Kami-Haji wastes no time piling on the adorableness in its final episode. Lil’ Nanami is button cute, just the kind of person you want to hold and squeeze and protect for all time. But we learn along with Tomoe that that cuteness is tempered by a steely resolve to look out for herself and be wary of men; advice given by her mother, who herself could not escape a life of bad luck with a crappy excuse for a man. We also learn that the women in her family only ever bear more women, all of them beautiful.
Tomoe is positively transfixed by this educational foray into Nanami’s past, and even though Mizuki tries on numerous occasions to nudge him to put an end to it, Tomoe watches on, even as things go from bad (Nanami’s mother dying, as expected) to worse (Nanami living with her awful dad, who does nothing but goof off and burn their house down). The things that happen to Nanami are almost comically cruel, but for all the slapstick mixed in with the narrative, the episode never makes light of her plight.
It also makes it clear these are the experiences that made Nanami the young woman she is today, and that something great and beautiful can come out of all that suffering and hardship. With that, Mizuki again confronts the lil’ Nanami to try to coax her back to the present, and again, she flees from Mizuki, who if we’re honest doesn’t have the most trustworthy aura about him.
Tomoe is different, though. Even though he’s a man, Nanami seems to trust him implicitly. Is it the connection she has with him in the present shining through here, or the connection between her family lineage and the god who granted them beauty at a heavy yet bearable and character-building cost?
Tomoe isn’t just a fan of lil’ Nanami because she’s adorable. He also likes the fact that everything she desires is clear to him here in her flashback world, as things she concentrates more on appear with more detail and in greater focus. Seeing everything she wants to clearly, and having the power to grant it all, Tomoe’s devotion for her grows. Here, when asked if he truly loves her and is someone she can count on, he can answer directly: yes he does.
Heck, he even proposes marriage, and she accepts…but when the grown Nanami wakes up, she’s seemingly forgotten everything about her dream, which deflates Tomoe quite a bit, because he thought he’d actually made progress.
He laments the fact that the happy-go-lucky yet delicate girl he was able to confess to so easily was lost in the twelve years since, especially when she’s able to single-handedly convince the zodiac sheep to allow the new year god to shear him. Then Nanami surprises Tomoe again and makes him rethink everything when the Year God furnishes her with a photo of her mother.
Now, that wouldn’t seem such an impactful gift, but considering her mother died when Nanami was very young and all photos of her were lost in the fire (a heartbreaking fact), it means multitudes for Nanami to finally see her face clearly. And in doing so, Tomoe sees that neither Lil’ Nanami nor her mother really vanished; they’re still within Nanami.
Back at the Shrine, Nanami is back to work on her talismans, and Tomoe is back to work denigrating their poor quality, earning her defiant scowls. But when relaxing after a long day ushering in the new year for worshippers and the like, Nanami settles down for some tea and TV with her shrine family, whom she’s been with now for a year.
When she steps outside, the falling snow reminds her of what a shadowy figure once said to her in a half-forgotten memory of the past (which we know to have just happened at the Torii gates), in which Tomoe tells her younger self she won’t always be alone and wary, but be “the lady and mistress of a household more rowdy than she could wish for.”
And so it’s come to pass. She has a family, without having resorted to marriage she’d sworn off. And yet, when asked again, Nanami adds the qualified “probably” to that swearing-off, opening the door for Tomoe, if he wishes to walk through it.