
Directing
Kenji Goda
Known for
Directing
Credits
8 titles
Kenji Goda is a game writer. Goda has been working with Access Games. Goda's first published game was Deadly Premonition released in 2010. Then, Kenji Goda went on to work on Deadly Premonition: The Director's Cut as the writer. Most lately, Kenji Goda worked on D4: Dark Dreams Don't Die.
Known for
8.7The story of 2 men and 1 woman who lose their virtues in order to fill the hole in their hearts. These characters are caught up in the vicious spiral created by their desires. By coincidence, or perhaps not, the three become injured anally and find themselves in the waiting room of the same proctologist. It is here that they find a way out of their seemingly never-ending cycles.
Analife
2005
NRSUPIE&GOO are an erotic android duo who love thrills and pleasure! Their fuel is erotic energy called "Super Wet"! When the two feel thrills and pleasure, the energy flows endlessly! With their superhuman sex appeal and athletic abilities, they rob banks and continue their journey to find Dr. Olga.S, who created them, fueled by thrills and pleasure.
Supie&Goo
2002
A short film by Kenji Goda.
't' element (until the story is reached)
2011
NRA girl takes pictures of a dead body. A boy kills many men. A girl effects the picture with a digital tool. The dead body is broken. And here comes chaos.
Perspective of Power
1995
A short film by Kenji Goda
Past Exchanges, or Bat vs. Rotor
1996
A digital film set in Okinawa. The production involved the participation of numerous young filmmakers, 3D CG artists, and music creators residing in both the Kansai region and Okinawa. Drawing upon their individual creative concepts, these participants contributed to the project by infusing the raw visual footage with multilayered meanings. By capitalizing on the advantages of digital non-linear editing, the production process allowed for the seamless addition of new footage and the exchange of editing results among collaborators.
Ten -The Dream Okinawa Saw in 2041-
2000
Behind the camera
8.7The story of 2 men and 1 woman who lose their virtues in order to fill the hole in their hearts. These characters are caught up in the vicious spiral created by their desires. By coincidence, or perhaps not, the three become injured anally and find themselves in the waiting room of the same proctologist. It is here that they find a way out of their seemingly never-ending cycles.
Analife
2005
8.7The story of 2 men and 1 woman who lose their virtues in order to fill the hole in their hearts. These characters are caught up in the vicious spiral created by their desires. By coincidence, or perhaps not, the three become injured anally and find themselves in the waiting room of the same proctologist. It is here that they find a way out of their seemingly never-ending cycles.
Analife
2005
8.7The story of 2 men and 1 woman who lose their virtues in order to fill the hole in their hearts. These characters are caught up in the vicious spiral created by their desires. By coincidence, or perhaps not, the three become injured anally and find themselves in the waiting room of the same proctologist. It is here that they find a way out of their seemingly never-ending cycles.
Analife
2005
NRSUPIE&GOO are an erotic android duo who love thrills and pleasure! Their fuel is erotic energy called "Super Wet"! When the two feel thrills and pleasure, the energy flows endlessly! With their superhuman sex appeal and athletic abilities, they rob banks and continue their journey to find Dr. Olga.S, who created them, fueled by thrills and pleasure.
Supie&Goo
2002
A short film by Kenji Goda.
't' element (until the story is reached)
2011
NRA girl takes pictures of a dead body. A boy kills many men. A girl effects the picture with a digital tool. The dead body is broken. And here comes chaos.
Perspective of Power
1995
A short film by Kenji Goda
Past Exchanges, or Bat vs. Rotor
1996
A digital film set in Okinawa. The production involved the participation of numerous young filmmakers, 3D CG artists, and music creators residing in both the Kansai region and Okinawa. Drawing upon their individual creative concepts, these participants contributed to the project by infusing the raw visual footage with multilayered meanings. By capitalizing on the advantages of digital non-linear editing, the production process allowed for the seamless addition of new footage and the exchange of editing results among collaborators.
Ten -The Dream Okinawa Saw in 2041-
2000
