No, that's not weirdly specific compression: the cover illustration is really pixelated.
Disclosure: I have translated works by Norizuki Rintarou and Abiko Takemaru.
I myself was not a member of MRC at the time, but I had seen Houjou Kie talk about her contribution to the project last year, and as I am a big fanboy and know she's good at these Guess the Criminal/Whodunnit + Challenge to the Reader-style stories, I of course wanted to read her entry too, so I was more than thrilled when I heard the stories would be collected in an anthology. Norizuki, Abiko and Houjou were also all members of the Kyoto University Mystery Club, where these two-part puzzle-like Guess the Criminal scenarios (with a Challenge to the Reader) are a club tradition, so I knew they'd have experience with the format, and I was already familiar with the works of Kitayama and Ibuki, and I've enjoyed their works too, so I was very curious to see how they'd do the Challenge to the Reader too. Tanaka was the one author I hadn't read yet, and his entry was quite fun too, so I might read more of himin the future.
As mentioned in some of my older posts on the tradition in the Kyoto University Mystery Club, these scenarios are generally a lot closer to "pure puzzle"-esque than a normal mystery story and one important factor is that these stories really need to be solvable. When the Challenge to the Reader comes, all the hints must be given, and more so than "conventional" mystery stories, the logical chain from hint, to insight, to conclusion must be solid and not stretched too far apart: these stories generally don't expect you to come up with a brilliant locked room murder trick just by seeing the vague hint of a needle lying on the floor. Usually the process is plotted with a lot more hints, to keep the game fair. This would especially be the case for this project, as readers were encouraged to write in their answers, and had to explain the logical process (not a guess!) by which they arrived at their conclusions. So going into these stories, that was certainly something I kept in mind and I was also curious as to how it'd work with the whydunnits and howdunnits: as I explained in this article, the Queen-style whodunnit feels very fair as it's often based on the process of elimination and observed facts, whereas stories might feel less fair, because they expect the reader to "imagine" something.
The book opens with a story by Norizuki himself, titled Higisha Shibou ni Yori ("Due to the Death of the Suspect"). The last Norizuki I read was King wo Sagase last year, which was about the trope of the murder exchange, a theme I noted he liked as he had written about it in other stories. And he really likes it apparently, as this story is about it too! Mystery novelist and amateur detective Rintarou is visited by his friend Iida, who introduces him to Kajitani Kouhei, a financial planner who is being suspected of murder by the police. Kajitani is in fact somewhat of a swindler, and he had convinced Kajitani Iwao, a retired ship's cook, to adopt him, and take out a life insurance, with Kouhei as the beneficiary. Iwao was, not surprisingly, killed, but Kouhei has an alibi for that night. However, near the crime scene the former city councilman Mizoguchi Takanori had been seen, and it happens his wife was also killed just the week before: the police suspects Takanori and Kouhei swapped their murders, but the police cannot be sure, as Takanori committed suicide while in the custody of the police. And why go through the trouble of swapping murders, only to commit suicide immediately afterwards? But if there was no murder exchange and Kouhei has an alibi, who then killed Kouhei and Takanori's wife?
I have to admit: this set-up with a murder exchange wasn't what I had expected of a whodunnit scenario by Norizuki, though the foreword did mention him leaving the more traditional type up to Houjou. This story is great though: while fairly limited in cast of suspects, the chain that logically points to the murderer is very sound, and this is a prime example of a story that is clearly written to be fair, and that is willing to be "solved" and surrender to the reader, as long as the reader will do the bare minimum of sorting the clues in the story out and keep a good eye on who knows what at what time and things like that.
Houjou Kie's story is titled Fuudani-kan no Satsujin ("The Whodani House Murders"): the Whodani House is the home of the jeweler Hatano Rokuhiko. The house consists of two buildings, which are connected in the middle by a glass house courtyard. Other people in the house include his two sons, his wife, his mistress and his secretary. And of course our narrator Uzuki, the maid and also a thief. One night, just as she hopes to steal a valuable painting from the living room, she first hears one muffled pistol shot going off, and five minutes later two more, but much louder, which also attracts the attention of other people in the house. She makes up some excuse for being in the living room at night with the lights off, and they go off looking for the butler, who for some reason doesn't show himself despite the ruckus. The butler is in the East Wing, while the living room is in the West Wing, so Uzuki and the secretary go to the security room, but they find the butler shot to death with two shots with a pistol from Rokuhiko's collection. When they want to report to their master in his bedroom back in the West Wing however, they find him shot to death too, and it's clear it was done with the same pistol. But who in the house managed to kill two people in both wings, while Uzuki was in the living room, which you need to pass in order to enter the connecting glass house courtyard?
