#monogatari second series

[ineffable-opinions]

Top 20 BL Live-action of 2024

20. Love Is a Poison - This series made my wish to see Hama Shogo in a BL come true. I loved his character in Koisenu Futari (2022) and wanted more of his character’s interaction with Takahashi Issei’s character. Also, the series leaned into the surreal with the squealing, sparkling succulents. While the legal drama part of the series was light, it was the first time I was invested in the character’s careers since Beloved Enemy (2017) [which is going to have a Thai remake/adaptation]. I absolutely enjoyed the dynamics of a neo-super-darling seme paired with a devoted, kuudere uke. But, I wish there were fewer flashback/compilation scenes.

19. Unknown - I never thought Priest’s Da Ge will become something like this. I am impressed by the meticulous cultivation that source material underwent. That little carp really crossed the gate to become a dragon. The Unknown managed to tone down the golden finger bits and keep things realistic to an extent, fit the whole business venture arc neatly into Taiwan’s SME-heavy capitalism. It fleshed out Le ge, and his relationship with both his underlings and his junior and made him interesting. It gave me one of my favorite mob characters in a BL – an ex-gangster with his blacked-out tattoos running a street food stall. In line with Taiwanese tradition, this series not only employed high BL literacy but also dedicated time to educate. (more on it here)

18. Cosmetic Playlover - I was hesitant to watch this show since I had enjoyed the first few volumes of manga and lost interest in later volumes. I knew they were going to censor the hell out of the first volume. While I am still bitter about that fact, I still enjoyed the series.

17. Love is Better the Second Time Around - this had some of my favorite moments from a BL - two-faced seme employing all sorts of methods to seduce and ensnare the uke, return of the alone-at-the-railway-station trope, seme using helpless, feverish face and acting coquettish (some seriously charming gap moe), teasing a seme's seme (this one did it better than At 25:00 in Akasaka which fumbled it by choice) and kishōtenketsu - 4 part traditional East Asian narrative structure (which appeared in many series this year and the last) with family negotiation aiming at adoption reversal. (I wanted seme to recommend uke in his place to his native household - that way they can also get married, if and when it gets legalized.)

16. Living with Him – The reason why this series is on this list is pretty unique. I never understood Japanese focus and fetish of nape (the way navel is in south India) before this series. The camera managed to capture the uke's neck, especially when he had his head bent slightly, in a stunning manner. Overall, the camera language was very intimate without being bawdy, perfectly suitable for the domestic setting of this BL. I loved the series more than I did the manga.

15. Century of Love - Gave me Hindi serial style BL complete with a red cloth enveloping the main couple during their fated encounter. It is a lakorn, so that's to be expected. I felt that the pair's romance progressed at an uncharacteristically fast pace given the initial resistance. (In other words, I wanted their romance to progress slowly, like over 400 episodes.) I thoroughly enjoyed the characters including the villains.

14. Healing Thingyan – this BL from Myanmar is no longer available at SKY Production’s YouTube channel. I had a good time watching this BL set in a village in the context of New Year where friends become lovers after much hesitation and an interrupted confession from the year before. My heart was pounding when the couple poured water over the left side because that's where their hearts are at. Also, the religious restriction (I am a little weak to this trope) to physical intimacy as a tactic to skip kiss scene - I would have been irked if it wasn't for the execution - the couple standing under arching bamboo, wearing sarong and acting all sweet. It is set in 2019. Later, I came to know that allegedly (I would appreciate if someone can help me gain more clarity on this matter), SKY production could be a proxy of 7th Sense Creation, an entertainment company cofounded by Kin Thiri Thet, daughter of Senior General Min Aung Hlaing (Commander-in-Chief of Myanmar’s armed forces and Acting President against whom the Prosecutor of the International Criminal Court has filed an application for an arrest warrant, alleging his involvement in crimes against humanity targeting the Rohingya population. (source))

13. The Time of Fever - I'm not very sure if this one can be considered a complete story in itself but even if not, it is immensely satisfying. Age-blind casting shouldn't have worked so well but it did. 

12. Gray Shelter - this one made me feel as though I read a nice short story or a novel. It was viscous like honey, the way such types of Korean BL novels (like Picked Up In Winter) tend to be. It had a very masculine vibe with underlying unease of depending and being depended on. 

11. Hitochigai kara Hajimaru Koi mo Aru aka Love Can Sometimes Start with the Wrong Person [fansubs available at Drama Otaku] - substitute lover trope but this time the substitute is two-faced. Everyone has their own agenda but this love is a zero-sum game. (I wanted 3p ending though – not possible since one actor is playing both the twins). I loved all the scheming and all those little lies. This one had explicit use of BL terms like seme and uke by a main character.

10. Perfect Propose - workplace that brings workers to tears, corporate slave uke who decides to quit (without starting a job hunt 😔) and an untethered seme who grows hydroponics tomatoes in their balcony. It is adapted from a single volume manga and not a novel, yet it uses every minute it's got to make you feel ALL THAT. 

9. High School Return of a Gangster - I was sad that they meant it as a bromance and worried for the future of BL creation in South Korea since it was Number Three Pictures, the company that created popular BL Unintentional Love Story and The Time of Fever, by its own admission struggling financially with limited recovery of production costs (more on this here). When I started watching, I couldn't care any less about their intentions. It was an absolute delight. I was still immersed in the exhilaration of Aavesham (2024) and had wished to see such things in the context of a BL. And this one delivered. I was shipping the underboss with his main lackey (they have history between them and reminded me of the relationship between Ranga and Ambaan) at one point and the next moment, shipping him with his foxy classmate. The series toned down the bully-loves-bullied aspect in the novel, and humanized and contextualized the main bully with his life in the underbelly of the economy, so much so that I felt bad when the bullies were prosecuted (what will happen to Hong Jae-min's sister😟) while gangsters and the rich who hire them went scot-free in the live action. The face-slapping part left a bitter taste in my mouth with the secretary facing the brunt (and the misogyny embedded in the socio-economic fabric that breeds such hatred) while the father isn't retaliated against enough. I read and enjoyed the novel, but face-slapping was even more makjang. It is tough to get accepted in live action form as it is, in South Korea, since the gangster is middle-aged and it is only towards the end of the novel that the characters are finally out of high school, unlike in Mr. Mitsuya's Planned Feeding [fansubs by @isaksbestpillow] with a significant age gap but both are adults and are in a Japanese BL. Gong (공, Korean for seme) (a suspected psychopath, raised under constant surveillance by his father) consciously falls in love with the middle-aged su (수, Korean for uke) inhabiting the body of a high schooler, going as far as visiting his previous residence and pursuing him as one would an old person. 

8. My Damn Business - From the first episode, this one had me hooked. Week after week, I was eagerly waiting for those 8 minute long episodes. It acknowledged the manhwa side of BL and hinted at their iconic smut pages (in a way New Employee live action couldn't). It executed stalking horse trope, with Park Min-jae (R. I. P) playing the stalking horse, in a manner that had me giddy with excitement. I also appreciate GND STUDIO for casting darker-skinned actors – in this one and in Fake Buddies. GND studio also has decent BL literacy as is evident from the above-mentioned series. In the third episode, Fake Buddies used the East Asian tradition of representing gay and lesbian relationships through rose (from barazoku (薔薇族)) and lily (from yurizoku (百合族)) respectively to hint at the BL and GL couple.

7. Boku to Boku ga Sukina Kare to, Kimi to aka Me, Him, and You [fansubs available at Drama Otaku]- Honestly, I didn't expect to be this impressed by this one going in. I had such low expectations. I absolutely love the pairing between Higashi Keisuke and Hiroki Iijima, much more than Higashi Keisuke and Nakajima Sota in Ossan no Pants ga Nandatte Ii Janai ka! [fansubs by @isaksbestpillow] and Hiroki Iijima and Inukai Atsuhiro in Our Dining Table. The series played with my heartstrings a lot. I fondly remember several of the scenes and all the emotions they evoked in me. At the end, there was a longing for something, maybe some more time with those characters, especially the model and his uncle. 

6. Pit Babe (2023) - omegaverse with enigma - Japan has like 1 manga but through PitBabe I discovered that enigma has become a popular secondary gender in Thai BL space. I love buff uke and I got one paired with a two-faced, loyal loser seme in this one. Super pretty villain, Tony, had me wishing for him to be an omega (I love megalomaniac omegas). I also enjoyed reading the book – every time it rained, that silent phone call, Babe's jealousy towards omegas, the suspense and the pregnancy scare.

