My Name is Hiroshi Nohara, Star of Neon Film and Television! Chapter 228: Kumamoto's Opportunity! Fujiwara Isshin's Chanc

In the Kumamoto Prefectural station's production office, morning light was barely casting striped shadows through the blinds when the buzz of discussion already drowned out the printer.

Deputy Station Chief Kinoshita clutched freshly compiled ratings — knuckles white with grip — unable to contain his excitent as he slapped the report on the conference table: "Everyone, LOOK! Morning news hit 12.3%! Last month's sa slot was 5.8% — that's MORE than doubled!"

Senior director Takahashi Kiyoji pushed up his reading glasses, finger tracing post-news ad-break data: "Not just morning! At nine AM, a thirty-second clip of Kumamon making tonkotsu ran broke 10% for that five-minute average — 4 points above last week's sa slot! Viewer mail piled half a drawer this morning, ALL asking 'when's Kumamon on next?'"

"Noon was EVEN bigger!"

Junior assistant Suzuki Aya, face flushed with excitent, held up a postcards stack — the top one showing a wobbly hand-drawn bear: "After the noon news, the Kumamon sakura-mochi clip aired and the switchboard EXPLODED! One mother said her daughter demanded they go buy the sa sakura-mochi AND insisted on seeing 'the bowing bear.' Noon segnt hit 9.7% — only 0.3% below Kyushu Station's variety show!"

Afternoon children's show director Tanaka Yuta pointed at the 15:00-16:00 data: "Our afternoon ani rerun block hovered around 6%. Yesterday we added a Kumamon reminder — 'after watching, look into the distance to protect your eyes' — and it jumped to 8.1%! The parents' association even faxed praise, saying it works better than teachers repeating it ten tis."

But Kinoshita's smile faded at the evening slot's "6.2%": "Still no progress at night. Pri ti drama barely cleared 5%, nowhere near Kyushu Station's samurai series. We're competitive only during news slots."

A collective sigh.

Takahashi noted: "The three news blocks all carry identical national feeds — viewers choose the channel where they can catch Kumamon clips afterward. But other slots? Stale life dramas, recycled old variety shows — audiences are bored."

Suzuki Aya: "When I recomnded our evening show to a friend, she said 'besides Kumamon, what do you even HAVE?' I had nothing."

Tanaka: "If only we had sothing like TV Tokyo's Tales of the Unusual — even a new children's segnt would beat reruns."

Then Yamada Ichiro and Fujiwara Isshin walked in.

Yamada set down his briefcase: "I heard everything. Kumamon's impact exceeded all expectations. Our daily average across Kyushu is now second — just 1.2 points behind Kyushu Station. Three months ago, who'd have imagined?"

Isshin added viewer survey data: "The Prefectural Office received feedback too — travel agencies report 30% more Kumamoto tourism inquiries. Kumamon plushies sold out three tis. Hiroshi-san's design truly revitalized the word 'Kumamoto.'"

Kinoshita turned to Isshin eagerly: "You're related to Nohara Hiroshi — could you ask him to create a show for us? Even a short segnt like Kasou Taishou — with his quality control, we might surpass Kyushu Station!"

Everyone's eyes locked on Isshin. Takahashi leaned forward, pen ready for notes.

But Isshin shook his head with a rueful smile: "I've thought about it. When I visited the Koyama house last week, I watched him — even on vacation, he spends six hours daily drawing manga. His desk is stacked with YuYu Hakusho, Doraemon, and Midnight Diner manuscripts. He edits storyboards even during als. I couldn't bring myself to ask — his burden is too heavy."

Takahashi cleared his throat: "You may not follow TV Tokyo's news, Deputy Chief. Nohara Hiroshi oversees: Yamishibai animation — he reviews every episode's storyboards. Tales of the Unusual — three episode scripts weekly. Midnight Diner live-action casting. Even Kasou Taishou — while Tanaka Kei runs daily operations, critical creative decisions need his approval."

Suzuki Aya added quietly: "The Asahi Shimbun said he just finished a Seven Samurai follow-up docuntary and is starting Hachiko Monogatari pre-production. Manga-wise — YuYu Hakusho tops Weekly Jump, Doraemon's tankōbon sold fifty thousand first week, Midnight Diner's been translated into English for overseas. One person — half a production bureau."

Intern Sato Shota's jaw dropped: "ALL that? Does he even sleep? I thought Kasou Taishou was a team effort — turns out HE'S the core. No wonder the creativity is so fresh — 'impersonating Tokyo Tower's lighting with your body' — who else thinks of that?"

Kinoshita finally understood: "He manages THAT much? My grandson reads Doraemon every day — says he wants to be like Nobita, keeps asking if Doraemon's pocket really exists."

Isshin sighed: "The Prefectural Office wants him for tourism promos. Shueisha wants a Doraemon ani adaptation. Even the Ministry of Education has contacted him. He takes over a dozen calls daily, pager buzzing dawn to midnight. Misae-san says he sotis edits scripts at two or three AM."

Silence — only the printer clicking.

Kinoshita looked embarrassed: "I was presumptuous... We shouldn't add to his burden."

