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It surprised me to see that many of the preliminary reviews were written by users who had not watched the original 2003 adaptation of Kino's Journey. While I believe it is admirable to judge the 2017 adaptation with fresh eyes and a clean slate, I also believe there is merit in comparing the reboot to its predecessor. As a disclaimer, I have not read the LN.

Perhaps the difference between the two adaptations is best determined through their focus. The 2003 Kino no Tabi places greater emphasis on the world and the journey through its writing, episode sequence, and themes. The 2017 Kino no Tabi tends ... to stress its characters over its world, though the 2003 version arguably accomplished this better as well in certain episodes.

I would recommend this year's adaptation if you are interested in watching a series that is not entirely sad, or entirely happy, but something that tries to display human hubris while keeping the spotlight on a cute, plot-armored girl. If you prefer something with more substance, greater focus on the world, equal prominence of the main character, and don't mind cruder presentation, then the 2003 original would be more gratifying.

Generally regarded to be more thought-provoking or morally ambiguous, the original anime owes its reputation partly to its director, Nakamura Ryutaro, who oversaw Serial Experiments Lain. This is not to say it lacked levity or lightheartedness, but the show very much exemplified one of Kino's mantras--The world is not beautiful; and that, in a way, lends it a sort of beauty.

The 2003 anime had moments of cruelty, of inevitability, of the human desire to change things for the better and of the tendency for those consequences to end poorly. It was also hopeful, touching, and a celebration of life. I want to make clear that the 2017 anime still retains most of these aspects. But the one thing that sets them apart is that Nakamura's version was far more subtle. There is little reading between the lines in the 2017 show, as characters do not hesitate to provide exposition or explain their motivations. It is hard to imagine the winter or library episodes existing in the current adaptation. Another major difference is the consideration given to Kino's backstory. The 2003 anime preferred to get it out of the way much earlier than the 2017 one, which pivoted our attention back to the world sooner. The newer adaptation keeps her origins hidden longer, as one might expect if the focus and suspense is on the main character.

Visually, comparing the new and old series is like comparing day and night. The art of the 2017 version is fantastic. The lines are sharp, the colors pleasant. Kino's design more closely resembles her appearance on the LN covers. In contrast, the 2003 version was rough even for its time: the designs were cruder, simpler; Kino looked more aloof, easygoing, sarcastic, and shrewd at the same time; she also appeared more androgynous, lacking moe or particularly feminine qualities. There were times when this was a detriment, such as viewing palatability and reduction of stakes (it is far harder to lament the loss of a bland, ugly world than a colorful, detailed one). And yet the cruder artstyle of Nakamura's storyboards allowed greater appreciation of the nonvisual content of the show--the tracks, the story being told, the atmosphere. Sometimes what is less beautiful on the outside may surprise you on the inside.

The music of the 2017 reboot lends credence to its slice-of-life description. Overall the tunes are more happy-go-lucky than the original, but this is not a bad thing. I find the OPs and EDs to fit their respective shows, though preference will depend on the viewer. The VAs were perfectly cast.

For better or for worse, Kino is more expressive this time around. It's easy to say this is a demerit, that it draws attention away from the "beautiful world," but it doesn't. It goes without saying that it is not necessarily wrong to give greater focus to Kino, for we accompany her journey through her eyes and her actions. Hermes remains mostly the same. The greatest departure the 2017 version makes, however, is the dedication of multiple episodes to characters other than Kino and Hermes. This decision allows viewers to see Kino's world from a different pair of eyes, and I found it a highly enjoyable break from the expected format. The biggest drawback is that these episodes take time away from Kino and her mostly non-meddling policy and the series would have been stronger for it if a second cour were planned.

Kino's Journey (2017) could be considered iyashikei. It is more casual, relaxing, humorous, and pleasant to watch, with a hint of thoughtfulness thanks to the source material. Kino's Journey (2003) could be called iyashikei, for different reasons. It is easy to call the new one an inferior remake, but overall it is neither worse than nor a reimagining of its predecessor. Some of its episodes are remakes, yes, but they have improvements as well as detractions. Parallels between both versions may be gleaned in a couple more. The rest are simply new stories presented from an angle that is perhaps more agreeable to the modern demographic.

Whether or not the newest Kino no Tabi is weaker than the original depends on what you expect or desire. But for most people looking for a pleasant show to spend half a day on, I think Kino no Tabi: The Beautiful World - The Animated Series is worth their time.

