For being the kind of show where dozens of yakuza thug clones go out of their way to snatch back a scientist’s off-brand PSP from an avaricious avian, Kyosogiga shows a remarkable capability for emotional maturity. It’s surprisingly delicate when exploring the various means with which Lady Koto’s children cope with abandonment, showing the separate ways that they’ve grown up. Whether for laughs or to flesh them out as relatable humans, the characters’ childish traits are paid plenty of sympathetic attention. And of course, lest things get a bit too somber, there’s plenty of Koto bashing shit with her giant glass hammer.
The series does a good job at exploring the various ways that their relationships have settled into a routine. While we haven’t seen much of Yase yet, she still serves as a counterpoint to Myoue, balancing his relaxed demeanor with a never-ending deluge of snark and a childish sadistic streak. The series is smart in conveying the bond between them, drawing substance from their limited, pseudo-antagonistic moments. It really gets across that, despite their near-constant bickering, they have a strong bond.
Then there’s Kurama, the eldest son, who doesn’t exhibit any real personality shortcomings in this episode. He’s the most collected of the three, managing the affairs of the Mirror Capital, but there’s still a wistfulness that’s easy to pick up on, giving his character just that extra bit of substance to keep from being a mere plot device. His personality may start to show scars of abandonment later like his other siblings, or maybe the possibility of Koto leading to Lady Koto will give him a drive to rediscover his parents. Or hell, the possibility of both certainly isn’t out of the question. This is the kind of series that I think could really handle his character in more than a superficial capacity, provided it takes the effort to do so.
The episode knows that, by itself, an exploration of the three siblings is a recipe for bumming the audience the fuck out; it isn’t really easy to be jovial when portraying children being crushed by their parents’ disappearance. To compensate, the second half is composed of a goofy series of events concerning Shouko, the Mirror Capital’s resident scientist. What I like is how Shouko’s utter childishness is totally endearing, rather than annoying. She isn’t some brat masquerading as a teenager, in the sense that she has the mental capacity of a Key love interest; on the contrary, Shouko is unquestionably brilliant, handling herself and others well. It just makes her tantrums and easily-placated disposition disarming, instead of dreaded. The end result is totally in keeping with the whimsical mood of the Mirror Capital, and her attempt to get her controller back really sells her as a charming personality.
The world’s permanent state of renewal seems to stunt emotional growth, which only comes about under the presence of external forces. As a result, the residents of the Mirror Capital may achieve mental maturity, but there’s not really an impetus for them to aim for the stability of adulthood. I look forward to seeing what else the show might do with this, especially if it keeps up this level of quality. Kyosogiga does a ton of good things, and it can damn well keep them up.