The Wild Run

「皆の前でトリックの粗を言うのをやめて・・！！」

『金田一少年の事件簿外伝　犯人たちの事件簿』

"I beg of you, stop talking about the flaws of my trick in front of everyone...!!"

"The Young Kindaichi Case Files Side Story: The Case Files of the Culprits"

Kindaichi Shounen no Jikenbo ("The Young Kindaichi Case Files") was a game-changer when it first started its serialization in 1992. The series about the adventures of Kindaichi Hajime, grandson of the famous detective Kindaichi Kousuke, and his childhood friend/not-quite-girlfriend Miyuki, was the first major detective manga that actually offered a fair-play mystery for the readers to solve, making excellent use of the visual medium to offer clues and mysteries in ways regular books couldn't do. The manga series was a hit, paving the way for other mystery series like Detective Conan, and also spawned both live-action and animated TV, and theatrical adaptations as well as a plethora of other spin-off materials as videogames, audio dramas and more. The first season of the manga concluded in 2000, after which the creators worked on Tantei Gakuen Q. The second season started in 2004: an irregular series of one or two stories a year continued until 2011, after which it was followed by the 20th Anniversary limited series (2011-2013) and Kindaichi Shounen no Jikenbo R (2013-2017). It was announced in October 2017 however that Kindaichi Shounen no Jikenbo R would conclude its serialization this year, and that from January 2018 on, a new series will follow, which will feature an aged-up Hajime and Miyuki, aimed at an older audience.

And that means Kindaichi Shounen no Jikenbo R 14 (2017) is the final volume of this series, which collects the remaining chapters of The Kindaichi Fumi Kidnapping Murder Case (which started in the previous volume). Fumi is Hajime's younger cousin who as of late, has become a big fan of the Shinsengumi, an almost legendary police force from the late 19th century. She wants to participate in a children's cosplay event at a local Shinsengumi festival, so Hajime and Miyuki come along to babysit. Hajime could of course never have anticipated that Fumi would get kidnapped. The kidnapper, who calls themselves Okita Souji after the legendary swordfighter of the Shinsengumi, demands a hefty sum of money for the girl, to be delivered by a group of six persons present at the festival who happen to share names with members of the historical Shinsengumi. Hajime pleads with those persons to make the ransom money exchange to save Fumi, and the candidates eventually agree. The kidnapper has the six money-runners carry smartphones and identical bags (one of them with the ransom money), and the group is to start at a train station. Hajime and the police naturally try to follow the group, but by sending the six on and off the trains of Tokyo in various directions through orders by smartphone, the kidnapper manages to shake off the tails of the modern-day members of the Shinsengumi. Hajime deduces that one of the money-runners was in fact in cahoots with the kidnapper, but they are already murdered by the time the police find them. Can Hajime figure out where the kidnapper-murderer fled to and save Fumi?

Okay, even with a title like The Kindaichi Fumi Kidnapping Murder Case, anyone could guess that Fumi wasn't the one going to be killed, especially not as this is the last story in the series....

Fans of the series will obviously quickly make the connection to The Hayami Reika Kidnapping Murder Case from the first season, which followed a similar story plot: the idol Reika (and personal friend of Hajime) was kidnapped, and Hajime had to follow all kinds of orders made by the kidnapper on his way to the ransom money drop-off point, and eventually a dead body appears.  In that sense, The Kindaichi Fumi Kidnapping Murder Case feels a bit like a rehash to be honest, though it's actually also a good story to show how long this series has been running now, and how it always manages to remain relevant by incorporating the latest changes in society and technology in its mystery plots in meaningful manners. The one thing that stands out most: the use of smartphones! Back in 1997, the kidnapper ordered Hajime around with notes and by calls to public telephones, but now twenty years later, the money-runners who share names with members of the Shinsengumi are all controlled directly by chat apps on smartphones, allowing for on the moment changes in plans! The kidnapper for example notices Hajime as one of the tails, and sends a message to the smartphone of one of the money-runners, telling Hajime to back off. Later in the story, after the murder has been discovered, the police decide to check up on the alibis of all the surviving money-runners (as they lost track of them) with the help of the GPS in each of the smartphones. The use of these "new" technologies are of course a given for us, and you do seem them in modern CSI-esque crime series, but they are not used as often in classically-styled fair-play puzzle plot mysteries, so it's nice to see things like that used effectively in this story.

Like in 2011's The Game Mansion Murder Case, The Kindaichi Fumi Kidnapping Murder Case manages to bring some extra excitement in comparison to the usual murder plot by featuring a story-in-progress (the build-up to the ransom money drop-off). This part is obviously also intricately connected to the murder case later, with most of the vital hints to be found here, so that's a great way to structure a story. The execution of the kidnapping, and murder plot is definitely not bad (in fact, I enjoyed it), but it might be a bit confusing for some readers. While the necessary knowledge to solve this mystery is presented in the story itself, it defnitely helps to have some rudimentary knowledge about trains and stations in Tokyo. The six people are all sent off to different stations on different lines, and if you don't know anything about the stations or lines in Tokyo, all you'll see will be a random station and train line names being dropped that convey absolutely nothing to you in terms of relative distance, direction etc. Tokyo's train lines are infamously complex, with several private and public companies running various lines there, and with some lines having their own stations, while at other places, the stations of the various lines are housed within (more-or-less) the same building/maze (more often, the stations have just... grown into each other). The story does make good use of actual architecture etc. of real-life places and works wonderfully as an example of a mystery story set in a true metropolitan setting, but a bit more effort into conveying the train lines and stations might've been better. Perhaps an animated adaptation, with cuts to characters moving on top of a route map, would portray this part of the story better.

Overall though, I enjoyed The Kindaichi Fumi Kidnapping Murder Case as an adequate mystery story in a setting we don't see often in this series, and also making good use of technology we take for granted now, but still don't see often enough in fair-play mystery stories nowadays. One thing I want to remark though is that it's not really a series finale. It kinda feels like the series was suddenly canceled, as there's nothing particularly special or grand about this story, like the original finale to the first season was, or the finale to the 20th Anniversary series. It does what it has to do as a mystery story, but it's kinda weird to see this series end with this particular story.

