novelraw Chapter 249: A Bite! Nohara Hiroshi! A Young Man Like a True Dragon!
Chapter 249: A Bite! Nohara Hiroshi! A Young Man Like a True Dragon!
On October 22nd, Friday at 7:50 PM, ten minutes before the broadcast of the second episode of "A Bite of Neon".
The "Satoya" Soba shop in Takasaki City, Gunma Prefecture, was crowded with diners who had come early to grab a seat.
Sato Kosuke, wearing a washed-out navy blue apron, was busy wiping the wooden dining tables. His son, Sato Kenta, sat on a chair in the corner, clutching a pager in his hand, his eyes hiding a bit of complexity—three days ago, he resigned from his real estate company in Tokyo and temporarily returned to his hometown.
"Dad, is the TV tuned right?" Sato Kenta looked up and asked, his voice sounding a little unnatural.
Just last week, he had argued with his father over the phone, saying, "There's no future in selling Soba;
real estate in Tokyo is the proper way to make big money." Now, however, he could only return with his tail between his legs.
Sato Kosuke didn't look back, just wiping the grain of the tabletop with a rag, his tone flat: "I tuned it a long time ago. Saito-san even specially sent someone to check the signal yesterday. If you think it's too crowded, there are still empty seats upstairs."
While they were conversing, a commotion erupted at the entrance—Matsui Yuichi entered, shouldering a video camera, followed closely by Honda Sakurako, clutching a notebook.
"Sato-san, we're here to record audience reactions!" Matsui Yuichi waved with a smile. "Hiroshi-kun specifically instructed us to capture everyone's expressions during the broadcast;
it might be incorporated into subsequent promotional materials."
Only then did Sato Kosuke cease his tasks, a smile gracing his face: "Please, sit down. I've deliberately reserved optimum Soba;
we'll consume it collectively post-viewing."
At 8:00 PM precisely, the television screen illuminated synchronously.Following the opening theme, the scene transitioned to the Gunma mountains at dawn—mist enveloping the rice paddies. Sato Kosuke was pushing an antiquated bicycle, two bamboo baskets secured to the rear rack, containing freshly milled buckwheat flour.
The camera gradually zoomed in, capturing the thin calluses on his hands, and the bronze bell hanging from the bicycle handlebars, which had been in use for over twenty years.
"This cinematography is exceptionally detailed," Grandpa Tanaka, a veteran patron at an adjacent table, observed. "Observe Sato-san's posture maneuvering the bicycle;
it remains identical to his youth, completely untransformed."
Sato Kenta stared at the screen, his heart suddenly tightening.
He remembered when he was a child, his father also pushed his bicycle like this, taking him to the mountains to pick buckwheat seeds, and saying, "Soba is only fragrant when you mill it yourself;
being a person is only solid when you work hard yourself."
But back then, his mind was utterly consumed by the notion of "achieving a monumental career in Tokyo";
he entirely disregarded his father's counsel.
The visual transitioned to the Satoya kitchen. Sato Kosuke was kneading dough. His movements, while deliberate, possessed immense power;
his palms repetitively pressing the dough. Perspiration descended from his forehead, impacting the flour and creating a diminutive white halo.
The voiceover slowly sounded: "The texture of Soba is hidden in the strength of kneading the dough. Sato Kosuke has been making Soba for forty years. He has to knead thirty catties of dough every day. The muscles on his arms are stronger than those of young men."
"Dad, you never previously mentioned kneading dough was this exhausting," Sato Kenta whispered, his ocular region becoming notably heated.
During his tenure as a Tokyo real estate agent, operating telephonically from an air-conditioned office, he consistently perceived his occupation as arduous. Presently, observing his father's callused hands, his prior grievances appeared manifestly ridiculous.
On the screen, the scene suddenly switched to an office building in Tokyo—Sato Kenta, wearing a crisp suit, stood in front of a glass curtain wall, introducing an astronomically priced apartment to a client.
"This apartment is situated within Tokyo's core Shinjuku sector. The cumulative valuation is 120 million yen;
next year's appreciation margin is projected at minimally 30%." He maintained a professional smile on his face, yet his gaze appeared somewhat vacant.
Immediately following, the camera truncated to a scenario where he was being reprimanded by his superior—"You've only generated two transactions this month;
if this trajectory continues, gather your belongings and terminate your employment!"
Sato Kenta's visage instantaneously became crimson;
he subconsciously lowered his head.
He recalled the day of his resignation;
his superior excoriated him publicly within the department: "Improbable ambitions regarding capabilities, failing even basic client retention." It was precisely then he comprehended that the "glamorous existence" he pursued in Tokyo was merely self-deception.
"Cease your distress," Sato Kosuke offered a cup of tea, his tone gentle. "I articulated previously, you cannot exclusively evaluate surface prestige;
you must remain grounded. Observe this Soba;
if one circumvents effort during kneading, it will fracture during boiling, and the flavor profile degrades significantly."
On the television, Sato Kosuke was serving Soba to a customer.
