「ジッチャンの名にかけて！」

「 みんな5年前のままじゃない。やっぱり変わってるんだ・・・そして、これからも・・・・」
『金田一少年の事件簿：雪影村殺人事件』

"Nobody is like they were five years ago. Yes. Everyone has changed... And they will keep changing...",
"The Casefiles of Young Kindaichi: The Yukikage Village Murder Case"

I usually don't discuss manga here. Not because I don't like the medium. Neither because comics don't belong here (because they do!). I deal with detective fiction here, as the site description says in the sidebar, which includes a wide range of different media. Besides books, movies, TV-series and games have also been discussed here. And the alert reader surely has noticed I read Meitantei Conan ("Detective Conan") and Kindaichi Shounen no Jikenbo ("The Casefiles of Young Kindaichi"). So why are they not discussed here?

Mostly because of the way the medium is set up. Stories are often quite short, which I think is harder to discuss than a single story. Another problem, especially in Conan, is the fact that stories are often spread amongst several volumes, and I don't really like discussing a single part of a story. Yes, I am still thinking about how I'm going to discuss Nikaidou Reito's four-part Jinroujou no Kyoufu ("The Fear of Werewolf Castle"), the longest detective story in existence.

Kindaichi Shounen no Jikenbo though, is slightly easier to discuss though. Most stories since the reboot in 2004 have been longer, two volume stories. The only problem is that scriptwriter Amagi and illustrator Satou produce only two volumes a year. It just takes so long for a new story. But it is better than nothing at all, I guess.

This year's Renkinjutsu Satsujin Jiken ("The Alchemy Murder Case") is once again a rather classic Kindaichi Shounen. The story? Kindaichi is one of the three finalists in a TV programme with a lot of money at stake. These three finalists, together with three TV personalities, are gathered at Alchemy Mansion to shoot the footage for the final strage. The Alchemy Mansion, located on an island (of course!) was once the home of self-proclaimed alchemist, who had disappeared many years ago. As the TV crew make their preparations for the shooting, one of them is killed by a mysterious man dressed like... a man with a mask and a cape (I guess he is supposed to look like an... alchemist). And a sword. A giant sword. More murders occur and Kindaichi has to solve a locked room murder, the mystery of the disappearing murder weapon and prove his actress friend Reika is not the murderer. The elements that make up the bread and butter of the Kindaichi Shounen series.

At this point, I am not expecting new story set-ups in the Kindaichi Shounen series, I'd rather think I'd somehow not like such a change in the series. It's just something I'd expect from the series. So what kind of story did scriptwriter Amagi build with the classic elements? A solid classic story with few real surprises (on a meta level), which ranks among the better stories since the reboot. 2006's Gokumonjuku Satsujin Jiken ("The Jailgate Cram School Murder Case") is still the best since the reboot in my opinion, but Renkinjutsu Satsujin Jiken's use of the location and space for the creation of the mystery reminded me of the better Kindaichi Shounen stories.

The biggest problem I have with this year's volumes is the amount of fanservice it provides. Not the sexual-type of fanservice. But while appearances of him and her and such and so from the series' past can be fun, using it too much just cheapens the experience. It feels like almost every story since the reboot has relied on the nostalgia factor to a certain extent, which is just a shame. Go create new classic characters!

The same holds for Meitantei Conan 70. While I won't discuss it in detail, appearances of both KID and Hattori in a single volume is sort of overkill. Even if both stories are actually quite good. KID's flirt with the Ryouma boom in Japan is kind of entertaining and the Hattori story, which takes its cues from The Hound of the Baskervilles (Sherlock Holmes series) and The Inugami Clan (Kindaichi Kousuke series), is one of the more interesting stories of the last few years! But still, using both Hattori and KID in quick succession just cheapens the experience.

And yes, I decided to discuss manga this time because I couldn't keep up with the one-post-a-week rate. It's not really cheating as I abide to the rules! Trying to finish a (snowy) detective novel before the new year though!　

