When Yuiji accidentally overhears his classmate Yamato confessing to another friend that he's gay, his perspective shifts.
Seeing Yamato in a new light, Yuiji does his best not to let prejudice color his view, but he still finds himself overthinking his classmates' interactions now.
He especially notices the way Yamato looks at one particular boy: Yuiji's own best friend.
Even though he tells himself he shouldn't get involved, Yuiji finds he just can't help it; watching Yamato's one-sided love draws him in a way he never expected.
At first, it's empathy, knowing that the boy Yamato has his sights on is definitely straight and has no idea. But as his own friendship with Yamato develops and the two of them grow closer through a mutual study group, Yuiji comes to truly care about Yamato as a person, regardless of his sexuality. He only wants Yamato to be happy, and to be able to express his true self.
Status: 2 Volumes (Ongoing)
Tagged: Drama, School Life, Slice of Life, Coming Out, Friendship, Insecurity, Unrequited Love, Romance
Kieta Hatsukoi by Hinekure Wataru
āAoki, I didnāt know you thought about me that way.ā Aoki has a crush on Hashimoto, the girl in the seat next to him in class. But he despairs when he borrows her eraser and sees sheās written the name of another boyāIdaāon it. To make matters more confusing, Ida sees Aoki holding that very eraser and thinks Aoki has a crush on him!
Status: 9 Volumes (Complete)
Tagged: Comedy, Romance, School Life, Bisexual, Misunderstanding, Romance
Hatsukoi Note by Amekiri
Shouya, a high school boy whose heart has never known romance, comes across an internet diary filled with wistful whispers of love toward the writer's same-sex crush. A photo posted to the page provides a hint as to the blog's owner: Tsubame, a fellow classmate known for being a lone wolf. Shouya realizes that his friend Ryuu is the object of the diary writer's affections, so he attempts to play matchmakerā¦but where will his own feelings take him in the process?
Status: 1 Volume (Complete)
Tagged: Drama, Romance, School Life, Yaoi, First Love, Misunderstanding
Smells Like Green Spirit by Nagai Saburou
Mishima, a student at a school in the countryside, is bullied by his classmates. The reason is because he's seemingly gay. In reality, Mishima does like guys so he doesn't resist their bullying, and instead, finds solace in secretly cross-dressing. One day on the rooftop, Mishima finds the lipstick he'd lost before in the hands of Kirino, one of the bulliesā¦ and Kirino was about to put on the lipstick that Mishima used on his own lips. This is the story of young boys looking for a place they can really be themselvesā¦
Status: 2 Volumes (Complete)
Tagged: Drama, Psychological, School Life, Coming Out of the Closet, Countryside, Cross-dressing, Enemies to Friends
CW: Attempted Rape, Bullying, Homophobia
Doukyuusei by Nakamura Asumiko
Hikaru always thought his classmate Rihito was kind of a snob, until he stumbles across Rihito secretly practicing a song in an empty classroom. Hikaru agrees to become Rihitoās music tutor, and with each lesson the two boys grow closer. But when Hikaru realizes that heās fallen for Rihito, will they stay classmates or become something more?
Status: 1 Volume (Complete) Has multiple sequels
Tagged: Drama, Romance, School Life, First Love, Opposites Attract
Blue Sky Complex by Ichikawa Kei
Narasaki only wanted a place where he could sit and read books in peace, but was blackmailed by his teacher into supervising a delinquent called Terashima while working at the school library.
As they spend their days in silent but close proximity, they begin to feel drawn to each other. And then...
Status: 10 Volumes (Ongoing)
Tagged: Drama, Romance, School Life, First Love, Opposites Attract, Yaoi
Usagi no MoriĀ by Enjo
Shunta and Tamaki are childhood friends with a year of difference, but Shunta feels something different towards his friend, an impure, not correct, dirty feeling.
As this feeling grows stronger, will the relationship between the two friends also change ...?
