I can accept this place as my home, just like any other.
“Myoue, I’ve been wondering, can we stay together a little longer? We’ve come all this way, and even came back to life and all. I can promise I’ll finish everything off. Let’s stay together just a little longer.”
-Koto to Myoue, Kyousougiga, Episode 10
A common thread in Rie Matsumoto’s directorial work is the inevitable destruction of whatever world she has spent the majority of the series or movie building. There is a ruined garden, structures flying everywhere, and an overall sense of disorientation in the face of the work’s respective protagonist coming to terms with what is most important to them.
As it turns out, what is most important is also wholly mundane and unquantifiable.
“Long has paled that sunny sky:
Echoes fade and memories die:
Autumn frosts have slain July.”
-A poem from “Through the Looking Glass and What Alice Found There,” by Lewis Carroll
From the moment she barges in by force, in search of a rabbit, Koto is the standout character – our presumed Alice – in the wonderland of the Mirror Capital. She is loud, winsome, and charming, allowing us to discover the mysteries of the Mirror Capital alongside her. Koto is confused, attempting to grasp at any sort of explanation for her mother’s disappearance, and so are we as we attempt to digest the imagery and references that Kyousogiga throws our way.
“So this is hell?”
“Nobody told you?”
-A conversation between Koto and the monk Myoue (Yakushimaru), Kyousogiga, episode 6
Previously, I wrote of the folly in dissecting Kyousogiga. This is hardly to say that there is no meaning to be found in the series, but rather that one would be better off attempting to find their own meaning based on personal reaction, rather than allowing it – and the myriad of information, both visual and otherwise, that it throws at you – to dictate your consumption.
Thus far, this is what I have discovered about myself through my personal consumption of this series.