My Name is Hiroshi Nohara, Star of Neon Film and Television!

Chapter 242: Filming Begins! Chiba Prefecture's Seafood Market! The Freshest Taste of Sashimi!

At 4:00 AM, the seafood market in Chiba City, Chiba Prefecture, was still bathed in the pale cyan light of dawn.

The fishing boats anchored by the pier had their dim yellow deck lights on. The sound of waves lapping against the shore mingled with the shouts of fishermen, dispersing into the cool air.

Freshly unloaded tuna, wrapped in white cloth, was piled on wooden pallets. The fish eyes still gleamed with a fresh luster. Occasionally, seagulls would swoop down, only to be chased away with a smile by the vendors behind the pallets.

Nohara Hiroshi, wearing a dark gray work jacket and holding a rolled-up storyboard draft, stood under the archway at the market entrance.

Taiwan novel website is super considerate, 𝑡𝑤𝑘𝑎𝑛.𝑐𝑜𝑚 is super convenient

Behind him followed a grand filming team—Matsui Yuichi carrying the camera bag, Honda Sakurako gripping a notebook filled with key points, and Saito Shigeru squatting on the ground calibrating the newly arrived high-definition camera. The lens pointed at the fishing boats in the distance, the boat lights in the picture blurring into warm yellow halos in the morning mist.

Hashimoto Ichiro and Asano Takata also came to help out. The two were helping Sound Recordist Kobayashi-san fix the windshield.

"Hiroshi-kun, over here!"

A middle-aged man in a navy blue suit walked over quickly, wearing an "Chiba Prefectural Office Specialist" badge on his chest, a perfectly measured enthusiasm on his face.

He was followed by a man in a light gray suit, holding a leather folder, who looked more composed than the specialist."I am Ishigami Motoiro, from the Chiba Prefectural Office, responsible for cultural and tourism affairs, and this is Kawabe Hidematsu, Deputy Mayor of Chiba City."

Ishigami Motoiro took the initiative to reach out his hand, his tone full of respect. "I've long heard of Nohara-kun's great name. I went to the cinema three times to watch 'Seven Samurai', and every time I was shocked by the rice field battle scene—being able to film 'A Bite of Neon' in Chiba is truly an honor for our Chiba!"

Hiroshi shook Ishigami Motoiro's hand, his tone remaining steady. "Ishigami-san is too polite. Chiba's seafood is very famous in Kanto, especially tuna and sea bream. It couldn't be more suitable to film 'Freshness of the Seaside'. We'll have to trouble you two to cooperate more this time."

Kawabe Hidematsu also nodded. He opened the folder in his hand, which contained detailed information on the Chiba seafood market—including the daily docking times of fishing boats, the tuna auction process, and even introductions to several time-honored fish shops.

"Nohara-kun, rest assured. We've already spoken with the market management office. Today we specially reserved the best filming location, and we also had Nomizu Masayasu-san prepare in advance. He is the oldest fish shop boss in the market. He started going out to sea with his father at fifteen, and his sashimi-making skills are second to none in Chiba."

"Nomizu-san?" Hiroshi's eyes lit up. He had heard of this old fisherman during his scouting. "I mentioned to the market management before that I wanted to film traditional sashimi making. I didn't expect you two to have already contacted him for us."

Ishigami Motoiro smiled, his tone carrying a bit of closeness. "Speaking of which, we and Nohara-kun can be considered 'indirect fellow townsmen'. Kawabe-kun and I are both protégés of Governor Koike Ryuichi. Back when we were working at the Tokyo Metropolitan Government, we often heard Governor Koike mention you—saying the 'Kasou Taishou' you filmed changed the apathy of the Japanese people, and also saying the Kumamon you designed tripled Kumamoto Prefecture's tourism revenue."

Kawabe Hidematsu also added, his tone carrying a bit more emotion. "Exactly! Governor Koike came to Chiba for an inspection last month and specially told us that if there's a chance to cooperate with Nohara-kun, we must fully support it. You don't know, real estate in Tokyo is going too crazy right now. Many young people in our Chiba have been siphoned off to buy houses in downtown Tokyo. The elderly left behind mostly rely on the fishing industry and tourism for a living—if this film can let more people know the good things about Chiba, maybe we can retain some young people."

Hiroshi froze for a moment, then understood.

He had read in Tokyo Station's report before that because Chiba Prefecture is close to downtown Tokyo, there has been a serious drain of young people in recent years. Many children of fishing families would rather go to Tokyo as office workers than inherit the family's fishing boat.

"Is Ishigami-san saying that Chiba values culture, tourism, and fisheries more, and is not interested in real estate?" Nohara Hiroshi chuckled.

"More than just not interested, it's utter disgust."

Ishigami Motoiro lowered his voice, his tone carrying a bit of helplessness. "Real estate developers from Tokyo wanted to build apartments in Tokyo Bay in Chiba last year, saying they would 'create Tokyo's backyard'. As a result, the fishermen collectively went to the prefectural office to protest—we Chiba people rely on the sea for a living. If the fishing grounds in the bay are filled in, how many people will lose their jobs? Governor Koike also supported us, saying 'local roots cannot be lost', and finally forcibly stopped the project."

