The Secret of the Fiery Chamber

From that chamber, and from that mansion, I fled aghast. The storm was still abroad in all its wrath as I found myself crossing the old causeway. Suddenly there shot along the path a wild light, and I turned to see whence a gleam so unusual could have issued; for the vast house and its shadows were alone behind me. 

"The Fall of the House of Usher"

>> The spambots have been very active lately in the comments, so I'll have to manually moderate comments for the moment. I'll try to approve comments as soon as possible. Sorry for the inconvenience!

Bluuuurgh, Detective Conan: The Scarlet Bullet has been moved to a 2021 release definitely! The first time in almost a quarter-century there's been no new annual Conan film...

The cover art of today's work is fairly straightforward in terms of concept, but I really like the actual artwork. It was actually the cover art of this book which first attracted my attention, back when the publisher first announced it on Twitter.

Tadokoro Shinya had always wanted to become a detective himself, but then he realized his classmate Katsuragi Teruyoshi was, in fact, the most gifted detective he ever saw. Born as the son of a rather wealthy family, Katsuragi grew up surrounded by people who are always keeping up appearances and trying to act as nicely as possible, which made the boy especially sensitive to being told lies. This helped him hone his deductive skills, which have also been used to solve actual crimes. Tadokoro on the other hand has also been dabbling with writing mystery fiction, and it was through his editor he learned that the famous veteran mystery author Takarada Yuuzan was living near the place where his class would be staying for school camp that summer. Takarada is one of the giants in the genre, but he's been silent for the last five years due to his age. As both Tadokoro and Katsuragi are big fans of him, they quickly agree that they'll use their free day during school camp to sneak away and make their way to the Takarada manor in the mountains. While climbing the mountain path however, the two are surprised by a sudden thunderstorm, which causes a mountain fire. With the path down blocked by the fire, the two make their way to the Takarada manor together with several other people who too seek refuge, like the neighbor living down the mountain. The son of Yuuzan is at first reluctant to let people inside, but given the emergency and the pleas by his own two children, he decides to let everyone in as they await the emergency workers to make their way to the house. The guests learn that the cliff-facing Takarada Manor is full of gimmicks like hidden rooms, flip-wall closets and even a drawing room with a double ceiling, which can be lowered all the way down to the floor.

Yuuzan himself has been bedridden for some years now, but Tadokoro is surprised to see another familiar face: the insurance agent who was visiting the neighbor and who fled together with him is Asukai Hikaru. They only met once ten years ago, when Asukai as a high school student solved a murder case right in front of him, inspiring him to become a detective too. Ten years later, she seems to have lost all interest in detection, which highly disappoints Tadokoro. However, the following morning, it seems that having both two detectives (Asukai and Katsuragi) at the scene may have been tempting fate, for in the morning, they notice some blood in front of the drawing room. When they can't open the inwards-opening doors, they realize the double ceiling must have been lowered, preventing the doors from opening. When they go check out the winch system, they find it the wirings have snapped loose from the winch, which must have dropped the ceiling instantly instead of gently lowering it. After a quick repair, they enter the drawing room to find a horribly crushed victim inside. At first, it's assumed to be an unfortunate accident as it doesn't seem likely nor practical that someone could've timed the ceiling to drop on someone inside the drawing room, as the inside of the room is not visible from the winch control room, but Katsuragi isn't completely convinced it was an accident. But is it wise to start accusing people of murder here and now, given that they are all trapped in a house with a mountain fire closing on them? It's a battle against both fire and setting the right priorities as the timer counts down in Atsukawa Tatsumi's Gurenkan no Satsujin ("The Murder in the Fiery Red Manor" 2019).

Gurenkan no Satsujin seemed to garner a fair amount of attention when it was released last year as a very classically-styled puzzler, which is of course quite clear when you read the summary above: a motley crew trapped inside a manor in a closed circle situation due to a mountain fire, two detectives working on the same case, a house owned by a veteran mystery author full with gimmicks, hidden passageways and a death-trap murder with the double ceiling which has slight impossible elements to it, and as the story continues, we'll also learn a serial killer from the past has also has cast their shadows over the house and a lot more happens too. In a way, this reminded me of my first review of this year, of Houjou Kie's excellent Jikuu Ryokousha no Sunadokei ("The Hourglass of the Time-Space Traveller"), which was also a novel absolutely brimming with classic tropes and set mostly inside an isolated manor with a time limit to destruction upcoming (but it was also a story which included a scifi element because of the time travelling aspect). The time limit aspect is emphasized in this novel, as each story section is not only accompanied by a title, but also a timer which counts down to the eventual fall of the house (starting at 35 hours before the end).

The mountain fire trapping the characters in a manor in the mountains is of course a device that is very reminiscent of Ellery Queen's The Siamese Twin Mystery, though I'd say that the comparisons do stop here (we don't have a plot revolving around a dying message for example). In fact, what I think surprised me the most about Gurenkan no Satsujin is how the story often moves in a different way than you might expect. For example, the murder in the room with the double ceiling is mostly solved (save for some details) in the first half of the book already. It's really weird, as at the least, you'd expect it be only the first in a series of murders which will make use of the unique gimmicks in this house, but yeah, it really doesn't go the way you'd expect. This horrible murder where the victim was crushed by the moving ceiling gimmick is used in a very clever way: obviously it's not about the direct question of how the murder was committed, but Atsukawa addresses a lot of points, using the opposing detectives Katsuragi and Asukai, to explore the matter whether it was an accident or murder: it's here where Atsukawa shows his careful plotting, as both characters will point out countles of clues to support their own theory, and which really allow the reader to think along. Early on for example, the characters argue that if the doors to the drawing room were closed, the murderer could not have known whether someone was inside the room and who, and if they were open, the ceiling would've been held up by the doors, making it impossible to crush someone with it. While the idea of a ceiling coming down seems simple enough, Atsukawa cleverly makes it a truly mystifying murder as no theory seems to fit completely with the facts, making this a very alluring problem. It's not a true impossible situation, but it's definitely surrounded by contradicting facts, and they ultimately do point towards the cleverly thought-out, but truly horrible truth of what actually happened in that room.