Yamada consoled: "Kumamon itself is his gift to us. With this character, our news slots stay strong and rchandise revenue offsets production costs. Our job now is to maximize the IP — new short content, local business partnerships, gradual audience building."

He proposed the "Kumamon Tours Kumamoto" series — two weekly five-minute episodes visiting Mount Aso, Kumamoto Castle, local cuisine. Not Hiroshi-directed, but following his creative philosophy: warm stories, lovable character.

The room buzzed with ideas — Kumamon getting "lost" and being helped by locals;

viewer voting for next destinations;

"Kumamon learns dialect" segnts teaching local phrases.

The energy was infectious. Yamada placed a Kumamon plushie on the table's center: "Nohara Hiroshi gave us a great start. Now it's on US. With dedicated content, Kumamoto Station can beco Kyushu's number one — maybe even nationally recognized!"

Isshin watched the lively scene, rembering Hiroshi at his desk the other night — lamplight catching his focus as he added reflection details to Kumamon's red vest, lips curved in a quiet smile.

That's when he understood: Hiroshi succeeded not just through talent, but because he wove "warmth" into everything — a bowl of miso soup in Midnight Diner, Kumamon's clumsy bow — each touching the softest place in people's hearts.

...

After the eting, Yamada pulled Isshin aside to his black Toyota Crown.

"Governor Muto has been closely following Kumamon — we need to brief him. This is rare attention."

In the car, Isshin clutched a briefcase full of ticulously compiled data — viewer age demographics, segnt-by-segnt breakdowns, assembled with the editing team until 3 AM.

The radio played morning news: "...Kumamon rchandise sales hit new highs... plushies sold out across prefectural stores... manufacturers rushing ergency restocks..."

Yamada turned up the volu: "Governor ntions 'Kumamon' daily now — last week's Prefectural eting, he called it Kumamoto's 'new calling card.'"

Then, lowering his voice conspiratorially: "But the Governor's interest isn't just tourism. Next year is his reelection. Economic data isn't looking great — agricultural exports down 12%, two more textile factories closed. He needs tangible achievents — Kumamon's montum is the perfect 'people's card' to play."

Isshin understood. Five years at the Ministry of Finance taught him the ga behind "reelection." Eight years in office, decent reputation — but Tokyo Governor Koike Ryuichi's remark about "innovation" still stung Muto.

"But I'm a finance person," Isshin hedged. "I know budget approvals and expenditure oversight, but campaign PR planning? Event organization, dia relations? I'd only ss things up."

Yamada smiled knowingly: "BECAUSE you know finance, you're the perfect fit. Campaign promotion costs money — venue rentals, materials, dia placent. Everything goes through the Ministry of Finance. You coordinate, ensure spending efficiency, catch any 'wasteful spending' by the PR departnt. That's exactly what the Governor values."

He added: "Plus, the PR track promotes faster than finance. Help the Governor's reelection, and once he wins, a transfer to the Comprehensive Policy Bureau is possible — core Prefectural affairs, far more exciting than ledgers."

At the Governor's office, Muto listened to Isshin's detailed briefing — ratings, viewer letters, tourism data — and nodded approvingly.

"Nohara Hiroshi truly has talent. His grasp of 'emotional resonance' — whether Seven Samurai or Kumamon — hits the mark by combining 'cute' and 'down-to-earth.'"

Yamada outlined plans: "Kumamon community visits" to nursing hos and schools, highlighting the Governor's welfare and education achievents;

"Kumamon Limited Tourism Packages" with commorative pins bearing the Governor's na.

Then Muto turned to Isshin directly: "I want you on my campaign team — handling activity budget review and oversight. Your Ministry of Finance experience prevents misuse. And your connection to Nohara Hiroshi facilitates future Kumamon content collaboration."

Isshin was stunned — then deeply grateful. Being invited onto the Governor's team at under thirty was unprecedented.

He bowed: "Thank you for your trust! I'll give my utmost!"

But Muto cautioned: "When you talk to Nohara Hiroshi... do NOT ntion this is connected to my campaign."

Isshin was confused: "Why? Hiroshi-san would never refuse to help Kumamoto."

Yamada explained: "He's a major Tokyo figure — Level 3 Director, production departnt head, top mangaka at Shueisha. If we say 'help us campaign,' he might feel used. He has ties to Tokyo Governor Koike Ryuichi — word getting out could hurt him."

Muto agreed: "Kumamoto is a remote prefecture. Our reelection depends partly on Tokyo's attitude. With the Tokyo Governor and Mayor feuding, we can't risk Hiroshi thinking we're playing political gas. If Tokyo's power structure shifts, our Prefectural work gets complicated."

Isshin understood — the political webs behind simple PR. Hiroshi's Tokyo connections ran deep — Koike, TV Tokyo President Shimazu — getting caught using him for campaigns would cause needless trouble.

"I understand. I'll fra it as cultural promotion and tourism — no ntion of the campaign. Sothing like 'a series showcasing Kumamoto's agriculture and healthcare achievents to attract residents and workers.'"