Kawabe Hidematsu also nodded. He pointed to the wooden pallets in the market. "These pallets were passed down from the Showa era. Last year someone suggested changing them to a steel structure, saying it was sturdier. In the end, Nomizu-san took the lead in opposing it, saying 'the grain of the wood can absorb the moisture of the seawater, making the fish fresher when placed on it'—you see, this is what we Chiba people are like. We recognize the old principles, and we recognize local things. The 'humanities documentary' Nohara-kun is filming is exactly what can capture this 'recognition' of our Chiba."

Asumi also walked over at this time, holding a thermos cup, and took the conversation with a smile. "Ishigami-san is right. When I was at Kanto Station before, I often came to Chiba to film local news, and I know how attached the people here are to the fishing industry. Last time a young reporter wanted to film 'modernized fishing' and replace Nomizu-san's wooden boat with a motorboat, as a result, Nomizu-san directly blocked the camera outside the boat, saying 'the noise of the motorboat will startle the fish, the ancestors' method is not wrong'."

Ishigami Motoiro and Kawabe Hidematsu both laughed.

Ishigami Motoiro patted Hiroshi's shoulder: "Look, even Executive Director Asumi knows Nomizu-san's temper. This time, in order to cooperate with the filming, Nomizu-san specially advanced his departure time to sea by an hour, and also said he wanted to take us to the fishing ground he usually goes to, where the tuna is the fattest."

Hiroshi felt warm in his heart and hurriedly thanked him. "It's really been a lot of trouble for Nomizu-san. We are filming sashimi this time, and the focus is on the 'from sea to table' process—from going out to sea to catch fish, to market auctions, then to fish shop processing, and finally the reaction of the diners eating the sashimi. We want the audience to know how much blood and sweat is hidden behind a delicious serving of sashimi."

"This is a good mindset!"

Kawabe Hidematsu's eyes lit up. He pointed to the auction area deep in the market. "Every morning at five o'clock, there will be a tuna auction here. Dozens of fish shop bosses will surround to bid, and the sound of calling prices can reach the pier. Nomizu-san can always buy the best tuna at the most suitable price every time. He says, 'looking at the luster of the fish's eyes and the elasticity of the fish's body, you know whether the fish is fresh or not'—this detail will definitely look good when filmed."

Ishigami Motoiro also added: "There's also Nomizu-san's fish shop, at the very back of the market. The wooden counter has been used for forty years, and the knife marks on it were all left by him when cutting sashimi. He has a rule for making sashimi: he only sells ten tuna every day, and closes the shop when they are sold out, saying 'if there are too many, the taste cannot be guaranteed'—many diners in Tokyo specially drive here just to eat the sashimi he cuts."

Hiroshi looked down and made a few notes on the storyboard draft. The sound of the pen tip sweeping over the page was exceptionally clear in the morning mist: "Then our filming process is roughly like this—first film Nomizu-san going out to sea to fish in the early morning, focusing on his movements when hauling the net, and the state of the fishing boat in the waves;

then film the market auction, capturing the tension during bidding;

next film Nomizu-san processing the tuna in the fish shop, taking close-ups of his knife technique and the texture when the fish skin is cut open;

finally film the expressions of the diners when eating the sashimi, highlighting the feeling of 'freshness'."

He paused and looked up at Ishigami Motoiro and Kawabe Hidematsu. "During filming, it may be necessary to temporarily clear the filming area to avoid tourist interference. In addition, the light in the auction area is a bit dim, and we may need to use reflectors to fill in the light—I wonder if this will cause trouble for you two?"

"No trouble at all!"

Ishigami Motoiro immediately waved his hand. "We spoke with the market management long ago. Today, a dedicated area in the auction zone was specially reserved for the filming team. Use the reflectors as much as you want. Guides have also been arranged for the tourists;

they will lead them around the filming area to ensure no disruption to Nohara-kun's filming."

Kawabe Hidematsu also added, "If you need to film diners, we can have several old-established restaurants in the market cooperate, and have their regular customers act as 'extras'—they are all frequent guests, won't be nervous in front of the camera, and can even express their true feelings."

Hiroshi felt completely reassured. He turned to Matsui Yuichi and said, "Matsui-san, let's follow the procedure. First, we go to the pier to film Nomizu-san going out to sea;

use a telephoto lens on the camera to highlight the fishing boat in the morning mist. Honda-chan, you follow Nomizu-san and record the details he mentions about fishing, like when to cast the net and how to determine the location of the fish."

"Yes!"

Matsui Yuichi immediately hoisted the camera onto his shoulder. Saito Shigeru followed behind him, carrying the spare batteries. Honda Sakurako also took out her pen and quickly followed, having already written the heading "Nomizu-san's Fishing Techniques" in her notebook.

Ishigami Motoiro and Kawabe Hidematsu also followed them towards the pier. Ishigami Motoiro chatted with Hiroshi as they walked. "Nohara-kun, I really like the 'Midnight Diner' you filmed too, especially the oden in it. Every time I watch it, I want to downstairs and find a small shop to eat—will there be details with a human touch added when filming the sashimi this time? Like Nomizu-san's interaction with his son, or chatting with regular customers?"

"Of course there will."

Hiroshi nodded, his tone carrying certainty. "Food is merely the vessel;

the human stories are the core. For example, why does Nomizu-san insist on taking a wooden boat out to sea? Does he have disputes with his son regarding the fishing business? Why are long-time customers willing to come specifically for his sashimi? Only by capturing these details can the audience remember Chiba's seafood and remember the people of Chiba."