He used a bamboo ladle to scoop up the noodles, gently placed them into a bowl, then poured on homemade sauce, and finally sprinkled a handful of chopped green onions, his movements smooth like floating clouds and flowing water.
The patron lifted his chopsticks, inhaled a mouthful, a smile of profound gratification materializing: "Sato-san's Soba consistently maintains superior flavor, exceeding even Tokyo's premium dining establishments!"
Sato Kenta, observing the screen, abruptly stood up: "Dad, allow me to assist in serving the noodles."
Before Sato Kosuke could react, he picked up the tray and walked towards a newly arrived customer.
Upon surrendering the Soba to the patron, he registered the individual's comment, "The young man is as dependable as his father." An unfamiliar, yet deeply grounding sensation materialized internally.
At the conclusion of the episode, Sato Kosuke and Sato Kenta were seated collectively upon the establishment's anterior steps, clutching freshly boiled Soba.
"Remaining in Tokyo is not an absolute requirement." Sato Kosuke observed his son, his tone earnest. "Your hometown maintains a position for you. Assuming you are willing to labor diligently, selling Soba can yield a fulfilling existence."
Sato Kenta bit into the Soba, unable to stop his tears from falling: "Dad, I was wrong. I was too impetuous before. From now on, I want to learn how to make Soba from you and run 'Satoya' well."
On the television screen, the sunset shone on the father and son, and the picture gradually darkened.
The patrons within the establishment exhibited reddened eyes. Grandpa Tanaka wiped his tears: "This narrative is excessively authentic;
identical to my son's situation. He consistently perceives external environments as superior;
in reality, optimal circumstances exist locally."
Matsui Yuichi deactivated the camera and remarked to Honda Sakurako: "Observe, Hiroshi-kun's postulation was accurate;
the most emotionally resonant narratives involve ordinary daily life. The reconciliation between this father and son transcends any fabricated script in emotional impact."
...
Simultaneously, within the Station Chief's comprehensive office on TV Tokyo's paramount floor, Sakata Nobuhiko, Shimazu Yoshihiro, Takada Toshihide, and Asumi were positioned around the television viewing the conclusive segment of 'A Bite's' second episode.
Sakata Nobuhiko, holding his teacup, lightly tapped his fingers on the desktop, his tone full of admiration: "Nohara-kun's second episode has more depth than the first. Look at the conflict between Sato Kenta and his father. It seems like a choice between 'staying in the hometown' and 'entering the city', but it's actually a silent criticism of Japan's current real estate bubble."
Shimazu Yoshihiro lowered his viewership monitoring rubric, his gaze acute: "Accurate. What is the current volatility of Tokyo's real estate market? A sixty-square-meter apartment commands one hundred million yen. Young demographics assume multi-decade loans to procure housing. Young individuals like Sato Kenta presume employment within a real estate corporation guarantees substantial financial accumulation, neglecting the principle of grounded endeavor. Nohara-kun utilized the narrative of a Soba shop to successfully dissect this impetuous societal psychology, proving more efficacious than ten of our campaign speeches."
Takada Toshihide adjusted his spectacles, adding: "More ingeniously, he avoided overt criticism of the real estate sector, instead utilizing the father-son reconciliation narrative to transmit the value of 'diligent execution.' This 'implicit expression' is substantially more potent than direct pedagogy. Note Sato Kosuke's assertion that 'Soba is only fragrant when manually milled.' This sentence pertains not merely to culinary preparation, but to personal conduct—contemporary youth are excessively impatient, constantly pursuing shortcuts, neglecting fundamental principles."
Asumi nodded in agreement: "I just received news from the Gunma Prefectural Government. Tonight's viewership rating in Takasaki City has already broken 18%, 3 percentage points higher than the same period for the first episode. Many viewers called the TV station saying they wanted to go back to their hometowns and take a look after watching the show. There are also young people working in real estate in Tokyo who said they want to quit and go back to their hometowns to find a solid job. Nohara-kun's documentary is quietly changing everyone's minds."
Sakata Nobuhiko stood up, walked to the floor-to-ceiling window, and looked at the Tokyo night view below—the lights of high-rise buildings were bright, but they revealed a bit of false prosperity.
"Contemporary Japan absolutely requires programming of this nature."
His tone was serious, "The real estate bubble will eventually burst. When that time comes, those harboring fantasies of 'getting rich overnight' will only fall harder. Nohara-kun used the story of Soba to tell everyone that true security doesn't come from astronomically priced real estate, but from a specialized skill and a grounded life."
Shimazu Yoshihiro also stood up, his eyes full of approval: "My mayoral campaign this time is to promote the 'returning home to start a business' plan, supporting young people returning to their hometowns to develop traditional industries. Nohara-kun's documentary just happens to be the best publicity for my plan. After the second episode finishes broadcasting, I will personally go to Gunma Prefecture to chat with Sato Kosuke and see if we can use 'Satoya' as a 'traditional craft demonstration site'."
Takada Toshihide smiled and said: "Then I have to tell Hiroshi-kun in advance and ask him to shoot more Gunma footage;
maybe he can win more cooperative projects from the prefectural government for our station. Now all the prefectural governments in Japan are keeping an eye on 'A Bite';
who wouldn't want the specialty foods of their own prefecture to appear on camera?"
