TWELVE DAYS: FUCK SUNOHARA

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Sunohara, master of corncobbing

Clannad is “the anime that made the world cry,” but it is also technically a comedy. Clannad’s poor handling of comedy and over all poor sense of humor have likely suffered the most from my repeated watches of the series. As a matter of fact, I remember appreciating the comedy very much the first few times I watched it, but now, it is nothing but grating. Clannad doesn’t integrate its comedy and drama well at all, especially when you compare it to something like Toradora, which aired the same seasons as after story. In Toradora, the comedy weaves itself in naturally without making the show seem like its constantly shifting between a comedy and a drama. The same cannot be said for Clannad. I feel like people will raise March Comes in Like a Lion as a counterpoint, and to that, I have not yet prepared a response.

In Clannad, almost all comedic elements come across as comic relief and feel shoehorned in, especially when they’re elaborate sequences that sometimes carry over between scenes and sometimes end in some sort of a gay panic punchline. Clannad does, however, handle its running gags very well, and it deserves recognition for that. Tomoya’s efforts to shoot juice up Fuuko’s nose, Fuuko’s appearances after her arc, and Kotomi’s devastating violin playing are all funny and seamlessly woven into the scenes in which they appear. I’m not considering “Sunohara gets kicked” a running gag because, well, it isn’t funny and it happens all the time. Running gags are supposed to be special, so they can’t happen too frequently, and the first season of Clannad is definitely oversaturated with scenes of Sunohara getting his ass handed to him. It’s just exhausting. As I write this, I’m dreading continuing my rewatch of Clannad because the next few episodes are Sunohara’s after story arc, which is pretty much, like, the worst. Sunohara is the worst, so naturally any narrative that focuses on him would be similarly lacking in value.

Clannad is not a comedy

Clannad takes itself too seriously. “But Senpai, Clannad is a comedy too,” yeah, uh, no it’s not. Clannad is not a comedy, not by a long shot. If I wasn’t opposed to low blows- well, I’m not opposed to low blows, so I’ll just say it outright: you have to be funny to be a comedy. Obviously that’s not true, To Love-Ru is one of my favorite anime comedies, but no part of me would expect women to find that show to be funny. That’s nothing against women, To Love-Ru generally treats women horribly.

No, Clannad isn’t a comedy first and foremost because of the way it undercuts its comedy in the very first episode. The first episode of Clannad is fairly brilliant for more than a few reasons, one of those being the way it frames Tomoya and Sunohara’s shenanigans. Clannad frames their comedy as a mask that hides the characters’ inner turmoil. They are just a mask for Tomoya’s depression, as demonstrated when their first scene together cuts back to Tomoya’s melancholy monologue. Perhaps the comedy is meant to feel forced because it is forced. I think that’s probably giving Clannad too much credit though. In fact, it’s a stretch even to surmise that all of Tomoya and Sunohara’s humor functions this way. There is one series where this is absolutely true, and that’s Monogatari.

For Sunohara and Tomoya, well, they’re high school guys, so naturally, most of their time spent together is spent joking around. At the beginning of the series, the pair have all but given up on school. While Tomoya begins to find himself more engaged in the conventional high school experience, Sunohara is still focused only on amusing Tomoya and himself. Sunohara’s sexual harassment of a Tomoyo is, more than anything else, something to do. It’s a means of amusement that entertains Okazaki and gives Sunohara himself pleasure because he’s a masochist. There’s no other reason that a character would so frequently place themselves at risk of getting owned. Sunohara loves getting owned, especially by women, but he’d never pursue one of those women for a relationship. Sunohara consistently demonstrates that he’s only romantically interested in seemingly weak willed moe girls like Nagisa, Ryou, Kotomi and Miyazawa. I only said ‘seemingly,’ because that’s not the case for Miyazawa. Sunohara is reasonably competent in the fights we see him in. Those fights are always with men, though he was willing to brawl with the student council, and are sparked by conflict in which Sunohara is genuinely emotionally invested. He knows he can’t beat Tomoyo or Kyou and would much prefer that they whoop his ass because that’s how he gets off and because it entertains Tomoya. When Sunohara gets owned, it’s not supposed to be funny because the show is playing it for laughs, it’s supposed to be funny because Sunohara himself is playing it for laughs. That being said, nothing Sunohara does is remotely amusing. Sunohara’s comedic shenanigans are intended by the character Sunohara to entertain Tomoya. Through Sunohara’s attempts to entertain Tomoya, the writers of Clannad seek to entertain the audience. This however, is incidental. Sunohara tries to make his everyday life a comedy in order to entertain Tomoya and himself, because that’s all they’ve really got left to live for, at least at the start of the series.