Kawabe Hidematsu couldn't help but marvel, "No wonder Governor Koike said Nohara-kun understands 'humanities' best. NHK came to film Chiba's seafood before and only filmed how the tuna was processed, not the people behind it. It elicited no response after airing—still, Nohara-kun's approach is superior;

only works with warmth attract viewers."

During their conversation, the group had arrived at the pier.

A wooden fishing boat was docked at the shore. Engraved on the hull were the characters "Nomizu Maru." Standing at the bow was a silver-haired elderly man wearing deep blue fishing waders and gripping a polished oar. It was indeed Nomizu Masayasu.

Seeing Hiroshi's entourage, a good-natured smile spread across his face, and he briskly walked over. "You must be Nohara-kun? Ishigami-san mentioned you. 'Seven Samurai' was excellently filmed!"

"Hello, Nomizu-san, I'm troubling you." Hiroshi bowed respectfully, his tone filled with reverence.

Nomizu Masayasu waved his hand, pointing at the fishing boat: "It's no trouble! It's a good thing to let more people know about Chiba's seafood. This boat was passed down from my father;

it's thirty years old. Don't let its age fool you, it's very steady in the sea—the tide is good this early morning, we'll definitely catch good tuna."

Matsui Yuichi had already set up the camera, and Saito Shigeru was adjusting the lighting next to him.

"Nomizu-san, shall we start filming?" Matsui Yuichi called out, pointing the lens at Nomizu Masayasu's hands—hands covered in calluses with enlarged knuckles, yet exceptionally nimble, skillfully untying the rope moored at the shore.

"Alright!"

Nomizu Masayasu responded, leaping onto the fishing boat with agility surpassing that of many young people.

He picked up the oar and rowed out to sea. In the morning mist, the fishing boat looked like a leaf moving slowly among the waves.

Matsui Yuichi carried the camera, following along the shore, the lens tracking the fishing boat the whole time. Honda Sakurako ran alongside, softly asking Nomizu Masayasu, "Nomizu-san, how do you determine where there's a school of fish?"

Nomizu Masayasu turned back and smiled, his voice traveling through the morning mist: "Look at the color of the seawater! Where there are large schools of fish, the seawater will have a faint cyan color. And seagulls—where seagulls follow, there are definitely fish!"

Hiroshi stood by the pier, looking at the image in the lens, and said to Asano Takata beside him, "Asano-san, when Nomizu-san casts the net later, shoot with side lighting to emphasize the arc of the fishing net in the air and the spray of the splashing seawater."

"Understood!" Asano Takata nodded, quickly walking to Matsui Yuichi's side to quietly relay Hiroshi's request.

Ishigami Motoiro and Kawabe Hidematsu stood behind Hiroshi, watching the filming scene. Ishigami Motoiro whispered, "Nohara-kun's requirements for the shots are really detailed;

he even thought of the arc of the fishing net."

"This is what you call professional."

Kawabe Hidematsu responded softly. "City TV came before to film Kamiki Shunsuke's visit to Chiba. They only filmed him shaking hands with Nomizu-san and didn't capture any of these details;

it just felt empty watching."

About half an hour later, Nomizu Masayasu's fishing boat stopped on the surface of the sea in the distance.

He picked up a large net and swung his arms forcefully. The fishing net spread out in the air like a deep blue cloud, slowly falling into the sea.

Matsui Yuichi immediately zoomed in, capturing the moment the fishing net hit the water, the splashed water droplets glistening in the morning light.

"Good shot!" Saito Shigeru couldn't help but praise. He stared at the camera screen. In the picture, the fishing net slowly sank into the sea, and Nomizu Masayasu's figure stood exceptionally tall in the morning mist.

After another ten minutes or so, Nomizu Masayasu began to haul in the net.

His hands gripped the ropes of the fishing net, his body leaning backward, muscles tense beneath his fishing gear.

Matsui Yuichi circled to the other side of the fishing boat to film the side profile of Nomizu Masayasu hauling the net—the old man's brow was furrowed, his eyes focused, yet the corners of his mouth carried anticipation.

"Got somethin'!" Nomizu Masayasu suddenly yelled, the sound of a heavy catch struggling coming from within the net.

He hauled the net vigorously onto the boat. Inside lay several plump tuna, their scales shimmering with a silver-blue luster in the morning light.

"Good! Cut!" Hiroshi shouted, striding over to Nomizu Masayasu. "Nomizu-san, the expression while pulling in the net was fantastic. Could we get one more close-up? Just your eyes the moment you see the tuna."

"No problem!" Nomizu Masayasu agreed readily. He took up the net again, mimicking the motion of hauling it in, his eyes brimming with the reverence for the catch.

Matsui Yuichi immediately adjusted the lens, zooming in on Nomizu Masayasu's eyes—they were surrounded by wrinkles but shone brightly, as if reflecting the light off the water.

The sun had risen by the time the scenes on the sea wrapped up.

Nomizu Masayasu piloted the fishing boat back to shore, where the deckhands helped transfer the tuna to the wooden pallets. Ishigami Motoiro walked over, smiling. "Nomizu-san, today's tuna is excellent. It'll definitely fetch a good price at the auction later."