5. Love Sea - MAME lifted me out of a BL slump with this one. I also enjoyed the GL pair a lot - there is nothing I like more than performative cuteness/winsomeness (കൊഞ്ചൽ konjal, aegyo, sajiao, kawaii) and benevolent sexism weaponized and employed for emotional manipulation. High EQ manipulators are so rare, my favourite type of yandere (especially when paired perfectly with someone who gets swept up in the moment easily, like Techno). I wonder why MAME doesn't write Janus-faced men that way too. And the men who perform winsomeness such as Tongrak, Kengkla and Tharn, when they do so, have motivations that aren’t Machiavellian enough.

4. Heavens x Candy - OP Pictures is bringing to screens BL that are otherwise tough to get made. This one explored otaku culture, loneliness, family and love through fan pilgrimages, cute and horrifying family dynamics, adult entertainment avenues and love hotels with those transparent walls of bathrooms. It healed my heart after the blow dealt by I Became the Main Role of a BL Drama. 

3. Love Syndrome: The Beginning – I didn't expect this but I'm glad to have received it. I want more but now that the director, F Nontapat Sriwichai, has passed away, I don't expect anything anymore. If only his legacy would inspire someone with the ability and mettle. I prefer meriba endings over happy endings. So, when Love Syndrome III was the first to get an adaptation, I was drawn into Yeonim’s universe. The movie focuses on Gear and Night’s relationship and spends relatively less time on Day and Itt. Yet, it is not hesitant to portray the beginning of their relationships, especially the eroticized violence and the morbid conditioning (調教), showcasing exceptional BL literacy.

2. Kubi (2023) – [Fan-subs] I must praise the excellent production quality before anything else. It is about multiple legendary figures in Japanese history such as Oda Nobunaga, Araki Murashige, Akechi Mitsuhide, Mori Ranmaru and Yasuke. The movie has historically accurate ending with specifics changed to fit the narrative. It is based on Honno-ji Incident and Battle of Yamazaki. Those who died then, dies in the movie too but who killed who and why are fictional. (meta here)

1. Takumi-kun Series 6: Nagai Nagai Monogatari no Hajimari no Asa (2023) – this one and Kubi came out last year but I got the chance to watch them only this year. Thanks to fan subs by @furritsubs. I read and re-read those chapters from the novel and I'm still basking in the magic of Shinobu Gotoh's storytelling. First time since Unni R's story and screenplay for Charlie (2015), I got immersed in a love story where the couple barely even interact and the romance unfolds in a thriller-like fashion. While a lot of character motivation gets lost on the way in this live action, most important of them were impossible to miss when snow fluttered around in a bottle, when a delirious Takumi sought Gii in a crowded stairway landing and when Yoshizawa jumped out to stop Takabayashi from hurting. (ongoing meta series here)

-

Here are the top 20 of 2024: live-action BL that I watched and enjoyed this year. I haven't watched everything that came out this year (I'm saving up some for the upcoming year) and did revisit a lot of older stuff (not listed) when there was nothing enjoyable to watch. This year, I realized that I am able to tolerate, if not enjoy, when I'm not too familiar with the content it is adapted from with some exceptions. I don't treat BL like fables or life lessons. I don't bother with moral validation from the choice of media I consume either. But there are certain real-world killjoys in media that may affect my enjoyment, like what happened with The Sign. Please feel free to ask for content warnings.

[chiarrara]

Ladies, would YOU become a vengeful god and vow to murder your crush, his girlfriend, and his 500 year old loli life partner because he outright rejected you but you made liking him your whole personality for the last roughly eight years so now you don't know how to cope or be a person or want literally anything else because you've gotten everything you've ever wanted from everyone your whole life so you've never had to rely on or be a full person for yourself? I would.

[sengoku-nadeko]

[maebithebard]

what do you mean this isnt how it went

[thankanomics]

[hedgeaugur]

So what is your favorite anime?

On my MyAnimeList I have a very very short list of perfect 10/10 ratings out of nearly 450 entries: - Haibane Renmei - Porco Rosso - Mob Psycho 100 season 2 - Eizouken ni wa, Te wo Dasu na! - OddTaxi - Mushi-Shi - Spirited Away Of that bunch, it's probably Haibane Renmei or Eizouken that I'd be the first to put at #1 for absolute faves.

[tharizt]

All my Monogatari Threads:

Hitagi Crab: https://twitter.com/Tharizdun03/status/1636808383113068546?s=20

Mayoi Snail: https://twitter.com/Tharizdun03/status/1637534082669191173?s=20

Surugua Monkey: https://twitter.com/Tharizdun03/status/1637879763875266560?s=20

Nadeko Snake: https://twitter.com/Tharizdun03/status/1637901725037395977?s=20

Tsubasa Cat: https://twitter.com/Tharizdun03/status/1638264975595560960?s=20

Bakemonogatari: https://twitter.com/Tharizdun03/status/1638277345965424640?s=20

Kizumonogatari 1: https://twitter.com/Tharizdun03/status/1638570864063938561?s=20

Kizumonogatari 2: https://twitter.com/Tharizdun03/status/1638598932862214154?s=20

Kizumonogatari 3: https://twitter.com/Tharizdun03/status/1638631126695571468?s=20

Karen Bee: https://twitter.com/Tharizdun03/status/1640451691739791372?s=20

Tsukihi Phoenix: https://twitter.com/Tharizdun03/status/1641161834299310094?s=20

Nisemonogatari: https://twitter.com/Tharizdun03/status/1641170889508110338?s=20

Nekomonogatari Black: https://twitter.com/Tharizdun03/status/1642182665242660864?s=20

First Season: https://twitter.com/Tharizdun03/status/1642260701925318658?s=20

Tsubasa Tiger: https://twitter.com/Tharizdun03/status/1642594088921755648?s=20

Mayoi Jiangshi: https://twitter.com/Tharizdun03/status/1645132920632352769?s=20

Nadeko Medusa: https://twitter.com/Tharizdun03/status/1645498004051492865?s=20

Shinobu Time: https://twitter.com/Tharizdun03/status/1650536949583601665?s=20

Hitagi End: https://twitter.com/Tharizdun03/status/1653084157583433728?s=20

Second Season (anime season): https://twitter.com/Tharizdun03/status/1653118209438916621?s=20

Hanamonogatari: https://twitter.com/Tharizdun03/status/1654873223383642112?s=20

Second Season (including hana): https://twitter.com/Tharizdun03/status/1654961702180405250?s=20

Tsukimonogatari: https://twitter.com/Tharizdun03/status/1660284572653740032?s=20

Ougi Formula: https://twitter.com/Tharizdun03/status/1662189031315128334?s=20

Sodachi Riddle: https://twitter.com/Tharizdun03/status/1662542539457527812?s=20

Sodachi Lost: https://twitter.com/Tharizdun03/status/1662933246928101387?s=20

Shinobu Mail: https://twitter.com/Tharizdun03/status/1668364648217706504?s=20

Owarimonogatari Season 1: https://twitter.com/Tharizdun03/status/1668373592839450624?s=20

Koyomimonogatari: https://twitter.com/Tharizdun03/status/1675588521506250752?s=20

Mayoi Hell: https://twitter.com/Tharizdun03/status/1683549743144640514?s=20

Hitagi Rendezvous: https://twitter.com/Tharizdun03/status/1685329020034895872?s=20

Ougi Dark: https://twitter.com/Tharizdun03/status/1685692931523461120?s=20

Owarimonogatari Season 2: https://twitter.com/Tharizdun03/status/1685708870486769664?s=20

Zoku Owarimonogatari: https://twitter.com/Tharizdun03/status/1686083681578844160?s=20

Overall series: https://twitter.com/Tharizdun03/status/1686094429357043712?s=20

[doyouknowthisanime]

Happy Halloween, everyone!

