As a precursor to releasing 12 works from WOW20, we have launched ‘the WOW20th Anniversary Movie Logo Internal Competition,’ involving visual media using the WOW20 logo. The task requires expressing WOW20, and completed with the logo, within 30 seconds. The 22 entries created by 25 participants are, unlike their normal creations, explosive expressions of each individual designer’s personality. It made us predict new diversity in the future WOW20 pieces. Here at wowlab, we will introduce the top 7 entries with interviews from the creators. In volume 4, we will take a look at ‘20th Anniversary Hadoken’ by Daihei Shibata.
‘20th Anniversary Hadoken’
- Where did you get the ideas from?
This is a material that I was using as VJ called ‘Media Fighter’, which I updated for WOW20. Back when ‘Street Fighter V’ was released, I saw a video being promoted by a YouTuber and I thought, ‘I think it’d be nice to use images of games as VJ material’. In fighting games, loop images are used everywhere, like in the movement of a character standing by, or the spectators in the background of the stage. VJs are often made with loop images, so I felt it had something in common in terms of idea. I used Media Fighter in an event named VRDG, organized by a label called BRDG, and in Media Ambition Tokyo 2016, and the customers said to me, ‘It was super fun!’
- What led you to work as a VJ?
I started it as a hobby when I was in college, but after I started working, I barely played with it. But as I had produced a MV for BRDG, they called me to work as VJ in their event ‘VRDG’, and after that I started having more opportunities to perform. In FEMM’s VJ (Shibata was the director in charge of ‘L.C.S’ MV), I used MV material as base and video game music as theme.
- Tell us about the highlights of ‘20th Anniversary Hadoken’
Well, gave attention to simple things like manually adding fine movements into the 3D characters, put clothes on them to simulate how it would behave etc. I also created very discreet details; for example, the battle stage is the intersection in Shibuya, so I added an animation into the electronic scoreboard.
- What is the talisman in the main character’s face about?
It is a talisman of jiangshi, the Chinese ghost. I’m from jiangshi generation, and I used to like it, so I added it. I was very small when I saw the movie, so the only thing I remember is that I was scared! (laughs)
- Did you have any difficulty?
At the same time I was wondering how flashy to express the celebration of 20 years, I struggled with connecting it to the number 20. When I actually started producing it, I realized there were lots of detailed work like adding movement manually, so it was harder than I had imagined.
- What kind of activity do you like, or which moment it is that you enjoy?
I like when I’m thinking and when I’m producing. Well, ‘producing’ means a wide range of things, though! I enjoy going to a coffee shop to think about projects and productions, or doing small works after the other designers have gone home. When I’m thinking about ideas, I just keep drawing on a notebook, write down many words related to the theme that come up, and then select some afterwards. I also like editing. Especially the slickness of Adobe Premiere. With software like After Effects, I need to wait for the rendering to finish to see the preview, but Adobe Premiere lets me play it in real time, so I can experiment more and enjoy editing without any stress.
- Lastly, in ‘Design Anatomy Exhibition’, which is being held at 21_21DESIGN SIGHT until January 22nd (Sun), what kind of works are you displaying?
I am responsible for the ‘dissection’ of ‘Tasty Milk’, so I produced works focused on milking. The milking process is extremely delicate for the mother cow too, because it involves hormone secretion, and the timing of air pressure adjustment inside the milker is essential. I expressed milking exactly how I saw it in a farm I went to, so I believe it’s easy to understand the structure of my works.
‘Design Anatomy’ is a project being undertaken by graphic designer Taku Satoh since 2001. It aims to ‘dissect’ day to day products from a design perspective and thoroughly examine how they came into being. At this exhibition, in addition to the ‘dissections’ exhibited to date, it showcases five products of Meiji Holdings Ltd.
Date: October 14 (Fri), 2016 – January 22 (Sun), 2017
Closed: Tuesdays, December 27 – January 3 Time: 10:00 – 19:00 (Entrance until 18:30)
Admission: General ¥1,100 / University Student ¥800 / High School Student ¥500 / Junior High School Student and under may enter for free
Official website: http://www.2121designsight.jp/en/program/design_anatomy/