Midori gets sucked into anime in a sort of realistically psychedelic way. This is a first-episode, first-impression, however. Eizouken was made in an anime industry rife with conflicts external and internal, from the Kyoto Animation fire to controversies with Studio Gainax, but I choose to keep an even keel about the show.
I choose not to look into the cynicism of what the anime could be saying on the sly. When Midori’s mom goes to pick up her dad, she closes steel curtains on the outside of their apartment window and closes herself in to watch anime. Through all this glitter, however, we see a grimy city and reality. We also get caught up in this frenetic energy. For her, she is a background artist, so she draws concept art around the weird sights she sees. I’d have that same carefree attitude over soaking in as much as I could, exploring, and capturing what was coolest. If I were in a city like this, I’d do the same. She explores as much as she can with almost reckless abandon. She livens up and the music starts when she sees her new city. We see it through the same quiet awe over what adventures may unfold as she does through this anime’s weird art aesthetic, frenetic energy, and visceral examination of a grimy yet glittery reality. Midori is “carsick” or maybe apprehensive about her lifestyle change moving into a new city until she sees it. Within the first twenty-four seconds of Keep Your Hands Off Eizouken!, I had the same wonderment as the first character of our trio.
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