Watch Out! The Willawaw!

“Begin at the beginning," the King said, very gravely, "and go on till you come to the end: then stop.” 

"Alice's Adventures in Wonderland"

Considering Toujou Genya is always getting involved with murder cases that are related to religious ceremonies, it's only fitting I too have found my own ritual when reading this series. Not that it's a positive ritual though. I have mentioned it earlier in my reviews of the Toujou Genya novels, but maaaaaaaan, the set-up takes ages in these stories. The novels are usually around 500-600 pages long and I think in every one of them, the main mystery won't happen until the halfway point. Usually, some mystery that happened in the past will also be discussed in the set-up, but mostly, it's reserved for in-depth research by Genya where he learns about the local religions and shrines and the history of the ritual he'll be attending, and his folkloristic interpretations of said ritual. It's interesting stuff and always relevant to the plot as a whole, but things move at a snail's pace these first 200-300 pages. So my ritual for this series is I always take AGES to get through the set-up. I'm talking me reading one or two pages a day and then trying something else because nothing happens in the story and I want to read something else. Once I finally get to the main murder, I can finish the book in a few days, but sometimes it takes me a month or more to even get that murder. Today's book for example, I think it took me two months since I first started reading it to get past the halfway point, after which it took me just two days to finish it.

Toujou Genya series
1) Majimono no Gotoki Tsuku Mono ("Those Who Bewitch Like The Evil Spirits", 2006)
2) Magatori no Gotoki Imu Mono ("Those Who Are A Taboo Like The Malicious Bird", 2006)
3) Kubinashi no Gotoki Tataru Mono ("Those Who Cast A Curse Like The Headless", 2007) 
4) Yamanma no Gotoki Warau Mono ("Those Who Sneer Like The Mountain Fiend", 2008)
5) Himemuro no Gotoki Komoru Mono ("Those Who Stay Inside Like A Sealed Room", 2009)
6) Mizuchi no Gotoki Shizumu Mono ("Those Who Submerge Like The Water Spirit" 2009). 
7) Ikidama no Gotoki Daburu Mono ("Those Who Turn Double Like The Eidola", 2011)
8) Yuujo no Gotoki Uramu Mono (2012)
9) Haedama no Gotoki Matsuru Mono (2018)

Magatori no Gotoki Imu Mono ("Those Who Are A Taboo Like The Malicious Bird", 2006) is the second novel in Mitsuda Shinzou's series about Toujou Genya, a writer of horror stories, amateur anthropologist (folklore) and collector of scary folklore stories. Genya travels all the way to the small fishing settlement of Tori no Ura in the Seto Inland Sea as he has the rare opportunity to witness "the Ceremony of the Birdman" of the Nuejiki Shrine. Nuejiki Shrine is dedicated to Torinoiwakusubu-no-Kami, or the Great Bird (an eagle deity) and is located on the small island of Torijikishima. The Nuejiki family of shrine maidens that own the shrine usually resides in Tori no Ura however, as the main Nuejiki Shrine is mainly used for rare occassions. This year is such a special case: the Ceremony of the Birdman is a secret ritual with esotoric roots that may only be used when either Tori no Ura or the Nuejiki Shrine is in imminent danger. With dangerously few fish being caught this year, it's decided the Ceremony of the Birdman will be conducted by the shrine maiden Akane. While the actual ceremony must be conducted by her alone, her younger brother Masana, the shrine help Akaguro and three promiment young men from the community also accompany her to the island to oversee the ritual. Accompanying the locals are Genya, and the folklore student Tamako, who both have academic interest in the ritual. While doing his 'homework' on the ritual, Genya learns the ritual was also conducted eighteen years ago by Akane's mother Akana. She was accompanied by a six-year old Akane as well as a professor from a university and his team, who wanted to witness the ritual themselves too. However, Akana disappeared from the shrine during the ritual, even though all exits were watched by the college students and that same night, all the other people too disappeared mysteriously from the island, leaving only the six-year old Akane locked up in a closet. Apparently, the men had been in a panic because of an attack by a Torime, a monstrous bird believed to roam this area, and Akane had been hidden by one of them in the closet, making her the only survivor.

Torijikishima is a small island that is not only surrounded by dangerous underwater streams, but also features an impressive rise at the northern half that ends in a rock cliff. The way the cliff extends both left and right, and partially in the middle makes it seem like a giant bird in flight when viewed above, and is also why the Nuejiki Shrine is built on top of this cliff, with the main shrine in the 'head' of the bird, flanked by two storage quarters in the 'wings'. One needs to walk up a slanted gallery walkway (from the "tail end") to get near the shrine. A set of doors at the end of the gallery give access to another steep staircase, which end at the doors that lead inside the shrine (head). Because of what happened to their mother, Masana is quite worried about his sister doing the same ritual, and he and Genya are stationed at the set of doors at the end of the gallery. A mechanism of bells and strings is set-up between the inner sanctum of the shrine and the watch post and Akane is to ring every few minutes or so to let Masana know she's okay. When the bells are suddenly rung violently, Genya and Masana decide to go inside the shrine. They break open the doors with an ax and find... nobody inside the shrine. While part of the shrine is in a state of chaos, Akane herself is nowhere to be found. Given that Masana and Genya were standing guard at the only exit, and that they can also find no trace of her having jumped off the cliff ends of the shrine (she wouldn't have been able to reach the sea), it seems the only way she could have left the shrine is by flying into the sky. Discussing the matter with the whole group leads to the realization this event is similar to what happened eighteen years ago, and to their great shock, more men of their party disappear one by one.

Magatori no Gotoki Imu Mono is the seventh Toujou Genya book I've read in these two years, which should tell you how much I love this series. I seldomly manage to read three books of the same series within a year, and never in consecutive years, so seven books in two years is a personal record, I think. But I also have to say, I think this second novel in the series was also the least amusing of the bunch, though it's still of a high quality: the 'problem' that the other books (especially the novels that follow) are even better, reaching legendary status, while this one is a book I usually would love, but which now even slightly disappoints, considering I know the heights the series will reach. Perhaps I should've read them in order.

