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[Nine] Tsubasa Hanekawa’s Vacation — Koyomimonogatari

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One of the Monogatari series’ greatest strengths is its inadherence to chronology. It often eschews placing events in chronological order to focus on a particular emotional narrative or relationship. The anime adaptation plays with this visually, revealing tidbits in background details that further inform viewers upon rewatching the series as a whole.

Koyomimonogatari is a series of short, seemingly frivolous episodes tertiary to the main storyline. They’re short diversions that span the length of what Monogatari arcs have aired, plopping the viewer into the center of that specific timeframe before jumping ahead to the middle of the next narrative arc. Chronology is usually discarded by the Monogatari series, but it has a deliberate role in Koyomimonogatari.

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Monogatari Collection: Koyomimonogatari

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One of the Monogatari series favorite tricks is playing with chronology. Adapting from the original Nisio Isin light novels which are also technically out of order chronologically, the anime series similarly scrambles the chronological order of its narrative arcs. This refocuses the series on the emotional development of specific characters that would otherwise be lost if the story was told in chronological order.

Airing immediately after Nekomonogatari: Kuro, Nekomonogatari: Shiro is the shining example of the Monogatari series’ success. Placing the two side-by-side thoroughly explores Tsubasa Hanekawa’s character growth from a time before the first Bakemonogatari series — and immediately after Kizumonogatari, the first arc in the chronological timeline — to nearly four months later.

Koyomimonogatari is a series of short stories collected into one light novel that span a large amount of time across what viewers are already familiar with, including the recent Owarimonogatari arcs of Ougi Formula, Sodachi Riddle, Sodachi Lost, and Shinobu Mail along with the theatrical release of Kizumonogatari‘s first film.

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Knowing What She Knows: Tsubasa Hanekawa

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“You’re not happy because you’re not trying to be happy. Nobody can make someone who isn’t trying to be happy into someone that’s happy.”

-Tsubasa Hanekawa to Sodachi Oikura, Owarimonogatari, Episode 5

Had this line been spoken by anyone but Tsubasa Hanekawa, it would have rightfully been dismissed as a treacly platitude, meant to prod the recipient into action. Instead, it acts as a powerful summation of all that Hanekawa has gone through in search of her own happiness and self-acceptance. Hanekawa was in Sodachi Oikura’s figurative shoes not long ago, and remembers all too well how she blocked out vital parts of herself in pursuit of perfection rather than addressing her innermost desires and seeking out personal contentment.

Owarimonogatari‘s Sodachi Oikura offers not only a reminder of the Hanekawa of Nekomonogataris past, but additionally provides a mystery on which the new, self-assured Hanekawa can cut her teeth.

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The Secret in the Old House: A Sodachi Oikura Mystery

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“When you think about what is scary in this world, those that despise you for some incomprehensible reason and attack you are the scariest. There’s no way to deal with it, because you don’t know the opponent’s objective.”

-Koyomi Araragi, Owarimonogatari, Episode 2

And so begins the search for Sodachi Oikura’s motive, along with the supposed “end” of Koyomi Araragi.

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A Story of a Doll and a Snake: Tsukimonogatari

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“That is why this is the beginning of the end. About how a human named Koyomi Araragi. About how myself, Koyomi Araragi, is going to end and begin.”

-Koyomi Araragi, Tsukimonogatari

Koyomi Araragi says that Tsukimonogatari, the story of Yotsugi Ononoki, marks the beginning of his end. However, he only speaks of the end that he is aware of. There are a variety of ends for different facets of Koyomi. The most interesting end begins not with Ononoki, but with Nadeko Sengoku.

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