Asumi retrieved his mobile device, rapidly dialing Nohara Hiroshi's number: "Hiroshi-kun, the real-time viewership rubric for the second episode is active;
the national average has already superseded 26%! Station Chief Sakata and Shimazu-san are both commending you, asserting your deconstruction of the real estate bubble narrative was phenomenal."
The calm voice of Nohara Hiroshi came from the other end of the phone: "Thank you for the recognition. In fact, I just wanted to shoot real stories and let everyone see that there are things worth holding onto in an ordinary life."
Disconnecting, Asumi addressed the trio: "Hiroshi-kun remains characteristically low-profile. However, he indicated he will transit to Kyoto next week for location scouting, preparing to shoot the third episode's Wagashi shop. At that juncture, we can initiate communication with the Kyoto Prefectural Government to secure augmented support."
Sakata Nobuhiko nodded, his tone full of expectations: "Good! We must fully support Hiroshi-kun and make 'A Bite' the signature of TV Tokyo and the business card of Japanese culture. Young people today need this kind of film;
they need someone to tell them what a truly valuable life is."
...
At this moment, the atmosphere inside Kanto Station's conference room was exceptionally enthusiastic.
Nohara Hiroshi disconnected the call, situated centrally.
Suzuki Kiyoto, Matsui Yuichi, Honda Sakurako, and the Technical Department's Saito Shigeru were seated perimetrically. The television screen remained static upon the concluding credits for 'A Bite's' second episode.
"Incredible!"
Suzuki Kiyoto initiated applause, his cane generating crisp acoustics intermitting against the flooring. "In my extensive operational tenure, this is the inaugural instance a documentary has provoked lachrymation. The sequence detailing the reconciliation between Sato and his son elicited memories of my own son;
he previously pursued finance in Tokyo, ultimately returning last year, articulating an intent to assimilate Oden preparation under my tutelage."
Matsui Yuichi deposited his video camera, expressing animatedly: "I just processed the data stream;
Gunma Prefecture's viewership breached 18%, and the Kansai region registered 15%, exceeding the premiere entirely! Audience feedback channels are saturated;
some declare 'I will transit to Gunma for Soba tomorrow,' while others state 'I intend to telephone my father in my hometown.'"
Saito Shigeru adjusted his spectacles, initiating uncharacteristically proactive discourse: "The visual processing implemented this iteration was substantially more nuanced relative to the premiere. For the mountainous morning mist sequence, I deployed a soft-focus filter, accentuating the nebulous aesthetic;
for the dough kneading macro shot, lateral illumination was utilized, augmenting the granular visibility of the flour. Hiroshi-kun mandated 'facilitating audience perception of the Soba's texture';
I ascertain this objective was achieved."
Honda Sakurako reviewed her notebook, smiling: "I just compiled the statistics;
tonight, upwards of twenty media organizations initiated contact, requesting interviews with Sato Kosuke, alongside three travel agencies soliciting collaboration with 'Satoya' to launch 'Soba Cultural Tour' itineraries. Hiroshi-kun, you've engineered another miracle!"
Nohara Hiroshi smiled, his tone remaining placid: "I did not engineer a miracle;
Sato-san's narrative elicited the resonance. Intrinsically, every individual harbors nostalgia for their hometown and a yearning for a grounded existence;
I merely translated this emotion cinematically."
Asano Takata pushed the door open and walked in, still saying cheerfully: "Hiroshi-kun, look everyone! Even my friends have sent text messages saying that the second episode 'used the aroma of Soba to dispel the frivolity of the real estate bubble', and also said that you 'used the plainest shots to shoot the most profound life'."
Ashikaga Takashi followed closely, his tone conveying profound admiration: "I was just observing the broadcast alongside colleagues from the Film Department;
the consensus indicates that integrating analogous dimensional control within our historical dramas guarantees the supersession of previous productions. Hiroshi-kun, could you elucidate the specific methodology utilized to render ordinary existence with such profound infectivity?"
Nohara Hiroshi nodded: "Inherently, it lacks specialized technique. It involves extensive discourse with the documentary subjects, comprehending their narratives, and capturing the most authentic minutiae. For instance, Sato-san hums a vintage melody while kneading dough, imparted by his father. Integrating this detail into the production immediately renders the character multidimensional."
As they were speaking, the door of the conference room was pushed open, and a delivery man carrying several large food boxes walked in: "Excuse me, is this Mr. Nohara Hiroshi? This is the Soba, Yakitori, and beer you ordered."
Matsui Yuichi's eyes lit up: "Wow! Is it Soba from Gunma? I've been wanting to eat it for a long time!"
Nohara Hiroshi smiled and said: "I asked Sato-san to help send it over. Although it is not as fresh as right out of the pot, the taste should still be good. Everyone has worked hard all day, let's eat together."
The group gathered around and opened the food boxes. The aroma of Soba instantly filled the air, and the greasy aroma of Yakitori mixed with the malty aroma of beer was extraordinarily tempting.
