Kyousogiga – Episode 7

Oh man am I ever ready for this one. The prologue flash-forward has been reached, Koto has been devoured, and we’re well on our way towards new, uncharted material. This is a delicate stage for any show actually seeking emotional truth – the search for a resolution that doesn’t invalidate the poignant, complex nature of the feelings presented so far. “Koto’s back! Everyone’s happy!” wouldn’t do it – that would basically end Yase’s arc without any growth whatsoever, and wouldn’t be particularly meaningful for either Kurama or Myoe. “Everyone escapes the Mirror City!” certainly wouldn’t do it either – both Kurama and Myoe need to learn from this place before they can be given their rewards. However narrative victory is achieved will be somewhat beside the point – this is a show about people, and waving a wand to fix characters’ problems renders any story about people emotionally meaningless. The key here is obviously young Koto – she’s the new variable, the person who’s already succeeded in giving Myoe something worth protecting, with the potential to change the other two as well. Her return from her visit with Mom should herald some serious shifts – though as I said in my week in review post, I’m hoping that return doesn’t cometoo quickly, because I’m eager to see Myoe legitimately angry at his siblings. In fact, I’ll take more of Myoe however the show feels inclined to show him – he’s easily my favorite character of the season. So let’s get to it!

Episode 7

2:03 – Kyousogiga grants wishes! Also just a beautiful shot

2:17 – And of course, immature Yase is quick to make sure Kurama gets the blame 

2:42 – And we’re back at the chess board resolution! 

3:01 – Looks like the floor here was a chess board all along 

4:41 – The soundtrack is very accommodating of these intimate moments 


5:12 – Stranded between worlds. The chalk outlines of the Mirror City come in handy here

5:34 – “Home,” huh? Koto’s not the type to hold a grudge, I guess. I suppose that was the central bureau of the planes that was attempting to capture them, there

6:24 – Dear lord is that a beautiful moment. This little moment might be one of my favorites – she acts all tough and assured when meeting her mother, and then comes running back to cry in her big brother’s robes. Perfect. This show understands people so well

6:35 – A telling line. He doesn’t take being abandoned well

6:51 – I love this Koto face

7:24 – Isn’t this interesting. Koto’s actually back – half the plot has been resolved. What does this actually fix?

8:58 – Moooom, don’t mess with my stuuuuff

11:06 – Hah! Beautiful. Nice going, kids – cya in another hundred years

11:39 – Maybe Kurama can get his wish, then? But again, I doubt anyone’s happiness can be secured in such a simple way

12:28 – They’re directly mirroring Koto’s walk from episode 2. The lighting, the silence, the framing, even Koto’s vocal mannerisms. And she’s taking her mother’s absence with the same strength of character she once did – she does not need her mother there to carry the secret


12:42 – Another endearing little gesture

14:08 – I guess it speaks to my lack of impartiality as a critic that I see a show with scenes like this that contain little character moments like this and think, ‘wait, people actually debate whether these are the best shows we have?’

14:24 – And now the conversation is mirrored from her childhood. I’ve said it before, but the best stories are little jewels where every facet reflects the whole

14:55 – That hurts 

Kyousogiga Koto

15:56 – I shouldn’t have worried this show might betray its own significance

16:08 – Dreams are shitty like that 

17:15 – Makin’ an entrance 

17:39 – Beautiful shot. An endless distance between them


18:52 – The struggle of cheering someone up when you yourself don’t believe things will ever improve. Not a good place to be

19:29 – I’m surprised we don’t get more of this when kids are asked to save the world. Still loving how the show’s refusing to take any cheap narrative answers. If you want your story to say something meaningful about the difficulty of living, you can’t offer escapist solutions

I also love how Koto continues to maintain a strong face in front of her mom, but then go to Myoe and sob about how scared she really is. They have such a great relationship

19:54 – That shot is goddamn gorgeous. I love the lighting in this episode

21:01 – Speaking of gorgeous lighting 


21:07 – Goddamnit show stop it 

22:18 – Alright, I guess it really is finale time 

And Done

Oh boy. Oh jeez. The city’s falling apart, the old Head Monk has appeared again, the multiverse is in disarray. It’s kinda seeming like next week’s episode will actually be the last (in spite of the schedule so far as I know it, which would indicate three more), which… well, I don’t really know how they’d bring all of this to a satisfying close in one episode, but I’m ready to see them try. Either way, this episode’s second half was as powerful as last week’s first half – every scene between Koto and Myoe is golden, and Koto’s scene with her mom just friggin’ glowed with emotional honesty. It’s kind of bizarre to be getting the two best family stories I’ve seen in anime one season after the other, but I’m certainly not complaining. I will accept as many beautiful, moving anime as Japan is willing to provide.

12 thoughts on “Kyousogiga – Episode 7

  1. Myoe’s easily my character favourite of this series as well. If it wasn’t for Kill la Kill’s Satsuki or Mako stealing the limelight, he’d probably be my favourite character of the whole season.

      • I actually like both. Admittedly the older at least partially because of his voice actor, but at the moment, the younger is far more interesting to me as a character.

      • Really, you like Ishida Akira as a voice actor? Can’t say I ever really liked his voice much :3 And his acting, well, he’s the least present actor in the series, so it’s hard to really comment – was about to say he’s the least present character, but he’s the one character all the others revolve around.

        And sure, Myoue the younger is definitely more interesting as a character. Myoue the elder is basically a plot-device.

    • Satsuki’s the main competitor for me as well, but the portrayal of Myoe is just so damn sensitive and human that he takes the top spot for me. It probably helps that the characters in this show are so visually expressive – their range of subtle facial expressions is phenomenal.

  2. There are three more episodes, plus an epilogue, four in total. Straight from the official website:
    Don’t worry, there are no spoilers on that page. (Well, if you can read Japanese, the episode titles kinda hint at things.)

    6:24: See, this is exactly what I was talking about before. For you, it’s a beautiful moment that adds depth to Koto’s character. And it’s totally what you say it is. But for me, it’s become reused footage with new dialogue that upends what happened at the end of the ONA. It’s jarring. That’s why I wish I could just forget what I saw in the ONA and watch this marvelous show anew. It’s a different show now.

    • Awesome, thanks for clearing that up! And that’s a damn shame about the ONA – hopefully you’ll be able to rewatch it at some point down the line without all these fragmented versions coloring the experience.

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