As we listen to Sayaka stating, “money received is the guarantee of a work standard” or “no point of focusing on the quality of your product alone” the true genius elements of the title come to the fore, which focuses on the importance of the producer in turning the imagination of the artist to reality both financially and practically. Asking and granting favors for cooperation, dealing with the disappointment or the excessive euphoria of the artists, the importance of promotion, advertising, merchandise and having a kind of star quality in a production are depicted in all their pragmatic but also very realistic glory. Essentially, it is her tha tpresents all those concepts artists, and frequently the audience, do not want to deal with. As the episodes progress, “Eizouken” also deals with the ways sound and image are combined and complement each other in anime and the importance of the imagination of the artist.Īnd while these elements highlight the genius of Midori and the hard-work of Tsubame, the one who eventually takes over the narrative is Sayaka, whose character mirrors the work a producer does in real life. The whole procedure and particularly the reasons that the Japanese, hand-drawn technique is back-breaking and time consuming is highlighted in the most eloquent matter. In that style, the title begins with Midori explaining how what we watch on the screen works starting with image boards, the overlay technique, a number of tricks animators use, the history of mecha anime and the reasons for their decline. Masaaki Yuasa takes the seemingly high-school drama base of the series and transforms it into a title that deals with all aspects of anime, from the moment they are conceived to their implementation, screening and promotion, and everything between. However, their efforts stumble upon a number of hurdles, including the lack of money, time and the school council and particularly its secretary, Sowande Sasaki, who considers the member of the clubs crooks and does her best to restrict their “initiatives”. Midori is the director, Tsubame the animator, and Sayaka the producer. Soon the three of them, by effort and trickery, establish a club seemingly dealing with movies, but actually solely aiming to produce anime. Sayaka Kanamori is a scary looking tall girl who also happens to be Midori's only friend. By pure chance, she meets Tsubame Mizusaki, a teen-idol whose parents are even more famous, and she is desperately trying to escape from their influence and become an animator. Midori Asakusa wants to create an anime but is too timid and afraid to show all her sketches to anyone or move forward with a plan like this. The story, which is based on Sumito Owara's manga, revolves around three high school girls. “ Keep Your Hands Off Eizouken!” may be his greatest work yet. As I have mentioned many times before, I consider Masaaki Yuasa one of the greatest anime filmmakers living today, particularly for his effort to stray away from the rules of the category, as dictated by Studio Ghibli and the plethora of action anime out there.
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