Kyousou Giga (TV)

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 with its 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.

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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 of the 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.

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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 by Toei 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

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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 have been 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!

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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). The artwork 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.

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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 each other. 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.

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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 this conflicts 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.

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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 all over 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.

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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 the show?
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.

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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 the whole 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...

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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, be prepared 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!

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"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 recommend to 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.

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Let's be clear, I love this show. It is a shame that this isn't more popular, since it may be one of the best anime we've witnessed in this decade.
First things first, this has feels everywhere, because it isn't an anime about comedy nor fantasy; it is an anime about nostalgia... about the feeling of nostalgia and the happiness that comes from our family. And it's undoubtable how plain beautiful it is, plus I am a person that loves spending time with my family, so I find very easy to empathize with the character's feelings.
Here it should be where I randomly copy and paste the synopsis, and try to explain it (there is literally a 30 minutes video explaining the premise) and I make you want to click the "not helpful" button... but I find that every one that thinks that it is necessary to do that is just completely overthinking it. You only must know that this is a family drama in a fantasy setting, and even though some of you may find a waste to use a fantasy setting for an anime like this, you are completely wrong. This manages to be a highly memorable experience, because they chose using a lot of symbolism and visual metaphors to make this as compelling as it can get. Look, just imagine that we decide to cut all the fantasy elements. The show wouldn't be so special, and loose some of the appeal it has, and while others may argue that it sucks because without the fancy visuals and atypical universe it is empty; you are being completely unfair (and even then, it wouldn't be empty lol). You can't just judge whatever you want from any piece of art so you make it look worse, in fact, you should be clapping, since they achieve making this more cohesive by having every aspect of the series complementing the narrative. Continuing with the looks, the designs are pleasant to my eyes and they are diverse; they all have different skulls, wear clothes that are away from the generic and even the way the character is designed and constructed visually changes from character to character (while still being fitting). The color choices are outstanding, creating a vivid world and quickly making us interested in it that reminds me of Alice in Wonderland. The animation is fluid 95% of the time, being the exception to the rule that awful scene where Inari and Koto are walking. And that is as far the issues I have with the show visually go.
Sound-wise, it goes with the series, being the sound effects cartoony and the voice acting startling; which isn't really my cup of tea usually, but I can forgive it because of the optimistic and fanciful presentation. The music is complementary but memorable, and for what it is, it has a lot of presence, to a level where it isn't dwarfed by the top tier visuals. Rie Tatsumoto's directing is just pure maestry, harmonious, but every department is still amazing standing alone... and this wouldn't matter if we didn't have good writing.
What you must get from this show is the message, since storytelling-wise, everything follows a multicolored thread that shows you the path to this particular life lesson. KG answers to the question "What is family?" giving an answer another anime such as Nisemonogatari and Penguindrum didn't. Penguindrum tells you that a family is a bunch of people that you would give your life for, Nisemonogatari on the other hand is pretty straight forward; "a family is the people you can believe in and trust". In an optimist yet mature way, Kyousou Giga sits down and tells you family is those that you love unconditionally. If you thought Yase and Kurama aren't humans just because, I must tell you that you're wrong. I don't have any relationship with adoption, but it is just heartwarming seeking that character chemistry. There's an specific quote that clicked on me and serves as a great summary to Giga's thesis: "It was a weird family, but a happy one". The immesurable strenght this sentence has amazes me even 9 months after watching it for the first time, and it didn't feel corny because we've been fondling us with the characters through all the anime. This show feels like a macedonia of nuances about what's essentially family. Adoption, maternity, brotherhood, love and the feeling of wanting to feel like you are home make Kyousou Giga the gem it is; but it wouldn't be that if it wasn't for the great characterization the characters have.
From Koto's perspective, family is something she's had but that made her focus on the future, to then be able to look at the past. This is a huge constract with the three members of the assembly, that think they can't do anything but wait until their parents come back. Koto is all about charisma, and a gorgeous contrast with Myoue, who's calm and fussy. They form an organic and genuine relationship that proggressively develops. Yase, is someone that can't live without family and that's anchored to her past (something we see in a touching scene with the best kind of visual exposition). Myoue is the most complex one in between them all, having a peculiar mindset -yet believable and justified-. He gradually realizes how hard life is both overall and daily without a family, without those you can rely on. Inari is a protective father that feels guilty because he didn't have the chance to give his family all his attention, and all those characters and even more come all together in a well structured drama full of humanity. It may be chaotic, but it is consistent. And before closing this review, I must defend the infamous conclusion. Everyone seems to prefer an ending where it doesn't go so well for the characters, but... wouldn't it be contradicting the tone, then? The anime was consistently enthusiastic about family and a tragic ending wouldn't have been as good because it would be a betrayal to everything it states. Unsatisfying to many, but still an undeniably solid conclusion. You must watch it. You may like it or you may not, but at least I can say I fell deeply in love with this eccentric family <3.

