room was completely silent, except for the rustling sound of Vice Minister of Education Kosuke Morikawa turning the pages of documents.

"Governor Koike-san, colleagues,"

Kosuke Morikawa stood up, clutching a thick stack of report materials, his tone serious. "Next, I will report on the recent progress of integration in the Greater Tokyo Area. As of mid-October, we have completed three core tasks: First, the textbooks for primary and secondary schools in Tokyo, Chiba, Gunma, and Saitama have been revised uniformly, adding a chapter on 'Common Culture of the Metropolitan Area,' covering traditional crafts, regional cuisine, and other content; second, the libraries in the four areas have achieved resource sharing, allowing readers to borrow books in any city with a single library card, with the current sharing rate reaching 89%; third, cultural venue cooperation projects have been implemented, with the Tokyo National Museum and the Chiba Prefectural Museum of Art jointly launching the 'Edo Culture Special Exhibition,' which attracted over 15 visitors in its first month, a 40% increase compared to the same period last year."

Takashi Koike tapped the table lightly with one finger, his gaze sweeping over the attendees: "Mr. Morikawa, what has been the feedback from students and parents since the textbooks were standardized? I've heard that some parents in Gunma Prefecture are worried that the local soba noodle culture will be overshadowed by Tokyo's urban culture. Is that true?"

Sitting next to Kosuke Morikawa, Takashi Yamada, the head of the Education Division of the Ministry of Education, Culture, Sports, Science and Technology, immediately stood up and said respectfully, “Governor-sama, we have indeed received such feedback. Gunma Prefecture received 23 letters from parents last week, 18 of which mentioned ‘the hope to retain the soba noodle making practical class.’ We have worked with the Gunma Prefectural Board of Education to adjust the curriculum and include soba noodle making in the ‘regional characteristic practical class,’ scheduling two classes per month. This preserves local culture and aligns with the concept of ‘diverse coexistence’ in the metropolitan area. Currently, parental satisfaction has increased from the initial 62% to 87%.”

"well done."

Takashi Koike nodded, his eyes showing more approval. "Metropolitan area integration is not about 'assimilation,' but about allowing the unique characteristics of each region to shine. Chiba's fishing culture, Saitama's baking skills, and Gunma's soba noodles are all valuable assets of Greater Tokyo and cannot be lost."

Kiyoshi Sato, head of the Cultural Affairs Division of the Ministry of Education, Culture, Sports, Science and Technology, continued his report: "Governor, there has been another breakthrough in cultural exchange. We have promoted a collaboration between Tokyo's 'Traditional Craft Market' and Chiba's 'Fishing Port Festival,' and in late October, a 'Metropolitan Area Cultural Festival' will be held at Chiba Port, inviting artisans from the four regions to demonstrate their skills on-site. Currently, 86 artisans have registered, including a tuna chef from Chiba, an old baker from Saitama, and a soba noodle maker from Gunma—they have all expressed their hope that this platform will allow more people to learn about their local culture."

“The artisans are very enthusiastic, which is a good thing.”

Ryuichi Koike gestured for Kiyoshi Sato to sit down, his tone softening, "But we must also be careful not to let the cultural festival become 'formalism.' We need to get visitors truly involved, such as learning to knead dough with an old baker or experiencing hauling in nets with fishermen. Only in this way can everyone feel the warmth of the urban area."

Just as Kosuke Morikawa was about to continue reporting on the details of the integration of educational resources, Kentaro Suzuki, head of the Cultural Exchange Division of the Ministry of Education, Culture, Sports, Science and Technology, suddenly raised his hand, his tone filled with excitement: "Governor Koike-san, colleagues, there is something that may be worth our attention—the documentary 'A Bite of Japan' recently broadcast by Kanto Television, a subsidiary of Tokyo Broadcasting System, has played an unexpected role in promoting cultural integration in the greater Tokyo metropolitan area."

This sentence instantly attracted everyone's attention.

Kentaro Suzuki quickly flipped through the documents in his hand and continued, "This documentary was directed by Hiroshi Nohara of Kanto TV. Two episodes have aired so far. The first episode focuses on the tuna fishery in Chiba, and the second episode tells the story of soba noodle making in Gunma. The average viewership rating across Japan has exceeded 32.2%, and it even reached 38.5% in the Kanto region. We conducted a sample survey, and among the viewers in the four regions, 76% said that they 'learned more about the culture of other cities through the documentary,' 68% of the Tokyo viewers said they 'want to go to Chiba to eat tuna and to Gunma to learn how to make soba noodles on the weekend,' and 52% of parents plan to take their children to the places mentioned in the documentary to experience life."