This is the type of story I assume with a Kyoto University Mystery Club-style whodunnit scenario, and it's good one! Sure, it feels very "puzzly", but that is what I like about these stories, and man, this story is dense with clues. Houjou's work in general is quite dense when it comes to the pure mystery plot, but considering the page count, I'd say this might be her densest work yet, though I would admit that having this much density in a novel-length story might be a bit tiring. Still: this is a must-read if you want to learn how to these kind of fair-play Challenge to the Reader-style stories using a process of elimination: each step in the logical chain is explained clearly, allowing you to slowly cross out names on the suspect list until you end up wth the last name: the killer. Some clues are very obvious clues, but that's not a problem, as it's figuring out how to combine them that makes these stories so fun. Houjou also manages to hide more than a few suprises despite it being a relatively short story, but then again, it's so densily plotted you'll find crucial information everywhere, from the figures to the Challenge to the Reader itself. Definitely my personal highlight.
Abiko Takemaru's Osanasugiru Mokugekisha ("The Witness Was Too Young") is a whydunnit, which is probably a lot harder to put in a "fair play format", so I was curious how this would work out. We follow the police officer Hashitani Kaoru of the Community Safety Division, who is asked to assist with a murder investigation: Kiyomi, a pregnant mother, has for some reason stabbed her husband Haruto to death right in front of their son Subaru. He called the neighbors for help, but by that time, it was already too late. Kaoru has received training to talk with children, and is of course more suited to talk with Subaru than the angry-looking homicide detectives, so Kaoru is to see if she can get a little bit more information out of the shocked boy, as his mother is in the hospital in a dazed state and not available for questioning herself. The story of the boy whose his mother just came back home, pushed him away and started a fight with her husband sounds odd, and the boy can not imagine why her mother did that, but eventually Kaoru manages to figure out why. And this story works surprisingly well as a fair-play story. I have the feeling this story can also be "guessed" without any hints at all, but still, Abiko did plant proper hints, which allow a less imaginative reader to still arrive at the solution in a logical manner, and I find that very impressive. The solution is also pretty memorable, and overall, I'd say this tale too is good.
Tanaka Hirofumi's Perry no Haka ("The Grave of Perry") is the first of three historical stories: I am not sure why he, Kitayama and Ibuki all went for a historical setting. Perry no Haka starts in 1933, when a scholar visits a small village to open a tomb there. The scholar learned about the tomb via documents left by an ancestor, who worked as a (kind of) policeman in the Edo period, just around the time the Americans came to Japan, demanding them to open their borders for trade. The story then jumps back to the first arrival of Commodore Matthew Perry with his black ships at Edo, using the threat of their ships to first hand over a document demanding the Japanese to open their borders and saying they'd back one year later, expecting a positive answer from the Shogun. Meanwhile, we also learn about a worker in the kabuki industry who for some reason is visited by some Americans during this first visit, and one year later, when the black ships return, this man is found murdered, having been shot by the Americans. But why, and what does his death have to do with the tomb that is opened in 1933? This story has an interesting premise, focusing on Perry's arrival in Japan and the reaction to his fleet, and the way the mystery ties to actual history is quite clever. Hint-wise, I think it ultimately works out well: while I think the Perry-period story alone might not be enough, the prologue does provide enough context for the reader to make the necessary deductions, and while the story itself is not as densily plotted as Houjou, meaning there is much more "historical fluff" to flesh out the story, it is certainly a solid entry.
