I, Hiroshi Nohara, the star of Japanese cinema

Chapter 252 Ryuichi Koike's Visit! On the Use of Information Cocoons! This is Hiroshi Nohara's Talent!

In November, the morning air in Tokyo already carried a chill.

Inside the conference room on the top floor of the Tokyo TV headquarters building, the atmosphere was several times more intense than the outdoor temperature. Nobuhiko Sakata, the station manager, sat in the main seat, his fingers gently stroking the rim of a ceramic teacup, his eyes filled with anticipation, yet also concealing a hint of barely perceptible tension.

To his left, Director Takada Toshihide was dressed in a sharp dark gray suit. His usually tense lips were unusually adorned with a smile, but he was repeatedly tidying up the documents on the table, clearly adjusting his state of mind.

To the right, Executive Deputy Director Ming Rihai appeared much more composed. He was looking down at a schedule for the nationwide promotion of "A Bite of Japan," his pen occasionally pausing on the paper to make small marks, but his peripheral vision would occasionally glance towards the direction of the conference room door.

"Tap tap tap—" The sound of hurried footsteps came from the corridor, breaking the tranquility of the room.

Everyone looked up and saw Yoshihiro Shimazu, dressed in a dark blue campaign suit, walking in quickly with two staff members behind him.

His hair was neatly combed, and he wore a smug smile, but the fine beads of sweat on his forehead betrayed his hurried journey.

"Sorry, sorry, there was a bit of traffic on the way." Shimazu Yoshihiro walked to the conference table and bowed slightly to Sakata Nobuhiko. "Sakata-kun, I'm sorry to have kept you waiting."

Sakata Nobuhiko put down his teacup, smiled, and shook his head. "You're too kind, Shimazu-senpai. We just arrived recently." He paused, his tone tinged with concern, "How are things? Has anything gone wrong with Governor Koike-san?"

Yoshihiro Shimazu pulled out a chair and sat down, taking a tissue from a staff member to wipe the sweat from his forehead. He said confidently, "Don't worry, I just spoke with Mr. Koike's secretary. Their convoy is already on Ginza Avenue and should be at our station in about thirty minutes."

"Thirty minutes?" Asumi suddenly looked up and subconsciously wiped his cheeks—although there was no sweat on his face, the sudden sense of urgency still made him a little uneasy. "I didn't expect Governor Koike to personally lead the team, and even bring department leaders from Tokyo... This level is much higher than the last inspection by the Ministry of Education."

Upon hearing this, Takada Toshihide immediately put down the documents in his hand, his smile widening: "Mr. Asuka, you don't understand. The fact that Mr. Koike is willing to bring his department leaders to inspect our station shows that he values ​​the role of Tokyo TV in cultural promotion and public awareness campaigns, especially the 'A Bite of China' and 'information cocoon' strategies, which have already received recognition from higher-ups. This is a tremendous boon for our station."

Nobuhiko Sakata nodded in agreement, then turned to Yoshihiro Shimazu, his tone slightly teasing: "Speaking of which, Mr. Koike, you probably didn't come here just to inspect the TV station, did you? I heard that your campaign approval rating has recently increased by five percentage points due to your 'information cocoon' strategy. Mr. Koike, are you here specifically to support you?"

Yoshihiro Shimazu laughed heartily, not denying it, but instead saying with a hint of pride, "Sakata-kun, you have a sharp eye. But this is also a kind of 'tradition' of our TV Tokyo—back when you and I were both directors at the station, didn't we also win the attention of the higher-ups with our good works? Now, Koike-sama values ​​us not only because of the effects of 'A Bite of China' and 'Information Cocoon,' but also because we are both reformers who came from TV Tokyo, and our ideas are compatible."

“That’s right!” Nobuhiko Sakata nodded with a smile, his eyes sweeping over everyone present. “The reason why TV Tokyo has achieved its current status is because of the reform concept of ‘content is king.’ From ‘Yamishibai’ to ‘Seven Samurai’, and now ‘A Bite of China,’ every work has closely followed the needs of the times, which has won the recognition of both the audience and the higher-ups.”

As the two continued their conversation, the atmosphere in the meeting room grew increasingly lively.

Several bureau chiefs from TV Tokyo walked in one after another. Some were mid-level leaders in the production department, while others were in charge of advertising and distribution. Each of them wore an expectant smile and exchanged their views on the inspection.

"I heard that Governor Koike is here specifically to see a sample of the fourth episode of 'A Bite of China'?" Director Asano Takata, who is in charge of program distribution, leaned over, his tone filled with excitement. "If we can get his personal praise, the broadcast of our program in primary and secondary schools across the country will definitely go more smoothly."

"It's more than just smooth sailing!" Fujishita Ken, the director in charge of advertising cooperation, clapped his hands, his beer belly jiggling. "Yesterday, the people from Marui Soy Sauce were talking to me, saying that if Mr. Koike approves of 'A Bite of China,' they are willing to add 200 million yen in sponsorship and launch 'A Bite of China co-branded' products in convenience stores nationwide!"