I've got some good news - I've finished tallying up the results of the favourite anime survey and can now, finally, reveal what Tumblr's favourite anime actually are. To start with, I'd like to thank everyone who responded - yes, all 1172 (wow!) of you - and to apologise for he delay in actually getting these results out. For anyone who needs a reminder, these results are based on how many points each anime received - a first place ranking was worth five points, a second or third place ranking was worth four, a fourth or fifth place ranking was worth three, a sixth-tenth place ranking was worth two, and a eleventh-twentieth place ranking was worth one. When multiple anime had the same number of points, the anime with the most first-place votes was placed higher. The results are below the read more right here - I hope you enjoy reading!

100. Yona of the Dawn - 82 points

99. Devilman Crybaby - 83 points

98. Monogatari Series - 83 points

97. Lucky Star - 84 points

96. Toradora - 84 points

95. Dr. Stone - 86 points

94. Princess Jellyfish - 86 points

93. ERASED - 87 points

92. Noragami - 87 points

91. Wolf's Rain - 88 points

90. Azumanga Daioh - 90 points

89. Paranoia Agent - 90 points

88. Odd Taxi - 91 points

87. Banana Fish - 93 points

86. Digimon Adventure - 95 points

85. Akira - 95 points

84. Higurashi no Naku Koro Ni - 95 points

83. Psycho-Pass - 96 points

82. Little Witch Academia - 96 points

81. Monster - 97 points

80. Mononoke - 98 points

79. Free! - 99 points

78. Kekkai Sensen - 99 points

77. Trigun Stampede - 102 points

76. Haibane Renmei - 103 points

75. Yu-Gi-Oh! Duel Monsters - 104 points

74. Gintama - 105 points

73. Violet Evergarden - 107 points

72. Dorohedoro - 113 points

71. Made in Abyss - 113 points

70. Mobile Suit Gundam: The Witch from Mercury - 113 points

69. Eizouken ni wa Te o Dasu na! - 115 points

68. Nausicaä of the Valley of the Wind - 116 points

67. SK8 the Infinity - 117 points

66. Samurai Champloo - 117 points

65. Your Name - 118 points

64. Castle in the Sky - 119 points

63. Perfect Blue - 119 points

62. Promare - 120 points

61. One Punch Man - 122 points

60. The Melancholy of Haruhi Suzumiya - 126 points

59. Kiki's Delivery Service - 129 points

58. Kaguya-sama: Love is War - 136 points

57. Inuyasha - 136 points

56. Assassination Classroom - 142 points

55. FLCL - 143 points

54. Pokémon - 144 points

53. Death Parade - 148 points

52. Dragon Ball - 150 points

51. Natsume Yuujinchou - 157 points

50. The Apothecary Diaries - 158 points

49. Revue Starlight - 159 points

48. Durarara!! - 160 points

47. Yu Yu Hakusho - 162 points

46. Naruto - 163 points

45. Black Butler - 165 points

44. Attack on Titan - 167 points

43. Houseki no Kuni - 168 points

42. Steins;Gate - 172 points

41. Cardcaptor Sakura - 186 points

40. Code Geass - 186 points.

39. Gekkan Shoujo Nozaki-Kun - 187 points

38. The Disastrous Life of Saiki K. - 192 points

37. Kill la Kill - 194 points

36. Bungou Stray Dogs - 194 points

35. Baccano! - 198 points

34. Bocchi the Rock! - 201 points

33. Chainsaw Man - 208 points

32. Demon Slayer - 209 points

31. Serial Experiments Lain - 213 points

30. Jujutsu Kaisen - 227 points

29. Spy x Family - 236 points

28. Howl's Moving Castle - 238 points

27. Princess Mononoke - 240 points

26. Tengen Toppa Gurren Lagann - 241 points

25. Sailor Moon - 249 points

24. Mushi-shi - 249 points

23. Princess Tutu - 254 points

22. Nichijou - 263 points

21. Trigun - 265 points

20. Spirited Away - 266 points

19. My Hero Academia - 266 points

18. Fruits Basket (2019) - 269 points

17. Soul Eater - 292 points

16. Sousou no Frieren - 300 points

15. Yuri!!! on Ice - 333 points

14. Fullmetal Alchemist - 364 points

13. Ouran High School Host Club - 374 points

12. Death Note - 437 points

11. Cowboy Bebop - 450 points

10. Haikyuu - 457 points

9. Neon Genesis Evangelion - 496 points

8. Jojo's Bizarre Adventure - 496 points

7. Hunter x Hunter (2011) - 516 points

6. Revolutionary Girl Utena - 537 points

5. One Piece - 633 points

4. Puella Magi Madoka Magica - 664 points

3. Mob Psycho 100 - 943 points

2. Dungeon Meshi - 985 points

Fullmetal Alchemist: Brotherhood - 1106 points

Congratulations to FMA Brotherhood for winning! For more detailed results, go to this spreadsheet. Once again, thank you all for participating, and waiting so patiently for the results!

[typellblog]

Hitagi End - An Analysis

Well, that’s it, folks. We’ve finally reached the end of the Monogatari series. It’s even right there in the arc title.

Hold on, I’m being told that there’s another whole season. What the fuck, I’ll be well into 2025 by the time I’m done with this.

But yeah, as usual with the naming scheme the second word seems to be the thing our title character has to confront - Hitagi is in active resistance against the End, and whether in the abstract form of the conclusion of the series itself, or the more literal threat of Sengoku Nadeko, there’s one common feature. Graduation.

One thing I remember vividly from Koimonogatari - from the first time I watched Koimonogatari, several years ago - is Kaiki’s offhand statement that Hitagi and Koyomi will probably break up in college. He says it so matter-of-factly, but it’s not something I ever considered, watching the rest of the series. I was fully immersed in the teenage perspective, convinced that nothing would ever end. It takes the perspective of a washed up older man to break the illusion, I suppose. You always hear the same complaint about romance manga - there should be more focus on after they’re already in a relationship. Getting together shouldn’t be the story’s end. 

One reason why it might be the story’s end is because as long as it ends there you can convince yourself it will last forever. Their relationship will never sink to the level of mundanity, of lovers’ quarrels - there will never be the possibility of being interested in someone else, finding someone else, being replaced. 

That is the kind of idealistic, indulgent, static ending that Sengoku Nadeko desires, and as a result is the kind of ending that Senjougahara Hitagi fights against. 

This is where I say something about Kaiki Deishuu. Something to make sense of what he’s doing in this story. He’s a man in search of an ending, I could say. Ever since the death of Gaen Tooe, he’s been looking for a way to move on. Perhaps this is why he tells Nadeko the same cause of death - the person you have a crush on died in a car accident. So mundane, so unexpected, so implausible. He thinks she will accept it. Does he?

He’s a man who’s already met his end, I could say. Such is the fate of the specialists. They’ve already graduated, already long since handled their personal agreements and disagreements. They’re stuck, now, bound to their own nature, their own rules. They appear only as supporting characters, never the protagonist. Well. I guess that’s a lie. 

In adopting narrators other than Koyomi, Second Season shifts the focus away from his obsession with helping and connecting to others. Koyomi’s interactions with and idealization of women results in a sense of distance - he struggles to see himself in them and their problems. How much of his attempts to cross that distance are really just attempts to help himself? 

This dynamic collapses when the female cast, facing their own issues, are made protagonists in their own right. They experience themselves as the Other, & Koyomi’s standard process of understanding the girl by first understanding the oddity becomes in these cases a process of self-exploration. 

And yet here we are, back to seeing a male protagonist confronted with the issues of women that he struggles to understand. 

I don’t mean to rag on men, exactly, I just think back to how there tends to be less distance between Koyomi and other men, how he’s more capable of seeing them as another version of himself, and I think that the best explanation for Kaiki’s presence here is that he’s filling in.

He himself thinks so, although it’s Oshino, and not Koyomi, that he considers. 

Regardless, the parallels to Koyomi are established firmly enough by the ending. Kaiki was poison to Hitagi but a surprising help to Nadeko, while Koyomi is the opposite. Put that way, their differences and similarities seem readily explicable. Koyomi saves people. He forgives the harm they do to him. It works for the prickly Hitagi, who needs a pillar of support, but not Nadeko, who needs to be told that she isn’t a victim.

Kaiki lies to people, but that doesn’t mean he’s trying to hurt them. Ononoki proposes a reading of his involvement with Hitagi where he had no ill intentions whatsoever. He didn’t try to free her from the crab simply because he didn’t think it would help her to regain what she had lost. He caused her parents’ divorce to keep her from under the thumb of her mother. He even swindled the cult, although more as an act of revenge than anything. Perhaps there was some impropriety in their relationship, perhaps he exploited her feelings for him, but our understanding of the events is vague enough to give him the benefit of the doubt if we really want.

