The Problem of Cell 13

“WORDS IN THE HEART CANNOT BE TAKEN.” 

"Feet of Clay"

To be honest, when I first heard about the story, I was hoping the book would be about a real Golem...

Mitsuki Usami is an academic researcher in natural history connected to a multi-disciplinary research facility in the United States. He has the tendency to get involved in odd crimes both real and fictional: while occasionally, he ends up solving cases via his work as a researcher, with his co-workers and even the police aware of his skill in problem solving, Usami also has the habit (?) of just finding himself in completely different world or realize his mind is now inhabiting the body of someone else. That doesn't seem to surprise him that much however, and wherever and whenever he faces an intellectual problem, he can't rest until he has managed to find a solution. In Tsukatou Hajime's 2005 short story collection Golem no Ori ("The Cage of the Golem"), Usami finds himself solving a murder in a world where the creations of M.C. Escher are real, a prisoner escaping a sealed prison in which he had been imprisoned for decades and the riddle of a man escaping a mysterious sun cult among others.

While the last three years or so, I have started reading Tsukatou's work fairly regularly, this is the first time I read anything in this specific series, though I had been wanting to read this for a long time. In a mook on locked room mysteries edited by Arisugawa Alice, a group of mystery authors was asked to vote for their favorite locked room mysteries, and the title story Golem no Ori was ranked in the top 20. When I learned about the short story however, the book was already out of print, but fortunately, Tsukatou's older works have been given a digital re-release the last two years, so I finally was able to have a look at the title story. 

The book however opens with Escher no Sekai ("The World of Escher"). During a break, Usami has a look at the art exhibition held at the research facility,  an event to invite people from the neighborhood to have a look inside the facility. The art exhibition shows the art of Harold Mueller, who was known as a successor to M.C. Escher, making all kinds of trick art pieces. His most famous work is a painting with a very unique backstory: the work was created after his wife and daughter were murdered, and according to Mueller, this painting shows who the murderer is. However, the painting contains multiple persons, depending on you look at the painting, including Harold's old housekeeper, himself and his art dealer. While contemplating about this painting, Usami dozes off and finds himself awakening in a world where the works of M.C. Escher are actually possible, like the waterfall where the water drops down and somehow ends up at the top of the waterfall again in an eternal loop. For the people in that world, the "impossibility" of these buildings seems natural, but they talk about a person who like Usami came from a different world with other rules, and that he eventually managed to return. Usami looks for the villager who might have talked with that man and know how he returned, but before Usami can find the villager, the villager is found dead. But who could've murdered him?

This is a weird story, with two very different parts that are only partially connected via M.C. Escher storywise. The murder in the world of M.C. Escher is obviously a fantasy-like story, but this story is more of an interesting idea, than one that is really worked out well. While I imagine it has to do with rights, the book is devoid of illustrations, so if you're not familiar with the M.C. Escher illustrations mentioned in this story, you have to imagine them based on the descriptions in the story, which probably doesn't really convey the essence of these works. Obviously, the fact that in this world, the M.C. Escher buildings can actually exist and function ends up connected to the murder, and while I think the essential idea is funny, it's also not really anything more than a funny notion, and the lack of visuals really hurt the story. The part regarding Mueller's painting is a bit more interesting, and is at least thematically cleverly connected to the M.C. Escher story (though story-wise, not at all), but the complete true meaning of the painting is impossible to guess simply based on the hints.

In the second story Schrödinger DOOR, Usami and his co-worker Hartman are called by the "colonel" (who runs the research facility) for an emergency at the research facility: the Moren twins, two researchers, are involved in a crazy situation which has already taken the life of one of the brothers. In a laboratory, one of the twins is found murdered, while the other has been put inside a special capsule nside a locked lab, but he doesn't react to anything. In a document signed by Karlie Moren, he confesses to being the PRA bomber, a serial bomber who had been active for several years. He states he has committed suicide, and that his brother Gerald is inside the lab. Last year, both brothers were suspects in a murder case commonly referred to as The Chinese Scissor Mystery, and Karlie now states that one of the brothers was indeed guilty and that he has now punished that murderer: if Karlie was the murderer, he's lying dead on the floor, and Gerald is knocked out, but alive in the locked lab, but if Gerald was the murderer, he's dead too. The authorities are challenged to put in a password, a keyphrase to show they understand what actually happened last year, to open the lab: if they're right, the door opens and they can check whether Gerald is alive, while otherwise, everything will be blown up with explosives. 

This is a a very chaotic story, with the story about the PRA bomber and the Moren brothers being in a Schrödinger's cat-inspired situation where you don't know whether Gerald is alive or not, and then "The Chinese Scissor Mystery" part set in the past, where both brothers were a suspect. To be honest, I didn't really like this story: "The Chinese Scissor Mystery" is an okay mystery story, but not remarkable mystery story on its own that relies a lot on Queenian deductions regarding certain used objects, like a set of scissors, and sets of footprints that seemingly make it impossible for either Karlie or Gerald to have murderered their neighbor, while they were having a masquerade at home, but like Tsukatou sometimes tend to do, the story is told in a way where you get fragments of information in in media res scenes, meaning you miss a lot of context which makes everything seem confusing at first, only to explain things a few pages later, only to do the exact same thing again the next scene, constantly jerking around with the pace. The Schrödinger's cat-inspired part also is interesting on its own, but misses real synergy with the Chinese scissor mystery part, and isn't really a "deduce it yourself" type of mystery, so this story just didn't work for me.

Mienai Otoko - Usami-shiki ("The Invisible Man, Usami-style") is a very short story where Usami is challenged to solve a mystery written by a co-worker. In the story, Helen, a career woman, is haunted by a voice of someone accusing of a murder she most definitely did commit to climb up the ladder. But while she keeps hearing the voice, she can never find out who is saying it, leading her to believe it is really a ghost. This is a very simple story, and the whole thing is very similar to a short story by a prolific American locked room mystery specialist whom I am sure Tsukatou has read, so it's hard to feel really enthusiastic about this one.

