|Casual | Original Design|
|Franchise:||Kara no Kyoukai|
|Appears in:||Paradox Spiral|
|Voice actor:|| Tetsuya Kakihara|
Hiromi Igarashi (Youth)
|Character type:||Human, Puppet|
|Hair color:||Orange (Dyed)|
"I wish this spiral was a paradox."
His earliest and happiest memories was when his father gave a spare house key to Tomoe when he was younger and told him to protect his family. This happiness was short-lived as his father would later cause the death of someone in a drunk driving accident.
This incident caused his family's downfall and hatred from others. This resulted in his father to lose his job and struggle to find work, leading him to have drinking problems. His mother was forced to work full time in the super market to support the family as well. Tomoe also becomes frequently bullied at school, which forced him to quit the track and field team at his school. His family had to move several times due to harassment as rumours keep appearing about his father's incident until they moved into the Ogawa apartment complex.
Unbeknownst to the Enjou family, the Ogawa Apartment Complex had been designed by Souren Araya to cause people to go into depression leading them to become insane thus driving them to their deaths. One day, Tomoe came back from work. Ignoring his mother as she tries to greet him, he goes and sleeps in his room. Due to being fed up with their situation, his mother killed his father while he was drinking and she eventually kills Tomoe in his sleep. His mother committed suicide afterwards.Souren Araya surgically removed his brain from his body for his experiments. The experiment involved controlling the brain that was still functioning and implant their the thought processes into the replica puppets that Cornelius Alba provided. He created the Apartment Complex to create a cyclical loop in which the puppet residents repeat their last day before death as a means to discover an access to the Spiral of Origin.
The continuous loop slowly caused each of the new Tomoe puppets to have dreams recollecting the original Tomoe's memory of his death. In October 1998, one of the puppets was able to escape from the loop by killing his mother and running away. Before leaving the spiral complex, Araya supposedly implanted an unconscious imprinting in this puppet to have an interest in Shiki Ryougi.
A youth in his late teens, he has a small build body with feminine features. He would be a beautiful youth boy if he maintained silence. In his originally design, he wore a blue jacket. His clothing changed during in the production of the films, he wore a green parka jacket, blue jeans and a pair of yellow new balance shoes.
Tomoe is a head-strong individual that had grown disillusioned by his experiences. He was aggressive and lacked tolerance, so he frequently got into fights. He had originally loved sport, as he was particularly fond of sprinting, but complications surrounding his family drastically changed his outlook on life. His family's reputation led him to being bullied at school. Due to this, Tomoe had grown to become more apathetic towards his loved ones, simply carrying out his daily routine with nary a care in the world surrounding him. After supposedly murdering his parents, Tomoe recognizes his guilty actions, going so far as even anticipating his cruel punishment. His interactions with Shiki demonstrates his tendency to adhere to societal norms, initially finding Shiki's habits to be rather odd.
Due to his father giving him a spare key in his childhood, he has developed an attachment for keys and locks; developing a principle under the notion of being protective of one's home. He has stated that he despises the notion of romance and love based on his bad experience with his past girlfriend. Tomoe would go on to become close friends with Shiki Ryougi, being able to talk about himself and his experiences to her unlike any other person he has ever met. It is hinted that his attachment to Shiki is caused by Tomoe's ability to relate to Shiki's continued impression of her SHIKI personality. He cares about this deep friendship enough that when he admitted his love for her, he disliked the idea of ruining such a relationship by simply labelling it under the notion of "love". While living under one roof with Shiki, he managed to keep himself cool because he loved her too much and he realized that some things are beautiful because they cannot be obtained. While he claims that he is willing enough to die for Shiki, this lowered sense of self-worth is prompted by his feeling of hopelessness, due to having already "killed" his parents.
While initially brash in his reactions towards Mikiya, he grows to respect him. He later understands Shiki's attachment to him, remarking that people like Shiki and himself truly need someone like Mikiya to keep them sane.
Tomoe's personality relates to his Origin "worthlessness". He doesn't value himself and intially he was willingly to die for Shiki's sake. Upon remembering his past memories with his family, he empathizes with his family and their situation. Finally gaining self-respect, Tomoe finds his resolve to fight for himself and his love for his family. When Araya reveals the true nature of the current Tomoe Enjou's identity and the supposed fabrication of his attachment for Shiki, Tomoe strives to believe that his feelings are true. In his final moments, he expresses his empathy for his family's situation as well as sympathizing their deaths caused by Araya, until finally remarking the legitimacy of his existence.
Unlike the other chapters, Chapter Five isn't about Shiki and Mikiya but rather the story about Tomoe and Araya. Takashi Takeuchi believes that Tomoe is a relatable character to the viewers and this aspect sets Chapter Five apart from the others.