Kaiki fails to help Hitagi, not (just?) because he’s trying to scam her, but because he’s fundamentally incapable of being honest with her. All his actions move around her and ignore her wishes.

When it comes to Nadeko, on the other hand . . . I mean, it doesn’t initially seem like he’s doing much better, does it. He has no luck with his manipulations, with currying favour, with bold untruths. In the end though, the way he helps Nadeko is a lie that they both know is a lie. Really, it’s more like telling her a story. 

And I’ve written before about how Nadeko needs stories.

Kaiki doesn’t tell her anything that another person couldn’t have. Koyomi, Hitagi, even Nadeko herself is probably aware of similar advice on some level. Don’t throw your life away pointlessly. If you want to do things, then you should do them. You can’t succeed unless you try. 

Kaiki’s talent is simply in recognising that Nadeko needs to hear it. Koyomi wouldn’t have thought to say it, because he doesn’t know why she became a snake god. She doesn’t want to tell him either. He’s stuck. 

But it’s not as if Kaiki has some unique insight into her psychology that lets him work this out. As he puts it, he’s not like Oshino. He didn’t ‘see through’ Nadeko, he just straight up ‘saw’ it. He broke into her room, twisted open the lock to her closet with a 10 yen coin and fucking looked. Her parents didn’t know what was in there, Koyomi didn’t know what was in there, Tsukihi didn’t know, Oshino didn’t know, even Hanekawa who heard about it from someone else and thought it might be an important detail couldn’t possibly know without opening the god damn closet.

This is where Kaiki’s habit of working around people becomes useful. Because more than anyone else, he recognises that Nadeko might be fine as a god, just as he thought Hitagi might be fine staying weightless two years ago. He’s not trying to save her. He’s not trying to do what’s best for her. He’s simply trying to scam her, with all the lack of respect for her personal belongings that implies. 

This establishes, perhaps, an important difference between Koyomi and Kaiki, but it also establishes a similarity. In dealing with oddities - in dealing with people - the key is getting to know them. 

This is something Koyomi struggles with, out of a fear of being too forward, a fear of hurting them, a lack of appreciation of his own value, as a kind of half-person, a fake person, that could only weigh others down. Kaiki embraces his nature as a fake and adopts only the most rational and most unscrupulous methods of approaching others.

The question, I suppose, is why? What does Kaiki get out of playing a character that informs all of his actions without explaining them? What does he get out of remaining unknowable even to himself, reacting with surprise to his own feelings and motivations? What does he get from acting without thought, tossing away caution, tossing away patience, and tossing away money in an attempt to toss away the past?

Kaiki values money for its endless acceptability, its exchange value. He doesn’t wish to have money, he wishes to use it, and in keeping with this philosophy, he considers nothing irreplaceable, not even himself. The person named Kaiki Deishuu is deliberately false, deliberately contradictory, and he’s long since given up on getting to the bottom of that particular well.

I begin to understand why he comes up, now, in relation to Nadeko, who is lost in a web of her own identity. 

Sengoku Nadeko is telling herself a story. She has to, in order to not hate herself. She is, and will continue to be, in love with Koyomi-oniichan. This isn’t something that motivates her actions in the conventional sense so much as a wall to keep out the world, to assert that she is normal. So why does she still hold onto it, in this situation where it has become so far beyond normal? 

Because she considers it part of herself. She is still playing the role of Sengoku Nadeko, and she can’t cast aside the most Nadeko piece of herself, the piece that she has spent the most time and effort showing off to other people. It would call her existence into question, make her look fake, make her feel empty. The sense of normalcy she’s trying to achieve is not in how other people see her, it’s in how she sees herself. She takes the pieces of herself that are left, the pieces of herself she’s been given, and pulls them together into a story that makes sense. To her, loving herself means never changing, never throwing parts of herself away, never identifying a problem in her own behaviour. 

She’s happy, Kaiki thinks. It feels a little different from the end of Otori, where Kuchinawa was still presented as a separate existence. He no longer pokes at Nadeko’s insecurities, at least not obviously. In recognising her own role in the whole affair, Nadeko is no longer worried about hurting others, of being seen as a victim, because she fully acknowledges herself as the one with all the power in her interactions. Godhood is an unusual role for her, but she seems happy to take it up, viewing her job as responding to the prayers of worshippers. It's a much simpler, more transactional view of social relations than she had to navigate as a human. She likes people who are nice to her and doesn't like people who aren't.

Ultimately, though, she's still playing a part, putting on a performance for Kaiki’s benefit. Her cutesy habits as a god are a far cry from the more genuine rage she expresses in the classroom in Otori. But then again, she doesn't have to worry about that, because she's not a human. She's no longer a part of society, with all the freedom that entails. An entirely negative freedom, of course. She doesn't have to do anything and thus there's nothing for her to do, besides play games with Kaiki and drink the alcohol she could only sneak sips of behind her dad’s back at home.

She’s happy, but does that matter?

Kaiki doesn’t think so. The other parallel established in the ending is between Nadeko and Hitagi. Compared to Nadeko as someone who never throws anything away, Hitagi is someone who rejects unnecessary things, rejects convenient narratives of victimisation, rejects divine assistance.

Nadeko is broken, thinks Kaiki. Like Hitagi’s mother. Like Hitagi almost was. And being broken has a specific meaning for him - it means no longer accurately recognising the value of the things you have. Nadeko overvalues the things that play an important role in her delusions and ignores everything else. In comparison, think back to Hitagi listing out everything she has to Koyomi back in Bakemonogatari. She has so little, but it’s all precious to her. Not only that, but she manages to offer it to another person. It’s only in recognising the value of herself and also someone else that they can form a mutually beneficial ‘exchange’, a real connection.

In Bakemonogatari, Hitagi’s self is framed as a series of external objects. You are the people around you. In Koimonogatari, Kaiki’s self is found in his money. Endlessly exchangeable, never unique, always mercenary. He offers himself up to Nadeko and gets nothing in return, because she fundamentally doesn’t value what he’s bringing her. Donating to a shrine at New Years’ is a sucker’s game, Kaiki thinks at the beginning of the novel, and he’s proven right enough.

For Kaiki, you could say that the money he spends is spent on himself, on presenting a certain image of himself. So what of the money he takes from others?

He accepts Hitagi’s woefully low payment for the job. He accepts it as a job, because if it’s not a job he’d have to start thinking about what his relationship to her is, if not client and employer. It would become unique, no longer exchangeable for any of the other half-dozen scams he’s running. 

He accepts Izuko’s 3 million severance fee. He accepts it and goes on working. It’s unlike him, Yotsugi says. He’s contradicting himself. The money isn’t being exchanged for anything, he’s just taking it. But isn’t that the job of a scammer? To get as much money for as little effort as possible? Then why does he keep doing the job? 

He’s acting unlike himself. Throughout the novel, he’s constantly pointing out new sides of himself. Phrases he’s said for the first time. Actions he’s never done before. After a certain point, I have to conclude he’s lying. Kaiki acts unlike himself in Koimonogatari because acting unlike himself, unlike the persona he deliberately acts as, is one of his most characteristic actions.

Being a specialist is about balance - or at least so we would assume from the actions of Oshino Meme. It’s about give-and-take. But Kaiki is a fake specialist, a conman. He should only want to take. It’s not a coincidence, then, that he keeps giving. 

I understood it on an intellectual level, but now I get it. I really fucking get it. He’s just, so, Araragi Koyomi. He’s so thoughtless and impulsive, so concerned with appearances, enamoured with his own edginess, stubborn, self-deprecating, cowardly, dense, inconsiderate, self-sacrificing, willful, proud of outsmarting children, reluctant to commit to anything, and most of all half-assed.

That is the characteristic trait of Araragi Koyomi as I understand it. He’s trapped between worlds, vampire and human, but doesn’t seem particularly inclined to choose one or the other. He doesn’t just look to the future, but the past too. In reaching towards what he wants, he’s immensely reluctant to give up what he already has. 

All the way back in Nekomonogatari Kuro, he characterises Hitagi and Suruga as different to him, more forward-looking, prefiguring Kaiki’s comments about Hitagi as someone willing to throw aside the most important things to her to get what she wants. 

