Kyousougiga
- Thread starter Deathly
- Start date
g3data
Well-Known Member
Started rewatching this a couple of days ago and the 1st ep completely re-sold me on it. Good visual storytelling and I can totatlly hear the feels train coming already. Looks like it'll be full of a bunch amusing little ideas and the romance itself was pretty adorable. Can't wait to see if it holds up.
g3data
Well-Known Member
2:
Getting the backstories out of the way early I see? Cool. Idk, everything about this show feels so very deliberate with all kinds of care shoved into each frame. The shot composition and verbal exchanges tell you all you need to know right now without any overt exposition. All whilst fully getting across precocious little Koto's past and what drives her. The script has a good grasp on how cocky brats like her would act. Her "I didn't beat him, I destroyed him" line was pretty friggin funny/endearing.
g3data
Well-Known Member
4:
I'm definitely digging the character-specific set-up this show is going for. It certainly makes more sense for a story about a whacky, fractured family than a regular journey told through the eyes of one protagonist. This works in the case of someone like Yase, who would otherwise come off as just being obnoxious without being given her own POV. She's far from emotionally mature as her reaction to losing her parents had the opposite effect of what it did to Kurama. Instead of pragmatically doing anything possible for a future in which the whole family can be one, she shuts down, keeps to herself and clings to whatever she associates with her happy childhood. Maybe she resents what Kurama has become and is opposed to the idea of changing because of it?
I can't help but wonder if the Station Opening has practical use towards linking with Inari and/or Koto or if it really is just the Mirror Capital's dump.
I can't help but wonder if the Station Opening has practical use towards linking with Inari and/or Koto or if it really is just the Mirror Capital's dump.
g3data
Well-Known Member
5:
So it seems Yakushimaru is the only one of Inari and Lady Koto's children that wasn't drawn into existence. It also seems absorbing the beads rebuilt the boy in his image as well. His origin also explains why he seems more willing to call the former Myoue as "the priest" rather than "father" alongside the distance between him and his siblings. The story of the dog seems apt as fuck to Yakushimaru since his life is both devoid of joy (unlike Yase) and a hunger for progress (unlike Kurama) since he seems resigned to bitterly stagnate for the rest of his life. The final scene seems to heavily imply that Koto is meant to be the harbinger of "the beginning and the end" the former priest promised to reveal. Maybe this means that Yakushimaru will begin to pin his hopes on her as some kind of catalyst for a positive change in the family. When you think about it, Koto's hammer being able to actually cause lasting property damage can also be looked at as a metaphor for her ability to bring about changes that no one else can.
This show seems really committed to its pomegranate symbolism. You can take it any which way considering how many ways the pomegranate is interpreted by many civilizations, from Buddhists, to the Ancient Greek. For example, in Greek Mythology, Hades offered the harvest god Demeter's daughter Persephone pomegranate seeds that confine her to the Underworld for a 3rd of each year. The barren nature of certain months is attributed to Demeter's grief as a result of this curse. Pretty potent symbolism for his predicament.
But I think the raw visual language is easy enough to grasp without knowing any of that. It looks like he's finally offering up his goddamn heart. It's about as direct as imagery can be. This simple reading fits in with the other ways in which pomegranate imagery is used. Like how it is portrayed in the storage of the train that takes unwanted objects away from the capital. We can see a lone pomegranate, a bright red dot calling for attention among a collection of unremarkable grays, a sign of how little he values his current lifestyle. He might not be able to do anything by himself, so he decides to pin his hopes on Koto instead. His fate is all is all in her hands, and Yakushimaru is more OK with that then he would ever openly admit.
This show seems really committed to its pomegranate symbolism. You can take it any which way considering how many ways the pomegranate is interpreted by many civilizations, from Buddhists, to the Ancient Greek. For example, in Greek Mythology, Hades offered the harvest god Demeter's daughter Persephone pomegranate seeds that confine her to the Underworld for a 3rd of each year. The barren nature of certain months is attributed to Demeter's grief as a result of this curse. Pretty potent symbolism for his predicament.
But I think the raw visual language is easy enough to grasp without knowing any of that. It looks like he's finally offering up his goddamn heart. It's about as direct as imagery can be. This simple reading fits in with the other ways in which pomegranate imagery is used. Like how it is portrayed in the storage of the train that takes unwanted objects away from the capital. We can see a lone pomegranate, a bright red dot calling for attention among a collection of unremarkable grays, a sign of how little he values his current lifestyle. He might not be able to do anything by himself, so he decides to pin his hopes on Koto instead. His fate is all is all in her hands, and Yakushimaru is more OK with that then he would ever openly admit.
