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Manga / Keep Your Hands Off Eizouken!

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This is the ultimate world!

At a young age, Midori Asakusa became fascinated not just with anime but also with how it was made. Now a high-schooler, she dreams of creating an anime with a setting based on the unusual "dungeon-like" campus of Shibahama High School. Still, she hasn't taken the first step to creating anime, insisting that it's impossible to do it alone.

When attending a screening by her school's anime club, she and the money-minded schemer Sayaka Kanamori encounter Tsubame Mizusaki, a classmate who is a well-known fashion model. While fleeing from a handler who is trying to prevent Mizusaki from joining the anime club, Asakusa and Kanamori learn that Mizusaki wants to become an animator. The trio team up to create an animation club to make their "ultimate world" a reality!

Keep Your Hands Off Eizouken! (映像研には手を出すな!, Eizouken ni wa Te o Dasu na!, lit. "Don't Mess with the Motion Picture Club!") is a manga by Sumito Ōwara that begun serializing in the Seinen manga magazine Monthly Big Comic Spirits in 2016. A 12-Episode Anime television series adaptation by Science SARU premiered on January 5, 2020. The series is directed and written by Masaaki Yuasa, with Naoyuki Asano providing character designs and Oorutaichi composing the music.


The series is currently being simulcast on Crunchyroll.

Compare to Shirobako, a more grounded take on a group of friends wanting to make an anime together.

This series contains examples of:

  • 20 Minutes into the Future: A Freeze-Frame Bonus calendar and the expiration date on Mizusaki's credit card shows the anime is set in the year 2051.note  This means the anime that inspired Asakusa was over 70 years old when she first watched it. However, the future as portrayed in the series doesn't seem very futuristic aside from some slightly more advanced technology and some implications that Japan has become more racially diverse.
  • Absurdly Powerful Student Council: Played with. Like real-life Japanese student councils, Shibahama's student council holds power over whether or not school clubs get approval and funding, but it's presented as rather extreme since there's also a "Security Club" whose whole purpose seems to be to hold back crowds from mobbing them. However, Kanamori points out that many of their grievances with the Motion Picture Club are actually the school's responsibility, and she even lampshades how the council is wielding their authority like a blunt weapon.
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  • Activation Sequence: Gets brought up and demonstrated by Mizusaki when both the film club and robot club are discussing the concept of the robot's design in Episode 5. With her making the point of it showing how creators of mech anime put faith in people.
  • Adaptation Expansion: Asakusa and Mizusaki's collab fantasy was primarily about launching and flying their mech. The anime turns the scene into one inspired by the action in Conan of the Lost Island, where the three girls use the mech to evade capture by two men resembling Mizusaki's bodyguards.
  • All for Nothing: After Mizusaki and Asakusa call for help while they're stuck on the rooftop, Kanamori smashes through a wall to bring the ladder back upright. Cue the two of them standing right behind her, revealing that they just slid down a pipe to the ground instead. Kanamori proclaims that they'll be paying for the damages.
  • Ambiguously Brown: Some students at Shibahama have noticeably dark skin tones, including Sowande Sakaki from the student council and Doumeki from the Sound Club. Since the story is set in the 2050s and there are signs written in numerous languages including Japanese, English, and Spanish, it's implied that Japan has become more racially diverse in this setting.
  • Animal Mecha: The flying mech conceived by Asakusa and Mizusaki resembles that of a dragonfly.
  • Animation Bump: This happens in the anime on multiple occasions, particularly during the fantasy sequences. In-Universe, this ends up deconstructed as Mizusaki's attention to detail has prevented the girls' first short film from progressing past its first four cuts after about a month into production, forcing them to come up with ways to cut corners in the limited time they have left.
  • Art Shift:
    • Asakusa's Imagine Spot during the anime's prologue is based on her doodles, rendered in a style much more reminiscent of a child's drawings.
    • Likewise, the Imagine Spot in each episode shifts to watercolor backgrounds and machinery to highlight the fantasy.
    • The scenes from Conan of the Lost Island are done in Hayao Miyazaki's style. These were recreated from scratch since the production staff did not have permission to use the actual footage itself.
    • Part of the third episode's fantasy sequence is done up with rough animation drawings as the trio discuss about how their short is going to play out.
  • Attention Deficit... Ooh, Shiny!: Asakusa and Mizusaki can lose focus pretty easily if Kanamori isn't there to remind them of the bigger picture. At one point, they get distracted by a butterfly and a tanuki in quick succession.
  • Barbie Doll Anatomy: Used during the Public Bathhouse Scene to avoid showing anything too explicit, as fanservice was never a main focus of the manga to begin with. The anime additionally adds in towels to hide the girls' chests for the brief moments in the scene where they're above water.
  • Bizarrchitecture: The town and especially the school where the story takes place have a bizarre, chaotic architecture of mismatched buildings, odd floors, and so on. Just as an example, the school's faculty office is in an empty indoor swimming pool, and the school's clock is where no one can really see it. Asakusa also seems to have been inspired by it, as nearly all of her backgrounds have a similar chaotic feeling.
  • Bowdlerize: The anime's version of the manga's Public Bathhouse Scene adds towels onto Asakusa and Mizusaki for moments when their upper bodies are out of the water (the manga already used Barbie Doll Anatomy, so this just takes that a step further).
  • Brick Joke:
    • During the first episode, Mizusaki gets strawberry milk spilled onto her uniform and has to get it washed at the laundromat. After the girls stay longer than expected and have to rush home, they miss the machine saying that the load is done and needs to be removed.
    • In Episode 2, the girls consider using the video of Asakusa falling to get money for their club but are advised against it. They forget about it until the end of the episode when someone does end up sending money for the video — and the aforementioned video airs on TV, much to Asakusa's and her family's shock and horror.
  • Club Stub: Doumeki is the sole member of the Sound Effects Club. She ends up having to give part of her storage space to the student council, but Kanamori convinces her to become the Eizouken's audio consultant in exchange for letting her use their club room.
  • Cool, but Inefficient: A lot of Eizouken girls' interactions with the Robot Club involve the idea that using a giant humanoid robot for military purposes isn't very practical, since humanoid robots lack the stability, profile, and armor of something like a tank, and any culture that could build giant robots suitable for combat would probably be better off building better tanks. This is part of why they don't see a reason why the robot can't have a more fantastical bent to it (after all, it's already a bit unrealistic). It's also a Berserk Button for the head of the robot club.
  • Creator Cameo: The head of Science SARU's monkey mascot appears as a Freeze-Frame Bonus in the anime's opening.
  • Decon-Recon Switch: The show acts as something of a middle ground between the grounded but mostly idealistic tone of Shirobako and the realistic cynicism of Girlish Number, alternating between showing the real-world difficulties with anime production while still showing how, in the right hands, it can be used to create material that is both visually and artistically strong.
  • Funny Afro: When Asakusa and Kanamori go to the anime club's screening, Asakusa is unlucky enough to sit behind a student with a large afro that blocks her view of the screen.