The final volume of Kindaichi Shounen no Jikenbo R was released half November 2017, and shared its release date with the first volume to a new spin-off series. Kindaichi Shounen no Jikenbo Gaiden - Hannintachi no Jikenbo ("The Young Kindaichi Case Files Side Story: The Case Files of the Culprits") is a gag parody manga by Funatsu Shinpei that doesn't star the young detective, but the murderers from earlier stories! This manga revisits some of the earliest stories, like The Opera House Murders and The Seven School Mysteries Murder Case, but from the point of view of the murderers, and in a comedic tone. 'Cause when you think about it, some of these murderers had to do some ridiculous feats in order to commit their murders. Like one of the murderers remarks in the manga (which was actually tested in the Japanese variety program Suiyoubi no Downtown): they might as well have competed in SASUKE/Ninja Warrior, as the physical strength needed to pull off some of these murders can be quite impressive. Or how about having some meddling kid pointing out that one little mistake over and over again even though you yourself are actually quite aware that that wasn't among your best work and you're already quite ashamed of it?

I laughed a lot with Hannintachi no Jikenbo, but I really have to say this series is aimed an extremely specific audience, namely those who know their Kindaichi Shounen quite well. This series obviously spoils the identities of the murderers of each of the stories included (all from the first season), and the scenes parodied are also often quite specific. This manga very roughly tells the murders as they happened in the original series (with some of the panels being traced from the original comic), but it jumps from one scene to another, and little is explained. It assumes you know the story in question and that you kinda remember the iconic scenes and the rough order of the events: if you fit those conditions, you'll have a hilarious parody manga that uses the inverted form to show a whole different side to a story you thought you knew through and through. This first volume managed to reach quite an audience though: the first print was sold in two weeks, so a second run followed soon (I had to wait a few days for my order as the second run hadn't been printed yet).

The manga reminded me of the legendary Kindaichi Shounen videogame Kindaichi Shounen no Jikenbo - Hoshimitou - Kanashimi no Fukushuuki, where you play as the murderer trying to commit the perfect crime, with Hajime pouncing on you the moment you make one little mistake. Normally you would want to see Hajime win as the detective, but playing these mystery tales from the side of the murderer really changes the mood, and the moment you realize you left a vital clue at the crime scene and that Hajime will without a doubt prove your guilt is absolutely horrifying.

Anyway, long story short, I enjoyed both the final volume of Kindaichi Shounen no Jikenbo R, and the first volume of the new series Hannintachi no Jikenbo that actually goes all the way back to the first volumes of the series. The Kindaichi Fumi Kidnapping Murder Case is definitely an entertaining mystery story, that sadly enough shouldn't have been used as a series finale however. And the new parody series is really only meant for a very specific audience, but if you fit in there, you should have a blast with it.

Original Japanese title(s): 天樹征丸（原）、さとうふみや（画）　『金田一少年の事件簿Ｒ』第１４巻
 天樹征丸（原）、さとうふみや（原）、金成陽三郎（原）、船津紳平（漫画）　『金田一少年の事件簿外伝　犯人たちの事件簿』第１巻

Curtains for Three

夕焼け小焼け雨が上がるよ

夕食の匂い通りに満ちてく

「NORA」（Garnet Crow）

The sunset is glowing, and look, the rain is stopping

And the roads are getting filled with the smell of dinner

"Nora" (Garnet Crow)

And yes, I have to read at least one detective story set in Fukuoka every year...

After the disappearance of his father, who once had the best ramen noodle food cart in town, Yuge Takumi had to drop out of school, but with the help of his father's friends, he eventually managed to become a private detective in the city of Fukuoka. Between his investigations for laywers, protecting clients from stalkers and getting involved with gang wars in, Yuge spends his free time on his hobby: ramen noodles. He loves visiting his favorite places, but also discovering new restaurants and see how their versions of tonkotsu ramen noodles turn out. And occassionally, Yuge even works on recreating the ramen noodles his father used to make, as both he and the people of Fukuoka still long for a good bowl of Yugefuku ramen. Yuge's love for ramen also plays a big role in his cases though, as more often than not, it's ramen that gives him that little nudge in the mind that allows him to solve the case in Nishimura Ken's short story collection Kanshoku! ("Finished!", 2015).

Long ago, I discussed the first two volumes in Nishimura Ken's Hakata Detective Case Files series. It was the main setting that had me hooked right away: it was set in Fukuoka (and I love Fukuoka) and was about a detective who solved his cases through his knowledge of ramen noodles (and I love ramen). The execution was sadly enouh a bit uneven. I think it's clear from the blog that hardboiled detective fiction isn't my favorite subgenre and the short stories in this series often took that form, so I was quite aware that it might've been a bit unfair from the start, but what I really thought was disappointing was how the link between ramen noodles and the case often felt unnatural and forced. When it worked, the stories were really great: with anecdotes on ramen noodles (and the history of the dish) proven to have some significant parallels to the case at hand. But more often than not, the connections were vague, and incredibly contrived. But on the whole, the series wasn't that bad and as it was planned as a trilogy, I did plan to read all of them. I'll have to admit that I had kinda forgotten about the series though, so I hadn't even noticed that Kanshoku!, the final volume in the trilogy, had actually been released in 2015 already....

On the whole, Kanshoku! is not very different from the previous volumes, with Yuge working on a variety of cases that either have a direct link to ramen noodles, or ones that are solved through him noticing a parallel between his case, and some random bit of ramen trivia. The big difference however is that Kanshoku! is the final volume of the trilogy, so we finally learn why Yuge's father disappeared. The final story, Saigo no Kizuna ("The Last Link") is, for now, the end of the series, revealing the fate of Yuge's father, why he disappeared and how Yuge moves on from that. About half of the stories in this volume help build up to this finale. Of those, two of them can hardly be considered mystery stories though. Chichi to Ko ("Father and Child") in particular isn't about any mystery at all. Yakuza (gangs) in Japan have traditionally shown a desire to prove their legitimacy to the public, and its rivals, for example by helping out during natural disasters, as to prove their place in society. Their link with shrines and temples is part of this, and in the old times, yakuza and shrines and temples would work together on ennichi festival days. Yuge's surrogate father, who took him in after his father's disappearance, is a yakuza boss who's organizing such a shrine festival in downtown Fukuoka, but he fears a rival gang may want to ruin his 'party' to shame his face. While the topic itself is interesting, nothing of importance happens in this story at all, not even a mystery, as it's basically sowing seeds for the finale. Aji no Kioku ("Memory of A Taste") has Yuge and a reporter friend attempting to uncover a large corruption scandal involving a town renewal project and a yakuza gang, but the way the two manage to find evidence is just slightly better than simply stumbling upon a random heap of files on the street.