"I appreciate the blessing!" Nomizu Masayasu wiped the sweat from his forehead and followed everyone to the market's auction area.

The auction area was already lively. Dozens of fish shop bosses surrounded the pallets, holding small notebooks, their eyes fixed tightly on the tuna on stage.

An auctioneer in a black suit stood in the middle of the pallet, holding a small hammer, shouting loudly: "First tuna, thirty kilograms, starting price one hundred thousand yen!"

"One hundred and ten thousand!"

"One hundred and twenty thousand!"

"One hundred and fifty thousand!"

The bosses raised their placards one after another, the sounds rising and falling.

Nomizu Masayasu stood at the forefront of the crowd, his eyes fixed on the tuna on stage, his fingers writing rapidly in his small notebook.

Hiroshi signaled for Matsui Yuichi to set up the camera on the side of the pallet to capture the auctioneer's gestures and the bosses raising their placards. Sound Recordist Kobayashi-san specially aimed the windshield at the crowd, recording the continuous sound of bidding.

"Two hundred thousand!" Nomizu Masayasu suddenly held up his placard, his voice booming.

The crowd instantly quieted down. The other bosses looked at him, and no one else raised a placard. The auctioneer knocked the hammer: "Two hundred thousand going once! Two hundred thousand going twice! Sold!"

A satisfied smile appeared on Nomizu Masayasu's face. He walked up to the pallet, carefully examined the tuna's eyes, then pressed his fingers against the fish's body, saying to Hiroshi beside him, "This fish is fresh, eyes are bright, flesh is firm, it's best for sashimi."

Hiroshi nodded and said to Matsui Yuichi, "Record Nomizu-san pressing the tuna. Get a close-up of his fingers on the fish and its elasticity."

Matsui Yuichi adjusted the lens immediately. In the frame, Nomizu Masayasu's fingers pressed into the tuna;

the flesh sprang back quickly, the texture clearly visible.

Honda Sakurako noted from the sidelines: "Nomizu-san's criteria for picking tuna—bright eyes, firm meat, elastic body."

After filming the auction, the group followed Nomizu Masayasu back to his shop.

The fish shop was a wooden structure. An old wooden sign reading "Nomizu-ya" hung by the door. Behind the counter lay a row of sharp knives, their handles engraved with varied patterns.

Nomizu Masayasu hoisted the tuna from the pallet, placed it on the wooden board behind the counter, and picked up a long, slender knife. He told Hiroshi, "This knife was passed down from my father. Slicing sashimi requires speed, otherwise it ruins the texture of the fish meat."

"Nomizu-san, when you slice it, we'll film from the front to highlight the sound of the blade slicing through the fish and the thickness of the sashimi."

As Hiroshi spoke, Kobayashi-san immediately placed the microphone by the counter, preparing to record the sound of slicing fish.

Nomizu Masayasu took a deep breath, raised his knife, and quickly brought it down.

With a "swish," the tuna skin was neatly sliced open, revealing the pink fish meat, its texture clearly visible.

He turned his wrist, the blade moving rapidly across the fish. Slices of sashimi, as thin as cicada wings, fell onto a plate lined with a bamboo mat. Every piece was uniform in thickness.

"Masterful technique!" Ishigami Motoiro couldn't help but marvel, "Nomizu-san's sashimi is just the right thickness. It won't absorb too much soy sauce, letting the natural freshness of the fish shine through."

Matsui Yuichi's camera stayed fixed on Nomizu Masayasu's hands and the knife. Saito Shigeru used a reflector on the side to fill in the light, bringing out the vibrant pink color of the sashimi.

"Nomizu-san, why do you insist on selling only ten tuna a day?" Honda Sakurako asked curiously.

Nomizu Masayasu answered while slicing the sashimi, "Making sashimi requires dedication. It takes forty minutes to slice one tuna, four hours for ten. Any more, and the energy declines—without dedication, the taste suffers, and you can't cheat the customers."

Hiroshi, standing nearby, instructed Hashimoto Ichiro, "Hashimoto-san, later when we film the diners eating the sashimi, get close-ups of their expressions, and their reactions the moment the sashimi enters their mouths—we need to capture that sensation of 'freshness'."

"Understood!" Hashimoto Ichiro nodded. He had already set up another camera at the entrance of the fish shop, ready to film the diners' reactions.

Soon, a line formed in front of Nomizu Masayasu's fish shop.

The first to arrive was an office worker in a suit. He sat down familiarly: "Nomizu-san, two orders of tuna sashimi, the usual."

"You got it!" Nomizu Masayasu answered, placing the freshly sliced sashimi onto a plate and handing it over.

The office worker picked up his chopsticks, grabbed a slice of sashimi, dipped it in a little wasabi and soy sauce, put it in his mouth, closed his eyes, and a satisfied expression appeared on his face: "Nomizu-san's sashimi is still the freshest, even better than the sushi restaurants in Ginza, Tokyo!"

Matsui Yuichi's camera immediately focused on the office worker's face, capturing his satisfied look.

Honda Sakurako walked over and quietly asked, "Hello, why do you come all this way specifically to eat Nomizu-san's sashimi?"

