Kino no Tabi – 12 (Fin)

In Kino’s final adventure of the season, she and Hermes find themselves relentlessly pursued by a huge flock of super-aggressive sheep. Yup, definitely didn’t see that coming! Hermes suggests they’re after her as payback for all the sheep she’s eaten in her lifetime.

When Kino comes to a steep ravine, she has to ditch Hermes and climb down to escape the raging flock. She walks upstream, but the sheep follow her. Even at night, they watch her like hawks, waiting for her to come back up so they can get a piece of her. Eventually, she comes upon a Land Rover, a drum of fuel, and their dearly departed owner, whose skeleton Kino buries before commandeering the truck.

Returning to Hermes, who is surrounded by the killer sheep, Kino rides dozens of them down, creates a ring of fire with the fuel drum, and picks off the ones caught inside with her various guns. She then builds a quick-and-dirty ramp, gets on Hermes, and they jump over the ravine, leaving the sheep behind.

They later learn from the next country they enter that their sheep were bred for fighting each other, much like fighting dogs in other countries (like, say, ours). Animal rights activists shut the system down, and the sheep were released into the wild, where they now terrorize any passersby unfortunate to come afoul of them. Kino wisely omits the fact she killed a good number of them before arriving in town.

With the sheep escapade complete, there’s only a little bit of episode left, and it’s spent mostly on just one shot: the camera slowly pulling back on Kino relaxing in a hammock between two trees.

It’s a very static segment that goes on a bit too long for my taste, and Kino’s assertion that one journey has ended and another is about to begin doesn’t elicit much more than a shrug from me.

Still, she’s not wrong; journeys begin and end when we wish them to. It was nice to see Kino & friends back in action for twelve episodes. Here’s hoping no matter what journeys may come in the future, she never stops being a pragmatic badass.

Kino no Tabi – 11

This episode was both illuminating—due to the light it shed on Kino’s origin—and dark, because of the particulars of that origin. Our Kino, it turns out, isn’t the first Kino, nor is Hermes the first Hermes.

The original Kino was a traveler too, and when he visits the Country of Adults, he approaches the future Kino II, a girl of twelve whose original name we never learn, and the daughter of innkeepers.

The girl helps name the derelict motorrad Kino is fixing behind the inn, giving it Hermes, the name of one of Kino’s friends.

In the girl’s country, all children get “surgery” at the age of twelve to make them “proper adults” overnight, (evoking dark shades of FGM) whereupon they inherit the jobs of their parents, as is their one and only job in life. What about what she wants to do, like singing, which she’s really good at? Not allowed.

Her country has a very strict idea of what an adult is and when a child becomes one, and this girl is trapped. Kino is sympathetic, but his transitory nature means that whatever happens, it has nothing to do with him; he’ll be on his way to the next country after his three days are up.

Only Kino never leaves the Country of Adults, because the girl can’t stop pondering his words about adults being able to do things they enjoy, like traveling and being free. When she tells her parents, in the company of the preist and other townsfolk, that she doesn’t want the surgery, they explode at her with manic rage.

The girl’s father confronts Kino, but the priest pleads for peace. They ask that Kino take his leave, but when the father produces a knife with which ti kill his “defective” child, Kino leaps in the way and is stabbed to death before the girl’s eyes. Shocking. A voice familiar to us as Hermes urges the girl to get on and tells her how to ride him if she wants to live…which she does.

And so off she goes, like a bat out of hell. The Kino we know and love was born that day, named the new Kino by Hermes. In the present, Kino and Hermes find themselves in the same field of crimson flowers where she stopped to rest when old Kino’s blood still fresh on her cheek.

In a lovely transition from past to present, Yuuki Aoi treats us to her pipes with a stirring a capella performance. Free of her nightmarish home country of control and stifling of individuality, Kino is now free to be the adult she wants to be. Like Tifana and Photo, she came from a dark place, but now she glows with joie de vivre.

Kino no Tabi – 10

Kino is the kind of person who wants to go to the country where everyone else who’s been there says the locals were very rude and treated them like crap. So imagine her disappointment when the country turns out not to be full of assholes, but full of the kindest, most hospitable townsfolk you could ask for, including the sickeningly twee innkeeper trainee and tour guide, Sakura.

Kino takes in an outdoor play chronicling the people’s proud history of having found a haven after escaping oppression. She dons an apron during a barbecue (with Hermes ensuring she only grills; no seasoning). She even gets her persuader serviced by the local, er, persuadersmith, who performs the task for free.

The smith knows the gun as the kind one of Master’s students would use (even if Kino denies knowing her), and decides to gift her another gun, “The Woodsman”, a gun he once carried for protection while traveling, but has no more use of now that he’s too old and frail to travel. He’d rather it be put to good use.

By the time Sakura shows Kino the most beautiful spot in the city during a gorgeous sunset, Kino is completely charmed and no longer disappointed the people of the country aren’t rude jerks. Unfortunately, the three days she promised she’d stay are up, and the soldiers insist she leave immediately.

The town seemed so cloyingly nice I was almost constantly keeping my eyes peeled for little clues that might indicate what the “catch” with the place was, and I kept waiting for the other shoe to drop.

Turns out the answer was staring me right in the face in the opening moments of the episode as Kino and Hermes neared the country: it is positioned at the foot not of a mountain, but a volcano.

The night Kino leaves, the volcano unleashes a pyroclastic flow that wipes out the country, killing everyone in it instantly. Even the normally stoic Kino is upset by this sudden, shocking development, especially when Hermes calmly explains there’s absolutely nothing she can do.