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The analysis on the theme of family and the gushing over animation has been done to death. Neither do I want to touch on the religious influences since even though its based on a whole load of Buddhist myth and spiritual symbols it isn't really a religious show. Anyway reviews based around discussion on themes, character, animation or analysis of plot cohesion are boring and miss out on a lot of other areas that are important in the formation of a work. Animation, the multi-medium, subsists well in a harmony of all spheres, which means no sphere can be neglected to form a cohesive work.

Let's go on a strange tangent here and go after 'texture'. By texture I'm speaking in a largely sonic sense of the term. The fact is that in the end one can grapple at the various technical qualities of the medium but in the end we still hinge our decisions on everything 'human'. Voice is an issue. The whole sub-dub debate is more or less based around the idea that texture is significantly damaged when translated into another language due perceived lackluster voice actors or just actors who aren't able to grasp the texture of the words that were so strong in the original. Texture is an important element of music, especially punk music which isn't that strongly innovative in melody and has to rely on all warped and charged forms of speech to enhance the overall piece. We wouldn't have Unknown Pleasures without Ian Curtis and his jittery schizophrenic tunes. Though Soft Bulletin is one of my favorite albums it never gets too high because I think that at certain moments Wayne Coyne's fragile nasally voice undermines the lushness of the arrangements. This is also the whole divisive point behind metal - the inability to appreciate harsh texture.

While lyricism and melody is the 'technical' side of the song, texture is the 'human' side. Same goes for animation. Aku no Hana, in my opinion, falls on the account of the seiyuu's castrated tone. Shinji Ikari rises up exactly because his VA is able to be so shrill and anguished even in his most shrill and Oedipal moments. The English VA of Shinji Ikari falls on the same reason the Aku no Hana VA does.

Yet texture is a strange and highly subjective notion that's derived from a lot of unseen variables. One man's anguish is another man's emo-squealing. Do we want an emotional angsty Hamlet or do we want the antics of a Tennant or a Brannagh? There's also the problem of exoticism. The fact is that we are harder to suspend disbelief with languages that we are more familiar with simply because we have a greater grasp of what is sincere and real. Of course the more we know a language the more too we can grasp it poetically and tonally but it sure as hell undermines the texture of those more honestly emotional works. Another reason why the most melodramatic works translated over to English suffer from severe translational setbacks. There's also a whole load of linguistic baggage that may have their own insidious influences on texture perception (Japanese lack of stress in their language versus English stressed words may form differences in the thought structures of nations; I don't think anyone has done a psycholinguistic study of language yet). There's also cultural differences and all the different context setting stuff inherent in the split among cultures. Just compare Daria with its Japanese equivalent Yahari. The key to unlocking texture is no easy pickle.

