If you’re not familiar with the anime franchise “One Piece,” based on Eiichiro Oda’s manga, you’ll be completely lost at its 13th cinematic entry, “One Piece Film: Gold.” The movie, directed by Hiroaki Miyamoto, doesn’t provide a back story for its abundant characters. All you need to know is that the heroes, the Straw Hat pirates, are seagoing adventurers on a planet dominated by a world government. The pirates don’t loot vessels; they simply seek lost treasure. (The series title comes from the name of a trove in the first installment.)

In “Gold,” we are fleetingly introduced to these youthful buccaneers, seemingly plucked from disparate movie genres: Zoro is a swordsman; Chopper, a cute, cartoony reindeer evoking a Pokémon; Sanji, a ladies’ man; Franky, a cyborg; Usopp, a sniper; Brook, a skeleton. Their volatile leader, Luffy, can stretch and enlarge his body, like Plastic Man; his sentences almost always end in multiple exclamation points. The female members — Nami, a cat burglar, and Robin, an archaeologist — are eye-roll-inducingly buxom.

The frantic plot concerns the Straw Hats’ visit to Gran Tesoro, a six-mile-long floating casino and entertainment complex impervious to government intervention, and run by the perfidious mastermind Gild Tesoro. Gamblers become starving indentured servants, and the Straw Hats liberate them in escalating battles rendered with a crude line and an often, well, golden palette. If you’re a boy between, say, 8 and 12 and wired to the hilt on Coca-Cola, the shrill, exhausting “Gold” might be for you. But only if.