monogatari

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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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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[Five] No, Mr Araragi, I want you to die (with me)

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Part of me wishes that I could erase my memory of the Monogatari series completely, and watch Kizumonogatari Part 1: Tekketsu with fresh eyes.

I wonder what I would see. How I would interpret the visual feast that the film provides. If I would have fallen in love with the film as I did with the series in 2009 when I watched Hitagi Senjougahara fall into Koyomi Araragi’s arms, his inner monologue a constant accompaniment.

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