Status: 3 Volumes (Ongoing)
Tagged: Drama, Romance, School Life, First Love, Childhood Friends, Psychological, Childhood Trauma, Yaoi
Monotone Blue by Nagabe
Hachi the cat finds most things monotonous, but at the top of his list is high school and all that comes with it. But when Aoi the lizard--a quiet, high-achieving transfer student--arrives, Hachi catches a glimpse of a brighter, more colorful life. If Hachi can help Aoi open up, unlocking new feelings in the process, maybe his life won't be so bland, after all.
Status: 1 Volume (Complete)
Tagged: Romance, School Life, Slice of Life, Anthropomorphism, Romance
---------------------->original post with updates<------------------------
Well, thatās it, folks. Weāve finally reached the end of the Monogatari series. Itās even right there in the arc title.
Hold on, Iām being told that thereās another whole season. What the fuck, Iāll be well into 2025 by the time Iām 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, thereās one common feature. Graduation.
One thing I remember vividly from Koimonogatari - from the first time I watched Koimonogatari, several years ago - is Kaikiās offhand statement that Hitagi and Koyomi will probably break up in college. He says it so matter-of-factly, but itās 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 theyāre already in a relationship. Getting together shouldnāt be the storyās end.Ā
One reason why it might be the storyās 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 loversā quarrels - there will never be the possibility of being interested in someone else, finding someone else, being replaced.Ā
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.Ā
This is where I say something about Kaiki Deishuu. Something to make sense of what heās doing in this story. Heās a man in search of an ending, I could say. Ever since the death of Gaen Tooe, heās 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?
Heās a man whoās already met his end, I could say. Such is the fate of the specialists. Theyāve already graduated, already long since handled their personal agreements and disagreements. Theyāre stuck, now, bound to their own nature, their own rules. They appear only as supporting characters, never the protagonist. Well. I guess thatās a lie.Ā
In adopting narrators other than Koyomi, Second Season shifts the focus away from his obsession with helping and connecting to others. Koyomiās 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?Ā
This dynamic collapses when the female cast, facing their own issues, are made protagonists in their own right. They experience themselves as the Other, & Koyomiās standard process of understanding the girl by first understanding the oddity becomes in these cases a process of self-exploration.Ā
And yet here we are, back to seeing a male protagonist confronted with the issues of women that he struggles to understand.Ā
I donāt mean to rag on men, exactly, I just think back to how there tends to be less distance between Koyomi and other men, how heās more capable of seeing them as another version of himself, and I think that the best explanation for Kaikiās presence here is that heās filling in.
He himself thinks so, although itās Oshino, and not Koyomi, that he considers.Ā
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 isnāt a victim.
Kaiki lies to people, but that doesnāt mean heās trying to hurt them. Ononoki proposes a reading of his involvement with Hitagi where he had no ill intentions whatsoever. He didnāt try to free her from the crab simply because he didnāt think it would help her to regain what she had lost. He caused her parentsā 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 heās trying to scam her, but because heās 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 doesnāt initially seem like heās 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, itās more like telling her a story.Ā
And Iāve written before about how Nadeko needs stories.
Kaiki doesnāt tell her anything that another person couldnāt have. Koyomi, Hitagi, even Nadeko herself is probably aware of similar advice on some level. Donāt throw your life away pointlessly. If you want to do things, then you should do them. You canāt succeed unless you try.Ā
Kaikiās talent is simply in recognising that Nadeko needs to hear it. Koyomi wouldnāt have thought to say it, because he doesnāt know why she became a snake god. She doesnāt want to tell him either. Heās stuck.Ā
But itās not as if Kaiki has some unique insight into her psychology that lets him work this out. As he puts it, heās not like Oshino. He didnāt āsee throughā Nadeko, he just straight up āsawā it. He broke into her room, twisted open the lock to her closet with a 10 yen coin and fucking looked. Her parents didnāt know what was in there, Koyomi didnāt know what was in there, Tsukihi didnāt know, Oshino didnāt know, even Hanekawa who heard about it from someone else and thought it might be an important detail couldnāt possibly know without opening the god damn closet.
