Posted by on December 21, 2025

“Don’t let yesterday use up too much of today.” –Will Rogers

Yōko and Airi arrive in Ooarai, only to find the entire area submerged by the ocean. After overnighting in an abandoned ferry and tending to their laundry, Yōko reveals a dream where her sister headed north. The pair subsequently head to the Oya History Museum, located in a subterranean stone quarry. Here, Yōko locates a QR code for the stamp rally. As the pair travel further north along the Nikko Irohazaka route under autumn foliage, where they stop at Kegon falls. Later, Airi hears ultrasound while fishing at Lake Chuzenji. Although she puts this from her mind and accompanies Yōko to Senjogahara, as well as Nikko Toshogu. Deciding to pursue the sound further, Airi suggests heading in the sound’s direction, and the pair reach the Yoshimi Hundred Caves. While resting here for the night, Airi encounters an unusual black orb that seemingly consumes her and sends her into space, where she learns about humanity’s past encounter with an extraterrestrial civilisation. Yōko desires to encounter these extraterrestrials for herself and attempts to contact them by riding up the caves, eliciting a response from the skies that Airi interprets as to return the Yoshimi Hundred Caves in a century. While camping, Yōko considers how being surrounded by nature elicits a sense of tranquility not found in the abandoned cities. Yōko and Airi travel down the Venus Line towards Kirigamine and take a break in a derelict teahouse when heavy fog envelopes the land. After spotting a sign pointing to the summit of Mount Mitsumine, the pair make the ascent and spot a Brocken Spectre. Yōko is briefly consumed with excitement, believing it to be another person, and while trying to interact with it, loses her footing and nearly slips off the mountain. Fortunately, Airi rescues her, and moments later, the fog lifts, revealing a stunning landscape. Up here, Yōko reflects back on her days in the shelter with Airi, and how her older sister created a structured routine for the pair to pass the time, including coursework to teach practical survival skills and maintain a custom solar-powered Serrow motorcycle. When Yōko’s sister determined that the outside world was safe to venture in, she invited Yōko and Airi to explore it at their leisure, and in the days that followed, Yōko found that despite the world’s dangers, the beauty made their travels worth it. She and Airi decide to continue exploring the world together for as long as they can, bringing Touring After The Apocalypse to a close.

When the final curtain falls on Touring After The Apocalypse, and Yōko’s remarks, in mirroring those of her older sister’s, speaks volumes to the overarching message in the anime (and presumably, the manga): having spent the entire season delving into themes of memory and their preservation in human constructs, Touring After The Apocalypse indicates that while the past is now something that people can only recall, whether through their own recollections or records others leave behind, there is still beauty in the present day. This message may appear to be common sense, but in the present day, people do travel because of perceived pressure from curated social media experiences: compelled to check out the places people talk about for fear of missing out, people may often feel disappointment that their own trips do not resemble those of an influencer. Touring After The Apocalypse challenges this directly: Yōko’s sister had visited places long ago, when the world had been intact, and as such, she’d been abe to see places filled with people and energy, as well as during a time when culinary treats were available to visitors to enjoy. Since Yōko comes well after the last person had left, food vendors and events have long passed. This does not dissuade Yōko in any way, who continues to find new beauty in places that the people of today would not witness. A now-lively race circuit filled with the roar of high-end motor vehicles is displaced by a field full of fireflies, and tourist-filled attractions become places of solitude. Rather than losing beauty, Touring After The Apocalypse illustrates how the new merits of a place will simply reveal themselves to those with an open mind. This is a lesson I find myself reiterating to one of my friends, who laments how certain eateries close their doors before he has a chance to try their wares. In response, I always say that just because one place is closed does not mean that there won’t be other experiences worth giving a go. When an iconic fried chicken vendor at the local farmer’s market closed some years ago, a new vendor opened in their place, selling Japanese-style street eats. In trying this new place out, I found them to be a delightful eatery, and so, when another vendor shut their doors this year, I would give their replacement a try and also found their food to be excellent. The lesson learnt here is that keeping an open mind, and accepting that nothing is forever, helps people to appreciate this current moment, rather than the moments others experience. In this way, Touring After The Apocalypse does an excellent job with its messaging in the animated adaptation.

