9 CommentsKyosogiga / By Inushinde /

Kyosogiga Episode 7: Koto x Koto

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Fuck, now denoting which is which is going to get even more annoying.

There’s one thing that I can say about Kyosogiga, aside from it being one of the best series of the year so far. Or that the relationship between Yase and Lady Koto is one of the most precious mother/daughter relationships in the medium, despite their interactions being constrained to half an episode’s flashbacks. Or that Lady Koto herself is gorgeous, with those looks being used to make her motherly, rather than sensuous. Well okay, there are several things that I can say about it, but the one that stands out at me the most is that it’s a series that really knows how to keep itself deliberately mysterious, without being obtuse.

There’s a method to Kyosogiga’s madness, though I don’t think anyone not working on the staff is qualified to discern it. This is a series that simply doesn’t lend itself well to speculation. That’s a good thing, since it means the series is letting itself be truly unpredictable, while spurting enough sticky content down our eager throats to keep us satiated until the next episode. After the abrupt tonal shift toward the end, I can comfortably also say that I have no fucking idea where it’s going. And I’m kind of okay with that.

Actually, I’ll go ahead and touch on that Lady Koto not being attractive thing for a bit, as it illustrates just how well-designed her character is. She’s certainly blessed with clear assets (a lovely smile, beautiful long hair, adorable rabbit ears), but it paints her as approachable and warm, rather than a being of ethereal, distant beauty only to be admired and gawked at from a distance. She’s essentially motherhood, potently distilled. It’s the culmination of a bunch of tiny details, but they come together incredibly well to make Lady Koto one of the most aesthetically perfect characters in recent memory. That, and her relationship with Yase is still stupidly precious.

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Back to the unpredictability thing, Daddy Myoue’s surprisingly scary. I was expecting the reunion with his kids to be as joyous as it was with Lady Koto, but his reappearance is… off. As opposed to Lady Koto’s bubbly warmth, his demeanor is coldly hostile. Lady Koto wasn’t exactly brimming with excitement either, but her reappearance was still way more touching than Daddy Myoue’s.

I’m not faulting the show for this at all, since it seems to be completely intentional to contrast the two—the creepy music that plays whenever Daddy Myoue talks certainly doesn’t intend to make this a subtle point. Though if Kyosogiga’s hinting at what I think it is (which has to do with Myoue Junior’s ex-family, along with Lady Koto’s fiery premonition), there’s a very good reason for the inexplicable creepy music that pops up whenever he talks. It’s not like he’s outwardly malevolent, but I don’t trust a man with a creepy music accompaniment. Things are probably going to get very dark, very fast, and I’m eager to see how the show connects Daddy Myoue’s current, less pleasant self with his past.

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I may have very little idea of what’s going to happen, but I have high hopes for the remainder of the series. Ordinarily I’d be wary of a show employing such a huge shift in tone toward the end, but it’s used to great effect here, and Kyosogiga has proven itself able of dropping heartrending bombs time and time again. Unless the next few episodes dramatically shit the bed one after another, I think we can be prepared for some interesting fallout from this particular family reunion. And if it does go to shit, at least it’ll be because of overambition, which is the best way for a series to spectacularly fail.

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9 Comments

  1. Nagisa33
    Posted December 2, 2013 at 8:57 pm | Permalink

    Kyosowinner indeed!

    As you pointed out, we have no reason to believe Myoue’s a bad guy from his actions. He was painted as an extremely accepting father figure for the entire show. It’s weird that they’re now painting him as a mysterious villain of sorts. I hope it doesn’t jump the shark though I imagine that they’ll handle the show fine.

    I’m also confused on why Koto’s like, “Hey kids, nice place you have here. Welp, it’s time to peace out again after only being here one day!”

    • Inushinde
      Posted December 7, 2013 at 1:04 am | Permalink

      A bit late of a response, but after the latest episode, I think it was just generally ominous music that didn’t specifically have anything to do with Myoue Sr. Everything kind of makes sense now, though it requires some tangential thinking to get there.

  2. gedata
    Posted December 2, 2013 at 9:15 pm | Permalink

    when I read the title, this immediately popped up in my head
    http://commiesubs.com/wp-content/uploads/2013/11/wpid-Commie-Kyousougiga-06-CA21498B.mkv.gif

    the 2011 ONA also had Koto crying about some strange women making out with her her too, changed the dialogue here.

    • Someone Else
      Posted December 3, 2013 at 3:08 am | Permalink

      That ONA or at least the gif when you look back looks totally out of place

  3. Cobrah
    Posted December 2, 2013 at 11:15 pm | Permalink

    Myoue1/Inari’s semi villainous appearance took me by surprise as well, but since Kyousougiga has yet to fail me I have faith that they know what they’re doing. Really looking forward to how all this plays out now that everyone has assembled.

    Also Lady Koto for best mother in anime. I wish she was my mom

    (justkiddingIloveyoumom.)

    • Inushinde
      Posted December 7, 2013 at 1:08 am | Permalink

      If there’s one thing that I’m sure of, it’s that Kyousougiga definitely knows what it’s doing. That’s about the extent of my assurance with the show, but I think it’s good enough.

  4. Posted December 3, 2013 at 12:00 pm | Permalink

    Myoue the Elder is God. Of course he’s scary.

    The word used in Hebrew for how one relates to God is “Yare” (pronounced YAH-reh), which is translated as “God-fearing”, but it’s fear mixed with adoration. In modern Hebrew, sometimes people use it to discuss how justice shouldn’t adore-fear power.

    Now, when Myoue the Elder (just Myoue from now on) appeared in the window, listen to that music. You know where else a similar track appeared? When Akira appeared toward the end of the movie.

    Look at how Yakushimaru looks at Myoue after he appears, look at the light. He’s essentially looking at the sun, he’s blinded, he’s dazzled.

    Finally, consider the show’s introduction, “At a time when the line between deities and humans hadn’t been as clear.” – Even if he isn’t “God” God, he’s definitely akin to that to his children. Just like in Uchouten Kazoku, he’s the central character in the show, through his absence. He’s the character it all revolves around.

    Finally, this show has more than a touch of Greek mythology, right? The pomegranate, and then Yase calling Yakushimaru Oedipus – and a common theme in Greek mythology, especially after they bring up Oedipus, is killing your father, the creator of the world, who is a God (Zeus killed his father, who in turn killed his father).

  5. Fhnuzoag
    Posted December 3, 2013 at 12:42 pm | Permalink

    Hmm. I wonder if the show is pulling an unreliable narrator on us. The point is that we’ve seen Koto Jr’s relationship with Inari/Myouse solely through Koto Jr’s remembrances. No child wants to perceive their parent as a bad person, after all. Seen objectively, Inari/Myouse is kinda a terrible father, what with his abandonment of all of his children, refusing to tell his child about her mother etc. And maybe the taunts of his familiars don’t really feel loving, but rather, cruel.

    In the same way that Yakushima’s idyllic backstory in the earlier episodes are overturned by what we learn of his past. Maybe I should rewatch ep 2.

    • Inushinde
      Posted December 7, 2013 at 1:13 am | Permalink

      That’s certainly an interesting way of looking at it, but I don’t think the plot is Koto-centric enough to pull that off. That, and it doesn’t account for the other childrens’ positive memories of what’s essentially the perfect childhood.

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