Long ago, there was a monk named Myoue who could bring anything he drew to life. He quietly lived with his wife Koto—a black rabbit in human form—and their three children: Yakushimaru, Kurama, and Yase. One day, the high priest of the land concluded that Myoue's drawings caused too many problems for the locals and ordered him to find a solution. In response, the family secretly fled to an alternate world of Myoue's own creation—the Looking Glass City.
Everything was peaceful until Myoue and Koto suddenly vanished. Their three children are left to take care of the city, and Yakushimaru inherits Myoue's name and duties. Stranded in this alternate world, their problems only get worse when a young girl—also named Koto—crashes down from the sky and declares that she is also looking for the older Myoue and Koto. Armed with a giant hammer and two rowdy familiars, Koto just might be the key to releasing everyone from the eternal paper city.
[Written by MAL Rewrite]
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Stellio
A journey into Kyousou Giga is an experience like no other. It is perhaps, out of all things, most analogous to wandering in a circus, stumbling upon the Hall of Mirrors, and coming back having witnessed a sensational light show. In other words, Kyousou Giga is a show that stands out for its use of exuberant visuals; it displays a charm that is unique and impressive. However, looks can often be deceiving, and thankfully, this is not the case for Kyousou Giga. Admittedly, the beginning seems bizarre; lots of random, unrelated events occur spontaneously. Nonetheless, a darker narrative, which Kyousou Giga skillfully weaves withits initially lighthearted tone, later takes center stage. And not only does Kyousou Giga manage to blend these heterogeneous elements together, it does it very well. It’s like seeing a constellation of fireworks as they meander into the air, only to explode in a colorful harmony. And never before have fireworks looked so beautiful.
Set in the Mirror Capital, Kyousou Giga begins with the Council of Three. The Capital is a painting originally created by a monk named Myoue, who, gifted with supernatural abilities, can give life to anything he draws. Lady Koto, by way of Myoue’s magic and an encounter with a bodhisattva, transforms from a drawing of a black rabbit to a human, and later confesses her love to Myoue. Myoue soon reciprocates Lady Koto’s affection, and creates the Capital, as society became increasingly intolerant of his supernatural acts, to escape from reality and to foster their family. Their family is composed of three children; Kurama and Yase, created from Myoue’s drawings, and Yakushimaru, a human being. The Council of Three are the three siblings who, after the sudden disappearance of their parents, took over the Capital. One day, as Yakushimaru is observing the Capital, a lightning storm comes by, bringing in its wake an eccentric girl called Koto, who’s searching for a black rabbit.
By a storm Koto arrives, and what a storm Koto will leave. As it turns out, Koto is a catalyst for trouble and chaos. Almost every scene Koto lands on is bound to be marked by havoc: wrecked either by her whimsical tendencies or her monumental, destructive hammer. The first half of the story does an excellent job of establishing her impulsive character and the second of fleshing it out. Particularly, as the central mystery of the black rabbit is slowly unveiled, Koto begins to gain a sense of belonging. As she searches for something that’s missing from her heart, the Capital becomes her compass, her guidance, and her home. Every character she stumbles upon gradually shapes who she is, and by the end, Koto has found the ultimate bliss. Thankfully, this development is paced properly and thereby blossoms naturally.
Koto also brings about excitement to those surrounding her. Acts of kindness and acts of joy, Koto’s true talent lies with her ability to inspire change by way of her impetuous acts. Her interactions with other characters, through thick and thin, effectuate in the development and characterization for said characters. For instance, one of Yase’s notorious temperamental outrages is stabilized by Koto when, after a duel of fists, Yase is able to calm down and reflect upon the kindness around her, a kindness of which Koto offers to those who need it the most. Afterwards, although Yase does not show it immediately, she begins developing a faint, more sympathetic aura than before. Subtly, she matures from a sprout to a flower.
On another note, Kyousou Giga also enriches its narrative by paying homage to Japanese folklore and Buddhist tales. And it does so excellently. Extrapolating on folklore such as the “Moon Rabbit” or “Scrolls of Frolicking Animals," Kyousou Giga breathes life into its mystical characters—imbibing the cultural significances that are entailed by said folklores. It is as if Kyousou Giga is taking inanimate legends and rendering them into contemporary art form—as if to yield the perfect balance between faithful “adaptation” and its own creative license. Luckily, this means that even side characters—many of whom are caricatured and used as a comic relief—are given flair from the past: colorful spirits that roam around nonchalantly under Yase’s rule, anthropomorphic animals that speak human tongue, and so on. Even an ordinary motif such as the recurring paper-cut crowds from metropolis can make for a great enhancement to the vibrancy of the Mirror Capital.
The presentation is, by and large, a combination of unique visual designs and stellar direction. When likened to Koto’s wackiness, the Mirror Capital is portrayed to be full of mundane follies and mischief. Moreover, Kyousou Giga is able to, in tune with its aesthetics, construct a universe supernatural in concept, but down-to-earth in essence. There's nothing quite like the way that Kyousou Giga fills its canvas: covering it initially with unearthly shapes and vivid imagery, only to be animated by a brush that conjures lifelike wonders. The end result is an unbelievably vibrant piece of work that is both pleasing to the eye and immersed with depth. Of course, this is not without the help of backdrops that depict all four seasons of the year; from the bountiful nature of the spring to the scathing effects of the wintry snow. Similarly, the OST serves its purpose well. Powerful during action scenes and minimalistic when needed to be, the OST complements the elegant animation.
A prominent theme in Kyousou Giga is the importance of familial identity. Many characters evaluate their self-worth entirely upon the status quo of their family, and for the Council of Three, who have a dysfunctional family, that is very little. Beautiful as it may be to see Koto develop her own take on her identity, it’s perhaps more joyful to witness the subtle transformations that overcome the three. Through trials and tribulations, they find that family is more than a superficial tradition to live by. To be a family means to make mistakes. To make silly decisions, to argue about frivolous matters, and to spend time leisurely: this is what a family does. It, akin to all things in life, isn’t perfect, and Kyousou Giga tells us not to hinge or weigh ourselves based on mistakes of the past or decisions made in the future. It tells us to live freely in the present, as Koto does, and to see the silver lining in the clouds.
Much of this is expressed via the lighthearted mood of the series; the comedy and the playful tone. Koto's whimsical actions and her buffooneries, more than the purpose of entertainment, resound the central theme of living capriciously. Without Koto, the Council of Three would’ve spent eternity waiting; without change, the present stagnates. Koto’s greatest tools to inspire change are her hammer and smile. All this is to remind us to live life to the fullest, joyfully.
Kyousou Giga is an impressive anime. Rich in folkloristic imagery, wildly creative in direction, and breathtaking in visuals, Kyousou Giga is certainly one of the best anime in recent years. Even with action, drama, and fantasy, it is able to harmoniously blend these elements together without homogenizing its creative, distinct flavor. Be it fireworks, a painting, or a Hall of Mirrors, Kysousou Giga is a work that deftly conveys its messages by way of its memorable characters, narrative, and production. A journey into Kyousou Giga is an experience like no other.
Stark700
A dream is like an imagination. Sometimes they feel so real but other times they fade away like illusions where you’ll never be able to reach it again. But dreams sometimes can be larger than life and when we wake up, we may feel surprised. Kyousou Giga is one of those series that surprised me quite a bit despite feeling like living in a dream. It has a sense of uniqueness and style that will lure you in as if you’re in a dream world but everything feels so real. Kyousou Giga is an animated series that is an expanded adaptation based on the ONA ofthe same name produced by Toei Animation. The ONA attracted enough attention that a full length TV series now stands itself to expand upon the story. Despite the story feeling like a dream, there is a real feeling of various emotions that presents this show as an extravaganza you will not forget. It’s a dream you’ll wish you won’t be waking from.
The setting of the series takes place called Kyoto. However, it’s nothing like the city as we know it in Japan. In fact, there are supernatural inhabitants sharing the same space as humans and mysterious events takes place. The city itself also has an origin that traces back its roots to some prominent characters. More importantly, we find out that its rulers are three children of this city. The series depicts of a young girl named Koto as she embarks on a journey to find her mother with the help of her two familiars.
Kyousou Giga’s story feels like a dream with a vast amount of imagery and portrayal of imaginations. Rie Matsumoto whom is in charged with the direction takes her skill of directing to an unparalleled level. The way the show handles itself incorporates many motifs and allusions. There’s the style of world crossing phenomenon between the city of Kyoto and Mirror City. Then, there is the progressing story that ties every episode together through flashbacks, feelings, and character dynamics. It’s not just about a story of saving worlds or accomplishing a goal but crafting a legend to tie its themes together for fans to remember by heart.