Original Japanese title(s): 天樹征丸、さとうふみや『金田一少年の事件簿　錬金術殺人事件 上・下』/青山剛昌　『名探偵コナン７０』

"But now I am very humble and I say like a little child: 'I do not know...'"

「密室は、今や黄昏だ。密室は滅びだ。この二つの文字は、もはや、人々の追憶の中にしか存在し得ない。だいたい、密室そのものが、密室にせねばならぬ理由を欠いているのだ。そんな密室が、現代に生き残れるはずがない。」，明智小五郎，『名探偵に乾杯』

"The locked room, it is in its twilight years. The locked room is dying out. Soon, it will only live in the memories of man. Locked rooms often lack a reason to be locked rooms. Such locked rooms can not survive in this day and age." Akechi Kogorou, "Cheers to the great detectives"

And then there were none. Curtain for Nishimura Kyoutarou's Meitantei series. And I will stop with the bad puns now. Ellery Queen's Ellery Queen, Agatha Christie's Hercule Poirot, Simenon's Maigret and Edogawa Rampo's Akechi Kogorou have had their share of fun solving crimes together, but there is an end to all good things. The era of great detectives have passed. People don't read detective stories starring great detectives anymore; they long for hardboiled detectives, the normal man as detective! And so the four detectives slowly fade away from existence. And then Poirot demises. Ragnarok for the great detectives.

At the beginning of Meitantei ni kanpai ("Cheers to the great detectives"), Akechi Kogorou hosts a small memorial party on his private island for their recently departed friend. Guests naturally include Ellery Queen and Maigret, as well as Poirot's dear friend Captain Hastings. But un-invited guests also arrive at the island: a small crew of reporters, dragging along a shaman. A young couple happened to have trouble with their boat and somehow managed to swim to Akechi's island. And the most surprising one: a young man who claims his name is Hercule Poirot Junior. A man who claims he is the son of Hercule Poirot and Cynthia Murdoch.

I put the book away at this point. I was hesitating to continue. The chapter preceding Junior's appearance was awkward enough, with everyone debating on whether Poirot had a love life or not. But someone claiming to be the son of Poirot? Who knows what kind of madness Nishimura would come up with in the following chapters?

Junior says he can prove his story with two things. One: he has a manuscript with him written by Poirot, a critical assessment of the detective story. Two: he has inherited his father's little grey cells. Naturally, Hastings doesn't believe a word of Junior's story and in the end, the party decides to communicate with Poirot's ghost through the shaman, to ask him whether he really had a son.

I put the book away for a second time.

During the seance, a murder is commited. Junior comes up with a great deduction, which turns out to be wrong. Akechi, Ellery and Maigret do nothing. A second murder is commited, in a locked room nonetheless. Junior comes up with a great deduction. It turns out to be wrong. Akechi, Ellery and Maigret do nothing. Rince and repeat for several times. And in the end, Akechi solves everything. And an alternate solution for Curtain is proposed.

Yes, Meitantei ni kanpai is a tedious, awful book. Not only was the whole concept of Hercule Poirot Junior ridiculous, it was executed ridiculous too. Why would someone raised by Englishmen in South-America suddenly start using random French vocabulary because he thought his real father was Belgian? Everytime he said mademoiselle, I asked myself why. The rest of the book wasn't any better either. The locked rooms were awful and just like the previous book, the great detectives were reduced to one single entity, The Old Great Detective, who does nothing except for watching other people do stuff. The great detectives really don't show any signs of having a personality at all and it would hardly have mattered whether there were three great detectives present or one.

This is the only book in the Meitantei series that is written in the first person, by Akechi's assistent Kobayashi. Once known as the boy Kobayashi, he has become a middle-aged men with a daughter. Yes, Nishimura tried to draw parallels with Curtain. But the years and especially Nishimura have not been kind to Kobayashi, as he is reduced to an idiot. The boy who once battled The Fiend with Twenty Faces, the Robin to Akechi's Batman, is now a man who is impressed by Hastings' deductions. By Hastings' deductions!  This book is one out-of-character disaster after another.