Now lets get to Rie Kugimiya. Being a vet in the industry, and being at the forefront of one of the most texture-dependent emotional romance dramas (Toradora) makes her basically one of the major experts at voice modulation in the industry. Texture is the difference between "why do I care about the lives and love flings of these bunch of characters?" and "the lives and love flings of these bunch of characters feel so existentially real to me". Toradora in particular is a stripped down psychodramatic romance plot based entirely around the unfolding of character interactions, which means based more on speech and exchanges (and not just the quickfire Bakemonogatari-esque exchanges of Nisio Isin but psychologically and emotionally rigorous speeches aplenty). It also helps that Rie has a sort of high pitched candy-like texture that straddles the line between wailing child and shrill anguish during her most cathartic moments and acts as 'awwwww'-bait in her most heartwarming moments. In this case though the texture is perfectly synced with the form. Koto is a cutesy erratic mischievous heartwarming filial 14 year old and it feels real when she talks to her parents, or when she has fun with the inhabitants of the Mirror Capital, or when she feels so lost in the world that she cries, or when she experiences a particularly serene transcendent moment. Personality syncs with Rie's vocal texture which also syncs with the vibrant action filled art style. Koto IS the embodiment of the violently playful world of Kyousogiga because she is the harmonious chord which the whole song hinges upon. Without Koto to reorient the world back into its normal self we would feel lost at the sudden change in tone when dealing with the darker sides of Yakushimaru's past. She is the human element that grounds the vibrant formality of the whole show.

Daria, which I mentioned earlier, is a bible of using distinct voices to convey character. Basically every single character has drastically different textures matched with their own drastically different personalities. When you can tell a character from a variety of characters based on their voice alone you know you've achieved textural variety.

Texture, the lesser noticed core component of animation. Start listening. (Incidentally the worst cry I have ever heard in the world comes from that absolutely terrible embarassing bawling that comes from the ending moments of Infinite Ryvius)

On a side note this seems to be the second time I've heard post-hardcore math rock used in an anime OP or ED (first being Psycho-Pass & Ling Tosite Shigure). I wholeheartedly support the idea of wider varieties of soundtracks to increase textural variety. Zankyo no Terror worked with its transcendent dreamy motorcycle ride and FLCL is basically nothing but fuzzy alt-rock power pop, so we need our shoegaze, post-punk, folk, indie and alt rock soundtracks to give us something new.

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OBVIOUS SPOILERS BELOW

I’ve been trying to vary things up with my reviews recently – moving away from the general discussion of music, character plot in a formulaic fashion. Thankfully, all these elements of Kyousou Giga has been discussed to death in these reviews, so I’m going to diverge and talk a bit about what I do and don’t like in this show – any of those more detailed elements are otherwise easily found. I should also clarify that this is largely a criticism. Kyousou Giga is quite positively reviewed, and the majority of the popular reviews here fail to identify some of its major weaknesses – something I hope to address here.

First of all, looking at the narration, I’ve got to recognize the nonconventional (and nonlinear) style. It’s no mystery that I’m a fan of nonchronological works - for a series that explicitly identifies itself as one about destruction and rebirth I find it appropriate. The point of this narration style is that you actually don’t get most of the story in a massive exposition dump, at least unless you’re extremely perceptive or unusually attuned to the nuances. However, I do struggle quite a bit with the way in which Toei uses it. Nonchronological shows rely largely on character development to drive their audience’s interest, relying on the viewers to build the story and work out the details. Did I say nonchronological? Interestingly, most of this story is chronological, but the method of explaining the details absolutely isn’t. Instead, a lot of this character development, and thus the audience’s keys to working it out, is anti-chronological, meaning what we get more and more toward the end.

Now is this a bad thing? Not necessarily – as long as there’s enough to build the story. But what constantly frustrated me throughout my watch-though is that the details we do get don’t have the effect we’re looking for. Remember what I said earlier about character development driving the story? We get plenty of character development, but so little of it helps to push the story forward, all up until the final two or three episodes. Other reviewers have exhaustively discussed the details, so I’ll just use one example here. Inari claims that he wants to die (or disappear, if that’s your intended interpretation) no earlier than halfway through the final episode. Wouldn’t a detail so critical to his character development be valuable earlier on? Wouldn’t that help to draw the rebirth and destruction parallels much more strongly between Myoue and himself? We get plenty about his character throughout the show, but critical details that actually drive the story seem to be largely missing.