The office worker replied with a smile: "My grandfather used to go out to sea with Nomizu-san. I've been eating his sashimi since I was a kid. It's the taste of memories—and it really is fresh. Every time I come to Chiba, I make sure to detour here."

The filming continued until noon. From going out to sea, the auction, and slicing the fish, to the diners, all the shots were successfully captured.

Nomizu Masayasu invited everyone to eat boxed lunches in the fish shop. The boxed lunches contained freshly made sashimi. Dipped in soy sauce, it was so fresh it made people narrow their eyes.

Ishigami Motoiro and Kawabe Hidematsu looked at the team packing up the equipment, their faces full of surprise. "Nohara-kun, is it finished already? It took less than a day, and it was filmed in such detail—when NHK came before, they filmed for three days and didn't finish."

Hiroshi chuckled, sipping his tea. "We scouted the location beforehand and smoothed out the process. Everyone cooperated well, so it went quickly. Plus, we got the essential shots, no need to waste time shooting excess."

Matsui Yuichi wiped the camera lens, his tone full of pride: "This is Hiroshi-kun's skill! Last time we filmed 'Midnight Diner', it was also one episode a day, and there were more details than others filming for three days."

Hashimoto Ichiro also nodded: "Last time we filmed 'Yamishibai', Hiroshi-kun drew all the storyboards for every shot in advance, even marking the lighting angles clearly. When filming, no time was wasted at all—working with Hiroshi-kun saves worry!"

Nomizu Masayasu looked at Hiroshi and gave a thumbs up: "Nohara-kun is really amazing! I thought filming would drag on for a long time. I didn't expect it to be so fast and so detailed—when the film is broadcast, I must have my whole family watch it!"

Ishigami Motoiro stood up and said to Hiroshi, "Nohara-kun, after the film is edited, can you send a copy of the promotional reel to our prefectural office first? We want to play it at Chiba's culture and tourism promotion event, so more people will know about 'A Bite of Neon'."

"Of course." Hiroshi nodded, "I'll have Asumi-san contact you once it's edited."

Asumi also chimed in: "Rest assured, Ishigami-san, we will edit it as soon as possible and strive to broadcast it next month. By then, it might boost Chiba's tourism and bring more people to eat Nomizu-san's sashimi."

Kawabe Hidematsu laughed. "That's wonderful! When that happens, Chiba City will support the promotion, playing the trailers in stations and malls—we absolutely have to make 'A Bite of Neon' a hit!"

Everyone packed up the equipment and prepared to leave Chiba. Nomizu Masayasu stood by the pier, waving and shouting, "Nohara-kun, next time you come to Chiba, I'll treat you to freshly caught tuna!"

Hiroshi turned back and waved, his heart full of warmth.

He looked at the Chiba seafood market outside the car window. The pallets in the morning light, the busy vendors, the fishing boats in the distance—all these scenes became scenery in the camera lens.

He knew that this episode of "A Bite of Neon" not only filmed Chiba's seafood, but also filmed the people of Chiba, and the persistence and warmth hidden behind the seafood.

In the car, Matsui Yuichi reviewed the freshly shot footage, unable to hold back his praise. "Hiroshi-kun, look at this shot! The morning light catching Nomizu-san's face as he hauls the net—it's incredibly atmospheric!"

Hiroshi leaned over to look. In the image, Nomizu Masayasu faced the morning sun, genuine smiles embedded deeply in his wrinkles, and eyes carrying an awe of the ocean intertwined with the joy of the harvest.

"We save this shot for the opening montage," Hiroshi instructed. "Pair it with the sound of the ocean waves and Nomizu-san's voiceover. We grab the audience right from the start."

Honda Sakurako checked her notebook, brimming with Nomizu Masayasu's quotes. "Nomizu-san said, 'We eat whatever the ocean provides;

we mustn't be greedy.' That's a perfect line to include during editing."

"Put it at the end of the episode," Hiroshi nodded. "It echoes the theme of 'Freshness of the Seaside' and adds depth to the documentary."

Asumi looked at the scene before him, a smile playing on his lips.

He recalled his time at Kanto Station, where filming was constantly plagued by equipment and budget woes. It had never been this smooth.

Now, with Hiroshi leading, a supportive team, and backing from the local government, Kanto Station's reform truly seemed achievable.

"Hiroshi-kun," Asumi suddenly spoke up. "Once we're back at the station, I'll report to Bureau Chief Takada. I'll ask the editing department to prioritize the first episode of 'A Bite of Neon' so we can air it as soon as possible."

"I appreciate it, Asumi-san," Hiroshi nodded. He looked at the rapidly passing farmland outside the car window, suddenly remembering the plum rice ball Misae made for him this morning—it was exactly this kind of food with warmth that made people feel grounded.

He knew "A Bite of Neon" was just the beginning. The "Warmth of the Streets" and "Taste of Home" episodes were yet to come. However, as long as they filmed every shot and told every person's story with the same dedication they showed today, this documentary was destined to be a hit.

After all, a compelling story will always find its audience.

The vehicle departed Chiba, accelerating toward Tokyo.

Sunlight filtered through the car window, illuminating everyone's faces and cascading upon the storyboard script resting on the passenger seat—the simple sketches seemingly animated by the light, transforming into sequences radiating genuine warmth.

...

Inside the Kirin Group Headquarters, the talent agency office was decorated even more ostentatiously than Tokyo City TV's conference room.

