Answer

"A detective story must have as its main interest the unravelling of a mystery; a mystery whose elements are clearly presented to the reader at an early stage in the proceedings, and whose nature is such as to arouse curiosity, a curiosity which is gratified at the end."

"The Ten Commandments for Detective Fiction"

I'll be doing my impression of a broken record here, but I am of the opinion one can do a lot within the mystery fiction genre, and that for example, supernatural or fantasy elements do not, by default, threaten the internal integrity of the genre, in the same sense that realism does not automatically mean a mystery story is actually good or fair.  So what if there is an experimental drug that can turn a sixteen year old boy into a child? Detective Conan's core premise may be based on something out of a fantasy novel, but there have also been various stories within the series that present a completely fair and expertly written mystery plot that utilize the whole fact such a drug exists. A story about actual ghosts that can attack real-life people? Invented Inference (In/Spectre) is easily one of the more entertaining and exciting mystery novels I've read this year, one that at least dares to focus on what makes a mystery plot interesting and build a story around that core idea, rather than just using the familiar set forms of locked rooms murders or anything like that. Actual prophecies destined to come true, magic watches that show you to the exact moment of death of any person, a murder mystery set in Alice's Wonderland, robotic cats with technology from the future and a 5000 light year road trip through space: this year alone I've gone through heaps of great mystery stories that utilize the supernatural in one way or another, and all of them were interesting puzzle plot mysteries that played the game square and fair. What's important for a good puzzle plot mystery story is having a consistent internal logic, not boring realism!

Anyway, this got me thinking about what a "mystery" in a mystery/detective story means to me. Because to be completely honest: most of the 'conventional' mystery stories don't even try to something truly original with what a mystery could be, and keep to the familiar murders and other crimes. We have the familiar whodunnits, howdunnits, whydunnits, howcatchems and the occasional whatthehell (where what appears to be a normal story is revealed to much more, putting previous events in a different context). They may provide an original take on for example the locked room mystery, but they don't attempt at taking one single step back, at examining what a mystery could also entail. To me, a mystery or detective story is not about murders or crime. Like Knox said, it's about a mystery: an unanswered event. The question of who murdered Roger Ackroyd may be such a mystery, just like all the familiar tropes like locked room murders, perfect alibis, whodunnits and whatever comes to mind right away, but the rather mundane question of who someone managed to make hot cocoa with only three mugs and one teaspoon is also a valid mystery. I am not a particular fan of the everyday life mystery subgenre, but I'll be the first to admit I've seen some great stories involving mysteries about seemingly mundane, but still curious and alluring problems, like the problem of the food stalls at a summer festival all returning change in 50 yen coins instead of 100 yen coins.

What can a mystery also be? Some months ago, I read Astra Lost in Space and the first half of that science fiction mystery series involved a type of mystery you never see in 'conventional' mystery stories. A group of space-stranded students try to make their way back to their home planet with their spaceship the Astra. They have to make pitstops at several unknown planets due to the length of their trip and some of these planets house threats which only manifest when it's almost too late. Astra Lost in Space really shines during these moments, as these 'creeping' dangers on the various planets are always well-hinted and foreshadowed before they are actually shown to the reader. On the second planet they encounter for example, the assumption that everything is the same as back home almost leads to fatal conclusions, but both the team, and the reader, could've foreseen the reveal, as it's properly hinted in the narrative from the moment they land on the planet. Whether it's the question of how Lt. Fukuie is going to uncover the ingenious murderer even though the reader already knows what the murderer did in detail, the discovery of a 50.000 year old corpse on the moon, or just the question of why someone decided to litter and not bring their food tray back inside the canteen: a mystery (in a mystery/detective story) can involve anything, as long it's presented as a genuine curious problem and the solution is based on properly presented clues and internally consistent logic.

By the way, I keep saying I'll write a review of Liar Game one day, which too is a fantastic mystery series that uses a completely original premise, revolving around a series of gamble games like Minority Rule (where you want to be voting for the minority) or the Contraband Game (where two teams have to smuggle money to from one room to another, and each team has to play border patrol) that appear to be games of pure chance, but which can be 'rigged' by both pure logic and psychological warfare. It's a great example of what the mystery genre can also offer. One day, I'll really write the review. But not this year.

Earlier this week, the first trailer for the 2020 Detective Conan film The Scarlet Bullet was released, and not surprisingly, it seems to continue the trend of the last few years to be somewhat action-focused. These films have always been more action-focused than the original comics for obvious reasons, but looking back, I have to admit there have also been some great action scenes in these films that are also properly build on a mystery story model. Usually, these scenes involve Conan having to escape some imminent danger, and he eventually manages so by cleverly using the tools available to him. So you have the mystery (how is he going to escape?) and the solution (earlier shots of what's available to Conan as hints, and there's of course internal logic). 2002's The Phantom of Baker Street has a grand climax scene for example where Conan has to survive a very imminent crash of the steam train he's riding into the station. Conan's given verbal and visual clues, and in the end, he comes up with a clever way to not get crushed into a pulp. I'll be the first to admit that the viewer is given very little time to consider the problem themselves, but it's without a doubt a fair puzzle plot. But let's take for example 2008's Iron Man, the movie that properly kicked off Marvel's Cinematic Universe. In the final act, Tony Stark is having quite some trouble fighting off Iron Monger in his own Iron Man suit, until a certain event that helps give Tony an edge over the larger/more powerful Iron Monger suit. This too follows the cycle of having a problem (how's Tony going to win?) presented, and proper build-up/hinting (that one thing happening to Tony earlier himself too) and internal logic. Now I'm not going to say Iron Man's a detective movie because of that one scene, but I do think a mystery story can be much more varied than a lot of people seem to think, because the core values of the genre can be applied in so many ways. While it does need proper set-up to be considered a mystery/detective story, I do think anything can be a mystery.

