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

Chapter 255: The Symposium Begins! Heavyweight Introductions! About Future Economic Trends!

In the top-floor meeting room of the Tokyo Broadcasting System Holdings (NHK) building, sunlight spilled through the huge floor-to-ceiling windows onto the walnut long table, reflecting a warm glow off the celadon teacups.

The meeting room was already full of people. The air was filled with the faint aroma of coffee and the subtle rustling of turning pages. Everyone seated possessed the steady aura of an industry elite—there were veteran directors from Osaka TV, the head of the Hokkaido Documentary Association, and a few silver-haired old scholars wearing gold-rimmed glasses, who were leading figures in Japan's cultural circle.

As Nohara Hiroshi walked into the meeting room under the guidance of the staff, his gaze quickly swept across the room, immediately recognizing several faces frequently seen in industry magazines.

For example, sitting in the third row on the left was Yamada Kosaku. He was the director of "From the North Country" and was renowned for his delicate portrayal of emotions. Then there was Takeuchi Ryo sitting by the window, who had previously won an international documentary award with his film "Tokyo Story".

These figures, whom he usually only saw on television and in reports, all looked at him simultaneously, their eyes carrying curiosity and scrutiny.

Nohara Hiroshi nodded slightly, maintaining a composed smile on his face. He walked to the empty seat indicated by the staff and prepared to sit down.

Before he could pull out his chair, Yamada Kosaku, who was sitting in the front row, stood up first and walked over quickly, extending a calloused hand: "You must be Nohara Hiroshi-kun, right? I'm Yamada Kosaku from Osaka TV. I've watched every episode of 'A Bite of Neon', and it is truly well filmed!"

Nohara Hiroshi quickly shook his hand, his tone respectful: "Hello, Senior Yamada, I am Nohara Hiroshi. I watched your 'From the North Country' when I was a student, and I have always admired your ability to capture the details of life."

"Oh, those are all past works." Yamada Kosaku smiled and waved his hand, then turned sideways to yield to the people behind him. "Come, let me introduce you. This is Takeuchi Ryo-kun from the Hokkaido Documentary Association. You must have watched his 'Fishing Season';

and this is Sato Junichi-kun from Kyoto TV, who specializes in making documentaries about traditional crafts."

Takeuchi Ryo and Sato Junichi came forward to shake hands with Nohara Hiroshi one after another. When introducing themselves, they didn't forget to mention his works: "Nohara-kun, I watched the 'Scarecrow' episode in 'Yamishibai' three times. Using urban legends to discuss human nature, this idea is brilliant!""I've spent半個月 taking my students to analyze the confrontation scene between the farmers and the samurai in 'Seven Samurai'. Your deconstruction of class conflict is too profound!"

Just as Nohara Hiroshi was preparing to introduce himself in detail, Sato Junichi smiled and waved his hand: "No need for more introductions. Who in all of Japan doesn't know Nohara-kun's name now? Winning three industry awards at age 23, everything you film becomes a hit. We old timers are almost being overshadowed."

Beside him, Takeuchi Ryo nodded in agreement, his tone carrying emotion: "Speaking of which, we were just chatting about what kind of young person could film a work like 'A Bite'—it has both the vitality of gourmet food and the perseverance of craftsmen. Even my wife chases updates every day, saying she wants to take the kids to Chiba for seafood rice bowls after watching."

Hearing this, a modest smile appeared on Nohara Hiroshi's face: "You praise me too highly. The reason 'A Bite' is popular is mainly because everyone on the team is very dedicated. From early research to post-production editing, everyone put a lot of thought into it. Moreover, TV Tokyo and Kanto TV gave me a lot of support;

they never short-changed me on equipment or resources."

"You can't say that."

Yamada Kosaku patted his shoulder, his eyes carrying earnestness. "We've been in this business for decades, and we know that the core of a good work still lies with the director. Look at the fourth episode of 'A Bite', when Sato-san from the old bakery in Saitama kneads the dough, you gave him a close-up of his hands for a full five seconds, accompanied by an old tune he hummed—this kind of shot that grasps 'humanity' cannot be filmed just by a team. The director himself needs to have eyes that can observe life."

Sato Junichi echoed: "Also, for the Tamagoyaki in Gunma Prefecture in the fifth episode, you didn't just film how it's made;

you also filmed the scene of the proprietress going to the market at 3 AM every day to select eggs. At the very end, you added her line, 'My son loved eating this the most when he was little'—it's this one line that brought the whole film to life. When we shoot traditional crafts, we always think about keeping the process clear, but we forget that the most touching part is actually the story behind it. I really should learn from you on this point."

Just as everyone was surrounding Nohara Hiroshi, discussing "A Bite," a deep voice suddenly came from the entrance of the meeting room, carrying an undeniable aura: "Well said! In a good work, the core is always the creator's vision and intention."

Everyone looked toward the voice and saw a silver-haired old man in a dark gray suit walking in, accompanied by staff members.

He stood tall, and despite being over sixty, his gaze remained sharp. His walking pace was steady, and every step carried a solemnity peculiar to an official.

The people in the meeting room fell silent instantly, standing up and bowing slightly towards the old man: "Minister Miyazawa!"

Nohara Hiroshi's heart stirred.

Miyazawa Yuichi, Deputy Minister of the Cabinet Public Relations Department of Japan and also the Honorary Chairman of NHK, is one of the top decision-makers in Japan's cultural promotion sector.

He never expected that a figure of this level would actually be invited to this symposium.

