ボクの事件簿

「蘭くんのハートをスナイプできるのは、彼だけだからね」

『名探偵コナン　異次元の狙撃手（スナイパー）』

"Cause he's the only one able to snipe Ran's heart, right?"

"Detective Conan: Dimensional Sniper”

Sadly enough, I wasn't in Japan in April to see the annual Detective Conan film in the theaters this year, so I had to wait for the home release. A friend did see the movie in the theaters then though (and sent me pictures of her standing in front of the theater), which only helped fuel the ~~jealousy~~ wish to see this movie. But now the wait is finally over!

Detective Conan: Dimensional Sniper starts off with a literal bang, when one of the guests at the opening of the new Bell Tree Tower in Tokyo is shot by a sniper right in front of our favorite high school student turned child Conan and our favorite female high school student detective Sera Masumi. The two chase the sniper through downtown Asakusa, as do the police and an FBI team, but the sniper manages to escape. The identity of the sniper is revealed to be known to the FBI: an ex-Navy SEAL is taking revenge on people who ruined his life and is now after some of them who happen to be in Japan at the moment. But while Conan and the police use precious time trying to trace down the murderer, the sniper continues his revenge and with more succesful hits, the population of Tokyo naturally starts to panic under the constant snipings. Can Conan find and stop this long-range murderer?

I love this eigthteenth Conan film, even if it feels quite different from earlier Detective Conanfilms sometimes. Actually, that is probably what made this film work and stand out in this long series. Dimensional Sniper continues the direction started with last year's Private Eye in the Sea, but feels much more a conventional Conan film than that movie. I think one of the biggest points to address here is that Yamamoto Yasuichirou isn't the director anymore: Yamamoto was the main director for all the Conan movies between2002 ~ 2012, and while there are some I really enjoy of that period (The Raven Chaser!), they tend to be very alike. A special setting like a plane, boat or general location like an island or snowfield, a rather rudimentary whodunnit plot, some neat action scenes and a finale involving a lot of explosions. While the Detective Conan films are still over-the-top action movies, I do think the change in directors these last two films make the series feel fresh again, even if we do get to see the same old tropes again.

While especially the older Conan films featured pretty cool whodunnit plots (The Fourteenth Target!), Dimensional Sniper's story puts the focus on the investigation. Because of the FBI's information, the police knows who they're hunting for and the plot is more about Conan and Sera finding out who the next victim will be and the meaning about the mysterious dice the sniper leaves at each crime scene. The plot is fairly dynamic though, with new discoveries about the snipings made along the way and I wasn't bored even in the little. There's little to this movie who want to guess whodunit, but I think the film did a great job at presenting a thrilling investigation. There is a slight whodunnit element in the second half of the movie, but it is extremely barebones.

I loved how this movie brought the Conan film franchise back to Tokyo though: the last few years, each movie has been set at some special setting, but I actually loved the earlier movies like The Time-bombed Skyscraper, The Fourteenth Target andCaptured in Her Eyes because they were 'normal'Conan stories set in an urban area. Dimensional Sniper does a great job at depicting downtown Asakusa in Tokyo and actually makes the location relevant to the plot (also borrowing ever so lightly from Arisugawa Alice's Kotou Puzzle), which I love. There's also a little interesing symmetry going on in the beginning and ending of the movie.

Also interesting is the light social commentary going in the movie. It's not the first time it has happened in Conan (Phantom of Baker Street and Private Eye in the Sea feature it rather heavily), but it was funny to see how mass and social media were depicted in the movie. It's not heavy or really interfering, but it's something that never showed up in the Yamamoto directed Conan films between 2002~2012, so I still need to get used to it.

Is it all good? Well, I wasn't a very big fan of the Japan - foreigners juxtaposition in both this movie and the previous movie (this one had ex-US officers killing each other off in Japan, while the previous film was about the national defense). But those points are not very heavily pushed on the viewer. I do think that Dimensional Sniper is hard to understand if you're not familiar with Detective Conan lore, especially of the last few years. A lot of recurring parties are involved in this story and one vital plot point that had not even been properly addressed in the comic book series when this movie was first released, was actually revealed in this movie. So this film is connected to the main storyline of the comic and especially the last act can be a bit confusing if you don't know how one particular character is (who is hardly introduced in the movie itself).

