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.
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.
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.