"Oh? Is that so?" Ryuichi Koike's eyes lit up, and he leaned forward slightly. "I've heard that this documentary is very popular, but I didn't expect it to be so helpful for urban agglomeration integration. Suzuki-kun, could you tell me in detail how it specifically promotes cultural integration?"

Kentaro Suzuki opened his notebook, his tone becoming increasingly serious: "For example, in the second episode, Mr. Kosuke Sato, who runs a soba noodle shop in Gunma, mentioned that 'the texture of soba noodles depends on hand-kneading, just like relationships between people depend on a connection of hearts.' This line was remembered by many viewers. Among the feedback we received, some young people in Tokyo said, 'I used to think Gunma was just a rural area, but after watching the show, I realized that there are so many stories hidden in the soba noodles there'; and some fishermen in Chiba wrote to the TV station saying, 'I want to invite soba noodle masters from Gunma to the fishing port to make tuna soba noodles together.' This kind of spontaneous cultural interaction is more effective than ten promotional events we hold."

Vice Minister of Education Kosuke Morikawa added, “Governor, we’ve also noticed a surge in cross-city inquiries to tourism bureaus in the four prefectures recently. The Chiba Prefecture Tourism Bureau says they’re receiving over 200 calls a day from Gunma and Saitama asking how to get to Nomizu Masayoshi’s fish shop; travel agencies in Gunma Prefecture have even launched tours like ‘Following the Bite of Gunma,’ with pre-sales already booked until next month. This model of ‘culture driving tourism, and tourism promoting integration’ is exactly what we want to promote.”

Koike Ryuichi's lips curled into a smile as he lightly tapped the table with his fingers: "Nohara Hiroshi-kun certainly knows how to make a good point. A documentary that talks about food, culture, and even helps us promote the integration of the metropolitan area—it's much more effective than the Ministry of Education's brochures."

A soft laugh rippled through the conference room, and the attendees nodded in agreement.

Takashi Yamada, head of the Education Division of the Ministry of Education, Culture, Sports, Science and Technology, said with a smile, "Governor-san is right. We previously made a 'Metropolitan Area Culture Handbook,' printing 5 copies, but only 2 were distributed; now that 'A Bite of China' has aired, we don't need to distribute the handbook anymore, everyone is taking the initiative to learn about the culture of the four regions. This is the power of content."

“Since this documentary has been so effective,” Kenichi Takahashi, the Vice Minister of Education, Culture, Sports, Science and Technology, suddenly spoke up, his tone carrying a hint of suggestion, “why don’t we consider promoting it to a wider audience and making it a cultural and educational resource for all of Japan? After all, the concept of ‘respecting labor and cherishing tradition’ conveyed in ‘A Bite of China’ is something that all Japanese people need, and it can also allow other metropolitan areas to learn from the integration experience of Greater Tokyo.”

As soon as these words were spoken, a chorus of agreement immediately filled the conference room.

Kiyoshi Sato, head of the Cultural Affairs Division of the Ministry of Education, quickly said, "Vice Vice Minister Takahashi is absolutely right! I read a film review in the Asahi Shimbun yesterday, which said that 'A Bite of China' is 'the best humanistic documentary in Japan in the last decade' because it not only tells the story of food, but also the stories of 'people'—the perseverance of fishermen and the dedication of craftsmen, which are all manifestations of the national spirit. If it could be shown in primary and secondary schools across the country, allowing children to learn about the cultures of different regions from a young age and cultivating a sense of 'Greater Japan Community,' it would be more effective than any preaching."

“It also has value in international communication,” added Toru Watanabe, head of the International Exchange Division of the Ministry of Education. “Governor Koike, you have always emphasized ‘letting Japanese culture go global.’ A Bite of China is very popular in the Kansai and Hokkaido regions. Osaka’s Yomiuri TV has applied for the broadcasting rights, and Hokkaido’s TV stations are also in talks. If we translate it into English, Chinese, and Korean and send it to international documentary film festivals, it will not only allow foreign audiences to learn about Japanese food culture, but also showcase the results of our metropolitan area integration. This is a win-win situation.”