Muto smiled: "Good. You're steady — I trust you. These coming months will be demanding — Ministry duties plus campaign work. Anything needing Prefectural coordination, co straight to or Yamada."

Leaving the office, Yamada patted his shoulder: "Do well. The Governor values you. Help him win reelection, and your future is limitless."

Back at his desk, the phone rang. Masae's gentle voice: "Coming ho for dinner? Mom made your favorite tonkotsu ran. She wants to discuss engagent favors too."

Isshin smiled: "I'll be there after work. Has Misae been in touch? I need to ask about Hiroshi-san's schedule — Kumamon promotion matters to discuss."

"She said Hiroshi's heading back to Tokyo next week. His two-week vacation's almost over."

Isshin made up his mind: "I'll go see him now."

He wrote in his planner beside "Budget Review": "Weekend — discuss short film plans with Nohara Hiroshi." The pen's scratching was a prelude to the busy months ahead.

...

That afternoon, at the Koyama house.

Osmanthus scented the garden air. Hiroshi sat on the corridor tatami, pencil in hand, sketching Kumamon costu-drama storyboards — the little bear wielding a wooden sword in a comically clumsy "duel."

Isshin sat opposite with a freshly printed costu-drama script, suggesting tweaks: "Could Kumamon trip here and pull a dorayaki from its pocket to get back up? Kids would love that unexpected mont."

Hiroshi added a tiny dorayaki doodle to the panel: "Sure — but mind the costu's movent range. Last ti, the Kumamon perforr said bending to pick things up blocks their vision. We need floor markers."

"Noted!" Isshin scribbled annotations gratefully. "Sorry to take your vacation ti — the Prefectural Office is pushing to air episode one before the Kumamoto Castle Cultural Festival."

"It's fine — switching topics from manga is actually refreshing." Hiroshi sipped green tea, watching Musae in the garden pretend-fighting with her plushie: "I am the hero Kumamon — protector of all!"

"There's sothing else," Isshin ventured carefully. "Governor Muto watched the Kumamon shorts and wants to develop a complete IP strategy — rchandise, live events, even a 'character backstory.' If approved, the Prefectural Office would allocate dedicated funding and establish an operations team."

He said it nervously — and without ntioning the election.

Hiroshi tapped his storyboard thoughtfully: "The backstory could center on 'Kumamon's Search for Ho' — starting from Kumamoto Castle, visiting Mount Aso, Kurokawa Onsen, eting different people and stories. Shows Kumamoto's culture while deepening the character. For rchandise — beyond standard plushies and stickers — develop 'Kumamon Limited' local specialties: strawberry jam with the bear logo, tonkotsu ran seasoning packets. Drives economy AND makes tourists rember Kumamoto."

"Brilliant!" Isshin's eyes lit up. "For live events — 'Kumamon Parades' at schools and malls, a 'Kumamon Drawing Contest' for children — builds audience loyalty." He thought: all of this could tie into the election campaign.

"Every quarter!" Isshin exclaid.

Hiroshi added: "Control the IP's 'tone' carefully. Kumamon's core is 'cute' and 'warm' — no over-comrcialization. No tobacco or alcohol endorsents. During interactions, stay gentle — even if kids pull its ears, respond warmly. Details make a brand last."

"So thorough!" Isshin closed his notebook in admiration. "I'll compile your ideas into a proposal for Governor Muto tomorrow. If approved, the Prefectural Office will formally invite you as 'Kumamoto Cultural Advisor.'"

Hiroshi smiled: "I just provide ideas — execution is on the Prefectural team and operations. Oh — Misae's Future Comic Club recently hired new artists. If the IP developnt needs manga or illustration support, they'd be great. Their Doraemon illustrations got excellent reader feedback."

"Perfect! Lower costs AND opportunities for local youth — the Governor will love it!"

"YOOOHU~" Musae burst onto the corridor clutching her plushie: "Brother-in-law! Look! I made Kumamon a new hat — from cherry blossom petals! Pretty?"

Hiroshi examined the pink petal crown: "Beautiful! Very creative, Musae. Put this idea in a Kumamon short and it'd be a hit."

Musae's chest puffed proudly: "Really? Then I'll make MORE outfits! Strawberry patterns! Star patterns! A new one every day!"

Isshin whispered to Hiroshi: "What about inviting Musae to judge a 'Kumamon Costu Design Contest'? She'd be 'Special Junior Judge' — encourages her AND generates buzz."

Hiroshi smiled: "Great idea — she'd love it. But explain beforehand: judges must be fair, not favor designs just because they like them. Teach her that responsibility matters more than fun."

Musae, unaware of her impending honorary title, was already planning tomorrow's "Kumamon hide-and-seek" at the park with the neighbor kids.

Sunlight played through osmanthus branches onto her shoulders. Her laughter mingled with cicada song — pure childhood joy.

Hiroshi picked up his pencil and added one final panel to the storyboard: "Kumamon holding hands with children, playing in the park."

As the pencil scratched across paper, he felt it — perhaps THIS was creativity's purpose. Not just producing excellent work, but using warm stories to bring people happiness and hope.