Anyway, I'd be interested to hear some thoughts about how others look at the concept of "mystery" in the genre and perhaps hear about some personal favorites of examples of not-so-likely mystery fiction.

Stand and Deliver

"Foaf is a word I invented to stand for 'friend of a friend,' the person to whom so many of these dreadful things I am about to recount happens." 

"It's True, It Happened to a Friend" (Dale, R. 1984)

Huh, few game reviews this year. And you could even say I'm cheating now, as I played a version that bundled two games as one, but I still review them as two seperate releases.

Two years after the horrifying incident involving the serial killer Blindman from urban myths in the village of C in S Prefecture, police detective Houjou Saki is promoted and transferred to the police headquarters of G Prefecture in return for her silence on the case. She is teamed up with a new partner Sena, a former biker delinquent, self-proclaimed 'fastest guy in the world' and lover of urban legends. The new duo is put on a curious series of murders and assaults committed by a woman dressed in a trenchcoat: a kid was killed and dragged across the street, a couple was suddenly attacked by a woman hiding beneath a park bench, a high school student had her ear bitten off and another woman had her leg chopped off on the street. Sena believes there is a pattern: all these attacks remind of famous urban legends involving female assailants, like that of Hikiko (who dragged her victims across the road) and that of the murderer hiding beneath the bed. As they investigate the case further, Saki has to decide whether there's a scientific, rational explanation to these events or that she should accept that there are occult powers at play here in the game Shin Hayarigami 2 (2016), released on PS Vita, PS4 and Switch.

Some weeks ago, I reviewed the game Shin Hayarigami (as part of the Shin Hayarigami 1&2 Pack on the Nintendo Switch), noting it departed far from the formula of the original Hayarigami series to focus more on (gorey) horror, rather than striking a balance between scientific and occult mysteries like the first three games. I am happy to say that Shin Hayarigami 2 is muuuuch better in that regard as it goes back to the formula which made the original games so unique, providing an interesting horror mystery adventure game that delves deep in the theme of urban legends. The story is presented in omnibus (short story) format, with Saki and Sena working on a different case each episode, themed after different urban legends. The stories can be pretty gory: the second story for example starts with the discovery of the body of a middle-aged woman who has been halved. As in, she was cut in half across her length. Sena is a geek on urban legends, so each time, he'll basically lecture Saki/the player on all kinds of urban legends that have to do with the case at hand, and like with most urban legends, many of them will sound kinda familiar to you, almost as if you ever heard it from a friend of a friend of a friend...

As you investigate each case, you are presented with "Self-Question" segments, where you ponder on the direction of your investigation. Eventually, each episode will split in two distinctly different routes: the scientific route or the occult route. This was the defining system of the original games, as having two routes allowed the game to present both a "normal" mystery story, as well as a more supernatural horror story based on the same premise, but the truth was always somewhere in the middle: while both routes usually play out drastically differently, both sides usually answer questions not answered in the other route. In the first chapter for example, you eventually have to decide whether you believe the woman in the trenchcoat is a supernatural being or not. If you choose not, you'll go hunt for 'normal' clues like a motive and the missing link between all the victims, while in the occult route, you try to figure out how the woman in the trenchcoat came into existence. While both routes have very different conclusions to the same basic premise, both sides are worth playing through, as for example the motive becomes a bit clearer in the scientific route, while the occult route helps explain how the woman in the trenchcoat managed to be at the same place at the same time. Shin Hayarigami didn't feature this specific mechanic, but it's luckily revived for Shin Hayarigami 2, and it makes this game really a lot more enjoyable and unique, as you get to enjoy the same base story twice! The somewhat mediocre Liar's Art mechanic where you try get answers from someone by lying to them returns from the first Shin Hayarigami game, and it's still quite mediocre in this game.

Story-wise, the first half of Shin Hayarigami 2 is a lot stronger than the second half though. The first half is basically classic Hayarigami, with the focus on well-known urban myths like the slasher beneath the bed and the ghost of a deceased idol artist appearing during a live broadcast. The split between the scientific and occult routes is also done well, with both sides answering questions from their point of view (scientifically or with a supernatural explanation), but always including an element of the opposite side to help explain some parts (i.e. even the scientific route will feature some element of the occult, and vice-versa). The second half on however, the stories tend to lean a bit too much towards the, well, not supernatural perhaps, but the over-the-top unrealistic and sometimes outright weird aspecs of urban legends. I find Hayarigami at its best when it's slightly supernatural, when most of it can be explained except for that one thing, but the second half of Shin Hayarigami 2 goes much further than that. In a way though, the final two chapters feel even a bit more like the first Shin Hayarigami title, which could sometimes diverge veeeery far from the basic setting. I personally who'd have preferred if they had kept to the style of the first three chapters (and up to an agree, the extra bonus chapter).

Speaking of that, they kinda try to forget the first Shin game ever happened. The first chapter has Saki still dealing with the traumatic experience of the Blindman incident, but nothing specific is mentioned and basically all the characters/setting of the first game are ignored and forgotten in this second game. That said, I'd say Shin Hayarigami 2 is pretty good in terms of going back to the series' roots overall: it is muuuuuuch closer to the original series, with more room for lightheartier moments (the banter between Saki and Sena) and outright weird characters (Kisaragi, the head director of the Forensic Reserch Institute who also happens to be a shrine maiden) and a bit more indepth discussion about urban legends. And while Shin Hayarigami was devoid of any references to the original series, we actually have a few meaningful references to familiar names, like the name of a certain reporter on the occult in the magazine Mu and ooooh boy, I totally saw that other character coming as he spoke more and more, but that was a great way to reintroduce a familiar face.