Kitayama Takekuni's Ryuugoroshi no Kunshou ("The Medal of the Dragonslayer") also has a story-within-a-story structure, as we first follow the narrator and his sister in Finland, who recently lost their grandfather. There's a safe in their grandfather's room, but they don't know the combination. They suspect a hint might lie in the stories he always told his grandson, though both believe their grandfather just loved tall tales. The clue might lie in a story their grandfather told about his father, who during World War II had been tasked with assassinating a nazi officer: while Finland had been working with Nazi Germany to fight off the Soviet Union, balance was going to shift soon, so they wanted to sabotage the operation, but without openly offending the Nazis. The operation occured during the transport of the railway gun Siegfried: two Fins (one of which their great grandfather) and two nazi officers were sitting in one carriage which was not connected to the other cars, meaning they could not leave it while moving. Meanwhile the Nazi commander was sitting in his own luxury carriage, which was connected to the railway gun carriage. The commander was seen to be alive when they boarded the train and set off. However, when they arrived at their destination, the commander was found on the roof of the railway gun wagon, at the controls, having been stabbed with a bayonet. But how could their great grandfather have done that, while he was in a different railway carriage, with three other witnesses?
You know, knowing Kitayama's work, I had actually expected a much more bigger, over the top trick. This was surprisingly.... normal. Okay, not really normal, but in comparison with his other works... I'm a bit torn on this story, to be honest. It's a good mystery story, that is for sure: I am familiar with other variants of the trick used here, but this specific iteration feels original to me, and it makes good use of the setting and of course, the idea of the murder happening on a moving train while we know the murderer is being watched, is pretty cool. But I don't feel this story is exceptionally fair, at least, not the degree we have seen in previous stories. While the story can be solved based on the hints, I feel this one does require a bit more imagination/intuitive guessing on the part of the reader, while personally, I think these stories with a Challeng to the Reader are the most satisfying when they do not require that, and allow someone with no imagination at all still solve the mystery by properly identifying all clues and following them to their logical conclusion. So in any other book, I would have liked this story better, but here it felt a bit off.
Ibuki Amon's Hatozaki Taii no Homare ("The Honor of Captain Hatozaki") is set in Manchuria, where the detective Tsukisamu Sanshirou is sent by military command to investigate a certain unit. Command has been receiving letters accusing high ranking officers in that unit of illegally selling supplies to Koreans and other factions. However, command is actually aware of that, but turning a blind eye because they know that unit is stationed in a rather harsh place, so they give them a break. When the accuser threatens to blow the whole affair up if no measures are taken, Tsukisamu is sent (under the guise of being a journalist) to capture the accuser and silence him. Tsukisamu actually, by sheer coincidence, almost immediately learns his target is Captain Hatozaki, but during a skirmish, Hatozaki is injured and the surgeon won't allow Tsukisamu to question him just yet. In fact, Hatozaki was in a pretty bad shape and some of the medicine applied to him have put him in a rather confused state, so while he has been given sedatives now, he has been locked inside a room in the medical quarter's for his own, but also other people's safety for when he wakes up. Tsukisamu sees Hatozaki sleeping in the room, but has to wait until he wakes up. In the middle of the night however, as Tsukisamu wanders around the military complex, he sees someone shooting the lock off the door to Hatozaki's room, and while he and the surgeon immediately nab the guy, when they open the door to check inside, they find Hatozaki gone! But how could that be: the door was opened only just now by shooting the lock off, so neither someone on the outside, nor Hatozaki on the inside could've opened the door earlier.
This story has a bit of the same as the previous story, where it's an okay howdunnit, though not feeling as well-clewed as the other stories. The howdunnit itself is not as good as the Kitayama story, though I guess it's more solvable than that story too, with more hints. Oddly enough, I think the best part of this story is the whydunnit behind the culprit's actions; that part is actually really original and by far the most memorable part of the story and I would actually have preferred to have seen this worked out for the whydunnit part of the project, rather than it now feeling as a "bonus" to a howdunnit.
The book has a bonus section, where the autors themselves take on the stories of the others, and they can be interesting to read. You can really see how their thinking processses work and how they pick up on clues and more. The accompanying essays on the project are also I think also very useful to aspiring writers, as you can get an idea of how they plot these kind of logical problems and have to explicitly make it solvable.
Suiri no Jiken Desu is on the whole a really solid volume though, and a must-read if you're into fair play puzzle plot mystery. While these stories don't really offer much room for characterization or fleshing out of the background, they are good showcases of how to do stories with a Challenge to the Reader, and especially Houjou's story is a great example of how to plot clues and how to guide a reader's thinking process in identifying the culprit. It's very likely this will end up as one of my favorite reads of this year, and I hope they'll do a similar project again in the future!
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