The series had a good start. Meitantei nanka kowakunai ("Not afraid of great detectives") really was about four great detectives tackling a case togther, each using their own methods. Meitantei ga oosugiru ("Too many great detectives") was kinda busy, with four great detectives and two phantom thieves outsmarting each other, but the story was still focused on them. But Meitantei mo raku janai ("Even great detectives don't have it easy") and this book don't focus on the detectives anymore. Meitantei mo raku janai ("Even great detectives don't have it easy") is a book that laments the disappearance of the great detectives from detective novels, that sacrifices Akechi, Poirot, Ellery and Maigret for the story. And I am not even sure what Meitantei ni kanpai is. It sorta builds on the theme of the previous book, but kinda rejects it through its solution to the locked rooms. Was is it a vehicle to show the alternate solution to Curtain? If so, Nishimura coud have proposed it without imbedding it into a story. But as it is, the Meitantei series has ended in the worst way possible.

「おそらく君たちは負ける。僕も勝てない。これは完全犯罪だ」

「理論的には考えられても、現実的にはありえない。」
『聖女の救済』

"Even if it is possible in theory, it is impossible in practice"
"The Saint's Salvation")

While I absolutely love 2005's Yougisha X no Kenshin ("The Devotion of Suspect X"), I wasn't really impressed with 2008's Galileo no Kunou ("The Agony of Galileo"). I do still keep my eyes on the Tantei Galileo ("Detective Galileo") series however and with a new Galileo novel finishing its serialization this year (Manatsu no Houteishiki; "A Midsummer's Equation"), I thought it was time to finally catch up with the series. Luckily, I was just one book behind.

So it was time for Seijo no Kyuusai ("The Saint's Salvation"), released simultaneously with Galileo no Kunou. Seijo no Kyuusai is the second novel-length entry in the Tantei Galileo series and as such, I wasn't sure what to think about the book when I picked it up. Should I expect a fine work again, because the previous book was good? Or is the bar set by Yougisha X no Kenshin too high? Yougisha X no Kenshin was a big hit in Japan and stirred up discussions on what a detective novel is and as far as I knew, Seijo no Kyuusai didn't stir up anything.

Seijo no Kyuusai begins when Mashita Yoshitaka, CEO of an IT firm, tells his wife Ayane, a famous patchwork artist, he wants to divorce her. It's been a year since their marriage, but there are no signs of her getting pregnant and that is the only reason he got married in the first place. No kids, no marriage. As they agreed to this before their marriage, Ayane accepts. Before their divorce, Ayane goes to Hokkaidou, back home to her parents to spend a weekend there. It is during her weekend away that Yoshitaka dies due to arsenic poisoning. The most likely person to have commited the murder is of course Ayane, but how was she able to poison her husband in Tokyo all the way from Hokkaidou?

Seijo no Kyuusai is a pretty decent novel. It's an orthodox detective, fairly rare among Higashino Keigo's work, but it lacks the impact of Yougisha X no Kenshin. Like all of the Tantei Galileo stories, this is a howdunnit and like the previous novel-length story, this book does not feature the laser-guided-death-trap methods of killing from the short stories. The exact sciences still set Yukuwa, nicnamed Galileo, on the right track (keyword for this novel: imaginary numbers), but the sciences are like thematic decoration; no actual knowledge of them is needed to solve this mystery. The solution? A simple, yet effective one. If Higashino tries, he is perfectly able to write normal detective novels.

My only problem with the book is the length, as the story is rather drawn out. Which ties in with Higashino's pet peeve themes: women, love and the criminal mind. Many pages of the story are used to flesh out the rather small cast, digging in their psyche like in Uso wo mou hitotsu dake. And by letting police detective Kusanagi fall in love with the suspect, Higashino creates a dual story of Kusanagi trying to prove Ayane innocent, while his (female) junior Utsumi, with the help of Galileo, try to prove her guilt. While the story starts with the actions of Yoshitaka and end with Galileo's deduction, both males, most of the story is driven by the women in this story. As Sugie Matsukoi (2009) posed in an article on Higashino's work "Women are terrifying" is the theme in Higashino Keigo's work. I think gender in Japanese detective novels has been researched before (c.f. Seaman, Amanda (2004). Bodies of Evidence - Women, Society, and Detective Fiction in 1990s Japan. Hawai'i: University of Hawai'i Press), but maybe Higashino Keigo's work might be interesting too.

