The King is Dead

“The trial cannot proceed,” said the King in a very grave voice, “until all the jurymen are back in their proper places—all,” he repeated with great emphasis, looking hard at Alice as he said so.  

"Alice's Adventures in Wonderland"

Huh... they did the title for these covers in yellow twice in row now...

Disclosure: I am a member of the Honkaku Mystery Writers Club of Japan. But as always, I didn't vote for the stories this year.

Honkaku-Ou is the annual summer anthology collecting the best honkaku short stories published the previous year, as selected by the members of the Honkaku Mystery Writers Club of Japan. The publication is basically a companion to the Honkaku Mystery Award, which is awarded to the best published book (novel or short story collection) each year. Short stories often get lost as time passed by, as they are commonly published in magazines or online. Unless they are later collection in a short story collection or an anthology like this one, short stories can become difficult to track down several months later. Anthologies like Honkaku-Ou ensure these stories can be easily found. The current format of five, six stories in 1 volume started in 2019 and I have been discussing the books annually since, and there have been some really cool inclusions in these books, so I was of course also looking forward to this year's entry: Honkaku-Ou 2024 ("The King of Honkaku 2024").

Honkaku-Ou 2024 opens with Ja, Kore wa Satsujin tte Koto de ("Okay, So This Was Murder") by Higashigawa Tokuya, and the story is part of his Ikagawa City series (disclosure:  I translated Higashigawa Tokuya's Lending the Key to the Locked Room, the first book in the series). This is a hilarious inverted mystery, where Oomaeda Noriyuki plans to kill his uncle, Tokujirou, in order to become owner of Oomaeda Pharmaceuticals himself. The idea is Noriyuki will use the trick from a locked room murder mystery he read as a kid to make it seem like his uncle committed suicide in the annex of his seaside mansion, where his uncle usually sleeps. Noriyuki sets the plan in motion, and while the moment when his uncle didn't die immediately and was about to grab a pen to write down a message on the floor was a bit scary, his uncle died before he could hold the pen, so with that, the scene is set. The following morning, he drags his younger brother Toshiyuki and his aunt to the annex to discover the body after his uncle didn't appear at breakfast. Their aunt faints upon the sight of her husband's apparent suicide, but Toshiyuki reveals something to Noriyuki he hadn't been aware of: their uncle had a life insurance, and his two nephews are beneficiaries, but no money will be paid out in cases of suicide. So Toshiyuki suggests to his brother... to make their uncle's suicide appear like somebody killed him, using a locked room murder trick! Soon after, familiar faces from the Ikagawa City Police Station arrive, but can Noriyuki manage to walk this tight rope of 'multiple truths'? Absolutely hilarious story, and I really like the simple, but inevitable mistake Noriyuki made that of course eventually leads to the police solving this case of suicide/murder. Nothing complicated here, but a real short, but nice showcase of what can make trope-relient puzzle mysteries so much fun.

Yuuki Shinichirou was featured in last year's anthology too with a story in the same series as Akuryou Taisan Tebasaki Samgye-tangfuu Soup Jiken ("The Case of the Evil Spirits Begone Chicken Wings Samgye-Tang Soup"). And yes, that's another odd title. The narrator in this series is a struggling comedian, who has a part-time job as a kind of Uber Eats driver. One of the shops he works for is rather special: it is one cook who pretends to be running multiple restaurants offering different cuisines, but it also serves as a detective agency. By making very specific orders, usually combining different dishes which usually have no business being ordered together, clients can engage the detective/cook's services. The delivery guy acts as a kind of Watson, delivering the food, but also interview the client for details and occasionally do some extra research. In this tale, the cook is hired to investigate a rather creepy happening in an apartment complex: the client says food has been delivered to the empty apartment next to his more than a few times now. The food was placed in front of the door, and at first, the client thought it had been delivered to the wrong door, but nobody on his floor had ordered any food. This repeated itself more than a few times. Eventually, food and other items were even delivered to another empty flat on a different floor in the building too, where somebody had committed suicide before. After installing camera security and an auto-lock front door to stop the delivery men, the phantom deliveries stopped, but they never figured out who made the orders and why. Or was it really a ghost who wanted something to eat? I still don't really get the necessity of the set-up of the cook and the uber driver, but I do like this mystery. It's a harmless one, but the idea of food being delivered to an empty apartment is pretty creepy, especially if it's one where somebody died in the past. The explanation for the ghostly deliveries is not only convincing, but Yuuki does a great job at setting up the clues, making it a really fair story too.

Kitayama Takekuni's Mikansei Gekkou - Unfinished moonshine ("Unfinished Moonshine") is written as a homage to Edgar Allan Poe, and starts with the narrator visiting Toudou, an old writer friend, who wants to consult the narrator on something important: Toudou says he found an unpublished and unfinished manuscript by Edgar Allan Poe, but the manuscript has been occupying his mind since, making him hear "their" voices who tell him he needs to finish it. The problem is: Toudou doesn't know how. The manuscript tells the story of someone who returns to his destroyed home and runs into a girl in a hut outside of town, who soon dies. The man then goes to sleep in a lookout tower, with a view of the hut, but the following morning, the whole hut has disappeared completely. Toudou doesn't know how the hut could've disappeared, meaning he can't write the conclusion, so the narator must come up with a solution. This is a cute (?) short story, brimming with Poe themes, imagery and references. The explanation for the disappearing hut is rather simple and rather underwhelming on its own, but I think Kitayama did a great job using the Poe framing device to lay out all kinds of hints, though I think that it might be a bit too obvious because a certain hint is probably better hidden for Japanese readers than for those who also regularly read English. It's perhaps not the kind of solution you'd expect from Kitayama for an impossible crime, but it fits the setting well.

Aosaki Yuugo's Ningyo Saiban ("Mermaid Trial") is a story in his Undead Girl - Murder Farce series, and I have to admit I haven't read the books, nor have I seen much of the anime series yet. This story is apparently a prequel story revolving around a murder trial in which a mermaid was the suspect, and where the reporter Annie Kerber first became acquainted with the protagonists Aya (a decapitated head) and Tsugaru, her wise-cracking assistant. It was the first trial involving inhumans in eighteen years in Trondheim, Norway. Holt was a well-known public figure in Trondheim and notoriously anti-inhumans, which made it all the more shocking when after a gunshot, his family found him dead outside at the lake, with the mermaid bending over him. It appeared the mermaid had killed him and was busy trying to set-up the scene to make it look like Holt had gotten into an accident with his row boat, but the family quickly captured the mermaid. As per law, nobody has been able to talk with the mermaid save for the prosecutor. That is, until Aya appeared at the trial to defend the mermaid. The story then unfolds in a familiar courtroom mystery manner, with both sides interrogating the suspects (with their testimonies also serving as the way the reader actually learns about the precise circumstances of the murder), and Aya of course slowly picking up on small contradictions that eventually build up to a major revelation. This is a competently constructed mystery, with short, but good deductions based on the testimonies and physical evidence, though it perhaps lacks a bit in actual surprise, as in: none of the revelations made in this trial feel as triumphant and shocking as you'd like them to be. There are some clever turnabouts though, and on a technical level, I think this is the best story in the collection.

Araki Akane's Kotoeawase ("Checking Answers") starts with the death of the narrator Touma's adoptive father, who was found by Touma as he was lying in the snow-covered garden, bleeding heavily from a cut in his neck. It took five minutes for the ambulance to come, and in the ambulance, his father's final words to Touma were that he loves him and that Touma should take care of himself. When things have settled down, the young teacher however starts having doubts about what he heard. Why didn't his father say anything about who cut him in the neck? With the realization that Touma actually only heard what he wanted to hear from his father, and that it might in fact have been a completely different message, garbled as his father's strength faded, he tries to reconstruct his father's last word and find out who did this to him. This is a story that deals with a theme very important to dying messages (the interpretation of what was said), and it takes on this time in a rather surprising proper linguistic manner, exploring various ways in which Touma could've misheard what his father said. Ultimately, that does make the story feel a bit weak, because it feels a bit arbritrary what could be considered a "plausible" interpretation of the message, and what isn't. I think that thematically, it's a strong story, but all the talk about whether a certain word couldn't be that other similar-sounding word soon becomes a bit boring.

