#if you actually care that much about preserving game roms learn where all the other websites that host them are

[xbuster]

Yeah, because Nintendo just never knew about Vimm’s Lair until now. You can’t pretend like it’s possible to keep the most popular direct download romsite that’s on the front page of Google when searching for ROMs a secret from Nintendo.

[katyspersonal]

*kicks in the door*

KATY!!!!!!!!!!!!! I COME TO GIVE YOU ASKS ABOUT YURIE!!!

1) What would their social media page/activity be like

4) Physical headcanons (sleeping habits, favourite food, all that)

8) Made-up connections with other characters that weren't in the canon (friends, enemies, whatever)

9) Headcanons about their past

Have a good one!!!

YOOOOOOO! I didn't expect this!! Finally, a chance to talk about her! (Also, a small bit ahead - I tend to call her Julie instead (Czech variant of Julia), as it is a more proper translation of her name, and I use Yurie sometimes for ease of a communication. There used to be a post by Saintmic about names but TLDR; the エ (ye) in her name ユリエ (yu-ri-ye) is not silent, and it is a different name than the existing Japanese name Yuri (ユリ or sometimes ゆり).. Besides, Soulsborne games always have a character with a variant of this name (such as Zullie, Yulia or Yuria/Julia))

(Asks from this ( x ) meme)

1) What would their social media page/activity be like

Hahaha... I imagine her as being someone whose page is mostly reblogs. 90% of them are from Willem x) But really, though. She would often not find what to say by herself, but would share some based takes - criticisms of modern culture, spreading awareness of some interesting statistics, journal articles that are based on cold and hard facts without any propaganda (good OR bad)... Her personal posts are rare and are either pictures + texts about something from her ordinary life, or vents. However, she'd constantly get the "DELETE THIS" DMs from Laurence (for reblogging some statistic about "effectiveness" of the Healing Church's procedures). Surprisingly, Willem himself never gets any flack despite being the OP of the posts she reblogs to begin with xD

4) Physical headcanons (sleeping habits, favourite food, all that)

Julie normally prepares her breakfast, lunch and dinner in advance, just so she would not have to get distracted from routine work (that tends to occupy her strongly). She cannot care less about her food being cold or even getting stale for that matter. But she behaves differently during her time of caring about Rom as a human; Rom tends to forget to eat as well, and for HER Julie is willing to make sure the food is fresh from the oven and is in its best quality.

She ends up chugging too much blue elixirs later in her story, exactly for the side-effect they are giving - to numb her brain. Julie never had a drinking problem prior - be it the holy blood, the sedatives, the blue elixirs or even actual alcohol, but she got a chance to drink with Fauxsefka a little too often and developed the habit very soon.

All her character sliders have the number at 0 except for arms that has 130 (middle), soooo. Her strongest part is her arms - not too muscular, but strong. If she ever must fight without weapon, she will exclusively fist-fight (or hit one's vulnerable spots, should they lack enough armour). Her punches are not strong (her STR is only 13), but she knows where and how to punch for maximally damaging effect (SKL is 33).

I used to think that she was bald for the same reason as Willem and Slime Scholars (so, Arcane?), but hair falling out from Arcane would not explain her notably bushy EYEBROWS, so I ended up deciding she does have hair tucked under that cap. I also decided to bridge the gap with learning about her NPC data colors too late by having her dye her hair brown or black-ish sometimes. Even prior that, I've had a running gag with drawing her with different hairstyle every single time, but by now she developed more tomboyish look in my interpretation!

She has an eagle sharp eyesight, is able to effortlessly read the tiniest letters without magnifying glass, or even looking in too close, for that matter. Others joke that she developed it by working with literal eyes too much; most of the jars with eyeballs were prepared and preserved by her!

8) Made-up connections with other characters that weren't in the canon (friends, enemies, whatever)

Damian: Fun fact, him and Julie were my next ship after Micorom (before I made Rom Mico's sister instead)! I've noticed that both her and Damian qualify as "failed" members of their respective factions and it snowballed... xD Since then a lot of headcanons were rearranged, but I still enjoy the idea of them as a ship! However, by now them just being close friends works better; Julie is Rom's caretaker, no dissimilar to how Damian basically became Micolash's "butler" before he noticed, so the two are a bit too attached to their (slightly crazy) blorbos to devote to significant romantic relationship otherwise. But, Damian and Julie always had a lot to talk about, and always were the most responsible people in Byrgenwerth (the type to always volunteer to clean the classroom after lessons, to decorate everything for the holidays, etc etc...).