Oh, and while with Yamamoto gone, the outrageous skateboard scenes in the movies have became slightly less outrageous, Dimensional Sniper'makes up' for that by making Conan's shoes even more powerful than ever. You don't have to worry: if anything, the action scenes have become even more ridiculous than ever (though to be honest, the last act borrows a lot from previous Conan films).

While Detective Conan: Dimensional Sniper does a few things different from 'regular'Conan films, it does feel like a true Conan film and one of the best in recent years too. The lack of a normal whodunit plot is a bit sad, but I quite enjoyed the film as as an investigation story with a great finale. And it gets bonus points for actually addressing main story plot points, even if it might be a bit confusing who only watch the Conan movies and thus don't know who some of the characters are. But I am glad the Conan films have moved on from the stale formula set in the last ten years, and I'm curious as to how next year's Sunflowers of Inferno will turn out.

Original Japanese title(s): 『名探偵コナン　異次元に狙撃手（スナイパー）』

Because the fire is right there in your voice

Listen to it, oh listen to it...

The vision of your own dreams

You might see it through

It's in your voice...

"In Your Voice" (Nadia Gifford), "Steambot Chronicles"

I don't have a e-reader, but because I play extensively on my Nintendo 3DS anyway, I figured I might as well try out the application Honto for Nintendo 3DS.And that's what I used to read today's book.

Yurin is a high school freshman, who miraculously passed the audition for the role of little sister of the heroine of the animated film GIN. She will debut as a voice actress among veteran and popular voice actors like Fujimiya Yuu, the tall and handsome voice actor behind the protagonist of the film, and Takase Haruna, who will play Yurin's big sister. By the time Yurin has gotten used to the idea she's really going to be a voice actress, it is already time for the post recording (like with a lot of Japanese animation, recording is done after (most of) the animation has been produced). As a complete amateur, with no experience whatsoever in the acting world, Yurin's nerves are going wild on the first day, but that's nothing compared to the shock she has when she discovers the sound director knocked out in a studio recording booth which is locked from the inside. The director is just unconcious, luckily, but the police has no idea who the assaillant could have left the locked recording booth. And the next day, a real murder happens in the control room of the recording booth. It is said that GIN is cursed and that other adaptations of the original material, like a live action series, were also troubled by strange events. Yurin however suspects that a human hand is behind these attacks and tries to find out who's behind it all in Yoshimura Reina's Seiyuu Tantei Yurin no Jikenbo - Afureko Sutajio no Yuurei ("The Case Files of Voice Actress Detective Yurin - The Phantom of the Post Recording Studio").

And yes, the cover might make it seem like a comic, especially as it is illustrated by the comic artist Miasa Rin (AKB0048: Episode 0, amongst others), but it really is a novel. It features some more illustrations inside.

I once wrote a post on unlikely amateur detectives, and I'd definitely say that a voice actress detective is an unlikely amateur detective. I was instantly sold on just the name of this book, because it seemed so utterly ridiculous that a voice actress (and high school freshman!) would be a detective. And it is! I have read / seen some detective stories with voice acting / recording as a theme: John Dickson Carr's 13 to the Gallows for example, but Ellery Queen too has solved crimes commited during the recording of radio dramas in both an actual radio drama as well as a TV episode. But a voice actor as a detective? It was at least an original idea.

Those not familiar with Japanese animation might not know that voice acting in animation/games/related genres is actually quite big in Japan: popular voice actors sometimes release music, do radio programs and their name alone can attract viewers (listeners?) to new series. The author of Seiyuu Tantei Yurin no Jikenbo - Afureko Sutajio no Yuurei, Yoshimura Reina, is actually a voice actress herself and her experiences are the best part of the novel. Yoshimura gives the reader a peek in the recording process of an animated film in an accessible way. From the practice sentences for voice training to how a regular post-recording session goes and even little things like the arrangement of seats in a recording booth, the glimpse in the world behind the voices is genuinely fun.

