Topsy-Turvy Land

The rain in Spain stays mainly in the plain

"The Rain in Spain" (My Fair Lady)

I do like how all the covers in this series have managed to incorporate elements of all stories included, and not simply only the title story.

Professional photographer/amateur detective Minami Mikikaze has been close friends with the Kittridges for some years now, ever since father Kittridge acted as the surgeon who successfully conducted Mikikaze's heart transplantant a few years back. Daughter Elizabeth Kittridge, a medical forensic expert, has been visiting Japan to attend an international symposium and workshop program on criminal forensic investigation, and Mikikaze has been showing her around his home country since, but for some reason the two keep getting involved in various murder cases. After a few shorter cases in Aru Egypt Juujika no Nazo ("An Egyptian Cross Mystery") and Aru America-Juu no Nazo ("An American Gun Mystery", 2022), and a longer adventure in Aru Girishia Hitsugi no Nazo ("A Greek Coffin Mystery), Beth is almost ready to return to the States, as the symposium is over and her father has been in bad health lately. But before she leaves, she's of course going to visit her old friend Takizawa Atsushi, who lives in Wakayama. Atsushi is very fond of the country Spain, and his Spanish wife Alicia, and his home has been built like a Spanish house. A few years ago, they built a giant sculpture and set it on fire like the Fallas, which attracted the attention of a lot of locals, and ever since, they've been doing it every year, with more people participating with their sculptures. It's for this reason the cliff where Atsushi's house stands is known as the Spanish cape. During their visit, Mikikaze and Beth see how Alicia's daughter Akemi from a previous husband is attacked in the garden house, even though she should be alone in there and the doors and windows were locked. They also learn about an earlier attack on Alicia a year ago, when she walked out in the garden, but was found by her uncle lying naked in the garden, having been knocked out. Her clothes however were found neatly folded in the house hallway. Who is after Alicia, and why had she been left naked in the garden a year ago? That's the big mystery in Tsukatou Hajime's Aru Spain Misaki no Nazo ("A Spanish Cape Mystery", 2023).

With this final book, Tsukatou Hajime finally ends this miniseries starring his series detective Minami Mikikaze. As one can guess going by the titles, this miniseries took its inspiration from the earliest Ellery Queen novels (the 'nationality' books). These stories are not directly based on the respective Ellery Queen novels though, but only built on themes or just the title: in the case of Aru Spain Misaki no Nazo, we have a location called the Spanish Cape, and there is a naked victim. The collection itself features three stories, which might sound surprising to the more attentive reader: for The Roman Hat Mystery, The French Powder Mystery, The Dutch Shoe Mystery, The Greek Coffin Mystery, The Egyptian Cross Mystery, The American Gun Mystery and The Siamese Twin Mystery have all been adapted already in this series, which should only leave The Chinese Orange Mystery and The Spanish Cape Mystery, so two stories. Well, in Japan, the book The Door Between is published with a title that translates to The Japanese Jay Mystery, which is why it's considered quasi-part of the Nationality novels. It's actually the same in this book too, as it's basically a bonus story, set after Beth has already left Japan, so it's not "really" the same kind of story as the ones preceeding it.

In the first story Aru China Daidai no Nazo ("A Chinese Orange Mystery"), we folllow Mikikaze and Beth during their visit to Nara General Art College: Atsushi's son Shigeru is a student here, and they're having a campus festival today, and Shigeru is actually part of the committee. The big artistic project they show off today is a hall where everything has been turned around and topsy-turvy. They actually made two of these rooms, as one was used during the day, but they have a second room prepared for the evening part of the festival. One of the guests at the festival is the Chinese artist Xu Yuan and his interpreter, as he'll be doing a speech in the evening, and in the meanwhile, they are being shown the campus by people of the committee. When the students can't find Professor Tachibana, they learn someone has locked the storeroom serving as the evening topsy-turvy room from the inside on all three entrances. They break the door open, and find a dead woman lying on the ground, but whose face has been burned off. And that's not all, want the victim is wearing her clothes the wrong way around, with the front facing her back. Meanwhile, the main topys-turvy room is discovered to also have been tampered with: somebody has put everything back in its proper place and facing the correct direction. What has happened at this university?

I kinda liked how this story came up with a reason to have a topsy-turvy room like the original The Chinese Orange Mystery, and it even has a mystery with a "normal" room which should have been topsy-turvy. This was a story I partially liked, and partially didn't like. The mystery part for the room which has been turned back normal was by far the part I didn't like: a lot of the deductions leading to the solution came out of nowhere, and it was dependent on so many outlandish assumptions by the culprit to do that, but also an outlandish idea to create the exact motive that forced the culprit's hand, it didn't feel at all convincing as a mystery. The murder victim in the "straightforward" topsy-turvy room however, was a bit more interesting. While the locked room mystery isn't really an important factor in the grand picture and a lot of other clues seem a bit simple, I do like the reason given to explain why the murderer did all kinds of seemingly silly things to create the crime scene, as the reader is just as likely to fall for the trap as the in-universe characters. As a mystery story, I don't think Aru China Daidai no Nazo ranks among the best of this miniseries, but hey, it's not the worst story in this book!

The second and title story is by far the longest, and the story is in scale also quite large, as it spans two periods of time: Mikikaze and Elizabeth see how Akemi crumbles down in the garden house as they approach it, but find the building locked from the inside, and when they do get inside, they can't find any trace of an assailant hiding. Afterwards, another character disappears from the Spanish Cape, making the matter even more baffling. As "impossible crimes", these present-day mysteries aren't really memorable, though I do like some of the deductions Mikikaze poses in regards to Akemi's attack, as it does require you to have spatial awareness, which is something I always like in mystery stories. My favorite part is definitely the past mystery, when Akemi was knocked out by someone in the garden, and left naked there. While the fact she was found in the garden does seem to indicate the attacker was someone of the household (she was not sexually assaulted either), the mystery remains baffling, for why did the attacker undress Akemi and why did they go all the trouble to fold her clothes up and leave them in the hallfway of the house? This mystery is also related to Akemi's dark past, as she actually committed two acts of arson during a stressful time. After surviving her attack, she decided to come clean, but some of the victims of course never forgave her even to this day, which would provide a motive for attacking her now, but what then about the attack on her in the past? I love the explanation to why Akemi was left naked in the garden: it is sooooo simply, but so easily overlooked, and I like how elegant it is: once you figure out why Akemi was left naked, you immediately realize it could only have been one person, and this would immediately also explain some other mysteries lingering in the background. Definitely the best story of the collection.