Overall though, I had a great time with Shin Hayarigami 2. It's a good return to the series' roots in terms of atmosphere and gameplay. For lovers of urban myths, this series is still gold, as it's really fun investigating cases that may have to do with famous urban legends. It's obviously not fair play mystery as each story will involve some element of the occult and supernatural that comes out of nowhere, but I kinda like how this series plays with providing both a scientific and occult conclusion to each story, and especially the first half of Shin Hayarigami 2 does a good job at that. The ending seems to suggest Saki and her team will return in the future, though it's been nearly four years now since this game was originally released, so it is kinda overdue. Anyway, Shin Hayarigami has always been seen as the black sheep of the franchise (as it was more 'just' a horrorgame), which may have kept people away from this second game, but I think that fans of the original games will actually find quite a lot to like in Shin Hayarigami 2.

Original Japanese title(s): 『真流行り神2』

Bear Witness to Murder

Three little Soldier Boys walking in the zoo;

A big bear hugged one and then there were two.

Disclosure: I translated novels by both Arisugawa Alice (The Moai Island Puzzle) and Ayatsuji Yukito (The Decagon House Murders). And in case you're still looking for Christmas presents...

I don't plan to find me some Christmas mystery stories when the season approaches, but coincidences do happen, resulting in today's review. Anraku Isu Tantei ("The Armchair Detective") was a brilliant television drama series created by mystery writers Ayatsuji Yukito and Arisugawa Alice, produced irregularly between 1999-2017. Earlier, I have discussed the episodes ON AIR (2006) and ON STAGE (2017), with the latter later being confirmed by co-creator Ayatsuji as being the last episode of this series, at least in the usual format. If one considers the detective genre to be an intellectual game that challenges the reader (viewer) to solve the mystery themselves, than this show was the ultimate example of how to present a mystery drama as a game. Each story consists of two episodes: the first episode introduces the viewer to all the characters, the events leading up to the murder and the subsequent investigation. All the hints and clues necessary to solve the crime are shown in this first episode, while the solution is revealed in the second episode broadcast the following week. Sounds like common sense of course, but this point was of particular essence for this show, as viewers were encouraged to write in that week with the answers to the following two questions: 1) Who is the murderer? and more importantly: 2) What is the logical process by which you arrived at that conclusion? The winner, drawn from the people who submitted the correct answers, was presented with a sizeable money prize.  The show thus provided the ultimate challenge to the armchair detectives at home and one of the more impressive parts of the show was how it had to walk the line between being difficult enough that not everyone would arrive at the correct conclusion, along the correct route, but not being overly complex so nobody could guess who the murderer was in a logical manner.

Anraku Isu Tantei no Seiya ~ Kieta Teddy Bear no Nazo ~ ("The Holy Night of the Armchair Detective ~ The Mystery of the Vanished Teddy Bear~", 2000) was the third installment of this show, the first episode broadcast on December 21 and the solution episode following soon after on Christmas. We are introduced on Christmas Eve to Kumako, a young woman who recently found a new job, but her boyfriend sadly enough can't see her on Eve, so they plan a date for the twenty-sixth. The twenty-sixth is also the first day of Kumako working at NATO (Nihon Action Team Office), a small scale stunt action series production team, which recently got a small hit with the television tokusatsu series Athlete 4. It's also the last office day for the year, so everyone is present at the office. Kumako is introduced to all the staff and actors, but she soon learns her new workplace is also a den of intrige and hate, with love triangles, post-divorce fights and rumors of embezzlement flying around. In the evening, Kumako waits for her boyfriend in a restaurant, but she's stood up and she only comes home after a lot of drinking. At home, she finds an e-mail waiting for her by Norie, her new colleague who plays Athlete Purple in Athlete 4. To her surprise, Norie says she killed the boss of NATO at the office and that she'll commit suicide too. By the time Kumako had reported this to the police, it's already to late: NATO's owner Inoue was found with his head bashed in with his own golf club at the office, while Norie set fire to herself at her own home. The police however determine that Norie did not commit suicide, but that she was already dead by the time the fire was started. It thus appears someone else must've killed Inoue en Norie, and the main suspect is a suspicious figure spotted by the guards of the building that houses the NATO offices. The two men saw a figure dressed like Santa Claus carrying a large sack on his back leave the building that night, only moments after the Inoue murder must've happened. The Santa Claus costume was stolen from NATO's costume wardrobe, but there's another missing object: the rare, large teddy bear Inoue kept as a memento in his office. But why would the murderer steal a teddy bear or dress up like Santa Claus? Eventually, even Kumako is accused of the murder by the police, which is when she decides to use the magical flute she was gifted a few days ago, of which she was told it would save her from danger. The flute is of course the item that summons the titular Armchair Detective, a mysterious entity who is ratiocination personified and who can prove without any doubt who is in fact the true murderer.

The show was conceived as a puzzle plot mystery drama where the reader could participate, so to start off with some statistics: the television station received 36,731 (!) entries for this particular installment, the highest amount of participants in the history of the series. 21.5 percent of the respondents guessed the identity of the murderer correctly, but only forty respondants, or mere 0.1 percent, actually got the process right of correctly identifying the murderer/eliminating the other suspect. The numbers will thus tell you it was pretty hard to get all of the story right. I have seen most of the episodes of this series now, and I thought this was one of the easier episodes actually (it was), but getting full marks would've been difficult.

