They all pushed me!

Tsumurai answered coldly, but she immediately turned her eyes away and spoke with pursed lips:

"Though I did make a wish then."

"What wish did you make?"

In response to Ukiyo Hidetoshi's question, Tsumurai did not answer directly. Instead, she frowned and said in a frustrated tone, as if she had realized something:

"Is what I've done so far the right thing? I can't figure it out anymore."

"Don't make that expression."

Ukiyo Hidetoshi took two steps forward, his pupils captured the other person's sight strongly, and then he said seriously:

"My sister is still the best with smiles."

"I'm not your sister."

She subconsciously retorted as she did before, but the moment she said it, Tsumuri couldn't help but raise the corner of her mouth and smile at Ukiyo Hidetoshi.

"You're going to participate in the final battle royale of desire, right?"

"Ah."

"What is your wish?"

Even though she had seen Ukiyo Hidetoshi's wish countless times before, when she asked this question, Tsumuri's heart still beat faster.

Because it is the final round and the last chance, in a sense, the wish made this time should be the other party's deepest obsession.

She herself didn't know what to expect.

"What I hope for is my mother's freedom and happiness."

The moment Ukiyo Hidetoshi's words came out of his mouth, they fell into Tsumurai's heart like a meteorite, as if they were going to slide into the bottomless abyss in one breath. On the contrary, her soul seemed to float up little by little, becoming lighter and lighter, as if it was going to fly out of her body in one breath.

“…I hope it can be realized.”

She replied.

-------------------------------------

The plot continues to advance.

Suel, the creator of the Desire Grand Prix, had no intention of fulfilling any wishes. He just wanted to enjoy the final fight. He had already planned to abandon and leave this world with the Goddess of Creation.

After learning the other party's true purpose, Hidetoshi Ukiyo retrieved one of the keys with the help of his companions, gained permission to go to the location of the Goddess of Creation, and confronted Suelle head-on.

Suel ordered the Goddess of Creation to create a world where Ukiyo Hidetoshi does not exist, but the Goddess of Creation did not fulfill this wish. Instead, many cracks appeared on the statue itself, as if it was about to collapse completely.

Suel did not show any panic about this series of sudden changes. He had long been prepared to abandon the old goddess of creation, because in the current game guide Tsumuri, he discovered a new power of creation. He decided to make Tsumuri the new goddess of creation and send her to another world, just like he did with Mizumei before.

The goddess of creation transformed by Mizumei is still falling apart.

The fragments of the statue fell beside Ukiyo Hidetoshi, and half of her wings collapsed completely.

Holding the fragments in his hands, Hidetoshi Ukiyo was heartbroken. The power of creation inherited from his mother hidden in his body awakened, and he officially transformed into the Thruster MK-III form. With full of anger, he killed the officials of the Desire Grand Prix and went straight to the broken goddess in the sky, but soon after, Suel teleported the broken goddess away, and Hidetoshi Ukiyo himself could only fall from the sky in despair.

After talking to himself in his subconscious while wearing a fox mask, Hidetoshi Ukiyo finally confirmed his belief that he wanted to destroy and reconstruct this world using the power of creation given to him by his mother.

Then, at the last moment before the collapse of this world, Hidetoshi Ukiyo finally saw his mother in a space full of flowers with the power of prayer.

As a new actress who just turned 18, Izaki Nana never expected that the role she would get in "Kamen Rider Polar Fox" would be the goddess of creation, Mitsumei, the biological mother of Ukiyo Hidetoshi.

After all, she and Kitagawa Ryo are only less than one year apart in age. Even though they only have a few minutes of screen time, it always feels a bit awkward to play the roles of mother and son, and it even made Izaki Nana worry about the final effect before filming.

She herself didn't mind, but she was a little worried about whether Kitagawa Ryo could overcome her psychological barriers. After all, it was a bit difficult to act out the longing for her mother in front of an actress who was only one year older than her.

But the moment the filming began, Izaki Nana herself was swept up in the huge torrent of emotions.

Because in this scene, the mother is communicating with her son through thoughts, the lines of the character Mizume were dubbed in post-production, performed by professional voice actors.

On this basis, Izaki Nana only needs to perform the movements and expressions, and even basic lip movements are not needed.

In other words, in this scene, only Ukiyo Hidetoshi, played by Kitagawa Ryo, has any lines in the performance.

"I don't want to forget my mother, no matter how many times she dies or is reborn."

"It's so hard to see her, I don't want to leave her like this."

The moment she met Kitagawa Ryo's dark eyes, Izaki Nana even felt that she was having difficulty breathing. Fortunately, she didn't need any lines, otherwise she felt that she would definitely forget them completely.

The inexplicable and strong feeling of sadness was clearly transmitted to her. At a certain moment, she even really doubted whether she was the biological mother of the other party whom she had never met.

At the edge of the set, Hoshino Ai watched the performance, then whispered along with Kitagawa Ryo's words, reciting the lines from the script one by one.