For the characters, this series portrays them in a variety of ways that are memorable because of their highlights whether it’s joyful or tragic. For starters, Koto can be initially seen as a young girl with an ebullient personality and a head full of curiosities. On the surface, she can be depicted as a typical tomboy whom gets into fights and arguments with others. However, deep down, she can also be an honest girl especially towards those who she cares for. Among those who she interacts with in the show includes Myoe, a young Buddhist monk that looks after them as young siblings. He is human but more importantly has a tragic past as we glimpse in various flashbacks in this show. Throughout the series, he plays the role of a guardian angel for Koto especially during her moments of despair. Usually, these results in her own insecurity and self blames for various events. With a tragic past of his own, Myoe hopes others will not fall under the same boat as him. This is seen several times throughout the series where he snaps Koto out of her dark fantasy and back into reality of what’s there. However, his own inner desire often brinks on the feeling of despair, so much that at one point he wishes to be done for. It wonderfully presents these two characters as ways we can appreciate and feel its realism despite being set in a fantasy world. That’s just the tips of the iceberg though.
Other characters such as Yase and Kurama has their own problems ranging from self-indulgence and a feeling of escapism to another world. At the apex of one event, Yase loses one such possession that she deeply cared which leaves a hole in her life to be despaired. It’s through many of the scenes of this show that depicts tragedy among the characters. Yet, the direction of the series is wonderfully presented thanks to its construction of its rich details. These include the flashbacks involving Myoe where viewers will personally glimpse at his tragic past. It creates that feeling of sorrow where character deals with loss. Losing something is never easy in life whether it’s a beloved sibling, a valuable property, or an unforgettable memory. Kyousou Giga creates an atmosphere that makes viewers feel in a way that they can hold dear.
Despite the moody atmosphere at various scenes of the series, there are also joyful moments such as the original characters in their past times. Myoe (original name: Yakushimaru) also seemed to have a happy life after being adopted. The parental feelings that the show possesses is also touching at various circumstances especially with engaging dialogues and movements of the body. The life of a past Myoe marked with a mixture of calamity and serendipity crafts a powerful story.
The action of the series also present itself well thanks to its choreography. Koto explodes into the show with energy while at the same time making her presence well known. Some of the action itself sparks with intensity with intriguing dialogues as well. The feelings often ranges to extreme during some of these action scenes such as Yase’s rage. Similarly, the comedy of the series is attractive with little gags without being overzealous on timing. No fan service. No awkward camera angles. No stupidity. It sets prestige on the entertainment value combined with humor and action that makes up itself to deliver what fans deserve.
At some instances though, the series might be a bit confusing to get engaged into. The small cast of characters can take a while to get used to. The length of the show itself also might have omitted some more important themes. Also be aware that some of the scenes from the original ONA will be reused given this set as an expanded anime series. The idiosyncratic style of the show might also not be for what everyone is used to. Sure enough, there’s the engaging dialogues but sometimes the family drama could be repetitive. All things aside, the show still explores a wide spectrum of subjects to present a wonderful experience.
The art style of Kyousou Giga is quite unique with touches of fantasy. Kyoto is depicted as a dream like city where realism is void but instead filled with otherworldly phenomenons. The characters are designed to look simple but possesses certain aspects that makes them stand out. Koto looks like an average teenage girl. Myoe is portrayed as a human and thus looks like one. On the other hand, characters such as Lady Koto and Yase gives off a vibe of supernatural. The familiars that travels with Koto also presents a feeling of fantasy.
Soundtrack wise, the series does present itself quite well. Measuring on voice acting talent, Myoe holds the title for his mannerisms because the way he tries to balance between his feelings of loss. Koto is portrayed by the queen of tsundere, Rie Kugimiya. Here, she takes on the role of a young girl filled with energy. Rather than looking for love, she is looking for her mother that is quite different than her better known roles. The OST is fairly noticeable with its powerful vibrations that covers the show’s themes. Whether they are sarcastic, eerie, or emotional, all of them are pleasurable that matches its style. Furthermore, later episodes shows an evolution of the ED songs with little gags added in to create more sense regarding our main characters. The OP song “Koko” by Tamurapan is catchy with its visual portrayals and fantasy elements. The camera rolling captures some of the characters’ body movements as well.
The end game of Kyousou Giga might not be to stick your eyes to the screen and try to absorb every single detail of the series. Instead, it’s to appreciate the style and themes with a credible setting despite being portrayed like a dream. The influences the show possesses can be touched upon Buddhism, Alice in Wonderland, and the real Kyoto itself. The direction of the story is wonderful thanks to its themes, flashbacks, and colorful cast of characters. It might even feel like a dream at some moments with all the feelings mixed in or the fantasy lives of our main characters. Still, it’s a dream you’ll wish will last forever, ever…and ever.
xplosive59
Every once in a while, there is a show that reminds you why you love the medium in the first place. May it be through the narrative completely enthralling you, the story resonating with personal events or just because it strikes a chord and makes you emotionally invested in what is going to happen. Kyousougiga is that show, and to me it is something that you can only really find in this medium. One of the first things to notice about Kyousougiga is that this is not the first Kyousougiga anime. The original was released in 2011 and was a 1 episode long ONA produced byToei Animation and then followed up in 2012 with a 5 episode long OVA series made up of 10 minute long, seemingly unconnected character profiles. So, do you need to watch these two previous shows to watch Kyousougiga (TV)? Not at all, everything from the previous two shows is repeated and expanded upon in here with episode 0 being a straight up remake of the ONA and episodes 2-6 covering what were the OVA’s but in more detail. This however does not mean it is a straight up continuation, a lot of themes and story elements are changed entirely and is in all around different experience in the second half. This also means that fans of the original ONA and OVA’s may be disappointed in the drastic changes made, especially due to it being more exposition driven than the previous iterations but for the most part it carries off this new direction well.
The story is relatively simple yet undeniably complex at the same time, with a narrative that fluctuates between linear and non-linear story telling it essentially creates a jigsaw like plot that slowly evolves as the storyline progresses and the true nature of certain individuals and events come into perspective. What starts off with what is essentially an anime interpretation of the classic Lewis Caroll novel Alice’s Adventures in Wonderland quickly becomes something else entirely, because at the heart of it, Kyousougiga is a story about family and self-discovery yet at the same time so much more. This show borrows heavily from Buddhist ideology, the Choujuu-giga, the Buddhist tale of Hariti/Kishimojin, the history of Kyoto and is also very reminiscent of classic anime such as FLCL, Paprika and The Tatami Galaxy in its presentation and narrative. All of this make Kyousougiga a show that is surprisingly more complex than it appears at face value yet is completely enjoyable to someone who does not want to see how deep the rabbit hole goes.
The show does suffer in the second half due to its low budget as there are many scenes which rely heavily on exposition. This unfortunately makes the second half of the show very divisive but all the themes that were in the first half are still there and the story takes the utmost logical route possible for what it is. This however is still Kyousougiga’s weakest element but I feel all of things great about Kyousougiga more than make up for it. And no need to worry, the ending is also excellent and ties up all the messages and themes nicely while returning to the quality of the earlier episodes.
One major advantage that Kyousougiga has over other stories which deal with a character “going through the looking glass” is that the characters here feel like actual people with realistic motivations and characteristics and are not just an embodiment of the world in itself for the most part. A large aspect of the story just thrives on pure character development for the Council of Three which the story completely revolves around for the majority of the story and by the time that the true plot kicks in circa-episode 6 you do feel invested in these. That being said, there are a number of side characters that could have been implemented better, mainly for those that make up the entourage of Kurama and Yase such as Shoko and Fushimi and Myoue/Yakushimaru’s girlfriend who just seems to exist for some reason or another but for a 10 episode series it is done well enough for the majority of characters still to be memorable.
One of the major factors that gathered my interest in this show is art style. Needless to say it is excellent with a lot of focus on colour and lighting which really support the sporadic tone of the show. There is a lot of subtlety in the art itself such as Mirror Kyoto being a lot more vibrant and colourful than its real world counterpart which focuses on shading and almost washed out colours to contrast with the unique character designs. There is also an undying playfulness about the art as there are many scenes where the artists incorporate watercolour like elements to make them stand out or put emphasis on the backgrounds while never being in your face about these elements like a show such as FLCL would. The use of lighting and shadowing in this show is fantastic which really bring to the forefront the amount of detail that the artists put into every scene, and there is a lot of detail. That is what I personally think the show excels in, no nook or cranny is underutilised and every scene is filled with trippy, psychedelic visuals all the way through to ultra-realistic and complex structures and backgrounds.
