By 
Guest, Personality
Guest: Shiohigari
Illustrator/Manga Artist
Born in 1989 and currently living in Tokyo. Her illustrations of girls with humorous and romantic dialogue, drawn in a light touch, are her trademark. She calls herself a “cheap artist.” During her student days, she began posting illustrations on Twitter and live streaming on Ustream. After graduation, she joined a material manufacturer, but she decided to quit her job and become a full-time “cheap artist” when her illustrations and short comics that she drew during work became popular and she received more requests.
Personality: Yuuki Sakoda
After working for a telecommunications company and a comprehensive advertising agency, he started an anime planning and production company and produces music videos and films. In 2021, he moved to Kyoto and started working on promoting the entertainment industry in Kyoto. He is currently also working in the entertainment field of manga and audio. He is planning and producing audio dramas and webtoons. In addition, he serves as a producer and advisor for multiple entertainment companies.
Table of Contents
#01
- What is a “Cheap Artist”?
- The Era of Interesting Job Titles and How the Name Was Born
- The Desire for Expression Born During University Days Enjoying USTREAM
- Collaborative Creativity on the Internet in the 2010s
- “LOVER SOUL” as the Ending Theme of Shiohigari’s Life
- Always Aiming for Episode-Worthy Conversations
- Weaving Creativity During University and as a Working Professional at a Materials Manufacturer
- Rational and Efficient Career Choices
- The Twitter Series That Began Around the Fifth Year of Working Life
#02
- Always Dreaming of Living Solely as a Creator
- Riding the Wave of Twitter-Based Creators Gaining Popularity
- Believing Luck is Necessary for Success
- Changing Pachinko Machines
- About Shiohi Girls
- How to Behave Creatively in the Era of Social Media
- How Does Creativity Appear to Shiohigari, Who Values Efficiency and Rationality?
- Adopting the Survival Strategy of the Weak
- Realizing That What Seemed Ordinary Wasn’t Actually Ordinary
- Ultimately Wanting to Converse Only Through Metaphors
#03
- About High-Context Creativity
- Drawing Inspiration from Machi Tawara’s Words
- Always Aiming for the Right Balance in the Era?
- What is the Right Balance in Mitsuru Adachi’s Works?
- Is There No Anxiety in Not Detailing Everything?
- Showing Vulnerability to the Grim Reaper
- The Webtoon Project Currently Being Worked On
- Are Shiohigari’s Works Similar to Waka Poetry?
High-context creativity
Sakoda
It’s exactly the kind of metaphorical conversation that I think has a powerful impact on the world. I really appreciate the creativity of the person who came up with it. However, I also realized that in order to truly enjoy and understand this creative work, there needs to be a certain level of implicit knowledge or a cultural consensus installed as a prerequisite. Otherwise, the essence of it cannot be fully appreciated.
Shiohigari
Well, you see. Generally, I tend to create quite high-context things, so finding the right balance there can be difficult. On platforms like Twitter, that kind of content tends to be well-received, but on the other hand, on Instagram, it’s more effective to directly say something like “I like you.” There’s this kind of difficulty or complexity involved in that.
Sakoda
No, somehow, for example, when it comes to Tamaranian stories, I’m currently cheating a bit on Wikipedia. There was also a story about “Temba, with arms wide open,” and something like “Mirab, the sails are raised,” which apparently means “prepared, ready to leave.” What I don’t understand is something like “Rai and Jili, to Runga.”
Shiohigari
Oh, yeah. (laughs) There were also things like that.
Sakoda
Attempt at mutual understanding, isn’t this already a high-context situation where it’s nearly impossible to understand? However, I feel that the context of Shiohigari-san’s creativity is a high-context that can be understood. Um, what is it… For example, you know “The Hairstylist’s Lover,” right? It’s like, “Don’t just be gentle with the ends, treat my feelings too.” It’s like listening to a commercial or something, the way they use language, and it cleverly utilizes the preconceptions that people might have about hairstylists, but there aren’t any completely incomprehensible proper nouns in this, right?
So, if we make this a bit more high-context, for example, um, I think it would be something like “The Furious Mystery Hunter.”
Shiohigari
It’s definitely like that already.
Sakoda
This, this is that, right? Um, what was it again? Um….
Shiohigari
Discovery of the World’s Mysteries!
