Never growing but instead shrinking his world and society and limiting his sexual desires to only his daughter, Takuya remains as he was at the beginning: the same as Koudai, a short-tempered misogynist who snaps at his baby son,
For seeing his child as a sexual rival for his wife who looks like his mother, Takuya tells his baby daughter,
As Koudai sexualizes his underage child, Takuya does as well, ultimately having sex with her. As Koudai, like a porn Robinson Crusoe, treats Kaytia as a pet rather than a fellow person, changing her name as he might a dog’s—“I named her Keiko”—Takuya acknowledges that his own wife, Sayless, who matches his father’s wife, is like a “puppy” and then falls most profoundly in love with a child whom, like a pet, is emotionally dependent upon him and mindlessly loyal.
Koudai shows Takuya no love save for in a few moments of the Epilogue, most importantly the ending, and in a flashback in the Mio route in which he approves of Takuya’s aggressive masculinity for having beaten up someone for (what else) insulting Kaytia. Only after Takuya deflowers his own daughter does his father seem to express broader love for him. Where in the Prologue and ADMS segment, the player avatar, Takuya, is the subject of the incestual longing, in the Epilogue, the player character becomes the parent and the object of the same dynamic. In the opening dream of Kaytia, Koudai cites the origin of his abuse of Takuya being the boy’s dependency on his mother:
As a small child, Takuya clings to Kaytia. In the ending, now an Oedipal parent, the authority figure to whom the child clings instead of the child clinging to an authority figure, Takuya has become a man as Koudai understands it. He has satisfied the “expectations” that, in the Prologue, he regrets not living up to.
