maanantai 30. joulukuuta 2013

M.S.S.S Episode 26

Okay, that was a good ending for a series.

Surprisingly Complex: M.S.S.S Episode 26

Well, going with a bang, so to say. It was more CHOCK! (Wood hitting head), but still.

It was never confirmed that Kaiki is dead. Thus he probably isn't. If he is, well shit. He may be lying about his death, or he may have faked his death, we won't know until the next time he appears or doesn't.

We finalize the current series and the current arc, with something to learn from. Think about the word "deceive." How many times was it used in this episode? The answer is a lot. There was the final deceit, which would seem pretty improvised, but I'd say it was Kaiki's contingency plan. It was the ultimate move he could use, the words of reassurance. Words assuring that her own fatalism is not always right, that what she thinks her destiny is and always will be, is just an illusion. Words about the possibility of change, of other lives. He of course later defines the words as the obvious, as the obvious things adults tell to children. He didn't define them as the lies adults tell to children, even though from the way he speaks, he would seem to see those things just as illusions. But he acknowledges that for others it might not be too late, even though the basis of his words is that it is never too late, even if he may believe that it is already too late for him.

Kaiki told us that he hates irreplaceable things, and that he loves money. Of course, it comes from the pain of losing something irreplaceable, probably more than once, that led him to a choice of either clinging to those irreplaceable things and being in pain, or letting them go and never thinking of them again, never putting scarcity value on anything. He made the choice he believed in, the one where everything loses their scarcity value, where individuality becomes almost nonexistent. It became his curse, as he became unable to put value for things outside money, that was the ultimate idea of value without scarcity value.

That's all theory though, as he might just be lying. But there is evidence for it. He has talked about money before, when he talked to Karen. Then he emphasized on the fact that money is practically everything, but I think back then it was more important to make the point for the oh so justice-driven Karen that he didn't say everything. I think that his point there may be a hidden one: Money is everything, money is replaceable, thus everything is replaceable. And to some extent, he's right. But he's also wrong, and that he knows. He knows that the only irreplaceable thing is your own self. If you escape and hide it forever, you will never get what you want.

So... Back to some of the things I said about previous episodes. Nadeko, this time, Nadeko as in Nadeko, not Medusako. Nadeko is one who hid her true self, hid what she wanted, and let on an image of herself that just wasn't true. That made her dream unachievable in the sense that she lied to herself that she didn't even want it. This led to her internal fall, as she denied what she wanted, and replaced those desires with desire to be with Araragi. She wanted to hide her true dream so hard, that she accidentally denied the whole world. So in some sense, we could say that sometimes your dreams outweigh even the whole world. It may not hold water for every single one of us, but for many it does. It is the one singular thing that we want. The one we know may not make us happy, not even the most happy of all the options, but the one we want.

Okay, my text is turning weird, so I think it's time to wrap up this season. Oh wait, It's still not time for that. I will first wait for the Bluray and torrents to come so I can watch it in HD again, and then make a full-sized text (WITH PRETTY PICTURES, SO ALL THE BETTER). Even though this, as the final text of this series' singular episodes is already quite long. The format of the coming text will probably be little different, with me analyzing different theories I have in detail, so it will be a long-ass text. Most probably the longest that I've written so far. But, I haven't even begun my whole Monogatari retrospective yet, so we'll see.

Err... Nothing is irreplaceable, and Kaiki's obvious is obvious to everyone but him.

maanantai 23. joulukuuta 2013

M.S.S.S Episode 25


Surprisingly Complex: M.S.S.S 25

There was so much stuff here. And the ending is the worst (best) cliffhanger in a long time.

First off, we never got to know what was in the closet, and I think it's a good thing. Of course, there was something there, and you can know what was there (It will be told in the next episode probably), but for now at least, all we know is that it's something that Kaiki looks at with disgust. But even if I never get to know what it is, I'd be content, but would probably get the information just in case.

So... Kaiki vs Hanekawa, the battle of the minds, or more like conversation. Hanekawa also again talks with her cunning undertones (referenced from my last post) and almost gets the information she wants. But, that's just theorem.

The real meat comes from Hanekawa's analysis of Nadeko being so deep in the pool that is her self that she cannot see other people anymore, only reflections of her own self as other people. "No matter what is said, their words will not reach them", you should have heeded those words, Kaiki! It's not that she couldn't be deceived, but that she wouldn't want to believe in the deceit. She would deny the deceit wholeheartedly, and probably go on a rampage. She didn't want to kill Araragi and co., she just concluded that she wanted, in her own insanity. It wasn't about killing them, it was about her own deceit of herself of killing them. Sounds like a tangent, but it was like her love towards Araragi, she clung onto it not because she loved him, but because she concluded that way. Not by introspection, but by pure delusion of a world she thinks she wants.

Chronologically, the next step is Senjougahara admitting that Kaiki never lied to her. Where does such a frivolous idea come from? Ironically, from the truth. It's just the use of right words. It's true that Kaiki never lied to her, but it is true that he deceived her. If for example, she was pleading if Kaiki could help her, he would say yes. BUT, the point is not if he can, but if he will. It's not the things he says, but the things he doesn't say.

Then we enter the world of theorem and hypotheses. It is revealed that Kaiki has done things before to benefit Senjougahara that were of little or no gain to him at all. He wiped out the cult Senjougahara's mother was involved in, he had driven Senjougahara's parents to a point of a divorce because Senjougahara would have no future otherwise. Who is a good guy, who is a bad guy? That question is a ruse. No person is good or evil, people just do things that are perceived either selfish or altruistic, and they do them of their own reasons. Kaiki believes this, and thus justifies everything he does solely on the fact that it is to his interest, no matter the real reason behind it.

The real abstraction comes from the fact that last time he tried to help someone, it was an enormous failure, granting him next to no money, and the subject to be "saved" was too weak to accept the rescue. Maybe it's just some kind of karma, that Kaiki cannot save people. It is not touched here, but I think that all this has something to do with Kanbaru's mother. But it's not brought up because Yotsugi either didn't exist back then or doesn't want to offend Kaiki.

This leads to an interesting part about Kaiki's conscience. Maybe he failed to actually help Senjougahara, even though he tried, and that led to him making a compromise of driving her parents to divorce because it was the only way to let her have a future. Something similar may have happened with Kanbaru's mother. It's a possibility. What if he actually blames himself for a lot of things, he just never shows it? He has motivations beyond money, that much is known. But does it come from actual altruistic intent, or from just paying back something that he regrets? It is surprisingly hard to actually answer that.

So, with all this in mind... When Kaiki goes and executes the plan, he seems to be deliberately helping someone, which has been proven to cause failure in the past. He seems to regret those failures, and that's why he wants to set things straight. Sadly, it seems that the plan has gone awry. Kaiki really isn't very good at helping people...

Kaiki has more to redeem than meets the eye...

sunnuntai 15. joulukuuta 2013

M.S.S.S Episode 24

Cool stuff happened in this episode, so... Hmm... Prepare your anuses for more Hanekawa, my favourite theory subject.

Surprisingly Complex: M.S.S.S Episode 24

HANEKAWA! Kind of compresses my feelings about this episode. And now we actually got Kaiki's opinion on her. Which may seem pointless now, when she's finally become a real person, but! He did raise an eye-opening (for me, at least) question for her. Why doesn't she ask questions? How does she know so much, when the very basis of information gathering is asking questions. It also led me to another question, DOES Gaen really know everything? Of course, I haven't watched Suruga Devil yet, which probably will touch upon that, but nonetheless.

Sidenote: Has Hanekawa really become a true human? Yes, look at her hair. If she was bothered with the fact that her hair looks abnormal, she would've dyed it.

Why doesn't Hanekawa ask questions? The answer seems obvious. She doesn't need to, right?. But looking from another point of view, it may not be true. What if she DOESN'T know? That is exactly what I need you to think about. What if, by her nature, Hanekawa feels that asking questions doesn't give her the information she wants? What if ACTING she knows actually provides her with more in-depth information, which she can use to actually figure out what she wants to know?

Taking this episode for example. When she was ASKED if she wanted to ask a question, she didn't, like she already knew. Like she already knew the whole story, she refused. It's brilliant. She knows that by actually asking, she won't get all the pieces of the puzzle she needs, just the ones she's asking for. Even her tagline: "I don't know everything, I just know what I know" is a smokescreen, to fool the other person to think that she knows more than she does.

It also goes even further. How much did we actually know about Hanekawa before Nekomonogatari Shiro? Nothing. Absolutely nothing. She's so good at gathering information and hiding her own that we didn't even notice how mysterious a character she was. She never told us anything, and I find that goddamn brilliant. By hiding what she knows and acting in a certain way, she has fooled all of us to thinking that she actually knows so goddamn much.

Of course, there is a point to this. She also does know a lot, you know she does, but her actions and every aspect of her implies that she knows, almost literally, everything. So while she actually might know more about the matter at hand than the other one, even if she doesn't, the other wouldn't notice her lack of knowledge before she actually knows about the equal amount or more than the other. I find it super-fascinating. I'm proud of this theory. 