Sakoda
Yeah, that’s right. If you haven’t seen “Discovery of the World’s Mysteries!” before, you wouldn’t understand, but those who have seen it already know what I’m talking about. So, it’s just that, it’s not something that you can really understand the range of without knowing about it, and I think Shiohigari-san is doing a good job because there are probably many people who can properly decipher the high-context creativity, which is a good balance.
Shiohigari
Well, that’s right. So, I’m quite conscious of that. It’s no good if it doesn’t get across, but on the other hand, there’s this tanka poet named Tawara Machi, you know, the one who wrote “Salad Anniversary”. When I read Tawara’s book, there was a phrase in it about how to write tanka, something like “let’s trust the readers” and not explain too much with words. Well, that’s another story though. You see, tanka is a kind of literature for a fairly niche group of people, and even the readers who are into that kind of thing like it that way. So, it might be a bit different, but I am somewhat conscious of that.
So, while trusting the readers, I also try not to trust them too much. I am quite aware that it wouldn’t be good if it becomes too narrow. I wonder if it gets across or not, so when I put it out there, there are times when I think, “Ah, it got across properly” and times when I think, “Ah, it didn’t get across at all”, and there are also times when I think, “I overdid it with this”.
Sakoda
I feel like I’ve put too much high-context gear.
Shiohigari
Yeah, that’s right. I think I’m basically a person who does parodies, so I try to cleverly arrange things like idioms, proverbs, internet slang, and current topics that already exist, and turn them into something romantic. I guess I’m conscious of that a lot.
Sakoda
It’s interesting.
Always aiming for the right balance of the times?
Sakoda
It seems that Shiohigari-san is always thinking about aiming for the perfect balance, as mentioned on Twitter. The place mentioned there is described as an “ideal balance location.”
Shiohigari
Ahahaha! (laughs) Well, it’s not really that meaningful, you know.
Sakoda
The meaning is starting to bear fruit, really.
Shiohigari
Oh, there? (laughs) Well, that’s good. It’s like it’s all coming together there, like a foreshadowing resolution. Ahaha (laughs). That, I think, was probably something I wrote without any particular meaning when I started using Twitter back in 2010 or so.
Sakoda
Ah, I see. So, if that’s the case, you’re aiming for a good balance throughout life.
No, you know, the concept of “good balance” can change depending on the era, right? And also, it can vary depending on the tacit knowledge shared in that situation, so I think it’s quite necessary to always read the trends. It might be a bit different, but just like with “Tower Mansion Literature” and similar things, it’s about capturing the direction in which the tacit knowledge of society is leaning while reading the trends, creating a transient literary style that blossoms.
I mean, I think it’s about navigating through the tacit knowledge, and somehow, I find it to be a very creative concept that suits the era of social media. However, within that, it also deals with extremely universal themes, right? For example, “Romantic Bean Throwing” or “Oni wa Soto, Kimi ga Suki” have melodies that everyone in Japan would recognize, and within them, there are these simple yet powerful words that are inserted. And even with “Adulteristic Hinamatsuri,” there’s this anthropological aspect where you can sense a little bit of the lifestyle, like “Don’t turn on the lights, just the bonbori lanterns.” I feel like when humans a million years from now see this creative work of Shiomi-hagari-san, they would be able to speculate about the cultural background of people in this era, don’t you think? (laughs)
Shiohigari
Ahaha (laugh). But I like thinking about those kinds of things.
Sakoda
While handling both high-context and universally inherited items, it feels like a well-balanced department store that is both dazzling and timeless.
Shiohigari
Well, yeah. I think it would be great if I could create something that would make those kind of scenes come to mind for everyone, you know?
Sakoda
When I talked to Shiogari-san before, they mentioned that their favorite manga artist is Adachi Mitsuru. I think this connects to the current topic, and I also think that Adachi Mitsuru has a really good way of presenting information. It’s not too much, but it’s just enough, and I understand that feeling.
Shiohigari
Oh, exactly! That’s what I think too. I believe that is the characteristic of manga artists who like to leave blank spaces.
Sakoda
Since you mentioned that you like Adachi Mitsuru’s manga and also like Shiohigari-san, I was wondering if I could ask you a little about your thoughts on Adachi Mitsuru’s manga.
