While the Clock Ticked

 Are you death or paradise?

 Now you'll never see me cry

There's just no time to die

"No Time to Die" (Billie Eilish) 

Disclosure: I translated Ayatsuji Yukito's The Decagon House Murders, The Mill House Murders, The Labyrinth House Murders and of course, The Clock House Murders.

In 2024, Hulu released a wonderfully produced live-action adaptation of The Decagon House Murders. It just so happened I actually was going to meet author Ayatsuji Yukito the day after it was released, so I binged the series the night before, so I could actually talk about it to him. Like many others, I too was curious how they were going to actually film the book, as it is a very difficult work to adapt for certain media, but the result was honestly really, really good. So when I learnt last year they were going to do an adaptation of The Clock House Murders in 2026, I was thrilled: given how good The Decagon House Murders was, I have only high expectations for this new release, which was released this very week. Obviously, The Clock House Murders is a book dear to me: not only because it's easily one of my favorite books in the series, I also did the English translation of the novel, so I spent a lot of time on, and with the book. 

The live-action series releases today (Friday 27th), so I haven't seen the series yet at the time of writing this post. While they released the complete The Decagon House Murders series on the release day two years ago, this time they are splitting the release across two batches, with the first six episodes presenting the main problem released this week, and the last two episodes, with the solution, releasing next month. So I might binge everything next month in one go. 

To celebrate the release of this adaptation, the literary magazine Shousetsu Gendai (published by Kodansha, the Japanese publisher behind Ayatsuji's House books) featured a The Clock House Murders special in its March 2026 issue, with not only interviews with Ayatsuji, Arisugawa Alice and one of the main actors of the series, the magazine also featured no less than five (!) original "House"-inspired mystery short stories, written by as many authors. 

The first story featured is Aosaki Yuugo's Kubisogiyama no Kaiten Yashiki ("The Revolving Manor on Mt. Kubisogi"). The titular Revolving Manor is one of the six manors built by the legendary architect Kurotsubo Shinku. This particular building stands on Mt Kubisogi in the Hyogo Prefecture, and is best imagined as one of those revolving restaurants that offer a 360-degree panoramic view. The "entrance" of the house is actually just an elevator shaft: the elevator that leads up to the circular house built on top of that shaft tower. The house consist of three "rings". The fixed outer ring is the outer wall of the building, and is made of acrylic: the whole outer wall functions as a window, offering a panoramic view. The middle ring is built right against this outer window/window and holds most of the rooms, liking a sitting room, study and bedroom. This ring slowly revolves clock-wise, meaning each room not only has an amazing view, this view actually changes depending on the time! The inner "ring" is the static center of the house around which the second ring revolves, holding the elevator entrance, bathroom and kitchen.

The house is currently owned by Nishikubo Hiroyuki, who runs a make-up company. He and his wife are visited by a crew from a magazine on architecture for an article on the house. The crew are to stay for the night at this unique creation by the enigmatic architect Kurotsubo. The members all stay in a different room. The following morning however, a gigantic hole is found to have been carved out of the acrylic window. It's clear it wasn't just broken by accident, but someone actually bothered to open a hole in the outer wall. Down on the ground, at the base of the elevator shaft, they find one of the crew members lying dead, seemingly having fallen through the hole down the tower. Everyone is perplexed by the situation: did someone kill him and then cut a hole in the window to dump the body downstairs? But what purpose could that have?

This story is actually a sequel to an earlier Aosaki story, which features another house (The Glass Manor) by the architect Kurotsubo. I have the book, but I haven't read it yet. But it's no problem if you start here. The house in this story is actually pretty "normal" all things considered: I can easily imagine someone wanting a revolving house in the mountains with the complete outer wall acting as a window so you can always enjoy the view! It's not a particularly long story, which is why I was surprised Aosaki manages to pack quite a lot into the story, from a secondary storyline involving the narrator to a few (very short) wrong theories and then we have the actual explanation of what happened and it's... pretty hilarious if you visualize what happened and how the victim found their death. It's not mind-blowing good, but I do like the story for its subdued silliness and I'd love to see a live-action adaptation of this! I think Aosaki could even have gotten away with just that one main idea, so I do appreciate it how he decided to still add some more story details that weren't that necessary.