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g3data
Well-Known Member
5.5
Informative, but the enthusiasm felt a bit forced and patronizing. But this is how female seiyuus behave on TV so eh.
It still did a fine job of what it set out to do, by demonstrating some of the depths of care put into this ridiculous passion project. The most striking bit was probably the one concerning the two windows. It makes sense that Lady Koto would be in front of the window of delusion as she at the time was clinging to a happily ever after that she knows her circumstances won't allow forever. Whilst Myoue, the creator of an entire dimension has the window of the universe at his back.
Needed more Rie Kugimiya tbh.
It still did a fine job of what it set out to do, by demonstrating some of the depths of care put into this ridiculous passion project. The most striking bit was probably the one concerning the two windows. It makes sense that Lady Koto would be in front of the window of delusion as she at the time was clinging to a happily ever after that she knows her circumstances won't allow forever. Whilst Myoue, the creator of an entire dimension has the window of the universe at his back.
Needed more Rie Kugimiya tbh.
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g3data
Well-Known Member
6:
Well, unlike his siblings, it turns out Yakushimaru gets more than just one episode to detail his character, which is cool because he really needed one after that helluva wham line to end the previous episode. As it turns out, Yakushimaru actually did successfully commit suicide. The opening scene with the former Myoue presenting his body after witnessing the aftermath of the tragic event that killed the boy's family, he jovially proposes taking him in right in front of a reasonably shocked Lady Koto. This sort of displays the former Myoue's lack of emotional intelligence, perhaps a result of sequestering himself away from people for so long (even before he moved into the Mirror Capital). The pomegranate finally takes on its intended role as a Buddhist symbol for rebirth and fertility, which makes the fact that Lady Koto had to give the dead boy life make a lot more sense.
Going back Inari (which I'm just going to call him that from now on even though he didn't have name at the time) and his relationship with the boy, it's about as prickly as one would ought to expect. The flashback even portrayed him as somewhat eerie and cold despite doing what everyone would consider a good deed. From Yakushimaru's point of view, it made sense considering the villified status of the man before him. This entire flashback is yet one of many of this series masterful displays of mono no aware.
In a lot of ways, Yakushimaru hasn't changed. Despite all the time that has passed, he shows the same lack of contentness displayed after his revival, as he does as an adult, except now he verbalizes his discontent through snide remarks. Hence why he turns to Koto to end his life and facillitate his escape from from the purgatory that he's grown tired of.
That stasis will most certainly come to an end now that Lady Koto's back in the picture. How? I have no fucking clue and I don't care. This series has always taken the "and then this happens because it was totally possible" approach to the actual plot so applying logic to something so fantastical would be missing the point. I'm here for the interesting characters and stellar production.
Going back Inari (which I'm just going to call him that from now on even though he didn't have name at the time) and his relationship with the boy, it's about as prickly as one would ought to expect. The flashback even portrayed him as somewhat eerie and cold despite doing what everyone would consider a good deed. From Yakushimaru's point of view, it made sense considering the villified status of the man before him. This entire flashback is yet one of many of this series masterful displays of mono no aware.
In a lot of ways, Yakushimaru hasn't changed. Despite all the time that has passed, he shows the same lack of contentness displayed after his revival, as he does as an adult, except now he verbalizes his discontent through snide remarks. Hence why he turns to Koto to end his life and facillitate his escape from from the purgatory that he's grown tired of.
That stasis will most certainly come to an end now that Lady Koto's back in the picture. How? I have no fucking clue and I don't care. This series has always taken the "and then this happens because it was totally possible" approach to the actual plot so applying logic to something so fantastical would be missing the point. I'm here for the interesting characters and stellar production.
g3data
Well-Known Member
7:
There isn't much to say about the first half other than seeing everyone on the same page and happy for a moment made me feel all bubbly, which made everything that came after hit a fair bit harder. Though even in the relatively light first half, there's this sense of dissatisfaction emanating from Yakushimaru and Kurama. Sure, having mother around is cool, but without their father, the picture is incomplete and lacks closure. Especially for Yakushimaru who has many questions for the man that left him as he is.