The beige leather sofa was adorned with gold-thread embroidered cushions. A massive poster of Kamiki Shunsuke hung on the wall—wearing a silver sequined jacket, striking an exaggerated V-sign for the camera, with the words "Kirin Group's Key Artist of the Year" printed in the corner.

A gold-plated coffee pot sat on the mahogany desk, surrounded by several entertainment magazines. Most covers featured Kamiki Shunsuke's scandals, yet none mentioned his work.

Kamiki Shunsuke sat cross-legged on the sofa, his fingers absently twirling his latest flip phone with a diamond-studded gold casing—a gift from Sato Tokugawa last month, a luxury few in Tokyo could afford.

Listening to his manager, Yamaguchi Keisuke, Kamiki suddenly sneered, tossing the phone onto the sofa. His voice dripped with raw disdain. "A humanities documentary? Has Nohara Hiroshi run out of ideas? Ignoring perfectly good movies and dramas to film some ancient relic nobody watches?"

Yamaguchi Keisuke stood to the side, gripping a folded copy of the Asahi Shimbun. Small print in a corner of the entertainment section read: "Tokyo Station and Kanto Station jointly prepare a food documentary, Nohara Hiroshi serves as chief director."

He pushed up his black-rimmed glasses, his tone cautious: "Shunsuke-san, you can't say that. Nohara-kun's previous works... 'Yamishibai' saved Tokyo Station's late-night slot, 'Seven Samurai' broke 8.9 billion in box office, even Kurosawa Eiji-senpai praised him. Filming a documentary this time, maybe he has his own ideas, we better be careful."

"Careful?"

Kamiki Shunsuke violently straightened up, snatching the coffee cup from the table and smashing it onto the floor. The bone china shattered, splattering brown coffee across the carpet. "Yamaguchi-san, are you my manager or a Nohara Hiroshi fanboy? It's just a documentary;

how much of a splash can it make? NHK spent half a year on 'Kyoto Ancient Temple Travelogue' last year, got a 2.8% rating, and the advertisers almost tore down the Station Chief's office! No matter how good Nohara Hiroshi is, can he turn a documentary into an idol drama?"

Yamaguchi Keisuke was so scared he took half a step back, but still forced himself to continue: "But... but what Nohara-kun is good at is grasping the audience's psychology. Look at 'Midnight Diner', no big stars, no big scenes, and didn't it still become a hit? The viewership is stable above 10%, and he even pulled long-term sponsorship from Nissin Ramen. This food documentary, if it takes the 'food + human touch' route, maybe it really can attract family audiences—those housewives over 35 are precisely the group that our 'Tokyo Suburbs Visit' hasn't covered."

"Family audience? Housewives?" Kamiki Shunsuke sneered, standing and gesturing at the poster, his finger stabbing his own face. "Yamaguchi-san, did you forget who my fans are? They're young girls aged 15-25! They're chasing my face, my stage presence. Who's going to watch an old man boiling Soba noodles or fishermen hauling nets? City TV's 'Tokyo Suburbs Visit' starts broadcasting next week;

just the pre-broadcast hype pulled in 30 million in ad sponsorships. Even if Nohara Hiroshi's documentary gets made, it'll only air late at night. We're not even in the same league!"

He paused, jealousy practically seeping from his tone, "Besides, Nohara Hiroshi is just lucky! 'Yamishibai' relied on the novelty of urban legends, 'Seven Samurai' relied on Kurosawa Eiji's brand. What real skill does he have? He's just a rookie who only knows how to copy and modify, and now he dares to steal resources from me—President Sato said before he would film a movie for me, but when he heard Nohara Hiroshi was going to film a documentary, he suppressed my movie project, saying something about 'supporting cultural subjects first'!"

Yamaguchi Keisuke knew exactly what was fueling Kamiki Shunsuke's rage. Indeed, Sato Tokugawa's attention had shifted towards Nohara Hiroshi recently. Last month, Sato even dispatched Yamaguchi to Tokyo Station to explore poaching Nohara as an exclusive director for Kirin, concurrently displaying a noticeable chilling in attitude towards Kamiki himself.

But he didn't dare articulate this truth, opting to deflect the conversation instead, "Shunsuke-san, please calm down. Let's focus on your upcoming schedule. Tomorrow at 10 AM, you have a fan meet-and-greet at Senso-ji Temple. At 2 PM, discussions with the Marui Soy Sauce representative regarding an endorsement deal. Then, at 7 PM... attendance at Mayor Tanaka Mikami's private dinner is required. President Sato specifically emphasized the importance of this event and expects an exemplary performance."

At the mention of "Tanaka Mikami", the anger on Kamiki Shunsuke's face instantly dissipated by more than half. He bent over to pick up the phone from the floor, wiped it with a tissue, and his tone also deepened: "Mayor Tanaka's dinner banquet? Why didn't President Sato tell me in advance?"

"It was only finalized yesterday." Yamaguchi Keisuke hurriedly handed over a gold-stamped invitation. "Mayor Tanaka has been promoting the Tokyo Bay real estate project recently and wants President Sato to invest, so he invited a few artists to support the scene. President Sato said, if you can build a good relationship with Mayor Tanaka, City TV's resources will lean more towards us in the future—after all, City TV was spearheaded by Mayor Tanaka, and Executive Deputy Station Chief Takahashi is very close to him."

