Ota Ward Cultural Arts Information Paper "ART bee HIVE" vol.26 + bee!

Issued April 2026, 4

Vol.26 Spring Issue

The Ota Ward Cultural Arts Information Paper "ART bee HIVE" is a quarterly information paper that contains information on local culture and arts, newly published by the Ota Ward Cultural Promotion Association from the fall of 2019.
"BEE HIVE" means a beehive. Together with the "Honeybee Squad," a group of local reporters recruited through public recruitment, we will gather artistic information and deliver it to you!
In "+ bee!", We will post information that could not be introduced on paper.

Artistic People: Manga Artist Masakazu Ishiguro + bee!

Artistic People: Urara Matsubayashi, Actor, Producer, and Director + bee!

Future attention EVENT + bee!

This is the kind of Tokyo that exists. I'll draw this exactly as it is in a manga.
"Manga artist Masakazu Ishiguro"

Mr. Ishiguro standing in front of Shimomaruko Station on the Tokyu Tamagawa Line.

Set in the Maruko shopping street, which is modeled after Shimomaruko, the story follows a high school girl named Arashiyama歩鳥Bank"Sore demo Machi wa Mawatteiru" (Even So, the Town Keeps Turning) is a manga that depicts everyday events that happen around a town. It was serialized for a long period from 2005 to 2016 and was adapted into a TV anime in 2010. It remains a popular work that continues to attract new fans. We interviewed its author, Masakazu Ishiguro.

"Sore demo Machi wa Mawatteiru" (Young King Comics) - all 16 volumes

It really feels like a town where people live.

I've heard that the inspiration for the song "Sore demo Machi wa Mawatteiru" (Even So, the Town Keeps Turning) came from Shimomaruko.

"I moved to Tokyo in 2003 and lived there until 2005. I'd always wanted to create a slice-of-life manga set in a town, but it was only after living there for a while that I decided to incorporate elements of Shimomaruko. I experienced a culture shock in a good way. I'm from the countryside, so I didn't have a very good image of Tokyo. My image of Tokyo was a concrete jungle, crime, fraud, and unemployment... (laughs). Walking around Shimomaruko again today after a long time, I realized it's such an elegant, calm, and quiet town. My perception of Tokyo completely changed. I thought, 'There's a Tokyo like this too.' I decided to depict that in my manga."'

What is the appeal of Shimomaruko?

"It's a bit abstract, but I really feel like it's a town where people live. Right now, due to various circumstances, I'm living in a well-known downtown area, but frankly speaking, it's not a place where people live. It's chaotic, and everything is for tourists. Even if I want to walk my dog, I have to push my way through crowds of tourists to get to the riverbank. In contrast to that, I think Shimomaruko is a town where people live. That's why I think it felt natural to place the manga characters directly in Shimomaruko."'

At the Shimomaruko Shopping Street (Shimomaruko Shoei-kai)

I wanted to depict communication. Because there was communication in the town of Shimomaruko.

Please talk about the theme of "And Yet the Town Keeps Turning."

"I wanted to depict communication. I felt that way because there was communication in the town of Shimomaruko. At the time, I was living on the second floor of a greengrocer. I could hear the owner calling out to customers all day long. 'We have carrots with mud from Kochi in them, so this is...'御御御付OmiotsThey were constantly having conversations like, "You should do that." I was drawing my manga above that shop. People were always talking to each other, and it was different from my image of Tokyo, which I thought was nice. One of the themes will be the way people communicate in Tokyo, which is probably completely different from what country bumpkins like me think of as Tokyo.

Were the various locations that appear in your work familiar places in your daily life at the time? For example, did you frequent "Alps" (now closed), which served as the model for the maid café "Seaside"?

"I didn't go there that often, but I would go there occasionally to eat, and I would think about using it as the setting for my story. Of course, I wasn't wearing a maid outfit like the one I drew in the manga (laughs), but I think it was a shop run by an old woman and her son. It felt like a typical neighborhood coffee shop. I remember there were always customers there. The greengrocer lived there, so I did talk to him and shopped there every day."'

