Codename: SOUP
A VR interactive film project inspired by ULTRAMAN, the soup culture of Guangdong Province, China was added into the adaptation project. Using Tokusatsu techniques, the narrative blends action and tradition, exploring the hero's journey through interactive experiences set in vibrant urban landscapes, ultimately highlighting themes of family and hope.
This project has been authorized by Tsuburaya Productions and will be implemented in Shanghai, Shenzhen, Chengdu and other cities in China in May 2025.
INSPIRATION
For the creation of Codename: Soup, I envision a project that combines the nostalgic, practical effects of Tokusatsu series Ultraman with the immersive potential of VR technology.
Tokusatsu and Ultraman: Tokusatsu, known for its use of practical effects and miniatures, brings a tangible sense of realism and charm. The Ultraman series has long utilized these methods to tell hero stories with themes of bravery, humanity, and unity. The idea is to use VR to capture the essence of Tokusatsu’s "hero in action" style but place viewers in a position where they feel both engaged and reflective, observing the nuances of character struggles and growth through interactive storytelling.
VR Integration: In VR, this short film would use "large-space immersion," popular in China, allowing players to freely move through a city environment modeled after Shenzhen or Shanghai. This would give the VR scenes authenticity and emotional resonance, mirroring Tokusatsu’s real-world aesthetic. The setup lets viewers see Ultraman not just as a distant hero but as a relatable figure with ties to daily life and urban landscapes.
Characters Design
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Ryo is an 11-year-old elementary school student from a middle-class family. His father was a police officer, and his mother works as an ordinary company employee. Five years ago, during the "First Light" incident, Ryo’s father disappeared while taking part in a rescue operation (though Uncle Hiro, his father’s colleague, confirmed he was presumed dead). Since then, Ryo’s mother has raised him on her own, imposing strict expectations and a high standard for every aspect of his life. Despite carrying the weight of his mother’s high, often overwhelming expectations and facing teasing from classmates over his family situation, Ryo remains resilient. He strongly believes that his missing father was the Giant of Light that appeared in the city years ago that saved everyone.
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The bird kaiju that first appeared in Ultraman Taro (1973), Flying Raidron is a gentle creature, non-aggressive by nature, who roams space alongside its child. As they pass near Earth, the young Raidron detects a light show on the planet and, driven by curiosity, descends to Earth alone in search of adventure and met our protagonist Ryo.
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The Giant of Light serves as a symbolic projection, embodying humanity’s hope and strong will to protect. For my story, I've chosen Ultraman Noa from ULTRAMAN (2004) and Ultraman Nexus (2004) from the N Project as representations of this figure. A central focus in this story’s portrayal of the Giant of Light is the theme of power inheritance, which resonates deeply with the story’s message and adds a significant layer to the narrative.
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Alien Muzan, space hunter who first appeared in Ultraman Tiga (1996), is known for taking the bracelets of his victims back to his home planet as trophies. Muzan can grow to his giant form when angered or wounded. Six years before this story took place, a group of Alien Muzan stumbled upon Earth and attempted an invasion. However, before they could cause significant harm, the Giant of Light intervened, wiping out most of the invaders. A few Alien Muzan survivors managed to evade capture and remain hidden on Earth, though they've since lost contact with their home planet.