novelraw Chapter 251: The Viewership Frenzy of "A Bite"! The Heartwarming Moment of Sukiyaki!
Chapter 251: The Viewership Frenzy of "A Bite"! The Heartwarming Moment of Sukiyaki!
At 10:00 PM on October 30th, as the final shot of the third episode of "A Bite of Neon", "Kyoto Wagashi: The Time in the Frosting", concluded, all viewership monitoring centers across Japan fell into a brief period of boiling excitement.
Data indicated that the national average viewership for this episode locked in at 37.9%, and the Kanto region even broke through 42%, setting an unprecedented record in the history of Japanese documentaries.
Early the next morning, whether it was the newsstands on the streets of Shinjuku, Tokyo, or the advertising screens in the Osaka subway stations, all mainstream media in Japan reserved their front pages for this documentary.
The Asahi Shimbun printed "37.9%! <
A Bite>
Defines a National-Level Cultural Symbol" in bold black letters, accompanied by a close-up picture of Yamada Sumie, a Wagashi master, kneading Sakuramochi in an old street in Kyoto.
The Yomiuri Shimbun focused on the "Wagashi Effect," noting that the volume of tourism inquiries received by the Kyoto Prefectural Government surged fivefold, and Yamada Sumie's "Sumiwado" even saw a queue forming three days in advance.
Even the Nihon Keizai Shimbun, which traditionally prioritizes economic news, inaugurated a dedicated column on its front page to analyze the "Revitalization of the Traditional Craft Industry Chain" catalyzed by "A Bite"—from Kyoto's red bean cultivators to packaging paper manufacturers, order volumes across related sectors registered a 38% month-over-month augmentation.
"This does not constitute a simple documentary;
it represents a cultural awakening."
Veteran film critic Saeki Akira inscribed within his Mainichi Shimbun column, "Upon elderly Yamada Sumie's articulation that 'Wagashi requires preparation during the sakura blooming phase to achieve optimal sweetness, analogous to the necessity of a decelerated life trajectory to achieve optimal warmth,' every viewer processing the sequence accurately parsed the embedded life philosophy. Utilizing frosting and dough, Nohara Hiroshi successfully re-integrated the 'decelerated life' sentiment—which the Bubble Economy had nearly eradicated—back into the Japanese demographic's core consciousness."
All newspapers once again erupted into a frenzied wave of reporting on "A Bite of Neon"!
...At this moment, Nohara Hiroshi was standing in the open kitchen of his apartment, focusing on preparing the ingredients for Sukiyaki.
The morning light permeated the venetian blinds, projecting mottled optical patterns upon the culinary prep surface adjacent to his location.
Maintaining physical possession of an acutely honed sashimi blade, he was executing the division of an A5 Wagyu block into laminations of uniform thickness.
The marbling of the beef was as refined as falling frost, and the blade gliding across the meat surface generated near-zero acoustic output—this constituted Wagyu expressly airlifted from Hakodate, Hokkaido, the preceding day. The lipid concentration registered precisely at 25%, guaranteeing the extraction of optimal umami lipids during the searing process.
Within the adjacent white ceramic receptacle, Kyoto radishes processed via oblique sectioning, previously shelled quail ova, and Kansai-style konjac rehydrated utilizing purified water were arranged;
every ingredient was meticulously ordered.
"Hiroshi-kun, your posture while sectioning the beef identically mirrors Yamada-san from 'A Bite'!" Misae's vocalization originated from the primary living area, modulated with a pronounced frequency of elation.
Nohara Hiroshi engaged in a rapid visual reversion;
Misae was situated upon the rug assuming a cross-legged posture. A sketchbook rested upon her patellae, a colored pencil was secured within her grip, and she was executing illustrations actively referencing the television display.
The television was broadcasting a sequence from 'A Bite's' third episode: Yamada Sumie utilizing a bamboo sieve to precipitate powdered sugar, the solar illumination intersecting her progressively whitening hair, generating an aesthetic analogous to a fine layer of snow.
Misae's ocular regions maintained a residual erythema, the apex of her nasal structure executing subtle vertical oscillations: "Observe Yamada-san's dedication;
she synthesizes Sakuramochi every sakura season exclusively awaiting her daughter's return. Her daughter visibly operates as an OL in Tokyo, having absented herself from the primary residence for a three-year duration... Ultimately, when her daughter abruptly materialized within the establishment, embracing her and articulating 'Mother's Sakuramochi maintains optimal sweetness,' my lachrymal ducts immediately activated."
Nohara Hiroshi deposited the blade, a smile materializing. He retrieved a processed lamination of Wagyu, maneuvering it towards his nasal perimeter to execute an olfactory analysis—a subtle lacteal aroma interspersed with the inherent meat fragrance presented;
it was highly compelling.
"It is fundamentally an authentic narrative, naturally generating resonance. Yamada-san maintained operational control of the Wagashi establishment for thirty chronological cycles. Her primary objective did not constitute awaiting her daughter's return to assume operational control, but rather awaiting her daughter's cognitive retrieval of 'The Flavor of Home'."
"Correct!"
Misae abruptly elevated her cranium, the apex of her writing implement maintaining residual pink pigment fragments. "Analogous to my mother's continuous verbalizations;
during my juvenile phase, I exhibited a pronounced preference for her proprietary Dorayaki. Presently, despite my operational status as the President of a manga company, upon any return transit to my localized origin, she invariably pre-synthesizes the product, awaiting my arrival."
As she spoke, she raised the sketchbook for Nohara Hiroshi to see, "Look at the Kumamon I drew! It's holding a Sakuramochi and the words 'Follow A Bite to Kyoto' are written next to it. Isn't it cute?"
The Kumamon upon the illustration paper manifested a spherical morphology, attired in a crimson apron. It maintained physical possession of a pink Sakuramochi, its buccal region exhibiting localized powdered sugar contamination.
Adjacent to the primary illustration, a secondary text sequence was inscribed utilizing a deliberately irregular font topology: "Sumiwado's Sakuramochi supersedes Tokyo's pastry regarding optimal sweetness!"
Nohara Hiroshi navigated towards her, executing a forward inclination to apply gentle friction to Misae's cranial region, his distal phalanges interfacing with the non-rigid terminal segments of her hair: "The illustration demonstrates superior execution, particularly regarding Kumamon's ocular expression;
it accurately projects a high-intensity desire for the Sakuramochi."
"Naturally!"
Misae proudly puffed up her chest and hugged the sketchbook in her arms. "I plan to print these small Kumamon fragments on the merchandise of the manga club, such as notebooks and stickers. I also want to cooperate with Sato-san's Soba shop and Yamada-san's Wagashi shop—when customers buy a gourmet meal, they will get a Kumamon card for free. This way, we can ride on the popularity of 'A Bite' and help them promote. It's killing two birds with one stone!"