Both these stories still have the usual problems this series has had with its writing by the way. In my review for the first book, I wrote: "Tsukatou often jumps a few minutes ahead and has the characters discuss all kinds of things that seem slightly vague to the reader and after that section, the narration catches up and explains how they got to that point (which explains the vague allusions in the earlier dialogue). It's a story device you often see in detectives, especially in the conclusion when the detective suddenly unveils the identity of the murderer, and only after that, the narrative explains how the detective laid their trap, but these stories, it happens too often: Tsukatou does this 'jump a bit forward, have some dialogues that include facts the reader hadn't heard about yet and then explain afterwards' thing few times per story. It's like you're being driven around in a car, but the car speeds up for no reason, only to turn around and do the same part slowly once again. It's jerking you around all the time, which makes enjoying the stories a bit difficult. At first, I thought it was just me needing to adapt to Tsukatou's writing style with the first story, but it happens in all four stories." This hasn't changed at all in this fourth book. The stories feel unusually long, because each time you get a scene in media res with some cryptic comments and names, then it jumps back in time to explain everything, and then you get the original scene again, and the next section it happens again. Every scene feels much longer than they need to be, being told in a roundabout manner. Even after so many stories, I still can't get used to this writing style, and each time, I can't help but feel annoyed by it.

The final story Aru Nippon Kashidori no Nazo ("A Japanese Jay Mystery") feels more like a gaiden story, as it's set after Mikikaze and Beth have gone their own ways. During a stay at an acquintance's place, Mikikaze hears Tanemura Kaitarou has been arrested on suspicion of murder of his roommate Kyouko. The elderly poet was living together with a woman whom he considered a soulmate, though not in the romantic sense of the word. The two live in a small house near Mikikaze's acquaintance, and the woman was bed-ridden, being taken care of by Kaitarou. After a rare visit to the city to talk with his publishers, Kaitarou returned home to find Kyouko had been murdered, having been attacked by someone, but instead of contacting the police or the physician, he decided to go on a stroll in the forest to process the death, as, as he claims, he had promised to Kyouko to write a poem immediately after she died. It was only long after Kaitarou had, by his account, found Kyouko's body he bothered to inform the authorities, and this of course seems more than suspicious to them. But as Kaitarou himself also says the house was locked when he returned, it does seem only he could've committed the murder on Kyouko.

This story just didn't work for me. Part of it might simply be because I don't feel as strong about the original The Door Between as for the Nationality novels, but some of the mystery in this story also seems a bit forced. A large section of the otherwise not very long story is for example dedicated to a certain theory the inspector in charge has, but the theory seems to come out of nowhere and they keep going on about it for such a long time, it felt a bit tiring. There had to be a more natural way to introduce that theory, because it comes so sudden now and I do like the idea behind this theory, but the story is so short, it doesn't feel like its full potential has been tapped into. Perhaps a re-read at a later time might change my mind.

So overall, Aru Spain Misaki no Nazo was a somewhat uneven end to this miniseries with Minami Mikikaze. The first two stories are the best, but I can't love them unconditionally, and I didn't like the last story at all, which is always a sad way to end a series. Overall, I think the first two books in this series were better than the last two books, but I'm still glad I read them all as a fan of Ellery Queen, and also because it was Aru Egypt Juujika no Nazo ("An Egyptian Cross Mystery") which got me reading Tsukatou seriously four years ago, and it has brought some interesting things on my path. I wonder whether Tsukatou will have Mikikaze take on other "series" in future books! Only the future will tell!

Original Japanese title(s): 柄刀一『或るスペイン岬の謎』:「或るチャイナ橙の謎」/「或るスペイン岬の謎」/「或るニッポン樫鳥の謎」

The Unseen Door

 "My thanks! I find the dead no acquisition, And never cared to have them in my keeping."

"Faust" (Bayard Taylor tr.)

I read this book in December, but the book is set during a heated summer, which by the time this review is posted, should be approaching...

Yabusaka Ichirou had a birth defect that manifested in his childhood, affecting the use of his fingers. He however did not give up, and overcame his defect and became the well-known illusionist the Mephisto on Stage. When the condition of his fingers worsened again, he had to give up the mantle and he left Japan for many years, but he managed to recover once again, and is now ready for his great comeback. Young Mikikaze and his older sister Mikiko have become family friends of the Yabusakas in the period since Ichirou, his wife and child have returned to their family home to prepare for his comeback: Mikiko, a writer for the local town magazine, happens to be friends with Ichirou's assistant and sister-in-law Haruka, while Mikikaze, a teenage boy with a very weak heart, is one of the best students at Ichirou's magic school. The Minami siblings are of course invited to the big comeback show of The Mephisto on Stage in a hall in Sapporo, but the great magician has an extra surprise for a small group within the audience: fifty guests are randomly picked based on their ticket numbers to come to the special second half of the magic show, held at Yabusaka's own home, which has a special stage hall. Furthermore, he will show off an incredible piece of escape magic on their way. The Mephisto on Stage has one of his special guests tie his back, another guest has to sign a piece of (frail) Japanese paper tied to the rope, and then he is put inside a coffin, which is locked with a padlock on the outside, with the key being given to another guest. This guest is to hold on to the key, while the guests are brought in a tour bus to the Yabusaka manor, while the tied-up and locked-up Mephisto will be driven to the home by his assistants. He has a microphone on him allowing him to do some small talk while they're being brought to his home, and of course, the idea is that he'll escape from the coffin when the second half of the show starts. 

