Koyomimonogatari

“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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More on Bakemonogatari and Narration

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“At our three-year high school with two hundred students in each grade, you end up sharing a living space with about a thousand people in all during your stay if you include the graduating and incoming classes and the faculty. Start wondering how many of those people mean anything to you, and the answer is going to be bleak for just about anyone.”

-Koyomi Araragi, Bakemonogatari vol. 1

The Monogatari series — both in the light novels and the anime — is known for its verbosity. This is why the Kizumonogatari movies were so novel to me. Nearly all of their storytelling was done visually, removing the Koyomi Araragi monologues and narration that define the Monogatari series. Hiroshi Kamiya’s voice permeates the series, and even later installments of Monogatari Series: Second Season feature monologues from the series’ beloved heroines.

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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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Rene Magritte in Koyomimonogatari Episode 1

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“Everything we see hides another thing. We always want to see what is hidden by what we see.”

-Rene Magritte, Belgian painter

The entirety of Koyomimonogatari Episode 1 juxtaposes two things side by side to create another thing entirely – the modus operandi of Belgian surrealist painter Rene Magritte. Visual imagery throughout the episode reinforces the Magritte influence, the most obvious reference pictured above: one of his more famous paintings, The Son of Man. Present throughout the episode is the stone from The Castle of the Pyrenees, the red drapery from in The Human Condition (among other works), and cut-outs of a blue sky found in the likes of The Happy Donor.

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