Nohara Hiroshi couldn't help laughing: "You are good at making calculations. But it's okay, the copyright of Kumamon is in your hands, and the copyright of 'A Bite' is in mine, so it's convenient for us to cooperate no matter what."
Misae's eyes lit up instantly: "Really? Then I will contact Yamada-san tomorrow! By the way, last time we went to Gunma to shoot Soba, Sato-san also said he wanted to make a cute packaging for Soba. I can let Kumamon hold Soba as a pattern!"
"Take it slow, let's consume today's Sukiyaki first." Nohara Hiroshi pivoted, executing a return transit to the culinary prep area, transferring the processed Wagyu to a receptacle lined with lipid-absorbing material. "The beef necessitates searing while optimal freshness is maintained, and the radish mandates preliminary boiling to extract its inherent sweetness, otherwise the Sukiyaki broth will lack the requisite umami profile."
Misae, hugging the sketchbook, moved closer to the kitchen door. Watching Nohara Hiroshi pour Sukiyaki sauce into the pot, she suddenly remembered a fragment from the third episode and couldn't help but speak again: "Hiroshi-kun, do you remember the part where Yamada-san made Yokan? When she was boiling red beans, she had to stir and taste them at the same time, saying 'Red beans are best when they are boiled until they have a grainy texture. If they are too mushy, they lose their soul'. My grandma was the same when she cooked red bean soup, always saying 'Ingredients have their own temper, you have to follow it'."
Nohara Hiroshi paused his action, and the scenes from the shooting also emerged in his mind.
At five o'clock that morning, they followed Yamada Sumie to the red bean fields on the outskirts of Kyoto to pick beans.
The elderly artisan, attired in wooden clogs, executed the harvesting operations with pronounced deceleration;
subsequently to retrieving each individual legume, she deployed mild pneumatic force to eliminate surface condensation.
"These red beans were planted in the autumn of the preceding chronological cycle;
maturation necessitated an entire 365-day interval." She articulated to the cinematographic apparatus during that coordinate. "The current juvenile demographic persistently verbalizes an inability to 'sustain waiting parameters.' However, concerning optimal culinary outputs, the concept of 'inability to wait' fundamentally violates foundational principles."
Subsequently, within the internal prep area of "Sumiwado," Yamada Sumie executed a demonstration detailing the Yokan synthesis protocol.
She transferred the boiled legumes into a stone mortar, utilizing a wooden mallet to execute kinetic reduction into a paste morphology. Following each impact event, she mandated a multi-second pause, facilitating the gradual diffusion of the legume's aromatic profile.
"Upon my initial integration into this household, my mother-in-law instructed me that the legume reduction protocol necessitates a 'three impacts, one pause' rhythm, asserting this specific methodology guarantees the Yokan achieves optimal chewiness." She applied friction to her forehead, eliminating perspiration while smiling. "My mother-in-law currently registers as deceased, yet I persistently deploy her methodology;
it generates a psychological sensation analogous to her continuous observational presence."
The most moving scene was the ending of the film.
Yamada Sumie's daughter, Yamada Mio, suddenly returned to the shop from Tokyo, carrying a suitcase in her hand.
"Mom, I resigned." She hugged her mother, her voice choked with sobs. "Yesterday, I realized I haven't eaten the Sakuramochi you made for a long time. From now on, I want to learn how to make Wagashi from you, and let's guard this shop together."
During the cinematographic capture of that coordinate, Saito Shigeru deployed a backlighting sequence. The solar illumination permeated the establishment's wooden lattice fenestration, executing a substantial longitudinal extension of the maternal and filial silhouettes.
Yamada Sumie's lachrymal secretions impacted her daughter's clavicle region, yet she articulated while smiling: "Cognitively deficient child, Sakuramochi synthesis operations remain suspended until the subsequent spring cycle. Allocate these intervening months to acquiring optimal red bean boiling methodologies under my tutelage."
"I lachrymated processing the concluding sequence." Misae applied friction to her ocular regions. "Yamada-san verifiably preserved a singular Sakuramochi within the establishment daily, articulating 'awaiting Mio's return to consume it', yet she maintained absolute silence regarding this protocol externally. This classification of internalized attachment generates a catastrophic emotional impact significantly superseding explicitly verbalized longing."
Nohara Hiroshi transferred the pre-boiled radish segments into the Sukiyaki receptacle;
the broth instantaneously generated micro-bubbles: "Consequently, authentic emotion commands maximum kinetic potential. We integrated zero fabricated script parameters;
we exclusively executed observational cinematography tracking Yamada-san for a three-diurnal cycle, successfully capturing these precise temporal coordinates. Operating under specific parameters, documentaries do not require deliberate emotional manipulation;
exclusively directing the lens towards reality guarantees reality will output the optimal narrative."
Nohara Hiroshi's words also made Misae smile.
"Smells so good!"
Concurrently, Misae's cognitive focus was immediately captured by the aromatic profile originating from the receptacle. She navigated adjacent to the thermal unit, executing visual monitoring as the Wagyu within the receptacle gradually assumed a light brown chroma. The extruded lipids enveloped the radish segments, prompting an involuntary deglutition reflex. "Hiroshi-kun, execute a rapid taste test! My capacity to sustain waiting parameters has reached zero!"
Nohara Hiroshi smiled, picked up the chopsticks, picked up a piece of Wagyu, dipped it in a little raw egg liquid, and handed it to Misae's mouth: "Careful, it's hot."
Misae initiated mandibular engagement with the beef, her ocular organs instantaneously achieving a semi-closed state: "Optimal taste achieved! The flavor profile supersedes even Tokyo's premium Western dining establishments' Sukiyaki! Hiroshi-kun, did you engage in covert culinary acquisitions?"
"Exclusively acquired rudimentary methodologies from the artisans featured within the documentary." Nohara Hiroshi identically retrieved a beef segment, transferring it to his buccal cavity. The Wagyu's optimal freshness, integrated with the sauce's sweetness, executed a gradual dissolution upon his gustatory sensors. "During the 'A Bite' cinematography, I acquired tuna processing methodologies from Nomizu-san, Soba dough kneading protocols from Sato-san, and currently, legume boiling techniques from Yamada-san—this constitutes a substantial volume of covert skill acquisition."
Misae procured a culinary implement, manipulating a volume of broth and transferring it onto her rice, subsequently executing an exhalation denoting profound gratification: "Currently, 'A Bite' monopolizes discourse across the entirety of Japan. During my transit to the manga company yesterday, even the convenience store operative located on the ground floor articulated an intention to 'execute weekend transit to Kyoto for Wagashi consumption.' Hiroshi-kun, do you register a high-intensity sensation of achievement?"
