A Look at Fanservice Through Redline and Kanokon

The Reverse Thieves recently made a post about the level of acceptance that anime fans have for fanservice (meant here as sexual fanservice and not intricate weapon details, for instance) in their shows, where they discuss how the view towards cheesecake seems to get increasingly polarized the more extreme and perhaps fetishistic broadcast anime becomes. Having just written my own thoughts on a similar subject, I feel like the question of how fanservice is both executed and perceived, and I think the film Redline provides some good insight into the matter, especially when compared to a representative otaku fanservice show such as Kanokon.

Redline is an anime very different from the norm, and especially different from what is popular with the current generation of otaku. Featuring a wild aesthetic somewhat similar to that of Dead Leaves, Gerald and Tim Maughan on Anime World Order referred to it as the anime they’d been waiting for since Akira. What that means is that Redline is a film capable of drawing in both anime fans that had left the scene long ago, as well as attract an audience similar to those people. It has a manic edge that’s got a certain dangerous appeal to it, and that extends to its fanservice as well.

The women in Redline are definitely overtly sexualized. Between two chesty music idols named the “Superboins” and the most important female character Sonoshee getting an extended topless scene, there is no argument that the film wants you to think of those characters as extraordinarily attractive. They are, to a certain extent, designed for fanservice, but compared to the fanservice from a series like Kanokon, it feels very different.

It would be easy to say that there is a “right” kind of fanservice, and to make the argument that “Kanokon’s fanservice is creepy and Redline’s isn’t. That’s not quite right, though. It’s too simple, and based on too many assumptions, like the idea that just because Kanokon is designed to sell through its harem and Redline‘s appeal lies primarily in its visual design that there is something inherently wrong with the former. Personally speaking, I vastly prefer Redline over Kanokon, but I’ll save that for a possible review in the near future. The real difference, I think, lies not in simply how the girls look (lolicon is not even a topic of discussion or possible misunderstanding with Redline), but with how they present to the viewer, particularly male viewers, what kind of qualities a man should have in order to obtain the idealized women in each respective series.

With Kouta, the main in Kanokon, the defining traits of his character and by extension the things that get the women flocking to him are his quietness, his sensitivity, and his decency. In Redline on the other hand, the portrayal of the women emphasizes “he-men, men of action,” as the old Charles Bronson Mandom commercial goes. Protagonist JP sticks up for his beliefs even if it gets him beat down, and the man he idolized in his youth can be seen in a flashback kissing two bikini babes simultaneously. Both are versions of male fantasy, the nice guy who is appreciated by all of the women and the daredevil who sets girls’ hearts aflutter, but they have a decidedly different appeal to them that doesn’t just have to do with how much Kanokon toes the line between fanservice and outright porn. They exist on somewhat opposite ends of a spectrum of male behavior, and the manner in which the women are sexualized, not just visually but also in their actions within the story, runs accordingly. With that in mind, I think it can be easy to see why there would be conflict between the two sides.

This is not an indictment on either type of male character or the series which they come from, especially with JP in Redline who is shown to be sensitive in his own way. Neither portrayal is inherently worse than the other, but problems can arise. Indeed, while both the “nice guy” and the “man of action” can be portrayed well as men of character and strength, they can also be pushed to unpleasant extremes, though the nature of that negativity can itself be different. The nice guy can be so passive as to absolve him of any mistakes he should be responsible for, and the man of action can often times be seen as a man who treats women purely as playthings to be manipulated. It is also not an indictment on the fans who identify with either character type, as the meaning of terms such as “wish fulfillment” and “role model” can get complicated. Is it better for a quiet nerd to prefer the quiet nerd character he is, or the active warrior that might wish he wants to be? I think that question lies at the heart of the difference in how fanservice is executed.

You’ve won this round, Kanokon

It’s the kind of show which won’t last long in the memories of anime viewers, the kind of show that will have come and gone. Certainly not the kind of show that would result in a long post from me explaining how it relates to other anime.

And yet, Nozomu’s little stunt, where she consciously tries to achieve the “toast-in-mouth-late-for-school” look is endearing. The last time I saw such conscious pandering with this very specific method was episode 26 of a certain show.

I don’t think it’s at all a mistake that this girl with the seemingly emotionless voice would be trying to imitate the most famous emotionless girl of all.