My Name is Hiroshi Nohara, Star of Neon Film and Television! Chapter 218: Kumamon Short Films! A Collection of Silly Anti

The Kumamoto Prefectural Office parking lot's concrete surface still glistened with morning dew. The air carried the distinctive incense scent of the nearby shrine, mingled with the aroma of freshly baked taiyaki from a distant convenience store — lending a warm, lived-in feel.

Nohara Hiroshi had barely parked Koyama Yoshiharu's old Toyota and hadn't even pulled the key when he spotted a familiar figure beneath a nearby camphor tree. Fujiwara Isshin stood in an immaculately pressed navy suit, tie knotted to perfection, clutching a black briefcase. Seeing Hiroshi step out, he imdiately hurried over.

"Nohara-san!" Fujiwara's voice was even more eager than on the phone. He strode to Hiroshi and bowed slightly, right hand unconsciously fidgeting with his briefcase clasp. "We agreed via pager for nine o'clock — I didn't expect you to arrive so early. I thought I'd be waiting ten minutes!"

Hiroshi casually shut the car door, fingertips brushing the paint-chipped handle, nodding with a smile: "Uncle Yoshiharu's place is close anyway. Arriving early beats making you wait. Besides — showing up late when eting with Prefectural Office people wouldn't look right."

His gaze swept the faint shadows under Fujiwara's eyes. He raised an eyebrow: "Fujiwara-kun, judging by the state of you — you were up late, weren't you? Did you refine the Kumamon proposal further?"

Fujiwara's ear tips flushed. He scratched his head sheepishly: "I was revising until past midnight — your previous points felt like I hadn't fully grasped them. I kept studying your sketches, cross-referencing Tokyo's latest cartoon character data. The more I analyzed, the more depth I found."

He stepped aside, gesturing with a polite "after you": "Oh — Director Yamada Ichiro from the publicity departnt is already waiting in his office. He specially rearranged his morning schedule just to have this detailed discussion with you."

"Oh? Director Yamada is certainly dedicated." Hiroshi raised an eyebrow, stride unbroken, following Fujiwara toward the prefectural building.

Along the way, uniford civil servants hurried past clutching thick folders. Corridor walls bore a map of Kumamoto, key areas circled in red — Mount Aso's marker especially prominent.

They reached the third floor, stopping before a door labeled "Publicity Director's Office." Fujiwara knocked. A slightly hoarse voice called from within: "Co in."

The mont the door opened, Hiroshi noted the layout — a wide redwood desk by the window, piled with docunts. On top sat an enal mug reading "Kumamoto Prefectural Office Souvenir."

Behind the desk sat a gray-haired man in a dark suit wearing reading glasses — Yamada Ichiro.

On sofas flanking the desk sat two young won in their twenties, each holding pencils and thick notebooks. They rose and bowed imdiately upon the visitors' entrance — exceedingly respectful.

"Nohara-san! We've been EAGERLY awaiting you!" Yamada practically sprang from his chair, circling the desk to seize Hiroshi's hand — palm rough but firm. "I'm Yamada Ichiro, Prefectural Publicity Director. I've long wanted to et you, but kept getting held up by one thing or another. Thanks to Isshin, I finally have my chance!"

Hiroshi returned the handshake warmly: "You're too kind, Director. I'm just here at Isshin's invitation to discuss Kumamoto's promotional strategy — nothing so dramatic as 'eagerly awaiting.'"

"Don't be modest!" Yamada released his hand, pulling Hiroshi toward the sofa and beckoning Fujiwara to sit too. "You're a BUSY man at TV Tokyo! Yamishibai revitalized the entire animation world. Tales of the Unusual turned urban horror into a cultural trend. And Seven Samurai — I deliberately went to the theater last week. Couldn't sleep the whole night afterward — NOW that's a real samurai film! Even my wife, who never watches movies, kept going on about 'how tragic Kikuchiyo was' for days!"