Suzuki Kiyoto picked up his chopsticks, took a mouthful of Soba, and said with satisfaction: "Mmm! It tastes exactly the same as in Sato-san's shop, chewy and the sauce is fragrant too. Hiroshi-kun, the documentary you shot has let more people know about Gunma's Soba, and also made more people think of the taste of their hometown. It's so meaningful."
Saito Shigeru, mid-consumption of Yakitori, interjected abruptly: "Hiroshi-kun, the cinematographic paradigm deployed in this iteration deviates from previous endeavors. The premiere prioritized 'the symbiosis connecting humanity and nature,' whereas the second episode prioritizes 'interpersonal emotional connectivity.' Furthermore, rhythmic calibration exhibited optimization, integrating suspense, oscillation, and foreshadowing. Consider Sato Kenta's pager;
it manifested thrice prior to the ultimate revelation of his resignation. This structuration is exceptional."
Nohara Hiroshi nodded, his internal cognition reflecting upon documentary methodologies from his previous existence on Earth—he had integrated those experiential architectures, yet direct articulation remained impossible.
"I was merely attempting the integration of episodic drama conceptualization within the documentary framework."
He explained, "Every episode possesses a core narrative containing several minor foreshadowings, gradually expanding to facilitate audience immersion. For example, regarding Sato Kenta's pager, I intended to utilize it to illustrate his high-stress environment in Tokyo, serving as foreshadowing for his subsequent resignation."
"So that's how it is!" Asano Takata suddenly realized, "When I used to shoot warm dramas, I always liked to tell the story all at once. Without foreshadowing, the audience easily loses focus. Next time I'll try your method and bury a few small clues in the plot to keep the audience thinking."
Ashikaga Takashi also observed: "Historically, whilst directing historical dramas, my cognitive prioritization defaulted heavily towards monumental scale, persistently neglecting localized emotional minutiae. Analyzing your production illuminated the following: irrespective of sequence magnitude, the latent kinetic potential inherent within an authentic emotional synchronization consistently guarantees superior resonance. For subsequent samurai productions, I intend to integrate augmented chronological coverage detailing the samurai's quotidian parameters—for example, their specific dietary consumption protocols or their functional familial integration mechanics—rendering the characterization verifiably authentic."
Nohara Hiroshi evaluated the enthusiastic symposium escalating in intensity before him, an intense sensation of profound warmth manifesting internally.
He cognized explicitly: the triumph of "A Bite" possessed zero correlation with unilateral attribution. Rather, it derived directly from the consolidated operational vectors encompassing the entire developmental ecosystem;
primarily, it was the narratives characterizing ordinary individuals that imbued the documentary sequence with detectable warmth and substantial locomotive capacity.
"Everyone, continue your consumption."
Nohara Hiroshi raised his beer, clinking glasses with the crowd. "Next week we'll go to Kyoto for location scouting. There are still many stories waiting for us to shoot at the Wagashi shop in the third episode. I hope we can shoot more good content and let more people see the beauty in ordinary life."
"Cheers!"
The group raised their wine glasses, and the crisp sound of collisions echoed in the conference room.
The Tokyo night scenery outside the window remained brilliant, yet contemporaneously, universal cognitive alignment prevailed amongst the occupants: authentic aesthetic optimalization did not derive from the fabricated luminescence inherent to skyscraper density. Rather, it manifested through sensory variables such as the olfactory diffusion of Soba, the relational synchronization connecting a father and son, and the grounded persistence alongside emotional warmth detectable within standard diurnal operations.
Post-consumption of the late-night meal, the collective explicitly maintained intense discourse surrounding the cinematographic methodologies deployed for 'A Bite'.
Matsui Yuichi extracted the video camera, initiating playback of the audience reaction sequence recorded during diurnal operations—the display rendered optics detailing an elderly individual mitigating lachrymation, younger demographics establishing telephonic communication with their hometowns, and juveniles deploying inquisitive interrogatives proposing, "What is the mechanical methodology facilitating the milling of Soba?"
"Look, this is the power of good content."
Matsui Yuichi sighed, "Hiroshi-kun, not only did you shoot a documentary, but you also connected the emotions between people, making everyone remember the beauty that was ignored. When I used to shoot news, I always thought about pursuing timeliness, but I forgot that news can also have warmth. From now on, I will learn from you and shoot more emotional stories."
Honda Sakurako augmented the discourse: "Previously, when I submitted the 'Old Street Visit' proposal, Matsui-san dismissed it, asserting zero audience engagement. Post-viewing of 'A Bite', however, my confidence has exponentially increased. Next week, I intend to accompany Hiroshi-kun to Kyoto to study the cinematographic capture of traditional craftsmanship. Upon my return, I will restructure the proposal;
I am absolutely confident it will secure clearance."
Suzuki Kiyoto regarded Nohara Hiroshi, his ocular expression radiating profound gratification: "Hiroshi-kun, my preliminary assessment regarding your capabilities was accurate. Upon your initial integration within Kanto Station, I evaluated you as an exceptionally perceptive young individual;
presently, you have demonstrably catalyzed the generation of this masterpiece. Kanto Station maintaining operational access to a director possessing your specific capacity vector constitutes a profound organizational advantage, similarly representing a significant benefit for the Japanese viewership."