Shuumeisha ("Successor") is the opening story and one of the few stories really about ramen. The second-generation owner of Touryuu, a ramen restaurant near Kyushu University's Hakozaki Campus, was assaulted on the street, and both the victim and a witness say the assailant was the head chef of the Touryuu restaurant. After the demise of the first owner, his son-in-law took over, and he started to open new Touryuu restaurants across town. They become very popular among a younger public, but only because they serve a different kind of ramen noodles. The head chef of the original Touryuu restaurant on the other hand was still making the soup just like the first boss did, and refused to change along, leading to a cold war between the second owner and the head chef. The head chef denies the accusation of assault, and says he was on the way home at the time the attack took place, and Yuge is hired to prove his innocence. Takumi's also working on another case that happened on the same night, in the same area, as he needs to prove a husband had been assaulting his wife out on the street. It's revealed the two cases are linked through a ramen cart, but I find it disappointing this link was rather weak, and Yuge basically stumbled upon evidence of his case by pure coincidence. There's also a sort of code-cracking part to the story, but no way anyone is going to figure that one out in advance.

In Mawarimichi ("Detour"), Yuge is hired by the widow of a friend who had recently died in a car accident, being overrun near the station. Her husband had originally gone out for a business trip to Tokyo, but it was cancelled on his way to the airport, so he had parted with a collegue there and was going home. The problem is that his whereabouts between him leaving his colleague, and him being getting overrun by the car are unknown, as it wouldn't had taken the husband almost six hours to make it from the airport back to their home. Fearing his last day alive might've been spent cheating on her, the widow wants Yuge to find out what he did that day. The story could've been much better with the hinting. The definitive clue isn't even described to the reader until Yuge reveals it to the widow, so the only way anyone could've solved that was if they knew the station themselves where the clue was, and knew what stood at that particular spot that told Yuge everything. There's some subtle hinting going to support Yuge's theory, that I admit, but it's a bit drowned away by all the time schedules of the various transportation lines that are quoted all the time.

Chuukeiten ("Relay Point") is a short mystery story, where Yuge needs to figure out how a small group of gangster known to be involved with an illegal weapons deal managed to get rid of the weapons in their car, even though they had been tailed from the start until the time the police stopped them. The solution is rather simple, but for once, the link between this tale, and the random ramen anecdote actually works. The connection in Tabi wa Michizure ("Good Company On The Road Is The Shortest Cut") on the other hand is pretty weak, but it's still an entertaing story. Yuge's travelling with his girlfriend and two other acquaintances by train. Among their fellow passengers, Yuge spot two people whom he suspects are money runners involved with a recent corruption scandal, as well as two undercover cops tailing them. The way Yuge deduces how the money runners are going to shake their shadows is pretty interesting, and the ending is actually surprising. There's a subplot going on, where Yuge needs to sort out a fight between the daughter of an old friend, and her fiancé, as they are having a huge row about something. The explanation to that is absolutely brilliant, and really fits well with the ramen theme. The one problem is that the average reader will probably have problems figuring it out themselves, as it requires somewhat specific knowledge. It's a topic I myself am really interested in, so I didn't felt really 'cheated', but a bit more hinting would've made this a classic tale in a very specific subgenre!

Tousaku ("Inversion") is a borderline impossible crime story. In the past, Yuge managed to help a client out who was being stalked by a man who dated her once. While the stalker was caught, his client decided to move anyway, but one day, Yuge just happened to spot the stalker again near his client's new home. The local police, who were aware of the stalker's history, had already been contacted by Yuge's client, as she found hand-posted threatening letters in her mailbox. A camera is installed over the client's mailbox, in the hopes of obtaining new evidence to put the stalker behind bars, but for some reason new letters keep getting posted, even though the stalker is not seen on the footage. So how did he manage to post them? I said it's a borderline impossible story, as it really isn't, and I think the solution is pretty easy to guess once the rather lenthy set-up is out of the way, but I quite liked this story, especially as the jump from the random ramen anecdote to the truth of the case didn't feel as forced as in other stories.

For people interested in tonkotsu ramen though, there's once again a wealth of information to be found here. Nishimura is obviously very knowledgeable about the matter (ramen is serious business), and you'll learn a lot about the history of tonkotsu ramen, not only as a "dish" as well as an object of interest in cultural history. People interested in food history, food culture, early twentieth century history and antropology will be pleasantly surprised. Many of the restaurants mentioned in Kanshoku! are real by the way, so you can visit them yourself.

But on the whole Kanshoku! is not very much different from the other two volumes in the series. Yes, it brings closure to the series, but like always, the link between the case and ramen isn't always clear-cut, and therefore not convincing. When it works, it feels very satisfying, seeing this effect of how a random bit of info on ramen (history) ties to a seemingly unconnected case. But most of the time, the link feels forced. Mirroring can be a very effective device for mysery tales, to serve as a clue to solving the case, as seen in Father Brown or the A Aiichirou stories, but Nishimura wasn't able to get to that quality over the course of the three volumes in the Hakata Detective Case Files series. My thoughts on this series have thus not been changed: worth taking a look at if you're interested in Fukuoka and/or ramen noodles, but otherwise it's not a very consistent mystery series.

Original Japanese title(s): 西村健　『完食！』: 「襲名者」 / 「回り道」 / 「父と子」 / 「中継点」 / 「味の記憶」 / 「旅は道連れ」 / 「倒錯」 / 「最後の絆」

Étude in Black

"Do you remember what Darwin says about music? He claims that the power of producing and appreciating it existed among the human race long before the power of speech was arrived at. Perhaps that is why we are so subtly influenced by it. There are vague memories in our souls of those misty centuries when the world was in its childhood."

"A Study in Scarlet"

As individual chapters for many manga series are published in pretty hectic schedules, most professional manga artists (who can afford it) have assistants for specialized jobs, like cleaning pages, inking, lettering or for example drawing backgrounds, trees or fabrics. The job of assistant is also often a first step into becoming a professional themselves. Oda, creator of the hit series One Piece for example, is known to have been an assistant to Rurouni Kenshin's Watsuki for example. I knew that Aoyama Goushou, creator of Detective Conan, had a team of assistants too of course, but even so, the stories told in the recently released Gōshō Aoyama 30 Years Anniversary Book were quite a surprise. I for example had never known that his assistants have been there with Aoyama even from before Aoyama's debut, having been standing by his side since their college days, all the way up to this day. His assistants seem to be quite content as Aoyama's support.

Tani Yutaka is one of the better known assistants of Aoyama, as he's not solely working as support. Some might know his name from the Detective Conan Special spin-off series, with original Conan stories written and drawn by other people besides Aoyama. Tani was also the author of the first two original Detective Conan paperback novels. The first novel, Meitantei Conan - Koushuu Maizoukin Densetsu, was released in 2005, and as you might remember, I wasn't too big a fan of it. The third novel, Meitantei Conan: Enjinbara no Witch (2008), was much better, but was written by Taira Takahisa, who would also pen several of the novelizations of the Detective Conan live-action drama specials and episodes. There are at the moment no other original paperback novels of Detective Conan by the way save the trio of Koushuu Maizoukin Densetsu, Ejinbara no Witch and the book of today's post: the rest are novelizations of the films, episodes from the manga or from the live-action series.