For the most part, Magatori no Gotoki Imu Mono follows a familiar pattern, with an impossible happening occuring during a religious ceremony, which isn't completely visible to the reader (Genya) and which has a certain historical meaning, which in turn is interconnected with the motive and means of the how the trick was done. This novel is unique in the sense we're not talking about a clear crime here, as all that has happened is that Akane, and later some other people, disappear from the island. There are no traces of any crime having happened and that muddles the investigation, as one has to consider whether there has been foul play or not. In fact, soon after Akane's disappearance, Genya starts with a "Disappearance Lecture", in the spirit of Dr. Fell's Locked Room Lecture. The Disappearance Lecture is somewhat small in scale, as it focuses specifically on the ways Akane could've disappeared from the shrine while for example the third novel, Kubinashi no Gotoki Tataru Mono features a Decapitation Lecture that has more general use (Yamanma no Gotoki Warau Mono has a short Nursery Rhyme Lecture). As we don't know whether we're talking about a crime or not, Genya also explores the possibilities Akane escaped on her own, that she had an accomplice, or that she was spirited away by someone else against her will, all set against the available time in which she disappeared. The Disappearance Lecture helps the reader visualize the several possibilities (and of course the true solution is one that manages to fall outside the categories in a smart way), but I can't help feel the scale of the mystery is somewhat small. Yes, Akane disappeared in a completely impossible manner, but does that warrant that many pages of discussion? The other disappearances in return are very straightforward and are not really treated as a mystery.

I don't know if it's bad luck or not, but earlier in the year I read a book that also utilized a certain very rare story element that forms the core solution to Akane's disappearance, so the reveal was perhaps less surprising than it should've been. I am kinda torn on the solution: it doesn't seem really practical and doable in that amount of time, but it's also adequately hinted at through the usual psychological and physical clues, but also historical, folklorististic and even linguistic clues. That's one thing Mitsuda always does well, point in the direction of the solution through a very wide selection of clues at several levels. It's a reason why these novels often need the long set-up, as the historical background to the rituals is usually of the utmost importance if you want to really understand how and why the mystery came to be. The moment you realize that not only the one object mentioned is of importance, but even a bit of talk about the etymological roots of a word or something like that, that sensation is always fantastic in these novels. Also, Mitsuda once again does a great job at creating countless of false solutions, which he disregards as swiftly as he presents them. The way Genya works is he always tries to think out a possibility, but is always ready to throw the theory away once he realizes it's the wrong one. This means he usually suggests quite a few theories which sound absolutely convincing and which could've easily made for a real solution in a different story, but in these stories, they are misdirection, false solutions to bring you off the trail (though usually elements of each false solution will come back for the real solution).

What made this novel less entertaining than the other novels (even if it's still a good one)? Hard to tell. Partly, I think it's because the long set-up is less captivating: like most of the other novels, the first half discusses a past mystery (The disappearance of Akana and the others eighteen years ago) and we're shown that through the disposition of the then six-year old Akane as she's being questioned by both the police and her doctor. Ultimately, she sees very little about what has happened, so it's kinda hard to get into the mystery, while for example Yamanma no Gotoki Warau Mono and Kubinashi no Gotoki Tataru Mono also talked about mysterious events that happened in the past, but told in a more engaging manner. This made their set-ups, which were also very long, a bit easier to get through. I think ultimately, the final solution of Magatori no Gotoki Imu Mono is less grand in scale: you can easily summarize it in one short sentence, and you can then easily guess how it relates to the other elements of the book, while in the subsequent novels, the plots are more based on a common theme, which is utilized in various and diverse manners, rather than just one idea. The first novel, Majimono no Gotoki Tsuku Mono, also revolved around mostly one idea, so it seems Mitsuda really got the synergy theme going on from the third novel on (Kubinashi no Gotoki Tataru Mono).

That said, Magatori no Gotoki Imu Mono is still a well-plotted mystery story, that features an interesting problem, a memorable solution and most importantly: the way the path to the solution is plotted is excellent, with diverse and subtle clues that give you more than enough a chance to get at least close to the truth. I am not sure when I'll be returning to this series by the way: at the moment of writing, there are still two novels and one short story collection I haven't read yet, of which only one novel is available in the pocket format I prefer. So perhaps I'll wait a few years until more of them are re-released as pockets.

Original Japanese title(s): 三津田信三　『凶鳥の如き忌むもの』

The Adventure of the Lion's Mane

「握った拳の中にまるで何があるように思わせるのがマジシャンで、

その拳を開く前に中身を言い当てるのが探偵だろ？」

『名探偵コナン　紺青の拳（フィスト）』

"A magician can make you believe he's holding something in his fist, but it's a detective who can guess what's inside the fist before it's even opened."

"Detective Conan: The Fist of Blue Sapphire"

Many reviews of mystery fiction in a visual format lately!

Detective Conan manga & movies:
Part 1: Volumes 1 ~ 10
Part 2: Volumes 11~20; The Timebombed Skyscraper (1) / The Fourteenth Target (2)
Part 3: Volumes 21~30; The Last Wizard of the Century (3) / Captured in Her Eyes (4)
Part 4: Volumes 31~40; Countdown to Heaven (5) / The Phantom of Baker Street (6)
Part 5: Volumes 41~50; Crossroad in the Ancient Capital (7) / Magician of the Silver Sky (8) / Strategy Above the Depths (9)
Part 6:  Volumes 51~60; Private Eyes' Requiem (10) / Jolly Roger in the Deep Azure (11)
Part 7: Volumes 61~70; Full Score of Fear (12) / The Raven Chaser (13) / Lost Ship in the Sky (14)
Part 8: Volumes 71~80; Quarter of Silence (15) / The Eleventh Striker (16) / Private Eye in the Distant Sea (17)
(You will find the links to the reviews of volumes 70, 72~76, 78, 82~96 and the films Quarter of Silence (15), The Eleventh Striker (16), Private Eye in the Distant Sea (17), Dimensional Sniper (18), Sunflowers of Inferno (19), The Darkest Nightmare (20), The Crimson Love Letter (21) and Zero the Enforcer (22) in the library)