Although it's actually in a neighboring town, Nitta Shrine also appears in the story.

"For me, a shrine is, in a word, a place where they make mochi (laughs). During the New Year, people from the neighborhood gather at the shrine to make mochi, and we get to eat it. I really loved going to the mochi-making, and I also loved going to see the summer festivals. I learned that even in Tokyo, there's a sense of community and interaction through events at shrines, just like in my hometown in the countryside."'

This work is almost a reflection of my own life.

What does "And Yet the Town Moves On" mean to you, Mr. Ishiguro?

"Through the characters, I've depicted the conversations I had with my friends when I was in high school, and the things we did together. I've included as much detail as I could remember of the bento boxes my mother made for me every day, as the main character Hotori's lunchbox. It's practically a reflection of my own life."'

"And Yet the Town Keeps Turning" continues to attract new readers. Even 10 years after the series ended, it continues to be reprinted. It's a story that anyone can relate to, no matter when or who reads it. It's a universal work that teaches the importance of communication and other such things.

"Yes, it's universal, isn't it? That's what I wanted to say (laughs)."'

Is the town of Shimomaruko itself a special place for you, Professor?

"It's something special. It's like a hometown within Tokyo. Today I feel like I've come home for a visit, even though I don't actually have a family home (laughs)."'

I always draw the manga so that readers can place their own thoughts in one spot.

Please tell us what you value most when creating your work.

"In the case of 'Sore Machi (Sore demo Machi wa Mawatteiru)', I make sure that the reader feels like they are inside the story. In the seaside coffee shop scene, no matter how many customers there are, there is always one empty seat. That seat is for the reader. I always include a panel showing the view from that seat. I always draw in a way that allows the reader to feel like they are in one place within the manga."'

Mr. Ishiguro, have you ever had the experience of visiting a sacred site?

"I absolutely love Soseki's 'Sanshiro,' and I went on a pilgrimage to the University of Tokyo. I went to see the pond that Sanshiro circled around to kill time before pretending to meet the heroine by chance—Sanshiro Pond. And also Kiunkaku in Atami, where Osamu Dazai lived and wrote for a period of time."'

Since I was a child, I've always thought that manga artists draw all sorts of genres.

Please tell us about your future plans.

"I have a lot of things planned. I'd like to draw something like 'Sore Machi,' but I'm also vaguely thinking about something different from both 'Sore Machi' and 'Tengoku Daimakyo*.' Well, it depends on how I feel after 'Tengoku Daimakyo' is finished."

Having read "Sore Machi" and some of your early short story collections, I get the impression that you depict a wide range of genres.

"I think it's probably because of the influence of Fujiko Fujio. Fujio's works have a mix of different genres, don't they? Since I was a child, I thought that manga artists should draw things in various genres, so I don't think I was able to stick to one style. It also means that I was struggling to come up with ideas every month (laughs). I was desperate. One-shot stories are tough. You have to come up with a story and a punchline every time, and they don't give you any days off. I tried to create a break by stockpiling one story, but then they published two at the same time (laughs)."

Finally, do you have a message for our readers?

"Having lived in various places myself, I think Shimomaruko is a really great place, even when comparing it to all of Tokyo. I walked around the town again today after a long time, and I thought I'd like to live here again. So be confident (laughs). I think it's a really well-balanced town.".'

* Kiunkaku: Built in 1919 by businessman Shinya Uchida as a villa. It is considered one of the "Three Great Villas of Atami," along with Iwasaki Villa and Sumitomo Villa. It opened as a ryokan (Japanese inn) called "Kiunkaku" in 1947. The tatami room on the second floor of the Japanese-style buildingOtoriたいほうThis room is famous as the room where the renowned author Osamu Dazai stayed. In 1948, he secluded himself in the Kiunkaku Annex (which was demolished in 1988) and wrote his novel "No Longer Human."
*Heavenly Delusion: A series that has been running since 2018. A science fiction manga depicting mysteries surrounding boys and girls living in post-apocalyptic Japan. It was adapted into a TV anime in 2023.