Mikikaze and Mikiko are among the lucky ones to get invited to the show, and like the other guests they arrive a bit earlier at the house. The other guests are entertained by Mephisto's assistants in the garden, while Mikikaze and Mikiko, as family friends, wait with the rest of the family in the parlor, while the coffin with Mephisto in it is brought to the stage hall in the manor, where he is left alone for the final part of this escape act. The house is also brimming with reporters who are going to write about the big comeback of Mephisto, hanging around in the hallways that surround the stage hall. Speakers are placed in various rooms in the house, allowing everyone to hear Mephisto talking to everyone via his microphone. At first, his escape act seems to go as planned as he chats along, but suddenly, he cries out and then there's no sound anymore. When the family realizes this is not a part of the show, they run to the show hall, but find the double doors locked from the inside, as are the side door and the backstage door. When they eventually break inside, they find an empty stage hall with not a living soul inside. For in the center of the room, stands the coffin, but for some reason, the coffin is now locked from the inside with the padlock. When they open it, they find Yabusaka Ichirou, stabbed in the chest with a stake. The big comeback of the Mephisto on Stage has become the death of the Mephisto on Stage, but it doesn't take long for everyone to realize the whole situation is impossible: the victim was found in a coffin locked from the inside, the stage hall doors were also all locked from the inside, and there were reporters walking around the hallways around the stage hall, so how did the murderer get away without anyone seeing them? This alone seems quite baffling, but it doesn't take long for more locked room mysteries to occur within the Yabusaka manor. Mikikaze is intent on solving the murder of his magic mentor, but will his heart hold in Tsukatou Hajime's Misshitsu Kingdom (2007), which also has the English title Kingdom of the Locked Room on the cover?

Misshitsu Kingdom is a book I had wanted to read for ages, and it was the book that made me really aware of Tsukatou's name in the first place. This book was mentioned in a mook edited by Arisugawa on locked room murder mysteries, and the title and description sounded interesting, but by the time I learned of its existence, the book was already out of print. Besides a random short story, my 'real' start with reading Tsukatou was only two years ago, with Aru Egypt Juujika no Nazo ("An Egyptian Cross Mystery", 2019), followed by the John Dickson Carr-inspired John Dickson Carr no Saishuu Teiri (John Dickson Carr's Last Theorem, 2020). Some of Tsukatou's earlier novels had also been made available as e-books at the time, but his most famous books, like Misshitsu Kingdom, were not available for some reason. But late December 2022, those books were finally put on digital storefronts, so I picked up Misshitsu Kingdom immediately. At the time, I didn't know that this book also stars Mikikaze by the way. Mikikaze stars in Tsukatou's novels with Ellery Queen-inspired titles (Aru Egypt Juujika no Nazo ("An Egyptian Cross Mystery"), Aru Girishia Hitsugi no Nazo ("A Greek Coffin Mystery") and Aru America-Juu no Nazo ("An American Gun Mystery"), but he's older there, having had a heart operation and working as a freelance photographer. In Misshitsu Kingdom, we have a much younger Mikikaze, who still has a very weak heart, meaning he often has to rest between events and his older sister Mikiko always keeping an eye on him, because her young brother's heart could stop beating any second.  

Misshitsu Kingdom is also a very long book, clocking in at 1200+ pages, while most of the Japanese novels I usually read here, have a page count between 300-500, so that's somewhere between at least two-four times as long! And don't worry, that's not 1200 pages spent solely on the triple locked room situation explained above, as there are a lot more locked room mysteries that occur throughout the book, though not all are murders. Though that brings me immediately to what I thought was the interesting part of the story, and definitely the thing that made me love this book. This book is undeniably about locked room mysteries, but also not, and it's the latter part I love. Sounds confusing, so I should explain. To start with the first part of that sentence: this book has a distinct occult atmosphere, with a murder happening inside the house of a magician, a triple locked room murder no less, and the sheer impossibility of this bizarre scene, of a man dressed as Mephisto staked inside a coffin, reminds me of the earlier books with Nikaidou Ranko, with the gothic/occult vibe. This is also seen in some of the other locked room situations, with the murderer seemingly disappearing in an impossible manner from rooms within seconds and it doesn't even take long for Mikikaze to refer to the murderer as the Anti-Mephisto on Stage, as the whole thing feels like theatrical, like a magic act, but used in a way to kill the real Mephisto. How did the Anti-Mephisto on Stage manage to pull of these acts? Well, the funny part is, that isn't really the focus of this book. At least, not the how. Sure, there are segments where we examine the physical evidence, and this allows Mikikaze to solve the various locked room mysteries, and like I have seen in other impossible crime-focused Tsukatou works like John Dickson Carr no Saishuu Teiri and Kiseki Shinmonkan Arthur - Kami no Te no Fukanou Satsujin ("Miracle Inquisitor Arthur - The Impossible Murders By The Hand of God"), his locked room mysteries tend to rely on fairly mechanical tricks. It's a shame the book doesn't feature many diagrams, for I feel some locked rooms would have felt more fair with a better presentation of the situation. But still, for a book that is titled Kingdom of the Locked Room, you'd perhaps be surprised how simple some of the locked rooms are, and I think only two, maybe a third one, are really memorable, and that's often not even because of the technical merits. The way they are hinted, I think most of them are pretty hard to really solve yourself (though again, diagrams would've helped!) and personally, I'm not a really big fan of these mechanical tricks, though I have to say the third locked room mystery has some really good mechanical ideas: there are a lot of moving parts in that situation, but they all serve a specific purpose, and the way they work together is really clever, especially when it comes to the matter of a certain witness.

But what is there to like about the book then? Well, while the locked room mysteries themselves invoke Nikaidou or for example Carr, the segments in between are surprisingly much more like an Ellery Queen story! In a way, this book allowed me to make a connection in my mind between the aforementioned 'impossible crime' focused Tsukatou books I had read, and the three books with Ellery Queen-styled titles with Mikikaze, because Misshitsu Kingdom sits right in the middle, with its focus on locked room mysteries, but also large investigation scenes and discussions that play out like an Ellery Queen novel. Long ago, I reviewed Ooyama Seiichirou's Misshitsu Shuushuuka ("The Locked Room Collector"), a really cool short story collection where Ooyama employed Queenian-type deductions to solve locked room murders. Misshitsu Kingdom does this in a very different manner, where the solving of the locked room murders themselves is still very "technical" similar to Carr or Kitayama Takekuni's work, and while Mikikaze often manages to solve (large parts of) the how of the locked rooms fairly quickly, the investigation then moves to the why. Why did the murderer create a locked room situation in the first place? Why go through all the trouble to create one, and why use this specific trick, and not for example a different one? What merit has choosing this option over the other one, or were there other factors that forced the murderer's hand? The triple locked room murder for example is, in hindsight, surprisingly simple and I can even imagine some people really disliking this solution, but I really like it because the build-up with discussions regarding the why (this was done) are really good, justifying the simple solution. There are also other very Queenian aspects to the mystery: the stage hall of the first murder for example wasn't just a locked room, but for some reason the furniture had been moved and all glass objects in the room had been removed. But why? This is of course the type of mystery you often see in Queenian mysteries (the crime scene with something strange done by the murderer with an unknown reason), but it is certainly not the only Queenian element you will feel throughout the book. There is even the matter or Later Queen Period problems, where Mikikaze starts to suspect the murderer counts on the police figuring certain things about the various locked room mysteries, which makes it almost impossible to guess whether they have found a real clue, or whether the murderer had already counted on the police on finding it. But I love all these Queenian aspects of the book, as it allows for the type of deductions a reader is more likely to make themselves (like I wrote about in this editorial), compared to the 'figure how this thread and needle were used to lock this door from the outside' type of mystery. And of course, these type of deductions are also more interesting in the way they tie to the whodunnit question, as often, Mikikaze will notice things that allow him about the choices the murderer made or the actions they took, to zero in slowly but surely on the murderer.

