GIANT 3D CAT (2021-2022)

In the central area of Shinjuku, where we have been working since 2013 to develop five outdoor visions for the city, we planned and produced flagship content for the newly constructed Cross Shinjuku Vision.

Although different in taste from superSymmetry's previous media artworks, they share the same approach of not only showing images but also integrating them with the walls of the architecture to become part of the urban landscape.

The cat that lives in the building wakes up in the morning when the vision starts to be broadcast, lounges around during the day, occasionally talks to passersby, and sleeps when it gets sleepy. We collaborated with the VFX team of Omnibus Japan, the parent company of superSymmetry, to create a realistic CG rendering that maximizes the setting with the quality of a theatrical movie.

The film is not just an optical illusion content but a setting where the characters live, precisely staged.

This content has realized the concept of Digital Landmark.

This cat spread through the news and social networking sites immediately after its release in 2021. There was a tremendous response in Japan and overseas, with fan art and parodies soon appearing and gaining momentum. The 80's movie "Blade Runner" depicted a decadent 2019 future with information overload and one-sided advertisements. But in 2021, we are enjoying using those ads with enthusiasm.

Currently, as the most famous 3D outdoor vision in Japan, there have been more than 80 3D ad placements in the first year and a half since its launch, and users go out of their way to watch it as a 3D ad theater. The flow of people in front of the vision, the effect of advertisements, and other factors have brought financial results.
In addition, the project has also succeeded in achieving sustainability as advertising through collaborations, including public advertisements.
The creative work, which was not merely a tech-oriented 3D optical illusion, was evaluated from the perspectives of media art, digital content, advertising, business model, branding, VFX, and social impact and received 17 awards both domestically and internationally.
When we look at this ad from a public media art perspective, we can see that.
The Max Headroom content, also from the 80s, depicted a character called Max Headroom as an entity living in a virtual space, appearing whimsically in the Space inside the monitor, speaking something to the viewer, and then disappearing.
On the other hand, in the cat at the east exit of Shinjuku, the point of contact is not a TV or PC monitor but an outdoor vision.
The superimposition of the Virtual Space and the actual city showed the potential of the outdoor vision medium to be experienced by multiple people passing by.

In the Corona Disaster of 2021, a cat looks down on people passing by like an optimistic cat (in fact, it may not be thinking) and soothes them with a calm presence that makes their real human-scale worries seem unimportant.

Currently, we are participating not only in the vision but also in planning the Space in the building we have, including gallery space planning, activation of the adjacent street, and planning multifaceted creativity to make this unique building a new cultural spot in Shinjuku.








この広告をパブリックを舞台としたメデイアアート的視点で見たとき、同じく80年代のコンテンツMax Headroomのでは、Max Headroomと呼ばれるキャラクターがモニター内の空間に気まぐれに現れ、何か語りかけて消えてゆくというような、バーチャル空間の中に住む存在が描かれましたが、新宿東口の猫では、TVやPCモニターではなく、屋外ビジョンが接点となってバーチャル空間とリアル都市が重ね合わされて、行き交う複数の人と体験するという屋外ビジョンというメディアの可能性を示しました。



Creative Director
  • Synichi Yamamoto
  • Masakazu Kagami
CG Supervisor
  • Hirokazu Aoyama
Animation Supervisor
  • Yusuke Akita
  • Tatsuya Hiramatsu
Rigging Artist
  • Takashi Yamazaki
Look Dev Artist
  • Takashi Nishida
Shot Artist
  • Masaaki Nakae
Digital Artist
  • Yuto Kawashima
  • Yuriko Katagi
Sound Design
  • Intercity-Express
Production Manager
  • Airi Iwata
Public Relations
  • Kumiko Inutake