Tsukihi and Koyomi’s talk about love brings this to the forefront of the narrative. Koyomi’s clear inexperience means he struggles to realise obvious signs of him having a crush on Hanekawa, and also allows Tsukihi to eventually convince him that he doesn’t and is just overly horny instead. It’s more convenient for him. He doesn’t really want to think about confessing because he thinks it would trouble Hanekawa, someone that he couldn’t possibly imagine being into him in return. 

I find myself coming back to the thing mentioned in the prologue, the essential similarity between Hanekawa Tsubasa and Araragi Koyomi. The difference between them and Hitagi or Kanbaru, who ‘live their lives facing forward’. To some extent it’s been obvious for a while - both of them putting others over themselves, choosing to act like a good person without really believing themselves to be one. The difference, then, is in Hanekawa’s strength of will, in being someone who can, at all times, in all situations, continue to do the right thing, despite not feeling any particular attachment to that process at all.

That’s one of the conclusions to this arc. The idea that the Sawari Neko didn’t take advantage of her pity, but rather rewarded her lack thereof, acting according to Hanekawa’s will instead of its own. Her desire to be ‘normal’ is the source of all irregularity in this incident. 

Koyomi is different. Koyomi can’t help but feeling for almost everyone he encounters. He’s careless, doesn’t always do the right thing, but despite it all will end up helping out anyone.

When Hanekawa saved him during the events of Kizumonogatari, she did it in the same way as she buried the cat. Calmly, coldly, as though it was the most natural thing in the world. She didn’t pity him, she didn’t look down on him, she simply saw him as an equal. 

So we are told in this arc, but one thing left unmentioned is that Hanekawa was in love with him. 

And while that’s a story for another time, it’s also a story we’ve already seen. Tsubasa Cat. This whole time, she was building up stress from not being able to tell Koyomi her feelings, he was unable to notice because of his idealized view of her in which she’d hardly think that highly of him, and as a result, out bursts Black Hanekawa, here to settle things on her behalf. Koyomi couldn’t become her hero, so she made one herself.

Once again I find myself wondering about the chronology here. Tsubasa Cat ‘skips over’ this first incident - the central trick, that there was never a difference between Hanekawa and the cat, is elided, in favour of making Kuro more of her own character. Perhaps a result of being separated by Kokorowatari in this one? 

But precisely because of that, we have an original enough scenario awaiting us in this arc. One where Kuro fights a hundred exorcist battles against Oshino and beats him every time, with the knowledge she has from fusing with Hanekawa. One where she holds back, avoids killing him, because she’s one with Hanekawa and still feels like she owes him. One where Oshino couldn’t defeat her exactly because of the depth of that combination - it’s pointless to exorcise the cat if the human wants to do the exact same things. Oshino’s style is always to balance things out, resolve the deeper issues. But it seems like Hanekawa’s issues are beyond even his deft hand. 

Another of the things that Tsukihi and Koyomi discuss is the vibe people’s clothes can give off - regardless of whether you’re wearing black or white panties, a person’s true nature shines through. A chaste person will seem chaste even in provocative black panties, and vice versa for a lewd person wearing white. Their only mistake - confirmed when Koyomi gets a good look at what Hanekawa is wearing early on - is to think that a person’s nature can be only lewd, or only chaste. This is a realization he talks about in Tsubasa Cat. Good people aren’t always good because good things happened to them. Sometimes one’s circumstances are so bad they have no choice but to be good. It’s not black or white. Good people sometimes act badly, too. Hanekawa Tsubasa is both. At the same time. 

Look at her reaction, when Koyomi exposes her. He has her briefly talking without the cat puns, confirms she does at heart have the same impulse to help him. She ‘showed no signs of guilt’. There’s no disconnect. Is there anything more Hanekawa Tsubasa than ‘seeming oddly cheerful’ while standing in front of your crush wearing only your underwear? She acts normal even in the most abnormal situations. 

The point of the Sawari Neko’s tale in the first place is that the cat and its victim are one. A virtuous person buries a cat, starts acting weirdly, is presumed to have been possessed by a spirit, but turns out to have been just doing that on their own. Just because they’re superficially viewed as a virtuous person doesn’t mean they won’t act out. It can make it more likely, in some cases. 

The way Oshino puts it, ‘turning out to never be a cat at all’ would be the worst outcome, it would leave Hanekawa stuck like that, in cat mode, permanently. It’s why he’s so worried about not finding a cat in the grave that it was first buried in, and why Koyomi nonetheless finds that the cat is there when the incident is over. Oddities, after all, are a way of shifting responsibility, something that we blame when we can blame nothing else. Rather than reckon with the fact that Hanekawa simply had the desire to do those things all along, we find it easier to resolve things by saying a cat made her do it.