Miyazawa Yuichi's gaze swept across the room and finally landed on Nohara Hiroshi. A gentle smile appeared on his face: "Are you Nohara Hiroshi-kun? I came here specifically for you."

Nohara Hiroshi quickly took a step forward and bowed slightly: "Hello, Minister Miyazawa. I am Nohara Hiroshi. I am extremely honored to have your attention."

"No need to be so polite." Miyazawa Yuichi waved his hand, his tone friendly. "I have watched all your works. From 'Yamishibai' to 'A Bite', every one makes my eyes light up. Especially 'Kasou Taishou'. Before, Japanese people were always called 'cold', and neighbors hardly spoke to each other. But ever since this variety show became popular, I heard many communities organized 'Family Costume Contests', and even the children next door to my house dragged their parents to rehearse routines—you see, a good work can truly change social morals."

He paused and looked at the others present. His tone became a bit more serious: "I came today, first, to hear everyone's views on the future development of documentaries, and second, to meet Nohara-kun in person. Nowadays, many young people find documentaries boring and are unwilling to watch them. But Nohara-kun used 'A Bite' to prove that documentaries can also be interesting, warm, and convey cultural values. This innovative spirit is worth learning for all of us."

After speaking, Miyazawa Yuichi raised his hand to gesture to Nohara Hiroshi: "Nohara-kun, come, sit next to me. We'll have a good chat later about the creative ideas behind 'A Bite', and your thoughts on inheriting traditional crafts."

Upon hearing this, low gasps of amazement echoed throughout the room.

The directors and scholars sitting around all looked at Nohara Hiroshi with envious eyes—being able to sit side-by-side with a Deputy Minister of the Cabinet was not only an honor but also an absolute recognition of his abilities from the top level.

It should be known that even a veteran director like Yamada Kosaku had only seen Miyazawa Yuichi from afar at an industry conference before, and had never had the chance to converse with him from a close distance.

Nohara Hiroshi followed Miyazawa Yuichi to sit beside the main seat. He had just settled down when he saw more suited officials walk into the meeting room—there was the Bureau Chief of the Cultural Affairs Bureau of the Ministry of Education, the Chairman of the Tokyo Metropolitan Board of Education, and several public relations officials from local governments.

After entering, their eyes immediately focused on Nohara Hiroshi, their expressions containing curiosity and surprise. Clearly, they had all heard of this "23-year-old genius director."

"I didn't expect Nohara-kun to be so young." The Ministry of Education Bureau Chief sitting across from him whispered, a sense of surprise in his tone. "I thought a director who could make a profound work like 'Seven Samurai' must be at least a seasoned, forty-plus-year-old."

The Chairman of the Tokyo Board of Education beside him also nodded: "Yes, 23 years old, two years younger than my son, yet he can already produce nationally impactful works. I didn't believe it when Minister Miyazawa said he could change society's atmosphere, but looking at it now, the thinking of young people is indeed different. They can always bring us surprises."

These murmurs were not loud, but they clearly reached Nohara Hiroshi's ears.

He didn't show a proud expression but merely sat quietly, resting his fingers lightly on his knees, waiting for the symposium to formally begin.

He knew that the honor at this moment was not the finish line, but an even higher starting point—what he needed to do next was respond to these expectant gazes with more professional insights.

After all the officials took their seats, Miyazawa Yuichi gently knocked on the table, and the meeting room instantly fell silent.

He picked up his prepared speech outline but didn't read from it verbatim. Instead, he set the notes down, looked at the crowd, and spoke with a sincere tone: "Today, we're not participating in formalities. Just like chatting with friends, let's talk about documentaries and Japan's cultural inheritance. But before we do, I want to talk about Nohara Hiroshi-kun's work because his creations provide an excellent direction for our discussion."

His gaze shifted to Nohara Hiroshi, filled with appreciation: "Nohara-kun, please tell us first, why did you choose the topic 'A Bite of Neon'? Many people feel that food documentaries lack depth, yet you managed to capture something entirely different."

Nohara Hiroshi sat up straighter, answering in an earnest tone: "Minister Miyazawa, my initial motivation for creating 'A Bite' was realizing that many traditional crafts are vanishing. For instance, the tuna catching techniques in Chiba are now known by only a few individuals, like Senior Nomizu Masayasu;

in all of Tokyo, there are only three traditional bakeries left that still use ancestral yeast. I wanted to use food—a subject everyone is interested in—as an entry point to draw more attention to these crafts and the stories behind the craftsmen. After all, food isn't just for eating;

it is a vessel for our culture."

"Well said!"

Miyazawa Yuichi couldn't help but clap his hands in praise. "You grasped the core concept of a 'vessel of culture'. When many people promote traditional culture, they always like to preach big truths, saying 'we need to protect tradition', but the public doesn't listen. You used food as a bridge, making people focus on 'how to make a tuna bowl' or 'how to knead bread', while naturally remembering these crafts, perhaps even wanting to experience them themselves. This way of 'Moistening Silently' is a more effective pitch than any slogan."

He then looked at everyone else present, his voice tinted with emotion:

"Look at how clear Nohara-kun's line of thought is! When he filmed 'Yamishibai,' it wasn't just to scare people, but to deconstruct Japan's mythology through urban legends, encouraging young people to refocus on traditional culture. He created 'Tales of the Unusual,' and in each standalone episode, he explored 'human nature'—greed, kindness, regret—prompting viewers to reflect on their own lives. And 'Hachiko Monogatari,' one movie made all of Japan remember 'loyalty' and 'companionship,' so much so that even kindergartens use it teaching material for moral education."