Ryuichi Koike nodded repeatedly, his smile widening. "You're right. A good work can not only move domestic audiences but also serve as a bridge for cultural export. Hiroshi Nohara's ability to make such a film truly demonstrates vision and ambition." He paused, then looked at Kosuke Morikawa. "Mr. Morikawa, please follow up on this matter. First, contact TV Tokyo and Hiroshi Nohara to confirm the nationwide broadcast rights; then, work with the Ministry of Foreign Affairs to prepare for international participation. As for the expenses, allocate funds from the Cultural Promotion Fund; there's no need to skimp."

Kosuke Morikawa immediately nodded: "Yes, Governor! I will contact Nobuhiko Sakata, the director of TV Tokyo, this afternoon and try to finalize the copyright matters next week."

When mentioning Hiroshi Nohara, Ryuichi Koike's tone became more wistful: "Speaking of which, Nohara-kun is truly a blessing to Tokyo. From creating a new genre of urban ghost stories with 'Yamishibai,' to promoting neighborhood exchanges with 'Super Transformation,' to becoming a new benchmark for samurai films with 'Seven Samurai,' and now promoting cultural integration with 'A Bite of China,' every one of his works has profound social significance and is a true national-level work."

Takashi Yamada, head of the Education Division of the Ministry of Education, Culture, Sports, Science and Technology, immediately chimed in: "Governor-san is absolutely right! We were discussing Doraemon in our Education Division just last week. This manga is now one of the most popular books among lower elementary school students. Many teachers have reported that after reading Doraemon, children are more willing to share toys with their classmates and help others. We are planning to include Doraemon in our 'Elementary School Moral Education Supplementary Reading Materials' to help cultivate children's character."

"Oh? Doraemon has this kind of effect too?"

Ryuichi Koike was somewhat surprised, then smiled and said, "Nohara-kun is really amazing. Whether it's anime, manga, TV dramas, or documentaries, he can always capture the core of 'human hearts.' Using 'Doraemon' as moral education material is a good idea. Yamada-kun, you guys should come up with a plan as soon as possible. I support you."

Takashi Yamada quickly bowed and said, "Thank you, Governor! We will submit the proposal to you for approval next week."

Kiyoya Sato, head of the Cultural Affairs Division of the Ministry of Education, Culture, Sports, Science and Technology, added: "There's also 'Midnight Diner,' a TV series that's very popular among middle-aged and elderly people right now. Many viewers say that after watching 'Midnight Diner,' they think of their own families and are willing to go home to have dinner with their parents on weekends. Our Cultural Affairs Division is planning to collaborate with TV Tokyo to launch a 'Midnight Diner Theme Exhibition,' showcasing props and food from the show, so that more people can feel the warmth in home-cooked meals."

Ryuichi Koike leaned back in his chair, his fingers interlaced on his stomach, his eyes filled with satisfaction: "Nohara-kun's works have never been 'entertainment products,' but 'cultural carriers with warmth.' He uses his camera and brush to record the lives of ordinary people and convey positive values, which is more touching than any policy. In the future, the Ministry of Education should support more creators like him and produce more good works like this."

The attendees nodded in agreement, and the atmosphere in the meeting room was exceptionally lively.

Vice Minister of Education Kosuke Morikawa looked at Ryuichi Koike and said firmly, "Governor, please rest assured that we will strengthen our cooperation with TV Tokyo and Shueisha to provide Nohara-kun with more resource support. At the same time, we will also discover more promising young creators to make Japan's cultural industry more and more vibrant, and inject more power into the integration of the Greater Tokyo Area and even the cultural development of all of Japan."

Koike Takashi nodded, his gaze sweeping across the Tokyo street scene outside the window—the Tokyo Tower gleamed in the sunlight in the distance, and the streets were bustling with traffic, a scene of prosperity.

He knows that there is still a long way to go in the integration of the Greater Tokyo Area, but with works like "A Bite of China," creators like Hiroshi Nohara, and teams like the Ministry of Education, this path will definitely be more stable and go further.

“Alright,” Ryuichi Koike stood up, his tone steady and firm, “That concludes today’s meeting. Morikawa-kun, please expedite the nationwide promotion of ‘A Bite of China’ and ‘Doraemon’ moral education books; all other colleagues should also fulfill their respective duties and continue to do a good job in the integration of the metropolitan area. Our goal is to make the Greater Tokyo metropolitan area a model of ‘cultural prosperity and shared well-being,’ so that everyone living here can feel a sense of belonging and happiness.”

"Yes!"

The attendees responded in unison, stood up, and their faces were full of enthusiasm.

Sunlight streamed through the windows, bathing everyone in its glow and falling on the viewership report for "A Bite of Japan" on the table—the 32.2% rating seemed to silently prove that the power of culture is enough to connect cities, warm hearts, and become an important force driving the times forward.