While not a masterpiece by any means, I enjoyed the book and I hope the third novel in the Tantei Galileo series, Manatsu no Houteishiki will be released soon in book form soon.　

Original Japanese title(s): 東野圭吾　『聖女の救済』

「ああ、悪魔が来りて笛を吹く。」

悪魔ここに誕生す

The devil was born here

Say "Japanese detectives", and the image of Kindaichi Kousuke pops up in my head. Yokomizo Seishi's post-war creation has been called the first genuine Golden Age Japanese detective, who made his debut in Honjin Satsujin Jiken ("The Grand Mansion Murder Case") in 1946. The locked room murder mystery (much better than Edogawa Rampo's D Zaka no Satsujin ("Murder on D Street")) was praised a lot, which led to many more adventures of Kindaichi. Yokomizo Seishi ultimately earned the nickname of the Japanese Carr, which I personally think is more because of Yokomizo's flair of creating atmosphere, rather than Yokomizo's locked rooms (though he has written his share of locked room mysteries).

Few Japanese detectives I read are as "Japanese" as the Kindaichi series. The Kindaichi series is set after the second World War and often refers to the war. For example Inugami-ke no Ichizoku ("The Inugami Clan") is set right after the war, and the plot revolves around the post-war chaos and soldiers returning from the battlefield. Another characteristic of the Kindaichi series is the use of small, rural communities as the backdrop of the stories. In fact, the Kindaichi series has been a major influence on Trick, where most of the stories also take place in weird, rural mountain villages.

Which in turn makes Akuma ga kitarite fue wo fuku ("The devil comes playing the flute") actually a bit of an exception. As most of the story takes place in good old Tokyo and features several distinctively urban plot points. The story starts with the Tengin Poisoning Robbery case (based on the Teigin Case, also appearing in Ellery Queen's Ellery Queen's International Case Book). One of the suspects is the viscount Tsubaki, but after a long investigation by the police Tsubaki himself reveals he has an ironclad alibi. Not long afterwards though, he commits suicide, leaving a message to his daughter Mineko saying the shame is too much for him to bear and warning her for the devil who comes playing the flute. Months after viscount Tsubaki's death, Mineko's mother Akiko and several others claim to have seen the viscount and fearing the once mild-mannered viscount might have come back to live to take revenge, the whole family, including Akiko's uncle former Count Tamamushi and Akiko's brother Shinguu's family gather around for a seance, to find out whether viscount Tsubaki has really come back to life. Kindaichi attends the seance, which ends when a mysterious mark, dubbed the Mark of the Devil appears on the seance table, followed by the omnious melody The Devil Comes Playing The Flute, a flute song the viscount wrote before his demise. This is just the beginning though, as former Count Tamamushi is found murdered in a locked room the next day, the first in a chain of murders.

And yes, this is just the beginning. Stuff happens. Good stuff. Akuma ga kitarite fue wo fuku is an interesting detective, with a plot that keeps turning around, with new developments making it hard to see where the story goes. But not in a too convoluted way (except for maybe the ending). The story is roughly split in three parts, with the first being in Tokyo, the second in Hyougo prefecture where Kindaichi tries to find the motive for the murders and in the final part, Kindaichi returns to Tokyo. The first and last part are classic Golden Age detective investigative parts, but actually the most boring. The book becomes much more interesting when Kindaichi travels to Hyougo and Yokomizo shows of his gift for creating atmosphere. The people talking with their local dialects, the way of living there compared to Tokyo, the way the story unfolds when in Hyougo, it is truly the best part of the book and Yokomizo's strong point. Back in Tokyo, Yokomizo concludes the story in an impressive way, which only suffers a bit due to the lack of appendices. Maps and some sort of music sheet to show the notes the flute song The Devil Comes Playing The Flute should have been included to make the story a bit more fair (yes, this book is actually great material to base a movie/TV series on. Audiovisual aids to strengthen the atmosphere!)