It’s funny, because in doing so he also talks about Tsubasa as someone who’s the same, who also looks for solace in the past. Tsubasa, who in Nekomonogatari Shiro we come to understand will casually cast aside the past if it doesn’t suit her. 

She has a different perspective, you see. She thinks Koyomi is different from her. He’s ‘unshakable’, in her words, not concerned about losing his identity. Precisely because he keeps looking back, because he keeps confronting his past, he’s able to accept all of himself, unlike her. 

Despite Monogatari being a series about people changing, several times characters espouse the idea that you can’t change, not really.

The thing is that while change is obviously possible, what this idea cautions against is ignoring and forgetting about what you used to be like. Tsubasa can’t just make a new version of herself whenever things start getting difficult, she has to understand herself as a continuous person composed of everyone she’s ever been. 

The Rainy Devil teaches Suruga something similar, as regardless of the kind of person she wishes to become, the arm can’t fundamentally transform her. It simply shows that she was already the kind of person who could learn to run fast, already the kind of person who wanted to brutalize Hitagi’s new boyfriend. Koyomi’s idea that she’s somehow more forward-looking than him seems laughable when she feels as though Hitagi and her issues are something that she ran away from.

It’s a fundamentally half-assed application of Numachi Rouka’s methods - for running away from your problems to work you have to remain detached, and the devil’s grasping arm is evidence both of Suruga’s failure in that regard, but also of the attachment to life itself that Rouka lacked. No wonder it felt off when it suddenly disappeared in Hanamonogatari. 

At the same time, though, losing the arm is evidence of her change throughout that arc. Her running no longer isolates her, but instead can be seen as a way to connect with others. It’s no coincidence that’s how she ends up meeting Koyomi near the end. It’s his advice that gives her the confidence to get over the finish line, but the first step is abandoning everything and just running - not trying to beat anyone, not trying to hold back, with no particular goal or attachment to a wish. It’s the first time she really can since she started using the monkey’s paw.

Notably it’s Kaiki that offered her an alternative and advised her to just let Rouka have the parts. Kaiki, the one who seemed to be collecting them himself. Isn’t the concept of him possessing what is in a very real sense the remains of Gaen Tooe so fascinating? But it’s the yet-living Suruga that he calls her legacy. It’s hard to say if meeting her, in some way, helped him move on. 

Once again, we see a difference from Koyomi, who advises Suruga to act like herself and do what she wants. Kaiki tells Suruga to do what’s easy, what would cause less difficulties for her, in a similar way that he seems to understand Nadeko is much happier as a god and Hitagi wouldn’t have to confront her memories of her mother as long as she remains weightless.

By regaining her weight and her emotions, nothing will change, Oshino cautions Hitagi. She won’t suddenly make up with her mother. But it does allow her to move forward, to value her memories correctly, not allow her missing weight to weigh on her so much that she will never be able to become close to anyone else.

“She’s different now, more so than if she were a different person” Kaiki says, and it’s so easy to read him as relieved that she’s not stuck as she was when he fucked her up. That she’s still always in the moment where she truly fell in love for the first time. That she was able to remain the same person while still loving someone else. 

Tsubasa’s immense righteousness is subverted in Nekomonogatari, Suruga’s seeming single-mindedness is deconstructed in Hanamonogatari, and despite the effusive words of praise they both have for Koyomi Araragi it’s evident from his internal narration that he’s more pathetic and wavering than anyone else - and perhaps that’s how one ought to be, here. Never able to make a decision on what’s most important. Always most invested in whatever you’re doing right now, whatever person is right in front of you.

Hitagi is a character that we never see from the first person. Koyomi’s view of her as a titan striding headlong towards her goals is never really contradicted in the story, because despite her immensely evident vulnerability, she’s shown as making a more active effort to move on than anyone. 

The shadow of her past relationship with Kaiki hangs over Koimonogatari like a specter.

In Nisemonogatari it’s mentioned that her animus towards Kaiki probably comes from the fact she wasn’t able to hate him in the past. While she was still under the influence of the crab, her emotions regarding her mother were dampened. Kaiki’s acts of splitting her family up likely wasn’t something she was capable of expressing her resentment for at the time. 

If you think of that hatred as a final remaining regret, her kidnapping of Koyomi and confronting of Kaiki in Nisemonogatari the expression of such, then it makes sense that Nisemonogatari also marks the start of her mellowing out, never again reaching the heights of violence she demonstrates at the beginning of that novel. 

An interesting thing about Kaiki’s role there, looking back, is that he’s clearly aiming for that outcome. As soon as Hitagi confronts him, he leaves. He tells her to stop worrying about the past, about the fact that she once had a relationship with him, because he’s thoroughly uninterested in her as she is now. He provokes her into affirming her current self and relationship with Koyomi. And he says that the man who tried to violate her died in a car accident. 

Is he lying? Is it just a coincidence, that he goes with the same manner of death as Gaen Tooe, the same line he feeds to Sengoku Nadeko? 

Either way, the purpose of the line becomes a little clearer. He’s trying to get her, both of them, to move on. To understand that the people who seemed so important to you are mundane, the events that shaped your lives don’t mean anything in the big picture, and your past is just that. It’s over. It’s the end. 

He almost embodies the concept, in Koimonogatari. We see from his perspective and he is indeed far less ominous, far less portentous, far less important, than he seems from the third person. 

He’s also really bad at it. Despite his exhortations to ignore the past, he himself clearly still cares a lot about Hitagi. She as well can’t quite avoid falling back into old patterns of banter, admiration, reliance. 

And his ideology isn’t enough for Nadeko. He can’t just deny what she’s clinging onto now, he needs to give her something new. They called Osamu Tezuka a God, she says, hesitantly forming a bridge between her current self and the future she wants to inhabit. Telling herself a convenient story that patches it all up. 

It results in an oddly ambiguous message. Nisio loves his tricks, revealing something the narrator was mistaken about at the very end, but when Hitagi says she never loved him and hangs up it’s hard to tell which one of them came out ahead in that little back and forth. Maybe Kaiki, the eternal washout, was so enamoured of his own unique subjectivity he never considered the schoolgirl he was scamming wasn’t so enamoured of him. 

Who am I kidding, it doesn’t feel that way at all. Her rejection of the idea that she ever liked him was unconvincing in Nisemonogatari and it’s unconvincing here. And the novel frankly endorses that wilful self-denial. Perhaps it’s important to always act like you’ve fallen in love for the first time. Perhaps it’s important to believe that you’ll never break up with your boyfriend. 

In this seeming endorsement of Kaiki’s ideology, I have to wonder what kind of End Hitagi is even fighting against. 

Nadeko asserts that a single failure is the End, it’s Nadekover, she has no choice but to kill everyone and then herself. In resisting her, Hitagi asserts her right to change, to move on, to love Koyomi even after her life was destroyed by Kaiki. 

On the other hand, Kaiki asserts that failure means nothing, he doesn’t care about anything that has ever happened, after this he’ll just move on and start another moneymaking scheme, same as the last. Hitagi also resists this. She must, if she is to believe her relationship with Koyomi matters in the first place. Her denial that she ever liked Kaiki ends up an odd sort of validation for their relationship. If she did crush on him, that would be important to her, therefore it didn’t happen.

It perfectly mirrors Kaiki’s refusal to admit he ever cared about her. It puts the lie to his whole persona, but, like, it’s supposed to be a lie anyway, I think. They’re both lying to each other and themselves all the time, so much so that they fail to understand even the most straightforward exchanges between them. It’s fine, honestly. They don’t need to be true to each other as long as they’re true to themselves.

One thing that I never really mentioned is the other way you could take this arc title. Hitagi End as in the end of Second Season - the end of the series as a whole, potentially, if you take Nisio’s afterwords seriously (he doesn’t, as evidenced by the several previous times he’s pulled this exact gag). 

Astute fans of the anime airing watch order will note that placing Hanamonogatari, an arc set well in the future, before this one robs it a little of that sense of finality. Nadeko is not so much of a threat, knowing our protagonists survive. This is of course the twist, the lie, the joke of this arc. Life goes on, almost interminably so. The idea that graduation would be the End for Hitagi and Koyomi is as ridiculous as the idea that making some mistakes at fourteen would be the End of Nadeko. 

