Pon. We need to talk about that old lady on the garbage train. Who was that? Who let Grandma on the damn train again?
Oto. I guess … they didn’t want her anymore. Or maybe she just wanted to die and this is the only way.
Pon. This is the last of the three meet-the-siblings episodes, and the one that makes me mad for about the duration of the next episode. Because they really are all trying to use Koto to fill some absence they perceive in themselves, and Myoue’s thing is, basically, he wants to foist off responsibility for his own life on this kid. What a fucker. There’s a reason why he’s hung up on death, but right now he’s just a fucker.
Oto. Yeah. That’s not really something you should be making some kid you think might be your adopted mom do. I feel like that can be taken very freudianly.
Pon. Freudianly? Well, yeah, kinda. He wants to experience the negation of the self at the hands of his mom.
Oto. I was too distracted by the episode to really say much. It was fun to just watch. That scene where Myoue and Koto are on the moped is now my favorite thing ever. Adorable. Then at the end they throw in Myoue being all suicidal and that symbolism with the pomegranate.
Pon. There are two instances of ｓｙｍｂｏｌｉｓｍ that I want to mention this time. The first is Choujuu-jinbutsu-giga, the scrolls where the ubiquitous rabbit/frog/monkey come from. Which is connected to the geographic location where the story’s supposed to take place. It’s, you know, a big scroll on the wall depicting another world, sitting in the temple that’s probably the model for the temple in the show. And the other thing is the pomegranate, the original apple in terms of fruit symbolism. It’s the fruit from the Hades/Persephone story, it might’ve been the original fruit of the tree of knowledge in Eden … and if you really want to pursue the Freud thing, it’s, uh, commonly a symbol of fertility. Myoue, you damn tempter.
Oto. Gotta be honest. I missed the rabbit/frog/monkey thing.
Pon. Plot-wise, the important thing about them is that they’re always present.
Oto. Hmm. I guess it’ll make more sense later.
Pon. One minor thing I like in this episode is how Myoue’s sex friend isn’t depicted as nefarious or a painted jezebel or too dumb to object to his advances. She’s just a person. She’s pretty cool, actually.
Oto. Here’s the question, though. She’s one of the drawn people right? Does that mean she was drawn for this role?
Pon. To be Yakushimaru’s sex friend when he grew up? You think the dad was doing his kid a favor? “I’ll be gone for a while, beginning and end, etc. … oh, and by the way, there’s this lady who lives up the street … wink wink, nudge nudge.”
Oto. I guess the real question is, how much free will do the drawn people have?
Pon. They seem to have enough free will, I guess?
Oto. Is it just the illusion of free will? Is the illusion of free will just free will itself?
Pon. Well now we’re just talking about free will in general. Maybe all free will is an illusion. That’s a rabbit hole without a magic Kyoto at the bottom. Also, it’s clear at this point that not all the people in mirrorland were created there. Some of them came from elsewhere, especially in terms of people who work for Kurama.
Oto. I have a question. How big is drawn Kyoto? Could Koto fly up and break through the sky if she wanted to? If she did, what would she find? A way out?
Pon. That’s an interesting question.