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.
“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.
“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.