Magi: The Labyrinth of Magic

After celebrating their victory against Al-Thamen, Aladdin and his friends depart the land of Sindria. With the end of the battle, however, comes the time for each of them to go their separate ways. Hakuryuu and Kougyoku are ordered to go back to their home country, the Kou Empire. Meanwhile Aladdin announces he needs to head for Magnostadt—a mysterious country ruled by magicians—to investigate the mysterious events occurring in this new kingdom and become more proficient in magic. For their part, encouraged by Aladdin's words, Alibaba and Morgiana also set off in pursuit of their own goals: training and going to her homeland, respectively. Magi: The Kingdom of Magic follows these friends as they all go about their separate adventures, each facing their own challenges. However, a new threat begins to rise as a great war looms over the horizon...

Fifteen years before the events of Magi, a brave and handsome young man named Sinbad set sail and started his adventure. The future High King of Seven Seas gradually matured through various encounters and farewells, taking him towards kingship step by step.

The story takes place 30 years before the events of Magi. In this age will focus on the journey that Sinbad have to make to become king and many adventure more.

This film stays very faithful to the original down to the smallest details, save for the kangaroo-rat that suddenly appears twenty minutes into the movie and subsequently follows Aladdin around, serving no purpose in the story but fulfilling the role of token animal mascot. The screenwriter needs no introduction; Akira Miyazaki single-handedly wrote five of the classic WMT series, including Perrine and Rascal, and participated in two others. The only other name among the staff that rings a bell, though, is Yukihide Takekawa, who was responsible for the music in the magnificent and unknown Unico pilot film. The story takes some illogical and confusing jumps at the point where Aladdin begins to court the princess, and the extravagant animation that had characterised Toei films of the 60s, when Toei had the best animators around, had become a thing of the past long before this point; but this is still an above-average film, in large part because of the screenplay that stays so faithful to the original. The character designs are slightly more western-looking than one is accustomed to seeing in anime.