Now don’t get me wrong, there’s elements of this suspension of details that I do really love in this show. A great example of this might be the purpose of Kurama and Yase’s creation, something that isn’t fully clarified until the second-last episode. But this one is far more cleverly done. Enough hints are given – right from the opening few episodes – of their purpose, hints that are clearly portrayed through character development in the right spots. But my issue lies, again, in importance. Sure, this might be an interesting development, but it really doesn’t help to drive the story forward. As a viewer, I feel as if I’m sent on a variety of interesting but ultimately insignificant side-quests. Some of the really important details are just too obfuscated for me to follow. Again, drawing from a simple example, I didn’t even realize that Myoue and Inari are the same entity until episode 7, which in a 10-episode series, is kind of a shame. Couldn’t we have gotten some more explicit details on a topic that’s so fundamental to the conclusion of this show any earlier?

Moving on, then, onto my other criticisms of this show, I’ve got to do some commentary on where Toei places their focus. We get a lot of character development on Koto, who is a wonderfully strong character in her own right, but relatively little on her older brother, who I’d argue is the more nuanced of the two. What do I mean by this? It’s temping to see his resolution to continue living (again, last episode) as enough, but I think it’s unsatisfying. Do we ever see him coming to terms with being reborn against his own will into a family that he doesn’t belong to? Are we satisfied with his gift and re-gift of the creation beads, which suggest a grasp that he personally holds on his own life? Or are we content with him living because Koto asked him to? Again, I’m sure there’s way more to his character than this, and perhaps I’m just too dense to see it, but I can’t help but wish that we got more of this developed, in its own anti-chronological order, throughout the show.

In a related topic, I’m also a bit frustrated with the use of some of the show’s characters. There’s obviously the main cast, all of whom directly influence the plot and development of the story, but there’s also a surprising amount of others whom I feel are thrown in just to be forgotten later. Inari’s brother, who seems to appear only for the antagonistic moments? Fushimi and Shouko? Even Danji, whose proximity to Myoue you’d think would offer her some more character development throughout the show? It seems that we get relatively little about all these lesser members of the cast, which really diminished the depth of the fantastical world that they live in.

Finally, I’m going to talk about the art style and its relationship with the story. The story is fanatical – whimsical, mythical, whatever you want to call it. The art is as well. The style foregoes all realism for bright colors, large shapes, and clear motifs. And for the most part, the artstyle fits the story; however, I can’t help but feel that in some places, it doesn’t agree with me. I’ve said this about other shows, but there’s no one place I’d like to pause Kyousou Giga and screengrab it for my desktop background. I can’t quite put my finger on what about it bothers me – possibly that something is literally born out of monk’s idle sketches seems a bit excessive. It seems that most people love the artstyle and I’m in the minority here, but I’m throwing out this opinion in case anyone finds familiarity with it.

I have little else to say and am gratified to have for once limited myself in review length. I wouldn’t rewatch this show for myself, nor can I give it more than a mediocre recommendation for whatever spoiler-nuts may be reading this right now. If you like more than a dash of confusion and some ridiculous fantasy, go for it – if you’re looking for serious plot development through pointed characterization, you may want to look elsewhere.

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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 Glass City 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.