So what about the person that is said to know so goddamn much, as everything? Izuko Gaen... We've seen her twice, and in neither case was her omniscience actually proven. I do think that it is possible that she knows everything, but I prefer another theory, right now at least. What if she didn't know everything, but she just could read minds? It might seem stupid, but think about it. Rarely the things we see in this series are what they actually appear to be. The ability to read minds would give her an insurmountable amount of information, and her bragging about knowing everything gives even more. When she says: "I know everything", you cannot prove her wrong. Why? Because if you ask her a question that you know an answer to, she can read your mind to know the answer. If in turn you ask her a question you don't know the answer to, she may have that information by reading minds. It's quite simple. Of course, this one is pure theory.

Addendum: Actually, combining these two theories make the first meeting between Gaen and Hanekawa tad bit more logical. Gaen could see right through Hanekawa, as she could read her thoughts.


maanantai 9. joulukuuta 2013

M.S.S.S Episode 23

The suspense! What may be in Sengoku's closet? Will Kaiki be violently murdered, by Gaen's followers or Nadeko? What is Kaiki's 100-visit wish? Next time, on DRAGONBALL Z!

Surprisingly Complex: M.S.S.S Episode 23

The opening tore my mouth open from laughter and amazement. This series never ceases to amaze me with it's superfluous yet ridiculously fitting trolling. But yeah, maybe we've got something to talk about.

Actually, I'm not too sure about that. I read on MAL a nice idea of Gaen trying to convince Kaiki to leave just to make him stay, and provide him with some money so he can do his job properly. It was the only cool one I at least found, but what did I think about?

There were some nice scenes that threw some very subtle backstory in there, like the little prompt that had Kaiki thinking: "She probably means Izuko" when Ononoki talks about Gaen. So it's not obvious that it would be Izuko? Also, the fact that Ononoki is "keeping an eye on Kagenui" may have something behind it. We've previously seen Kagenui as easily the most extreme of our specialist trio, so maybe she's been somewhere beyond the correct path at some point? Hmm?

Also, Izuko's plan to make Shinobu a god isn't out of nothing, and it explains why the charm with the snake god's soul was in Araragi's house. The question lies in the fact did either Araragi or Shinobu know of this plan. It also mystifies the existence of Ougi, as she was the one that is behind this scheme. What is her goal? Prove something to someone?

We've also seen some promotional material for this arc and the had Oshino in there. Definitely a thing to look forward to. It could easily seem that the specialist trio, or even the college quartet would soon meet. Interesting times ahead of us.

Sadly, I spoiled myself, much to an accident of a forum poster. They had written a word that loosely implies what kind of an object is inside the closet, but I will not spoil it.

Also, when Kaiki broke in to Nadeko's house... Did hewallrun and pull himself up to a second floor window with one hand? My god, this guy is agile. I've noticed that the whole specialist trio is agile. Maybe it's part of the job.

If you think that this series has ever failed, this opening WILL make it up to you.

PS. Kind of jubbled, maybe someone makes some sense out of it.

sunnuntai 1. joulukuuta 2013

M.S.S.S Episode 22

Kaiki on the roll again!

Surprisingly Complex: M.S.S.S Episode 22

Okay... So. I think it would be absolutely hilarious if this scheme went so far, that on the day of graduation they go to the shrine, and there's Nadeko and Kaiki waiting. Araragi goes wtf, but doesn't say anything, because Nadeko introduces Kaiki as her best friend. That would be the shit. But, I think that part will come actually at another time. Where as... I think the final scheme will involve a shitload of people coming to the shrine. Like, a thousand or something.

So, we got some interesting information on Kaiki and some interesting analysis on Nadeko. I was actually wondering about Kaiki's love life sometime, and this episode did deliver on that. It was a quick sidenote, but it fits Kaiki's character pretty well. It's a thing that was, nothing more.

On the Nadeko issue. Kaiki puts it pretty well, with the fact that she was forced to be cute. And that she is hiding something in that closet. Something, something. It's probably like this huge closet, that is otherwise empty but there's like one object in the middle of it. What that object is, I have seriously no idea.

And what did I tell you about the disguise? So noire, so noire. Of course it had to be. I thought it would've needed a fedora, but it's still pretty awesome. Kaiki looks good in a trench coat, that's for sure.

It was fun to also have Kaiki be so damn suspicious of Hanekawa. When they meet, it will be certainly superb. Because if he hears Hanekawa's story, oh my the amount of fake. And I just really want to see Hanekawa post-NekoShiro. And when you really think about it, Hanekawa is ALWAYS in the sidelines, she's almost never left out, so if some outsider heard these things, he would be like: "Why does Hanekawa know all this?"

Oh the Kaiki - Nadeko dialogue in the end. Nice to see Medusako again. She's a jolly little lass, ain't she? That was probably the most enthusiastic "I totally love him and that's why I'll kill him!" I've ever heard. If I even have heard that line too many times. Somehow how these things are set up, it makes me think immediately that the scheme will include a lot of people, but..! I could be deceived.

And here we also see the insane logic of Medusako. Why be in a relationship when you can just have unrequited love? I love it.

Best line ever: "Is he (Araragi) a criminal?", coming from the professional con artist.

There's always Hanekawa.

PS. BTW, sorry that I haven't put pictures in like the past half a year. It's not that I don't want, I just don't want to take low quality screencaps from streams.

sunnuntai 24. marraskuuta 2013

M.S.S.S Episode 21

Okaaaay. Mr. Deceiver is back, with sort of a vengeance. Count me excited. Like, Hella excited. Just now, I noticed how much I like Kaiki as a character... And how much can the quality of an episode be measured by the percentage of the episode I was either laughing or had a grin on my face?

Surprisingly Complex: M.S.S.S Episode 21

Kaiki is back in business, but this time without cash. And with a brand-spanking-new art style. It sure has it's own quirks. The consistently changing colour scheme for example may be very much because of the idea that colours are different to different people. Also, white. 

So, okay. Previously Kaiki gave us the theory of Fakeness, and it's great. Now, he's narrating the goddamn show. And admits he will lie. But was that a lie also? Looking at the thing in a perspective of "anything can be a lie" gives some interesting depth to it. Well, before, pretty much anything could have been a lie too, right? I would say no. This time, Kaiki admits that even his thoughts may be lies. That is the difference.

Kaiki is an interesting character to talk about, mainly because of his antagonistic state in the show. He's shown very vampiric, not liking sunlight, pale and all, big, black bags under eyes etc. But, this time, for most of the episode, he's wearing sunglasses. Mirrored ones, I believe. It may actually have a point. I could see Kaiki go incognito in the city, trying to avoid Araragi in some ridiculous disguise. Even if the disguise wasn't ridiculous, we would probably be shown it as such, because of the character lens.

Continuing with the mirrored sunglasses. Mirror... Medusa... Huh... Could it be? I don't believe so, but a speculation is a speculation.

Kaiki's character lens may actually be pretty interesting. What if... Senjougahara was wearing really just normal glasses? It would make sense, lots of. Kaiki just sees the glasses as a stupid disguise, thus turning them to nose-glasses. It would also explain why their appearance changes through the episode. Kaiki might also be looking much meeker than, you know, Oshino garb. He just connects ridiculous clothing with Oshino garb. Highly impractical theory, but it gives interesting insight.

Now I just want to see Senjougahara with regular glasses...

And the final twist of the episode, the connection of Kanbaru, definitely did not come out of nowhere, but it was still unexpectable (Which is a good thing). For me, at least. It does give hints of the past. Kaiki is somehow indebted to either Gaen, Kanbaru, or Kanbaru's mother. Even though it is a wild guess, I'd say it's probably Kanbaru's mother. Or grandma even? Whoah. Soon I'll theorise Kaiki being Kanbaru's father or some other very disturbing shit. That would be rather... Unsettling.

Grinning, with a new, extraordinarily unreliable narrator.

sunnuntai 17. marraskuuta 2013

M.S.S.S Episode 20

With dried tears on my cheek, I've come here to analyze. : D

Surprisingly Complex: M.S.S.S Episode 20

I didn't guess it. I never saw it coming that Hachikuji was the target. On the other hand, I did saw it coming that the anti-existence/darkness is something that appears when apparitions stray from the path, so to say.

Once again, I was completely oblivious of the obvious lyrics in the ending, just like in Bake. This time though they didn't get me to a crazy conclusion, but just deepening the understanding the characters of Hachikuji and Araragi. Once again has our rightful champion saved a girl from darkness, and get rewarded with love. Of course that makes it sound cheesy, but I think Hachikuji's final conversation with Araragi showed something else too. Araragi is once again hypocritical, and I think that it's one of his defining characteristics. But he's not hypocritical because he thinks himself better than others, but because he was born a martyr. If someone gets in trouble, it's not okay because they might get hurt, where as he can go through extended periods of all kinds of hurt because then the others don't have to suffer. His overprotective nature is destroyed here, when one of the first times ever, he just can't do anything. He's powerless, mentally and physically.

OH MY. I just realized something. We saw some effects of true character development in this episode. Remember... What was Araragi asked to do with Hachikuji when they met the first time? Exactly. He was asked to abandon her, let her go, as that is how Lost Cows are handled. He just couldn't do it, but ultimately solved the problem by finding her home. This time, there was no luxury of destination, thus he was forced to give in. The Araragi of the past would have been more stubborn, he wouldn't have let go, but I think this proves his growth as a person. Sometimes you just have to let go.

