Eizouken must produce a product in a limited amount of time, and they face a number of limitations or parameters that must be accounted for or met. On paper, the premise of the show is relatively straightforward. Watching her serve as the cat wrangler for the group and force Asakusa to remain focused by any means necessary is extremely entertaining. Kanamori is already a strong contender for best character of the year, and definitely my top nominee for best character of the season. However, her critical eye and strong sense of negotiating and planning quickly lead to her taking on the role of producer as she proves to be the only one capable of reigning in the freewheeling imagination of her friends. She lacks Asakusa and Mizusaki’s passion for anime, and her down-to-earth pragmatism can lead to her feeling out of place early on. The last of the group is Sayaka Kanamori, and, in my first impressions review, I noted that she was something of an odd person out in this particular group. The second is Tsubame Mizusaki, a model with actors for parents, but whose true passion lies in character animation and movement analysis. The first is Midori Asakusa, an eccentric and introverted concept designer and artist who is enthusiastic about creating anime but lacks the social wherewithal to bring her concepts to life.
#Keep your hands off eizouken manga series#
The series focuses on the titular Eizouken, or Motion Picture Club, which is helmed by three high school girls.
Whereas Ping Pong was a story which centered itself around the isolating power of talent, Eizouken exists as a monument to the unifying powers of passion and the creative forces it can fuel. Frankly, the show ultimately exceeded my expectations time and time again, and took everything I loved about Ping Pong and elevated it to new heights. However, we’ve come to the beginning of the Spring 2020 Anime season, and as a wise man once sang, “Every new beginning comes from some other beginning’s end.” So, let’s take a look back at the Eizouken’s run and ask, “Did it live up to the promises made by that first episode?” This is obviously rhetorical as you can see the rating I’m giving it. I gave the first episode a really solid review, and even joked that it felt as if Yuasa had somehow known my birthday was coming up. Therefore, when I heard he and his personal studio, Science Saru, would be helming a new manga adaptation for the Winter 2020 Anime Season, I was eager to see what we would end up with. He was the creative mind behind Devilman: Crybaby as well as the director of Ping Pong: The Animation, which I’m often quick to cite as a personal favorite. With a willingness to play around with non-conventional and sometimes outright ugly art styles and some notable “auteur” elements, it’s fair to say that nothing looks quite like a Yuasa work. Masaaki Yuasa is an interesting figure in the anime community. Right now there’s only five chapters of the manga ( unofficially) translated into English, but I still needed a few hours to read them because there’s so much going on, be it Midori’s imagination crafting a spaceship out of nowhere or Sayaka’s determination to keep the other two grounded, there’s an enjoyable push and pull between the girls’ dreams and the harsh reality of making anime.“There’s still a lot of room for improvement.” Every page is packed with little touches. He isn’t concerned with drawing beautiful, delicate girls, rather, he’s emphasizing their frantic energy, burgeoning talent and playful sense of humour. Sumito Ōwara’s art has a lively and loose feel (one may even say, easy breezy!).
Ōwara isn’t just helping to oversee the anime adaption of his manga either, he’s credited with the ending’s key animation! This whole project must’ve been like a dream come true for him, not least of all because, if his writing is anything to go by, Ōwara loves anime and has always wanted to be an animator. To put this into perspective, Ōwara would’ve been just 17 years old when ( Keep Your Hands Off Eizouken! anime director) Masaaki Yuasa was directing The Tatami Galaxy, and yet, just 10 years later, he’s now working with Yuasa.
Keep Your Hands Off Eizouken! mangaka is Sumito Ōwara, who, at the time of writing, seems quite young for a mangaka at just 26 years old.
0 kommentar(er)