After three medicore stories, I was glad to learn Golem no Ori ("The Cage of the Golem") was indeed a lot more interesting, though again, I am not that big a fan of the double story structure of these stories. The plotline of a handyman falling off the roof of the research facility and calling for help, and his rescuers not being able to find him despite going to the exact spot the handyman says he is at, is not very interesting. However, at the same time, Usami has another of his weird experiences where his mind ends up in the body of a prison warden in 17h century England. "He" has been newly appointed to this prison, where there is one special inmate: a man only known as the Golem, a man so feared his name and records have been completely obscured and who has been kept for decades in a specially built cell from which there is no escape, as the door has been completely sealed, shuttered and barricaded. The door of this special cell has never been opened in the decades since the Golem has been kept: there's only a special small opening just large enough for a tray of food and water to slide through, and this opening is always kept shut from the outside until the food is brought. While he has been in the prison for decades, the arrival of the new warden seems to have changed something, as the Golem starts hinting at an imminent escape, which scares another inmate in the prison, who had a personal fued with the Golem. The warden can't believe the Golem can escape: the Golem is put in a room with thick stone walls, the door can't even be opened as it's completely barricaded and has been like that ever since the room was finished and you can barely get an arm outside the window. But on the night the Golem announced, the Golem does indeed appear to manage to escape his prison, and even kill the other inmate on his way out. How did the Golem manage to do this? This part of the story is probably the best of the whole book, and I do quite like this mystery, even if I have already seen a variation of the same solution before. It goes over the many seemingly possible situations there are for escaping a locked cell like in The Problem of Cell 13, but these possibilites are of course discarded. The solution however is clever as it plays with your expectations of why the Golem escaped his cell now, leading to a surprising way to escape the cell that seems so utterly impenetrable.

The final story bears the title Taiyouden no Isis (Golem no Ori Gendaiban) ("Isis of the Sun Temple - A Modern Cage of the Golem), the rescued handyman from the previous story tells Usami about a mysterious case at the headquarters of a sun-worshipping cult, where he worked once. A former follower of the cult had been detained inside a room at headquarters so he could "repent". This cell was made especially to punish the followers, so the windows were all frosted, allowing no direct sun inside the room. While the man was being held captive, the head of the cult, Ra, was worshipping the sun with his trusted assistants in the deepest parts of the headquarters. But the man somehow managed to not only escape his cell, which was being observed by a guard in the room outside, the man even managed to escape headquarters unseen! Even if the man managed to get out of his cell somehow, he'd only be able to go two ways from that point: one leading to the main entrance where plenty of other followers are, or one leading into the sun worshipping room where Ra and his assistants were, but none of them have any reason to have let the man go, so how did he escape both his cell and the sun cult's headquarters? The first part of this problem indeed offers an interesting twist on the idea of used in the original Golem no Ori, but in terms of feasibility, it seems very unlikely it would ever work: the story even says it was a gamble whether this would work, but simply addressing this problem doesn't mean it suddenly becomes more feasible, and while I like the idea on its own, it just seems like it needed something more to make the trick more... useable. The way the man escaped the building itself though is brilliant, and I really like the thematic implications of this trick. 

Overall though, I wasn't that big a fan of Golem no Ori as a short story collection. Most of the stories follow this two-plot structure, with one "outer shell" story and a narrative-within-a-narrative with Usami somehow being placed into this narrative-within-a-narrative (often with a fantasy twist), but I often felt the synergy between the two plotlines was not as strong as they could've been, and because of that, the stories just felt a bit chaotic, as if they were two stories mashed together for... reasons I simply don't get. The book also starts a bit weak, with the last two stories being the clear outliers and having the most memorable mystery plots, but even then, I don't think the "outer shell" stories really add that much to the plot, so it's difficult for me to feel truly positive about the book. I'd recommend reading the last two stories if you happen to have the opportunity, but don't expect anything as good in the earlier stories.

Original Japanese title(s):柄刀一『ゴーレムの檻』:「エッシャー世界」/「シュレディンガーDOOR」/「見えない人、宇佐見風」/「ゴーレムの檻」/「太陽殿のイシス（ゴーレムの檻 現代版）」

The Way to Dusty Death

"I don't like sand. It's coarse and rough and irritating and it gets everywhere."

"Star Wars: Episode II: Attack of the Clones"

And another short comic post week!

Sharaku Homura: Detective of the Uncanny has been one of my favorite mystery manga ever since I discovered it in 2018. Manga artist Nemoto Shou has been self-publishing the comics for many years now, though major publisher Bungeishunju has also been releasing collected volumes of this comic digitally, making all the older issues available via the major e-book storefronts. In more recent years, Nemoto Shou has been releasing newer issues via his Note site and I have been discussing those releases here too. There's no fixed release schedule though, as he does these comics between other work, so it's a matter of a lot of patience, and checking his website often. 

And last week, he finally updated again with a new entry in this series: Kaiki Tantei Sharaku Homura: Sunazukin ("Sharaku Homura: Detective of the Uncanny - The Sand Hood", 2005) is just fifty pages long, which is basically a short story in this series (long stories can run closer to 150), so it's fairly simple in set-up. A novelist from a neighboring prefecture is visiting Shimoyama City, or to be more exact: he's visiting the sand dunes of Shimiyama City to gain inspiration for his new book, which includes a scene of a man crashing with a plane in the desert. The writer is staying at the nearest inn, and goes out pacing around the dunes to experience what it is to be lost in the desert. However, it's his life that gets lost there, as later that day, a man discovers the author lying dead among the sand dunes, his head smashed so hard he lost his teeth. However, for some reason the only footsteps near the poor man are of his own: his footsteps show how he had been wandering around in the dunes, and then started circling around in thought, and he himself now lies dead in the circle of his own footsteps. But where did the killer who hit him come from, and where did they go? One onlooker suggests it was the handiwork of the Sand Hood, a local ghoul, who is said to be the ghost of a monk who died in these dunes and then became a Sand Man-esque character. The police then get a mysterious phone call of someone calling themselves the Sand Hood, and they have souvenirs for the police: the author's missing hat (which he wore while he was hiking in the dunes), and a metal pipe which according to the Sand Dune the victim had used in an attempt to fight the Sand Hood. The police doesn't know how to solve this murder, so they call in the help of middle student Sharaku Homura, who asssisted by Karate Kid once again try to reveal what's beneath the uncanny exterior of this case.

