Hello, I'm Mob from the Negolove team at SKOOTA GAMES.
So far, I've traveled through various vibrant indie game events across Japan, including Koenji, Kawagoe, and Kyoto, but this time I decided to change things up a bit... I attended the large-scale international comprehensive exhibition "Content Tokyo" held at Tokyo Big Sight (East Exhibition Hall).
When it comes to indie game events, they are spaces where the passion of creators and players collide directly, akin to a "live house." However, this "Content Tokyo" is entirely different. It is a massive trade fair focused on B2B (business-to-business), gathering all elements that support the entertainment industry, including licensing, the latest generative AI technology, and short dramas.
So, why are we writing an article about such an unusual event that differs from our usual battleground? And what exactly are we going to report on?
To put it simply, the content I will deliver this time is essentially no different from the reports on regular indie game events. In short, it is an introduction to “people (creators) who are making interesting things and their works.”
In fact, within the venue of Content Tokyo, there is a special area called the 'Creator EXPO,' where individual creators from various genres, such as illustrators, video creators, and designers, showcase their portfolios. Even at the forefront of a massive IP (intellectual property) business moving billions of yen and the latest AI technology attempting to reshape the industry, I felt that the essence of it all begins with the "likes" and "madness" expressed by individual creators, and the unexplainable "goodness" that emanates from their works.
Moreover, the energy and charm of creators from other industries at this 'Creator EXPO' felt somewhat different from the sensation I experienced when I first encountered the indie games I love so much.
While I have various reasons for this, the most straightforward conclusion might be that I was simply drawn to what I love.
For now, I would like to highlight three creators who shone brightly amidst this vast ocean of the content industry, along with their captivating works.
Now, let's get started!
Intuitive Cuteness That Transcends Logic — Illustrator 'mozzu'
The first person I would like to introduce is illustrator 'mozzu (@mozzu123)', who primarily works with cute cartoon-style illustrations.
Overall, the illustrations are characterized by strong deformations, ranging from low-head SD illustrations that highlight the pure cuteness of the characters to high-head illustrations that convey the body lines and dynamism of the characters, allowing for a wide range of expressions to be enjoyed. The pop color usage and the sense of arrangement of small items shine through, and as the artist promotes with the catchphrase "CATOON x KAWAII," it is impressive how the styles of overseas cartoon animation and Japanese anime coexist in a delicate balance.
...I tried to explain the style a bit complicatedly, but let me be more straightforward. The main reason I was strongly drawn to mozzu's booth is that "it's the most obvious 'cute'."
At this year's 'Creator EXPO,' a truly vast array of illustrators gathered, showcasing styles ranging from mini characters to life-sized realistic illustrations. However, among them, I believe mozzu's illustrations had such an impact that their cuteness was conveyed at first glance. Of course, the unique pop color palette and the strong line art that stands out are undoubtedly reasons for this. But ultimately, it boils down to the emotion that transcends logic: "It's just cute, so what can you do?"
The characters that adorned this booth are said to be original characters created by the artist. If you felt even a fraction of that "cuteness" attraction while reading this article, please check out mozzu's social media and experience their captivating works.
An Unexpected Angle with a Sharp Hook — Sports Illustrator 'Masaru Arihara'
Next, I would like to introduce sports illustrator 'Masaru Arihara (@MasaruArihara)'.
When I first saw Arihara's booth, my initial thought was, "Surprisingly, there aren't many sports illustrators." Of course, looking at the entire event, there were countless amazing illustrations that conveyed the dynamism of the human body, the expression of muscles, and the nuances of intense emotions, all radiating overwhelming energy. However, there were surprisingly few cases that focused solely on "sports" — a realm filled with pure action, competition, and growth that we see daily on TV and in manga.
Among Arihara's works, the piece that left the strongest impression on me was an illustration depicting "the face of a male athlete looking straight ahead."