I don’t think you can call Clannad a comedy because it isn’t thoroughly a comedy. Clannad is a show with jokes. As I explained above, these jokes are, for the most part, told by characters to amuse other characters. When Clannad gets serious, it gets dead serious. You’d never have a moment like You jumping off the balcony to save a falling school uniform in episode 9 of Love Live Sunshine. That uniform that fell from above was loaded with history and Kanan tossed it out the window in defiance of Mari’s insistence that she join Aqours. That’s the good kush. Once Clannad decides to get serious, there’s no room for laughs. This isn’t necessarily a bad thing, but it does, in my opinion keep Clannad from being a proper comedy. That’s good, because if I considered Clannad a comedy, it’d be the least amusing comedy I’d ever seen.

Throughout the first season of Clannad, Sunohara only has a few endearing moments. Those moments are when he struggles after forgetting about Fuuko and when he kicks Tomoya out of his room when Tomoya comes to him to avoid going on a picnic with the Furukawa’s. That’s it, that’s the extent of Sunohara’s appeal as a character before his arc, most of which Sunohara spends being the most un-endearing unrefined cretin imaginable. When the arc wraps up with Sunohara doing the bare minimum by protecting his sister, he is even less likable than he was when the arc started. I haven’t even gotten into all the things that make me actively dislike him. Should I even go into those things? Probably not, I have a feeling I’ll come across as a hypocrite since I love Araragi.

You know, on this watch, my tenth watch, I’m starting to realize that Sunohara is actually the drama club member who is most into it. The way he incorporates theatrics into his life feels very intentional, similar to the way Akio demonstrates his love of theatre through his lighthearted interactions with his family and how he uses them to keep a smile on Nagisa’s face. Sunohara masquerades as Kazuto Miyazawa for shits and giggles, then later uses the excuse that he’s in the drama club and was studying for a role. I feel like that excuse might actually be somewhat true. It gave him an opportunity to act, to march around as the character of Kazuto Miyazawa. Unfortunately, at the end of the series, we see that Sunohara has joined some sort of company and is only just getting his driver’s license, so it seems he is doomed to a life of unhappiness. Perhaps he never realized his true love of the theatre. Wow, am I actually feeling sorry for Sunohara? *cue weepy synths*

Sunohara is not good, I don’t like him. Naoko Yamada directed episode three of After Story, “Hearts out of Sync,” and she did an excellent job depicting Sunohara as, to use Nick Creamer’s words, “the Hitler of Big Brothers.” Nick Creamer also argues that, in order to have a redemption arc, a character has to be redeemable. They need to have some semblance of good in them, which Sunohara does not have. I’m inclined to agree with him because, well, I hate Sunohara with all my heart, all my mind and all my soul. However, there were instances in which Sunohara did things that weren’t bad and, dare I say, even came across as endearing. He was able to figure out on his own that Fuuko was the rumored ghost girl and he demonstrated concern and anger when he saw people seemingly ignoring her. This is why it is so jarring when Sunohara wishes to just ignore the girl being bullied at the playground in “Hearts out of Sync.”

Sunohara’s concern is not unconditional. He only got angry when Fuuko was ignored because he was invested in Fuuko. He was already on board the starfish express. This is the essence of connections between people in Clannad, the theme that Jason Moonfang called, “people complete people.”

