Forza Horizon 6 created a video series called The Art of Driving, where host Larry Chen opens up a deeper look at how regional identity shapes the game’s visual world of Japan. In a covet-worthy Honda Civic Type R, Chen travelled through Japan’s Kyushu region to meet Kazuhisa Uragami, a Tokyo-based illustrator known for blending folklore with modern, industrial aesthetics. His approach is rooted in coexistence, where natural forces and man-made structures exist within the same visual language, reflecting the layered environment he experienced firsthand.

That idea comes through vividly in his mural, which centers on a striking, “noble outsider” figure—a pirate-inspired character rendered with mechanical features and glowing accents, standing against a fiery, almost molten backdrop. Gears, metal fragments and industrial textures are embedded throughout the character’s body, while a flowing red scarf cuts through the composition, nodding to both classic Japanese hero imagery and Kyushu’s identity as a “land of fire.” The piece is designed to read instantly at speed, with bold silhouettes and high-contrast color, but reveals deeper layers—symbolism, regional references and emotional tone—the longer you look.

In the conversation ahead, Uragami reflects on how cars can shift perception, how environment informs character, and why his work ultimately lives in the space where nature, industry and storytelling converge.

Your work often blends digital illustration with elements of folklore and industrial design—how did you balance those influences when creating your piece for Forza Horizon 6?

Rather than treating folkloric and industrial elements as separate influences, I approached them as something that naturally coexists within the same environment. When I visited Kyushu, I was struck by how raw natural energy—volcanoes and the sea—exists right alongside man-made structures like factories and infrastructure. It didn’t feel like a contrast, but more like something continuous, part of the same landscape. In this piece, I depict a hero born from that environment, where “fire” from nature and “iron” from industry coexist. I think of the folkloric elements as an invisible presence or energy embedded in the land itself. By layering industrial details such as gears and metal components onto that, I aimed to create a world that still feels grounded in reality. Rather than opposing forces, nature and industry blend together into a single atmosphere—and I tried to translate that feeling directly into the artwork.

You’ve described your character as a kind of “noble outsider”—what does that concept represent, and how does it connect to the region you’re interpreting?

The idea of a “noble outsider” represents someone who exists outside established systems, yet acts according to their own sense of values and justice. Kyushu has historically been a place of exchange, where different cultures have met and influenced one another. From that perspective, I imagined a character who doesn’t belong to a single category or identity. I chose a pirate as the central motif, inspired by Kyushu’s connection to the sea. While pirates are often seen as outlaws, they can also be understood as figures who act based on their own beliefs, outside conventional structures. At the time, there were people who fell outside the protection of the state—those whose lives were not fully supported. In some cases, there may have been individuals who crossed the sea and engaged in trade outside the law in order to protect those people. Ideas of “justice” shift depending on time and place, so I don’t think they can be defined simply as “evil.” For the people they helped, they may have been protectors—perhaps even heroes. This character is based on that kind of pirate figure: not a villain, but an outsider who carries a sense of purpose and responsibility.

Unlike traditional murals, your work lives inside an interactive world—did knowing players would discover it while driving change how you approached composition or storytelling?

The idea that players would encounter the work while driving had a strong impact on the composition. I approached it as something that needs to be read instantly in motion, so I focused on strong silhouettes and bold color contrast to make it memorable at a glance. It was important that it remains visible even at high speed. At the same time, I designed it so that when players stop and look more closely, they can discover additional layers of detail. I wanted it to be something that leaves an impression while passing by, but reveals more the longer you look.

How did collaborating within “The Art of Driving” series shape your perspective on how art can exist alongside car culture?

Through this project, I came to feel that cars are not just a means of transportation, but something that can expand a person’s perception and sense of values. In my own work, I often draw inspiration from landscapes and visual environments, and this experience reinforced that feeling even more strongly. The view from the car, the atmosphere of places we stopped along the way, and the light and wind at each destination were all sensations that can only be experienced in that specific moment and place. Being in a car made me more aware of those details. In that sense, cars have the ability to shift you between the everyday and something beyond it. I realized that, in this way, cars and art can naturally coexist.

For players encountering your work for the first time, what do you hope they notice beyond the surface visuals?

I hope that, beyond the surface visuals, viewers can intuitively feel the atmosphere and the energy of the land. Even if it isn’t recognized as a specific location, it would be enough if the sense of coexistence between nature and industry comes through. I also hope the character is not seen as separate from the background, but as something that emerges from the land itself.

If your character from this project could drive any car in Forza Horizon 6, what would they choose and why?

It would definitely be the Civic I drove with Larry during the trip. It was a reliable presence that took me to many different places across Kyushu, and it’s deeply tied to my personal experience there. What stood out most was the red body—it felt striking as an artificial object within the natural landscape. That color also connects to my image of Kyushu as a “land of fire,” shaped by volcanoes, magma, and heat. Rather than something overly decorative, I think a car with a clear, functional purpose suits this character better.

What’s one small detail in your artwork that you hope players don’t miss?

The red scarf is one detail I’d highlight. It’s both an homage to classic Japanese hero imagery and a symbol of Kyushu as a “land of fire,” with its volcanoes, geothermal energy, and magma. As it moves in the wind, it visually expresses freedom, speed, and an unwavering sense of conviction. I’d also like people to notice the light and heat effects scattered throughout the image. Elements like sparks and glowing highlights represent both volcanic energy and industrial processes, and they play an important role in supporting the overall theme of the work.

**This interview has been edited for length and clarity.