The Fist of Blue Sapphire is an enormous jewel that once was the symbol of the King of Pirates, but the fist-sized treasure had been sleeping in a wreck on the bottom of the ocean for centuries until it was finally located and salvaged by the Singaporean entepreneur Zhonhan Chen. Because Chen's a lover of martial arts, he has decided to organize a karate tournament, and the winner awaits a champion's belt with the coveted Fist of Blue Sapphire imbedded inside. One of the participants in the tournament is Kyougoku Makoto, the unrivaled high school student martial arts prodigy who also happens to be the boyfriend of Sonoko. Sonoko has invited Ran, her father Sleeping Detective Mouri Kogorou and Shinichi to come to Singapore to see the tournament. As Shinichi's body got shrunken and is now living under the assumed name of Conan (who has no passport), Conan can't travel abroad. At least, not legally. The phantom thief KID decides to tag along with Sonoko's party disguised as Shinichi, and he even kidnaps Conan to come along to Singapore. The gentleman thief's goal is of course to steal the Fist of Blue Sapphire, but he also needs Conan's help here in the Lion City because he's been framed in a murder case in Singapore. At the center of all events is the enigmatic Leon Lowe, an expert on criminal psychology who is known as the Great Detective of Singapore. Leon's is not only responsible for the security surrounding the Fist of the Blue Sapphire, but he seems to have a personal link with the murder victim. Conan needs KID's help to be able to return to Japan, so Conan pretends to be a local kid called Arthur Hirai (ha!) and takes up the job of investigating the murder KID's accused of, as well as the protection of the Fist of Blue Sapphire in the 2019 theatrical release Detective Conan: The Fist of Blue Sapphire.

The twenty-third theatrical film of Detective Conan was released in April 2019 (the home video release came out last week) and marked the seventh year in row in which it broke franchise revenue records. To put in context: the twenty-first movie The Crimson Love Letter was the highest grossing domestic (Japanese) film of the entire year. So this parallel movie franchise based on the original comics by Aoyama Goushou has been doing really well the last few years, pulling a lot of visitors. In fact, The Fist of Blue Sapphire even managed to steal back the number one ranking in Japan from Avengers: Endgame in the latter's fourth week, making Japan the only place where Endgame wasn't the top-rated movie in the world that period, because that little detective outplayed all those superheroes.

Something old, something new, something borrowed, something blue. The blue MacGuffin in this story is of course the fist-sized Blue Sapphire, but to start with the old in this movie: The Fist of Blue Sapphire sees Ookura Takahiro return as the writer of this movie's story. The author of the Columbo-inspired Lt. Fukuie novels came up with the very impressive The Crimson Love Letter (arguably the best Conan movie in a decade), so I was really looking forward to the film, though the trailer seemed to suggest this one was more action-oriented (more on that later). And there's also a lot of new stuff to digest in this twenty-third feature. This is the first time Kyougoku Makoto got a prominent role in the movie franchise and this is the very first Detective Conan movie that is not set in Japan, but abroad (Singapore). We also have a new director, after last year's Tachikawa Yuzuru. Nagaoka Tomoka is the first female head director of the Detective Conan film franchise, though she's been a part of the franchise for a long time as senior artist and director. Tachikawa definitely had a very unique take on the franchise, so I was also interested to see how Nagaoka would present her Conan.

I have to start with saying that as a mystery film, The Fist of the Blue Sapphire is nowhere near the heights of The Crimson Love Letter. Whereas the latter presented a great mystery that cleverly mixed the romance-comedy, sports and mystery elements of the story in one delightful flick, The Fist of the Blue Sapphire is less synergetic. Most of the film it's actually not even clear to KID and Conan (Arthur Hirai) what's happening around them. Why was KID framed for the murder? Why was the victim murdered anyway? Why is Leon Lowe trying to rig the karate tournament? Who is trying to frame KID even further? These questions drive the first half of the story, but with no clear answers found, the viewer is just along with the ride as new developments follow after another, without clear connecting tissue. Mind you, the first half is actually quite enjoyable as an action-comedy with romantic elements. The way KID blackmails Conan/Arthur into helping him in Singapore, Ran getting all lovey-dovey with Shinichi not knowing he's actually KID, KID's antics as he plans to steal the Fist of Blue Sapphire and even a deeper look at the relationship between Sonoko and her stoic boyfriend Makoto: it's genuinely fun to watch for the Detective Conan fans and if anything, Nagaoka has a penchant for a good presentation of the story to tell.

But the core mystery plot is not quite at the same level as the presentation. It's for example kinda hard to believe that the first murder (yes, there are multiple) could've been committed like that without anyone noticing (and the clewing wasn't really done well either) and there are more scenes that seem more like they were just thought off because they looked cool on screen, and given a rather lame 'explanation' later. The gruesome image of the Merlion Fountain spewing blood (red water) in the prologue for example was awesome: the explanation for that utterly ridiculous. The motive for the major culprit is also rather difficult to believe, which is really a shame as both The Crimson Love Letter and Zero the Enforcer did really good things with a well-themed murderer. Here you're left wondering what the hell the culprit really wanted to accomplish and whether this was really the smartest way to do that. What doesn't help either is that the film tries to juggle a lot of balls at the same time. The slogan for this movie was Trinity Battle Mystery, but in practice, it means the film wants to show you KID and his impossible heist attempts, Conan uncovering a grand conspiracy plot, Kyougoku's action and his relation with Sonoko and more, but often, the connection between these various plotlines feels quite flimsy.

Is The Fist of Blue Sapphire a complete dud then, like Sunflowers of Inferno? No, that it really isn't. Like I said, the first half of the movie does a really good job at capturing the romantic comedy elements of Detective Conan, which has been one of the main pillars of the series since it runs in Shonen Sunday. The banter between the characters while they interact with a murder mystery really feels like you're used to from the original comics, especially from the larger stories of the last few years like The Scarlet School Trip storyline. The way this film picks up the rivalry between master thief KID and Kyougoku Makoto, who was once hired as the "best security system on Earth" (volume 82), works surprisingly well too. KID as a person framed for a crime he didn't commit is also a lot easier to swallow than the "has KID gone rogue?"  angle of Sunflowers of Inferno, which really didn't work there because it was unbelievable as a driving force for a story. Having KID kidnap Conan to have him solve that mystery, while he himself tries to steal a jewel? Yep, that's what fans want to see. Leon Lowe as the Singaporean Great Detective was pretty interesting, especially as he's quite different from other "Great Detective" characters in this series, focusing more on profiling and psychological manipulation. As per custom, the movie becomes more action-oriented as the ending nears, with this year's climax being really grand. Talking about something borrowed, I'd say that this year's movie seems to borrow from the old James Bond movies with its climax, and it was pretty interesting to see, as I really doubt we'll see anything similar any time soon in this film series.

