By Nagaru Tanigawa and Noizi Ito. Released in Japan as “Suzumiya Haruhi no Gekijo” by Dengeki Bunko. Released in North America by Yen On. Translated by Andrew Cunningham.

I suspect how much you enjoy the latest book in this series depends on what you enjoy most about it. If you’re the sort who likes the sci-fi trappings and everyone trying to figure out what’s going on, you’ll be in clover, as that’s basically what this book is about, especially the back half, which features far more discussion of quantum mechanics than any light novel really needs. If you enjoy Haruhi doing funny things, Mikuru being adorably clumsy yet cute, and Nagato saving the day, this is also a strong book. Kyon’s narration is not quite as caustic as it’s been in the past, but I’ll forgive it. Unfortunately, if you read this series for character development, this is not the book for you. It’s an extension of two short stories that ran in The Sneaker 20 years ago, and seems to take place before the 4th book/movie, meaning most of the softening of Haruhi’s character is absent. It’s a fun book, but it’s not necessary as the next in the series.

We open with what looks like the most 2024 thing ever, even though it was written in 2004 – Haruhi and company get isekai’d to another world to save the kingdom from the demon lord. Haruhi being Haruhi, she proceeds to do whatever she wants, and only saves the world because Mikuru blows up the demon lord’s castle with magic. Suddenly they’re now in an outer space setting, and have to rescue two nobles from space pirates… something that’s also screwed up due to Haruhi’s gung-ho approach. Then all of a sudden they’re in a Western setting, with a shootout, and Kyon, Koizumi and Nagato are starting to realize something is wrong. Unfortunately, they can’t trust their memories, and as they go through more and more pulp fiction scenarios, the question becomes whether they can stop it at all… or even who they really are.

The idea that the cast are trapped in a bunch of tropey fictional settings is a good one. As you’d expect, the weakest part of it is the start, with the two stories written so long ago. They’re pure comedy, not really doing anything with the characters. Once Kyon and Koizumi start discussing what’s really going on, things pick up a lot more… or at least they do if you can put up with Koizumi’s philosophizing. There may be more of that in this book than any other in the series, so reader beware if you’re not in the mood for it. The one scrap of characterization we got was near the end, when Koizumi suggests that they’re likely just virtual reality mindselves, and that escaping the game might mean death. Nagato explicitly says that she wants to return to the real world, to be in the club with everyone. It’s pretty nice.

If you wanted another volume in the series, this sure is one. Still no actual continuation, but I’m not really expecting that anymore. For fans.

By Nagaru Tanigawa and Noizi Ito. Released in Japan as “Suzumiya Haruhi no Chokkan” by Dengeki Bunko. Released in North America by Yen On. Translated by Andrew Cunningham.

Been a long time, hasn’t it? In fact, this is my first time reviewing one of the novels, despite my Haruhi Suzumiya tag being filled with manga, 4-koma, and alternate universes. Not that this is a novel either. The first book to come out since 2011 is a collection of three short stories; one short, one medium, and one long. In terms of writing style and narrative voice, it’s a welcome return to form. Kyon sounds exactly like he always does, making arcane references to obscure topics in his metaphors while also professing to be the dumb one in the group. That said, I will note that anyone who is reading this wanting to see what happens after the Sasaki books, i.e. actual plot or character development, is going to find this quite lacking. There is a token mention of those books at the end of the final story, but for the most part that is not what Tanigawa is here to do. What is he here to do, you may ask? Tell us about Ellery Queen and John Dickson Carr.

The first short, Random Numbers, features the SOS Brigade visiting shrines, and has the only Kyon/Haruhi ship tease in the book. It’s cute. The second short story, Seven Wonders Overtime, is the weakest. The Mystery Club brings news that the school has no “seven mysteries”, aka Toilet Hanako, piano that plays by itself, etc. The Brigade tries to think of interesting but explainable mysteries before Haruhi can create more dangerous ones. The final story is the longest, taking up over 2/3 of the book. Tsuruya’s Challenge is, as I noted before, a love letter to the early 20th century mystery writers who loved to create mysteries that were essentially puzzle boxes, and Koizumi and T (a new character, member of the mystery club and owner of a very short nickname) spend ages extolling their virtues to the point that readers may grow tired. After this, though, they get a number of emails from Tsuruya which tell anecdotes from her trips with her rich father and also have a secret inside them.