As everyone was chatting animatedly, Takada Toshihide suddenly frowned, his gaze sweeping across the conference room, and he asked with a hint of doubt, "By the way, where's Nohara Hiroshi? I just saw his name on the list of accompanying personnel, but I haven't seen him here."

As soon as he said that, the others realized that they hadn't seen Hiroshi Nohara since then.

Asumi immediately pulled out his pager, glanced down at it, and said with a hint of puzzlement, "Strange, an hour ago I had my secretary page Hiroshi-kun, saying that Governor Koike-san was coming and that he should come to the station in advance to prepare... Logically speaking, he should have arrived by now, since he came all the way from Kanto Station."

Upon hearing this, Yoshihiro Shimazu's smile faded slightly, and his tone became serious: "We can't forget Hiroshi-kun. This time, Lord Koike specifically instructed that we must meet with him—after all, it was Hiroshi-kun who proposed the 'information cocoon' strategy, and he also directed 'A Bite of China.' Lord Koike also wants to discuss cultural promotion ideas with him in person."

Seeing the slightly anxious looks on everyone's faces, Nobuhiko Sakata quickly reassured them, "Don't panic, everyone. Hiroshi-kun is always reliable and won't be late without a reason. He's coming from Kanto-dai, which means crossing the entire Tokyo city area. There was a traffic jam in Ginza this morning, so he might have been delayed on the way. Just wait a little longer, he should be here soon."

Even so, the atmosphere in the meeting room unconsciously became tense.

Everyone's gaze began to frequently drift towards the doorway, and even the previously heated discussion gradually subsided.

After all, Governor Ryuichi Koike is the highest-ranking official in Tokyo, and this inspection is of great significance to TV Tokyo. If key figure Hiroshi Nohara is late, it will inevitably leave a bad impression on the higher-ups.

Just as everyone was feeling uneasy, a soft knock came at the conference room door.

Immediately afterwards, Hiroshi Nohara appeared at the door—he was wearing a simple light gray suit, his hair was neatly combed, and there was no trace of panic on his face, except that one button on his cuff was undone, obviously he had made a special adjustment while traveling to keep himself comfortable.

"Sorry, there was some traffic on the way, I'm late." Hiroshi Nohara walked into the conference room, bowed slightly to Nobuhiko Sakata and Yoshihiro Shimazu, and then looked at Toshihide Takada, Asumi and others in turn, "Director Sakata, Senior Shimazu, Director Takata, Mr. Asumi, I'm sorry to have kept you waiting."

"Hiroshi-kun, you've finally arrived!" Asumi was the first to breathe a sigh of relief, her tone tinged with relief. "We were just worried that something might have happened to you on the way."

Takada Toshihide also put aside his previous doubts and smiled again: "It's good that you're here. Please have a seat. Governor Koike will be here in twenty minutes. Let's go over the procedures briefly again."

Hiroshi Nohara walked to the conference table and sat down. He took the teacup handed to him by Nobuhiko Sakata, his fingertips touching the warm cup, and took a small sip.

He glanced around and noticed that everyone's eyes were on him, filled with anticipation. He then spoke up, "On my way here, I spoke with Saito-san at Kanto TV. The sample of episode four of 'A Bite of China' has been copied, and the technical department can deliver it to the screening room in a bit. Also, Sakura-chan has faxed the revised script for 'Old Street Visit' to our station's planning department. If Governor Koike-san asks about future documentary plans, we're prepared."

His words were clear and logical, instantly putting everyone present at ease. Nobuhiko Sakata nodded in satisfaction: "Hiroshi-kun is very thoughtful. However, the main purpose of Koike-sama's visit this time is not to see the sample footage, but to talk to you about 'information cocoons' and the follow-up promotion of 'A Bite of China'."

At this moment, Yoshihiro Shimazu leaned closer, his tone somewhat mysterious: "Hiroshi-kun, you may not know this, but His Excellency Koike personally led the team here for two reasons—first, to promote the 'information cocoon' strategy in public awareness campaigns in Tokyo, such as the upcoming 'winter flu prevention' science popularization; second, to leverage the popularity of 'A Bite of China' to promote cultural and tourism cooperation in the greater Tokyo metropolitan area, so that the traditional crafts of places like Chiba, Gunma, and Saitama can further enhance their reputation through our documentary."

"Oh?"

Hiroshi Nohara paused for a moment, a hint of surprise flashing in his eyes—he had originally thought that Ryuichi Koike's visit was just a routine inspection, but he hadn't expected it to involve such in-depth cooperation. "I didn't expect that 'information cocoon' and 'A Bite of China' would attract such high attention."

Seeing his surprised expression, Nobuhiko Sakata couldn't help but smile. He leaned forward slightly, lowered his voice, and spoke with a hint of mystery: "Hiroshi-kun, don't underestimate your ideas. The 'information cocoon' strategy not only played a significant role in Shimazu-senpai's election campaign, but it has also attracted the attention of higher-ups—last week I had dinner with Minister Hattori Tadashi, and he secretly told me that some people in the cabinet are already discussing using the 'information cocoon' for policy propaganda nationwide."

"cabinet?"

Takada Toshihide and Asumi both widened their eyes, their faces filled with shock.