  • Generic Cuteness: Averted. Asakusa and Kanamori both have very distinct character designs, with Asakusa having a round face and beady eyes in contrast to Kanamori's longer face and semi-permanent bared teeth. This also serves to make the cute looks of Mizusaki, a popular model In-Universe, stand out much more. Even then, Mizusaki's eyebrows are noticeably thicker than the other two girls' despite being more conventionally attractive.
  • Heroic Self-Deprecation: During the airing of their short film, the audience is utterly gobsmacked by the final result. The film club, on the other hand, immediately starts grumbling amongst themselves about the clunky editing, missing shadows, and poor color choices—something the committee seemingly takes notice of when approving their budget, as it suggests this wasn't the best they could do.
  • I Just Want to Be Special: The head of the robot club strikes a chord with Asakusa and Mizusaki becaue they all have outlandish dreams (being a giant robot pilot, space explorer or a superhuman, respectively).
  • Imagine Spot:
    • Asakusa's prone to daydreaming whenever she's inspired by something she's doing, typically marked by a full schematic of the imagined item/scene in the manga or an Art Shift in the anime.
    • In the first episode, when Asakusa and Mizusaki are designing a hypothetical flying machine, the scene eventually shifts to the three main characters actually building the machine and escaping from Mizusaki's handlers in it.
  • Jerkass Has a Point: The student council committee are pretty strict, but their points about how the erstwhile film club has damaged school property and participated in disrupting activities are pretty accurate (at least, from their perspective). However, the rumor about the club keeping a wild tanuki as a pet is really just a rumor.
  • Kamehame Hadoken: Mizusaki apparently attempts this every night before going to bed, to no avail.
  • Lawyer-Friendly Cameo: Because Science SARU had support, but not legal permission to use Future Boy Conan in the adaptation, the scenes from Conan of the Lost Island were painstakingly traced frame by frame, recolored, and the music cues and sound effects remade to match the original. Some brief dialogue from the show itself also changes Lana's name to Kana.
  • Limited Animation: Enforced In-Universe when production is unable to move past the first four cuts of the club's short film in Episode 4, with Kanamori threatening to release it either incomplete or as nothing but still images if Mizusaki keeps going at her slow pace. They ultimately compromise with the latter accepting to use alternative methods of animation to get the short finished in time.
  • Literal Metaphor: When Kanamori tries to convince Doumeki to let the girls use her sound effects, Doumeki initially shuts the door on her. Kanamori stops her from doing so with her foot. In other words, she literally put her foot in the door.
  • Loophole Abuse: Kanamori's a master at this.
    • She's the one who convinces Asakusa and Mizusaki to become the Motion Picture Club. It's nominally not an anime club which Mizusaki's family forbade her from joining, but they can still make animations on the down-low since animated movies are still movies.
    • When the secret plans for the club are blown, Kanamori also convinces the staff to allow them to animate. Although there can't be two clubs that do the same thing, the anime club is called the Anime Research Club, and therefore isn't expected to make anime in their studies. The Motion Picture Club, on the other hand, is expected to put a film out, and they can't exactly do that if they're denied the proper supplies for their chosen film medium.
  • Mini-Mecha: The robot club Mecha (-model) is a bit on a small side for a fictional mecha, with Eizouken girls noting that any Kaiju of its size class will be no bigger than a giraffe.
  • Modern Stasis: The story takes place in the 2050s, but aside from some slightly more advanced technology and more racial diversity among Japan's population, it doesn't seem much different from the modern day.
  • Nipple and Dimed: While the Public Bathhouse Scene in the manga features brief moments where the girls' chests are uncovered and in full view, they're drawn without visible nipples, partly due to the scene not being made with fanservice in mind. The anime's version of the scene, meanwhile, takes things a step further and gives them towels to wear whenever they surface above collarbone level.
  • Once an Episode: Asakusa's fantasy sequences happen about once every chapter, often with Mizusaki playing along.
  • Only in It for the Money: Kanamori flatout tells Asakusa and Mizusaki that she's supporting their dream purely because an anime made by a fashion model would be exactly the kind of thing that'd be easy to monetize.
  • Potty Emergency: Mizusaki finds herself needing to take a bathroom break while she and Asakusa are stuck on the club's rooftop after the ladder falls over. By the time Kanamori brings the ladder back upright, it's revealed that they already took care of it since they slid down a pipe to get to the bathroom.
  • Public Bathhouse Scene: The main trio use the public bathouse in Episode 7 to wash up after getting wet from the rain. Here, the main trio discuss their personal lives and play around in the water. Notably, unlike many female-centric takes on this trope, the appearance of it in this episode isn't played for fanservice, in part due to the manga and anime having a deliberately gender-neutral feel to it.
  • Reality Ensues:
    • Despite Asakusa and Mizusaki being downright prodigies when it comes to animation, it's also shown that the workload of the job weighs on them a lot, with Mizusaki walking away with hand blisters and Asakusa having to pull all-nighters. It's the main reason Kanamori is a cog in the group, as she's good at making sure that Asakusa and Mizusaki don't kill themselves from overwork and overambition.
    • Episode 6 provides us with some good examples of when people take their clubs too far; the Sound Club's soundproof room renders them unable to follow orders to vacate, complaints directed at the Drone Photography club involve "invasion of privacy," the Exterior Club spending excessively on renovations, and so on.
    • Episode 6 also shows why exactly using royalty-free Stock Sound Effects is typically avoided in professional productions; the amount of sound recordings in the public domain is surprisingly low compared to the stuff that's under some form of copyright, and as a result, the Motion Picture Club's attempts to use royalty-free sounds in their giant robot film makes the whole thing sound jarringly cartoonish.