Shiohigari
Hmm, I see. I really love Adachi Mitsuru-sensei’s works. Especially “H2” (H-Two), it’s my favorite. Of course, there are many people who love Adachi-sensei’s “Touch” as well, but I feel like “H2” is actually the most popular. The protagonist doesn’t speak much, and their expressions are quite blank, often delivering cool lines. I think those aspects have had a significant influence on me.
Sakoda
When it comes to conveying something, I think it’s important to paint a background that includes details about the location, time, and environmental factors that could be relevant. By adding information through drawings or illustrations, it becomes the reverse side of the intention to “convey.” However, I wonder why certain elements, such as the heat of a summer field or the increasing feelings between two people, are still conveyed even though I try to exclude them as much as possible. I haven’t fully analyzed what elements make readers feel that way.
Do you, Shiobigari-san, have any answers or insights as to why we perceive certain things even when they are not explicitly conveyed through excessive text or illustrations?
Shiohigari
Ah, I wonder what it is. Indeed, that’s true. One of the characteristics of Adachi Mitsuru-sensei’s manga is that they often start with the background. Then, they gradually focus on the characters. At first, there’s a panel showing the whole school, with a playground, and then a sign saying something high school, and from there, it goes to the characters. It’s like the camera is slowly zooming in, and I think that’s also a significant feature. I really think that this way of conveying things is what makes manga so good.
Sakoda
I believe in the readers’ understanding.
Shiohigari
I think so. I really trust the readers, you know. There’s not much explanatory tone or anything like that. And, on the contrary, when a character with an explanatory tone appears, it’s often used as a parody or has quite a meta element, you know. So if a character says, “Aren’t you my childhood friend?” another character might have a line like, “Why are you using such an explanatory tone?” and so on.
Sakoda
Certainly, that’s right. It is indeed true. Yes, that’s definitely true. Adachi Mitsuru-sensei himself often appears in his works.
Shiohigari
Hmm, I see. Yeah, it’s like they always come up with it every time, and I think they must be someone who has a really objective perspective.
Isn’t there any anxiety by not discussing in detail?
Sakoda
Somehow, you mentioned Ms. Tomo Koma’s story earlier, but “believing in the reader” is a profound statement, isn’t it?
Shiohigari
Yes, I understand. As a writer, I inevitably feel the need to explain things.
Sakoda
Hey. Aren’t you feeling anxious?
Shiohigari
I’m feeling uneasy. Yes, that’s right. So, I think that being able to handle that well is quite a showcase of skill.
Sakoda
That’s right, isn’t it? How about you, Shiohigari-san? You don’t really talk about it in a creative way, do you? For example, when it comes to “bonbori,” you don’t bother to write something like “this is a thing that appeared in such and such.” I understand that at this level, you might think “everyone knows it,” but when it comes to subtle lines, don’t you want to explain a little? But you don’t explain. How do you handle that uncertainty?
Shiohigari
Rather than being uneasy, it’s more like I’m just talking about pachinko machines, but I write a lot about that kind of stuff. Due to survivorship bias, I can’t see the works that have died out. There are plenty of works that have become too high-context and didn’t say anything at all.
In my case, that’s where social media is great. It’s not a big deal to share my personal works there. I’m not getting paid or anything, and if it doesn’t go viral, it’s just the end. So I don’t have much anxiety about it, and I just do it for a bit and think, “Oh, there was no reaction at all.” Then I say, “Let’s move on to the next one, let’s go to the next.” That’s the feeling, I guess.
Sakoda
Somehow, I don’t know if it’s intentional or not, but I feel like there is a good balance of “continuously creating” that is designed in some way. In the current system, there is absolutely no process of creating something while being hurt. Maybe there is some consideration and creation in the future, but currently, there is no process of creating something while considering someone and no compromising on my principles. I think that’s really good for mental health.
When creating something creative, I feel like everyone struggles a lot with the gap between what they want to create or express in their hearts and what society demands. And because we have to live our daily lives, we make efforts to align ourselves with what society demands, but it’s not easy to move in that direction. As a result, our hearts become more and more disturbed. So, I think it’s quite enviable that many people are able to find a good balance between what they want to create and the needs of society and bring them out.
Shiohigari
Well, in my case, it’s more about wanting to receive reactions from everyone rather than just wanting to create something. That’s why there isn’t much of a gap there. That’s why I feel like I can just go in whichever direction is open. So it’s not like I strongly feel, “I want to write this,” but for example, if I had been doing game commentary on Ustream back in 2010, I think I would have gone in that direction.
