but it looked so credible, even given the limitations inherent to the film more than a decade back. ... None of that gooey hyper-saturated fake Fauxtoshop look that people think they need nowadays.
I think that's an important point. Twenty years ago, if you wanted saturated colors, you had to go Velvia with all the difficulties it brought: perfect exposure, large effort in printing and so on. With today's nauseating daily spring flood of HDR kitsch I think high saturation lost a lot of its original appeal, and we could start showing prints made from Astia as a change.
Trying to be the best of whatever I am, even if what I am is no good.