Monogatari & the Extinction of the Harem (Part 2) – Mage in a Barrel
One of the main aspects of the Monogatari series that entices me so much is the consistently budding relationship between Araragi Koyomi. It's by design that only after the relationship between Hitagi and Kaiki here to titillate,” but it often seems like that's not Monogatari's purpose. After the accomplishment of their mission with Mayoi, Hitagi admits that she loves Koyomi, and she subsequently enters into a relationship with him.
Later that day, she confronts Koyomi about how he found out her secret and threatens to hurt him unless he promises to keep quiet about his discovery. Koyomi, in spite of this, declares his intention to help, showing the completely healed wound where Hitagi implanted a staple into his cheek moments earlier.
Shocked by Koyomi's immediate recovery, Hitagi decides to accompany him on his trip to the person who might be able to turn her back to normal: She learns from Meme that she was inflicted by an oddity called a Heavy Stone Crab or "god"who took away her weight in a past encounter with it.Senjougahara and Araragi go stargazing
Although reluctant to cooperate with Meme, who reminded her of the scammers who once visited her with the same promises of turning back to normal, she agrees to follow Meme's methods, and is even willing to payyen for his services. Hitagi is then put into a situation where she would recall the memories of her life.
Afterwards, the heavy stone crab manifests in front of her, visible only to Hitagi herself. Although the unpredictable behavior of the entity forces Meme to intervene, Hitagi manages to plead to the heavy stone crab to lift its influence from her. The heavy stone crab grants her wish and departs, leaving behind Hitagi with the burdens of her childhood on her shoulders.
She begins to cry while Meme explains her resolution. After the ordeal with the heavy stone crab, Hitagi shows her gratitude to Araragi and he becomes her first friend after a long time.
Mayoi Snail This section contains content from Bakemonogatari. Hitagi shows up in a black blouse in the park. Hitagi meets Araragi by chance in Namishiro Park dressed with a set of clothes she just bought. She and Araragi talk about several things, including how she would repay him for his help in turning her back to normal, and she considers unusual methods to return the favor, much to Araragi's shock.
Soon, Araragi's attention is shifted towards a young girl who seems lost. Following Koyomi's advice, they help the girl, named Mayoi Hachikujion her way back home, but they soon find themselves unable to reach the address.
On her return trip to the park where Araragi is, she finally confesses that she had been pretending to have been aware of Mayoi's presence and that Araragi is the only one inflicted by the oddity i. According to Hitagi, Mayoi had already died years ago, and people who are victims of the lost cow often have problems at home. This causes Araragi and Tsubasa, who also has problems of her own at home to be able to see and interact with Mayoi.
Nonetheless, Hitagi decides to help out with Mayoi's problem, showing an alternate route that is supposed to confuse the oddity by introducing roads that Mayoi has not seen before. Hitagi, Araragi and Mayoi soon reach the remnants of the former Hachikuji residence, now simply an empty lot, and the two witness Mayoi's fulfillment of her final objective before moving on.
After the accomplishment of their mission with Mayoi, Hitagi admits that she loves Koyomi, and she subsequently enters into a relationship with him.
THE Mayoi Snail Analysis!
Suruga Monkey Edit To prepare for the school's midterm examinations, Hitagi prepares a group study session with Koyomi. In one of those sessions, she prepares the money she owed Meme after curing her of her unusual condition. However, Araragi forgets to take the money with him, so Hitagi goes to catch up with him.
She later happens across Araragi who had been badly wounded by an attack that he tried to explain as "a bike accident gone horribly wrong" and helps him recover in her own unusual way.
Hitagi soon hears about Araragi facing her middle school friend Suruga Kanbaru from Meme himself and, seemingly as Meme planned, intervenes with the Rainy Devil's relentless attacks against Araragi. After scolding Araragi for dealing with things without her knowing about it, she confronts Suruga, telling her that she will not forgive anyone who would kill Araragi before reconciling with her friend. After the Rainy Devil leaves Suruga behind, the two become friends once again.
Nadeko Snake Edit Senjougahara decides to give Kanbaru some time together with Araragi so that the two can be friends after the events involving the Rainy Devil.
She even allows Kanbaru to choose a necessary punishment for him if Araragi ever gives her trouble, much to Koyomi's worry. Tsubasa later considers this move by Hitagi as rather alarming, as it would force Koyomi into a situation wherein he would end up helping others at the expense of hurting another's feelings. They find out that Oshino has left, and Araragi realises that Oshino never liked goodbyes, so he had said goodbye to Araragi the day before without him realising it.