At this point, Miyazawa Yuichi picked up the "A Bite" preview tape from the table and flipped to the clip from the sixth episode:

"Look at this segment. Fishermen at the Chiba Fishing Port head out to sea before dawn. Even as waves crash against the boat, they smile and say, 'The fishing season today must be excellent'—this kind of optimism towards life touches people more than any preaching. Nohara-kun didn't deliberately sensationalize;

he just recorded the actual scenes. Yet, it is this authenticity that lets the audience feel the fishermen's resilience and makes more people want to go to Chiba to support their fishing industry."

Sitting next to him, Yamada Kosaku couldn't help but nod: "Minister Miyazawa is right. When I previously filmed 'From the North Country,' I always tried to embed emotions into the dialogue. But Nohara-kun speaks through the camera lens—for example, in 'A Bite,' when Sato-san brushes egg wash on the bread, his hand involuntarily trembles a bit. That detail conveys his age and his cherishing of the bread far better than any line could. This 'Hearing Thunder in a Silent Place' technique is something we old fellows really need to learn."

Miyazawa Yuichi continued to speak: "There is also 'Kasou Taishou,' this variety show is too amazing. Previously, neighborly relations in Japan were very cold. People would live for over ten years without knowing their neighbor's name. But since this variety show became a hit, many communities organized 'Family Talent Competitions.' Parents and children rehearse together, and neighbors help each other brainstorm ideas—this connection between people is something no amount of money can buy. Right now, the Cabinet is even discussing whether to popularize the 'Kasou Taishou' model into national community building, using entertainment to promote neighborhood harmony."

He paused, his voice becoming more solemn:

"What is most precious about Nohara-kun is his ability to grasp the 'pulse of the times'. Although Japan's economy seems prosperous now, young people feel heavily anxious, and many believe there's no hope for the future. Yet his works always contain an 'upward power'—farmers resisting bullies in 'Seven Samurai', strangers comforting each other in 'Midnight Diner', craftsmen persisting in inheritance in 'A Bite'. These stories tell the audience that even if life is difficult, one can still find a reason to persevere. Such spiritual guidance is too critical for today's Japan."

The people in the meeting room nodded one after another. The way they looked at Nohara Hiroshi was full of admiration.

Some who had harbored doubts due to his youth before were now completely won over by his talent and vision. Takeuchi Ryo even pulled out his notebook to carefully record Miyazawa Yuichi's words, softly muttering to himself: "When I get back, I need to have the team seriously study Nohara-kun's ideas. We can't remain confined to the traditional documentary model anymore."

Looking at the scene in front of him, Nohara Hiroshi felt no pride, only heightened clarity.

His recognition today was not merely a result of his earthborn experience, but because this era demands such works—it requires someone to warm hearts with genuine stories and convey culture through innovative means.

And he happened to be at this juncture, doing what he ought to do.

Miyazawa Yuichi looked at Nohara Hiroshi's composed demeanor and felt increasingly satisfied. He tapped lightly on the table, announcing the official commencement of the symposium: "Alright, let's end the discussion about Nohara-kun's works here for now. Next, let's get down to business and discuss how documentaries should be filmed in the future and how we can better inherit Japan's culture..."

Sunlight filtered through the floor-to-ceiling windows, casting light upon Nohara Hiroshi and illuminating the clear lines of his profile.

He picked up a pen, opened his notebook, and prepared to listen carefully to everyone's remarks—in his view, this symposium wasn't a showcase for honor, but rather a classroom for learning and a window to understand the needs of this era.

As soon as Miyazawa Yuichi finished speaking, a brief silence fell over the meeting room.

Everyone's gaze landed on the cultural map in the center of the long table—it was laid out in advance by the staff and marked with nodes of cultural exchange between Japan and various parts of the globe.

Miyazawa Yuichi leaned over, pointing at the map, an expectant tone in his voice: "You all are key figures in the cultural sphere of Japan. Today, I want to talk with everyone about 'Cultural Export'. We shouldn't keep excellent works purely domestic. Our culture needs to step onto the global stage and let the world see our craftsmanship, stories, and spirit."

His finger first landed on the Middle East: "Friends in the Middle East value family and tradition. We can translate heartwarming stories from 'Midnight Diner' into Arabic and add local musical elements. For instance, the scene where Mizukami Sho makes ramen for lonely elderly people encompasses this 'kindness between strangers,' which resonates across any culture. Besides, Middle Eastern food culture is extremely rich. We can collaborate with their television stations to film 'A Bite of Neon and the Middle East,' using cuisine as a bridge to introduce the traditional crafts of both sides."

Next, his finger traced down to Southeast Asia: "Southeast Asia places great importance on the concept of 'home.' The interactions between Nobita and his family in 'Doraemon,' and the loyalty in 'Hachiko Monogatari,' are brilliant fits for promotion there. We could also edit together scenes from 'A Bite' covering rice planting and fishing, comparing them to Southeast Asian agricultural culture, so local audiences think 'this looks just like our lives,' thereby finding Japanese culture easier to accept."