On the matter of Hachikuji... This episode makes it pretty clear what she feels. She's not too disappointed in her fate, and one of the last things she says is: "At least I had fun." Which is relative to the fact that she lived 11 years in anguish, leading people away from the path that they were on. Interestingly, the way Gaen put it was "-- Apparitions who have strayed from their path", which could be an nod to the fact that Hachikuji strayed from the path by not leaving it. And ultimately, her path led her to her untimely leave.

Hachikuji was one of my favorite characters, and she provided lots of the "air" that the series needs for it to progress naturally. She was the X, the variable. She could come by whenever, and leave whenever. That cycle kept the pace of the series natural, where sometimes we would go on with the story and sometimes get interesting viewpoints from Hachikuji. She was the other side of the coin, often showing the flaws in Araragi's and the viewer's logic, and thus improving the philosophies that the Monogatari series has.

Now I'm only asking...

Are we going to lose that part of the show completely?

And if not...

How are we going to replace her?

I don't know, I really liked the character.

Hachikuji is X, and Araragi is haunted by the question from his past.

maanantai 11. marraskuuta 2013

M.S.S.S Episode 19

Surprisingly Complex: M.S.S.S Episode 19

Sorry to disappoint all you three people reading, but this arc is phenomenally self-explanatory. It does generally a better job in explaining itself than I do explaining it, so there's not much of a point.

All I can think about is theorizing about Izuko Gaen, and well... That's stuff for the Suruga Devil arc, as we got a hint for her identity before...

But anyways, one thing I would deem interesting is the actual order of the second season. Why? Because only now, already months after the actual arc, we're getting our answers on those long forgotten missing chapters in Nekomonogatari White.

I would highly theorize that the existence of the "darkness" is very important to the transformation of Araragi, the result of which we saw at the end of Nekomonogatari White. Remember those torn-off clothes? Those are the ones he is wearing right now, just... Destroyed. And the fact that he has the Kokoro Watari with him means he either pulled it out of his own ass or got re-linked to Shinobu somehow. We will also hear the reason why he is so late to that meeting, as now we've been shown what he did the days before. It's... The second evening of the Nekomonogatari White going on as we watch it. It would be ingenious if we would've seen the house fire somewhere in the background though.

Let's see what a new week is bringing about.

Connections, connections...

sunnuntai 3. marraskuuta 2013

M.S.S.S Episode 18

Let us see what comes around this time...

Surprisingly Complex: M.S.S.S Episode 18

Who is Kiss-Shot Acerola-Orion Heart-Under-Blade?

I have no idea, but dammit, I'm interested. Kizumonogatari! Come, goddamnit!
It would seem that the reason for her long name is that she has had different personas in different times(?), not sure. Because I believe that she got her name Heart-Under-Blade only after she created her first minion. Just wait a bit...

The art style of the episode is great. I love the classical Japanese painting style as it's executed here. Really gives the feeling of a totally different era.

Moreover... It would seem that Shinobu's lasting theme in the series "Apparitions are what we make them up to be." One of the most important ones, I think. It was first in the Nekomonogatari Black, now it's back. You can start drawing lines pretty easily between her worshippers and Araragi, and you can get a lot of her character development right there. Shinobu changes as the people around her change. Like the people who treated her as a god, and Araragi who treated her like a child, her character takes huge leaps in short amounts of time, purely of things that don't involve her. Her self is not for her to make.

This may well tie in to her long name. Maybe the name Kiss-Shot Acerola-Orion Heart-Under-Blade actually is linked to the idea and belief in vampires, and how those beliefs change over time. The three names have distinct differences in tone, and as such could be seen as separate names for separate beings, which just happen to have been in the same body.

Maybe the name also has something to do with her behavior. Like, for example. Araragi and the first minion both called her Kiss-Shot. Maybe the Kiss-Shot in her is the only one who has the capability of making minions. The others may be physically capable of it, but have no interest in it. Or what if..? The lore of the vampire has changed over time so much, that only in certain periods of time there has been the idea that it makes minions?

Another part of her being is probably the inevitability of the outside world. As KSAOHUB (Stupidest abbreviation ever.) makes huge changes to the environment she lives in (Like destroying the ecosystem), maybe it is mutual. Maybe the changes in the environment in turn affect her very being?

Maybe Shinobu this, maybe Shinobu that. Who even reads these?

maanantai 28. lokakuuta 2013

M.S.S.S Episode 17

Surprisingly Complex: M.S.S.S Episode 17

Okay... Nothing too big in here... Except what the heck is with Ougi? I got the reference as the red lights, but what the heck is her part in this story?

It's very interesting to hear about Shinobu's past, because, well, she's a rich and interesting character with lots of stories to tell. But dammit. Somehow, I'm out of juice. I have almost nothing on this episode...



sunnuntai 13. lokakuuta 2013

M.S.S.S Episode 15

My god, again!

Surprisingly Complex: M.S.S.S Episode 15

Senjougahara is a genius. Oh man, that's the only reaction I can have for that ending.

I'm not sure, if there is lot for me to analyze, except for the fact that Nadeko now thinks Hanekawa is Senjougahara, most likely. It may be interesting to see that when it comes crucial for the time.

I had a hunch that this part of the series was out of sync, at the wrong place chronologically. It would seem that Suruga Devil was indeed before this arc, as it is already November in this arc. Anyway, all confusion aside, this is one of the few episodes where I deemed myself partially right, partially wrong, but that is the most delicious treat I can have while theorizing. Enough new to surprise me, but enough of my own to say that I was right in at least something.

I didn't see Nadeko's inner blackouts coming, I did not. But that is what it's supposed to be, a surprise. They changed the whole dynamic of how without a single change to why.

And uhh... If you read my posts from before, just ignore about everything, because this episode has one of the most in-depth looks to the why-aspect which I adore so much. I told you that the serpent was a ruse! It was just a delusion in the first place, until delusion became reality, much adding to the general idea of oddities/apparitions as creations of the mind. Of course it's canon now, but you never know how much they'll end up fucking your mind.


MY FUCKING GOD I CALLED IT! In a previous post of mine, I remarked that WHAT IF there was a point where WE AREN'T SHOWN SOMETHING BECAUSE THE MIND PLAYS TRICKS ON THE PERSON! I tried to find that quote, but I didn't seem to find it. I know that I wrote something like that to some post, but now sure which. It could be lost as I changed some posts, but I know it at least has been there. Anyway. This kind of prediction makes me more pleased than one can be or something along those lines. 

Back to business...

Senjougahara's plan was superb. "If your intent to kill is real, and not a whim of emotion, you can wait... A day, two, a week, a month, half a year..." Damnit. It really makes Medusadeko (See what I did there?) the final villain in the series, and I'm super-hyped to see how they deal with her.

Shit, I didn't notice the ending trailer. Senjougahara's face is not shown because she doesn't know what she looks like. But she knows Hanekawa... Goddamnit, there went my theory. Anyway... It may be some other girl then. And it makes sense, as the time when Araragi was with the perfect woman for him hasn't been yet shown in the series (It's in somewhere September, and Nekomonogatari: White is in August/July. Who the hell is the fake Senjougahara we see? Also, not to worry that the trailer will come true, as it's her own interpretration. She could actually just imagine the victory she sees, because if she loses she has practically won. Dead, as a poor, poor victim of her own insane mind. Oh, poor Nadeko. No, not really. But we could see her "victory" even though it wouldn't happen, that what we're shown is the victory she wants, but the victory she gets is her own loss, which is actually just another victory for her. Die, as a "victim", who never got her true love fulfilled.

Super fanboy-glee that comes from one little thing I predicted in somewhere I don't even remember...

sunnuntai 6. lokakuuta 2013

M.S.S.S Episode 14

SUPER EXHILARATING. I'm super pumped now!

Surprisingly Complex: M.S.S.S Episode 14

Now it's on! Okay, it was confirmed that the Serpent doesn't come from her doubt, but more likely her guilt. But that ending left me... Unsatisfied, addicted. But that's a good cliffhanger for you. Anyway, this episode has one of the best uses of character lens for a while, if not ever.

Remember the opening scene with Tsukihi? That was one hell of a character lens scene there. If I were to count the word "cute" in there, it would be damn too much. See how much it just started to pour after it was said the first time? Tsukihi either did not say the word so much, or Nadeko stopped listening anything else than that word. It's also a good way to tie the whole episode together. By the end of the scene with Tsukihi Sengoku starts to get really really anguished from Tsukihi, seeing her as a monster and a crime detective. It's the power of the lens.

By the way, when they were talking about Araragi's girlfriend, the name was left out on purpose. Nadeko thought that the girlfriend was Hanekawa, where as Tsukihi knew it was Senjougahara, but didn't realize Nadeko's mistake.

Anyway. After the glorious opening we get more Tsukihi and the cutting of the bangs. She couldn't hide behind her hair no more, causing some interesting things. When she can't hide anymore, she goes to the offensive, and it was really weird. It's a completely different Nadeko, but! Even though Nadeko said it was 100% her, I say it wasn't. I say that the aggression actually comes from the Serpent, and it was intentional. It was to put her into submission. Because if she doesn't have control over her body, it implies that she is doing something wrong, feeding her guilt, and thus feeding the Serpent.

Notice how the cutting of the bangs, which was at most, like, two centimeters, made a HUGE impact on her. That is change, she fears it. She fears it so bad, that she is hung up on loving Araragi, just so she can keep things status quo.