Kinoko Nasu believes Tetsuya Kakihara (Voice actor of Tomoe) voice is just a bit higher in quality than the rest of the cast. Because of that, he was able to give the impression that Tomoe wasn't like the characters in the other chapters. He was like a brand-new entity in the Garden of sinners world who made his first appearance in Chapter Five.
Kajiura Yuki the soundtrack composer for the theatre version of Kara no Kyoukai claims Tomoe to be her favourite character. Because of this, the theme song of the fifth chapter "Sprinter" has become a work that sings about Tomoe story.
Kara no KyoukaiEdit
Chapter 5: Paradox SpiralEdit
In the middle of October 1998, Tomoe kills his parents, having succumbed to his fears brought on by his nightmares of him and his father's death at the hands of his mother. Running away from home, he gets chased and attacked by bullies from his old school until he was saved by Shiki Ryougi. He asked her to hide him at her place as he claims to be a murderer, upon which Shiki remarks that she is the same thus agreeing to let him stay in her apartment room.
Shiki and Tomoe would go on to have a cyclical routine in which Tomoe goes outside by day, awaiting the news of his parents' murder while Shiki goes outside for her nightly strolls. Tomoe develops a close friendship with Shiki, talking to her about his past experiences. While Tomoe stayed over Shiki, he ate Häagen-Dazs ice cream for his meals. At some point, Tomoe sees Shiki walking by outside noticing that she is being followed by a strange-looking foreigner (later revealed to be Cornelius Alba). The foreigner maliciously stares back at him, and within the next moment, mysteriously vanishes before Tomoe's eyes.Returning back to Shiki's apartment Tomoe expresses his worry for Shiki's safety. Shiki's insistence in asking for Tomoe's reason for being so anxious causes Tomoe to confess his love for her (although Shiki only reacted by laughing at the notion). In the next moment, Shiki playfully threatens him to die for his love of her, in which Tomoe declares his consent, admiting that he has nothing left having already killed his parents. Shiki dismisses his desire to die by her hand remarking that Tomoe should re-discover his true home. As Shiki goes out for one of her nightly strolls, Tomoe decides to stop staying in her apartment. Tomoe continues to wait for the news about the murder of his parents, but a lack of any report causes him to grow more paranoid. During this point, he recognizes his mother in a crowd, shocked at the revelation that she is possibly alive.
Tomoe returns to Shiki's apartment explaining how he saw that his mother was somehow alive. With hopes of uncovering the truth behind this mystery, Shiki and Tomoe went to the Ogawa Apartment Complex to investigate. When they arrived at Tomoe's apartment in room 405, they enter without ringing the doorbell, finding that his parents were alive as they witness a reenactment of his family's last moments, including his own. Shiki recognizes that the apartment complex already had some abnormalities. They venture on to find Tomoe and his parent's corpses in apartment room 410 where they were already dead since half a year ago. They would encounter reanimated corpses of the aparment's residents, in which Shiki was able to destroy them in combat. Araya Souren reveals himself before them explaining the true nature of his plans, including the construction of the Ogawa Apartment Complex, and the continuous cycle of life and death in which the puppet imitations of the residents are undergoing. Shiki fights Araya but is easily overpowered.
When Shiki is captured,Tomoe flees back to her apartment in fear. Later on, Mikiya arrives at Shiki's apartment, thereby meeting Tomoe. Initially Tomoe wishes to recklessly confront Araya but Mikiya's persuasion leads them to visit Tomoe's old house. Tomoe reflects on his past memories and the sad nature of his family's past circumstances that led them to their state. Having re-discovered his love for his family, they both decide to go save Shiki. They both separate as Tomoe plans to bring Shiki's knife and katana to her.
Tomoe discovers Araya's workshop in the underground parking lot beneath the Ogawa Apartment Complex. Tomoe stumbles upon multiple jars containing the brains of the apartment residents, including his own. As his arm falls off to reveal multiple gears inside, he finally deduces that he is merely an artificial puppet of the original Tomoe Enjou. He is confronted by Araya, who tells him of his origin as a puppet. Araya tells him that he supposedly let him escape as he planned to use Tomoe to lure Shiki out. Araya claims that Tomoe's love for Shiki is merely fabricated and that he simply imprinted such a desire in Tomoe's mind. Tomoe affirms his belief of his feelings being real despite his existence as a copy of the original Tomoe Enjou. Nonetheless, he considers the possibility that everything about his current identity is truly fabricated, thus defiantly thanking Araya for granting him such a chance of realization in his life. Araya taunts to Tomoe to confront him as Tomoe heads for the elevator. Inside the elevator, Tomoe drops Shiki's katana, opting to use her knife instead.
Exiting the elevator on the tenth floor, Tomoe finds Araya standing before him. He confirms his determination to kill Araya for his sake and his parents' death, claiming that they weren't sinful enough to die in such a cruel way. He charges head-on but Araya uses his bounded field to stall him. Tomoe's limbs are slowly torn away as he manages to stab Araya in the chest. He is eventually killed by Araya's power, commanding Tomoe's body to cease existence. Tomoe's body dissolves into dust, shedding a tear as he expresses his final words.
