Started off last week with the rest of Scrapped Princess (2003), which was excellent. It has everything - an intriguing story, great characters, fascinating worldbuilding, humor, action, intrigue, drama, tragedy, redemption… And quality animation and music to boot. It was just a pleasure from start to finish.

And then, of all things, I followed it up with one that was even better, and from a somewhat unexpected quarter. Eizouken ni wa Te wo Dasu na / Keep Your Hands Off Eizouken! (2020).

It was directed by Yuasa, which is a huge point in its favor IMO - he consistently impresses me. But at the same time, it’s an anime about anime, which is a niche genre that I find to be mostly tedious and self-absorbed, so even with Yuasa at the helm, I wasn’t expecting a whole lot. But I was so, so wrong. It’s glorious, and immediately jumped high onto my all-time favorites list…

One thing is that it mostly skips past the drudgery and workaday world of making anime - the part that most series focus on, IMO to their detriment. Instead, it gets all of that out of the way right off the bat by bringing together a main cast of three who are perfectly suited for their respective roles of director, animation lead and producer, then puts them in a wonderfully run down studio with every tool they might need just sitting there waiting for them. They do of course face problems, but they’re generally more abstract, with the biggest recurring one being that they just can’t stop creating - every idea leads to another idea, every one of which they want to draw.

And that really sets the tone for the anime - what it is is a celebration - a love letter to anime, and further to imagination and creativity and the thrill and fulfillment of visualizing something and striving to communicate it, then watching as an audience gets it, with all the impact you hoped for.

And a wonderful thing about it is that all the while that the characters are coming up with ideas and animating them, trying to capture movement and mood and interesting design, the anime itself, in the background so to speak, is casually throwing in its own wonderful animations. There’s a constant stream of just little riffs scattered here and there - a transitional scene or a bit of background movement or some camera work - that are astonishing, and apparently the same thing the anime is depicting - people creating interesting imagery just for the joy of it.

And even with all of that, the characters manage to be engaging, there’s a satisfying amount of growth and it’s even laugh out loud funny. Even the OP is awesome. What more could I want?

It was almost a relief to follow that up with something… not good.

Duan Nao / Die Now is Chinese, and… well … it shows. It’s very derivative and tropish. The biggest problem with it though is that it introduced what could’ve been an interesting story in spite of the tropishness, and dropped all sorts of hints to apparent multiple layers of mystery… then ended. With another… oh… 30 or 40 episodes, it could’ve been good. Maybe.

So after that I was in the mood for a sure thing, so I’m watching Megumin’s KonoSuba spin-off - An Explosion on This Wonderful World (2023) and laughing my ass off.

Oh, and along the way, and uncharacteristically, I’m following not one but two different current series - Honey Lemon Soda and I May Be a Guild Receptionist, But. Honey Lemon Soda is okay - most notable so far for being pretty good in spite of being very tropish. Guild Receptionist is great though, and with the latest bit of character background, looks like it could turn out to be really special.