And the end of the episode, the infiltration of Base Araragi and finding the old-Hanekawa-esque porn mags made extra-clear that Nadeko had mistaken. Also tells us something about Araragi, too. He probably got those mags because Hanekawa changed appearance. Makes sense to me.

Now, to the ending which left me exhilarated. Nadeko wants her unobtainable love to be obtainable, but she really pleas for it only because she is being manipulated. The fact that the Serpent has a mission to complete for her gives it a perfect reason to take over her body, causing the flustercluck that was the arc's beginning.

TL;DR (Come on, this is one of the shorter ones):

Nadeko went a little nutty before her grumpy moment, and is being manipulated.


I never went in depth with the opening's lyrics, and I tell you they're important, there hasn't been a single opening without meaningful lyrics.

The lyrics themselves are actually pretty creepy. It's all about putting the world into submission if Araragi won't love her back. And by the fact that she wants nothing but everything, it just means everything she wants, meaning Araragi, obviously.

By the "delusions" she is singing about in the beginning, it's either the whole love toward Araragi, or she knows she's being tricked by the Serpent. If she knows she's being tricked, she just tries not to cause problems, causing her to believe her own delusions, leading up to her final demise. There's also an interesting part in the middle. "I understood nothing, but closed my eyes, and looking so very cute asked the stars for help." It signifies the importance of her bangs. They were her cover, so that she could close her eyes in peace and feign ignorance and helplessness.

The "If you will not fall in love with me too, nothing will ever change" is about her desire to keep the status quo, but with a bitter remark. Which is complimented by the ending of the song, where the whole world will be turned upside down just to get Him. It means she wants things to change, but is too afraid of it that she cannot.

sunnuntai 29. syyskuuta 2013

M.S.S.S Episode 13

A very solid episode. We can see the art style departing from Araragi's, even if it's slight. The searching scene for example has a different aesthetic than Araragi's searching scenes.

Surprisingly Complex: M.S.S.S Episode 13

The episode starts with a conversation with Nadeko and the Serpent. We can clearly see the Serpent is a liar. We can see that there is another reason for the nightly stroll than just searching for the body (Which, if you ask me, doesn't exist). The oddity has only taken the form of a Serpent to further it's cause. If we stick with the idea, that the Serpent has born out of doubt, it taking the form of a snake shouldn't surprise. You see, the part where Nadeko can't run from responsibility is from killing all those snakes. That was the only time she felt she was not a victim.

I'm not sure how much Araragi saw through Nadeko's smokescreen, which was actually more like vapor. But it doesn't matter, because Shinobu saw right through it, just like the watcher should have. I'm sorry that I'll bring it up again, but the theory is sound once again. Nadeko always plays a victim, but the fun part is in the part "play." What is a person who plays a victim? A FAKE victim. Yes, that one again. Nadeko can lie to anyone just to make sure that she isn't suspected of being guilty of anything. And with her, is a FAKE god. More fake. But, arguably, the Serpent being a fake god, it makes Nadeko really easily manipulated. She even aknowledges that the Serpent is a liar, but in the fear that taking an active part in the discussion would make her seem like a hypocrite, she cannot question the Serpent.

So, when Shinobu asked a question, why did Nadeko answer: "Evil?" The question was about the type of person Nadeko was. Her black-and-white way of seeing it made her absolutely think that in the first moment that she is doubted, she must be evil. She thought this, because in her mind there is either a victim or a prosecutor. When Ougi activated the train of thought that ended in the shattering of that idea, she automatically makes everything in herself seem evil.

So, what part does the Serpent take? It's there to make Nadeko doubt more, to make her see herself more and more evil, which powers the Serpent, because to see oneself as evil means doubting your very intentions, manners and ways of living. The fact that the Serpent didn't answer during the brief moment Araragi was gone was precisely this. She must be made doubt, not only her self, but her sanity as well. Okay, that might be a stretch but I'd say that I'm on the right tracks in here. Not sure how much exactly, but somewhere there lies the truth of the matter. We'll see it in a few episodes.


Nadeko's self-doubt of being evil makes the fake Serpent strong.

tiistai 24. syyskuuta 2013

Short update about the Monogatari retrospective

I will make a full retrospective of the Monogatari Series Second Season when it has been aired wholly. It may be the largest update I will ever do, and I will insert also a short summary of all other parts of Monogatari "saga". I want to make it newbie-friendly, though the crude volume of it may be overwhelming. It may actually be about as long as five of these shorter updates. Opinions?

I must also look into Kizumonogatari when i can. Hopefully before this huge job I have with the final. And...

Well... I'm starting to doubt now, but nonetheless I will do a full retrospective of my favourite anime series (Don't have to take a big guess there which it may be) when it has ended. And in that I will try to summarise my every post ever about the series into... Maybe three-six posts. Lots of it will be old, but some will be new. I have refined my writing skills during these short months, and I will have to watch the series from beginning to the end once again, which will probably be the most amazing thing ever, as by then I know the quirks and can just enjoy the whole package. Oh my god it will be glorious. Now I'm just gashing, so I will make my exit....

See you in the future, Sunday/Saturday to be exact...

BTW, when I have time, I will make a post about Durarara!! Just a heads up.

And while I'm at it, people, please recommend some series where you think might be something going on. I can't promise I can find all that interesting quirks without going a mile, but I haven't got any recommendations at all from you. I know people are reading this, I've got numbers.

BY THE NAME OF NUMBERS I SWEAR!!!! I don't know what really.

Short update?! Ludacris!

sunnuntai 22. syyskuuta 2013

M.S.S.S Episode 12

That was some goddamn episode!

It took me 10 seconds to realize Nadeko was narrating, but when I got it, I was pleased. Nothing wrong with Araragi, but the changing viewpoints give nice depth to the characters. Nadeko wasn't nearly one of my favorite characters, but somehow it would seem that everything will change...

Let's just say that this episode could be described as the ultimately best paced/executed episode ever of anything I've seen. Of course it's an overstatement, but I would say that it has some merit (It's gotta be based on a truth). The beginning was gripping, the opening was great, art style was wondrous (I really love Nadeko's "lens" already), timing was great and tension's up there with an ending like that. Yeah... This series never ceases to amaze me.

Surprisingly Complex: M.S.S.S Episode 12

Before we start the full analysis, try to reminiscence what Ougi told us last time. It was about the false security that the promise of safety gives us. The green lights in intersections. I think that it's surprisingly important to take that viewpoint into account whilst we're analyzing the one given today "No one is a victim."

Showing the self-victimization and almost obsessive submission gives Nadeko immensely more depth. But that's the case with any character, if we just hear the voices in their heads? Not really, if it's not done properly. If the thoughts reflect only the character we've seen before, it doesn't give anything. Here, they really make a difference. They also change the meta-plot inside her head. (I've lately used an awful lot of bullshittery words, don't I? Let's see how many will last...)

(Theory INCOMING!)

The process of getting into this situation is self-doubt. It was launched by Ougi, and it worsens by the minute. You see, before, Nadeko's way of thinking was "As long as I don't do bad things, I'll be okay", which reflects Ougi's prior speech. Now, she was introduced to an idea, that she has already done bad things, she has proof of it, and thus she starts to doubt. The doubt spawns the white snake, who then proceeds to use the words of Ougi because she hasn't quite grasped them yet. This in turn makes the situation an emotional flustercluck, even though we're shown it quite stingily. But... Let's just say, that Hanekawa's envy tore the carpet under my feet just some episodes ago, so I wouldn't be surprised if it happened again.

Apart from that, we see that the Kaiki situation has left it's mark. Nadeko sees the people around her as empty shells, and precisely as those, because she SEES them. Remember, we've never seen passers-by before. She doesn't see the world as solitary people as Araragi or Hanekawa, but as a community, formed by a few key characters, herself, and empty people. It might come into play later, but I think that's just wishful thinking.

Nadeko also submitted to the snake "Ears plugged, eyes downcast", meaning that she admits her fault of being a wrongdoer, even if it wasn't true. She didn't care about what was the truth, she only wanted to submit to escape the pain that comes from constant self-criticism. She tries to make herself a victim by submitting without an argument. Starting an argument means you're part of the problem, but submitting can be seen as a solution justified by ignorance: "I knew of no better." She knew it led to no good, but she figured that objecting would make her part of the problem, thus feigning ignorance is easier in her mind.


Immense overanalyzation, loved the episode that much. But ain't that what I always do?

keskiviikko 18. syyskuuta 2013

Extra: Haruhi's Spectative narrative

Even though it's a commonly known fact, one of the main things I love in the Haruhi series, which I forgot to go through in my blog posts, was the spectator's viewpoint of the series. The fact that the series has multiple layers in the story, and we're presented with only one, yet the other ones still actively exist.

For example. Most of the first season/novel is just Haruhi trying to get friends and playing around with them with the excuse of finding abnormalities. But what we saw was that the abnormalities exist, she just doesn't know it. We're also given the theory that she really is an omnipotent being, even though Kyon never sees her as such. He aknowledges the her dangerousness, but it has nothing to do with her godhood. She's just a super-eccentric girl in the eyes of Kyon, even though it's almost never said.

In the later novels, Haruhi's obvious crush that flies straight over Kyon's head gets more and more important. Especially in the Surprise trilogy. The fact that Kyon doesn't get it during the whole show is kind of unrealistic, as the threads are kind of obvious, but the point is: He doesn't want her to like him, thus he blocks the very idea of it. It gets frustrating when it's poked at every second paragraph, but his eventual understanding of it will be all the more pleasing.