Like so often in this series, we have a genuine impossible murder mystery on our hands, and this time, it's one of the 'no footprints in the snow' variant, or in this case, sand. We have seen other examples of that in this series, like in Semi-Otoko ("The Cicada Man") (one of my favorite reads of 2023!) and Hagoromo no Kijo ("The Ogress With the Robe of Feathers") (one of my favorite reads of 20219!). However, there is one major difference between those stories, which I consider masterpieces of the puzzle plot mystery comic genre, and Sunazukin, and that is length. This story is barely a third of the length of the previously mentioned stories, and that of course severely limits the scale of this tale.

And that is immediately apparent once Homura explains the trick behind how the murderer managed to hit the victim in the face without leaving their own footprints in the sand. While I suppose the reader could very well randomly guess the solution to this, it's a shame the actual clues Nemoto planted to allow the reader to logically deduce the solution are uncharacteristically sloppy: he's usually extremely good at doing visual clues for example, but here it just doesn't work, and what's worse, in-universe, Sharaku doesn't even have to logically deduce the solution herself, as it's basically handed to her on a platter by being at the right place at the right time by complete coincidence. Nemoto is generally great at making a satisfying build-up to the solution, showing exactly (with page references!) where all the visual hints were that would allow the reader to figure out the solution based on those clue, here that process is barely there.

However, I do have to say I really liked the supporting clues, that revolve around the Sand Hood taunting the police by giving them the victim's hat and the metal pipe. The visual clues here that show you how this is all connected to the grand picture are much better in comparison, and show glimpses of how good Nemoto can really plot mystery stories, though it is just a very small element of this story, so it only makes you wanting for more.

Considering Nemoto Shou has written some of my favorite "no footprints in the snow" mystery comics in the past, I can't help but feel a bit disappointed by Sunazukin, even if I could guess from the page count it would be a relative simple story. I wouldn't recommend this one as your first Sharaku Homura read, as Nemoto's written much better ones, but I guess it's alright considering the length and all, and I still like the auxiliary clue. But I do think Nemoto really shines with the longer stories, and while I understand those take a lot of time (and he offers them for free too), I hope we'll see one of those super long stories again this year.

Original Japanese title(s): 根本尚（札幌の六畳一間）「怪奇探偵 写楽炎　砂頭巾」

Bathtub Murder

Undinus sich winden

『黒死館殺人事件』

 

 Undinus sich winden

"The Black Death Mansion Murder Case"

The Tattoo Murder Case is probably one of the earliest Japanese mystery novels I ever read, so kinda funny how I only got around to reading its sequel now...

Matsushita Kenzou receives from his old schoolmate Urabe Kouichi, who hopes Matsushita and their mutual friend Kamizu Kyousuke, the famous detective, will come and save his family. When they were attending school together, Kouichi had shown signs of having vague precognitive powers, which is something which appears to run in his family: his great-uncle is in fact Urabe Shunzai: Shunzai had exhibited great precognitive powers at a younger age and presented himself as someone who was chosen by heaven. He became the head of his own "new religion", the Crimson Spirit, which started out as a minor cult in their home village in the rural plains of Musashino, but which rapidly attracted more followers, some of them even with great political influence. At one time, the Crimson Spirit had its headquarters in a splendid mansion in the capital and Shunzai would even be consulted during the war, but his predictions then missed the mark, and after the war, the cult shrunk as quickly as it had once grown: at the moment, it's basically just Shunzai and his next of kin, being his three granddaughters Sumiko, Retsuko and Tokiko, as well as Kouji. Because Matsushita knows Kouichi has been right about his feelings in the past, he travels to the village, though he isn't able to get hold of the travelling Kamizu. As he arrives in the village, Matsushita runs into a strange man who, when hears Matsushita is going to visit the Urabes, is told a prophecy: that night one of the girls will die floating in water. Matsushita has barely arrived at the house and told Kouji about this prophecy, when suddenly Tokiko ends up poisoned, though she fortunately survives the attempt on her life. It turns out the strange man is called Rokurou, who is a faraway relative of the Urabes and once a high-ranking member of the Crimson Spirit. He has however denounced Shunzai as being "real" and has started his own cult now. Matsushita is of course offered to a bed for the night, but that evening, as everyone takes turn to take a bath, a noise attracts everyone to the bathroom, where Sumiko is taking a bath. They find the door locked, so break it open, only to find Sumiko dead in the tub: she has been stabbed in the chest with a dagger. However, the window was locked from the inside, and there had been someone standing outside the bathroom to guard her. When later, a sheet of paper is found where Rokurou has written more of his prophecies, which indicate Shunzai and his three granddaughters will die in different manners. Are their deaths inevitable and fixed by heaven, or is it the act of a murderous human being? That is to be determined by Kamizu Kyousuke in Takagi Akimitsu's Jubaku no Ie ("The Spellbound House", 1949-1950).

Jubaku no Ie is the second novel featuring Takagi Akimitsu's fictional detective Kamizu Kyousuke, who debuted in Shisei Satsujin Jiken ("The Tattoo Murder Case"), which had ended serialization the previous year. While Takagi seemed quite enthusastic when he started serializing this story, it appears reception at the time wasn't that good: letters came from readers who bashed it, and eventually Takagi even gave up some of his payment for the story to set up a contest, with a money reward for the person who could guess who the murderer was. The book features two Challenges to the Readers by the way, one being a relatively conventional one, but then a chapter later, he adds in another where he basically says "You can't be serious, you still don't get it!??", which might be the time when they did the contest, I suppose? And oddly enough, Takagi really likes to spoil Van Dine (as in: actually stating the name of the murderer of The Greene Family Murders): he does so in the Challenge to the Reader, but he also spoiled Van Dine in Noumen Satsujin Jiken. Oh, and in the story itself, he basically spoils The Murder of Roger Ackryoyd while talking about something else. Forewarned is forearmed.