Ibuki Amon's Tsubaki Fujin no Subarashii Yakata ("Madam Tsubaki's Wonderful Home") is a historical mystery, as we may expect from Ibuki. Set in Manchukuo, we follow private detective Tsukisamu Sanshirou (also appearing in this collection), who is hired to find the brother of a young woman. When their father died, the whole family fortune was stolen by their uncle. The young woman and her mother managed to find some work to earn a humble living, but her brother ran away. He became a robber and eventually made it to the position of captain within his gang of robbers: his robbers already took revenge on their uncle. His sister had not seen her brother in a decade, but recently got a letter saying he had been wounded and was now recovering in a strict medical institution run by a Mrs. Tsubaki: patients aren't allowed to write or receive any letters, but he managed to get one of the suppliers to deliver a letter to his sister for him. He would write again later on, but she never got more news from him and when she asked the deliveryman to go ask at the institution, he was found out by guards and beaten to death. Tsukisamu happens to know Mrs Tsubaki from his time working for the railway ministry. He decides to pay the institution a visit, and is shown a truly wonderful place where wounded Manchurians, from criminals, to simple women and children, are slowly nursed back to health with all the love and care they need... but Tsukisamu knows there's something wrong about the house and the intentions of Mrs. Tsubaki.

I'd be lying if I didn't say I was a bit disappointed when I realized the "house" in this story was not as important as in the other stories in this feature: the focus of the mystery lies more on the intentions of Mrs. Tsubaki and why she is running this hospital. As one can expect from Ibuki, it's a great historical mystery though, set very firmly in the time period and setting of the story, which is of course also fairly original as you don't have many present-day mystery writers anymore who use Manchukuo as a setting. The motive for Mrs. Tsubaki's actions is set-up wonderfully and eventually, Tsukisamu arrives at a heinous plot hiding within Tsubaki's seemingly wonderful hospital. Less of a "add-clue 1-and-clue 2-to-arrive-at-answer 3" mystery, more of a "given-these-remarks, can-you-imagine-why-someone-would-do-this?" type of mystery, but still well-done.

Kesshoukan no Satsujin ("The Crystal House Murders") by Ooyama Seiichirou is set in November of 1990 and first introduces the reader to a group of friends, consisting of Ryouta, Kouji, Shuuichi, Rikka, Maki and Satomi. They are staying at the Crystal House, a small hexagon-shaped hotel in Hokkaido. They have been friends since primary school, and still meet once in a while even now they're all adults. The Crystal House is owned by Ryouta and not in business just yet, but he's giving his friends a sneak peek at his new business adventure. The friends have a pleasant night in the Crystal House, surrounded by nothing but nature and snow, but the following morning, Rikka is found murdered in her room: her head's been bashed in and for some reason, her left hand has been cut off. Rikka has always been the mysterious one of the group, with strange powers of clairvoyance, but is that why she got killed? When they try to call the police, they find the line's dead. Is the murderer someone from outside, or is it one of the friends, and why was the victim's hand cut off? 

This is probably my favorite story in the feature, partially because the story feels the most like a story inspired directly by Ayatsuji's House series, with a few cool nods like the cut-off hand, as well as a great set-up of the narrative: the tale actually starts with a news report detailing how the Crystal House went up in flames and how everyone but one person staying at the hotel had died: one person made it out alive and was saved by the emergency services, but is seemingly suffering from amnesia, with no recollection of the events that led to the deaths of all the people in the hotel. This "book-ending" mystery of who the survivor actually is, and what their role was in the deadly events that occured inside the Crystal House starting with Rikka's death, add a great extra layer to the mystery. The mystery of the cut-off hand, as said, invokes a few moments from Ayatsuji's house series, but the way Ooyama develops this clue feels much more Queenian than Ayatsuji would generally do. So even though the "prop" is the same, Ooyama definitely makes best use of his own expertise, using the cut-off hand for a proper physical-clue-based chain of deduction. I really like what he does with the Crystal House here as a setting too, giving it a unique vibe, and the whole tale feels really complete.

Shasendou Yuuki's Goumonkan no Satsujin ("The Torture House Murders") has the WeTuber Kugi Hikage and her assistant visiting the Torture House, as Kugi is best known for visiting houses with a nasty background stories. Twenty years ago, Horikoshi Toutarou, the original owner of the house kidnapped a few people to torture them to death in his basement with his collection of torture device. One victim managed to escape eventually and notified the police, leading to Horikoshi's arrest. The house, now known as the Torture House, was later bought by Nukube Ikurou and he had an exact copy of the Torture House built next to the original. He has preserved the original Torture House and has a caretaker there keep an eye on things, while he lives in the copy. As this copy houses his collection of antique wares, he has dubbed it the Nostalgia House. He has invited a few people interested in the Torture House and the torture devices kept in the basement to view them, with Kugi as one of his guests. The tour is to be held the next day, but when Nukube doesn't appear in front of the Nostalgia House the next morning as agreed upon, the group crosses a snow-covered field to head for the Torture House themselves. The caretaker there states he did see his master come to the Torture House yesterday. He had assumed Nukube had returned to the Nostalgia House for the night, but the complete absence of footprints in the snow suggest Nukube never left the Torture House. When the group enter the dark basement, they find a dead Nukube, who has been clearly tortured to death, with his joints and bones broken. Unfortunately for the caretaker, it seems that he's the main suspect as he was the only other person in the Torture House last night.