The final story, Saigo no Hitoshigoto ("His Last Job") by Miyauchi Yuusuke,  is about a writer on music, who decides to write a piece on Caustic, an indie duo consisting of lead singer and bassist Yuhara Seiichi and Shiga Makoto on the guitar and side-vocalist. In 2013, while they were recording their third album, Shiga died in the recording studio: he had been bashed in the head. However, Yuhara didn't report the murder until many hours later, even though he had been in that same studio. Eventually, their manager was arrested, but rumors always floated around that it was the eccentric prodigy Yuhara who murdered Shiga, and that their manager took the fall for him. The writer decides to learn more about the way in which Caustic fell apart,  and eventually arrives at a very surprising conclusion... Interesting story about a crime set in the past, in which a suspect was actually arrested and tried, but still, doubts exist about what actually happened, like Christie's Five Little Pigs. The crux of the problem lies in the question why Yuhara didn't report the murder immediately, as you are usually wont to die if somebody is murdered in the same room. The solution doesn't require as much imagination as the story pretends, partially because it is clewed and hinted at early on, so in that sense, it's a fair solution, but it does seem to show its card too early, making the finale, despite having a twist, feel a bit underwhelming.

On the whole, this year's Honkaku-Ou proves to be another fairly decent anthology, though I do think it starts off stronger than it ends, and it misses a story I am really a fan of this year, though I do greatly prefer this one over last year's. And perhaps it's just me, but because most of the stories included in this book are pretty short (and the volume itself isn't very long either), I do often find myself liking the more lighthearted stories better. I often read this anthology while reading other things, so I'll be reading a different book and occasionally squeeze in one of the stories in this volume, but I always end up liking the ones offering mystery and a laugh the best. So that'll always skew my view on these books, I guess. Expect another look at the Japanese short story mystery scene next year! 

Original Japanese title(s): 『本格王2024』:東川篤哉「じゃあ、これは殺人ってことで」/ 結城真一郎 「悪霊退散手羽元サムゲタン風スープ事件」/北山猛邦「未完成月光 Unfinished moonshine」/ 青崎有吾 「人魚裁判」/ 荒木あかね 「答え合わせ」/宮内悠介「最後のひと仕事」

Puzzle for Pilgrims

"It's morphin' time!"

"Mighty Morphin' Power Rangers"

No, that's not weirdly specific compression: the cover illustration is really pixelated.

Disclosure: I have translated works by Norizuki Rintarou and Abiko Takemaru.

As reflected by the winners of the same-named Mephisto Prize, Mephisto is a magazine providing entertainment fiction, with a focus on mystery, but not exclusively so, as it also features storie encompassing scifi and other genres. It has gone through a few formats since its inauguration in 1994, and since 2021, it has become one of the perks for subscribers of the Mephisto Readers Club, being published four times a year as its club magazine, featuring serializations of for example the newest House novel by Ayatsuji Yukito, but also original stories written for the magazine. In 2023, author Norizuki Rintarou became the chief of a project focusing on the classic detective device of the Challenge to the Reader, or in this case, a challenge to subscribers of the Mephisto Readers Club. Each story would be published in two parts: the problem part would be published in the magazine itself and end with a Challenge to the Reader. The reader would have a few weeks to send in their answer, complete with the proper logic behind it, and then the solution would be published online after the deadline (and they'd have live-streams with the writers to look back at the stories). Norizuki approached five other authors to write a story with a Challenge to the Reader, and while the Challenge to the Reader is commonly associated with the pure whodunnit, he interestingly also divided the stories in three groups: they would do two whodunnits, two whydunnits and two howdunnits. Early 2024, these six stories by the authors Norizuki Rintarou, Houjou Kie, Abiko Takemaru, Tanaka Hirofumi, Kitayama Takekuni and Ibuki Amon were collected in the volume Suiri no Jiken Desu ("It's Morbin' Time" "It's Inference Time"), finally giving non-subscribers also access to these stories.

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!

Original Japanese title(s): 『推理の時間です』: 法月綸太郎　「被疑者死亡により」/ 方丈貴恵 「封谷館の殺人」/ 我孫子武丸　「幼すぎる目撃者」/ 田中啓文 「ペリーの墓」/ 北山猛邦　「竜殺しの勲章」/ 伊吹亜門「波戸崎大尉の誉れ」

Choosing Sides

A place for everything and everything in its place.

(Saying)

Time for my single anthology review of the year... And yes, it's a bit late this year...

Disclosure: I am a member of the Honkaku Mystery Writers Club of Japan. However, I didn't vote for the stories this year.

Every summer, the Honkaku-Ou ("The King of Honkaku") anthology is published, collecting the best honkaku short stories published the previous year, as selected by the members of the Honkaku Mystery Writers Club of Japan. The selection of short stories basically acts as a counterpart to the Honkaku Mystery Award, which is awarded to the best published book each year. Short stories are usually published in different magazines or online, which can make them difficult to obtain at a later stage, so having all the chosen short stories collected in one book is quite convenient. The Honkaku-Ou format was started in 2019, as the previous format also included the year's best mystery-related essays chosen by the Honkaku Mystery Writers Club, but while not every year was as strong as others, I do think the last two years had really strong contenders, some of them I'd even consider candidates for my own best-read mysteries of those years. So I had been looking forward to the 2023 edition too. 

Honkaku-Ou 2023 (2023) opens with Imamura Masahiro's Aru Heya Nite ("In A Certain Room"), and apparently, this is the first short story Imamura wrote that is not part of a series. Oh, and another disclosure message: I translated Imamura's Death Among the Undead and Death Within the Evil Eye. This is, interestingly, considering his other works, an inverted mystery and opens with a scene where Kengo tries to talk things over with Yuuka his... girlfriend? ex? and things go horribly wrong, ending with her death. Because he snuck in the apartment building, he figures he might get away with it if he can spirit her body away for a while, and he's just done stuffing her body in a suitcase and about to leave the place, when an attorney appears at the door, who says he has an appointment with Yuuka, as she wanted to discuss something with him regarding a rather pesky stalker. Kengo pretends he's Yuuka's brother, hoping to fool the attorney long enough to get out of here, but the attorney seems to notice a lot of little things that add up to a big truth while he's in the room... This is a rather short story, and it's one I like better for the turnabout climax at the end of the inverted mystery, when things inevitably go wrong for Kengo, than for the build-up. While I like the big "twist" you often have in inverted mysteries that is presented here (when you realize the murderer made a truly fatal mistake), the minor mistakes and faults the attorney notices in the build-up feel less strong, and don't really give that satisfying feeling you often have even with smaller points like in Columbo. Not a bad story by any means, just a bit underwhelming on the whole.

Yuuki Shinichirou was featured in the 2020 edition of this anthology, and returns with the oddly-titled Koronde mo Tada de ha Okinai Fuwadama Toumyou Soup Jiken ("The 'If Life Gives You Lemons, Make Lemonade' Fluffy Egg Pea Sprout Soup Incident"). This time we follow a kind of Uber Eats driver, but one of the shops he works for is rather special: the restaurants is also actually a detective agency. By making very specific orders via the app, clients can engage the detective/cook's services, who uses a select number of trusted Uber drivers to visits to the clients to gather the necessary information to solve the case. This time they are working on a case of a dead woman found in an apartment building that went up in flames. While people were watching the smoke outside, a woman saw another woman who mumbled "Good for him!" and then ran into the building. Later this woman was found dead in one of the apartments, which was occupied by her ex, who escaped from the fire in the building in time. Because of his connection to the victim, police are of course investigating him, but as the woman was seen going into the building herself, it doesn't seem it was his fault she died, but why did she go inside in the first place? At first sight, I thought the idea of an Uber-detective-service sounded fun, but I didn't think it was really used meaningful here. I assume this story is part of a series, but the way the story was told with bits of the driver returning to the cook to discuss the case didn't help the pacing of the story. The fire incident itself is not super complex and I think many will guess early why the woman went to the building herself, but I liked it enough, so I thought it was a shame the story read a bit awkward.

