UlasanAnime.com – The discussion surrounding anime fanservice has seen a significant shift in recent years, with a notable increase in overall quality. This evolution is highlighted by titles like Ladies x Butler and Kanokon, which have seemingly exhausted the tropes available for demographics whose patronage is financially and popularly viable. The period between 2009 and 2011 marked a turning point, prompting a strategic “pivot” in how fanservice was approached for various reasons, including the one explored here.
The third episode of Kill la Kill has sparked considerable commentary, particularly concerning its approach to fanservice, as noted on Digibro’s blog. Similarly, with OreTsuba now available on US home video courtesy of Funimation, it’s an opportune moment to re-examine the broader implications of fanservice in anime.
The question arises whether viewers recall Yozakura Quartet Hana no Uta 2. The third episode of Kill la Kill also features a notable instance of what’s been termed the “windboobzone.”
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One perspective is that the fanservice in Kill la Kill possesses an authentic and unpretentious quality, presenting itself simply as fanservice. However, it can also be perceived as somewhat disingenuous, implying a deeper message than, for instance, what is presented in Arpeggio. If the fanservice in Kill la Kill were integrated into a more profound discourse, it might garner greater respect, akin to how Panty & Stocking is viewed in relation to Kill la Kill.
Arpeggio serves as a compelling contrast to Kill la Kill. While its 3DCG animation appears striking in still images, it falters in motion. In contrast, Kill la Kill‘s animation excels during dynamic sequences but is less impressive when static. Arpeggio‘s narrative is serious, with fanservice subtly woven into its premise. Kill la Kill, on the other hand, employs a common trope filled with opportunities for reference, yet it adopts a casual tone. Arpeggio embodies a concept that trades humor for a different kind of fanservice, whereas Kill la Kill so far functions as a dramatic vehicle for fanservice itself.
Therefore, comparing a well-regarded anime with one that is arguably questionable—especially from the perspective of Arpeggio manga readers—is quite appropriate.
Let’s consider the concept of “sexy” in anime. Take, for example, a post discussing the topic. It’s uncertain how many characters like Benten or the more down-to-earth Aika Fuwa will appear in Kill la Kill. However, this is a point of divergence. Without delving into the thematic depth or consistency of a series (with Yosuga no Sora being a prime example), fanservice’s inherent advantage lies in its modularity; it can be easily integrated or adopted wholesale. Thus, YZQ and KLK represent opposite ends of this spectrum, though neither reaches the absolute extremes. Infinite Stratos, in contrast, clearly prioritizes attractive characters, occupying a middle ground.
This distinction suggests that the issue isn’t merely about pretense, as pretense is merely a method. In a narrative like Kill la Kill, pretense is essential if the series aims to explore themes such as shame, sexual assault, or references to Utena-esque uniforms. The perceived pretentiousness in shows like Madoka or Evangelion is not a significant concern. However, Kill la Kill‘s narrative relies on fabricated concepts and assumed frameworks that can be challenged, such as Satsuki’s attire, the concept of clansmanship, class disparities, the dynamics of her subordinates, the power structure, her manipulative tactics, and ultimately, her character development. Similar to how Lord Genome and Kamina’s established methods function as conceits, Kill la Kill employs a narrative style that invites viewers to experience a theme park ride, with its themes and visual appeal unfolding before their eyes, punctuated by moments of exhilaration.
How can an anime that casually references the rise of Hitler not be considered pretentious? This could be seen as a corollary to Godwin’s Law. In contrast, anime like High School DxD, Infinite Stratos, Yuusibu, and potentially Freezing, along with typical high school slice-of-life shows like Kyoukai no Kanata and Nagiasu, are not pretentious fanservice anime. This is because their fanservice is presented in a straightforward manner, fitting the context of the work. It doesn’t masquerade as a form of empowerment for women or similar concepts, which by definition constitutes pretension. This represents a significant shift.
It’s like a handstand pivot.
PS. Chris B.’s review of Funi’s Blu-ray finally captures the essence of the series, though it is somewhat marred by his initial impressions.
PPS. This post is inspired by the word “pandering,” which is akin to “pretentious” in its overuse. The author would rather discuss “moe,” a topic not addressed in several years, than engage further with these concepts.
