Never mind, I can still wring a few more drops from this dumb naming trend. So long as Lady Koto continues being the most adorable anthropomorphized rabbit in existence, anyway. She isn’t exactly dynamic or exciting, but her overwhelming motherly instincts are endearing as fuck. Even if the rest of the episode were utter trash, she’d sell it just because of her presence.
Very few shows have mastery over their tone to the extent that Kyosogiga does. This is one of those few that can bring out the sadness in a child’s frenzied attempts at suicide, before leading into happy scenes of said child frolicking with his adoptive siblings without any noticeable clunk in between. It’s probably because we know how things play out—Myoue eventually consents to being adopted by loving, non-gruesomely killed parents, and he lives an idyllic life until they disappear. It would certainly not feel as natural if his carefree childhood with a half-ogre and a nerdlinger wasn’t already established. It’s tragic without being overwrought, and hopeful without being overly-saccharine.
It’s interesting to have my suspicions confirmed that to Myoue, the Mirror Capital is essentially a hell that keeps him from what he feels is a rightful death. It what isn’t a bad place by any stretch of the imagination, but he essentially had priesthood thrust on him by his parents, and he’ll have to tend to those duties until what could very well be the end of time.
Despite having the best of intentions, his adoptive, loving, non-gruesomely killed parents left him with almost no choice but to take up his father’s mantle. Any and all thoughts of leaving are likely tempered by guilt and a sense of responsibility, further contributing to his very noticeable discontentment. He’s not more or less attached to his parents than his siblings, but he did actually have the choice of what to do with his life snatched from him, in exchange for love and security. And there is love there, otherwise Myoue wouldn’t feel obligated to follow in his father’s footsteps.
Just the knowledge that he could have lived a different life is probably enough to make his current situation seem like the world’s most vibrant prison. Even being indentured as the official Google snack taster ($300,000 an hour plus benefits) would probably seem like a living hell if you had absolutely no choice in the matter.
However, if the first half is a fascinating look into Myoue’s odd relationship with his parents, the second marks the point where the series’ eccentricity starts to take priority over actually being well-told. Yase and Kurama making Koto fight a giant robot does little to advance the plot, especially since Koto doesn’t seem all that enthused. It’s a tangled, needless mess that could have been avoided altogether in exchange for actually bridging the trust between the siblings and Koto. I guess it’s supposed to illustrate the divide between Myoue and his siblings, but that’s been shown before to far greater effect, and didn’t need a completely arbitrary fight scene. With every action in previous episodes either alluding to how the world functions or adding a sheen of amusement to make it feel more alive, this scene feels kind of lazy and gratuitous. It’s kind of a disappointing copout that serves little purpose past padding the episode.
Kyosogiga’s still pretty good, and it’s looking to get even better with Lady Koto thrown back in as more than a memory. I’m looking forward to seeing what the show does to build her character since her disappearance; whether she remains a unflappable bastion of motherly love, or begins to show cracks in her façade. Just as long as the inevitable future giant robot fights are better contextualized, I’ll be happy with whatever is done with her.