As the scond novel in the series, Jubaku no Ie is one of the better known entries in the series, and has actually also (relatively) recently been adapted for the stage. So I had been looking forward to reading this book. Atmosphere-wise, Jubaku no Ie is pretty good: the backstory of the Crimson Spirit cult and how Shunzai abused his authority to get women and money from first villagers, and then the whole country until his empire crumbled is interesting, and provides a great set-up where the whole Urabe clan is more-or-less hated by everyone who once was involved, like everyone in the village who donated money to Shunzai until they realized he must be a fraud. Meanwhile, the three granddaughters were brought up by their grandfather and at least Sumiko and Retsuko are still devoted believers of their grandfather, being one of the few practicing followers left. The prophecy left by Rokurou, who started his own rival cult and is clearly 'winning' in terms of gaining power, predicts the whole bloodline of Shunzai will fall, with each of the four remaining persons dying via one of the four elements of air, water, fire and earth. With Sumiko dying as the first one in a locked (bath)room, you'd think this might be a very cool mystery novel, as at the very least, the atmosphere is great and I see opinions online that, very understandably, compare it to the dark atmosphere found in Yokomizo Seishi's Kindaichi Kousuke novels.

As a mystery novel, and one with two Challenges to the Reader no less, Jubaku no Ie is probably not as impressive as Takagi probably had hoped it to be. When you add a Challenge to the Reader, you of course expect not a conventional matter "whodunnit", as in, the book shouldn't just expect the reader to instinctively guess who the murderer is, but there should be a proper trail of clues pointing specifically at one person, while also proving other people didn't do it. After the first murder on Sumiko, Kamizu arrives late at the scene (together with the police), but he is not able to prevent more murders from happening. Most of the subsequent murders seem able to have been committed by any person though, and while there is another locked room murder later in the story, it is resolved fairly quickly mid-way (and has a rather straighforward solution), the main problem is the first bathroom murder, which is also the one thing Takagi focuses on in his Challenge to the Reader, setting specific parameters about this murder to ensure to the reader he's playing a fair game here. The problem here is basically two-fold: one is that Takagi in an attempt to be clever, actually basically tells a falsehood in this Challenge to the Reader, rendering the whole Challenge moot and even more problematic... he skims over crucial parts of how he says the locked room murder in the bathroom occured. Like, going solely by what is said in the text, you still don't know how it happened, as Takagi basically skips over the part that actually explains how the murder had been committed without leaving any clues as to how the murderer entered. While there are interesting parts about this locked room murder, because it is set in a Japanese-style bathroom with its own characteristics, I feel the mystery of Jubaku no Ie falls apart, as the whole Challenge is based on the bathroom murder, but then it skims over parts of the solution (the parts that would actually be an obstacle in terms of execution). In fact, parts of this solution go straight against reasons the book itself raised earlier, but which for some reason are not addressed again when the actual solution faces the exact same obstacles.

Funny how this second Kamizu Kyousuke novel also revolves around a bathroom murder by the way...

But no, overall Jubaku no Ie didn't manage to leave a good impression on me on the whole. While it certainly earns high marks in terms of atmosphere, with the cult background and a creepy poem foretelling four murders, the main locked room murder skims over its own solution, despite it being the focal point of the book's Challenge to the Reader. I think what ultimately Takagi was going for with this locked room murder could be interesting, but the execution here is sloppy, and just doesn't work.

Original Japanese title(s): 高木彬光『呪縛の家』

The Clue of the Broken Locket

 月が闇を照らすとき伝説が宇宙を舞う

禁断のデュエルの時　タナトスが読んでる　遠く

「嘆きのロザリオ」(JAM Project)

 

When the moon casts light on the darkness, legends will dance in the sky

When the time of the forbidden duel comes, Thanatos will call from far beyond...

"Rosario of Lament" (JAM Project)

There's something ironic about writing about a detective who's a member of the church right after the previous post on this blog...

The Mystery Cases of Sister Holmes: The Diamond Rosary (2025) is a one-shot manga by Queenie Chan, created for the Viz Original One-Shots program, a project led by former Weekly Shonen Jump editor-in-chief Sakaki Hisashi as he searches for new comic talent to showcase. Set in an alternative Britain (no, not Parallel Britain, that's a different one!) in the year 1890: that world is similar in some ways to our own, and different in other ways. One similarity is the existence of crime though, and  another one is the existence of detectives. Sister Holmes is a nun from the Order from the Three Marys with a keen eye for detail and a knack for solving mysteries, accompanied by Father John Watson, who seems to be a hit with women churchgoers of their parish. After succesfully solving the theft of the diamond rosary of the widowed Baroness Radcliffe, Sister Holmes is surprised to learn the baroness had been receiving threatening letters with the accusation her family fortune has been stolen, and that she is to return the rosary. Fearing the thief Sister Holmes caught might not be the sender of these letters, the baroness once asks for the presence of Sister Holmes to investigate letters. However, upon arrival at the manor, Sister Holmes and Father Watson learn the baroness' rosary has been stolen once again. Why the fixation on the diamond rosary, and how was it stolen?

 

As the title of the comic, and the name of the protagonist suggests, The Mystery Cases of Sister Holmes is written very much like a Sherlock Holmes story: not only is it set in the same time period (though in an alternative version of 1890s Britain) and do we have a main cast with familiar names, we have a tale that doesn't involve murder per se, but the theft of a piece of jewellery and perhaps more importantly, the motive for the theft and the underlying story that compelled the thief to act. The (second) theft of the rosary is solved very swiftly actually, and if you're familiar with impossible theft stories, you might recognize the basic concept behind the trick, but props for the visual clue showing how it was done, as it makes this feel like a proper mystery manga that makes use of its medium.

The majority of the nearly seventy pages of this comic however is devoted to uncovering the background of the crime: why is the thief after the diamond rosary, and what is the meaning behind these letters sent to Baroness Radcliffe? Here the Sherlock Holmes influences are felt the strongest, with a dramatic backstory acting as the motivation for certain characters to take desperate actions: the story makes good use of its historical setting (which despite its fictional setting, feels very realistic) and you can almost imagine this being a real Holmes story. The visual clues here are again used to help flesh out the mystery-related aspects of the tale, though I do think the reveals here feel a bit underwhelming: the focus lies more on the underlying story unraveling and the consequences for the involved characters, with the mystery elements acting as a device to facilitate those moments, so as a puzzle-focused reader, I can't help but feel wanting for a bit more surprise in the mystery department.