Profile

At Ota Ward Shimomaruko Children's Park

Born in Fukui Prefecture in 1977. Debuted in 2000 with "Hero," which won the Afternoon Shiki Award Autumn Prize. From the May 2005 issue to the December 2016 issue, "Sore demo Machi wa Mawatteiru" was serialized in "Young King Ours" (Shonen Gahosha). In 2010, it was adapted into a TV anime series broadcast on TBS and other networks. Other works include "Nemuru Baka" (2006-2008) and "Tengoku Daimakyo" (2018-).

Film is also a device for preserving records of cities and their people.
"Actor, producer, and director Urara Matsubayashi"

On Bourbon Road, where the protagonist Machiko (played by Matsubayashi) parted ways with her younger brother's girlfriend, Setsuko (a ghost?)
Hair and Makeup: Tomomi Takada, Stylist: Yuta Nebashi

Set in Kamata, the film "Kamata Prelude" realistically depicts the various issues faced by women living in modern times, such as family, work, marriage, and harassment, centering on one actress. In 2020, it was screened as the closing film at the 15th Osaka Asian Film Festival and received high praise. Urara Matsubayashi starred in and produced the film.

 DVD "Kamata Prelude" (Amazing DC)

If there's something you truly want to do or express, create it yourself.

What inspired you, as an actor, to produce a film?

"Since I was in elementary school, I've always wanted to watch movies as a whole, or rather, I'd rather make them than be in them, so I wanted to become a film director. However, I initially thought I'd start as an actor. After graduating from high school, I joined an agency and went through a cycle of auditions, sometimes getting accepted, sometimes failing (laughs)."In 2017, I had the opportunity to participate in film festivals both domestically and internationally, such as the Tokyo International Film Festival and the Rotterdam International Film Festival, with my starring role in the film "The Hungry Lion"*. It was my first time at a film festival, and I met many directors and producers and learned about different approaches to filmmaking. I realized that instead of just waiting around as an actor, if I had something I truly wanted to do or express, I should create it myself. It was the film festivals that inspired me to raise my own money, reach out to various people, and try making a film myself."

Are there many opportunities to communicate with directors and producers at film festivals?

"That's right. Of course, actors are important, but ultimately, a film largely belongs to the director and the producer. By interacting with the people who make films, I learned how movies are made, and I developed a desire to make films that connect with the world."

A scene from "Kamata Prelude / Kamata Elegy"

I also wanted to include the town of Kamata in the film.

Could you tell us why you chose Kamata as the setting for your first produced work?

"Well, it's my hometown after all (laughs). When I thought, 'So, what should I make myself?', I decided to set it in my hometown of Kamata. Kamata has been close to me since I was a child, and above all, I thought it was an interesting town. I also liked Kinji Fukasaku's 'Kamata March'*, and coincidentally, the time I made 'Kamata Prelude' was the 100th anniversary of the Shochiku Kinema Kamata Studio. The idea was that an interesting story would be born from the encounters of various people with an unsuccessful actress named Machiko in Kamata. And because I wanted to make it with directors I wanted to work with, I made it an anthology."Actually, director Kinji Fukasaku's "Kamata March" is a film about the Kamata film studio, but it wasn't filmed in the town of Kamata at all (laughs). In that sense, I also wanted to leave the town of Kamata in the film.StylishいきI always thought it was a charming town, so I'm glad it was captured in the film.'

In front of the "Ferris Wheel of Happiness" at Kamataen
Hair and Makeup: Tomomi Takada, Stylist: Yuta Nebashi

I rediscovered that this city is visually stunning and could easily be turned into a movie.

Please tell us about the charms of Kamata, including any memories you have.

"When I was a child, my father often took me to places like the Ferris wheel at 'Kamataen.' We went shopping and did all sorts of things in Kamata. On the other hand, there are things I don't know precisely because it's my hometown. To be honest, I drifted away from Kamata a bit during my middle and high school years, but making this film has allowed me to rediscover the charm of my hometown, Kamata."I'm embarrassed to admit that I didn't even know about Kamata Onsen. We call the process of researching locations for a script "scenarios," and while doing so, I walked around Bourbon Road and the Sunrise shopping street with each of the directors. It was like discovering places I didn't know existed, like, "Oh, there's a ramen shop here!" More than anything, I rediscovered what a visually stunning town it is that makes for a great movie.'

