By NISIOISIN and VOFAN. Released in Japan by Kodansha. Released in North America by Vertical, Inc. Translated by Ko Ransom.

This was one I was always going to be very interested in. Long-time readers of this blog will know that “Sean loves to defend hated characters” is a thing I do, especially when the characters are young women and the haters are mostly men. And while I’d argue that the most recent Monogatari anime has meant that Nadeko Sengoku isn’t hated anymore, I think there’s still a lot of ambivalence about how to react to her in the fandom. Now, having read the book that features her, I can see why that’s the case; Nisioisin is trying to lead you that way himself. There are a LOT of elements in this book designed to set the reader up to viciously turn on Nadeko. Rumor has it that the story idea came to Nisioisin after Kana Hanazawa, the voice actress who played her in the first Bakemonogatari series, said she’d like to play a Nadeko who’s turned evil. And that’s what we get here, even though I can’t help but see it as a stressed introvert at the end of her rope finally snapping.

Even Nadeko’s narrative voice is leading the reader to think “OMG, FAKE CUTE!”. She thinks of herself in third person, and speaks that way as well, which is common for children in Japan, as well as “girls who are trying to be cute”. She also has a tendency to quote and misspell certain words, which I’m not sure about – is it something to do with katakana? I’d like translation notes on that, but again, I think it’s meant to be seen as an affectation. Most notably, though, when she uses the personal pronoun ‘I’ it’s in lower case, showing off the fact that Nadeko debases herself to a large degree. That said, for all the narrative tricks, Nadeko is basically going through the ever-popular “middle school syndrome” to a large degree, and most of her personality problems that aren’t “is a terminally shy girl” are based around that. It’s telling that she gets called out big time by Tsukihi, who one can argue is the extroverted version of Nadeko, but also owns that and doesn’t try to deny it.

There are a lot of great set pieces in this book. Tsukihi’s teardown of Nadeko, which is not so much about Nadeko’s fake cuteness – Tsukihi even praises that – so much as Nadeko’s desire to not try to move forward or have a goal. (There’s some light subtext here, not helped by Nadeko wondering if she actually fell in love with Tsukihi rather than Araragi.) And then there’s Nadeko finally losing it when her asshole teacher asks if she’s managed to fix their classes’ problem, as she starts screaming, swearing, and kicking in doors in one epic tantrum that is, frankly, awesome. Unfortunately, things go south after that. For all that the “villain” of this piece points out that he’s imaginary and this is all Nadeko’s delusion, we can finally start to see a sort of arc villain: Ogi Oshino seems to actively be pushing against Araragi, and it’s concerning, especially as this book ends unresolved – Nadeko is now a Missing Person, and the god that took her place is holed up at the shrine fantasizing about blockbuster action-filled finales that, I hate to break it to her, are not going to take place.

Next time, after Hanamonogatari leapt forward nine months, and Otorimonogatari about 2-3, we finally go back to August to resolve a few plot points there. In the meantime, enjoy Nadeko Medusa, but try not to think of evil scorned Nadeko as her “real” personality any more than cutesy Nadeko was. If we see a “real” Nadeko in this story, I think it comes from a repeated line of dialogue: “It’s just… tiring.”

By NISIOISIN and VOFAN. Released in Japan by Kodansha. Released in North America by Vertical, Inc. Translated by Daniel Joseph.

First off, I can’t help but notice that I haven’t been crediting VOFAN in my reviews of the Monogatari series. This may not be surprising – Monogatari is not a “light” novel per se, and there are no interstitial illustrations – we get cover art and one large piece at the start of the story. But the art is not only gorgeous but can also be a signpost as to what type of story we’re getting. Kanbaru here – be it in the original cover or the one VOFAN did for the North American release – is looking very serious, not at all like the suggestive and leering girl we’ve seen in previous books narrated by Araragi. And sure enough, as we get a book written with her narration, we see that she is at heart an overly serious and earnest young woman, and that most of her banter with Araragi is a facade. “Playing the fool” is something she’s actively called out about. Even worse, this book takes place in her third year, so she can’t even count on her (now graduated) friends.

That’s right, we’re jumping forward in this book, as Hanamonogatari takes place sometime after the events of all the other books in the series. Araragi, Senjogahara and Hanekawa have graduated and moved on – though Araragi does play a small role here, mostly to give Kanbaru emotional support. Which she desperately needs. Her friend Higasa knows nothing of aberrations. Kaiki Deishu shows up, oddly enough, claiming to know her mother, and is actually quite helpful, but given his behavior regarding Senjogahara, Kanbaru wants nothing to do with him. And then there’s Ogi (and believe me, that romanization pains me as much as it does you). I hadn’t mentioned Ogi in my review of Kabukimonogatari – she showed up at the start to harangue Araragi about stoplights, and seems to hold him in contempt. Now Ogi is a male student – this is lampshaded a few times in case we don’t get the gender switch – and haranguing Kanbaru, though there seems to be less venom in his tone this time around. Ogi is clearly a puzzle that we’ll have to solve in future books, but for now let’s just go with ‘annoying underclassman’.