I mentioned earlier that Sunohara is only romantically interested in moe blobs, vulnerable girls that he knows won’t challenge him. He wants to marry a woman without any agency, a woman who won’t speak up when she’s uncomfortable. He wants a woman who’ll put out whenever he tells her to, and won’t take issue with his obnoxious behavior. He wants a woman that he can trust to take care of the kids while he stays out after work, drinking with his colleagues and visiting hostess clubs. He’s kind of like Patrick in that classic episode of Spongebob where they decide to raise a scallop, except in Sunohara’s case, his wife won’t ever complain. He wants a woman that will quietly continue washing the dishes even though she knows her husband is out burning his paychecks in Kabukicho getting pegged by a dominatrix. He wants a woman who will always cry during sex, and only during sex, out of fear of what her husband will do to her if she cries at any other time. Everything I’ve just said is way too specific for me to ascribe it to Sunohara’s future self, but even so, I think Sunohara’s arc manages to set him on a path that won’t lead to such a future. No, Mei isn’t the one that I believe manages to set Sunohara on the right course, its Sanae.

Everybody loves Sanae, and so does Sunohara. Sunohara’s attachment to somebody that is supposed to be his fake girlfriend is super creepy, and it feels like he forgets that it is not real, and that’s not something that he himself was playing for laughs, he was convinced. Sanae offers herself up to be Sunohara’s fake girlfriend because she feels compelled to help him find his way. As much as I hate Sunohara, I can’t deny that, in a story like Clannad, when a character like Sanae, a mother, expresses a genuine desire to help somebody, they’re going to be successful. I believe Sanae succeeded in preventing Sunohara from bumbling towards a future in which he’s an abusive husband. Sanae has all the outwardly moe points that Sunohara is attracted to, but also has a strong will, something to which Sunohara has expressed an aversion. On their first date, Sunohara drags Sanae around without considering what she might want to do. Sanae doesn’t complain, which is exactly what Sunohara wants in a woman, and since Sanae doesn’t complain, Sunohara fails to realize that he’s being inconsiderate. However, when Sunohara wants to ignore the lost children, Sanae asserts herself and they lead the children home. Sunohara is visibly upset by the experience, but wants to continue seeing Sanae, despite the way she defied him. I think that, if Sanae taught Sunohara anything, it was to value strong women for reasons other than the fact that they kick his ass. She trains him to become a woman respecter. I’m kind of trailing off here because that’s really all we see of Sunohara’s dates with Sanae. What is certain is that Sunohara was prepared to ask Akio for Sanae’s hand in marriage, meaning that he fell for Sanae despite Sanae having agency and asserting herself. I don’t think that would have happened before.

Y’know, Sanae is such a great character that her caring about Sunohara almost makes me want to care about Sunohara myself. almost.

Also, I actually hate Tomoya more than I hate Sunohara.

fuckin Clannad fuckn sucks

TWELVE DAYS: SOME THOUGHTS ON TOMOYA

BxBvCshCEAAgUyY     Tomoya’s depression gradually fades away after he meets Nagisa. Tomoya’s attitude toward school before he met Nagisa was one of resignation and hatred. Tomoya expresses his desire to erase all of his painful memories in the anime’s opening scene. Over the course of the show, except at a few vulnerable moments, Tomoya is dismissive of these experiences when they come up. Tomoya’s actions lead him to join other characters as they explore the most painful memories of their own. Tomoya manages to avoid thinking about his own problems by thrusting himself into the problems of others, not unlike Araragi.

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“Mr. Okazaki, you’re no Araragi.”

DADDY ISSUES

Tomoya’s outward attitude toward his Father up until the Ends of the Earth was one of disgust and resentment.

In the first few episodes of Clannad, we see a few scenes in which Naoyuki approaches Tomoya at home. In those scenes we catch Tomoya the narrator off guard. Tomoya, during the scenes with his father, is much different than his usual aloofness would suggest. More than anything, when face to face with his father, Tomoya regresses to a more Shinji-esque character. In these scenes, Kyo-Ani’s expression work really drives home that Tomoya is still a child, one that has been hurt and handles problems by running away.

