Owarimonogatari – 09

omg91

After escaping the trap of the snail by going over the rooftops, Koyomi and Kanbaru encounter a crab-monkey hybrid. Once they deal with it (and as a fellow left-hander I feel for Kanbaru mixing up directions), snakes emerge, which Shinobu grabs, then lends Kokoro-watari to Koyomi to finish the demi-apparition off. All of the animals that afflicted Koyomi’s girls are coming back, and all seemingly in service of the samurai.

omg92

After lying under Shinobu as she swings—revealing a small sticker with Gaen’s location, the shrine—Koyomi heads there with Kanbaru and Shinobu. When Koyomi describes what the samurai was after (and imitates his laugh all too perfectly, another clue as to who he is), Shinobu is incredulous. The minion she created, from whom she took Kokoro-watari…she watched him burn up in the sun and die 400 years ago.

omg93

He can’t be back, she insists; This is all some kind of lie or trick. But when they meet up with Gaen Izuko (introducing herself as Oshino Izuko to Kanbaru and Shinobu, who seem to buy it), and Koyomi tells her everything that happened, Izuko disputes Shinobu’s assertion the first minion is dead.

omg94

While her scenes are primarily exposition, she inhabits a variety of interesting environments as she provides it, eventually whipping out “game pieces” of all the Monogatari characters. She makes connections between the first minion and Koyomi, the second minion, and describes coincidences that weren’t coincidences, like the fact that the first five animal apparitions infected five of his female friends, and later phoenixes and cats and tigers.

omg95

She then takes things all the way back to four centuries ago, glossing over Shinobu’s story (because Shinobu already told it, and beautifully so) and focusing on the first minion, who became so after Shinobu drank his blood. He came to loathe what he had become, but that loathing couldn’t change the fact that his immortality was such that even burning up in the sun would not kill him, only disperse him into a cloud of ash.

Over 400 years, exposed to the elements and through trial-and-error, the first minion resurrected, not necessarily because he wanted to but because that’s just what happened. And the final reveal, that the minion was finally successful in coalescing fifteen years ago, leads us to wonder if he’s someone Koyomi already knows…the fifteen-year-old Oshino Ougi, for instance.

8_ses

Owarimonogatari – 08

omg81

After Ononoki Yotsugi saves Araragi and Kanbaru, Araragi asks if he can take Kanbaru home because she needn’t get involved. But Yotsugi isn’t okay with that. Not only did Araragi promise her master Gaen Izuko that he’d bring Kanbaru to meet her, but by not only touching but punching the suit of armor, Kanbaru is already inextricably involved. Taking her home wouldn’t necessarily be the best thing for her safety. Yotsugi drives this point home by pressing her bare foot into Araragi’s face, which is a weird way to admonish someone!

omg82

So Araragi carries Kanbaru to the aforementioned rendezvous point. When she comes to, Kanbaru is so excited about being carried she locks her arms and legs around her upperclassman, demanding to remain on his back. But then she notices they’re going the wrong way, and after an hour, Araragi can’t find the right way.

Either due to the samurai or some other apparition (like the one that affected him and Mayoi), they’ve become lost. Araragi calls Gaen, but she just tells him to figure it out on his own, otherwise he’s of no use to her. Harsh! Anyway, it’s his cute, reliable, and above all extremely athletic underclassmen who bails them out of the situation by climbing a telephone pole and charting a route that doesn’t rely on conventional paths.

omg83

Due to the delay and detour, they don’t get to the rendezvous at the park until three in the morning, and Gaen is nowhere to be seen. Again, Kanbaru comes in handy quickly combing the park. She doesn’t find Gaen, but she does find Shinobu sleeping under a swing. She wakes up and tells Araragi she’s there because Oshino’s master (Gaen) intends to restore their (Shinobu and Araragi’s) pairing.

She also bears the marks of some kind of recent battle, which she says isn’t quite over yet. Sure enough, a figure starts to draw near to their position, silhouetted by the rising sun (or some other light)…a menacing figure with a giant crab claw. This has been some night!

8_ses

Owarimonogatari – 07

omg71

With Sodachi’s arc completed, we rewind a couple months to before Araragi met Oshino Ougi in the first episode. Araragi has Kanbaru Suruga to meet him at the cram school. Kanbaru is her usual bright, cheerful, sexually aggressive self (she assumes she was summoned so Araragi can take her virginity, and she arrives braless).

Sawashiro Miyuki knows this character through and through and really sinks her teeth into her portrayal of a girl we haven’t seen in some time and, frankly, missed. Noting her pre-Hanamonogatari long hair, it fascinates me how Araragi’s girls seem to swap hairstyles through time.

omg72

Things couldn’t be more affable as Araragi struggles to tell Kanbaru the real reason for their meeting: to ask her if she’ll help him out with something, and to go to another rendezvous point to meet someone. Flirting and clever wordplay ensues, but then the two hear some loud noises, and a giant suit of samurai armor enters the classroom.