He gestured to the two young won on the sofa: "These are my secretaries, Sana and Kosuzu — they handle eting records. Today's discussion is important, so I had them take shorthand. Hope you don't mind."

The secretaries bowed again in unison: "Pleased to et you, Nohara-san. Pardon the intrusion."

Hiroshi nodded. His eyes fell on their notebooks — covers reading "Kumamoto Prefectural Office Official Use," opened pages already ruled with neat tables. Clearly well-prepared.

"You see — for today's eting, Director Yamada had us compile a full dossier on your works yesterday." Fujiwara smiled, producing a stack of docunts from his briefcase. "Including the Hachiko Monogatari campaign you planned for Governor Koike Ryuichi, and the 'information cocoon' election strategy you devised for President Shimazu Yoshihiro — all ticulously annotated."

Hiroshi accepted the docunts and flipped through a couple of pages. A flash of surprise crossed his eyes — it recorded broadcast tis, ratings, awards for each of his works, and even quotes from interviews like "cultural symbols need warmth" and "promotion should be subtle connection" were circled in red pen, with concise annotations in the margins.

"Director Yamada, your preparation is more thorough than TV Tokyo's planning departnt." Hiroshi closed the file, genuine admiration in his voice. "You even know about the 'information cocoon' concept — which hasn't been made public?"

Yamada chuckled: "I've got an old buddy at the Tokyo tropolitan Governnt. He ntioned during a phone call that President Shimazu's campaign strategy was remarkably innovative — letting voters focus only on strengths. Later I learned it was YOUR idea. I thought right then: anyone who understands 'the human heart' this well surely has sothing for Kumamoto!"

He leaned forward, tone growing grave: "I won't hide it, Nohara-san — Kumamoto has been in terrible shape these past few years. Every ti Mount Aso erupts, tourists are scared off. Our only specialties are horse at and oranges — nothing compared to Akita's rice or Hokkaido's crab. Young people all flee to Tokyo. Three elentary schools in the prefecture have closed. As publicity director, I watch the tourist numbers drop daily and can't sleep at night."

"When Isshin first ntioned the 'Kumamon' idea, I imdiately felt it was fresh — but sothing still seed missing."

He tapped his temple: "It wasn't until yesterday, reviewing your materials, that it hit — what I lacked was your ability to 'do small things thoroughly'! So today, I invited you here to really walk us through how this 'Kumamon' should work. Please — go into detail. Don't worry about troubling us!"

The two secretaries readied their pencils, tips poised on notebooks, eyes full of anticipation.

Hiroshi surveyed their earnest faces and felt a wave of emotion.

He lifted the tea from the table, took a sip, cleared his throat, then began slowly: "Director Yamada, what you've been calling 'Kumamon' — I'd actually categorize it as a form of the 'cute mascot concept.'"

"Cute mascot concept?" The words stunned both Yamada and Fujiwara.

Fujiwara's pen clattered onto his notebook. He hastily retrieved it, voice full of surprise: "You an... Kumamon isn't simply a city pet character, but a CONCEPT? That's completely different from what we imagined!"

Yamada pushed up his reading glasses, leaning closer: "What exactly do you an by 'cute mascot concept,' Nohara-san? How does it differ from the 'Kumamon' we had in mind?"

Hiroshi set down his cup, drawing a slow circle on the tabletop: "Simply put — 'Kumamon' is the THOD. The 'cute mascot concept' is the PHILOSOPHY. What you'd been thinking was probably: create a cute bear character, print it on posters, make plushies, let everyone know 'Kumamoto has a Kumamon.' But the 'cute mascot concept' aims to build a conditioned reflex: 'see cute mascot, think Kumamoto;

think Kumamoto, associate cute mascot.' It's not single-image promotion — it's giving the entire city a 'cute and warm' label."

He paused, picked up a pen, and sketched a simple flowchart on blank paper:

"Look — right now, 'Kumamoto' triggers 'volcano' or 'samurai.' Those labels are either dangerous or stuffy — young people don't connect. But inject the 'cute mascot concept' and everything changes. Soone sees a video of Kumamon tripping — 'how cute!' They see Kumamon helping farrs pick oranges — 'the people of Kumamoto are so warm!' They spot a mandarin gift box with Kumamon on it — 'that's fun, I want to buy one for a friend.'"