"The sensation of achievement registers as nominal;
the primary sensation is one of profound groundedness."
Nohara Hiroshi deposited his operational implements, executing a visual assessment of the Tokyo streetscape beyond the fenestration—the distant Tokyo Tower radiated illumination within the twilight, the thoroughfares processed dense vehicular traffic, yet the frivolity characteristic of the Bubble Economy era was perceptibly mitigated. "My initial operational objective regarding this cinematic sequence exclusively prioritized documenting traditional crafts and lifestyles trending towards cognitive deletion. Presently, observing the demographic's willingness to decelerate their operational velocity and process these ordinary aesthetic variables generates validation regarding the utility of my exertion."
He paused and then added: "The Ministry of Education has confirmed that starting next month, 'A Bite' will be broadcast in primary and secondary schools nationwide as 'Local Culture Teaching Materials'. Marui Soy Sauce also wants to cooperate with us to launch a 'A Bite Limited Edition' soy sauce, and the packaging will use the Kumamon you drew."
"Really?" Misae's eyes lit up, "Then my Kumamon will become a national mascot! By the way, Hiroshi-kun, what are you going to shoot for the fourth episode? I still want to follow along!"
"The fourth episode intends to execute documentation of a vintage bakery situated in Saitama. The proprietors constitute a spousal unit maintaining continuous operation synthesizing red bean pastry for a forty-year duration." Nohara Hiroshi procured a paper product, assisting Misae in eliminating sauce residue from her buccal perimeter. "I will coordinate your transit to the coordinate during that operational phase, facilitating your acquisition of baking methodologies under the proprietress's tutelage. A non-zero probability exists this will provision inspiration for your manga synthesis."
Misae nodded vigorously, her mouth still stuffed with rice, and mumbled: "Okay! Okay! I will draw the story of the bakery into the Kumamon comic so that more people will know!"
Halfway through the Sukiyaki, Misae suddenly remembered something, put down her chopsticks and ran to the living room, picked up the remote control and changed the channel: "Hiroshi-kun, look! This is Tokyo City TV's 'Shunsuke's Tokyo Roaming'. It's also a food variety show and a competitor to your 'A Bite'!"
On the television display, Kamiki Shunsuke, attired in a white casual suit, maintained a stationary position anterior to a high-traffic 'influencer' burger establishment situated in Ginza, Tokyo. He projected a standardized smile towards the cinematographic apparatus: "Spectators, today's coordinate is Tokyo's peak-traffic 'Golden Burger'. Intelligence metrics indicate a daily production cap of 100 units, purportedly delivering a gustatory sensation analogous to cloud consumption!"
The camera cut to a close-up of the burger. The golden buns were sprinkled with glitter, and the patty was covered with a thick layer of cheese sauce, which looked very tempting.
However, during Kamiki Shunsuke's physical engagement with the burger, his phalanges deliberately maintained distance from the bread's perimeter;
his subsequent mandibular engagement was executed with extreme caution, prioritizing the prevention of sauce contamination upon his buccal region—this sequence demonstrably constituted a fabricated, posed interaction.
"Wow, this burger looks delicious," Misae said subconsciously, but as soon as she finished speaking, she saw Kamiki Shunsuke chew twice and secretly spit the burger from his mouth into a tissue box next to him, but the smile on his face Remained: "Well, the texture is really light, and the cheese flavor is also very rich, I recommend everyone to check in!"
Misae instantaneously executed a brow furrow, her oral commissures exhibiting a downward curvature: "Extremely fabricated! He demonstrably failed to execute deglutition, correct? Furthermore, his vocalization frequency registered as anomalous, analogous to reciting predetermined script lines;
zero authenticity detected."
Nohara Hiroshi walked to the living room and leaned on the sofa, looking at the screen.
Kamiki Shunsuke maintained interaction with the proprietor, grasping a localized audio capture device, yet consistently preserving a half-meter spatial buffer. He actively rejected the potato-based consumable offered by the proprietor—it was glaringly obvious he harbored apprehension regarding the potential contamination of his suit by the food product.
"This establishment's interior design maintains a distinct aesthetic, rendering it optimal for photographic capture." He articulated towards the lens, his visual trajectory intermittently deviating towards an adjacent teleprompter apparatus. "Upon integrating with this coordinate, the deployment of light-colored attire is absolutely mandatory to optimize the resulting photographic output."
"What is this! This fundamentally fails the classification of a culinary variety show;
it constitutes a photographic tutorial!" Misae, driven by induced hostility, procured a cushion and executed a kinetic strike against the sofa. "He failed to execute any rigorous gustatory analysis of the consumable, exclusively prioritizing the articulation 'optimal for photography.' The differential between this and your 'A Bite' approaches infinity! Hiroshi-kun, observe: when Yamada-san synthesizes Wagashi, she maintains zero cognitive processing regarding flour contamination upon her phalanges. Conversely, he lacks the audacity to establish physical contact with a fry;
the level of fabrication is excessive!"
Nohara Hiroshi smiled and reached out to pull Misae to sit beside him: "Don't be angry, he is taking the idol route, the focus is on 'good looking', not 'real'."
"But shouldn't the focus of a food variety show be the food and the people behind it?"
Misae leaned against Nohara Hiroshi's shoulder, her tone saturated with cognitive dissonance. "He failed to even initiate an inquiry regarding the proprietor's designation, exclusively prioritizing the articulation 'optimal interior design.' What demographic segment would exhibit a preference for a variety sequence of this classification? During my previous review of the viewership metric report, this specific program registered at a mere 1.8%, representing a negative differential exceeding a factor of twenty relative to your 'A Bite'!"
Within the television display, Kamiki Shunsuke persisted in his fabricated posing sequences, fluctuating between generating cardiac morphological symbols directed at the burger and executing photographic capture utilizing a carbonated beverage container. The entire duration lacked any articulation concerning the burger's synthesis minutiae, and zero inquiries were directed toward the proprietor's operational narrative.
Misae's patience rapidly depleted;
she initiated a manual outreach to execute a channel modulation: "Visual monitoring terminated! Observation triggers escalating hostility! Initiating rebroadcast of your 'A Bite';
Yamada-san synthesizing Yokan generates an aesthetic output a hundredfold superior to his!"
Nohara Hiroshi pressed Misae's hand and shook his head gently: "Don't change it, it's good to watch it, so we know what our competitors are doing."
He paused and looked down at the girl in his arms—Misae's hair was scattered over his arm, and her eyes still carried dissatisfaction with Kamiki Shunsuke, like a puffed-up little cat.