There are some really nice scenes in the film that really work well as scenes on their own with good composition or cute shots of the characters, and the scene where Conan/Arthur and KID go over the facts of the murders is absolutely phenomenal to see in a mystery movie. But like I said, the film sometimes has trouble presenting itself as a consistent whole, with some scenes not being necessary plotwise. Zero the Enforcer was in many ways not really a Detective Conan movie, but a deep police procedural that happened in the Conan universe, but it was really good at presenting a mystery plot with a consistent theme which it explored throughout its scenes. The Fist of Blue Sapphire is a film I enjoyed as a piece of entertainment, with funny and exciting scenes that look great, but which as a mystery or crime film feels lacking due to poor clewing (though the short theft scenes are good!) and poor character motivation.

When the credits rolled, I asked myself the question: did I like Detective Conan: The Fist of Blue Sapphire? Ultimately, I think my answer is yes. As a standalone mystery film, it's definitely not a standout in this series (at times even sloppy), but as a Detective Conan movie, as a once-in-a-year event which puts the familiar characters in otherwise unbelievable situations, I really did like watching the movie. It's highly enjoyable as a mainstream comedy-action movie, but I wouldn't recommend The Fist of Blue Sapphire as a mystery movie to someone who had never seen anything of Detective Conan, while I could with for example The Crimson Love Letter. On the other hand, I'd say The Fist of the Blue Sapphire does a great job at being an enormously entertaining flick. Anyway, another custom of these movies is that the film ends with a teaser for next year's feature, and while it's not completely clear what the theme'll be, I have to say I'm at least intrigued! Next year, same time, same Bat-Channel!

Original Japanese title(s): 『名探偵コナン　紺青の拳（フィスト）』

Snow Place Like Home

秋に秋の実りがあり

冬には冬の厳しさがる

「籟・来・也」（Garnet Crow)

Fall brings the harvest of fall

And winter brings the harshness of winter

"Rai Rai Ya" (Garnet Crow)

One of my favorite discoveries of last year was Nemoto Shou's manga Kaiki Tantei Sharaku Homura ("Sharaku Homura: Detective of the Uncanny"). These were originally doujin comics which Nemoto was self-publishing under the doujin circle name Sapporo no Rokujou Hitoma for sale at events etc. In the current age, a lot of doujin material like fanzines, indie videogames etc. is also sold in digital format, but there are still many, many doujin circles that publish their work in physical format. Half of the fun of making a doujin comic is indeed putting the finishing touches on the file you send off to the  professional printer and binder and some time later, you bring your box of freshly created booklets to a convention or some other event to sell the fruits of your labor all by your own hand, meeting and speaking with each and every of the people who swing by your stand. Nemoto had been working on the Kaiki Tantei Sharaku Homura series for about ten years, and readers praised it as an excellent mystery comics, but due to its doujin status, it was also relatively difficult to get your hands on an actual copy until last year, major publisher Bungeishunju helped getting these fantastic stories on digital storefronts in Japan. Fourteen issues were compiled into three volumes, and I loved each and every one of them (reviews of the first, second and third volume here).

At the end of the third review, I mentioned that the series was still on-going as a doujin comic and that it was unclear whether further issues would be made available as ebooks too. Even if this would happen, it was likely this would take several years, as the other volumes collected 4-5 issues each. But luckily, I didn't have to wait too long to have my reunion with our favorite students of of Shimoyama Middle School: the clever girl detective Sharaku Homura and her assistant Yamazaki "Karate Kid" Yousuke. This summer, Nemoto won the first Hokkaido Mystery Cross Match Award with Hagoromo no Kijo ("The Ogress With the Robe of Feathers"), the sixteenth issue in the Kaiki Tantei Sharaku Homura series. The Hokkaido Mystery Cross Match Award is presented to the best unpublished mystery story (unpublished as in not by a professional publisher, for short~novelette-size stories) and while this first time, the authors were all living in or around Sapporo (capital city of Hokkaido), residence in Hokkaido is not a requirement to compete. To celebrate this joyous occassion, Nemoto has made this award-winning comic temporarily available for free download (see this tweet for the link) and having read it, I can definitely recommend people to check it out too.

Homura and Karate Kid are out mushroom hunting in the mountains, but after being chased away by a rival mushroom hunter with a rifle and a rather wild dog, the kids are shocked to find a dead man lying in the middle of a snow-covered clearing in the forest. The man appears to have a stab wound in the temple of his head, but strangely enough, the only footprints left in the surrounding snow are those of the victim himself, besides those of Homura and Karate Kid. Police investigation reveals two interesting facts. One is that the victim was indeed stabbed by a sharp instrument in his head (there was even some metal left in his head). The weapon however was not found near the body, ruling out any possibilities of suicide. The other fact is that the victim used to be a monk at the Buddhist temple further up the same mountain, but that he had been thrown out one year earlier for repeatedly stealing money. The victim was unemployed, but he was carrying a bag of mochi (rice cakes) with him, suggesting he was going to visit someone. The other monks at the temple seemed shocked to learn about the death of the victim. The temple is home to various interesting legends and objects of interest, like a Buddhist mummy, but also a stone seal that is supposed to keep an ogress trapped: like in the west, legends that follow the archetype of the story of the Swan Maiden exist all across Japan (see also my review of the opening story of Professor Munakata), but in this version, the Heavenly Maiden who got her robe of feathers stolen, killed the thief herself and turned into a blood-craving ogress, until she was defeated by the founder of the temple some centuries ago. Her feathered robe, a relic kept hidden in the temple, was stolen the night before the victim was killed by what appeared to be the Ogress herself. Did the Ogress use her magical robe to fly to the victim to stab him in the head, leaving no footprints behind in the snow?

Like I said, this is a great story. It's very densely plotted tale at ninety pages, allowing Nemoto to not only come up with several (fake) solutions to the no-footprints-in-the-snow situation, but also flesh out the whole Buddhist temple background and its backstory. Obviously this is of importance to the core mystery plot, but the storytelling does a great job at actually being a story, and not just dumping info on the reader. And there's really a lot to process here: I could easily imagine this plot being worked out into a full novel. As the story unfolds, we learn the victim had his darker side too, and part of the mystery shifts to the question who he was going to visit with his mochi (rice cakes). This part of the mystery is quite original, and the clewing is really clever. It's almost blatantly telling you what's going on, but hidden so well you are likely to miss what Nemoto is trying to tell you.

