Keep
Your Hands Off Eizouken! ran earlier this year, during winter 2020, but I
didn’t get to watch it. I knew it was
good, but I guess I wasn’t in the headspace to get into it then. However, I finally got around to watching it
recently. One of the reasons that pushed
me to do so was my disappointment with Japan
Sinks: 2020, the most recent offering from renowned director Masaaki Yuasa. I needed a good Yuasa anime to counter that
disappointment, and Keep Your Hands Off
Eizouken!, which he also directed, was fortunately on hand.
The 12-episode follows a trio of high
school girls – Midori Asakusa, Sayaka Kanamori, and Tsubame Mizusaki – who
decide to make their own anime. However,
certain obstacles prevent them from doing this as members of their school’s
anime club. Thus, to get around this,
they start the school’s “Eizouken” – the motion pictures club. Technically, the club is supposed to produce
live-action films, as it is on that assumption that its inception is permitted. But this is just a
ruse. Instead of live-action films, the Eizouken
sets out to create anime.
An anime lover since she was a kid,
Midori has always been interested with making her own anime. She always keeps a sketchbook on hand so that
she can immediately draw an idea whenever inspiration strikes her. She is highly imaginative, and has outstanding
attention to detail. Thus, she has the
knack for thinking out high concepts and creative settings, and designing their
intricate elements. Considering her
talents, she appropriately serves as the director of their projects.
Sharing Midori’s love for anime is Tsubame
Mizusaki. She has made some name for
herself as a young commercial model, and is expected to follow her famous actor parents’ footsteps.
However, her true dream is to become an animator. She is extremely fascinated with motion, studying it extensively. And
thus, she has become tremendously skilled in drawing character movement.
Rounding up the trio is Sayaka
Kanamori. Unlike Midori and Tsubame,
she’s not a fan of anime at all, nor does she have artistic gifts. Ever fond of making money, she has only
become as invested as Midori and Tsubame into making their own anime because
she thinks they can profit from it. She
is perfect for the role of producer since, not only is she concerned with the
economic side of things, but also because she’s pragmatic, has proficiency in
administration and planning, and is quite talented in cutting deals and negotiation.
Among the three, Sayaka is easily my
favorite. Producers are often labelled
as sleazy, greedy suits who stunt the creative process and who are only
concerned with making money. Keep Your Hands Off Eizouken!, on the
other hand, portrays this particular role in a more positive light. Through Sayaka, we see how a producer works
to ensure that the project is grounded and running smoothly. Artists, probably as a by-product of their
overflowing creativity, tend to let their imaginations go wild and let their excitement get the better of
them, that without careful thought, they proceed to set lofty, ambitious goals that the production can’t
realistically achieve within its timeframe, budget, and capability, or they go
radically off tangent of the original vision.
The producer is the one who reins them in and brings them back to reality, and who sees to it that the
production is on the right path and on pace toward the finish line. Yes, the producer may typically prioritize profit
and practicality over artistic expression, but this same mindset is what allows
him or her to be a true voice of reason for the project. There’s an argument to be made that if
artists are left on their own – or, at least, if the
artist mentality is the sole factor at play – things won’t get done. The oversight of a producer is integral for
the efficient progress and eventual completion of the production.
Now, Keep
Your Hands Off Eizouken! is not just about showcasing the producer’s role. It actually explores all the major aspects involved
in the anime production process in general, but simplified, of course, to the
context of a high school club. Sure, some
stretching is still necessary, but overall, the characters’ experiences and
achievements are within the range of believability. Regardless, the issues and steps relevant to
the production process are depicted in some form, and thus, this show has some validity
as a legit, engrossing “behind the scenes” look on the industry.
Moreover, this anime is not just a show about
animation. It’s a show about the
creative process – the appeal, joy, and rewards of creating art, especially
when it involves collaborating with friends.
Thus, even if you do not care about animation per se, you will still
relate to and be charmed of what the characters are doing.
It’s also simply a magnificent anime
production. The animation is luscious,
and the music is catchy. Its artistic
value is apparent in every single detail.
The setting in particular, the town on which the
characters live, is well-realized and fantastic. It’s every bit of a character as the main trio. It oozes with so much personality with its
eccentric layout, quaint ambiance, and system of random canals and unlikely structures. In fact, its quirks are usually what trigger Midori’s
creative juices to flow. The town seems to be so much fun to live in.
The technical aspects of this anime are
also in full blast whenever the trio imagines their creations coming to
life. This is a regular occurrence in almost
every episode, adding another layer of aesthetics and enjoyment.
For what it is, Keep Your Hands Off Eizouken! is pretty immaculate. I couldn’t find a valid weak point. Here’s the thing: as a Masaaki Yuasa anime,
it’s not only deserving to be put up there with Devilman Crybaby, Night Is Short, Walk on Girl, and Ride Your Wave,
but I genuinely think that it’s a masterpiece.
Really.
Not bad for what I initially meant as a consolation over Japan Sinks: 2020.
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