He suddenly reached out and turned off the TV. The living room instantly fell silent, and only the streetlights outside the window cast an array of light and shadow on the floor through the curtains.
"It's getting late, tomorrow we have to go to Kyoto to discuss merchandise cooperation with Yamada-san, let's rest early."
Misae paused for a moment, looked up at Nohara Hiroshi, and found that his eyes were gentler than usual.
"Hiroshi-kun..." She was just about to speak when Nohara Hiroshi gently hugged her.
"It's been a long time since I stayed with you like this." Nohara Hiroshi's chin rested on the top of Misae's hair, and his voice was deep and gentle, "I've been busy shooting 'A Bite' recently, and I have spent too little time with you."
Misae leaned into his embrace, successfully executing olfactory capture of the subtle 'vitality of life' aroma adhering to him—this constituted the sauce fragrance acquired during the diurnal Sukiyaki synthesis protocol, integrated with his proprietary soap scent, generating a highly potent sensation of psychological security.
"I am not deploying any assigned culpability parameters towards you." She initiated a physical embrace targeting Nohara Hiroshi's lumbar region, articulating at a reduced volume. "Observation of your synthesis of productions possessing such high optimal metrics generates positive psychological feedback within me. Furthermore, following your cinematographic deployments facilitates my acquisition of substantial data, for instance, methodologies regarding the observation of life, and techniques for synthesizing manga arrays possessing emotional warmth."
Nohara Hiroshi tightened his arms and hugged Misae tighter: "There will be more time to accompany you in the future. After 'A Bite' is finished, we will go to Hokkaido to see the snow and eat seafood in Hakodate, just the two of us."
"Is that true?" Misae looked up, her eyes sparkling, "Then we must also go to the Shiroi Koibito Park in Sapporo, I want to draw many Kumamons in the snow!"
"Okay, I'll listen to you." Nohara Hiroshi lowered his head and gently imprinted a kiss on Misae's forehead. "Now go to sleep first, otherwise you won't be able to get up tomorrow, and Yamada-san will be waiting anxiously."
Misae nodded with a smile and let Nohara Hiroshi lead her into the bedroom.
The night deepened, and the lights in the apartment gradually went out. Only the faint aroma of Sukiyaki remained on the cooking counter in the living room—that was an ordinary but warm time that belonged to the two of them.
...
In the early morning of October in Tokyo, the sunlight still carried a bit of chill, sprinkling through the gaps in the curtains on the bedroom floor, pulling out a slender spot of light.
When Nohara Hiroshi opened his eyes, Misae was still sleeping soundly beside him, the corners of her mouth slightly raised, seemingly having some sweet dream.
He executed a subtle lumbar repositioning;
the physiological fatigue accumulated during the preceding nocturnal cycle remained partially crystallized, yet it was comprehensively ameliorated by the rhythmic respiratory acoustics generated by the female entity situated adjacent to him—this constituted an unprecedented sensation of structural stability he had never experienced subsequent to his trans-dimensional transition to this reality.
He executed a highly calibrated maneuver to decouple Misae's appendage, which was currently targeting his lumbar region;
the kinetic energy defining the maneuver was calibrated to a threshold analogous to preventing the disturbance of a Lepidopteran organism.
Navigating towards the fenestration and executing curtain retraction, the primary thoroughfare situated at ground level exhibited a sparse distribution of pedestrian entities. Salaried personnel attired in business suits executed rapid transit protocols, manifesting secure grips upon briefcases and recently acquired newspapers. Intermittently, the crisp acoustic emission of a bicycle bell propagated through the environment, carrying the distinctive 'vitality of life' characteristic of 1991 Tokyo.
Within the sanitary facility, Nohara Hiroshi activated the thermal aqueous flow valve. The heated fluid traversed his facial surface, facilitating a complete transition to optimal cognitive alertness.
The male entity reflected within the mirror apparatus was attired in a primary white undershirt. His superciliary architecture projected a structural stability entirely uncorrelated with his chronological age;
exclusively through transient ocular emissions did he manifest the classified data defining his origin from a future chronological coordinate.
He adjusted his hair in front of the mirror, remembering the way Misae blushed last night, and the corners of his mouth couldn't help but curl into a faint smile.
Upon exiting the sanitary facility, the milk receptacle positioned adjacent to the primary entryway was completely saturated by the delivery operative—two borosilicate glass containers of Meiji milk, their exterior surfaces exhibiting condensation micro-droplet accumulation.
Nohara Hiroshi retrieved the lacteal fluid and integrated with the culinary prep area, executing an activation sequence upon the refrigeration unit. The interior space contained a highly ordered arrangement of ingredients procured from the supermarket during the preceding diurnal cycle: ova sourced from Kyoto, lipid arrays from Hokkaido, and recently thermally processed sliced bread, every distinct item projecting optimal freshness parameters.
Nohara Hiroshi tied his apron, placed the frying pan on the gas stove, and slowly heated it over low heat.
He procured a lipid block from the refrigeration unit, mechanically reducing its volume via sectioning prior to deposition within the heated receptacle. Synchronized with the lipid liquefaction phase, a high-density lacteal aroma instantaneously diffused through the environment—this constituted a micro-methodology acquired from 'A Bite's' Kyoto Wagashi master, Yamada Sumie. Executing lipid liquefaction utilizing low-temperature parameters ensures the maximum retention of the aromatic profile.
Following this phase, he executed the transfer of two ova into a ceramic receptacle, integrated a measured volume of sucrose, and deployed a culinary implement to apply clockwise kinetic agitation.
The ova fluid requires continuous agitation until the generation of high-density micro-foam;
this specific protocol guarantees the synthesized Tamagoyaki achieves optimal structural pliancy.
While executing the kinetic agitation, he maintained visual monitoring of the lipid array within the receptacle. Once the lipid achieved complete liquefaction and exhibited micro-bubble generation, he deployed fifty percent of the ova fluid into the apparatus.
As the egg liquid slowly coagulated in the pan, Nohara Hiroshi gently pushed the edges with a wooden spatula. When the bottom was shaped, he slowly rolled it up from one side. After rolling it into a cylinder, he pushed it to the side of the pan and poured the remaining egg liquid in.
During the execution of the secondary rolling phase, a higher magnitude of kinetic force is mandatory relative to the initial phase;
this methodology guarantees the Tamagoyaki achieves a highly delineated, multi-layered structural topology.
He was proficient in his movements and focused his eyes, as if treating a precious work—just like adjusting the angle of every shot when shooting "Seven Samurai", and like sketching every character's expression when drawing "Doraemon".
The adjacent thermal toast processing unit generated a crisp acoustic 'ding', successfully rendering two slices of toast possessing optimal golden-brown visual characteristics and structural crispness.