It's also kind of adorable how Koto swallows her fear and sadness until she reunites with Yakushimaru. That fear and sadness comes from her disillusionment. Koto came to the Mirror Capital with only her mission to find her mother in mind, and after all she's been through she finds out through Lady Koto's request to save her father as well that the story is far from over. This of course leads to a frustrated and emotional outburst, with Koto bemoaning the responsibility being thrown at her feet without having any idea as to how to achieve it. This all makes Inari's sudden appearance all the more timely, as at the very least, she won't have to find a way to meet and drag him back to the Mirror Capital.
Multiverse is looking fucked right now. Guess you can only bend the laws of reality so much before consequences get involved. The siblings' relationship with Inari (besides Koto) seems a lot weaker than it does with their mother. Yase clearly loved her mother more, Kurama seems to regard him as a troublemaker, and Yakushimaru seems apprehensive towards him. Should be interesting to see how they respond to his sudden return amongst other stuff, like say, the world falling apart.
It's also kind of adorable how Koto swallows her fear and sadness until she reunites with Yakushimaru. That fear and sadness comes from her disillusionment. Koto came to the Mirror Capital with only her mission to find her mother in mind, and after all she's been through she finds out through Lady Koto's request to save her father as well that the story is far from over. This of course leads to a frustrated and emotional outburst, with Koto bemoaning the responsibility being thrown at her feet without having any idea as to how to achieve it. This all makes Inari's sudden appearance all the more timely, as at the very least, she won't have to find a way to meet and drag him back to the Mirror Capital.
Multiverse is looking fucked right now. Guess you can only bend the laws of reality so much before consequences get involved. The siblings' relationship with Inari (besides Koto) seems a lot weaker than it does with their mother. Yase clearly loved her mother more, Kurama seems to regard him as a troublemaker, and Yakushimaru seems apprehensive towards him. Should be interesting to see how they respond to his sudden return amongst other stuff, like say, the world falling apart.
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g3data
Well-Known Member
8:
We're in full plot-mode now, with the transgressions of the past at long last bearing fruit with a hearty helpful of revelations. One such being the fact that unlike her siblings, Koto actually was naturally born from Inari and Lady Koto, which serves as an explanation as to why she's um, really special and stuff. I doubt she was born in a traditional sense maybe, but she most certainly has taken from both of her parents, which would also explain why Inari is smaller along with how Lady Koto can no longer survive freely outside of the Sanctuary. We also get a better idea of what Inari actually was the whole time. Not a human with magical powers, but an observer employed by the shrine to live amongst humans, a God really, which makes sense alongside the the Shrine Head's claiming that Koto was the result of a God and Buddha uniting. It's not clear exactly why Inari left though I assume it was because he had to eventually resume his duties as an observer. Lady Koto's frustration with him seems to come from not being forthwright with her as opposed to not being with the family too, which I guess means he really had no choice but to leave. The biggest mystery regarding Inari is what exactly it is Lady Koto claims her daughter needs to "save him" from.
Despite her meddling causing an apparent catastrophe, sulking about and not doing anything about to Myoe is more reminiscent of his years of idleness than it is the headstrong brat he knows. If the status quo is going to break either way, she may as well have a hand in rebuilding a new one.
Despite her meddling causing an apparent catastrophe, sulking about and not doing anything about to Myoe is more reminiscent of his years of idleness than it is the headstrong brat he knows. If the status quo is going to break either way, she may as well have a hand in rebuilding a new one.
g3data
Well-Known Member
9:
Can't say I'm a fan of having Inari simply infodump his past without anything visually interesting happening. Sounded like it could've made for another great flashback but it wasn't.
Normally I'd have more to say (and I do), but I'd rather just finish the series now and get some final thoughts going.
Normally I'd have more to say (and I do), but I'd rather just finish the series now and get some final thoughts going.
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g3data
Well-Known Member
10:
This was one hell of a show. Narrative structure and direction-wise completely one of a kind. Perhaps a little too unconcerned with making sense of its own world mechanics, but that only remains a problem until you realize why things have to be the way they are. This isn't a story that tells of you a world, this is one where you experience it. Dialogue exists in service of character over plot, and it utilizes the grandest, most inhumane of stages for the simple and down to earth of stories. A story of one family's love and rebirth
And thus the simple tale of a family's reunion ends in the most bombastic, roundabout way imaginable. On a scale that held the fate of the universe in its balance but didn't lose sight of what it was about all along.