Takada Toshihide subconsciously adjusted his tie, his tone tinged with disbelief: "This...this is too sudden! 'Information cocoon' was just a propaganda strategy proposed by Hiroshi-kun, how could it have alarmed the Cabinet?"

Asumi nodded in agreement, a hint of emotion in her eyes: "Yes, we only thought this strategy was useful in elections before, but we never expected it to rise to the level of national policy... Hiroshi-kun, you've created a new propaganda model."

Seeing the two men's shocked expressions, Yoshihiro Shimazu sighed softly, his tone tinged with emotion: "You two still underestimate Hiroshi's abilities. Besides the 'information cocoon,' all the IPs he created—the Akita Inu animated character, Kumamon, and the documentary 'A Bite of China'—weren't they all sensations across the country?"

He paused, tapped his fingers lightly on the table, and continued, "Now all of Japan knows that Hiroshi Nohara's works not only have popularity but also depth. Doraemon teaches children to share, Midnight Diner reminds adults of the warmth of home, and A Bite of China awakens everyone's attention to traditional crafts... The values ​​conveyed by these works perfectly align with the 'national cohesion' that the higher-ups want to promote. It's only natural that the higher-ups have taken notice of him."

Hiroshi Nohara listened to everyone's words, a bitter smile creeping onto his lips. He shook his head and said, "I didn't think that much about it. When I first proposed the 'information cocoon,' I just felt that the traditional, wide-net approach to publicity was too ineffective. When I filmed 'A Bite of China,' I just wanted to record some crafts that were about to be forgotten. I didn't expect it to cause such a huge reaction. Now I feel that it's a bit like 'the reputation doesn't live up to the hype.'"

"Hiroshi-kun, you're being too modest!"

Takada Toshihide immediately retorted, his tone serious, "You're only 23 years old, yet you've achieved so much that your predecessors couldn't in their entire lives—'Yamishibai' pioneered a new genre of urban ghost stories, 'Seven Samurai' redefined the samurai film genre, and 'A Bite of China' became a national cultural symbol... If it were anyone else, they would have become arrogant and complacent long ago, but you've managed to maintain this clarity, which is the most precious thing."

Asumi chimed in, "Takada-kun is right. Last time, Matsumoto Keiko-senpai remarked to me that the Japanese film and television industry hasn't produced a genius like you in decades—you understand content creation, market demand, and you can keep up with the times. Compared to you, we old guys feel like we're falling behind."

Nobuhiko Sakata looked at the scene before him and a relieved smile appeared on his face.

He picked up his teacup and raised it to everyone: "Alright, let's stop praising Hiroshi-kun. Governor Koike-san will be here soon, so let's go over the procedures again to make sure the inspection goes smoothly. Hiroshi-kun, when His Excellency Koike asks about the details of the 'information cocoon,' just follow what we discussed before and focus on how to combine it with public welfare policies for targeted delivery. It doesn't need to be too complicated; just keep it simple and easy to understand."

Hiroshi Nohara nodded in agreement: "Don't worry, Director Sakata. I've already compiled the cases of 'winter flu prevention' and 'cultural and tourism cooperation.' When the time comes, I'll explain them in conjunction with the actual situation, and that should make Governor Koike understand the value of 'information cocoons.'"

At this moment, Yoshihiro Shimazu patted Hiroshi Nohara on the shoulder, his tone filled with expectation: "Hiroshi-kun, whether we can get Lady Koike to publicly support my campaign this time, and whether our station can get the Tokyo Metropolitan Government's special fund for cultural promotion, all depends on you."

Looking into his earnest eyes, Hiroshi Nohara nodded gently: "Don't worry, Shimazu-senpai, I will do my best. However, whether it will ultimately succeed depends on whether the concepts of 'information cocoon' and 'A Bite of China' can align with Governor Koike's plans."

Just then, a staff member knocked on the door of the conference room and entered, speaking respectfully: "Director Sakata, Governor Koike's motorcade has arrived downstairs, and Minister Hattori Tadashi has come up with them."

Nobuhiko Sakata immediately stood up, straightened his suit jacket, and said to everyone, "Alright, let's go out and greet them. Remember, be sincere and answer questions concisely. Don't embarrass TV Tokyo."

Everyone stood up and followed Nobuhiko Sakata towards the conference room door.

Hiroshi Nohara walked in the middle, looking at Yoshihiro Shimazu's slightly excited back in front of him, and the tense yet expectant expressions of Toshihide Takada and Asumi beside him, and suddenly felt a sense of peace in his heart.

Ryuichi Koike's visit was not only an endorsement of TV Tokyo, but also an affirmation of his commitment to the concept of "content conveying value".

What he wants to do is take this opportunity to let more people see that good content can really change society and warm people's hearts.

The elevator slowly descended, and the numbers gradually jumped from "18" to "1".

Hiroshi Nohara stood in the corner of the elevator, his gaze falling on the reflection in the elevator door—he could see Nobuhiko Sakata whispering something to Yoshihiro Shimazu, Toshihide Takada repeatedly adjusting his tie, and Asumi's fingers unconsciously stroking the zipper of her briefcase. Everyone was making their final preparations.