Kamiki Shunsuke took the invitation, his fingertips tracing the name "Tanaka Mikami," a flicker of wariness crossing his eyes. "I understand. We cannot afford to offend Mayor Tanaka. Last time he attended my concert, I made him wait ten minutes because I was late, and President Sato nearly chewed my head off. I will perform well at this dinner."

He paused and added: "By the way, how are the negotiations for the Marui Soy Sauce endorsement going? They said they wanted to sign for two years before, have they relented now?"

"Still in negotiations." Yamaguchi Keisuke opened his notebook. "The representative from Marui Soy Sauce stated their inclination aiming for you initiating a commercial focusing regarding 'traditional artisanal crafts', harmonizing properly alongside their century-old brand image. However, previously you demonstrated preference engaging fashion-oriented marketing campaigns—for instance, cosmetics or athletic apparel—consequently, I am attempting ongoing mediation..."

"Coordinate what?" Kamiki Shunsuke interrupted him, his tone brooking no argument. "Just follow Marui Soy Sauce's requirements! Traditional craft is traditional craft, as long as I can get the endorsement fee, I can shoot anything. City TV is still observing the situation now;

if we can secure Marui Soy Sauce's annual endorsement, they will definitely add a prime time slot for 'Tokyo Suburbs Visit'—I don't want to stay in the unpopular weekend afternoon slot forever."

Yamaguchi Keisuke nodded in agreement. "Alright, I'll communicate with the Marui Soy Sauce representative again tomorrow and strive to finalize the contract. Additionally, the day after tomorrow morning, there's a magazine interview. The reporter will ask your views on 'Kanto local culture'. Do you want to prepare your remarks in advance? After all, Nohara Hiroshi's documentary also touches on this topic;

if answered well, you can ride the wave of popularity."

"Kanto local culture?" Kamiki Shunsuke frowned then sneered, "What's there to prepare? I'll just say, 'Local culture needs the younger generation to carry it forward,' and add that I'll be taking the audience on an experience of Kanto's old streets and historic shops in 'Tokyo Suburbs Visit.' Won't that be far more authentic than whatever documentary Nohara Hiroshi shoots? Those old craftsmen are practically retired;

their skills are obsolete. Filming them is just selling cheap nostalgia."

Seeing that he didn't bring up Nohara Hiroshi again, Yamaguchi Keisuke breathed a sigh of relief: "Then I'll go prepare tomorrow's materials first. If you have any other arrangements, call me at any time."

"Wait." Kamiki Shunsuke suddenly stopped him, pressing a few keys on his phone screen. "I got it, you can leave first, just come pick me up on time tomorrow."

Yamaguchi Keisuke looked at him suspiciously, but didn't dare to ask more, bowed and exited the office.

The moment the door closed, Kamiki Shunsuke's calm veneer vanished. He strode to the desk, pulled a black address book from a drawer, and flipped to the "Sato Tokugawa Competitors" section. He located a specific name: "Mitsui Fudosan - Watanabe Toru."

He picked up his phone, his fingers flying across the keypad, the message was brief: "Tonight at 8 PM, Ginza 'Kikusui' Restaurant, important matters to discuss."

After the successful delivery notification popped up, Kamiki Shunsuke threw the phone on the desk, leaned back in the chair, his eyes terrifyingly sinister.

He recalled an incident from the previous month. While visiting Sato Tokugawa's office, he had inadvertently eavesdropped on a heated telephone exchange between Sato and Watanabe Toru. The conflict centered entirely on competitive maneuvering for the Tokyo Bay real estate development project. Watanabe Toru aggressively sought acquisition regarding Sato's resources, thus far encountering impenetrable resistance.

"Sato Tokugawa, don't you value Nohara Hiroshi? Tanaka Mikami, don't you think I'm just a shallow idol? City TV, don't you think I can't carry prime time?"

Kamiki Shunsuke muttered to himself, his fingers clenched white. "Just wait, I'll let you know that I, Kamiki Shunsuke, am not just a pretty face—as long as I can get resources, even if I have to cooperate with Watanabe Toru, I don't care."

He remembered when he first joined the Kirin Group, Sato Tokugawa kept him like a 'canary', giving him popularity but not good projects, only filming unnutritious idol dramas and commercials;

Although City TV's Takahashi Kazuo let him host "Tokyo Suburbs Visit", he privately told people "Kamiki Shunsuke only knows how to pose, no acting skills, no inner substance";

Even Tanaka Mikami only exchanged trivialities regarding his fan demographic during their prior encounter, entirely ignoring his professional body of work.

And what about Nohara Hiroshi?

Only 23 years old, yet he runs his own Independent Production Department, with every project becoming a hit. High-level executives like Sakata Nobuhiko and Shimazu Yoshihiro treat him like a treasure, and Governor Koike Ryuichi even praised him for "changing the apathy of Japan."

Based on what?

Why should Nohara Hiroshi win universal acclaim relying on 'humanities' and 'nostalgia', while he is reduced to maintaining relevance via physical attractiveness and fanatical devotion?

"Nohara Hiroshi, your documentary better not become a hit."