But like I said, most of this is handled in the first half of the book already. So what happens next? Well, I'm not going into details, but basically, Atsukawa has been laying many trails of bread crumbs in the first half of the story that aren't even directly related to the murder, and he starts following them to their respective conclusions. Character dynamics change completely in this second half as Katsuragi starts peeling away the layers of deceit that have been covering up the truth in this novel, setting up the finale and truly revealing who committed the murder in the manor. I'm a bit torn on this part, to be honest. Katsuragi starts pointing out a lot of contradictions that occured earlier in the story, but a lot of them are so... uninspired, they don't really make an impression on their own even if their ultimate implications are important to the plot. Sure, the fact that character lied is of course important, but when the lie is uncovered because of classic tropes of the type of Ye Old They Said They Were Right-Handed But Used That One Thing With Their Left Hand Clue, you can probably understand why I say it can be a bit underwhelming. What I do like is how Atsukawa has really laid out a lot of crumb trails all across the story up until the second half and it's quite satisfying taken as a whole process to see everything come together, but some of these puzzle pieces just seem too familiar. The plot also relies heavily on coincidences, which can be a bit dissapointing: Tadokoro meeting the one woman who inspired him to try become detective himself at this manor right during a mountain fire even though they had only met once in a completely different place is actually one of the more realistic coincidences that occurs in this story compared to what is revealed later in the novel. Regarding the mountain fire though, at first I felt it didn't really add that much to the plot, but Atsukawa actually ties it to the core puzzle plot in multiple ways, and cleverly too, and I think it's actually more important to the plot than it ever was in The Siamese Twin Mystery.

Gurenkan no Satsujin is on the whole a capably plotted mystery story that really loves the classic tropes. I think that lovers of Ellery Queen especially will appreciate the book, as a lot of plot-pushing deductions are based on the interpretation of either physical clues or observed facts or following them to their logical conclusions. The book does suffer a bit from the author's intention to include so many ideas though. It's a very long novel, that also jumps between perspectives at times and even includes a rather meta discussion between what a detective ultimately ought to be, but that together with the already beefy mystery plot results in a book that takes its time to unfold. That said, Gurenkan no Satsujin is a story I myself did not find absolutely extraordinary, but still a very cleverly, and skilfully plotted mystery novel that's well worth a try.

Original Japanese title(s):  阿津川辰海『紅蓮館の殺人』

Fairy Tale Killer

ほら ti ta ta ta ガラスの針 

十二回の刻を打てば

 聖なる夜の七頭の影が

 無力な人形に手を伸ばす

「Marionette Fantasia」（Garnet Crow）

Look ti ta ta ta When the glass hands

strick the time twelve times

Seven shadows on the holy night

Reach out to the lifeless figurine

"Marionette Fantasia" (Garnet Crow)

Last year, I read the complete original series of Professor Munakata, which I absolutely loved. The series revolves around legends, fairy tales and folklore, and the anthropological research into the origins of these stories. The stories in this series are often based on actual historical and anthropological studies into the origins of stories of for example the Asian dragon, the archetype fable of the Swan Maiden told across the world and Momotarou, and author Hoshino manages to present these historical studies as very accessible tales that entertain on their own too, even if you're not immediately interested in the idea of historical research.

That said though, sometimes it's also fun to just accept fables and legends as is, and not try find the historical (and often awful) truth hidden within the allegories. And to those who like to indulge in the fantastical, look no further than Aoyagi Aito's Mukashi Mukashi Aru Tokoro ni, Shitai ga Arimashita ("Once Upon A Time, There Was A Body", 2019). As the title probaby suggests, this highly entertaining short story collection is based on Japanese fairy tales, but of course retold with a deadly twist. Everyone in Japan knows the five fairy tales explored in this book by heart, but while the opening scenes of the stories will remain very familiar, Aoyagi adds a twist each time by introducing a mysterious murder. What makes this an exceptionally satisfying read is that each of these variations are firmly grounded within the framework of the original story. So that means, yes, there are fantastical monsters walking around, there are mystical crane birds, talking fish and magical tools in these worlds, but Aoyagi uses these unique elements to create very entertaining, and also very fair puzzle plot mysteries which should satisfy even the most critical of mystery fan, even if it's so heavily steeped in supernatural imagery. Another point of interest is that each of the five stories in Mukashi Mukashi Aru Tokoro ni, Shitai ga Arimashita is not only based on a different fairy tale, they are also built on different tropes of the genre. One story might be about a locked room mystery, while the other provides an inverted mystery tale. The sheer variety found within these pages is fantastic, making it a must-read.

The opening story Issunboushi no Fuzai Shoumei ("The Alibi of Issunboushi") is a great example how this book subverts expections. The first few sections follow the familiar story of Issun-boushi:  the "one-inch" man who despite his length is quite brave. Trying to defend a princess, he's swallowed whole by an Oni (ogre-like monster), but then defeats the Oni by attacking its from its stomach. The Oni surrenders, and offers a magic hammer, which can enlarge the objects it hits. The mallet's magic changes Issunboushi into a man of over 1,80m tall, he marries the princess and they live happily ever after. Well, not really, for after the wedding, one of the other guards is approached by a man claiming to be from the prosecutor's office, who confides with him that Issunboushi is also a suspect in a murder case. The problem however is that Issunboushi has a perfect alibi: during the period the murder was committed, Issunboushi was inside the stomach of the Oni, and all the other guards were busy trying to get him out of the Oni pushing him back up from the stomach out of the Oni's mouth. So not only is the hero of the fairy tale recast as the villain of the piece, one of the best-known episodes of the fable is changed into the perfect alibi of the culprit! What follows is a very entertaining story in which the real hero of the story tries to break down Issunboushi's perfect alibi, and the trick pulled off is set wonderfully within the framework of this fable. And yes, there's an element of magic/the fantastical involved, but it's perfectly hinted at and the limitations/'rules' behind magic are clearly stated, so it's a completely fair, and most importantly fun tale.

The narrator of Hanasaka Shitai Dengon ("The Blossoming Dying Message") is a dog: the second dog adopted by the old couple that stars in the original Hanasaka Jiisan fairy tale. Their previous dog had found the old couple a treasure, but when their horrible neighbor stole their dog and the dog led him to junk, he killed the dog. In a dream, the dog then told the couple to make a mortar out of the three he was buried at, and the rice put into that mortar turned to gold. The neighbor stole the mortar, but it didn't work for him of course, so he set fire to it. The ashes of the mortar then allowed the old couple to make withered trees blossom again, which pleased the local landlord, but once again the neighbor stole the ashes. It's at this point our dog is adopted by the old couple, but only four days have passed when the old man is found murdered one early morning, lying on a small hill just outside the house. It appears multiple persons had a "grudge" with him, even if most would agree none of that should've led to murder. The only clue available appears to be the plant the old man had grabbed in his dying moments, but what does it mean? On the whole, this story is perhaps not as impressive as the first story: the clue pointing to the true murderer is a bit too obvious (and you know it's not a 'fake' clue as the story tries to ignore it for far too long) and the meaning of the dying message is a bit unfair, but once again, the manner in which Aoyagi uses the fantastical elements from the original story to create a murder situation (including clues and solution) completely unique to this world is immensely fun and it even did a good job at using the dog as the narrator!

