These are just a few of the ways in which “goddess changes the course of reality” gets pulled out to explain jarring shifts, and it works because it’s held together by the glue that is the cast. Most infamously, one episode gets repeated eight whole times, with slight variations between them, simulating the monotony and boredom that comes with infinite repetition while still keeping things compelling.
The gang learns to play instruments with expert precision, gets into simulated spaceship battles, and plays a reality-breaking game of baseball. There’s a legitimately great murder mystery story arc, complete with a cliffhanger and Ace Attorney references.
“Goddess unwittingly wills things into existence” is kind of a novel catch-all, and it’s stretched to its fullest. Few shows in the past decade have gotten within striking distance of Haruhi Suzumiya’s breadth of depth and character, and I feel that’s due to none of them having the cop-out plot device this one has. This ingenious framework gives the show a great deal of creative flexibility, which it makes great usage of. This leaves Kyon, the boy, to act as a go-between for those characters and the goddess in question, Haruhi. Before the viewer knows it, the cast is rounded out by those very things.
Why? Because she’s “not interested in ordinary people.” It’s as simple as that. That world is one where she wants to meet and hang out with aliens, time-travelers and ESPers. It doesn’t help, then, that’s she’s a deeply temperamental and hotheaded person, totally lost in her own world. As in, she can accidentally alter the framework of reality itself to suit her whims.
At its core, The Melancholy of Haruhi Suzumiya is a show about a normal boy and a girl who’s a goddess. But what is Haruhi Suzumiya, even? Surprisingly, a lot of newer anime fans haven’t seen it, which is sort of disheartening.
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