Japan's home drama genre is undergoing transformative changes as industry veterans Akiko Nogi and Hiroshi Doi explore the potential of original storytelling through their latest project, 'Slow Train.' The duo, known for their work on 'The Voice of Sin' and other projects, delves deep to identify what contemporary home dramas should portray and the audiences they aim to reach.
During discussions about their creative process, Doi spoke of the inspiring moment when he encouraged Nogi to write original scripts, stating, "I felt she should be writing original works, helping to spark ... her unique voice." This marked the beginning of Nogi's commitment to original narratives and shifted her career path, leading to acclaimed titles such as 'Unnatural' and 'MIU404.'
Nogi reflected, "All original works start from zero. There’s a special muscle you develop when creating original stories. While adaptations can be fascinating, the current trend seems to be diminishing the ability to craft original narratives, and we need to revitalize this muscle."
Creative collaboration is central to their process. Doi emphasized the need for trust among creators, sharing, "Making original pieces sometimes requires us to lay bare our entire selves—our experiences. Without trusting one another, it becomes impossible to create immersive narratives.” Doi recognized the significance of Nogi's persistence for excellence. He remarked, "When she’s not satisfied, she pushes for more! Her clarity gives shape to our themes and strengthens our work.”
The climate of drama viewership has evolved dramatically. “Not long ago, the target demographic for home dramas primarily focused on homemakers,” Doi commented. “Now, many women are part of the workforce, consuming content flexibly via smartphones and forgoing traditional viewing hours. This shift greatly influences how we design our stories, ensuring accessibility to all demographics.”
Addressing the broader impact of their shows, Nogi stated, "While dramas like 'We Married as Job' captured wide audiences, the changes they instigated feel slow. Even if they don't spark immediate change, portraying these themes can shift public consciousness little by little." Doi contributed, "Often, we realize our narratives impact lives we may never know about. For example, I’ve heard someone contemplating becoming a nurse after watching one of my shows. This responsibility weighs on us heavily—it reminds us to be conscious creators.”
The commitment to producing quality original narratives reflects not only on the surface but through the layers of experience embedded within each character and story. Doi stated, “The presence of the creator's experiences and beliefs can be palpable. Each story we develop has the potential to inspire new discoveries and resonate with viewers. They could become the turning point for someone's life.”
Nogi and Doi maintain hope as the industry returns to fostering original stories. “While recent trends suggest we’re beginning to see more original works, I wish for this momentum to continue growing,” Nogi asserted.
With each project, Nogi and Doi demonstrate the multifaceted role of home dramas within Japanese society. By threading personal experiences and strong narratives together, they challenge viewers to reflect on their lives and aspirations. The question remains: will the new wave of original programming carry the weight of cultural significance as they hope?