Sakoda
You might have became a live streamer.
Shiohigari
Yeah, I used to be a live commentator. I don’t think I was drawing anything in particular. I started doing Twitter and stuff, and my drawings were well received, so now it feels like I’m drawing.
Sakoda
I see. In the second half, I would like to talk about the things that you, Shiohigari-san, will be announcing in the future or challenging. Before we move on to the second half, could you please introduce one song?
Shiohigari
Um, then in Inner Journey, please translate “Goodbye, see you again in the next life.”
To expose a vulnerability to the Grim Reaper
Sakoda
The song you listened to is “Goodbye, Let’s Meet Again in the Next Life” by Inner Journey. I would like to hear more episodes from you, Shiogari-san.
Shiohigari
Maybe, it was the song I listened to the most last year, and it happened to be during a time when my friend was seriously ill. So, while listening to this song, I often thought about my friend who was on the verge of death, as well as my deceased cat and my other friends who had already passed away. The friend who just told me about that Star Trek episode with the Tamarian people, well, they’re actually already dead too. So, I often listened to the song while picturing the faces of those people in my mind.
The lyrics say something like, “Even if I die, I’ll become a cat and come back to see you, so don’t worry about anything.” For my friend, it might have given off a feeling like, “That’s not exactly reassuring.” But for me, it felt more like, “Don’t go and become a cat.” That’s how I felt while listening to it. As you reach your 30s, it seems like friends just keep dying, almost every year. It’s especially common among creators, with illnesses, accidents, and of course, even suicides. It’s just really sad, you know.
Sakoda
I think that being in your 30s is still quite early in a way. But, there isn’t really any data or average to base this impression on. When it comes to stabilizing your mental state, it’s not just one technique, you know? I believe it’s quite important for navigating through the challenges of the present and truly surviving in a clear and understandable manner.
Shiohigari
That’s right. Of course, it’s partly about technique and partly about inherent traits, so it’s a difficult issue. But what I often think, and what I sometimes say, is that it’s like ‘showing vulnerability to the Grim Reaper.’ The people who are doing things that make them seem close to death are the ones who die first. For example, those who drink heavily every day, smoke excessively, or are in a lonely situation and people say, ‘He looks like he might not last long.’ It feels like those are the people who end up dying in order. I really wish people would avoid showing such vulnerabilities. Of course, how one lives is their own choice, so I can’t say too much, but from my perspective, I just hope they don’t die. That’s really how I feel.
Sakoda
I see. Well, even though I haven’t experienced it too much, it’s true that as you get older, you encounter death more often. When death occurs nearby, it becomes a phrase that is often said, perhaps. It’s quite difficult to put into words, but it really makes you feel the significance of your own life. The topic itself is not easy to discuss, both mentally and in terms of how we think about death. It varies greatly from person to person. Even if someone says, “It’s important to stabilize your mind,” it’s like, “It’s easy for you to say that,” right?
Shiohigari
But there definitely seems to be some kind of technique, so yeah, I think everyone does that, when they find themselves in a difficult situation, especially when they are under a lot of mental stress, I think it’s a bit too much to directly take it in. I do think it would be nice if we could avoid it somehow.
Sakoda
I’ve been dealing with increasing mental instability and anxiety lately, and it feels like these things can come suddenly, like accidents. I realize that most of the things happening in reality are based on my own interpretation, even though they may feel like facts. In my conversations with creators, what I often feel is that those who are good at their craft have a framework for interpreting reality that is quite extensive, and they have a strong sense of interpretation. Because of this, even if something is just one thing happening in reality, they perceive it as if it were ten things, which leads to strong creativity. However, at the same time, this also has a significant impact on the mind, so it can be tough.
It’s important to be able to separate oneself from this, to look at one’s own interpretations with more metacognition and objectivity. Even if strong negative emotions arise, it’s important to detach a little and recognize that it’s a habit of interpreting facts and reality in a certain way. It’s about being able to reinterpret. I think many people tend to fall into this tendency of continuously spiraling down due to their habits.
About the webtoon he is currently working on
Sakoda
While there may be various discussions on the topic, I believe that Shiohigari-san is currently looking towards the future. I wonder if there are any things being prepared or announced at the moment. What do you think?