I also liked how Yokomizo made use of World War II's influence on Japan. The abolisment of the kazoku (nobility) is a big plot point, but how scarcity of food and electricity or even the circumstances in post-war Tokyo make their way into the story in a non-obtrusive, useful way was well done. Yokomizo was better at making a real Japanese detective than Edogawa Rampo I think. While Edogawa's D-Zaka no Satsujin or Nisen Douka ("The 2 Sen Coin") are the first Japanese detective stories that were really set in Japan (featuring a locked room in a Japanese style house in the former and a Japanese code in the latter), Yokomizo was much better in recreating the atmosphere of Japan, as well as more talented in writing classical orthodox detectives.

I am glad I bought a lot of the Kindaichi series, as I really love this series. Too bad it takes so long to read them compared to modern books...　

Original Japanese title(s): 横溝正史　『悪魔が来たりて笛を吹く』

「ミステリー・マニアの弱さでしょう。考え過ぎてしまう弱さです」

"'You mean these Baker Street societies and all that,' said Miss Lemon. 'Grown men being so silly. But there, that's men all over. Like the model railways they go on playing with.'", "Hickory Dickory Dock"

To my own surprise, I'm actually close to finishing a series of detective novel reviews now. I've been enjoying Nishimura Kyoutarou's Meitantei series ("Great Detective") for some time now, starring four famous detectives, Ellery Queen's Ellery Queen, Agatha Christie's Hercule Poirot, Simenon's Maigret and Edogawa Rampo's Akechi Kogorou. And no, Nishimura didn't ask for permission to use them. But ignoring the problem of copyright, the previous two works, Meitantei nanka kowakunai and Meitantei ga oosugiru were quite entertaining, pitting the quartet against the infamous 300 Million Yen robbery and two phantom thieves. So my expectations for the third work were quite high.

Meitantei mo raku janai ("Even great detectives don't have it easy") starts with a group called the MMM ("Member of Mistery (sic) Mania") which invites the four detectives. MMM is a group for people with mystery mania, very fanatic fans of the detective genre. With a critically acclaimed magazine published by them and a rich hotel owner backing them up, MMM is a well known club in the Japanese detective novel world. However, in modern times, the quality of detective novels seem to have fallen and in their desparation, MMM urges detective writers everywhere to come up with a new, modern great detective. And that is why they invited the four great detectives of a time long gone, to promote this event.

It doesn't take long before a young man named Samonji barged in on the meeting between MMM and the four detectives, claiming to be the modern great detective. At which, the head and financial backbone of MMM, Okabe falls dead, poisoned. Thus starts a chain of serial murders, with members of MMM being killed one after another. The four detectives however, do not act. They express their interest for Samonji, saying he might indeed have the skills to be the modern great detective and that they want to see how Samonji handles this case. Which lieutenant Yoshimuda just can't accept, so a battle of wits begins between Yoshimuda and Samonji to solve the MMM serial murder case.

I was actually very excited after the first chapters or so, because a group of detective novel fanatics always make a nice background for a detective. It should also push the writer, as such characters are usually a lot more imaginative and experienced when coming up with deductions and thus the writer needs to come up with something that is truly brilliant (or else a in-story character could have solved it, and there would be no use for a detective).

But there is big however, as the novel was just so badly written, I lost interest halfway. Because of Samonji, the four detectives pretty much do nothing and in fact, they weren't needed in the story at all. In the end, this was just a story of Samonji versus Yoshimuda in a horrible serial murder case. I can understand why you'd confine the suspects to one hallway of a hotel, while you're conducting your investigation. In theory, you can keep your eyes on them much easier. But you'd think you'd at least let one guard guard the hallway. Because you know, you might not want to let the murderer go running from one victim to another, killing them in their rooms. Which he indeed did. Several times. The police placed someone in the hallway only after the fourth or fifth murder.

