Later, while spying on Sala at the oasis, the child Yu-no shows Takuya her underwear and promises to let him have access to her body when she is older: “Papa, I’m going to get big one day too. […] Then I’ll let you look at them [my breasts] as much as you want.” When Yu-no later persuades Takuya to have sex with her, she calls back to this moment and alludes to her rivalry with her mother for her father’s sexual attention: “But my breasts are already bigger than Mama’s.” More-or-less accurately assessing the dynamic, Sala initially assumes Takuya is a pedophile who keeps Yu-no as a sex slave:
Further ratcheting up the pedophilia, Takuya and Sala thereafter have sex in front of Yu-no because “[h]aving sex in front of a child [is] pretty arousing, don’t you think?” Yu-no interprets seeing “Papa’s manhood” as a dream, and Sala (and Kanno) treat Yu-no staring at her father’s erect penis as endearing fun. The Oedipal pattern has become so overt as to warrant no deeper interpretation. There is not a moment’s implication that any of this might be unhealthy or dangerous. The music, narrative progression, warm colors, and writing treat Yu-no and Takuya’s relationship as sweet and romantic.
Yu-no’s character is not Oedipal only in the sense of her personality revolving around a sexual attraction to her father but in that she views her mother as her rival, as her remark about her breasts being larger than Sayless’s implies. In the courtyard of the God Emperor’s castle, while flirting with Takuya, Yu-no describes her childhood: “I was battling over you with Mama all the time.” She elaborates:
She and Takuya reminisce about Yu-no seeking out her parents when they were having sex to interrupt them out of jealousy that she was not having sex with her father. Sayless, Yu-no claims, wielded her psychic powers to invade her mind, mirroring, in a more fantastical fashion, the abuse Koudai visits on Takuya in their own Oedipal rivalry. Yu-no is wholeheartedly the subject of this Oedipus complex even as she is the object for Takuya and the player, and it is a full Oedipus complex.
The strangest shift in Yu-no’s character occurs after she and her father are reunited in the Imperial Capital, when, for an instant, Yu-no appears to subvert the lolicon wet dream. Yu-no appears, talks, and behaves like an adult—whose body “has gotten all kinds of voluptuous,” in Takuya’s words, though in Dela Grante years she still cannot be an adult. Like her mother and like Kaytia, Yu-no has become a fanatical priestess devoted to the same theocratic dictatorship that recently enslaved and tortured her father. Notably, in this mature and intelligent state, Yu-no is armed, “closer to a knight […] than to a frail woman like Sayless” or Kaytia, and rejects Takuya’s potential sexual advances. If the player chooses “Embrace” from the action menu, Yu-no, sword tip at Takuya’s forehead, says,
When Takuya later frees Yu-no from the God Emperor’s brainwashing apparatus, her voice again becomes high-pitched, and, naked, she rushes to embrace Takuya while babbling “I love you I love you I love you!” and delivers a double entendre implying her father has an erection. A contrast, to say the least, to her ostensive adult personality. Cuddling with Takuya outside, Yu-no expresses disappointment that her father is not attracted to her: “Well… I’m already an adult, you know?” Takuya, meanwhile, chides himself for “getting all excited” over “a kid,” acknowledging she is not an adult even as the menu options, corresponding to Takuya’s thoughts and continuing to encourage the player to sexualize their daughter, include “Touch” for Yu-no’s “Breasts” and “Ass.”