Towards the game events they do become enemies though, as Damian has to face it that Rom has to die for at least a chance of stopping Mensis ritual, and Julie won't have that. It would further wreck him, of course, as he just keeps losing the scholars that were close to him.. but let's hope that the good ol' 'nobody REALLY can die in Bloodborne' works hahaha. ALSO! When I explored the idea of lucky charms to block out the 'evil' telepathy, I had Damian to wear a silver bell tied with Julie's trademark blue ribbon; she gifted it to him upon their parting!

Fauxsefka: They have had a lot of tension between each other ever since being Byrgenwerth scholars, and frequent disagreements. Not really enemies, but their personalities do not mesh well at all; Julie is level-headed despite her grumpiness and Fauxsefka is easily deluded although 'friendly', Julie is open-minded but Fauxsefka is prone to fanatism and black-white thinking, Julie often chooses passive ways (such as preferring to not touch Mensis ritual and slowly 'evolve' people) but Fausxefka will take active, decisive actions (such as running off and forcibly evolving people into Kin so they can't become beasts instead). They are opposites that not complete each other, but tend to argue. Fauxsefka called Julie callous and vile on multiple occasions, Julie called her crazy and deranged in return. Even the last time they've interacted, they were fighting exactly over Fauxsefka's idea to return to her experiments, and she told Julie that she should have known better than to believe she'd understand her. Granted, they were trying their best to get along for years, but some people are just not compatible.

Iosefka: She is Fauxsefka's twin. Despite sharing more in common with Julie, Iosefka is a more tender and malleable pushover than her, so she'd tend to go along with Fauxsefka most of the time rather than argueing.

However, that made Julie a little bit of a 'therapist' friend for Iosefka, and she knew more about her than even her sister. Iosefka entrusted Julie about supporting Micolash's ideas more (at the time), and Julie was the best to hear her out, as someone both critical but not controlling. (Besides, she already used to it, as Rom outright idealized Micolash...) Their friendship was a bit one-sided, but Julie appreciated the trust, and Iosefka appreciated being given space and perspective.

Edgar: Julie liked him more than she'd want to admit, it is as if the guy embodies exactly the kind of a person Julie wishes she was but simply can't be. Not because she is 'bad' but because she is Julie, not Edgar! xd In fact, she envied him, both in good and bad ways. She also had slight fear that he'd 'steal' Rom from her that she'd repress. Most of all traits, she appreciated his independent, non-conforming thinking! Although Julie, likewise, didn't fit into Choir, but her reason was to side with Willem's approach much more. Edgar though? That guy was an unhinged, unbreakable individualist, questioning anything (including even the most sacred and dogmatic things) and anyone (regardless of their age and experience). Yet, this also ended up the trait she resents him by now, since Edgar, sent to spy on Micolash, ended up "thinking that Micolash's ideas make more logical sense". Funny enough, fuming mad at Edgar for being a 'traitor' was the most sincere moment of bonding and agreement Julie ever had with Fauxsefka in her entire life.

White Church Hunter (yes, the one in Research Hall): Vasylissa was Willem's Julie before Julie was Willem's Julie x) Julie tends to develop bonds that are either tense or unequal, but these two had a rather warm bond. The only reason they didn't become girlfriends is because Julie already was too attached to Rom and Vasylissa was always busy with something. But as a very responsible scholar, Julie would get praise from Vasylissa often, down to receiving headpats (that made her blush). Vasylissa would also often find herself pleasantly surprised by Julie having already completed some tasks she thought she'd have to do! They repeated the dynamic in the Research Hall a lot, except now they'd occasionally have cup of tea to bitch about Laurence xd I think it could've been a cute ship in an AU though!