Even Kaiki’s attempt to escape the narrative, put a pin in the whole thing by killing himself off, is neatly and instantly subverted by remembering his presence in Hana. It’s not supposed to be a reveal, exactly, that this man is a liar. It’s just there, from the first page to the last. 

After Ononoki cautions Kaiki that he’s acting unlike himself, before he goes to talk to Nadeko for the final time, she spends a bit of time telling him what Kagenui’s been up to. Sounded like she was the same as ever, he thinks. I think of this, amongst all his attempts to dramatize his own life, differentiate himself from himself, craft his own ending. His life keeps going on, and Kagenui’s still marching to the beat of her own drum, same as ever. 

Happy New Year!

[detcobookclub]

How is everyone faring with the first week of reading?

To add a little extra food for thought, here is the first entry in our Case Notes, a semi-regular (read: when Mod B has time) write-up of various bits of trivia, translation notes, and personal musings that we hope can spice up your reading!

These will, of course, not be comprehensive in the slightest; there's FAR too much to cover to create something truly encompassing of something as old and long-running as Detective Conan. What you'll find written here are my own curated notes, some more obviously well known than others, so feel free to add on any bits and bobs you may know, whether it be in a reblog or in the tags!

Without any further ado, let's crack open the notebook.

1) Of The Times

File 1 of Detective Conan is named Heisei Holmes. Some six or so years ago, you may remember the big commotion when the Japanese emperor passed away, leading to the shift from Heisei to Reiwa. These terms are official calendar terms, used to mark imperial eras in the Japanese calendar.

That might make you assume they're largely ceremonial, but this is far from the case. These era names are in common use in nearly every facet of life in Japan, from government records to newspapers.

Speaking of which... early on in File 1, there just so happens to be a newspaper!

It's somewhat cut off, but there's enough of it there to read the date in the very top left corner: 平成六年一月十二日. Heisei 6, January 12.

The Heisei era covers the years 1989-2019, meaning Heisei 6 is 1994... so this newspaper is dated a week after the first chapter's release!

2) Names!!

Here we have the first of a string of trivia we'll likely see: character names! We're given a hint as to how Shinichi came up with his "Conan Edogawa" alias in the story, but there's plenty more characters outside of it that have interesting facets to their names. We've been introduced to four of our core characters in this first volume, so let's take a quick look at where their name inspiration comes from.

Shinichi Kudo: Believe it or not, this name is Vibes Based, with Gosho apparently admitting he chose the name largely based on how it sounded when spoken out loud. “Kudo” comes from Shunsaku Kudo, the main character of Tantei Monogatari, a 1979 Japanese TV series. Shinichi is from Shinichi Hoshi, a mid-20th century SF writer.

Ran Mouri: A snippet of sounds from the Japanese reading of Maurice Leblanc (モーリス・ルブラン). Mo-risu Ruburan.

Kogoro Mouri: Take Mouri from above, and combine it with the first name of Kogoro Akechi, a fictional private detective created by Edogawa Ranpo.

Hiroshi Agasa: “Agasa” is from Agatha Christie. “Hiroshi” is an alternate name reading of the noun 博士, hakase, which loosely means “professor.” His name is even written with the very same kanji!

But where names are concerned, we also have to consider Yoko Okino's intro case! As it turns out, each of the four case specific characters introduced in these chapters have names that share a common theme:

Yoko Okino: Oki (沖) can refer to the open sea.

Yuko Ikezawa: Ike (池) means lake.

Yamagishi: Gishi (岸), or kishi, refers to a shoreline.

Akiyoshi Fujie: E (江) refers to an inlet.

3) Detective Trivia

Another quick and easy one we'll probably see a lot.

When Shinichi tries to prove himself to Agasa, he refers to a meal the professor undoubtedly ate at the restaurant Columbo.

Columbo is a 1970s American crime drama that saw international success, being syndicated in more than 40 countries. In Japan, it aired throughout the 1970s and was one of the first foreign TV shows chosen for reairing after Nippon TV shifted their Wednesday night movie block to the “Friday Road Show” (the currently very popular Friday night movie block that has featured a number of Detective Conan movies) in 1985.

4) Japanese Language Quirks

For this first week, I've pulled two examples. The first is a little more cultural, while the second is a little more linguistic.

Aniki

Though we don't know their names yet at the time of this reading, there were two pretty obviously shady characters introduced in File 1 that subsequently pounded and poisoned our protag. Over the course of the chapter, the stockier of the two refers to the other with the term "aniki."

"Aniki" is from a subset of familial terms (in this case, "brother") that can be used to indicate certain societal or hierarchical relationships outside the scope of family. It's a particularly versatile one, but context is important here: their shady garb, and their shady behavior. The use, combined with these factors, immediately pegs them as either involved in or directly adjacent to organized crime. Though it can be a fairly soft term of endearment outside this context, when used IN this context it refers to a member worthy of respect who has the backing of their leader.

As a result, it's a term that's difficult to localize. It's less immediately hierarchical than "boss," but a little more formal and full of admiration than "bro."

Furigana

This is the very last panel of the volume in Japanese:

You might notice that the furigana, the much smaller text normally reserved for a pronunciation guide, also includes kanji... which seems to defeat the purpose.

This is a common practice in literary works that aims to double up the meaning of the printed word. When spoken, you'll often hear the smaller furigana text spoken instead. As it's the word that's spoken, you'll also often see it prioritized in translations, which may or may not leave some of the meaning lost in the process.

As such, a simple translation that wouldn't over-complicate things would use the phrase "real voice" (ホントの声) here, since that's the furigana. "[When that time comes, I'll let you hear] my real voice."

What this is functionally modifying, though, is the word 本音. If you've done any digging into Japanese culture, you may have seen honne discussed historically or culturally with the contrasting ideas of "honne and tatemae" - the idea that we provide a front (tatemae) to the world, while keeping our true motives (honne) hidden.

All that to say that when Shinichi thinks about letting Ran hear his "real voice," he's also insinuating that he'll simultaneously let her hear how he "really feels." A confession, perhaps?

5) MAGIC KAITO REAL?!

I know Magic Kaito isn't part of the reading homework yet, but I simply can't ignore these Easter eggs.

The first and most obvious reference is probably Tropical Land itself. The theme park that started it all in Detective Conan actually first appeared in Chapter 4 of Magic Kaito: "Kaitou Kid's Busy Day Off" (1987). If you've seen either the TMS adaptation or 1412, this episode was adapted in both.

The second super blink-and-you'll-miss-it reference is in File 6. While Agasa is rifling through his various gadgets in search of his new voice-changing bow tie, you can just barely see one of the tiny robots that chase after Kaito in Chapter 9 of Magic Kaito: "I Am The Master" (1988).

This chapter was NOT adapted for either anime, for reasons that will probably become immediately clear if you ever wanted to read it (early Magic Kaito is WILD).

6) Food For Thought: Sherlock Holmes

For Shinichi, the Sherlock Holmes influence can be discussed in both Doylist and Watsonian terms. In other words, it can be discussed both from without and within the story. There are many aspects that can be fun to discuss in both of these categories (his playing the violin), some that may lean closer to Watsonian (his justification for playing soccer), and still more that are probably a little more Doylist (a little crime can be forgiven if it's in service of a greater good...but this may also have some of Gosho's love of Arsene Lupin to thank as an inspiration).

In this moment, though, the most interesting (Doylist) discussion is the idea that Shinichi’s poisoning could be read as somewhat analogous to The Final Problem. This story is probably one of the most famous Sherlock Holmes stories, given it's the very story that killed Sherlock. It also introduces Professor James Moriarty, a crime lord who is very talented at making the deaths he orchestrates look like an accident and finding ways to physically distance himself from the deed.

Outside of Moriarty's talents resembling the way the drug used to poison Shinichi is said to leave no detectable trace in its victims, Gosho has also previously stated that Ran is Shinichi’s Watson. She, like Watson in The Final Problem, has been left behind while Shinichi went off to "die." But... at least Shinichi has told Ran he's alive instead of ghosting her for years like Sherlock did to Watson, right?

...That's a good thing, right?

[absolutebl]

This Week in BL - new entries upset the rankings

Organized, in each category, with ones I'm enjoying most at the top.