"Ding--"

As soon as the elevator doors opened, a chorus of greetings immediately filled the lobby on the first floor.

The Tokyo TV staff were already standing in two rows on both sides of the lobby, wearing uniforms and with respectful smiles on their faces.

In the center of the hall, Minister Hattori Tadashi was standing with an elderly man with gray hair, wearing a dark gray Zhongshan suit—it was none other than Tokyo Governor Ryuichi Koike.

Ryuichi Koike appears more composed than on television, with a gentle smile on his face, yet his eyes are exceptionally sharp, scanning the crowd with a hint of scrutiny, while also conveying a touch of approachability.

To his left, Minister Hattori Tadashi, dressed in a black suit, greeted Nobuhiko Sakata and the others with a smile: "Sakata-kun, you've finally arrived. Koike-sama has been saying all the way here that he's been wanting to talk to everyone at TV Tokyo about 'A Bite of China' for a long time."

Nobuhiko Sakata quickly stepped forward and bowed deeply to Ryuichi Koike: "Governor Koike-san, welcome to Tokyo TV! It's really kind of you to come all this way."

Ryuichi Koike smiled and waved his hand, his tone gentle: "Sakata-kun, you're too kind. I've long wanted to see what a TV station that can produce such a great program as 'A Bite of China' is like. And I also specifically wanted to meet a young man—"

His gaze swept over the crowd and landed on Hiroshi Nohara, his eyes filled with admiration. "Hiroshi Nohara-kun, it's been a long time."

Hiroshi Nohara immediately stepped forward and bowed slightly: "Governor Koike-san, hello. I am honored by your concern."

"You're truly young and promising." Koike Takashi looked at him with a touch of admiration. "When I watched 'Seven Samurai' before, I thought the director was an old craftsman in his fifties. I never expected him to be so young. After watching 'Hachiko Monogatari,' and now 'A Bite of China,' I realize that you not only know how to make movies, but also how to tell the stories of ordinary people in documentaries—that's no easy feat."

Hiroshi Nohara smiled modestly: "Governor Koike-san, you flatter me. Both 'Seven Samurai' and 'A Bite of China' are the result of the team's joint efforts. I just did what I was supposed to do."

“Not arrogant or impatient, that’s rare.” Koike Takashi nodded, his appreciation growing. “Hattori-kun told me that the ‘information cocoon’ strategy was your idea? Shimazu-kun’s campaign campaign used this strategy very effectively, and his support among young people increased significantly.”

Upon hearing the term "information cocoon," Hiroshi Nohara immediately adjusted his tone, answering earnestly, "Yes, Governor Koike. The core of the 'information cocoon' is actually quite simple: it's about pushing content that different groups are interested in, based on their specific needs. For example, for office workers, we push short videos about 'returning home to start a business subsidies,' using stories from 'A Bite of China' as a medium; for housewives, we push 'community cultural festival' planning, combined with family competition cases from 'Super Transformation'—this makes it easier for people to accept, and the promotional effect is better." Ryuichi Koike listened attentively, nodding occasionally. After Hiroshi Nohara finished speaking, he suddenly asked, "Then do you think this strategy could be used for public service announcements in Tokyo? For example, the upcoming 'winter flu prevention' and 'Greater Tokyo Metropolitan Area cultural and tourism cooperation.' If we were to use the 'information cocoon,' how would we design it?"

The question came suddenly, and Nobuhiko Sakata, Yoshihiro Shimazu, and others next to him subconsciously held their breath, their eyes falling on Hiroshi Nohara.

This is a test for Governor Koike.

Hiroshi Nohara remained completely calm when he heard Ryuichi Koike's question.

He nodded slightly, his gaze sweeping over everyone present, and spoke in a steady tone: "Governor Koike, if we are to use 'information cocoons' for 'winter flu prevention' and 'cultural and tourism cooperation,' the core idea is to 'customize content for different groups and use familiar mediums to deliver information.'"

He first looked at Ryuichi Koike, gesturing lightly with his fingers as he clearly explained: "Take 'winter flu prevention' as an example, we can divide the audience into three categories. The first category is housewives, who are most concerned about the health of the elderly and children. We can shoot a series of short videos featuring Shozo Mizukami from 'Midnight Diner'—wearing a diner apron, holding a bowl of hot soup, saying, 'Drinking a bowl of tonkotsu soup in winter can warm you up, remember to remind your family to wash their hands frequently,' and then add heartwarming scenes of customers wearing masks in the diner. This is both relatable and makes housewives willing to watch and remember."

"The second group is office workers who take the subway every day and worry about getting infected during their commute. We can use the episodic format of 'Tales of the Unusual' to film a short story: an office worker catches a cold on the subway because he didn't wear a mask, which delays his important work. Later, he wears a mask every day and disinfects frequently, and successfully completes the project. The ending can be narrated with 'Protecting yourself is also protecting those around you.' This is more story-driven than a simple public service advertisement, and office workers are more likely to accept it."

