Rori Ana: the purity of anal sex in lolicon pornography
Adult lolicon artist Moku Ujiie, like most eromanga artists, wears his fetishes on his sleeves – in the vast majority of his published works, both doujinshi and professional, the subject matter is centrally or exclusively loli characters having anal sex. This sometimes involves anal play with various toys or objects, but the “climax” of every story is always anal sex between the story’s loli and adult male. I will be discussing here one of his professional anthologies, Rori Ana: Little Anal Collection, comprising a series of one-shot stories adhering strictly to this subject matter.
In fact, apart from the brief full-color introductory comic, Rori Ana’s 12 stories all follow a clear and consistent formula in their execution of this particular preference. Each opens with a brief few panels establishing setting, which immediately leads into the foreplay. Each only involves two of however many characters are introduced actually being drawn having sex, which in all but one story is exclusively anal. Interestingly, the aggressor in each story is generally as likely to be the loli as the man – the loli makes the first move in five, the man in seven, and in one the initiation is mutual.
The degree of consent also runs the gamut, from clearly consensual to ero-manga rape to one case of actual rape. Most importantly, “rape” here means a true act of violence against a completely non-receptive partner, not the common ero-manga depiction in which the aggressor is obviously progressing without the victim’s consent but it’s considered fine because she reacts physically. Most of the other stories in the book are, in fact, of that sort.
But the fourth story, “Watashi no Kaeru Bashou”, situated in the middle of a smut anthology, is in fact fairly horrifying and tragic. The starring loli, Kana, is awoken by her (implied) stepfather, who immediately begins molesting her. She resists vocally until he threatens that her mother would discover them, at which point she goes silent. Next is two pages of the only vaginal sexual intercourse depicted in the entire book. It is brief, painful, and is detailed in a grand total of four panels before he pulls out and finishes the chapter with three pages of anal.
It is also, given the author’s style elsewhere, incredibly clear that at no point does Kana “give in” to any sort of sexual instincts like in most of the other stories: in even the less-consensual of the others in the book, by the last page most of the girls are visibly soaking, panting, or even actively participating in the sex occurring. Most are well-primed for sex before the foreplay is over. But Kana is drawn as stoic, in pain, with not a single sign of enjoyment even on a purely physical level.
The ending is also the only serious ending in the book – the others tend to end with a cute or ironic gag to top off the (presented as) innocent sex. The only other remotely-depressing ending in the book is the closing of story 7, Haru no Yuutousei, which flashes back to the men tricking her for the sake of raping her. Even this, though, is presented as wryly ironic, and its star Yui fits the sexually-responsive, reluctant-but-she-really-wants-it ero-manga standard loli character of all the other “happy” stories in the book.
So, between a cute “baka onii-chan” ending and an ironic twist ending, we have a story of a young girl alienating herself from what family she has remaining because her mother remarried with a pedophile. Heavy stuff. So, why put such a depressing, lolicon-demonizing, little-girl-abusing story in the middle of a book ostensibly made for the sexual titillation of its readers (who all decided to purchase a book of lolicon pornography) and composed both until and after this point of happy sex?
The vaginal sex being unique to the brutal, unhappy story seems important. In a remarkable quantity of lolicon, anal sex is the preferred sort – there are many reasons for this, such as worry of pregnancy, serious damage to the insides and the like. But the one that seems most probably central to this book’s presentation is the preservation of virginity.
This is noted explicitly by characters throughout the book – “the front is no good”, “it’s dangerous there”. Ignoring, obviously, the real-life mechanics of anal sex, in Ujiie’s scenarios anal sex provides a clean, safe, in most cases not painful way of having sex, and keeps the girl’s purity intact. It isn’t as if the vagina is simply ignored in these stories, either – the foreplay often focuses on it, and the girls’ enthusiasm is generally shown by absurd amounts of clearly-visible wetness and ejaculate. But sex is off-limits.
Vaginal sex is the line Ujiie redraws in proposing a morality to his fictional universe – sex with lolis is not immoral, as long as you protect their purity. This is the true expression of Rori Ana’s fetish – not the allure of anal sex but of the purity of the girl herself, of experiencing that purity without violating it. The lolis are, as with most male-oriented ero-manga girls, as much objectified totems of worship as real characters. Story four, and the stepfather’s brutality, are accented sharply by him crossing this line and disregarding the sacredness of what, to the book’s target audience, is akin to a pristine and fragile work of art.
In depicting vaginal sex so brutally, the author is presenting his fetish at its most lucid and self-aware, but more importantly utilizing the pathos of a standard fiction rape scene to reinforce its legitimacy and emotional justification to its reader. This scene, strongly anathema to the tone of the remainder of the book, serves to detail exactly what a (comparatively) peaceful escapism the remaining pages have to offer.