Nisioisin, Nietzsche, and the Tyranny of Morality

Management: While my opinion of the show is generally positive overall, this essay, by no means, is meant to serve as a comprehensive review, but rather, as an articulation and analysis of some of what I feel is this series’ most integral and interesting themes. This essay discusses Zaregoto, Medaka Box, Katanagatari, and The Monogatari Series. Several points on The Monogatari Series were borrowed from previous posts on the show here, here, and here.

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The first Nisio Isin/Nisioisn work I encountered was The Monogatari Series, specifically Bakemonogtari. Nisemonogatari followed shortly after that.

I admired how closely the narrative formula of Bakemonogatari’s supernatural apparitions and normal school girls paralleled Sigmund Freud’s concepts of neuroses. Ambivalent feelings and beliefs become so sharply contested between the other for dominance that a cognitive dissonance, an unbelievable amount of mental and emotional stress, is almost bound to plague the person afflicted. Take, for instance, Hitagi Senjougahara’s conflicting feelings of affection toward the mother that raised her and rejection toward the mother that let her almost get raped. To avoid this debilitating stress, a person may develop a neurosis. A neurotic dissociates himself/herself from the current reality that is painful and a creates a new reality that isn’t. In the Monogatari verse, neuroses manifest as the oddities of the series. For Hitagi, that oddity was a weight crab deity that unburdened her of both the physical weight of her flesh and the emotional weight of her feelings toward her mother, feelings pleasant and painful.

And then I watched Nisemonogatari, an addition to the Monogatari franchise, I’m told, wasn’t originally supposed to be published and, given this fact, should be seen as more frivolous than fascinating. Fascinated I was though by what I saw despite its fan service, especially with anything involving Kaiki Deishu, but for reasons I wasn’t initially entirely sure of. I felt there was some profound message that Nisemonogatari was trying to communicate that wasn’t entirely pretentious. I also felt there was more thematic fruit to Bakemonogatari than I originally took for digestion.

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Sunday Without God: Empathy for the Undead

Management: While my opinion of the show is positive overall, this essay, by no means, is meant to serve as a comprehensive review, but rather, as an articulation and analysis of some of what I feel is this series’ most integral and interesting themes. While this piece will reference other parts of the show, this essay will primarily break down the events of Episodes 1-3, which cover the Valley of Death Arc, Episode 3-6, which cover the Ortus Arc, and Episode 9, “Where Gravekeepers Are Born.”

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I wrote a piece some time ago about Kino’s Journey and the importance of approaching the different countries in the show visited by Kino and, by proxy, the audience through the anthropological lens of cultural relativism. What may be seen within a culture, different from our own, as an illogical lifestyle and a barbaric morality to the foreign observer looking from without may be a completely reasonable lifestyle and acceptable morality to the native participant engaging from within. That doesn’t necessarily mean that we can’t ultimately disagree and reject lifestyles and moralities different from our own. However, trying to make sense of a culture or a person without temporarily suspending our own ethnocentric impulses and prejudices kills attempts at creating empathy and shuts down productive discussion. You’re not going to understand the worldview of someone if the only conversation you can have with that someone is “Whose worldview is better than the other’s?”

In the spirit of cultural relativism, Sunday Without God presents two remarkable back-to-back arcs that approach the universe’s cultural understanding of death and the undead in opposite ways. The latter arc is a thematic reaction to the first arc. Encompassing Episodes 1-3 is the first arc of the show, Valley of Death. Encompassing Episodes 4-6 is the second arc, Ortus. Within these arcs is the main character and observer constant, Ai Astin, whose views about death and the undead evolve over the course of the places she visits and the people she meets.

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[Award] Inspector of Some Other Color, or Eight Arbitrarily Chosen Questions I Decided to Ask Anime Fans to Make Them Think and/or Suffer

Management: Management here. You may be wondering what the difference is between the Management me and the non-Management me. I don’t strive to be extremely formal when it comes to blog posts, but the Management me does try to write most of them with a certain level of polite sophistication so I can be all authoritative and whatnot. The non-Management me, the one you’ll see much more often goofing off on Anitwitter, could care a lot less. I feel like the nature of this post demands the non-Management me’s eccentricities more than the Management me’s niceties, so I’m just going to be a sadist. I’ll try to be interesting with this post, as always, but I’m going to have fun with it too.

I’ll be disappointed if you back out later.

I hope you know what you’re getting into.

So without further ado.

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Hair and Hana | Hanamonogatari, A Review

Management: This is a comprehensive review of own devising, where I go over a pro and con analysis of the material in an attempt to convince people to watch the show-in-review. Hopefully, in encouraging people in general to watch things I think are interesting, they’ll at least somewhat know what to expect while watching. For clarity’s sake, I’ll emphasize this: the review isn’t meant to be so much holistic as it is coverage of what I believe is of core importance to the show.

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When it came to the Monogatari Series, Shaft seemed to have this unspoken rule designating atmospheric shifts in mood with color coding. The show also seems to have a similar preoccupation with hair styles, most notably hair length. Someone from the creative staff may or may not have a hair fetish, but there’s a point to it. It’s a marker of character development having taking place, and Hanamonogatari makes that explicit, with flowery words as well as flowers.

