This might come across as a surprise to you, but I absolutely adore the Monogatari Series.
I find it a unique mix of gripping mystery, artistic visuals, and clever writing.
And with regard to that last point, I find the way it treats its characters the most
compelling.
Even though they’re subversions of the usual tropes—Senjou is a tsundere that isn’t
a tsundere, Hanekawa is an irresponsible class president, Nadeko being an age-gap romance
gone wrong—it never seems forced or pretentious, nor would you be maligned for choosing any
character in Monogatari as your favorite.
In addition to being well written, I find the way they’re treated well written as
well.
Unlike many stories that go about an character-arc based format, characters in Monogatari clearly
change over the course of their arcs, and well, the entire series itself.
For example, after Senjou’s issues are resolved, she quietly melts into the background, only
appearing when it makes sense for her to do so.
She keeps her biting wit, but has notably softened, and we’re exposed to the many
lengths she’ll go for the sake of her loved ones.
Not only is this character development clear and preserved within the narrative, it gets
reflected even within the openings themselves.
SHAFT has always poured their soul into their OPs and EDs, and I find the way the Monogatari
ones work particularly unique.
Instead of an all-encompassing general collage of a show’s themes that a typical opening
is, SHAFT creates them arc-by-arc, bespoke for the character under the microscope.
What this means when considered along with the meaningful character development, is that
the Monogatari OPs actually have a narrative throughline themselves, which I find just
remarkable.
And who better to demonstrate this than best girl Hachikuji?
Another product of Nisioisin’s subversive writing style, Hachikuji is a lost elementary
schooler who is literally wise beyond her years.
When Araragi first meets her, she plays the part of a bratty child, a routine she’d
been forced into for who knows how long, her version of kindness to prevent those who are
lost from being even more lost.
We’re in Araragi’s POV for almost all of this arc, so the OP Kaerimichi reflects
this.
It’s the first thing we ever see of Hachikuji other than a passing glance, so coming into
this arc the viewer only has what’s displayed in the opening to go off on.
And what the OP shows is… well a bratty kid.
Hachikuji is drawn noticeably younger, and is depicted doing a variety of elementary
school antics… poorly.
She misses her school bus stop, wrecks the gymnasium, and then does some summer activities
like going to the beach (in her school swimsuit) and visiting a festival.
Basically, everything is set-up to keep us just as in the dark as Araragi, if not to
be outright misleading.
So, when the reveal comes in episode 5, we’re just as flabbergasted as Araragi when Senjougahara
explains ashamedly that she in fact, cannot see Hachikuji.
The opening kind of takes on a sweet sadness after learning this fact.
Every character that Hachikuji interacts with is a version of herself, most likely symbolizing
the immense loneliness she carried with her all of these years.
Like I asked earlier, just how many times did she have to push people away over those
ten years of being lost?
After both the viewer and Araragi learn of her true nature, we’re once again surprised
to see that even though her arc has resolved, she’s not leaving.
Instead, she takes on a counselor and guardian angel type of role, becoming a guiding light
for Araragi through his many problems.
In the first OP Kaerimichi, it’s all about getting home.
The lyrics go “My stomach is growling, so let’s return.
Let’s return straight home.”
In contrast, in her second opening happy bite, the sentiment is quite different.
“The feelings I first found are growing even after today, I don’t want to go home
yet.”
Instead of being aimless, Hachikuji is walking with purpose.
The boxes that kept her in a perpetual M.C.
Escher painting crumble around her, and instead of wanting to find the way home, she chooses
to be lost for a certain lovable idiot.
One of my favorite lines from the song sums this up perfectly, “Mayo-i nagara demo Mayo-wazu-ni”
or “Lost but not at a loss.”
Now, anyone who has seen the series to completion knows that this is a dangerous mindset, and
what inevitably leads to her conflict.
I think happy bite stands for a stage where Hachikuji is trying hard to be the voice of
reason and put-together counterpart for Araragi, and the fact that one of the most mature and
wise characters in the series is an elementary schooler was not lost on Nisioisin I’m sure.
However, even with adult charm, ultimately she is being childish in not wanting to go
home, or I guess you could equate it to not wanting summer break to end.
Owarimonogatari 2nd Season’s OP “terminal terminal” shows the culmination of Hachikuji’s
journey and shift in mentality.
Instead of purposefully being lost in order to delay the inevitable, she says “I wish
this place that you call home could become the place that I return to,” and “As long
as it’s here, as long as it’s you.
No matter how many times, I will come home and say tadaima onaka suita.”
I just love this OP since it’s the perfect capstone to Hachikuji’s journey.
It reflects the dichotomy she represents, the balance of childishness and maturity.
It’s general feeling and bouncy nature make me smile every time, along with the fact that,
at the conclusion of the season where this OP is used, Hachikuji’s troubles are over.
She’s finally found a place to call home.
Thanks for watching!
This video was originally meant to be an homage to Mother’s Basement’s “What’s in
an OP” series, but due to time constraints I ended up writing it in my own style.
Nonetheless, if you want more OP analysis, Geoff has plenty of that for you.
If you liked the video, be sure to like and subscribe, and you can also support me over
on Patreon.
Big thank you to TalulululunBG, Animestucku, EasyBakeGamer236, and VomIr in particular.
And of course, if anything I said was wrong, I’m sorry.
I must’ve stuttered.