Shiohigari
In the future, well, at Scooter Films, I am working on an anime called “Shiohi Girls Bongorebianco” as a reboot of the one that is currently suspended. I hope we can announce it as a new release. Also, there’s WEBTOON. I am working on the original story for WEBTOON, so I feel that’s something we can announce as well.
Sakoda
Regarding WEBTOON, although there have been discussions about manga, I think Shiomi Higari-san’s work was presented in the form of one manga expression per tweet, and when it is expressed with continuity and a timeline, it is very interesting to see how it appears.
Because Shiomi Higari-san has been creating content for the web, SNS, and smartphones, I am quite curious about how they handle the usage of this vertical comic media called WEBTOON. As for WEBTOON, is it being produced by Scooter Films?
Shiohigari
Yes, that’s right. Right now, I’m working together on this. It’s definitely difficult. The process is different from regular manga. I’m learning a bit about things like panel layout and such while doing it.
Sakoda
Harada-san, are you also going to do this together?
Harada
Yes, that’s right. Today, while listening to the conversation, the name of Mr. Tawara Tomomi came up and I thought, “Oh!” I think it was probably when I said something like, “Let’s start planning together,” that I sent a message to Mr. Oihagari that was almost like a love letter.
Shiohigari
I received it, haha. Well, that really touched my heart, it really got to me.
Harada
So, you know, I was searching for it because I thought I had it and was reading it. Well, you know, actually, when Shiohigari-san started their activities, I wasn’t really following them at the beginning, but of course I had seen them when we worked together. And… well, to be honest, I hadn’t really read it deeply, but when I was looking at “Shiohi Girls” again, I thought, “This reminds me of something.”
So, when I was thinking, “What could it be?”, I thought, “Could it be a waka?” And then, the phrase “Shiohigari-san” is often derived from a common phrase or something that everyone knows. After that, they skillfully bring in words like “Normally, you wouldn’t connect those, right?” The interesting thing about waka or haiku is that there’s a hook, an initial word, and then it’s about how skillfully you connect words like “You’re good at this” in the next line, or something like that. It’s like a battle of senses in choosing how to arrange them in a 5-7-7 pattern or something similar. If you make it ordinary, it becomes like “It’s ordinary, right?” And that’s a very high-context thing, based on a common understanding, and then bringing in something slightly different there, and in that deviation, there’s an incredible, well, what should I call it, a passion or emotion that deviates a bit from the meaning of the words, and that’s what stirs it up.
So, it’s really just one picture and these words, but in terms of information, this is actually a very simple thing, but it gives a feeling of being deeply explored. So, I think the points that resonate with people are probably completely different for each person. With that tweet, I think there are things that resonate with certain people. It felt like a really beautiful song, you know? So, I’ve seen the works that are being tweeted about “Shiohi Girls” and even those that have been published. Also, of course, when I watched the ones that became anime in “Bongore Bianco,” I felt like, “Is this like a kind of waka poetry collection?”.
So, speaking of that, if the “Bongole Bianco” and “Shiohi Girls” are considered waka collections, then if we were to make a story out of them, would it be like a poetic tale? It seems like it has that kind of emotional appeal, while also having a more solidly established storyline. In a way, it’s actually within the creative range of Shiohi-gari-san, it seems. With this in mind, I thought, “Ah, maybe this could work?” and suggested working on the project together. It turned out to be something completely different from what is typically referred to as a webtoon, but in terms of format, it’s strictly a vertical read. As Shiohi-gari-san mentioned, overcoming the difficulty of expressing it in that style required quite an effort on their part. But you know, at the beginning, there was this idea of “maybe it’s all about the songs.” That was the starting point.
Sakoda
No, it’s a really interesting story. In the end, it’s about singing and the primitive beats and rhythms that exist within people. And somehow, even without explaining it, there’s a sense that our bodies naturally have… You could also call it embodiment.
When I’m making anime, it’s not just about animation in the sense of movement, whether it’s live-action or anime. It’s about creating a rich sense of movement and timing that makes things feel heavy, like they’re carrying a weight. It’s about portraying the feeling of wind flowing on top of a hill or the comfort of sitting on Totoro’s belly. It doesn’t use words or sound, but rather, it’s conveyed through a continuous sequence of images in animation. And I think it’s based on a primitive experience and embodiment. “Singing” is a prime example of that, and it’s something that’s ingrained in our DNA.
