In a world where carnivores and herbivores struggle to coexist, BEASTARS—the coming-of-age ensemble drama by Paru Itagaki (serialized in Akita Shoten’s Weekly Shonen Champion)—has captivated fans globally with its raw exploration of instinct and society.
With BEASTARS FINAL SEASON Part 1 currently streaming exclusively on Netflix and Part 2 set to drop on March 7, 2026, the animated saga of Legoshi and his peers is finally reaching its grand conclusion. To commemorate this milestone, we’ve received an official interview with Yuki Ono, the voice behind the prideful yet complex red deer, Louis.
Official Interview: Yuki Ono (Louis)
――With the release of "FINAL SEASON" Part 2, the EASTARSanime series has finally come to a close. How are you feeling right now?
Ono: To be honest, it hasn't quite sunk in yet. We actually finished the recording sessions quite a while ago, so in my mind, I felt like I’d reached the "end" back then. However, a project only truly becomes "complete" once it reaches the audience. I feel like that moment is finally here.
Since Part 2 is being released all at once, I’m excited that everyone can finally watch it through to the very end. I’m really looking forward to seeing how the fans react. Looking back, I’ve been involved with this series for seven years—nearly eight if you count the auditions—so there are a lot of emotions tied up in this.
――What kind of presence does Louis hold for you personally?
Ono: Throughout the series, I think he’s the character who has undergone the most complex changes and the most significant growth. His upbringing, his complexes, his relationships, the environment he’s placed in... so many layers overlap, and his choices and capabilities shifted depending on the moment. In that sense, I feel Louis is the one who lived through the most turbulent times.
――In some ways, his journey might be even more turbulent than Legoshi’s. He’s almost like a "second protagonist," wouldn't you say?
Ono: At his core, he has this incredibly strong hunger—a drive that fuels everything he does. At the start, he was the beautiful star of the school, the crown jewel of the drama club, and perhaps came off as a bit overbearing. But that was his own survival tactic. It was an expression of his mindset: "If I’m not someone special, I don’t deserve to be here; I won’t exist."
On the flip side, he’s incredibly serious and possesses the strength and stoicism to face things head-on. That’s why, despite his background and his past, he didn’t just wither away. He struggled and made it this far. In a way, I think he’s a miraculous guy.
――His elegant behavior might have been a persona he was consciously playing.
Ono: Exactly. Deep down, he’s someone who truly agonizes, gets hurt, and sometimes chooses reckless paths. His intelligence, nobility, and beauty are entirely on the surface. At his roots, there’s something much grittier—what we call "weed soul" (underdog grit). That’s why it’s so easy to empathize with him. In fact, despite being a deer, he might be the most "human" character of them all.
――Do you personally like Louis as a character?
Ono: Of course!
――You mentioned how Louis has fluctuated greatly throughout the series. How did you approach his growth and changes while acting?
Ono: He gets involved with the Shishigumi, deals with arranged marriages, and even acts as a sort of spy while communicating with Chloe from the research lab... he is the most active character in the show. In a way, he’s moving on a completely different vector than Legoshi, who is a more traditional protagonist. With Legoshi, there’s a sense of "he’ll be fine," but with Louis, you’re constantly worried—especially with that slender frame (laughs). He isn't built for combat, yet he keeps diving into the deep end. That vulnerability is part of his charm, but as a viewer, it’s nerve-wracking.
――He really does push the envelope.
Ono: And he’s doing all this while missing a leg and using a prosthetic. He steps forward even when a small injury could be fatal. Among so many powerhouse animals, he’s the type who survives on his wits... but while he seems rational, he’s actually quite "insane" in his own way. And ultimately, the principle behind his actions isn’t for the sake of the world—it’s purely for Legoshi. He eventually realizes that he doesn't care about grand justifications. Even from Season 1, you can see him "going soft" for Legoshi. I love how his emotions start to leak through.
――Were there any parts you found particularly difficult to play?
Ono: The hardest part was expressing the "gap" between what he’s feeling inside and what he shows on the outside. There are scenes where he’s panicking internally but acting calm on the surface. Deciding how much of that inner turmoil to let bleed into his voice versus how much to suppress was a delicate balance. However, fundamentally, he’s a very clear-cut character, so I found him easy to understand.