When he mentioned Europe, Miyazawa Yuichi's tone grew even more precise: "European audiences enjoy deep stories. The class conflicts in 'Seven Samurai' and the philosophical ruminations on human nature in 'Tales of the Unusual' suit their tastes perfectly. We could potentially partner with the Cannes Film Festival in France to host a 'Japanese Documentary Exhibition' and screen pieces like 'A Bite' and 'Fishing Season.' Furthermore, Europe has a vast artisan base. We can invite them to Japan, bake bread and craft wagashi together with Sato Kosuke-san and Yamada Sumie-san, and film 'Craftsmanship Across Mountains and Seas'. It would simultaneously showcase our culture and promote the exchange of their respective skills."

When his finger rested upon the African continent, a touch of tenderness softened his eyes: "Our friends in Africa prefer passionate and powerful content. The creative family acts from 'Kasou Taishou' or the mythological adaptations in 'Yamishibai' can be rearranged to adopt a more lively style. We can also donate a batch of animation projection equipment to broadcast 'Doraemon' in rural African schools. This will allow children to learn about Japan through animation, and understand that dreams and friendships are universal, no matter where they are."

Finally, Miyazawa Yuichi pointed toward North and South America: "North American audiences enjoy visually striking pieces. The battle sequences from 'Seven Samurai' and extreme closeups of cuisine in 'A Bite' can be recut into movie-quality trailers. South American audiences love music and dance. We can blend the creative performances of 'Kasou Taishou' with Samba or Tango in South America and shoot a "cultural fusion' variety show. Moreover, there's a huge immigrant population in North America. We can produce a 'Japanese Immigrant Story' documenting the lives of Japanese people living in North America. By using real stories, local audiences can better grasp our culture."

He finished his speech and looked around at the crowd: "This is just my preliminary concept. How exactly we bring it to life will require everyone to brainstorm. E.g., How do we overcome language barriers? How to adapt to the cultural habits of different areas? How to find reliable local partners? We will need to figure these out slowly. But I believe that as long as we produce works full of warmth and depth like 'A Bite', we will definitely be able to plant the roots of Japanese culture globally."

As soon as Miyazawa Yuichi finished speaking, Takeuchi Ryo, seated in the front row, raised his hand to speak first: "Minister Miyazawa, your concepts are so inspiring! When I filmed 'Fishing Season' before, I encountered foreign audiences who were interested in Hokkaido's fishing industry but couldn't understand the details due to cultural differences. If we can cooperate with local partners to adjust the content as you suggested, it will surely make more people like our documentaries."

He paused briefly, a touch of excitement in his voice: "I'd also like to add to the point about African cultural promotion. We can edit out the 'Food Making Process' pieces from 'A Bite' to create instructional videos—such as how to knead soba or brew sake. In teaching African youths these skills, we are disseminating culture while simultaneously helping them augment their income. This 'teaching a man to fish' strategy is much more meaningful than simply screening movies."

Sato Junichi of Kyoto TV followed up immediately: "I agree with Takeuchi-kun's thoughts. When filming documentaries about traditional crafts, we always strive for 'authenticity,' yet tend to neglect differences in reception among various international audiences. European audiences are unfamiliar with the concept of a 'Kamon' [Family Crest]. Therefore, when describing Kimonos, we must use terms such as 'family emblem' which they can comprehend. Moving forward in our creation process, we should consider the possibilities of 'cross-cultural communication'. The end product must feature distinctly Japanese characteristics yet remain accessible to a global audience."

Then Yamada Kosaku of Osaka TV returned to the topic of "in-depth creation": "I couldn't agree more with Minister Miyazawa's suggestion regarding filming deep movies earlier. Nowadays, many young creatives are obsessed with making 'fast food' products to garner quick popularity. They forget that the core essence of art is to 'convey value.' If Nohara-kun's 'A Bite' found success, it's not because it just films food, but through food, it chronicles craftsmen's lives and cultural lineage. It falls upon us old-timers to lead by example and produce pieces that withstand the test of time, setting a standard for the younger generation."

He looked towards Nohara Hiroshi, with appreciation in his voice: "Nohara-kun, could you share a bit more of your creative experience? For instance, while shooting 'A Bite,' how did you find the balance between 'professionalism' and 'entertainment value'? How did you make the general audience understand artisans' craft without feeling bored?"

Nohara Hiroshi set down his pen and answered in a steady voice: "Senior Yamada, I believe the key is to 'find resonance points with the audience.' For instance, when filming Sato-san baking bread, we wouldn't just record the steps of kneading dough;

we'd capture him waking up at 3 AM to prep ingredients or highlight him reserving specific flavors for a regular customer. These 'Slice-of-Life details' allow audiences to easily immerse themselves. Additionally, we deliver professional information wrapped tightly around a 'Story'. When covering yeast's functions, we would intertwine it with a tale about yeast passed down from Sato-san's father. This allows the audience to seamlessly acquire technical knowledge while enjoying the narrative."

He paused and then added: "There is one more crucial point, which is 'Respect the Audience's Intelligence'. We don't forcefully inject sentimentality or preach viewpoints onto viewers;

we simply let the camera allow the audience to gauge meaning themselves. In 'A Bite,' when the fishermen faced a squall, we didn't dub over that scene with something like 'Their work is extremely grueling'. Rather, we just filmed how they assisted each other in reeling in the nets. Then we filmed them enthusiastically sharing their catch with their families. Witnessing these scenes, viewers will naturally perceive the perseverance and optimism inside fishermen."

Miyazawa Yuichi listened to Nohara Hiroshi's thoughts attentively, a satisfied smile blooming across his face: "Nohara-kun's assessment is brilliant! 'Respect the audience' is the crux of creation. The reason many contemporary pieces flop relies heavily on the creators setting themselves up as 'educators'. Thus forgetting what viewers require is an 'equal dialogue'. The success of 'A Bite' served as an invaluable lesson for us all—excellent works do not condescendingly preach;

instead, it's an equal exchange of stories conveying real feeling."