Because as always Ayatsuji and Arisugawa came up with a deliciously tricky story. The second episode starts off with every major character in the story being transported to the dimension of the Armchair Detective, who then goes through the long chains of deduction that lead to the identity of the murderer. The tone here is rather comedic, with each character trying to argue why they aren't the murderer. There are a few meta-rules here that help the viewer out: there is always only one culprit (no accomplices), everything shown on screen (including the time stamps) is correct and nobody besides the murderer lies intentionally. Still, you need to pay attention very well to keep up with the Armchair Detective while he eliminates the suspects one by one and crosses off false solutions. I mean, how many detective shows do you know that spend between thirty minutes and an hour purely to the explanation of a crime? In order to solve the crime yourself, you need to reference the time stamps of each scene and sometimes check the backgrounds very carefully for hidden clues. In some episodes, the zoom-and-enhance trope can be rather persnickety (and kinda unfair in pre-HD TV broadcasts), but it's done fairly err, fair here. As mentioned, this show has to be both difficult, and also fair enough for the viewer at home (anyone can come up with an unsolvable mystery), and I think this episode is definitely one of the better efforts. It helps this show isn't about locked room murders etc., as they are harder to present in a truly fair manner. You can show a thread and needle on the screen, but it's not really fair to expect from the viewer to imagine what could've done with that. This show is about eliminating suspects, so you have to determine what the murderer must have done or known, and then see which of the suspects does or does not fit that profile. You'll definitely have to rewatch scenes a few times to get it though, and unless you have photographic memory, it's impossible to solve this in one go. There are a few scenes in the first episode that do stand out as being obviously 'oh, this scene is used to prove that this character couldn't have done this or that' but this doesn't hurt the experience, because you still need the context of the murder to understand how this becomes revelant in the elimination process.

In this case, the mystery revolves around two questions: Why the Santa Claus dress-up, and why steal a gigantic teddy bear after committing a murder? At first, the problem seems so trivial and also meaningless, but when the whole solution is presented, you'll see how neatly everything fits, and how all the odd movements of the culprit actually made perfect sense considering the situation. The problem of the teddy bear in particular is great, with a convincing reason as for why it had been spirited away from the office, one that seems so obvious in hindsight. The misdirection is quite clever, and while I kinda knew which characters I could already eliminate based on some of the scenes, I still couldn't make out exactly how the teddy bear was involved, so I was pleasantly surprised when it was all explained to me.

Anraku Isu Tantei no Seiya ~ Kieta Teddy Bear no Nazo ~ is in general a strong installment in this series, and while I'll be the first to admit that this series can be very fussy about its visual clues, I'd say this was actually one of the entries that didn't expect everyone in 2000 to have HD recorders to be able to solve the mystery. Some of the scenes do telegraph themselves too obviously as being clues, but overall, the mystery of the disappearing teddy bear is an amusing one, resulting in a very well-constructed mystery drama show that also does its job well as a Christmas-themed mystery.

Original Japanese title(s): 『安楽椅子探偵の聖夜 〜消えたテディ・ベアの謎〜』

A Script for Danger

「警察？あんたが？」

「はい」

「保険会社の人かと思った」

「よく言われます」

「禁断の筋書（プロット）」

"You're with the police?"

"Yes."

"I thought you were selling insurances."

"People often do."
"The Forbidden Plot"

Even with series I like, I usually don't get farther than two books a year, so in that regard, I'd say that Mitsuda Shinzou's Toujou Genya series has been a real anomaly these two years. And that also holds for the series I'll be discussing today.

Because this is the third time I'll be reviewing Ookura Takahiro's Lieutenant Fukuie series here this year. Though I'm pretty sure this will be the last one this year: I read the paperback pocket version of this series, but the most recent two volumes are at the moment still only available in the larger format. In essence, this series has not changed a bit since the first volume. In this Columbo-inspired inverted mystery series, we follow both the criminals in each story, as well as Lieutenant Fukuie, a mysterious young-looking woman who is often mistaken for everything but a homicide detective. Her keen eye for detail, her extensive knowledge about the most obscure fields of interests and most of all, her almost frightening focus on the case at hand (she hardly sleeps) always allow her to pick up the little mistakes of even the most perfectly planned crime, and while some might try, nobody mangaes to escape the Lieutenant for long. Fukuie Keibuho no Houkoku ("The Report of Lieutenant Fukuie", 2013) also carries the alternate English title Enter Lieutenant Fukie With A Report and features three new stories of criminals who are unlucky enough to find her on their case.

Three? Okay, if I had to mention one thing that is different from the previous two volumes, it's that this volume features only three stories instead of four, as the middle story is about twice as long as the usual story length. Besides that, it's still the comedic inverted short story series it's always been. Like Columbo, Lieutentant Fukuie has a lot of comedic traits, mostly her forgetfulness in her own private matters, even though she's a mad computer when it comest to her cases. Scenes of Fukuie forgetting to switch on her phone or simply leaving the thing at home, or having to borrow money from her subordinate to pay her cab because she lost her wallet add some personality to a woman who'd otherwise be an almost perfect cop, being able to outwit both criminals and even the brass in her own organization in her pursuit of justice. Fukuie is even portrayed as an almost supernatural being similar to a fairy at times, as many of the witnesses she questions often end up in a better mood after she's finished her business with them. This series features a lot of witnesses by the way: each story has like five or six segments told from the POV of a witness who happens to be visited by Fukuie, so that goes on top of the segments that focus on the criminals themselves and the parts where Fukuie interacts with her fellow detectives.