As the title suggests, Tsuru no Toujo Gaeshi ("The Crane's Inverted Return") is an inverted mystery story. It's kinda hard to explain this one, as the whole story revolves around the reader not really understanding what's going on. On the face, this story starts out like the famous story about a crane who wants to return a favor to the man who rescued her by weaving cloths from her own feathers. In this version however, the crane's visit to the man is just moments after he has killed the village headman, who wanted to the man to return the debt of his deceased parents. And when the crane, disguised as a woman, first enters Yahee's house to weave clothing, she's told to never open the closet in the back of the room, but as time passes by and Yahee becomes lazy and dependent on selling the cloths woven by the crane, the happy world of the fairy tale seems to fall apart. I can't really tell more about this, but it's a wonderfully plotted tale that plays with the inverted style of mystery stories and it really invites you read it a second time.

Misshitsu Ryuuguujou ("The Locked Dragon Palace") is based on the tale of Urashima Tarou, a fisherman who saves a turtle and is taken to the underwater Dragon Palace of Princess Otohime in return. The few days he spends at the palace feasting however are more than a hundred years in the 'real' world, and when he returns to his home, he finds time has left him behind. This story starts in a similar manner, with Urashima Tarou being brought by the turtle to the Dragon Palace, where all the sea creatures can take on human forms. He becomes the guest of Otohime, but then a murder is committed inside one of the rooms in the palace. There's only one door to the room (the windows are covered in thick coral), and the door was, of course, locked. Humans are considered to be smarter than fish, so Urashima Tarou is asked to solve this locked room murder, which turns out to be much craftier than appears at first. For this is an excellent locked room mystery with a magical twist, set in a world where fish and other sea life can take on human forms, sing and dance and everything. The solution requires you deduce how certain fantasical capabilities of this world work, but this is clewed very capably and no reader should ever claim this is an unfair story because of its use of magic, as Aoyagi does a great job at setting the solution up. Again a very solid example of how the fairy tale framework is explored in the best possible manner to provide a good mystery story.

Personally, I didn't like the last story, Zekkai no Onigashima ("The Island of Oni in the Distant Sea") that much, even if it's not bad. The story is set on Onigashima, the island of the Oni from the Momotarou fable: some generations ago, a few ruthless Oni from this island attacked the humans across the sea for food and treasure, but the whole community of Oni on the island had to pay for their crimes: the hero Momotarou, joined by his entourage of a dog, monkey and pheasant, arrived on the island and massacred everyone here, taking back everything that had been robbed from the humans. At least, that's how the legend goes, but a small group of Oni survived, and now two generations later, thirteen Oni are still living a peaceful life on Onigashima, though quite aware of what mistakes had led to their current lifestyle and the children especially afraid that Momotarou might return to finish the job for good. And the Oni's peaceful life is indeed halted one day, when one of the Oni is brutally murdered. One after another murder follows, but what puzzles the survivors the most is that the manner in which these murders are committed seems to suggest it's not an Oni, but Momotarou and his henchmen who are killing everyone, even though there's not a single sign of any outsider having arrived on this island. The story unfolds in an And Then There Were None manner, with in the end all the Oni dead on the island, but no sign of the murderer. I kinda like the idea behind the truth of this story, but some of the story development seems far too hasty, making the events feel rather artificial. Had this been a longer story, the build-up could've been much better, though I think novella length (or just a few pages more) would've done the trick, as it's also not really an idea fit to fill a whole novel.

But even though I was less impressed with the final story, I still think Mukashi Mukashi Aru Tokoro ni, Shitai ga Arimashita is a great short story collection that truly manages to convey a sense of wonder to the reader, by transforming famous fairy tales into something that is at one hand still very recognizable, but also perfectly plotted as a mystery story. It's actually surprising how good these fairy tales lend them for mystery parodies, but I assume it's Aoyagi's writing talent that makes it seem oh-so-easy rather than actually being so simple. The concept seems simple, but Aoyagi really went all-out into working the concept out to a genuinely good mystery story collection. Obviously, the stories are more fun if you're familiar with the original fairy tales, but I didn't know Hanasaka Jiisan myself for example, and it still worked for me, so you can definitely also enjoy this book without any prior knowledge.

Original Japanese title(s): 青柳碧人『むかしむかしあるところに、死体がありました』：「一寸法師の不在証明」/「花咲か死者伝言」/「つるの倒叙がえし」/「密室竜宮城」/「絶海の鬼ヶ島」

Home Sweet Homicide

"There's no place like home."

"The Wizard of Oz"

Countries all handle the pandemic in different ways, and while Japan's state of emergency in certain prefectures did not lead to a true lockdown like seen in Italy, it's still advised to remain home as much as possible. This has also led to new creative projects that came to be due to these circumstances. As an Animal Crossing: New Horizons fan for example, I loved seeing the StayHome performance of the main theme.Earlier this week, I reviewed Mitani Kouki's little project to lift the spirits of the people in these times: I truly enjoyed how Mitani used his weekly newspaper column to revive his hit mystery series Furuhata Ninzaburou.

I mentioned in that same post that Amagi Seimaru (AKA Kibayashi Shin), the writer of the Kindaichi Shounen no Jikenbo ("The Young Kindaichi Case Files") series was also working on something special and the result is a very memorable one as it's a genuine #StayHome-inspired murder mystery, a story that could only have been produced because of the current situation. Story-wise though, it may not be very special. Stay Home Satsujin Jiken (The Stay Home Murder Case) starts with the police knocking at the door of the mansion of Komatsuzaki Akane, a middle-aged woman who made a fortune with her own company. The dog's been barking for days now, which alerted the neighborhood. When the patrol officer opens the door, he first notices a broken wine glass with some spilled wine on the floor, but in the next room, he finds Komatsuzaki, strangled to death. Inspector Kenmochi is put on the murder case, but he catches a nasty fever, and he is forced to self-isolate, even though he already asked Hajime and Miyuki to go to the Komatsuzaki mansion. Kenmochi hopes Hajime can solve the case for him, so Hajime has no choice but to meet with the three suspects: the housekeeper, the victim's niece and the Uper Eats delivery guy. While Komatsuzaki's housekeeper would swing by three times a week, and her sommelier niece also brought wine on the day before her death, it appears they couldn't have committed the murder as they wouldn't be able to get inside the house: while the locks of the Komatsuzaki mansion can be opened with a code number, Komatsuzaki always changed the code whenever someone had come, and the code had indeed been changed again after both of those women had left. It is therefore believed the Uber Eats delivery guy was the final person to have come to the mansion. While he's questioning the suspects however, Hajime seems to realize which of the three suspects is the murderer.