I've come to realize anew the importance of expressing what I want to do.

What was it like actually producing something?

"It was incredibly difficult, not only because I had to bring people together, but also because I had to make decisions and even raise funds. There were four directors, and the film was rather disjointed, so there were all sorts of big commotions, a real Kamata commotion. There are a lot of things I can't talk about (laughs). Each director naturally has their own unique vision, and they're all artists, so it's tough. The producer is in a position where they have to see the film through to the end. I also appeared as an actor, but I had to combine four short films into one movie, do the color grading* and synchronize the sound, etc. In the end, I ended up being something like the overall director (laughs)."

Producers have a tough job even after the project is finished.

"It's not over once the film is finished; you have to take it to film festivals and screen it in theaters. The same goes for publicity. We were lucky that it was screened in theaters because the release was during the COVID-19 pandemic, but it was really tough. Filmmaking takes a lot of time, and it's something that can't be done without the cooperation of many people, both before and after production. It gives you a different sense of accomplishment than acting. I entered this industry because I love movies, and I've come to realize anew the importance of expressing what I want to do. I'm glad I became a producer."

Tatsuya Yamasaki

I'm now thinking, "Oh, Kamata is fine!" (laughs).

Did you choose the filming locations yourself?

"I walked around the streets of Kamata with the director, scouting locations and incorporating those ideas into the script. I told them that I wanted to connect the story using the town of Kamata and a woman named Machiko as the central themes. I came up with a theme for each director and presented them with a challenge."Through filming "Kamata Prelude," I feel I've been able to see the town of Kamata from a different perspective than when I was younger. I used to hang out in Shibuya and Shinjuku when I was a student, but now I feel like, "Ah, Kamata is good enough" (laughs). I even have my work meetings in Kamata. In the end, Kamata is where I feel most at ease.

Lastly, please give a message to our readers.

"Movies are also a tool for preserving records of towns and people. In that sense, they are invaluable. 'Kamata Prelude' is a film packed with various elements, so I would really like the people of Ota Ward, my hometown, to see it. It can be watched via streaming services and on DVD, but if the opportunity arises, I would like to screen it in a movie theater as well. I hope to continue making movies as an actor, producer, and director*."

* "The Hungry Lion": A film directed by Takaomi Ogata, released in 2017.
* "Kamata March": A film directed by Kinji Fukasaku, released in 1982.
*Color grading: The process of adjusting the brightness, saturation, and hue of colors to unify the color tones of the source material and make the video more appealing.
*Mr. Matsubayashi will appear in "Blue Imagine," which will be released in 2024.BeautifulUraraHe made his directorial debut as a director.

Profile

On Bourbon Road
Hair and Makeup: Tomomi Takada, Stylist: Yuta Nebashi

Born in Ota Ward in 1993. Starred in Takaomi Ogata's "Hungry Lion" (2017). Appeared in Yoko Yamanaka's "Girls of the 21st Century" (2019). Starred in and produced "Kamata Prelude" (2020). Made his directorial debut with "Blue Imagine" (2024). Currently preparing to direct and write the screenplay for a feature film set in Satte City, Saitama Prefecture.

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Upcoming events to look out for +bee!

Future attention EVENT CALENDAR March-April 2026

This issue features a selection of spring art events and art spots. Whether you're looking for something in your neighborhood or a little further afield, why not explore some of these art-related attractions?

Please check each contact for the latest information.

Renseisha's Exhibition Vol. 6: Playing with Flowers

An exhibition of blown glass works by Naoto Ikegami and Yumi Nishimura from Nagano. The theme this time is "Playing with Flowers." We will have spring flowers available, and we hope you will enjoy arranging them in Renseisha vases.

Contact Us

Public Relations and Public Hearing Section, Culture and Arts Promotion Division, Ota Ward Cultural Promotion Association