Nohara Hiroshi subjected the Tamagoyaki to mechanical reduction, dividing it into three segments which were subsequently arranged within a white ceramic receptacle. The processed toast was positioned adjacently, followed by the deployment of a measured volume of proprietary strawberry preserve—this preserve was manually synthesized by Misae during the preceding week, utilizing strawberries sourced from Ibaraki Prefecture, achieving an optimal sweet-to-acid ratio.
Finally, he poured the milk into a glass and heated it in the microwave for 30 seconds. The temperature is just right for drinking and won't burn the tongue.
"It smells so good..." Misae's groggy voice came from the bedroom, followed by the clicking sound of slippers stepping on the floor.
She rubbed her eyes and walked into the kitchen, her hair still a little messy. When she saw the breakfast on the cooking counter, her eyes instantly lit up, "Hiroshi-kun, did you make this? It looks more delicious than the one in the Ginza western restaurant!"
Nohara Hiroshi deactivated the thermal generation unit, pivoting to establish visual contact: "Synthesis protocol recently terminated;
initiate consumption while optimal thermal parameters remain."
Misae walked to his side, suddenly stood on tiptoe, pecked lightly on his cheek, then blushed and lowered her head, her voice as thin as a mosquito: "Hiroshi-kun... you were so strong last night..."
Nohara Hiroshi paused for a moment, then smiled and rubbed her hair: "What, you only know now?"
"How annoying!" Misae pushed him coquettishly, her cheeks as red as a ripe apple, "I just... just feel..." Before she finished her words, she was gagged by the toast handed over by Nohara Hiroshi, "Eat quickly, or it won't be good if it gets cold."
The dual entities established seated positions adjacent to the dining table. The morning solar illumination penetrated the fenestration, projecting onto the culinary receptacles and applying a warm golden visual layer to the Tamagoyaki.
Misae bit into the Tamagoyaki and her eyes narrowed immediately: "Wow! So soft and tender! Hiroshi-kun, why do you know everything? You are better at cooking than my mother!"
"I learned it from Yamada-san." Nohara Hiroshi drank some milk, his tone flat, "When shooting 'A Bite', I saw her making Wagashi pay attention to the heat, so I thought about using this skill in cooking."
Misae suddenly remembered something, put down her chopsticks and looked at him: "By the way, Hiroshi-kun, you said last night that after 'A Bite' is finished, you will take me to Hokkaido to see the snow. Is that true?"
"Of course it is true." Nohara Hiroshi nodded, identifying absolute seriousness. "However, prior to executing that transit, one localized protocol mandates completion."
Misae blinked, "What is it?"
"I mandate orchestrating your transit to interface with my parental units, followed by a reciprocal transit to your localized origin to interface with your parental units." Nohara Hiroshi deposited the borosilicate glass container, establishing direct ocular alignment. "The initiation of our Engagement protocol is statistically overdue."
"Engage... engagement?" Misae's eyes instantly widened, and the fork in her hand dropped on the plate with a "clatter", "Really... really? Hiroshi-kun, are you kidding?"
"Absolutely not." Nohara Hiroshi procured a paper product, assisting her in the elimination of strawberry preserve residue from her buccal perimeter. "Given my operational integration with you, the conceptualization of a divergence vector has consistently registered a zero probability. The Engagement ceremonial protocol mandates an elevated degree of refinement. What constitutes your preference regarding the geographical coordinate? A Western dining establishment situated within Tokyo, or a return transit to the Shrine located at your origin point? I defer entirely to your preferences."
Misae's tears suddenly fell, not out of sadness, but excitement.
She sniffled and reached out to grab Nohara Hiroshi's hand: "I... I can do whatever! But my mother will definitely hope to hold it in Kumamoto. She said the shrine in her hometown is very efficacious and can bless newlyweds to last a long time..."
"Then we execute transit to Kumamoto." Nohara Hiroshi increased the grip pressure on her appendage, his distal phalanges registering her thermal output. "During that operational phase, we will solicit Station Chief Sakata and supplementary personnel to function as observational witnesses, alongside your manga company cohorts;
an elevated atmospheric vibrancy represents the optimal scenario."
Misae nodded vigorously, but her tears fell even more fiercely: "Hiroshi-kun... Thank you... I never thought before that I could marry someone I like..."
Looking at her tear-stained face, Nohara Hiroshi suddenly felt a warm current welling up in his heart.
He recalled the Misae within the 'Crayon Shin-chan' narrative from his previous existence—the entity who persistently articulated grievances regarding Hiroshi's olfactory pedal emissions, yet consistently maintained structural cohesion within the familial unit. He further recalled the highly chaotic juvenile entity Shin-chan, and the aesthetically pleasing juvenile entity Himawari. Within this current reality iteration, his operational imperative was to rewrite their trajectories, provisioning them with a highly stable and optimal familial environment.
He silently thought in his heart: It would be great if the first child was Shin-chan, and even better if the second child was Himawari. He wanted to see with his own eyes the little boy who always talked about Action Kamen and the little girl who liked acting coquettishly growing up by his side.
After breakfast, Nohara Hiroshi packed up the tableware, and Misae went to the bedroom to change clothes.
She executed the selection of a light pink dress configuration, externally augmented by a beige knit cardigan, and synthesized a ponytail structure with her hair. The resulting aesthetic projected an optimized balance of perceived cuteness and operational efficiency.
"Hiroshi-kun, is this acceptable attire? The manga company is scheduled to engage in a symposium concerning the design of Kumamon merchandise today;
my intention is to project an energized operational state."
"Visually optimal." Nohara Hiroshi retrieved the vehicular activation device. "Initiate motion;
I will execute your transit to the manga company."
The dual entities descended to the ground level. Nohara Hiroshi's Toyota Crown maintained a stationary position adjacent to the thoroughfare;
the high-albedo black exterior exhibited a stable luminescence under the morning solar illumination.
Driving on the road, the morning rush hour in Tokyo had not yet fully arrived, and there were not many cars on the road.
Misae maintained her position within the secondary frontal seating unit. She gripped the sketchbook, executing continuous illustrations of Kumamon whilst maintaining a verbal exchange with Nohara Hiroshi: "Hiroshi-kun, the personnel from Marui Soy Sauce initiated telephonic communication yesterday, articulating a desire to integrate the Kumamon graphic upon their product containers, further soliciting my synthesis of a limited edition packaging design. What constitutes your assessment regarding this proposal?"
"Affirmative." Nohara Hiroshi maintained visual monitoring of the forward traffic vectors, his tone relaxed. "However, ensure the Kumamon facial expression is calibrated towards maximum perceived cuteness;
the juvenile demographic will exhibit a positive response. Furthermore, ensure the integration of the text string 'Sato Kosuke's Soba Exclusive Formulation';
this secondary function will serve to amplify Sato-san's promotional trajectory."