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[Adapted From Original Blog Post]

Popularity is a really strange thing, no matter what entertainment medium you ask. In movies, we've always got horrible things like Transformers that make about a billion dollars during opening weekend. In gaming, the watered down, tiresome endless stream of sequels to the same repetitive modern war FPS's. And of course, in anime. It's weird how, let's be fair, crap like Sword Art Online, Date A Live or Elfen Lied can be talked about so constantly. Or how Bakemonogatari, an anime you'd think half the population of planet Earth would just turn and run at first sight of it, is probably one of the most popular things trending around the community right now besides from shounen and airing anime. There's probably a monkey with a ouija board up there or something determining these things, and you could say that's stupid, but to me, that's what it feels like. I guess the point I'm trying to make is surprise and challenge lie in the obscure. Most of the stuff that goes relatively unnoticed by the community probably deserves that, but in my time of watching airing anime, I've started to notice a trend. A trend that dictates that at least one anime every season will slip under most people's radars, but far, far from deserves it. These small gems include Yuki Yunna is a Hero, My Teen Romantic Comedy SNAFU(though that one has gained popularity in recent months), Eve no Jikan, and of course, the most amazing yet obscure one I've seen yet, and the subject of today's anime review.

Hello people of "The Wired", my name is Quan, and I'm delighted bring you this afternoon's review. Because, today: Kyousougiga, a mishmash of genres, color, and general madness, that surpasses conventional story-telling to create one of my favorite anime in recent memory. And if you know me, you know I do not say that lightly. Now then, let's get started.

Kyousougiga is a 10 episode anime that aired in the Fall of 2013, and was brought to us from Toei Animation of all places, a group of people who I thought had disappeared off the face of the planet to be honest. Not to say they haven't made anything in the last few years, because they have, a lot of it, but the problem lies in that all of it isn't very good and hardly worth of mention, mediocre throwaways such as Kanon(the original) and the currently airing World Trigger, and of course, they've been animating new episodes of One Piece for over a decade. However, you've probably know them from the nostalgia fuel they've given to you, these are the people that made Sailor Moon, Dragon Ball Z and Yu-Gi-Oh, so apparently this company is the exact opposite of wine, and gets more stale as they get older(though to be honest all those shows I just listed off are pretty bad too, even if my 8yr old self won't admit it). They also made Digimon, but since I have yet to see that I'll just give the original series and Tamers the benefit of the doubt. And taking into account Kyousougiga's bizarre art-style(which we'll get to), it's even more strange that this company, who usually do very traditional animation, would take on this project, you'd think this would be more up Studio Shaft's alley. Though judging from the end result, I am not complaining in the slightest.

Kyousougiga was directed by Rie Matsumoto, a bloke who really doesn't have any reason to have directed something this good. He's worked on some iterations of Pre-cure, but he was only ever directed by himself three shows besides this one. A Kyousougiga OVA, this thing called Blood Blockade Battlefront which hasn't actually aired yet, but it's being made by Bones and looks pretty sweet(like a vampire superhero apocalypse sort of thing). Oh, and some more freakin' Pre-Cure. The script has actually handled by 6 different people, so it's sort of a miracle that the script is not only not an incomprehensible mess, but as good as it it. The first of the writers is actually the directer: Matsumoto, who wrote episodes 8 & 10, which spoiler alert, are some of the best of the show, so well done mate. The others include Izumi Todo, Kuraku Asagi, Michiyo Yamamoto, Miho Maruo and Rika Nakase, who since I don't feel like doing a small profile for all of them, collectible works include... well... OK, here's the problem: this is the only bit of writing done ever for both Asagi and Yamamoto ever, and Todo, who handled the majority of the script, has done some more Pre-cure stuff and pretty much just that. However, Maruo has done work on Gundam, and Nakase has handled parts of scripts for such anime as Shinsekai yori and Princess Tutu.... You know, it's actually kind of amazing this anime wasn't a spectacular train-wreck.

We are finally onto the plot, and I'm sort of wondering how to explain it, because for a show like this, knowing only as little as you absolutely need to is kind of directly correlated with enjoyment, so I'll give this a go, and try not to spoil anything.