Due to having left behind her katana, which has the ability to break barriers, inside the Ogawa Apartment's elevator, Shiki is able to easily break free upon finally gaining consciousness, and confront and outmatch Araya in battle. After Araya's defeat at the hands of Shiki, Touko expresses that his downfall was caused by Tomoe's love for his family as well as his breaking out of the cycle created by Araya.
During her sleep, Shiki has a mysterious dream in which she encounters Tomoe one last time inside a diner. As they both enjoy their time in the diner, the two are suddenly called away, finally bidding each other farewell.
Having joined a track and field team in one of his schools, Tomoe is very athletic and most notably a fast runner, due to his fondness for sprint running. Having participated in many track and field events, not once was Tomoe ever beaten in any of the sprinting competitions that he had joined. Despite being chased by bullies, he was able to easily outrun them until he was cornered in a dead-end. He's somewhat capable of holding his own in one-on-one streetfights albeit less experienced when fighting against a group. He doesn't possess any special abilites however the origin that he has is "worthlessness".
- ↑ 1.0 1.1 1.2
Kara no Kyoukai Special Pamphlet - Encyclopedia: Enjou Tomoe [Person's name] English | Japanese
Tomoe Enjou [Person's name]
A youth in his late teens. A part-time worker, tenant of the Ogawa Apartment. He ran away from home...an unusual individual.
He had a small build and feminine features. He would be a bishounen if he maintained silence. He was aggressive and lacked tolerance, so he frequently got into fights.
He encountered Shiki through some trivial matters, and gradually became involved in strange incidents.
---Of course, the gears had malfunctioned since the very beginning.
Haru to Tsuki to Sora to - [Tomoe Enjou - Design Memo] English | Japanese
Comment from Takeshi Takeuchi
[Tomoe Enjou - Design Memo]
Tomoe, feminine characteristics
His expression is slightly gloomy. He has the feeling of a justice man.
Kara no Kyoukai - Chapter 5: “Paradox Spiral” DVD Q & A pamphlets
Q: How did a young man of Tomoe’s age manage to keep his cool while living under one roof with the girl that he liked? What was his secret?
Q: How did a young man of Tomoe’s age manage to keep his cool while living under one roof with the girl that he liked? What was his secret? <shen>
Nasu: As far as Tomoe is concerned… that’s easy. It’s just that he loved her too much.
Takeuchi: He must have realized that some things are beautiful because they cannot be obtained.
- ↑ 4.0 4.1 4.2
The Garden of Sinners Visual Chronicle English Translation, p.009-010
Nasu: What, you mean that was what inspired you'? I see! Anyway, Phase Two turned out to be a great two- episode series, with two contrasting chapters — Mr.Takiguchi's Chapter Four and Mr.Hirao's Chapter Five. Because of the timing for their release, Phase Two only. contained Chapter Four and Chapter Five, but I'm really fond of Chapter Five. There are a lot of differences with the novel, and actually, out of all seven chapters. it's the only one that I find somewhat strange compared to the novel, or should I say it's the one film that resoundingly emphasizes my ego. So I think there may be some readers who wanted the film to stay faithful to the novel. but I thought it was a film that could stand alone and sparkle, that its strangeness, or perhaps its extremeness was most appropriate for Chapter Five.
Takeuchi: Normally, you'd think that if we were going to make a theatrical version of the Garden of sinners, we could've gotten by if we just made a film of Chapter Five. That's how much it stood out from the others, from Chapters One through Four: it could definitely stand on its own.
Nasu: There's a definite philosophical undercurrent throughout the entire film. The opening scene. where Tomoe stabs his mother and is escaping down the hall of the apartment complex, is shown (ruin an extremely objective point of view. Chapter Five is just very surreal overall. But then there's also the director Mr.Hirao's unique solidness, so that you never feel that it's surreal.
Takeuchi: Chapter Five has that "This is the Garden of sinners" feel to it, in a different way that Chapter One does.
Nasu: Right, if we were to depict the Garden of sinners seriously, like a romantic novel, this is probably how it would turn out. But doing all seven of the chapters in this style wouldn't have worked. This is what makes it so the Garden of sinners-esque.
Sakamoto: Having each of the directors bring their respective styles to the table was certainly an interesting idea. But something, occurred to me while we were working on Chapter Five. When I received the script for Chapter Five, I had to re-read it over and over just to figure out w here the scenes transitioned, and when the timeline shifted. I had no idea how it would be portrayed on film, but when I saw the finished film. I thought. "So he wrote this with this structure in his head! Amazing!" Tomoe was one of my favorite characters. so I was also looking forward to see how he'd be portrayed.