Setting-wise, I really love this story, as the backstory of the Torture House is really cool, as well as the idea of a Nostalgia House full of weird, antique curiosities. It's why I am a bit disappointed that due to the way this story was structured, one person stands out a bit too much as the only viable suspect, which immediately limits the ways the murder could've been committed. The story does make cool use of the torture theme though. I also like the idea of how Kugi manages to trap the murderer in principle, but the way it is written now, the clue depends very much on trivia, while I think it could probably have been written in a way to be a bit fairer towards the reader, if they happen to not have certain knowledge.

The last story, Kokushikan Satsujin Jiken ("The Black Arrow Mansion Murder Case") by Takemoto Kenji, is one I'm not going to discuss in detail. The story is about the detective Norimuzu Rintarou who's asked to look into the disappearance of the owner of the Black Arrow Mansion in Saga Prefecture. Some readers will probably already have realized it by now, but this is a full-on parody of Oguri Mushitarou's Kokushikan Satsujin Jiken, one of the most notorious anti-mystery novels from Japan. Takemoto goes full throttle here, doing not only direct mirrors to scenes from that book, but the story is also absolutely brimming with countless of literary references that may or may not be real and characters who don't speak like humans but like... well, I guess, like AI that tries to sound smart and well-read. The story is basically only fun if you know the original Kokushikan Satsujin Jiken and recognize what this story is mirroring exactly. For Takemoto does that really good, it feels as frustrating to read as the original! (Considering the author's intent, this is praise).

Overall, I think this The Clock House Murders feature in Shousetsu Gendai was pretty fun though, and it's great seeing all these authors doing a take on a house-based mystery. I'm looking forward to watching the live-action adaptation too. If you haven't already though, please consider reading the English translation of The Clock House Murders too, as it's really a great mystery novel!

Original Japanese title(s): 青崎有吾『馘殺山の回転屋敷』/伊吹亜門『椿夫人のすばらしい家』 / 大山誠一郎『結晶館の殺人』/ 斜線堂有紀『拷問館の殺人』 / 竹本健治『黒矢館殺人事件』

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」

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」

Murders On-Line

ユーチューバー罪でタイホされた
『ポプテピピック』

"Arrested for Youtuber crimes"

"Pop Team Epic"

In an article I wrote earlier this year, I noted how I think many contemporary mystery authors still seem to struggle with implementing modern technology in mystery stories, let alone supernatural elements. For some reason, modern technology seems to frighten a lot of writers, as if their mere existence render a puzzle plot mystery impossible (spoilers: that's not true). It's really weird if you think about it, as smartphones and everything are a normal part of our lives now, and I bet a lot of the readers of this article now are reading from either smartphone or tablet, but few mystery authors seem to be able to incorporate these essential parts of our lives in puzzle plot mystery stories in a consistent, regular manner. Both Detective Conan and Kindaichi Shounen no Jikenbo can be seen as the rare occassions, with both series following the development of consumer technology during their serialized run fairl closely. Conan's usage of technology in particular is very noticable, with one of the first stories ending with Conan calling Ran on a public payphone, while nowadays the series often features mystery stories where smartphones and apps are used.

This is definitely a reason why Yukashina Miho's short story Nimannin no Mokugekisha ("Twenty Thousand Witnesses", 2019) was a surprisingly pleasant read, as it's so clearly set in today's society, without relying solely on that notion to present a capable mystery plot. Yukashina debuted this year as a professional mystery author with this story by winning the 16th Mysteries! Newcomer Award. This is basically the sister award to the Ayukawa Tetsuya Award: both are organized by the same publisher and both awards includes a publishing contract for the newcomer for their work, with the Mysteries! Newcomer Award meant for short stories, and the Ayukawa Tetsuya Award for novels. In the case of the Mysteries! Newcomer Award, publication means being published on paper in the literary magazine Mysteries! and as an individual e-book release. Nimannin no Mokugekisha was originally submitted with the title Tsumabiraka ~ Hokenshitsu no Fushigi na Sensei ("The Full Details -The Curious Teacher in the Infirmary"), but it got a title change after it won the award. And to be honest, I like the current title much better.