The Ellery Queen-type of novel, I very much associate with the pure whodunnit, using a chain of deductions to allow you to eliminate the suspects one by one, and identify the one and only murderer. As a whodunnit, I think Misshitsu Kingdom is very much like what I said about the first locked room murder: at first sight, the identity of the murderer is almost ridiculously simple, and again, I can guarantee some people will not like this solution, but I can't help but admire some of the hints laid out to point to whodunnit. I probably missed all of them, but some are really cleverly hidden, though some are really not worth mentioning. For example, the final act of the book basically tells you straightout who the murderer is with the police basically coming across the equivalent of finding camera footage of the murderer buying the murder weapon and smiling at the camera, and that's pretty disappointing, but then Mikikaze starts pointing out other clues we came across throughout the narrative, and a lot of those are really good, hints that seem so obvious in hindsight but which you don't notice beforehand. That said, I don't think the identity of the murderer is hard to guess, but to actually find the corresponding hints Tsukatou laid out is a lot more difficult, though unlike the early Queen novels or for example the Student Alice novels, this isn't really a super long chain of reasoning that allows you to eliminate suspects of a list until you get to the last one, but more like different kind of clues spread across various events that happen to indicate a certain person.

And while the book is really very long, I myself didn't find myself bored with it. Sure, the crime scene focused investigations and the subsequent discussions about why each locked room exists can be a bit slow, but they are always on topic, and never feel dragging, at least, not if you're used to these Queen-esque novels. And because it's quite lengthy, it manages to do quite some interesting things like also addressing the aforementioned Later Queen Period problems, or even fleshing out a backstory for the whole Yabusaka family that eventually becomes relevant to the case and more. For if this book had not been so long, it certainly wouldn't have been able to give as much attention too to the locked room mysteries themselves. For they are presented in full detail, and where for example a book like Misshitsu Ougon Jidai no Satsujin  - Yuki no Yakata to Muttsu no Trick or The Murder in the Golden Age of Locked Rooms - The House of Snow and the Six Tricks may have had six locked room murders, things were really hasty in general, basically just throwing the locked room situation on the table immediately followed by the solution. The extra page count of Misshitsu Kingdom is definitely used well to flesh out most of the important aspects of the book (though some characters seem to have little page-time), so both the mechanical aspects behind the locked room as well as the whydunnit behind it are satisfying reads.

By the way, the book is book-ended by two parts where an older Mikikaze happens to meet one of the characters again, and they mention how the whole crime was like a Showa-era crime. Which is one of the reasons why I mentioned the book felt, at least in terms of appearance, a lot like a Nikaidou Ranko novel, because those books are also inspired by Edogawa Rampo-esque novels, with fiends with names like Golden Mask, the Black Lizard and the Fiend with Twenty Faces who do battle against a young detective. Only those novels were seldom as intricately plotted as Misshitsu Kingdom!

And that's why Misshitsu Kingdom will probably end up on my list of favorites of the year. It manages to mix a lot of elements in a surprisingly good manner and while not every aspect of the story is perfect as a mystery novel, I can't help but admire how well Tsukatou managed to have a book so much about mysterious locked room mysteries and other impossible crimes work so well with a very Queenian set-up and execution. I haven't read that many Tsukatou novels, but I have a feeling this will be the one I will always be thinking of whenever I read one again.

Original Japanese title(s): 柄刀一『密室キングダム』

A Case of Immunity

" I hate guns. Besides, I'm a bad shot"

"Troubled Waters"

At least these covers are still really neat...

Professional photographer/amateur detective Minami Mikikaze has been playing tour guide for the American forensic expert Elizabeth Kittridge in Japan since Aru Egypt Juujika no Nazo ("An Egyptian Cross Mystery"). When he was younger, Mikikaze suffered heavily from a weak heart, but it was Beth's father who was the surgeon who successfully conducted Mikikaze's heart transplantant a few years back, and they have kept in touch ever since, which is also how he became friends with Beth. Beth is visiting Japan for an international symposium and workshop program on criminal forensic investigation, and Mikikaze has been tagging along as her guide and personal photographer, though she can speak (a kind of) Japanese herself. The two of them also happen to get involved in all kinds of mysterious crimes during Beth's visit to Japan, from shorter adventures to a novel-length adventure in Aru Girishia Hitsugi no Nazo ("A Greek Coffin Mystery", 2021). And after a short story collection and a novel, we of course get the novella form: Tsukatou Hajime's Aru America-Juu no Nazo ("An American Gun Mystery", 2022) is once again titled after an Ellery Queen novel and is also the title of the first novella included in this book. Beth has been accompanying Mikikaze, who has planned to this trip to take some nature pictures, but after taking a fantastic photograph of a sunset and making their way back through the forest back to civilized world, the two of them are stopped by a police detective, who is obvious looking for something or someone. When he learns that Beth is an American coroner, he makes some calls and Mikikaze and Beth are asked to come along, and they are brought to the American consulate nearby. They had two events today at the consulate, a cultural exchange fair during the afternoon, and an evening masquerade party to celebrate the birthdays of the wife and daughter of the consul, as their birthdays are within days of each other. However, around sunset security noticed a suspicious figure in the large garden, and when they went to look for him, they found him shot to death, the pistol at his side. The victim was Ethan Matthews, the ex-husband of Vanessa Lang, one of the security officers in charge of the consulate. His obsessive behaviour caused their divorce, but that only changed him in a genuine stalker, which is why he might have been hanging around the consulate, but how did he end up with a bullet in his body? While everyone hopes it was just an accident and that he shot himself with his own pistol, they can't be sure, and as Beth, as an American, happens to be around, they ask her to examine the body and determine the cause of death, because obviously, they want to clear up this murder on consulate grounds as quickly as possible and don't want to wait for FBI agents to arrive from elsewhere in Japan or the US. However, while they are handling this case, and some people are waiting in one of the lounges, another murder occurs, with a man being shot in the head through the window of the lounge. What is going here?