And the attentive reader will of course also have noticed the screenshots in this write-up are a bit weird. That's of course what makes Stay Home Satsujin Jiken so special: it's a live-action murder mystery drama filmed over Zoom, broadcast via Youtube. It might take a second before you really grasp what that is. Creator Amagi Seimaru employed the help of family and friends to create Stay Home Satsujin Jiken: the actors all filmed/recorded their parts in their respective homes via Zoom/other methods, thus respecting the #StayHome advice. Amagi's own older sister Kibayashi Yuuko (a manga writer herself) for example was cast in the role of the victim Komatsuzaki Akane. The individual parts were then edited together, allowing everybody to 'play together' in one scene without actually being physically together. On top of that, the actual voice actors of Hajime and Miyuki from the television series reprises their roles too. The end result is a live-action drama which of course feel very much home-made (the lagging voices!), but it's still a genuine Kindaichi Shounen mystery.

The first part was broadcast today (May 31) via Youtube, while the second half (with the solution) will follow next Saturday (July 6) as paid TwitCasting content. This obviously means this write-up isn't meant to be a full review: I have only seen the first part of this story, and I am not even sure whether I'll purchase the second half. Mystery-wise though, I think I have picked up enough clues to have an idea where this will be going, and if I'm right, the plotting is what you would expect from this series, with a lot of visual clewing. Which is therefore surprisingly well done as everyone had to to film their own parts via Zoom etc. But despite this being early, I felt I really had to write something about this production, because it's just such a unique piece of mystery fiction.

For Stay Home Satsujin Jiken does feel like a real Kindaichi Shounen no Jikenbo short story, and that's quite impressive given the way this thing was produced, with live-action actors filmed in sub-optimal environments, and odd talking shots of Hajime and Miyuki. If my hunch is right, Stay Home Satsujin Jiken may perhaps not be extraordinary if one looks only at its merits as a mystery story, but I think I will forever remember it as a special piece of mystery fiction, a memento of that period in 2020 when the world was different, a detective story where you absolutely need to understand the context in which this was produced. It's an immensely odd murder mystery, created in immensely odd times. And yet, it is exactly what you'd expect from this series. People will find a way to create something fun, even if they have to find new methods.

Original Japanese title(s): 『金田一少年の事件簿STAY HOME殺人事件』

Murder: A Self Portrait

"Now are there any more questions? No? Well, if you don't mind, since my column for tomorrow is put to bed, I would like to do the same thing for myself."

"Ellery Queen: The Adventure of the 12th Floor Express"

Memo to self: don't forget to watch the special Kindaichi Shounen no Jikenbo #StayHome Youtube live-action mystery drama filmed by the writer of the series/the original anime voice actors this and next week! Pretty nuts how they created that with Zoom and stuff and really looking forward to watching it!

While fans of series like Detective Conan and Kindaichi Shounen no Jikenbo are probably quite aware that these series are published in a serialized format, with individual chapters being published in weekly/biweekly magazines first before a number of them are collected in one single volume, some might be surprised to hear that the serialized format is also still used for "normal" literature. While direct-to-book is still the most prominent form of publication, there are still a number of books that have seen serialization in some form or another: whether it's a "classic" serialized form with installments being published at a steady schedule or for example short stories being published seperately in magazines at random times before they are colllected in one short story collection. With the aforementioned manga, I only buy the volumes and with books, I always buy the individual release, so I usually don't notice much of the serialization process of a certain work, though there are exceptions. I followed the serialization of Madoy Van's Gyakuten Saiban - Jikan Ryokousha no Gyakuten ("Turnabout Trial - Turnabout of the Time Traveler", 2017) for example, because when it started, I was not sure whether this Ace Attorney spin-off novel would actually receive a standalone release in the first place.

The last few weeks however, I've had a lot of fun with a very special serialized mystery short story. I've mentioned the hit mystery drama Furuhata Ninzaburou quite often here. This comedic inverted detective series about the somewhat peculiar and occassionally very petty Lieutenant Furuhata of the Tokyo police ran for three seasons and one final special season between 1994-2006 and was heavily inspired by Columbo. Like in Columbo, each episode the viewer was shown who committed the crime and how and the mystery presented to the viewer was figuring out how Furuhata was going to solve the case. The series also took inspiration from the Ellery Queen television series, as each episode, Furuhata would turn to the audience and challenge them to guess what put him on the murderer's trail in the first place or how he was going to nab them before the episode would continue into the final act. The series was a creation of playwright and film creator Mitani Kouki. He started out with writing comedic plays for the stage, but his heartwarming comedy films with ensemble casts have also been very succesful in Japan. In a way, his style works perfectly with the inverted mystery, where you follow the murderer before and after the deed: most of Mitani's movies are comedic pieces about all kinds of silly problems happening 'backstage' at for example an hotel (The Uchouten Hotel) or a live radio play performance (Radio no Jikan). He also directed two amusing Agatha Christie adaptations by the way: Murder on the Orient Express was interesting as a two-piece production and the second part was sheer genius: it told the story of Murder on the Orient Express from the point of view of the murderer(s) in a comedic tone. Kuroido Goroshi, an adaptation of The Murder of Roger Ackroyd on the other hand was truly a very accomplished adaptation of a book many deem very difficult to adapt.

Mitani has been writing the weekly column Mitani Kouki's Mundane Life for the Asahi Shimbun newspaper since 2000, but with the current pandemic going on, he decided to do something very special: bring back Furuhata Ninzaburou in a short story! The television series Furuhata Ninzaburou stopped in 2006 (there was a spin-off prequel special in 2008), so it's been about 15 years since we saw the somewhat annoying, but sharp detective, and I think nobody had even dared to dream Furuhata would ever return (especially as Furuhata's actor, Tamura Masakazu, isn't very active anymore). The story Isshun no Ayamachi ("A Moment's Mistake") started in the evening edition of the Asahi Shimbun of April 23rd 2020 and ended with the fourth installment published on May 28th. And this is a special occassion, Mitani decided to go with a very special murderer this time: himself! We follow screenplay writer Mitani Kouki as he plans to kill the actor Ooizumi Myou: a talented actor with whom Mitani has worked often. One day, Ooizumi and his family visited Mitani at his home, when Mitani had to leave suddenly. As a polite gesture, Mitani told them they could stay in the house and relax a bit, but he never thought they would actually take him up on his offer. When Mitani returned home, he found the Ooizumi family still hanging around and that they had watched Frozen on DVD. Even though he himself hadn't seen that movie yet. It was the moment he decided Ooizumi Myou must die.