Anyway, the fact that the story we're told is just a fraction of everything that has happened, and the chosen main character who's just a bystander most of the time is an awesome way to bring plot elements greater than man to the story. By making our main character a normal guy in an insane world, the feeling of alienation and all the twists that we don't even properly understand are all the more satisfying. When things are explained farther down the line, connecting the dots between the past and the now is a feeling I rarely get from novels. Even though twists may come and go, the real twist is usually intertwined with the story and makes it's impact more meaningful at the moment it happens, where as here, the fact that the twist WAS intertwined with the story, but it was explained only later, made connecting the points and relying on your memory all the more engaging, because understanding the twist is more important here than just surprising the reader. The times when Kyon realizes something he couldn't even grasp lightly before is not only an powerful asset in the name of character development, but is also an great way to let readers evolve with the characters. The fact that the twists and turns become meaningful only later in the story is really awesome.

There are reasons I love this series, and this is one of them.

sunnuntai 8. syyskuuta 2013

M.S.S.S Episode 10

Oh damn, how wrong I was again. About some things.

M.S.S.S Episode 10

Okay... It made superb sense, but... Now we know that this arc only explains Araragi missing the first day of school, thus the next will explain what happened during the Kako arc. Though, knowing that it is called the Suruga Devil arc, this time I would guess it actually is about Gaen, Kanbaru's mother, who has obtained infinite wisdom through a devil, and is now hunting Shinobu for reason X and will sever the link between Araragi and Shinobu. That's my summary of what I think the next arc will be, but regarding this episode...

Character of Araragi: If you have met a person, but they haven't met you, you haven't met that person, because the person in front of you is not the person you met. Makes sense. Even though survivor Hachikuji is epic, that's not the Hachikuji we knew, so he doesn't know her. But, at the same time, he's indebted to her alternative self, and it actually makes sense that he wants to pay her back now, because he can't pay her back in his own world. Btw, adult Hachikuji had a huge ----. Not surprising, because of her ---- by the fifth grade. Gives Hanekawa a run for her money! Or it could also just be Araragi's mind playing tricks on him.

Art dammit. That letter was fantabulamous. I loved that art in there. It may also show partially 1) The way Araragi thinks, or 2) How Araragi sees Oshino. Also, the fact that Oshino teamed up with his college mates makes sense, but where's Gaen? She's missing from the formation. Hmm... She rose from the dead? Maybe.

The broken Kiss-Shot Acerola-Orion Heart-Under-Blade raises an interesting question during this episode, without ever saying it. What are you left with when you burn the world? Ashes (Duh). Only the ashes remain, and when you lose everything but the ashes, you have not accomplished anything. You don't live anymore, because there is nothing to live for. I loved the "pat my head" -scene, because it makes perfect sense. It was her last farewell to the world she destroyed, so it might as well be something she had always longed for.

When they come back from the other timeline, I really liked the reverse molestation scene. Did you spot the visual allegory? He felt like a puppet thrown around, and thus he was shown as such.

Gaen will be a central character in the next arc, probably, but i find it weird that she has more parallels to Nadeko than to Kanbaru. The clothing style and general appearance side only, because we haven't seen too much of her character. It would be interesting to have Gaen chase our vampire duo around for the arc, which would also explain the absence of the characters.

By the way, this episode supports the idea that Senjougahara's and Araragi's relationship is 1) inevitable and 2) kind of fake. Oshino believed that the possibility of Senjougahara and Araragi dating was low, where as we, who have seen Nekomonogatari Kuro, know that it's pretty much inevitable, because Senjougahara was the first girl he talked to after Golden Week. And by the way, try to figure out how much Hachikuji not actually appearing would've changed things. They never went to the urban renewal area, and Hachikuji didn't actually interrupt their chat in the park, which actually could influence things, but apparently it didn't.


Gaen in the next arc? All Kiss-Shot wanted was just a pat on the head?

maanantai 2. syyskuuta 2013

M.S.S.S Episode 9

End of the world, eh?

Surprisingly Complex: M.S.S.S Episode 9

Rather interesting episode. End of the world is always interesting. Hmm...

This time we actually see more of the definitions of Araragi. Like before, where Araragi thought that family ran deeper than blood, he argues here that an alternative (from another timeline) is not at fault of another alternative's faults. Again, a really interesting concept. If there was another you, are you responsible for what they do, as you are practically the same person?

But anyway. Probably speculation time again. Remember when they said the link is severed back in the Shironeko arc? Exactly. There's only one way for that to happen. So, the probable thing to happen is that Shinobu is going to consume Araragi whole, go back in time, grab another Araragi from there (explaining the severed link) and coming to fight herself in another timeline, as she IS the only one who can kill her. Or they fix it somehow to make Araragi EVEN stronger, making the alternative Shinobu take almost all blood in him and then making Araragi again a vampire? That would definitely be weird, but it would explain how Araragi is able to oneshot Kako, the strongest apparition ever (Maybe after Kiss-shot)? I don't know, really.

The watch is not explained again? Weird. It has something to do with changing timelines, I think. It would make hella sense.

Also, the concept of zombies is interesting, as they are remains of a vampire after the mother has died.

Anyway. Who the heck is Ougi? Another timeline again, or a survivor? Possibilites are endless.

Sorry for a short post, don't really have too much to say, or just too tired.


sunnuntai 25. elokuuta 2013

M.S.S.S Episode 8

Surprisingly Complex: M.S.S.S Episode 8

Well, the time we spent in past was surprisingly short... So we got only two of the many things I said. I recognized Loli Hanekawa the very second, and rescuing Hachikuji was indeed the purpose. But the fact that they destroyed the world with it? Damn son.

Delving deeper into the character of Araragi, we can probably agree pretty much that he is an enormous pervert, thus almost all perverted stuff that goes on is always so damn pronounced. Seeing that Hanekawa was in the past just like she was in the future was interesting too. Maybe this little exchange also changed the future, as in Hanekawa remembering it and hating Araragi? Which in turn resulted in Kiss-Shot Acerola to berserk freely and kill everyone? I think that the scene with Hanekawa has more to do with the future than Hachikuji, but you never know. Wait... Judging that Jiangshi means a hopping vampire/zombie, it probably has something to do with this. So what if Hachikuji turned into some insane monster when she died afterwards? Possible too. Also possible that she actually didn't die and it screwed everything up, which would actually be the first thing you should think about.

I found it amusing that they delved into why Hachikuji was the only one they could help, as the other problems are in people, and you can't really solve them that easily. But hey! I think Oshino is back in this arc. Because if the future is screwed, it pretty much means he's gotta either be there, trying to do something, or dead.

So, if Ougi was not from the past, she is either something that Oshino created as a countermeasure to something, actually Oshino's relative, or Yotsugi in this world. Dunno, just throwing theories at people's faces. And what's with the clock, anyway? Does it grant access back to the original timeline or something? I'm not sure, but I do say that this arc is very promising, it really has me at the edge of my seat all the time, either by pure laughter or by the very well placed cliffhangers.

We shall see if people travel in time even more.

PS. Been reading to the novel a bit now... It seems Eikou Cram School didn't even exist back then! What?


Did the meeting of Loli Hanekawa affect the future more than the rescue of Hachikuji?

sunnuntai 18. elokuuta 2013

M.S.S.S Episode 7

Sorry for not making an update in two weeks, M.S.S.S episode 6 was a recap, and I couldn't find it's translation. And it includes stuff I've already covered. Anyways...

Surprisingly Complex: M.S.S.S Episode 7

Time travel?! Count me in! Also, lots of stuff to analyze.

The episode begins, and we see Araragi talking to an unknown girl, who looks like a doll, Oshino Ougi. Now that makes me think it's Oshino's relative. Combined with the fact that this intro is probably happening 11 years to the past, it's kind of obvious. Also, the meaning of the talk in the intro means that sometimes everything comes to a halt and the fake sense of safety we have brings the most misery to us. How this ties to the rest of the arc has me interested, as this kind of philosophy is indeed interesting. Also the three-second lag will probably come into play later in the arc. Maybe in the case of Hachikuji crossing a street?

It's also interesting to see Shinobu and Araragi interact more, as their character development is made clearer. They have already accepted that the situation they're in is kind of final (Even though the link is severed during this arc) and they are seemingly fine with it. The severing of the link probably has something to do with the time travel and meeting Kiss-Shot Acerola. Not entirely sure. But from what we've seen, in episode 5 Araragi seemed to have gained some of his vampirism back, so maybe something happens in the past that makes Araragi a full vampire again, severing the link with Shinobu in process? Possible, everything is possible. But, as this is probably a different timeline entirely, anything that happens here may not actually do anything.

About Oshino Ougi. It's highly possible that Ougi is either Oshino's sister, which would be weird looking at her appearance, or just another apparition which he has named... And sent her to school. Neither theory really adds up. Also, Ougi could be some incarnation of Yotsugi, and that was the first thing to come to my mind. But I'm not entirely sure. The voices are pretty similar, and the speech patterns have something similar. But don't mind it, it's just theory, but here comes everything we will see during the time travel episodes. Or more like, which I think we'll see and what we should see. It also contains possible spoilers.

