#映す

[danzoku]

鏡よ鏡

善良な人には善良に

醜悪な人には醜悪に

どちらにせよ少しばかり勝る程度に返す。

これがコツ。

そんな鏡の気持ちで生きてる。

かがみよかがみ、かがみさん。

世界で…

「一番美しいのはピカピカの私です」

と言ってしまったら、シンデレラの継母に叩き割られてしまうのだろうか。

[shikata]

Couple of Vertical and Horizontal _ Gravity 0.05 2021 #001 - #003

Photo:

2021

Size:  #001 / 60 x 60 x 0.05 , #002 / 57 x 70 x 0.05, #003 / 55 x 78 x 0.05 (cm)

（それぞれ2対組み作品）

In cooperation with: Arakawa & Co., Ltd,　

[anamon-book]

恋する惑星 プレノンアッシュ ベストコレクション6 プレノンアッシュ 監督：ウォン・カーウァイ／出演：トニー・レオン、フェイ・ウォン、ブリジット・リン、カネシロ・タケシ ほか

[putriddeus]

Today I offer you a #Beastars fanart, tomorrow who knows? I'll be selling this illustration as a print on @expotnt! If you're on Mexico City on December 2-4th, come to my stand and say hi! :D ✨ ________ Tenemos prints de Beastars para la TNT, vengan por el suyo antes de que se acaben 👀

[peachfruitcake]

hrmgn

[vitorunos]

リリイ・シュシュのすべて

all about lily chou-chou (2001)

[feboee]

"Animated Times"

Series: Keep Your Hands Off the Eizouken

Ref: Modern Times (1936)

[xinu1941-1966]

ベニスに死す　Death in Venice 　1971

japanese movie poster

design：KIROKU higaki 檜垣紀六

#design　#movie poster　#poster　#japan　#KIROKU higaki　#檜垣紀六　#映画　#ベニスに死す　#Death in Venice

[myanimediary]

Eizouken ni wa Te wo Dasu na!

ENG Title: Keep Your Hands Off Eizouken!

JP: Title: 映像研には手を出すな！

Adventure・Comedy・Slice of Life TV・12 Episodes Year: Winter 2020 Studio: Science SARU Character: Sayaka Kanamori ( 金森さやか ) Tsubame Mizusaki ( 水崎ツバメ ) Midori Asakusa ( 浅草みどり)

[lachatalovematcha]

　ﾟ+..｡*ﾟ+　ﾟ+..｡*ﾟ+♫♪.ılılıll|̲̅̅●̲̅̅|̲̅̅=̲̅̅|̲̅̅●̲̅̅|llılılı.♫♪　ﾟ+..｡*ﾟ+　ﾟ+..｡*ﾟ+　ﾟ+..｡*ﾟ🌈°。°。°。°。°。°。°。゜。°。°。°。。°。°。°。°。°。°。°°。°。°。°。°。°。°。°。°。゜。°。°。°。。°。°。°。°。°。°。°°。°。🌈

🌈 ଘ( ･ω･)_/ﾟ･:*:･｡☆ 𝐟𝐨𝐥𝐥𝐨𝐰 𝐦𝐞 🌈

ホイールリリリリリ、風が吹くと ꒦‧₊ ꒷🌸 ꒱ スルルルルル、私の心を揺るがす？꒦‧₊ ꒷🍡 ꒱ いつもあなたの中に咲く花꒦‧₊ ꒷🧸 ꒱ Blossom、blossom、今日も待っています꒦‧₊ ꒷🍮 ꒱

꒷︶ ̇ ̟ ෆ ‿︵‿୨♡୧‿︵‿ ෆ ̟ ̇ ︶꒷꒷︶ ̇ ̟ ෆ ‿︵‿୨♡୧‿︵‿ ෆ ̟ ̇ ︶꒷

🌈月明かりが降り冷たい夜には 君があま🌈

🌈りに会いたいな 懐かしい🌈

🌈約束祈る夜明け 寝る前に私を探して🌈

꒷︶ ̇ ̟ ෆ ‿︵‿୨♡୧‿︵‿ ෆ ̟ ̇ ︶꒷꒷︶ ̇ ̟ ෆ ‿︵‿୨♡୧‿︵‿ ෆ ̟ ̇ ︶꒷

ﾟ*☆*ﾟ ゜ﾟ*☆*ﾟ ゜ﾟ*☆*ﾟ ゜ﾟ*☆*ﾟﾟ*☆*ﾟ ゜ﾟ*☆*ﾟ ゜ﾟ*☆*ﾟ ゜ﾟ*☆*ﾟ

[healthyfungi]

I love this anime with all my heart.