"Over ti, 'cute,' 'warm,' 'fun' — these impressions beco welded to Kumamoto. Next ti soone says 'I want to visit sowhere fun and adorable,' the first thought might be Kumamoto. THAT'S the power of the cute mascot concept — not force-pushing one character, but implanting a city's 'soft power' into the collective consciousness through the character."

Fujiwara stared at the flowchart, eyes widening progressively, pen flying across his notebook: "I understand! Before, I kept thinking: as long as Kumamon is cute enough, people will like Kumamoto. Now I realize — what we need isn't 'liking Kumamon,' but 'liking Kumamoto BECAUSE of Kumamon'! This is deeply binding the character to the city!"

"Exactly."

Hiroshi nodded, continuing: "Like Akita's 'loyal Hachiko' — people rember not just a dog, but 'Akita is a warm place.' Disney's Mickey Mouse — people love not just a cartoon character, but 'Disney represents happiness.' Kumamon must beco Kumamoto's 'symbol of joy' and 'symbol of warmth.'"

Yamada nodded repeatedly, tapping the table, voice brimming: "Absolutely right! Nohara-san, you've hit the nail on the head! I always thought promotion ant 'making people KNOW.' Now I realize — promotion is about making people LIKE. Your 'soft power' — that's precisely what you an?"

"Exactly."

Hiroshi smiled, adding: "And the 'cute mascot concept' has another advantage — it's replicable and extensible. For instance, when Kumamoto releases new products in the future, there's no need for a fresh campaign. Just print Kumamon's image on them, and people will try them because they 'like Kumamon.' You could even collaborate with other prefectures — have Kumamon interact with an Osaka takoyaki character, building rapport while cross-promoting. That's a much wider road than single-image advertising."

The two secretaries had already stopped writing, exchanging a wide-eyed look of mutual shock.

Sana couldn't help speaking up: "Nohara-san, your approach is... revolutionary! All our previous plans orbited 'how to make more people KNOW Kumamoto.' We never once considered 'how to make more people LIKE Kumamoto.' Hearing you now, I realize how narrow our thinking was."

Kosuzu nodded: "Exactly! If people think 'Kumamoto is a cute place,' young people will co. Parents will bring kids on vacation — because who doesn't love cute things?"

Hiroshi looked at Yamada. The old director was staring at the flowchart, eyes full of deep thought.

Several seconds passed. Then Yamada slapped his thigh, voice charged: "I get it! Nohara-san — you're going to give Kumamoto a 'soul TRANSPLANT'! The old soul was 'old-fashioned and stern.' Your new soul is 'young and ADORABLE'! If this works, Kumamoto's tourism will EXPLODE!"

"Director Yamada catches on fast." Hiroshi smiled, reaching into his briefcase to produce a stack of drawings. "These are Kumamon character designs I refined last night based on the 'cute mascot concept.' Take a look."

Yamada took the art — one glance and his eyes went wide. This Kumamon was rounder than Fujiwara's earlier sketch. The black body was like a ball;

white cheeks sported prominent rosy blush;

eyes were perfectly round black-bean dots;

lips curved in a slight smile — silly-looking, yet impossible not to grin at.

Most striking: one drawing showed Kumamon wearing a red bib, holding a freshly picked mandarin, one foot on a small stone, mid-stumble — so impossibly adorable you wanted to reach out and steady it.

"This is... TOO cute!" Yamada's fingers lightly traced the drawing, voice disbelieving: "Even cuter than my granddaughter's toys! Print this on posters and young people will definitely look!"

Fujiwara leaned in, eyes gleaming with admiration. His earlier Kumamon sketch had been cute enough — but the lines were angular, more "warrior bear." Hiroshi's version had soft curves, an endearingly silly expression, and zero sense of distance.