The second of the original novels was also written by Tani Yutaka, and is titled Meitantei Conan: Satsujin Symphony ("Detective Conan: Murder Symphony", 2006).  The Haido Theater of Arts has recently been completed, and as the New Teito Philharmonic Orchestra will be calling the theater its new home now, they will also be opening the theater with a performance of Symphony No. 9 by Mahler. The stars of the show are of course Yui, violinist of the orchestra and Asakaze Akira, conductor of the orchestra and Yui's fiancé. The Sleeping Detective Mouri Kogorou is also invited for the grand opening, with Ran and Conan coming along too. After the performance is over however, a dead body is discovered in the dressing room of Yui. The victim is a paparazzi journalist who had been hinting at some scandal behind the New Teito Philharmonic Orchestra for some while in his articles, so at least some of the people in the orchestra might have a motive for wanting to kill him, but the problem is that  none of the people on stage that night could've killed him, as the victim had only come to the theater after the performance had already started, so the whole audience can vouch for the alibis of all the performers. Conan however suspects some foul play is at hand here, as his main suspect is indeed someone who Conan himself saw on stage all night.

I had read this book a long time ago already and I was not really impressed by the book the first time, but given that I had only just started studying Japanese at the time, I thought that this second reading might change my thoughts about it. It's always possible that I misunderstood some of the finer details for example, so I figured it can never hurt to read the book again now I have more reading experience.

Sadly enough though, it seems my first impression was the correct one. While better than his first attempt, Tani's second original Conan is still rather unsatisfying, especially if you realize that the third novel (by Taira) is so much better. What Tani does do correct is emulating the structure of a classic Conan story. One can easily imagine this to be a three-part story in the original manga, with the first chapter setting things up and ending with Conan setting his eyes on his main suspect, the second chapter with Conan gathering information and the third explaining howdunit. In terms of scale and structure of the plot, Satsujin Symphony does everything what'd you expect from a Conan story.

So then we arrive at the mystery plot and it's... well, bad is probably going too far, but it's far too simple. It's too little to build a whole novel around. Granted, these original novel paperbacks are aimed at a younger public, so I can't be demanding Anthony Berkeley-esque shenanigans here, but even so, the alibi of Conan's main suspect basically hinges on one single fact, and it's right from the start obvious that that someone might've played a trick with that fact. A simple trick might work if it's expertly combined with other elements to come up with a product that is greater than the sum of its parts, but that is not the case with Satsujin Symphony. It's a simple, short story that hinges on a simple, short trick and it does not try to do anything more than that. I just mentioned that structure-wise, this story does resemble the original manga, but most three-part stories in the manga feature either a more intricately designed trick, or several simpler tricks strung into an series so it's not dependent on one single thing. That is not the case here. The clewing is okay-ish, but again, with an idea so simple, clewing is hardly necessary.

Interestingly enough though, this is one of the few Conan stories about an orchestra and/or classical music. One might be tempted to think of the theatrical feature Detective Conan: Full Score of Fear, but that was released in 2008, two years after this book. Even considering the fact that production of a Detective Conan movie usually starts nearly two years before the actual release, considering the time needed to write a novel, I think Tani was first. The orchestra theme is used fairly well though in this book, though it's a missed chance that Tani did so little with the "Curse of the ninth", as he barely mentions it, after which he moves on to other subjects. A bit more fleshing out would've done wonders for this book, as a fleshed-out background was one of the things that made Taira's Ejinbara no Witch stand out as a Conan original paperback.

It's such a shame these original Conan paperbacks are more often a miss than a hit, as the novel series for the Kindaichi Shounen no Jikenbo series were almost all fairly to quite good, to the extent that the're actually part of the story (events and characters from the novels have found their way into the manga series eventually). The difference is of course that those novels were also written by the writer of the manga series. The two Tani Conan novels however are obviously of lesser quality than the original manga, and as they are not part of the series, you can just ignore them, basically sealing their fate: they are basically only intended for the fans, and even then they're not really worth your time, while I'd say most of the Kindaichi Shounen no Jikenbo novels could be read perfectly as standalone mystery novels too.

So Meitantei Conan: Satsujin Symphony is one of those parts of the grand Detective Conan franchise that is unlikely to find its way outside Japan, unlike the theatrical films etc., but it's certainly not a big loss for overseas fans. Of the three original paperback stories, Taira's Ejinbara no Witch is without a doubt the best, so if you really want to read one of them, make sure it's that one.

Original Japanese title(s): 青山剛昌（原）、谷豊（小説、絵）『名探偵コナン 殺人交響曲』

Name of the Game

"I live in the games. I search through systems, peoples, and cities, for this place."

"Reboot"

The last few years have seen an uprising on blogs on mystery fiction, and it has led to a small ecosphere, where people talk about their love for the genre over the internet. Often, the discussions will be about specific works or authors, but sometimes, you'll also see discussions on the best locked room murder trick, or how a murderer made a stupid mistake in an otherwise flawless plan, and at other times, these people will not only try to compete with a book author and the fictional detective in "a battle of the wits", but also with fellow people on the internet, with detective games or puzzles. But all of that is still peanuts compared to today's book.

Somewhere in a back alley of the internet, you'll find a small private video chat group populated by a colorful lot. "The Mad Header", "044APD", "aXe", "Zangya-kun" and "Professor Ban Douzen" are not ordinary people. That is not only because they use voice changers or wear funny masks like that of Darth Vader (The Mad Header) or Jason Voorhees (aXe). It's also not just because they love mystery fiction. This group is not ordinary, because they play a certain game. Once in a while, the group comes together to play a game of intellect: one member has to pose a locked room murder problem to the others, who will need to solve it using the available hints. But the catch is that the host of the problem must commit their locked room murder in real life. So the participants need to solve a real life locked murder, using the information gain from the news, as well as any additional information or hints provided by the host. Eternal glory awaits those who manage to solve a locked room murder, or who manages to mystify their fellow members. Utano Shougo's Misshitsu Satsujin Game 2.0 ("Locked Room Murder Game 2.0", 2009) details a new series of linked short stories about these ingenous, yet monstrous games of deduction.