At the end of the day, it all came down to the decisions made by Inari, Koto and Yakushimaru. With Inari, 9th episode seemed to be making him out to be some sort of villain by claiming that the collapse of all 13 dimensions being his endgame. That of course, ended up being a ruse. A method of getting Koto and Yakushimaru to take up his post as God and thus wipe him from existence. This made for a rather capricious way for getting them to accept their birthright's as the sole inheritors to godhood. This is especially important for Yakushimaru, as taking up responsibility for the universe might give him that cozy place in it he's been lacking. A reason to continue existing. Beyond what he could have in the future, Yakushimaru is forced to juxtapose the death he has long wished for with the welfare of all those around him and realize that which is really most important to him and in order to protect it, he can no longer pass responsibility off to anyone else. Not to just Koto, or the siblings that were expressly created to make things easier for him temporarily.
And then there's Inari himself, who continues to act in ways that are simultaneously callous and full of love at the same time. There just seems to be a certain self-centeredness to his actions here. He undoubtedly loves his family but doesn't seem to act in a way that suggests he isn't willing to risk not having that love reciprocated. He's vague with his reasoning and uses forceful actions to put his family into spots they never asked for without explaining why, all whilst expecting them to act in the right way. His lack of emotional intelligence is what doomed his final plan for self-destruction the start. He assumed that by acting like an aloof jerk long enough, his children would be willing to take steps that would wipe him from existence, which clearly wasn't the case. Especially not for Koto, who didn't lack a father figure growing up. It is because of that friction that the relationship between the two Myoue's -father and son- makes for the true conflict of Kyousogiga. The two are more alike with their circumstances than meets the eye, as they both were granted lives they didn't want, as they were both tasked with the similar responsibilities they weren't ready for by fathers that weren't there for them. Such is the cyclical nature of family. Fathers ask of their offspring to do what they didn't, figure out what they couldn't. No one wants to or deserves to have their lives plotted out for them by anyone but themselves. Even with that said, it's still up to the child to recognize that such selfish love is still at the very least, still love.
With Myoue's case, his feeling of entrapment comes from not only being stuck in a place where he can't die. He isn't prepared for a role of leadership waiting for him because he simply saw no point. The Mirror Capital doesn't change much besides everyone's garbage being pumped through a one-way chute into the great beyond. In a world where nothing ever changes, not much is ever really asked of him
A world of perpetual status quo is dull, which is what makes Koto as effective a catalyst she is. On top of her infectious, attention-drawing energy is some sort of youthful purity that has a habit of being muddied with age rather quickly. What sets her apart from her siblings is her inability to take familial bonds for granted as she grew up as never having them, and thus, no past to be hung up over. The prospect of losing a family as a result, is just as terrifying as it is wondrous to have one. It's her simplicity that allows her to eventually drag her brother and father down from their existential pretensions and remind them about that love isn't really some grand, complicated thing after all. Search as they may for some pretty sounding raison d'être, it'll only blind them to the simple purpose right in front of them.
The most triumphant moment in the finale was how Yakushimaru gave the prayer beads back to his father, only to yank them away, simultaneously accepting the burden and ay accompanying expectations whilst rejecting how it was given to him. As Lady Koto said, it would've been far simpler to just inform Yakushimaru and Koto of the high expectations he had of them all along instead of pulling such an elaborate performance.
At the end of the day, it all came down to the decisions made by Inari, Koto and Yakushimaru. With Inari, 9th episode seemed to be making him out to be some sort of villain by claiming that the collapse of all 13 dimensions being his endgame. That of course, ended up being a ruse. A method of getting Koto and Yakushimaru to take up his post as God and thus wipe him from existence. This made for a rather capricious way for getting them to accept their birthright's as the sole inheritors to godhood. This is especially important for Yakushimaru, as taking up responsibility for the universe might give him that cozy place in it he's been lacking. A reason to continue existing. Beyond what he could have in the future, Yakushimaru is forced to juxtapose the death he has long wished for with the welfare of all those around him and realize that which is really most important to him and in order to protect it, he can no longer pass responsibility off to anyone else. Not to just Koto, or the siblings that were expressly created to make things easier for him temporarily.