"The third category is students, especially primary and secondary school students. They are very resistant to didactic propaganda. We can have Nobita and Doraemon from 'Doraemon' appear in a short animated film: Doraemon takes out a 'flu prevention mask' from his pocket, Nobita wears the mask to school, and reminds his classmates to ventilate their homes frequently. Add a children's song at the end of the animation: 'Wash your hands frequently, wear a mask, and be a health guardian.' The children will actively learn along with it and may even remind their parents."

Ryuichi Koike's eyes lit up, and he instinctively leaned forward, asking, "What about 'cultural and tourism cooperation in the Greater Tokyo Area'? For example, how do we use 'information cocoons' to encourage people in Tokyo to travel to Chiba and Gunma?"

"This is simpler because we have 'A Bite of China' as a ready-made medium."

Hiroshi Nohara smiled, his tone brimming with confidence. "For young people in Tokyo, we can edit together highlights from 'A Bite of China'—such as footage of Masayoshi Nomizu going out to sea to catch tuna at dawn, or close-ups of Kosuke Sato kneading soba noodles. We can then play these clips with upbeat music that young people like during breaks in variety shows on TV, and add a line at the end: 'Don't stay home this weekend. Go to Chiba to eat fresh tuna, and go to Gunma to learn how to knead soba noodles.'"

"For families with children, we can design 'family-friendly cultural tourism' content. We can have Kumamon, drawn by Misae-chan, take children to an old bakery in Saitama to learn how to make red bean bread, and to a wagashi shop in Kyoto to learn how to make icing. We can make short documentaries and broadcast them after children's programs on weekends. When parents see that their children are interested, they will naturally be willing to take them to experience it."

“For middle-aged and elderly people, they value ‘nostalgia’ and ‘value for money’ more. We can invite Eiji Kurosawa from ‘Seven Samurai’ to appear in the show, sitting in an old street in Kyoto, holding a wagashi (Japanese sweet), saying, ‘When I was young, I was always busy with work and didn’t really appreciate the scenery around me. Now I realize that there are so many good things hidden in the small towns around Tokyo.’ Coupled with slow-motion shots of the old streets and information on affordable travel packages, middle-aged and elderly people will feel that it is ‘reliable and cost-effective.’”

After listening, Koike Ryuichi couldn't help but clap his hands, his tone full of admiration: "Great! That's excellent! Nohara-kun, your approach fully utilizes the value of the 'information cocoon'—instead of bluntly pushing policies, you use familiar content as a bridge to encourage people to actively accept information. Hattori-kun, did you hear that? Our Tokyo Metropolitan Government's public relations efforts should follow this approach!"

Hattori Tadashi, standing to the side, immediately nodded and said with a smile, "Lord Koike, I've said it before, Nohara-kun is a young man with ideas. The Ministry of Education's promotion of 'A Bite of China' and 'Doraemon' was based on his ideas, and the results were much better than expected."

Looking at the scene before him, Nobuhiko Sakata smiled with satisfaction: "Governor Koike-san, if you think this idea is feasible, TV Tokyo is willing to fully cooperate. Whether it's shooting short videos, animations, or editing clips from 'A Bite of China,' we can implement it quickly."

Ryuichi Koike waved his hand, his tone somewhat urgent: "No need to wait for 'what if,' I'll make the decision right now—the Tokyo Metropolitan Government's 'winter flu prevention' and 'cultural tourism cooperation' promotion will be handled by TV Tokyo, and the Metropolitan Government Agency will provide full financial support. However, I have another idea that I'd like to discuss with everyone in detail. Shall we go to the conference room and sit down to talk?"

“Of course, of course!” Nobuhiko Sakata immediately agreed, gesturing for him to enter. “Governor Koike-san, this way please, the meeting room is ready.”

The crowd escorted Ryuichi Koike into the top-floor conference room.

Ryuichi Koike sat in the main seat, accompanied by two secretaries who were already prepared to take notes, each holding a notebook and a pen.

Nobuhiko Sakata, Yoshihiro Shimazu, Toshihide Takada, Asumi, and Hiroshi Nohara sat opposite each other, forming a small meeting circle.

As soon as he sat down, Ryuichi Koike couldn't wait to ask, "Nohara-kun, I have a few questions about the 'information cocoon' application you mentioned earlier. For example, how do you ensure that the content is accurately delivered to different groups? If content pushed to housewives is seen by working people, will it affect the effectiveness?"

Hiroshi Nohara picked up the water glass on the table, took a sip, and said in a calm tone, “Governor Koike, we’ve already considered this issue. The key to precise targeting lies in ‘channel selection’ and ‘time control.’ For example, content pushed to housewives will be placed at 10 a.m. and 3 p.m.—during which time housewives are mostly watching TV or listening to the radio; content pushed to office workers will be placed during the morning rush hour from 7 a.m. to 9 a.m. and the evening rush hour from 6 p.m. to 8 p.m., playing on subway advertising screens and radio stations; content pushed to students will be placed during the afternoon rush hour from 5 p.m. to 7 p.m., which is the time after they get home from school, playing on children’s channels and school broadcasts.”

He paused, then added, "In addition, we will cooperate with the post office to send customized brochures to families in different areas. For example, we will send brochures on family-friendly tourism to families in Tokyo and brochures on Tokyo shopping guides to families in Chiba. This will further improve the accuracy of our efforts. Of course, all of this requires the Tokyo Metropolitan Government to help coordinate channel resources, since our television station alone has limited coverage."

