Pepe stands amidst the dense evening crowd at Shimbashi Station, Japan’s first major railway terminal and one of the earliest symbols of Meiji modernity. The scene evokes the moody chiaroscuro typical of Kobayashi Kiyochika’s shin-eitaiga nocturnes, where gas lamps cast amber pools of light against drifting steam and industrial haze. Around him, townspeople, still dressed in traditional kimono yet surrounded by the unmistakable hum of a changing world, wait for the incoming locomotive that glows like a foreign apparition in the twilight. Pepe, clutching a small cloth pouch, becomes a quiet observer of Japan’s accelerated leap into the modern age: caught between the intimate familiarity of Edo’s lingering customs and the unsettling momentum of progress. The work captures that liminal tension, the sense of standing on the threshold of a new era, unsure whether one is arriving or departing.