One of the best series of the last few years came to an end this season, with the conclusion tying up most loose ends, although not in a way that is utterly satisfying on all levels. Let us take things from the beginning, though.
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The second part of “Beastars Final Season” continues in a world where the fragile balance between herbivores and carnivores is steadily collapsing. Melon’s secret schemes push Zebuth City toward chaos, as distrust intensifies and a series of violent incidents, including murders linked to interspecies relationships, further deepen the divide. At the center of this turmoil stands Haru, who becomes increasingly entangled in Melon’s dangerous obsession, while Legoshi, having survived his previous confrontation, is drawn deeper into the underworld of the Black Market. At the same time, the relationship between the two, although continuously growing stronger, is still hindered by Legoshi’s fear of devouring Haru against her will, despite her complete lack of fear regarding such an outcome and her insistence on some form of physical contact.
Meanwhile, Louis finds himself caught between political pressure and personal dilemmas, as his role in the surface world grows more complicated. He cannot bring himself to go against his father’s will, who has even arranged a marriage with a powerful heiress for him. The girl, however, proves much better than he anticipated, complicating the situation even further. In the meantime, the theatre troupe is trying to prepare for a stage play that will show that herbivores and carnivores can coexist, but they constantly encounter obstacles, one of which is the presence of a true primadonna among them. In the midst of everything, Melon, asserting control over the Shishigumi and inciting unrest across the city, emerges as an increasingly unpredictable and dominant force.
The concept of the cohabitation of herbivores and carnivores is implemented quite well throughout the season, particularly as a metaphor for the real world, while this time the idea of individuals born from mixed relationships adds another level to the discussion of discrimination. At the same time, however, as the narrative delves deeper into Melon’s past, the story leans toward a somewhat overused notion that every antagonist must have a tragic background, which somewhat weakens the overall impact.
Apart from that, elements such as drugs, organized crime, and corruption on all levels, particularly between the capital and politicians, along with the role of public opinion and the press, add even more depth to a narrative that was already quite layered. As the murders begin to escalate and the final confrontation between Legoshi and Melon, as well as Louis and his father, becomes inevitable, the tension is quite palpable. Eventually, the action takes over more prominently, even though it is present throughout, with the thriller elements and the gradual build up to the finale being quite effective, even if Shinichi Matsumi takes a number of turns to reach them.
Regarding the finale, both the CGI animation by Orange, which remains among the best seen in a series, and the overall audiovisual approach are exceptional. Highlights include a highly surreal quiz game presented in a television style, followed by a delirious and quite bloody confrontation involving multiple characters as the Black Market descends into chaos. The use of rotoscope, the drum-driven score, and the montage intercutting Louis’s arc result in the strongest sequence of the season, which is fortunately also quite extended.
Takuma Norita and Nao Otsu’s character design remains on a very high level, both in the anthropomorphic rendering of the characters and in the way events affect their appearance. Lastly, a slight erotic element is introduced, although it remains tasteful and organically integrated into the narrative.
Although the very ending is somewhat vanilla, “Beastars Final Season” provides a rewarding conclusion to an excellent series, ultimately cementing its legacy in a fitting manner.