What is going on here? As you may guess from the titles of these books, Tsukatou is greatly inspired by Ellery Queen in this series. These stories are not directly based on the Ellery Queen novels though, but only built on themes or just the title: in the title story's case, two people being shot, and of course this happening at an US consulate, and the victims being Americans. The stories were also inspired by Queen in terms of plotting, featuring chains of reasonings based on physical evidence, focusing on the state and circumstances of how something is found and the logical implications of those lines of thoughts. The state of an object tells something about when the culprit did something, with what purpose they did something, which knowledge they had that allowed them to do something, etc., and all of that serving as clues to identify the killer: the bread and butter of Queen-style plotting. Aru America-Juu no Nazo however does not feel like such a story: it is a mish-mash of seperate ideas that could've found a better place in different stories, but together they... don't add up to very much: there's little synergy between the various events and mystery-to-solution moments, and in the end, this rather long novella just feels... chaotic. 

The story starts promising though, with a consulate party being the "setting" of the story, but it doesn't take long for pretty much all the guests to be sent away, leaving a rather small cast of characters (suspects), and it's here when the chaos begins. What starts as an investigation into the death of Ethan Matthews soon becomes a muddy series of events that just happen, but don't really feel connected in terms of story, with for example Beth disappearing for a moment, followed by a second murder, and the appearance of a surprise character. You have all these events happening, but if you break it down, you see you just happen to have seperate things occuring simultaneously... simply to make the story seem more complex, and not because the incidents are connected to each other, even at the lowest level. This is of course the easiest, and least impressive way to present a "mysterious" story, just by stuffing unrelated events together in one box. Some ideas used in this story are okay or even memorable, but they just don't really work together, and there are certainly a few ideas here that really don't work in this story. The second murder for example, where a man sitting in a chair on the second floor of the consulate is shot from outside, has a solution that really doesn't fit this story or the world of Mikikaze and Beth, while I certainly would've swallowed it easier if it had been used in another story. One aspect of Beth's disappearance on the other hand is brilliant, and does work perfectly in this series, but ultimately, the story doesn't work as one cohesive mystery story. There are few elements that work specifically because they are in this story, while I do recognize there are ideas that would've worked better in a different story, or at least not together.

Oh, and then there's the way this story addresses a certain real-world issue with a fictional substitute. It was kinda daring to do this so close to the real-world counterpart, especially with the fictional twist it uses and while I think the core idea/thought behind this was pretty neatly used, this too feels out of place in this story, in this series.

The second novella, Aru Siam Futago no Nazo ("An Siamese Twin Mystery") is much shorter than the title story, but also much better. Beth and Mikikaze are visiting Kunou Junjirou, a professor researching quantum entanglement within twins. At his lake-side laboratory are more people, like his assistant, his (second) wife and James, his stepson from a previous marriage. James and Alistair used to be Siamese twins, but the two brothers were seperated some years ago, and now Alistair is living his own life as an illustrator in Australia. Present as test subjects are also the Zenba twins. The laboratory is located near a lake in the mountains and they are having a bit trouble with their equipment due to a solar flare, but their problems were not as drastic as those of the people in a private plane flying above them. One crashed plane later, a fire has started in the forest on the opposite side of a gorge. This is also where the main road is, so the people in the lab can't escape the fire, though fortunately, or unfortunately, the crash also took down the one bridge connecting the lake-side to the main road, meaning the fire won't reach their side for quite some while. Still, it is decides to already move the women to the island in the middle of the lake, as the professor has another house there. The party is split in two, with four remaining in the laboratory for the night to watch the fire, while the other four use the motorboat to cross to the island and sleep there for the night. During the night however, the party on the mainland discovers one of them was murdered, and when they phone to the island, Beth tells Mikikaze the professor was also killed in the motorboat when he made a second trip back-and-forth that night. Why were two murders committed during the mountain fire?

Okay, the mountain fire and closed circle situation are of course a homage to The Siamese Twin Mystery, and the presence of one half of a Siamese twin and another pair of twins is not a coincidence either, of course! Where the first story felt chaotic,  Aru Siam Futago no Nazo makes much better use of its page count, and brings a story that feels much more in line with the rest of this series, focusing on Queen-like deductions. We get plenty of deductions revolving around how the two crime scenes on the mainland and the island looked like and what the murderer must have done there, or chose to not do, and that ultimately all adds together to lead to a solution that feels quite satisfying, especially compared to the first story. The book actually cleverly invokes a different early Queen novel too, but that's for the reader to find out more about. But what this story does much better than the first one is the connection between the various events. Yes, at first this story too sounds a bit chaotic with two different murders occuring on the mainland and the island in the same night, and the circumstances are quite different too (one of the twins who was supposed to stand guard on the laboratory roof was found stabbed on the mainland, the professor was killed in the motorboat, and the other twin was found knocked unconscious near the boat), but Mikikaze manages to connect these two incidents not just by guessing they must be related due to them occuring in the same night, but using logic to show how these two incidents must be connected, and how they ultimately point to the identity of the murderer. I really like the hints that point directly to the murderer too, and the motive is quite memorable.

But would I recommend Aru America-Juu no Nazo? I'm really not a fan of the first story and consider the weakest of the series until this point, though I'd say the second novella is definitely worth a read. If you have already read the previous two books, I'd say read this one too, but I wouldn't recommend this as your first adventure with Mikikaze and Beth, as the gap between the highs and lows are too big. I think overall, the first collection is still the best, so start there and see if these stories interest you. 

Original Japanese title(s): 柄刀一『或るアメリカ銃の謎』:「或るアメリカ銃の謎」/「或るシャム双子の謎

The Greek Symbol Mystery

"この地上すべてを覆うロジックは存在しない"

『或るギリシア棺の謎』

 

"There exists no logic that can cover all in this world." 

"A Greek Coffin Mystery"

Never visited Greece myself. In high school, the classes that took Latin and/or Ancient Greek went to Rome on a school trip, which was awesome, but I would've loved Athens too...