……

The contents of the Ministry of Education meeting spread like wildfire, reaching Tokyo TV in less than half a day.

At 2 p.m. on October 23, the top-floor conference room was already full of key personnel. Director Nobuhiko Sakata sat in the main seat, with Yoshihiro Shimazu, who had just stepped down as president of Tokyo TV and was fully preparing for the mayoral election, on his left, and Director Toshihide Takada and Executive Deputy Director Asumi on his right.

As soon as Hiroshi Nohara entered the conference room, Yoshihiro Shimazu looked up at him, his tone clearly smiling: "Hiroshi-kun, you've come at the right time. The main reason I called everyone here today is to talk about my campaign plan for running for mayor of Tokyo, and you are a key figure in this plan."

These words drew everyone's attention to Hiroshi Nohara. Asano Kita was the first to laugh and joke, "It seems that Shimazu-san is going to take advantage of Hiroshi-kun's influence. After all, who in Japan doesn't know that anything produced by Hiroshi Nohara is guaranteed to be a masterpiece?"

Yoshihiro Shimazu did not deny it, tapping the opinion poll report on the table with his finger: "That's right. Since adopting Hiroshi-kun's 'information cocoon' strategy last month, and pushing customized propaganda content to different groups, my approval rating has risen from the initial 28% to 41%, especially among young people and traditional crafts practitioners, whose approval ratings have increased by 19% and 23% respectively."

He picked up a data sheet and handed it to Nobuhiko Sakata, continuing, "Look, for office workers, we push short videos about the 'Returning Home to Start a Business Subsidy Policy,' using a clip from Kenta Sato's story in 'A Bite of China'; for housewives, we push 'Community Culture Festival' planning, accompanied by family competition videos from 'Super Transformation'; and for students, we push 'Traditional Culture Enters Campus' activities, using clips from 'Doraemon' animation to attract attention. This kind of precise targeting is much more effective than our previous 'scattershot' street speeches."

After reviewing the data, Nobuhiko Sakata looked up at Hiroshi Nohara and said, "Hiroshi-kun, your 'information cocoon' theory truly combines content and promotion to the extreme. I was worried before that this approach would seem deliberate, but now it seems that using content that the audience is familiar with as a medium makes it easier for people to accept."

At this point, Yoshihiro Shimazu changed the subject, his tone becoming more serious: "What's even more gratifying is that Mr. Ryuichi Koike has also noticed this strategy. Yesterday, his secretary called me and said that Mr. Koike is very interested in the 'information cocoon' theory, and asked when he would be free to invite Hiroshi-kun to dinner to have a good talk about this content dissemination model."

Upon hearing this, Hiroshi Nohara bowed slightly: "It is my honor to receive Governor Koike's approval. However, the effectiveness of the 'information cocoon' is mainly due to Shimazu-san's campaign philosophy—'promoting the transformation of traditional industries and improving people's welfare'—which itself aligns with the needs of the people. I merely provided a communication tool."

"Hiroshi-kun is still so humble."

Takada Toshihide put down his pen, his tone tinged with emotion, "When you first proposed this theory, I was worried that it might be too ahead of its time. Now it seems that I underestimated the impact of content on the public. You paved the way for Shimazu-san with your own work, which is more persuasive than any campaign advertisement."

Asumi added, "Moreover, this method avoids directly attacking the opponent. Mayor Tanaka Mikami has recently been saying in public that we 'rely on the celebrity effect to win votes,' but we only use content related to people's livelihoods, and he can't even find fault with us."

Yoshihiro Shimazu smiled and nodded: "That's Hiroshi's brilliance. He knows that what the people want is not empty slogans, but tangible benefits that they can feel. Just like how 'A Bite of China' became popular because it showed people the lives of ordinary people, our propaganda is effective because it shows people real policy benefits."

Just as everyone was discussing promotional strategies, Nobuhiko Sakata suddenly remembered the news from the Ministry of Education, cleared his throat and said, "Oh, right, there's something else I need to tell you all. The Ministry of Education just sent word that Mr. Ryuichi Koike plans to promote 'A Bite of Japan' and 'Doraemon' as the core content of a 'national cultural promotion strategy' nationwide."

"A national-level strategy?" Ashikaga Takashi looked up in surprise. "This is unprecedented treatment. Even national-level TV dramas have never enjoyed this level of treatment."