While the ending was sort of interesting, featuring a triple-layered solution, it was too bad the last solution (of course posited by the four) was impossible to deduce for the reader. Furthermore, the book had to end in a certain way from the very start and while I really hoped it wouldn't be that way, it did. Which made the book very boring, because it was more of a waiting game.

What makes the Meitantei series so much fun, is the gathering of the four detectives, doing their own things. However, in this novel, the four have been reduced to one entity, "the old generation" to contrast with Samonji and one single great detective would have done the job. Of course, putting the four detectives in the backseat, while watching Samonji and Yoshimuda's attempts to take control of the car, is bad too; I read this series to see the four detectives in action. And it could have been such a great work which this setting... I hope the final novel in this series places the four detectives back in the spotlight.　

Original Japanese title(s): 西村京太郎　『名探偵も楽じゃない』

「俺を信じろ。君の百倍も千倍も頭の良い俺が言ってるんだ！」

「きさまらのやっていることは、お見通しだ！」

-- 決まった！わたしは、心の中でガッツポーズ。

これからは、これを決め台詞にしよう。

"I've seen through the things you're trying to do!"

-- Got'em!

I struck a Guts pose. I'll use this as my finishing quote from now on.

It takes some time to appreciate some authors somtimes. I for one didn't really like my first Nishimura Kyoutarou novel and I still can't really understand his popularity that well, but his Meitantei series is a surprisingly fun series, which really made me reconsider him. Hayamine Kaoru's first impression was close to horrible too. The volumes of the manga based on his Meitantei Yumemizu Kiyoshirou Jiken Note ("The Case Files of Great Detective Yumemizu Kiyoshirou") were quite awful. His second chance wouldn't be years later.

This year is the 10th anniversary year of the Trick franchise, with the movie Trick: Psychic Battle Royale being the main course. Of course, a series as big as Trick had to be celebrated cross-medium. So it was not only a new movie, but we also got a (fine!) videogame, a spin-off series and a novel. While there had been novelizations of previous series and movies before, this time an original novel was released. And yes, it was written by Hayamine Kaoru. But as I am a blind fanboy, I still bought the book. And just hoped for the best. I mean, Trick already has a great cast of clearly defined characters, so Hayamine could pour all his energy in creating a suitable story and let the characters do everything for him.

But that turned out to be wishful thinking. And it began sort of interesting too. Kaerisorajou no Nazo - Trick Seishunban ("The Mystery of 'the Castle returning to Heaven' -  Trick Youth Chapter) is a prequel and is the very first adventure of self-proclaimed magician beauty Yamada Naoko. High school student. Along with three classmates she's invited by her teacher to her teacher's hometown to witness an ancient and rare odori. The village, far away in the mountains (of course. This is Trick) also holds a secret: long ago a mysterious clan led by the psychic Reihime were in control of this area, with every in fear of them and their powers. However one day, the clan seemed to have offended the gods, as their 'Castle returning to Heaven' suddenly disappeared from the face of the earth, together with their treasures. Yet, the town still fears a return of Reihime. Until now it sounds very Trick-like, so that should be good, right? No.

The problem is that is too Trick-like. While I of course want a Trick product to be Trick-like, Hayamine is doing this wrong. Why? Absolutely nothing is original in this book. He writes bits and pieces of Trick-like parts together and I can't even see why they would have needed to ask Hayamine to write this. And Hayamine sticks to the model to a ridiculous extent. While Trick indeed needs both self-proclaimed magician beauty Yamada Naoko and self-proclaimed super physics expert Ueda Jirou to be Trick, it is just plain weird to have them meet in this story, as it is set in the past. Hayamine 'solves' this by saying they did their best to forget each other, but it just doesn't work. This is made even more ridiculous by even having detective Yabe make an appearance, still as patrol-man and not bald yet (he's the type who will get bald fast, everyone comments though). Having 'solved' the problem of getting everyone in the story, Hayamine just ticked off a checklist. Village in the mountain? Check? Legend (involving psychics)? Check. Strange villagers? Check. Gags about Yamada being poor and a bad sleeper? Check. Baldy gags about Yabe? Check. Ueda fainting? Check? Yamada's mother saying writing has mysterious powers? Check. Check. Check.