In the first story Kindan no Plot ("The Forbidden Plot") we are introduced to Kawade Midori, a manga artist who feels herself forced to kill off Miura Mariko. Once they were best of friends and worked together as aspiring manga artists but eventually, only Midori was approached by a publisher to become a professional. Mariko on the other hand became an editor at a publisher and later the head of the sales department. Mariko however never forgave Midori for abandoning her and going pro solo, and in her new position of power, Mariko has slowly been killing off all the projects involving Midori. When Midori realizes that even her new serialization is in danger of being cancelled before it has even started, Midori decides to plea with Mariko, but when she's laughed away, she killed her old friend in a rage. She dresses the scene to make it seem like Mariko had slipped in the bathroom (Mariko had injured her leg earlier and was using a crutch). Things of course don't go as she had plotted when Lieutenant Fukuie appears, who manages to not only immediately prove it was not an accident due to the seemingly insignificant fact of an open bathroom door, but she also quickly finds Midori's trail, who is desperate to make her new series a grand success. On the whole a good, but perhaps not particularly outstanding story. In essence it's built around the same concept of most of the other stories, with Midori not aware of a certain fact as she committed the crime, which eventually ties her to the murder. As always, this is presented in a reasonably fair manner to the reader, so getting there is always satisfying. Like Columbo, Fukuie will also point out countless of other, minor contradictions that the reader is often also capable of guessing, and this keeps the story from start to finish interesting to read, but Kindan no Plot is not particularly better than the usual Fukuie story (or worse, for that matter).

Shoujo no Chinmoku ("The Girl's Silence") is by far the longest story in this series until now, being twice as long as the average length. One year ago, the Kuriyama Group (a yakuza organization) was disbanded, and the now deceased head asked his right hand Sugawara Tatsumi to take care of the 13 members, by helping them find a proper job and keeping them on the straight path. This was of course no a simple task, as few businesses are eager to hire former gang members and it's been a heavy year for Sugawara finding a place for his flock in society and making sure they wouldn't go back to the underworld again. Kuriyama Jirou, younger son of the former head, wants to bring the Kuriyama Group back again though, and kidnaps the daughter of his brother Kunitaka. Kunitaka had always lived a normal life removed from the gangster-business of his father, but now Jirou wants Kunitaka, as the proper heir to the Kuriyama Group, to gather up the members of their old group and attack their nemesis to start a new gang war. Desperate to stop Jirou from undoing everything the old head had wanted, Sugawara quickly takes steps to locate Jirou's hide-out in the mountains using Kanazawa, a former Kuriyama Group member who went to another yakuza group. Sugawara kills both Jirou and Kanazawa and makes it seem the two abducted the girl together and then killed each other in a fall-out. Eventually the local police find the girl alive and unharmed, standing in a pool of blood of the two dead men. It seems like an easy case at first, but Fukuie quickly deduces there might have been a third person present at the crime scene. Sugawara however is desperate not to get caught as long as the members of the former Kuriyama Group still need his help.

A very long story, which in fact doesn't do anything different from the other Fukuie stories in terms of plot, only being longer. It really does drag a bit due to its length, though I have to say that Sugawara is by far the most sympathic murderer we've seen in this series until now. We see a lot of him due to the length of the story, so it helps his story arc is actually engaging to follow, while we also see a bit of more Fukuie's scary side as she also tackles some corrupt cops in the anti-organized crime unit.

The last story, Megami no Hohoemi ("The Smile of The Goddess") features an unlikely duo of murderers: an elderly couple, of whom the wife is mostly confined to a wheelchair. The story starts with the duo making a bomb, which they plant on an unsuspecting man. The elderly man calmly waits to find the man with the bomb step inside a van with two other man, and then coolly detonates the thing, blowing a car up in broad daylight in the busy shopping streets of Ginza. It turns out the three men were actually bank robbers on the run, who were about to strike again. At first, the police suspects the three had a bomb ready to blow up the safe of their new target, as they had used a bomb the last time too, but small details like the fact the van was parked a block away from their target and a restaurant which had a fake reservation bring Fukuie to the old couple, who thoroughly enjoy Fukuie as a person, but whose sharp questions show she's right on their trail. The final fact Fukuie uncovers to prove the old couple did is really cleverly done and even after Fukuie revealed the fact initially I didn't quite comprehend what the implications were, leading to a delayed "Ooooh, of course!" sensation. The part where Fukuie explains how the couple horribly misunderstood part of the robbers' plan would've been better as a fair-play part in a visual format I think, as it's really cleverly done, but in novel form, it's just told to the reader, and there's no way they could've figured out that part themselves.

I don't sound particularly enthusiastic about Fukuie Keibuho no Houkoku perhaps, but it's really a well-done inverted short story collection. After reading three volumes in a (for me) relatively short period of time though, the stories do feel similar in terms of set-up, so by now, I might be missing a genuine feeling of surprise. All three volumes until now have maintained a very good level of quality in terms of readability and plotting, so any of these volumes is a safe read, guaranteed to satisfy a mystery reader. That said, I do think it's a good thing that I'll have to wait a while for the paperback pockets to be released before I'll see the Lieutenant again.

Original Japanese title(s): 大倉崇裕　『福家警部補の報告』: 「禁断の筋書（プロット）」/「少女の沈黙」/「女神の微笑」

The Clue in the Antique Trunk

We are all rowing the boat of fate
The waves keep on comin' and we can't escape

"Life is Like a Boat" (Rie Fu)

To be honest, if I were to fish something out of the canals of Amsterdam, I wouldn't be expecting anything good in the first place...

It was a late August day in 1965, when a child noticed a suitcase floating in the canal of the Jacob van Lennepkade in Amsterdam. The men around lift the suitcase out of the water, but to the great shock of them, the smell and color from the suitcase immediately them it's no treasure they found, and they immediately notify the police. The contents of the suitcase are determined to be the torso of a man: the hands and legs are missing, as is the victim's head. It's obviously a murder and Inspector van Berkum is put on the case. While the hands and face of the corpse are missing, clues like clothing and the brand name of the suitcase suggest a Japanese link, leading to a search for a missing Japanese male. This man is eventually found in Belgium, where a businessman Sakazaki, who recently arrived in Brussels as his trading company's European local man, hasn't been seen since a while by his landlord and other acquaintances. The joint investigation between the Dutch and Belgian police forces isn't going smoothly however, and when the prime suspect dies in a car accident, it seems the case is destined to go unsolved forever. That is until several years later, a Japanese journalist and Dr. Kuma Ukichi make their way to the Netherlands to see if they can clear the name of the prime suspect in Matsumoto Seichou's novella Amsterdam Unga Satsujin Jiken (1969) which was released in Dutch as De Amsterdamse Koffermoord (1979).