Our main character Koto has crash-landed in a world like our own but not quite the same: a replica of the medieval city of Kyoto, filled with strange oddities and occurrences, where mecha suits could stampede through the streets and all of that kind of stuff. Accompanied by two spirits and her trusty gigantic hammer; Koto is on a mission to find a black rabbit, and quickly runs into the rulers of this world; a group of three siblings; a grumpy monk named Yakushimaru, a tea-sipping demon called Yase and the mischievous priest Kurama, all who agree to help Koto find this rabbit, but are still suspicious of her true motives as their own personal agendas come towards their own respective conclusions. However, as they interact, Koto begins to realize she may have a lot more in common with this trio and this strange Kyoto than she could have possibly imagined, that dark secrets of her father could end up being really important, and forces beyond anybodies control are directly affecting the order and balance of the world. Slowly, things begin to spiral out of control, and Koto with the bizarre family try to keep their entire world from literally crumbling around them, making up a complicated yet entertaining anime that teaches about faith, love, and how even when your differences and factors drive you apart, family is still the best thing ever.

If you know exactly what is going on from that paragraph, that's kind of incredible, because I've purposely left it vague and kind of confusing. Kyousougiga is a very confusing anime beyond a doubt, lots of bizarre things happen in it, and it quickly becomes a matter of faith so you can give the story time to explain everything. The first few episodes are examples of this, lots and lots of different concepts and loose-ends are put forward in the first few episodes, and while you'll probably get a fair grasp of the character's outside personalities and the setting, don't be surprised if you don't quite see where the anime is going with all this. Honestly, the beginning of the anime is probably the weakest part, the first 4 or so episodes are mostly just to establish the characters, and have some quirky humor that the anime is so good at. It's slightly off-putting, I guess, the lack of direction and the bizarre situations that the first four or so episodes encompass. Kyousougiga requires patience if nothing else. However, seeing that I've been saying how good this anime is, as you can probably tell, it's not as simple as it first looks.

Through perfect pacing and some wonderful storytelling, the plot slowly begins to reveal itself to the audience, revealing the amazing blueprints the show was built upon. I talked a little about how good it is to have a story that is so.. perfectly complete. You can tell someone sat down one day and planned this story out from beginning to end; it leaves clues, has major foreshadowing for both character development and future events, and all those seemingly little strange moments build towards an exceptional finale that surely will fit somewhere on my list of my favorite anime endings I've ever seen. Keep in mind, that is also a list that includes the ending of Code Geass and Kara no Kyoukai, so yes people, that good, as it brings themes and characters full circle to form something so epic, emotional, bizarre, and fun that I wouldn't have had it any other way. All the weird and confusing crap in this anime are all necessarily steps to this end, and you can trace it all the way back to the beginning, something most anime can't actually say. And this all fits, so snugly, into just 10 episodes.

Of course, as always, there are a few missteps along the way(yes, we're keeping this extended metaphor going), and it is sort of my responsibility as a reviewer to point out problems with things, so, here they are. As much as I appreciate the beginning of the anime for setting the groundwork for everything to come later, I can't help but feel it meanders around a little too much. For instance, practically a half of an episode in the first half of the anime consists of a wacky science team chasing a bird through Kyoto, a bird who has stolen a remote to a gigantic robot(don't ask). We really couldn't have spent that time doing anything else? But you know, even as I say that, if you did take that wackiness and fun from Kyousougiga, you would lose a lot of charm, charm that is so essential to forming the experience that this anime does: namely... it's just sort of fun to watch. Whether something actually serious and thought provoking was happening, or.. a wacky science team was chasing a bird, I was having a blast either way. Kyousougiga is always able to keep its eccentricities without sacrificing emotional investment, and that's kind of brilliant.

But going back to the flaws, as well constructed and air-tight the story is, there's a couple of boils sticking out. Sometimes the anime will go a little too far with being weird and stuff, and occasionally instead of being amused, just left me with one eye raised, very confused. There's only a couple of these though, and they don't really belittle the plot in any sort of way. Also, there's a plot twist near the end, which while being in hindsight sort of a brilliant move both contextually and thematically, just sort of rubbed me the wrong way. I'm pretty sure this is literally just my problem though, so feel free to just disregard that and enjoy the scene for yourself.