He proceeded to pick up the audience-ratings report for "A Bite", addressing the crowd: "Look everyone, 'A Bite' has surpassed five million views overseas. Audiences from Southeast Asia and North America constitute the largest proportion. Many foreign viewers noted in the comments that 'A Bite' has enlightened them on Japanese culture, making them want to travel to Japan and try authentic local cuisine. This is precisely the concept behind Cultural Export—it's not forced propagation;

it's utilizing artworks to compel people elsewhere to actively learn about us."

Then Miyazawa Yuichi's expression turned even more solemn: "Next, NHK will establish a 'Special Cultural Export Team' designed exclusively to coordinate global outreach campaigns. We'll allocate a special fund of one billion yen to back anyone producing works suited for cross-cultural communication. Regardless if they are documentaries, movies, or anime, as long as it's an inspiring idea, you can apply for funding. Also, we will construct mutually beneficial partnerships with TV stations in twenty countries globally, which will provide overseas screening outlets for everyone."

He set his eyes on Nohara Hiroshi with deep expectation: "Nohara-kun, we hope you can accept a position as an 'Idea Consultant' inside the Special Team, sharing 'A Bite's' creative ethos with a much broader body of people. Concurrently, we desire to commission you for a 'Cultural Export' documentary to log Japanese craftsmen engaging and exchanging with their counterparts worldwide. Would you be willing to accept this assignment?"

Nohara Hiroshi gave a slight bow, replying with absolute resolve: "I thank Minister Miyazawa for this level of trust, and I accept this assignment. I will formulate an itinerary to conduct on-site investigations in Southeast Asia and the Middle East, familiarizing myself with local cultural norms and broadcasting proclivities, before pairing that alongside the local traditional skills. Afterwards, I will craft a documentary named 'Flavors Across Mountains and Seas'. For example, while in Thailand, we could document local chefs uniting with Japanese Wagashi masters to create a 'Thai-Style Wagashi';

in Turkey, a Kebab Master from the locality exchanging culinary tactics with a Japanese ramen maestro. By exploring these unique 'cultural clashes', we'll uncover the boundless tolerance and diversity contained within Japanese culture."

His proposal enlightened all the people present. Takeuchi Ryo responded immediately: "Nohara-kun, I want to travel with you! I can handle documenting the local fishing and agricultural scenes for comparisons with equivalent Japanese setups. This will significantly enrich the documentary content."

Sato Junichi echoed his sentiments next: "I am eager to join as well! I'll oversee filming traditional craft trade-offs. If a Kimono maestro from Kyoto works with a European embroiderer to fashion brand-new attire together, we can showcase Japan's superior skills while sparking immense interest from audiences far across the European continent."

Miyazawa Yuichi eyed the crowd's escalating zeal, feeling profound satisfaction blossom: "Fantastic! This depth of ardor makes me exceptionally thrilled. Expanding cultural exports cannot be achieved solo;

we must push forward together. Subsequently, the Special Team will set up elaborate strategies rapidly. I urge everyone to feel free to mention any ideas they wish to contribute."

The symposium carried on. Everyone dug down into meticulous conversations regarding "Cultural Export" and "Comprehensive Production Analysis."

From nuanced translation specifics, screening procedures for potential regional partners, broadcasting rhythms for campaigns, and systems to analyze upcoming feedback stats, each cog was intensely scrutinized.

Nohara Hiroshi diligently jotted down ideas from the group, occasionally voicing his own opinions. The sharpness of his intellect and meticulous contemplations elicited sighs of "accomplished youth" from his seniors multiple times.

As sunset draped over the sky, the symposium concluded at last.

When the assembly exited the NHK building, all faces glimmered with expressions of ample gain.

Yamada Kosaku slapped Nohara Hiroshi lightly around the shoulder area with pure admiration leaking in his words: "Nohara-kun, the prospects of Japanese culture heading forward hinges solely on you young ones. We old folks will back you with all we have. I eagerly await seeing more high-quality projects like 'A Bite' from you, that'll allow the entire world to bear witness to the enchantments found scattered throughout Japan."

Nohara Hiroshi offered a grin as he concurred: "Senior Yamada, my deep thanks for your support. I'll maintain my vigilance towards hard work and promise I won't disappoint everyone. The process of Cultural Exportation is nowhere near an overnight accomplishment. It demands continuous advancement step by heavy step. However, provided we persist in crafting robust works emitting real empathy, the day is certain to arrive when Japanese culture erupts into a spectacular glow on a global scale."

He lifted his head towards the evening sunset on the horizon;

a sense of anticipation pulsed within him.

Whether executing the "Flavors Across Mountains and Seas" production, or navigating via the "Special Cultural Export Team", they represent untouched ordeals. But his faith was formidable, acknowledging that he wasn't battling an isolated war;

a squad with analogous ideology accompanied his sides. Hand-in-hand, they fought towards fulfilling the ambition of "Elevating Japanese Culture Worldwide".

A brief distance away stood TV Tokyo City's Takahashi Kazuo. While poring through NHK's symposium synopsis, a rather tangled expression marked his visage.

Images portraying Nohara Hiroshi adjacent to Miyazawa Yuichi immersed heavily in debate amid legions of industry elders served practically as an eyesore.