This novelette by Matsumoto Seichou, father of the shakaiha movement of realistic, socially aware mystery fiction in Japan, is based on an actual murder case that happened in Amsterdam in 1965, where indeed the body of a Japanese man was discovered, assumed to be the missing Kameda Yutaka. The case was never solved, but the sensational details of the case were of course too good to forget. This novellette by Matsumoto Seichou was written a few years after the case (and he apparently even did fieldwork), but there have been other Japanese mystery writers who found a bloody muse in the case of a Japanese man being cut-up in pieces fished out of the canals of Amsterdam: Arisugawa Alice (Gensou Unga) and Tsumura Shuusuke (Gisou Unga Satsujin Jiken) for example have drawn inspiration from this case too.

Matsumoto's story is clearly inspired by Edgar Allan Poe's The Mystery of Marie Rogêt, which it also references. The first half of the story is a relatively dry account of how the body was found, and uses news articles and other sources to explain the efforts of the police investigation. I gather that Matsumoto was sticking relatively close to the actual case here, even if he did change the names of the people mentioned. Like with Marie Roget, the idea is that while the 'appearances' of the case may have been changed for the story (small details, names etc.), the important details of the tale are left as they are and that the story is thus like a thought experiment. In the second half, the duo of the narrator (a business journalist) and Dr. Kuma Ukichi are introduced, who travel to the Netherlands and Belgium on behalf of the deceased suspect, hoping to bring a new light to the case.

Which, unsurprisingly, they do (it wouldn't be much of a detective story, right?). Don't expect a mindblowing reveal based on long chains of deduction with a labyrinthine puzzle plot, because that's precisely what Matsumoto didn't like, but the story does a good job of presenting a story that can, more or less, be deduced beforehand. Most of the important information is presented in the dry accounts of the first half, and while the narrator and Dr. Kuma ask around a bit after their arrival in Europe, the attentive reader can definitely make an educated guess as to the truth behind the Japanese torso. Matsumoto makes clever use of contradicting news reports here to string the reader along, while it gives an interesting answer to one of the biggest hurdles of the investigation: why was the body decapitated and were both hands cut off, while the at the other hand, the murderer didn't seem very occupied with the idea of really hiding the victim's identity considering the suitcase and clothes. The answer Matsumoto provides is believable, but has just enough of the romanticism a mystery story should have.

The Dutch volume De Amsterdamse Koffermoord features three other short stories by Matsumoto by the way (one of them Kao, Matsumoto's debut story), while in Japan, this story was bundled together with Saint Andrews no Jiken ("The Incident at St. Andrews").

I do confess that my own interest in Amsterdam Unga Satsujin Jiken derives for 90% from the fact it's a story by a famous Japanese mystery author, about a case that happened here in the Netherlands. The case happened long before I was born and I have never ever heard anyone talk about it in any other context, so I guess I'd never even have known about the real case if not for this story, so it's interesting read in that aspect. It has a novelty aspect to it, and the story, while nothing phenomenal, is interesting enough if you happen to have an hour go read.

Original Japanese title(s): 松本清張『アムステルダム運河殺人事件』

How Does Your Garden Grow?

Mary, Mary, quite contrary,

How does your garden grow?

With silver bells, and cockle shells,

And pretty maids all in a row

(English nursery rhyme)

Meanwhile, the upcoming Detective Conan volume is scheduled for a late December release, so it's likely I won't discuss that one until somewhere in January...

At age 17, Kindaichi Hajime was already used to visiting all the corners of Japan, usually because of some part-time job or a school club excursion, and unfortunately for him, these visits to remote islands, abandoned houses in the middle of nowhere or mansions in the mountains usually turned into bloody crime scenes. Travel is still part of his life now he's 37, because nowadays, he's being sent here and there across Japan for his work developing and managing guided tours. While Hajime and the reader, have seen a lot of Japan throughout the course of this series, I believe that The Beautiful Kyoto Flower Arrangement Practioners Murder Case is the first time we have a case set in the ancient capital of Kyoto. This is the third story in Kindaichi 37-sai no Jikenbo ("The Case Files of Kindaichi, Age 37") and spans volume 4 and 5. Hajime and his assistant Marin are sent to Kyoto to develop a new package tour. The idea is that the tourists will also attend an introduction course on ikebana practictioners, the traditional art of Japanese flower arrangement, and who better to learn from than the famous Kyougoku family, head of the ancient Akaike-style of ikebana? Like his firm had feared though, Hajime learns that the current head of the family, Ganryuu, is a very difficult person to work with. Ganryuu is actually not an expert on ikebana: his brother was, until he died. Ganryuu's twin nieces Kaoruko and Sakurako are the talents in the family, though Sakurako left the house to become a modern flower artist rather than a traditional ikebana practitioner Hajime and Marin are invited to stay one night at the manor of the Kyougokus, which includes a splendid traditional rock garden, considered to be a National Treasure. During the night however, Hajime discovers the body of Sakurako lying on a rock in the rock garden. It is assumed she committed suicide: she had a reason to do so because a few weeks earlier, revenge porn pictures of her were posted on social media and the gravel of the rock garden only has Sakurako's own footprints and nothing to indicate the presence of a third party. The carefully raked wave patterns in the gravel take up to six hours to do, so if there had been a murderer, they wouldn't have enough time to redo all of the gravel before Hajime found the body. But soon circumstances change, when the following night Kaoruko's murdered too, and she's even decapitated! The search for her missing head continues as the murderer prepares for more deaths, and Hajime has to work fast to find the murderer before his firm calls him back!

