From Dragon Master to former Dragon Master, the step can be short, the panda Po discovers it at his expense and ends up destroying a village and dispersing the powerful weapon of the armored glove. He will have to leave on a restorative mission, which he will carry out together with a brave British knight.
Those who have not followed Kung Fu Panda 3 and were not updated on the adventures of the Panda Po have nothing to fear: they will have no problem following the animated series Kung Fu Panda: The Dragon Knight conceived as a separate project.
Eleven episodes of just over twenty minutes each, which see the great return of the voice of Jack Black to dub in the original the master Dragone Po. We find him struggling with a great mess: he is involved in the destruction of a village. Not only that, but he also loses the powerful weapon of the armored glove for which the emperor is demoted to a former Dragon master. The fault lies with the English weasels. Urgent allies, Po will find them in a brave and elegant British knight that the panda Po will escort on his journey through China. She is a curious new entry, an exquisitely feminine heroine, who among other things offers the possibility of a nice confrontation between China and Britain starting from the second episode, in which she pauses to describe the code of the knights.
We are in the middle of the women empowerment era and Dreamworks knows it: what better idea, then, than to transform the protagonist into the "page" of the new entry cavalier? Their duo works quite well and, according to the finale of the series that we don't intend to spoil, could open the glimmer of a new season, perhaps set beyond China.
From a visual point of view, there is continuity with the film saga, with the usual accuracy in the animation details interspersed with traditional techniques reserved for special moments, such as flashbacks or specific explanations.
At the narrative level, we find the unmistakable clumsiness of the protagonist who acts as a counterbalance to his big heart, that heroic courage mixed with the sense of inadequacy typical of the Panda Po. It is a pity that the series is clearly designed for an audience of children. The script, therefore, forgets to dare, rather focuses on characters described with the Manichaeistic simplicity of good vs. bad, no one is truly memorable to leave an indelible mark.
After all, not even Po himself, whose new daring adventures, albeit pleasant for an audience of families and children, settle on the terrain of the predictable or the already seen. The constant sensation during the vision, which still guarantees basic and light entertainment, is that of a wasted opportunity, which could be used to tell not so many new adventures in its own right of the iconic character, but to deepen his story, to greater psychological introspection, or perhaps to return to characters and episodes only mentioned in the film saga.