Nohara Hiroshi stated with profound humility: "I acknowledge Suzuki-san's validation. However, I exclusively executed the functional parameters mandated by my position, documenting authentic narratives and transmitting warming emotional variables. Consolidating this operational trajectory, I remain committed to continuous exertion, guaranteeing I do not subvert collective anticipatory projections."
Saito Shigeru abruptly interjected: "Hiroshi-kun, the personnel within the Technical Department express profound admiration regarding your capabilities. They consistently articulate that you not only possess comprehensive mastery of content schema, but simultaneously comprehend the technical apparatus, effectively utilizing the cinematographic apparatus to transmit complex emotional variables. They requested I solicit your participation in a dedicated symposium for the Technical Department, wherein you could elaborate upon methodologies for optimizing visual-content integration. Are you amenable to this proposal?"
"Of course I'm willing," Nohara Hiroshi nodded. "Good technology should serve the content, and I'm very happy to share my experience with everyone. In fact, many times, it's not that the equipment is not good enough, but that we haven't found the most suitable shooting method. For example, shooting Soba doesn't require overly complex equipment;
as long as you capture the strength of kneading dough and the steam of boiling noodles, the audience can feel its deliciousness."
The group nodded in agreement, and their admiration for Nohara Hiroshi increased a bit more.
The discussion in the conference room was heated when suddenly there was a hurried sound of footsteps at the door.
Kobayashi Hiroshi, a young staff member in the Technical Department, holding a stack of freshly printed reports, burst in, sweating, almost bumping into the door frame.
"Hiroshi-san! Leaders! The final viewership data is out!" His voice trembled, but carried an uncontrollable excitement, "The average viewership across Japan—32.2%! The Kanto region even surged to 38.5%!"
This sentence was like a spark thrown into a gasoline barrel, and the crowd, who had just been conversing softly, instantly exploded.
Matsui Yuichi abruptly launched himself out of his chair, snatching the report with trembling hands, repeatedly verifying the numbers: "32.2%? Is this inaccurate? This constitutes the absolute maximum recording for documentaries across the preceding two decades! A complete 8 percentage point escalation relative to the premiere!"
Suzuki Kiyoto's cane persistently impacted the flooring, his reading glasses descending towards the apex of his nasal structure, completely disregarded. Focusing upon the numerical output detailed within the report, his exclamations continuously triggered: "Extraordinary! Verifiably extraordinary! Historically, Kanto Station's apex broadcast, 'Kanto Fishing Song,' peaked at a mere 25%. Currently, it has been substantially superseded by Hiroshi-kun's documentary sequence!"
Honda Sakurako extracted her pager, her digits executing rapid inputs upon the interface, transmitting the data to colleagues currently executing external interview protocols: "Gunma Prefectural Government recently initiated communication, indicating 'Satoya's' telephonic lines are bordering upon critical failure;
tomorrow's Soba inventory is entirely reserved. Equipped with this precise viewership metric, consumer transit utilizing Gunma as a destination vector is guaranteed for imminent escalation!"
Saito Shigeru's characteristically stoic face displayed a smile. He adjusted his glasses and looked at Nohara Hiroshi: "Hiroshi-kun, the visual data feedback this time is particularly positive. For the mountain morning mist segment, audience comments stated 'It feels like walking through the fields of Gunma in person';
regarding the close-up of Sato-san kneading dough, 30% of viewers stated 'It made me hungry, I want to eat Soba immediately'. Your technique definitely gave the visual 'flavor'."
Nohara Hiroshi accepted the report, his digits tracing the numerical "32.2%". His ocular expression remained placid, though a subtle curvature materialized at the corner of his mouth.
He elevated his gaze, evaluating the collective, his vocalization gentle: "This outcome does not represent a unilateral achievement. It was Saito-san's cinematography that isolated the Soba's textural properties;
it was Matsui-san's documentation of audience reactions that amplified narrative vibrancy;
simultaneously, it was the collective operational refinement of the script that facilitated Sato-san's narrative achieving maximum resonant capacity."
"Hiroshi-kun, don't be modest!"
Asano Takata slammed his hand on the table, his amiable smile more pronounced than usual. "Who doesn't know you're an all-rounder? In terms of manga, which one of 'YuYu Hakusho' or 'Doraemon' isn't a national-level work with sales breaking ten million? The anime 'Yamishibai' pioneered a new genre of urban legends, and now other TV stations are imitating it. How many households stay tuned in to watch the TV drama 'Tales of the Unusual' every week? The movie 'Seven Samurai' even won an international award and is hailed by film critics as 'the new pinnacle of samurai films'. Now even documentaries have reached this level;
your talent is simply peerless!"
Ashikaga Takashi retracted his typical arrogance, his tone full of admiration: "Before, I always thought that filming historical dramas was the real skill, and documentaries were just 'recording life' with no technical content. It wasn't until I saw the 'A Bite' you filmed that I realized that being able to film ordinary life more movingly than an epic is the hardest thing. The way you filmed Sato Kenta's confusion in Tokyo, using the reflection of the glass curtain wall to show his loneliness—this kind of detail handling shows more skill than the samurai duel scenes I film."