Like I mentioned in my preview of this story, the use of the traditional rock garden as a variant on the familiar footprints-in-the-snow trope is pretty neat. In terms of imagery, it might not be very different from the footprints-in-the-snow pattern or other popular variants like footprints-in-the-mud, but of course, they all have different properties, and tricks that work for one variant do not work for others. The rock garden, or karesanzui is of course strongly connected with Kyoto, with the rock garden in Ryoanji being a very popular tourist destination in particular. The patterns raked in the gravel (representing the waves of the sea) take hours to do, because all the lines are done in one continuous stroke and if you step on even one of the lines, you basically have to do everything (as you have to step in the garden to redo them, ruining even more lines). The trick behind how the murder (yes, it was a murder) was done is neat, but not farfetched, so an attentive reader could definitely think of it. I do have to say that while the trick also has a nice visual flair to it, I do really wonder whether the murderer really needed to pull it off in that exact manner, or whether they couldn't have just done it in a more straightforward manner which perhaps wouldn't have looked so good on the page. I guess in a visual medium, it's also necessary to think of the visual impact...

This story basically revolves around two major problems: if Sakurako's death is a murder, then how did the murderer escape the rock garden without leaving footprints in the gravel and with Kaoruko's death, it's the missing head that poses the second problem, as it can be found nowhere in the house (and obviously, it was determined nobody left the manor). The problem of the missing head too is nicely connected to the theme of traditional Japanese culture, though it's kinda weird nobody thought of searching that place, as yes, it's a blind spot, but I can't imagine not even trying that thing when genuinely searching for a head. I like the idea behind it though.

My 'problem' overall with this story however is that while the two tricks are fairly well thought off the way the story has Hajime solve the murders is rather crude. At two distinct points, Hajime is unbelievably lucky to stumble upon vital hints that help him solve the case. Especially the first time, it's hard to swallow he'd end up in that exact spot of all places he could be in Kyoto. This happens late again, when Hajime visits a restaurant and is offered no less than two (!) vital clues by accident. It's also somewhat unfair that we, as the reader, don't even hear the exact things Hajime learns at that restaurant: the moment Hajime asks for details about the thing that bothers him, the story cuts away to a different scene, and we only hear exactly what he was told when Hajime explains the murders to everyone. But it's quite unfair as a mystery story: Hajime is told something that basically explains the whole footprints-in-the-gravel trick to him, but we don't hear that for ourselves. Sure,  we can make an educated guess due to the set-up, but why should we have to deduce the thing for ourselves if Hajime is basically told the answer? While something similar happens to the trick behind the hidden head, at least that still involves Hajime having to put one and one together himself.

The way the murderer is exposed is also rather... uninspired. We have seen this kind of visual clue far too often with this series now, where some minor visual detail like a sock being pulled up higher in one panel and lower in a different panel shows that person was the murderer. I do like visual clues in general, as it make use of the visual medium and this series has made pretty good use of it in various stories, but sometimes, they feel a bit too nitpicky, where the story requires you to pick the differences between two panels, but without saying which one, so you have to compare thousands of panels with those same thousands of panels. I have the feeling I have seen this kind of clue far too often with Kindaichi the last few years, and often, this makes the whole clue feel like some afterthought, like they suddenly remembered they had to have a clue that points to the murderer too so they quickly changed two panels.

Volume 5 ended with the first chapter of the next story by the way, and it's another return to a familiar place from the classic series! The first story in this series on a 37-old Hajime started with his return to that accursed island Utashima, but this time, he'll be returning to a hotel that err, should've caused some trauma with him, as it was the place where he had to battle the Red-Bearded Santa Claus. Especially readers of the manga will know why this place should hold a special place in our memories, though the event was changed in both the anime and live-action adaptation. Am interested to see how this case will develop though, as we're also introduced to a new rival police detective for Hajime in the set-up. Speaking of the classic stories, I'm still reading the Kindaichi Shounen no Jikenbo Gaiden - Hannintachi no Jikenbo ("The Young Kindaichi Case Files Side Story: The Case Files of the Culprits") spin-off parody series, which retells the old stories from the POV of the murderer as a gag manga. The series started about two years ago, but probably won't continue for long as it's basically done all of the old stories (until the series hiatus in 2000), but I'm still having fun with them. I don't discuss them here because they're not mystery comics on their own (and they are full of spoilers for each of the stories), but if you're a fan of this series, you really should read them as they're hilarious.

Anyway, Kindaichi 37-sai no Jikenbo's The Beautiful Kyoto Flower Arrangement Practioners Murder Case (volumes 4 & 5) is a pretty classic case in terms of structure, with an impossible crime, decapitations and even the overused 'super minor detail clue' often see in this series. I quite like the basic tricks behind the various murders this time, but the overall story seems rather... uninspired, with luck and coincidence helping Hajime a lot this time and some of the story developments/characters too seem just like they 'were there' rather than truly thought out. It's not a bad story per se, but after the more original angle the previous story took, I have to admit this story felt a bit too by-the-numbers. I'm looking forward to the next story though. Volume 6 is scheduled for a February release, but it's very unlikely the new story will wrap up in that volume, so it is likely I will only review the next case when volume 7 is released (probably somewhere in the summer of 2020).

Original Japanese title(s): 天樹征丸（原）、さとうふみや（画）『金田一37歳の事件簿』第4&5巻

The Whispering Statue

Three little Soldier Boys walking in the zoo;
A big bear hugged one and then there were two.