He sighed appreciatively: "Nohara-san, this is... worlds better than my version! Especially the blush and the bib — it instantly conveys 'Kumamoto character' without feeling forced."

"The bib was a deliberate choice."

Hiroshi explained: "Red is eye-catching and fits Kumamoto's 'Land of Fire' historical identity. The mandarin pattern on the bib naturally integrates the local specialty without feeling like an ad. The stumbling pose adds 'gap-moe' — contrasting cuteness. A perfect character creates distance;

a slightly clumsy one is more relatable, more morable."

He pointed to design details: "See here — Kumamon's paws are drawn round, no sharp claws, deliberately softening the 'bear' aggression. The black-bean eyes avoid complex expressions — so all age groups accept it. Elders find it endearing, young people find it cute, children think it's a toy. Maximum demographic coverage."

Yamada grew more excited by the second, nearly crushing the drawings: "Yes! Perfect! The level of detail in your thinking is extraordinary! I'm now fully confident — this Kumamon will absolutely catch fire!" He turned to the secretaries: "You two — every word Nohara-san just said, record VERBATIM! Especially the 'cute mascot concept' and design details. This afternoon — formal docunt, submitted to prefectural leadership!"

"Yes, Director!" The secretaries bent low, pens flying to capture everything, the scratching crystal-clear.

Fujiwara suddenly rembered sothing: "Nohara-san, once the design is finalized, what's the next step? Start with plushies, or shoot the short animations first?"

"Start with 'grassroots penetration.'" Hiroshi answered without hesitation. "Step one: print Kumamon on prefectural brochures, bus panels, station billboards — let locals familiarize first. Place a giant Kumamon figure at Mount Aso's scenic entrance. Tourists take photos, share them — organic spread. Step two: partner with local convenience stores and restaurants — launch 'Kumamon limited-edition als.' Buy a bento, get a Kumamon sticker. Order ran, receive a Kumamon keychain. Embed the character in daily life. Step three: THEN consider short animations and rchandise. First make people 'recognize' it, then make them 'love' it. This gradual approach yields the best results."

Yamada nodded vigorously: "Your thinking is crystal-clear, Nohara-san! If only we'd talked sooner — I wouldn't have agonized this long. Rest assured — I'll push everything forward with full force. If the Prefectural Office pushes back, I'll handle it!"

Hiroshi smiled: "No rush, Director. The plan still needs refining. Short animation content should incorporate Kumamoto's attractions and specialties. rchandise pricing must consider different demographics' spending power. Even Kumamon's 'character profile' — what it likes to eat, what it's afraid of — all needs to be established first. These details are what bring Kumamon truly 'to life.'"

"YES! The character profile!" Fujiwara's eyes lit up. "When you said 'a bit clumsy, always tripping' — that's its character profile! If we give Kumamon a vivid personality, people will rember it far more easily! Like making it love horse-at sashimi, always getting sauce on its face — cute AND promotes Kumamoto specialties!"

"Great idea!" Yamada jumped in: "We could also make it afraid of volcanic eruptions — hiding every ti it hears an alert. That matches Kumamoto's reality and adds fun!"

Hiroshi watched their excitent, feeling grounded. He knew: once the direction was right, everything else would fall into place.

And this little Kumamon character — it might truly be like a seed, taking root in Kumamoto's soil and sprouting an entirely different future.

Sunlight gradually shifted onto the drawings, illuminating Kumamon's endearingly silly smile.

The secretaries continued their diligent recording. Yamada and Fujiwara clustered around Hiroshi in animated discussion about next steps. Occasional laughter echoed into the quiet corridor — remarkably warm.

Hiroshi gazed at the scene, suddenly recalling the atmosphere at TV Tokyo when creating Kasou Taishou — everyone gathered around a small spark of creativity, passionately debating, every heart ablaze with the desire to "make sothing great."

Now that sa passion was being reborn in a Kumamoto Prefectural Office.