"Mother……"

[You have to live on and harvest your own happiness, which is also my happiness. Even if we are separated, as long as you are still happy, I will feel very happy, and it will always be like this. ]

"I understand, mother..."

As the statue shattered, the mother's figure gradually became illusory.

"I will use the life and strength I receive from you to create a world where everyone can be happy."

In the moment before the figure disappeared, his mother hugged him for the last time.

Hoshino Ai also dubbed the last line.

【……I love you】

-------------------------------------

"Ah—it's a masterpiece."

Screenwriter Yuya Takahashi was very satisfied with the final presentation of this segment. There are many actors who can immerse themselves in the role 100%, but actors who can bring the people around them into the role and immerse themselves in the emotions are truly rare.

And the performance just now by Kitagawa Ryo happened to belong to the latter.

Not only Izaki Nana who was acting opposite him, but many other staff members were inevitably caught up in the atmosphere created by Kitagawa Ryo, and could hardly take their eyes and minds away from his every move. They were like puppets without independent consciousness, being entangled in his every action.

It is no exaggeration to say that Takahashi Yuya can even imagine the spectacular scene where Kitagawa Ryo's mom fans will revive in large numbers again after this episode is broadcast, and he has even thought of a slogan.

"Moms are just old, not dead."

On the other side, Hoshino Ai handed a tissue to Kitagawa Ryo, who had a classic crying scene in this performance, and said casually:

"Mizumei is a good mother."

"Ah."

Beichuan Ryo did not take the tissue, as if he was still immersed in the performance just now. He just lowered his head and answered perfunctorily.

But immediately, Hoshino Ai's hand came over.

Unlike an incident long, long time ago, her movements were no longer unfamiliar and immature, but full of tenderness. She helped Beichuan Ryo wipe away the tears from the corners of his eyes and cheeks little by little.

Then, Hoshino Ai slightly tiptoed and expressed her implicit love to Kitagawa Ryo in his ear.

This may be the least confession-like confession that Beichuan Liang has ever received.

"cold."

"I will definitely become a good mother in the future. I won't lie to you."

(Volume 1, end)

Volume Two

Chapter 1: Re-dispatch

Nearly three years passed by like water.

Kitagawa Ryo's career has developed very fast in the past two years. "Kamen Rider Polar Fox" has accumulated a lot of popularity for him among underage audiences. In addition to his wonderful performance in the 2.5-dimensional stage play, he soon received a large number of invitations to live-action comic-adapted movies. At the request of the management company and himself, "Rurouni Kenshin" starring Kitagawa Ryo finally raked in nearly billion yen at the local box office. The original author Nobuhiro Watsuki was so excited after watching the movie that he sent several tweets in a row, saying, "When I saw Kitagawa's appearance, I already knew that the actor who played Kenshin was none other than him."

But at the same time, since the completion of "Kamen Rider Polar Fox", many people, whether they are practitioners in the circle or ordinary audiences outside the circle, have begun to notice another phenomenon.

That is the increase in the frequency of Kitagawa Ryo and Hoshino Ai performing together.

Apart from the dramas and stage plays they collaborated on in the LALALAI troupe, Kitagawa Ryo and Hoshino Ai began to frequently play the leading roles in TV dramas. The first one was "Proofreader Girl Etsuko Kouno" which was broadcast on Nippon Television (NTV) on Wednesday night at 10 o'clock and had a 25% viewership rating.

The heroine Etsuko Kono, played by Hoshino Ai, successfully led the fashion trend of the year with at least eight outfits in each episode and her stunning looks. She and the hero played by Kitagawa Ryo, the college student and writer Yukito Orihara, performed the blushing and heart-pounding "younger-man love" plot that took them back to their student days, which made the whole show seamlessly connect with many fans who had been fans of the two CP since "Kamen Rider Polar Fox" and enjoyed themselves to their heart's content.

After that, the two collaborated again in the autumn of the following year, co-starring in the TBS TV station's popular top ten TV series "Does This Love Need to Heat Up?". Although the plot of the show itself was not outstanding, with the wonderful performances of Kitagawa Ryo and Hoshino Ai, coupled with the bright style with the theme of making desserts, it still got a 21% audience rating in the winter of that year, which made many people in the industry shine and began to re-evaluate the commercial value that the two people could bring when they appeared in the same frame.

TBS, which has already tasted the sweetness, is making further efforts and is preparing to create another romantic comedy starring the two in this year's popular 10th slot, striving to learn from last year's experience and produce a real hit.

“I heard that TBS spent a lot of money this time. Not only is the cast strong, but it seems that they also specially invited Ken Himura to compose the ending song.”

"Eh? Is he that famous musician? I remember that he used to write songs for B Komachi, the band that Hoshino was in. The most popular songs like "Dissonance" and "Black Sheep" were all composed by him. But later he became famous as a musician and lead singer, and he didn't write songs for others very often."

"Of course, but it was said that Hoshino herself contacted and asked for the song. She was the main C of B Komachi back then, and she is also an old friend of Himura. And it seems that she plans to sing it herself, so Himura agreed without hesitation."