Reminiscing Kamiki Shunsuke's hissy-fit from early daytime, bundled with TV Tokyo City's current precarious preservation anchored sparsely onto entertainment varieties... An unmitigated wave of panic consumed him instantly. Should they fail again in orchestrating any invaluable, resonating works soon enough, TV Tokyo City was poised essentially, to face obliteration over time's passing.

Takahashi Kazuo reached his phone then called Tanaka Mikami immediately, desperation slightly evident across his words: "Your Excellence, Mayor, prioritizing strategic modifications remains inevitable;

we shouldn't rely endlessly upon Kamiki Shunsuke's varieties for salvaging face. As perceived from NHK's symposium agendas... Nohara Hiroshi happens heavily entrenched in driving exports for national culture. Given that we stumble around failing towards alignment, dragging hopelessly behind appears to be our guaranteed end..."

Tanaka Mikami's overcast utterance floated outside the receiver. An increasing dread crept alongside Takahashi Kazuo's demeanor concurrently.

He comprehended that while labeled on top functionally regarding "clashes between fresh creativity and archaic standards for Japanese Culture Arts", truthfully implied was that top-tier powers indeed commenced shifting directives.

...

Situated highest in the Kirin Group Headquarters architecture, inside a top-floor unit entitled 'Kinkaku';

gold-layered chandelier lights draped upon deep-crimson carpeting effectively highlighting exquisiteness radiating amongst mounted Ukiyo-e artworks decorating spaces nearby.

Across edges pertaining to Rosewood lengthy desks, seated adjacent to Tanaka Mikami appeared Tokugawa Sato. Two ivory porcelains full of freshest Uji Matcha positioned prior didn't draw either's intent;

their visions concentrated undividedly towards the figure occupying that long desk's dominant position. A respectfully angled posture further affirmed it.

The commanding male wore deep-ebony customized attire;

pinned over his lapel emerged a plain-looking silver pin. While fingers clasped down an unlit Cigar firmly... Looking aged practically hovering near the fifty mark, miniature crinkles encompassed his outer eyes' boundaries but failed obscuring that steel-frigid gaze projecting unchallenged dominance scanning between men present inside.

His entity labeled an enigmatic official linked specifically from Cabinet's "Economic Review Office"... Only generally known externally acting utilizing codenamed 'Saeki', lacking clarity associated across details indicating genuine nomenclature and standing yet possessing abilities potent to steer policies governing Japanese Economics directly.

“Lord Saeki, currently present includes those Tokyo Bay land-reclamation plans desired," stated Tokugawa Sato shredding any remaining silences. Fattened digits grazed atop presented documents, the tone saturated with appeasement. "Concurrently, 30% oceanic dominion permissions already achieved alongside preparations. Pending budget availability promises deployment around next year. Following completions regarding opulent residentials, minimum rates tag starting across eighty-hundred thousands Japanese Yen metrics guarantees exorbitant dividends securely.”

Simultaneously extending documents hastily was Tanaka Mikami whose hunch arched drastically downward: "Sir, this composes drafts reflecting Tokyo Metropolis next-year 'City Renewal Schematics'. The council board successfully received briefings previously emphasizing leaning onto property expansion heavily. Assuming authorization supplied directly from Sir... Deprecating age-old metropolitan structures easily awards Sato CEO's group demolition authority. Thus stimulating robust GDP expansions whilst dissolving accommodation constraints concurrently remains a dual-edged success clearly."

Saeki bypassed clutching onto presented materials while lightly brandishing a hand signaling them towards seating.

Taking up a lighter set alongside the desk table yielding 'Click' noises kindling lit cigars sequentially;

emitting smog spreading gradually hazily shading his facial reactions away.

“The nature involving your intentions remains visible," The vocal sounded coarse holding commanding authority typical around folks maintaining lofty echelons, "but bypassing topic negotiations immediately, shouldn't you two understand details relevant over recent calls dialed previously?”

Thumping abruptly shook Tanaka Mikami. But soon a smile formed masking it away quickly replacing that over cheerful-like tonality: "Has Sir heard tidbit items surrounding NHK's informative-based summit sessions presumably? Augh, insignificant cultural individuals collecting idly exploring elements tagged 'documentarily creatives'. Devoid correlating alongside anything attached amongst grand economic agendas genuinely equates mere insignificance."

He navigated around terminology defining 'Nohara Hiroshi' purposely... Acknowledging recent bumps in polls achieved utilizing strategic "Information Cocoons" plotted by the very youngster benefitting Shimazu Yoshihiro... Tanaka Mikami worked hard to disguise this youngster's growing threat towards anyone ranking significantly higher up over fears indicating potential jeopardy overall.

“Insignificance?!” Cold chuckles escaped Saeki unpredictably. Ignited Cigar ends flickered alongside dimmer shades indoors context. "You maintained ten seasons inside Tokyo Metropolis Council board, yet failing to see reality? This supposed summit isn't ‘cultured idle talks’! Realization struck within topmost echelons concluding current economics acting strangely represents precisely underlying forces shifting."

A figurative ice-bucket splashed soaking wet dousing whatsoever relief built amongst Tanaka Mikami paired closely with Tokugawa Sato.

Their frozen smiley expressions met indicating exchanged frenzied states visibly clear.

Tokugawa Sato gripped tightly towards tables' linen covering exerting invisible tremors. The resulting voice seemingly carried similar shivers underlying: “A-Are Sir's deductions leading toward... that actions meant against housing bubbles might exist...? Unconfirmed murmurs stated Ministry of Education driving actions aiming towards ‘Economy Unassociated Properties Transiting’. Even bringing out desires attempting imitation concerning concepts created by Nohara Hiroshi's 'A Bite' supporting vintage arts...”

