Continuing the story from where it stopped in the first season, but, thankfully, not in the same style it concluded, the second season of Golden Kamuy sees a number of opposing factions coming together for their common goal, although a number of secret agendas are eventually revealed.
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As winter melts into spring, Asirpa and Sugimoto take a break from their hunt for the lost Ainu treasure to gather delicious herbs for her village, meditating on all the revelations they’ve absorbed over the past snowy months. But they can’t relax for too long, because Tsurumi is still hot on their trail, and he’s found a new ally in a most unusual taxidermist for putting the Abashiri skins he’s collected into a complete treasure map. The long and winding road ahead is overflowing with allies and enemies alike as the change in seasons changes the game.
While the exploration of Ainu culture, particularly through their culinary and religious practices continues quite intensely in this season, Asirpa and Sugimoto take backstage, as this part focuses more on the “peripheral” characters. Tsurumi is probably the one who shines the most, as his perversion, his manipulative methods and his significant connections in the Army leadership become quite central to the narrative. Tanigaki, through the tragic story of his past and present also comes to the fore, in probably the most dramatic episode in the series, while his ways also present the Matagi, another indigenous Japanese “tribe”.
As the search for Asirpa’s father (who could or could not be his actual identity) intensifies, with the group having already nicknamed him Nopperabo (faceless ghost) for the mystery surrounding his appearance, the Abashiri prison comes to the fore, inducing the narrative with a sense of cult, deriving from the movie series. The whole concept here has a more historic approach but as soon as the prison becomes the central location of the story, action takes over, which this time, seems to be more brutal than ever. At the same time, the true purposes of a number of characters come to the fore, while the analysis of peripheral characters concludes with Hijikata and Inkarmat. The way the series ends here, however, definitely creates as many questions as it answers, most notably regarding which the opponents and which the allies will be in the final battle. Furthermore, and in contrast to the previous season, the last episodes are actually the best.
As the mystery intensifies, the new characters who are introduced are as perverse as possible, starting with the taxidermist, and drama becomes a more crucial factor, the comedic elements of the first part are pushed in the background, a tactic that definitely benefits the narrative. Evidently, Nanba’s effort to lighten the mood after the intensely violent or dramatic moments is more than evident, but this time, he seems to have embedded this aspect much more artfully.
Kenichi Oonuki’s character design continues to be exceptional, as every new persona that comes in the story is as well and distinguishably drawn as it is analysed in the story, with the apogee probably being Nopperabo. Geno Studio’s animation continues on the same excellent levels, although in a more demanding fashion in terms of action, particularly in the Abashiri “arc”. Lastly, both the opening, “Reimei” by Sayuri and My First Story, and the ending, “Tokeidai no Kane” by Eastern Youth, are exceptional.
“Golden Kamuy Season 2” retains the great standards of the first one, and improves the few glitches significantly, resulting in another excellent title.