Screenshots and Commentary

• *Touring After The Apocalypse *last left viewers in Mobility Resort Motogi, a short drive from Ooarai, and while the story does take Yōko and Airi to Ooarai, the entire area is now submerged. This, of course, precluded any opportunity for the pair to explore iconic locations seen in Girls und Panzer. I had indicated that, should *Touring After The Apocalypse *take Yōko and Airi to Ooarai and given them a chance to explore, I would write a standalone post to compare and contrast the locations seen in Girls und Panzer to what *Touring After The Apocalypse *would’ve portrayed.

• Since this didn’t happen, I was able to sit things out. December’s proven to be a busy month: between volunteering and Christmas parties, I’ve found the month passing in the blink of an eye, and we’re now only a stone’s throw from Christmas itself. The weather of *Touring After The Apocalypse *stands in stark contrast with the weather Calgary’s received in the past week: last Wednesday, I was invited to join the Lion’s Club for a luncheon across town, and while I was quite looking forwards to this, a blizzard rolled into the area, much to my displeasure. Unlike Yōko and Airi, who have the common sense to know when to stop, I pressed through whiteout conditions. Fortunately, by the time lunch ended, the blizzard had stopped. Things have since cooled down, and it’s beginning to feel a lot like Christmas now.

• On the the other hand, things feel distinctly summer-like in Touring After The Apocalypse, offering a delightful contrast. For the past twelve weeks, I’d been watching as the Indian Summer of October receded into grey, brisk days characteristic of November, and so, having something like *Touring After The Apocalypse *to look forwards to every week preserved the lingering warmth of the summer and early autumn. The atmospherics of *Touring After The Apocalypse *are outstanding, easily one of my favourite technical aspects of the anime, and while the series has progressed, it was clear that Nexus, who previously worked on *Wakaba Girl *and Comic Girls spared no expense in the series’ background art, which are detailed enough to give a feeling of unparalleled immersion.

• This helps viewers to follow Yōko and Airi’s adventure as though they were there for themselves. The absence of things that characterise contemporary travel, most notably, social media, means that *Touring After The Apocalypse *is able to show the traits and nuances of each destination Yōko and Airi stop at in full. Without the need to upload things to TikTok or Instagram for internet points, the pair are able to focus entirely on exploring the stops. Even something as simple as stopping to take in the ocean scenery becomes something worth sharing, and in a world where the obligations and demands of society are absent, Yōko and Airi are able to explore at their own pacing. Their travels eventually take them to the Oya History Museum.

• Located inside a former stone quarry, Oya History Museum normally has a 700 Yen admission fee for admission, but since everyone’s gone now, Yōko and Airi are able to waltz in for free. They find an impressive sight awaiting them, but in the darkness, it takes Yōko a bit of effort to locate the stamp for her stamp rally. I’ve long been curious to check out such a location: in Poland, for instance, the Wieliczka Salt Mine is one of the world’s most extensive underground mines open to the public and is large enough to feature four chapels and multiple statues. Oya History Museum, on the other hand, is a stone quarry that is no less impressive, and since it’s located in Utsunomiya in Tochigi, visiting such a spot is well within the realm of possibility if I build a trip around exploring Tokyo and Ooarai.

• The style of travel in *Touring After The Apocalypse *appeals to me greatly because, even though Yōko and Airi come to iconic attractions well after their tourist aspects are gone, the pair respectfully explore and comment on the historical and social merits of different sites. Different people travel for different reasons, and for me, going out so one can gain an appreciation of how other people live, and the stories places have to tell, gives me the experiences I find the most meaningful. For others, travel may simply be a chance to get away from routine and do something different, or to see places from books and photos with their own eyes.

• With this perspective in mind, I cannot say that I am disapproving of all travel influencers and content creators. Longtime readers will know that I have a very dim view of these folks, and with the horror stories of people being disrespectful to locals, or acting in ways that desecrate a sacred site or diminish the experience for other visitors, I continue to maintain that behaving poorly has no place in online content, and those who conduct themselves in such a manner do not deserve any audience, much less engagement. On the other hand, there are content creators who are genuinely helpful, and in fact, prior to the age of smartphones, the last generation of travel “content creators” include Rick Steves, Patricia Schultz and Pauline Frommer.

• Although their medium was print and television, these travel authors brought the world into the comfort of our living rooms and inspired people to travel, the same way today’s content creators can do so. The mode of communication may have changed, but the intention behind legitimate travel-oriented content creators remains the same: to share their experiences with others and encourage them to have similar experiences. My favourite travel content creators include Luke Martin and Mark Weins, both of whom do culinary-focused travel channels. All of the channels I enjoy following share one thing in common: they count on their experiences, and presentation of information, to carry their content.

