Hello folks, and welcome back to your regularly scheduled Eizouken gushing. In contrast with my first writeup, which I actually wrote while watching the show’s premiere for the very first time, I’ve actually watched Eizouken’s second episode twice already already – and at this particular moment, there is nothing I would rather do than watch it a third time. Alright, that’s a lie – I’d actually rather watch the third episode again, which I’ve only seen once so far, but that will have to come AFTER I finish this dang writeup.

Incidentally, if you’re looking for a deep dive into the production details behind this incredible anime, I’d strongly urge you to check out kViN’s in-depth articles over at the Sakuga Blog. I can say without hyperbole that kViN is one of the most passionate and knowledgeable animation enthusiasts in fandom, that he has raised the level of fan discourse regarding anime production in general, and that he’s also one of the nicest guys I know. I can’t hope to match his depth of insight regarding production staff, but I’m hoping to at least partially make up for in enthusiasm what I lack in expertise, and maybe even offer a few clever observations of my own. As a show specifically about the joy of artistic creation, Eizouken’s first three episodes have charmed and moved me more than any anime I’ve seen in quite some time, and I’m eager to share my delight in this show with you. Let’s get back to Keep Your Hands Off Eizouken!

Episode 2

Very effective reflection-on-water effect to open this episode. Yuasa’s embrace of Flash animation has led to his shows featuring some distinctive digital effects that you don’t often see even in other CG-friendly productions. This shot also emphasizes the vague boundary line between fantasy and reality, implying this world’s physical form is always on the verge of transformation

The character drawings are so loose, and yet there’s a clear sense of weight to all their movements, and vast differences in their posture and body language. The effect simultaneously feels incredibly lively and cartoonish, while also feeling very mundane and true to life. It’s the sort of hyper-reality you often see in slice of life shows, and I’m thrilled to see Yuasa lending his mastery to this often underappreciated genre

There’s such a massive sense of space to these outdoor scenes. It’s no surprise that architecture this strange and inventive inspired Asakusa; in fact, it seems clear it’s designed to be so inviting that it makes even non-artistically-inclined folks appreciate how artists see their environments

Considering Kanamori’s role in their group is the funding-minded producer, I wonder if Mizusaki’s family wealth will ever play a larger role than its current comedy-of-misunderstanding function

I love how often Asakusa’s faces make her look like Ozu from The Tatami Galaxy. Anime’s usual tendency towards conventional attractiveness can really limit its expressive potential at times – the Love Live franchise at times feels at war with itself because of this

Asakusa’s personality feels familiar to me – she gets incredibly enthusiastic and runs away with the conversation when talking about her passions, but is otherwise extremely non-confrontational and self-conscious. It reminds me of, well, me

Creatives like Asakusa need producers like Kanamori. Often what separates a great potential artist from a genuinely successful one is their ability to schedule or self-promote; there are many artists with the fundamental skills and ideas to match any published work, but who lack either the drive, confidence, or managerial skills to get there

Oh man, this is awesome. The idea that this school has just been building on itself forever is exemplified through the faculty office, which exists in the bottom of an old swimming pool

Even the faculty are intimidated by Kanamori, unsurprisingly

Goddamnit, every single Asakusa gremlin face is so good

Her overwhelming enthusiasm is neatly conveyed through her face getting uncomfortably close to the screen

Only this time do I notice that quick cut to a pair of clapping hands right before the OP chorus. It’s a sing-along, perfect for this show, inviting you along on an exploration of the joy of animation. Asakusa and Yuasa are such a good pairing

Lots of layouts here are given a strong sense of depth through the relative positioning of the three girls. Their very different body types actually add a lot of visual intrigue to the frame – again, another advantage of not sticking to homogenized designs

Asakusa and Mizusaki both have no conception of what things cost, but in opposite directions

Their fantasies of modernizing the space are quickly taken over by Asakusa’s dreams of turning it into a hanger for flying machines

The way these pencil-scribbled and rough-painted design sketches move is just breathtaking. How brilliant to find more beauty in animation by actually pulling back from a finished production, and celebrating the loose, inspired energy of design drawings

I imagine the original Eizouken manga is brimming with these design sketches, which are a tricky thing to adapt into animation. Here we choose a simple solution of simply actively panning the camera across a set of designs, keeping the audience focused on the active point of discussion while simultaneously adding some dynamism to a shot of a single page

Kanamori points out a design flaw, and it’s immediately integrated into Asakusa’s fantasy experience. Fantastic old-fashioned smears and exaggeration for her spinning in circles

“Don’t distract me with details! You’ll make me fall!” Meant literally here, but also a generally true statement – when you’re initially plotting out rough creative ideas, don’t just counter other people’s ideas with practical concerns. The point here is not to make a bulletproof final product, but to facilitate the creative process and fire off as many ideas as possible. Of course, Kanamori loves poking holes in Asakusa’s fantasies

And then she straight-up falls through the balcony. Sometimes you need someone to push back against your bad ideas!