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Naoyuki is reaching out to Tomoya, trying to reconnect with him, and Tomoya responds by running away. These scenes also betray Tomoya’s aloofness and indifferent attitude toward his relationship with his father. If Tomoya really didn’t care about being family with his father, he wouldn’t cry out in episode two, “don’t treat me like a stranger!”

OH ALSO, TOMOYA DOES NOT NEED TO FORGIVE HIS ABUSER. CLANNAD IS STUPID ABOUT THAT.

Tomoya’s desire to help Nagisa, Fuuko and Kotomi is fueled by his resentment for his father and his resentment for himself. Tomoya knows he’s fallen to pieces since the incident with his father. What Tomoya hates most about his slip into delinquency is that he sees himself becoming his father. Tomoya’s desire to become a better father than Naoyuki drives him to help all of these women that he comes across in his school. This may also explain why Tomoya seems to treat all these girls like children.

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Tomoya carries with him a burden of self-hatred that he lets slip into his speech from time to time. For example, in episode seventeen of After Story, Tomoya asks Ushio, “are you sure you want to go on a trip with a guy like me?” Tomoya, between his meeting Nagisa and [the last time Nagisa gets sick] her death, made a lot of progress towards coming to love himself, but after blaming Nagisa’s death on himself and coming to regret all of that time, Tomoya walks back all of that progress. And also actually becomes exceptionally shitty by abandoning his daughter.

Naoyuki’s violent episode when Tomoya was a freshman ruined Tomoya’s school life by forcing him to quit Basketball, the one thing that gave him purpose. Without Basketball and filled with resentment for his father, Tomoya lapsed into delinquency after that incident. That must have been when Tomoya came to hate his school.

Along with the untimely death of Tomoya’s mother, this incident is his and Naoyuki’s shared sob story. The portrayal of Naoyuki in the anime is very interesting. Despite the way Clannad is filtered through Tomoya’s point of view. Every depiction of Naoyuki is supposed to be sympathetic, and I often doubted that he ever hit Tomoya at all on my first watch. Should Kyo-Ani have animated a flashback to that incident? Hmmmm.

Even though Tomoya came to hate school in the wake of his forced retirement from the Basketball team, it wasn’t as though there was nobody at the school that cared for him. Koumura-sensei, noticing Tomoya’s growing disinterest in school, orchestrated his first encounter with Sunohara. In doing so, Koumura brought into a Tomoya’s life a reason not to totally give up on school. A person with one friend is much more social than somebody without any friends, in my experience. It’s not explained in the anime how Kyou became friends (though none of them would have admitted it) with Tomoya and Sunohara, but I have a feeling it wouldn’t have happened if the latter two weren’t already friends. Tomoya was likely en route to voluntary total social isolation before he met Sunohara. Koumura-sensei saved Tomoya from becoming totally antisocial. Without that intervention from Koumura-sensei, Tomoya would have adopted an Araragi-esque loner ethos and probably wouldn’t have been inclined to reach out to Nagisa, let alone embark on his woman-saving crusades of Clannad’s first season.

Tomoya’s perception of each heroine is partially determined by Tomoya’s perception of himself. Tomoya’s perception of each heroine changes based on how Tomoya sees himself in relation to them. ‘Cause he’s a selfish bastard.