However the same cannot be said about the animation at parts. Don’t get me wrong when it is good it is some of the best, but when it is bad it is very reminiscent of the infamous elevator scene in Neon Genesis Evangelion. This is one certain scene where Koto is standing at a station, unblinking, while CGI shenanigans occur in the foreground as well as the soon to be infamous “walking exposition” scene in episode 9 due to budget constraints. Luckily these scenes are few and far between but they do pull you out of your emersion at crucial points in the story. However, the shows particle effects used and the animation put into the action orientated scenes more than make up for it as they are gorgeous, everything from snow to dust flickering in the light looks realistic and really well down and really transform a scene where there is very little character movement to something very dynamic. There is also a reliance on CGI, and usually I absolutely hate CGI but here it is done pretty tastefully here. The majority of the CGI consists of indescribable light structures and computer generated people that are used to fill up space in mirror Kyoto or hanging ornaments inside the Council of Three Chamber, other than that it was relatively unnoticeable and fit the show pretty well.
Where this anime really shines is its soundtrack by Go Shiina. This may be the first time since Yoko Kanno’s work on Ghost in the Shell: Stand Alone Complex that a soundtrack has been completely diverse yet fits the tone and setting perfectly. The pieces of music used in the show range from minimalist and melancholic Piano sonata’s such as the track “Promises in the Snow” all the way through to the track “Shoko” which is a strange mixture of Metal, Hip-Hop, Classical and Electronica which comes together surprisingly well. However, the real meat of this soundtrack comes from the absolutely incredible symphonic pieces which are very reminiscent of Joe Hisaishi’s work on Princess Mononoke and capture the emotions and events shown on screen incredibly well.
I wouldn’t usually talk about the opening theme of show, but damn, the track Koko by Tamurapan may be the one of best Anime OPs I have ever heard really, it captures the feeling of the show perfectly and is just is bloody good song all around. There is also the insert song “The Secret of My Life” which is not only a great track, but is used exceptionally well in the context of the show.
To me Kyousougiga is a masterpiece as it is everything an excellent anime should be. However, its budget really holds it back from being perfect and that is where the flaws really appear so I cannot give this show a 10 from an objective stand point although I personally think it does deserve it on enjoyment alone. The show is full of heart and passion and I really feel that the people who worked on this really did make the best of the resources that they had and with a higher budget this show would be perfect to me.
Pros:
+ Absolutely beautiful art and soundtrack.
+ Great characters and a unique story.
+ Surprisingly deep and thought-provoking.
Cons:
- The narrative and animation is weaker in the second half at points.
- Fans of the ONAs and OVA may be disappointed in the change of direction.
- Some side characters could have had better development.
9/10
pakoko
Kyousougiga is like a book you randomly stumble upon that you end up reading until you finish it in one-go. Amidst the wide array of classics, bestsellers, and other popular books, Kyousougiga as a book would stand out quietly, waiting to be discovered. And for those who do eventually discover it, Kyousougiga rewards them with a refreshingly original and beautifully heartwarming story. One peaceful night, a tomboyish girl named Koto accidentally crashes down into the “mirror capital” named Kyoto while chasing a magical black rabbit. In this weird city that models itself after the old medieval Kyoto, Koto discovers her three long-lost siblings that havebeen trapped in the city for a long time, waiting for their parents to come back. Follow Koto as she tries to mend broken family ties and reunite the family once more, all the while getting into all sorts of trouble.
A fitting description of Kyousougiga would be that it pleases the eye as much as it pleases the heart. Initially, you’ll be drawn in by fantastical world reminiscent of a Japanese version of Alice in Wonderland. The stunning and almost otherworldly sceneries and other eye-catching visuals (like those you would see in a fantasy game) give the show a certain charm unique to its own. You’ll then be drawn in a second time by the heartwarming story of the love and rebirth of a family, in which each family member undergoes some sort of maturation and self-discovery.
Before I get into the family members, it’s worth mentioning that Kyousougiga has quoted lines directly from Lewis Carroll’s poem, “Life is but a dream.” The poem is basically about the inescapability of time and the “loss of innocence” children experience as they transition into adulthood. I mention this poem because all the characters, both the children and the parents, go through this “loss of innocence” and move on to become more mature over the course of the anime. What makes these stories somewhat bittersweet but also emotionally satisfying is that the anime dedicates an episode to explore each member of the family to really help viewers understand their thoughts, their personalities, and their actions. Even as a 1-cour, Kyousougiga doesn’t rush the plot but rather focuses on the characters to build an emotional connection between the viewers and the characters. As some of these characters start to change and discover more about themselves, one can’t help but love the characters even more. The fact that the character designs are distinctively creative and unique help to further stand out the characters and give them identities like none other.
Now, it is a surprise (certainly a relieving one) that Kyousougiga managed to air 10 episodes. Considering the premise of the show and the fact that the five ONAs released beforehand were rather random and perplexing, Kyousougiga was definitely at risk for not even making it to a 1-cour. Moreover, Kyousougiga's lack of budget shows in some parts of the animation, especially when the show literally copies and pastes whole ONA episodes into its episodes. The newly animated episodes are definitely well-made and beautiful to look at, but towards the end there is more dialogue than action rather than the reverse. In addition, the dialogue is rather lengthy and drawn out, slowing down the pacing and overcomplicating the story.
However, Kyousougiga makes a genuine attempt to make up for its flaws. Too many times I see 1-cour anime giving up on wrapping up the anime well and ending it quite abruptly without explanations. In the case with Kyousougiga, however, the dialogue towards the end actually helps explain and make sense of everything. Sure, it takes at least twice or thrice of watching to understand fully, but once understood, viewers will realize that Kyousougiga wraps its complex story up so well that it is almost frightening that they did it in just 10 episodes. As for the animation, I understood the budget situation so I didn’t mind it at all.
In addition, what makes this anime even better is the anime's attention to detail. It is full of symbolism, subtle details, references to Buddhism, and allusions to Lewis Carroll’s, “Through the Looking Glass.” All of these components are actually really important for the show because knowing some of the background knowledge about Buddhism or analyzing some of the symbols and details leads to a deeper understanding of the characters and the plot. For someone who loves to challenge himself to really get to the heart of what the show is trying to say, Kyousougiga was like a gold mine waiting to be struck.
To end, here are some miscellaneous components that made Kyousougiga better:
Music: The soundtrack was the icing on the cake. With music ranging from classical to electronic, there is a wide array of soundtracks that fit the overall uniqueness of the anime. The opening song, “Koko” by Tamurapan, and the insert song, “The Secret of My Life” by Aimee Blackschleger (who sang DOA for AOT), are also still two of my most favorite songs, regardless of genre. The opening song fits perfectly to the anime because the emotionless vocals coupled with a cheery tune gives the song a feeling of melancholy and a sense of longing for loved ones.
Special episode: Usually, special episodes are unnecessary summaries with pointless commentaries. However, the special for Kyousougiga has proved me that some specials are worth watching. In the special, the voice actors visit places in Kyoto that were used as models for the setting in Kyousougiga, and in the process they went over some important background details that actually helped me understand the show better. The anime’s attention to detail was a pleasant surprise for me, and made me appreciate the anime even more.
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Story: 10/10
Art: 9/10
Sound: 8/10
Character: 9/10
Enjoyment: 10/10
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Overall: 9.2/10
P.S. If you have any questions regarding Kyousougiga, leave a comment on my profile or send me a message!
Pylae
Beautiful artwork, disappointing plot development. Watch only if you don't mind unexplained motivations and emotional scenes that carry very little weight (due to unexplained or weak motivations). It could be just me and my preference for certain types of plots, but I thought this held a lot of potential and was disappointed as a result. Reserving the reveals for the end left it feeling like a confused, mish-mash attempt at an ending with loopholes to make it work. It simply wasn't believable, even given the myth-like feel that it has. There's beautiful artwork and an interesting plot line surrounding a very strange family (to say the least). Theartwork is clean, colorful, and almost radiant, matching its strange characters in turn.