In Tsukatou Hajime's 2019 short story collection Aru Egypt Juujika no Nazo ("An Egyptian Cross Mystery"), professional photographer/amateur detective Minami Mikikaze became a guide for his friend, the prominent forensic investigator Elizabeth Kittridge, who is visiting Japan for an international symposium and workshop program on criminal forensic investigation. When Mikikaze was a young, he suffered from a very weak heart, and basically always lived on the brink of death. Beth's father was the surgeon who successfully conducted Mikikaze's heart transplantant some years back however, and they have kept in touch ever since, which is how Mikikaze became friends with Beth too. Both Beth and her father Ronald are also involved with various international NPOs that support children's organ transplantations across the world and while she's in Japan, she plans to visit a few of the important Japanese sponsors they have been working with all these years. After the events of the short story Aru Holland-Gutsu no Nazo ("A Dutch Shoe Mystery") however, Mikikaze and Beth learn that one of the people they wanted to visit has passed away: the elderly Andou Akemi had headed an important NPO that had helped children all over the world, and while they may be too late to meet her personally, Mikikaze and Beth hurry to Akemi's home so they can at least pay their final respects. The Andou clan is an old family with interesting roots: some centuries ago, a Greek sailor washed up on the shores of Japan and while he always longed to return to Greece, he never managed to return home. Centuries later, the Andou's still pride themselves on their Greek origin. One of the more interesting relics the wealthy family has are wooden coffin made of the wood of the ship that brought their ancestor to Japan. When Mikikaze and Beth arrive at the Andou home, they learn the wake has been postponed, because there are serious suspicions whether Akemi really died of natural causes: a torn-up last will was found in a waste basket in the kitchen and when the male members of the family went down to the crypt to carry out the wooden coffin to lay Akemi inside, a note was found that indicated that Akemi's death wasn't natural. A link is made to the murder on her granddaughter Natsumi, who disappeared four years ago on her way to work and whose body was found last August buried in a grove nearby, suggesting that Akemi's death isn't natural either. Mikikaze and Beth, as experts on criminology, stick around to investigate whether Akemi's death was really a murder in Tsukatou Hajime's novel Aru Girishia Hitsugi no Nazo ("A Greek Coffin Mystery", 2021).

Another review of a book that is based on Ellery Queen this year? Anyway, I quite liked the stories found in Aru Egypt Juujika no Nazo ("An Egyptian Cross Mystery", 2019) when I read it last year, so when I learned a follow-up volume was released in February, and that it was a full-length novel, I became quite excited. While I am a fan of the short story format, I knew things could become interesting if Tsukatou would use the Queen-inspired plotting of the short story collection and apply those techniques to a full-length novel. Like the previous stories, you don't need actual knowledge of Ellery Queen's Nationality novels to read this book: there's no real link with The Greek Coffin Mystery, the book is just about a very big family (four generations!) with Greek origins and a Greek coffin, and the book doesn't even take cues from The Greek Coffin Mystery's famous story structure. 

What you do get is a novel that focuses strongly on logical deduction based on physical evidence, with long chains of reasoning that highlight the state and circumstances of how something is found and the logical implications of those line of thoughts. This is of course the (early Queen-style of deduction, where the reader is challenged to figure out some characteristics of the culprit by process of logical deduction: the state of an object can tell something about when the culprit did something, with what purpose they did something, which knowledge they had that allowed them to do something, etc., and these are all hints that can help identify the killer. And you get plenty of moments like these in  Aru Girishia Hitsugi no Nazo: from how the note was found when they carried the wooden coffin out of the crypt, to when and how the torn-up will found its way inside the waste basket in the kitchen to a security camera which has been sabotaged and more. Each of these clues don't seem to mean that much at first, so it's pretty exciting to see how every time Mikikaze manages to point out what these clues really mean and what they can tell us about the culprit. Even the most unimportant-looking action turns out to be a clue that helps identify the killer. The part with the camera is especially great, with a long chain that shows who could and would have sabotaged the camera that was aimed at a corridor that shouldn't be that significant in the first place. By the way, a little diagram of the house and where the camera was would have been useful: while spacial consciousness isn't really necessary to solve this part of the mystery, it does help visualize the situation much better and would allow the reader to come up with the necessary deductions more easily.

But while I did like these particular parts of the book, as a whole novel, I don't think Aru Girishia Hitsugi no Nazo was as entertaining as the short stories. This is partially because the inital premise of the story can feel a bit underwhelming. Beth and Mikikaze only stick around because there are suspicions about Akemi's death due to the discovery of the torn-up will and the vague threatening note found with the coffin, but it takes a looooooong time before the book presents even something remotely certain on whether a crime has really been committed. So for a long time, you'll see everyone talk and discuss issues which may not even be relevant in the first place if there's no crime happening anyway. Even in the later parts of the novel, a lot of the story as reconstructed by Mikikaze feels a bit uncertain despite the convincing ways in which he deduces the facts: the inital starting point of Akemi's death is just so mundane the rest of the plot feels less impressive/captivating, because while Mikikaze managed to construct a stable house of cards, it can all come down easily if the floor beneath it is moved around. Even to me, who likes these more 'theoretical' detective stories that focus on long chains of deductions and what-if scenarios, Aru Girishia Hitsugi no Nazo felt as a slow book because there was no clear crime to focus on. The way the various chains of deductions relate to each other is also a bit different from the usual Queen book: here we have a lot of seperate events with their own chains of events positioned one after another on a long timeline and these events stay mostly discrete , whereas in Queen-like novels, you usually have these different chains of deductions that ultimately come together at one point.

In my review of Aru Egypt Juujika no Nazo, I wrote I sometimes had trouble with the writing style, mentioning "It's hard to explain what it is, but Tsukatou often jumps a few minutes ahead and has the characters discuss all kinds of things that seem slightly vague to the reader and after that section, the narration catches up and explains how they got to that point (which explains the vague allusions in the earlier dialogue)." This is also absolutely the case in Aru Girishia Hitsugi no Nazo and while you'd think you'd get used to it after a while, I didn't. At one point, I accidentally started at the wrong section of the book, one section further than I actually was. When they started talking about something I had no recollection of, I didn't even think that was odd: the whole book had been written like that, so I assumed that after a few pages we'd jump back in time again and get the full details. Only that didn't happen, and it was only then I noticed I had actually skipped a part of the story. Normally, you'd realize this immediately, but the way this book is written you basically always have brief moments where you think you have missed something but it's only explained in detail a few pages later.