The final scene of the arc shows Senjougahara, Hanekawa and Araragi in front of the cultural festival, most likely running it and enjoying themselves.
Bakemonogatari (Light Novel) - TV Tropes
Koyomi Water This section contains content from Koyomimonogatari. Karen Bee Edit This section contains content from Nisemonogatari. Hitagi captures Koyomi under the excuse of "protecting him" and detains him inside an unknown location. During this time, Hitagi provides food and drink to Koyomi while he is chained up to the wall, but later allows Koyomi to get away from his restraints after she relays a message concerning his sister.
She later reveals that she has been "working for" Tsubasa in confronting Deishuu Kaikithe first of five conmen who had swindled away much of the Senjougahara family's earnings, after his arrival in town and his influence on the middle school where Koyomi's younger sisters are studying in. Initially, she planned to take Kaiki down herself and refuses any help, even from Koyomi. However, after a short talk with Koyomi, who shares Hitagi's feelings against Kaiki due to Karen's oddity -related sickness, she allows Koyomi to join her.
If not a joke, the next argument usually follows: No, even less so. Shifting all weight to a parody and deconstruction footing results in an equally lopsided stance and faulty viewpoint. Monogatari is not character narrative with unrelated islands of sexual dissection. Such a structure would result in a lack of story cohesion, a particular strength of the series. Quite simply, claims of deconstruction are absurd. Nothing in the series stands as a satire when it comes to sexuality.
Satire is the most subtle child wrought from deconstruction, and its absence points to the absence of its parent. At the heart of this lazy argument is the confusion of parody versus satire. Put simplistically, the confusion of mimicry and mockery. Lascivious scenes are placed in very key moments throughout the show: What good does a random, unattached dissection do us? So what is the point? Each scene of sexually directly personifies the relationship of the involved characters. The greatest strength of Monogatari is its dual narrative.
The basic formula often plays out: Telling the same story using two different perspectives is a common cinematic technique, and part of the reason the characters in Monogatari are so strong.
The fact that these scenes are memorable, means that they did their job. But discourse without application is conjecture. When modern civilization finally crumbles, our successors will one day stumble upon Nisemonogatari, episode eight and will never look at toothbrushes the same again.
The entire episode is is an euphemism for sex. But that is the goal. Come the end of the Karen Bee arc, the two Araragi siblings do not see eye to eye. They fight, nearly to the death, and then the arc is over.
The issue with Kaiki and Karen is left unresolved and is never brought up again. The funny thing is, Araragi was not the villain of the Karen Bee arc, Kaiki was.
In animation, a character is not the same as an actor. An actor lives and breathes, while a drawn personage does not. Art by its very nature is not what it resembles, but does just that, resembles the subject. Thus animation has the advantage in that a character can maintain an aura of symbolism, of representation. These characters, while different and distinct in all sense of aesthetic, sound, and even role, can occupy the same symbolic space.
That is, two characters can share enough in common that what they represent can merge into one cohesive idea. This concept is true on all levels. Even for opposing characters exhibiting perpendicular motifs, contrary motivations.
Such is the case with Koyomi Araragi and Kaiki Deishu. Kaiki is exclusively propelled by money, Araragi, by sex, in a narrative where sex equals stronger bonds and relationships. However, both discourage Karen from being a hero, and thus occupy the same symbol space.
In this context, the visual resolution of toothbrushing makes sense. It resolves the sibling fallout and resentment towards Kaiki at the same time. The depiction of sexually directly personifies the resolution between the two characters.
The very next paragraph to follow, Hanekawa approaches Koyomi, forcing her friendship on him. Nisioisin is a master at manipulating our emotions, using a splash of sensuality to charge us with energy right before plot progression takes place. What is really going on here is actually much more complicated, as we are missing a piece of the story, namely Kizumonogatari.
So scrap prior set up — what does this scene offer? That shot alone is the key to explaining it all. She enters, erupting from the shadows on the floor in a burst of red petals, and in the background, the image of a lotus adorns the wall. The set itself is not a bathroom at all, nor is it limited by four walls. The space in which this all takes place is impossibly huge, unable to contain the size of the scene; it resembles more of an onsen.
Before entering an onsen, it is customary to clean, to purify, before soaking in the hot water. This is exactly what Shinobu does, and Araragi assists by washing her hair.