Kanbaru wastes no time tossing Araragi aside and charging at the armor, but every time she touches it, it grows stronger and she grows weaker, until she passes out from an energy drain, something Araragi knows to be a vampire power. The transition in atmosphere from happy and playful to dark and dangerous is nicely handled. It’s also the first time in a while Araragi is up against a physical threat, unless you count Oikura’s slaps.

omg73

With Kanbaru down, Araragi steps up to the plate, but there isn’t much he can do and the armor starts to choke the life out of him. Kanbaru prepares to sacrifice herself for her beloved senpai, despite his wanting her to run, there’s no way she will. The impasse is broken by pink flames that surround the armor, which Kanbaru believes are the work of Hanekawa.

omg74

The armor retreats, but Araragi and Kanbaru are stuck in the burning building. Kanbaru asks him to take her virginity before she dies, but Araragi shoots that idea down, as he has a better idea: try not to die, by jumping out a window together. That somewhat reckless action is preempted by an explosion that extinguishes the fire: an explosion caused by one Ononoki Yotsugi, whom we last saw in Tsukimonogatari (which also takes place after this episode).

This episode got off to a slow-ish start that was mitigated by the return of Kanbaru, then became a tense test of Araragi and Kanbaru’s mutual devotion to each other, which they naturally aced. And with the title of “Shinobu Mail” and the armor demanding Kiss-shot (AKA Shinobu Oshino) return the sword she borrowed from him centuries ago, I imagine the blonde vampire herself will be making an appearance before all’s said and done.

8_ses

Owarimonogatari – 06

omg61

When it’s time to solve the mystery of how Oikura’s mom disappeared from a locked room, it’s not surprise that Ougi shows up to cramp Hanekawa’s style. For someone whose face is essentially a mask, she sure doesn’t mask her contempt for Hanekawa and her large boobs, which she feels are exclusively responsible for stealing Araragi away from her.

As usual, I’m not sure how much of what Ougi says is serious and comes from her heart, because I’m still not sure she has a heart, and isn’t some kind of strange construct or apparition, in contrast to all the flesh-and-blood girls in Araragi’s life. She says all the things a jealous underclassmen who likes him would say…but does she really mean them?

omg62

I hope we’ll find out later. In the meantime, we have an arc to conclude! And conclude it does, with Hanekawa answering Ougi’s challenge and coming to the same conclusion as to what happened to Oikura’s mom. That leaves Araragi as the only one yet to realize the truth…and it’s a truth Hanekawa would rather Oikura never be told and never know for the rest of her days, not matter what immediate benefit could arise from telling her.

Still, she agrees with Ougi that it’s something Araragi must figure out for himself and make his own choice. They start offering subtle hints, and he keeps coming to the wrong conclusions, so they give him less subtle hints (over forty of them!) until he’s finally got it: Oikura’s mother starved herself to death, and for two years, Oikura took care of a corpse, until it eventually decomposed into nothing recognizable, giving the impression she disappeared, while she actually “evaporated”, like boiling water.

omg63

It is indeed an awful truth, and one Araragi and the other have no idea how Oikura will react to. But Araragi decides he’s going to tell her. He’s through looking past/overlooking Oikura, as he has for the last six years, as she overlooked her dead mother for two. He’s going to see her, look her straight in the eye, and tell her the truth. It’s a long walk back to his apartment, and the sequence of camera shots in the intensifying sunset make that walk a beautiful occasion.

omg64

Oikura takes the news far better than Araragi expected. More importantly, learning the truth (or perhaps, having it confirmed by someone else) made it that more real, and that much more releasing. Turns out Oikura is moving to a smaller municipal condo, and transferring out of Naoetsu High. But she went back to her class anyway when she knew Tetsujo was on leave, hoping something might change. In the end, Oikura is smiling, but not demonically, before the bright sunset. And the brightness isn’t hurting her.

Now that things avoided have been remembered, things at a standstill can move again. Because what was done with the truth was more important than discovering it, Ougi later concedes this particular case was her loss, also admitting she was wrong that Araragi would turn tail and run like he had in the past. But helping Oikura find change helped him to change too.

Oikura visited Senjougahara and they made up, and she left to start her new life. But not before taping an envelope under Araragi’s desk. This time, it had something in it: several pages. What exactly it was is kept a mystery (which I like), but whatever it is gives Araragi a laugh, so I like to think it’s a reversal of the message the earlier empty envelope sent.

9_ses

Owarimonogatari – 05

omg51

Oikura knew Araragi’s parents were cops because they were the ones who got her out of her abusive home and had her live with them. Araragi can’t remember on his own, but that’s not entirely why Oikura despises him. As we learn during one of the more powerful sustained monologues in the Monogatari franchise, and a chance for Inoue Marina to remind us just how good she is when she sinks her teeth into a role.

omg52

As hostile as she is to both Araragi and Hanekawa (throwing tea at the former, which the latter catches with her cat-like reflexes), she still seems to get a lot off her chest and be better for it. She also comes off like never before like a deeply wounded individual; a lost soul who has given up hope.