[shizukudayo]

すとぷりの映画見に行ったよ〜〜（遅いけど）そういえば私の友達が先に映画見てて、騎士AとかANPTAKも出るよって言ってたのが少ししか出てなかったけど本当に出てた❗（あっきぃが一番長く写ってると思う）

[muminoheya]

今度すとぷりの映画があります！マナー講座をよく見てルールを守って(見る人は)見てください！

[imiteeshon]

[peachfruitcake]

asakusa!!!!!!

[animehouse-moe]

Why You Should Read/Watch 'Keep Your Hands Off Eizouken!'

I've wanted to write about Eizouken for a long time now, and after stewing it over following having read volume 5, I feel like I really do need to begin with it from the start. For those that don't want to read a mountain of text to decide whether they should read and/or watch it though? Do it. Even if you're not wooed or in awe at all the detail and information that creates an ocean of animation talk, at the most basic level everybody is able to appreciate and understand the passion that emanates from the characters and this world as they pursue stories and creation with fervor.

So with that in mind, I think it's best to get down to it. Eizouken, by nature, is something that is meant for motion and sound and color, so you can't really experience it without watching the anime. However, by some miracle, Eizouken doesn't rely on those pieces to be successful and creative and expressive.

Right away, you're able to understand that with how they force perspective and even make use of it in the speech bubbles. Not only are the characters and world subject to various angles and such, but the speech bubbles follow suit. An incredibly simple piece, but one that serves to further drag you into its world.

And really, it goes even further than that with how it presents itself. This is within the first chapter of the story, and you already get such a strong idea of how they approach the creation of these scenes. Kanamori and Asakusa are looking over an open space full of students in one panel, and then in the next we're shown the pair from a distance, as if the reader is the one looking over them.

The technique with speech bubbles really is just something else for how it meshes with the world. It matches the angles and perspectives, and in scenes like this really adds to the overall feel of a flow with the scene. It helps guide you in almost mimicking the movement of Asakusa and co.

Also, if it wasn't clear, the manga itself does one of my favorite things with its blocking/storyboarding: it uses space.

It uses the environment around the characters to its fullest, using lower angles to accentuate that feeling of size, like how the girls are sealed in on all sides by tall buildings, or how they very rarely exist on the same plane in a scene. They all take up different spaces in them, and interact with the environment in various ways.

I could just go on forever and ever about it. The characters are always doing something when shown, in different and dynamic poses, and the way Oowara sensei leads readers through the scenes is just awesome. They could have just left it at the interesting scene of Kanamori on the window sill, but instead they allow the conversation to flow and take that positioning and view it from the outside to end the conversation between the trio.

And we're just now getting to how cool the work is with animation/art. I love it, the sketchy overall style of Eizouken works insanely well at expressing the animation process, and the level of detail placed in the art itself is just incredible. Mizusaki's character art is a heavier line weight and is far smoother, while Asakusa's environment/background art is much sketchier with a lighter line weight and more loose details and overall lines.

And then, there's this. The worldbuilding and sheer creativity to approach something so benign with such detail is just wonderful. You're literally getting concept art for a high school student's imagination, and with so much information. It just highlights the incredible depth of passion exhibited by Oowara sensei in creating this story so well.

Plus, the manga art is just so damn pretty.

Anyways, to the anime! I've talked about all the good stuff from the manga, and the vast majority of it exists in the anime, while also elevating various pieces. It starts off with a wonderful anime original section, and just shows off from the get go with it's 2D car driving down a 2D road. I really do love the slightly stretched fov/perspective being used here as well. I'm a real sucker for this type of stylized distortion.

But that's just the start. It takes that dynamic and layered feel of the manga, and extends it by adding motion. Asakusa and the other characters move through environments. The characters exist in their own aspects and are moving and alive, even if they're just delivery men that Asakusa dances around as she explores her new home.

These original scenes totally grasp the purpose and appeal of Eizouken, and extend upon that nature through its focus of animation. It's just such a wonderful thing to see. There's not even words to describe it, truthfully. If the manga is a 10, the anime is a 15 that turns Eizouken into a 25.

And this, well this, it's the first chapter of the manga, and not even the first 5 minutes of the anime. This incredible world, this insane approach to its story, to sharing its passion for animation and storytelling and creation, this is just the beginning. Literally. There's over 40 chapters and 12 episodes of this masterpiece, and I just want to share it with the world, much like how Eizouken wants to share their anime with the world.