Nobuhiko Sakata nodded, his tone tinged with pride: "That's right. 'A Bite of China' will be translated into multiple languages ​​and submitted to international documentary festivals. It will also be broadcast in primary and secondary schools across the country as 'local culture teaching material'. 'Doraemon' will be included in primary school moral education supplementary reading materials, and a 'parent-child reading version' will be launched in collaboration with a publishing house. His Excellency Koike said that these two works, one can promote regional economic transformation and the other can cultivate children's character, are exactly what Japan needs right now."

Kei Tanaka immediately chimed in, “That would be wonderful! A Bite of China has already boosted tourism in Chiba and Gunma by 30%. If it were promoted nationwide, it might revitalize traditional crafts in even more places. When I visited Saitama before, the old bakery owner there asked me when A Bite of China could film their story.”

Kita Asano also said with a smile, "Doraemon is indeed very educational. My son used to always snatch toys from his classmates, but after watching the episodes where Nobita shares his gadgets, he now voluntarily lends his comics to others. Teaching children lessons through animation is more effective than a hundred nagging words from parents."

Yoshihiro Shimazu suddenly stopped smiling, his tone becoming serious: "Actually, there's a deeper consideration behind Mr. Koike's promotion of these two works—it's a signal of 'economic transformation' from the higher-ups." He looked at everyone and slowly said, "Japan's real estate bubble is now on the verge of danger. A 60-square-meter apartment is being sold for 100 million yen, young people are burdened with decades of loans, and the real economy is shrinking. The higher-ups have long been aware of this problem, but haven't found the right time to introduce controls. The cultural tourism industry driven by 'A Bite of China' and the cultural industry promoted by 'Doraemon' are precisely the 'new economic directions' that the higher-ups want to focus on supporting."

Someone immediately followed up with, "Does that mean giving up on real estate? After all, many large companies make money from real estate now."

Yoshihiro Shimazu sighed and shook his head: "It's not that simple. The higher-ups mean 'control, not abandonment,' such as restricting the inflow of funds from real estate speculators, increasing the supply of affordable housing, and guiding funds to the real economy, such as tourism, culture, and manufacturing. Just like in 'A Bite of China,' a small soba noodle shop can not only support a family but also drive the surrounding food planting, tourism, and other industries. This is a healthy economic model."

Asuka frowned: "But the real estate industry involves too many interests, so it must be difficult to manage, right? Before, Sato Tokugawa's Kirin Group was still acquiring land everywhere to build luxury homes."

"Therefore, we need works like 'A Bite of China' to guide public opinion."

Yoshihiro Shimazu looked at Hiroshi Nohara and said, “Let the public see that there are many industries that can make money and realize value besides real estate speculation; let young people know that returning to their hometown to do traditional crafts is not necessarily worse than being a real estate agent in Tokyo. This is why I attach so much importance to working with Hiroshi-kun—your work can subtly change people’s perceptions, which is more powerful than any policy document.”

Everyone nodded in silence, and the atmosphere in the meeting room became somewhat heavy.

Takada Toshihide said softly, "It seems that economic transformation is an inevitable trend. I always thought that the real estate market could hold up for a few more years, but now it seems that the top leadership is already preparing for the days after the bubble bursts."

After a brief silence, Yoshihiro Shimazu looked at Hiroshi Nohara again, his tone sincere: "Hiroshi-kun, I'd like to ask you for more advice on the upcoming campaign. Right now, Mikami Tanaka's side is always attacking me for being 'out of touch with the people,' saying that I don't understand the lives of ordinary people. How do you think we should respond?"

Hiroshi Nohara thought for a moment and then said, “Shimazu-san, you don’t need to deliberately respond to the attacks. Instead, you can use ‘details of people’s lives’ to enhance your image. For example, we can shoot a series of short videos about ‘a day in the life of a mayoral candidate.’ We don’t need to preach any grand principles. We can just film you helping Kosuke Sato knead dough at a soba noodle shop in Gunma, going to a fishing port in Chiba to haul in the nets with Masayasu Nomizu, and going to a wagashi shop in Kyoto to learn how to make sakura mochi from a master chef.”

He picked up a pen and drew a simple storyboard on a piece of paper: "In the first shot, you're kneading dough with Sato-san, and he says, 'Young people are now willing to come back to learn how to make soba noodles.' You reply, 'What we need to do is give these young people more support.' In the second shot, you're helping fishermen move tuna at the fishing port, talking about 'marine conservation,' which naturally leads to the policy of 'sustainable fisheries.' In the third shot, you're tasting freshly made yokan at a wagashi shop, talking to the master craftsman about 'the inheritance of traditional crafts,' and mentioning the 'craftsman seniority subsidy' plan."