It’s already the end for her; after all the punishment she’s endured in her still short life—physical and emotional—she believes she’s too frail for happiness, so she despises it along with herself and everything else in the world.

omg53

That punishment includes having to watch Araragi’s perfect family seem to “show off” in front of her. She’d glare at them in resentment, or for not knowing how different they regard “normal family life”; in other words, how much they take love for granted. Oikura was never given love. Her parents divorced, her mother became reclusive and never left her room, and Oikura had to take care of her, until one day she was just…gone.

After all that, Araragi forgetting all about her and giving her nothing in return for what she gave to him throughout their encounters, reveals itself as simply the tip of a very nasty, despairing iceberg. Inoue mixes dread and malice with tones of black humor and feigned happiness in Oikura’s delivery, heightening her aura of imbalance; a spinning top about to fall off a table.

omg54

She made Araragi a villain despite his relatively small contribution to her wholesale suffering because she needed to blame and despise someone other than her parents (which neither she chose nor who chose her) or herself just to keep going on. Whenever she got near the happiness Araragi seems to ooze, it felt either too bright or heavy for her frail, scarred self to survive.

Happiness, she believes, will kill her just as efficiently as the emotions on the other end of the spectrum. So she’s settled for something a little more moderate on that scale, and it’s slowly dissolving her heart. Araragi tell her happiness can’t do that, and there are many kinds that would work for her. But Oikura lacks the ability to access them.

What she needs now, more than anything else, is to continue being heard, and being in the presence of others. When she kicks them out, Hanekawa says both she and Araragi will keep coming back, because “troubling those we care about is how we do things.” It’s pushy, but it’s also something Oikura needs to hear: someone cares about her; is fond of her; and she’s several decades too early to be talking about endings. 

9_ses

Owarimonogatari – 04

omg41

Having thoroughly explored his past with Oikura in Sodachi Riddle, Sodachi Lost begins with Araragi describing Oshino Ougi as “Oshino Ougi.” She is she, and cannot be expressed by nothing else. In other words, the detective is the ultimate mystery, at least to Araragi: he’s learning more about himself, and she’s learning beside him…but he continues to know nothing about Ougi, other than she’s Ougi…and has the guts to lock horns with Hanekawa Tsubasa.

Tsubasa plays a much larger role this week, as she, not Ougi, accompanies Araragi to Oikura’s present home. As we learn about the origin of such an arrangement, it becomes clear Tsubasa is concerned about Ougi’s influence on Araragi these last three days. And whenever Tsubasa is concerned, I’m concerned. She’s with Araragi far more out of a desire to isolate him from Ougi and take the measure of him than she is to make Oikura more comfortable with the visit.

omg42

It’s chilling how close she comes to losing Araragi to a day of non-revolving celebratory sushi with Ougi. From the way Tsubasa is acting, I couldn’t help but dread a scenario in which Araragi went with Ougi. This is partly because I know, like and trust Tsubasa a lot more than Ougi, and partly because I knew from the present events at the episode’s beginning that Tsubasa won this fight, which felt like a victory.

There’s also the fact that Tsubasa and I both see now that Ougi is influencing him in some way, and there’s a possessive predatory aura to her presence, like she’s the very “possessing spirit” she herself says she’ll be if she went to Oikura’s with him. When Tsubasa and Ougi face off, it’s like fire vs. water; warm vs. cool. And the close-ups are, as always, stupendous.

omg43

Ougi isn’t letting anything Tsubasa says get to her, and it seems effortless. Tsubasa receives a surgical salvo of barely-veiled insults from Ougi, and you can see her blood start to boil. When Ougi speaks, the traffic behind her (exclusively Datsun 2000s, naturally) is stopped. When Tsubasa returns fire, the cars flow freely. The refinery belches more and more smoke into the reddening sky as their “coversation” heats up.

Finally, once Tsubasa has offered to go with Araragi, she and Ougi turn to Araragi himself to choose. He’s bombarded with reasonable arguments on both sides, but finally chooses Tsubasa when she offers to let him touch her boobs. Mind you, there’s a few beats when that punchline that ends the battle so decisively simply hangs out there, as if Araragi is really that shallow.

omg44

Then Araragi dutifully clarifies in voiceover that he didn’t choose Tsubasa so he could touch her boobs, but because something was “highly unusual” about a situation in which Tsubasa would make such an offer. That he got that feeling, to me, means he hasn’t been totally “lost” to Ougi, whatever that entails. Though it’s funny that Tsubasa might’ve taken his choice of her as a literal sign he just wants to grope her.

Whatever Araragi’s motive(s) for picking her, I think he made the right choice, and this round goes to Tsubasa, while Ougi stands around alone (which would be sad if I was certain she wasn’t some kind of succubus). Also, Araragi has finally come to the door of the Oikura of today, who hasn’t come to school since their last encounter.

The door is open, only a crack, and within awaits darkness, and a girl who despises him so much she’d rather come to the door in pajamas—or naked—than bother dressing for him. Oh, and she knew about his parents’ job because as it turns out, they’ve known each other since grade school. I suspect this latest encounter is going to be very interesting.

9_ses