• *Touring After The Apocalypse *can be seen as an animated version of this, and while Yōko and Airi do not film themselves, or return home to edit content for upload and presentation to an audience, their travels are similarly informative, giving viewers a combination of interesting facts and present enough engagement so viewers become interested to see what happens next. The details in *Touring After The Apocalypse *are sufficiently presented that viewers could arrange for their own journey to the same places that Yōko and Airi visit. While some spots would probably require a private vehicle to reach, the fact that places are clearly shown makes this a relatively easy task for anyone renting a motorcycle or car.

• The tenth episode of *Touring After The Apocalypse *ends with Yōko and Airi stumbling upon a waterfall. Although I’d been hesitant to believe thus for myself, I’ve since come around to the fact that some of the best moments of a given experience do indeed come from the unexpected, unscripted moments, and looking back, this was probably one of the biggest personal takeaways I leave 2025 with. My week-long vacation to Waterton had me doing a number of things that I would not have expected to do, including sharing conversations with people on each and every day during my trip despite this being a solo journey, catching an aurora after realising I miscalculated the moon phase (and therefore, couldn’t photograph the Milky Way) and even making a stop in Lethbridge’s Nikka Yūko Garden after realising I’d gone through my entire itinerary faster than I’d anticipated.

• Looking back at 2025, my year was a curious one with both ups and downs. A failed mutual introduction, promptly followed with my learning that I was going to need to sit out the Rie Tanaka and Nagi Yanagi autograph sessions at Otafest, was probably the year’s lowest point. It was outright bad luck that two disappointments followed so closely together, and even now, I cannot help but feel that, if I’d was selected for at least one of the autograph sessions, I would’ve been able to take the previous setback a little more stoically. The combined failures felt unjust, and this left me restless enough that I ended up going out in the middle of the night for a photograph of the Milky Way, a picture that would later hang at the 58th EA International Salon of Photography’s exhibition in Hong Kong a half-year later.

• In the past, I’ve always channeled heartbreak and disappointment into creativity, and 2025 was no different: this year would see me grow as a photographer in different ways. The chance to do community events with the photography club gave me a crash course on portrait photography with studio lighting and how to compose a shot in micro-seconds, and Otafest wound up being an opportunity to learn from experienced event photographers who taught me how to leverage my camera’s capabilities to take better photos in less-than-ideal conditions. These learnings led me to take superior photos of the Chinatown Lantern Festival back in September compared to the shots I took last year, and it was with these skills I was able to take photos of a very important event within the family, capturing a milestone moment for my younger brother.

• Familiarity with technique and my camera’s ability meant that in the areas of photography I dabble in when on my own, I also saw growth – I’m now far more confident with astrophotography techniques, and this year, I even climbed a mountain for a sunrise photo. In other areas of my life, outside of romance and the luck-driven things, the realms of health, finance and career are ones I cannot complain about. Overall, 2025 averaged out to be a very instructive year, one which showed me that even if luck does not favour me, when I actively shape my course by playing the hand I’m dealt, I can at least salvage things and walk away with a little more than nothing. This shapes my resolution for the upcoming New Year: I aim to roll with whatever setbacks and surprises come my way more gracefully and will try not to lament what I lost as a result of set setback.

• Back in Touring After The Apocalypse, after Airi hears ultrasonic interference, she becomes curious as to what’s going on, and when Yōko offers to let Airi pick a direction, the Airi invariably decides to travel towards the source of said ultrasound. In a far-flung rural field, the pair use a bit of divining to decide where to go next, and this sends to pair towards the Yoshimi Hundred Caves. Found in Yoshimi, Saitama, these caves date back to the Jomon Period and are hypothesised to be kofun, horizontal graves for low-ranking rulers. After exploring the site and turning in for the night, Airi would come face-to-face with an unusual phenomenon of what appears to be a miniature wormhole. When she passes through this wormhole, Airi exits in space and appears to come in contact with extraterrestrials.

• Said extraterrestrials assert they’ve been to Earth previously and helped to build humanity’s greatest monuments, also contributing to the Yoshimi Hundred Caves and express the belief that even now, humanity is still learning and growing. Such a moment was quite far removed from the tone we’d seen in Touring After The Apocalypse, and when Airi voices the extraterrestrials’ thoughts, I could not help but feel that Touring After The Apocalypse‘s author, Sakae Saito, might be a proponent of the ancient astronaut hypothesis. People who believe in this suggest that an advanced, space-faring civilisation came into contact with early humans and accelerated our growth, leaving behind megalithic structures that seem beyond the ability of earlier people to construct, and eventually becoming deified in religions around the world.