This is where Kaikiās 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. Heās not trying to save her. Heās not trying to do whatās best for her. Heās simply trying to scam her, with all the lack of respect for her personal belongings that implies.Ā
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.Ā
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 doesnāt 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 heās 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.Ā
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 isnāt 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?Ā
Because she considers it part of herself. She is still playing the role of Sengoku Nadeko, and she canāt 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 sheās trying to achieve is not in how other people see her, itās in how she sees herself. She takes the pieces of herself that are left, the pieces of herself sheās 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.Ā
Sheās 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 Nadekoās 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 Kaikiās 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 dadās back at home.
Sheās happy, but does that matter?
Kaiki doesnāt 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 Hitagiās 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 itās all precious to her. Not only that, but she manages to offer it to another person. Itās only in recognising the value of herself and also someone else that they can form a mutually beneficial āexchangeā, a real connection.
In Bakemonogatari, Hitagiās self is framed as a series of external objects. You are the people around you. In Koimonogatari, Kaikiās 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 doesnāt value what heās bringing her. Donating to a shrine at New Yearsā is a suckerās game, Kaiki thinks at the beginning of the novel, and heās 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 Hitagiās woefully low payment for the job. He accepts it as a job, because if itās not a job heād 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 heās running.Ā
He accepts Izukoās 3 million severance fee. He accepts it and goes on working. Itās unlike him, Yotsugi says. Heās contradicting himself. The money isnāt being exchanged for anything, heās just taking it. But isnāt 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?Ā
Heās acting unlike himself. Throughout the novel, heās constantly pointing out new sides of himself. Phrases heās said for the first time. Actions heās never done before. After a certain point, I have to conclude heās 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. Itās about give-and-take. But Kaiki is a fake specialist, a conman. He should only want to take. Itās not a coincidence, then, that he keeps giving.Ā
I understood it on an intellectual level, but now I get it. I really fucking get it. Heās just, so, Araragi Koyomi. Heās 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. Heās trapped between worlds, vampire and human, but doesnāt seem particularly inclined to choose one or the other. He doesnāt just look to the future, but the past too. In reaching towards what he wants, heās immensely reluctant to give up what he already has.Ā
All the way back in Nekomonogatari Kuro, he characterises Hitagi and Suruga as different to him, more forward-looking, prefiguring Kaikiās comments about Hitagi as someone willing to throw aside the most important things to her to get what she wants.Ā
Itās funny, because in doing so he also talks about Tsubasa as someone whoās 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 doesnāt suit her.Ā
She has a different perspective, you see. She thinks Koyomi is different from her. Heās āunshakableā, in her words, not concerned about losing his identity. Precisely because he keeps looking back, because he keeps confronting his past, heās able to accept all of himself, unlike her.Ā
Despite Monogatari being a series about people changing, several times characters espouse the idea that you canāt 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 canāt just make a new version of herself whenever things start getting difficult, she has to understand herself as a continuous person composed of everyone sheās ever been.Ā
The Rainy Devil teaches Suruga something similar, as regardless of the kind of person she wishes to become, the arm canāt 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 Hitagiās new boyfriend. Koyomiās idea that sheās somehow more forward-looking than him seems laughable when she feels as though Hitagi and her issues are something that she ran away from.
Itās a fundamentally half-assed application of Numachi Roukaās methods - for running away from your problems to work you have to remain detached, and the devilās grasping arm is evidence both of Surugaās 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.Ā
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. Itās no coincidence thatās how she ends up meeting Koyomi near the end. Itās 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. Itās the first time she really can since she started using the monkeyās paw.