He lifted his tea, moistened his drying throat, and a sudden inspiration struck: "By the way — static imagery and grassroots penetration alone won't be enough. We need so 'dynamic content' — how about shooting so fun short clips? All about the silly things Kumamon does."

"Kumamon silly shorts?"

Yamada's teacup froze mid-lift, steam fogging his glasses white. He pulled them off, wiped them with his cuff, and stared with disbelieving urgency: "You an like short TV drama segnts? But Kumamon is a cartoon character — how do you shoot real clips? You can't literally make it move, can you?"

Fujiwara also frowned, unconsciously fidgeting with his briefcase clasp: "Exactly — short films an actors, locations, sets. That's another significant expense. Our prefectural promotional budget is already tight. Spending on shorts could leave us short for rchandise production and ad placent."

He added: "Plus Kumamoto barely has any film production teams. Bringing one from Tokyo would cost even more. I know your Hachiko Monogatari in Akita cost several hundred million yen in production alone. We don't have remotely that kind of budget."

Hiroshi laughed at their worried expressions: "You're overthinking this. I'm not talking about a live-action film, and we don't need a professional crew. We use the 'costud mascot' approach — have soone wear a Kumamon suit, and film clips of it doing silly things on Kumamoto streets, scenic spots, convenience stores. Tripping, grabbing the wrong item, making tourists laugh. Simple editing — done."

"Costud mascot?" Yamada's eyes blazed instantly. He scooted forward, chair squeaking across the floor: "You an... have staff WEAR the mascot costu, playing Kumamon? That's brilliant! No expensive actors needed — Kumamon cos 'alive' — AND you're promoting Kumamoto's landmarks at the sa ti!"

Fujiwara caught on too, pen racing across his notebook: "I see! Like having Kumamon at the base of Mount Aso, so absorbed in the scenery that it accidentally stumbles off a step. Or in a convenience store buying snacks, mistaking mandarin-flavored candy for real oranges, nearly eating it wrapper and all — these little clips would be cute, funny, AND naturally embed Kumamoto elents!"

"Precisely." Hiroshi nodded with certainty. "These shorts don't need to be long — thirty seconds to one minute each. We can slot them into local Kumamoto TV programming — after the local news, or during the prefectural station's 'Kumamoto Living Guide.' Let locals warm up to this 'slightly clumsy but adorable' Kumamon first."

Then he dropped a bigger revelation: "If Kumamoto Prefecture is willing, I can even include these clips in variety shows I produce — or have a word with TV Tokyo to let them feature Kumamon interactions during pri-ti programs. Think about it: the Tokyo tropolitan area accounts for nearly forty percent of ALL Japanese viewers — it's the absolute trendsetter. Once Tokyo audiences fall in love with Kumamon, it won't be long before it sweeps the entire nation."

At this, Yamada's pen clattered onto his notebook. He snatched it up, voice trembling: "Nohara-san... you're NOT joking, are you? Pri-ti TV Tokyo? That's the highest-rated slot in all of Japan! The last ti we tried to run even a ten-second tourism spot on TV Tokyo, we waited six months in a queue and it cost several million yen!"

Fujiwara leaped to his feet, chair scraping the floor: "If we can get on TV Tokyo programs, Kumamon will DEFINITELY explode! Your Kasou Taishou is the hottest variety show in Japan right now — last week's ratings broke forty percent! A brief Kumamon appearance — interacting with contestants — and the ENTIRE country sees it!"

The two secretaries froze as well, exchanging stunned looks of disbelief.

They'd previously researched TV Tokyo programming — they knew exactly how impossible it was to get pri-ti exposure. Now Nohara Hiroshi was VOLUNTEERING? This was manna from heaven!

Hiroshi remained calm: "I'm not joking. Kasou Taishou naturally needs fresh elents — a cute, regionally distinctive character like Kumamon perfectly fits the show's tone. I've already spoken with Bureau Chief Sakata and Deputy Bureau Chief Asumi at TV Tokyo. They both support 'regional cultural promotion.' As long as the content works, a show appearance is guaranteed."