I appreciate how the anime crosses weird, clean-cut, advanced technology with folklore to create strange and interesting characters. Character-driven, there's a distant plotline that's followed, but the characters' internal struggles take front seat until the end (when the makeshift ending happens). Unexplained motivations, again, made for an unbelievable ending, but if you are willing to suspend belief and accept the fact that the ending will be sub-par, at best, then accept your fate and give the anime a shot.
eririri
Trotting down a dimly lit stairway lost in worries, walking hurriedly along a corridor seemingly without end, you come across a painting - a feast of colours and of animals frolicking, the flickering of faint candlelight casting on it a breath of life. Such a contrast it is to the pale grey walls, such bewildering emotions it instils, so incongruous with the world it’s in; such is Kyousougiga. Set in the Mirror Capital of Kyoto, an amalgam city of old and new, a world where the boundary between man and god is blurred, is a story of a family coming into terms with eachother. It is the tale of lives imbued with untamed strokes and vivid hues.
It starts with the departure of Myoue and Koto, father and mother, to a realm unknown, leaving their children with a promise to one day return with the beginning and the end in tow. The once idyllic family life is torn apart, and thus begins the magical story of Kyousougiga.
The heart of Kyousougiga is family values, a return to the simpler joys in face of the looming anxieties of life. We are all brought up to face the responsibilities and demands of reality, to bust our bubble of idealism and to be bereft of innocence. Indeed, didn’t we all face the woes our protagonist Koto does, when we were slowly piled under duties and expectations without understanding them, when we only wanted to live a simple and joyous life? Kyousougiga is a reaction against the industrialized society in which so many are weighed down by utilitarian worries and the monotony of working life.
As if a direct contrast to the grey high-rises and symmetry which lines our streets, the world of Kyousougiga is filled with various architectural styles and imagery. The environment is based primarily on old Japan, but anachronistic elements like western castles, futuristic technology, and even arcane ribbons fluttering in the sky, infuse this world with a dreamlike vivacity unlike anything else. The art is drawn with wild strokes and vibrant colours, movements with fluidity and reckless rapidity, and facial expressions with unrestrained expressiveness. The lively world of Kyousougiga and the ebullient tone of the series is an antithesis to our excessive rationality; it is a reflection of our imagination which was once so unbridled and unconforming.
Yet, all of us are bound to face the pressures of reality. Myoue’s and Koto’s departure were inevitable, and the siblings each find their own ways to cope with this loss. Yase, half demon, half a spoiled princess, consoles herself in reminiscence and nostalgia. Devastated by her loss, she can only accept and mourn in this fate. Sifting through old memories of her mother, she longs for times long past, reaching ever further for the beginning. Kurama, the eldest sibling, prodigy and visionary, sets his sights on the future. Following his father’s will, he innovates new technology and organizes Kyoto with hopes to one day find a means to break out of it, to grasp the end. Young Myoue, heir of his father, deals with their departure through indolence and indulgence. Utterly dejected yet unwilling to admit it, he spends his days in denial of his grief and in escape from his duties. Thus lives this melancholy triad in their unassuming bubble, disunited and unable to fill the emptiness of their heart.
Then there is our protagonist Koto, youngest of the siblings and a headstrong fool of a girl. Alienated by her surroundings and unsure of her identity, yet never willing to display her vulnerabilities and always bursting with energy, she ventures into the mirror capital with the mission of finding her mother. Down the rabbit hole she falls, and she shall experience the full extent of the joys and sorrows of growing up, of the mounting pressures and of expectations unfulfilled.
Through all this turmoil Koto remains strong; her constant smile and foolhardy attitude disturbs as much as it inspires those around her. She is unconcerned with the past or future and lives the present to the fullest, be it helping others or making unreasonable demands. With hammer in hand, she smashes the boundary of worlds and confronts the parents who deserted them. Kyousougiga is about living in the present; to confront reality, stare into it eyes, and see the all colours about you. It is about reconciling the bubbles of our wistful imagination with the harsh world around it through the help of those around you. Myoue and mother Koto love their children immensely; they scramble all their resources and some more to give their children love, care, and a world where they are provided all that they need. Yet, they neglect their foremost duty as so many parents nowadays do – to always be there for their children.
Indeed, “Coming home five minutes earlier than usual,” says Koto as she plants her forgiving fist into her father’s cheeks, “that sort of thing is love!” Kyousougiga is not just lively in tone, its very essence is one which breathes life into the viewers. It is a fairytale of vibrant colours and simple joys, of familial troubles and love likewise. It truly is that brilliant painting of which a fleeting glimpse you catch, but an enduring impression you get.
Cosmicblaze454
Kyousougiga is a family show, not the Simpsons type or something like that. Although it mirrors a lot from Summer’s Uchouten Kazoku. Kyousougiga is definitely its own thing. A show that is universal in meaning. I always thought that Kyousougiga is Uchouten Kazoku in Ikuhara style.. Its a little weird but heartwarming show. Kyousougiga is a all about a broken family. Children and parents want to go back to each other. While Kyousougiga is a show that has a fantastic worldbuilding I don’t really think Kyousougiga is interested in that. It is interested in this certain family we are talking about. Its characters also have thisconflicts in their own selves. Not only that, the character’s conflicts were also incorporated by the atmosphere set by the fantastic worldbuilding.
Kyosougiga is also about home. The family that I’m talking about lives in a place called Mirror Capital. As the story ends, it is evident the importance of home in a family. The family looks for a solution for their home not to be destroyed. Home and family is the two fundamental concepts of Kyousougiga.
Kyousougiga is basically a visual fest. Its colorful and bright color palette helps set the atmosphere the show desires to set. It isn’t too bright like No Game No Life or too dark, just the right kind. The direction is very confident and impressive. Music is actually fine for the show. I actually liked Koko.
Kyousougiga is an amazing tale about rebirth and family and home. One of the best anime recently.
10/10
Based Toei doing something good.
KayR707
God. I really wanted to like this anime, I really did, but I just couldn't. The interesting, colorful art, cute character designs, and comparisons to some of my favorite anime was what led me to watch this. Sadly, I can't say the greatest things about this anime. The first episode is just one huge info dump then the next episode stuff just starts happening and they present the story, which intrigued me at first, in the least enjoyable way possible. It was just hard to follow. Here's what watching this anime feels like. There's this book with an amazing, intriguing story, but someone spilled their water allover the book. Now the words all melted into each other and the book is a sopping wet mess, so you wait for the book to dry off and then go to read it. Oh no! The words all bled together. They're still legible, but barely. Now instead of enjoying the story, you're just trying to figure out what the hell the book even says. And now you have a headache.
The concept is so intriguing to me but it feels like almost NOTHING happens in this show. Except things are happening. The way they present it is so long-winded and nonsensical that it feels like nothing is happening. You have to sit through a bunch of boring stuff to get to the good parts. The first 5 episodes were a snore-fest and yeah, sometimes you gotta get through some boring episode to get to the good part, but not when the show was only ten episodes and not when they're honestly just wasting time. This story would've worked a lot better as a movie.
The way the show is presented is really colorful and vibrant, yet bland at the same time, which makes it hard to pay attention to because it's so boring, which then makes it hard to comprehend what's happening. When I finished the show I thought "What the fuck just happened". I was so confused I had to go read summaries of the episodes and when I did? I thought what was being described was really interesting and seemed like something I would love. The thing is that the plot would've worked better as a 1 and a half to 2-hour long movie. Instead, they made it a ten-episode series, making it twice as long as it needed to be. Maybe one day I'll give Kyousougiga another shot and try to pay more attention instead of staring at the scream like a zombie, but as of now, I couldn't get into it. It had such an interesting story but managed to execute it in the least interesting way possible.
Vinnocence
I'll just say this first thing. This is the second time I have watched the anime, and I am not one to do repeats of things. Let's get right to it then. You need to appreciate that not everything can ever be explained to you, or simply, just won't. There is nothing wrong with trying to find answers, but things either just can't be explained, or more in this anime case won't be explained. You also just sometimes need to let go and... Listen... However, to the credit of the anime, the things that are not explained in enough detail are the, let's say side parts of thewhole setup.. This story has many things. Parallel worlds, a few days of the year where items you don't want can be tapped on and sent into a floating line of things into the sky, demons and people living together harmoniously, to name some things. These are to set up the world, to make it an interesting place to live, for our thankfully just as interesting cast.
Meet Koto, a girl who is searching for a black rabbit. Meet 3 individuals, all related, though they look nothing of the sort, who are looking for a part of their family, and out of the 3, meet Myoe, a monk who has to put up with many things he isn't sure how to deal with...