I read the first Misshitsu Satsujin Game back in 2015 (the review wasn't posted until 2016 because of timey-wimey stuff) and it became one of my favorite reads of the year. It was not only highly entertaining as a short story collection focusing on locked room murders (some of them were really brilliant): the whole set-up of the tale, as well as the characters were memorable. The video web chat setting was not just a gimmick, but was used to its fullest, leading to surprising developments. One fine example was one member having an alibi for their locked murder, as they were busy video-chatting with the others during the murder in an earlier story! The characters, despite only interacting through webcams and hiding behind masks and avatars, were also incredibly lively, each with a distinct personality and way of talking, resulting in very entertaining chat sessions, making the whole book an absolute delight to read. So it was only a matter of time before I'd come back to the world of the Locked Room Murder Games.

For those who have read the first book and are wondering: at first the connection between that book and this one might seem a bit odd considering how that one ended, but a proper explanation is given over the course of the stories. The plot structure for most stories is fairly similiar: a host details the murder they committed, supplying some additional details about the victim and murder with pictures and videos they took of their deed, followed by several chat sessions where the participants propose solutions while bantering and bickering a lot. Occasionally, the chat sessions are interrupted by moments where we see the participants trying to gain more information in real life, for example by questioning the witnesses themselves or visiting the crime scenes in person. Each story is an entertaining read as all the participants keep throwing their thoughts at each other, constantly developing the plot further.

Q1: Tsugi Wa Dare Ga Koroshimasu Ka? ("Q1: Who Is Going To Kill Next?") starts with a surprising statement to the police by a young man who got arrested on suspicion of a series of murders. He only wrote down a series of numbers, mentioning only that this was all a game. "The Mad Header", "044APD", "aXe", "Zangya-kun" and "Professor Ban Douzen" quickly deduce that the man must also be playing some kind of internet murder game, just like themselves. The people in the other group are apparently murdering their victims in similar ways, making it appear like a serial murder. Working on the assumption that the series of numbers must have some meaning to the suspect's group, our group tries to figure out what that message is, and the details behind the other killing game. As an opener, it's a bit disappointing this story isn't a locked room mystery, but basically a code-cracking story. It's a pretty good one, granted, because as the stories develops, the other game is revealed to be quite shocking, and the way 'our' group deduces that truth is fairly solid. The story also functions as a fair introduction, as we see how the members of our group each gather information in their own way: some only look at the news, while others actually go to the crime scene themselves to gain an advantage over the others. So it's a good code-cracking story, but most people won't be reading this book for a code-cracking story....

Q2: Misshitsu Nado Nai ("Q2: No Locked Room At All") is a short intermezzo, as Professor Ban Douzen tries to lighten the mood with a short locked room puzzle (so this is not a murder they actually committed). The answer to their puzzle of how a murderer managed to attack a man living in  a house that had been closed off completely is utterly ridiculous, but oddly fair, due to the careful wording. It's obviously meant as a joke problem though. A variation on the same problem is offered with a more serious solution, which is better, but again, this is just light stuff compared to the actual murders they commit.

Q3: Kirisaki Jack Sanjuppun no Kodoku ("Q3: Jack the Ripper - Thirty Minutes of Solitude") is our first genuine locked room murder of the book, and it's a gem. A man was killed inside one of the buildings he owns. His daughter found him inside one of the office rooms, but at the time of the discovery, the only office door was blocked by something on the inside, so she had to push hard before she could open it. The objects blocking the door were her father's legs: his torso was lying in the middle of the room, his stomach cut open and all his organs had been pulled out. The legs had been put against the door after it had been shut and that door is the only exit out of the office. So how did Zangya-kun commit their gruesome murder and then managed to "lock" the door with the legs? The story has a nice pace, as the group banters on about the horrible murder case and Zangya-kun keeps on provocating the others for not being able to solve their murder. It's a very tricky locked room murder too, as it even features a trap. The story is also a good showcase of how a deduction should be based on clues: at one point Zangya-kun decides to reveal a clue on purpose to help the group out, and it's that one clue that changes all the deductions up to that point, changing the problem they had been playing with in something different. The way that one clue manages to turn everything upside down is absolutely brilliant, and results in an incredibly memorable locked room mystery. This story is titled after after a Shimada Souji novel by the way.

Q4: Soutou na Akuma ("Q4: An Unbelievable Devil") is an alibi deconstruction story, as the impossibility comes from the fact that the Mad Header couldn't have committed the murder they committed. The victim had been in Osaka on the night of her murder, and while her body was found buried somewhere thereabouts, her head was found inside the refrigerator of her own apartment back in Kanagawa Prefecture, near Tokyo. The problem however is that on the day of the murder, the Mad Header held several video chat sessions with his group, one of which together with the body even. These chat sessions however place him until a certain time in Tokyo, which means it would've been impossible for him to make it all the way to Osaka in time to do his video chat session with the victim's body. So how did he manage to make it in time to Osaka for the murder? The solution to the alibi is a bit simple, and not really impressive, but it's in fact no the main attraction of this story: once you realize how the alibi was created, a new riddle arises of how that situation could've been orchestrated in the first place, and that's when the story ventures into very surprising areas, making excellent use of its unique setting as a web-based story. I'd say this tale is more memorable because of the latter revelation (which is really surprising) than the (ostensibly) main puzzle, and one with a really nasty aftertaste (designed on purpose). The title is a play on Arisugawa Alice's Soutou no Akuma ("Double-Headed Devil")

Q5: Mittsu no Kannuki ("Q5: The Three Latches") is named after Carr's The Three Coffins, and features a special 'coffin' with three latches. aXe's victim was stuffed inside a transparant coffin, which had been locked from the inside by three latches, and the coffin itself stood a few meters away from a lonely automobile road. Snow had also fallen that night, but no footprints were found that led to or away from the coffin. The locked coffin and the untouched snow means a double impossible situation to solve for the chat group. The solution is a bit... dissappointing isn't the right word, but I'd say less impressive than the previous efforts? The other participants make the same complaint actually, but a transparent box dumped near a road isn't that memorable, and as early on aXe admits they themselves created the box, the reader will soon suspect there's something err... to suspect about the box. The way the impossible situation was created is in practical terms okay, but it misses... imagination, I guess.

