Koto and Myoue travel to the celestial plane and meet their grandfather, God, who tells them they’ll be the ones to replace Inari, who will then disappear. Not liking the sound of that Koto and Myoue leave the plane and travel through a time continuum until she finds Inari and Lady Koto and busts in with her hammer. As she beats up Inari for being selfish, Myoue restores Lady Koto. God agrees that the thirteenth plane will be allowed to exist, while Inari will not disappear and remain with his family.
Just as it always announced at the start of every episode (or in this case, at the end), Kyousougiga was a story of love, life, and rebirth; with the latter two being possible because of the first, a love that started with a rabbit that became a beautiful woman. Inari states that before her, he merely wandered the world aimlessly, separate from it. Lady Koto and their children became his real world, and the start of his real life. He went on to make a common mistake family heads often make, out of stubbornness and obligation: to arrange the future in which his offspring would live; a future that didn’t include him, as he’d pass his duties to them.
Armed with the wherewithal to challenge his unilateral decisions was Koto. Just as she wanted to spend a little more time with Myoue before carrying out his death wish, Koto loved her father too much to let him quietly disappear. This results in climactic celestial family squabble, and ultimately, a happy ending for all. Inari meant the transfer of his heart and soul to be his final act of love to his children, but the only love Koto wanted was to experience the love of her family all in one piece, including him, sharing sunsets, meals, and other good times.
For all its whimsical extravagance of its fantastical setting, Kyousougiga always remained true to its staunchly human, immanently relatable themes of love and family. It was a story that left us as warm and fuzzy as, well, a rabbit.
Rating: 8 (Great)
Final Cumulative Rating: 8.400
MyAnimeList Score (as of 12/22/13): 8.08
Koto pleads her case with the chief priest that the mirror world should survive. She doesn’t make any headway, but Inari embraces and praises her for becoming “the other [him he] always wanted”. He stabs her with his sword, putting her in a trance, and she starts to destroy all of the planes. Myoue wakes up in a cave with Kyouko and Kurama, who tells him he was always supposed to rule the mirrored city alone when he was ready. Armed with the beads that contain the power of creation, Myoue rushes to find Koto, snaps her out of her trance, to create a new beginning together.
It only comes as a minor surprise that Inari is indeed a god, the brother of the cheif priest, who was tasked with creating the twelve planes and looking over them for their “lazy dad.” Inari got bored with that existence and a bit too creative, resulting the thirteenth plane, which was outside of his mandate. When he finally returned, preceded by Koto, it was to put an end to the current order of things and start over. He instigated the end, which is in progress as of the end of this episode, while it’s up to Myoue to see to it there’s something after that end. As Kurama tells him in a subterranean pep talk, the world won’t change if he doesn’t.
Kurama’s always been the one to deliver him cold truths, from the time he says he and Yase are “false siblings” to the day their parents leave. It’s fitting that the big bro, false or not, is there to give a sulking Myoue a slap in the face. For so long Myoue’s been fixated on the past and his own denied death. But the truth is that life is gone and won’t be coming back. But he does have Koto, and his prayer beads, and he won’t let everything end the way Inari has set things up…”probably”. Inari pulls a bit of an infodump early on, and the score goes big and movie-like, almost bordering on sappy at times, but after last week’s standoff it’s good to see things on the right track to a favorable conclusion.
Rating: 8 (Great)
Koto returns safely to the Mirrored City with her mother Lady Koto in tow. After a reunion and tour of the city, Lady Koto says it’s time for her to go back, surprising everyone. She tells Koto to help her older brother Myoue, but later that night a distraught Koto breaks down in Myoue’s room. Meanwhile, a portal opens in Kurama’s temple, and Koto’s first “sensei” Inari emerges. He arrives at Myoue’s house and removed his mask revealing himself as the original Myoue, Yakushimaru’s adoptive father. As a result of his entrance, the Mirrored City starts to disintigrate.
For something as momentous as Myoue, Yase, Kurama and Koto’s mother returning after who knows how many years away, her return is surprisingly low-key. Koto and Yase are the ones most outwardly excited, but Myoue and Kurama are more reserved. She’s glad everyone is all right, is pleased with what they’ve done with the place, and asks forgiveness for being gone so long. But she doesn’t solve everyone’s problems; in fact, she creates totally new ones. The original Myoue must’ve sensed her arrival and came back himself, causing serious damage to the drawing in the real world and thus the Mirrored City.
So what, is he the bad guy all of a sudden? Is he improvising, or was this all part of his original plan? Did he even have a plan? Is the city toast? There are just three more episodes to answer those pressing questions, but for now, despite the foreboding tone of the ending, we’ll be cautiously optimistic. After all, the family is finally back together; how could that be bad? Also of note this week: Koto finally protesting being constantly used and asked to do things when nobody is willing to give her any answers about her past. With her sensei back in the picture, that might change.
Rating: 9 (Superior)
This episode documents the young Koto’s life prior to entering the Mirrored Kyoto and becoming the ward of Myoue. Abandoned at a very young age, she was taken in and trained by Inari (AKA “The Fox”), and despite early complaints by his peers, she proves to have a great deal of talent. When Koto suddenly appears in the Mirrored Kyoto with her two familiars, A and Un, the Council of Three (the siblings Kurama, Myoue, and Yase), they debate whether she is related to them, or could actually be the reincarnation of their mother, who shares her name and eyes.
It’s just a fact of anime that whenever there are two characters with identical eye color (in an anime where not all characters have the same eye color, that is), it almost always means they’re related. So it’s no coincidence that lil’ Koto has the same red eyes as the departed Lady Koto or Myoue Shounin, just like it’s no coincidence that Inari also has the same color eyes. The narrator in the very first moments of the episode is also quite clear: “This is the story of one family’s love and rebirth.” Meaning Inari and Koto could well be Shounin and Lady Koto, reborn.
Mind you, the episode doesn’t come right out and confirm anything one way or the other, while the dream-like sequences of Koto and Inari in the secret room with the drawings of Mirror Kyoto and Koto the rabbit don’t make things much clearer. But whether she’s Myoue/Kurama/Yase’s mother or sister, she’s definitely a member of their family. Her appearance represents a sea change, both in their lives and in the world they preside over. The first major change since their parents left. We’ll see how each of them end up dealing with it.
Rating: 8 (Great)
For this newest version of Kyousogiga – the first having aired last December and the first of five episodes to air this year – we’ll forgo a synopsis, for two reasons. First; was less than ten minutes long. Second; we wouldn’t know where to begin. We’re not that well-versed in Doctor Who lore, we do know that the TARDIS is a vehicle that is small on the outside – a police box – and massively huge on the inside – containing all the amenities a Doctor would need for his travels. This >10min. episode reminded us of the TARDIS: within its tiny dimensions resides an entire universe.
A lot happens in that >10 min. A lot is covered. Could we make any sense of it, beyond the vague notion of a girl growing up strong and striking out in the world in search of her mother? No, but that’s not the point as we see it. The point is to just sit back and enjoy the artistry, the whimsy, the creativity. The point is to experience a lot in a little sliver of time. To see whole worlds and alternate worlds as through a microscope, but only a taste; a small glimpse. For this >10 min. window, we were transported somewhere else: somewhere we hope to learn more of in subsequent episodes.
Rating: 8 (Great)