Micolash: Had it not been for LAWS OF THIS LAND- errr, Damian and Rom, Julie would have probably hated him! It doesn't change the fact that he is completely lost on her after going completely batshit (even on his own faction), but being close with two people that loved the guy for years made Julie well aware of his tragic past and sympathetic traits. She simply could not feel hostile towards him, he basically became a friend-in-law, but could very well see Micolash was a dangerous person. She'd attempt to sneak on him without Rom knowing to check whether he was up to something, but either Micolash would be aware and tangle his traces... or Damian would catch her and carry her away like a puppy sdhfgds Rom's love towards Micolash had rubbed onto Julie so much that even if the siblings were to fall apart or one hurt another, she'd try to reconcile them and be a mediator between the two.

Laurence: Unlike what was going on with Fauxsefka, her tension with Laurence was more similar to animosity. Less heated but more 'genuine' conflicts, that stemmed from clashing ideologies rather than clashing temperaments. None of them wanted to become an "enemy" to each other, but it just so happened that Julie OFTEN had something to say against him. She, like Willem and Vasylissa, resented him wasting himself to the ambitions and the plan that was not promising much success in the long run; Laurence pretentiously expressed sadness about her being a very responsible and hard-working asset yet 'having' to always go against him... all that. The difference is that when Laurence would cringe and fail, Julie would feel genuinely concerned about his future, but should Julie make a mistake, Laurence would be gleeful.

9) Headcanons about their past

My impression about her is that if she'd always been the goodie-two-shoes A+ responsible pupil, she'd likely burn out by the time she enrolls in Byrgenwerth! So I'd say she used to be more mediocre kind of kid and teen, only developing the hard-working and respectful attitude over age. You know, as if to compensate for "missed" opportunities in the past!

She'd had a bit of a hard character since childhood, and unfortunately no help or guidance for it. Grown-ups would either not give her much mind as the "no fun" kid or try to make her smile by giving her candy or small gifts. Julie ended up even more aloof and sulky child, feeling like nobody could like her the way she was. It did not help that when she DID try to connect with her peers, they'd make light-hearted jokes about her deigning them with presence at last.. that only made her feel MORE reclusive.

But she'd find a productive outlet for her pent-up aggression in defending the bullied kids with her fists and winning! Along with that, she'd often do boring voluntary job for school all alone, just as long as she could be busy with something. Over time, that formed a circle of thankful, well-meaning people around her that remembered her kindness and other good traits even into young adulthood. None were quite close friends, but under sense of having 'contributed' to the society despite a rocky start in life, Julie started to grow softer.

Julie was one of the people who joined Byrgenwerth only 'after it became cool' (ie not for archeology, but for weird ancient arcane secrets)! She got an impression that over there, people had finally re-discovered something humanity needed but had lost and forgotten. It was a struggle though, as her parents tried to argue that she was on her way to 'simply study something interesting', that did not seem to promise much career opportunities. She felt very guilt and uneasy about her decision, that only had faded when she met Rom and formed a bond with her.

Thank you for asking me! <:3

[scottlarouxwrites]

Style in Bakemonogatari (Suruga Monkey)

Suruga Monkey sets itself apart from the rest of Bakemonogatari by its execution. Where Hitagi Crab is slim and slick, and Mayoi Snail is careful and cryptic, Suruga Monkey is simply bombastic. The arc expands Monogatari’s stylistic palette, while managing not to take any sharp tonal turns or compromise on the artistic cohesiveness of the series. This allows for Kanbaru’s character and the events of the arc to flourish in their own unique way without seeming out of place. Suruga Monkey feels like a natural extension of the series, yet also different from anything we’ve experienced so far.

I would argue Mayoi Snail deviates in a similar manner, though not to such an obvious degree. Hitagi Crab is characterized by a darker, almost urban fantasy feel, full of religious artifacts and sobriety. Mayoi Snail jumps beyond that, presenting the viewer with a brighter and more satirical world (generally speaking). For this essay, I’ll just focus on the specifics of Suruga Monkey, rather than make a mess out of talking about everything. However, Mayoi Snail does exemplify the first major factor in this stylistic shift: the arc-specific opening themes.