Mitani plans to kill Ooizumi with a home-made pistol at an event for Ooizumi's latest film, with a reception held at a hotel. Mitani is a surprise guest so few people are aware he's in the hotel in the first place. Mitani makes his way to Ooizumi's hotel room, shoots the actor and returns to his own room, where he has also prepared an alibi in the form of a new script he was working on. It doesn't take long for the murder to be discovered, and Mitani soon finds Lieutenant Furuhata in front of his door. Furuhata instantly starts poking holes in Mitani's story, but even so, Mitani is utterly shocked when Furuhata points out the one vital mistake Mitani made during his murder which told Furuhata who the murderer was the moment he met Mitani. But what was that mistake?

Despite the limitations this story has as it's written in the limited word space of four columns, I have to say I really enjoyed this short inverted mystery. It has everything you'd want in a Furuhata Ninzaburou story, the comedic tone, Furuhata 'poking around' until he unveils his ace, the Challenge to the Reader. The fatal mistake Mitani (the murderer) made is a bit silly, but it works in the context of this specific release, as a funny side-story to entertain people during the pandemic. And don't get me wrong, this is still a decent, well-clewed mystery story and not just a purely comedic piece. I could definitely see a full episode being built upon this, though on the other hand, I think the mistake is easier to overlook in its current prose form as opposed to if this had been an actual episode broadcast on television, but it's genuinely a cleverly set-up mistake of the murderer that most readers will never think of.

By the way, people familiar with the Japanese entertainment world will probably have noticed Mitani didn't only have fun using himself as the murderer for this story. The victim Ooizumi Myou is of course a veeeeeery thinly disguised Ooizumi You, with whom Mitani has worked a lot in his films. Ooizumi plays the unnamed detective in the films based on the novel series Tantei wa Bar ni Iru and is also the voice actor of Professor Layton, but for this specific story, it's of course interesting to note that Ooizumi played the Watson-character of Dr. Shiba (Dr. Sheppard) in Mitani's adaptation of The Murder of Roger Ackroyd. Apparently, Ooizumi You did actually once watch Frozen at Mitani's home, though we may assume the real Mitani isn't considering killing off Ooizumi You. Probably. Furuhata Ninzaburou has a history of featuring 'real' people as murderers by the way: last year, I reviewed the special where Furuhata had to take on the Major League baseball player Ichiro (played of course by Ichiro himself) and Furuhata has also crossed paths with the boy band SMAP in the past (also played by the members of SMAP themselves).

Anyway, it was very fun to have these serialized installments of a mystery story to look forward to these last few weeks, and Isshun no Ayamachi didn't disappoint a bit. While it may have been lean because it was written as part of a newspaper column, it feels 100% like a genuine Furuhata Ninzaburou story and I also found the story entertaining as an inverted detective tale with a nice twist. While the series is formally ended, it's nice to see the creators willing to do something special in these times. And who knows, perhaps it's the first step towards getting one new, final production with Furuhata....

Original Japanese title(s): 三谷幸喜　『古畑任三郎　一瞬の過ち』

The Adventure of the Red Circle

「この世のどんな出来事であっても、それが文章になってしまった時点で、それはフィクションでしょう。小説というものは、すべてフィクション。ノンフィクション小説、というのはそれだけで自己矛盾、自家撞着してしまうのではないかしら」

『QED ベイカー街の問題』

"Everything that occurs in this world becomes fiction the moment it is written down. Novels are always fiction. Non-fiction novels are by name alone self-contradicting oxymorons."

"QED The Problem of Baker Street"

I don't consider myself a true Holmesian (Sherlockian), but I am fairly familiar with many of the major Holmesian discussions. No idea where I pick these things up.

Since a year or so, I've been reading the manga series Q.E.D. Shoumei Shuuryou by Katou Motohiro semi-regularly. Some people might not be aware that there is also a completely unrelated mystery novel series titled QED, written by Takada Takafumi. I only read the first novel in the series a long time ago, so I am not very familiar with the series, but in general, this concept of this series is that it tackles both 'real-time' mysteries as well as historical mysteries, regarding historical events, famous persons or literature. The first novel for example had a famous Japanese poetry (waka) collection as its theme and in order to solve the 'real-time' mystery, it was also necessary to solve a mystery hidden within the ancient poems. The detective of this series is Kuwabara Takashi, nickname Tataru. He's an eccentric young pharmacist (specialized in Chinese medicine) who is quite knowledgeable about err, a lot, but especially literature. His assistant Nana is one of Tataru's very few college friends and while she too is a pharmacist, she works in a Western-style pharmacy.

The first two novels in this series were related to Japanese history, so the theme of the third novel might surprise readers, even if the title gives everything away: QED Baker Gai no Mondai ("QED The Problem of Baker Street", 2000) is of course about modern, British literature: Sherlock Holmes. One day, Nana runs into her college friend Yukiko, who turns out to be a Sherlockian. She's a member of the Baker Street Smokers, a Sherlockian club created by restaurant/club owner Hotta Soujirou. The Baker Street Smokers consists of four members and usually has small private meetings, but Yukiko explains they'll be holding a party on the sixth of January to celebrate the third anniversary of the Baker Street Smokers, as well as the hundredth anniversary since Sherlock Holmes returned to the land of the living in The Adventure of the Empty House. All members can invite people to come along, and the four regular members will even perform a little theatre play based on a Holmes story. Nana and Tataru are invited as Yukiko's guests, and Tataru even turns out to be a pretty dedicated Sherlockian, who can't wait to discuss a certain Sherlockian matter with other people. The party comes to an abrupt end when Sakimaki, one of the BSS members, is killed while getting dressed for the play. He was found lying on a table, stabbed in his stomach and holding a piece of paper with some incoherent writing on it. Given that few people at the party knew Sakimaki, suspicion naturally falls upon the remaining three BBS members, but it also appears Sakimaki's death may have to do with Tsukiji Natsuyo, a woman who was going to become a member of the BBS, but committed suicide some months earlier and who was doing research on a certain Sherlockian problem.

