Why the other racers bailed, though, would give most any sane man pause: the world selected for Redline is "Roboworld", a planet governed by a cyborg species that rules with a titanium fist in a tungsten-carbide gauntlet. To both of their astonishment, he gets it: after two other racers bail out from Redline, JP's drafted by popular demand, and all but hurls himself from his hospital bed to tell the news cameras he's headed for victory. Small wonder JP longs to have just one race that he can throw himself into wholeheartedly. It sent them to prison, after all, and this time around the scam was meant to help cover their bail bond. Deep in debt to the mob, Frisbee and JP fixed races to rake in some fast cash, a plan JP has always been ambivalent about. He's inches from beating her to the finish line when his car's demolished by a bomb secreted in the undercarriage - one placed there not by jealous rivals, but by his own mechanic, Frisbee.įrisbee and JP go back a long way, maybe too far back. But it's "Sweet" JP, a pompadoured greaser-type in his nitro-powered Trans Am, who provides her with the most direct challenge. Among the racers are Sonoshee McLaren, a young woman whose amphibious vehicle and skilled driving allow her to more than hold her own against the other (generally male, rowdy, aggressive) drivers. Those who want to participate in Redline, though, have to qualify in a preliminary, and it's at the last leg of one such race, the Yellowline, that the action formally begins. But a devoted cadre of car lovers gather every five years to put pedals to the metal on the plains of some distant world, to participate in the no-rules-just-ride race known as the Redline. Far into the future, space travel has become commonplace, aliens and humans have intermingled and cross-mutated, and wheeled vehicles have been long since replaced with antigravity systems. Floor itĪ fine way to start any story is to describe some mad, wild undertaking, as undertaken by the few, the proud, and the totally off-their-rockers. © 2010 Katsuhito Ishii, GASTONIA, MADHOUSE / REDLINE Partners "Sweet" JP's Trans Am is destined to take him to the Redline. It also serves as one of the best recent concrete examples of what people mean when they say something has to be seen to be believed. It entertains - broadly, if not terribly deeply - and it serves as a milestone marker for animation as an art form as produced by human hands, not computer algorithms. If there's a stupid grin on your face right now, don't wipe it off you're the target audience for this delirious, one-of-a-kind project. REDLINE has no more story than it needs, because its real mission is to provide a gloriously over-the-top answer to the question: What if Ralph Bakshi came out of retirement and directed a space-borne installment of the Fast & Furious franchise? The first time I watched REDLINE I put it in the "thin" category, since it only seemed to have enough plotting to put wheels on the vehicle and set it in motion - albeit at six trillion miles per hour. But I've come around since then. A thin story has just enough to pass as a story, but nothing more than that: no flair, no feeling, no curves. A simple story has just enough to get the job done: no fat, no waste, no excess.
There's a difference between a simple story and a thin story.
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