April 2024 Wk 2

Ongoing Series - Thai

City of Stars (Fri iQIYI) ep 11 of 12 - Like most Thai BL pulps, this show doesn’t have much story to it. But I'm discovering that what it does have I actually really enjoy. I love that the gay boys got to play matchmaker for a change and I like how just GAY they are. It's nice. Refreshing.

We Are (Weds GMMTV iQIYI) ep 1-2 of 16 - University ensemble BL featuring PondPhuwin, WinnySatang, AouBoom, MarcPawinPoon. I like it. It’s old school Thai BL, but having fun with itself and its tropes. I’m not expecting much, so I don’t mind it waffling. All the couples are comfy. Chemistry is okay. Friendships are nifty. I like Pond's floppy hair. We fine. 

Two Worlds (Thurs IQIYI) ep 5 of 10 - What an extremely bloody episode. And bad guy turned out to be very bad indeed. And now pretty much everyone is dead. Nice kiss. Of course. 

Deep Night (Thurs iQiyi) ep 6 of 8 - It’s cute, they happy, not a ton happened. Random gratuitous bathing. As you do in BL. And I still think the sides should just end up in a thrupple

Only Boo! (Sun YouTube) ep 2 of 12 - Oh they very cute. Also very silly. 

1000 Years Old (Thurs iQIYI) ep 9 of 12 - No. NOT THE GUITAR. YES abandon guitar for the sniff test! Love this for them. And me. My most favorite trope defeated my least favorite trope. VICTORY!!!  

Ongoing Series - Not Thai

Unknown (Taiwan Tues YouTube & Viki) ep 8 of 11 - It’s just so good. Baby went away, grew up, and learned how to become a temptation... and a husband. 

Gray Shelter AKA Gray Currents (Korea Thurs iQIYI) 1 of 5 eps - SooHyuk, only just surviving, reunites with YoonDae, his (brief) younger stepbrother who feels abandoned. They end up living together. The younger brother is played by Lee Jae Bin of Choco Milk Shake. OMG. STEPBROTHERS TROPE. Lucky me! Two in one season. Yay!!!! It's Korea so great visuals too. I shallow but yeah, this is great.

Living With Him AKA Kare no Iru Seikatsu (Japan Thurs Gaga) ep 1 of 10 - Kindly Ryota goes off to uni only to find his new roommate is his childhood bestie, Kazuhito. Kazuhito doesn’t have a girlfriend and Ryota tries to help him figure out why. Same director as Old Fashion Cupcake. It’s utterly charming. I am charmed. Also the framing is gorgeous (of course). Very stylish.

Love is Better the Second Time Around AKA Koi wo Suru nara Nidome ga Joto (Japan Weds Gaga) ep 6fin - I don’t know. Kind of a flat ending with the leads apart for most of it. I enjoyed this show but it never really hit with me. 

Summation

After a teen betrayal and resulting separation a reporter reunites with his first love. That love wants him back. I enjoyed the authenticity of a reunion romance explored in Japan's quintessentially contemplative yet surreal way. The juxtaposition of the tenderness of the sex scenes with this Japanese style of authenticity was oddly elegant but all in all this still fell a little flat for me. There's nothing objectively wrong with it, but in total the narrative felt sluggish and the main couple were just... stiff (in the wrong way). Frankly, I'd rather just rewatch Tokyo in April is. 8/10

Love is like a Cat (Korea Mon Viki) eps 3-4 of 12 - What is going on with this show? No, I get the plot. I just don't get the show or why I’m watching it. Annoying. 

It's done, but I suck

What Did You Eat Yesterday Season 2 AKA Kinou Nani Tabeta? Season 2 (Japan Gaga) 10 eps

To Be Continued (Sat C3 Thailand grey) ep 7-8fin - I can't for the life of me find the final 2 episodes. Haven't had a real hunt, but yeah. No dice so far.

It's airing but...

Takumi-kun Series 6: Nagai Nagai Monogatari (Japan Furritsubs) eps 1-? of 10 - I may wait and binge it.

Lady Boy Friends (Thai WeTV grey) 16 eps - reminds me a bit too much of Diary of Tootsies only high school. Not my thing. DNF unless it turns a corner and is truly amazing.

Kiseki Chapter 2 (Sun iQIYI) 6 eps - It’s so boring DNFed at 2.

Close Friend Season 3: Soju Bomb! (Weds iQIYI) 6 - The problem with situational comedy BL is it must be situational, comedic and a BL. This show gets 1 of 3 claims correct. 33% is not a passing grade. Dropped at 3.

Memory in the Letter (Thai WeTV) - only 4 eps, tell me if I should bother?

Next Week Looks Like This:

4/18 At 25:00 in Alaska AKA 25 Ji Akasaka de (Japan Thurs Gaga) 10 eps - Yuki lands his first starring role in a BL drama alongside superstar Asami (previously his senior at uni). Said superstar suggests they form a sham relationship until filming concludes. As they actually begin to fall in love, the spotlight begins to burn. I think I've seen this before (joke) and also the trailer doesn't inspire confidence.

Still to Come in April

4/25 Boys Be Brave! AKA Roommates (Korea Thurs Viki) 8 eps - Trailer Jung Ki Sub is Kim Jin Woo's slacker friend - and secret crush. So when Ki Sub crashes at his place, his heart tingles to be near him everyday. But as the short stay turns into permanent mooch, how long can Jin Woo keep his true feelings under wraps and hold back from confessing?

4/26 My Stand-In (Thai iQIYI) 12 eps - adaptation of Chinese novel "Professional Body Double" by Shui Qiang Cheng. Stars Up (Lovely Writer) and Poom (Bake Me Please) directed by the same team as KP (not a recommendation IMHO - my biggest criticism of that show was the clashing directing styles). This one looks complicated, lemme try: Joe is a stuntman for famous actor Tong. Joe falls in love with Ming but Ming sees Joe as nothing more than a Tong-replacement. After learning this horrible truth, Joe dies. Joe then wakes up in the body of another man also named Joe. He manages to rebuild the same life as before—with the same people eventually re-meeting Ming. Ming wants Joe back but Joe doesn't understand why. But Ming seems to know what's going on and wants to give him some kind of explanation.

I'm exhausted just trying to describe the plot.

Knock-Knock Boys (Thai WeTV) - 4 college friends conspire to help their friend lose his virginity. Familiar faces like Seng (yes, Billy's previous pairing) and Best, news here. But will it actually air this month?

Upcoming BLs for 2024 are listed here. This list is not kept updated, so please leave a comment if you know something new or RP with additions.

NOTE: It looks like one of my personal favorites of last year Unintentional Love Story is getting a spin off!

THIS WEEK’S BEST MOMENT

Sniff test turning into a make out sesh? Please and thank you. City of Stars

(Last week)

Streaming services are listed by how I (usually) watch, which is with a USA based IP, and often offset by a day because time zones are a bother.

The tag BLigade: @doorajar @solitaryandwandering @my-rose-tinted-glasses @babymbbatinygirl @babymbbatinygirl @isisanna-blog @mmastertheone @pickletrip @aliceisathome @urikawa-miyuki @tokillamonger @rocketturtle4 @blglplus @anythinggoesintheshire @everlightly

If ya wanna be tagged each week leave a comment and I will add you to the template. Easy peesy.

[justintaco]

Spooky Idiot Eats Shit

Monogatari Series: Second Season episode 12 (2013)

Monogatari Series: Off & Monster Season episode 2 (2024)

[jelloapocalypse]

Holy moly that was a good video!

Sorry for the long ask. I am very excited!

The List itself was so well done and cutting right before jubun wo got a good laugh out of me. So many emotions all at once and the way it was put together got me genuinely emotional enough to cry.

Number one was such a great pick too. A masterpiece. A gesamkunstwerk, even! Just like the list itself! I feel as though with this list, far more than most, I've really gotten a glimpse into your genuine sense of taste and not just a parroted repeating of what people think is popular. Even (especially) though I definitely disagreed with parts.

I have two questions, though:

1) At the very beginning, it mentions submissions for this project. Was there a submissions form somwhere that i just completly missed somehow? Or does "submissions" here just mean "the anime needed to have aired prior to this date"?

²) The whole time watching, i was wondering where any monogatari series opening would place because i was 100% confident at least one would on account of many of them being among Shaft's best works. But then seeing the final number one pick made me almost certain Renai Circulation and Mousou Express should have gotten the same treatment AND that you probably would have liked them had you been aware of them, so:

2) are you simply somehow unaware of the monogatari series, or was there something about those openings that just didnt have the jennies?

