Choujin Densetsu Urotsukidouji 2

Supporting

Romance in hell on earth Following the major success of the first series that was even edited into a film that was shown in festivals around the world a sequel was guaranteed. However, it would take a different approach in scope and further cement its disturbing worldview. Themes of the horrors of adulthood is still present however it’s presented through the physical change of one’s body. Still, it also deals with loss more so the loss of identity, family and love. Where worlds collide in a literal and thematic sense. When worlds collide, they do so in a fashion that will leave no one with theimage of who they used to be or who you thought they were. In this sense one could argue that this is the most cynical of all the entries in the old series, but I’m getting ahead of myself here and trying not to spoil too much. This time our main characters are a all a representation of the three realms and their constant state of turmoil against one another. In my review of the previous series, I mentioned that the demon realm is filled with Faustian demons scheming to manipulate the inquisitive nature of humans, nonetheless here this is done by force. Where Niki’s sense of masculinity and social status were threatened Takeaki is not, he’s threaten by something within and out of his control. The puberty metaphor is heavy handed here with its bulging muscles and toxic masculine sexuality that takes what is wants, regardless of consent. Although this threat can possibly be tamed by the love interest, Megumi Amano, the beast-woman who flaunts her sexuality and dares to be as casual as the men in this franchise. However, she also possesses the enigmatic female orgasm that will later show itself as, as powerful to melt bone and nuclear missiles. She gets thrust into this by her own making and therefore betrays her purpose. Where her brother Amano Jyaku has a strictly no involvement policy relating to human conflict, Megumi, through her romantic infatuation does so and that might endanger everyone involved. Danger and romance come in the form of Kohoki a lone insectoid demon that was sent to hell, a unspecified place in this universe, for falling in love with her. He’s thorn between his lingering feelings and threat from his master, the villain, Munchausen Jr. A megalomanic wizard with a wardrobe and hairstyle that is as foppish as his presence. In his youth he discovered his nazi adjacent father’s secret diaries and obtained the true knowledge of the three realms and how one might gain the upper hand. Munchausen Jr is a human but has lost much of his humanity and what’s left is a sardonic view of what humans really are. In a sense it gives the impression of what a God might think of humans and other creatures. That they’re merely insects in the larger scheme of things. However, as he once was a human, he knows what buttons to push, to distort and rearrange the narrative for those who fall under his spell. Kindness and love are weakness, and it can be weaponized. As the one who pulls the strings everyone is fair game, even a God is of no threat. The Nazi death rape machine is mentioned as something of pure shock value, and I might not argue that it is not but in the world of Urotsukidoji it’s as common as having sex. Where fear and lust intertwine to make the portals to the unknown open. While not as grand in scope as its predecessor this doesn’t detract further enjoyment. Following the grim and crowded city landscape of Tokyo through a foggy haze that becomes more turbulent as the plot and characters reach their inevitable climax. Buildings almost distort and bend to show how small our characters are in the grand scope of the uncaring universe. Brothels, airports, schools and skyscrapers are bathed in dark and cold colors. Buildings and it’s urban landscape look lived in and give a strong sense of oppression. Graffiti, garbage, smoke, clouds and fire almost reflect inner character turmoil rather than just being presented as realistic. Loss is present as it’s a symbolic ritual of adulthood through the loss of virginity but this time it’s more straightforward with loss viewed through romance and family. Some might wish to honor their lost family and others might not have the strength to do so. Instead burying inside themselves and try to find comfort in the nostalgic memories of ones shared past and experiences. Even then it might not be enough to move on and another way is too simple just to forget it all, like it never happened. Some might argue that this doesn’t even take place in the same timeline as the first series but that it’s a separate story entirely which reinforces the cycle of rebirth that is ever-present as a theme in the series. It does cause a headache to try to figure out where it can be placed but I consider it to fall between the first and second episode of the original series. Just like it’s opening image of a demonic pin-up on a World War 2 bomber it feels like a good representation of raw uncontrollable sexual power. It’s a highly worthy sequel (or interquel) to this infamous franchise that still manages to shock and awe, thirty years later.

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