But Sakura and her mother did give Kino two packages, and in them are some mementos, along with a letter explaining that the country knew of their impending doom, had the choice to abandon their lands or stay and die, and chose the latter.

The reason they were so kind to Kino is that they knew she’d be their last guest, and wanted to try to repair the reputation as rude jerks they’d built up over the years. Turns out they weren’t rude or kind country so much as a Country of Self-Destructive Stubbornness.

Another note written by Sakura accompanies the seed she caught at a wedding (the last wedding in the country, and the couple was younger than usual because, well, they were out of time), stating that she wouldn’t need it. Sakura must’ve known of her fate after all, but like her parents and the rest of the adults, decided to stay and face her fate. Pretty heartbreaking stuff.

Kino no Tabi – 09

This week we get five stories in one, as Kino jumps from country to country and character to character in a what ends up a bit of a “beautiful world grab bag.” The first story is told from the perspective of two bandits, a student and an elder. The student wrongly assumes both Shizu’s party and Kino are appropriate “prey”, but the elder knows better from a look.

Cute and alone Kino may be, but if she’s alone, it’s because she’s capable of traveling alone, which means she can handle herself. Ditto Ti, holding her hand grenade, and Shizu, who may only be a swordsman but isn’t the type to be defeated by bullets alone. The elder learned a lot after wrongly believing Kino’s master and her apprentice were prey, but turned out to be “devils”.

A neat little outside look at Kino and Shizu. Next up: a country where people accrue “virtue points” to determine status based on good deeds. Points are deducted for crimes, but it’s a system in which it’s possible to accure enough points over a lifetime to exceed those that would be deducted for killing someone.

That’s the dilemma an old man Kino meets is facing, and indeed, he originally approached her with the intent to kill, which is why Kino never took her hand off her gun. The man laments his inabilty to kill anyone as a failure in life, for he’ll die wasting all the accrued points.

That was a bit silly and weird, but at least had a nice Kino moment of a seemingly nice guy turning out to be much darker. The third segment involves Kino’s visit to a “country of cooking” where a council of chefs begs her to cook a dish for them.

Hermes worries for the country, because apparently Kino’s cooking sucks (har har). However, the country buys into her super-spicy chicken, though another traveler comes along and makes a milder version that’s equally popular.

The fourth segment is the shortest, as Shizu, Tifana and Riku arrive in a city with giant statues people attach wishes to so they’ll come true. Ti decides to wish for “everyone’s wishes to come true”, which earns her many thanks and approving words from the folks around her. Of course, Ti only made that wish because she believes it’s all bullshit anyway.

Finally, Kino enters a country her master once mentioned as a place of “beautiful memories”, moreso than any other country. And yet, Kino was never able to get any actual info about the country out of her master. When Kino enters and seemingly immediately exits through the other gate, she learns why.

Upon entering the country, visitors must agree to have all of their memories of their stay wiped if they wish to stay. Kino agreed, which is why she remembers nothing. Hermes, whose memories weren’t wiped, nevertheless won’t tell Kino because he promised the country he wouldn’t and isn’t one to go back on his word.

All he can say is that she enjoyed herself, perhaps more than any other country they’ve visited. The details of that enjoyment, however, remain classified, though she was allowed to leave with a crude drawing of her posing with people she must’ve met there.

The end credits came a message from Kino’s original creator, Sigsawa Keiichi; an “anime afterword” consisting of words of encouragement for anyone seeking to make their dreams come true, as they apparently did for him. Well…good for him, and thanks for writing Kino so we could have this anime! It just seemed strange to get such a message when there’s still a quarter of a season left to watch…

Kino no Tabi – 08

Shizu isn’t trying to jump from country from country to see what he can see like Kino; he wants to find a place to settle down. He thinks he may have found that place in a welcoming country that accepts any immigrants who are able to secure jobs.

Then a blood-covered professor shows up with the head of one of his students, and the authorities deem him the latest in a series of victims of…radio waves.

This is a country whose ancestors were former slaves, controlled by implants in their bodies that received said radio waves. The towers are still transmitting even generations later, but no one can get close to them. Enter Shizu, who agrees to solve their problem for them.

Of course, things aren’t that simple: it’s not enough that there is a problem that needs solving: the outposts are a ruin and haven’t transmitted in some time. But that doesn’t matter: for generations, the country’s citizens have believed they’ve still been transmitting, and thus deem all criminals to be victims of their radio waves.

Even photographic proof of the ruined outpost does not sway the police chief, who then accuses Shizu, Ti, and Riku of having fallen victim to the radio waves themselves, meaning they must be arrested and placed in isolation. Ti, acting on her own and with her beloved hand grenades, takes a baby hostage in order to secure her, Shizu, and Riku’s safety.

The chief switches places with the baby as their hostage as the exit the country, never to return, but before they part ways Shizu tells the Chief that there’s a newer outpost in perfect working order, and they set the wave transmissions to maximum. He hopes that perhaps this will help make the chief realize the truth: there are no radio waves. Who knows if it’ll work.

That leaves us with a quarter-episode left, which is given over to a Day in the Life of Tifana, escorted by Riku, who still doesn’t fully trust her (due to the odd things she says, the way she says them, and how she always wants to carry grenades around).

Riku is being a loyal protector to Shizu, and as such doesn’t quite pick up on Ti’s attempts to make nice. She is glad to be freed from her past, and glad to have companions to travel with and share experiences with. Sharing her travels also means sharing her food with Riku, as well as giving him the occasional big hug.