izuko gaen

Here in Monogatari Hell

For high school me, Jean-Paul Sartre’s No Exit was a revelation. It still has a firm place in my heart — The Little Prince was the first book I learned to read in French, but No Exit marked when I really felt that I could actually read the language with any amount of competency — and every subsequent reading has been an experience. It makes me think, even if it also makes me wonder just how much of my own young pretentiousness I’ve dragged along behind me as I’ve grown older.

I’ve often thought about why I return to No Exit. It’s not necessarily a bad thing, but certainly a reflection of my own personal preferences. Then again, Mayoi Hell is specifically about hell, so perhaps this framework fits Owarimonogatari better than most series.

The moment Koyomi Araragi begun wailing to Mayoi Hachikuji about being in hell, I couldn’t help but recall Joseph Garcin’s arrival and introduction to hell in No Exit. There are no torture devices, only a room furnished in the style of the French Second Empire.

Hell is not at all what he expected.

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“I know everything. There’s nothing I don’t know” — more on color theory in the Monogatari series and Izuko Gaen

When examining the Monogatari series’ usage of color, no other arc exemplifies the franchise’s attention to detail quite like Owarimonogatari‘s Shinobu Mail.

Not only does this particular narrative arc showcase specific color patterns within the first episode, but it also gives Izuko Gaen ample screen time, further demonstrating what color can tell us alongside character dialogue and key plot points. Prepped to pay attention to the series’ use of color thanks to the first episode of Shinobu Mail, Gaen’s near-permanent rainbow-tinged sky speaks volumes.

As an aside, I don’t usually post spoiler warnings, but the final few paragraphs of this piece include major spoilers through Koyomimonogatari. 

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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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