Netflix’s 2019 anthology series Love, Death & Robots stands out with innovative visuals, artistry in every frame and its short story-esque narratives, some adapted from well-known science fiction literature. The show’s first season made the audience laugh, cry, and think all at the same time. From inane plots like “When the Yogurt Took Over” to the apocalyptic theme of “The Secret War”, the show offered much in its first season. With fan-favorite episodes like “Sonnie’s Edge” and “Three Robots” in the mix, fans had high expectations from season 2.
Directed by David Fincher and Deadpool’s Tim Miller, Volume 2 of Love, Death & Robots explores a bit of everything from future dystopias, cosmic battles to a very unconventional Santa Claus. The 2nd season attempts to expand on the show’s previous merits while also addressing old flaws. Where the first season was a smorgasbord of varying animation styles, plots and settings spread across 18 episodes, season 2 is substantially shorter- with only 8 episodes. With the exception of the 2D animated episodes “Ice” and “The Tall Grass” all the other stories brandish eye catching 3D animations and CGI. Other than animation styles, some of the episodes share the same themes- of mankind’s desire to obtain immortality (Snow in the Desert, Pop Squad) or the popular trope of Man vs Machine (Automated Customer Service, Life Hutch). A step away from the anthology’s titular themes, “All Through the House” and “The Tall Grass” explore run-ins of the supernatural variety, whereas the final episode “The Drowned Giant” is a poetic triumph of philosophy and existentialism.
According to most viewers, Season 2’s “The Tall Grass” had the weakest delivery of the series due to its comparatively shallow plot. Despite, the Joe Lansdale adaptation manages to deliver stunning visuals with its art style that felt nothing less than a moving painting. Robert Valley who delivered “Zima Blue” (arguably the best episode of season 1), returned with the only other 2D animated short this season. Following after “The Tall Grass”, Valley’s “Ice” too feels relatively underwhelming- despite the distinctive animation style, lacking in the existential punch of “Zima Blue”.
Where the only two 2D animated episodes of Love, Death & Robots Volume 2 failed to meet expectations, the rest of the shorts made up for it with stellar 3D to hyper-realistic CGI animations from the likes of Miller’s own Blur Studio (Far Cry 5, Shadow of the Tomb Raider), Scotland’s Axis Studios, France’s Unit Image (God of War, Beyond Good and Evil 2) alongside England’s Blink Industries and Passion Animation Studios.
From the 3D selection, “Automated Customer Service” is the season’s funniest entry, which serves up some comic relief to the otherwise dark anthology. Based on a story by John Scalzi (whose work also inspired season one’s more eccentric episodes like “Three Robots” and “When the Yogurt Took Over”), the episode is a comic commentary at humanity’s persisting fear of a machine uprising. The theme of Man vs Machine extends to the episode “Life Hutch” as well. With Michael B. Jordan bringing some star power into the anthology, “Life Hutch” is a hyper-realistic and visceral cat and mouse game between a stranded astronaut and a malfunctioning robot in a claustrophobic space, ending jn a clever outcome.
Like some of the previous season’s most popular episodes, “Snow in the Desert” introduces viewers to an alternate universe in a relatively small window of time. The episode follows the adventures of Snow, a bounty hunter with a unique genetic quirk to regrow lost limbs, making him functionally immortal. Packed with menacing pursuers, a rugged dystopian atmosphere and a beautifully enigmatic ally, “Snow in the Desert” scores bonus points for being one of the few stories in Love, Death & Robots that embraces all three of the titular themes, ending in a glimpse of what (literally) undying love might look like in some far-off corner of the universe.
The lengths mankind would go for immortality are once more tested in “Pop Squad”. The darkest instalment of season 2 is set in a blend of utopia and dystopia- a future where immortality comes at the price of procreation. Voiced by Nolan North (best known for playing Nathan Drake from the Uncharted video games), the protagonist is a world-weary detective who learns to see past superficial pleasures to the true nature of the horror his job entails. While the episode ends fairly abruptly, it’s easy to desire an entire series set in this universe.
The final episode of the season, “The Drowned Giant” stirs up questions of existence and mortality through its calm narrative repose. As a bonus, a shot from “The Drowned Giant”, reveals the same Ipswich Collectibles storefront from “Pop Squad”– an interesting easter egg that may imply that at least two of the stories share the same universe, untold years apart. A fun Easter egg or a sign of unexpected crossovers, it maybe worth keeping eyes peeled for more details when Love, Death & Robots returns with its third season in 2022.
So, does the latest season hold a candle to the overwhelmingly positive reception of Love, Death & Robots Volume 1? While season 2 is a sequel in spirit, it varies in its mission and purpose, making a comparison between the two seasons unreasonable.
If you can look past the short episode count to the stories and their intended messages, season 2 of Love, Death & Robots won’t disappoint.
Regardless of whether you prefer season 1 or 2, with Season 3 already in the works, there is much more to come in the trailblazing, sci-fi anthology.