I am no expert on Japanese poetry, but I am familiar with Sherlock Holmes and Holmesian problems, so it was relatively easier to get into this novel than the first in the QED series. For those to whom the terms Holmesian/Sherlockian sound unfamiliar: it's a kind of game where people accept the Sherlock Holmes stories as written by Dr. Watson as having actually occured and discuss anomalies and other contradictions in the stories ('mistakes') with the premise that the events and characters mentioned in the stories are all real. For example mistakes in dates in the stories etc. are not 'mistakes by Sir Arthur Conan Doyle' but mistakes by Dr. Watson, or Dr. Watson had a reason to lie about the date, or there's some other in-universe reason. By the way, in Japanese, the preferred term is Sherlockian (like in the US), as opposed to Holmesian, which has my personal preference to be honest. Some might also remember the manga Sherlockian! I once discussed, which was actually quite informative.

Anyway, so QED Baker Gai no Mondai is about a murder committed among Holmesians, and meanwhile Tataru's also occupied with a Holmesian problem that bothers him: why was Sherlock Holmes acting so differently before and after the events of The Final Problem and The Adventure of the Empty House? While the novel does give brief explanations and summaries about all the relevant Holmes stories mentioned, it's clear that this novel is best enjoyed if the reader has some affinity/prior knowledge of Sherlock Holmes, or else you'll just be wondering why everyone is making such a big deal about a fictional character (blashpemy!). To be honest, the Holmesian mystery is far more interesting than the actual, real-time murder. In fact, the death count doesn't stay at one in this novel, but the other death isn't that interesting either, even if it involves a dying message with a Holmesian twist. But while the murders themselves are rather straightforward, in order to solve some parts of the mystery you need to have rather specific knowledge about medicine that isn't mentioned in the story until the denouement and basically, it's the 'anyone could've committed the murder, so let's focus on motive' type of story.

The motive behind the murders of course ties to a Holmesian problem, and I found that part far more interesting. Over the course of the novel, the reader will be presented various types of Holmesian problems of varying importance, but the most important is of course the one that's on Tataru's mind. The ground he treads with his theory is not particularly unknown, but it's fairly entertaining and well within the realms of what you'd expect of a Holmesian theory. And as you may expect from this series, aspects of Tataru's literary theory are also mirrored in the real murders, so it's necessary to solve the literary mystery in order to arrive at the motive, and even partially the modus operandi behind the actual deaths. I do like this linking idea, but in this particular case, it becomes a bit too artificial, with a lot of coincidence having to happen to create such a nicely mirrored situation in motive and actual murder.

I'm not even actually sure what to make of QED Baker Gai no Mondai. I definitely like the Holmesian background theme and it goes just deep enough to entertain me as a moderate Holmes lover, without feeling too detailed, but it's also very... vanilla-flavored in terms of the main murder mystery plot. The literary side of the mystery is far more interesting and while there are some interesting ideas like the dying message left by a Holmesian (can you guess what he did?), I thought the 'real' side of the mystery so plain and nondescript, I'm sure I'll have forgotten the details in a few months, while I am sure I will remember Tataru's Holmesian theory. QED Baker Gai no Mondai is a very safe read if you like the Holmesian theme, but on its own, it's hardly a stand-out mystery novel.

Original Japanese title(s): 高田崇史『QED　ベイカー街の問題』

The Mystery of Magnolia Mansion

"We all change, when you think about it, we're all different people; all through our lives, and that's okay, that's good, you've gotta keep moving, so long as you remember all the people that you used to be."

"Doctor Who: The Time of the Doctor"

There's nothing quite comparable to the transformation process of a videogame ported to different hardware, remastered or remade. I mean, novels are published with new covers all the time, but usually the contents remain (mostly) the same. One might be tempted to first think of censorship when it comes to post-publication text changes, but there are of course more reasons: from updating the body of text for later printings to correct spelling/grammar mistakes that had been overseen earlier, or perhaps because to reflect new spelling conventions. Most of the Rampo I've read for example, has been corrected for modern Japanese conventions, rather than the original pre-war spelling conventions (which can be very different). And then there are also the cases where the author chooses to change the text contents-wise, sometimes because there's a special occassion that allows them to go over their writings again (a brand new reprint for example), sometimes because an internal error was pointed out to them and they want to correct that. Ultimately though, these changes across versions of books are incredibly minor when compared how different the same base videogame can be across hardware and versions. The transformation process can be quite varied: sometimes it's a brushed-up version like a remastered, cleaned-up version of a film, sometimes the game has to be built completely anew from the ground up for a specific piece of hardware, which makes it a bit more similar to a remake of a film, but often at the core closer to the original game than a remade film usually is.

The iOS version I played of the Riverhillsoft adventure game Kohakuiro no Yuigon - Seiyou Karuta Renzoku Satsujin Jiken ("The Amber-Colored Testament - The Tarot Serial Murder Case") looks and sounds nothing at all like the original game which was released in 1988 on the Japanese PC-8801/PC-9801 personal computer systems, and even the way in which the player interacts with the game (the interface) is completely different, but the core plot and the progression in the game is basically the same. After the original release, this game has been ported and remade for a lot of hardware, from MSX2 to Windows 95,  Nintendo DS, iOS and Android, often changing appearances quite drastically whenever it arrived somewhere else. It's quite strange to see the same mystery story look and sound so drastically differently, yet be in the same medium (videogame). It's something that I just can't imagine with a mystery novel. The screenshots in this review are from various versions and look nothing alike, but they are also clearly the same core game.

But no matter on what hardware you're playing the game or how it looks, it always starts the same. Kagetani Koutarou was a very wealthy man in the 1920s who made a fortune with the trade in medicine. One day, he was found dead in the garden by his granddaughter and it was determined he had died because of poison. While it didn't seem likely the man would commit suicide, the remaining family members, including his second wife and several sons and daughters in varying ages from both his first and second wife, seem very reluctant to help the police, and the investigation soon gets stuck. The private detective Toudou Ryuunosuke is hired by the Kagetani family butler, who is convinced his master was murdered, but who wants the case to be investigated in a discreet manner, as the murderer is likely someone of the family. Toudou is invited to the Kagetani manor as the author friend of Kagetani Koutarou's nephew and is allowed to stay a few days as a house guest. During his stay, Toudou attempts to lure each of the Kagetanis into revealing what they are hiding about Koutarou's death, but little did he know that the first death was not to be the last.