And then there's Inari himself, who continues to act in ways that are simultaneously callous and full of love at the same time. There just seems to be a certain self-centeredness to his actions here. He undoubtedly loves his family but doesn't seem to act in a way that suggests he isn't willing to risk not having that love reciprocated. He's vague with his reasoning and uses forceful actions to put his family into spots they never asked for without explaining why, all whilst expecting them to act in the right way. His lack of emotional intelligence is what doomed his final plan for self-destruction the start. He assumed that by acting like an aloof jerk long enough, his children would be willing to take steps that would wipe him from existence, which clearly wasn't the case. Especially not for Koto, who didn't lack a father figure growing up. It is because of that friction that the relationship between the two Myoue's -father and son- makes for the true conflict of Kyousogiga. The two are more alike with their circumstances than meets the eye, as they both were granted lives they didn't want, as they were both tasked with the similar responsibilities they weren't ready for by fathers that weren't there for them. Such is the cyclical nature of family. Fathers ask of their offspring to do what they didn't, figure out what they couldn't. No one wants to or deserves to have their lives plotted out for them by anyone but themselves. Even with that said, it's still up to the child to recognize that such selfish love is still at the very least, still love.
With Myoue's case, his feeling of entrapment comes from not only being stuck in a place where he can't die. He isn't prepared for a role of leadership waiting for him because he simply saw no point. The Mirror Capital doesn't change much besides everyone's garbage being pumped through a one-way chute into the great beyond. In a world where nothing ever changes, not much is ever really asked of him
A world of perpetual status quo is dull, which is what makes Koto as effective a catalyst she is. On top of her infectious, attention-drawing energy is some sort of youthful purity that has a habit of being muddied with age rather quickly. What sets her apart from her siblings is her inability to take familial bonds for granted as she grew up as never having them, and thus, no past to be hung up over. The prospect of losing a family as a result, is just as terrifying as it is wondrous to have one. It's her simplicity that allows her to eventually drag her brother and father down from their existential pretensions and remind them about that love isn't really some grand, complicated thing after all. Search as they may for some pretty sounding raison d'être, it'll only blind them to the simple purpose right in front of them.
The most triumphant moment in the finale was how Yakushimaru gave the prayer beads back to his father, only to yank them away, simultaneously accepting the burden and ay accompanying expectations whilst rejecting how it was given to him. As Lady Koto said, it would've been far simpler to just inform Yakushimaru and Koto of the high expectations he had of them all along instead of pulling such an elaborate performance.
This was one hell of a show. Narrative structure and direction-wise completely one of a kind. Perhaps a little too unconcerned with making sense of its own world mechanics, but that only remains a problem until you realize why things have to be the way they are. This isn't a story that tells of you a world, this is one where you experience it. Dialogue exists in service of character over plot, and it utilizes the grandest, most inhumane of stages for the simple and down to earth of stories. A story of one family's love and rebirth
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trottolina
Well-Known Member
Gedata, now I want to re-watch this series...
g3data
Well-Known Member
Vindication at last.
Gens
Database Moderator
01:
Man, has it been such a long fucking time since I watched Kyousougiga, so some details may escape me at the moment or feel hazy. I can't remember too many people watching this at the time or talking about it much. This show still looks visually fantastic and charming with every frame densely stuffed to the brim with detail. Your eyes just go all over the place. Rie Matsumoto is a name to know in the world of anime directors with her directing. The world of Kyousogiga is a really imaginatively crafted mix of Japanese mythology, Alice in Wonderland and Buddhism and it gives it a strong sense of wonder that feels like you've been entrenched in a surrealist fairy tale. I love all the visual symbolism. I also appreciate the added context/explanation honestly with the TV series and there's a more understandable coherence and flow. Also the mirror capital seems great in theory but one that you could easily see growing stagnant.
Pretty wonderful jam packed start, never been more sold on a first episode. This is the kind of fantastical whimsy I live for.
Pretty wonderful jam packed start, never been more sold on a first episode. This is the kind of fantastical whimsy I live for.
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MistLiigh
Well-Known Member
Episode 1:
Man, I don't know what the hell I was doing when I watched this before, because I just understood so much more in this one episode than I remember understanding from the whole series last time. And it was definitely this version (though I also saw the other one). That said, I don't remember much, partially because of said confusion and partially because it's been a hot minute...
Man, I don't know what the hell I was doing when I watched this before, because I just understood so much more in this one episode than I remember understanding from the whole series last time. And it was definitely this version (though I also saw the other one). That said, I don't remember much, partially because of said confusion and partially because it's been a hot minute...
Good doggo, 10/10.