Speaking of which, this story features a genuine Challenge to the Reader, and it even gives four major hints that really push you in the right direction, without giving the whole game away. As per custom, this comic is very generous in reminding you about things that had been said or shown earlier in the story: you always find proper page references when for example late in the story someone refers to an earlier testimony or about having seen something. Kaiki Tantei Sharaku Homura is always fair, but especially kind in the way it really shows you where every clue was and when it was mentioned.

The solution to the main problem of the no-footprints-in-the-snow is really original though and this alone makes this issue worth a read. While I know of variants with other impossible crime situations that use a similar idea, it's the way it's contextualized and set-up in this particular story that makes it a memorable story. The means are singularly unique to this particular story and its background story, yet properly clewed and foreshadowed. It is admitted in the comic itself that the probability of success is quite slim and practically, one could argue whether it was even possible for the murderer to actually pull that move off physically, but the sheer originality and also horrifying implications of this particular murder method make this one to remember.

Hagoromo no Kijo, the sixteenth issue of Kaiki Tantei Sharaku Homura, is in short another great entry in the series. I really hope that eventually, all the new issues of this series will also be collected into a standalone volume for sale on digital storefronts. As you may have noticed already, this was issue 16, while the earlier volumes I reviewed collected fourteen issues, meaning I already missed one story in this great series. Self-publishing a series of course has its merits too, but man, it does make it a lot harder reading this series!

Original Japanese title(s): 根本尚（札幌の六畳一間）「怪奇探偵　羽衣の鬼女」

The Adventure of the Blue Carbuncle

空を自由に飛びたいな

「はい、タケコプター」

「ドラえもんのうた」（大山のぶ代）

I'd love to fly freely in the sky

- Here, a Bamboo Copter!

(The Song of Doraemon) (Ooyama Nobuyo)

Huh, I never had expected to be writing about Doraemon here. And I'm even now really weirded out by the notion I even have to explain him. For in essence, it's like having to explain Mickey Mouse. Doraemon is a long-running children's comic and cartoon that has not only found succes in Japan, but in the whole of South-East Asia. It's immensely popular there and several generations have grown up together with the blue robot cat. So it feels weird to have to explain such a cultural icon, a figure everyone knows by sight. I mean, Doraemon is so intertwined with Japanese culture he was appointed a special ambassador for the Tokyo 2020 Olympics (Remember seeing him in the closing ceremony for the 2016 Olympics?). Anyway, for the people who don't know Doraemon: Doraemon is a blue robot cat from the future, who has been sent to the young boy Nobita. Nobita's a failure at everything he tries, who always gives up and cries the moment things go wrong and that's a habit that sticks. His great-great-grandson Sewashi therefore decides to send his robot cat Doraemon to his great-great-grandfather in the hope Doraemon can help Nobita shape up and change his and his family's future. Doraemon has all kinds of fantastic secret gadgets from the future hidden in his pouch, like the Anywhere Door which can open doors between any location. Many episodes are about Nobita (or his friends Shizuka, Gian and Suneo) coming to Doraemon asking for some gadget to help them out (for example, because they forgot to make their homework) and the kids eventually abusing the gadget until it backfires. While the television series is a comedy series, the long-running theatrical releases take on more epic forms with long adventures. One of my favorites is Doraemon: Nobita no Parallel Saiyuuki (Doraemon: Nobita's Parallel Journey to the West, 1988), where monsters from the Chinese classic Journey to the West take over modern-day Japan, and Nobita, Doraemon and their friends must fight the monsters as the Monkey King and his allies.

It would take until the thirty-third movie until Doraemon would try its round hands at a mystery-themed story in the theaters though. 2013's Doraemon: Nobita no Himitsu Dougu Museum, which also has the English title of Doraemon: Nobita's Secret Gadget Museum, starts with the theft of Doraemon's cat bell by Phantom Thief DX. Desperate to find the bell (actually a secret gadget), Doraemon has Nobita wear the Sherlock Holmes Set, a set of detective-related secret gadgets. With the help of the Clue Lens (which can show clues for any mystery you want to solve), the duo learns the bell is somewhere in the Secret Gadget Museum in the twenty-second century, an institution that exhibits all kinds of secret gadgets and their history. Doraemon receives an invitation for the museum from his sister Dorami, and Nobita, Shizuka, Gaian and Suneo all join to help Doraemon find his bell. Arriving at the museum, the gang are given a tour by Kuruto, a young boy and aspiring gadget inventor who works at the museum. They learn that Phantom Thief DX has struck here too earlier, stealing a secret gadget from the museum. When the following day Phantom Thief DX announces they will steal more gadgets from the museum, the gang prepares to catch the thief and retrieve all the stolen gadgets.

A somewhat odd Doraemon movie as it's set in 'just' the Japan of the future and mostly inside a museum too, instead of some parallel or magical/fantasy world like in most of the other (older) movies. While I am reviewing this movie here on the blog, I wouldn't want to disappoint people, so let me emphasize first that this is mostly a comedy-action movie like you'd expect from Doraemon, and not some kind of hidden mystery gem that will go into the annals of modern mystery fiction. That said, the mystery plot is really not that bad considering this is at the core a children's/family comedy film  and overall, I did enjoy the Sherlock Holmes Set-wearing Nobita vs. Phantom Thief DX story, as it's a genuinely fairly played mystery plot.

Speaking of the Sherlock Holmes Set, you'd think it's a total cheat right? It consists of some nifty gadgets that come in handy when working on a case, like the Radar Stick (falls in the direction of the culprit), Clue Lens (shows clues of the mystery you're trying to solve) and the Detective Hat (gives the wearer a spark of inspiration that solves the case by flipping the rim of the hat). It's not nearly as much as a cheat as you'd think though, as like many of Doraemon's gadgets, they are err... somewhat behind on maintenance, so it's not like Nobita would be able to solve the case within the first five minutes of the movie (in fact, the set was featured in the manga in the past, where Doraemon explicitly said the gadgets were all broken). The whole movie is full of wonderful gadgets which don't exist in the real world though. The Anywhere Door, Big Lights (a flashlight that enlarges the thing it enlightens), Gulliver's Tunnel (shrinks the person who walks through the tunnel), they are of course all items don't exist in the real world.