Shiotani Ken's 20XX-nen no Shuki ("Accounts Dated 20XX") consists of a series of reports written by different people, portraying a unique dictatorship led by the Great Leader X, who guides the strictly-led nation. The first account is from A, the director of Camp 33 in the Kanto region, a training camp where men are trained in several skill fields. His account to his superiors says nothing is wrong at the camp, but the next report already introduces to B, the replacement of A, as A was caught lying in his reports. B reports on the death of K, an injured man who had been sent to the camp to recover, but who accidentally died during his stay at the camp, a fact A tried to cover up. More letters follow, which slowly delve into the secret behind K's death. This was a short, but fun story, with each letter changing your views on what was said in the previous letter. It's not really fair play puzzle in that sense, as the writer of each new account always knows much more than the reader, but it's cool to see how the case changes and events described in earlier accounts can suddenly take a completely different meaning. The world described in these letters give this story both a very large, and small scale: apparently this is a North Korea-esque society, but at the other hand, all we see of this world is through these letters, which are all about events occuring inside a special training camp, so ultimately you don't see that much of this unique society. This would be cool to see in a full series.

According to Yagi Jun's own introduction, Chikusare ("Fatal Blood") was written as a horror story, so he was surprised it got picked for this anthology. It's about a sister, who joins her younger brother and his two children on a camp, as his sister-in-law is too busy with work to go with them. During their time outdoors, the sister remembers how there's a shrine in the forest here, with a cursed stone which can cut ties between people if you put the blood of the one you want to cut ties with on the stone. But as time passes by, she starts to see her younger brother act suspiciously with a cloth with some blood on it... This is indeed more of a horror story than a straight puzzler, revolving around the sister's suspicions about her brother's actions. Not bad per se, but also not really what I expect to read in an anthology like this. Had it been written more as a straight mystery story, I think I would have liked it better, because the last revelation is good, but the hinting/foreshadowing is a bit weirdly paced because it's more a horror story.

Araki Akane's Doukou no SHE ("Fellow Traveller SHE") is about Yuuko, who is going to kill somebody. She boards the night bus with just a kitchen knife inside her coat pocket, ready to strike when she arrives in Tokyo. The woman next to her however almost immediately notices the knife, and says she'll tell the driver, but Yuuko places the knife against the woman, Ruri, and tells her to stay quiet. The bus makes its way towards Tokyo, occasionally stopping at rest areas. During one of these stops, the passenger in front of Yuuko and Ruri says his phone and wallet was stolen from his bag in the overhead rack, and when they look around, the wallet is found inside Yuuko's bag! Yuuko knows she didn't steal the wallet, and immediately suspects Ruri pulled the stunt off to get out of her predicament, but how did she manage that while being kept at knife-point? A very thrilling story, though mystery-wise it is a bit... convenient? Like, I know people doze off in a night bus, but would nobody have noticed what was going in with that bag considering what was done with it in order for the wallet to end up in Yuuko's bag? The mystery of the smartphone is better, and I like the final turn of events regarding Yuuko's intended murder overall very much too though.

Shirai Tomoyuki's Moterean no Tekubi ("The Hand of the Moterean") starts with a group of three looking for crystallized fossils on the island of Posta, the realm of Gods. Once upon a time, an alien species called Moterans lived on the island, but they are now all extinct, and having been in the ground for so long, the three think they might find fossils turned into gemstones here. They eventually do find a cut-off hand, which is a bit weird, so they dig even further and far deeper in the ground, they stumble upon an arm. When they dig dozens of meters further, they find a body with a missing arm, and also signs they were naked when they died. This however leads to a very puzzling question: how did this Moterean's body end up like this on Posta Island, naked, and with their hand and arm at completely different depths in the ground? The one Shirai story I ever read was pretty gross and I hear that's his thing, but that was fortunately not the case here. This was an interesting archeological mystery. While I think the 'big' twist in the middle wasn't as surprising as it was probably intended, I liked the theories posed as to how parts of the fossil ended up seperated so far. The scale of the story encompasses thousands of years, so it's a weird "murder mystery" in that sense, but I really liked how this was used to come up with a very surprising explanation for the fossil being like that, as the misdirection really takes advantage of the unique setting.

Michio Shuusuke's Hariganemushi ("Horsehair Worm") is part of a series where each story includes a QR-code to a Youtube audio file, where you get to hear a specific scene/moment from the story. I think this is a pretty cool idea, but on the other hand, it's not really used in a meaningful manner in this specific story. I guess that's because the prose story has to work on its own, so you can not really have the audio track be the actual solution or a vital hint, but still, it's little more than a gimmick now. In this story, we follow a cram school teacher who is stalking one of his students: he has given her an USB charger, but in fact it's a listening device, and the last few days, he's been following her to her home, and listening from his car to the sounds from her bedroom. While doing this, he learns more about her home situation, which is quite grave with an abusive step-father. Things eventually explode in the household, but there's nothing the teacher can do. But what did really happen in the house, and what was it he was actually listening to? I think the problem with this tale is there's no real surprise? It's more a thriller than a detective story, as even at the end, when a detective-like figure explains everything, it doesn't feel like an explanation, because the teacher heard all of this himself and... there was no mystery or anything. The audio track you get to listen at the end, is also just part of a scene the teacher was listening to, with the exact same phrases, so all the audio track offers is just... hearing the scene acted out.

Overall, I think Honkaku-Ou 2023 was not as strong as previous entries. The last three years, there was always at least one story I really, really liked, making the whole collection worth reading, but while there were stories I simply liked in this year's edition, I don't think any of them were really must-reads. I think my favorites are Shiotani's story for having a unique premise and a good build-up to the solution, as well as Imamura and Shirai's entries for their more focused story-telling, but even then, it's not like I think these alone make this really a worthwile read. Oh well, I guess there's always next year!

Original Japanese title(s): 『本格王2023』: 今村昌弘「ある部屋にて」/ 結城真一郎「転んでもただでは起きないふわ玉豆苗スープ事件」/ 潮谷験「二〇XX年の手記」/ 矢樹純「血腐れ」/ 荒木あかね「同好のSHE」/ 白井智之「モーティリアンの手首」/ 道尾秀介 「ハリガネムシ」

Old Habits Die Hard

"Extra, extra, read all about it!"

Huh, I am really using the anthology tag only once a year...

Disclosure: I am a member of the Honkaku Mystery Writers Club of Japan. However, I didn't vote for the stories this year though. Or any year to be honest.... I just never read short stories published in magazines, making it impossible for me to vote in the first place...

We've made it halfway through the year 2022, so here it is: Honkaku-Ou 2022 ("The King of Honkaku 2022"). This annual summer anthology collects the best honkaku short stories published the previous year, as selected by the members of the Honkaku Mystery Writers Club of Japan. It is basically a counterpart to the Honkaku Mystery Award, which is awarded to the best published book each year. Short stories are usually published in magazines or online, which occasionally can make them difficult to track down several months later, so that is why each year, this anthology is published, to ensure these stories can be easily found. I've been reading this collection since they started the current format in 2019, and while it's not like I love every single story each time, the anthologies do give a good idea of what's going on each year in the mystery scene of Japan. Last year's volume for example had a #StayHome themed story because of a certain pandemic, so I was curious to see whether that would still find its way into this volume one way or another. But while each year can be quite different, the last two entries featured some stories that were really strong and some even ended up on my favorite reads of the respective year, so it's always worth it to at least take a look at these books.