This isn’t just a convenient excuse for Koyomi, who doesn’t want to think badly of her. It isn’t just a convenient excuse for Oshino, who completely failed in his role as a specialist here. It is, perhaps most importantly, a convenient excuse for Hanekawa Tsubasa, who, despite being fully conscious the whole time, still pretends she’s bewitched by a cat. 

That’s what Koyomi shouts to her. You’re still you. Stop trying to pretend you’re something else. Stop pretending that you’re weak-willed enough to get bewitched by a cat. Stop acting like your human vulnerabilities work as an excuse to become something entirely inhuman. Your life sucks, it really does, but trying to work off stress by attacking people isn’t going to change it.

This whole Black Hanekawa thing doesn’t really work if she allows herself to consciously acknowledge she’s putting on an act, because then she would realise the conflict between it and her usual maxim of always doing the right thing. Perhaps that conflict is what results when Kokorowatari separates her from the cat and it lashes out at her psyche?

But for that moment, Hanekawa writhing on the floor, unsaved even at the cost of Koyomi’s life, there’s a further interpretation I want to advance here. Koyomi shouts at her. He’s a bit cruel, a bit unsympathetic. Some of it’s his true feelings, no doubt, but he’s also trying to make her angry, get her to attack him. It seems to work. “Just die.” She repeats it for over two pages - only to reveal that at the end she’s referring to herself. 

We talked about vampirism as a representation of Koyomi and Kiss-Shot’s suicidality during Kizu. We mentioned that Hanekawa dealt with similar issues, but not how her oddity plays into that. Because in Tsubasa Cat it really doesn’t. But here there’s a whole other layer to it. If Hanekawa isn’t freed from the cat’s control within 10 days, it will become permanent. There will be no choice but to kill her. 

Does Hanekawa know this? She is the cat. If we take that seriously for a moment-

“Farewell. Go have a happy life.” the cat says to Koyomi when she leaves after meeting him at school.

“I will disappear after I hunt another five hundred people.” I? Who’s I?

The pain after being struck by Kokorowatari - in Tsubasa Cat, Koyomi says that everyone that the cat attacked was for Hanekawa’s sake, even herself. Here he says the same, that it can’t just be the cat’s random whim, because it’s been consistently and completely on Hanekawa’s side this whole time. 

Because when she picked the cat’s dead body off the ground she didn’t pity it, didn’t feel sorry for it. But she is the cat. When Koyomi shouts “There isn’t anything sorry about us, is there!?” is he talking to the cat, attacking Hanekawa, or Hanekawa, picking the cat up from the side of the road?

The Sawari Neko. Meddlecat, curse cat, whatever you want to call it, the pun is in the verb sawaru - to touch. Touching her will drain you. It will curse you. Regardless of her will. Because the cat, because Hanekawa, doesn’t know about her own power. She doesn’t know everything. 

The way Oshino puts it, Hanekawa’s parents are her fault. She acted in such an abnormally perfect way that they were unable to face her. Frankly if you’ll allow me to insert my personal opinion for a moment I think this is fucking stupid. In the anime you can pretend it’s just how Oshino puts it, but in the novel the narration makes it clearer you’re supposed to take him somewhat seriously. Hanekawa really did curse the people around her, purely through proximity. She ruined the chances of them becoming a proper family.

For that reason, as the cat,  she pushes Koyomi away, saying he’ll be cursed on contact with her. However, it’s too late. He’s long since been bewitched by the cat. So much so that he wants to die of it. 

Is it such a stretch to imagine that Hanekawa might feel the same? Someone like me, who curses everyone I touch, I should just die.

Koyomi’s rant, then, takes on a different tone. He’s desperately begging her to accept her current life because he doesn’t want her to throw it away.

Go on, say ‘I only know what I know’ like you normally do, because there’s still so much in the world you have to learn about.

He says this while dying himself. The question we had at the start, why a relationship between them wouldn’t really work, beyond Hitagi’s interference, seems obvious to answer now. Both of them keep so much to themselves, take everything on themselves, save everyone but themselves. This is the only place their relationship, on its own, could ever end. A mutual suicide. 

It takes Shinobu’s intervention, just as it did in Tsubasa Cat, to save them both. That similarity makes the difference so much more obvious. He doesn’t ask for her aid out of an understanding of the value of his own life. From start to finish, he refuses to believe that Shinobu actually cares enough to save him.

We might ask, as we did with Tsubasa Cat, about the placement of this arc. It’s fundamentally kind of odd, the ordering of the rest of the series aside, to put the two like this, having to recap the start and end of this one to fully explain the other.

I can’t fully answer that question. But one thing I can say is that Bakemonogatari couldn’t possibly have ended with Tsubasa Family.