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Kino’s Journey – The Land of Sickness: For You, serves as a sort of one-off reboot of the original Kino’s Journey series. It is longer than the average episodes we are used to, clocking in at around 28 minutes. This, unlike the other Kino’s Journey movie, actually feels like a normal, yet remarkable, Kino’s Journey episode, which is always appreciated.

Firstly, it is important to note that this has not been created by A.C.G.T, the studio which worked on the previous Kino's Journey adaptation, but has been handed over to Shaft. Subsequently, this created a familiar but different art style, which feels more modernised. The ... animation budget has clearly increased, as interesting camera techniques and more detailed backgrounds are used multiple times, which one would not usually expect from Kino. However, this has also led to the introduction of CGI, which can be distracting at times, but it generally works well with the art style.

What I do feel the need to mention is Kino’s slight design alterations. Even though she has not been changed drastically, and her great personality remains intact, one differing aspect becomes very stark. Kino has been given breasts; hefty breasts at that. Why? Isn’t it a reoccurring reference surrounding her character that people aren’t sure if she’s male or female? This is made obnoxiously apparent, seen as we see her nude silhouette and cleavage (SFW) when she is forced into a cleansing session to enter this new country. It just seems rather redundant, as she is clearly written to be androgynous. So why make her more feminine? It doesn’t even seem like it’s done for fanservice; it’s just there, which is slightly annoying. Even still, this really doesn’t degrade the overall quality of the movie at all.

There’s not really much more to say. The story is just as impeccably written as ever. It’s very philosophical, but still enjoyable. I’m unable to discuss it here without spoiling, but I will say that I was confused by the ending. It felt out of character and only there to have a cool action scene.

To conclude, I highly recommend that all who have seen the original Kino’s Journeys series watches this. There’s no real reason not to.

Kino’s Journey – Tower Country, serves as an extra episode to Kino’s Journey. It is shorter than an average episode, clocking in at just 14 minutes, which is more akin to 11 minutes when considering the opening and ending. This is a bit disappointing, as another country could have easily been explored in a new episode of normal length. Yet, this is definitely a welcomed addition.

It may be confusing what order you should watch this series, especially since this is known as episode 0. I would recommend watching in order of release date. This is not necessary, and if you were to watch this episode ... first, you wouldn’t be at all spoiled. Yet, this is still advice worth noting.

This is a gruelling tale centred around Kino’s visit to a large city that inhabits a massive tower in its middle, which has been built upon for the last 233 years by the country’s citizens. When asked why they continue to build, the people reply with a vague, indirect answer, simply stating “because it’s our job.”

It’s strange just how perfectly this episode sums up the overall show. From its consistent art and sound to themes and story, everything about it screams, “this is Kino’s Journey!” A reoccurring theme throughout this series is humanity and the lack of it. It seems that people have been living for so long that they go to whatever extreme means necessary so to find meaning in their life. Here, the menacing tower represents that idea. It is built manually, brick by brick, until it is so tall that it loses its stability and comes crashing down – then to only be rebuilt, again and again.

At night, when Kino starts to fall asleep, she is approached by a timid, frightened young man. After a quick commotion, the stranger begs Kino to take him travelling with her, and is quickly turned down; but for what reason does he wish to leave so desperately? It’s quite clear, really: he wants to find a real meaning in life, just like Kino. Fortunately, he will eventually find this meaning through the minor advice given by Kino at the end of the episode.

To conclude, I highly recommend this episode to any fan of Kino’s Journey. It has a great, clear message which can be fun to try to decipher. Given how short it is, there’s no reason to ignore it.

Kino’s Journey – Life Goes On, serves as a prequel to Kino’s Journey. It is longer than an average episode, clocking in at just under 30 minutes. This is a fairly cutesy side story, where we learn about what Kino got up to once she escaped her country of birth and reveals the important supporting character, Kino’s master – Shishou, who taught Kino how to shoot and travel.

This is essentially just another episode of Kino’s Journey, which would have worked fine within the original show – but is it good? Well, yes, it certainly is good, but it just feels unnecessary and makes you want ... something more. Episode 4 of the original series serves as Kino’s backstory, which was more than satisfactory. We learnt that Kino is, indeed, female, and how her name derived from a male traveller who sacrificed himself in order to save her as a child, which begun her current lifestyle. At that time, I, personally, felt no need to know what Kino did after this disaster. I didn’t need to be convinced about how she could use a persuader (a gun) so well, nor did I care where she got her clothes. Yet here we are. It really just comes off as something which only fans can enjoy, but, as a fan myself, I know that there are so many different, better stories which could have been told. Furthermore, unlike the majority of episodes/countries in the main series, very few interesting societal, or, to a lesser extent, human issues are brought to the fore, with the exemption of a dark plot twist which stemmed from Kino’s guilt over a death she was not responsible for. It is simply a retention of Kino’s childhood, which offers little on an intellectual level.