Nemuranai Keiji to Inu ("The Detectives and Dogs That Don't Sleep") by Michio Shuusuke and Island Kitchen by Ashizawa You are the stories by the two novelists I had never read before, and to be really honest, these were also the two stories in this volume I liked least. I can easily explain why though, as both stories feature a somewhat vaguely defined problem/case, so it takes a long time for the story to get to a point where you really feel you are reading a mystery story, rather than something else. Both do start out with a seemingly "straightforward" case though. Nemuranai Keiji to Inu for example has a police detective hiring a... pet detective to find a missing dog. The dog's owners were murdered in their home, and their dog went missing on the same night, so it is assumed the dog is involved in one way or another with the case. The pet detective in question is Ezoe Masami, a pet detective who has an incredibly good track record, but the narrator, a female police detective knows Ezoe isn't always honest to his clients, occasionally finding pets early and keeping them hidden so they'll hire him for a longer period. She hires Ezoe to find the missing dog behind her superior's back and thus the two go looking for the dog together. What follows is a story that works pretty good as a character study, where parallels are drawn between the two detectives and dogs, but the reveal about how the dog is ultimately connected to the murder feels a bit... underwhelming, because most of the page count seems to be more focused on the characterization than the puzzle. Which is a matter of personal taste of course, but I feel like even with the same puzzle elements, this story could have been a tricker, and more amusing detective story had the emphasis on the themes been shifted a bit. The same holds for Island Kitchen, which starts with a retired police detective visiting a real estate agent, hoping to find a home with a garden for him and his wife. He spots an apartment building among the listings where he once investigated a deadly fall and he starts reminiscing. The case involved a woman living in the building falling to her death, but it was unclear whether it was an accident, suicide or murder. The woman had been stalked by someone for a long time, but the police hadn't done anything to help her, so suicide due to despair, or murder both seemed quite possible. As the former detective thinks back to the case, he realizes not everything was as it was, and personally, I think the *idea of the twist* is pretty good. But the "set-up" to the twist is so long and involves so many elements that ultimately aren't relevant to the twist specifically, it kind falls flat for me, because now it's almost like you're reading two seperate stories that are only linked in a very, very minor manner. I really do like the twist itself though, so I kinda wish it had a different story as the set-up.

Ooyama Seiichirou's work is always a joy to read, and he mostly writes short stories, so he fits here really well. Karamazov no Doku ("The Poison of the Karamazovs") is of course a story inspired by The Brothers Karamazov and is part of a series about Kayou Daisuke, an actor specializing in villain roles, but who is actually a gifted armchair detective. This time he is consulted by the elderly Yamazono Marue, who in her younger years as a housekeeper for an agency. She recounts the time she was involved in a murder case. At the time, she had been assigned by her agency to work at the house of the wealthy Karamura Tatsuo. On her first day, she met with the man, and his three sons, and they soon reminded her of The Brothers Karamov and the characters of Fyodor and his sons Dmitri, Ivan and Alexei. She has only just arrived when she is asked to pour in tea for everyone, and she quickly returns from the kitchen with the refreshments. But the moment Tatsuo has his drink, he starts coughing and gagging. An ambulance is called, but it is too late, and the man ends up dead. The police learn he was poisoned, but can't figure out how: the young maid had never met the man before and had just arrived on her first day here, while her three sons each had a motive to kill the man for his money, but couldn't have tampered with the drinks the maid had prepared. It's a very short story, so I think the actual explanation of how this seemingly impossible poisoning was done will not be incredibly surprising, but I do like the initial one or two clues that put the reader on the trail. I think that even when the actual "how" of an impossibility in Ooyama's work is simple at the core, he always does a good job at actually laying out a trail of clues for the reader to follow in order to arrive at that how logically (instead of just guessing), so in that sense, his stories never disappoint.

It's been while since I last read something by Morikawa Tomoki... Wa-wait! It's been 8 years!? The last one I read was back in 2014?? Anyway, Whodunnit Reception is a pretty interesting story that is foremost a puzzle. The story starts when Masatsugu and his classmate friend Yumiko sneak into the room of Masatsugu's brother Masakazu, a young mystery writer. Masatsugu is just looking for some files he knows are in the room that'll come in handy for a school project, but Yumiko accidentally knocks over some coffee over some hand-written documents, which turn out to be a finished, but unpublished manuscript, being the solution to a mystery story that's being serialized right now! Masatsugu knows his brother doesn't use computers and hardly keeps any copies, so he realizes in how much trouble they are right away as the coffee has erased a lot of the text. Masatsugu and Yumiko eventually manage to reconstruct most of the documents, but there are still spots that were tainted too much by the coffee, making it impossible to see what was originally written there, and it turns out they are the most important part of the story, where the detective explains how they figured it out and who the culprit is. Yumiko, a budding writer herself, however comes up with a plan: they are going to guess what is supposed to go in the blank spots based on the context of the surrounding passages, reconstrucing the solution of the story! A very interesting story, as it turns the solution of a mystery story into a mystery! There are 17 blank spots, and the reader, Masatsugu and Yumiko have to deduce what goes in each blank spot based on the surrounding context of the detective's explanation of the case (they do not have the first part of the story). It's very puzzle-like: you first fill in the spots that are very obvious based on the context, and that allows you to fill in other spots too because of the implications of the previously filled in spots etc. The story surprisingly has a few twists too while you fill in these blank spots, and it's pretty fun to read, but it does very "puzzle-like" because you are really filling blank spots, and some readers might find it a bit too "artificial." I myself enjoyed the whole concept though of a solution part of a mystery story being a mystery itself and have you deduce the solution of a mystery story of which you don't even know the first part!

Houjou Kie has been a personal favorite since she made her debut of course and I loved her short story Amulet Hotel last year, so I was really looking forward to her short story Kage wo Kuu Mono ("Shadow Eater"). And of course, this story features supernatural elements: the narrator is out camping deep in the woods with a friend and his dog. The narrator wakes up in the middle of night and happens to spot a Shadow Fish, a kind of yokai (supernatural being) that feeds on the shadows of living beings. The Shadow Fish can only move in shadows, jumping from one shadow to another, and it preys on the shadows of living beings. Once they have jumped into the shadow of their victim, they remain in their shadow (even if the person/animal wakes up) and feeds on the shadow until the shadow is gone, which kills the person/animal in question. The narrator sees how the Shadow Fish jumps out to the shadow of a dead fox and in the direction of his two sleeping companions and by the time he has waken both of them, he realizes it's too late: the Shadow Fish is in the shadow of either his dog or his friend, but they can't tell which of them. They happen to have a very powerful drug that can kill the Shadow Fish, but they have only one tablet, and the drug is so powerful it will kill a person/animal if they take it without a Shadow Fish being their shadow. With little time left until the Shadow Fish is done feeding on its prey, the narrator and his friend have to quickly deduce where the Shadow Fish is, based on the shadows at the time the Fish was spotted. Houjou once again brings a new kind of mystery story by using supernatural elements: this is almost like a "whodunnit", only you are looking for the "culprit" hiding inside a different person. You can also tell Houjou is a gamer (like with her third book), as there are (segments in) games where you have to move from shadow to shadow as a gameplay mechanic and this story of course feels very similar to that. While there is an emphasis on deducing where the Shadow Fish went based on "rules" (the Shadow Fish can only jump a certain distance, it will always go for the nearest sleeping target etc.), the way the story is also very focused on visuals do form an obstacle for this story, I think. A lot of the story hinges on how far each shadow of everything in their camp reached at the time the narrator spotted the Shadow Fish, and while this story has diagrams, you do have to consider multiple "moments" of where each shadow was, so I think this story, ironically, would have worked better as a game, allowing you quickly "scroll" between the various moments. It's a good mystery story though that as always shows detective stories don't need to be realistic to present interesting mysteries.

Asakura Akinari's Ito no Hito wo Sagashite ("Looking for the Person of My Thread") is tied as my favorite in this volume with Kage wo Kuu Mono and is in a way the polar opposite, as it pertains to a very "realistic" occassion: a goukon or group blind date. The narrator, Kawase, is an unremarkable university student who never had a girlfriend, which is why he didn't really believe his friend Yoshimi told him his girlfriend knew a girl who was interested in Kawase. The girl is rather shy however and doesn't dare to approach Kawase without "any cause", so the idea is having both of them appear at the same group date, with five men and five women. That would give the girl an opportunity to strike up a conversation with Kawase and see how things'll go from there. Kawase has never been in a group blind date before, so when Kawase first arrives at the restaurant, he's quite nervous, but the first girl to arrive immediatey says she knows Kawase from classes, so the plan to find the person on the other end of the red thread of fate seems to work... until the second girl also says she knows Kawase. And the third, fourth and fifth too! Kawase remembers he was never told what the other girl's name was or how she looked like, and now all five girls seem somewhat interested in him (to the chagrin of the other four men). At first, Kawase thinks that it shouldn't really mattter with what girl he ends up with: his friends may have  intended him to meet a certain girl and arranged for both them to attend this group date, but they can hardly critizie him if he happened to get along better with someone else, right? But then he receives information that tell him he has to be very, very careful, as there's "something dangerous" about each of the other girls: one of them for example is actually a married woman cheating on her husband, while another girl is the daughter of a boss of a crime syndicate, and another is an underground idol with very fanatic fans who are willing to kill if they learn their idol is dating someone... So can Kawase deduce which of the five girls in front of him is the girl he was supposed to meet? Okay, so the setting of this story is a bit silly, as apparently people around Kawase do recognize some of the women in their group date and know they are "dangerous" one way or another, but at the same time they don't actually know which woman they are or don't tell Kawase. The way the puzzle is constructed feels a bit forced, but you know, I can live with it, because this is just a fun story. It has a distinct, comedic tone where Kawase keeps falling in love with basically every girl all over again every time he thinks they are "safe". At the same time, this is a well constructed detective story, where you have to use the few hints Kawase did learn about each girl and try to deduce the identify of each girl. Some of the hints are a bit too obvious I think, or in some instances the "time" between a certain clue and the revelation which girl is who is a bit too short, giving you too little time to think for yourself. But overall, this is a very memorable story, because it is basically a "whodunnit" only now you're just trying to figure out which girl Kawase is supposed to be dating. So as mentioned earlier, this story is strangely enough very different, and similar to Kage wo Kuu Mono, as both are original takes on a "whodunnit" concept, but in very different manners.