Well, I won't say anything else, but to be fair, the first few episodes of the anime fill you in enough to get the idea... Which is fortunate, since this series, if you count the bonus episodes not apart of the main series, is only 13 episodes long, and that's 3 episodes of none story, though they are related to it, disregarding what the episode count tells you on here.
The biggest draw of this anime is the focus on, oddly enough, family. Yes, the world is interesting and unusual, if very similar to our own in many ways, and the way it looks is a visual treat, but at the end of it all, it's about family love, and that in itself is such a rare thing for virtually any series to focus on. This is where the anime does well, as one would hope for.
The main characters get an episode each to look at their past and to see how they are, and they are well developed enough to appreciate them and are a likable cast, and rather unusual at that, though I won't spoil it for you.
Again, I will point out to the visuals, which are bright, colorful and fun to witness, and at times surreal. The animation itself is energetic, and brings enough life to the characters and scenarios, and the style of the characters aren't the typical anime style one can see so often, but are close enough to not draw people away from it, so it's a pleasant mix. Pleasing to the eye is a nice way to put the character designs. Distinguishable, perhaps just a tad plain for some of them, especially the non main characters, but overall you will recognize each one, and will unlikely get them mixed up with other anime characters.
The music, though it can be repetitive due to it's limited nature, is good despite how often some songs play. They are good enough so that you won't feel annoyed every time it is put on. They knew what they wanted with the soundtrack, and none of the songs feel like they are out of place. You will come to like some of them, hopefully.
If I could give concerns to this anime, and believe me, this isn't a perfect experience, it would be that... It really needed a couple of more episodes to it. Like I said earlier, not everything can, or just won't be explained in this case to you, and while the anime overall feels fine without these explanations, it doesn't stop it from feeling lacking in places. Just an extra episode or two would have answered many questions, and would have perhaps given a bit more to the world the characters are in, and maybe even more to the characters themselves, which are well done all the same in consideration to the series length.
Overall, besides the lack of a few extra episodes to add some more to the world via explaining things, and the rather repetitive if good music, there really isn't much wrong with this anime. It was a blast enough that I re-watched the series, and had fun with it again. It's a fun, surprisingly heartfelt anime about family love, and if you expect this if nothing else, then you will enjoy it nicely. Think of it like a story you have just discovered, but cannot put down...
Grazih
"Unpredictable" is the best way to describe this anime, which is a strange quality to found nowadays in almost all media, and for that I'm appreciative. The way everything goes and how the characters respond to their surroundings, in their own looney way, makes it all a little more confusing at the beginning but not less enjoyable. The anime is based on a 2011 & 2012 ONA of the same name, but it is not really necessary to watch them first to understand the story, since the anime itself replays some of the scenes on the ONA and makes them make sense afterwards. Still, I recommendto watch them in order to make yourself an idea of what to expect or simple enjoyment.
The story is pretty unpredictable and, even in its "I saw it coming" moments, can pull out a game-changer. Because of its length it is fast-paced in the beginning, pulling out the brakes on the second half, so the viewer can understand what's going on, explaining the world a bit and giving some in-sight on the main characters. Another strong point comes from the broken timeline chronology in which the story is told, jumping from present to past and viceversa in no time. This helps to explain some things that can be confusing at first or make no sense at all if left like it happened just because it happened.
Now, the story may be good and all, but it still left a lot of things unexplained or explained in an unsatisfactory way. The show tends to suffer from this a lot and that wastes a lot of potential that could be used to make a better story, at least in the emotional background.
The characters are good, that's all. They are not memorable and some of them can be really dull. It's a shame since some of them have potential to be better but rather are left unused or left to be comedic relief. The major development is handled by the main characters and their relationship with each other. Still, it sometimes feels like they could be developed a lot more, but the way they're handled to the viewer is good enough to grasp a bit of understandig towards them.
On that account, Koto is shown as a playful kid but once there is some situation that needs a better handling, she plays her part.
That goes the same for the other main characters. I'm talking about Myoue, Inari, Lady Koto, to name a few. Their relationship with each other, and the reason it is like that, plays a big part in the story and on them as characters, although they suffer from the common tropes, such as the loving mother, the carefree guy, the tsundere, etcetera, but that is just common nowadays, and should not be a real problem.
The world in Kyousou Giga could be considered a character itself, especially since the biggest part of the story unfolds in it in a way that shows that the Mirrror Capital (which is based on Kyoto and receives it's name for being a copy of the original. Both exist in the anime) is more important than it really looks at first sight and it is reflected directly in the main characters, who know how important it is the world but maybe not in the way that it really is important.
The art is great and refreshing, not caring to show some exaggerated things in a looney cartooney way and, at the same time, caring to keep accuracy on the city they based the Mirror Capital on. The character designs are good and flow greatly with the world, as if they were meant to be in there and that makes it a special touch.
The sound is good, but it sometimes may be overlooked a bit because it can't be noticed as you're immersed on the story and trying to understand it at the same time. This is good because it is not intrusive nor annoying at any rate. Even like that, I cannot classify it as beautiful, but it is not bad either.
After all, it is a good anime and once you can understand the argument its crazyness makes sense. It feels sometimes that it deserves more attention and is overlooked a lot. In my opinion it is one of the best animes this season and it deserves an opportunity to stand for itself. It has its own weak points and they really wasted a lot of potential that could've been used to make it a masterpiece, but that doesn't render it as a bad show, not even by a bit.
skysonglark
At first glance, Kyousogiga looks like a version of Alice and Wonderland or Alice Through the Looking Glass, but it abandons that premise fairly early on. The part of the show that stood out for me was the characters. Kyousogiga is the story of an unusual family and the bonds that tie them together, hold them up and sometimes pull them down. The main focus is on young Koto and Myoue, both of whom are characters with a lot of depth. The secondary characters are also very well thought out and do a lot to create the show's world. Which brings me to setting. Looking GlassCity is a fantastical version of Kyoto. The art is as whimsical as the rest of the show, with white outlines and cut out, checkered background characters. The atmosphere is very well done and whole.
All in all, this series was a crazy ride, and I was never really sure where we were going next. But I enjoyed the ride. Koto is a fantastic character to go on an adventure with, and I really felt like I was whisked away into another world. My only complaint is that the ending plot twist you never saw coming was a little too-out of the blue, I guess. But since this series isn't trying make perfect sense, it doesn't bother me that much.
mouthpiece
Dammit anime industry, why are you sabotaging yourself like that? Kyousougiga could have been a show ranking alongside highly acclaimed titles such as Tatami Galaxy, or Furi Kuri. It had the themes, the budget, the set-up, and the liveliness to achieve greatness. … And messed it all up. First things first; the 2013 version is a remake of the older one from the previous year. No reason to watch that one, other than scratching your head with Toei doing 3 versions of the EXACT same thing so close to each other (since there is an even older single episode set in the same universe). Upon watching THIS version, beprepared to see 90% of the plot in the first episode. I am not kidding; the first episode is basically one huge infodump; introducing a cast of a dozen people, a bizarre setting where pictures can create alternative realities, a world that is like a second feudal Japan where nobody can die or nothing can break, and a bunch of themes that go deep into religion, philosophy, and existentialism. After you are bombarded with a gazillion things happening in a short amount of time, you are just left there wondering what the devil they can do with all that. Because they could do a heck of a lot, expand to anything they like, combine it with everything else, and create a 1000 episode series that is about everything and everyone. And what do they do with it?
… A 10 episode slice of life comedy about a goofy Japanese high school girl breaking stuff with a magic hammer. ARGH!
I am not saying it is not an enjoyable watch. There is a lot of stuff happening in each episode, accompanied by lots of jokes, and motion, and pretty colors, and weird imagery. We get to see how each character feels and acts and how his beliefs affect the world he is living in, a place where nothing changes, everything is perfect, and yet feels boring and sterile. It seems like everybody is looking for someone as means to fill the void in their souls.
… And they do so little with it.
