Distributed internationally by Netflix*, Beastars- based on Paru Itagaki's fantasy-drama manga of the same name- soared as a hit of the Winter 2020 anime season, recognised with an impressive 7 nominations at the 2021 Crunchyroll Anime Awards. Yet in spite of its acclaim, I confess I was initially sceptical about giving this series a chance for... obvious reasons. While I try to maintain an open-minded perspective with any piece of media, admittedly I had my reservations about approaching Beastars, namely due to the plague of hyper-sexualisation that exists throughout the medium of anime, and given I knew that a major focus of this series was on, well, sex.
It was a pleasant surprise therefore, to realise just how misjudged I was. As a coming-of-age teen drama, Beastars is perhaps one of the most mature and well-realised anime series of recent years. More so, this aspect of its narrative only aids in further enriching the superb word-building of Beastars' anthropomorphic animal society. Never does Beastars' integration of human and animal behaviours feel unwarranted. Its world is entirely reliant upon this, and completely immersive as a result, very much in the same vein as Walt Disney Animations' Oscar-winning Zootopia (2016, Howard & Moore).
The series' three leads: grey wolf Legoshi, dwarf rabbit Haru, and red deer Louis, are all individually well-developed and strong enough to carry both the narrative and the weight of Itagaki's animal civilisation by themselves. Legoshi is a refreshingly awkward but sincere protagonist, impressively portrayed by both his Japanese and English VAs, Chikahiro Kobayashi and Jonah Scott respectively. Legoshi's struggles to suppress his carnivorous instincts function as a great metaphor for a number of teenage anxieties from peer pressure to conform, late-stage puberty, and sexual exploration. He is an incredibly sympathetic and relatable character and I found myself rooting for him the moment he was first on screen. However, even more obviously reflective of a delicate teenage experience is Haru's personal narrative and the relationship she has with sex. Haru's attitude towards intimate relationships sees it as an avenue in which she is able to escape the passivity prescribed to her by the larger and more physically able species around her. Beastars' sensitive approach to sex as a tool for self-determinationism for Haru was not only refreshing to see, but necessary, and tramples many of the assumptions surrounding the series (the same ones I had initially shared).
Having not read the manga (yet) myself, I cannot say for certain whether the complexities of Haru's character, and the individual relationships she has with both Legoshi and Louis throughout the season, are something faithfully adapted from the original work. However, Haru's sophisticated narrative arc and the empowerment that comes with her affirming ownership over her body- even when rendered completely vulnerable by the Shishigumi black market gang- was particularly striking. Beastars is a testament to the capabilities of women working within the Shōnen genre, who- in spite of the likes of acclaimed mangakas such as Hiromu Arakawa (Fullmetal Alchemist) and Koyoharu Gotouge (Demon Slayer: Kimetsu no Yaiba)- are often sidelined within the stereotypically "male" genre.
While it could be disputed that Haru is still rendered a classic damsel-in-distress given it is Legoshi who ultimately saves her from the Sishigumi, this doesn't feel like a complete backtrack on her development, simply because the relationship between wolf and rabbit is just so good. Legoshi's respect for Haru, constant perception of her boundaries, and lack of judgement for her promiscuity, is a ray of hope in an environment in which Haru otherwise constantly experiences bullying and sexual slurs. The nervous chemistry between the pair is butter-melting, and each scene- both gentle and comical- between Legoshi and Haru left me grinning from ear-to-ear.
Further on the subject of Beastars' world-building, its boarding school setting is particularly effective in capturing Legoshi's initial innocence, something that is tested from the very first episode. What is interesting is that Beastars' inciting incident is not depicted as an event much out of the ordinary for its characters. The murder of Tem, an alpaca and fellow member of the drama club (of which Legoshi and Louis are members) is indeed tragic, though quickly identified as not an entirely uncommon occurrence in a world where herbivores are frequently the target of violent attacks. The cultural divide between herbivores and carnivores, again, is not unlike the societal prejudice faced by predators in Zootopia, however Beastars is obviously more explicit in its dark themes, and as such that is were the anthropomorphic comparisons cease. The hostility of Beastars' world is a constant looming threat throughout the season, and the claustrophobic nature of the boarding school- one of the series' few locations- is effective in maintaining a sense of danger amongst the characters, herbivores and carnivores alike.
The second location of key interest, the city's black market in which carnivores illegally indulge their natural desires to eat meat, is a terrifying yet effective space that provides Legoshi with the tools and experience he needs in order to begin to understand what sort of carnivore he hopes to be. Episode 6, which sees Legoshi and a group of his carnivore friends from the drama club lost in the black market district, is particularly strong in this regard. The episode sees a loss of innocence and a pressure to conform to their carnivorous nature simmer amongst the group; some of whom are eager to partake in illicit dealings with a vagrant who offers to sell his fingers to eat, while Legoshi retreats in fear of confronting this violent part of himself. In the episode's conclusion, Legoshi is able to console with his friend, an eagle named Aoba, in a heartwarming scene which reflects both Legoshi's gentle spirit, as well as the hopeful possibility for respect and cohesion to exist between the two animal groups.
Outside of its narrative, another topic of heavy conversation surrounds Beastars' use of CGI animation as opposed to the traditional 2D methods widely associated with anime. There are indeed pros and cons as to the use of CGI, which in some incidences lessens the burden upon overworked animators for particular high-intensity scenes, while being a cheap and thus appealing alternative in others. However, I would argue that in the case of Beastars, its use of CGI is well-realised, and ultimately serves the personalities of the characters well. Computer animation allows for character movements to be fluid and less static than hand-drawn techniques, and particular in the case of Legoshi, it suits his skittish and bumbling personality. The only issue with Beastars' animation style is that regrettably, its character designs are inconsistent in quality. The faces and expressions of feline characters in particular, such as drama club member Bill (a tiger) and the lions of the Sishigumi gang, edge upon the uncanny valley.
Further of merit is Beastars stylistic use of occasional abstract lighting and split framing, which aid in elevating the average conversational dialogue and flat set pieces into memorable dramatic sequences well-suited to the club of theatre teens of which Legoshi is a part. The use of coloured lighting and wide casting shadows during Episode 1's tense opening scene was particularly impactful; immediately setting the standards high for the show's capabilities in visual storytelling, something it thankfully continues to apply masterfully throughout its 12 episodes.
Overall Beastars is an incredibly entertaining fantasy drama, and any surface-level reservations one may have regarding the series should be disregarded. I would highly recommend Beastars to any shōnen or teen drama fan, though July now feel like an incredibly long wait for Netflix's international release of season 2, which is currently airing weekly in Japan on Fuji TV.
*Beastars season 1 is currently available internationally on Netflix, both subbed and dubbed. Though I would caution that certain names are mis-translated within Netflix's English subtitles, referring to the character of Haru as Hal, and Louis as Rouis.
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