"And Then There Were None"

I learned a lot on the development of mystery and detective manga after reading the seminal work Honkaku Mystery Comics Seminar last year, and unsurprisingly, it resulted in me reading more mystery manga. My own interest was especially drawn to the period of 70-80s, when female artists would start with the earliest original puzzle plot mystery manga (not adaptations of existing stories), pre-dating by a decade or two the watershed moment for mystery manga of Kindaichi Shounen no Jikenbo, Detective Conan and Q.E.D. in the early to mid nineties. Yamada Mineko's Alice series and Maya Mineo's Patalliro! are some of the titles I talked about, but the first 70s mystery manga I read directly as a result of Honkaku Mystery Comics Seminar, was Takashina Ryouko's Piano Sonata Satsujin Jiken ("The Piano Sonata Murder Case", 1979) last year. It is probably one of the earliest original mystery manga series, though the half a dozen stories of the original run have no direct connection to each other in terms of characters/setting: they are all standalone stories, but all feature "Something Something Murder Case" title convention. Takashina would write more of these stories starting 2002 by the way.

Rikashitsu Satsujin Jiken ("The Science Room Murder Case", 1985) collects two stories from the original classic series. The titular Rikashitsu Satsujin Jiken ("The Science Room Murder Case") was originally serialized in the July and August issues of the girls comic magazine Nakayoshi Deluxe. The handsome Arimoto Kouji is a new transfer student and while all the girls seem be interested in him, it's Ooshima Mayo who's told by the teacher to show Arimoto around school. When they arrive at the science room, Arimoto is surprised at the enormous number of stuffed animals in the room, some of them even of very rare animals. These stuffed animals are a whim of the chairman of the school board, who's completely obsessed with them. And to Mayo's great shame, the man's also her father. Rumors have it that he's even arranging for a panda to be shot and stuffed, which is of course not really legal. One day after school, the students going home are shocked by a huge explosion in the science room. Arimoto finds Mayo standing outside the science room, and inside lies the body of Mayo's father beneath a stuffed hawk. Police investigation leads to the conclusion that he died because of a blow to the head, and that the explosion was probably caused when victim and assailant were fighting and knocked over some chemicals in the science room. While Mayo's still suffering from her loss, the careless manner in which her young stepmother deals with her husband's death and the incessant calls about unpaid debts by the woman who arranged for all the stuffed animals for her father, rumors also start floating around that suggest Mayo herself killed her father.

Huh, I only realized now that the stories of this series are all about the same length as the stories in Katou Motohiro's Q.E.D. Shoumei Shuuryou, which is about a hundred pages. Well, technically these stories are two times fifty pages.

Like with Piano Sonata Satsujin Jiken, this story's roots are firmly set in the romantic drama genre (a popular genre for girls manga magazines back then), combined with a capable, if simple, mystery plot. While the page count is about the same as a Q.E.D. Shoumei Shuuryou story, much of the story is focused on the drama that is caused by the murder: Mayo's situation at home, her growing closer to Arimoto, the gossipping at school whether she murdered her father: there's a lot of melodrama here. It's not as focused on the mystery plot as you'd expect from a series like Detective Conan, but the story doesn't bore at least, even if it's a bit standard high school drama shenanigans. When we come to the core mystery plot, it's a fairly simple whodunnit problem that also leads to a howdunnit, but it's servicable enough, something you'd expect from for example an early Conan story. Takanashi has an interesting hook regarding misdirection which she talks about early in this story, which forms a nice thematic base for the story. It's not a classic story perhaps, but we're definitely presented with a puzzle plot here, thus laying the ground for later mystery titles.

The second story included in this volume is En no Naka no Satsujin Jiken ("The Murder Case Inside the Circle"), which was originally serialized in the November and December 1984 issues of Nakayoshi Deluxe. Kyou is a freshman student who one day is looking across town through the school's Birdwatching Club's telescope, when she suddenly sees somebody being stabbed in a room with a peculiar painting. She knocks the telescope over in her surprise, making it impossible to find the house back. The event is so incredible, not even the art teacher Sugimura seems to believe her story. Kyou tries to forget about it and becomes an official member of the Birdwatcher's Club, which also brings her under the attention of Matsuura, the handsome president of the club and Nagase Yayoi, the gorgeous madonna of the school. Nagase in particular seems to have become fond of Kyou, to the frustration of Tanigawa, Yayoi's former "favorite". But just as Kyou was starting to forget about the murder she saw, she spots her teacher Sugimura apparently burning the picture she saw at the crime scene. Unbeknown to her, things are happening around Kyou and death is closer than she might suspect.

The mystery plot takes a back seat in this story, I'd say. Most of the story revolves around the high school melodrama of Kyou becoming the new favorite of Yayoi, and Kyou trying to figure out how to become friends with the beautiful senior student she so looks up to. Things start moving from the second half on, but the subsequent murders/other incidents that occur, don't really do anything to set-up any real puzzle plot: there's no proper clewing to the solution and the story is more told in a thriller-mode than a true detective story with a neat trick (like the first story). A bit disappointing, as I remembered that Gakuensai Satsujin Jiken also utilized a thriller mode, but also good visual clewing to set-up the conclusion. It's a lot more passive experience in this story

Similar to Piano Sonata Satsujin Jiken, I wouldn't say Rikashitsu Satsujin Jiken is required reading, but the stories do form an interesting step in the development of the puzzle plot mystery manga. It's clear that the main pillar for these comics are the popular genres for shojo manga back in those time, with romance and drama at the center. It was in the seventies that female authors then started fanning out, incorporating other genres like fantasy, science-fiction, horror and mystery into the classic mold. Takashina's mystery manga are a good example of how these shojo comics developed, incorporating puzzle plots. I'd say the volume Piano Sonata Satsujin Jiken has a better selection of stories overall, though I think that the opening story (the titular The Science Room Murder Case) has a simple, but nicely executed idea. For the manga historians among us, checking a few of Takashina's stories certainly won't hurt.

Original Japanese title(s): 高階良子『理科室殺人事件』