Like the 2021 edition, Honkaku-Ou 2022 is a pretty solid anthology, with a few really strong puzzle plot stories. Personal favorites are the entries by Houjou Kie, Asakura Akinari and Morikawa Tomiki, but none of the six stories are truly bad, and while these volumes usually only have five, six stories, they tend to be fairly consistent in quality exactly because they have been selected by a whole group, rather than just one single editor. This is the fourth volume in this format, but I have really grown to appreciate reading this anthology once a year, just to see what is going on in the short story format. Hopefully we'll have a solid volume next year too!

Original Japanese title(s): 『本格王2022』: 道尾秀介「眠らない刑事と犬」/ 大山誠一郎「カラマーゾフの毒」/ 芦沢央「アイランドキッチン」 / 方丈貴恵「影を喰うもの」 / 浅倉秋成「糸の人を探して」 / 森川智喜「フーダニット・リセプション」

Scent of Danger

Soup du jour / Hot hors d'œuvres
Why, we only live to serve
Try the gray stuff, it's delicious 

"Be Our Guest" (Beauty and the Beast)

In general, I'm not a big fan of anthologies, which is probably why I only get to use the anthology tag once a year...

Disclosure: I am a member of the Honkaku Mystery Writers Club of Japan. I didn't vote for the stories this year though. Or any year since I became a member.... Since I basically never read short stories published seperately, I only read them when they are finally collected in a full volume or... in an anthology like this one.

The members of the Honkaku Mystery Writers Club of Japan vote on the best mystery novel published in the year and award the work with the Honkaku Mystery Award. This usually leads to the book in question getting a nice new obi to make sure you know it won the award. The Club members also pick the best short stories published in a year, but these are usually published in different magazines etc.  That is why the Club also publishes annual anthologies that collect the selection of chosen short stories of that year. The anthology got a new, smaller format in 2019, and because I also reviewed the 2020 edition last year, I guess that most people guessed that it was likely I would get around to Honkaku-Ou 2021 ("The King of Honkaku 2021") eventually. And in the same sense that the fact that I'm discussing this book isn't a surprise, it also sure isn't a surprise if I tell you that this volume, at the core, isn't much different from the previous volumes: Honkaku-Ou 2021 provides a nice collection of mystery stories and some of them are really good.

Cozy Boys, Arui wa Kieta Izayakaya no Nazo ("Cozy Boys. Or: The Mystery of the Disappearing Izakaya") is part of a series by Fuefuki Tarou, focusing on the Cozy Boys, a small club of people in the publishing industry who gather in a cafe to talk about mystery fiction while enjoying tea and cake. Today, they have a real mystery however. Mystery writer Fukurai Shouichi has a rather vexing problem: last night, Shimamura Etsushi was murdered, an editor/critic who had connections with everyone in the industry, and was hated by everyone in the industry. As someone with a connection to the victim, Fukurai is also questioned by the police, but he oddly has no alibi: he went out drinking last night, going from one bar to another, but while he can remember the first two he visited with a friend, both of them have very little memory of the third izakaya they visited, which would have been around the time of the murder. Fukurai has been going around the area looking for the mystery izakaya, but can't find it, so he hopes his Cozy Boys friends can help figure out where the elusive izakaya is. As the title suggest, this is more like a cozy mystery and the story unfolds through the discussions between the various people present in the cafe. It's the kind of puzzle where it's quite possible you'll just think of the solution instinctively, but the way the story is presented, with everyone trying to piece the location of the izayakaya together based on the vague memories of Fukurai is done competently.

I don't know if there's some rule, but the previous two anthologies had historical mystery stories too, and Hanyuu Asuka's Tomurai Senju ("Thousand-Armed Mourning") is part of that tradition. Set in 1184, the story follows Taira no Yorimori (half-brother of Taira no Kiyomori) as a detective. Yorimori is invited by Minamoto no Yoritomo in Kamakura. Yorimori has been a good friend of Yoritomo and his daughter Oohime, so he's surprised to see Oohime in a very depressive, and enraged mood. It turns out that the young Oohime had been married off to Yoshitaka in a political marriage, with Yoshitaka basically being a hostage of Yoritomo. Oohime had loved her husband though. One night, a maid loyal to Oohime overheard a discussion of Yoritomo and his men about attacking the family of Yoshitaka and this information was relayed through Oohime to Yoshitaka. He miraculously escaped from the Minamoto manor, but was eventually hunted down by pursuers and killed. An act which Oohime has not forgiven her father. Yoritomo however is slowly growing afraid for and of his daughter. Oohime has been isolating herself in her own quarters since the death of her husband, but for some reason she manages to always appear right in front of her father whenever he speaks of Yoshitaka, even when he's in completely different part of the manor or speaking privately with his wife. He fears Yoshitaka's spirit must have gotten hold of Oohime, but Taira no Yorimori can think of a less supernatural way by which Oohime can pull this impossible feat off, and he even manages to uncover a deeper plot behind all of this. This is a story that makes very clever use of the historical setting to create a convincing semi-impossible situation, but it's the deeper plot that hides below the surface that makes this a fairly memorable story, as the hints are rather subtle, but really start to stand out once Yorimori points them out.

Furuta Ten's Kao ("The Face") is part of a series revolving around an incident where someone started stabbing other people in the subway. From what I understand the focus lies not on the actual incident, but on the various people who got involved one way or another. In this story, we follow high school student Ikebuchi Ryou, who was present in the subway during the incident and hurt his leg while trying to escape from the station. Ryou was once the ace of the tennis club, but he had been in a slump the last few months, and with the injury on top of that, things at first looked grim, but he's been slowly recovering and hopes he can regain the position of ace again. The dramatic story of a young talent who got hurt because of the stabbing incident and the path back to rehabiliation has also been made into a documentary by Noe Hibiki, a member of the newspaper club who once exposed a pollution scandal. However, it seems that there's more behind this story, because while Hibiki is following Ryou in his daily life with her camera, she starts asking questions about the stabbing incident and little by little, Ryou notices that her questions seem to lead to a conclusion he had never thought of himself. It's not a story where you'll be solving a lot yourself, as the focus lies more on the slow build to Hibiki's reveal, though this story might be more interesting of the other stories, as I assume that all stories in this series will intersect in some ways.

Each of the stories in this anthology comes accompanied by a message from the author, and on the page Fue wo Fuku Ie ("The Piper House"), Sawamura Ichi explains that this story was originally written for a special feature with ghost stories, and that he added a twist, first making you think it's a normal ghost story only to reveal it's actually a mystery story. Which... of course doesn't work if you're reading this story in a mystery anthology, as he himself notes. And indeed, with the context of this being a mystery story, the tale of a family of three coming across a strange, empty manor in their neighborhood isn't half as creepy, as you 're already prepared and waiting for some twist. And knowing a twist will come, it's kinda easy to guess what the twist is. It's a story that would've worked quite well without knowing it's a mystery story, but that's impossible here.

