[6] Key works completed by Murata in the mid-2000s exploited the introduction of distortions to previously recorded videos, a practice commonly found in glitch art.
"[10] Critic Lauren Cornell writes: At the time it was made, the copyright for the original cartoon character had expired in the EU but remained in effect in the United States: a highly anachronistic situation—especially given the boundlessness of contemporary culture—and one that inspired Murata to test the blurry grounds of fair use.
While it is conceptually consistent with his earlier work, in that he uses emergent software and digital technologies to subvert commercial perfection and create disorder, "I, Popeye" was his first foray into representational animation, a direction that he has continued in vastly more complex narratives, such as "OM Rider" (2014).
According to a contemporaneous review by Brienne Walsh, "Night Moves" features the studio's interior, rendered in three dimensions by combining scanned photographs of the space.
Continually shattering into prismatic shards that reassemble into unified forms, the environment finally dissolves into a flurry of fragments....Night Moves is a sophisticated amalgam of these two facets of his work, the abstract and the narrative.
The two main characters are "a restless, punk werewolf in a black T-shirt and cutoff shorts, and a grumpy old man who is bald, but for wispy white hair hanging down below his ears," who eventually end up fighting each other.
[12] Murata and the film's sound designer Robert Beatty discussed the inspiration and process of making "OM Rider" in an interview for the podcast Bad at Sports in December 2013.
As reported in the New York Times, For technical magic, nothing beats Takeshi Murata's "Melter 3-D." In a room lit by flickering strobes, a revolving, beachball-size sphere seems made of mercury.
[14] According to Liz Stinson, writing in Wired: Murata was able to take the same principles used centuries ago to create repeating zoetrope animations, and add some high-tech gloss.