Q6: Misshitsu yo , Saraba ("Q6: Farewell, My Locked Room") is the last full story in the volume, and is all about 044APD's daring locked room murder. The person 044APD announced they'd kill was indeed found murdered, but what baffles everyone is the fact the victim was found lying dead inside an apartment he had no connections to whatsoever. One of the inhabitants of the apartment was also murdered, but she and the victim had no ties at all. Furthermore, the apartment door and windows were naturally locked, and the only entrances leading inside the building are either the emergency exits (which can't be opened from outside), or the entrance which is being watched by a guard all day, with visitors being required to sign a register. So how did 044APD manage to get their victim inside a random apartment, in a secured building? This is by far the longest story, with 044APD holding several chat sessions as nobody manages to solve the conundrum. The solution is incredibly daring, with many steps required to accomplish the impossible. This is why we read mystery fiction! The sheer imagination and audacity needed to pull this murder off is what tickles our interests! And not only does it feature several ingenious red herrings (which also take on a completely different meaning when you know the truth) that manage to send the other participants in the wrong direction, it also makes good use of the internet chat group setting again to set off some other surprises on the way. This is really a good story that combines a great locked room mystery in a natural, but meaningful way with the overall plot, setting and the characters as established in the previous stories. Definitely this volume's MVP.

The book ends with the one-page long Q?: Soshite Tobira ga Hirakereta ("Q?: And Then The Door Was Opened"), but this is nothing more than a teaser for the third book in the series.

Like the first volume, Misshitsu Satsujin Game 2.0 proves to be a great locked room murder short story collection. The combination of a "modern" setting like a video chatroom (used to its fullest!), with a incredible cast of totally crazy people who commit murders for their own entertainment, and incredibly imaginative locked room murders means that this second volume is a gem too in the genre. There's so much goods going on here, from genuinely captivating conversations to surprising plot twists and usage of the web-setting, that I can only recommend Misshitsu Satsujin Game 2.0 wholeheartedly. The one minus point I could give it, is the fact that it resembles the first volume a lot, so it lacks the initial shock, but this is still a very good book.

Original Japanese title(s): 歌野昌午　『密室殺人ゲーム2.0』

Escape from Mystery Manor

「探偵小説を私は『お化け屋敷』の掛け小屋からリアリズムの外に出したかった」

『随筆　黒い手帖』（松本清張）

"I wanted to release the detective novel from the haunted house, into the realism outside."

"Essays: The Black Notebook" (Matsumoto Seichou)

It might be a mistaken impression of mine, but I have the feeling many of my fellow blogging collegues and aficionados consider the impossible mystery, and especially the locked room mystery, as what is perhaps the pinnacle of the mystery genre. I myself never got so deeply engaged with the locked room mystery to be honest. While I definitely enjoy a good impossible mystery, I have always preferred the emphasis on the process of solving a mystery through logical reasoning as seen in the whodunit novels by Ellery Queen. This does not mean the locked room mystery is incompatible with the logical whodunit school, but this fusion usually shifts the focus from the locked room situation itself to questions of who could've created the situation and for what reasons.

Van Dine was of course also one of the figures strongly associated with the logical school and it's his hand you mostly sense at first sight in Roger Scarlett's first two novels. Roger Scarlett was the pen name of  Evelyn Page and Dorothy Blair, and they debuted as Roger Scarlett with the 1930 novel The Beacon Hill Murders, followed in the same year by The Back Bay Murders. The two novels are quite similar in design, but also differ in some key elements. Both books show the influence of Van Dine right from the start though. Both of them are narrated by the attorney Underwood, who is friends with the brilliant Inspector Norton Kane, who in turn often works together with Sergeant Moran, who also serves as a part-time rival, part-time friend to Kane. This triforce naturally remind of the triangle featured in Van Dine's novels, which had narrator S.S. Van Dine, the master detective Philo Vance, and the official forces as personified in District Attorney Markham and Sergeant Heath. The difference is of course that in Scarlett's books, the master detective is actually a police detective himself, so the Markham and Heath characters from the Van Dine novels are basically mashed together in Sergeant Moran. Underwood is an incredible snob in the first novel by the way, with Kane having some of the smooth talking of Philo Vance, though that softens a bit in subsequent books for both characters.

The Beacon Hill Murders and The Back Bay Murders are both set in the city of Boston, but feature very different settings. The Beacon Hill Murders starts with a murder on Frederick Sutton, one of the nouveau riche and client of Underwood, and the subsequent investigation is completely focused on the Sutton residence and the rich family who lives there. The Back Bay Murders on the other hand is about the colorful lot in a boarding house. Arthur Prendergast is a neurotic young man who wants Kane to investigate a malicious prank someone left in his room, but not even Kane could've known that it would end in murder. While the settings of a rich family's home and a boarding home with various inhabitants couldn't be more different, the execution in both books is actually quite similar.

In my reviews of the fourth and fifth novels written by Roger Scarlett (Murder Among the Angells and In The First Degree) I noted how the buildings themselves were important factors in their respective stories: there was a distinct, dooming quality to them that gave them a silent presence in the story, which was emphasized by the abundant use of floorplans throughout the stories. Floorplans are also richly used in The Beacon Hill Murders and The Back Bay Murders, though I'd argue that as buildings themselves, the Sutton house and Mrs. Quincy's boarding house have less importance than in subsequent Scarlett novels. Instead, the design of the floorplans themselves become more important, because The Beacon Hill Murders and The Back Bay Murders both focus on one thing in their whodunnit plots: the alibi.

The investigation into where everybody was at the time of the murder is what drives both books. Little time schedules are given from time to time to show where everybody was at what time, and the floorplans therefore become significant in showing the movements of each and every character and how each of them could vouch for other people. This emphasis on the alibi however does make the middle part of both books rather dull, as you're constantly reading about people talking about where they were when. The Back Bay Murders does slightly better in that regard due to an early twist, but even then it's only barely better than The Beacon Hill Murders. It's interesting to see how these floorplans in these two books were more a tool to assist the alibi-oriented stories, while in later Scarlett novels, the floorplans, and the buildings themselves grew into something bigger than that (especially in Murder among the Angells). The emphasis on alibis is not particularly something Van Dine-ish, though even Van Dine experimented witth some interesting cases, for example with the chess game alibi in The Bishop Murder Case.

The emphasis on alibis is also what makes both The Beacon Hill Murders and The Back Bay Murders somewhat underwhelming, as both books don't go far beyond poking around alibis. The Beacon Hill Murders manages to do something more interesting with the focus on alibi investigation I have to admit, while The Back Bay Murders is rather predictable in terms of execution. Aosaki Yuugo's Suizokukan no Satsujin certainly wasn't perfect in terms of doing an alibi-oriented story: following the alibis of eleven suspects down to the minute was quite tiring, but it at least also had more than just that, and the alibis were tightly connected to those other elements. In these two Scarlett novels however, alibi is the star, and it's a rather dull star most of the time. The focus on character movement within the respective settings also means there's a highly claustrophobic atmosphere in both books, but as the buildings themselves are not as unique as the one in Murder Among the Angells, this pressing feeling is little more than just that, rather than a supporting element in a grander picture.