Mayoi Snail’s OP, with its electric pop and chant-able closing lines, does not fit the style or tone of Hitagi Crab whatsoever. It doesn’t even fit Mayoi Snail. The school life narrative told through the visuals is reminiscent of a middle school slice of life series, and even the lyrics are cute if you plead ignorance to the events of the arc. Of course, the visuals and lyrics convey a double meaning once we know Hachikuji is a ghost, but that’s a different matter. What’s important is that this OP primes us for a different world than what was established in the first arc. Mayoi Snail is sillier, more energetic, and probably closer to slice of life than urban fantasy (not that it’s strictly one or the other, or even either at all).

This trend repeats in Suruga Monkey’s OP, which starts with an upbeat guitar riff straight out of a Sonic game and a shot of a basketball hoop. Again, I won’t analyze every little detail here, but this sports anime theme continues for a bit before blending with rom-com visuals and music, as well as further action series signifiers (such as fast cuts, close-ups of eager eyes, etc.). Besides that, the Revolutionary Girl Utena—and other shoujo or yuri shows—influence becomes overwhelming at parts. Obviously this OP is distinct from Bakemonogatari’s first two, but it’s also distinct from the feel of either previous arc. Someone who has never seen Bakemonogatari will expect something based on Suruga Monkey’s OP that isn’t directly delivered upon anywhere in the series. But more on that soon.

Let’s actually backtrack a bit to examine some editing and form from the first couple of minutes of the arc’s first episode.

Here we see some clear examples of how Suruga Monkey bends or reshapes existing stylistic themes for the arc’s unique purpose. Right after the typical title card opener, the camera sweeps wildly in towards a railing. This is one of the few (if not only) legitimate camera movements in Bakemonogatari and immediately signals a more dynamic and action-focused experience. The next shot of Kanbaru sprinting and her feet slapping against the pavement continue to set the pace, so to speak. This same cut of Kanbaru sprinting is then interlaced throughout Araragi’s conversation with Hachikuji, constantly reminding us of that faster pace. Keep in mind that this kind of discontinuity/aspect editing is a staple of Monogatari, and thus preserves a sort of stylistic homeostasis even as we’re primed for action.

The shots and editing of the conversation itself work to further integrate the idea of dynamic action. As before, there’s nothing shockingly new, just old style repurposed for a new idea: action. Araragi and Senjougahara flip-flopped all over the screen in Mayoi Snail, but this sequence is more pointed than the park scene. Hachikuji and Araragi walk across a still background; then a moving background “walks” across them.

The walking shot is spread throughout the scene, and the pair make their way to the middle and then the end of the frame.

The cuts also are wilder, with still shots of Hachikuji transitioning to dynamic shots of Araragi falling. Even within still shots, there’s a step up in action in the form of railroad crossing lights flashing. Then, of course, are the shots of Araragi and Hachikuji slapboxing, which feature some of Bakemonogatari’s best (most fluid, at least) animation. Finally, Kanbaru herself comes flying into the scene. Even if I’m reading too much into some details, this opening scene is undoubtedly designed to allow this arc to transition to intense action scenes—such as Kanbaru and Araragi’s final fight—as smoothly as possible. If nothing else, it is no accident that so much effort was put into the slapboxing cuts. This arc needs movement, and we need to be ready for it.

I think of this as stylistic permeability—within the “body” of the art, different moods/tones or focal points can permeate out into observable territory with different degrees of ease. Monogatari has high permeability (dramatic soliloquys, bloody brawls, comedic conversations can all take center stage easily); something like Serial Experiment Lain has low permeability (even when characters make jokes, they still sound bleak or mysterious or otherwise unable to distinguish themselves from the overall dark mood). Permeability tends to be why we condemn certain tone shifts but not others. The formal elements that lead to permeability are too complex a topic for this essay, but the editing described above is one good example.

This permeability is insured throughout the arc via near-constant movement within the frame—whether that be moving cars or walking sequences like the one discussed above or even just a comedic camera pan. Action is likewise primed through Senjougahara’s eye-piercing aggression towards Araragi, which allows for a heightened state of excitement moving quickly into a sequence of Hanakawa standing in the middle of speeding traffic, and then finally the Rainy Devil’s attack on Araragi. True, Senjougahara was similarly violent in Hitagi Crab, but her aggression here still benefits the transition to intense action. The question isn’t whether these details are absolutely necessary to the transition or absolutely unique to this arc, but simply whether they increase permeability.

