Bakemonogatari – Episode 4

We’re in deep Mayoi Snail territory now, meaning I finally was able to get away with a reasonably sized episode review. This episode wasn’t really any more exciting than I remembered it being – I enjoyed it more now because I already know the characters, but basically nothing of consequence happened at all, and even the character-establishing banter was pretty mediocre. Mayoi Snail continues to dare any potential audiences to fight through the series.

You can check out my full review over at ANN, or my notes below.

Oshino says that Mayoi must be a lost cow

“When you write the kanji for “snail,” there’s a “cow” character there, right?”

“I think it’s time now to talk about spring vacation”

We open with images of possible homes, as well as the ubiquitous traffic signs, a staple of SHAFT

And the shadows of power lines. A staple of anime in general, generally signifying suburban alienation or peering eyes

Senjougahara’s old house is gone. She feels sad, but displays little weakness

Mayoi claims she’ll be defended by the PTA

She’s a pretty believable kid

And Araragi remains determined to help her, in spite of both her and Senjougahara’s indifference

“Please feel free to turn to others as much as you want. But there’s no need for me to do the same!” Still reflecting the theme of helping yourself versus helping others

More word games

Senjougahara never engages in the conversation, of course

Their rambling essentially just establishes a rapport, but I don’t really care about their relationship

Senjougahara hates kids because she can’t understand how to interact with them

Plenty of goofy faces this episode

“I try and try, but never manage to reach it. I can never reach my mother.”

“Please don’t leave me alone with that child”

“She may be my mother, but unfortunately, she’s not officially my mother anymore”

“Tsunade was my name until I was in third grade.” Her parents divorced, she took a new name

“My mother’s home is a place I like to visit whenever I get the chance.

Araragi knocks her out again. This arc kinda demonstrates how self-loathing can be actually funny, at times

Hanekawa arrives

Hanekawa’s also out avoiding her house on mother’s day, and immediately points out Hachikuji

Hanekawa exudes an air of authority and adulthood, and gets Mayoi to apologize immediately

Whereas Araragi acts like a kid with kids

Hanekawa’s conversation here reflects that all these characters seem to have their own lives going on in the background

I love this steel string guitar twang, emphasizing this desert suburban wilderness

Also like how they’re finally using this park’s design as a clock face