视频的创作方式是在游戏内编辑镜头，场景为游戏自带，人物，镜头几位，人脸模样均为自主完成，特此说明。

Riki, a 10-year-old boy, runs away from home, following a mysterious emergency signal sent by a shiny stone. It takes Riki to the breathtaking parallel world of “Yourland” where science peacefully coexists with nature. 　　The shining stone merges with Riki by hiding in his heart. It seems everybody in Yourland is eager to procure this treasure, as it is the core of Yourland’s power and owning it gives a great deal of influence. 　　Who should Riki share his secret with? His new cheeky friend, Emma? Metal Man, the mighty robot? Tidling, a monkey general? 　　We accompany Riki on his adventurous journey full of perils, traps and humor, to restore the stone – the “Heart of a Tower” – to its “nest”.

1998年至1999年，高畑勋导演和宫崎骏导演分别作为旅人出演，收录了NHK卫星第二频道播出的《世界我的心之旅》。『カナダ 木を植える男との対話』（16:9LBワイドスクリーン）、『サンテグジュペリ 大空への夢～南仏からサハラ～』（4:3スタンダード）

近年来在西藏，因父母离异而沦为孤儿的儿童人数急剧增加。 　　藏族牧民传统上盛行父母包办婚姻，但随着互联网、手机和社交网络的渗透普及，为青年男女的交流打开了新的途径，同时游牧家庭的离婚率也急速上升。 　　藏族习俗鼓励离婚父母抛下子女，去组建新的家庭，这便造成众多儿童，虽然亲生父母依然健在，却成了孤儿。 　　青海省的果洛道扎福利学校，收容了很多这样的儿童。13岁的梅朵嘉波（音译）就是其中之一。 　　父母在她出生后不久便离婚，父亲离她而去，母亲再婚，她由外公外婆抚养长大。 　　虽然从小一直听外公外婆说父亲的坏话，但她一直很想知道，父亲究竟是怎样的一个人。在孤儿学校生活多年之后，她决心踏上返乡之旅，去亲眼认识一下她从未有机会了解的父亲…… 　　本片聚焦在市场经济浪潮中，社会伦理急速变化的西藏社会。

Aki and Naoko are childhood friends who are drifting apart as adults. Immersed in her family life, Naoko now has a husband and daughter; Aki, on the other hand, remains single and is on leave from work due to a personal crisis. The plot might sound familiar but it has never been told like this. The director Kusano Natsuka stages the interactions through an actors’ table-read and, as the lines are repeated, the scenes gradually develop into on-location conversations. Moreover, she repositions the dramatic peak of the story to the beginning: Aki has murdered Naoko’s daughter. 　　Structurally inventive, Kusano's daring cinema implements ‘distantiation’ effects to get to the heart of friendship issues at times when life has settled. While the repetitions convey the suffocation of role patterns in both friendship and family, a line left out or added in unsettles and reminds us life can take unexpected turns.

Aki and Naoko are childhood friends who are drifting apart as adults. Immersed in her family life, Naoko now has a husband and daughter; Aki, on the other hand, remains single and is on leave from work due to a personal crisis. The plot might sound familiar but it has never been told like this. The director Kusano Natsuka stages the interactions through an actors’ table-read and, as the lines are repeated, the scenes gradually develop into on-location conversations. Moreover, she repositions the dramatic peak of the story to the beginning: Aki has murdered Naoko’s daughter. 　　Structurally inventive, Kusano's daring cinema implements ‘distantiation’ effects to get to the heart of friendship issues at times when life has settled. While the repetitions convey the suffocation of role patterns in both friendship and family, a line left out or added in unsettles and reminds us life can take unexpected turns.

インターネットで知り合った昴と香。彼らは心中を図るため、香の故郷である岩手を目指す。ひきこもりの昴は謎の少女、香を前に死に対する自分の思いを再確認していく。

インターネットで知り合った昴と香。彼らは心中を図るため、香の故郷である岩手を目指す。ひきこもりの昴は謎の少女、香を前に死に対する自分の思いを再確認していく。