Koike Takashi nodded, signaling his secretary to take notes, then looked at Shimazu Yoshihiro with a hint of curiosity in his voice: "Shimazu-kun, you used 'information cocoons' in your campaign campaign. How effective were they? Could you tell me about your experience in actual use?"

Upon hearing the question, Yoshihiro Shimazu immediately sat up straight, his tone filled with excitement: "Lord Koike, I have firsthand experience with the effects of 'information cocoons'! My approval rating had been stagnant at around 28%, especially among young people and traditional craftspeople, who had very low approval ratings for me."

He picked up the opinion poll report on the table and handed it to Ryuichi Koike: "Look, these are the survey data from last month. Since we started using the 'information cocoon' and pushed content about 'returning home to start a business subsidies' to young people—using the story of Kenta Sato from 'A Bite of China' who quit his job in Tokyo and returned to Gunma—the support rate among young people has increased from 12% to 31%; and for traditional craftspeople, we pushed content about 'craftsman seniority subsidies'—using the case of Sumie Yamada's wagashi shop—their support rate has increased from 18% to 41%. Now my overall support rate has reached 46%, which is 8 percentage points higher than Mikami Tanaka!"

Ryuichi Koike took the investigation report and carefully read through it, his eyes filled with surprise: "It's risen so fast? It seems that 'information cocoons' can not only be used for public opinion propaganda, but also play a significant role in election propaganda. Shimazu-kun, have you encountered any difficulties in actual operation? For example, is the content production process very complicated?"

"There were definitely difficulties, but with Nohara-kun's help, they were all overcome."

Yoshihiro Shimazu looked at Hiroshi Nohara with a hint of gratitude in his voice, “At first, our team didn’t know what content to choose. We wanted to shoot a series of serious policy interpretation videos. Nohara-kun said, ‘Young people don’t like watching serious content. We need to use stories they are familiar with.’ Then he helped us edit clips from ‘A Bite of China’ and even had Misae-chan draw a promotional poster for Kumamon. We didn’t expect it to be so effective. Many young people said, ‘It turns out that Mr. Shimazu’s policies were for our benefit.’”

He paused for a moment, then continued, "Another time, we wanted to promote content about the 'Community Culture Festival' and target housewives. Nohara suggested that we have the family contestants from 'Super Transformation' appear on screen and say, 'Participating in the Community Culture Festival can make children more outgoing.' As a result, many housewives proactively called the campaign office to ask when the festival would be held and said they would support me."

Koike Ryuichi listened intently, tapping his fingers lightly on the table as he muttered to himself, "So that's how it is... So the core of the 'information cocoon' isn't 'pushing information,' but 'connecting emotions.' By using stories and characters familiar to the audience, they feel that the policy 'relevant to them,' and only then will they actively accept it and even actively spread it."

He looked up at Hiroshi Nohara, his tone serious: "Nohara-kun, if your 'information cocoon' concept could be promoted nationwide, it might solve many problems in policy dissemination. For example, with next year's 'Rural Revitalization Plan,' many young people are unwilling to return to the countryside. If we use the 'information cocoon' to push the stories of rural artisans from 'A Bite of China,' telling them that 'returning to the countryside can also realize value,' it might attract more young people back."

Hiroshi Nohara nodded, his tone serious: "Governor Koike is right. In fact, the essence of the 'information cocoon' is a people-centered approach to propaganda. In the past, propaganda was about 'what we want the audience to know,' while the 'information cocoon' is about 'what the audience wants to know, and we tell them in a way they like.' As long as we grasp this core, we can achieve good results in rural revitalization, environmental protection, or other policy propaganda."

Takada Toshihide suddenly spoke up, his tone tinged with caution: "Governor Koike-san, Nohara-kun, I have a question. 'Information cocoons' require a lot of content carriers, such as works like 'A Bite of China,' 'Doraemon,' and 'Midnight Diner.' If there aren't any new popular works in the future, will it affect the promotional effect? ​​After all, the audience's preferences will change, and if we keep using old works, they might get tired of them."

Hiroshi Nohara smiled, his tone brimming with confidence: "Director Takada has raised a good question. However, we already have a solution in place. On the one hand, we will continue to create new popular works, such as the upcoming fourth episode of 'A Bite of China,' which tells the story of an old bakery in Saitama. We will also film a series on 'traditional crafts from all over Japan,' constantly enriching our content. On the other hand, we will conduct regular audience surveys to understand their new preferences. For example, young people recently enjoy watching 'street interviews,' so we will film a series of short videos combining 'street interviews and policy promotion' to make it 'fresh and engaging' for young people."

Asumi added, "Furthermore, we will collaborate with other TV stations and publishers to share content resources. For example, Osaka's Yomiuri TV has a popular variety show called 'Kansai Food Exploration,' and we can collaborate with them to edit clips for 'cultural tourism cooperation' promotion; Shueisha has many popular manga, and we can collaborate with them to have manga characters appear on screen for promotion among students. In this way, the content carriers will not be limited, and we can reach a wider audience."