The only thing Hayamine forgot, was that Trick also has interesting detective-plots. Oh, wait, I guess that was the only part he had to do himself. And I guess my first impression was right. He. Is. Awful. At. That.

While the Trick DS game also got everything on the checklist, the developers at least didn't forget to include an interesting detective plot (and accompanying mechanics!) to actually make it fun. Sadly enough, this novel is only the checklist for making something like Trick. It still needs that something extra to actually make it a genuine fun Trick product.

The good part of the book? I did like the art by Tsuruta Kenji... And I really should watch those last few episodes of Keibuho Yabe Kenzou (Police Lieutenant Yabe Kenzou) to finish all the Trick releases of this year.　

Original Japanese title(s): はやみねかおる　『帰天城の謎 TRICK青春版』

Murder by the Book

「峰子さんのことを信用しているんじゃなく、信用したいだけだろう？」
『友の助言』

"It's not that you trust Mineko, you just want to trust her, right?"
"A Friend's Word of Advice"

I find most of Higashino Keigo's work to be a kind of guilty pleasure. They almost never comply to the rules of a real orthodox detective, but you can always sense Higashino Keigo's knowledge of the genre and that he is in fact intentionally avoiding the classic model and instead opts to mix it with different themes. The one theme that is pretty much in all his works is love and the consequences of love. The murders in his books are usually quite personal and a lot of pages are spent building his characters. Higashino often explores the mindsets of the criminals and more often than not you will feel some kind of sympathy for them (Yougisha X no Kenshin is a great example of this).

Kaga Kyouichirou series
Sotsugyou ("Graduation") (1986)
Nemuri no Mori ("Forest of Sleep") (1989)
Dochiraka ga Kanojo wo Koroshita ("One of the Two Killed Her") (1996)
Akui ("Malice") (1996)
Watashi ga Kare wo Koroshita ("I Killed Him") (1999)
Uso wo Mou Hitotsu Dake ("One More Lie") (2000)
Akai Yubi ("Red Fingers")  (2006)
Shinzanmono ("Newcomer") (2009)
Kirin no Tsubasa ("The Wings of the Kirin") (2011)
Inori no Maku ga Oriru Toki ("When the Curtains of Hope Come Down") (2013)

His Kaga Kyouichirou series is a somewhat more orthodox detective series compared to Higashino's other works, but is still 'different'. Last time I looked at Dochira ka ga kanojo wo koroshita, which was as a classic a detective could be, except for the fact that the name of the murderer is never mentioned. This time I looked at another book in the Kaga Kyouichirou series, a short story collection to be precise.

Uso wo mou hitotsu dake ("One more lie") collects five short stories involving crime. I don't really want to call the stories inverted detective stories, but that term is probably the closest we have. The stories are more like psychological studies of the criminals than 'normal' detectives. Higashino explores how these criminals cope with their daily life after they have commited their crime, what drove them to their crime and finally, how the police detective Kaga arrests them. In schematics, it might look a lot like Columbo or Furuhata Ninzaburou, but in fact very little is told about the crime themselves and the focus is clearly on the criminal as a person, instead of the criminal as, well, a criminal. They are the protagonists of the stories and just like in Dochira ka ga kanojo wo koroshita, Kaga is more like a figure who only works in the background.

What is interesting though, is that Higashino did came up with murder methods which would have done well in any detective. Some solutions Kaga presented were truly quite entertaining and they would've been great for Furuhata Ninzaburou or other series; however Higashino intentionally wrote the stories so readers can't solve them and thus differs from the Columbo model. It is almost a shame Higashino wrote the stories the way he did and not in a more conventional way, but that is Higashino's M.O., I guess.

Once again, Higashino is close, but not close enough. And yet, I liked this short story collection and I do think the Kaga Kyouichirou series is fun enough to explore. It is easier to recommend than his Galileo series, which can be quite silly at times. 

Original Japanese title(s): 東野圭吾　『嘘をもうひとつだけ』