In terms of actual quality, this OVA is consistent with the main series’ style and tone. It never sways too far from its predecessor, other than the fact that Kino has embraced the loli life – which I’m sure some people will be very pleased about. At the end of the day, it is more Kino. It’s not the best that Kino’s Journey has to offer; definitely do not expect to be questioning life after viewing this, but for those who enjoyed the original series, it is certainly worth checking out.

To conclude, this is a good show but sadly fails to live up to the immensely high expectations which Kino’s Journey set itself. Do not watch this as a way to get into Kino’s Journey, it is meant to be watched afterwards. If you have not yet watched the original Kino’s Journey, please do.

*This is my first review. Please feel free to give feedback on my profile; I would highly appreciate it.*

Kino’s Journey is a masterful amalgamation of short stories which ingeniously explore the societal issues faced by independent countries; be they big or small, rich or poor, urban or rural, industrial or domestic, or authoritarian or libertarian, to only scrape the surface.

These stories are told through the eyes of the observant, young, androgynous female traveller, Kino – the main character – who appears to take a rather laissez-faire stance towards the struggles of the people in the majority of countries she embarks. However, when needed, her ... quick-wit and impressive marksmanship allow her to take any necessary action, be it for the best or worst. Kino is a character almost entirely lacking any desire to change the world around her. Although this may normally be portrayed as negative, and can be a little bit frustrating, here, this only helps to heighten the viewer’s appreciation of the show, as it allows us to self-insert and breathe in the magnificence of the beautiful world. Furthermore, this also serves to let the stories of these countries play out naturally; as Kino usually has little, if nil, influence over the story as a whole. On the other hand, Hermes – Kino’s trusted motorrad (a motorcycle) – often aids to lighten the sinister tone through his rather humorous misunderstanding of common human phrases, whilst also furthering our understanding of the different countries in his own, subtle, quirky way.

Kino and Hermes’ relationship is a tragic telling of selfish loneliness. Upon Kino’s meeting with Hermes, we are starkly informed of their means for unification; “I’ll give him balance, and he will give me speed.” We realise that the two cannot function without one another, which strikingly illustrates the profound sense of travel that the two crave, as Kino is willing to throw away her life to reconnoitre with a single, inanimate companion, who is simply glad to be ridden. Although Kino is happy, it’s hard to feel that way for her, as her hidden isolation makes us question her lifestyle choices.

What will become apparent early on to newcomers is the show’s fairly odd art style. The show is from 2003, which, subsequently, makes it a little bit outdated for today’s standards. The character designs are all very simplistic, the scenery is drab and there is a lack of fluidity in animation. However, this is still an incredibly charming and pleasant experience, which cannot be found elsewhere easily. The art style is consistent and never strays away from what has been established. It is hard to convince people who only watch new, mainstream anime to watch an old show or one with a unique art style, as it is not the same as what they are used to. If you happen to be one of these people, do not be turned off by this show’s individuality. You will definitely get used to it, and you’ll regret dropping it over something so petty.

What’s arguably most interesting is the show’s sluggish, thought-provoking pace, which contrasts with the ruthless sins juxtaposed on screen. Even though there is plenty of gunfire, the show manages to hold true to itself and avoid plunging through the gaping hole into pure action. There are a few episodes, which I believe are worse than the rest, which rely on action to push their messages, but are so few and far between, that they do not steal from the show’s enjoyment at all.

Due to the nature of the show, the unpleasantness of many countries and the various aspects of the human condition is hyperbolised to such an extent that it may feel as if the show is enforcing its biased message on the viewer. This may be a concern for a few, but, personally, I thought this worked incredibly well, as it was clear with its intentions, which was engrossing and invigorating. Although to some, this may be a load of political rubbish; I, like many, was capable of accepting it as just a well-written and important story.

As made clear, the show does not shy away from dark themes. The insincerity and ignorance of man constantly leads to abhorrent suffering. However, at the heart of all this agony is a definitive road of hope. Despite the dangers, we are encouraged to begin our own journey, to take to the sky and fly with the birds. As we peak into the livelihoods of those who miraculously live, we can’t help but feel enlightened in humanities duality. “The world is not beautiful. Therefore it is.”

To conclude, Kino's Journey is one of my favourite shows. I recommend it to all, and I hope you can pass on the message.