The Dance Scene

　It’s been almost two years now since I finished writing the scripts for the NEEDY anime, and of course, two years is enough time for your senses to shift. If I were writing it now, I’d probably lean more romantic—more toward poetry. In other words, the entertainment factor would thin out; you get quieter as you age. You could call that evolution or growth. You could also call it drifting away from what sells.

　Well—really, it’s just that I’ve grown even more arrogant, inching closer to a Godard-ish sensibility than before, and I’m like, I wanna be a French film, that’s all.

　You can glimpse the effort. Even in the main story, I did my best to have them experiment with as much Nouvelle Vague as possible. But since I was two years younger back then, you can feel that youth in the scattered bits of entertainment—of noisiness. And honestly, that balance is probably exactly right.

　During a recent karaoke stream, I watched CCGG improvise a dance to Fly Me to the Moon, and I was struck by how cinematic it was. It was cinema. I swallowed without thinking—this is like a Godard film.

　It surprised me to realize: dance is one of the most important scenes in film—a showcase that turns the characters’ relationships and emotions into something poetic, a reward for the viewer. The way the two of them jumped and lifted each other in time with the music was beautiful, and even someone like me, who doesn’t know much about dance, could understand what it meant. They’re deepening their bond through the song. They’re enjoying the sound—together.

　So suddenly it’s like they’re about to be "Bande à part"—

　And the distance of the camera, too, carries this poetry—like Les Amants du Pont-Neuf.

　When you truly depict dance, the camera shouldn’t move too much. You should show the full body as much as possible. The focus is how the people sync with each other—not flashy, aggressive camera work or lighting.

　The NEEDY anime is so loud and flashy, and that’s a path it should take as its own kind of direction. And the promotional push is so straightforward—so “proper idol anime”—that even I’m the one going, how did we manage to sell it like this? But after passing through all that saturation, my way of thinking changes too, which is why I’m sure I’ll end up doing something again next time.

　The content itself isn’t really like this at all, which makes it funny from the side of the people who made it. Please watch it.

　Both Aiobahn and I—whether for better or worse—could probably only be this annoyingly picky thanks to the momentum we had back then.

　Even so, CCGG were perfect this time. Trying so many angles while singing, and then—miraculously—pulling the camera way back right during Fly Me to the Moon. That shot was so good. Live streaming lets you touch the kind of art that can only be born from coincidence.

　And that FuwaMoco segment where they “visit” photos of the otaku’s rooms was great too. How to present things with 3D models might still be something that develops from here. Especially in the EN sphere, performances inside 3D spaces—including VRChat—are being researched seriously by everyone, and they’re evolving in their own unique ways. I’m excited for what comes next.

　And yeah—everyone’s going to draw fanart of this moment from the stream, right?

　Perfect. Amazing.