Perhaps most importantly, the source of the arc’s apparition is as emotionally intense as the action is physically. In Hitagi Crab and Mayoi Snail, apparitions cause trouble as a result of quiet emotions or even a relinquishment of emotion. Araragi simply doesn’t want to return home after an argument with his sisters (among other subtle discomforts), so he meets Hachikuji. Senjougahara tries to abandon her feelings towards her mother, so she meets a crab. Although Senjougahara reaches a melodramatic peak upon accepting her feelings, and Hachikuji (a wake-up call for Araragi) experiences the same upon arriving at home, neither the crab nor the snail exist as a medium for intense emotion. They aren’t inherently connected to a character’s fiery passions.

The Rainy Devil, however, becomes a problem precisely because of Kanbaru’s passions—her anger, jealousy, and hatred specifically. The Rainy Devil is the medium through which Kanbaru channels those emotions. The tool she uses, you could say. On a basic level, the crab and snail are not associated with intense emotions, but the Rainy Devil is. It couldn’t be associated with much of anything else! This small change in the context of the narrative is possibly the key for transitioning into Suruga Monkey while preserving cohesion. The formal/editing shifts explained above smooth out any bumps and sew it all together, but the actual cloth of the patchwork is this emotional/motivational adjustment.

The actions and qualities of apparitions clue us into the psychological states of characters, and this is reflected directly in what we see on screen. I mean this quite literally. In Hitagi Crab, the grim hues, bizarre social interactions, and religious imagery result precisely from Senjougahara’s trauma. In Mayoi Snail, the vast emptiness of the park and the streets result precisely from Araragi wanting to be alone in the world. And in Suruga Monkey, the violence, speed, and overwhelming colors result precisely from Kanbaru’s jealousy and hatred. The inner and outer layers of the story and characters are bound together such that they demand this cohesion.

With the most intense action and violence spawning from the Rainy Devil, and snappy editing and dynamic cuts portraying said action, Suruga Monkey manages to transform our low-key psychological drama into something new. At its core, this arc is still Monogatari, so it’d be wrong to lump it in with other action or thriller or horror shows, but it is certainly distinct from its preceding arcs. Unique yet unifying, Suruga Monkey is a slam dunk.

Afternote:

I apologize for such an awful joke, but let me make up for it with some unnecessary analysis of a minor detail in the first episode of the arc. When Araragi and Senjougahara are studying together, Senjougahara is just writing the Gettysburg Address in English over and over again. I suppose it’s a decent speech to study if you’re learning English (middle schoolers all over America are forced to memorize it, after all), but I still found it a strange choice. So I decided to rationalize it by overanalyzing everything.

The Gettysburg Address was delivered by Abraham Lincoln during the American Civil War at the battlefield remains of Gettysburg. “Senjougahara” means battlefield, and we could consider the two halves of the Valhalla Combo like two halves of a nation. Senjougahara and Kanbaru split apart and one scorned the other, leading to something you might call a feud or fission. So: the battlefield of Gettysburg, the civil war of the Valhalla Combo…the Gettysburg Address?

I can’t imagine this being intentional, but if it is, then someone at SHAFT is as much of a madman as Isin himself.

Delayed by an impromptu drinking party and hangover, but here now (with a bonus!) Style in Bakemonogatari (Suruga Monkey) Suruga Monkey sets itself apart from the rest of Bakemonogatari by its execution.

[boylotus-blog]

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Style in Bakemonogatari (Suruga Monkey)

Suruga Monkey sets itself apart from the rest of Bakemonogatari by its execution. Where Hitagi Crab is slim and slick, and Mayoi Snail is careful and cryptic, Suruga Monkey is simply bombastic. The arc expands Monogatari’s stylistic palette, while managing not to take any sharp tonal turns or compromise on the artistic cohesiveness of the series. This allows for Kanbaru’s character and the events of the arc to flourish in their own unique way without seeming out of place. Suruga Monkey feels like a natural extension of the series, yet also different from anything we’ve experienced so far.