Yet, the mystery plot of Nobita's Secret Gadget Museum is fair: like any good supernatural/fantasy/science-fiction mystery story, it might have an unrealistic setting with items and tools that don't exist (yet), they are properly introduced to the viewer and all explained, so they are used fairly in the mystery plot. In fact, that was the thing that surprised me the most about the movie: it does a great job at introducing all kinds of Chekhov's Guns and other hints in a completely natural manner in the first half of the movie, which all come back in regards to the mystery plot in the denouement. Nobita uses the Detective Hat to solve the case and guess who Phantom Thief DX really is, but the viewer is capable of doing that too without Nobita's handy gadget, as all the essential clues were shown on the screen to the viewer (who only has to remember how the fantastical secret gadgets can be used). So I'd say Nobita's Secret Gadget Museum is an entertaining example of how to do a proper science-fiction mystery story, even if it's clearly meant for children. There's even room to do some misdirection, and the first half does a good job at keeping things just mysterious enough to make sure the viewer won't be able to solve everything too soon.

The movie also has quite a number of Sherlock Holmes references by the way, and even opens with a sequence of Nobita dreaming about the Sherlock Holmes vs. Lupin movie he saw the night before. As a 'possibly-first-movie-for-kids-that-talks-about-Sherlock-Holmes', it's pretty decent, and there are some funny references here and there hidden that only fans will pick up, so you can tell the screenplay was written by someone who likes Holmes. As a Doraemon movie too, this is fun to watch. It focuses more on the friendship between Nobita and Doraemon compared to other movies in the series and even has a flashback scene to when Doraemon was first brought to Nobita by his great-great-grandson Sewashi.

Doraemon: Nobita's Secret Gadget Museum is on the whole an amusing Doraemon movie that features a simple, but properly presented mystery plot and is likely to amuse fans of Doraemon that also like mystery fiction. It's unlikely I'll be discussing Doraemon here on the blog any time soon again, but this one side trip with the robot cat was certainly no disappointment.

Original Japanese title(s): 『ドラえもん　のび太のひみつ道具博物館（ミュージアム）』 

The Adventure of The Silent Partner

I wanna be the very best 

Like no one ever was 

To catch them is my real test

To train them is my cause

Pokémon Theme (Jason Paige)

Sooo, was the biggest detective-themed Hollywood movie of this year for the west?

Tim Goodman is a young insurance agent who one day is informed his father, private detective Harry Goodman, passed away in a traffic incident. Tim had an estranged relationship with his father, but he travels to Ryme City to take care of the necessary formalities. Even in a world where Pokémon live, Ryme City can be called a unique metropolis. There are about 700 different species of Pokémon (Pocket Monsters), each with their own special powers and characteristics. People use them for a variety of activities, from pets to using them for Pokémon fights and having them help with work. In Ryme City however, humans and Pokémon live peacefully side-by-side and Pokémon trainer battles are even forbidden. An enormous surprise awaits Tim in Harry's apartment in Ryme City however: not only does he find his father's partner Pikachu (who was first presumed to have also died in the same accident) roaming around in the room, Tim can actually understand what this Pikachu is saying! The electric yellow mouse-type Pokémon is suffering from amnesia and can't remember much, but he tells Tim that he believes Harry is still alive out there, given that he survived the accident too. He is convinced the incident had to do with a case Harry was investigating, involving a mysterious gas container still left in Harry's office. Tim is the only human who can understand Pikachu, which makes Pikachu believe this is destiny and that they have to work together to find Harry. Tim is at first very reluctant to help Pikachu, but then they start uncovering a large conspiracy involving Pokémon experiments in the 2019 live-action movie Pokémon Detective Pikachu.

Given that Nintendo's famous Pokémon franchise is not 'just' a videogame series, but a worldwide cultural phenomenom that has lasted for some decades, I doubt I have to explain that much about Pokémon, and long-time readers of this blog will also be familiar with the title Detective Pikachu: it was a spin-off mystery adventure game released in 2018 for the Nintendo 3DS which I enjoyed a lot. The game may have been geared towards a younger audience, but it was fun, and actually did interesting things with combining the concept of Pokémon (creatures with unique powers) with puzzles and a mystery plot. The movie Pokémon Detective Pikachu, incidentally also the very first live-action movie based on the franchise, is based on this specific videogame, though you have to note that is not a 1:1 adaptation. The basic story of Tim and a wise-cracking Pikachu teaming up to uncover Harry's fate while investigating his last case is of course the same and there are scenes in the movie that will remind you of specific events/places of the game, but the game is quite a bit longer with far more locales/sub-storylines and in fact, the story of the videogame will continue in an upcoming sequel, while the movie is a standalone story that wraps up everything at the end.

For the mystery fans, I'd definitely recommend the game over the movie though. Pokémon Detective Pikachu is obviously aimed at a younger audience and it's fairly enjoyable as an adventure movie (though I still think photo-realistic CG Pokémon are creepy). Ryan Reynolds seems to have a blast voicing the supercute Pikachu and if anything, the interrogation scene with Mr. Mime (a mime Pokémon) is hilarious and a must-see. But as a mystery movie, it is quite lacking, especially considering the source material had plenty of great moments to offer. There' is barely any problem solving in this movie, no carefully thought-out clewing or meaningful foreshadowing. It's a buddy movie with a very straight path: Tim and Pikachu first find a clue in Harry's office, which leads them to location A, there they get a clue to location B, etc. And there's some really lazy fill-in-the-gaps moments where characters start to explain everything out of nowhere or the heroes stumble upon conveniently significant clues or locations, so the core mystery plot never feels rewarding, as there's never any proper build-up and clewing. One could just say, 'it's a kids movie', but so are the Detective Conan movies and most of them are proper mystery movies. And as I said, the source material (the Detective Pikachu videogame) does work as a mystery adventure game, despite being designed for kids too.

One element which made the Detective Pikachu game satisfying as a mystery game, was that it really incorporated the various Pokémon and their powers in the plot. The game was divided in chapters, in which Tim and Pikachu had to solve smaller mysteries/happenings during their investigation, for example 'accidents' that occured in a television studio or how to escape a blocked cave. Solving these smaller puzzle plots always involved the various species of Pokémon and their specific powers: sometimes you had to deduce which Pokémon was the 'culprit' by observing the clues and figuring out what kind of Pokémon would be able to do such a thing, sometimes you had to pick the right Pokémon to help you with a certain task, considering their special powers and characteristics. The game was also really intent on presenting a fair play mystery too, as it was always sure to inform the player in various ways what the characteristics of these Pokémon were beforehand, so even people new to Pokémon could enjoy the game. It resulted in unique situations, where you had 'crimes' committed by invisible characters etc., but which where still absolutely fair because each Pokémon and their powers are documented and well-presented in the game.