――In this "FINAL SEASON," there are some departures from the original manga.
Ono: There are some significant differences, and I felt Louis especially got a lot of original development. Since Chloe wasn't in the original manga, my first thought was, "Wow, they’re adding this kind of original arc!" When I read the manga, I didn't get the impression Louis’s movements were quite this prominent, but here, his role—including his behind-the-scenes actions—is much clearer. It wasn't just fragments; it was a continuous flow of "this is what he's doing," which made it easier for me as an actor to grasp. Although, there were many moments that made my blood run cold (laughs).
――I’ve heard that for the BEASTARS recordings, you all record while looking each other in the eye. Looking back at the series, is there anything that stands out as particularly memorable?
Ono: In the climax of Season 1, there’s a scene where Louis tells Legoshi, "Legoshi, bite me!" and offers his leg. During that recording, I actually lay down in front of the microphone and held my leg out toward Chikahiro Kobayashi (who plays Legoshi). I even took my sock off... and I had actually written the number "4" on the sole of my foot with a marker, just like in the manga.
――Wait, really?! You wrote it yourself?
Ono: Yes. The fact that he was sold as "No. 4" in the manga left a huge impression on me, so I wrote it. When I actually showed it to Chikahiro-kun, I managed to pull a very real sense of bewilderment out of him (laughs). That was during the test run, but it allowed me to approach the scene with a very raw, vivid feeling. I don't know exactly how much of that energy made it into the final cut, but it's a scene I’ll never forget.
――That’s definitely not something that happens in other recordings.
Ono: Absolutely not. It was only possible because of this specific environment. Plus, it was a scene where I needed to rattle him, so I thought I’d throw in a little surprise.
――Were you guys doing a lot of physical scuffling back then?
Ono: We were! They laid out something like a futon (Japanese mattress), and we’d be wrestling on top of each other (laughs). Usually, that’s impossible in a recording booth because of the equipment. But for BEASTARS, we used shotgun microphones, and the engineers would adjust the positions constantly. Since shotgun mics pick up sound in a straight line, even if there’s noise at one mic, as long as the dialogue on the other mic is clear, they can use it. But you can't just thrash around because it creates too much noise. So we had to do a "refined" version of wrestling (laughs).
――Did that approach affect your performance?
Ono: Whether that style works depends on the actor. We are professionals at standing still in front of a mic and putting emotion into our voices, so some people find that moving around actually distracts them. I’m usually the type who gets distracted, but I wanted to try it. I wanted to put that "instability" into the voice. Especially since BEASTARS uses 3DCG, the characters are always in motion—there’s a constant "vibration" to them. In traditional animation, standing still might be better for clarity, but I felt that moving around a bit would convey something deeper. I interpreted it as: it’s okay for the voice to have physical shakes or breathy fluctuations. That was just my personal take, though.
――So it's a different beast compared to 2D animation recording.
Ono: In terms of mindset, yes. Though the core of what we do doesn't change. The tricky part is that usually, you look at the script and the screen to time your lines. But if you're looking at your partner, you can't see the screen. So it’s a question of "What do we do now?" Because of that, some people preferred to stay focused on the mic, while others found it easier to face their partner. The staff respected everyone’s individual style, so it was a very high-freedom workplace. However, if one person likes to move and the other doesn't, it creates a challenge. It was a very experimental and daring recording environment.
――How was the recording for Part 2?
Ono: I’m not sure about everyone else, but... in Season 1, there were many sessions where we used our bodies and clashed physically. In Part 2, Louis didn't have as many intense physical interactions. While there’s still movement in front of the mic, I felt Louis shifted from being "on the front lines" to more of a support role. I think that reflected in how I carried myself during the sessions.
――The relationship with Legoshi changes too. Legoshi was moving in the shadows while Louis was in the spotlight, and now those roles seem to flip...