• Evidence today points strongly away from ancient astronaut theory: megaliths like the Nazca Lines and Giza Pyramids were demonstrated as being buildable using the technologies available to the people of the time, and ancient texts can be misinterpreted. However, such theories are still fun to consider, and it amusing to see how proponents of the ancient astronaut hypothesis, like Giorgio Tsoukalos, put their conclusions together. *Touring After The Apocalypse *does not mention ancient astronauts by name, and while this theory is one I feel to be dubious, I do not dismiss the possibility of extraterrestrial life on virtue of the sheer size of the universe. *Touring After The Apocalypse *captures the fact that it’s unlikely for highly advanced civilisations to take an interest in humanity beyond purposes of study: the extraterrestrials Airi appear to have helped create the Yoshimi Hundred Caves and other monuments, but otherwise, have been content to observe humanity.

• Ancient astronauts are a tempting theory to believe in because it represents an explanation for impressive human achievements that otherwise seem out of reach today. However, when one stops to consider how human engineering has changed, the primary motivations for building things are social need. In Ancient Egypt, for instances, the Great Pyramids were built at the behest of Pharaohs who had access to countless slaves and the time frames to construct these things. While our excavators and helicopters today, combined with modern engineering, could build structures like the Pyramids, what’s stopping us now is cost and social impact: people would very likely protest a government’s decision to build a stone pyramid over a new bridge or hospital, and so, governments tend not to focus their resources on such monuments.

• For Yōko’s part, the desire to have a remarkable experience appears to outweigh her curiosity about humanity: whereas Airi appears to have gotten a history lesson that lets her to fill in the gaps, Yōko does not seem immediately interested in learning how the world came to be and instead, she just wishes to meet the extraterrestrials for herself. The gap in priorities mirrors how *Touring After The Apocalypse *does not explicitly explain how humanity met its end, nor does the series view this as being relevant – while this might frustrate some viewers who are hoping for a bit more clarity, it is important to consider why Saito did not write about the apocalypse in more detail. This is because *Touring After The Apocalypse *is not a commentary on geopolitics or the state of the world.

• Had Saito elected to include the cause of the apocalypse, attention would shift from Yōko and Airi’s travels (and the attendant learnings) towards a lament for the course human civilisation is liable to take. Depending on how a hypothetical showing of the apocalypse had turned out, *Touring After The Apocalypse *would’ve become a commentary on climate change, nuclear weapons, regional conflicts or even AI. Doing this would open the floor to all sorts of discussions that would subsequently take away from the idea that beauty exists in different forms. By keeping *Touring After The Apocalypse *laser-focused on Yōko and Airi’s travels, the risk of redirecting viewers away from the series’ central focus is lessened.

• While the extraterrestrials were a bit of a shock to behold, *Touring After The Apocalypse *does seem to suggest that there are many phenomenon in this world that we do not fully understand, and further to this, it is okay to not know something so long as one has the drive to learn. Today’s internet culture coerces people towards the opposite: admitting that one does not know is viewed as a weakness rather than a strength, causing people to pretend to know more than they do. Legitimate competence does not need to hide itself, and *Touring After The Apocalypse *faintly encourages viewers to appreciate how not being right, and not knowing something, isn’t something to be ashamed of, and on a related note, I would suggest here that folks be cognisant of the fact that the places and technical details of Wikipedia’s *Touring After The Apocalypse *are not factual: because one Kenshinflyer has been extensively editing these and introducing multiple errors in the process.

• The finale to *Touring After The Apocalypse *opens with a more introspective conversation between Yōko and Airi – stopping in a rural area creates a sense of tranquility that urban areas do not, and while this is, at the present, unknowable, *Touring After The Apocalypse *implies that the gap between urban and rural settings is noticeably even without people, as the expectation of activity can also shape one’s perception of a space. As Yōko and Airi push ahead with their travels, they make their way along a treacherous stretch of road known as the Venus Line that has only decayed further since humanity’s disappearance. The combination of fog and rockfalls compel Airi and Yōko to stop for a rest.