That said, as a one-shot mystery manga, The Mystery Cases of Sister Holmes: The Diamond Rosary is decent enough and as the world already feels quite fleshed out, but with the potential of showing more depth, it'd be interesting to see if this could be extended into a full serialization, for the characters of Sister Holmes, father Watson and the rest are quite fun to follow. I certainly wouldn't mind seeing more of them. The comic can be read for free at the website of Viz, so I'd recommend have a look there, though there is geo-locking, so depending on your location you might not be able to read it.

The Faulty Stroke

"Trust the train, Mademoiselle, for it is le bon Dieu who drives it."
"The Mystery of the Blue Train"

I am a fan of mystery fiction, by which I mean I am not solely into mystery literature. While I mostly discuss books here, you'll also see me talk about video games, stage plays, audio dramas, comics and more, as long as it features a mystery plot. And while I generally don't have too much interest in other genres, my attention is quickly drawn if I learn something completely unrelated to the mystery genre, does in fact involve stories that could be interpreted as mystery fiction. That is why I had no intention of watching Oppenheimer at first, until someone told me it could be watched as a proper mystery film, and to my surprise, he was completely right.

And that is why I have longed to watch the 1985 "pink" (= basically softcore porn) film Chikan Densha: Seiko no Oshiri ("Molester Train: Seiko's Tush") for some time now. Yes, you read that title right. I first heard about this film in a mook on locked room mysteries edited by Arisugawa, which featured an article about locked room murder mysteries in the visual format: several prominent Japanese authors were asked about their favorites, and Abiko Takemaru's recommendation was this film. Later I learned Yamaguchi Masaya also recommends it as a locked room mystery. Of course, that seems a bit strange, as Seiko no Oshiri was just an entry in an extremely long-running series of pink films about...well, molesters groping women in the train among others. There's some story to connect the scenes with sexual content, but you'd hardly expect one of these films to be hiding a locked room murder mystery classic, right? It turns out that because the series (which ran from the eighties until the 2010s) is so insanely long (there are apparently more than a hundred of them), the series covers a wide variety of different genres from comedy and suspense to political thrillers, though the scenes with nudity/sex are of course the main attraction. Though apparently, most films aren't even about molesting in the train, as they eventually move away from that setting and might only include one such scene... Anyway, the more I learned about Seiko no Oshiri, the more I became interested in it: the film is actually directed by Takita Youjirou, who directed many of these Chikan Densha films, but would become internationally renowned with his 2008 Okuribito/Departures film, which would become the very first Japanese film to win the Oscar for the Best Foreign Language film. So yes, this is a softcore porn film by an Oscar-winning director which also features a locked room mystery. The whole story about all of this sounded just unbelievable, so I had to see the film.

Chikan Densha: Seiko no Oshiri starts the year after the infamous Glico Morinaga case, in which "The Fiend With Twenty-One Faces"  (a nod to Edogawa Rampo's Fiend with Twenty Faces) extorted the confectioneries Glico and Morinaga. Now, a different industry is threatened: the rice industry.  Someone calling themselves "The Fiend with Twenty-One Faces" has announced they have poisoned the rice of the koshihikari variety sold at a rice store, and threatens to repeat this act. The culprit however is in fact a corrupt chairman of the Miyagi Agricultural Association, who wants to scare consumers into moving away from koshihikari so they'll consume the sasanishiki variety. However, he himself receives a call from "The Fiend with Twenty-One Faces", who threatens to expose the whole deal, unless he pays up a hundred million yen. The chairman hires his old acquaintance Morizou to do the drop-off: Morizou is a chindon-ya: someone who dressed in excessive loud clothes and makes music to advertise for shops, but he also spends a lot of time just molesting women in packed trains. Morizou's orders are to follow the blackmailer's instructions, which is to carry the money onto a certain train. On the way, he's instructed to throw the container out of the window of the train: the container falls off the bridge the train was on at the time, landing besides the river where a figure was standing ready to pick the money up. A chance video recording allows Morizou and the chairman to figure out who this man was, and they report his identity to the police.

Acting on this information, the police detective visit the suspect at his apartment, but as there's no answer at the door, they ask the building's caretaker to open the door for them with his spare key. Inside, however, they stumble upon the suspect lying dead on his bed. As the door was locked from the inside and the key was found inside a closed drawer of the desk, the police conclude it must have been suicide: even supposing the man was killed, how could the murderer have escaped with the door locked from the inside? While one window was only slightly open, the apartment is located many floors up, with no high buildings directly besides it, meaning a hypothetical murderer couldn't have gone anywhere from the window. However, while the case seems to end with the blackmailer having committed suicide, the money is nowhere to be found, and Morizou himself becomes the suspect, so he tries to figure out who has the money now.

Oh, and that's the story when you cut out all the softcore porn segments, and that would probably halven the length of this film easily. These scenes are always awkwardly long and really add nothing to the story (oh, we need to wait until we arrive at the drop-off point with the train? Let's casually sexually assault a woman then to pass the time!), but I guess for the long-time viewers of a series called Molester Train, these scenes are actually the main part and the mystery plot is the unnecessary filler. The overall tone of the film is very lighthearted, with acts like groping treated as something minor and something to laugh about and the non-sexual jokes are also... of a certain quality, so it might be a challenging view for some.

But to get to the locked room murder mystery (for yes, the suspect indeed didn't commit suicide, but was murdered and left in a locked room): this truly has no right to be in a softcore porn film. I wouldn't call it a classic by any means, but it is honestly way more complex than some pure locked room murder mystery novels are, and it is actually one that becomes more convincing on the screen, compared to if you had just read the trick behind this locked room. The visual qualities of the medium really do make the trick seem more convincing, even if it's a bit ridiculous. Of course, this film isn't really structured as a proper mystery story, so there are barely hints and you're not really intended to solve this yourself (the person solving the locked room murder basically *just* figures it out), but the actual mechanics behind how the murderer managed to leave the suspect in a locked apartment, with the only key (besides the caretaker's master key) being found inside a closed desk drawer, is pretty impressive. I can't even imagine how it was written down in the screenplay, and what everyone on the staff on this softcore film would have been thinking as they were shooting this, because it honestly should have been done in a pure mystery film, and not used as... binding material to connect the sexy scenes. The core, underlying idea of how this locked room murder was committed isn't anything special per se, but the execution is... insanely complex and not even a lot of actual mystery films/television shows will ever show anything as mind-boggling as this, and that indeed makes Seiko no Oshiri a strangely memorable mystery film.

