# Story

This is the story behind the 127.77-second, 23-shot “Bitter-Melon Harvest and Deer Control” main film shown near the beginning of the full making-of video. The creator first gave an AI agent a rough note and three vertical clips. Later materials and production conversations shaped the finished sequence.

## Rough story first given to the AI

The following is an English translation of the original rough Japanese text. Its unfinished quality is intentionally preserved.

```text
Please watch these videos.

They are all videos of my field.

菌ちゃん農法_収穫.MP4
  - We harvested bitter melons.

菌ちゃん農法_獣害対策１.MOV
  - Deer got in, so I built an enclosure.

菌ちゃん農法_獣害対策２.MOV
  - The deer jumped inside, so I stretched gold rope higher up. They stopped getting in.

In short, this is a video about protecting the field from wildlife.

I want to upload it to YouTube, but the footage alone is not very entertaining.
I want the character TAKO to explain it.

There is more to add later, but for now, TAKO should look as if he naturally exists in this field footage.
In the bitter-melon harvest shot, TAKO should be holding a bitter melon in his hand.
For the fence and tape explanations, keep the original footage as it is, with TAKO standing in front of the camera and explaining the fence or tape.
```

## Information added later

- The inner fence was 140 cm high, but deer jumped over it.
- Gold tape was therefore added at about 2 m above the ground.
- Live footage of the outer fence around the field and the fence across the front entrance was added.
- A brief callback to TAKO’s defeat by the deer in the previous film connected that event to the new defenses and successful harvest.
- For the ending, TAKO compares the outer fence to “Wall Maria.” An original colossal humanoid then appears in the distance.
- `シカ再び.mp4` was considered, but it was removed from this film because it distracted from the main story.

## Finished 23-shot sequence

1. Vertical phone footage opens in the field without being stretched. The original moving image remains in the center, with enlarged blurred versions on the sides.
2. TAKO appears as an on-location reporter and presents the harvested bitter melon.
3. A brief callback shows the previous film’s apology and three impacts, establishing why deer control was needed.
4. The film returns to the inner fence and explains that deer cleared its 140 cm height.
5. Gold tape at about 2 m is shown. The material is organized into a viewer-facing explanation: the higher line makes deer notice the added height and hesitate.
6. The story returns to the result: no recent intrusion and a successful harvest.
7. Moving live footage follows the outer fence and explains the two-layer relationship between the inner and outer defenses.
8. The path by the front entrance is also a possible route, so the entrance fence is shown as the third defense.
9. A three-panel summary reviews the inner area, outer perimeter, and entrance.
10. TAKO says, “It’s like Wall Maria.” He remains in exactly the same framing, position, and scale as an entirely original colossal figure takes two heavy steps from beyond the trees. The film cuts to black immediately after the second step.

## What the creator supplied and what the AI organized or proposed

The creator supplied the harvest, the 140 cm inner fence, the deer clearing it, the gold tape at about 2 m, the outer fence, the entrance fence, and the request for TAKO to report from the actual field.

The AI organized the gold tape into a clear cause-and-effect explanation for viewers and proposed reviewing the inner area, outer perimeter, and entrance in one final three-panel summary. A person checked both ideas against the real footage and facts before approving them.

## What stayed fixed and what changed

The real field and moving vertical footage had to remain central. TAKO had to feel present in the location, the measurements and fence relationships had to remain factual, and the previous defeat had to lead clearly to the new defenses and harvest.

The team did not use every available clip merely because it existed. `シカ再び.mp4` was saved for another episode. TAKO’s scale, the fence overlays, the voice, pacing, and final gag were revised through repeated storyboard checks and listening tests.