Good morning everyone,
Today, let’s check out one of the lesser known instances of Japanese size-fetish content. Let’s look at GEN’s LABO “Online GTS-2.”
This 12-minute clip was released in late June of 2008. It begins with a computer-generated imagery (CGI) rendition of a man who quickly meets his untimely demise at the foot of a giantess wearing a French maid outfit. The CGI does not mesh well with the model city but, as previously noted, this was made twelve years ago.
There’s no reason or rationale given for the giant maids. Rather, this clip is just a means to show two gigantic women going on a rampage through a Japanese city. I typically prefer more “meat” in the narrative, like a reason for the women to be giantesses and some motivations for their destructive acts, but there’s still some value here.
This has a fair amount of gory as it includes a drawn out scene in which one of the giant maids smashes a man into reddish pulp. I can’t say that the body was realistic. For instance, there were no visible bones in the “corpse,” and his clothing disappeared. However, it was creepy. She spends an extended period of time, a shade more than two minutes, grinding him under her shoe and then examining the remains. (Ew!)
However, the malice inherent in coldblooded murder was in strong contrast to the women’s neutral expressions. The two ladies seem bored and unengaged throughout the entire runtime. (NOTE: I also had this same issue with GEN LABO’s “LADY-GTS 1,” as can be seen in an earlier review.)
I don’t blame the actresses for their bland performances. I have to assume that the director specifically did not ask them to show emotions. They could have smiled, laughed, swung their arms around, anything to display some passion. It would have been better if their actions were energetic and enthusiastic. Something to indicate that they were enjoying their rampage or that they were mad and thus driven to seek revenge.
A blue backdrop was also used behind the model buildings, just like in LADY-GTS 1. Again, I would have loved to see a chroma key effect or a matte painting as that curtain was a big letdown compared to the detailed models.
One of the highlights was a scene in which a giantess stomps a tank through an elevated roadway down onto the street below. Beforehand, it drove out, rotated its turret, and raised its barrel. It was nice to have dynamic, moving props as opposed to the static, unmoving versions most often used in low budget macrophilia creations. The armored vehicle fired a few ineffective shots and then was swiftly dealt with.
I have some small quibbles. For instance, a Hummer sport utility vehicle (SUV) is shown. Such vehicles are not completely absent from Japan, there are a few that were imported from America. However, they are not common. (NOTE: Presumably, a Hummer toy was easy to acquire and that’s why it was used.) A toy based on a typical Japanese vehicle would have been a more appropriate stage prop.
There was a clever bit in which giant feet cause a traffic jam. Feminine feet blocked the way and thus several cars crashed into each other. Granted, bumping into each other at low speed might be a more apt description but still, not bad.
Overall, the best aspects of this production were the detailed model buildings and the willingness to trash the raised highway.
Fans of cruel giantesses may enjoy this work. However, while researching this review, I came across a post at Giantess City in which a customer stated that they were unable to view a video purchased from GEN’s LABO on a new computer. Allegedly, embedded digital rights management (DRM) software prevented that customer from viewing the video on a different PC than the one originally used for the purchase.
I haven’t experienced any problems, but I did want to alert readers that at least one person had an issue with DRM. Furthermore, the studio’s blog has not been updated since late March 2015, so GEN’s LABO appears to be defunct or at least dormant.
Although, videos are still available for purchase. “Online GTS-2” can be bought for 2,000 Yen, $18.54 in USD as of early June 2020, at the following link: https://jp.xcream.net/item/5402
P.S. I loved the ending, a foot lowered onto the camera until everything goes dark, and am surprised that we don’t see something like it more often in crush-themed productions.
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