The Child bound to the Statue – Nadeko Sengoku and Jizo

Huh. Nadeko Snake is probably my least favorite arc of Monogatari, not because of Nadeko but just how I don’t find it nearly as compelling as others and I strongly dislike how it ends as well. But this article shed some new light on the arc that I didn’t look at before, especially since I find most people don’t really take her seriously as a character (like myself) until when she invites Koyomi to her house while her parents aren’t home in Nise, or in Otori when her infamous transformation that turned her into ‘worst girl’ begins.

I did not even notice the Jizo statues at first, that is a super interesting piece of cultural context that strengthens the narrative of that arc. I’m gonna have to take another look at this based on what you said.

Very insightful and well written, though.

Senpai Coast to Coast

It’s a common practice in Monogatari fandom – ‘best girl’ ranking. Logic takes a spectator’s seat to the side; watching, but rarely taking part in the tumult of opinion and maelstrom of emotion. There are a few clear heads that stand above all the rest, this much is true, but I think I stand alone in defense of Nadeko Sengoku, the arc Nadeko Snake being one of the most thematically driven and narrative tight arcs of that first series.

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I Love You Too, Monogats

I think I can completely get on board with your thoughts about Monogatari as well. Picking apart all the reasons why I love it just doesn’t do it justice.

But if I really had to, I’d go with the following points:

-The writing is so unique, to me, just because its all dialogue conveying narrative tension of both a comedic and dramatic persuasion. All of the subtext in the text, the inner voice, the stream of consciousness style of writing…its just so unorthodox, and not to sound like a hipster here, but that’s most of all what makes it compelling. That and I love how tongue in cheek and self-aware it is. The humanism is also a big thing, because the way the conversations are conducted despite being staged, they sound and look like how conversations between real people are connected especially when they go off topic/on tangents. As someone who has experienced social ineptitude in the past, this always used to annoy me when I tried to conduct discussions with people, but through Monogatari I’ve come to respect and even appreciate that this is just how people communicate.

-Every character in the cast stands out and belies more than a specific surface archetype, and I feel that each one of them drives the narrative as much as the other. I surely like some more than others, especially as people, but it is undeniable that Monogatari has one of my favorite cast of characters in all of anime/fiction itself.

-I don’t really need to say anything about the visuals and audio that you haven’t already said, but I do love that the background art direction never fails to be relevant to what the characters are discussing/doing or keep me entertained even during long moments of infodumping/exposition/staying in one location that would probably lose my interest in any other show.

-And lastly, its probably that the series strongly compliments my own life philosophy, and I appreciate it for existing because of that alone.

But as you said, none of this breaking it down and trying to explain each element of the series and why it works does it justice. It’s about the experience, and virtually nothing more, nothing less.

Great article you wrote here.

Wave Motion Cannon

Monogatari loves me, and I love it right back. Yet, until recently, I couldn’t really tell you why I loved it.

I could try, but I couldn’t convey my feelings to my satisfaction. There was always some inexpressible something I couldn’t get across. Certainly, I have never been short of positive things to say about the series. In fact, it’s always been easy to express why I like Monogatari: it’s a layered, ever-twisting tale of non-archetypal and broken characters struggling against the idea that they alone can’t fix their fucked-up-ness. Welcome to my wheelhouse.

But, there’s a bunch of stuff in my wheelhouse that I don’t feel super strongly about, stuff that doesn’t resonate as deeply with me as Monogats. What is it about this thing that grabs me so tightly? The fact that I couldn’t adequately express my Monigatari-related thoughts and feelings was actually a bit troubling because it…

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Shinbo is Dead: A New Generation of Shaft

Oh God this one is fantastic…I’m going to have to come back to it though…I’m not 100 percent sure how and if I’m going to respond to it, and I have yet to see enough Shaft anime to properly support this claim (that Shinbo is dead).

Wave Motion Cannon

There are many misconceptions among Western fans about Akiyuki Shinbo and his role at Shaft. Most mainstream anime-watchers venerate him as though he is the sole director at the studio and English sources frequently support that assertion. Indeed, Shinbo is credited as the director for almost all Shaft series that have pages on Wikipedia, and even ANN rarely references anyone else in Shaft-related articles.

While the notion of Shinbo being the only director at Shaft is plainly wrong, I can see why such a myth is perpetuated. In most series produced by the studio he is credited as director (監督) or chief director (総監督), and his style has had a massive influence overall. People tend to interpret this as meaning he is the primary director, having more creative input than anyone else, when in actuality he is simply following the role of studio leader that has helped Shaft stay so…

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