Notably itās 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. Isnāt the concept of him possessing what is in a very real sense the remains of Gaen Tooe so fascinating? But itās the yet-living Suruga that he calls her legacy. Itās hard to say if meeting her, in some way, helped him move on.Ā
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 whatās 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 wouldnāt 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 wonāt 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.
āSheās different now, more so than if she were a different personā Kaiki says, and itās so easy to read him as relieved that sheās not stuck as she was when he fucked her up. That sheās 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.Ā
Tsubasaās immense righteousness is subverted in Nekomonogatari, Surugaās seeming single-mindedness is deconstructed in Hanamonogatari, and despite the effusive words of praise they both have for Koyomi Araragi itās evident from his internal narration that heās more pathetic and wavering than anyone else - and perhaps thatās how one ought to be, here. Never able to make a decision on whatās most important. Always most invested in whatever youāre doing right now, whatever person is right in front of you.
Hitagi is a character that we never see from the first person. Koyomiās view of her as a titan striding headlong towards her goals is never really contradicted in the story, because despite her immensely evident vulnerability, sheās shown as making a more active effort to move on than anyone.Ā
The shadow of her past relationship with Kaiki hangs over Koimonogatari like a specter.
In Nisemonogatari itās mentioned that her animus towards Kaiki probably comes from the fact she wasnāt able to hate him in the past. While she was still under the influence of the crab, her emotions regarding her mother were dampened. Kaikiās acts of splitting her family up likely wasnāt something she was capable of expressing her resentment for at the time.Ā
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.Ā
An interesting thing about Kaikiās role there, looking back, is that heās 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 heās 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.Ā
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?Ā
Either way, the purpose of the line becomes a little clearer. Heās 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 donāt mean anything in the big picture, and your past is just that. Itās over. Itās the end.Ā
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.Ā
Heās also really bad at it. Despite his exhortations to ignore the past, he himself clearly still cares a lot about Hitagi. She as well canāt quite avoid falling back into old patterns of banter, admiration, reliance.Ā
And his ideology isnāt enough for Nadeko. He canāt just deny what sheās 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.Ā
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 itās 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 wasnāt so enamoured of him.Ā
Who am I kidding, it doesnāt feel that way at all. Her rejection of the idea that she ever liked him was unconvincing in Nisemonogatari and itās unconvincing here. And the novel frankly endorses that wilful self-denial. Perhaps itās important to always act like youāve fallen in love for the first time. Perhaps itās important to believe that youāll never break up with your boyfriend.Ā
In this seeming endorsement of Kaikiās ideology, I have to wonder what kind of End Hitagi is even fighting against.Ā
Nadeko asserts that a single failure is the End, itās 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.Ā
On the other hand, Kaiki asserts that failure means nothing, he doesnāt care about anything that has ever happened, after this heāll 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 didnāt happen.
It perfectly mirrors Kaikiās refusal to admit he ever cared about her. It puts the lie to his whole persona, but, like, itās supposed to be a lie anyway, I think. Theyāre 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. Itās fine, honestly. They donāt need to be true to each other as long as theyāre 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 Nisioās afterwords seriously (he doesnāt, as evidenced by the several previous times heās pulled this exact gag).Ā
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.Ā
Even Kaikiās 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. Itās not supposed to be a reveal, exactly, that this man is a liar. Itās just there, from the first page to the last.Ā
After Ononoki cautions Kaiki that heās acting unlike himself, before he goes to talk to Nadeko for the final time, she spends a bit of time telling him what Kagenuiās 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 Kagenuiās still marching to the beat of her own drum, same as ever.Ā
Hello, I know it's been forever since a new chapter of Koimonogatari was released, but is chapter 26 really the latest chapter? I couldn't find any current information at short notice. Also, Sensei hasn't updated her X/Twitter account since 2024 :/ Appreciate any information!
Wow, sorry for the super late reply. I'm never on Tumblr anymore. We're hoping a new chapter is published May 15th! I'm not getting my hopes too high though cause last time the release was canceled a few days before, but fingers crossed