Asano Kita's eyes lit up: "That's a great idea! Using the characters from 'A Bite of China' as a medium is both natural and relatable, and it also makes the audience feel that Mr. Shimazu is genuinely concerned about the lives of ordinary people, which is much better than just standing on a stage and shouting slogans."

Takashi Ashikaga nodded in agreement: "Moreover, these videos can be pushed using an 'information cocoon' strategy, pushing 'craft subsidies' clips to traditional craftspeople, 'marine conservation' clips to fishermen, and 'Wagashi Culture Festival' clips to housewives, which is precise and effective."

Upon hearing this, Yoshihiro Shimazu immediately picked up his pen and wrote it down, his tone excited: "Let's do as Hiroshi-kun says! Tomorrow I'll go to Gunma to find Kosuke Sato, and the day after tomorrow I'll go to Chiba. I'll try to finish filming this video next week. By the way, Hiroshi-kun, if you have time, could you help me control the camera angles and pacing? After all, your camera language is more in line with the tastes of young people than we old folks."

Hiroshi Nohara nodded in agreement: "No problem. I can talk to Sato-san tomorrow and ask him to prepare in advance. Also, we can add some background music clips from 'A Bite of China' to the video, which will help the audience connect with it more quickly."

As Nobuhiko Sakata watched the two finalize the details, he smiled and said, "It seems like this campaign campaign is going to be a sure thing. Takada-kun, you need to coordinate the distribution channels for the video; Asumi-kun, you're in charge of coordinating the broadcast time slots on TV stations and putting the video at the end of 'Tales of the Unusual' and 'Super Transformation,' which will have a better effect on attracting viewers."

Takada Toshihide and Asumi both agreed. Takada Toshihide added, "I will contact the advertising department and have them cut the video into three versions: 15 seconds, 30 seconds, and 60 seconds, and place them on subway ads, TV ads, and street screens respectively to achieve full-channel coverage."

Asumi also said, "I have already spoken with Kanto TV, and they will cooperate by rebroadcasting 'A Bite of China' on local channels in Chiba and Gunma, while also inserting Shimazu-san's promotional video. This will further consolidate the support of the local people."

Hiroshi Nohara suddenly remembered something and said, "By the way, Mr. Shimazu, Vice Minister Kosuke Morikawa of the Ministry of Education may come to talk to us next week about the copyright issues for the nationwide promotion of 'A Bite of China.' If you are free, you can attend together. Since Lord Koike is interested in the 'information cocoon' theory, perhaps we can take this opportunity to talk to him more about our campaign platform and try to gain more official support."

Yoshihiro Shimazu's eyes lit up: "This reminder is very important! I'll have my secretary make time for it right away. If we can get Koike's public support, it will be a huge boost to the election."

As the meeting ended, it was nearly evening, and the setting sun shone through the floor-to-ceiling windows into the conference room, casting a warm glow on everyone's faces.

Shimazu Yoshihiro grasped Nohara Hiroshi's hand and said solemnly, "Hiroshi-kun, whether I succeed in this election, whether I can beat Tanaka Mikami, depends entirely on you."

Hiroshi Nohara shook his head slightly: "Shimazu-san, the key to winning is that your ideas resonate with the people. I just did what I was supposed to do, conveying value through content."

Looking at Hiroshi Nohara's composed demeanor, Nobuhiko Sakata suddenly remarked, "Sometimes I really can't believe that Hiroshi-kun is only 23 years old. This composure and foresight surpasses that of many politicians in their forties or fifties. Tokyo TV is truly fortunate to have someone like you."

Hiroshi Nohara smiled and said nothing more. He knew that whether it was the promotion of "A Bite of China" or Yoshihiro Shimazu's campaign, the essence was to connect people and events, and people and policies, through content. What he had to do was continue to use his camera to capture the warmth and strength in ordinary life, and let these forces become small sparks that drive the times forward.

……

The atmosphere in the office of the executive vice president of Tokyo TV was so oppressive it was almost palpable.

Kazuo Takahashi slammed the briefing from the Ministry of Education meeting onto the table, scattering papers all over the floor. Pointing to the words "A Bite of China and Doraemon included in the national cultural strategy," his voice trembled with anger: "National strategy? On what grounds? Hiroshi Nohara is just a 23-year-old third-rate director. Why should all the elementary and middle school students in Japan be able to watch his documentaries and comics?"