Takeuchi: When you first see him. the character Tomoe allows viewers to relate to him. I think that's one aspect that sets Chapter Five apart from the others.
Nasu: Unlike the previous chapters, it's not about Mikiya and Shiki - it's about Tomoe and Souren Araya, so that might have given it a sense of uniqueness.
Sakamoto: Also, Shiki's battle scene is incredible. Shiki's too powerful to be true! I remember there were no visuals whatsoever when we recorded that scene. (laughs) I had no idea what I was doing, and later when I saw the film. I thought, "Wow, that's amazing! I didn't know Shiki was moving around that much!" (everyone bursts into laughter) But my favorite scene from this movie is at the end - the conversation between Araya and Touko. Both their acting and their lines were just incredible. I got the feeling that we'd have a really tight ending for this series.
Nasu: For some reason, no one's really brought this up, even though she's appeared in all seven of the chapters, but Takako Honda's acting (as Touko Aozaki) is impeccable every time. Since she's famous for dubbing foreign actors, it was something of a gamble to feature that calm voice in the Garden of sinners, but she was simply amazing. Touko is the least realistic of the characters, and yet she played her as a grounded person.
Sakamoto: For this chapter, it seemed to me that Tomoe was doing most of the talking. There are a lot of Tomoe Shiki conversations, but since it's always been Mikiya and Shiki talking in the previous chapters, having Shiki suddenly talk only to Tomoe just shows how out of sync they are, in terms of what Tomoe's saying and what Shiki's saying. (laughs) There's just no conversation where they're on the same page.
Nasu: That's true. Those two are fundamentally on different wavelengths. (laughs)
Sakamoto: Really, when Shiki starts talking it has absolutely nothing to do with what Tomoe just said. And there's over an hour's worth of those out-of-sync conversations! ( laughs) But alter doing those scenes. I realized that Shiki and Mikiya's relationship must be really special. Tomoe's a good guy, but Shiki's off living in an entirely different world. I'm sure this was planned from the start, but at the end, when you see Shiki speaking with Mikiya, you can tell what kind of relationship they have, compared to what she had with Tomoe. But the more you watch, the sadder it gets. Tomoe is really a sort of foreign object. I felt that he was a foreign object that had entered the Garden of sinners world. He's unlike any of the other characters who appeared in previous episodes. That might also be due to the atmosphere given off by Mr.Tetsuya Kakihara (the voice for Tomoe).
Nasu: Mr.Kakihara's voice is just a bit higher in quality than the rest of the cast. Because of that, we were able to give the impression that Tomoe wasn't like the characters in the other chapters. He was a newcomer who made his first appearance in Chapter Five, or should I say he was a brand-new entity in the Garden of sinners world. You called him a foreign object. Ms. Sakamoto, but actually he's...
Sakamoto: Yes, he's the opposite. But since I always take Shiki's viewpoint, I can't help but see him as a foreign object.
Nasu: That's right. It's exactly the way you just described it.
Sakamoto: Combined with the surrealistic direction of Chapter Five, I thought he was a fresh existence.
Nasu: At first, Tomoe comes off as the kind of character who you think can't pick up on subtext. But in the scene where he's telling Mikiya goodbye, viewers realize, "Hey, he's just like us, he's a normal person." To put it the other way, as someone who's completely ordinary, yet can converse with Shiki and have a relationship with her well, Mikiya is actually the strangest of them all. ( laughs)
Sakamoto: I know, that boy is definitely abnormal. (laughs)
Kara no Kyoukai - Chapter 5: “Paradox Spiral” DVD Q & A pamphlets
Q: What did Tomoe do for meals while he stayed over at Shiki’s place? Don’t tell me… he was eating Häagen-Dazs for breakfast, lunch, and dinner…?
Q: What did Tomoe do for meals while he stayed over at Shiki’s place? Don’t tell me… he was eating Häagen-Dazs for breakfast, lunch, and dinner…? <Alaya Shiki>
Takeuchi: The pile of questions we got about this is just as big as the pile of Häagen-Dazs cartons itself. Or rather, instead of “questions” we should say “in-depth investigations”.
Nasu: Please understand, this was all production’s doing. …Is what I’d like to say, but I practically live off ice cream myself. And I even know of one director that can go three days on nothing but canned coffee!
|Azaka Kokutou • Cornelius Alba • Daisuke Akimi • Fujino Asagami • Hideo Hayama • Kaede Enjou • Kaori Tachibana • Keita Minato • Kirie Fujou • Lio Shirazumi • Mana Ryougi • Mikiya Kokutou • Misaya Ouji • Mitsuru Kamekura • Otoko Hotaruzuka • Satsuki Kurogiri • Shiki Ryougi • Shizune Seo • Souren Araya • Takayuki Enjou • Tomoe Enjou • Touko Aozaki|