Tomoya, in his first interaction with Fuuko, is condescending and takes it upon himself to take away something from her as a disciplinary measure with Fuuko’s best interest at heart. Imagine that you get a B- on a test in Math class because you’ve been texting in class lately rather than paying attention. Then imagine some stranger comes and takes your phone away from you so that you have no choice but to pay attention. That’s what Tomoya does to Fuuko… Fuck that! Who does that? Who the hell does Tomoya think he is? Everybody has a right to make shitty decisions, but Tomoya just takes it upon himself to take Fuuko’s carving tool away from her since her hand is hurt. Nobody asked you, Tomoya! What gives you the authority to just march in and take things that aren’t yours? This is mirrored in episode seventeen of After Story when Ushio’s toy breaks and Tomoya fixes it. After fixing the toy, he tells her to let it dry after before playing with it, but she does not listen and the toy’s wheels stop working. Unlike the case with Fuuko, Tomoya doesn’t actively prevent Ushio from playing with the toy before the glue finished drying. Though it might not have been his intention, this was a far more effective parenting decision. Tomoya treated Ushio like a big girl and allowed her to make her own mistakes. In Ushio’s case, she probably learned from this mistake the importance of listening to adults. Ushio’s mistake was also a step toward her learning the value of patience, which is probably one of the most important things for children to learn. Tomoya’s approach to parenting Fuuko, on the other hand, was to make it impossible for Fuuko to make her own mistakes.

That being said, Fuuko probably didn’t need Tomoya’s aggressive parenting. Tomoya’s first impression of Fuuko is that of a kouhai stubbornly continuing to hurt herself. In Fuuko, Tomoya saw an opportunity to demonstrate to himself that he can be a better parent than his father. In designating himself as the father figure, Tomoya’s lasting impression of Fuuko became that of a child in need of guidance. After Tomoya realizes that Fuuko really is a goddamn coma ghost, he realizes that he actually feels a sense of responsibility for Fuuko. Little does he know that Fuuko is way more mature than him.

So why does Tomoya feel motivated to help all of these infantilized helpless heroines? Everything we know about Tomoya would seem to suggest that he wouldn’t be inclined to waste his time with other people, least of all those like Nagisa who are trying to get the most out of high school and enjoy things like club activities, which Tomoya and Sunohara feel they had snatched away from them. Sunohara even says as much when he notices Tomoya spending time with Nagisa. It’s all about Tomoya’s Daddy issues, that’s what runs his life throughout most of Clannad.

TWELVE DAYS: THE IBUKI SISTERS IN CLANNAD

Yeet yeet yeet. Fuuko’s arc is the part of Clannad that I enjoy discussing most. If Clannad was just the Fuuko arc, it would be one of the most absurd anime I’ve ever watched. Even more absurd is that Kyo-Ani decided to drag it out for a whole six episodes. That’s like one FLCL! All dedicated to Fuuko…

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Of course I say that, but to say that Fuuko’s arc is about Fuuko is to miss the point entirely, because it’s not about Fuuko at all. Fuuko’s arc is basically a drawn out less compelling version of Mayoi Snail (though Clannad does predate Monogatari). Like Mayoi, Fuuko, who at first seems to be the focus of the arc, really serves as an agent that brings two other characters closer together. Mayoi Snail brings Araragi and Senjougahara closer together and ends with them becoming lovers, while the Starfish arc uses Fuuko to bring Tomoya and Nagisa closer together. The biggest differences are the means by which these arcs bring these characters together and their duration. Mayoi Snail takes place over the course of a single day, while the Starfish arc lasts a few weeks. Mayoi Snail limits itself to just six characters, two of which only appear over the phone or in flashbacks and another who appears for just one scene. On the other hand, the Starfish arc’s focus on the three central characters is diluted by the importance of the supporting cast and way the narrative ropes in the entire school. That’s not to say that it was a bad decision on Clannad’s part to involve its mostly maddeningly dull supporting cast, I’m just laying out the contrasts between these two similar arcs. Yes, even Kyou is dull, just compare her to actually compelling tsundere characters you’ve seen in other anime, or any Monogatari girl, and Tomoyo isn’t made compelling until after this arc. Obviously, I firmly believe that Mayoi Snail, which I consider to be one of Monogatari’s most foundational and underappreciated arcs, is far more compelling in the manner and degree to which it brings its couple together.