The middle-level managers in the office all kept their heads down, none of them daring to speak. Production manager Takashi Yamamoto secretly glanced at Kazuo Takahashi's flushed face, his pager vibrating several times but he dared not look—it was a message from a subordinate about the preparations for the fourth episode of "A Bite of China," and bringing it up now would undoubtedly add fuel to the fire.

"And there's Shimazu Yoshihiro!" Kazuo Takahashi became more and more agitated, grabbing a coffee cup from the table and smashing it on the ground, scattering ceramic shards everywhere. "He lost the mayoral election to Tanaka Mikami-san and spent three years in the ICU, but now, thanks to Hiroshi Nohara's 'information cocoon' strategy, his approval rating has actually increased so much! Our city TV station spent so much money hiring Shunsuke Kamiki to film variety shows, and the ratings are less than 2%. Where exactly is the difference?"

Just then, Shunsuke Kamiki pushed the door open and came in. Hearing this, he immediately leaned forward, looking aggrieved: "Takahashi-san, it's not that our variety shows are bad, it's just that TV Tokyo is too good at hyping things up! The fishermen and artisans in 'A Bite of China' are all fake emotions. How can they compare to the real trendy restaurants in our 'Shunsuke's Tokyo Adventure'? And 'Doraemon' is just a comic for kids. How can it compare to the educational value of our 'School Idol Diary'?"

Kazuo Takahashi glared at him, his tone even more aggressive: "Fake? The 32.2% viewership rating across Japan was fake? The collective praise from Ministry of Education officials was fake? Kamiki-kun, if you had half the talent of Hiroshi Nohara, our city station wouldn't be in this state!"

Kamiki Shunsuke turned pale from the scolding, but dared not retort—he knew that Takahashi Kazuo was holding back all his anger, and if he dared to talk back, he might become the punching bag.

He clenched his fists, his nails digging deep into his palms, but in his heart he hated Hiroshi Nohara to the core.

If it weren't for this guy, our variety shows wouldn't have been so thoroughly outclassed, and TV Tokyo wouldn't have lost so badly in the competition with TV Tokyo.

After hesitating for a long time, Misaki Suzuki, the head of the publicity department, finally spoke up in a low voice: "Takahashi-san, the Ministry of Education also said that they want to translate 'A Bite of China' into multiple languages ​​and send it to international documentary film festivals, and may even apply for cultural export funds... Should we also submit a project? For example, edit 'Shunsuke's Tokyo Wanderings' into a short film and try to send it to a local film festival in Kansai?"

"What are you trying out!" Kazuo Takahashi interrupted her, his tone full of sarcasm. "They gave us works that represent Japanese culture, what are we going to give them? Videos of people checking out trendy restaurants? Footage of Kamiki-kun showing off? Don't make us a laughingstock!"

He walked to the window, gazing at the lights of the TV Tokyo building in the distance, his eyes filled with resentment: "Our city TV station was personally approved by Tanaka Mikami-san to counter TV Tokyo's influence. But what about now? Every show they release becomes a hit, while every show we release flops. Last time, 'Shunsuke's Tokyo Adventure' went head-to-head with 'A Bite of China,' with a 1.9% rating to 24.1%. Now, their ratings have broken 32.2%, and they're even becoming a national strategic project, while we don't even have a single show to our name!"

Production manager Takashi Yamamoto then cautiously said, "Takahashi-san, we could actually make a similar documentary. For example, we could film long-established shops in Tokyo, find some artisans to tell their stories, and maybe..."

"akin?"

Kazuo Takahashi turned around and glared at him, his tone disdainful. "Do you think making documentaries is like making variety shows? You think you can become famous by just finding a few craftsmen to pose for a few shots? Hiroshi Nohara can capture the exhaustion of fishermen going out to sea at dawn and the calluses on the hands of soba noodle makers. Can you do that? Our station's directors only know how to make actors smile like idiots in front of the camera and use bright lights to make food look fake. They don't understand what 'real' means at all!"

Yamamoto Takashi lowered his head, feeling somewhat resentful—it wasn't that they didn't understand reality, but that Takahashi Kazuo always emphasized "traffic first," demanding that variety shows must have celebrities, conflict, and buzz, never giving them the opportunity to film real stories. But he could only keep these thoughts to himself, afraid to voice them.