“If I had to fall on my head, it’d be nice to get paid for it.” A fine summary of the creative process

Every new setting is just so dazzling. This train station is beautiful

“I have problems with people who try to use random excuses for celebrations.” Kanamori really was born to be a producer

“Using tires for chairs in your secret base is totally for elementary schoolers.” I like that she still refers to their club space as a “secret base” while protesting her maturity

Oh my god, they actually have Asakusa make like a pig-snorting noise as she realizes she’s stabbed the sofa. Really embracing her gremlin potential

Mizusaki wants to make subtle, realistic character acting, with a focus on timing in conversations. She’s basically talking about what Kyoto Animation excel at, in contrast with Asakusa’s focus on fantasy and scifi concept design. The two are so far apart in terms of their visual interests that any project they make is bound to be a compromise – which, for the sake of a story about people attempting to express themselves creatively in a collaborative setting, and also a story about the many elements of the anime production process, is absolutely perfect. If they both wanted to make the same exact thing, and were passionate about the same elements of design, this would be a much less engaging and insightful experience

“That’s your specialty!” While fans often argue which of these priorities is “better,” in truth, actual artists are happy to collaborate with people who disagree with them on priorities, but compliment their own strengths

Meanwhile, Kanamori isn’t actually passionate about making any particular kind of thing, just about making money. Thus her thoughts on what they should make come from the opposite direction – not what she needs to create, but what audiences want to consume

“It’s best to let them do what they want for now, to see what they’re capable of.” Kanamori seems to already understand that managing creatives means balancing the pragmatic needs of the project with the equally real need to make sure your artists are passionate about what they’re doing

Even in this distant shot that places them in the corner of the frame, their personalities are all so clear in their body language. Good character acting is such a gift

All these close perspective shots really help keep us attached to the perspective of the girls, and form a neat tonal balance with the establishing shots dedicated to conveying the beauty and mystery of their world. The overall effect presents a world that feels both vast and intimate, like we’re exploring this labyrinth alongside them

Asakusa’s enthusiasm gives them away immediately. Fortunately, Kanamori is here to browbeat their teacher into letting them make anime

Yeah, they’re keeping a deliberate balance in these shots – larger establishing shot, then a shot from Asakusa’s perspective, and back again

“You mean they painted each one of these cells one at a time?” Yeah Kanamori, anime production really is that laborious. Television anime is a dream that really shouldn’t work, and in many ways doesn’t actually work – it was only possible at all because Osamu Tezuka lowered costs to a level almost beyond feasibility, and reduced drawing counts to a preposterously low number. Today, tragically, the industry is still defined by Tezuka’s Faustian bargain, and can only sustain itself through the systemic underpayment of animators

While Kanamori is dazzled by the production materials, Asakusa is already inspired by this place’s mechanical apparatus

And their interests are merged by the old club’s multiplanar camera apparatus. These cameras are how anime was “filmed” right up until the switch to digital production – the actual camera on top looking down through multiple levels of glass, each of which housed one of the finished composition’s cell layers

I’m so damn happy this show exists. I’ve spent most of a decade now exploring the production minutiae of anime, trying to learn more about how the practical mechanics of production influence the nature of the finished work, and this show is so gleefully, energetically celebrating all of that process of discovery

The girls find a new project: fixing the windmill drawings to bring it to life. Hearing them bounce ideas back and forth is so satisfying; there are few joys as fulfilling as working with a supportive creative partner

Really getting into the weeds with this discussion of relative perspective. Animating movement is ridiculously hard, and attempting to present a convincing illusion of reality will swiftly teach you that our assumptions about what the world looks like are all pretty wonky

This discussion of “impact” also illustrates the difficulty of making animation that “feels” alive. Simply recreating photorealistic movement often won’t cut it – it’s more effective to embellish in a way that looks how movement feels

And off the trio go to blow up a dang building, because that’s what feels right

“Makes me wish we had a boat.” “And just like that, a dinghy sails by!” The early creative process is much like the play-acting all children participate in – don’t be stymied by the possible, let your imagination carry you where it will

Oh man, this cut of the sail unfurling with its loose color work is so pretty

And their creation is gorgeous: a windmill alive with vivid colors, the breeze clear in the seaspray and dancing fabric

And Done

Aw jeez, that episode was just as amazing the third time around. What an incredible show this is – so charming, so beautiful, such a passionate and insightful love letter to the creative process. While Asakusa and Mizusaki’s passion is for animation, the joy they express while collaborating can be felt in any creative field, and it’s riveting to see that feeling brought to life. At the same time, Eizouken feels like the most anime-celebratory anime I’ve ever seen, bringing energy and humor to every element of the production process, and revealing the difficulty, creativity, and discovery inherent in the anime journey. We are so lucky to have this show.

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