Mayoi Hachikuji is a far better character in her own right than Fuuko, and Mayoi has half as many episodes in her arc as Fuuko. Even though I’d say that Araragi and Senjougahara are the focus of Mayoi Snail, Nisio Isin still crafts Mayoi into a compelling character over the course of her arc. Mayoi comes across as hostile and defensive, not unlike Araragi’s first impression of Senjougahara. Like Senjougahara, Mayoi actively tries to prevent people from getting involved with her, but unlike Senjougahara, Mayoi does it out of concern for the people she encounters. Mayoi’s nature as an apparition isn’t revealed until toward the end of the arc. When Araragi is told that Hachikuji is the lost cow, he immediately realizes that this means Mayoi has been wandering as a ghost for eleven years, trying to prevent people from keeping her company. That alone is just a sad story, and all it tells us about Mayoi is that she is selfless and wise, having resolved to wander alone endlessly rather than preventing people from losing her way just as she had before her life was cut short. On the other hand, Fuuko’s sob story is that she’s the coma ghost of a loner girl whose primary character trait is that she loves her sister and starfish. Later on, it’s implied that she likely won’t ever wake up, though that ends up being untrue. Mayoi, on the other hand, is dead. Mayoi’s character becomes most tangible when she is reflecting upon her family issues with Araragi, in which she articulates her complicated feelings for her father, who she loves but who has been preventing her from visiting her mother.

Monogatari, like Clannad, is very much an anime about family. Clannad is pretty much the poster child for anime about family, yet the extent of Fuuko’s relationship with Kouko, as depicted in the six episodes of Fuuko’s arc is that Fuuko is a good sister and wants Kouko to be happy. Of the two sisters, Kouko, who receives much less screen time, is far more interesting. Nagisa and Tomoya express awe at Fuuko’s devotion to her sister’s happiness, but is it really all that impressive? I mean, Fuuko is a coma ghost, one that doesn’t seem to anticipate ever awakening, so she has all the time in the world. Fuuko doesn’t have to go to classes, and she receives information from her ears in the hospital, so she knows that her sister is hesitating to get married for her sake. Fuuko, being a coma ghost, knows that she can’t effect the world as tangibly as a conscious physical person can, but she can do her best and by a stroke of luck, she manages to find a couple of people that happen to know her sister that are bored enough to spend their time assisting in her efforts.

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Kouko is actually interesting. Why the hell is Kouko spending every day in the hospital rather than going out and living her own life? Yes, the obvious answer is that she stays with Fuuko every day because she loves her, but I have a feeling that there’s more to it. At some point, wouldn’t Kouko be seen as lazy for quitting her job and spending every day with her sister rather than working? As long as somebody is with Fuuko every day, isn’t that enough? Why does it have to be Kouko? For some reason, Kouko must be the only family that Fuuko has. Why else would she take it upon herself to take care of Fuuko herself when she finally does awaken? Wouldn’t Fuuko’s parents want to live with their recovering daughter that had been in a coma for ten years? They would if they were good parents. In Kouko’s flashbacks during the arc, we see that they were living together before Fuuko’s accident, but it didn’t seem as though Kouko was the head of household, so I don’t think the sisters’ parents were dead.

My theory is that Fuuko’s parents wanted to pull the plug on Fuuko. They should have. Just Kidding. Kouko must have taken them to court and sued for custody of Fuuko. Regardless of whatever the real story is, Kouko is far more interesting than Fuuko because she really sacrifices time from a tangible life to care for her sister then takes her into her home once she awakens. On top of that, it doesn’t seem as though Kouko and Yoshino ever have children. Knowing Clannad, there must be a significant reason that a couple would decide not to have a child. Nagisa tells Tomoya to put a baby in her as soon as Tomoya asks her what she wants. Kouko is so dedicated to her sister that she refrained from having children of her own so that she can take care of Fuuko. But is Fuuko really a character worth taking care of?

My instinctual response is yes, but as soon as I try to think of additional qualities that make Fuuko a good character, my mind goes blank, so I’ll move on and explore how Mayoi and Fuuko function as narrative devices.

