Pon. There’s so much to say about this show! I could timestamp it and write about it minute to minute.
Oto. … I don’t really have much to say, so I’ll be quick. I don’t know how to feel about Kurama. Can’t tell if he’s my favorite character or not. He tried once to govern this place, but once he realized it’s a pointless endeavor because this place never fucking changes, then he just wanted to get the fuck out. If your kid wants to go see the capitol, you can’t just show them a pretty picture of it and call it a day. That shit gets boring after a while. Let them go see the capitol. This artist guy is a shitty god. And dad. You can’t just shelter your kids in a world where no one dies and everything is unicorns and rainbows. Shit’s gotta happen! They need some chaos!
Pon. There’s this tension between creative and destructive impulses. You get all this taiji imagery, opposing colors, and then Koto’s little weird friends are called A and Un, and when you put that together it’s 阿吽, which in Japanese is how you write ॐ, aum. Right? Which refers to the beginning and end of everything. So these kids are opposite-colored (not on the color wheel I guess, but, you know, those colors are used to represent yin and yang in Korea) and their names literally mean beginning and end. I’m starting to feel like I’m explaining a conspiracy theory here, but I guess my point is that this show broadcasts its themes from the beginning and, yeah, you’re right. The problem with the mirror capital is that there’s too much creative energy, not enough destructive. And then Koto shows up with a big-ass hammer.
Oto. Speaking of Koto, rabbit mom always looks really sinister now. In the opening and when she was in the background that one time she’s got dark make-up on and is wearing a black dress.
Pon. That’s true, though whenever the kids talk about her, they make her out to be the nice one. What I like about the opening is that the random townsfolk NPCs, who half the time are represented by symbols, are in the opening for a second. As symbols.