UlasanAnime.com – A discussion on Twitter between users revealed differing opinions on the perceived hype surrounding the anime film REDLINE. One user questioned why the film was considered “hyped” if common criticisms pointed to a “bland storyline but still great eye candy.”
This prompted a response that the film was deemed “the best thing ever” by some, a sentiment that the original poster, while joking, agreed with, stating they hadn’t felt so satisfied after a movie in a long time.
The conversation then touched upon the experience of anticipating a show due to positive buzz and subsequently being disappointed. This led to a broader contemplation of whether REDLINE, produced by Madhouse, might be polarizing audiences due to its specific focus.
The article clarifies that the discussion pertains to the 2009 Madhouse animation film REDLINE, not a live-action movie. Evidence suggests that while the hype may not be widespread, it does exist.
The core question posed is whether there’s a “hype gap.” The author speculates that REDLINE’s approach might have been intended for a niche segment of animation fans, possibly aligning more with Western animation tastes from the mid-90s than those of 2005 or 2011.
Having not yet seen REDLINE, the author refrains from making definitive judgments on whether the animation’s visual impact can bridge potential narrative shortcomings for all viewers. It’s acknowledged that any popular modern entertainment will inevitably have its critics.
A strong possibility suggested is that REDLINE functions as an art film. Comparisons are drawn to films like “Mind Games,” which, like REDLINE, are not typically blockbusters appealing to mainstream audiences. The author posits that REDLINE’s penetration within certain Western fan circles might be a testament to its inherent qualities combined with the historical development of fandom, particularly during the era when “japanimation” was often associated with explicit content.
Regarding sales figures, the author questions how they should be interpreted. While selling fewer than 40,000 copies might seem low, the author asks if this expectation is realistic. Selling 4,000+ Blu-ray and DVD copies is framed as potentially good for the film, humorously contrasting it with the sales of another anime, “Fractale.”
The sentiment is expressed that many good anime may not receive fair treatment in terms of box office or chart performance. However, the author reiterates their commitment to not making assumptions about an anime’s quality without having experienced it firsthand.
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The article concludes by noting the paradox of a film that could potentially transcend its market while seemingly being under-marketed. The hype, though present, is not widely disseminated, which the author suggests might ultimately be for the best.