Kohakuiro no Yuigon - Seiyou Karuta Renzoku Satsujin Jiken ("The Amber-Colored Testament - The Tarot Serial Murder Case") was the first game in the so-called "1920 Series" of mystery adventure games starring the character Toudou Ryuunosuke, but when developer Riverhillsoft closed in 2000, the rights to this series went to Althi, which renamed the series to the current Toudou Ryuunosuke Tantei Nikki ("The Detective Chronicles of Toudou Ryuunosuke") title. If this case this sounds familiar: the same actually happened with the J.B. Harold series, of which I have reviewed the first three games. The J.B. Harold games were also mystery adventure games originally developed by Riverhillsoft and the rights too were transferred to Althi (its current developer/publisher). One name that has to be mentioned to is that of Suzuki Rika: she originally worked at Riverhillsoft, and it was she who wrote both the Toudou Ryuunosuke and J.B. Harold series. She left Riverhillsoft with some other employees to start her own company Cing, which was responsible for a few great mystery-themed adventure games on the Nintendo DS and Wii (the Another Code and Kyle Hyde series), until Cing went defunct too in 2010.

As a mystery game, Kohakuiro no Yuigon basically plays exactly the same like the J.B. Harold games. The story starts in a non-linear manner, as you are free to walk around in the enormous Kagetani manor and you can visit each suspect in your own preferred order (and there are a lot of characters). As you chit-chat around, you'll learn facts about the other characters that will raise your suspicions towards that character (for example, A will say she saw B in the kitchen, or B will say that C hated the victim.) As you talk with each suspect about all the other suspects and other facts, you'll slowly connect the dots and construct a clear profile for each character. Once you have gathered enough information on a certain person, you can confront them, which usually results in you learning a significant fact that brings you closer to the truth. Rinse and repeat and you'll eventually find the killer. Different from the J.B. Harold I've played until now is that the murders don't stop with the first murder of Kagetani Koutarou (who is killed in the prologue anyway). Like the subtitle The Tarot Serial Murder Case suggests, more murders follow as you progress in the game and start poking around, but it's all part of the story and there's no threat of the player running out of time or not being able to solve the game because a suspect's been eliminated. Not much thinking is required on the part of the player, though making the connections yourself does make the game a lot smoother: if you yourself can't remember what line of investigation you're pursuing at the moment, you'll be forced to go around questioning everyone on everything, which can take ages. I can basically quote myself from the J.B. Harold: Kiss of Murder review to summarize my thoughts, as the games are, mechanically speaking, almost identical:

Kiss of Murder's emphasis lies on unraveling the complex ties between all the characters. At first, you'll only have a face and a name, but as you progress, you'll slowly uncover how each of these characters are connected, and most of them will turn out to be quite different from your first impression. As a game it's certainly not a very engaging or thrilling experience, as you're basically only going through dialogue, with everyone snitching on each other. The fun lies in going through this story in a non-linear fashion and making the connections yourself in your mind, as the game itself doesn't explain (for example, the game might tell you need to confront suspect A with their lies now, but you yourself have to remember that a while ago, suspect B and C both provided proof that suspect A had lied in completely different testimonies). At the best times, it does really feel like you yourself are solving this case, but at the worst of times, Kiss of Murder feels like a chore, as you run around asking everyone about everything in the hopes of coming across a clue. 

I do like the 1920s setting though. There are basically no other mystery videogames that use this setting. Almost. A few years ago, I reviewed the PlayStation 2 game Glass Rose. Which was also set in a fancy Western-style manor in 1920s Japan. But if you read the review, you'll understand that this is no coincidence, for Glass Rose was a game written by the same Suzuki Rika, but in her Cing period. It is quite clear Suzuki was also thinking of her older game Kohakuiro no Yuigon when she was working on the 2003 Glass Rose, for there are a few neat references to be found: not only do these games share the same time setting, the protagonist of Glass Rose is also called Kagetani and what was most surprising was that the floorplan of the second floors of both the Kagetani manor and the Kinema Mansion in Glass Rose are exactly the same, only flipped upside down! These are the kinds of inter-work references I really like!

Kohakuiro no Yuigon - Seiyou Karuta Renzoku Satsujin Jiken is not a mystery adventure game I would immediately recommend to everyone. You can tell it's a very dated game from the way it plays. It's very sober in design and the story moves very slowly. It is atmospheric though, and as a fan of Suzuki Rika's work, I simply couldn't skip this one. If you've played games in the J.B. Harold series, you know exactly what you'll get. Considering how similar they play, they are almost interchangeable, but I did find the story of Kohakuiro no Yuigon less engaging than the three J.B. Harold games I've tried.

Original Japanese title(s): 『琥珀色の遺言～西洋骨牌連続殺人事件～』

Das Fräulein von Scuderi

ほら ti ta ta ta ガラスの針

十二回の刻を打てば

 聖なる夜の七頭の影が 

無力な人形に手を伸ばす 

「Marionette Fantasia」（Garnet Crow) 

Look ti ta ta ta

When the glass hands strike twelve 

On the holy night, the seven-headed shadow

reaches out for the powerless figure

"Marionette Fantasia" (Garnet Crow)

One of the best novels I read last year was Kobayashi Yasumi's Alice Goroshi (2013), also known as The Murder of Alice. This brilliant fantasy mystery novel introduced us to Ari and Imori, two college students who discovered they shared a common dream, linking them to another world. Each night, both of them would dream very lively dreams about being characters in a mysterious Wonderland with fantastical creatures and having adventures or simply nonsensical conversations with characters like the Mad Hatter, the Cheshire Cat, Boojums and the Queen of Hearts. The characters from Wonderland in turn always dreamed about living on some boring Earth, doing mundane stuff there, completing this two-way link. The slow-witted Bill the Lizard for example was the sharp-witted Imori on Earth and while both characters had their own distinct personalities, they shared their memories. In Alice Goroshi, Ari and Imori learn that if a person dies in Wonderland, even if it's 'just a dream', the Earth counterpart dies too and they realize someone is murdering people in Wonderland to kill their Earth counterparts. With Alice in Wonderland being framed for these Wonderland murders, Ari and Imori, and Alice and Bill the Lizard work together to uncover the true culprit.

A second volume followed with Kobayashi's Clara Goroshi (The Murder of Clara, 2016), though this is technically a prequel, set shortly before the events in Alice Goroshi. The mentally-challenged Bill the Lizard one day takes a wrong turn in Wonderland and eventually finds himself in a world he has never seen before, inhabitated by humans, but also automata (robots), magical snake-women, seven-headed mice and talking nutcrackers. Bill meets with Clara, a girl in a wheelchair, and Drosselmeyer, a judge and inventor, who quickly realizes that Bill is from a different world. He explains to Bill that this is a different world from Wonderland, but that the people in this world, which he dubs the Hoffman Universe, also have avatars in the world they call "Earth" and that they'll meet there because they have something to discuss with him. Back on Earth, Bill's counterpart Imori is approached by... Kurara, a Japanese girl in a wheelchair and Drosselmeyer, her German uncle who teaches at Imori's college. Clara has received a threatening letter, but attempts have been made on both Clara in the Hoffman Universe, as well as on Kurara here on Earth (which is why she's in a wheelchair). They hope that Imori and Bill, as an outside party present on both Earth and the Hoffman Universe, can help figure out who is trying to kill Clara in both worlds. Imori reluctantly agrees to the job (though he has Professor Drosselmeyer promise that Judge Drosselmeyer will find a suitable partner for Bill the Lizard while in the Hoffman Universe, as Bill is rather dense). However, Imori is unable to prevent Kurara from falling into a deathly trap, while Clara too disappears from the Hoffman Universe. Bill the Lizard (and Imori) is at the risk of becoming the scapegoat for these murders, until Mademoiselle de Scudéri in the Hoffman Universe decides to get involved.