But Chikan Densha: Seiko no Oshiri can't be called a good film by any means, so it's really up to you whether you should watch this film. The locked room mystery part is interesting because it really has no business being in a film like this, but the rest of the film is incredibly tedious to get through if you're only interested in the mystery part.

Original Japanese title(s): 『痴漢電車　聖子のお尻』

Finessing the King

"I have billions of eyes, yet I live in darkness. I have millions of ears, yet only four lobes. I have no muscle, yet I rule two hemispheres. What am I?"

"Batman: The Animated Series"

Rather than reading in a chair, I prefer reading lying in bed!

Anata mo Meitantei, or as the book also says in English on the inside: What A Great Detective You Are, is a short story collection originally published in 2022, which was re-released as a pocket in 2025. The book collects six stories by as many authors. The stories were originally published in the magazine Mysteries!, all being pure whodunnits/guess the criminal stories, meaning they are divided in two parts: the first part being the "problem", where the main mystery (usually a murder) is presented along with all the relevant characters and clues and which ends with a formal Challenge to the Reader. Originally, readers would then have some time to write in their answers, with money prizes awaiting the correct guessers. The second part would be published in the following issue, and of course consisted of the solution, where it is logically proven which of the character did it. While some readers might find these stories too artificial and puzzle-like, I absolutely love them: it's no surprise Suiri no Jikan Desu, a book with a similar set-up, was one of my favorite reads last year. Anyway, I was already familiar with all the writers in Anata mo Meitantei, and seeing them on the cover made me quite certain there'd be delights of detection here, so let's see what we have here.

The book opens with Ichikawa Yuuto's Akaenpitsu wa Iranai ("The Red Pencil Is Never Needed"), which is a part of his Maria & Ren series, though you don't need any prior knowledge, as this is actually a prequel story. It focuses on Ren's| teenager days, and is set in the early seventies, more than a decade before the main series starts with The Jellyfish Never Freezes. The story is set in the country of J(apan) and is (mostly) narratored from the POV of Kouno Matsuri, who, like Ren, is a member in their school's newspaper club. One day, Ren joins Matsuri on her way home, where he meets Matsuri's father Kouno Tadaharu, a famous photographer, though infamously a difficult man. He however seems to find Ren an interesting young man, as he invites him to stay for dinner, though Tadaharu himself seems more focused on his own work. Ren is given a tour of the house, which includes a work cabin in the garden with an electronic lock. Matsuri's aunt and uncle also arrive at the house, much to Matsuri's chagrin, as her aunt always bosses everyone around. Even though Ren's never met these people, even he can tell there's a lot of tension going between Matsuri, her mother and her aunt and uncle, so he sticks around and eventually it becomes so late he's offered a bed for that evening. In the middle of the night however, Matsuri is awakened by a knock on his door: Ren has noticed something very odd outside, two sets of footprints going to the cabin, but only one returning. Only Tadaharu's not found in the house, so they enter the cabin... to find Tadaharu killed. But which of the people in the house did it?

On the whole a very solid puzzle, though with some elements I personally don't really like in pure whodunnit puzzles. The atmosphere is great, with the reader feeling something will happen as all the actors gather in the Kouno house, and I think a lot of readers might find it pretty challenging to figure out even half of the lines of deduction needed to arrive at the truth. While the story isn't that long, Ichikawa actually manages to put (relatively) a lot of twists in this tale, all with proper clues and foreshadowing, and while some of the element used to 'cross out' suspects might feel a bit familiar, I think it's generally a good example of this type of story. I also like how Ichikawa used his main series for this story (this tale is also included in the first short story collection of the Maria & Ren series, The Boneyard Never Speaks), but I do have to say it doesn't feel very strongly connected to the main series besides for the appearance of Ren: it misses the light sci-fi elements of the main series, as well as the dual narrative all the novels have.

Yonezawa Honobu also wrote his story as part of one of his series: namely the Shoushimin series (recently adapated as a television anime series).  Berlin Agepan no Nazo ("The Berliner Pfannkuchen Mystery") is interesting, as the reader is technically not looking for a culprit, but for a victim! Kobato is once again roped into 'trouble' despite aspiring to be 'Petite Bourgeoisie' minding his own business. His friend Kengo is a member of the newspaper club, where they were planning on doing an article on Berliner Pfannkuchen: a German doughnut with a jam filling. A local bakery has started selling them, which gave one of the newspaper club members an idea: they were going to recreate the end-of-year tradition with Berliner Pfannkuchen: basically Russian roulette by having one of the doughnuts filled with mustard. Four people were going to play the game, with one other member having picked up the Berliner Pfannkuchen at the bakery and then swinging by the Cooking Club to have one of them filled with mustard. However, the time of destiny apparently never came: all four members ate one of the four doughnuts, but they all claim to not have eaten the one with mustard. This of course doesn't make for a fun newspaper article, and some people are starting to suspect the "victim" is trying to make this article a failure on purpose, so Kengo hopes Kobato can figure out who lost the Berliner Roulette.

I absolutely love the innocent premise of this story and how it switches things around to have you figure out who the victim was. That said, I think that as a pure puzzle, this one was set-up far too easy, and I'd argue it's far more likely the reader will solve this story more based on feeling and instinct, than based on the clues per se. In fact, a lot of the necessary information doesn't even feel like they are obtained via logical conclusions, but simply via asking questions to certain characters, who then gladly give up that information, so as a puzzle, I do think this story is by far the weakest of the collection, even though as a story, it's very enjoyable.

The third story is by Higashigawa Tokuya, and I actually already discussed back in 2020, as his Alibi no Aru Yougishatachi ("Suspects With Alibis") had been featured in the anthology Honkaku-Ou 2020, so I'd like to refer to that post if you want learn more about it. Its inclusion in Honkaku-Ou 2020 was actually how I first learned about the project that would eventually culminate in the publication of Anata mo Meitantei.