It seems like while everybody REALLY wants to find salvation, they aren’t really looking for it. Each episode shows them being sad and depressed but they are otherwise just fooling around to the most part, taking part in all sorts of silly events and just talk about it. Meaning, they aren’t taking the whole situation seriously and by extension ruin the themes they set up so well in the beginning. Shame, since although it is a fine slice of life comedy, it doesn’t really do much with what it has, and essentially uses the interesting themes as dressing for plotless randomness. Granted, it is way more interesting and memorable thanks to its catchy animation and themes. It has lots of dialogues that offer immersion to the setting and a touch of existentialism pouring through everything. Yet it fails to be something truly amazing in the longrun for not being serious about its own premise. That is what made SE Lain and Haibane Renmei so amazing; the very fact that they weren’t comedies. And if some of you find them boring, well, you are not supposed to be watching them for what they were made to be. Kyousougiga was never made to be a bigshot series; it is sadly nothing more than a nice time waster. Why? Because instead of being about the exploration of interesting themes, it ends up being about a goofy Japanese high school girl breaking stuff with a magic hammer. ARGH!
Metsuryu
This anime is really odd. There is definitely nothing out there that could maybe even be considered similar - and that's why I loved it. (Note: this review is only based off of this series, I have not watched any of the other ONAs) Story - 9/10 This anime throws you into a world and takes no time to explain anything. This could go horribly, horribly wrong - or it could leave you intrigued and wanting more. For the first couple of episodes I had only speculations as to what was going on - yet, I still enjoyed it more than anything else I waswatching. This anime is somewhat similar to Bakemonogatari, where you should probably pay attention to even the smallest of details if you want to fully immerse yourself in this fast-paced series.
I rated the story a 9 because although I enjoyed it a ton, there are some things that they maybe could have spent even 5 minutes or less elaborating on, and the timeline was somewhat confusing - sometimes you would go back into the past for 10-15 minutes, then return to the present. There WOULD be title cards throughout the episode, yet I still found it hard to place events in certain timelines. Also, this anime kind of throws things in your face and forces you to accept them without any explanation, which is generally good, but again, it could have been elaborated a little more.
Art - 8/10
It fits perfectly with this anime. There are tons of colors and it seems to mix different clashing "styles" in order to portray certain things. You'll probably notice this as you watch. For example, the non-important "people" in the mirror world are portrayed as blocks of color, which works with the anime because it just goes to show how odd this place is. Overall, a lot of the art is really beautiful.
Sound - 8/10
The OP is definitely one of my favorites - I never skipped it once. The ED works with the anime, and although I didn't enjoy it as much as the OP or some other EDs, I still liked it. The OST isn't amazingly outstanding, although it is very nice and there aren't any points that I can recall where the sound was odd or anything.
Characters - 8/10
They are all really interesting, and each of the siblings (Yase, the demon; Kurama, the monk; and Myoue 2.0, the priest) get their own arc which expands on each of their own personalities. All of the characters that were introduced were at least somewhat interesting - I even enjoyed learning about some of the "extras" in the show, which didn't even have names. While I enjoyed Koto, Yase, Myoue 2.0, Kurama, Shoko, and the other residents of the Mirror Kyoto, I found the parents very odd. The premise is that the father created a "mirror" world which he lived in with his wife and 3 kids, yet one day the parents just disappear for some reason. Their motives for disappearing are never really explained, and their connection to little Koto is kind of just thrown at you without really explaining any of the reasoning (true Kyousougiga style).
Enjoyment - 9/10 + Overall 9/10
(I apologize, I've combined these sections because imo they are connected)
I enjoyed what this anime had to offer. I've given it a -1 because, although there are some parts where the anime is intentionally confusing you, there are several where the anime expects you to NOT be, yet unfortunately, you still might be.
There is definitely nothing out there like Kyousougiga, so if you're reading this and think that you might want to try it, go for it. It's really only 9 episodes (I'm not counting the "voice actors visit real Kyoto!" episode, which called episode 5.5 but sometimes listed as 6, yes, true to the anime itself sometimes the episodes are listed as different numbers), so you could finish it in 3 hours if you're really dedicated. Give the first two or three episodes a shot, and see if you want to learn more.
Pursueth
I am moved. Kyousougiga emulates so many works that I am deeply fond of. From Eva's unconventional character build-ups to FLCL's signature humour, adding in bits of Gainax's flair and even hints of Shaftism. But perhaps the most noticeable analogue is Ikuhara's Penguindrum. Not just in the way Kyousougiga swaps background characters with literal cardboard cutouts, but mainly in the themes it shares surrounding family and how, in the face of inexplicable ideas like fate or, in this case, divinity, that familial bond triumphs over all else. It's a confounding and conceptual but ultimately an immensely profound journey. Kyousougiga firmly follows the idea that "rules aremeant to be broken" both in the story and the series itself, to the point where it eschews conventional narrative structure in favour of doing more with less. Throughout the 10 episodes, characters are recontextualized both in the eyes of the audience and in the eyes of other characters, creating an air of mystique that could only be achieved through said defiance of rules. Yet despite all this, I still believe that, in my humble opinion, Kyousougiga never trespasses into the incoherent territory that most shows experimenting with such formats tend to find themselves in. There's a clear vision behind each idea laid out, some definite, others more interpretable, but each complements the core tenet that is constantly built upon from the very first episode. Rie Matsumoto's direction is impeccable. Her style and manner of storytelling have clear influences, yet she also has this originality. Each frame is inspired and gorgeously composed. Each character design is expressive and unique. I don't hesitate to say that this is one of the best-shot anime of all time. The opening and endings, aside from being complete bops, complement the show well. A single melody carries the weight of a thousand words. Recurring riffs of hope overwhelm the dread as every episode ends with a pronounced "so fight!"
Underneath the layers of glitter and confusion lies an equally compelling narrative. It's a timeless family drama set against a backdrop that is vastly Japanese in its cultural and religious references. Special episode 5.5 goes deep into exploring the show's various historical influences. Ideas of Buddhism and Shintoism, death and rebirth, but it also has nods to Alice in Wonderland, particularly in its ideas of escapism. Escapism from responsibility, duty, and even life. As such, Kyousougiga forms a triad of influences between Japanese folklore, Buddhism, and Alice in Wonderland. The basic idea of each is imperative to understand what Kyousougiga is trying to convey.
As I mentioned before episode 5.5 explored the influences behind the series. A pair of guard statues can be turned into characters. Ancient buildings can act as settings for the story. Ancient scrolls called Chōjū-jinbutsu-giga, from which the show derives its title. Two geometrically simple shaped windows, one a circle and the other a square, one a window of enlightenment representing the universe and the other being the window of delusion representing the suffering of human life, respectively, can completely elevate your characters and scenes, while some dude from the 1200s called "Myōe" who made Kōzan-ji temple (of which the only existing building is Sekisui-in) and was the first man in Japan to make tea (???) is used to model your character after, who is also called Myōe and lives in that temple as well. Like bro, even his wooden dog made it to the show as a real one, and so did his painting that he considers his mother that gave Koto her body (he was a little weird, methinks). This is a testament to how strong ideas can live through generations via different forms.
One of the numerous distinct attributes about Kyousogiga is this flavour of nostalgia it carries. It's a retelling of a classic story of a girl walking into the looking glass, which is a story we all grew up with, but it's also because of its depiction of home. Your home, my home. It also carries this scent of longing. Eventually, as we grow older, our families are split across hundreds of miles. There's this tinge of sadness that follows, but not without this comfort that even as we drift apart, so too will we stay together.
For there to be loss, there first has to be gain.
Myoue's empty shrine is first inhabited by a rabbit granted a human body named Lady Koto, who brandishes him with love. Then Yakushimaru, the war orphan, their youngest son and a human. Kurama, the eldest son and a drawing. Yase, the middle daughter and an Oni (demon). Together this eccentric family lived happily, yet they were still bothered by the capital. To continue living a carefree life Myoue simply creates a new one called Mirror Capital, a wonderland where nothing ever dies and nothing is ever born. In short, nothing ever changed. Unfortunately, things never can be so simple, and with Lady Koto's contract up the parents decide to leave their children with only the memories of their time together and the promise that they'll one day return.
There are two ways Kyousougiga explores its fable: one is through a single-character focus, and the other is through a family focus.
The series opens with Inari/Myoue longing for the days shared with his loved ones. The sun shines on the past, the future is clouded in mystery while he remains stuck in the present. Kurama wants to break free from this world. He embraced it as a kid as it allowed him to do as he pleased. But now he wants to see the outside world and thinks of this one as a prison meant to keep him in until their parents return. Yase clings to her material memories, storing them safely. She hates the station opening because it threatens to pull these away. She is the unwanted thing left behind. She too liked the Mirror Capital because it was unchanging. All she cared about was spending time with her mother. With Lady Koto gone, she latches onto any pieces of her she can find. Child Koto feels like she missed out on that past. She longs to find the family she never got to experience. Looking forward to the future so that she can look back. If you have no past, and all you have is the future, which is so uncertain, then who are you? Koto keeps moving forward in search of her answers, breaking into Mirror Capital in search of her mother. Yakushimaru has to take on the name, appearance and role of his father. He had given up on life after losing his initial family, but Myoue gave him a second chance. Despite viewing it as a curse, he came to love his mother and appreciate his place within the family. The promise he made to his father ties him to this place where time seems to stand still. The younger Yakushimaru's arc illustrates the weight of expectations parents place on their kids. An almost predetermined pressure to follow in their footsteps.
