It hands you a corpse with a notebook and dares you not to get attached. Watson keeps Friday stitched together and scribbling because he cannot accept that the thing walking beside him is just meat with borrowed motion, and the entire hunt for Victor Frankenstein's lost notes is one man refusing to let his friend stay dead. Wit Studio renders this like a gaslight fever dream, brass analytical engines, corpse laborers hauling freight through an industrial revolution built on reanimated bodies, all of it gorgeous and quietly obscene. Burnaby's soldier pragmatism keeps grinding against Watson's obsession, and the film never lets the science-versus-soul argument resolve into something comfortable. This is Project Itoh, so expect the philosophy to get denser than the plot can carry and expect to be fine with that. The last thing you remember isn't the spectacle, it's the handwriting.

Nineteenth-century Europe runs on corpses. In this alternate history, the dead are brought back with artificial souls and set to work as laborers, fueling industrial growth around the world. No reanimated body has ever regained a real soul, except the one said to have been revived by the vanished Dr. Victor Frankenstein. Medical student John Watson wants to bring back his late friend Friday, and his illicit experiments draw the attention of the British government. Recruited as a secret agent, he joins a global race to recover Frankenstein's lost research notes before anyone else claims the secret of the soul.