You know, it’s like when you passionately beat a drum and you feel a sense of exhilaration. So I think it can also be said that we’re borrowing from the primitive sensations and embodiment that have been passed down and transmitted since ancient times, while being creative. It has become quite a grand story.
Harada
There was another topic that came up briefly today, but we didn’t delve into it much. It was about how people around you start dying once you turn 30. At that time, I thought to myself, “Isn’t that early?”
However, it’s not really a general theory, and this is just your personal experience. But it’s like that sense of fate or flow that you mentioned earlier, where you accept it naturally while still holding affection for it. It’s kind of like how the mindset in medieval Japan aligns with it, where death is not seen as an abnormal situation. There’s a sense of “well, we all die,” but also a certain calmness in living in the present moment. It’s like that stoic expression that Adachi Mitsuru portrays in his works, and I was listening while thinking that it might be flowing beneath the surface of your story.
Sakoda
Hmm, I see. In the era when waka poetry was composed, death seemed to be a common presence. Because of that, there is certainly a sense of being born and cultivated, especially for left-handed people, who have a relatively higher occurrence of death around them.
Harada
So, simply put, it’s a completely different kind of rationality or rather, a certain kind of calmness that comes together when these words and cracks between words create an expansive space of meaning. It’s like a rich sense of empathy or rather, an ability to perceive things that greatly expands. But the artwork itself is incredibly simple and even described as “margin”. So, I was thinking that’s why it appears there. It’s kind of like one of Shiomi Higashi’s secrets, I thought as I listened.
Shiohigari
Hmm, I see. It feels good, doesn’t it? It’s like you’re giving me some amazing creative reinforcement.
Harada
Well, in another sense, I think we often talked about “Shiohi Girls” when we were doing it, and we were like, “Translation is difficult, right?” Or rather, “It’s impossible, right?”
Shiohigari
Seriously, so yeah. I’ve always had this idea of being able to sell LINE stickers or something like that in places like China or Korea, but the problem of “I can’t translate it” has always been there.
Harada
It’s kind of like that, you know. So when I was seriously watching each episode of “Shiohi Girls,” there are certainly some things that seem translatable, but there are also things like “No, I can’t translate this,” where it seems impossible to convey.
Shiohigari
Yeah, that’s right. Basically, there are a lot of wordplays, so even if Japanese people read “Alice’s Adventures in Wonderland,” it’s not completely incomprehensible, surprisingly. That’s because it’s a wordplay from America over there, so without some kind of annotation like “this is a wordplay in English,” it can be difficult to understand. And, I’ve been feeling like that for a long time.
Harada
There may be ways to do it, but the difficulty level is quite high. So, even though it’s not about the translation of Natsume Soseki’s “I love you,” there are naturally translations that are different from literal translations. So naturally, we may not know, but there might be words that include such nuances based on Chinese culture, but they definitely won’t come up with Google Translate, you know?
Shiohigari
Yes, that’s right. It’s just that if I don’t have a partner who has considerable knowledge, it’s a problem…
Sakoda
While overseas expansion is a future challenge, the first priority is to have a continuous story on this new media discourse space, which is WEBTOON. Do you have any plans for when this will be released?
Harada
Hmm, I see. I kind of want to release it within this year. I hope to release it by then.
Sakoda
Then, I will follow up on that later with your X (ex), Shiogari-san.
Shiohigari
Sure. Please check with X or SKOOTA.
Sakoda
Also, by the way, how will the latest version of “Shiohi Girls Bongorebianco” be released and what kind of storyline will it have?
Harada
This is also about “Shiohi Girls”. The Shiohi Girls themselves have been active on social media, so they have always existed in that sense. However, when it comes to animation, there are various adult circumstances to consider. I want to change the concept of how it is presented and make it easier to convey the charm of “Shiohi Girls”. That’s what I’m thinking.
Sakoda
Also, this means that further information will be released by Shiho Higari-san’s X and SKOOTA, right?
Harada
Well, as Shiohigari-san mentioned earlier, there was a kind of atmosphere back then that said “the ending is the main part.” So, rather than the main story, there were often ways to present the songs as more extravagant. I sometimes came across such expansions. When that kind of expansion was happening, “Bongorevianco” came out. But, I think the current trend, like short videos, is changing a bit. So, I hope we can present it in a way that adjusts to the current flow.
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