This element isn't really present in the movie, sadly to say. While Tim and Pikachu have plenty of screentime together, there's barely any mystery-solving that is truly dependent on Pokémon and their powers. Most Pokémon that appear are either just background characters, or have fallen victim to the experiments and gone berserk, attacking our heroes. There's one minor moment in the finale that actually has some good foreshadowing that involves Pokémon powers, but that is all: you don't get those moments from the game where Tim and Pikachu really sit down, consider all that has happened and manage to deduce how it was done and which Pokémon were used to accomplish certain tasks. Because of that, most Pokémon don't really even feel involved in the story of Pokémon Detective Pikachu: they're just there as props and hardly interact with other characters or the plot. Which is a real shame, for if there's one thing the Detective Pikachu game really did well, is portray a world where Pokémon and humans live together, and build a mystery plot on that.

Pokémon Detective Pikachu has its moments as a live-action Pokémon movie, even if it's never outstanding or going beyond (reserved) expectations. The quips and banter of Pikachu are fun to watch, and the story is not as bad as you'd first fear when hearing the words live-action and Pokémon together. It's just a shame that as a mystery movie, it basically ignores all the potential the original source videogame offered. Had it gone the effort to really integrate the fantastical of the various Pokémon species up to with a mystery plot or even smaller puzzles/problems in the story, I might have been able to recommend Pokémon Detective Pikachu as a mystery movie (for kids), similar to how the Detective Pikachu does work as a standalone mystery game, but as it is now, I can only see Pokémon Detective Pikachu as a Pokémon movie. Disney's Zootopia (2016) is similar in concept, but was more entertaining as a mystery movie too.

The Girl Who Wasn't There

"Virtue has its own reward, but no box office"

- Mae West

When in doubt, read a Crofts.

Inspector French series
Inspector French and the Starvel Tragedy (1927)
Inspector French and the Box Office Murders (1929)
The 12:30 from Croydon (1934)
Mystery on Southampton Water (1934)
The Loss of the Jane Vosper (1936)
Fatal Venture (1939)

Miss Thurza Darke had been advised by a mutual acquaintance to confide her strange tale to the police, but at first, Inspector French had no expectations of whatever the box office girl could tell him. That is of course, until she actually told him why she feared for her life. The young woman had been duped into a debt through a devious con scheme, and by the time she realized that her friend, another box office girl who had died some months earlier in a supposed suicide, had been swindled too by this same person, it was already too late. Her creditors now want Thurza to perform a certain, but yet unspecified action at her film theatre to repay her debt, but she is terribly afraid she'll eventually be killed, just like her friend in a way so the police will think it's a suicide. Inspector French tells Thurza to pretend she'll go along with the scheme, and that the police will stake-out their meeting tomorrow to nab the gang, but Thurza disappears the same day, and her body is found later drowned in, as she had feared, an apparent suicide. Realizing that the gang is far more dangerous than he had first suspected, Inspector French vowes to find the people who kiled Thurza in Freeman Wills Crofts' Inspector French and the Box Office Murders (1929).

If I had to describe Crofts' mystery novels with one single word, it'd be schemes. The criminals in Crofts' work like to plan, schedule, ploy, strategize and arrange. They don't do things haphazardly, they carefully define their goals, make lists of what has to be done, prepare for every single stage in the process and then execute their scheme. These schemes can be (barely) legal or illegal: Fatal Venture was about an ingenious business plan involving a cruise ship turning into a casino whenever it was in international waters, while The Loss of the Jane Vosper was about an insurance swindling scheme, and the inverted mystery novels The 12:30 from Croydon and Mystery on Southampton Water are about murder schemes, told from the viewpoint of a would-be murderer who carefully plans how they're going to kill their target. What these schemes all share, is the sheer attention to detail: every aspect, every single step of the plan has a purpose, whether it is of practical use for the scheme itself, or for protection, for example to delude the eyes of the public and the police. Crofts' novels are about first identifying the weak links in those schemes, which allows French to trace the individual steps in the plan, eventually revealing the complete image of the otherwise obscure plan. 

Inspector French and the Box Office Murders is a novel that does not stray from this focal point in Crofts' writing. Right from the start, this novel is basically only looking at the murky scheme involving the box office girls, with the actual murders of the box office girls playing second fiddle (at best), despite featuring in the title of the book! French's investigation is methodical, and the novel shows every single step in the police investigation. Order and method reigns here, as each action of French is a logical answer to whatever discovery or event preceeded it, which in turn is followed by a rational action. French's method is a mirror of the detailed crime scheme: he takes the time to consider each part of the flowchart, and then follows it to the next (or previous) process, taking care to understand why each action is taken by the schemers.

With the members of the gang already identified in the first chapter by Thurza's story, and the deaths of the box office girls basically confirmed as murder, the whole mystery of the book revolves around how the gang's plans involve the theatre box offices. To be honest, this part was rather easy to guess. Perhaps it was harder to guess back when this book was first published, but as soon as you hear the gang tries to involve box office girls, I'd guess that this would be one of the options to first cross your mind. Sure, Inspector French's investigation itself is fairly entertaining to follow, and the gang has laid a few traps here and there to trip French up, but ultimately, the scheme is far less... impressive than you'd hope it'd be. The road to the truth (French's investigation) is alright, but it's not something we haven't seen before in Crofts' work. Indeed, that's what makes this novel a bit underwhelming: Inspector French and the Box Office Murders does little that other Inspector French novels don't do, and what it does, is not bad per se, but certainly not remarakable compared to the other novels.

Inspector French and the Box Office Murders is thus a very typical Inspector French novel. It does everything you'd expect from such a novel, but does little beyond that and if you've read a few other Crofts before, you're sure to feel déjà vu. It does nothing really wrong, but Inspector French and the Box Office Murders is certainly not a work that stands out if compared to other novels in the series.

To Survive

"Space: The final frontier."

"Star Trek"

There are always many, many interesting-looking titles that I want to get to eventually, but which in the end never actually make it out of the wish list. Sometimes though, my interest in a title on the want-to-read list is reignited when I learn an adaptation is on the way, which prompts me to read the original work before the adaptation is released. This happened with Lord of the Rings for example, which I finally decided to read when the live-action films were almost released, even though I had been interested in them before. The same holds for today's title.

