Folks, I am beyond delighted to be returning to Keep Your Hands Off Eizouken! I actually only watched up through Eizouken’s ninth episode as the show was actually airing, as other projects ended up getting in the way of me giving it the time and focus it obviously deserves. Determined to write a fresh article to document my first impressions of the whole last act, I ended up putting off new episodes until the new season began, and then… well, regardless, I’m here now, and suddenly find myself with three episodes left in what has easily been the most visually imaginative and intellectually stimulating show of the year so far.
Last episode saw Kanamori taking center stage once more, this time as the team’s financial manager, in an episode that explored the often maddening relationship between making great art and actually being paid for that art. In spite of making a film that both impressed their clients and dazzled general audiences, the Eizouken were left with almost nothing, save for a bunch of requests for other projects that also wouldn’t make them any money. The anime industry’s problem isn’t a lack of work – in fact, there’s an overabundance of projects that are already stretching the industry’s workers beyond their limits. The problem is a fundamentally predatory financial model that sees anime studios as interchangeable contract workers, as well as an established pay scale that assumes animators will work for a pittance, and either move up or burn out after their first few years.
Kanamori can’t fix the anime industry by herself, but she can do her best to make sure her friends are paid for their labor. Having secured a commission from the actual Shibahami Chamber of Commerce, Kanamori is dragging her friends towards financial stability, and I’m eager to see how Asakusa and Mizusaki bring their entire town to life. Let’s dive into another episode of Keep Your Hands Off Eizouken!