"Acknowledged!" Misae executed an affirmative cranial oscillation while smiling. "My strategic intention additionally encompasses establishing a collaborative matrix with Yamada-san, integrating Wagashi graphics upon notebook products. Every notebook unit will contain an embedded Wagashi synthesis manual. This methodology guarantees that concurrent with the notebook acquisition, the demographic acquires Wagashi synthesis methodologies."
"Excellent concept." Nohara Hiroshi executed a directional shift at an intersection. "However, prior resolution of copyright parameters in consultation with Yamada-san is mandatory to preclude any suboptimal outcomes for her. Given her advanced chronological age, generating required revenue presents substantial friction."
Misae deposited the sketchbook, maintaining visual alignment with Nohara Hiroshi's lateral profile: "Hiroshi-kun, your cognitive processing persistently prioritizes external entities;
this rationally explains your universal approval rating. During a previous interaction, Matsui-san transmitted data indicating your modification of the 'Old Street Visit' proposal necessitated the expenditure of an entire nocturnal cycle without sleep."
Nohara Hiroshi executed a smile, abstaining from verbalization. His cognitive assessment indicated that the entities populating this reality exhibited profound authenticity. Sato Kosuke's grounded execution, Yamada Sumie's persistence, and Mizukami Sho's gentleness—these attributes universally validated the allocation of his dedicated operational focus.
Very soon, they arrived downstairs at the office building where the "Future Comic Club" was located.
Misae disengaged the safety restraint apparatus, executing a transient labial contact against Nohara Hiroshi's cheek: "Hiroshi-kun, anticipating our evening rendezvous! I will finalize the merchandise design schema, awaiting your return for analytical review!"
"Acknowledged." Nohara Hiroshi maintained visual tracking as she executed rapid transit into the commercial edifice. Exclusively following the deletion of her visual signature at the elevator coordinate did he re-engage the vehicular propulsion unit, executing a transit vector towards Kanto TV.
Kanto TV on Saturday should have been quieter than usual, but because of the preparation for the fourth episode of "A Bite", it seemed extra lively. As soon as Nohara Hiroshi's Toyota Crown stopped in the parking lot, a staff member recognized him.
"Hiroshi-san! Good morning!" Kobayashi Hiroshi from the Technical Department ran over holding a video camera, his face full of excitement, "Why are you here today? Are you going to check the shooting equipment for the fourth episode?"
"Transitioned here to execute a status assessment regarding collective operational velocity." Nohara Hiroshi exited the vehicle, executing a standard greeting protocol. "Have all equipment calibration procedures terminated? Transit to Saitama for the vintage bakery documentation is scheduled for the subsequent week;
the manifestation of any critical failure states is strictly prohibited."
"Please remain assured, Hiroshi-san!" Kobayashi Hiroshi applied friction to his thoracic region. "Saito-san supervised our calibration operations until the midpoint of the preceding nocturnal cycle. We subjected every singular cinematographic apparatus to rigorous testing matrices, and even the auxiliary power cells are at maximum capacity!"
The two of them walked into the building together. Along the way, they met many employees. Whether it was the director of the production department or the clerk of the administration department, they all took the initiative to greet Nohara Hiroshi.
"Hiroshi-san, you're here!" Yamada Takashi, the Deputy Director of the Production Department, came over holding a document and handed it to him respectfully, "This is the information on the Saitama old bakery. See if there is anything that needs to be supplemented."
"Validation acknowledged, Yamada-san." Nohara Hiroshi received the documentation, executing a rapid scan of several pages. "The data density is optimal. Prior to the scheduled transit for documentation next week, your operational imperative is to establish communication with the Takahashi spousal unit managing the bakery, prioritizing the finalization of the cinematographic schedule."
"No problem! I will call them this afternoon!" Yamada Takashi nodded, his eyes full of admiration.
When he walked to the elevator, he met Tanaka Kei from the Variety Show Production Section.
He walked over smilingly holding the new plan of "Kasou Taishou": "Hiroshi-kun, you are finally here! I have an idea for 'Hometown Food Disguise' here. I want to talk to you and see if we can add it to the next program."
"Affirmative. Upon termination of the preparatory operations concerning the fourth episode, we will allocate a chronological window to execute a granular discourse." Nohara Hiroshi nodded, synchronizing a temporal coordinate with him.
In the elevator, Kobayashi Hiroshi looked at Nohara Hiroshi, sighing with emotion: "Hiroshi-san, your prestige in the station now is even higher than Station Chief Sakata. In the past, when Kanto TV and TV Tokyo merged, everyone was worried that you were an 'outsider', but now everyone knows that you are sincerely working for the station."
Nohara Hiroshi smiled: "My prestige metric is not anomalously high;
the current outcome constitutes the calculated result of collective exertion. The triumph of 'A Bite' does not represent a unilateral achievement;
it is fundamentally attributable to Saito-san's cinematic vision, Matsui-san's operational execution, and the consolidated effort spanning the entire workforce, which collectively infused the sequence with localized warmth."
He recognized explicitly internally: this magnitude of respect was not procured via hierarchical leverage, but rather secured through continuous, high-quality output sequences—'Yamishibai' annihilating the stagnation surrounding urban legends, 'Seven Samurai' recalibrating the apex metric for samurai films, and 'A Bite' reactivating the kinetic potential of traditional crafts.
Each production constituted a verifiable medal, utilizing objective data to validate his capabilities.
The elevator doors opened, and the production department office was busy.
Matsui Yuichi was discussing the script of "Old Street Visit" with Honda Sakurako. Seeing Nohara Hiroshi coming in, he immediately stood up: "Hiroshi-kun! You are just in time! Sakurako-chan's script has been revised, please help to see if there is anything else that needs to be adjusted."
Honda Sakurako walked over with the script, her face carrying a bit of tension: "Hiroshi-san, following your previous instructions, I added the stories of the artisans in the old street. Please see if it works."
Nohara Hiroshi received the script and initiated a rigorous analytical review. The office environment maintained a state of absolute acoustic suppression, interrupted exclusively by the mechanical friction of paper lamination manipulation.
Every entity maintained visual focus upon him, their ocular expressions projecting a synthesis of anticipation and confidence—this constituted the absolute respect Nohara Hiroshi had secured via verifiable capability, representing his most critical asset within this reality iteration.
...
Nohara Hiroshi occupied the primary focal position at the conference table, maintaining physical possession of Honda Sakurako's revised "Old Street Visit" script. His distal phalange executed a subtle lateral translation across the page perimeter.
