monogatari second season

Through the looking glass and what Koyomi Araragi found there

A few days before my high school graduation it struck me. I was staring out of our front bay window past the dying spider plant that hung on the right side looking towards the cloudy sky and thinking of nothing in particular.

It was the morning after a lock-in party that my school organized for the senior class as part of our senior week. I had been up all night. The day was empty with no classes, no senior activities, no preparation work, and no parties. My college had already been decided upon months ago and I had already attended pre-orientation where I had registered for classes in the coming fall.

I had nothing to do but catch up on sleep lost from staying up for over 24 hours, yet I had crossed a particular overtired threshold that looped back into being wide awake. In that moment, the day ahead seem to stretch out endlessly. School life, especially in junior high and high school, is regimented and organized. Without that order, I came to the realization that I would never have it again.

My high school life was over.

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[Two] I am thou, thou art I: the end of Monogatari (Owarimonogatari Season 2)

“I had believed that not taking care of myself was the act of loving others. The days of kind deception, filled with thin, weak euphoria have now come to an end.”

-Koyomi Araragi, Owarimonogatari Season 2, Episode 7

The Monogatari franchise is often incorrectly labeled as another harem where the male lead (Koyomi Araragi) saves a bevy of cute girls. Bakemonogatari starts this way, Nisemonogatari meanders, and it’s not until Monogatari Second Season that the series really begins unravel preconceived notions of the audience and in-universe characters. At the end of the long, emotionally-exhausting, and verbose journey, the series lays everything bare. Monogatari is not about saving others. It’s about saving yourself.

And only you can save yourself.

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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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Color Theory in Shinobu Mail and the Monogatari Series

The Monogatari anime adaptation has always paid close attention to color. Although SHAFT can — and has been, rightfully so in my opinion — criticized for their lack of animation at times while drawing the Monogatari series into its animated form, there’s no denying its purposeful style or cinematography, which changes from narrative arc to narrative arc

Along with other stylish visual choices that set the adaptation firmly apart from its source material, color creates an ancillary emotional narrative, or helps direct the viewer’s attention to a specific character, even if that character is offscreen.

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