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krpalmerWhether or not “three volumes of manga the anime was adapted from; four volumes of manga continuing the story beyond where the anime left off” altogether reduced thoughts of those old warnings about Dark Horse’s spotty track record in translating and releasing manga to an amused memory, it was pleasant to get around to the seventh volume of Keep Your Hands Off Eizouken! The story even happened to include something that made me hope I could say something here a little more profound than “this happened, and then this happened.”
Before that point, though, the first part of the back-cover blurb played out as Kanamori substituted for Mizusaki at a model shoot so that the animator could devote one more day to drawing. At times during the shoot, Kanamori’s snarling scowl even compressed to the point of not showing her teeth as usual. It also happened that she put her producer skills to work in roping in additional models. I suppose I did wonder a little “ah, and what if it was the squat and rounded-off Asakusa modelling?” (even if that might only have come from not linking names to characters while first reading the blurb), although there was a page or two in this volume, as in the one just previous, where Sumito Oowara’s art stretched and slimmed the Eizouken’s director a bit.
After that, the latest addition to the Eizouken (if far from “a committed member” yet), the voice actress Sakurada, happens to watch a previous work of the club and starts critiquing it. (This ties into her also being “an aspiring novelist.”) When Asakusa discovers this and doesn’t take it well, the (paraphrased) comment “of course the anime culture studies understood it—they’re specialists!” had me wondering whether “I resemble that remark.” I could think of a few works I’ve made efforts (even if drifting towards treating some of them as “documentaries of some larger reality”) to untangle where others haven’t. However, I can also wonder about “bad faith nitpicking” in general and confront a few cases where I didn’t start off on the right foot and might be accused of hypercritical detachment myself.
Asakusa working through thoughts of how to go from “worldbuilding” to “accessibility” keeps the story moving; so does Mizusaki being both challenged and inspired by the work of another little animation club (which manages to name-drop another notable work you could seek out yourself, although I haven’t yet done that myself...) This builds to a sequential-art sequence with annotations as if striving to work in a greater sense of “animation.” The fiftieth chapter of the manga then has a sequence I at least guess blurs reality and fantasy, and it’s off to the animation competition the Eizouken had been working towards. The extensive notes at the end of the volume from translator Kumar Sivasubramanian and editor Carl Gustav Horn invite us to anticipate story moments just preceding those notes as becoming more significant in an eighth volume; whether waiting ought to still include hoping is a question still up to each person.
Before that point, though, the first part of the back-cover blurb played out as Kanamori substituted for Mizusaki at a model shoot so that the animator could devote one more day to drawing. At times during the shoot, Kanamori’s snarling scowl even compressed to the point of not showing her teeth as usual. It also happened that she put her producer skills to work in roping in additional models. I suppose I did wonder a little “ah, and what if it was the squat and rounded-off Asakusa modelling?” (even if that might only have come from not linking names to characters while first reading the blurb), although there was a page or two in this volume, as in the one just previous, where Sumito Oowara’s art stretched and slimmed the Eizouken’s director a bit.
After that, the latest addition to the Eizouken (if far from “a committed member” yet), the voice actress Sakurada, happens to watch a previous work of the club and starts critiquing it. (This ties into her also being “an aspiring novelist.”) When Asakusa discovers this and doesn’t take it well, the (paraphrased) comment “of course the anime culture studies understood it—they’re specialists!” had me wondering whether “I resemble that remark.” I could think of a few works I’ve made efforts (even if drifting towards treating some of them as “documentaries of some larger reality”) to untangle where others haven’t. However, I can also wonder about “bad faith nitpicking” in general and confront a few cases where I didn’t start off on the right foot and might be accused of hypercritical detachment myself.
Asakusa working through thoughts of how to go from “worldbuilding” to “accessibility” keeps the story moving; so does Mizusaki being both challenged and inspired by the work of another little animation club (which manages to name-drop another notable work you could seek out yourself, although I haven’t yet done that myself...) This builds to a sequential-art sequence with annotations as if striving to work in a greater sense of “animation.” The fiftieth chapter of the manga then has a sequence I at least guess blurs reality and fantasy, and it’s off to the animation competition the Eizouken had been working towards. The extensive notes at the end of the volume from translator Kumar Sivasubramanian and editor Carl Gustav Horn invite us to anticipate story moments just preceding those notes as becoming more significant in an eighth volume; whether waiting ought to still include hoping is a question still up to each person.