Ito Kenji had just entered from the exterior corridor, maintaining physical possession of the 'Midnight Diner' operational documentation. Processing the collective adulation, he instantly augmented validation: "Undeniably accurate! Hiroshi-kun demonstrates the functional capacity to inject profound nostalgic resonance even into decelerated narrative structures such as 'Midnight Diner', while simultaneously executing documentary sequences with comparable lethality. During my preceding discourse with Yamamoto Takeshi, he specifically indicated that regarding the 'Tales of the Unusual' episodic scripts, any spontaneous modification proposition you articulate consistently doubles narrative tension. This magnitude of cross-domain proficiency is absolutely unreplicable across the entirety of Japan!"
Yamamoto Takeshi's telephonic communication synchronized perfectly with this juncture. Ito Kenji activated the speakerphone function, and his highly animated vocalization instantaneously propagated from the receiver: "Kenji! Have you analyzed the viewership metrics? 32.2%! Hiroshi-kun's capacity vector is absurd! Our 'Tales of the Unusual' operational unit was previously engaged in a symposium evaluating the potential assimilation of 'A Bite's' narrative architecture, specifically proposing an episodic narrative conceptualizing 'cuisine and memory'. Is Hiroshi-kun currently present? I require an instructional consultation!"
Nohara Hiroshi accepted the telephonic interface, his vocalization maintaining its characteristic stability: "Yamamoto-san, excessive formality is unnecessary. 'Tales of the Unusual' inherently commands substantial narrative gravity;
assuming the integration of culinary variables, an exploratory vector prioritizing 'the individual underlying the consumable'—for instance, a narrative detailing a veteran baker and his apprentice—possesses a high probability of successfully establishing emotional connectivity with the demographic."
Yamamoto Takeshi answered repeatedly on the other end of the phone: "Good idea! I'll write it down now! Hiroshi-kun, after you finish filming in Kyoto, you must come to our crew to guide us!"
After hanging up the phone, the atmosphere in the conference room became even hotter.
Tanaka Kei had just hurried over from the Variety Department, still holding the new proposal for "Kasou Taishou": "Hiroshi-kun, our Variety Department also wants to learn from your ideas. Next time we do a 'Hometown Food Disguise' special, let the audience use disguises to show their hometown's specialty food. Maybe it can drive everyone's attention to their hometowns like 'A Bite'."
Nohara Hiroshi nodded: "This is a good idea. The focus should be on 'authentic emotion'. For example, someone disguising themselves as an old lady selling rice cakes, hiding a story about their grandfather behind it, is warmer than a simple disguise."
Encountering the comprehensive adulation saturating the environment, Nohara Hiroshi demonstrated absolute zero incidence of self-satisfaction.
He elevated the beer container positioned on the desktop, executing a subtle collision with the collective: "Everyone extends an excessive degree of validation. In reality, random probability operated favorably, facilitating the discovery of documentaries warranting documentation. Sato-san's grounded execution, Nomizu-san's persistence, and the standard demographics amenable to publicizing their reality—these represent the fundamental parameters catalyzing 'A Bite's' triumph."
He transitioned his visual focus to Suzuki Kiyoto, his tone modulated with respect: "Historically, barring Suzuki-san's validation regarding my documentary sequence, the probability of my pursuing a television drama format initially would remain high. Your recurrent assertion that 'Content must effectively track human psychology' remains securely integrated within my operational philosophy."
Then he turned to Saito Shigeru: "Saito-san, when you shot the mountains in Gunma this time, you proposed using a soft-focus filter and natural sound effects, which gave the picture a 'misty texture'. If I had used strong lighting as I initially thought, it definitely wouldn't have had such a good effect."
This speech instilled an augmented sensation of warmth internally amongst the collective.
Matsui Yuichi smiled and said: "Hiroshi-kun is just like this. Obviously, he has the most credit, but he always thinks about others. When filming the first episode last time, Nomizu-san's fishing boat malfunctioned, and you drove driving to the pier at three o'clock in the morning to help repair it. You never told anyone about this."
Honda Sakurako augmented the discourse: "Previously, when my 'Old Street Visit' conceptualization encountered rejection, Hiroshi-kun personally engaged in structural modifications of the script, subsequently initiating communication with Matsui-san, asserting 'Youthful conceptualizations warrant operational evaluation.' Consequently, my confidence regarding the optimal execution of this proposal is maximally amplified."
Suzuki Kiyoto regarded Nohara Hiroshi, his ocular expression radiating profound gratification: "Contemporary youth exhibit substantial capability parameters, yet an individual mirroring Hiroshi-kun—simultaneously possessing extreme capability, a grounded operational philosophy, and profound humility—constitutes a statistical anomaly. Collaborating with your operational unit instills a pronounced kinetic drive within us older personnel, as if operating with a retroactively depreciated chronological age."