The book works best if you’re a fan of Tsuruya, adding a lot of background to her character while also keeping it essentially the same. (No, we don’t learn her first name.) I was also fond of T, who is a great new character, and her calling Kyon “Kyam” makes me smile. Given the nature of the final story involves both the cast and the reader figuring things out, I will not go into too much detail, except to say that there is a LOT of Koizumi and Haruhi theorizes for pages and pages. One of the two afterwords in the book is a tribute to the Kyoto Animation creators for the Haruhi anime who perished in the fire. I suspect that (plus possibly Endless Eight) has led Tanigawa to write a story that would be very, very difficult to film in a way that a) makes things interesting, and b) does not give away its secrets. Kudos to Andrew Cunningham, by the way – this must have been an absolute bear to translate.

This is a hefty Haruhi book (not counting the 10-11 omnibus, only Book 7 is longer), so readers are getting good value for money. Whether they appreciate that value is another matter. As for me, I’m just happy to see the author writing again. The series is left open, so I hope it is not another nine years before the next in the series.

By Nagaru Tanigawa and Puyo. Released in Japan as “Suzumiya Haruhi-chan no Yuutsu” by Kadokawa Shoten, serialized in the magazine Shonen Ace. Released in North America by Yen Press. Translated by Paul Starr.

And now, the end is near. And so we face the final curtain. Since the Haruhi Suzumiya novels began in Japan in 2003, we’ve seen two manga, two anime series, a movie, two manga spinoffs, and two anime of said manga spinoffs. In 2006, Haruhi was the hottest franchise around. But in 2020, quietly, the last Haruhi spinoff has come to an end, and as far as I can tell there’s nothing out there to replace it. The novels are effectively finished, as the author apparently has massive writer’s block. The main manga ended, and Nagato Yuki-chan’s manga ended. And now we have the final volume of Haruhi-chan, though… wait a minute, didn’t we see this before? In 2017? Remember, the volume with the word ‘FINAL’ on it? In fact, didn’t I write these same words back then? And yet here we are with one more Haruhi-chan… and one more short-story from the original author, a sort of “thank you for the gag comic” story.

At least this cover looks a bit more final than the last one. Indeed, the author is far more prepared than last time for the end of the series. In perhaps the funniest chapter in the book, we see Haruhi at college, reminiscing about the old times and telling us what everyone’s up to now… except she can’t, as she’s constrained by the fact that the original source material didn’t tell us anything beyond her and Kyon being in college. (That said, we do get some amusing panels showing Kyon’s sister as a young (and grumpy) teenager, showing that Puyo is at least not constrained when it comes to her.) There are also three final chapters in a row, each concerned with one of the main heroines. Nagato’s is about stasis… She’s in the apartment and Ryoko is there basically being her housewife (Ryoko’s in big mode more than little mode in this book.) Mikuru tries to hint to Tsuruya that she’s going away and won’t be able to be contacted, till Tsuruya insists she’ll just magically invent something that will keep them in touch. And Haruhi seems to be bringing back the very first novel, as once again she’s recreating “Adam and Eve” and Kyon will have to kiss her out of it. (We don’t see that, of course.)

The rest of the volume is more plotless gag-oriented. There’s one last New Year’s dream story, mocking the fact that the cast has grown so large. One last beach episode, featuring Kyon and Sasaki’s gang (don’t worry, the Haruhi gang is out buying swimsuits and tormenting Mikuru). We do not see that picture of Haruhi as a sexy hot 30-year-old that had been floating around the Internet, but we do see college Haruhi looking pretty sexy. And then there’s that short story by the original author at the end, which in effect “fictionalizes” this gag comic, as Haruhi decides to make a gag manga of their lives, and finds someone to draw it… who Kyon and the others can’t actually track down. As a story it’s not much, but it is a sort of sweet thank you, and it’s nice to see that Tanigawa can still write SOMETHING.

Gag comics are not for everyone, and honestly at 12 volumes this one probably went on longer than it should have. But I usually found a great deal to enjoy as I read it – Puyo knows the series inside and out, and allows the characters to be exaggerated while never feeling out of character, even if they’re the butt of the joke. If you enjoyed the Haruhi franchise and want to delve into it one more time, the book makes a pretty decent wake… didn’t I write this before too?