Anime Reviews Reviews

Anime Review: Shangri-La Frontier Season 2 (2024-2025) by Toshiyuki Kubooka

Shangri-La Frontier Season 2 Lycagon fight
The second season of Shangri La Frontier will resonate with anime fans and gamers alike

” has cemented itself as one of the most entertaining isekai series currently available, particularly because its deep connection to video games and gamer culture is arguably more intense than any other title in the genre. Season 2 continues along the same trajectory as the first, though it introduces a more intricate narrative structure and branches away from the central storyline even more often than the first season.

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Rakuro, the protagonist, is still focused on defeating Lycagon and removing the curse mark she inflicted on him, which prevents him from wearing armor and leaves him traversing the Shangri-La world half-naked. To lift the curse, he must explore new cities, complete numerous sub and main quests, and form alliances to face epic enemies.

Though the setup may seem generic at first glance, the narrative quickly proves to be more layered. Rakuro’s outlandish appearance makes him an unlikely hero, but his cryptic behavior and tendency to hoard the secrets and rewards he uncovers lend him a comical, occasionally selfish quality. He’s not exactly dishonest, not to the level of Pencilgon, his frenemy who constantly schemes to cheat others, but his childish nature is an oddly endearing element.

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Another standout feature is Rakuro’s obliviousness to Rei’s romantic feelings in real life, which carry over into the game through her avatar, Psyger-0. The contrast between Psyger-0’s immense power and her bashful, adolescent crush on Rakuro is one of the funniest and most heartwarming aspects of the series.

One way “Shangri-La Frontier” truly distinguishes itself is by stepping beyond the main game world. This unfolds in two ways. First, the series occasionally shifts to real life, especially in the latter part of the season. Here, Rakuro interacts with fellow gamers outside of VR, giving director the opportunity to explore the politics of professional gaming: sponsorships, tournaments, fan culture, and the lucrative potential of the industry. Pencilgon’s status as a real-world celebrity outside of the particular industry adds depth and complexity to the story.

Second, Rakuro begins to engage in other VR games, encountering a new roster of players and settings, although the creators of the anime always retain some connection with Shangri-La Frontier in the story. In that fashion, the mid mecha-fighting game is just the beginning, as the ending has another open-world RPG featuring in the story, where some of the protagonists fight each other with completely different characters.

These diversions provide welcome relief from the main plot while showcasing the impressive scope of the series. The anime juggles three distinct game worlds with unique character designs, a feat that speaks to the talent of the creative team. ‘s character design is outstanding, offering a wide array of humans, humanoids, monsters, mechas, and epic bosses, each visually distinct and vividly realized. The backgrounds are equally detailed, destruction scenes are spectacular, and the overall animation quality from studio remains high, particularly during the diverse and frequent battle sequences.


Granted, the use of Deus ex Machina is a bit overdone, some of the humor leans toward the pedantic, and the ultra-colorful visuals occasionally veer into territory that feels more suited to younger audiences. Still, “Shangri-La Frontier Season 2” stands out as a highly engaging title whose narrative intricacy and visual flair will resonate with anime fans and gamers alike.

About the author

Panos Kotzathanasis

Panagiotis (Panos) Kotzathanasis is a film critic and reviewer, specialized in Asian Cinema. He is the owner and administrator of Asian Movie Pulse, one of the biggest portals dealing with Asian cinema. He is a frequent writer in Hancinema, Taste of Cinema, and his texts can be found in a number of other publications including SIRP in Estonia, Film.sk in Slovakia, Asian Dialogue in the UK, Cinefil in Japan and Filmbuff in India.

Since 2019, he cooperates with Thessaloniki Cinematheque in Greece, curating various tributes to Asian cinema. He has participated, with video recordings and text, on a number of Asian movie releases, for Spectrum, Dekanalog and Error 4444. He has taken part as an expert on the Erasmus+ program, “Asian Cinema Education”, on the Asian Cinema Education International Journalism and Film Criticism Course.

Apart from a member of FIPRESCI and the Greek Cinema Critics Association, he is also a member of NETPAC, the Hellenic Film Academy and the Online Film Critics Association.

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