Shibata Katsuie's Stay Home Satsujin Jiken ("The Stay Home Murder Case") is a story that screams 2020, as you can tell from the title. If someone will be reading this fifty years later, they'll probably have to look up what's so special about 2020, unless we're dealing with COVID-70 by then. Due the state of emergency in Tokyo, maid cafes in Akihabara have to close too, but some cafes still maintain contact with their customers through livestreams. The narrator is one of those customers, and of course always present whenever a maid of the cafe Happy Bloom is doing a livestream. The day after one of those livestreams, the manager of Happy Bloom is found dead in the (closed) cafe, and the maid who found her boss, swears the door was locked from the inside when she went in the cafe that morning. The boss' own key is also found inside the cafe, meaning he was killed inside a locked maid cafe. The narrator is dragged around by Fugashi, a legendary maid who is also a gifted amateur detective who has solved cases in the past and who was asked to look into Happy Bloom because something  had been going on there. As a locked room mystery, this story is fairly simple, but it makes clever use of the maid cafe setting and with all the little references to how life was in 2020, it will make for an interesting read in the future too.

Kurai Mayusuke's Hannin wa Itta. ("Thus Said The Culprit.") has an interesting, and ambitious angle: it thrives to be both a pure whodunnit, and an inverted mystery. So while we see how the murderer commits the crime at the start of the story, we also have to guess who the murderer is despite having seen the murder scene ourselves! Yasuda Hiroshi is found murdered in his house, having just returned to Japan that evening, has he had been working abroad for a while. Earlier that evening, he had met with his friends and the girl he had promised to marry after he'd return to Japan, but to the great shock of everyone, he had declared he wanted to distance himself from them for a while and even the marriage was off. Given that his friends are very close and were thus betrayed by him, every single one f them had a reason to kill him, and because basically only them (and the victim's aunt and cousin) knew he had returned that day, it seems likely one of them did it. Inspector Shishidou, known as "Sphinx" of the Metropolitan Police Department is put on the case, and as her nickname implies, her method consists of asking everyone a lot of questions. A very cleverly written story: the way the inverted part of the story is incorporated into the whodunnit plot is done surprisingly well, and it really rewards you to reread that part again once you're done. The story unfolds like a classic whodunnit puzzler, with the story requiring the reader ot identify what the murderer must've done and using that information to cross off names of the suspect list. The manner how the whodunnit plot (where the reader doesn't know who the murderer is) and the inverted part (where the reader does know what the murderer did and what they talked about with the victim) is used very cleverly to make a very puzzling riddle.

My absolute favorite of the volume however is Houjou Kie's Amulet Hotel. The two novels Houjou has written until now all involved supernatural elements like time travel to present very cleverly written, puzzle-focused whodunnit stories, but in her first published short story, we have a setting that is not supernatural, but definitely not normal either. When a guest of the Amulet Hotel's annex complains that the door to his room can't be opened and it turns out even the owner's master key can't open the door, they break the door down: the door had been blocked by a serving cart jammed beneath the door handle. Inside the room, they find a murdered man and an unconscious employee of the hotel. Normally, this is time to call the police, but not in the Amulet Hotel: the annex of the Amulet Hotel serves a very special kind of guest, the kind of guest who likes their privacy very much, who doesn't like the police and who will make use of the special hotel services like having guns delivered to their rooms. Everyone is a criminal here, so whenever anything happens here, the Amulet Hotel will "clean up" themselves. But while the Amulet Hotel does cater to the criminals, there are still rules they expect their guests to obey to, and the most important one is that they should never ever inconvenience the hotel. Hotel detective Kiryuu is asked to figure out whether the unconscious employee in the hotel room killed the guest, or whether someone else did and if so, how the locked room was created and once they know what happened, they will deal with things properly. What follows is an insanely densily-plotted mystery story with a lot of ideas stuffed in a relatively low page count, but it works. It reminded me of Houjou's debut novel Jikuu Ryokousha no Sunadokei, which I also described as having an incredible number of ideas: this is basically the short story variant. Which starts out as seemingly a locked room murder mystery turns into a very amibitious "which of the three" whodunnit puzzler with a lot of clever clues that remind you that Houjou was a member of the Kyoto University Mystery Club and thus used to writing whodunnit shorts with twist and turns. I can't really mention all the ideas here because it'll spoil the experience, but a lot of the ideas implemented here could also have served as the basic idea for one single story, but Houjou somehow manages to stuff multiple of those ideas in one story, and still make it work. The setting of a hotel for criminals is also used in various clever ways, leading to a mystery story that only works because of this unique setting, as all the characters have their reasons to act very differently than in a "normal" hotel. Fans of whodunnit puzzler short stories should definitely take a look at this one.

There have only been three volumes in this format, but I think that Honkaku-Ou 2021 might be the best year yet, with all the stories being amusing on their own, and a few really nice ones included too. Not one of the stories included feels out of place, which occasionally happens with anthologies.There's quite some diversity too, from historical dramas to a story that is clearly written during the pandemic, and we have pure puzzlers, but also a horror-focused story. Amulet Hotel is definitely the star of the volume, but the book is on the whole quite consistent in terms of quality. I am not a fan of anthologies in general, but reading books like these once a year at least allows me to try a few authors I might want to keep an eye on.

Original Japanese title(s): 『本格王2021』笛吹太郎「コージーボーイズ、あるいは消えた居酒屋の謎」/ 羽生飛鳥「弔千手」/ 降田天「顔」/ 澤村伊智「笛を吹く家」/ 柴田勝家「すていほぉ～む殺人事件」/ 倉井眉介「犯人は言った。」/ 方丈貴恵「アミュレット・ホテル」

Danger on Parade

There's far too much to take in here 

More to find than can ever be found 

"The Circle of Life" (Carmen Twillie, Lebo M.)

Anyone try that new mystery manga in Jump+, Kamonohashi Ron no Kindan Suiri ("The Forbidden Deductions of Kamonohashi Ron")? Still early days and it's a bit predictable, but for now, I'm still interested to see how it will develop.

Disclosure: I am a member of the Honkaku Mystery Writers Club of Japan. I didn't vote for the stories this year though. Or any year since I became a member.... I read far too few new releases each year to put in an informed vote...

Each year, the Honkaku Mystery Writers Club of Japan awards the Honkaku Mystery Award to the best mystery novel published in the year, as selected by the Club's members. Meanwhile, the Club has also been publishing annual anthologies with a selection of the best short stories published that year. Up until 2018,  the annual anthology was titled Best Honkaku Mystery [Year], with up to ten different stories, as well as one essay on mystery fiction. The format was changed last year however as it moved to a smaller pocket size with a slightly smaller selection, and the title too of the series underwent a transformation. After last year's Honkaku Ou 2019, we now have Honkaku Ou 2020 ("The King of Honkaku 2020"). The purpose of the second volume in this series is of course still the same: to offer a look at what recent Japanese short mystery stories have to offer.

Sansha Mendan ("A Terrible Parent-Tutor Meeting") by Yuuki Shinichirou introduces us to Katagiri, a college student who has a part-time job at a tutor agency. Usually, he acts as one of 'salesmen' who meets with prospective students and their parents, but depending on the wishes of the clients, he also tutors. This time he's sent to a new client, where he's to help a sixth grader with his grades. Katagiri makes his way to the Yano residence and meets with the kid and his mother for the first time. They start their first lesson right away, but as times passes by, Katagiri notices that something is wrong. The attentive reader can probably guess what's going on after a while, but the way Yuuki builds to the climax through the clewing is good, and there's even more to the story beyond the initial main problem, which makes this an amusing opening story. Kinda reminds me of some Detective Conan stories, where the Detective Boys get involved in some ongoing event without even realizing that.

