Karasu Pamphlet Translation, Part III
Part I - Character Info
Part II - Summary
This time, we have blurbs from the screenwriter and the director. Next time, we'll get into blurbs from the boys themselves, and perhaps I can avoid the excessive historical vocabulary and it will progress with a lot more speed. :D
Habara Daisuke (script)
This story is a play about a group of men who lived at the base of society at the time of the Meiji Restoration.
Not allowed to wear a sword, crowding into drafty tenements to live, wearing ragged clothes, unable even to consume white rice, unable to have a last name, not wasting money to see a doctor even when you get sick. And yet, the land tax is collected without fail.
…Huh?! Is there something in this that we can understand even today, in some respects?
Yes, were the struggles of “They,” who dreamed of being samurai, perhaps the same as the struggles of contract employees, temporary workers, and the working poor in modern times?
When I considered this, the ideas for “Their” story inflated at once.
“They” are country bumpkins from Touhoku who fought to the end against the system for the sake of their homeland and to protect the people dear to them, while being swallowed by the wave of the period known as the Meiji Restoration: a group of young men of the Sendai-han Ballistics Corps, called the Karasu-gumi.
I transitioned from “Last Game: The Last Waseda/Keio Match” with difficulty, but a sudden will to do this burst forth.
When I informed both Watanabe Miki-san and Matsuda Makoto-san that “I want to go with the Karasu-gumi!”, they said to me, “Isn’t that interesting!” “Isn’t that awesome!”
Irie-kun, who helped me with the script, is a history nerd. He collected thorough information for me about the people of Touhoku who resisted the Meiji Restoration.
Wow—they say that the Meiji Restoration was a bloodless revolution, but a huge amount of blood was spilled. For both Saigou Takamori and Katsura Kogorou, the Karasu-gumi were the most formidable opponents.
With the scales falling and falling from my eyes, I finished writing this in one sitting.
As for the performance, Kayano-san  had personally suggested, “Next, let’s do something with sword fights!” Naturally, I was able to hand him the script with the utmost confidence.
And then, there’s the question of how “They,” the D-Boys, will play “They,” who lived through the upheaval of the Bakumatsu period.
When the dreams of “They” who dreamed of becoming samurai and “They” who dream of making great strides as actors have synchronized, I have no doubt that this story will definitely become a play that will give us, living through a great recession, “the courage to live, believing in tomorrow.”
Good luck, Karasu-gumi!
Kayano Isamu (director)
After “Last Game: The Last Waseda/Keio Match” ended, I thought I wanted to do a historical play next.
I didn’t want to think very much about why that was.
I wanted to have the D-Boys members wear kimonos, carry swords, do their hair in topknots, exchange lives.
I didn’t want to depict battles where hundreds of thousands of lives disappear with the touch of a button like in video games, but battles where, if you kill someone, blood spurts out of living flesh.
Because of this period of history, when “living” was so rare, I thought I’d like to see the men who fought in order to live.
For that reason, it seemed like it would be a slightly more “sultry” production this time, but with that said, we took great pains with this period piece.
Though it alternates between exhilarating sword fights and magnificent battles, I want to convey a story about foolish young men that holds true in any time period.
Please look forward to the fighting D-Boys, who are cooler than ever before.
 The director.
 He probably is using "sultry" like some folks use "hot," i.e., I get the sense that he's worried about making it too dramatic/intense.
 The actual words he uses are "obaka na wakamono," so the "foolish" should be taken with a certain amount of fondness, given the honorific "o" in front of "baka." :P