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Sixty Years Since Mighty Atom: 2020
When I started watching Keep Your Hands Off Eizouken! (although I needed to be reminded of and pointed to it by a screenshot and positive comment on my reading list before scrambling to catch up), its first episode alone started leaving me with the hopeful feeling I was already ahead of 2019 so far as “really impressive new anime” went. Unfortunately, before it had quite finished streaming I’d stuck myself in protective isolation and just might have worked myself up to worries the series would be the last great anime ever. After lapsing into staying three months behind to make sure shows were complete before watching them (and beginning to watch some notable titles from years past I wasn’t quite sure “saving for later” was quite wise any more), I did find reassurance of a certain sort in series like Deca-Dence and Appare-Ranman! For now, though, I’m returning to a show there’d been certain “it seems like it was such a long time ago” comments about mere seasons later.
I did record a thought or two after my first viewing that there was something interesting in itself about the “urban explorer” side of the designer-director Midori Asakusa. Regardless of my positive feelings about Shirobako, each new “anime about anime” (or just “anime characters who are anime fans”) can get to feeling sort of indulgent. This time around, though, the redrawn scenes from Future Boy Conan were that much more interesting (although I did notice they were spaced out over the length of that series and shuffled up too), and the shift through “real-world action” as Asakusa and the grim-yet-sly producer-type Kanamori try to rescue the aspiring animator Mizusaki into fantasy with the elaboration of a flying machine and an aerial getaway turned out impressive. (I did go back to the first volume of the original manga as well, and noticed the anime had elaborated quite a bit on it.) We might still be waiting for a home video release of Keep Your Hands Off Eizouken!, but returning to it as I did was just fine for me.
I did record a thought or two after my first viewing that there was something interesting in itself about the “urban explorer” side of the designer-director Midori Asakusa. Regardless of my positive feelings about Shirobako, each new “anime about anime” (or just “anime characters who are anime fans”) can get to feeling sort of indulgent. This time around, though, the redrawn scenes from Future Boy Conan were that much more interesting (although I did notice they were spaced out over the length of that series and shuffled up too), and the shift through “real-world action” as Asakusa and the grim-yet-sly producer-type Kanamori try to rescue the aspiring animator Mizusaki into fantasy with the elaboration of a flying machine and an aerial getaway turned out impressive. (I did go back to the first volume of the original manga as well, and noticed the anime had elaborated quite a bit on it.) We might still be waiting for a home video release of Keep Your Hands Off Eizouken!, but returning to it as I did was just fine for me.