The fourth story Momiji no Nishiki ("Breathtaking Red Leaves") by Maya Yutaka is also a series story, and while I think readers familiar with Maya's best-known series will soon recognize certain characters, the 'formal reveal' of their identities comes late, so I'll refrain from specificying what series this is. The main focus is on a group of students who have travelled to a traditional inn with a hot spring in the mountains to celebrate their graduation. They also have some interest in a local deity called Chuuruu, which has two small shrines dedicated to it on two points on the mountain: one near the base of the mountain, and one at the top, with them being connected via narrow (inaccssible) cracks and cavities in the mountain. At the top of the mountain is also a sightseeing deck. The students all enjoy their time at the inn, relaxing in the hot springs and playing games with each other and observing the other guests. Among the other two guests are two men, who at the end of the story discover a dead body lying on a cliff below the sightseeing deck on the top of the mountain. It is clear the victim was killed, but by whom?

Definitely of the best stories in the book, one that best shows off how cool these puzzles can be. The way Maya just throws the Challenge at the reader with the discovery of the corpse is fantastic, as all the information you needed is actually already collected before the murder even happens. You don't even learn who the victim is when you're challenged: you are expected to deduce the identity of the victim yourself too, and yes, Maya actually did leave enough hints and clues in all the events leading up to the discovery of the victim to allow you to guess who the victim actually is. And that's just the first half of the problem, because then you still need to deduce who the murderer is, and still based on the information presented to you up until the discovery of the victim, so you have no data available from investigation/interrogation etc. regarding alibis. This is really a very well-constructed puzzle, and a great example of the logic-based mystery story.

Also funny: all the characters are named after stations on the JR Kashii line in Fukuoka, which was near where I lived in Fukuoka! I instantly recognized those names together!

In Norizuki Rintarou's Shinritekikashi Ari ("Stigmatized Property"), Rintarou (the fictional writer) is asked by his freelance writer 'friend' Iida Saizou to look into the mysterious death of a colleague: Matsuoka Shoukichi was a freelance writer on matters of finance and gambling, but recently started having a hit with a series of articles on his new apartment: he was renting an old place where the previous two inhabitants had died: one had died all alone in the apartment from natural causes, while the other had committed suicide. Now he believed the place was haunted, and his articles on his home attracted quite some attention. But Matsuoka himself then was found dead in his apartment too, having hung himself by the neck. There were people who might have wanted Matsuoka dead, as he seemed to dabble in blackmail too, but Matsuoka kept his new address very secret, so how could any of the suspects have killed him?

Very decent story, and I like it a lot for having an much more "open" set-up than most of the other stories, which featured closed-off settings. The latter format of course feels more fair as a way to limit the number of suspects, and the way it is done in this story might not be completely convincing (i.e. we know the victim approached a certain number of people, who seem to be the suspects), but Norizuki does actually make proper use of this more open set-up to write a whodunnit that genuinely utilizes its urban setting. We have a private camera of a nosy neighbor that catches the times people went in and out the apartment/crime scene and the location itself is used in a clever way to determine who the murderer is. I wouldn't have wanted all the stories in this volume to use this open set-up, but it works here exactly because the other stories are more limited in their settings.

Shirai Tomoyuki's Shiri no Aoi Shitai ("The Blue-Bottomed Body") is about a detective who is looking into the indie horror film Fufa and Kuha: rumors have it footage of an actual murder that occured during its filming had been used in the film. The detective manages to track down one of the few remaining copies of the film and someone who was involved in the whole ordeal, and he is told the story of how a few years ago a group of students in the university film club were helping out Sadoshima Souhei, a graduated former member who was directing his first indie horror film: Fufa and Kuha. The group were staying at a boarding house owned by the father of one of the members, located in the woods of a mountain, the perfect place to film a slasher. Shiori, the actress of the heroine, was contracted seperately, though from the way she spoke openly about very much wanting to fuck, and the way she was flirting with all the other men in the crew, she was hired by Sadoshima for other skills than her acting. However, one of the members then realized she was the same woman who caused the suicide of a former club member by seducing him and then fake a pregnancy to push for money. The following day, the actor playing the villain role hears some moaning coming from the van. He peeks inside through the half-open window, only to see Shiori being strangled by someone. He rushes back into the building to get the car keys and help, but by the time they return to the van, Shiori has been murdered. And she's lying completely naked in the van. It is at this point our detective claims he can point out who the murderer is, and the reader should be able to do that too!

Was this the shortest story? Anyway, it's interesting how Shirai uses some sexual elements in the solution's line of deduction: I think the first time he uses it, it's a bit tacky and not really convincing, but the way it's used later on is a lot better. The story reminds a bit of Hayasaka Yabusaka's work (the Raichi series) due to its use of sex in a mystery story, though I think at least in this example, Hayakawa generally does it better. I also found the murderer's plan rather risky: while I understand the underlying goal they wanted to achieve by doing all that, it seems like this was a rather dangerous plan (for themselves) to go for, with more a chance of failing at the first step of the plan than everything going as hoped...

On the whole, Anata mo Meitantei/What A Great Detective You Are is a really impressive short story collection, that shows off how fun the formal whodunnit/guess-the-culprit puzzle can be. We have a really talented group of writers in this book, and I loved they all wrote their stories as parts of their wel-known series (if applicable). I'd love to see another iteration of this!

Original Japanese title(s): 『あなたも名探偵』: 市川憂人「赤鉛筆は要らない」/ 米澤穂信「伯林あげぱんの謎」/ 東川篤哉「アリバイのある容疑者たち」/ 麻耶雄嵩「紅葉の錦」/ 法月綸太郎「心理的瑕疵あり」/ 白井智之「尻の青い死体」

Write, She Murdered

「これですべてが変わる……この俺の運命……カカロットの運命……そして……キサマの運命も!!」 

『ドラゴンボールZ たったひとりの最終決戦〜フリーザに挑んだZ戦士 孫悟空の父〜』

"Now everything changes. (...) As well as your fate. This is where it ends!

