Review of Land of the Lustrous

LAND OF THE LUSTROUS is a gorgeously realized tale about identity, self-worth, and what one is willing to do to change their circumstances. Set on a small crescent-shaped island in a vast sea, the story concerns a cast of anthropomorphic gems that are ostensibly female in character and attire, but actually genderless. Of course, gems are things that hold high value in the context of our own lives, so the audience is already primed to think of the characters in terms of their worth. But every gem has its flaws. Phosphophyllite, the protagonist, has become all too aware of their own (everyone refers to themselves with singulargender-neutral pronouns). Weak and brittle, Phos is unable and forbidden to join their comrades in combat against the Lunarians, strange invaders from the moon who arrive at regular intervals to kidnap the sapient rocks for some mysterious purpose. These assaults are seemingly the only events of interest in this small and otherwise boring world; the Lunarians both threatening and defining the gems' existence. Barred from participating, the relatively young Phos has little else to do but laze around in the grass, which is exactly where we find them in the show's opening shot. Their peers berate them for being a slacker, but what else are they to do?

Kongō-sensei, a figurative and spiritual father to the gems, comes up with a rather mundane task for Phos to complete instead: writing out an encyclopedia. But Phos is clearly not interested, aspiring to be more like the hardy fighters of the group. This, along with their young naivety, results in reckless behavior that frequently shatters their vulnerable body, catalyzing a series of physical and mental changes over the course of the series.

While the unique world invites a variety of intriguing mysteries, these aspects of the show are actually rather slight and understated. Far more compelling is the existential quandaries the characters are exposed to. Phos isn't the only gem struggling with their body and potential. The gloomy Cinnabar sequesters themself from the rest of the gems because their poisonous body is liable to cause harm. Diamond is everything Phos wants to be, but still lacks self-esteem under the shadow of the even stronger Bort. This is a very character focused piece and they never fail to catch me off guard with their utterances and gestures. Every gem comes off as distinct with attention to detail in the way they move and act. Not every gem gets nearly the same level of attention as Cinn or Dia, but they are all a small joy to watch none the less. That LAND OF THE LUSTROUS can bring them to life in such short moments is no small feat.

Of course, one cannot forget the marvel of the studio Orange's CG work. Not since the tantalizing potential of Yasuhiro Yoshiura's experimental short AQUATIC LANGUAGE have I seen a mixture of 2D animation style and 3D CG used to such visually dynamic effects. I appreciate animation, but especially traditional 2D animation and anime, because the nature of the medium naturally results in very deliberate and stable compositions. The Frenetic editing, intensified continuity, and camera movements so common in mainstream American cinema are less common in this space; no team of editors sitting around monitors trying to make sense of the coverage from half a dozen cameras, no claustrophobic ubiquity of reverse angles. Is it not somewhat ironic that the medium in which anything can be realized is so often more restrained than what we are used to seeing in live-action?

But it's also refreshing to see experimentation and a break from this norm. The CG character animations and camera movements are dazzling here, although still a bit laggy. The action scenes especially are a tour de force as the camera whips around and tracks the gems as they charge into battle. A very tense long-take towards the end of the show should close the mouths of any skeptics. But LAND OF THE LUSTROUS is still restrained most of the time. Actions scenes are brief and spaced out. Outside of these moments, the camera is locked down, allowing the expressive character animation to shine on its own. 2D animation still plays a role and is seamlessly blended into gorgeous backgrounds and close-ups when more nuanced expression is needed. Takahiko Kyōgoku direction is strong, often choosing long shots with central symmetric framing that stages characters against the stark and rather lifeless environments. No doubt Haruko Ichikawa, author of the manga on which the series is based, deserves much of the credit for these compositions as well.

Perhaps what surprised me the most about LAND OF THE LUSTROUS is just how funny it can be. The proceedings are never too dark or dire for an injection of humor to seem out of place. The characters react to things in the most unexpected of ways. A reoccurring gag involving Sensei's sleeping habits had me laughing out loud. I love these characters.

The overarching plot isn't too detailed or special, although there is a hint of a humanity divided. Will Phos become the bridge connecting it? Will the change they undergo be for the better, or will they regret losing other parts of their identity? It's these character-related questions that have me hungry for more rather than the larger mysteries. But for now, Phos's central character arc in this cour, which comes full circle by the end, is enough to strongly recommend what I consider to be one of the best shows of the last few years.