The conference room maintained extreme acoustic suppression. Matsui Yuichi, Yamada Takashi, Kobayashi Hiroshi, and Honda Sakurako were positioned in diametric opposition. Their ocular expressions projected anticipation interwoven with elevated tension metrics—this fundamentally constituted their inaugural independent documentary planning initiative subsequent to the triumph of 'A Bite.'
"Sakurako-chan's revised script exhibits a substantially augmented granularity metric relative to the initial iteration." Nohara Hiroshi initiated the discourse, his tone maintaining absolute equilibrium. "You executed a highly structured compilation detailing the old street's historical context and the foundational data concerning the artisans. You additionally integrated granular annotations specifying the required optical angles during the cinematography phase;
the elevated level of operational dedication is clearly discernible."
Hearing the praise, Honda Sakurako immediately blushed and whispered: "I learned it all from Hiroshi-san. When you shot 'A Bite', you even recorded the thickness of the morning mist, so I thought I shouldn't be careless."
Matsui Yuichi augmented the narrative: "This juvenile entity, prioritizing script modification, allocated the entirety of her nocturnal cycles during the preceding week to operational execution. Furthermore, she executed a three-diurnal observation protocol within the old street, initiating communication with the artisans, demonstrating sufficient diligence to acquire exact temporal parameters regarding Grandma Zhang's sugar painting stall deployment."
Nohara Hiroshi nodded, navigating to the cinematographic schedule sector of the script, his superciliary architecture exhibiting a subtle contraction: "However, specific coordinates retain potential for recalibration. For instance, your proposed structural methodology encompassing 'Comprehensive Old Street Visuals + Artisan Interviews'—while functionally stable—lacks the optimal 'narrative hook' requisite for enduring demographic memory retention."
He directed focus towards a specific script segment: "Your notation indicates 'Document Grandma Zhang synthesizing sugar paintings: deploy continuous cinematography spanning the syrup boiling phase to the finalizing of the draconic morphology.' This conceptualization maintains structural integrity, yet registers a deficit regarding an 'emotional anchor.' Contemporary documentary viewers demand comprehension superseding 'methodology';
they prioritize ascertaining 'motivation.' Grandma Zhang has executed sugar painting synthesis for thirty chronological cycles;
do latent narratives exist within this operational duration? By way of illustration: does her operational persistence correlate with anticipating a specific entity's arrival to acquire her product? Or, does this specific craft possess an anomalous significance vector to her personally?"
Honda Sakurako froze for a moment, looking down at the script: "I... I didn't ask these. I thought as long as the craftsmanship process was shot clearly, the audience would like it."
"The procedural algorithm constitutes the skeletal architecture;
the emotional resonance provides the biological mass."
Nohara Hiroshi deposited the script onto the surface, executing a subtle forward physiological inclination. "Analogous to Yamada-san within 'A Bite': our cinematography did not exclusively document her dough-kneading and sugar-sifting procedures;
it critically documented her daily protocol of isolating a singular Sakuramochi awaiting her daughter, and her visually identifiable lachrymal reaction upon cognitive retrieval of her mother-in-law. Exclusively derived from these specific minutiae does the demographic synthesize the perception that 'Yamada-san represents a senior familial entity within their personal network,' which constitutes the fundamental prerequisite for generating emotional impact."
Matsui Yuichi rubbed his chin, his tone full of confusion: "But the artisans in the old street are very introverted. Last time I went to ask Grandma Zhang about her story, she only said 'making sugar paintings is just to make a living' and was unwilling to talk more. What should we do?"
Nohara Hiroshi executed a subtle visual modification, retrieving a notebook from his transport receptacle. He initiated a manual page separation, utilizing localized kinetic energy to propel it towards the collective's visual range—the exposed surface displayed rudimentary storyboard sequences, augmented by several lines of granular annotations.
"These are a few ideas I came up with last night, take a look." He pointed to the first storyboard, "We can use 'observational shooting' instead of direct interviews. For example, when shooting Grandma Zhang boiling sugar, the camera first focuses on her hands—there are many calluses on her hands, and the knuckles are a bit deformed. Then slowly zoom out to shoot an old photo next to her. In the photo is a little girl holding a sugar painting. Without her speaking, the audience will naturally wonder 'who is this little girl'. We then use a voiceover in post-production to lightly mention 'Grandma Zhang's granddaughter goes to school in Osaka and only comes back during the Chinese New Year'. This way, the sense of story will come out."
The group gathered around to look at the notebook, their eyes instantly lighting up. Kobayashi Hiroshi pointed to another storyboard: "Hiroshi-san, what does this 'Voice of the Old Street' idea mean?"
"The acoustic profile of the old street maintains highly distinctive characteristics." Nohara Hiroshi expounded. "The acoustic emissions generated by early morning sweeping operations, the percussive impact of Grandma Zhang's sugar ladle against the stone surface, and the hammer strikes originating from Master Li's shoe repair operations—these auditory variables possess the kinetic potential to induce a state of 'immersive presence' within the demographic. We can deploy a three-minute 'auditory montage' at the sequence initialization, maintaining zero optical data, exclusively broadcasting these soundscapes, subsequently overlaid with the narration: 'The auditory emissions of this thoroughfare have propagated continuously for fifty chronological cycles.' This protocol prioritizes the primary capture of the audience's emotional bandwidth."
Yamada Takashi couldn't help but sigh: "This idea is amazing! When we shot documentaries in the past, we always wanted to make the pictures beautiful, but forgot that sound can also tell a story. Last time we shot 'Kanto Fishing Song', if we had thought of this earlier, the ratings would definitely have been a few points higher!"
Nohara Hiroshi transitioned to the subsequent page, prominently featuring the header 'The Collision of Craftsmanship and Era': "We possess the capability to integrate comparative cinematographic sequences. For instance, documenting Master Li executing footwear repair: he deploys vintage implements originating from preceding decades, yet adjacent to his operational zone are contemporary athletic footwear transmitted by the juvenile demographic—this specific dissonance defining 'vintage techniques repairing contemporary objects' serves as a catalyst for generating cognitive processing regarding 'the necessity for traditional craft evolution.' Consider a secondary example documenting Grandpa Wang's bamboo weaving operation: his synthesized bamboo receptacles experience zero market demand. However, his granddaughter repurposed the receptacles into botanical containers, executing online distribution, which generated a massive positive demand response—this narrative provides the demographic with verifiable data demonstrating that traditional crafts are not exclusively relegated to museum archiving;
they possess the capacity for novel lifecycle regeneration."
Honda Sakurako held her pen and took notes quickly, the tip of the pen almost failing to keep up with her thoughts: "Hiroshi-san, your ideas are amazing! Why didn't I think before that documentaries could be shot like this?"
"Fundamentally, these conceptualizations represent data outputs derived from rigorous life observation."