Suddenly, Kamiki Shunsuke had an idea. He leaned closer to Takahashi Kazuo and said in a sinister tone, "Takahashi-san, we're not entirely without options. In Hiroshi Nohara's 'A Bite of China,' Sato Kosuke from Gunma had a son who quit his job in Tokyo and went home, right? We could ask some people to inquire and see if his son really wanted to inherit the soba noodle shop, or if he was just faking it for the documentary. If we could find some evidence of 'faking' it, maybe we could ruin the reputation of 'A Bite of China'!"

Kazuo Takahashi's eyes lit up for a moment, then dimmed again: "Do you think the people at TV Tokyo are idiots? If they dared to film it, they must have verified all the details. Besides, the whole of Japan is praising 'A Bite of China' right now. If we dare to spread rumors, we might be condemned to death by the public, and even Tanaka Mikami won't be able to protect us then."

He slumped into his chair, his voice full of helplessness: "We're like we're tied up. We know that TV Tokyo is expanding its influence step by step, but we can't do anything about it. They have geniuses like Hiroshi Nohara, high-level support like Nobuhiko Sakata and Yoshihiro Shimazu, and resources from the Ministry of Education. What about us? We only have a limited budget, celebrities who only know how to look cool, and a bunch of directors who only know how to make bad variety shows."

Silence fell over the office, broken only by the ticking of the clock on the wall.

Looking at the shards of the coffee cup on the floor, Misaki Suzuki whispered, "Takahashi-san, perhaps we can try a different approach. Since we can't compete on cultural depth, we can compete on entertainment. For example, we could invite more idol stars to do variety shows and organize some 'idols experiencing traditional crafts' events. That might attract young viewers."

Kazuo Takahashi sighed and waved his hand: "It's no use. Young people these days are moved by the true stories in 'A Bite of China.' They'd rather watch fishermen go out to sea and artisans knead dough than watch their idols pretending to experience the craft. We've already lost at the starting line. Unless a second Hiroshi Nohara emerges, there's no way we can surpass TV Tokyo."

He picked up the briefing on the table, poked his finger hard at the name "Hiroshi Nohara," and said with a tone full of jealousy: "This guy is simply the nemesis of our city TV station. From 'Yamishibai' to 'Seven Samurai,' and now 'A Bite of China,' every work he has produced has accurately hit the mark with the needs of the people. Why can't we find a talent like him?"

As night fell, the atmosphere in the office remained oppressive.

Kazuo Takahashi stood up, walked to the window, looked at the Tokyo night view, and said with resentment, "Pass the word down that we will hold an all-staff meeting tomorrow to re-discuss the upcoming program plans. We can't just give up like this. Even if we can't compete with national strategies, we must save face for our city station."

Several mid-level managers quickly agreed and turned to leave the office.

As Shunsuke Kamiki walked at the back, he glanced back at Kazuo Takahashi's lonely figure and suddenly felt a sense of powerlessness. He knew that no matter how many meetings were held or how many plans were made, as long as Hiroshi Nohara was on TV Tokyo, their city TV station would forever live in the shadow of TV Tokyo.

Stepping out of the city television building, Shunsuke Kamiki saw at a roadside newsstand that the Asahi Shimbun's front page was still reporting on the success of "A Bite of China." Hiroshi Nohara, wearing a simple shirt, had a calm gaze and a faint smile on his lips. Kamiki gritted his teeth, turned, and quickly walked away—he dared not look again, nor did he want to think about it anymore, because he knew he could never become like Hiroshi Nohara, and Tokyo City Television could never surpass Tokyo Television.

Meanwhile, inside the Tokyo TV building, Hiroshi Nohara was discussing the filming plans for the fourth episode of "A Bite of China" and subsequent episodes with Asumi.

Asumi looked at the filming outline in her hand and said with a smile, "Hiroshi-kun, the Ministry of Education has confirmed that after the third episode airs, the nationwide broadcast plan for primary and secondary schools will be officially launched. At that time, your work will influence a generation of young people, which will be an unprecedented achievement."

Hiroshi Nohara smiled, his tone remaining calm: "The most important thing is to let more people understand traditional crafts and pay attention to the lives of ordinary people. As for achievements, those are just byproducts."

The night view outside the window is dazzling, and the lights of the Tokyo TV building are particularly bright.

Hiroshi Nohara knew that the jealousy and anger of the Tokyo Metropolitan Government would not affect his progress at all.

What he wants to do is continue to use his camera to record the beauty in ordinary life, so that more people can feel the authenticity and warmth. This is his original intention as a creator.

(End of this chapter)