Aru Girishia Hitsugi no Nazo ultimately does reveal a very intricately structured plot with all kinds of puzzle pieces falling into place and more than a few surprises, but it takes a long time to set-up the finale and to be honest, I enjoyed this book more for its discrete moments, than as a total. It has some really interesting segments where the detective shows off his deductive skills by focusing on the state of the evidence and then following the trail to its logical conclusion, but because the binding elements between these moments is not as fun (Akemi's death is not a clear murder, very few of Akemi's relatives are actually nice characters to follow), the book as a whole doesn't feel as convincing as its finest moments. If you liked Aru Egypt Juujika no Nazo, I can recommend this book as it's a fine example of a Queen-like mystery, but I wouldn't start with this book if you want to follow Mikikaze and Beth's adventures: start with Aru Egypt Juujika no Nazo first to get an idea of the style, and then decide whether you like it enough or not.

Original Japanese title(s): 柄刀一『或るギリシア棺の謎』

Queens Full

"Off with his head!"

"Alice's Adventures in Wonderland"

Repeating myself here, but I love this type of cover for short story collections, where each of the stories included is represented properly on the cover, instead of only the cover story.

Tsukatou Hajime's short story collection Aru Egypt Juujika no Nazo ("An Egyptian Cross Mystery", 2019) is the latest entry in the series starring Minami Mikikaze, a professional photographer with a knack for solving crimes. And fans of the mystery genre can probably guess the theme of the stories collected in this volume based on the title. For yep, all of the four problems Mikikaze encounters in these tales are of course inspired by Ellery Queen's novels, to be exact, the Nationality novels. This is the first time I've properly read anything by Tsukatou by the way (read a random short story once) and it's my first time with Mikikaze too, but apparently, the Mikikaze stories do follow a kind of chronology. This volume makes a few references to past cases for example, and other events in Mikikaze's personal life that may or may not have been discussed in more detail in previous books, but in general, I think most readers won't have any problems starting with this book, especially as the four stories here do form a set on their own. In the first story, we are told that Minami Mikikaze has been playing guide for Elizabeth Kittridge in Japan. This forty-or-so woman who speaks a kind of Japanese is not only a prominent forensic investigator in the United States, but also the daughter of Ronald Kittridge, the surgeon who successfully conducted Mikikaze's heart transplantant. Beth is now in Japan to attend an international symposium and workshop program on criminal forensic investigation. Part of the program involves having international investigators attending criminal investigations of the Japanese police so both sides can learn from each other, and Beth has chosen Mikikaze as her assistant, because Mikikaze has made a reputation for himself as an amateur detective.

Beth and Mikikaze are first sent to a self storage facility in Aru Roma Boushi no Nazo ("A Roman Hat Mystery"), as a body was found in one of the storage units. The many fancy hats, hat stands and magazines on hats suggest that the person who rented this unit, a "Shirai Yoshihisa", was simply a hat lover, but the police were already aware that "Shirai Yoshihisa" was involved with a drug smuggling ring, which was smuggling cocaine into Japan inside fancy brand hats and hat stands. There's much at stake with this investigation, but there are many little things that bother the investigators. For example, there's camera footage of Shirai entering this unit and him being followed by another person who later fled the scene, but who was this person? While the police is convinced this has to do with cocaine, they can't find any drugs inside the unit, and another mystery is the fact that (missing) bloodstains suggest something was taken away from this unit, but the police has no idea what that was or why they didn't see the object in the security footage of the culprit fleeing.

This story obviously takes some minor cues from Queen's The Roman Hat Mystery, but is in general a completely original story (the Roman Hat in this story is actually a hat from Rome for example, while in The Roman Hat Mystery, the Roman comes from the Roman Theatre). While the story itself has little to do with Queen's novel, the underlying plot does feel very Queen-esque, in the sense that the investigation focuses a lot on objects, and what you can deduce based on the state of the objects found at the crime scene. For example, Mikikaze and the police detectives hold discussions about what the object could be that was taken away from the crime scene, and why they didn't see the culprit carrying it with them as they fled the scene on the security footage. The plot involves several of these moments, where the detectives let their thoughts loose on the physical circumstances of the crime scene and the logical implications, which is of course the modus operandi of especially the early Queen novels. This story, as well as the following three stories, are less about whodunnit or howdunnit, but about explaining the mysterious circumstances of each crime scene, and the actions the murderer took (based on the crime scene). However, unlike Queen and for example Arisugawa's work, I'd say that the stories in this volume are less about chains of deduction, at least, they're not about strongly connected chains of reasoning. There are some ideas about this story I absolutely love (for example, why the murderer went as far as to hit the victim multiple times in the head or why the scissors on the work bench were left there) that really belong the Queen school of mystery, while other parts of the mystery (like the missing object) are less interesting. The various elements of the story sometimes feel a bit... not disconnected perhaps, but not as connected as I'd have wanted them to be. The result is I'm not sure how I feel about the story, because some parts are so meh, while other parts are absolutely great.

A problem shared by all the stories in this volume is the writing style though. It's hard to explain what it is, but Tsukatou often jumps a few minutes ahead and has the characters discuss all kinds of things that seem slightly vague to the reader and after that section, the narration catches up and explains how they got to that point (which explains the vague allusions in the earlier dialogue). It's a story device you often see in detectives, especially in the conclusion when the detective suddenly unveils the identity of the murderer, and only after that, the narrative explains how the detective laid their trap, but these stories, it happens too often: Tsukatou does this 'jump a bit forward, have some dialogues that include facts the reader hadn't heard about yet and then explain afterwards' thing few times per story. It's like you're being driven around in a car, but the car speeds up for no reason, only to turn around and do the same part slowly once again. It's jerking you around all the time, which makes enjoying the stories a bit difficult. At first, I thought it was just me needing to adapt to Tsukatou's writing style with the first story, but it happens in all four stories.