-Hachikuji's Death / Rescue:
Not a big surprise, as the whole arc is named after her. Also, eleven years, kind of obvious. It's also possible that Araragi is the cause to her death. And it's also possible that Hachikuji remembers Araragi (In the future), but doesn't tell. It's also possible it doesn't happen at all.

-Younger versions of characters:
The most important will probably be Oshino's trio: Oshino, Kaiki and Yozuru (Whose name I will probably never remember). Or is it a quartet with Gaen? We may also see younger Hanekawa being abused. Younger Araragi (And the fire sisters?) is a sure one probably.

Wait. Araragi 11 years back is about 7, right? What if his former self had actually met Hachikuji in the past, but he had forgotten her after her death? That'd be interesting.

-Yotsugi alive:
If it's not Ougi, we'll probably see her alive as well.

-Eikou Cram School in top condition:
They are probably going to camp there, but it's being used.

-Senjougahara's Mansion and a happy family:
I think this arc was hinted at or the idea was taken from the first Mayoi Arc, when Senjougahara could navigate in the urban renewal are with her past knowledge of it. Also, 11 years ago the family wasn't broken to my knowledge.

-Kiss-Shot Acerola-Orion Heart-Under-Blade (Shinobu)
We will probably see this.

Remember, everything I listed may or may not happen, and some may even have twists like: What if Senjougahara's family wasn't that happy to begin with, she just decided to ignore it?

Everything is possible now in 11 years to the past. One of the funnier ones may be Araragi go on with his greeting when he sees Hachikuji, but wait for it, she hasn't met him yet, so he's just a child molester. And everyone sees it. Oh god.

Random: I think I'm either gonna love or hate the opening of this arc. No middle ground.


There's fun to be had... IN THE PAST.

sunnuntai 4. elokuuta 2013

M.S.S.S Episode 5

End of Nekomonogatari Shiro arc. End, or atleast, the next checkpoint to Hanekawa's search of humanity.

Surprisingly Complex: M.S.S.S Episode 5

Won't going to lie, this episode is probably going to my books as one of my favorites from the whole series. The irony of it being, that as the writer of my blog, it doesn't give me much, because all is pretty much laid bare. The only thing that this episode emphasizes is that Hanekawa is from development standpoint at least as important character as Araragi. The confession is one of the first times we actually see actual emotions on her. And boy, there's some character developed really called for there. We've seen her in two full seasons and one OVA, and not once has she lost a percent of her cool. Now it's very different, even though she is in the "black" mode, in which she actually isn't.

Notice how Araragi didn't get energy-drained when he patted her? It means that Hanekawa has successfully become one with the cat, so "Black" Hanekawa doesn't exist anymore. She still could drain the Tiger, which mean she is in control. Now that she also has the Tiger in, she might be able to generate super-heat. The question whether she actually has the powers in the future is important, because if so, she can be of help... Even more than before. But somehow I feel that the whole point is that by consuming them they lose their unnatural power.

Isn't it by the way kind of ironic that Hanekawa becomes human by consuming the supernatural that departed her? Even though they are made of her own parts, it's still an interesting thing to think about. Of course, it could be also taken as a classic example of "accepting your Demons" in a more literal sense.

I actually read almost the whole novel in the process of waiting for this episode, yet steering clear of spoilers. The novels have actually little more depth because of the style the anime went for, where you must do the thinking. The novels' way of speaking to the reader is actually not too dissimilar of the way I write these blogs, which is damn creepy. Remember my first example, the falling Senjougahara? Yeah, it was explained there, and the wording was almost identical to my way of writing it (At least the translation was). I do swear I didn't read it before I wrote my blogpost.

I really loved the artstyle of the Wandering Hanekawa -scene. It really shows how differently Hanekawa and Araragi think things through. If you're wondering "Where did we see Araragi analyze anything?" Well, we have to go way back. To the first episode of the series. Even though we never saw anything even resembling the black scene of randomness when we see him and Senjougahara arrive to the Eikou Cram School for the first time, just... Compare. I loved both scenes, but I think this was executed better.

Araragi says that he loves Senjougahara more than Hanekawa, but the important point is: Is Araragi's feelings toward Hanekawa love? NO! It was addressed in Nekomonogatari Kuro that it's not love. Just for the people wondering.


This part is no longer viable, as of now, Hanekawa's character has taken a solid 180º. Or so we are told. Of course, Hanekawa is always Hanekawa, at least externally. This touches merely the inside part, of which we didn't actually know too much before now.

I could really argue that within these five episodes, we've learned more about Hanekawa than we have in the whole past series, and I think that's the point. She is way too central of a character to be just written from someone else's perspective. Or more like, her character is hard to analyze without the internal component. Why, you may ask? Because the line between "think" and "do" is very far in Hanekawa's case. The things she does, their justifications, and what goes through her mind doing it are three separate things. The things she does are very normal, their justifications are understandable, but what goes through her mind thinking about it? Different dimension. She doesn't think about the things she does in the same way normal people do. She does them (Or more like did) out of the fact that it's seen as normal procedure. She tried to become real, but she missed the whole point. Her own ignorance got her wanting the wrong thing, and as such, do the wrong things. She was just wrong.

In the end of this episode Hanekawa takes all her dark sides inside and finally turns into a real human. Does this mean she wasn't before? Not really, but it's a question worth asking, because the follow-up-question: "What does it mean to be human?" Exactly. It's a question best left unanswered.  

Anyway, Hanekawa's avoidance of the dark side, or her "dimming the dark" out of her life made her unable to see the sides of the world she should've seen from the beginning. She dimmed the dark out of her life, out of her body, creating more harm to everyone. Whether she did this knowingly or subconsciously is left to debate, but the idea stays. Hanekawa thought that to become real all negative aspects must be exterminated. They couldn't be exterminated, so she exiled them. What she missed was that those negative aspects make us who we are. 

There isn't always much to write, but a writing person still writes.


Well, Hanekawa is human now, so... Yippee?

keskiviikko 31. heinäkuuta 2013

M.S.S.S Episode 4

Sorry that this took a bit long. I had things to do when this episode came out.

Surprisingly Complex: M.S.S.S Episode 4

3 new characters. 3. Damn. That's the most we've had since the first episode, which had 4. But in the middle of an arc, 3? What? And oh damn do they have things to tell. And oh damn are they after Shinobu. This episode might be one of my favorites in the whole series, because it so subtly sheds light upon Kizumonogatari, and this will be one of the episodes I will probably watch again after Kizumonogatari. Okay, to the subject itself.

The first minutes after the opening are dedicated for some simple parallels that show us how the Araragi family treats Araragi differently than Hanekawa, and how in contrast Araragi sees them differently from Hanekawa. Araragi's mother is shown for the first time, weirdly in Hanekawa's own arc, which I think is the only arc that does not have Araragi as protagonist. Or maybe not so weirdly, if Araragi just pays no attention to his parents, which might be the case. Araragi's mother tells Hanekawa how a problem cannot be solved if the problem is ignored, which we have seen Hanekawa doing since long time ago.

After that, on Hanekawa's way to school, we see the biggest bait for Kizumonogatari since anything really. Seeing Mr. Episode with his attitude and information it really sparked curiosity in me. I really want to see Kizumonogatari. Goddamnit when is it coming so I can go watch the fucking shit out of it. Anyway, continuing, he says that the kind of dread that Hanekawa had is gone, which is thanks to the Cat.

Then... We meet Gaen, who is later revealed to be most probably Kanbaru's mother. It explains a myriad of things, including everything in Kanbaru's backstory. We will see more of her in the Kanbaru Devil arc, which will be coming at some point. Anyway, she had hired Mr. Episode to kill a vampire, most probably Shinobu, and goddamn, if someone needs to take her down, epic shit is going down. She also proclaims to know everything, and she says it with such confidence that it almost disturbs. It would seem that she has come together with some kind of an apparition and as such has obtained more information than a human can handle. She proclaims to know everything, and says that Hanekawa really knows nothing, like she says all the time, confirming that Hanekawa knowing everything is just in Araragi's head.

Then Hanekawa figures out that maybe this Tiger is a new kind of apparition, like Black Hanekawa. This implies many things. Either apparitions are born often, or Hanekawa is some kind of apparition that makes new apparitions. This is the second super-strong apparition she has given birth to in a matter of few months. And this time it's unparalleled in strength, which means she must be mighty epic to actually deal with it. It would seem that Hanekawa's emotions have some damn power, because it would seem that the Tiger is a creation of her pure envy. Of course, it's never said that to whom that envy is aimed at, but it's most probably Araragi again. Her comments about his house and family had that kind of tone. And we're in her head, meaning the subtle comments are actually subtle. She never implies in her head anything of envy towards Senjougahara, but even the subtle comments on her thoughts about Araragi's family can make something like the TIGER? Whoah. It seems that what we actually hear from her is REALLY just the tip of the iceberg. Her emotional burdens are so mighty that they create new creatures to the world, which are usually born from many people believing into something. That's powerful, damnit.