• While climbing to the summit of Mount Mitsumine to pass the time, Yōko encounters the Brocken Spectre phenomenon. This happens when a backlight source, usually the sun, casts a shadow into the mist, creating an optical illusion where the shadow is much closer than it looks, and refraction of light can produce a glory, or a rainbow-coloured ring of light. In her excitement at the prospect of interacting with someone else, Yōko forgets herself and very nearly tumbles off the mountain, but fortunately, Airi is on hand to take her hand and save Yōko from certain doom. While Airi characterises them as being rare, the conditions for forming a Brocken Spectre are common in some parts of the world.

• While Airi and Yōko continue their conversation and eventually make a wager about whether the skies will clear or not, a breeze causes the clouds to disperse, revealing a stunning sight. *Touring After The Apocalypse *subsequently switches over to a flashback of Airi and Yōko’s life inside the shelter. This was the finale’s highlight – it seems that life here was cozy and structured: Yōko and Airi would get up every day and attend class with Yōko’s older sister, doing a combination of practical and classroom work. Even though Yōko wonders what good mathematics would be in a post-apocalyptic world, having a routine was of utmost importance in keeping Yōko’s mind from wandering, an essential in s survival situation. Seeing Yōko and Airi’s life inside the shelter brought back memories of the 2020 global health crisis.

• I count myself immensely fortuitous that I worked in a field where remote work is possible, and by this point five years ago, a surge in cases prompted the closure of all restaurants, gyms and personal services like barbershops. Retail stores were ordered to operate at half capacity, and while the pandemic raged on, I hunkered down in the comfort of my home office, hard at work on a new iOS application. The similarities between my situation and what was shown in *Touring After The Apocalypse *was quite striking, suggesting that resilience to boredom during such times came from the combination of having necessities taken care of, and a consistent routine to structure one’s day around. Yōko’s sister proves herself to be a very laid-back sort of instructor and caretaker, and when Yōko gripes about math, her sister puts on a film instead.

• Once Yōko’s spirits recover, she and Airi begin their practical lessons, including harvesting of vegetables and hands-on experience with preparing an animal for consumption using VR, which explains why Yōko is so well-equipped to handle travel in a post-apocalyptic world. During the coronavirus lockdowns of 2020 and 2021, I also spent a great deal of time exploring the world in VR and playing SUPERHOT VR on my complimentary Oculus Quest from F8 2019, acting as another parallel between my experiences and what’s shown in Touring After The Apocalypse. As the pair spend more time in the shelter, Yōko’s sister tasks her with restoring and repairing the solar-powered Serow. Eventually, Yōko accrues the skill and knowledge to safely travel, and when Yōko’s sister reveals the outside world is now safe enough to travel in, Yōko is overjoyed.

• The moment had, in a manner of speaking, felt like a graduation, and, confident that Yōko and Airi could now make it on their own, Yōko’s sister powers down the shelter one final time. Although Yōko would have a few missteps in her adventures, the skills she picked up allow her and Airi to explore Japan safely, having the adventures viewers have accompanied the pair on. In reflecting on how far they’d come, Yōko and Airi consider how the experiences they’ve had are a far cry from just looking at pictures of places on Yōko’s phone, and this is where the last of Touring After The Apocalypse‘s themes come into play. It’s more of a side-note, but the idea that doing something for oneself always surpasses experiencing it second hand, whether it be through a book or a variety streamer’s live-stream, is one that many works of fiction are fond of accentuating.

• Altogether, Yōko and Airi are grateful to have taken those steps forward, and having only explore a small part of Japan (and indeed, the world), the pair promise to continue moving ahead and see what the sights in the world still have to offer. This brings *Touring After The Apocalypse *to a close, an anime that I felt to be an A- (3.7 of 4.0, or 8.5 of 10 on a ten point scale). While a little outlandish in a few areas, such as the megafauna and extraterrestrial contact, *Touring After The Apocalypse *is, overall, an introspective and thoughtful tale that touches on messages of respecting memory and learning to find beauty in the world even when things differ from the expectations that others have set. *Touring After The Apocalypse *thus becomes a worthwhile companion piece to Girls’ Last Tour, which, despite outwardly having a similar premise, covers completely different themes.