It's interesting to note that what essentially makes this family dynamic work is their perfectly normal relationships, despite their outward peculiarities. Who knew a show about gods and drawings that come to life would be one of the most human tales in anime?
These episodes featured direction that was far more subdued compared to the ONA, and even in those quieter moments, it added so much through its phenomenal compositions. It's a complete visual treat that doubles as meaningful imagery. Establishing an entire universe (while keeping a few secrets, of course) without feeling overstuffed. Something as simple as a cup is used to breathe life into a character while also keeping an emotive atmosphere intact, or a pomegranate acts as a heavy motif. It feels boundless in its ideas.
The pomegranate is perhaps the most striking symbol in the show. It makes its appearance in episode 5. At first in a flashback, cut in half and bleeding in Yakushimaru's hands, and then later in a train as a whole with the rest of the "unneeded items" to be discarded (notice how there's an elderly woman on that train). The young, gloomy Yakushimaru later understands the connection Koto has to his parents, whose appearance changes the tone of his flashback completely. He then hands his bleeding pomegranate to young Koto, who eats it and smiles at him.
It is a symbol of his life. It does, at one point, beat when Yakushimaru holds it near his heart. At first, it was bleeding when he committed seppuku and lost his family (half of his pomegranate). After his adoptive parents eventually leave, he finds himself in that same position yet again, but this time instead of bleeding literally, he is bleeding emotionally, with the other half of the pomegranate missing yet again. Yakushimaru is handing over his "heart/life" to Koto and asking her to kill him once they find his mother, to free him from his "immortality". The pomegranate on the train could be symbolic of Yakushimaru's wish for death. His desire to discard his life away. This is also supported by the conversation between Yase and Kurama earlier in the episode. Apart from the train metaphor, their conversation about the dog waiting for its dead master until it dies itself very much mirrors Yakushimaru's purported trajectory at this point.
The second half then zooms out and explores the family dynamic as a whole, which happens as soon as their mother, Lady Koto, returns. This half features some of the most tender and heartwarming images of a family you could ask for. We were already told they loved their parents, but seeing them whole and together accentuates how important parents are in a family. There's a noticeable flow of gestures of love. But this proves to be inadequate, the kids realise that they didn't just long for their parents, they longed for their pasts. Things have changed just as much as they have remained.
Lady Koto asks her daughter to save her father from the dream that traps him, the dream to create new worlds and find purpose. Koto breaks down in front of Yakushimaru. She feels she has been mostly viewed as a tool rather than a person with needs and wants of her own. Parents often yearn to vicariously live out their dreams and reverse their failures through their children. That's why Inari splits his ability between Yakushimaru and Koto, his first and his last, the power to create and the power to destroy. How do you become your own person, if you're carrying the responsibilities bestowed upon you by your parents? Not only do Yakushimaru and Koto suffer from that weight, but so does their enigmatic father, Inari.
Inari, at this point, has gone through yet another rebirth. As a god, a priest, a father, an observer, and now just a man. In every era of his life, he has struggled with understanding his place in the world. He has grappled and ultimately rebelled against his father. Creating a Mirror Capital that should never have existed. In the end, Inari himself is still a child. Toying with the laws of the universe on his whims to fabricate his sense of purpose.
"You're like a child. You don't know how to control yourself. Everything you do is overly extravagant. You're free, selfish, uninhibited. Self-centered. A cold-hearted monster. Yet, you know how to demand attention. A proud man, who can't bear to be alone."
This comes as a shock to Yakushimaru. Kids view their parents as infallible beings. As they grow older and become adults themselves, they realise everyone, parents included is still a child at heart. They're as flawed as any. Yakushimaru always looked towards the past, keeping it frozen in place until his parents returned. Kurama tells him that the world doesn't change until you do. Yakushimaru refused to grow up, as such their worlds stayed the same. Yase and Kurama found meaning in being his playmates made to comfort him, but Yakushimaru could never find his. You look towards the past too much and you'll become rooted in it. It's always better to look ahead than to look back. As Kurama steps out of a cave he notes, how much brighter it is above, outside than in a hole. The future may be uncertain, but it is the only way forward. Besides, your past is always there with you. Better to build on it than be satisfied with it. To do so is to rot in a hole.
"Let’s be happy! With everyone, if we can, for as long as we live... and for that, I’m sure we can start over as many times as it takes!"
As we progress further into this deep unravelling of abandonments that goes back generations, we see a bloom of love. Love is not just doing things for the sake of others but also wanting to be there with them and spend time with them. Both Kotos have to slap sense into Inari.
"Laughing, crying, getting angry, being happy... We did all that together, didn’t we? That’s what love is!"
Koto punctuates "That's love!" as she lists off the small moments of her childhood to her father. Life is a responsibility, unbound by any specific purpose. Koto wants her father to stay here with her, alive. She doesn't want him to selfishly leave off while also passing his problems onto others. Family comes from the small. It's in those inconsequential everyday moments, meaningful in its triviality. It's about being together, even if you're not together. The value of it is in its very existence. At the end of it all, Kyousougiga asks,
“What’s wrong with just being here?"
Kyousougiga paints a picture of a fractured, found family that learns to come together again, lean on one another again, and trust one another again. It’s a story about love and the burdens of expectations. The most important thing, despite their broken past and ambiguous future, is that right now, at this moment, they are together and happy.
In Love and Rebirth, Kyousougiga ends the same way it began, with a shot of a particular, yet also, regular family.
10/10.
Beghty
If you have ever taken a mythology course or simply read some stories about ancient creationist myths, then you are familiar with accepting the way things happen with no real deep explanation as to why. We accept great happenings as being okay because usually they involve gods or very simply the notion of them is so charming or ridiculous that we let it slide for the enjoyment of the story. Kyousougiga most resembles what seems like its' own creation myth. This is a story involving gods, and multiple planes of existence, jumping across dimensionsand cosmic stewards that manage the universe. With 10 episodes, the reason for why these things exist or how certain laws govern the world of kyousougiga are left unexplained. This left me unfulfilled at first but then I came to terms with what kyousougiga was trying to accomplish, and that they do it very well.
While I felt swept along at a fast pace with very little to go off of, it did not change the fact that I greatly enjoyed everything else about this show and its overall themes and mood. The art is busting with energy, chaotic and colorful. Characters are endearing as well developed as much as they can in 10 episodes. The music is often repetitive simply restyling the same tune for different moods but it still conveys emotion effectively. The only real reason it loses points here and there is from its length which I think could have been extended a couple episodes to allow for a little more development of the plot and characters.
Kyousougiga tells a story that I really haven't really seen done before (at least in anime) and for that I recommend this roller coster of an anime.
Agent_Redacted
Kyousou Giga. The most bizarre family complex anime of all time. Started as one of the most confusing anime ever, but then ended up as an anime that's so simple. Kyousou Giga is like when you forget something that you're not supposed to forget, so you feel like shit, but then you remember it when it's already too late. But since it's not that important, you feel relieved and shit at the same time for forgetting something so simple. Story : 10/10 How many plot twists do you want in this show? Producer : yes How many confusions do you want to add into theshow?
Producer : yes
Will you make the story simple?
Producer : ...
yes
The summary of the story is pretty much "This and that will happen. Then when that happens, that and this will happen. After all that happens, this will happen, hence, that will also happen. And after all of that happened, something will happen to clear everything up."
Art : 10/10
The reason why I hesitated to watch this show is because the thumbnail looks unappealing. I was surprised that the show itself is actually x5 better than the MAL thumbnail of this show. Ha. Never judge a book by its cover.
Sound : 10/10
Good opening. Very good in fact. Everything else is also great. No cons.
Character : 10/10
It'll take an essay to explain this. So for that reason, I won't write anything about it. Actually no, I will a little.
The characters are weird. In good way. It's like they're out of someone's dream. In a good way.
That time I got reincarnated as a slime?