If I had to differentiate the two books however, I'd say The Beacon Hill Murders is the one that'll make a better impression overall, but it does feature a far smaller cast and a very limited setting. The Back Bay Murders features a more varied cast and is arguably more intricately plotted, but many of the plot elements are also rather obvious to the reader, and the reason for the murders is also quite weak compared to that of The Beacon Hill Murders.

The overall similarities between The Beacon Hill Murders and The Back Bay Murders and the fact that they are now available in one handy volume is why I reviewed these books together, but I'd advice against reading them back to back actually, as they are quite similar in atmosphere. I know that Murder Among the Angells and In The First Degree do feel quite different from each other and these first two books, so that makes me curious to the third book in the series. Anyway, these two books are not particularly impressive mystery novels on their own, but as part of the short Roger Scarlett bibliography, it's interesting to see how the focus in their writing style would shift from the alibi to the setting.

Dream's End

コワレユクようにながい夢みたあとで

「夢みたあとで」 （Garnet Crow）

After a long dream that made me feel like I was breaking apart...

"After the Dream" (Garnet Crow)

It's been years since I was so disappointed by a book...

G series  
1) φ wa Kowareta ne - Path Connected φ Broke
2) θ wa Asonde Kureta yo - Another Playmate θ
3) τ ni Naru Made Matte - Please Stay Until τ 
4) ε Ni Chikatte - Swearing on Solemn ε 
5) λ Ni Ha Ga Nai - λ Has No Teeth
6) η Na No Ni Yume No You - Dreamily in Spite of η.

At first, the dead man hanging from a high tree on the grounds of a shinto shrine appeared to be nothing more than a case of suicide. A strange case of suicide, sure, but still suicide. What was so peculiar about the victim's death was that he was hanging from a tree more then ten meters high. Which meant he must've climbed all the way up there to hang himself. But as there were no clues of a third party being involved, it appears it must be a suicide. The discovery of an ema plaque with the message "Dreamily in spite of η" changes everything though, as the students belonging to Assistant-Professor Kunieda's architecture research lab have been running into several mysterious murder cases that involve Greek letters. With more of these highly suspicious suicides happening one after another, the group tries to figure out why these deaths are happening in Mori Hiroshi's η Na No Ni Yume No You (2007), which also carries the English title Dreamily in Spite of η.

η Na No Ni Yume No You is the sixth novel in Mori's G series, which is named after the G in "Greek" letters that play a big role in each of the books. The series is written as one continous, ongoing storyline: each of the books feature a mystery that is solved over the course of that volume, but many questions, for example involving motives, are left unanswered at the end of each book, as they carry over to the next book. By now, we've learned that some sort of sect that is active on the internet forms the connection to the various books in this series, and that they use Greek letters, but that's basically all we know at this point, and each book provides more questions than answers. That means each individual volume feels incomplete and unsatisfying, I'm afraid, as crucial plot points are left untouched each time, and it's also not adviced to start in the middle of the series, as there are many references to previous cases and characters. η Na No Ni Yume No You is no exception to this.

In fact, I'd say η Na No Ni Yume No You is by far the worst book up until now. For while the previous books at least had fairly interesting core mystery plots that do get solved within the book (even if a lot of the why is left unexplained), this book's core plot can hardly be called a detective story! In the first chapter we're told about the seemingly odd suicide, which still has some alluring points, but this gets pushed back to the background for most of the book, only to be dragged up again for a split second near the end of the book. The proposed truth behind the case is absolutely ridiculous for a detective story, completely devoid of any hinting or build up. Given that previous books at least had a decent, if barren, mystery plot ( λ Ni Ha Ga Nai for example had a good mystery plot), it's inexplicable why η Na No Ni Yume No You's plot is so.... I can't even call it simple, because it's *simple* per se. The problem that this is in no way a plot that could be considered a fair tale of mystery, even if it purports to be so. The so-called mystery plot is nothing more than a device for the characters to have a conversation, and basically forgotten until a "solution" is proposed (not proven) that is basically an insult to the reader's time.

About eighty percent of the book is dedicated to a lot of talking between the various characters, of which there are a lot. Mori writes a lot of different series, but they are all connected, and the G series features characters from all those series. Saikawa and Moe from the S&M/The Perfect Insider series for example are basically still protagonists in the G series, with as much page-time as the three students that are supposed to be the main characters of this series. But we also get several guest characters from the V series. In fact, these cameos have never been as bad as in this novel, with not only references to earlier books in the G series, but also to the S&M and V series, making it very hard to follow for those not familiar with those Mori series. To be honest, I'm not that well-versed in the Mori-world myself, having only read a few of the books or seen some of the TV drama adaptations, and η Na No Ni Yume No You was a pretty vexing reading experience. Instead of focusing on the (meager) mystery plot, η Na No Ni Yume No You was (probably) trying to move the story forward, by connecting all those various series together, but the result was 1) a meager story that can't even be called a mystery story, 2) the protagonists of the G series basically pushed off-screen in favor of the characters from the previous series, 3) a confusing mid-section where the characters are busy talking about various events from other series that may or may not have any connection to the main storyline of the G series. Example: we are told in-depth about the airplane accident that killed Moe's parents again, even though it is an event that is connected to the S&M/The Perfect Insider series (the first book in the S&M series basically starts with a mention of the acccident), with no direct connection to the main case of η Na No Ni Yume No You.

There's actually little I can add to the above. η Na No Ni Yume No You is simply not a genuine mystery novel, and the whole narrative is convoluted because of the many characters from various of Mori's series talking about events that aren't even part of the G series. The result is a book that, in theory, is probably about tying all the series firmly together, but in practice is just a disappointing mess.

Original Japanese title(s):　森博嗣　『ηなのに夢のよう』

A Little Man With Enormous Moustaches

“There’s no doubt at all about what the man’s profession has been. He’s a retired hairdresser. Look at that moustache of his.” 

"The Murder of Roger Ackroyd"

The transformation from an image conjured up by a collection of words printed on paper to a fully realized visual image is always a perilous one. If you have a hundred persons reading the exact same description and ask them to visualize the contents for other people, you might still end up with a hundred different manifestations of what should be one and the same. This holds especially for adaptations of popular works, often ensuing in discussions on what actually defining characteristics actually are, and how free an adaptation (or interpretation) can be, and if one can argue that "the original work" might not always be the best base. Today, I wish to take a look at one of the most often adapted infamous beings from mystery fiction and look at the characteristics and merits of each interpretation. When I mention the name of mystery queen Agatha Christie, you'll probably instantly understand what I'm talking about. I'm naturally speaking of the Belgian detective Hercule Poirot....... 's moustaches.