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Monogatari: Is She My Sister?

Management: While I overall hold a positive opinion of the Monogatari Series, this piece in no ways serves as a comprehensive review of the series, but rather an articulation and analysis of an interesting set of ideas brought up.

I’ve also written a response to this. Check it out.

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A Peculiar Adult Threesome 

A particularly enduring presence in a lot of recent anime is the lack of presence of a certain, rather important demographic of the human race… adults. Much of the time, if any adults are present, they’ll appear in limited numbers, with limited screening time and limited spoken lines.

Monogatari plays a bit with this trope, a demonstrable lack of any adults appearing in the show at one time, not because the show itself only seems to fleetingly recognize the existence of the adults in the everyday. It’s because the main protagonist, Koyomi Araragi, only fleetingly recognizes the existence of adults in the everyday. In fact, it’s a habit of his not to realize anyone aside for himself and his immediate circle of loved ones, his sisters featuring rather prominently. Karen and Tsukihi, after all, people that he would protect and, if it comes to it, die for.

The lense we, the audience, look through when watching the show comes not from a impartial third party, but rather from an unreliable narrator. Everything we perceive in Monogatari Series: First Season (Bakemonogatari, Nisemonogatari, Nekomonogatari: Kuro, and Kizumonogatari, whenever in the far future it comes out) and parts of Monogatari Series: Second Season (Kabukimonogatari and Onimonogatari), in other words,  is what Koyomi perceives, and perceptions are something that tend to be colored by the perceiver. Whenever we watch a story in Monogatari with Koyomi as the narrator unfold, we aren’t seeing the story on its own unfold before our eyes. We’re seeing the story unfold through Koyomi’s eyes, who tells us the story as he sees it. And what he sees may not match up with other people see, such as adults. Something like that is immediately apparent upon beginning Monogatari Series: Second Season.

The exception to this peculiar world view of his comes from three even more peculiar adults who happened to be colleagues from university. They’re adults, sure, but they leave such an impact on Koyomi that he has really no choice but to acknowledge them. Well, that might not be entirely true for one of them. One of them’s a friend of his, Meme Oshino, that he spends the better part of Bakemonogatari working with.

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The other two, on the other hand, leave indelible marks on him from limited contact.

The con-man, Deishu Kaiki…

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…and the hero of justice, Yozuru Kagenui.

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The Monster Within | Bakemonogatari, A Review

Management: This is a comprehensive review of own devising, where I go over a pro and con analysis of the material in an attempt to convince people to watch the show-in-review. Hopefully, in encouraging people in general to watch things I think are interesting, they’ll at least somewhat know what to expect while watching.

I suggest clicking the “SHOT” links in order for novelty effect. For other Monogatari related reading material, I have a couple of other pieces I’ve written, Of Epistemological Positions: Monogatari and the Death of Gods and Monogatari: Is She My Sister?

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He runs up a spiral staircase that’s seemingly never-ending.

He sees a girl falling in slow-motion from the top of the stairs, the radiance of her skin accentuated by the radiance of the light.

Falling.

Floating.

Falling.

Floating like a feather.

Dropping his things, he reaches out to catch her.

Catching.

Caught.

Their eyes meet.

She was light as a feather.

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SHOT.

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Of Epistemological Positions: Monogatari and the Death of Gods

Management: While my overall opinion of the Monogatari Series, is quite positive, this essay is, by no means, meant to be a comprehensive review. It is rather an articulation and analysis of what I feel are its most integral and interesting themes. Much of this essay draws from elements of Sigmund Freud’s and especially Friedrich Nietzche’s thoughts. That being said, the inclusion of those elements are not meant to be a total affirmation of everything they believe.

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The Truth That Matters

When it comes to epistemology, broken down to its etymological roots as the study of knowledge, we ultimately end up having to ask or being asked some derivative of the question… What is truth?

What is it? It may be useful to inquire first truth’s opposite, namely, falsehood. Falsehood, in layman’s terms, are lies, and lies can be characterized as deceit, deception, and delusion. I’m asked why the sky is blue, and rather than answer “because it’s the oxygen in the atmosphere,” I reply “because it’s an ocean propped up by an invisible dome erected long ago.” That doesn’t work like that, or that never happened, or that is not. It isn’t real. So what does that mean for truth, and how is that meaning relevant to us, no less to a show like Monogatari?

Because what matters to us, boiled down, what we tend to say, what we tend to do, how we tend to lead our lives, is what’s real. It’s what’s is. Whether we are conscious of it or not, people orient themselves to the fulfillment of some meaning or purpose, of how we ought to live our lives. It’s the objective way of living. It’s what we feel will make us happy. It’s what’s natural. It’s what’s proper. It’s what makes us feel whole. In many organized religions, that means obedience and/or communion with some sort of deity or deities, constituting in sum things such as omnipresence, omnipotence, and omniscience… the highest rungs of what can be considered fulfillment or wholeness. It is the absolute, ultimate truth, and being part of that truth, theoretically, is supposed to make us happy. Philosophy trims the divine aspects of theology, but nevertheless leaves the theological concept, in function and even name, intact. Our absolute, ultimate truth is our god, and there is no god but ours. Truth’s naturally exclusive that way.

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