Onto characters now, and we might as well start with our sort-of-lead heroine Koto; because she's not bad, but considering some of the competition she has in the character department, I wouldn't say she's the best in the show. Koto is a somewhat childish girl that has a certain problem with handling responsibility, which means that she may or not be completing procrastinating on finding that black rabbit. However, she sort of makes up for this with her great fighting prowess, using her gigantic hammer to smash everything and everyone that gets in her way, and being as stubborn yet kind-hearted as she is, she's also the kind of girl who wouldn't care if she needed to destroy the universe if it would make everyone happy. A good deal of the show is spent unraveling her psyche, and there's even a couple layers of her character that you may even find yourself relating to, but while I really like her, I did prefer spending my time with some of the more interesting characters of this anime.

Namely Yakushimaru. Besides from maybe Inari(we'll get to him, oh we'll get to him), Yakushimaru is probably the most interesting and complex character in the show(and we'll call him by his other name Myoue now, mostly because Yakushimaru is getting annoying to type out). On the surface, Myoue is kind of a prick; he's grumpy and somewhat self-centered at times, but he also has every reason in the entire universe to be the way he is. His back-story is dark as you'd expect, but it also has a certain twist that makes things interesting, and completely justifies the way he acts towards his missing parents: Inari and the Lady Koto(yes, there are two characters named Koto) who disappeared from the mirror Kyoto some time ago completely without warning. And without a doubt, watching him grow throughout the show is brilliant.

It's also that sudden disappearance of their parents that drives the motivation of Myoue's sibling, Kurama and Yase, though admittedly, they take it vastly different ways. Kurama sees it as his responsibility as the oldest to find his and his sibling's parents, and his methods are sometimes questionable. He's undoubtedly good-natured, but the lengths he's willing to through with sometimes border on sinister, all of this driven by a deeper motivation that he has successfully buried deep within his heart. Yase on the other hand, reacts sort of how you'd expect a normal child to react when two parents who she thought loved her vanish without a trace, though maybe a little more on the extreme side. Understandably, she's a little screwed up from the experience, and it doesn't help that she already feels isolation from others due to being the only demon inhabitant of Kyoto. She's one of the weaker characters of the show, but that's still better than most characters in other anime, and watching her get over her trauma is still interesting and somewhat emotional in some scenes; and really, the emotional aspect is something this shows does actually really well, despite the wacky nature of the world.

Now I won't mention Inari's purpose in this world or how he effects the plot later on, in fact, I'm going to keep any meaningful information on him under seal since spoiling his character for you would be a cardinal sin to commit. What I will tell is that he is the missing father of Myoue, Kurama and Yase, and yes that's technically a spoiler, but the anime basically tells you that in the beginning of episode 2 anyway. His character is one of the most interesting scenarios I've ever come across, and after you learn of his true role in this world later on in the anime, it will bring about an interesting conversation or two, and I think that shows how intelligent this anime really is without needing to shove it in your face, unlike other anime. Admittedly, unless you do some serious thinking, you probably won't completely understand his character or motivation, but that's not really a bad thing, though if you don't pick up all the aspects of his character, you won't completely appreciate the ending of his character arc in the last few seconds of the show. That would a deep, deep shame, because that scene is quickly becoming one of my favorite moments in anime... ever.

The side characters are quite a joy as well. Kurama's science team led by the over-reactive Shouka provides some truly excellent comedy in the show's more directionless first half, and the other characters provide a certain flavor to the show. The issue I have character wise is with Lady Koto, who is supposed to be one of the main characters after all, but is severely under-developed in my opinion. Maybe her character and development is something you really to pay attention to, like Inari, but I personally found her a little boring, and presence in the narrative seemingly purely for convenience.


