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)
Myoue first meets Lady Koto, the human form of a black rabbit his master once painted which came to life. The three lived in seclusion as the seasons passed. Lady Koto stands on an unknown world with the earth in full view, holding an infant that looks like Koto, promising her they’ll meet again someday.
This was probably the most cryptic of the five Kyousogiga segments – one in which the majority goes without spoken dialogue, only a song sung in English. The different seasons are beautifully rendered in the frame of the temple, and we liked the concept of the entire strange city we’ve seen thus far being a painting by Myoue’s master, painted piece by piece and pasted to the wall.
There are probably a lot of ways to interpret everything that went on in this last few minutes (carrying lady Koto with a trail of blood behind her, followed by the appearance of a young Myoue…was she pregnant?) but it drove home the point that the whole series, brief as it was, was a nice, trippy, ephemeral look at another world and the colorful lives that inhabit it – and didn’t get bogged down in excessive explanation.
Rating: 7 (Very Good)
This segment is told from the perspective of the monk Myoue of Taganoo. His master bestowed the title of high priest upon him, and told him to watch over things until he came back at a time he did not specify. Myoue has waited ever since, in a manner similar to that of Hachiko, a real-life dog so faithful, it kept coming to the station to meet its owner long after that owner died (and whose statue stands outside Shibuya Station). He wonders if his master in fact returned in the form of Koto, so he takes care of her while waiting for confirmation of some kind, which comes when Koto echoes words his master left him with about returning with “a beginning and an end”; Koto’s twin “brothers” are named A and Un (beginning and end).
This was a far quieter, more wistful episode than the last two, which were more manic and action-packed. It’s basically a day in the life of Myoue, a monk who spends his days waiting for something he knows not what; something that may have already come in Koto; he’s just not sure. Pride, honor, and a sense of duty and loyalty drive his actions, qualities he resents at times but cannot fight off, so he waits. Like the previous episodes, we only get a small slice of the whole picture here, with much left unspecified and unexplained, but so far the series has excelled at building an achingly gorgeous, wondrous, fun world, with no fewer mysteries than our own; just different ones.
Rating: 8 (Great)
One of Douji Yase’s animal-like youkai records video of a special day in the world on the other side of the looking glass: a day when unwanted or unneeded…stuff is relased into the air, where it drifts away towards a train station which will take it further away still. One of these objects is a stuffed animal a mother wants her daughter to let go, but she won’t, and floats off with it. Koto, A and Un fly up to grab her, and it isn’t long before Shouko and her suited legion also assist; finally Shouko shoots the plushie, and the girl and Koto fall back down to earth. Also among the objects that shouldn’t have flown away: Douji Yase’s favorite teacup.
This really captured the grandeur and whimsy of the strange world Koto is now at home in (the awesome soundtrack really helps sell it). There’s a very fable-like vibe to it, and it’s also very much the opposite of how the real world operates. Our waste falls to the earth, both due to gravity and due to the nature of municipal sanitation and decomposition. We as a modern society toss out a lot that may still be useful to others, but is wasted anyway, due to convenience. Still, it would be great if, once a year, all the unnecessary clutter that had accumulated that year could be released into the sky, to find its own way…somewhere else.
Rating: 9 (Superior)
We got so hung up with Fall series that Kyousogiga almost slipped through the cracks. Well, with one episode left to air, we’re taking the opportunity to catch up on this excellent ONA.
In this piece, Shouko, the geek who runs Kurama Temple, has lost her PSP. She suspects she lost it when she was tackled post-lunch by Koto/A/Un. She deploys legions of well-dressed henchmen to leave no stone unturned. They spot a PSP in the talons of a bird, but after a sustained pursuit and much discharging of firearms, when they catch the bird, the PSP is not hers. Eventually it’s found by a man named Fushimi, who simply searched for its GPS signal. The tracking device is a must for Shouko, who is very active and has a tendency to lose things.
Like a rich dessert, this episodelet was dense, compact, and full of complex flavors surrounding a very simple concept: losing something important along one’s daily travels. In Shouko’s case, having her PSP is a matter of utmost importance, and she is also fortunate to have virtually unlimited resources at her disposal for whatever petty purpose she chooses. We liked her brief, outwardly pleasant, inwardly tense chat with Douji Yase, as well as her knee-jerk reaction to remembering she was jostled by Koto: destroying her house and holding her at gunpoint.
Rating: 8 (Great)