tsubasa hanekawa

[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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[Nine] Tsubasa Hanekawa’s Vacation — Koyomimonogatari

hanekawa tsubasa hands free cell phone koyomimonogatari, koyomi sand koyomimonogatari hanekawa tsubasa, tsubasa hanekawa talks to koyomi araragi on the phone koyomimonogatari koyomi sand

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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The Consequence of Sound — Kizumonogatari

koyomi araragi stares at tsubasa hanekawa's panties kizumonogatari, kizumonogatari movie koyomi araragi, koyomi araragi kizumonogatari

2:24.

This is the exact amount of time that the opening moments of the first episode of Bakemonogatari goes without lead Koyomi Araragi speaking a word.

“A better decision than dodging, wasn’t it?”

The first words out of Hiroshi Kamiya’s mouth as Araragi form this question, followed by an immediate and unsure retraction that devolves into a constant stream of Araragi’s innermost thoughts.

Upon revisiting the first episode of the series — going by initial airdate, not chronology or any other measurement — I was shocked to find that he went this long without speaking. Araragi’s voice is synonymous with the Monogatari franchise at this point. His monologues long-winded, his conversations unnaturally verbose — Kamiya’s specific Araragi tone is etched in every viewer’s mind who has watched Bakemonogatari or other parts of the series. When I picked up the Kizumonogatari novel, I somehow heard Kamiya’s voice in my head, despite reading it in English, not Japanese.

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