You could describe Kyousougiga's animation like something straight out of a coloring book, because once you think about it, that actually makes a lot of sense. In consideration to the unique setting, background scenery or characters will sometimes intentionally look hand-drawn or crafted, and this does nothing but add to the pure charm of the show. The city of Kyoto itself just looks like a cool place to be, with a lot of experimental or downright surreal animation techniques used to craft the environment. However, like all shows that have a heavy emphasis on such things, it will occasionally become a little cluttered, or even make things hard to make out. This really isn't as big a problem as it would be in say, a Studio Shaft work, but it will take a little adjusting to for a viewer who is used to a traditional anime style. However, when the art isn't playing around with eccentric styles, the anime can make itself look really nice, whether it be the lighting, colors or camera for certain scenes. So, therefore, Kyousougiga's art is not only fun and unique, but also really really good, and I have little to complain about.

I'd say the OST for Kyousougiga is very nice. Produced by a relatively unknown by the name of Go Shiina, who has done music for Gyo and the upcoming God Eater, the tracks keep a certain whimsical feel about them. Everything has a lot of variety as well, they sound distinct from one another, but all feel like they fit together at the same time. I didn't always realize it I guess when I was watching the anime, since the music isn't quite as prominent in scenes, but a re-listen of the OST by itself revealed some wonderful pieces. Highlights, I think, include "The Secret of my Life" and "To the Ends of the Earth" which are just both ridiculously good. Shiina obviously has a knack for this music thing, and I'd like him to increase the number of anime he has done the music for, though maybe next time, go easy on the number of tracks. Despite only being ten episodes, there's a total of over 35 songs in Kyousougiga's OST, and while some of them are only about a minute, it's still a lot, though judging from the quality of the tracks, I guess I shouldn't be complaining. Furthermore, the OP: "Koko" preformed by Tamurapan is truly magnificent and one of the best OP's I've ever heard; from the cleverly inserted foreshadowing, to the uplifting tune that represents the show well. I never skipped this opening once; which is not something I can always say. The ED: "Shissou Ginga" by TEPPAN is more intense and dark-sounding than most of the tracks here, but it's rather good too, and it fits within the kaleidoscope of emotions that Kyousougiga exerts as a show, and the song is even played to great effect during the final episodes of the show. It's all and all one of the better OST's I've come across in these reviews, and once you're done the show, I'd say give the whole thing a listen. Actually the more I listen to it, the more I'm beginning to love it.

You'd be surprised how little the theme of family is touched upon in anime. At best, the parents of a main protagonist or either dead, or practically non-existent within the narrative. It's rare that a show would even bring the topic up, never mind making it the integral strand that connects of your character's relationships. However, it this non-conventional approach to family and the tone of the anime is what gives Kyousougiga such distinctness within the medium, and through this approach, and some truly great writing that this anime becomes a must-watch in my eyes, and how it has become one of my new favorite anime. I mean, what else can I say to convince you? It's fun. It's emotional. It's well-written, intelligent, eccentric and just... plain... wonderful.

Final Verdict: 8(.5)/10


For this review and others, feel free to check out my blog! (Link on profile)

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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 dimensions and 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.

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Kyousougiga (6/10): There is my rating, if you want to know more about my rating system check the description down below. Time to dive into my potentially spoiler filled review.

This show initially drew me in with its unique designs but I stayed for the very unique world. The main issue is that even after finishing the show and watching the recap episode 10.5 I am still a little lost. The show tries to wrap it all up with “don’t worry the child of a god who is also kind of a god made everything so any oddities or inconsistencies you notice are not a problem.” While that answers the main question it is not a very satisfying conclusion in my book, but with all the crazy off the wall antics this show got up to I’m not sure they could have done it any other way. I found a larger issue with the son who is a human priest, he never made much sense to me. I get the feeling he is not from the main world because he appeared unaffected when the world was collapsing but I’m still unsure how that is possible. He also had a narrative of wanting to die but also being the chosen one for some reason that left me even more confused. I feel like I was watching a badly told mythology, one with odd pauses and off the wall logic told by a storyteller who isn’t exactly sure how to tell the story. Now I love me some mythology so that main hook and the crazy animation kept me intrigued enough to finish this show, but I can’t say it will be for everyone.

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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 us how 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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