As for the main plotline, you won’t be surprised to hear it has to do with Kanbaru’s main issues – her “devil’s hand” and basketball. An old middle-school rival, Roka Numachi, has shown up, and like Kanbaru she’s injured and doesn’t play anymore. Also like Kanbaru she seems to be somewhat fluid in her sexuality, though this book indicates that most of Kanbaru’s happy “I’m a lesbian!” to Araragi was part of her front – her experience is near zero, though there’s definitely sexual tension with Roka. As with a lot of the Monogatari series, the plot itself seems to be laid out in a couple of long expository monologues – if you get bored easily, this is not the series for you. The resolution works well, though, and seems to point to Kanbaru maturing and moving forward, made explicit by her cutting her hair short again at the end (it has been growing longer as the series has gone on, as anime fans no doubt noticed.)

Anime fans, speaking of which, may be surprised to see this book coming so soon – this was the original Japanese release order, but the anime delayed its production till after the next three books were adapted. If you like Kanbaru it’s essential, and even if you don’t it’s still a good volume of the series, mostly as it lacks the “filter” of Araragi’s narration. Next time we’ll move back a few months and see why Sengoku Nadeko is this series’ most polarizing character.

By NISIOISIN. Released in Japan by Kodansha. Released in North America by Vertical, Inc. Translated by Daniel Joseph.

The joke about this volume of the Monogatari series has always been that Shinobu steals Mayoi’s book. It’s not entirely correct – the entire thrust of the plot revolves around Mayoi here, and how her state as a ghost wandering the town saddens Araragi as much as it pleases him to banter with her. And of course there’s the climax of the book, which features Mayoi… well, a Mayoi. (Covers always spoil.) But there’s no denying that the actual dialogue in this volume is about 80% between Araragi and Shinobu, as his desire to finish his summer homework (which he had forgotten to do due to college exam prep) leads to Shinobu abusing her powers to send them back in time. This leads to what at first seems like a chance for Araragi to change history so that he can make Mayoi’s life and death a little better… after all, how could saving one little girl from getting hit by a car possibly change history? (cough)

Araragi is once again the narrator of the series, which alas means that we have a lot of his tendencies to deal with. In fact, given that Nisioisin says in the afterword that he was trying to write a novel consisting almost entirely of little girls (Mayoi, Shinobu, and Ononoki, who sets the plot in motion with her discussion of the differences between her, Mayoi, and Araragi), there’s even more lolicon jokes here than ever before, with endless discussion of Shinobu’s ribs and their use and abuse. Fortunately, though, this also means we get the opportunity to evolve Shinobu’s character and make her more proactive. She’s gone from being an outright villain, to sulking, and then to being a somewhat teasing but reluctant partner who says she helps Tsukihi merely because it amuses her. This book shows how much the pairing between Araragi and Shinobu has truly changed both of them, and reinforces the closeness of their bond. Araragi may love Senjogahara most, but he’ll die with Shinobu, and that’s sweet too, in a vampire sort of way.

It might be a good idea, by the way, to go back and read the 3rd Bakemonogatari series, Tsubasa Cat, before tackling this one, as the events there play out here in a tragically different way. That said, Araragi himself has already forgotten what happened that day and has to have his memory jogged by a somewhat frustrated Shinobu. On the other hand, you may want to save your reading time for this book alone, given it’s one of the longer volumes in the series to date. Much of that length is taken up by what we’re used to seeing from Araragi and company – endless meandering conversation, killer untranslatable puns, and 4th wall breaking galore, with discussion of the characters knowing they’re fictional, as well as knowing that they’ve got an anime airing. Anime fans may be interested to know that this one cuts out more than most any other Monogatari adaptation, so it’s worth picking up to see what you missed.

There is also, as you can no doubt see, another translator on the series, and he’s also doing the next book, Hanamonogatari, which will focus on Kanbaru. He does a good job of keeping things as smooth as it’s possible to o given this author’s tendency to vomit dictionaries at people whenever the opportunity comes up. Ononoki is trying out new variations on “oni no onii-chan” here (brogre was a favorite of mine). There are one or two places where the translation suddenly features a lot of Japanese words, and you get the feeling there even the editors agreed “yeah, that’s just impossible to adapt”. Even the subtitle \to the book is tricky. A kabukimono is sort of the equivalent of a Japanese dandy, but it can also mean “twist” or “deviation”, which is certainly what happens here with all the time-travel antics.

Fans of Monogatari will want to pick this up, particularly if they like Shinobu or Mayoi. For anyone feeling bad for Mayoi, given that Shinobu steals the spotlight so much, I’d wait till later in the year when that might change.