Higashigawa Tokuya's Alibi no Aru Yougishatachi ("Suspects With Alibis") has an interesting backstory: it was originally written for the whodunnit contest that runs in the magazine Mysteries! The first part of the story was published in Mysteries! issue 93 (Feb. 2019), and ended with a Challenge to the Reader. Readers who had sent in the correct answer regarding the identity of  the culprit and the reasoning behind that conclusion could win a money prize. The solution was of course published in the following issue of Mysteries! The story is about a young man who after a long day at work returned home, only to get knocked out by someone and later wake up to find out that a valuable family heirloom was stolen. He realizes however that only four people could've opened the safe in his house: his estranged brother, the uncle who found him lying at home, his cousin and his girlfriend are the only suspects, so he decides to not call in the police, but to hire a private detective (with a rather sassy smart speaker as an assistant) to resolve the case privately. Initially, it seems like all four suspects have iron-clad alibis for the time of the theft, but despite that, the detective claims he knows who the thief is. This is a very well-constructed whodunnit story, that at one hand is very fair toward the reader and can be solved if you read everything in detail and think carefully what doesn't fit, but it still has some clever tricks up its sleeves to make sure that not all readers who would send in their answers would get it completely right. I love these kind of whodunnit stories which basically reward the reader for being an attentive reader, but which can still put out a rabbit from their top hat even though you were sure you had found everything already. A good example of how a whodunnit story should be written.

Last year, I reviewed the short story Kangokusha no Satsujin ("Murder in Prison" 2015) by Ibuki Amon, which was set in the early days of the Meiji period (1868-1912). Torawareru Moromitsu ("Moromitsu Imprisoned") is part of the same series and set on the third day of 1868, as the Meiji Restoration was approaching its climax. The struggle for power has now also reached Kyoto, and being at the wrong place at the wrong time, Shikano Moromitsu of the Owari Domain finds himself captured by men of the Satsuma Domain. Moromitsu might not have an extremely high status, but thankfully he's still not someone you can just kill without any consequences, so he's held captured in a cell in the Kyoto manor of the Satsuma Domain. Moromitsu learns that another man is kept in a neigbouring cell, but that man seems to have given up completely and laments that he isn't even allowed to die as a warrior. Moromitsu however has not given in to despair yet, and plans his escape from his cell, even though he has no resources. This story is obviously inspired by Jacques Futrelle's famous short story The Problem of Cell 13, only now this cell is located in 1868s Japan and the props used by Moromitsu are of course also unique to the time setting. Don't expect to be able to solve this conundrum yourself, but watching Moromitsu as he MacGyvers himself out of that cell is certainly very enjoyable material.

Fukuda Kazuyo's Kikime no Osoi Kusuri ("Slow-Working Potion") is a story I should probably not explain in detail, as it's really the type of story where you need to see things unfold for yourself. The case revolves around a man and a woman in their twenties, who were enjoying a meal in a fancy Italian restaurant, when suddenly the man keeled over after drinking his coffee and died in the hospital. What follows is a series of accounts from various characters which slowly unveil what actually happened in the restaurant. Each new account gives you more insight into the man and woman in the restaurant and the build-up to the man's death, but also seem to make things more confusing as you also realize that it doesn't really make sense why the man ended up dead. Good build-up to the climax where you finally realize why the build-up and the death didn't seem to mesh completely.

Nakajima Kyouko's Benjamin is the odd one out in this anthology, and on the "message from the author" page, Nakajima herself writes she was surprised her story was chosen and that she didn't even realize it was a puzzle plot mystery. Narrator Yuugo tells the reader about his father, a zoo director, his big sister Sachi and "Benjamin", a slightly odd animal that lives in their zoo and the odd discovery Yuugo made about Benjamin, but explaining more would be spoiling the plot. Personally not a big fan of this story as I think it's closer to science-fiction, with a twist that seems a bit telegraphed too well.

Yoru ni Ochiru ("Fall in the Night") by Kushiki Riu tells the story of a mysterious attack on a child in a nursery school: a man suddenly barged in the room during the break and threw a girl out of the window. Luckily, the little girl survived, but obviously, the horrible incident attracted the attention of everyone, raising questions about the attacker, but also about the security measures of the nursery school. Journalist Katou Katsuki is put on the story, because his family home is nearby, which means no extra travel expenses. The story works towards a sad denouement when Katsuki realizes what the motive behind the attack is, which has a parallel to the situation at his own parental home. I would definitely believe it if someone would tell me that this story was based on real events, as the topic matter addresses real social problems, but this story does that without sacrificing anything of the mystery. It's perhaps the most 'realistic' story of the whole volume, but it's still a satisfying read as a mystery story.

The final story... I am not going to discuss here, because I have already reviewed Ooyama Seiichirou's Tokeiya Tantei to Oosugiru Shounin no Alibi ("The Clockmaker Detective and the Alibi with Too Many Witnesses") earlier this year, in a seperate review! I liked the story a lot, so I'm not surprised it ended up in this volume. This story was also adapted as the final episode of the Alibi Kuzushi Uketamawarimasu television drama which aired earlier this year and according to the introduction by Ooyama, this story was actually written because the television production staff came up with this plot for the series finale.

On the whole, I liked this year's iteration of Honkaku Ou better than that of last year. Tokeiya Tantei to Oosugiru Shounin no Alibi I already knew, but it's definitely a strong puzzler, as is Higashigawa's whodunnit story (I wish I had read this in real-time, because I actually solved it correctly!). This year's volume is also surprisingly diverse, with stories set in the far away past (Ibuki Amon's story), but also stories that seem to tackle real social issues (Yoru ni Ochiru) or tales with a more dramatic angle (Kikime no Osoi Kusuri). As a reader who often tends to fall back on the works of authors I already know, reading an anthology like this one once in a while is a safe and enjoyable way to get to know a few new names without having to invest too much money/time.

Original Japanese title(s): 『本格王2020』:  結城真一郎「惨者面談」/ 東川篤哉「アリバイのある容疑者たち」/ 伊吹亜門「囚われ師光」/ 福田和代「効き目の遅い薬」/ 中島京子「ベンジャミン」/ 櫛木理宇「夜に落ちる」/ 大山誠一郎「時計屋探偵と多すぎる証人のアリバイ」

Update on Crime

Something old, something new,
something borrowed, something blue

(Bridal rhyme)

One reason I don't often do anthology reviews is because I'm never able to fit all the tags I want to use within the character limit. So if I do an anthology review, it's likely of a relatively short one.

Disclosure: I am a member of the Honkaku Mystery Writers Club of Japan. I didn't vote for the stories this year though (or for any year since I became a member.... I read far too few new releases each year...)
 

The Honkaku Mystery Award is awarded every year to the best mystery novel published in the year as chosen by the members of the Honkaku Mystery Writers Club of Japan. One of the qualifications to be eligible for the award is that the story must have been published as an individual, standalone release, which is of course seldom the case with short stories and essays, which are usually first published in magazines or other publications (short story collections are exceptions of course). That is why the top-rated short stories and essay of the year are usually collected in a special anthology edited by the the Honkaku Mystery Writers Club of Japan. Until 2018, this annual anthology was titled Best Honkaku Mystery [Year], and contained up to ten different stories, as well as one essay on mystery fiction. However, the format was changed for 2019, and with that, the title too. Honkaku Ou 2019 ("The King of Honkaku 2019") is not only published in the muuuuuch handier, but smaller pocket format, it loses the essay and is also somewhat shorter than the previous releases, but its goal is still the same: to collect the best-rated mystery short stories of the year within one anthology.

Golgotha by Amemura Kou starts with the arrival of a letter by Akihiro's uncle Nakamitsu Eiichi, who says he'll be travelling for a while and he wants Akihiro to baby-sit his house for a while. Akihiro has only just arrived at this house out in a small village, when the phone rings. The man on the other side seems surprised by the fact Akihiro's answering the phone, and asks some questions about who he is and where his uncle is. The man also drops some names that don't ring a bell with Akihiro, but the man says he'll swing by right away. The man has a curious conversation with Akihiro, apparently hinting at something without really pushing the matter, and eventually leaves Akihiro with a present: a mystery novel titled Labyrinth By The Sea by Horinaga Saiun. A note was wedged between the pages, which says "Doorplate". Akihiro learns his uncle's house used to belong to the author Horinaga Saiun and starts digging in the life of the writer, slowly uncovering the trail the mysterious man has been laying out for Akihiro. Golgotha is more a thriller than a puzzle plot mystery: the mysterious visitor keeps feeding Akihiro small hints that seem to point towards something, but it's not like the reader is challenged to solve the puzzle themselves based on these hints. It's an okay thriller story, but perhaps not the story I had expected as the opening story of this anthology.