Ono: That’s what’s so interesting. I see their relationship as a balance of "Yin and Yang." Even with the carnivore/herbivore contrast, their roles are depicted symmetrically. There are moments where you see the structure: "Now that Louis has moved, what will Legoshi do?" I felt that structural intent while acting. But that’s just my perspective as a performer. As a reader, I think it’s a bit rude to over-analyze Paru-sensei’s intentions, so I just try to take it as it is.
――What are your impressions of the ending theme, "Tiny Light" by SEVENTEEN, including the visuals?
Ono: Regarding the visuals, at first, I was wondering where Louis would show up. He appears quite early, during the refreshing part of the first verse. Then later, in the chorus where Legoshi is running, there’s a shot of Louis pushing him forward and pointing the way toward Haru. I felt it condensed the relationships of this series into a very short span of time.
――And what about the lyrics?
Ono: They really hit me. The phrase "If we fall into different worlds / Even if we're lost and wander around, oh, I'll find you for sure"—I could see Legoshi and Haru’s relationship in those words. Despite being in different worlds as carnivore and herbivore and being at the mercy of their society, that strong will to find each other was very moving. I also loved the rhyme scheme of "shower" and "flower" in the chorus; the melody is just great.
When I heard the full version, I expected the bridge before the final chorus to be something peaceful—maybe Legoshi and Haru spinning around in a big grassy field under a blue sky. But it actually felt quite valiant. In that gap, I felt a sense of "challenge" or "battle" regarding the series' ultimate theme: is coexistence between carnivores and herbivores truly possible? It could have been a very light, airy transition, but they chose not to go that way. That "unresolved" tension felt intentional. Considering the themes of the work, it felt like a very meaningful expression.
――So it’s not just a bright, pop song.
Ono: I feel something deeper. The lyrics are positive, but in the accompaniment and the progression, there’s a lingering tension—a sense that "it’s not over yet." I suspect WOOZI-san (of SEVENTEEN) put a lot of thought into that.
――The tagline for the finale is "Even so, if there are two of them." How do you interpret that?
Ono: "Even so, if there are two of them"... which two? It’s intriguing, but honestly, I don't think I need to "interpret" it for anyone. It’s something for every viewer to feel for themselves as they watch the show.
――I’m sure everyone will take away something unique. Hearing your stories today, it really feels like the entire production was taking risks.
Ono: It really was. But not all of that effort is directly audible in the sound, and we aren't trying to force the audience to see "how hard we worked." Ultimately, how the work is received is entirely up to you, the fans.
Writer: Mari Sakai
As mentioned in the interview, the ending theme for BEASTARS FINAL SEASON Part 2, "Tiny Light" by SEVENTEEN, is now available on all major music platforms!!
BEASTARS FINAL SEASON Project Information
Synopsis
After his confrontation with Riz, Legoshi chooses to drop out of school and begins a solo life at the Hidden Condo. Meanwhile, Louis, who declined the title of "Beastar" and graduated, resolves to face his father, Oguma. Haru, enjoying her campus life, still finds herself plagued by worries. During this time, the current Beastar, Yahya, is hunting a heinous criminal named Melon who finds pleasure in killing. The secret hidden within Legoshi’s family is what ultimately ties Legoshi and Melon’s destinies together...
Cast
Legoshi: Chikahiro Kobayashi
Haru: Sayaka Senbongi
Louis: Yuki Ono
Sagwan: Tessho Genda
Seven: Fumiko Orikasa
Jack: Junya Enoki
Juno: Atsumi Tanezaki
Pina: Yuki Kaji
Free: Subaru Kimura
Gouhin: Akio Otsuka
Leano: Houko Kuwashima
Deshico: Tomokazu Seki
Cornu: Ryusei Nakao
Sunaga: Genki Muro
Toki: Yuko Minaguchi
Azuki: Ruriko Aoki
Holger: Tomokazu Sugita
Yahya: Shinichiro Miki
Goshe: Shigeru Chiba
Melon: Koji Okino
Ten: Aya Endo
Miso: Wataru Takagi
Savon: Anri Katsu
Corn: Yuuya Uchida
Bean: Taku Yashiro
Mugi: Hiyori Iwata
(C) Paru Itagaki (Akita Shoten) / TOHO
© Animate Times
*Some parts of this text have been translated using machine translation