Koike Ryuichi nodded repeatedly. He looked at his secretary and said seriously, "Write down all these details, especially 'continuous creation of new works' and 'cross-platform collaboration.' In the future, when our department supports publicity work, we should focus on these aspects. As for funding, don't skimp on it. As long as it achieves the desired effect, any amount of money is worthwhile."

The two secretaries nodded immediately, their pens gliding rapidly across the notebooks, making a "swish" sound, as if afraid of missing any detail.

Nobuhiko Sakata then spoke up, his tone carrying a hint of suggestion: "Governor Koike-san, if the publicity for 'winter flu prevention' and 'cultural and tourism cooperation' is effective, could we consider using 'information cocoons' in more areas? For example, 'traffic safety publicity,' 'garbage sorting promotion,' or even policy interpretation on 'real estate bubble control'—many young people are anxious about the real estate bubble right now, and using 'information cocoons' to push relevant content can alleviate their anxiety and help them better understand the policies."

Koike Ryuichi's eyes lit up, and he clapped his hands: "Sakata-kun's suggestion is great! Especially 'real estate bubble control,' which is a key task right now. Many people don't understand why it needs to be controlled, and some even have a negative attitude. If we use 'information cocoons' to push interpretive content to different groups—for example, for young people, we could push 'affordable housing application guides' and 'entrepreneurship support policies,' telling them 'you can have a good life without buying a house'; for middle-aged people, we could push 'real estate bubble burst cases' and 'diversified investment advice,' helping them to view real estate rationally—maybe this would make more people understand and support the policy."

He looked at Hiroshi Nohara, his tone filled with anticipation: "Nohara-kun, do you think it's feasible to use 'information cocoons' for propaganda on 'real estate bubble control'?"

Hiroshi Nohara pondered for a moment before replying earnestly, “It’s feasible, but we need to be more cautious. Real estate is a sensitive topic, so the content must be objective and truthful, without exaggeration or misleading information. For example, targeting young people, we could film a series of ‘entrepreneurial stories’—such as a young person who gave up buying a house in Tokyo, used their savings to open a handicraft shop in their hometown, and became famous through the promotion of ‘A Bite of China,’ realizing their own value. Such stories can alleviate young people’s anxiety about buying a house and guide them to pay attention to other development directions.”

“For middle-aged people, we can invite economic experts to appear on camera, but they don’t need to talk about complicated theories. Instead, we can use a ‘chatting’ approach, like in ‘Midnight Diner,’ where the expert and Shozo Mizukami eat ramen while discussing ‘the risks of the real estate bubble’ and ‘the benefits of diversified investment.’ This is more acceptable to middle-aged people. At the same time, we should also promote ‘the progress of affordable housing construction’ and ‘policies for the renovation of old houses’ so that they know that controlling the real estate bubble is to make everyone’s life more stable.”

After listening, Ryuichi Koike couldn't help but exclaim, "Nohara-kun, you've thought of everything so thoroughly! With you here, the promotion of Tokyo's policies will definitely go much more smoothly. Hattori-kun, when you get back, immediately coordinate with the relevant departments and put the promotional plans for 'winter flu prevention,' 'cultural and tourism cooperation,' and 'real estate bubble control' on the agenda, and try to start preparations next week."

Hattori Tadashi immediately agreed: "Yes, Lord Koike! I will make the arrangements tomorrow and will definitely expedite the process."

The atmosphere in the meeting room grew increasingly lively as everyone discussed many details about the application of "information cocoons"—from the timing of content production to the coordination of channel resources and the standards for evaluating effectiveness; every aspect was discussed in great detail.

The notebooks of the two secretaries were filled with dense writing, and even the margins were covered with diagrams.

Before we knew it, more than an hour had passed.

Takashi Koike glanced at his watch, stood up, and said with a hint of lingering interest, "It's getting late, and I have a meeting to attend, so we'll stop here for today. But I want to tell you all that today's meeting was very rewarding—'information cocoons' are not just a propaganda strategy, but also a 'people-centered' working approach. In the future, the Tokyo Metropolitan Government and TV Tokyo should strengthen their cooperation and make good use of 'information cocoons' to do more practical things for the people."

Nobuhiko Sakata and the others also stood up and bowed slightly to Ryuichi Koike: "Yes, Governor Koike! We will definitely not let you down."

Ryuichi Koike walked up to Hiroshi Nohara, patted him on the shoulder, and said with a hint of expectation in his voice, "Nohara-kun, you are a rare talent. I hope you can continue to use your talent to create more great works and contribute more to the promotion of Japanese policies and cultural development. If you have any ideas or difficulties in the future, you can contact me at any time."

Hiroshi Nohara bowed slightly: "Thank you for your recognition, Governor Koike. I will continue to work hard and live up to your expectations."

Koike Takayuki nodded, exchanged a few more pleasantries with Sakata Nobuhiko, Shimazu Yoshihiro, and others, and then, accompanied by his secretary, left the conference room as everyone watched.

Only after Ryuichi Koike's figure disappeared at the end of the corridor did the people in the conference room breathe a sigh of relief and put on relaxed smiles.