I would argue Mayoi Snail deviates in a similar manner, though not to such an obvious degree. Hitagi Crab is characterized by a darker, almost urban fantasy feel, full of religious artifacts and sobriety. Mayoi Snail jumps beyond that, presenting the viewer with a brighter and more satirical world (generally speaking). For this essay, I’ll just focus on the specifics of Suruga Monkey, rather than make a mess out of talking about everything. However, Mayoi Snail does exemplify the first major factor in this stylistic shift: the arc-specific opening themes.

Mayoi Snail’s OP, with its electric pop and chant-able closing lines, does not fit the style or tone of Hitagi Crab whatsoever. It doesn’t even fit Mayoi Snail. The school life narrative told through the visuals is reminiscent of a middle school slice of life series, and even the lyrics are cute if you plead ignorance to the events of the arc. Of course, the visuals and lyrics convey a double meaning once we know Hachikuji is a ghost, but that’s a different matter. What’s important is that this OP primes us for a different world than what was established in the first arc. Mayoi Snail is sillier, more energetic, and probably closer to slice of life than urban fantasy (not that it’s strictly one or the other, or even either at all).

This trend repeats in Suruga Monkey’s OP, which starts with an upbeat guitar riff straight out of a Sonic game and a shot of a basketball hoop. Again, I won’t analyze every little detail here, but this sports anime theme continues for a bit before blending with rom-com visuals and music, as well as further action series signifiers (such as fast cuts, close-ups of eager eyes, etc.). Besides that, the Revolutionary Girl Utena—and other shoujo or yuri shows—influence becomes overwhelming at parts. Obviously this OP is distinct from Bakemonogatari’s first two, but it’s also distinct from the feel of either previous arc. Someone who has never seen Bakemonogatari will expect something based on Suruga Monkey’s OP that isn’t directly delivered upon anywhere in the series. But more on that soon.

Let’s actually backtrack a bit to examine some editing and form from the first couple of minutes of the arc’s first episode.

Here we see some clear examples of how Suruga Monkey bends or reshapes existing stylistic themes for the arc’s unique purpose. Right after the typical title card opener, the camera sweeps wildly in towards a railing. This is one of the few (if not only) legitimate camera movements in Bakemonogatari and immediately signals a more dynamic and action-focused experience. The next shot of Kanbaru sprinting and her feet slapping against the pavement continue to set the pace, so to speak. This same cut of Kanbaru sprinting is then interlaced throughout Araragi’s conversation with Hachikuji, constantly reminding us of that faster pace. Keep in mind that this kind of discontinuity/aspect editing is a staple of Monogatari, and thus preserves a sort of stylistic homeostasis even as we’re primed for action.

The shots and editing of the conversation itself work to further integrate the idea of dynamic action. As before, there’s nothing shockingly new, just old style repurposed for a new idea: action. Araragi and Senjougahara flip-flopped all over the screen in Mayoi Snail, but this sequence is more pointed than the park scene. Hachikuji and Araragi walk across a still background; then a moving background “walks” across them.

The walking shot is spread throughout the scene, and the pair make their way to the middle and then the end of the frame.

The cuts also are wilder, with still shots of Hachikuji transitioning to dynamic shots of Araragi falling. Even within still shots, there’s a step up in action in the form of railroad crossing lights flashing. Then, of course, are the shots of Araragi and Hachikuji slapboxing, which feature some of Bakemonogatari’s best (most fluid, at least) animation. Finally, Kanbaru herself comes flying into the scene. Even if I’m reading too much into some details, this opening scene is undoubtedly designed to allow this arc to transition to intense action scenes—such as Kanbaru and Araragi’s final fight—as smoothly as possible. If nothing else, it is no accident that so much effort was put into the slapboxing cuts. This arc needs movement, and we need to be ready for it.

I think of this as stylistic permeability—within the “body” of the art, different moods/tones or focal points can permeate out into observable territory with different degrees of ease. Monogatari has high permeability (dramatic soliloquys, bloody brawls, comedic conversations can all take center stage easily); something like Serial Experiment Lain has low permeability (even when characters make jokes, they still sound bleak or mysterious or otherwise unable to distinguish themselves from the overall dark mood). Permeability tends to be why we condemn certain tone shifts but not others. The formal elements that lead to permeability are too complex a topic for this essay, but the editing described above is one good example.