Interesting that our girl appearing to shake things up for this world has the same name as the black rabbit from the setup... and also happens to be looking for a black rabbit :o
Interesting that our girl appearing to shake things up for this world has the same name as the black rabbit from the setup... and also happens to be looking for a black rabbit :o
g3data
Well-Known Member
1.
It's still great, a visually evocative yearn that seems to be packed to bursting with ideas with an attractive sense of aesthetics. A cute love story illustrated through the fewest possible strokes, and Myoue/Yakushimaru l, someone whose desire to escape his stagnant paradise seems like a perfectly reasonable starting point for the upcoming chaotic journey to take on a ride beyond. The Mirror Capital seems like the most awesome place in the universe, but that awesomeness has an expiration date if nothing is done over time to change or add to it.
For a first episode, it's hard to see how it could've gone better
For a first episode, it's hard to see how it could've gone better
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BurntJelly
Well-Known Member
It doesn't have it's own thread and it was first to release so...
https://www.anime-planet.com/anime/kyousougiga-2011
3rd time watching this... I think...
For whatever reason I never got around to the 5 episode 2012 OVA. Let's do that now.
https://www.anime-planet.com/anime/kyousougiga-2012
Now for the TV series. 2nd time watching.
I guess AP has episode 0 listed as this: https://www.anime-planet.com/anime/kyousougiga-preview
Now the main TV series...
https://www.anime-planet.com/anime/kyousougiga-2011
3rd time watching this... I think...
This music... is awesome!
I don't know either. But I know I like it. Such destructive chaos.
3.5/5
I don't know either. But I know I like it. Such destructive chaos.
3.5/5
For whatever reason I never got around to the 5 episode 2012 OVA. Let's do that now.
https://www.anime-planet.com/anime/kyousougiga-2012
1:
Kid Koto.
2:
Shouko flips out after losing her PSP.
3:
TV make so mad!
4:
2deep4u
5:
Nice insert song.
Most of the content made it to the TV version, but I never felt this way about the TV version.
3.5/5
Kid Koto.
2:
Shouko flips out after losing her PSP.
3:
TV make so mad!
4:
2deep4u
5:
Nice insert song.
Most of the content made it to the TV version, but I never felt this way about the TV version.
3.5/5
Now for the TV series. 2nd time watching.
I guess AP has episode 0 listed as this: https://www.anime-planet.com/anime/kyousougiga-preview
Same-ish as the original OVA, but different music?
It's amazing how much not having the same awesome music has negatively impacted this. It's not "awesome" this time somehow.
With dat beat lacking, thus so does the score. 3.0/5
It's amazing how much not having the same awesome music has negatively impacted this. It's not "awesome" this time somehow.
With dat beat lacking, thus so does the score. 3.0/5
Now the main TV series...
A world that never changes...
Then out of nowhere, something "different" happens.
Quite the "opener" episode I must say... but I also know where this goes and how it all fits together. I'm not sure how I would interpret this without seeing all the prior stuff.
The preview though... Koto labels herself as the younger sister... basically explains everything right there. I know I didn't catch that the first time around.
Then out of nowhere, something "different" happens.
Quite the "opener" episode I must say... but I also know where this goes and how it all fits together. I'm not sure how I would interpret this without seeing all the prior stuff.
The preview though... Koto labels herself as the younger sister... basically explains everything right there. I know I didn't catch that the first time around.
Zed
Database Moderator
Episode 01
I don't think I've done enough drugs before watching this as it wasn't as convoluted and confusing as I remember the web shorts were like smh. It's still as enchanting as ever though as it's very visually striking and stylistic, quite fitting for a world that's brought into existence by a drawing to be so vividly full of life.
I don't think I've done enough drugs before watching this as it wasn't as convoluted and confusing as I remember the web shorts were like smh. It's still as enchanting as ever though as it's very visually striking and stylistic, quite fitting for a world that's brought into existence by a drawing to be so vividly full of life.
Gens
Database Moderator
02:
Omfg, little Koto is so adorable and is pure love, I'm GONNA DIIIIIIEEEEEEEE. I would hug her so hard. She is just a mischievous bratty kid in all the right ways to me. Aside from Kagura from Gintama, this is one of Rie Kugimiya's best roles ever to me.
This episode does a really nice job filling out Koto's past and motivation. The kind of warmth I feel from this show is pretty indescribable.
This episode does a really nice job filling out Koto's past and motivation. The kind of warmth I feel from this show is pretty indescribable.