Talking about powerful... The moment when she just leaves her scent to Araragi's bed is at the same time powerful and meaningful. She also leaves a picture to his phone(?). Then she starts to write a note to the Cat. Oh my god. It probably has either advice on how to take on the Tiger, or just a simple favor to let wake her up when the cat's in control. The latter would be damn interesting to see.

sunnuntai 21. heinäkuuta 2013

M.S.S.S Episode 3

Surprisingly Complex: M.S.S.S Episode 3

Wow... Just... Wow... This is the first episode where what I've said in this blog is actually addressed in the series. The end of Nisemonogatari doesn't really count, as it only gives us the basis of the idea, where as here, it was said loud and clear: Hanekawa's deliberate attempt to be real makes her more unreal, but that in term makes her better than the real thing. Not sure about loud and clear, but Senjougahara's speech in the beginning is really at the heart of the philosophy of Nisemonogatari.

Maybe the thing that I wanted to say was that I'm supremely pleased that what they did with the character of Hanekawa trying to be real was 100% the same as what I was thinking. I hope that this episode would get people to think about things. Anyway, the rest of the episode is also great, seeing Shinobu and the Cat interact was interesting and they confirmed another thing, that was actually cooking up from the beginning of the very first season: It's not that the thing itself is different, only the point of view has changed. The allegory of Hanekawa and the Cat being two sides of the same coin has surprisingly lot impact. It is as much implying that they are one and same as it is implying that the only thing that is between them is just a slight change in the point of view. Now you see Hanekawa, now you see the Cat.

Hair. As the fastest probably already noticed, Kanbaru's and Tsukihi's hairs have grown again, in the matter of few weeks, a ton. There is a reason to it, want to know what? Try to guess. 1... 2... 3... 4... 5... Ready? It's the apparitions. Tsukihi's apparition makes everything regenerate fast, including her hair, where as Kanbaru's monkey hand probably makes her hair grow faster. Yes, probably in every place in her body, she just shaves a lot.

Also, there was one scene where Hanekawa wasn't present, the scene between Senjougahara and Karen. The two acted so like themselves that I'd speculate that Hanekawa didn't hear what we saw, she just speculated that that was what happened when she saw Karen and Tsukihi. In reality Senjougahara probably just asked them. We're just led to believe it was something else.

Speculation about the tiger coming. It's not a big surprise the Tiger is probably the one burning everything down. Make it Araragi and we have an ingenious twist! But the Tiger is most probably the one burning everything. The fire is probably an allegory for purification, which may turn into a different one where it actually becomes a baptism by fire, where Hanekawa has to face the Tiger head on, by herself, without the Cat. That would make something interesting. The purpose of the Fire is to purify, but why it is targeting Hanekawa, it's still a bit of mystery. It probably has something to do with her fake pureness or something. Have to wait for more. Until next week!

META-REDUX: The whole series
I just understood one thing about the series. Shinobu and her brilliant character development. She hasn't actually developed based on her actions, but she has actually developed from Araragi's. The Shinobu we see in this episode is so very different from who we see in either Nekomonogatari or the beginning of Bakemonogatari. The first time we see her in Bake, Araragi has this very mean way of talking of her. "She is nothing, she has no shadow or form." And she acts the part. Why? Because her link to Araragi is strong and if he sees her as nothing, she acts like she is nothing, and she looks very sorry about it, because Araragi makes her seem like that. The reason for this way of action is because she was not really helpful in Nekomonogatari, and gave up the blade only after Araragi begged for days, and even though she helped him in the end, he's not grateful because it's not too long from the events of Kizumonogatari, which the series has explained as something that either Shinobu or Araragi can never forgive each other for.

The real development happened during the end of Bake and the beginning of Nise. I told you the bath scene was important, and it was the very reason Shinobu is like how she is now. Before that, during the return of the Cat we saw Shinobu help Araragi again, which led Araragi to trust Shinobu more, which in turn got her to talk more, and during the bath scene Araragi and Shinobu made a pact of peace and got some level of understanding between each other. This in turn makes this episode all the more meaningful. It would seem that Araragi has become more than just a pool of blood for Shinobu to feed on, and more like an ally, and even when their connection is severed, Shinobu still cares for some part for her "master."


The things I ramble about, finally addressed in the series! WOOOOOOOOOOOO!

keskiviikko 17. heinäkuuta 2013

Valhalla Rising: The Descent To Hell

Surprisingly Complex: Valhalla Rising

Valhalla Rising is a silent movie, not technology-wise, but art-wise. If I wrote it all down, I wouldn't probably need even two A4:s to have all the spoken dialogue in the movie. Even One-eye, our kind-of protagonist, doesn't utter a spoken word in the whole movie.

What's so fascinating then about keeping silence? Because then you realize how many times dialogue can actually be in the way when watching a movie. Valhalla Rising has the bare minimum of dialogue, but the weird part is, almost none of it is exposition. It's mostly just people talking. Valhalla Rising is also a very slow movie, having "action" highlights only in the very beginning, and in the very end. This breaks the central rules of 3-act structure, but it works. The movie makes you wait, and when something happens, it happens really quick and usually quite chaotically.

Nicolas Winding Refn, the director, himself said that the movie is a "viking sci-fi" and I can see where he's coming from. The sci-fi elements come from the main group ending up in a foreign land, and trying to survive there. That put aside, it's important to note that Valhalla Rising is not an action movie, even though the trailer makes it look like so. It's a meditative piece of film about death.
The main thing people miss (Which isn't a surprise, as it's never mentioned) is that One-eye is not actually human. He's Odin, the one eyed king of gods. He's also the god of death, bringing the wrong-believing (In this context) christians to what they call hell, Asgard. The boat trip across the ocean was actually a journey to the other side. I don't know if intentional, but every character except One-eye have this weird glow (It can be seen on some shots as colors turning lighter right next to them) coming from their bodies when they're on the other side of the ocean. Maybe they're actually already dead?

It's also interesting how Valhalla Rising takes and mixes things by practically making everyone a bad guy. There are no goody-two-shoes in here, only people going after their goals with all they can. Usually involving in bloodshed. The only "innocent" one is of course the boy, who is spared in the hands of the native Americans. Yes, they are native Americans. Of course, someone could take this as some kind of political satire of Refn stating that America IS hell, which would be funny.

Hey, remember those random red scenes? Noticed how they were shown before they happened in the movie? Good. They were Odin's visions of future. He foresaw everything, and that's why he was unbeatable in battle. Also, the whole last chapter of the movie is one vision of his, as he actually drowns himself about midway to chapter 4, as we're shown after the first ending. Why? Because it's the only way the balance can be restored (Shown by the rocks he tries to pile). The first ending (Odin being killed by the native Americans) is also false because it would make Odin a christ-like figure, which isn't the case. He does the sacrifice (Drowning himself) to free one and to doom the others only to preserve balance. He doesn't actually die, he just leaves Asgard. That's why we see his figure against the sky in the end.

Also, it seems that only pure people can communicate with Odin, such as the boy and the "spiritual advisor." They are both capable of hearing Odin's voice, even though he doesn't move his mouth. Still, Odin's actions set him apart from a generic masculine action hero by the fact that he isn't a good guy. Gods are not the paragons of goodwill in the Norse Mythology. They are brutal and fierce, much like One-eye/Odin here.

Of course, as it is never really said where the boy's home is, we can assume it's Valhalla. We can assume he was a spirit all along, and now that he came back to Asgard, he can finally go home. Just a speculation.

Anyway, all I got to say, I love this movie so much. It's slow but never boring, silent and full of personality, one of my definite favorite films ever. I have watched it a half a dozen times, and I will continue to watch it again and again.


One-eye is Odin, the silent protagonist with actual personality who sees in the future. Piling the rocks was a symbol of balance of the world.

maanantai 15. heinäkuuta 2013

M.S.S.S Episode 2

Nekomonogatari White continues, but I think this time this will be quite short (Like it has always been when I say that)

Surprisingly Complex: M.S.S.S Episode 2

Okay. The Tiger is an outside apparition that is causing harm to Hanekawa for some reason. Coming from the matters discussed in this episode by Senjougahara, I'd say the Tiger comes either to those with a strong sense of fatalism (Everything that happens must happen), or to those with strong emotional detachment. Even though the missing chapters are confirmed to be the Cat taking over and we see the Cat talking to the Tiger, the main point of the episode is Hanekawa's mentality, and we will talk about that. Also, I'll explain why Senjougahara wanted to shake hands with the Cat.

Quicknote: Why all the close shots on Senjougahara when they were taking a shower? Hanekawa a bi? Possibly, as she probably looks people totally non-subjectively.

So... Hanekawa has a strong sense of fatalism, seen in Nekomonogatari Black, and seen now again. She also has total emotional detachment, or more like, total non-subjectivity. She doesn't eat food based on taste, but out of need to eat food occasionally. She also wears the bare minimum of what could be called clothes (Not in the skin-showing sense, you perverts) and buying what Senjougahara sees practically as rags, as they are clothes only really poor people would use. Not wearing clothes that look nice, wearing any clothes because society says you can't go around walking naked. But all the attire she has are approriate for the situation, so she doesn't go walking around in her pajamas all day. The Cat being a total polar opposite, goes walking around in pajamas all day, and wears even the pajamas only because the Mistress says that something must be worn. Hanekawa also puts no flavoring in her food, making it bland, but it doesn't matter to her as she only does food for herself. The only part she has some kind of attachment to life is people, as she finds Senjougahara's quirks slightly annoying.