Kamiki Shunsuke picked up the cigarette on the desk, lit it, and took a deep breath. The smoke blurred his face. "If it becomes a hit, I don't mind letting it 'have a little accident'—for example, the old craftsman in the documentary having some negative news, or the filming equipment 'accidentally' getting damaged, delaying the broadcast."

Just then, his phone buzzed. It was a reply from Watanabe Toru: "I'll be there at 8 PM sharp. Bring what you have."

A cold smile curled the corners of Kamiki Shunsuke's mouth as he tucked the phone into the inner pocket of his suit jacket. He did possess exactly what Watanabe Toru desired—a surreptitious audio recording captured during Sato Tokugawa's negotiations regarding the Tokyo Bay real estate project alongside Tanaka Mikami the previous month. The recording unambiguously detailed illicit arrangements addressing the "covert transfer of land approval authority."

Before, he didn't dare take it out for fear of offending Sato Tokugawa, but now, he had nothing left to lose.

He walked to the floor-to-ceiling window, looking at the bustling crowd downstairs, his eyes full of unwillingness and calculation.

The twilight of the setting sun spilled through the glass, coating the gold-plated ornaments in the office with a layer of cold light, but it could not illuminate the darkness in his eyes.

"Just wait, everyone will see that I, Kamiki Shunsuke, am much stronger than Nohara Hiroshi." He said in a low voice, his tone carrying an almost insane certainty.

At the same time, in the editing room of Tokyo Station's Production Bureau, Nohara Hiroshi was watching the rough cut of the first episode of "A Bite of Neon" with Hashimoto Ichiro.

On the screen, Nomizu Masayasu steered the wooden boat out to sea in the morning mist, the arc of the fishing net spreading in the air was exceptionally elegant, the sound of the waves and the shouts of the fishermen clearly audible.

"The pacing here could be a bit slower."

Hiroshi pointed at the screen. "When Nomizu-san hauls in the net, get a close-up of the calluses on his hands, then cut to a close-up of the tuna to highlight the sense of 'freshness'. Also, during the auction segment, amplify the sound of the bidding to increase the tension."

Hashimoto Ichiro nodded, his editing pen flying across the script making marks. "Understood, I'll adjust it in a moment. By the way, Hiroshi-kun, Executive Director Asumi just came to say that Ishigami-san from the Chiba Prefectural Office wants to see the promotional reel in advance, saying it's for the culture and tourism promotion event. Should we send them a copy?"

"We can."

Hiroshi nodded. "Have the editing department make an extra copy and send a dedicated courier tomorrow. Additionally, check in with Publicity Manager Hattori Tadashi. Assuming the promotional reel meets standards, request his assistance leveraging Tokyo Metropolis promotional channels—subway advertisements and newspaper columns, for instance."

Hashimoto Ichiro agreed, suddenly remembering something, and said with a smile, "By the way, Hiroshi-kun, I just heard that Kamiki Shunsuke smashed a coffee cup in his office at the Kirin Group. It seems he was quite angry hearing about you filming a documentary."

Hiroshi froze for a moment, then smiled. "Ignore him. We just focus on making a good film. What the audience wants to see is good content, not a star's temper."

Hashimoto Ichiro nodded, continuing focusing on the editing.

On the screen, Nomizu Masayasu was slicing sashimi. The sound of the blade cutting through the fish was crisp and pleasant. Slices of sashimi, as thin as cicada wings, fell onto the bamboo mat, glowing with a fresh pink hue.

Watching the footage, Hiroshi inexplicably remembered the plum rice ball Misae had prepared for him that morning—simple yet comforting, much like the stories within this documentary.

He knew that as long as he told these stories with heart, he could definitely move the audience. As for Kamiki Shunsuke's jealousy and dissatisfaction, it was just an insignificant interlude.

The sky outside the window gradually darkened, and the lights in the editing room came on, reflecting the focused figures of the two.

The initial editing sequence concerning the inaugural episode of 'A Bite of Neon' approximated culmination. Broadcasting availability anticipating audience exposure manifests within days.

Hiroshi believed that this documentary, like "Midnight Diner," would bring warmth and emotion to the audience, and could also put Kanto Station back on the right track.

At this moment, in the Kirin Group talent agency, Kamiki Shunsuke had already changed into a suit and was holding an envelope containing the audio tape, preparing to head out.

He adjusted his tie in the mirror, the darkness in his eyes deliberately concealed, replaced by a sharp determination to win.

"Ginza 'Kikusui' Restaurant, Watanabe Toru..." He muttered the address softly, a cold smile tugging at his lips. "After tonight, everything will be different."

He pushed the door open and walked quickly towards the elevator.

The lights in the hallway were bright, but they couldn't illuminate the dark corners of his heart.

He was oblivious that his current choices wouldn't merely impact Nohara Hiroshi's documentary;

they would also unearth the entangled interests between Sato Tokugawa and Tanaka Mikami, potentially even altering the entire landscape of the Tokyo mayoral election.

The elevator doors slowly opened, and Kamiki Shunsuke walked in.

The numbers on the elevator counting down kept jumping, just like the calculations in his heart, stepping relentlessly towards an unpredictable trajectory.

This seemingly simple "competition between artists" had quietly turned into a game involving the interests of multiple parties, and Kamiki Shunsuke was nothing more than a pawn in this game who thought himself smart.

PS:

(Chapter Ends)