Mayoi’s case brings Araragi and Senjougahara closer together by putting on display some of each character’s anxieties and insecurities. By coming to understand a bit of each other’s vulnerabilities, Araragi and Senjougahara’s relationship becomes more intimate, which is demonstrated perfectly when Senjougahara declares to Araragi, “I love you.” The situation also provides an opportunity for Senjougahara to watch Araragi rescue somebody other than herself, which affirms the feelings that Senjougahara was harboring for Araragi. Fuuko brings Nagisa and Tomoya closer together by causing them to work and spend a lot of time together. Not only do they spend a lot of time together, they spend that time together caring for a child (though Fuuko is technically the same age as Okazaki). Nagisa even remarks at one point that she and Tomoya are like Fuuko’s mother and father, and at the end of the arc, the two start addressing each other by their first names.

Tomoya to Nagisa (sin Fuko)

Fuuko’s arc is so mind bogglingly stupid, but at the same time its absolutely delightful and charming. I think I’m good at talking about my feelings, so to wrap this up, let me do a bit of that and hope it will be compelling. Yeah, I really love Fuuko’s arc. Its so fucking silly, and I think its precisely because it feels so silly that it manages to also feel so sincere. But honestly, for this arc, I don’t have some dark personal shit that I can dig up to relate to it. I guess… I guess it feels so satisfying to watch because its so boring, its so much nothing. Just watching a little girl running around trying her hardest is entertaining enough for me, I suppose.

Monogatari and Me

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Y’know, I’ve watched a lot of anime. That is an understatement, especially since I could have seen at least twice as many as I’ve seen by this point if I hadn’t spent so much time watching and rewatching the Monogatari series. Although I just used the past tense, this is an ongoing process. I’m in a perpetual state of rewatching Monogatari, to the point that there is very little rhyme or reason to it. For the most part, now, I just jump randomly between the various story arcs from NekoKuro on. I’m not going to call Monogatari the greatest anime of all time, but it is certainly the most special to me.

There is so much going on in Monogatari, and that is yet another understatement. Monogatari means ‘story’ in Japanese, but exactly what is this story about? A lot of things. Now I probably sound like a dumbass, with my consistently ambiguous answers. I’d say that Monogatari captures the essence of the two most prominent dilemmas that arise in the human experience: the struggle to face and deal with our problems and the struggle to be together. And also a boatload of other things, including the relative merits of little girls, proper toothbrush etiquette and, quite prominently, the art of the stupid pun. I recently finished reading the first volume of Bakemonogatari, and in the author’s note, Nisio Isin basically says that Monogatari was an excuse to make a lot of stupid puns (the one he had in mind was the tsundere/tundra pun from Hitagi Crab). It’s a testament to Monogatari’s capacity to captivate its audience that it manages to be so popular overseas, given the fact that Isin’s puns fall apart in translation, for the most part.

Instead of trying to put together a cohesive essay on what Monogatari means to me, I’m going to ramble on until I have to go to class and take this test for which I haven’t studied. That’s in 38 minutes, so let’s see what comes to mind in that period of time as I type and listen to the 1984 album “Let it Be,” by the Replacements, which has really been growing on me. As soon as I finished typing the first sentence of this paragraph, I knew exactly what direction I’d be taking my charismatic rambling.

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The choice I’ve made, to dedicate this time to blogging about Japanese cartoons rather than take control of the reins of my life and try to live up to my full and fantastic potential and study for this test, is precisely the sort of choice that tend to set the average Monogatari characters down the path to an apparition. If you’re not familiar with the series, Nisio Isin, the author, uses these apparitions to represent the psychological turmoil of the character they are afflicting. Almost every Monogatari arc involves a character avoiding their problems the way I am. I’m sitting here avoiding studying for this test because the task of trying to cram a month’s worth of reading into forty or so minutes is quite daunting, although I’m sure I could somehow manage to get something out of it that will help me on this essay test.

It’s actually just a quiz, and I’m sure there’s no way I’ll get under a B-. I totally BS’d my way through the first quiz and was able to pull off an A-, which surprised even me, I could probably manage to do it again. However, there’s a reason I’m sabotaging myself like this. If I do well in all my courses this semester, I’ll have to make the choice between returning to the University from which I withdrew just over a year ago on the eve before I first watched abrasive in your face panty shot that opens up the first episode of Bakemonogatari.