Takada Toshihide looked at Nohara Hiroshi with a touch of emotion: "Hiroshi-kun, we really owe you a lot today. Governor Koike's recognition of 'information cocoons' will not only allow our station to receive publicity funding from the Metropolitan Government, but also enhance our station's standing in the industry. From now on, our station will have a much stronger foundation for development."

Asumi nodded, her tone filled with admiration: "Hiroshi-kun, your answer to Governor Koike's question was clear and detailed. I hadn't even thought of points like 'cross-platform collaboration' and 'audience research.' I really learn a lot from working with you."

Yoshihiro Shimazu laughed and patted Hiroshi Nohara on the shoulder: "Hiroshi-kun, I'll need your help with my campaign this time. If I can win the mayoral election by taking advantage of the 'information cocoon,' I'll definitely thank you properly!"

Looking at the scene before him, Nobuhiko Sakata smiled with satisfaction: "Alright, everyone, stop praising Hiroshi-kun. We need to get the publicity tasks assigned by Governor Koike-san implemented as soon as possible. Takada-kun, you're in charge of coordinating funding and channels; Asumi-kun, you're in charge of overseeing content production; Hiroshi-kun, you're in charge of controlling the direction and creativity of the content; Shimazu-kun, if you have any campaign publicity needs, you can also cooperate with our station and share resources."

Everyone readily agreed, their voices full of enthusiasm.

Even after Ryuichi Koike left, the lively atmosphere in the meeting room did not subside.

Nobuhiko Sakata walked to the head of the conference table, cleared his throat, and glanced at everyone: "Now let's divide the work to ensure that the tasks assigned by Lady Koike can be successfully implemented."

He first looked at Toshihide Takada: "Takada-kun, you are in charge of liaising with the finance and publicity departments of the Tokyo Metropolitan Government. Tomorrow, go and discuss the publicity budget for 'winter flu prevention' and 'cultural and tourism cooperation'. Also, finalize the channel resources—subway advertising screens, radio time slots, and brochure placements in post offices. These need to be finalized as soon as possible so as not to delay the subsequent content production."

Takada Toshihide immediately nodded: "Don't worry, Director Sakata, I'll prepare the funding application materials tonight and go to the Tokyo Metropolitan Government Office to meet with them first thing tomorrow morning. I've dealt with Minister Hattori Tadashi a few times before, and he's very supportive of our station, so there shouldn't be any problems."

Nobuhiko Sakata then looked at Asumi: "Asumi-kun, you are in charge of coordinating the content production team. For the short video on 'Winter Flu Prevention,' you need to contact Sho-san Mizukami and the production team of 'Tales of the Unusual.' For the editing of 'Cultural Tourism Cooperation,' you need to coordinate with Shigeru Saito's technical department. And for the 'Doraemon' animated short film, you need to coordinate the copyright with Shueisha—make sure to produce a preliminary sample within a week for Lord Koike to review."

"clear."

Asuka took out her notebook and quickly took notes. "I'll contact the relevant team in a bit to finalize the timeline. If there are any issues with copyright or personnel coordination, I'll keep you and Hiroshi in touch."

Finally, Nobuhiko Sakata's gaze fell on Hiroshi Nohara: "Hiroshi-kun, you'll be in charge of overseeing the creative direction of all content. Whether it's the scripts for short videos, the plots for animated shorts, or the copywriting for brochures, everything will have to be reviewed by you. Also, you can start preparing a plan for the publicity concept regarding 'real estate bubble control,' and perhaps Mr. Koike will soon put it on the agenda."

Hiroshi Nohara nodded in agreement: "Okay, Director Sakata. I'll talk to Misae-chan tonight and ask her to help design promotional posters for 'flu prevention' and 'cultural tourism cooperation,' and also write the first draft of the script for the 'Doraemon' animated short film. I'll meet with Sho-san Mizukami and Shigeru Saito tomorrow to confirm the filming details."

At this moment, Yoshihiro Shimazu suddenly spoke up: "Sakata-kun, Hiroshi-kun, I also have an idea. Since our station is going to promote 'cultural and tourism cooperation,' could we incorporate my campaign into it? For example, when promoting Chiba Fishing Port, I can appear on camera with Masayoshi Nomizu as they haul in the nets, and casually mention my campaign slogan of 'supporting the development of traditional fisheries'—this way it won't seem out of place, and I can also leverage the popularity of 'A Bite of China' to increase my exposure."

Nobuhiko Sakata looked at Hiroshi Nohara, and seeing him nod, he smiled and agreed: "Sure. But we need to be careful not to let the publicity become a pure campaign advertisement. The focus should still be on 'cultural and tourism cooperation'. Hiroshi-kun, I'll trouble you to coordinate with Shimazu-senpai on this matter and keep the content in check."

“No problem.” Hiroshi Nohara looked at Yoshihiro Shimazu. “Shimazu-senpai, we can go to Chiba together tomorrow to talk to Nomizu-san and see how to naturally incorporate your campaign ideas so as not to affect the publicity effect and achieve your goal.”

Yoshihiro Shimazu was overjoyed: "That's great! Hiroshi-kun, thank you for your help. I feel relieved with your assistance."

(End of this chapter)