He added: "Besides, I'm practically a half-Kumamoto man — Kumamoto's son-in-law. Helping promote Kumamoto is only right. If Kumamon catches fire, boosting tourism and specialty sales and improving people's lives — this small favor is nothing."

"THANK you, Nohara-san!" Yamada shot to his feet, bowing deeply — waist nearly touching the desk. "You are truly Kumamoto's BENEFACTOR! If Kumamon succeeds, I will personally send you a banner of gratitude on behalf of Kumamoto's citizens! No — TEN banners!"

Fujiwara bowed too, voice thick with gratitude: "Thank you, Nohara-san. Not only did you perfect the Kumamon plan — you're willing to leverage your own resources for our promotion. This kindness — neither the Fujiwara family nor Kumamoto Prefecture will ever forget."

The two secretaries also stood and bowed in unison: "Thank you for your help, Nohara-san! We'll record everything faithfully and implent every one of your ideas!"

Hiroshi quickly helped Yamada upright, laughing: "Director Yamada, you're too kind. We're all working for Kumamoto's benefit — no need for formalities. The priority now is finalizing the mascot costu. You asked how it should work — I already have specifics."

He reached into his briefcase, pulled out drawing paper, and began sketching rapidly before handing it to Yamada: "These are my Kumamon costu design blueprints — dinsions, materials, every detail clearly marked. The suit height should be one ter eighty — visible yet not intimidating. The body should use high-density foam padding — soft to the touch, making people WANT to hug it. The cheek blush should use removable fabric for easy washing. Paws should be half-sphere shaped, with a small hidden pocket inside for candy or stickers — to give out during tourist interactions."

This was effortless for Nohara Hiroshi.

He simply extracted Kumamon-related information from his previous life's mories and copied it into this world.

Including the Kumamon suit's model specifications.

Yamada studied the blueprints with growing astonishnt, fingers tracing the paper: "You've thought of EVERYTHING! These designs are more detailed than professional Tokyo mascot manufacturing companies'!"

He pointed to one blueprint, voice full of admiration: "Look at this collar design — invisible zippers instead of traditional buttons, both elegant and practical. And this tail — made from elastic fabric, swaying with movent for a more lively look. We could NEVER have thought of these details!"

Fujiwara leaned in, face full of respect: "Nohara-san — you understand film production, manga creation, AND mascot costu engineering? How many hidden talents do you HAVE?"

Hiroshi smiled, picking up a pen and sketching several simple scenarios on blank paper: "Beyond the costu, we can shoot more cody bits. Have Kumamon attend a Prefectural Office eting — too fat, gets stuck in the doorway. Have it help farrs pick oranges — drops them all inside its own suit, becoming an 'orange bear.' Even have it try to learn a traditional dance — turns it into radio calisthenics instead. These bits are funny yet showcase Kumamoto's character. People will definitely love them."

He paused, stroking his chin, a spark of inspiration in his eyes: "Actually — based on cody shorts I know of, we could create a 'Silly Kumamon Daily Life' episodic series. Five minutes per episode, each around a the — 'Kumamon's Part-Ti Job,' 'Kumamon's Travel Diary' — lighthearted and humorous, showcasing Kumamoto's local color. This enriches Kumamon's character while providing 360-degree Kumamoto promotion."

"An episodic series?" Yamada's eyes went wide. He slapped his thigh: "BRILLIANT! What extraordinary idea! How does your brain WORK to keep producing these gems?"

He swung to the secretaries: "You two — write down the episodic series concept NOW! This afternoon, contact local production companies. Have them draft three short-clip scripts and one series outline based on Nohara-san's direction. Money's no issue — I'll petition the Prefectural Office for a special budget!"

"Yes, Director!" The secretaries hunched over their notebooks, pens racing — terrified of missing a single word.

Fujiwara added excitedly: "If we produce this series, we could even partner with TV Tokyo's Tales of the Unusual — have Kumamon appear in one of the anthology segnts! Tales is the hottest episodic show in Japan right now. Using that platform, Kumamon would explode even faster!"