In the first scene, before the opening, we almost hear Hanekawa's reason of loving Araragi, though, interestingly, we already did. Hanekawa does everything because it's normal. Araragi is a change to that normal, as he's some kind of a delinquent and doing generally what he pleases. It's kind of an wonder that to both Senjougahara and Hanekawa, the main reason they like him is change. The difference is, that with Senjougahara, it comes from making the change, where as Hanekawa is seeking for change.

And why is Senjougahara insistent on shaking hands with the Cat? Because she wants to know the other side of Hanekawa as well. The most probable reason for this is to get closer to her, so she won't do can't/won't do any drastic measures to pull her and Araragi apart. She's also curious, so why not?


Hanekawa may be bi? Also fatalism.

torstai 11. heinäkuuta 2013


Sauna (a.k.a Filth / Evil Rising. Evil Rising is so bad name for this, but Filth is actually quite fitting) is a Finnish horror film from 2008, very symbolic, and very gripping. It's not actually "surprisingly" complex as it's kind of hard from start to finish.

Surprisingly Complex: Sauna

I haven't read too much of what people see in this movie, but I have some points I want to make. If you haven't seen the movie, two things: 1) I recommend it. 2) Spoiler alert.

First off, seeing is a major part of this movie. It may sound weird, but I'll explain. One of our two main characters, Erik Spore, can't see well. He is a veteran of the 25-year war between Sweden and Russia, during which he killed 72 people. His eyesight was bad, so our other main character, Knut Spore, brought him glasses.

Glasses make a badass even more badass
It's never said in the movie, but there is an underlying theme. Sin makes us blind. Erik is the physical manifestation of it, where as Erik and Knut both are the spiritual manifestation of it.  Erik has killed 73 people in cold blood, where Knut doomed only one for eternal torment. The blindness is seen about halfway the movie, when Erik asks Knut: "Didn't you see the axe?" and Knut answers: "No." The axe was important, because even though Erik had glasses which helped him see, he couldn't see the reality where the axe did not exist. This incident happened before Knut committed his sin (I think) so his eyes were still clear. Then he left the girl into the cellar to die, also burying his own sin of lust. Then he became blind too to reality. He started to have visions of the girl, covering her face (I will go into that soon), following them to the swamp.

There's also one of the greatest lines I've ever heard in a movie (It may be because it's in my own language), it cannot be translated completely, because Finnish has weird quirks in it. "Darkness doesn't bend. It bends (you)." It sounds silly if said that way, but it was said when Erik was explaining how glasses work. "It bends the light." he says. And the only answer he gets is that. It doesn't mean darkness cannot be won, it means, that those glasses on his head won't help him see in darkness. Where he metaphorically seeing, already is. He thinks he sees, but he only sees the darkness, and as we all know, we don't see in the dark. He's been blinded, made to kill, and it has become his only way of dealing with things. He has killed so much that he starts to see dead people in the water.

Oh Knut what have you done?
Knut is the other side of the story, being a to-be professor who followed his brother when he went to mark the border between Sweden and Russia. He's been blinded by the sin of lusting after (With rape in mind) after a girl, and leaving her to die in the darkness. He starts to have visions of the girl, haunting her, and he always escapes her. Part of his sin is denial. He doesn't believe he has sinned, making him blind too, but in a different sense. His denial and idealistic hope that the mysterious sauna that cleanses you of sin seems like the only choice. He also rips tattooed "75" from his back, which I don't understand. They say it is a symbol of how many people must die, but I don't think so. Why would it be there in the first place? I don't know yet. But anyways, he goes to the sauna to cleanse his sins, but the only thing waiting for him there is the girl, covering her face.

We see people covering their faces a few times during the movie, most noticeable are the cellar-girl and the little girl in the town. The little girl is actually not from the town, she's a spirit, who only those who have sinned can see. There are only three people who she's shown interact with. The brothers, and the old guy who dies in the shack. We can thus say that the old guy had some bones to bury himself. How do I know? Well, they say in one part that one middle-aged woman there is the youngest in the town. That should pretty much say that she's a spirit. She dies in the end, and as she is the spirit, she's not one of those who must die. The only ones who must die are the 73 people of the town and Erik, where as Knut as the killer is the 75th. The Russians were just collateral damage.

Sometimes death is the only redemption
Back to face-covering. Cover your face, what do you see? Nothing, right? Cover your face and you cover yourself from the world, denying the darkness. Because if you gaze into the darkness, the darkness also gazes to you. Covering the face is denying the darkness, which is also given as the Russian guy who receives the torment of the cellar-girl writes that she's not alone in the darkness, there is someone else, and that someone else, is her own darkness. This is also seen as the faceless monster in the end, who I think is speculated to be the Russian gay guy, who lost his face. This is hard to explain, but I think it may have something to have fallen in love with the darkness. Not sure. But the cellar girl may have covered her face in the beginning because she didn't want to see the darkness in Knut, because she had possibly fallen for him? I'm not sure.

So, now to the killcount. 73... 73 people had Erik killed in cold blood during his life. 73rd was the first innocent, and that's why he's haunted. His mind said he had an axe, even though he didn't. He killed an innocent man, and now he must pay. But one is not enough. One bad one taints all the rest. But two bad ones? That taints everyone involved. The 74th was the cellar-girl. The second innocent. The darkness, which actually does not come from the Sauna, but from the inside, makes Knut insane and makes him pay the price of 74 lives and his own. 74 come from the deaths he and his brother have caused, and the 75th comes from Knut trying to deny his sin.

In the end the spirit is killed by the faceless man, and Erik is killed by Knut. Before that, Erik says that he sees well in the sauna even without his glasses. This is because the sauna is a place where sins are washed away. Before he must pay the price, he must be cleansed.


Great horror flick, great symbolism.

keskiviikko 10. heinäkuuta 2013

The Last of Us: Lost in it's own game

Yay, first update about a game! I'm here to talk again about the things people have missed, but this time, sadly, they are negative ones. Nitpickery incoming...

Surprisingly Complex: The Last of Us

Just to get it out there, The Last of Us is a phenomenal game. It's exceptional in it's storytelling, truly. It brings character depth very rarely seen into an action game. And there the problems start. Action game.

The Last of Us, otherwise damn intuitive, well-written and executed, but there's a problem. It lingers in my mind, and it hasn't gone anywhere. Bottom line is that while The Last of Us' action is by far better done than of almost any other game of the 3rd person shooter genre, there is too much.

20 long goddamn years...
The Last of Us tells us about a world that has gone to ruin 20 years ago, but while it certainly looks like it, it doesn't feel like it. There is simply not enough silence. More silent, simple navigation through the wastes would have made this game SO MUCH, SO MUCH better. Put some food scavenging in there, dammit! The general theme of the game is survival in the general sense, but the most survival you get most of the time is how many bullets you've got left, because you know there will be more clickers or bandits or whatever. There always will.

Like how the army was right in your ass until and little after capitol building? Why? There's no reason for them to be there. Judging from the dead Fireflies, a squad had been there not too long ago. And if they followed them, why the hell would they follow three stragglers with a full team of soldiers? It doesn't make sense. The enemies are there for the sake of the enemies being there and giving us something to shoot, most of the time.

Apocalypse, 20 years later. But there's still so fucking much people out in the wastes out to get you. It's survival to the fittest out there, and if someone spots you, they usually want to spot you again, pointing you with a gun and a trigger-happy mindset. It disturbs me. Even though you'd think only the crooks would go outside, if it was so, my adventure through America's lands was littered with them. They were everywhere, and I often hoped (Especially in the power plant), that there wouldn't be a random raid when you came in. Of course there was. Always. It annoyed me greatly. I wanted to go see the carefully hand-crafted world and characters, not the same fucking thugs once again. I again emphasize, I loved the combat, but there was too much of it, and almost no time for everything else, like, I don't know, survival? Actual scavenging mechanics and gathering food would've made the world feel more alive.

Just... How?

There's a reason why I say this. Most most of the people should be infected by now... And the infected should be dead too, for they would have nothing to feed on. Meaning that the streets should be pretty empty, not filled with all kinds of criminals and soldiers and mushroomheads. Long time infected? Long time DEAD. The silence fits the game better than action. It would've also made the action more exhilarating, as you wouldn't have already killed so many enemies that you instinctively pull headshots on everyone and know immediately when you can grab them.

Other thing I want to talk about, is loot drops by enemies. When they drop ammo, why do they almost never drop the right kind of ammo (As in the weapon they used), and usually nothing at all? I saw the goddamn guy pointing at me with a shotgun, ready to shoot, and he doesn't drop any ammo, and if he does, it's for the revolver? Doesn't make sense, as I think they were shooting at me for real, not just pointing with a toy. From their shooting habits, I would say definitely, that every one of them have at least 10 rounds with them. But then I kill them, and get no ammo at all. The enemy AI doesn't make every shot count, which is kind of immersion breaking.

They were this close to nailing it...
The game is too good for it's own benefit... These things, were it ANY other game, I would've missed. But not this time. When you near perfection, the little flaws shine through damn brightly. Bioshock Infinite had the exactly same problem, and it was one of the two best games I've played this year. I hope it doesn't surprise you that the other is The Last of Us. I hope that game developers and publishers realize that the two best games of 2013 so far have both fallen on their asses because of too much action.

Remember, no matter how much I've ranted about these little things, they indicate how much I care. Any other game, and I would've given jack shit (Except Bioshock Infinite). But with this game, it just needed to get out there. If you can get this game somehow, GET IT.