No.
That time I got reincarnated as myself? No. That time I am the embody of reincarnation?
Yes.
Enjoyment : 10/10
I really enjoyed this anime. It was very unique.
Overall : 10/10
Probably one of the weirdest anime I've ever seen in my life. But I'm glad I've seen it. It was worth it. Really worth it. I'm surprised that this anime doesn't really get a lot of attention. And honestly, 7.83?! Bruh. This anime is 8.00+ my rating system dude. Period.
Recommended to everyone if you want something weird that's good.
[NOTE] : Apologies if you didn't understand a single thing I wrote.
Gandeloft
This anime is a complete experience. I can only hope to gain something more than what this anime offers. Every aspect of it is impeccable, art by itself, flawless. The most important thing to me is the story and I think that that's the most difficult aspect to flawlessly deliver on, which this anime does, for me at least. So, this is a masterpiece in my book. It reminds me of the anime Shiki and Shinsekai Yori because of the level of quality that the whole package that the anime is has. These three anime are different, but it can't get better than what this animeis, or those two are, there can only be variations in how the package of perfection is delivered, for me at least.
You know how with the real-life media what is provocative or negative is what's most often talked about because it garners the most attention by the audience? If you prefer such content then this is not for you, heh. This story is a story of love and it is positive. The first episode already had me in tears, and I adore this first episode. All of the tears that were brought to my eyes were not caused by sadness but by overwhelming warmth, love. If only the real life was as lovely as anime is for me, and if only it was as this particular anime is.
This anime also has the trait that its OP is, at least for me, so good that I watched it every time it arrived. Koto's smile and then striking a pose, A and Un laugh.. The way the characters are all presented as the music is flowing. The 1:04 mark and onwards.. The OP itself is touching for me.
Koto, the main charactress, came across as dense, was hard to "feel" for me in the beginning. That changes and I love how it changed and that it did. The love in between the characters is what brought the most enjoyment to me. It is a story that warmed up my heart, to put it that way.
The anime also has a lot of cultural heritage in it, that is to say, a lot of it is directly inspired/taken from the history of Japan. Some of the things were direct references, such as for example the temples in the anime being drawn temples from the real life in Japan. Some of the things are less literally taken from the real life history, but were directly inspired by it and have an additional something added to them to make it a bit more enjoyable in the anime. For example, Myoue's dog, Inuyama is grown up, when in real life it is a polished wooden statue of a puppy that the real life historical figure, priest Myoue, had supposedly pet every day because he loved animals. Yes, the priest had supposedly pet the wooden statue and that is what made it be polished as he did it for years. Watch the special episode, episode 5.5 to find out about this stuff becasue that is where I've found out what I'm talking about in this paragraph. Anyways, for me it is a plus when inspiration is taken from the real life and with that some form of respect for what one's culture is is given. I appreciate that.
Then, the music. The OP's song is lovely, I enjoy it and have it on my phone to listen to whenever I want. The ED is also a great song, but because the ED doesn't have a story(animation of the characters or something that conveys a story), the ED song I've not connected to as strongly. The main thing I want to point out here is that the music during the anime is overall awesome. In particular, there are times when this.. I'll describe it as divine music, the music/sounds that sound religious, music which I would "expect" to hear if a God, or two, were explaining what happens after death. That's just my attempt at conveying what the music feels like me. The music is played during particular times in the anime and it simply increases my immersion, it makes me engrossed by the story.
And that leads me into the final part which is another praise for the story. The story is not a mundane one. It's as wholesome as what for me the Lord of The Rings is. The story doesn't just tell the story of the relationships of a few people, its story is grand and relevant to everything in its universe. That's why the aforementioned "divine music" was leading towards this, it fits with what the overal story is, to me.
Trying to think of a downside, what comes to my mind is that the side characters need to get a lot more exposure. Alas, this only has 10 episodes and with that it's just fine. Also, I would love to know more about the... Strang beings which I've interpreted as being replacements for what should be actual people, which are seen for example in the train station.
Anyways, I love this. This is the ideal anime, this is the complete experience. It can't get better than this for me, there can only be variations. This anime is what I always hope to gain from the experience of whatcing an anime, I always hope to get from fiction.
Popka
It always sounds so pretentious to say that a work is only made more perfect by its imperfections. At best it seems like a meaningless, sophomoric word game; at worst it seems like you're trying to make whatever you're talking about immune from criticism. But I can't say why I love Kyousougiga so much without doing that, so there you go. I'll at least be specific: when I say "imperfections" I'm talking about the obscurity of how the story is laid out; the slight visual inconsistency (the final scenes of episode 4, for example, are animated by a different person than episode 7's climax, and Koto'sdesign is quite noticeably different in each); the first 5 episodes' insularity and consequent lack of sense that the narrative is progressing; and the way all the pertinent facts are finally revealed in one massive, unwieldy monologue that suddenly telescopes the scale and is also almost too much to take in all at once.
The reason I appreciate all these things so much is mainly because of the show's setting. The Mirror Capital is full of anachronisms and looks like it's made of paper cutouts. We know from the outset that it's a drawing come to life, and it looks like it. This comes across as self-reflexive to an extent, but really what I get out of it is just that the Mirror Capital was deliberately constructed by someone. It's a world made by parents for their children.
That's plainly obvious in episode 3, when Inari takes Kurama around the capital and tries to give him the means to pursue his interests. It's not an original or uncommon idea that parents will try to build a world for their children both to protect them and to foster their interests. Nor is it surprising that eventually, children want to leave that world.
It probably wouldn't surprise anyone to observe that Kyousougiga is about kids trying to escape a world constructed by their father's egoism and fear. (I happen to really dig that kind of thing.) But Koto (the little one) really makes the difference for me. Her conception was itself an act of rebellion on Inari's part, but she ends up being the one to resolve the consequences of his rebellion. She doesn't go totally over to the other side, of course; she doesn't submit to the Shrine's high priest.
Even though Inari's rebellious bent is behind the show's entire conflict, it's the reason why Koto, Yakushimaru, Kurama, and Yase exist. And he does love them, even if his love is imperfect. When they try to escape from the Mirror Capital, they're not rising to some kind of greater reality; the Mirror Capital is as real as the other 12 spheres, in the end. They're reacting to Inari's imperfections, and they'll bring that with them wherever they go. Even if kids leave their parents' world, their perspectives can still be influenced by the contrast between their parents' world and the countless other worlds out there.
Inari gave all his kids specific purposes, and they don't betray those purposes. But they do own them and direct them all toward their own ends. It's what lets Kurama be a great governor and inventor, what lets Yase provide a home for all the bizarre monsters that live in the Mirror Capital, and what lets Koto fight back against the Shrine. It's also something Yakushimaru struggles to do, but he gets help from his siblings (and NOT from Inari).
The constant interplay of imperfections lets everyone in Kyousougiga constantly develop and embrace their lives. Even if Koto's design is more angular and exaggerated in episode 4 than episode 7, it serves the scene well; even though the first episodes are insular and without momentum, the way they contrast with the latter episodes speaks to how the characters' lives change after the Mirror Capital is opened; and even if Inari's big reveal at the end is awkward and mind-boggling, it's easy to see it for what it is: a "dropping of the scales," when kids first have to really see their parents as fallible.
That's why one of my favorite scenes in the show is when a young Koto, crying in the middle of the night, finds out her dad can also cry. Her strength, and the way her strength ultimately comes to be what Inari really needs, comes not just from how he nurtured and taught her; it comes from how they were able to share something in their imperfections.
Jordichis
No spoilers Kyousogiga This is the story of love and rebirth of a family. Have you ever thought about what would happen if you could get out of reality and create your own world together with the people you love? Kyousogiga tells us the adventure of Koto, a young woman who enters an alternative and charming world in search of something in particular, a place full of supernatural beings, ruled by a monk, a demon and a priest, the adventure of a complex family. The series touches family values and the demands of reality. As the series progresses, the mysteries of what and how, increasingly intriguing make you wonder, shows ushow things work and unites us to what is happening in that world, has a unique history.
The animation is not bad, it is combined with the art that shows you a colorful world of dreams. The character's designs are good, all this gives the touch to make the story work better.
It is true that not everything is colored, a measure that advances the story has a certain narrative slowdown by having few chapters that have improved secondary development,
The sound is passable but almost always unattended.
Like any program, it has its weak points and its strong points.
If you read this, don't see that the "zero" chapter was like watching a summary of the series without knowing what happened.
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