"Wow... Hoshino is singing solo? Himura is composing the music again. Am I dreaming of five or six years ago? B Komachi was so popular back then."

As soon as Ouchi Junji walked into the program set, he heard two staff members chattering in private not far away. He also deliberately cleared his throat and coughed.

"Hello, director! Thank you for your hard work."

"Good morning, Director. You're here really early today."

Hearing the cough of the chief director Ouchi Junji, the two were startled and quickly stood up and bowed respectfully to greet him.

"Have you checked all the equipment?"

"Yes, everything has been checked and there is no problem."

"Then get ready to go."

Ouchi Junji waved his hand decisively. As the chief director of NTV's long-running variety show "Hatsusen", he has been working in this industry for nearly 30 years. Therefore, he doesn't really care about other staff members of his program group discussing this information which sounds quite fresh and exciting to outsiders.

The entertainment industry is so small, and they are all affiliated with NTV, one of the six major TV stations in Japan. In addition, the one causing the commotion this time is a competitor in the industry, which is also affiliated with TBS, one of the six major TV stations, so they will pay special attention.

However, for Atsuji Ouchi and other people in the program team, these were just topics of conversation. After all, they were only responsible for the variety show "Hatsusen" and it was not their turn to compete with other TV stations for ratings.

Perhaps because the filming location today was related to someone in this topic, Ouchi Junji narrowed his eyes slightly, and an inside information, or rumor, that he heard at a drinking party a few days ago emerged in his mind.

After the broadcast of this popular TV series that TBS has high hopes for ends, there may be absolutely explosive news in the entertainment industry.

Ouchi Junji stroked his chin and recalled some of the information he had come across:

The title of the drama is "It's Not My Fault That I'm Not Popular Yet", starring Kitagawa Ryo and Hoshino Ai. The ending song of the TV series "Love" has been confirmed. Hoshino Ai wrote the lyrics and sang solo, Ken Himura composed the music, and MIKIKO, who was the choreographer of the Japanese dance performance at the closing ceremony of the Rio Olympics, was in charge of the choreography.

Hiss...can't it be?

-------------------------------------

The program format of "Hatsusen" has not always been fixed. Since its launch in the last century, the program team has been constantly receiving feedback from the audience.

Among all the feedback received by the program team, the topic that the audience is most concerned about is "their later stories" - is the little kid who loved to cry okay now? How is the child doing after the first exile? What did the child become when he grew up?

Inspired by these feedbacks, the "First Dispatch" production team also made changes, adding the work of returning to film after a few years, and writing down the following blank space after each child's first dispatch:

"I wonder what that little baby who was brave or timid, who walked or ran, fell or got up, will become in ten years?"

Then, the production team of "Hatsusen" will track the subsequent growth of these children. They will visit them again every eight or nine or ten years, and see that some of the children have been promoted to high school and joined the football club, some have won medals in competitions as athletes, some have been admitted to prestigious universities, and some children have even invited the production team to attend their weddings when they grow up.

"Hatsushiro" re-filmed these subsequent stories one by one, and made them an inherent part of the program with the same solemnity. After reviewing the video of a child's childhood Hatsushiro, every time "XX years after that" appears on the screen, the audience in front of the TV can get a glimpse of their subsequent life.

The program is not only intended to record a child's present moment, but also to capture her future, the future of the street where she lives, and the future of her family.

Today, the family that the "First Dispatch" program team is returning to after nine years and the children they are about to visit again are——

"My name is Kitagawa Rumi, I just turned 12, and I'm now a first-year junior high school student!"

In the lower right corner of the screen, the program team also added in real time a photo of Kitagawa Rumi filming "Hatsusen" nine years ago when she was over three years old.

"Kawaii——"

"Even cuter than when she was a child."

"She has grown into a beautiful girl."

The commentary panel has changed over the years, but the basic 'kawaii' etiquette has been retained.

But in fact, this was not entirely a polite remark. After all, the girl who was sitting on the sofa and accepting the interview calmly in front of the camera was indeed a girl who was so stunning that the word "cute" was not enough to describe her.

Her bright golden hair had grown to a length that almost reached her waist. Her hairstyle was simple, with a headband tying it into a swallowtail on the side. The slight sway of her hair revealed the vitality and dynamism that are unique to girls.

There seemed to be some ornament hanging on the white neck, which was immersed in the collar, hanging between the slightly raised hills, and close to the heart.

After losing her baby fat, her face shape has gradually become more refined. The most eye-catching of her impeccable facial features is indeed her pair of rosy red eyes. As she looks around, she has begun to reveal the slightly youthful charm unique to girls of this age.

"Ruby's performance on the show nine years ago caused quite a stir back then."

The staff of the program team began to talk to Kitagawa Rumi with a smile, and the original clip was played on TV at the right time. Kitagawa Rumi, who was only three years old, did not cry or make a fuss all the way, and was indifferent to the temptation of half-price snacks, and successfully bought the soy sauce that her brother needed.

“How do you feel when you look at these pictures now?”