As the conversation progressed, Matsui Yuichi abruptly suspired, his vocalization modulated with a distinct frequency of culpability: "Discourse characterizing this necessitates the articulation of profound mortification. Upon Hiroshi-kun's initial transit from TV Tokyo to Kanto Station, I engaged in subterranean communication with Yamada Takashi, postulating 'Given the classification as a young Level 3 director, the probability of successful structural reformation approaches zero'. Retroactive analysis validates this cognitive alignment as indicative of a profoundly constricted operational perspective evaluating a vastly superior entity."
Yamada Takashi just happened to push the door and come in, and his face turned red when he heard this: "Matsui-san is right. I used to think that the old traditions of Kanto Station couldn't be lost, and I thought Hiroshi-kun's methods were too 'new', afraid the audience wouldn't be able to accept them. As a result, after the first episode finished airing, my kid said to me, 'Dad, your station's documentary is better than TV dramas', and I knew I was wrong."
Fujishita Ken, stroking his beer belly, added with a smile: "I even told the people in the Advertising Department before that 'A Bite' definitely wouldn't be able to attract sponsorships. As a result, Marui Soy Sauce added fifty million, and three travel companies came to our door. Now the people in the Advertising Department are joking with me, saying, 'From now on, just follow Hiroshi-kun's projects, you can't go wrong'."
Kimura Hiroshi adjusted his round-framed spectacles, his tone entirely serious: "A homologous phase transition has occurred within the Personnel Department. Previously, younger Kanto Station directors persistently strategized lateral transfers to TV Tokyo. Currently, a substantial demographic is actively generating applications requesting integration within Hiroshi-kun's Production Department, articulating a desire 'to acquire methodologies facilitating the production of content possessing emotional warmth.' Hiroshi-kun, you have not exclusively popularized documentary sequences;
you have simultaneously stabilized the station's talent vector."
Nohara Hiroshi, processing this data, executed a subtle cranial oscillation: "I exclusively executed the functional parameters mandated by my position. Kanto Station retains a substantial volume of superior senior personnel and colleagues;
the preceding state merely indicated a deficit regarding opportunities facilitating optimal capability deployment. Currently, the popularity of 'A Bite' validates the station's functional capability. Subsequent operational phases guarantee the generation of augmented superior projects."
Kobayashi Kijiro opened his notebook and pointed to the proposals above: "Before, there were a dozen proposals about traditional crafts here, all of which were killed because 'no one watched them'. Now, with the successful case of 'A Bite', I am going to reorganize these proposals, consult with Hiroshi-kun, and then submit them to the station. Maybe we can shoot a few more good works like 'A Bite'."
The night deepened, and the lights of thousands of households in Tokyo outside the window were already bright.
Matsui Yuichi picked up the Soba on the table, took a big bite, and mumbled: "I really want to see tomorrow's newspaper! The Asahi Shimbun and the Yomiuri Shimbun will definitely report it extensively. Maybe the front-page headline will be '32.2%! A Bite Rewrites the History of Japanese Film and Television'!"
Asano Takata smiled and echoed: "And the film critics! Saeki Akira-san wrote about the first episode last time, praising Hiroshi-kun's shots as 'having a sense of breathing'. This time, seeing the 32.2% viewership rating, he will definitely write an even more brilliant review. Maybe someone will even analyze why 'A Bite' can surpass variety shows and TV dramas and become a national-level work."
Honda Sakurako extracted a compact notebook, initiating speculative projections: "Gunma Prefecture will undeniably leverage this kinematic popularity vector to launch augmented Soba-centric tourism products. Consider an itinerary categorized as 'Traversing Gunma Following A Bite,' transporting consumers to Sato-san's establishment to acquire dough kneading methodologies and to the mountains for buckwheat seed harvesting. When that operationalizes, I am absolutely mandated to execute an interview protocol and generate a consequential documentary sequence!"
As the topic was discussed, someone suddenly mentioned Tokyo City TV, and a burst of laughter immediately sounded in the conference room.
Tanaka Kei put down his beer can and joked: "I wonder if Executive Deputy Station Chief Takahashi Kazuo will throw his coffee cup again when he sees this viewership data? Last time, the first episode was 1.9% to 24.1%, which was miserable enough for them. This time it's 32.2%, I reckon the people at City TV won't be able to sleep tonight."
Ashikaga Takashi augmented the localized levity: "And Kamiki Shunsuke! Previously, he classified 'A Bite' as an 'impoverished documentary';
consequently, his proprietary variety program registered a viewership metric below 2%. Processing this current 32.2% data point, the probability of him deploying a manager to initiate 'subterfuge maneuvers'—such as the dissemination of falsified data concerning Sato-san—appears highly probable."
Nohara Hiroshi, parsing this data, manifested a slight darkening of his ocular expression, yet abstained from supplementary verbalizations. He merely elevated his beer, establishing physical contact with the collective's containers: "Irrespective of external reaction matrices, optimizing our proprietary operations constitutes the primary objective. Diurnal operations tomorrow mandate communication with Kyoto Prefecture regarding the third episode's cinematographic schedule. The paramount directive presently is optimizing physiological recovery to guarantee maximum operational efficiency for impending task vectors."