Nohara Hiroshi closed the notebook, his tone still calm, "Last time I went to Kyoto to shoot Wagashi, I saw Yamada-san's daughter using a mobile phone to take pictures of Wagashi and post flyers. I thought that tradition and modernity are never opposites. When we shoot a documentary, we must find this 'connection point' so that the audience feels that 'the old craftsmanship is not far from themselves', so that they can truly be touched."
Silence maintained precedence within the conference room for a multi-second interval, subsequently rupturing into a high-intensity symposium.
Matsui Yuichi executed a high-kinetic impact upon the table, articulating with maximum excitement: "Hiroshi-kun! These specific conceptualizations immediately escalate the script's classification tier! Previously, I harbored apprehension regarding 'Old Street Visit' achieving zero viewership. Armed with these current parameters, I guarantee absolute certainty: adherence to this operational philosophy guarantees a viral outcome!"
"Yeah!" Kobayashi Hiroshi nodded, "That 'auditory montage', I can imagine the picture with my eyes closed now—the old street in the early morning, the sun hasn't come out yet, only the sound of sweeping and the sound of sugar spoons, it's so atmospheric!"
Yamada Takashi evaluated Nohara Hiroshi, his ocular expression projecting absolute reverence: "Hiroshi-kun, your capability profile encompasses both content synthesis and demographic psychological profiling. Historically, our documentary operational protocols persistently prioritized 'executing the complete transmission of our proprietary narrative,' critically neglecting the parameter 'what data does the demographic desire to process.' Your consultation effectively constitutes a high-level pedagogical seminar for our unit."
Honda Sakurako stood up and bowed deeply to Nohara Hiroshi: "Hiroshi-san, thank you! I used to always feel that I couldn't shoot a good documentary, but now with your advice, I am confident that I can make 'Old Street Visit' as good as 'A Bite'!"
Nohara Hiroshi immediately signaled her to reassume a seated position: "Gratitude is unnecessary;
this output constitutes the calculated result of our collective symposium. Sakurako-chan, your observational capabilities are optimal;
Matsui-san possesses granular historical data concerning the old street;
Yamada-san maintains superior coordination functionality;
Kobayashi Hiroshi commands advanced technical proficiency. Consolidating these specific capability vectors virtually guarantees the synthesis of a superior production."
He paused and then added: "Next week we are going to Saitama to shoot the old bakery, and you can also come along to learn. The Takahashi couple have been making bread for 40 years, and their story is very representative—Mr. Takahashi used to be an office worker. Later, for his sick wife, he resigned and opened a bakery. He gets up at 3 am every day to knead dough, just so that his wife can eat fresh bread. We can use 'company in the aroma of bread' as the main line, and film their interaction when kneading dough, and the appearance of the wife sitting in the shop eating bread. These details can touch people."
Matsui Yuichi executed an immediate verbal response: "Transit is absolutely confirmed! Securing the opportunity to acquire documentary cinematographic methodologies under Hiroshi-kun's direct tutelage constitutes a massive operational advantage!"
Nohara Hiroshi smiled, and picked up the script on the table: "Okay, Sakurako-chan, you modify a version of the script based on today's discussion, and we will meet again next Monday. Yamada-san, you are responsible for contacting the artisans in the old street and explaining the shooting ideas to them to reassure them. Kobayashi Hiroshi, you prepare the audio recording equipment and go to the old street to record next week. Matsui-san, you..."
He executed the task distribution protocol systematically, his vocalization stable, his strategic parameters exceptionally delineated.
Every entity within the conference room maintained maximum auditory focus, their preceding tension metrics entirely replaced by confidence and anticipation—they cognized with absolute certainty: operating under Nohara Hiroshi's guidance guaranteed not merely the synthesis of superior productions, but the concurrent acquisition of authentic documentary cinematographic techniques.
When the discussion ended, it was almost noon.
The collective commenced packing operations preparatory for geographic dispersion. Nohara Hiroshi abruptly interrupted Honda Sakurako's egress: "Sakurako-chan, one supplementary parameter necessitates attention."
Honda Sakurako stopped: "Hiroshi-san, please speak."
"During cinematography within the old street, maximize the deployment of natural solar illumination."
Nohara Hiroshi articulated. "The architectural structures defining the old street exhibit low verticality;
the optical patterns generated by sunlight penetrating the wooden fenestrations possess a highly specific aesthetic, yielding a significantly superior thermal perception relative to artificially generated illumination. Furthermore, during the documentation of artisans engaged in operational execution, strictly prohibit any commands mandating their generation of smiles directed at the lens—instruct them to execute their proprietary operations naturally. Authentic facial expressions maintain a higher kinetic impact than artificially synthesized smiles."
He recalled the scenes in "A Bite of China" on Earth in his previous life. The way those farmers and artisans focused on doing things was more touching than any performance.
"Data stored in memory!" Honda Sakurako executed an affirmative cranial oscillation. "I will initiate communication with Kobayashi Hiroshi, mandating his augmented prioritization regarding optical conditions and maintaining strict non-interference protocols concerning artisan operations."
Nohara Hiroshi tracked the deletion of her visual signature, a spontaneous sensation of profound gratification emerging internally.
He cognized explicitly: these juvenile entities functioned identically to germinating botanical specimens. Assuming the provisioning of optimal navigational vectors, they possessed the verified capacity to evolve into hyper-massive biological structures.
And what he had to do was to slowly pass the experience of his previous life to them, so that the documentaries in this world could have a little more warmth and authenticity.
Upon exiting the conference room, he intersected with Saito Shigeru from the Technical Department within the connective corridor. Maintaining physical possession of a cinematographic apparatus, Saito articulated with a smile: "Hiroshi-kun, I detected high-intensity acoustic emissions originating from the conference room;
does this indicate novel progress regarding the 'Old Street Visit' planning?"
"Affirmative, we executed modifications targeting specific operational trajectories;
the projected output should register significant superiority relative to initial formulations." Nohara Hiroshi nodded. "Following our transit to Saitama for the vintage bakery documentation next week, your continued vigilant supervision regarding technical parameters remains a mandatory requirement."
"Don't worry."
Saito Shigeru adjusted his glasses, his tone full of admiration, "Working with you always allows me to learn new things. Last time when shooting the morning mist for 'A Bite', you said 'the mist must be shot to have a sense of breathing', and I am still pondering it—now I finally understand that a good shot is not about how beautiful it is, but whether it can convey emotion."
Nohara Hiroshi smiled, maintaining zero supplementary verbalization.
This kind of awe of professionalism and persistence in details is the key to making good works.
And he will bring this persistence to continue filming more heartwarming stories in this world.
(Chapter Ends)