This permeability is insured throughout the arc via near-constant movement within the frame—whether that be moving cars or walking sequences like the one discussed above or even just a comedic camera pan. Action is likewise primed through Senjougahara’s eye-piercing aggression towards Araragi, which allows for a heightened state of excitement moving quickly into a sequence of Hanakawa standing in the middle of speeding traffic, and then finally the Rainy Devil’s attack on Araragi. True, Senjougahara was similarly violent in Hitagi Crab, but her aggression here still benefits the transition to intense action. The question isn’t whether these details are absolutely necessary to the transition or absolutely unique to this arc, but simply whether they increase permeability.

Perhaps most importantly, the source of the arc’s apparition is as emotionally intense as the action is physically. In Hitagi Crab and Mayoi Snail, apparitions cause trouble as a result of quiet emotions or even a relinquishment of emotion. Araragi simply doesn’t want to return home after an argument with his sisters (among other subtle discomforts), so he meets Hachikuji. Senjougahara tries to abandon her feelings towards her mother, so she meets a crab. Although Senjougahara reaches a melodramatic peak upon accepting her feelings, and Hachikuji (a wake-up call for Araragi) experiences the same upon arriving at home, neither the crab nor the snail exist as a medium for intense emotion. They aren’t inherently connected to a character’s fiery passions.

The Rainy Devil, however, becomes a problem precisely because of Kanbaru’s passions—her anger, jealousy, and hatred specifically. The Rainy Devil is the medium through which Kanbaru channels those emotions. The tool she uses, you could say. On a basic level, the crab and snail are not associated with intense emotions, but the Rainy Devil is. It couldn’t be associated with much of anything else! This small change in the context of the narrative is possibly the key for transitioning into Suruga Monkey while preserving cohesion. The formal/editing shifts explained above smooth out any bumps and sew it all together, but the actual cloth of the patchwork is this emotional/motivational adjustment.

The actions and qualities of apparitions clue us into the psychological states of characters, and this is reflected directly in what we see on screen. I mean this quite literally. In Hitagi Crab, the grim hues, bizarre social interactions, and religious imagery result precisely from Senjougahara’s trauma. In Mayoi Snail, the vast emptiness of the park and the streets result precisely from Araragi wanting to be alone in the world. And in Suruga Monkey, the violence, speed, and overwhelming colors result precisely from Kanbaru’s jealousy and hatred. The inner and outer layers of the story and characters are bound together such that they demand this cohesion.

With the most intense action and violence spawning from the Rainy Devil, and snappy editing and dynamic cuts portraying said action, Suruga Monkey manages to transform our low-key psychological drama into something new. At its core, this arc is still Monogatari, so it’d be wrong to lump it in with other action or thriller or horror shows, but it is certainly distinct from its preceding arcs. Unique yet unifying, Suruga Monkey is a slam dunk.

Afternote:

I apologize for such an awful joke, but let me make up for it with some unnecessary analysis of a minor detail in the first episode of the arc. When Araragi and Senjougahara are studying together, Senjougahara is just writing the Gettysburg Address in English over and over again. I suppose it’s a decent speech to study if you’re learning English (middle schoolers all over America are forced to memorize it, after all), but I still found it a strange choice. So I decided to rationalize it by overanalyzing everything.

The Gettysburg Address was delivered by Abraham Lincoln during the American Civil War at the battlefield remains of Gettysburg. “Senjougahara” means battlefield, and we could consider the two halves of the Valhalla Combo like two halves of a nation. Senjougahara and Kanbaru split apart and one scorned the other, leading to something you might call a feud or fission. So: the battlefield of Gettysburg, the civil war of the Valhalla Combo…the Gettysburg Address?

I can’t imagine this being intentional, but if it is, then someone at SHAFT is as much of a madman as Isin himself.

Delayed by an impromptu drinking party and hangover, but here now (with a bonus!) Style in Bakemonogatari (Suruga Monkey) Suruga Monkey sets itself apart from the rest of Bakemonogatari by its execution.