Which is more-or-less the theme of this volume for me, for each story definitely has some fantastic ideas that revolve around deductions based on objects, but there are almost always elements that seem underdeveloped, as if there's no synergy between the various ideas in each story. Aru France Oshiroi no Nazo ("A French Powder Mystery") is set right after the previous story, as Elizabeth and Mikikaze are called as observers to the murder scene of Yata Sonoe, an eighty-year old lady who moved in the upper circles of society, but of whom the police knew was a ranking member of the same drug smuggling circle of the previous story, together with her deceased husband. Sonoe was found this morning by her nephew's wife, who did Sonoe's housekeeping each day. The strangled Sonoe was found in one of her drawing rooms, lying on the couch. The floor around the couches however was covered by white powder: during her futile struggle with the murderer, Sonoe hit a container of powder foundation (from France, not the French Department Store), which covered the whole floor. While the room also has some interesting evidence for the police waiting on a table further down the room in the form of actual cocaine, they have to wait until forensics is done with the room. Meanwhile, Mikikaze and the police detectives try to figure out what the murderer did in the room, based on the (vague) traces left on the powdered floor. I love the main idea behind what the murderer did after the murder in order to elude the police, and makes great use of the titular noun, but the build-up to the reveal feels a bit underwhelming. You have parts where the detectives discuss their ideas but they ultimately don't go anywhere, while the most important fact you should know if you want to have any chance of solving this story, isn't revealed to the reader until Mikikaze's already explaining everything, leaving you with the feeling like you've been cheated. Great premise that also gives meaning to having this story be a direct continuation of the previous, but the execution is slow and at times even tiring.

At this point, you think, neat, the whole collection is connected and about this cocaine smuggling ring, right? Well, wrong. Only the first two stories are connected like that. The other two stories do feature Elizabeth again during her stay in Japan, but are in no manner connected to the cocaine storyline. Which was really weird, for each time, I was totally expecting someone to be uncovered as being involved with drugs in the last two stories. Sorry to all the characters I suspected!

The Dutch Shoe Mystery was about the Dutch Hospital, but Aru Holland-Gutsu no Nazo ("A Dutch Shoe Mystery") is actually about Dutch shoes, that is, wooden shoes. Elizabeth and Mikikaze are the guests of Ootsuki Mikako and her husband Tadashi. Tadashi is the head of the South Shinano General Hospital, and the hospital, and the Ootsuki's personally, are involved with an NPO that focuses on international organ transplants. A child at the South Shinano General Hospital is awaiting such an operation, and they're filming a short movie at the Ootsuki residence to encourage the boy, but also to use as a PR movie. Elizabeth is here because of her father's reputation, while Mikikaze was also invited as he himself had a weak heart as a child, and he has fully recovered now he himself has undergone such an operation. Other guests include the head of the NPO as well as the Ootsuki's nephew and his girlfriend. Everyone is invited to stay that night, some of them sleeping in the main building, some in the annex. Early in the morning however, Mikikaze has a visit by Mikako, who found her dead husband downstairs. He was wearing one wooden shoe from Mikako's clog collection kept in the annex, while the other clog was used to hit Tadashi on the head to kill him. The only footprints in the garden that connects the main building and the annex are those of the wooden shoes leaving the annex, meaning Tadashi must've been in the annex in the night and that he left the building with a pair of his wife's clog, but why? He never wore clogs unlike his wife, and what was he doing in the other building in the first place? And is the murderer someone in the main building, or from the annex? A lot of deductions revolving around the clogs footprints, how Tadashi must've gotten his hands on the clogs and how he crossed the garden. For those into object-focused, reasoning-focused mysteries, this is arguably the best story in the collection, and I really did enjoy this one, but there are a few points in the story where you, as the reader, have to guess what happened, because you are unlikely to see through the whole deal solely based on the physical evidence left. Funnily enough though, I like one of the theories mentioned halfway through the story even better than the actual solution: while it's pointed out that it wouldn't have been practical, it's a solution that could've been salvaged pretty easily (the introduction of one simple tool alone would've been enough). The 'punchline' of the story is Queenian, I agree, though I don't really like how it was used here.

In Aru Egypt Juujika no Nazo ("An Egyptian Cross Mystery") is set at a small forest camp site, where Mikikaze is joined by five Art students from his alma mater. These students belong to Professor Yamashita's class, who will join this study camp later, but on the first day, Mikikaze is to teach the students the finer points of making photographs of raw nature. After the workshop, the group have dinner and drinks together, and eventually everyone leaves for their cottages. The following morning however, Mikikaze is awakened by one of his students, who has made a horrifying discovery: a decapitated body was hanging from the T-shaped signpost near the entrance of the camp site (just like in The Egyptian Cross Mystery). While there's no head, the students seem to recognize the victim as one of their fellow Art students based on his clothes and characteristic fingers and limbs. What's surprising is that the head is found not that far away from the camp, so it was not cut off to hide the victim's identity. While a confession from one of the students soon clears up why the victim was here near the camp in the first place, Mikikaze is still bedazzled by the case, and while the police, accompanied by Elizabeth, soon arrive, they stumble upon the same problems as Mikikaze: why was the body hung from the signpost, why was the head cut off if not to hide the victim's identity and why was the decapitation done in a place relatively close to the camp site and not somewhere deeper in the forest? Again, I think the main concept, the decapitated corpse, involves some really good ideas that also give way to interesting chains of deductions (for example, the direct reason for hanging the body from the signpost and why the murderer didn't find a better place to cut the head off), but other parts seem almost disappointing in comparison (the direct cause for wanting to hang the body from the signpost is bloody brilliant, the underlying cause why the murderer came into the situation to need to do that was silly. And the motive for the murder....).

I still find it hard to say what I really think of Aru Egypt Juujika no Nazo. Each of the stories has outright fantastic ideas and interesting chains of deductions, but the writing style is something you need to get used to, and far too often, the stories don't feel entirely cohesive and evenly thought out, with some ideas/parts of the story coming across as afterthoughts, while in other cases, the other elements that should be supporting the main concept, feel like side-branches that go other directions. Considering the ideas I found here, this volume would've definitely made it into my top ten reads for this year had they been worked out a bit better. It's still a very good story collection, especially if you like these Queen School-style stories that focus on chains of deductions based on the physical state of the crime scene/evidence, but as it is now, whether Aru Egypt Juujika no Nazo's will end up in my end-of-year list is very dependent on what I'll come across the following months.

Original Japanese title(s): 柄刀一『或るエジプト十字架の謎』： 「或るローマ帽子の謎」 / 「或るフランス白粉の謎」 / 「或るオランダ靴の謎」/ 「或るエジプト十字架の謎」