“Supporting vintage crafts acts authentically, yet moving against property-markets leans highly on excessive thinking," Disrupted Saeki quickly tossing alongside sarcasm hints minimally. “Consider scale factors regarding properties current within Japan today? Value assets total across Kanto stretches equate nearly comparable to America's half valuation!! Such rampant expansion trajectories wouldn't logically warrant suppression procedures originating upon upper levels."

He drove the cigar into crystal ashtrays inciting "Hissing" sounds as his eyes hardened sharply: "Ensure clarity upon what roots Japan's foundational economic constructs currently relies firmly on?! Properties!! Real estate constructives!! Everything trailing along related involving appliance creations steel concretes markets intertwined inextricably among housing! Should housing bubbles undergo interferences... Just identifying precise companies sliding toward bankruptcy or amounts regarding resulting un-employment poses extreme dilemmas! Disregarding ever superseding America... Merely sustaining prevailing economic expansions seems drastically unstable."

Suspending unease dropped instantaneously surrounding Tanaka Mikami. Subtly sweeping sweaty brows lightly restored enthusiasm to his voice effectively: “As Sir rightly observed! Thus the property markets truly define foundational roots where careless interventions remain forbidden! Viewing current upward escalations concerning Tokyo metrics on-going month by month... Commoners whine, yet silently recognizing ideologies suggesting ‘Buying assures monetary reserves'. Witnessing thriving economics is exactly that undeniable evidence!”

Tokugawa Sato instantly conjoined similarly, with layers folding against each cheek heavily: “Precisely! Managed to acquire Ginza located structures exactly prior months, yielding double-digit hikes across leasing values comparative against prior annuals. Not short in acquiring countless corporates wrestling in to lease spaces accordingly. Continuing pushing values upwards earns funds effectively while promoting common viewpoints displaying 'Upgrading livelihoods'. This constitutes the safest, most stable progressive path assuredly."

Observing two men flaunt hubris carelessly initiated fractions highlighting unnoticed indifference flickered alongside Saeki's vision.

Holding tea cups nearby downing mouthful amounts composed by Maccha drinks calmly reverted him towards level-headed tone shifts: “Neither rationale indicates errors whatsoever... Just maintaining careful measures required. Identifying movements executed similarly from Koike Ryuichi over ‘Traditional Craft Reviving’. Also, Shimazu Yoshihiro mentioning words ‘Regulating Property Bubbles’. Given non-turbulent nature generating such whispers... It continues affecting public assurances potentially."

Departing cups aside... Knuckles grazing tabletop generated sequential rapping loudly: “Mr. Tanaka... Acting as Mayor guiding Tokyo, ensure maintaining narratives reinforcing ‘Real estate stands as fundamental mainstays for economies' visibly easing folks continuously... Mr. Sato... Elevating timelines revolving around properties held directly ensures utilizing active ‘Bustling views' halting questioning voices rapidly. Concerning this person named Nohara Hiroshi...”

Pausing minimally yielding deeper glances towards an unseen direction formulated visibly within Saeki: "Pieces shot recently via documentaries exhibit somewhat engaging elements... Generating commoner interests shifting heavily alongside traditional crafting assists redistributing targeted interests aiming away over property sectors. Given absence around interjecting affairs into broader financial areas... Disregarding remaining completely ensures optimal results—After all a single creator fails at churning monumental disturbances."

Hurried nodding echoed uniformly off Tanaka Mikami with Tokugawa Sato alike, discarding absolute remnants indicating inner relief comfortably. Hoisting tea tools collaboratively... Pointed gestures paying reverence followed targeting specifically toward Saeki: “Abundant gratefulness extended upon guidance graciously allocated!! Rest assured actions mimicking expectations proceed meticulously ensuring disappointments remain nonexistent!"

“Hmh,” Affirming slightly with an angled nod sent Saeki's attention re-routing directly down against paperwork: “Discussing funding concerning Tokyo Bay tasks... ”

Illuminations projected by gold-infused chandeliers spread thoroughly encompassing entire perimeters... With Matcha continuously cooling over expansive tables laid carefully... Stealthy movements advanced seemingly 'Flourishing' schematics linked specifically via Tokyo-held properties throughout that exact hushed conference securely.

Completely oblivious remaining... Inside nights overshadowing Tokyo environments peering out nearby window frames amid towering architecture wrapped across shimmering Neon indicators... Emerging slowly leaked dark clouds characterizing imminently snapping financial bubbles looming unavoidably.

Post Saeki departing... Enthusiastic moods retained high presence around Kinkaku steadily.

Slapping shoulders forcefully drawing close a seemingly delighted figure... Excitement drenched Tokugawa Sato's voice abundantly: "Heard that huh, Mikami-san?? Direct validation established by Lord Saeki! Real estates definitively function core foundations and authorities wouldn't entertain abandoning us entirely!! Prior distress ultimately constituted superfluous matters!!"

Greeting appearances returning long-missed smiles upon facial features materialized clearly as Tanaka Mikami quickly emptied drinkware completely without second thought... Attempting muting overwhelming elation battling remaining Matcha's lingering harshness: "Predicted earlier indeed!! Koike Ryuichi's 'Burst Regulations' simply composed worthless stunts effectively!! Secured currently leaning completely alongside Sir Saeki allows unrestrained moves fully... Regarding the Tokyo Bay venture mentioned, council reviews pass post-haste definitely. Relocating compensation distributions..."

