Just like the big kids dealing with production committees do. That means using digital to save time, compromising on the in-betweens, and sleeping under the desk. Heck, we even have a producer (and that, to be sure, is effectively what Sayaka is) to remind the animators of that. I guess even high schoolers making self-promotion reels have to deal with the same quandary the pros do – that occlusion zone where perfectionism and principle meets budgetary and chronological reality. The process itself is an interesting canvas to an extent, it’s true. That seems to me very much what Eizouken itself is, except the kids making it are young-at-heart grown-ups and they have the added bonus that the anime they’re making for the love of it is about making anime for the love of it. You have a group of kids (basically a duo, really) making an anime with no plot just for the love of the process. I continue to see a lot of irony – intentional or otherwise – in what’s happening on screen. The contrarian in me dislikes that for starters, but it’s a bad road to go down generally speaking. That said, we’re starting to get to a point with the anime I’ve seen a few times before, where any criticism of it is treated as heresy. Without the sound effects, the music, Itou Sairi’s performance, and most of all the animated fantasy sequences where is the appeal here? It’s not like the manga has ever been hugely popular or even that well-reviewed, but it’s a minor miracle someone saw enough in it to publicly suggest that Yuasa Masaaki should adapt it (and the rest is history). Four episodes into Eizouken ni wa Te o Dasu na! the thought that keeps running through my head is, how the heck did this ever work as a manga? To a larger extent than with almost any adaptation I can remember, this series’ charms seem overwhelmingly to spring from what the adaptation brings to it.
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