Okay, so before I started reading this novel, I genuinely thought, nay, I never even doubted that this novel would be about Klara from Heidi. I mean, I knew this book started with a meeting with a girl in a wheelchair, and how many girls named Klara in a wheelchair could there be in children's literature? Turns out that was a fake-out, for it's revealed very early on that Clara Goroshi is not set in the universe of Heidi, but in a literary universe featuring the creations of German author E. T. A. Hoffman, known for works like Nussknacker und Mausekönig (The Nutcracker and the Mouse King) (on which the ballet is based). Unlike the Wonderland in Alice Goroshi however, Clara Goroshi is not set in the universe of one specific Hoffman work, but in a universe where characters from various stories all live side-by-side: from characters like Drosselmeyer and Marie from Nussknacker und Mausekönig to Clara, Nathanael and Coppola from Der Sandmann and Mademoiselle de Scudéri from Das Fräulein von Scuderi. The characters don't follow the settings from the original stories exactly either (as they all live together now), so it's a bit of a mish-mash in a Marvel Cinematic Universe-esque approach. I myself am not really familiar with Hoffman's work, but fans may find it interesting to see how these characters are portrayed in their new roles in this novel.

While Clara Goroshi is technically a prequel set immediately before Alice Goroshi, it's most definitely best read after reading the first novel, as it builds on the great premise of the first novel. In Alice Goroshi, Kobayashi explored the relation between Wonderland and Earth to bring a wonderful fantastical mystery, by having the reader, Ari and Imori slowly learn how actions in one world were reflected in the other world, and the avatars in both worlds had to work together, sharing knowledge and information in order to catch the brilliant murderer who made use of these connections. Clara Goroshi is built upon these foundations, so some elements that are only revealed later in Alice Goroshi are actually mentioned early on in Clara Goroshi, so that might spoil the former if you don't read them in order. That said, knowing Alice Goroshi certainly doesn't make the job easier for the home detective, because Kobayashi once again makes fantastic use of the premise of avatars in two connected worlds, while also portraying an enchanting fantasy world with larger-than-life characters with incredibly funny and whimsical dialogue that fits so well with the atmosphere of these novels, that embrace the dark side of children's literature.

While Clara Goroshi is definitely a fantasy novel, with characters like automata and talking nutcrackers, the core mystery plot is of course pure deductive bliss, one that works exactly because it is set in a world that is not real. Kobayashi does a good job at going beyond the framework he laid out in Alice Goroshi, taking a step back and saying "Okay, I did this and established that in the first novel, so now I can go this way with this second novel." Having Alice Goroshi as his base allows him to pull of some nice ideas, and especially the misdirection is once again great. In Alice Goroshi, the misdirection was mainly focused within the whimsical, nonsensical dialogue between the utterly nuts characters from Wonderland: in Clara Goroshi, we have a murderer who does a far more impressive job at using misdirection to confuse the detectives, and the great thing is of course that these ideas only work because of the supernatural setting of these novels: these tricks and ideas can simply not be used in "normal" settings. While technically, the underlying idea is something you'll often see in mystery fiction, the variation shown here makes such clever use of the rules and ideas established in both this and the first novel, that it's absolutely original, and due to the careful way in which Kobayashi plotted the novels, it also feels completely fair, despite the 'magic'. It's therefore such a shame Kobayashi used such a lame clue to out the identity of the murderer (the accidental slip of the tongue), as the core idea is far better than that.

What I think is especially great about this novel is that the underlying premise is very likely to fool readers who have read Alice Goroshi already, the readers who are familiar with how Earth and the other worlds are linked. The rules for both the Earth-Wonderland and Earth-Hoffman-Universe connections are exactly the same, and given their experience with Alice Goroshi, you'd think experienced readers will have an edge and have some idea of what to expect, Kobayashi does a commendable job by not subverting the established rules or even adding new rules on top of what we already know, but very simply, yet effectively using those same rules to create a plot which experienced readers are more likely to fall for than new-time readers. Some elements of the plot may raise questions with experienced readers, but it's unlikely they'll see through the whole thing, while I have a feeling first time readers will have less trouble asking the right questions.

Some parts of the story are less cohesive than the first novel though. The underlying reason for the motive for example is incredibly convoluted, involving several characters to simply act as horrible as possible for... no absolutely reason at all than to be cruel to everyone around them and to serve as the background setting for the titular murder. You don't need to figure this part out to directy identify the murderer/murder method, but it is quite difficult to truly accept the circumstances which led to Kurara's murder, whereas Alice Goroshi ultimately had a very human motive. Kurara Goroshi also seems to be a sort of ultimate crossover novel for Kobayashi: a few detective characters from his other stories also make guest appearances, and there's even a part that's confusing until you look it up: one secondary character will experience something that seems to go utterly against the rules that have been established so far about the link between Earth and the other worlds and Kobayashi uses his characters to explicitly tell the reader that his experience is singularly unique and not of consequence in solving the mystery of Kurara Goroshi. Turns out that the experiences that character had are described in an unrelated horror story by Kobayashi. Feels a bit cheap and distracting to have such a scene solely to link to another story, even if Kobayashi makes it clear that that one scene should not be considered when trying to solve the mystery.

While I had of course expected this already considering the first novel, I can safely say I really liked Clara Goroshi too: it's a great example of the fantasy mystery novel, using its unique, but clearly established supernatural rules to present highly original mystery plots. The way in which Kobayashi utilizes famous existing literature as its backdrop also gives this series a unique feeling, and while I myself was not familiar with Hoffman's work before, I loved seeing all these fantastical creatures interacting with each other, and with Bill the Lizard. I read the pocket version, which was released early 2020, and I hope the pocket version for the third novel (Dorothy Goroshi, which I think is about Dorothy from The Wizard of Oz) will follow soon too.

Original Japanese title(s):  小林泰三『クララ殺し』