Note: This is the second half of an article that wound up being too long for one post. You can read the first half here.
Picking up from where I left off, Kyon and Yuki’s nighttime stroll is one of my favourite scenes in The Disappearance of Haruhi Suzumiya, and it succeeds at doing something that most scenes can’t—building an atmosphere.
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Nagaru Tanigawa’s Suzumiya Haruhi franchise needs no introduction and it won’t get one. The same goes for KyoAni’s movie adaptation of the fourth book, Disappearance; it hasn’t received nearly universal acclaim for nothing. Instead of informing you that the film is good, as you’ve no doubt already discovered for yourself, I’d rather dig into it and attempt to figure out why it’s good. Fasten your seatbelts—we’re heading into closed space and it might be a rough ride.
Note: This post is longer than it should be so I split it into two—the second half can be found here.
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I have a strange history with The Melancholy of Haruhi Suzumiya. I first watched the anime series shortly after it aired, but since I had only just started venturing beyond shounen and modern sci-fi/mecha at the time, I never really understood why I liked it. I memorized the Hare Hare Yukai lyrics and proudly gave the show a 10/10, but I couldn’t really point to one specific aspect of it and say “this is why this story is a masterpiece”.
Thankfully, that problem is now solved. I recently decided to go through the first of the nine published novels, and just as I expected, the memories from four years ago came back in a flash – except this time I’m not hindered by blind fandom.
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