The story starts with Yuuko visiting the infirmary of the high school of her best friend Junna. Junna had died on the evening of the first of March, falling from the Shin Yodogawa Oobashi Bridge in Osaka and drowning the Yodo River. Junna had been pregnant, and both her mother and the police reached the conclusion she had become desperate and committed suicide. Yuuko however knows this is not true. The day before her death, Junna had visited Yuuko, saying she was going to elope with the father of her baby, but on the night of her death, minutes before her fall, she called Yuuko, saying something was wrong with her boyfriend and that she was afraid and needed help. Nobody believes Yuuko's story however, so she decides to visit Junna's school, as Junna had told Yuuko that their school nurse was someone she could trust if she ever needed any help. While at first Yuuko's surprised to learn that the school nurse Amagai is a man (even if only a temp just filling in for the regular nurse for a period), she soon learns he's indeed more than meets the eye. Yuuko confides to Amagai that Junna's boyfriend and father of her baby is a person known as  "Shiiga", a Youtuber fairly popular with people their age. Junna was supposed to elope with him, but he betrayed her and threw her off the bridge. While Yuuko has also voiced her accusations to the police, there's one problem: Shiiga has an alibi, an alibi which is vouched for by twenty thousand witnesses! For on the night of Junna's death, he was doing a live Youtube broadcast from his room between nine and ten, exactly the period when Junna fell of the bridge. He had twenty thousand viewers during the live stream, with whom he interacted, meaning he could not have killed Junna, even if Yuuko's convinced he did it. So how's Amagai going to crack this alibi?

Youtubers, live streams and chat boxes, it's all a part of the modern life now, so indeed, why not a story where a live stream is the alibi? In essence, it's really no different from the impossible alibi stories where the murderer is on stage while committing a murder, or if you want a more modern counterpart, where the murder is committed while the killer is chatting with someone on the internet. What makes Yukashina's story enjoyable however is that is not relying solely on this story element. While the idea of twenty thousand witnesses is really great, she treats live streams as a matter of fact, and nothing more special than any other part of modern media. Amagai for example uses the internet to google all the facts he needs to know, because, well, that's what all of us do. He's not even technology-savvy, but he can do basic Google searches like any other person. While I think the basic gist of this alibi was created can be guessed fairly easily, I think Yukashina did a good job at not bettng everything on one card: in order to conclusively prove the alibi is false, you need to attack the problem from multiple angles, which are quite nicely clewed in the story. The story does not require any special knowledge about social media or technology that the average person wouldn't know nowadays, but also does not pretend like we live in a world where all of that is strange: it's a matter of fact that they are part of the modern society now, so it simply uses everything that is available. One could definitely point out that the seperate lines of reasoning that Amagai proposes to prove the thing's fake aren't particularly surprising, but Yukashina combines all these ideas in a coherent form, resulting in a compact, but surprisingly dense story that is satisfying from start to finish.

After reading Nimannin no Mokugekisha, I decided to dig up another story which won the Mysteries! Newcomer Award which I had lying around. Ibuki Amon debuted in 2015 with the short story Kangokusha no Satsujin ("Murder in Prison" 2015), which is ironically the complete opposite of Nimannin no Mokugekisha, as it's set in the past, to be exact, the early days of the Meiji period (1868-1912). Hirabari Rokugo was a warrior during the revolution that brought forth the Meiji rule, and while he originally fought on the side of the imperial forces, he eventually turned against them due to their treatment of those who fought during the revolution. It took a lot of trouble to capture Hirabari, who was transferred to Rokkaku Prison in Kyoto. Political motives had led to his incarceration in the former capital of Japan: figures in positions of power feared what Hirabari could reveal about their (dirty) roles during the revolution and wanted him executed as once, while the Ministry of Justice of course wanted to get as much information as they could get out of Hirabari. However, Hirabari's execution was decided upon surprisingly early, so the justice officials Shikano Moromitsu and his superior Etou Shinpei travel to Kyoto to bring Hirabari the bad news he's going to be executed that very day. Hirabari is eating his congee breakfast while Shikano tells him this, but he suddenly keels over. The man's dead almost immediately, as his food had been spiked with poison. This leads to a problem, for everyone in the prison who had the opportunity to poison the food, also knew Hirabari was going to be executed that day, so who would go the trouble of poisoning the man?

A very different kind of story than Nimannin no Mokugekisha, as it's purely a whydunnit. Why poison a man who was going to be executed and decapitated in a few hours? While there are a few people who seem more likely to have done it than others, there's still the question of why it was done in such a conspicious manner, as suspicion was bound to fall upon only a very limited circle of suspects.  The surprising truth is wonderfully fitting to the time period and singularly unique. While it may be a bit difficult to guess on your own, I'd say Ibuki also did a good job at setting the reveal up with proper hinting to the reader, meaning they too have a fair chance at guessing what that motive could possibly be, even if it's really a motive that only exists in very specific context. But definitely a memorable story.

Anyway, both these stories were entertaining and offered unique situations that makes them stand out in your mind. Ibuki Amon kept on building on the world of his debut story by the way: his first standalone book release Katana to Kasa ("The Sword and the Umbrella") was released last year and is a short story collection featuring further adventures of Shikano. It's definitely a book that's on the radar now. Yukashina Miho only debuted officially last month, as her story was featured in the October 2019 issue of Mysteries!, but I'm definitely keep an eye on her future work too if she chooses to continue writing.

Original Japanese title(s): 床品美帆「二万人の目撃者」
 伊吹亜門「監獄舎の殺人」