Amidst the array of illustrations depicting intense and dynamic poses from boxing and karate, a fleeting question crossed my mind: "Why choose a static frontal cut?" However, in the next moment, my brain's accumulated database of sports began to rapidly fill in the "before and after" of that image. "This is the moment just before the match starts, where the athletes face off against each other," I thought. "No, it might be that scene where they pass the grueling weigh-in and face forward, solidifying their resolve." Of course, some might also recall the intimidating figure of the opponent that briefly appeared in news footage, reminiscent of Garcia from the fighting manga 'High School Iron Fist Legend Tough.' Various contexts sprang to life from a single still image, and it all clicked into place in an instant.
In a lineup filled with vibrant action cuts, adding a quiet, determined frontal face of an athlete was a bold choice. This composition undeniably proved the catchphrase of "20 years of sports viewing backing up its persuasiveness" that the artist had proclaimed. (This is a personal interpretation and not official.)
The overall atmosphere of the venue was filled with pop and cute illustrations, often seen in trends on social media. While the energy derived from such art is wonderful, the sensation of directly encountering the "raw, vivid dynamism" emitted by Aihara's artwork was exceptional. If the previously introduced Mozzu's art had an irresistible charm from a straightforward angle, Aihara's illustrations felt like a powerful hook that suddenly came from an unexpected blind spot. It was a remarkable strike that I wanted to liken to that.
Beasts Embodying Overwhelming "Density" and "Weight" — Illustrator 'Subinスビン'
Lastly, I would like to introduce the South Korean illustrator 'Subinスビン (subin0517)'.
Several pieces of art adorned the walls of the booth. What I faced there was an overwhelming sense of density, as if each piece of art possessed a "physical weight."
Referring to them as "animal illustrations" might be a bit misleading. More accurately, they should be called "snapshots of beasts" that are dressed, reading books, and behaving and thinking like humans. For instance, a bear wearing a meticulously knitted sweater, a hat, and a headset, holding a smartphone in one hand. Or a sea lion sitting at a desk with a coffee and a book, wearing an expression that leaves one wondering what it is thinking.
In a familiar everyday scene, the intense dissonance of "being an animal" overlapped, creating a very interesting space that left viewers with a pleasant sense of bewilderment.
When discussing Subin's work, one cannot overlook the previously mentioned "overwhelming sense of density." Naturally, the canvas itself should only have the weight of the wooden frame, fabric, and tacker's nails. However, the animals depicted there exude a heavy, meaty presence, radiating an almost otherworldly aura. Simply "replacing humans in everyday scenes with animals" would not yield such a strong presence. It must have required an extraordinary amount of effort.
Why does this artwork possess such "weight"? The clear reason is still not fully articulated, but there is a hint in the artist's own words. Subin jokingly mentioned,
"Drawing each hair is a great way to relieve stress, you know? (laughs)"
On a canvas that is by no means small, using tools to draw each individual hair. I thought it was almost akin to a kind of "training." When drawing thousands or tens of thousands of hairs in a single piece, if each stroke carries some thought or emotion, it makes sense that such a sense of pressure emanates from the work (though this is just my personal speculation).
In the current indie game scene, delicate and dense art styles like that of 'Finding Polka' are gaining attention. Will we see art with such incredible density as Mr. Subin's illustrations in the indie game scene in the future? While I can't say "absolutely not," I at least thought, "It probably won't be something we encounter easily," as I gazed off into the distance as a game developer on that day.
In Conclusion — After Walking Through the Massive Exhibition
The pop and intuitive cuteness of 'mozzu', the unique perspective and context of 'Masaru Arihara' capturing sports, and the overwhelming density and weight depicted by 'Subin'.
This time at "Content Tokyo," it was a BtoB exhibition where massive businesses and the latest technologies intersected, but what I ultimately took away were memories of the "passion emitted by individual creators."
However, that is precisely the core of entertainment and the "origin" that we must cherish the most. No matter how large the market grows or how much technology evolves, what ultimately moves people's hearts are works filled with someone's "madness" or "obsession."
It was a place completely different from regular game events, but the inspiration and stimulation gained there were immeasurable. SKOOTA GAMES also wants to pursue game development that delves into our "likes" so as not to be outdone by their passion.
Well then, this concludes my infiltration report. See you in the next article!