Well im pretty late to the game. With over 1,000,000 Units of Blu-ray/DVD`s sold, breaking anime sales units.
It was time to stop holding this series off. The whole series will be reviewed here, until we catch up!
Koyomi Araragi is a high-school senior who has encountered the supernatural, almost too the point of it being a regular occurrence. Facing basic problems from the outside like a bandaged wound or a young girl lost from home, only to find it`s something of another force.
Writing – Original Story: Nisioison, Animation Pen: Muneo Nakamoto & Yukito Kizawa, Series Composition/Story Event Arranger: Fuyashi Tou
- The writing is very funny and clever, especially this line in the first episode when Hitagi Senjougaha puts a sharp item in Koyomi Araragi’s mouth and says “Don’t move“…”Well you can…though it’s really dangerous.” (More Lines E.G: “There I stood a high school male, proud of being able to beat up an elementary student.”)
- Minor Pro: I specifically enjoy this set of dialogue in episode 2:
Hitagi Senjouhaea: “Average marks check. Me, 74”
Koyomi Araragi: “Me, 46”.
Hitagi Senjouhaea: “Rounded, you have zero.”
Koyomi Araragi: “Rounded to ‘zero?’ There a six?
Hitagi Senjouhaea: “Rounded to hundreds…)
- Conversations can get funny with a touch of authenticity. (E.G: Stopping Saiyans, and Shenron from the future or talking about equivalent exchange.)
- In episode 5 there is a really good twist and how it plays in with Koyomi’s family problems and Hitagi Senjouhara unsure if she was the one being weird.
- Minor Pro Ep 12: Hitagi Senjougahara forces Koyomi to use her first name in the car or she will direct the conversation to her father in this car date scene, it’s very funny to watch it play out.
- Episode 12’s final sequence works really well as a whole. From Hitagi’s father‘s conversation with Koyomi on being there for his daughter and what he failed to do, Hitagi caring deeply and scared of losing her boyfriend but still keeping her character together to be above in the situation.
Directing & Cinematography – Series Director: Tatsuya Oishi, Director: Akiyuki Simbo
- As the Monogatari Series is heavily rooted on dialogue and Koyomi living in his head, it’s only right to some degree that the director really pops us with interchanging camera shots, text cards (Which I am assuming are integrated from the novel) cinematic techniques, real film stock as well as photography and other bizarre accessories the director will toss in to keep viewers at least visually aware or interested.
- The creativity and style in the directing is really something. Here you have text, cards & symbols just flying in and out. It’s just really a jumble of elements, a far extra mile to put together.
- The director really stirs up the cinematography with so many shots from their feet, arms, legs, first person views & more. (E.G: Camera Included: Low angle shots, lock down shots, top shots & all of this occurs so frequently.)
- I love how the director sets the stage for each theme performance, with cue cards to identify the songs, director & duration. Rather than just waiting on your line of credit to fade in and out.
Art & Animation – Art & Animation Job: SHAFT, Animation Character Designs: Akio Watanabe, Light Novel Original Art: VOFAN
- Shaft does a great job at copying Akio Watanabe’s character designs, which you see in quality in close face frames.
Musical Composition – Music: Satoru Kousaki, OPENINGS: Meg Rock, ED Theme: Supercell
- The background songs are interesting, a lot of piano songs playing curious keys, emotional reconstructions of themes, light string work and overall it’s really low-key work that I adore on the soundtrack in the more deep sequences.
- The theme songs are are very charming to have around. It’s very special indeed that each important cast member is given an individual song, which of course I believe have a lot of merit in each rather than a bland performance to slap on.
- Minor Pro: Supercell’s leading ending theme “The Story You Don’t Know” is led well with a expressive piano and clean vocals. Well when you exit out the driving drums, bass and guitar than really make it lean on a plain j-rock set up.
- I think the writing here is very special but when it pulls me back with cheap jokes like groping, breast pushing up against him, up skirts & porno mag searching.
- It was so ridiculous in the final episode when Tsubasa Cat tells Koyomi Araragi to walk under a light to solve the story which was obviously a trap in context with what just happened. Instead he is all like “Okay, like this?” and you can guess what bad happened next.
Art & Animation
- From a distance characters look rather strange in size, face detail and move stiffly. However the director combats having to use the budget by frequently using still frames of signs, buildings, houses, eagle eye shots and more, which of course limit the amount of animation having to be produced.
Directing & Cinematography
- There are many moments the director really sexualizes the female cast. (E.G: Bumps, jiggles, up skirts, skirts flipping over & camera shots to emphasize on certain things other wise known as being provocative. This also even applies to their small children in Bakemonogatari.)
- The creative and stylish rapid fire directing can get tiring to sit through and absorb. (E.G: You got cards popping in and out, text pops, multiple camera shots occurring so frequently and more.) Also this applies to the most simplest scenes like standing and talking in a room about plans, going out to eat crabs and then a overly dramatic head dip with hair flowing in the wind.
– Heavy Directing Style
Great ending below. Cheesy music video, though.