Suzuki Kiyoto nodded in agreement: "Hiroshi-kun is correct. However, objectively speaking, observing City TV encountering such catastrophic operational friction generates a distinct sensation of catharsis. Their persistent prioritization of traffic-generating celebrities and staged variety sequences to deceive demographics necessitated this reality calibration. Being utterly dominated by 'A Bite' constitutes a statistically predictable—and entirely justified—outcome."
The crowd laughed together for a while, and the topic returned to the Wagashi shop in Kyoto. Saito Shigeru had already started to conceive the shots: "Kyoto's Wagashi emphasizes 'seasonality', such as Sakuramochi in spring and Yokan in summer. The shots should capture the fineness of the frosting and the color of the sweets. I want to try using backlight to make the frosting look like a layer of broken diamonds sprinkled on it."
Nohara Hiroshi listened carefully and occasionally added a sentence or two: "We should also film the Wagashi master's hands. The master's strength in kneading the dough and the meticulousness in drawing patterns. These details can let the audience feel the preciousness of the craft. In addition, we can film more of Kyoto's old streets, to integrate the story of Wagashi with the history of the city."
The night grew darker, but the lights in the conference room were still bright.
The Soba on the table was already cold, and the beer cans were empty in a row, but no one cared about this.
Everyone's face carried excitement and expectation, as if they had already seen what the Kyoto Wagashi shop would look like in the lens, and seen the scene of the third episode of "A Bite" achieving great success again.
Nohara Hiroshi observed the collective present, a profound sensation of grounded warmth spontaneously manifesting internally. He cognized explicitly that the 32.2% viewership metric did not constitute a terminal state, but rather designated a novel initialization point.
Subsequent operational phases included Kyoto's Wagashi, Saitama's vintage bakery, and a vastly expanded demographic of ordinary individuals whose narratives mandated documentation.
Simultaneously, the collaborative personnel operating synchronously alongside his vector would remain integrated, collectively executing the transformation of these narratives into superior productions possessing the capacity to transmit warmth.
The symposium extended deep into the nocturnal cycle;
dispersion commenced approaching the pre-dawn demarcations.
Nohara Hiroshi circumvented a direct transit to his residence, manipulating his trajectory towards the "Mizukami Sho Midnight Diner" located in Shinjuku Ward.
This location had already transitioned into his proprietary, isolated classified location.
Pushing open the door, the warm yellow light wrapped in the aroma of pork bone broth hit his face. The owner, Mizukami Sho, was looking down and wiping a glass, the scar vaguely visible under the light.
"Hiroshi-kun, the usual?" Mizukami Sho looked up and saw it was Nohara Hiroshi, immediately revealing a smile. As he spoke in a calm tone, he had already picked up his apron.
"Yes, a bowl of Chashu ramen, and two more chicken Yakitori skewers." Nohara Hiroshi sat in front of the bar, looking at the newly posted "A Bite" poster on the wall—it was specially delivered by Misae, and there was a cartoon version of Sato Kosuke kneading dough drawn on it.
Mizukami Sho was boiling the noodles, and suddenly stated: "The second episode of 'A Bite of Neon' today was excellent. I was profoundly moved post-viewing."
Nohara Hiroshi smiled, his fingertips tracing the rim of the cup: "It is primarily attributable to optimal narrative selection. Sato-san's persistence generates empathetic synchronization across a massive demographic range."
"It's not just the stories." Mizukami Sho placed the ramen in front of him, the soup steaming. "You're not filming Soba, you're filming the human heart. Just like my diner, the customers don't come to eat a meal, they come to find a place where they can lay down their exhaustion."
Nohara Hiroshi initiated consumption of the noodles. Suddenly, narratives characterizing the 'Midnight Diner' from his previous existence on Earth entered his cognitive processing loop. He verbalized softly: "Affirmative. Superior content consistently functions to assist individuals in establishing an internal 'anchor point.' For the subsequent Kyoto Wagashi sequence, my intention is to augment documentation detailing the interaction between the veteran artisan and the patrons. By way of illustration, capturing an individual orchestrating a dedicated transit originating from Osaka expressly to consume a specific categorization of Wagashi."
Mizukami Sho nodded, dispensing a supplementary chicken Yakitori skewer: "That precisely circumscribes the locus of your capability, Nohara-kun."
His tone was full of emotion.
Looking at Nohara Hiroshi, it was also as if looking at a deity.
That's right, Mizukami Sho, this former veteran actor, the current owner of the Midnight Diner, and the starring actor in the drama Midnight Diner, didn't have any pride because of his little achievement.
On the contrary, regarding Nohara Hiroshi, the young man who made him who he is, he really, from the bottom of his heart, regarded him as an omnipotent deity!
And indeed, this was verifiably the reality.
Presently, who maintained the audacity to classify Nohara Hiroshi within the parameters defining an ordinary young individual?
He represented an entity generated within Japanese society, analogous to a Flood Dragon;
a young individual statistically guaranteed to ascend beyond the highest crimson clouds, manifesting as a True Dragon!
(Chapter Ends)