Obsessed with your numbering system here that has "square" between 1 and 2, lmao

1) "Submissions" in general just means we were done accepting new entries for consideration as of February, but we did ask literally everyone we knew for suggestions. I also did some informal asks on Patreon, Twitter, etc.

2) I would hope it's obvious we do know the Monogatari series considering it shows up in the video several times! I used clips from Hanamonogatari and Owarimonogatari. The latter was even the title card for the "Theming" overview.

This is the best Monogatari OP, by the way. I would not mind popping this one onto the 90s to replace one of the lower entrants. But almost nobody talks about this one!

Shaft is great at picking a weird, fun, artsy thing to put in almost every opening they do, but a lot of them are kind of a one-trick pony if you zoom out from that.

Staple Staple, for instance, has a strong color palette and the clicking staple trails is such a fun visual. And then you watch it and realize... Oh. This is like 90 seconds of the exact same idea with almost no iteration on it. It really is just CG staple trails over black and white footage. That's such a shame.

We didn't talk about this in depth, the biggest thing that eliminated OPs from consideration (other than credits) was the "Should this be 90 seconds long" factor. So, so many openings have enough ideas to make a great 30 second opening, but not a good 90 second one. Steins;Gate and Blue Exorcist are great examples of that. Nichijou too.

Meanwhile a lot of other famous Monogatari OPs like Renai Circulation are like... just a good song. Can you watch this muted and tell me it ticks any boxes besides "nice colors" and "this girl wants to fuck her brother"?

I'm comfy with our Shaft representatives on the list being Pretty Boy Detective Club, Maria + Holic, and Yet the Town Moves. I think all of those are holistically better than all the Monogataris, which we watched twice in desperate hope of putting one on there.

[fuckyeaharthuriana]

My favorite arthurian tv shows and minisiers (part 1/2)

(My favorite movies here)

More details under cut. Some of these I love, some are so bad so good, some are beautifully epic, some are just funny.

The Adventures of Sir Galahad: Short one season tv show (15 episodes) about Galahad having to recover Excalibur after it was stolen. Also the one and only show where Galahad and Mordred interact.

The Adventures of Sir Lancelot: 30 episodes of self contained light and sometimes comedic adventures focusing on Lancelot living at Camelot. Still very much enjoyable today! Other characters who appear are Merlin, Arthur and Guinevere.

Arthur of the Britons: The first attempt to make a tv show focusing on Celts and a Celtic Arthur. Episodes are self contained. Kind of strange sometimes, and the only arthurian characters are Arthur, Kay and Ector.

The Legend of King Arthur: An 8 episodes BBC show which adapts Malory. This is the best arthurian tv show ever created! It also has an amazing Morgan and a stellar Mordred. Actually made me cry!

Entaku no Kishi Monogatari Moero Asa: Toei original anime (no manga) of 30 episodes that follow Arthur's journey to reclaim Camelot after it was conquered by a villain.

The Boy Merlin: Very short 6 episodes series about Merlin as a kid discovering his powers. It was very light and with an historical aesthetic.

Merlin: Two episodes miniseries, extremely popular! It follows Merlin from his childhood to the death of Arthur. While it is not my favorite, it has some great scenes in the second part where Guinevere, Mordred and Lancelot are introduced.

The Mists of Avalon: Miniseries adaptation of a novel I really dislike - but I love this miniseries. It might actually be one of my favorite arthurian series. It focuses on Morgana and her relationship with Arthur and Guinevere. It also has an amazing Mordred and Morgause, one of the rare times where we see Morgause.

[evenstar]

TOKYO BABYLON FST: BOX

what's poppin TyoBabi fandom, I got a present for you

.zip File Download: DISCS 1 & 2 (109MB)

This FST is basically an in-depth run down of the collection of songs that were sung/mentioned/in the "VOL. 7/BOX" chapter of Tokyo Babylon 5, with some info about the artists and songs themselves. This, as far as I know, is the most thorough run-through of the music of "BOX" on the English web! I've divided it into two "discs", the first being the songs mentioned themselves, and the second being a few fun related extras. You can check out the second disc over on Radio Free T.Y.O, if you're interested ♥

Ginza no Koi no Monogatari

銀座の恋の物語 - "Ginza Love Story" 石原裕次郎・牧村旬子 - Ishihara Yuujirou and Makimura Junko mp3 download || youtube

The song that Seishirou and Hokuto are pouring their very souls into to perform in the beginning of the chapter. Released in 1961, this a smoky, jazzy duet typical of its time, telling the story of two star-crossed lovers, one in Tokyo and one in Ginza. It was an immediate hit, even having a movie based upon it made, starring Ishihara-san in the lead role. It's a staple duet in karaoke even to this day.

Nakanaide

泣かないで - "Don't Cry" 舘ひろし - Tachi Hiroshi mp3 download || youtube

The song that the random selector spits up for Subaru to sing, which Sei-chan subsequently picks up after sending him off to buy cigarettes/exorcise the OL. This was released in 1984, by Tachi Hiroshi, a singer and actor who became quite the sensation when he had a starring role in 西部警察 (Seibu Keisatsu; "Western Police") -- incidentally, directed by the abovementioned Ishihara-san, as you'd have it. "Nakanaide" was a hit, coming in 59th on the ORICON's 1984 top singles list. It's from his seventh album In the Mood.

Nanpasen

難破船 - "Shipwreck" 中森明菜 - Nakamori Akina m4a download || youtube

The song that the OL ghost sings. A dark and heartfelt song about a dying love, it was a massive hit when it was released in 1987, shooting straight to the top of the ORICON charts (as Nakamori-san's 17th number one hit), and has been a karaoke regular since then, just as the OL says in the chapter. Originally written and performed by the very respected Kato Tokiko for her 最後のダンスパーティ (Saigo no Dance Party; "Last Dance Party") album of 1984; she personally requested that Nakamori-san perform the song. It's been covered countless times, including by the original singer/songwriter and the cover artist themselves.

Daite...

抱いて… - "Hold Me..." 松田聖子 - Matsuda Seiko mp3 download || youtube

Not actually sung, but the OL ghost suggests she'd like to sing it next. A dramatic and emotional slice of idol pop from the Eternal Idol herself, Matsuda Seiko (who also performs "Who's That Boy", found on Single White). Released in 1987 as a promo-only single from her fifteenth studio album, 1988's Citron. Despite never being released as an official single, it's one of Matsuda's more popular songs, especially karaoke-wise. It's rather interesting that the OL picks a Matsuda song directly after a Nakamori Akina track -- the pair were notorious rivals in the 80s, supposedly even in love.

Benkyo no Uta

勉强の歌 - "Study Song" 森高千里 - Moritaka Chisato mp3 download || youtube

The song Hokuto is singing when Subaru attempts to sneak back into the karaoke box. Released in 1991, it peaked at #4 on the ORICON charts, and was remixed on Moritaka's second remix album as ザ・勉強の歌 (Za・Benkyo no Uta; "The・Study Song"). It was used as the opening theme to the anime TV series "Mischievous Twins: The Tales of St. Clare's". It's a totally gimmicky song (complete with voguing in the very weird video clip), though cheerful and catchy, so its popularity on the karaoke circuit at the time shouldn't surprise anyone. (You just know that Hokuto unironically adored this song, and drove Subaru batty by singing it at every opportunity.)

Wakaretemo Suki na Hito

別れても好きな人 - "Beloved Even if We're Separated" ロス・インディオス＆シルヴィア - Los Indios & Silvia mp3 download || youtube

The song that Hokuto announces Subaru should sing with Seishirou as punishment for being late. Another staple in the duets section of karaoke, still, this 1979 release was actually a cover. The song was released by two Toshiba EMI artists, Matsudaira Kemeko and the Purple Shadows, respectively, in 1969. In October 1975, Los Indios released a single-voice version, and in 1979 it was rearranged as a male and female duet, with some lyrics changed slightly. The song was an instant hit, and by 1980, it had sold a million copies.

[nadekofannumber1]

Oh hey maxofdelsh finished the compiling the pdfs and epub translations of the monogatari short stories for mazemono and mijikanamono. Now they can be downloaded as a set that’s fun