Is the distribution pattern of these hour-long, thematically connected films, which are available for streaming globally on Crunchyroll on the day of their Japanese theatrical debut, a sign of a new approach for the Sony-owned platform? I don’t see something like occurring with large properties such as Jujutsu Kaisen or Demon Slayer. Maybe this is a smart strategy to draw in as many viewers as possible for more obscure anime movies that are unlikely to get a big theatrical distribution in the West?
I had no idea what to anticipate going into these two movies. Though their relationship appears to be merely metaphorical, I had believed they were connected, maybe through shared characters or at least a setting. Both stories center on sizable towns that have hidden underground mazes beneath them. The original author and screenwriter of both films, Kuramerukagari and a light book by Ryohgo Narita, are credited to Shigeyoshi Tsukahara, who is directing his first feature picture.
The peculiar aesthetic decisions made by Tsukahara are immediately noticeable and are present in both films. One such option is a persistent, gritty grain effect that appears as though dirt has been rubbed across the camera lens. Everything appears hazy, which is probably intentional, especially when paired with an earthy, overly saturated color scheme. The characters’ very simplistic designs (I really adore Tomeomi, the girl with the spectacles and pigtails, and Tanne, the mystery girl with gray hair) are quite stunning, but the surroundings are completely computer-generated graphics, albeit in an almost undetectable way. The camera pans freely over excellently painted, textured landscape in the cramped tube and cave sequences, which typically looks terrific. This technique is used in the broader sections of the second movie, where the blocky buildings of the town resemble an overworld from a badly drawn computer game, with 2D characters awkwardly composited on top.
For the wonderfully retro steampunk mecha, the computer graphics are used to great effect. A variety of creepy metal creatures, including trains with legs that shoot out of them, an almost adorable bipedal tank that resembles a Star Wars AT-ST Walker, and more, are trying to overthrow their human creators. There are scenes in the second movie where it almost seems like William Gibson wrote Steamboy.
Kurayukaba has the most logical plot, yet even with that, I found its strange ending puzzling. Detective Soutarou sends his little sidekick Saki into “The Dark” beneath the town to look into several recent disappearances. However, there is a sudden cut to Saki’s disappearance, and he regrets sending her there. At least two more times, this disorienting editing method is employed, largely for comedic effect but also perhaps to maintain a tight runtime.
Soutarou infiltrates a hidden underground metropolis constructed in a large abandoned reservoir by disguising himself as one of the metal bucket-wearing “Laughing Mask” gang members (I have no idea how they see anything; there are no eye holes in their buckets). There, he finds himself involved in a conflict between armed cops using heavy artillery-firing tanks and armored trains against gang members. It’s obvious that someone took Dominion Tank Police’s strategies for law enforcement a little too seriously. Everything about it is ridiculously enjoyable, full of amazing action scenes. Overall, it’s a fun time, albeit the plot gets a little bizarre at points with suppressed memories and mass hypnosis machines that send strange pictures into the sky.
I wish I could have spent more time with Kurayukaba’s entertaining ensemble of people, but sadly, Kuramerukagari has a whole new location and a distinct company of weirdos that live below. This cast is less cohesive and larger. Apart from the rest of the cast, the stylish Secret Service agent (whose name escapes me) just goes around with her silly, glasses-wearing companion and gets into mischief. Perhaps I misinterpreted, but I was unable to discern her intention.
Kuramerukagari’s plot takes a very long time to get up, which is unfortunate given the short running length. In addition, except from the main character Kagari, who has feelings for the cartographer/mapper lad Yuya, and Yuya, who wants a brighter future for both Kagari and himself, I never felt like I understood anyone’s reasons. Regretfully, Yuya makes her living by selling the bad guys the most recent maps so they can use them to build an army of outlaw robots. I’m not sure. Make a bid to rule the entire planet, or something? It’s not entirely evident.
In any case, this wonderful guy who works as a librarian is a “information broker.” I’d want to have an automated book sorting system in my house full of books, like the one in his library. Even though he seems to be aware of everything that goes on, his explanations are always brief and end with, “I could go on, but you’d need to pay me.” It’s possible that the production committee overpaid for “decent plot exposition”. Another fun character is Old Man Kuchinawa, whose metallic creations fight back against the invading metal monsters with the help of automata. One of the creations, Old Man Kuchinawa, resembles a Victorian-era Ghost in the Shell Tachikoma, while another has an intimidating buzz-saw addition.
Kuramerukagari has some visually arresting scenes as well, but they serve an overstuffed and weak plot. I couldn’t claim to have comprehended why anything had happened by the time the credits rolled. The script, in my opinion, might have been completed with more cooking time. Although both movies are worth seeing, Kurayukaba is unquestionably the better of the two. Since their connections are so shaky, one may watch Kurayukaba alone and be content. I’m curious to see what filmmaker Shigeyoshi Tsukahara produces in the future.