• With this, my thoughts on *Touring After The Apocalypse *draw to a close, just in time for the end of the year. Because I had planned on doing a few special topics post in the coming days, I had wondered if there’d be enough time to finish my discussion of *Touring After The Apocalypse *ahead of the New Year, but since *Touring After The Apocalypse *does offer quite a bit to talk about, writing for this post was a little more straightforward than I’d anticipated. It is a little surprising to learn that Christmas is fewer than four days away now: just yesterday, I attended a family Christmas party, an annual tradition, and we caught up over a delicious dinner of turkey and stuffing with gravy, prime rib roast with au jus, honey-baked salmon and green beans with onions and bacon. Today was also Winter Solstice, coinciding with the Chinese Winter Solstice, and I stepped out to the nearby Chinese restaurant to celebrate this.

• The shortest day of the 2025 was also a frigid one: temperatures did not rise above -17ºC, and while the skies today were clear, I wound up spending the whole of the day at home, tending to housework ahead of the holidays. At the time of writing, I only have two more workdays left in the year, and the passing of the Winter Solstice means that the days will be getting longer again. In the coming days, I look forwards to a bit of a rest: I think the time has come for me to push my way through Heart of Chornobyl and finish the fight there before setting my sights making a start with DOOM: The Dark Ages – with Ace Combat 8, 007: First Light and Halo: Campaign Evolved coming out in 2026, this is going to be a very busy year for games, and in conjunction with my resolution to volunteer more, this means I’ll need to be a little more purposeful with my time.

• Looking ahead into the new year, there are only two anime that catch my eye in the upcoming season. *Wash It All Away *has my eye: as a slice-of-life with an interesting premise, this one is right up my alley, and I plan on writing about it as I did for Touring After the Apocalypse at minimum. The second season of *Frieren: Beyond Journey’s End *is also releasing then, and I’m inclined to write about this in the same format as I had for the first season – episodes are slow enough that there is more merit in talking about stories with their full context, and having a big-picture view of things gives me a perspective that episodic reviews will not offer. If other series catch my eye, I will follow them, but otherwise, I will capitalise on a quieter season to catch up with *Umamusume Pretty Derby: Cinderella Gray. *Before the new year arrives, however, I have three more posts scheduled for this blog.

Touring After The Apocalypse is, overall, a superb anime, one which fulfilled expectations – visually appealing, thematically solid and boasting a youthful, energetic soundtrack, Yōko and Airi’s adventures in post-apocalyptic Japan speaks to how there is always something wonderful in the world to seek out and appreciate, even when humanity itself has been extinguished. Touring After The Apocalypse is commendable in focusing purely on this aspect: during its run, Touring After The Apocalypse‘s world-building had been deliberately vague to dissuade viewers from trying to work out the cause of humanity’s extinction and keep them focused on the present. This is a particularly daring move: in the past, fans have fixated on details creators found irrelevant, and this led a work’s meaning to be lost amidst internet debate. In leaving the world’s past ambiguous, and providing seemingly contradictory or conflicting details about how the world ended in Touring After The Apocalypse, the story creates enough obfuscation so viewers do not see a payoff in analysing areas of the work the author is less concerned about, and this, in turn, guides minds back towards what the intended messages were. In choosing to willfully side-step the causes of the apocalypse, Touring After The Apocalypse also avoids the incovenient topic of geopolitics, and this allows the story to wholly convey that politics, warfare and social disagreements notwithstanding, there is still majesty and wonder in the world worth exploring. However, while the world is marvellous, there are also dangers that are indiscriminate in whom they impact, and from things like wildlife to weather, Touring After The Apocalypse also shows how adventure isn’t all fun and games: one necessarily needs to be prepared in order to safely navigate the world before its beauty becomes apparent. The finale reveals that Yōko’s sister had provided her and Airi with the knowledge necessary to survive in this world, and once the basics are supplied, Yōko and Airi were able to graduate from their shelter and begin making their way in the larger world. Touring After The Apocalypse ends on an open note, with Airi and Yōko promising to continue exploring together and finding the world’s beauty, leaving viewers no closer to the answers of the mysteries the series raised: whether or not Yōko’s sister is still alive, or a digitised construct, remains unknown, along with what caused the end of the world, but given how consistent Touring After The Apocalypse has been, the work is implying that sometimes, it’s okay not to worry about the past too extensively, and the present is what counts most.

Anime: Reflections, Japanese Animation, Touring After the Apocalypse Airi (Touring After the Apocalypse), Anime, Anime Discussion, Anime review, Chitose (Touring After the Apocalypse), personal reflection, reflection, Review, Shuumatsu Touring, Touring After the Apocalypse, Yōko (Touring After the Apocalypse)