“Compensate??” Chilly sneers flashed along indicating avarice deeply entrenched within Tokugawa Sato's optics: “Old sector residents ought expressing gratitude accepting whatsoever meager funds distributed!! Sketching perfect 'Opulent accommodations replacing ruins' narratives successfully tricks entire blocks clearing off compliantly. Constructing multi-million Yen equivalent properties casually nullifies tiny compensation values fully anyway!”

Nodding agreement quickly swapped toward minor frowning realizing previous submissions conveyed originally from Takahashi Kazuo earlier: “Cautions remain required unfortunately... NHK's sessions posed unthreatening truthfully. Nohara Hiroshi's extending outreach expanded greatly though. Masterpieces like ‘A Bite’ captured not only masses affection but direct approval praised by Miyazawa Yuichi. Imagining potential collaborations promoting ‘Stabilize properties’ alongside Shimazu Yoshihiro initiates severe nuisances potentially.”

“Fearing what??” Dismissing seemingly without care carried heavily across Tokugawa Sato's gestures: “Mere creation enthusiast knowing minimal concerning economies? In spite remaining controlling domains spanning broadcasting station limits... Tokyo City TV survives counting on Kamiki Shunsuke for fronting visuals. Should monetary pumping activate directly against such... Generating contents heavily dominating 'A bite', easily suppresses anything generated currently.”

Pauses initiated revealing malicious glows glimmering ominously: "Should worst-case arise... Exploiting reporters unearthing alleged 'dark pasts' applies appropriately. Suggesting entities labeled 'Future Comic Club' involved across tax evasion activities works smoothly. Additionally sensationalizing relations involving Koyama Misae minimally wreaks drastic reputational damage definitely. Can a lone youngster genuinely contend against us??”

Disagreement generated via Tanaka Mikami signaling cautious paths: “Restrain impulsiveness heavily. Binding affiliations presently connects Nohara Hiroshi deeply alongside TV Tokyo fundamentally. Sakata Nobuhiko alongside Asumi shields directly against anything negatively targeting his stance... Further securing admiration directly received by Koike Ryuichi complicates matters deeply. Carelessness might induce 'Playing with fire' negatively against ourselves quickly. Imperative objectives require completing existing structure executions faultlessly prior. Attacking appropriately after Shimazu Yoshihiro loses electoral standing entirely maintains un-delayed options effectively.”

Accepting rationality behind logic formulated successfully removed lingering hesitations inside Tokugawa Sato accordingly.

Raising documents evaluating detailed analytics pointing via "Forecasted Profit Margins"... Mesmerizingly absorbed expressions materialized visibly upon his face: "Whenever Tokyo Bay's schemes finalize flawlessly... Crowned 'Largest Real Estate Entrant' within Japan positions comfortably! Securing deference originating straight across Lord Saeki eventually comes guaranteed too. Serving alongside assuming mayoral continuation securely elevates us defining 'Tokyo's Golden Partners' definitely... Sidelining entities such as Koike Ryuichi completely!"

Fiery anticipation blazed similar levels reflecting inside Tanaka Mikami... Casting gazes exploring dazzling illuminations glowing among evening Tokyo locations envisioned... Immersed fully inside thoughts projecting re-election securing, enveloped entirely via building developers congregating... Asserting heavily "Tokyo established functioning globally positioned economic nexus", directly!

Laughing unified smiles crossing face regions prompted mutual lifting alongside striking porcelain glasses carelessly avoiding any sloshed liquids completely— Submerged entirely experiencing anticipating "Prosperity," entirely lacking realization characterizing economic bubbles expanding stealthily right beneath, needing mere pinpoint impacts breaking fully permanently eventually!

Concurrently happening within TV Tokyo domains... Nohara Hiroshi successfully rounded up communication traces maintained specifically against Miyazawa Yuichi originally... Handing drafts representing planning details concerning "Flavors Across Mountains And Seas"... Debating specifics intently joined via Asumi together with Takada Toshihide directly.

Windows spanning respective office spaces aligned directly opposing Kirin Groups directions. An accidental glimpse caught top-level structures emitting luminations triggering minute frowns— Unbeknownst explicitly representing occurrences wrapping around critical clandestine arrangements deciding Tokyo's Economic trajectory freshly occurred inside... Vague sensations hinted heavy contentions battling amid realms covering Culture & Economics kicked out newly just now.

“Hiroshi-kun, problems?” Asumi noting drifting attentions tracked visual trajectories carefully. "Gazing towards Kirin Group's locations perhaps? Sato Tokugawa recently orchestrated colossal maneuvers involving Tokyo Bay areas... Funds injected reputedly span trillions Japanese Yen, indicating ambitious drives undoubtedly."

Retrieving shifting lines of sights followed sideways shaking performed mildly across Nohara Hiroshi: "Nothing serious, solely contemplating recent real estate frenzies appearing unusually manic recently."

Unfurling planner notebooks revealed returning absolute determination across his focused gaze securely.

Regardless fluctuating economic situations behaving dynamically... Focusing fully doing duties necessary stood paramount— Communicating culture leaning explicitly via authentic storylines... Interlocking hearts deploying warming pieces representing arguably leading countermeasures targeting unknown futures ahead smoothly.

Particularly given Nohara Hiroshi's current laid-out blueprints spanning globally effectively near completions anyways!!

(Chapter Ends)