"Good idea." Hiroshi nodded. "Section Chief Yamamoto Takeshi of Tales is my forr subordinate. I'll just have a word. We could shoot 'Kumamon's Unusual Day' — encountering interesting people and situations. It fits the show's style AND promotes Kumamoto."

Yamada gazed at Hiroshi with gratitude and reverence. Drawing a deep breath, he spoke solemnly: "Nohara-san, you've done so much for Kumamon — I truly don't know how to repay you. Rest assured: from today forward, all Kumamon production and promotional work, I fully entrust to you. You say how — we do it. No questions asked!"

He paused, producing a check from his briefcase: "This is ten million yen in flexible promotional funds I secured from the Prefectural Office. It's not much, but it represents our sincerity. I hope you won't find it too little — and that you can help us make Kumamon succeed."

Hiroshi looked at the check without imdiately accepting: "Director Yamada, ten million yen is actually a respectable amount — enough for costu production, short films, and the episodic series. However, I have one condition. If I design Kumamon's image and plan, then the design ownership must belong to , Nohara Hiroshi. I'll grant free usage rights to Kumamoto Prefecture. But revenue from outside the prefecture — rchandise sales commissions, broadcast licensing fees from other stations — those serve as compensation for my production and promotional work."

Yamada nodded without a mont's hesitation: "Absolutely! That's completely fair and proper! Nohara-san, your willingness to let us use the design for free is already an enormous gift. Other revenues rightfully belong to you!"

Afraid Hiroshi might change his mind, he grabbed a pen, signed the check, and pushed it forward: "There — signed. You can cash it imdiately. If you need more later, just tell . I'll petition the Prefectural Office!"

Fujiwara added: "If other prefectures want to use Kumamon's image, we'll definitely clear it with you first. Your intellectual property will be fully protected. Trust us — the Fujiwara family has enough connections in Kumamoto to keep watch over this."

Hiroshi accepted the check, seeing their sincerity: "Then I'll graciously accept. Rest assured — I'll give everything to make Kumamon succeed as Kumamoto's 'living billboard.'"

Yamada exhaled with relief, smiling: "With those words from you, I'm at peace. From today, you're the chief planner of our Kumamon project. Everyone follows YOUR lead!"

He turned to the secretaries: "You two — this afternoon, take Nohara-san's designs to mascot manufacturers and get prototype samples ASAP. Simultaneously, coordinate with local production companies for three short-clip scripts and one series outline based on Nohara-san's vision. Any questions — report directly to Nohara-san!"

"Yes, Director!" The secretaries answered in unison, eyes blazing with purpose.

The office atmosphere turned electric. Sunlight stread through windows, illuminating every smiling face.

Hiroshi watched the scene, feeling deeply grounded.

He knew: with everyone's efforts combined, Kumamon would certainly catch fire — and Kumamoto, because of this little cartoon character, would welco an entirely different future.

...

They talked through the entire morning. Yamada personally booked a fine Kumamoto-style restaurant in the city, bringing along the two secretaries, Fujiwara Isshin, and Nohara Hiroshi for a celebratory al.

Naturally, even during the celebration, Yamada never forgot his mission — continuously consulting Hiroshi on promotional techniques.

And Hiroshi answered every question.

With his previous life's experience, even Yamada — the veteran publicity director — was left astonished. Finally, gazing at Hiroshi with deep emotion, he exhaled: "No wonder at such a young age you've already built such a reputation across the Tokyo tropolitan area. Truly remarkable."

"You're too kind, Director Yamada." Hiroshi remained humble as ever.

But Yamada simply waved it off.

Looking at Hiroshi's modest bearing and youthful, handso face — rembering his own bumbling self at that age — he said nothing more. He simply raised his sake cup for a toast, inwardly conceding with genuine respect.

After all, he was nearly sixty. And this young man before him was only twenty-four — four or five years younger even than Fujiwara Isshin.

"The future truly belongs to the young," Yamada thought, feelings bittersweet.