"Dragon Ball Z:  A Final, Solitary Battle: The Father of Z-Warrior Son Goku, Who Challenged Freeza"

Now I think of it, I haven't reviewed that many collaborative works here. This one is a bit different of course, considering the two didn't really work together...

A pushy person in need of money manages to sell off some documents to a mystery writer, but it turns out these documents actually contains a rather interesting, and mysterious account of a murder and the writer decides to have the manuscript published. The documents consist of a series of long letters, be written by a Sobue Shinichi, a journalist, writing to a friend, who may be the person who ended selling the manuscript. Sobue tells about the horrendous murder on Anezaki Saeko, a beautiful widow who one day was found murdered on the second floor of the storehouse in the garden. However, not only was she found completely naked for some reason, the storehouse itself was found locked from the inside. Anezaki and Sobue were both members of a club headed by Kumauchi where they dabble in spiritualism. The testimony of a legless vagrant (who couldn't have come up the second floor himself) tells the police two people approached the house during the time of the murder, a gentleman and a woman in an old-fashioned kimono, but the police can't find out who these people are. At the club, Professor Kurokawa, the strongest believer in spiritualism, wants to hold a seance to look into the matter: he takes care of a blind girl with spiritual powers and who can act as a medium. During the seance however, the girl (while possessed) not only declares the murderer is among them, but also that the beautiful woman in front of her will also die, and there's only one person in the club who answers to this description...

Thus goes the story Akuryou ("Evil Spirits") by Edogawa Rampo, a story that was never finished. The story originally started serialization late 1933, long after it had been originally announced and hit by delays. Rampo even skipped serialization twice during this time, and ultimately, Akuryou was cancelled after only three installments, with Rampo citing "various reasons" led to him giving up, including the fact he had started writing the story before the plot had been properly developed yet. In 2024, Ashibe Taku finally gave Akuryou a proper conclusion: his Rampo Satsujin Jiken - Akuryou Futatabi ("The Rampo Murder Case - Return of Evil Spirits", 2024) is a collaborative work with the late Rampo, containing not only the original three installments of Akuryou, but also including an original ending by Ashibe, clewed together by him based on the three existing installments. And not only that, Ashibe even offers an explanation to why Rampo gave up on the project in the first place... 

Rampo Satsujin Jiken - Akuryou Futatabi  is in many ways a very special book. It basically tells two stories on two layers: it has the original unfinished Akuryou manuscript by Edogawa Rampo, which of course tells a story on two levels: the story of the detective writer who bought the manuscript, and the story within those letters (the Anezaki murder). Ashibe too finishes these two stories on both levels, and even adds an extra layer to the story that explains why Rampo ended up cancelling this serialization. The result is a story that jumps back and forth a few times, and which can be confusing at first, but things do come together in the end.

What caught my attention at once was the physical element of the book by the way. Publisher Kadokawa uses very different fonts to differentiate the various elements of the story, so you can instantly see whether you are reading the original serialized Akuryou pages, or the new original pages by Ashibe. The font used in the Akuryou parts do really look like the font used in older early Showa publications (and even look slightly smudged like you're really reading an old book), and it really helps sell the vibe of reading an old, genuine Rampo story.

Anyway, it is very hard to judge this book on its merits as a mystery story. Fact remains that Edogawa Rampo abandoned the story mid-way and left no notes as to indicate how the story was supposed to end, so all Ashibe could do was use whatever was already there: he had to play detective himself, find the clues Rampo left and find out the solution himself! Of course, Ashibe had more creative freedom than a real detective: it wasn't as if he had to build the solution solely on the elements featured in the first three installments, as he was able to freely add segments retroactively, but still, Ashibe of course tried to keep the "original" Akuryou intact as much as possible, and have his solution stick as close as possible to the original Rampo manuscript. That is what makes this a difficult story to judge, because Ashibe's hands were tied. 

Some parts of the mystery, like the locked room murder of Anezaki Saeko, were already quite fleshed out in the original script, and Ashibe is able to put forward a solution that seems well grounded in Rampo's work, but other parts of the original mystery must have been more troublesome to Ashibe, like the mystery of a curious drawing on a note found inside the locked room: attributing a meaning to that sketch in a way that ties it to the murder must have been an insanely strange challenge and while I do think Ashibe did a good job at providing an answer to it, the original idea of the drawing itself was never really that interesting to me as it always seemed to me the answer would feel a bit forced, or at least trivia-reliant, and Ashibe's answer doesn't stray far from that expectation. In a way, that's of course impressive: it definitely feels like Rampo...  I know from experience that some of Rampo's serialized longer works often feel like he didn't plan that much in advance, and often his set-ups for mysterious events were much better than the solutions he'd later provide. In a way, I feel Ashibe's conclusion to the story has elements of this too, but at the same time, I can't really blame him considering it was Rampo who set everything up, and Ashibe simply had to guess what the solution could be. And style-wise, I can't deny Ashibe managed to nail Rampo's work. He clearly studied Rampo's writing, so the additions don't feel out of place, and you could imagine this being the genuine ending to Akuryou. And in that sense, I do think Rampo Satsujin Jiken is an impressive work, more so than in the sense of it being a mystery story on its own.

Interestingly, it appears that even if this book were to win an award, the credits would likely go more towards Rampo than Ashibe. While the two authors share the credits on the cover, the bulk of the book consists of the original Akuryou manuscript, so that apparently has influence on who would be the main recipient of a hypothetical award, even if I do think the book's interesting exactly because of the transformation by a second author.

So Rampo Satsujin Jiken - Akuryou Futatabi is not per se a book I would recommend to a mystery fan, because as an standalone mystery novel, it is really mostly a 1930s Rampo serialized novel with all the haphazard planning and somewhat disappointing payoff to the set-up. However, with the surrounding context of Ashibe coming with an original conclusion based on the unfinished story, him emulating the style and offering an explanation why Akuryou was never finished, you get a story that is infinitely more interesting than Akuryou on its own. So recommended to Rampo fans, and people who want to see Ashibe live out his fanboy dream and finishing one of Rampo's work.

Original Japanese title(s): 江戸川乱歩、芦辺拓『『乱歩殺人事件―「悪霊」ふたたび』