Hercule Poirot's moustaches are an important presence in the stories featuring the Belgian detective, appearing in all the stories where he appears in to. Would Poirot be Poirot without his moustaches? Of course not. There's a reason why you thought of Poirot when you saw the image above. Had it been a hat or a walking stick, you would never had recognized it as a symbol for Poirot. It's thus not an exaggeration to pose that Poirot only exists in our minds as a character because of his moustaches. The moustaches don't exist for Poirot, Poirot exists for the moustaches.

While often interrupted by long segments with a mystery plot, the stories by Agatha Christie about Poirot's moustaches do manage to portray a lively image of them. They have been described as "magnificent" (Double Sin),  "suspiciously black" (Appointment with Death) and "stiff and military" (The Mysterious Affair at Styles). A certain expert on moustaches from Belgian has been known to say that "nowhere in London have I observed anything to compare with them" in regards to the entity known as Poirot's moustaches. While Poirot's moustaches are already grand on their own, time is of course invested in them to keep them in tip-top shape. It's been said that the only thing about his own appearance that pleased Hercule Poirot was "the profusion of his moustaches, and the way they responded to grooming and treatment and trimming" (Hallowe'en Party). Poirot's moustaches don't do well in warmer climates however, as the heat makes them go limp (The Adventure of the Egyptian Tomb).

As one of the most popular of Christie's creations, Poirot's moustaches have been adapted for both the silver and the smaller screen back home countless of times, each interpretation bringing something new on the table. In this humble monograph I will not attempt to do a comprehensive write-up on the moustaches, but only examine a selection of those adaptations, mostly the ones I myself am most familiar with.

Murder On The Orient Express (Film, 1974, on the face of Albert Finney)

The moustaches in the 1974 theatrical adaptation of Murder on the Orient Express are indeed magnificent: the profusion is unmistakenly there, especially between the nose and mouth, but notice how meticulously trimmed it is: the moustaches form a triangle, but the ends curl upwards to give it a playful look and to soften the facial characteristics of the man behind them. The moustaches are also undeniably suspiciously black.

Death On The Nile (Film, 1978, on the face of Peter Ustinov)

The moustaches in Death on the Nile however are not suspiciously black, and not even unsuspiciously black. One could argue that it wouldn't make sense for Ustinov to have black moustaches considering his cranial hair, but this does raise questions of what should be considered more important in an adaptation. Compared to the moustaches in Murder on the Orient Express, the Nile moustaches also lack the energy: look at how thinly grown it is beneath the nose. Is it a magnificent moustache? While there's certainly length, and the playful curls at the ends do add some character, one can only say that these moustaches are far less impressive than the 1974 ones.

Agatha Christie's Poirot (TV, 1989-2013, on the face of David Suchet)

David Suchet had the honor of being the vessel of Poirot moustaches for the longest period of any of its interpreters and that allowed for something not possible in earlier adaptations: change throughout time. Early on in this series, Poirot's moustaches were, while not as rich as in the 1974 Murder on the Orient Express moustaches, quite splendid: they were full, black and featured a more pronounced curl at the ends. I described the 1974 Murder on the Orient Express moustaches as a triangle, but here we have moustaches that feature nicely rounded curves that emphasize how well trimmed it is. The moustaches were often revised in later seasons: by the time of the last season, Poirot's moustaches were similar in volume like in earlier seasons, but the energy, the vigor had made way for fatigue, as the curls had all but straigthened out.

Murder On The Orient Express (TV, 2001, on the face of Alfred Molina)

They are black, yes, but obviously, these moustaches lack the strength of the 1974 editions, as well as those from Agatha Christie's Poirot. They look like they were only grown a few weeks ago and certainly don't show signs of having been groomed and trimmed, and don't even invoke the grandeur that Poirot's moustaches must have. No criminal would fear these. 

Agatha Christie's Great Detectives Poirot and Marple (TV, 2004)

In the Japanese animated series Agatha Christie's Great Detectives Poirot and Marple, we have a set of moustaches that are magnificent. Look at how richly grown it is, that's almost two fingers thick, enough to cover his mouth completely. Yet it is not only volume: notice how the curl up at the ends actually turn inwards. The 1974 edition only managed to curl outwards, while the moustaches in the early seasons of Agatha Christie's Poirot pointed straight upwards, but the moustaches in this series have enough density and volume to manage a curl inwards!

Murder on the Orient Express (PC videogame, 2006)

In this PC videogame adaptation of Murder on the Orient Express, David Suchet was once again allowed to portray the vessel of Poirot's moustaches as Poirot's voice actor, and one can see that the moustaches here are quite similar to the early ones from Agatha Christie's Poirot. The curl up and the volume is quite similar to the TV series, while the distinct triangle form is reminicent of the 1974 theatrical adaptation of the famous moustaches.

Orient Kyuukou Satsujin Jiken (TV, 2015, on the face of NOMURA Mansai)

While the setting was relocated to Japan and the names of all the characters were changed, this two-part special is in fact both a faithful, and radically original adaptation of Murder on the Orient Express, and it doesn't take a genius detective to recognize that Suguro Takeru's moustaches are in fact Poirot's moustaches. While a bit thin at the center, Suguro's moustaches have a refined look, emphasized by the distinct "W" form of it, different from the earlier triangle or horizontal line with curling ends forms. The ends are this time also exceptionally long, again showing off how much work such a moustache needs.

Murder On The Orient Express (Film, 2017, on the face of Kenneth Branagh)

The 2017 theatrical adaptation of Poirot's moustaches is by no means black, but it is definitely magnificent. "Stiff and militairy" they are not, as the volume is almost threatening: most of the other moustache adaptations mentioned earlier would fit two or three times in it! In fact, these are the only moustaches that actually go around to the sides of the face, in a distinct "WW" (double W) form. The almost grotesque form however becomes less pronounced once you actually see it in motion, probably because it is in fact basically a cartoon moustache. Character designs in animation often cheat by making certain characteristics always visible on the design no matter the camera angle, for example a standing pluck of hair that is always seen on the right side of a character no matter where the camera is. The 2017 moustaches follow the same principle: because the moustaches are so absurd long with a double W form, you'll see "W"-shaped moustaches from basically any angle besides from the back. It makes the moustaches ever present.

This monograph on moustaches has gone on for long enough, so I will end my admittedly incomplete examination here for the moment. The goal of this study was to indicate a preliminary selection of adaptations of Poirot's moustaches, and there is still much room for further research, for example in regards to the two videogame adaptations of The ABC Murders. Admirers of the moustaches are welcome to comment on their favorite interpretation of Poirot's moustaches in the comments below. Merci.