    • Episodes 6 and 7 in tandem paint a surprisingly realistic picture of the pros an cons of outsourcing work to other departments; while it saves Asakusa work on background design and speeds up production by splitting up the labor among multiple parties, the Art Club doesn't necessarily know everything that Asakusa has planned out in her head, and takes certain liberties that conflicts with her own vision (such as drawing a landscape scene during sunset instead of sunrise and adding in a car intended to be drawn as a cel) thanks to them misinterpreting her instructions. Furthermore, while the female artist in the Art Club is willing to accept Asakusa's criticism and make corrections, the male artist is much more resistant, angrily accusing Asakusa of being indecisive in her directions and nearly walking out on the project altogether. As a result of this, Asakusa is chewed out by Kanamori by both being too vague with her direction and for redoing the backgrounds herself while juggling directorial, animation, paint and editing duties at the same time.
  • Real Robot Genre: The episode with the robot club focuses heavily on its conventions and contradictions, with the head of the club being at the same time disdainful of the idea that the robot would have flashy weapons or New Powers as the Plot Demands but also shunning the idea that a military robot is Cool, but Inefficient. Eventually, the film club resolves that just because robots are inherently unrealistic doesn't mean that you can't find ways to sell them to the audience as real.
  • Rule of Cool: Discussed in Episode 5, where the main trio discusses how often this trope tends to play into many common tropes regarding mecha designs, before ultimately choosing to strip the design of their mecha back a bit to make it easier to animate. Of note is that this trope is outright mentioned by name in Crunchyroll's subs.
  • Sailor Fuku: The girls' uniform at Shibahama is an odd mix between a sailor fuku and a western blazer uniform; it consists of a pleated skirt, blazer and necktie, but the shirt underneath has a sailor collar rather than being a typical dress shirt.
  • Serendipity Writes the Plot: Invoked in the production of the trio's first short film. The plot is entirely a result of their circumstances and the limits of their skills, plus some brainstorming. The story of a girl fighting a tank came about because Kanamori wanted something basic and flashy, Asakusa is good at drawing machinery and working on concepts, and Mizusaki wanted to draw a human figure. Also, the girl's facemask resulted from Asakusa's suggestion that it'd be easier to animate, but it would still allow Mizusaki to show off her work with expressions in closeup (while adding the implication that the girl is on an alien planet, which explains why she appears to be superhuman).
  • Shout-Out:
    • The anime that originally inspired Asakusa to create anime herself, Conan of the Lost Island, is basically Future Boy Conan in all but name.
    • In Episode 5, Mizusaki tearfully recounts her nightly ritual of attempting to successfully perform a Hadouken before going to bed.
    • From paying careful attention to the UI for the program Mizusaki uses to animate, one can see that it's a pastiche of Clip Studio Paint, a popular real-world piece of software used for digital art and animation, right down to the timeline layout and cel specification system. The one thing keeping it from being an outright Bland-Name Product is the lack of any named branding on the CSP imitation.
    • Orbulon makes a blink-and-you'll-miss-it appearance as one of the many drawn objects in the intro.
    • According to an interview Crunchyroll conducted with animator Abel Gobgora, the main trio's dance moves in the opening were directly inspired by the music video for "Hotline Bling" by Drake.
  • Shown Their Work: When Asakusa begins dumping information about the anime she and Kanamori are watching at the club screening, she talks about actual composition aspects (such as scale, weight, contrast, etc) one would utilize and pay attention to when professionally making an animation.
  • Start My Own: Since Asakusa and Mizusaki want to make anime but Mizusaki isn't allowed to join the anime club, Kanamori comes up with a way to get around that by having all three of them form the Motion Picture Club.
  • Stylistic Suck:
    • During the Imagine Spots, the sound effects used are composed primarily of sounds someone could make with their own vocal cords, with the objective of enhancing that they occur in the characters own headspace. As the scenes become ever more real and immersive for the characters, the amateurish sounds effects get progressively traded with more professionally produced sounds.
    • The fourth episode initially features a lot of amateurish pans, zooms, and lighting effects as they attempt to hide the cut costs for their hurried production.
  • Suckiness Is Painful: The girls annoy Doumeki into becoming their sound consultant by showing how limited their own audio techniques are. Asakusa demonstrates the same walking sound effects no matter what ground texture she's on or footwear she uses, and Doumeki gives in to their offer, not being able to listen any more such unprofessional sound work.
  • Tanks for Nothing: The robot club president fears that Eizouken will avert this, and depict a tank winning against their Mecha.
  • Teen Genius: Not in the traditional intellectual way, but both Asakusa and Mizusaki are prodigies when it comes to animation, albeit in different fields. Asakusa can draw-up incredibly intricate machines and backgrounds, while Mizusaki has a strong eye for character design and key poses.
  • Too Long; Didn't Dub: Zig-zagged; Crunchyroll's subtitles for the series refuse to translate "Eizouken" in the title, but in regular dialogue alternate between leaving it untranslated and translating it as "Motion Picture Club". Typically "Motion Picture Club" is used when referring to the main trio's organization in the context of school club politics, while "Eizouken" is used in all other contexts.
  • Vomit Discretion Shot: Doumeki throws up twice offscreen upon hearing the horrible amateurish sound effects the Film Club uses for their anime.
  • With a Friend and a Stranger: Asakusa and Kanamori are already friends, and the plot is kicked off when they first encounter Mizusaki trying to flee from her bodyguards.
  • You Didn't Ask: When Kanamori reveals that she had already gotten approval for their overnight stay despite Asakusa's fears that they're trespassing, Asakusa yells that she could've just told them that, to which this is Kanamori's response.


Video Example(s):


Keep Your Hands Off Eizouken!

The gang overhears the robot club's plan to take them down.

How well does it match the trope?

4.5 (2 votes)

Example of:

Main / RightBehindMe

Media sources:

Main / RightBehindMe