Gyakuen no Gogo ("Gyaku-en in the Afternoon") is part of Nagaoka Hiroki's 119, a series on firefighters (119 is the emergency number for fire and ambulance services). The "Gyaku-en" in the title refers to the sad happening when children die before their parents and the parents have to arrange for the funerals of their own kids. That is exactly what Yoshikuni Satoshi has to do, as his twenty-four year old son Yuuki died in the line of duty. Both men were firefighters and knew the risk of their profession, but Satoshi couldn't have imagined his son would fall off the fifth floor of a building while attempting to save a woman in her apartment. The story is set at Yuuki's funeral service, where Satoshi tells the people gathered (mostly collegues) about what kind of child Yuuki was and how proud he is of him. However, as Satoshi's speech continues, he starts focusing on the incident that took his son's life, and by the time he's showing pictures of the apartment of the woman who Yuuki failed to save, the reader is fully aware something's wrong with Yuuki's death. A very nicely clewed story, with clues that are hidden very naturally in the text, but which really take on a different meaning once you arrive at the conclusion. The main hint that sets things off is rather mundane if taken fully on its own, but it works surprisingly well as a 'jumpstarter'  for the rest of the reveals. I do find it kinda hard to believe that one character would do that in such an impulsive manner, but okay, I guess it was also kinda hinted at.

Tomoi Hitsuji's Biwa no Tane ("Loquat Seeds") stars Tsutabayashi, a young man with violent deaths hiding in his past, who still seeks redemption and hopes to find forgiveness from the people hurt. While Tsutabayashi tries to keep quiet about himself, his rare family name often often rings some bells with people, and he has been forced to quit his job more than a few times because his "colleagues" started to shun or harass him after finding out. That is also the reason Tsutabayashi at first didn't feel like informing the police when he discovered the body of a murdered high school student, a new victim of the serial killer who has been terrorizing the city. He does do his civic duty however, and to his surprise, he finds him invited by the division manager of his job. The man learned about Tsutabayashi's past due to an acquaintance at the police, but does not seem to be planning to ask him to quit his job. His son was a classmate of the victim found by Tsutabayashi, so they have a talk too, but while everything seems to end peacefully here, Tsutabayashi's past ends up exposed to his workplace, and he's forced to quit anyway. It's at this point Tsutabayashi decides he should try solve the murder on the student, as a way of redemption. The story was originally written for an anthology with "twist endings" as its theme, though I have to say the twist ending was kinda telegraphed too obvious. The rest of the story is also rather straightforward: some of the clues are literally "the killer dropped their personal belongings at the scene of the crime", so that's not really surprising. The underlying themes of the story are good though, and perhaps this story is best enjoyed for that.

Toda Yoshinaga's Negaisasa ("Wish Tree") is set at the end of the Edo period and stars a patrolman called Toda Souzaemon. His prey, a notorious swindler, leads Souzaemon to Maruya, one of the better known "establishments" in the entertainment district. The swindler had been using his earnings to spend several nights with Peony, the top girl of Maruya, but of course, he never should've stayed for so long at one place, as that's how Souzaemon managed to catch him. Souzaemon becomes interested in Peony himself, not as an object of lust, but as an adversary in the game of Igo, so he too starts visiting the girl. Maruya itself has been in financial problems lately due to the useless spendings of Tomizou, who married into the family of O-Sen to become master of Maruya. Tomizou became obsessed with Shiroinugami, a deified form of a white dog from England which died near Mt. Fuji and whose deaths Tomizou happened to witness. Since then, Tomizou has been using all his money on dog idols and import from the West like sofas, tables and coffee. O-Sen plans to kill her husband, but wants to make it seem like it was Shiroinugami's curse that did it and sends a fake threatening letter. On Tanabata (July 7), the day the dog was born, her husband conducts a strange dancing ritual to appease Shiroinugami. Souzaemon is asked to watch Tomizou. Tomizou is surrounded on three sides by four-part panels, while Souzaemon sits in front of the open side. Souzaemon doses off slightly due to the long ritual, but then Tomizou suddenly falls down, having been stabbed by a sharp instrument. But how could that have happened: Tomizou was surrounded by the three panels (which are undamaged), and Souzaemon was sitting in front of the open side, and while he was drowsy, he surely would've seen someone carrying a weapon appear right in front of him. The way this impossible murder was committed can be guessed quite easily, but it fits really well with the historical setting of the story, making it quite memorable. It's definitely a good example of how a good background story/setting can elevate a plot idea.

Chibiman to Jumbo ("Chibiman and Jumbo") by Shirai Tomoyuki is the nastiest story of the anthology. Susumu is the poor slave of the three fat speed-eater brothers Mogura, Moguri and Moguru, who in order to maintain their speed-eating empire Munch Land, are willing to torture and kill people on a whim (actually, they enjoy killing and eating them too just for fun). But what they don't need is exposure. Some days ago, Munch Land held a Sea Roach Speed-Eating Contest between Moguru (stage name Jumbo SP) and Chibiman, a female speed-eater. They had to eat a bucket full of sea roaches (with some "Throw-Up Pauses" planned in between). The contest seemed to be going in Chibiman's favor, but then she suddenly started to convulse, and dropped her head in the bucket of sea roaches. To the audience, they lied that Chibiman was just feeling bad, but in fact she had died. The three brothers first agreed to kill off Susumu and make it seem like he had cannabalistic tendencies by stuffing Chibiman's remains in his stomach, but Susumu pleads for his life, saying that Chibiman was clearly poisoned and that the poisoner might be after the brothers too. Susumu is given one day to find out who killed Chibiman, but he has quite a problem to solve: why was only Chibiman's bucket of roaches poisoned, was she really the intended victim and what was the motive for this murder? This is a really weird, distasteful story with gangster speed-eating brothers who are apparently in a habit of killing and eating people, and Susumu himself is hardly a hero, making filthy jokes and kicking women in the stomach so hard they have to throw up too. It makes it really hard to care about any of the characters in this story. The core mystery plot is fairly complex though: the motive for poisoning the sea roaches is really original and probably the best part of the story, but I thought the way Susumu suddenly realizes who the murderer was, was a bit too sudden without much build-up.

Tantei Daihon ("Detective Script") was written by Ooyama Seiichirou as a homage to Abiko Takemaru's Tantei Eiga and follows the same basic idea: Playwright Kasuga Sousuke barely survived a fire in his home, and while he's in the hospital, the members of his theater troupe are left with the little that remains of their upcoming murder play. The policeman who rescued Kasuga from the fire only found a partially burned scenario, so the actors have a start of a murder mystery that happens on a remote island, but not the solution. As they discuss the story, each of the actors comes up with a solution that indicates their own character as the murderer. Madoy's FGO Mystery: The Meihousou Murders I reviewed earlier this year was also clearly inspired by Abiko's novel by the way. It's by far the shortest story in the anthology, but Tantei Daihon is still a surprisingly tightly-plotted story with several fake solutions. The final solution is clever: if you just follow the clues "straight", you're likely to run into a wall, but once you figure out the true meaning of a certain passage in the screenplay, everything is turned upside down, allowing you to arrive at the correct solution. I love this type of whodunnit setups, where you can cross out most of the suspects if you simply carefully follow each clue, but there's one final clue that asks for a bit more imagination in interpretation, which can turn everything around. Short, but satsifying.

To be honest, I have the feeling previous Best Honkaku Mystery anthologies were not only beefier, but also more satisfying as puzzle plot anthologies. Honkaku Ou 2019 in comparison is not only shorter in page count, but fewer of the stories really fitted with my own personal interest: stories like Golgotha and Biwa no Tane are for example thematically strong examples, but seen purely as puzzle plot stories I find them on the whole somewhat disappointing. Nagaoka Hiroki's series on firefighters seems interesting though. As the short story form is still going strong in Japan, I think having these anthologies that collect stories from different magazines is really great and some of the previous Best Honkaku Mystery anthologies I read had some fantastic stories, but the selection for this year was not exactly what I had been expecting.

Original Japanese title(s):  本格ミステリ作家クラブ（編）『本格王2019』: 飴村行「ゴルゴダ」/ 長岡弘樹「逆縁の午後」/ 友井羊「枇杷の種」/ 戸田義長「願い笹」/白井智之「ちびまんとジャンボ」/ 大山誠一郎「探偵台本」