For I have been hearing for years about Shinohara Kenta's science-fiction manga Kanata no Astra, which also has the English title of Astra Lost In Space. This series by the creator of Sket Dance was originally serialized online on the Shonen Jump + (Plus) website/app between 2016-2017 and while initially it was touted as a science-fiction adventure series, I heard more and more mystery aficionados recommend Astra Lost In Space to other mystery fans as story developments unfolded, with people praising it as a rewarding mystery series too. Last year's excellent study into mystery manga, Honkaku Mystery Comics Seminar, too mentioned the title, so it had been on my radar for some time now. And by the time the anime adaptation started this summer, I figured it was really time for me to get started on this five-volume series. In the year 2063, space travel to other planets has become a viable means of transport, opening up the exploration of the universe. A group of students from Caird High School is sent to a nearby planet for Planet Camp: they are to live and work together on the planet McPa for a few days without the help of the adults. Almost immediately after the group arrives on the planet though, a mysterious sphere of light appears in front of them, swallowing the children. The next moment, they find themselves floating in the orbit of an unknown planet. The small boosters in their spacesuits turn out to be true life-savers, as they barely make it to an abandoned spaceship floating nearby.  When they check the ship's computers, they have the greatest shock of their life: they have been transported over 5000 light years from home! While the situation seems hopeless at first as the spaceship's communication systems are down, making it impossible to call back home for help, the group realizes there's still hope at returning home safely on their own. The students have to work and life together on board of the old vessel, now dubbed The Astra, as they depart on a three month journey back to their own home while visiting the few habitable planets with life and water on the route to replenish their own supplies. But small incidents on the dangerous trip also makes the Astra's new captain, Kanata, aware that their current predicament was no mere accident and that one of them may very well be a betrayer.

I didn't manage to finish reading the manga before the anime broadcast ended by the way, I only read the last volume a couple of hours after the last episode was broadcast in Japan...

Like Hogan's Inherit The Stars, this is a series that most would initially look at, and discuss as a science-fiction series (in Astra Lost in Space's case, an action-comedy science-fiction adventure), but which in hindsight can also be examined as a mystery story. Of course, I had the 'advantage' of knowing this in advance, as opposed to people who read this series with no prior knowledge, but once the series passes the halfway point, it becomes clear very quickly that this is also a mystery story. The first half however might make you think the focus is more on the space adventure. After the crew realizes they have a harsh three-month trip ahead of them, we slowly learn about the colorful characters together with the characters themselves, as most of them don't know each other either. The nine students have to learn to work together and trust each other, as they arrive at unknown planets to replenish their supplies (the ship can't store enough water/supplies to last for three months). Some are more willing to open up to their fellow students than others, but they all have interesting background stories, each posessing a specific set of skills which become useful as they explore the universe (Captain Kanata is for example extremely athletic, while Aries has photographic memory). The set-up reminds of titles like Hagio Moto's They Were Eleven! (about space cadets stuck on a broken spaceship which for some unknown reason, has one more crew member than should be) and the Danganronpa games, where students with extreme proficiency in specific fields are locked up together with other students they don't know in a closed environment, where they are forced to participate in a sadistic killing game and where they have to learn who they can trust and who not. This might make Astra Lost in Space sound like a dark story where everybody is suspicious of each other while cooped in claustrophobic circumstances, but the atmosphere of this series is actually quite lighthearted, as the crew members slowly become friends. There's plenty of room for comedy with the students fooling around and having fun with each other, and overall, the tone is really positive.

While the first half of the series is focused on introducing this cast to us and showing how they learn to work together as they try to survive, their early adventures on the various alien planets are actually already a good example of how Astra Lost in Space works as a mystery story. While some planets are almost like a paradise, other pitstop planets prove to be far more dangerous, with both 'obvious' treats as gigantic man-eating plants, but also other threats which only manifest when it's almost too late. Astra Lost in Space really shines in these moments, as these 'creeping' dangers on the various planets are always well-hinted and foreshadowed before they actually manifest themselves. On the second planet they encounter for example, the assumption that everything is as back home almost leads to fatal conclusions, but both the team, and the reader, could've foreseen the reveal, as Shinohara hinted at this threat in various ways from the moment the Astra landed on the planet. Shinohara does a great job at placing these Chekhov's Guns throughout the whole narrative, and then picking them up again as the storyline reaches its climax, showing you that that we all should've been prepared for that threat. We might not be reading about murders or impossible disappearances or any 'familiar' mystery tropes in Astra Lost in Space, but the execution is the same: proper hinting and foreshadowing that all make perfect sense when all is revealed to the reader.

From the fourth volume on, the story starts to focus more on the matter of why and how these students were thrown into space in the first place as the series works towards the conclusion. This is definitely a science-fiction story, involving a core mystery plot of a scale you will seldom see in any 'conventional' detective story (think Hogan's Inherit The Stars scale), but Shinohara makes it work, again, because his foreshadowing and clewing is really good. This is obviously a well-planned story, as Shinohara makes sure to prepare for the grand reveal through various little scenes he has cleverly spread across the whole narrative, and scenes that seem liked innocent filler turn to be extremely important. Whereas the Chekhov's Guns for the various planets are restricted to the chapters on the respective planet, the clues to the grand mystery of how and why these students were suddenly flung into the orbit of an unknown planet 5000 light years far from home are spread across the whole series, making it a cohesive and rewarding read. It's a mystery story that only works because it's a science-fiction story, but it's also a science-fiction story that really manages to impress because it's written as a tightly plotted mystery story. The motive for example could only work in a science-fiction story, but it's presented convincingly here, and the clewing is impeccable. Astra Lost in Space is a unique mystery tale in that sense, one that really manages to leave an impression.

I haven't seen the anime adaptation of Astra Lost in Space myself as I opted to read the original comic, but critical reception of that series seems to be quite favorable, so I guess one could also try that one out instead of the comic. But whatever the medium, I can definitely recommend Astra Lost in Space. Despite the relative short length for a Jump-branded title, it's  undoubtedly a genuine Shonen Jump story, with an emphasis on the universal Jump themes Friendship, Determination and Victory, but it's also an entertaining and excellently written science-fiction mystery story, with fun characters and a pleasant vibe. It's not your conventional murder mystery, or even anything you'd usually expect from a mystery story, but Astra Lost in Space goes a long way in showing how much fun the mystery genre can be in unconventional setting and a great example of how proper clewing and set-up can make a mystery story so much more satisfying.

Original Japanese title(s):  篠原健太 『彼方のアストラ』