STORY [6] --- ART [7] --- SOUND [6] --- CHARACTER [6] --- ENJOYMENT [8]

Seeing the varied review scores on this site is unsurprising to me. Rolling☆Girls takes inspiration from everything, doesn't excel at anything, and at the end of the day resolves nothing. So why did I find it so enjoyable and relaxing?

Right from the get-go it's easy to see what influenced Rolling☆Girls. FLCL, KLK, Samurai Flamenco, and Kyousougiga are the ones that jump to my mind.

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The story of Rolling☆Girls doesn't stay on the forefront at all times, and is primarily a premise to get the show rolling. Our main girl, Nozomi, is filling in ... as a substitute "peace mediator" for her injured friend, and travels across post-fictional war Japan. Each arc just focuses on the group of girls tackling a new issue, whether it's a problem they find themselves in or a local problem that needs solving. And it isn't until the last arc that things get personal and the girls find themselves part of a critical issue. In fact, most of the problems are solved only because the girls play support and give a motivational push to other, local characters.

This plays a lot into the background idea of the "Bests" (mosa) and their supporters, the "Rests" (mobs). Nozomi wishes to transcend her lack of abilities as a Rest for her Best friend, yet never are she and her friends major players in solving problems. Their involvement feels artificial and contrived, in line with their role as Rests. The irony is that the show's caption pretty much spells it out from the start. "Rolling, Falling, Scrambling Girls. For others. For themselves. Even if they're destined to be a 'mob'"; yep, the keyword is "destined."

Ultimately you are watching a show about side characters. The characters you never pay attention to in all the popular battle or mystery anime; the characters who get the short end of the stick when it comes to claiming the spotlight or getting recognition.

Characterization? It's there, but it's not entirely apparent until the last arc when each of girls' skills and motivations are questioned. It isn't a driving point of the show, but it is there and it's as plain and inconsequential as you might expect for a show about secondary characters. I'd go into more, but the gist is that each girl grows up a bit and becomes more mature or independent.

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Visually the animation is contemporary, on a simpler level than KLK. In fact, a lot of the explosive action from KLK occurs in Rolling☆Girls during fights between the "Bests," superpowered fighters from each prefecture. Additionally, the character designs are cute and pleasant. Meanwhile, the background world is visually distinctive between prefectures/arcs. The colorfulness and wackiness of characters is oddly reminiscent of Kyousougiga's Kyoto, even if the themes of the shows are nothing alike.

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So let's move onto motifs. The biggest reasons I name FLCL as inspiration are the scooters and bikes, and the ever pervasive past-generation band Stones that the girls bond over. Add in a cover of a late-80s song for an opening and you start to get a picture of the tone of the show.

But I think Samurai Flamenco also provides a thematic base for Rolling☆Girls. Nozomi looks up to these superhero-tier Bests, and despite her remaining as a supporter rather than becoming a superhero like Masayoshi, she does her best to tackle every new challenge that confronts her. Near Rolling☆Girls's conclusion, the sudden and unexpected conflict is a little similar to Samurai Flamenco's jump in craziness midway, albeit on a much smaller scale.

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As I said, Rolling☆Girls doesn't excel at anything. That is to say, it never once takes something to its extreme, and you never feel any sense of urgency or thrill in its story. The fights between Bests are tame, the strife in each arc mild and non-catastrophic. Rolling☆Girls doesn't match the visual chaos of KLK, the world is never as alive or likeable as Kyousougiga's, and--for better or for worse--Samurai Flamenco's escalation of events dwarfs the final fight in Rolling☆Girls. The soundtrack is unfortunately nowhere near the memorability of FLCL's. Even the ending is lighthearted and easygoing, in spite of the fact that a main character was leaving the planet forever.

I could only recommend Rolling☆Girls to fans of cute girls looking cute, in an unfamiliar non-school setting. There is a small bit of action, but Rolling☆Girls is just so middleground that you can't take things seriously, but you can't laugh off everything either. It is lighthearted, easygoing, and well-intentioned. The conclusion won't have you in tears or applauding, but you won't be raging either.

I did have a good time watching the anime, and was less bored with it than this review might have you expect. I can definitely see myself rewatching it one or two years down the line to pass a drought.

Thanks for reading! I wrote a surprisingly large amount of words for my first review but hopefully I got my main point across. If you want to discuss this anything with me hit up my profile.