With the first season leaving the best of impressions, the sole question for the second one was if it could keep up in its predecessor’s masterful fashion, even with half the episodes (11 instead of 22). The short answer is yes.

The creators of the anime, due to the smaller duration, decided to focus mainly on the plot and to leave the characters’ analysis a bit to the side, at least for most of them. In that fashion, the second season focuses primarily on Tsunemori and the new Inspector that appeared in the first season’s last episode, Mika Shimotsuki. The first one, now the leader of the squad, seems to have benefited the most from the hardships of the Makishima case, and being utterly disillusioned about The Sybil System and the role of Joshu Kasei, has become a truly great Inspector, both in terms of analysis and action. The second one is quite an irritating character due to her adherence to the rules and a sense of superiority that frequently leads her to disrespect the Enforcers, to challenge Tsunemori over the proper procedures and even to make constant complaints to the chief regarding the other members’ behaviour and practices.


Apart from them, there are two new members: Sakuya Togane, an ex therapist with a shady past, and Sho Hiwakawa, an introvert red-haired adolescent who soon proves his prowess in technology matters. Nobuchika, Shion and Yayoi are also present, but have minor roles and there are also some members from other squads present. Joji Saiga, the criminal psychologist is also present, with a bigger role this time, as he assists Tsunemori.


The actual plot is even more intricate than that of the first season, as the whole Bureau faces an enemy, that not even his existence can be determined. As the series progresses, the story becomes extremely cruel and violent to the point of grotesque, while the plot thickens with every episode. The action is there, but a bit toned down in comparison with the first season as this one leans more towards the crime thriller. The violence, however, is toned up, with more killings and even a torture scene. The romantic element is absent, as there are no romantic notions whatsoever, with a very minor exception. The philosophy is here once more, and this time deals, chiefly, with the paradox of omnipotence.


Technically, it retains the great standards of the first season in both drawing and animation, despite the lack of the baroque and gothic aesthetics.

Overall, the second season is a worthy sequel, elaborately following in the footsteps of the first.

My name is Panos Kotzathanasis and I am Greek. Being a fan of Asian cinema and especially of Chinese kung fu and Japanese samurai movies since I was a little kid, I cultivated that love during my adolescence, to extend to the whole of SE Asia. Starting from my own blog in Greek, I then moved on to write for some of the major publications in Greece, and in a number of websites dealing with (Asian) cinema, such as Taste of Cinema, Hancinema, EasternKicks, Chinese Policy Institute, and of course, Asian Movie Pulse. in which I still continue to contribute. In the beginning of 2017, I launched my own website, Asian Film Vault, which I merged in 2018 with Asian Movie Pulse, creating the most complete website about the Asian movie industry, as it deals with the almost every country from East and South Asia, and definitely all genres. You can follow me on Facebook and Twitter.