That was the lowest point in my life. Anime was my means of escape at the time, but Monogatari, which I was watching then for the first time, wasn’t going to let me off that easy. Instead of being able to forget about my problems with the sort of power fantasy I had been expecting, I found myself watching the most endearing cast of characters I’d ever seen be forced to face their own problems, often after doing everything in their ability to avoid them. Senjougahara avoids her feelings about her mother by repressing them, or in the literary framing of Monogatari, by dumping them upon the weight/emotion crab.

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I was at the same place as Senjougahara when I first watched Monogatari, a deep depression characterized not by feeling incredible sadness, but by feeling nothing at all.  Of course I pretended not to notice the parallels between Monogatari’s characters and myself the first several times I watched the show, but that was just another example of me avoiding my problems.

 

If there is a single Monogatari arc that best captures the stubborn persistence humans exhibit in avoiding their problems, it’s Tsubasa Tiger, or Nekomonogatari Shiro, which might very well be my favorite arc of the series. This arc, wow. At first glance, Monogatari seems to be a show that has ten thousand things going on at once, but I don’t think that’s quite the right way to think about it, and NekoShiro makes a pretty great case for that. There are indeed dozens of layers to Monogatari. It is packed with explorations of a variety of struggles that all people deal with. However, Nisio Isin focuses his attention on different subjects in each arc, so the show never has too many ideas flying around within the same contained story. In Nekomonogatari Shiro, the primary focus is the nature of the way humans avoid their problems. Mamaragi, in her brief exchange with Hanekawa, provides the story’s primary metaphor for the way we avoid our problems, regarding it as “averting your eyes.” Hanekawa adopts this metaphor in her subsequent reflections.

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Hanekawa goes to ridiculous lengths to avert her eyes in Nekomonogatari Shiro. The key to Hanekawa’s success, thanks in no small part to Senjougahara, is that she realizes what she’s doing. Even once she has come to this realization, she still seems to subconsciously be making every effort to avert her eyes. She goes to the library (every book in which, according to the novel, she has read) for information to help her resolve the crisis she had found herself in, despite knowing very well that she won’t find anything useful. She doesn’t acknowledge the obvious implications of the fires burning down the places she’s slept until Senjougahara forces her to. She tries to get out of “playing cards” with Karen and Tsukihi as well. Its then that Hanekawa takes the next step toward facing her problems by discussing with the Fire Sisters what feelings they associate with fire.

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Alright, and twenty hours (actually days) later, that quiz for my anthropology class, of course, did not happen, because, y’know the universe is ridiculously easy on me and I rarely get what I deserve. Well, actually, that’s not really the case anymore. Yeah, that quiz I didn’t have in anthropology? It was not the only thing on my plate. I also had a Philosophy paper that was due today at noon.

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It was absolutely not my best work. As a matter of fact, I actually didn’t even make all the points I was supposed to make. I regret procrastinating it so much, I missed a great opportunity to make myself look cool by writing some cool shit about Substance-Attribute Ontology. I had a great analogy about the nature of substances in Descartes and Leibniz’s views and html addresses. I spent so much time avoiding getting started on this assignment. Why? And you know me, right? Writing and philosophy are like two of my favorite things.

Whatever, I totally bombed that paper. Maybe if I get the opportunity to fix my mistakes I won’t actually blow it. There is only one thing standing between me and returning to the University of Notre Dame, from which I withdrew a little over a year ago. I was supposed to return in the Winter but I bombed a class that I could have aced. In fact, it was a class I actually loved, so much so that I now plan on majoring in that field, anthropology. It’s not a reflection of my Idiot blood. My Father, God rest his soul, would never have let this happen. Maybe I’m like Araragi, and I’m doing all of this as some sort of punishment because I hate myself. I don’t know. If I want to fix everything and live happily ever after and follow my dreams, that’s still possible. I can still get my shit together. I suppose what will determine whether or not that happens is me, and whether I make the judgement that I deserve to be happy.

To be continued…

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