As a detective novel, it's a pile of missed chances though. For example, the inside look in the voice acting world is good, but it has no real connection to the crimes in the plot! Doing a strange combination like a voice actor and detective is good and all, but at least make the voice acting part relevant to the mystery plot, like having some aspect of voice acting act as a crucial hint. In terms of mystery, the detective could have been a cook on a cruise ship or almost anything at all and it would still work. Other strangely missed chances are the so-called curse: it's mentioned just one or two times and it never is presented as something really scary: they just say there is a curse. At least try to make the curse a bit more scary / lively for the reader, I cried. The mystery plot itself is rather simple, with the locked room mystery being a varation on a very well-known predecessor, but it is dressed originally enough: it's just a bit disappointing in execution / hinting / presentation. The last chapter (of four) is also a bit superfluous; everyone is gathered and the murderer is revealed, which would be interesting if not for the fact that Yurin has just explained most of the case at the end of the previous chapter...

Then again, Seiyuu Tantei Yurin no Jikenbo - Afureko Sutajio no Yuurei is obviously written for a younger public, so I can't be too harsh on it. The moment I noticed that Yurin had sorta fallen in love with voice actor Fujimiya only because he was so tall and handsome and so dreamy (there were no other scenes with meaningful interaction between them...), was when I kinda realized I wasn't exactly the intended public. With a plot about a 15, 16 year old girl who miraculously gets a chance to become an actress and work with a tall handsome guy and a beautiful actress and has to solve a crime in order to help said tall handsome guy, well, you can guess who the intended public is.

Seiyuu Tantei Yurin no Jikenbo - Afureko Sutajio no Yuurei has some interesting insights in the world of voice acting, but it's a fairly disappointing mystery novel. But it could be fun if you're young and dreaming of becoming a voice actress. Or if you just have some hours free and want to read a mystery novel that doesn't really need you to think.

Original Japanese title(s): 芳村れいな（著）, 美麻りん（イラスト）　『声優探偵ゆりんの事件簿―アフレコスタジオの幽霊』

"I have to go over everything that's happened. I have to remember"

Another Code R: Journey into Lost Memories

Because there is a rule that blogs need lists at the end of the year, my annual lists of stuff as the final update this year! Read quite a lot this year. More than this blog can handle, actually! I think I've mentioned a couple of times that I've been working a bit ahead since early this year (around March), but would you believe that at a one review per week schedule (which is the usual pace here), I already have enough reviews lined up to last me into the second half of next year? I probably need to do something about that, maybe post twice a week (even if it doesn't really attract more viewers on the whole), or something else, but at this rate, I'll have two years worth of reviews standing by by the time I'll make my end-of-year-list next year! For this post, I'll only choose titles that have actually appeared on this blog already.

Anyway, onwards to the lists! As always, it's a mish-mash of categories I just feel like writing about.

Best Project Outside The Blog!
The Lure of the Green Door

Well, the best project outside the blog is obviously getting my translation of Norizuki Rintaro's The Lure of the Green Door published in Ellery Queen's Mystery Magazine. A rough version of it had been posted on this blog a long while ago, but now it's been officially published. More of these projects in the future hopefully. And a special mention of a short essay I wrote for Kyoto University Mystery Club's Whodunit Volume 5, which is a best-of collection of guess-the-criminal stories written by members between 2000~2014 (and some of the contributors have become professional writers in the meantime).

Best Detective Conan Film Seen in 2014!
Detective Conan: Dimensional Sniper

Hey, I usually see only one Detective Conan movie this year, but this year (or technically, late last year), there was also the Lupin the Third VS Detective Conan crossover film. At the best moments, Lupin the Third VS Detective Conan is the more enjoyable film perhaps (read: whenever Conan and Jigen are pretending to be father and son), but overall Dimensional Sniper is the better film hands down.

Best Courtroom Mystery Read/Played in 2014!
Kawaramachi Revoir (Van Madoy)

Always an interesting subgenre, and this year, I got through four of them. Berkeley's Trial and Error, Henry Cecil's Settled Out of Court, Van Madoy's Kawaramachi Revoir and the videogame Yuuzai X Muzai (Guilty X Innocent). Trial and Error and Settled out of Court were both great parodies on normal court mysteries and especially Settled out of Court was unexpectedly great, but I still choose Kawaramachi Revoir, because of the more complex deduction battles between prosecution and defense, the way it forms a finale to the Revoir series and the daring trick performed in the last trial.

Most Interesting Game. Played In 2014! But Probably Older!
Tantei Jinguuji Saburou: Tomoshibi ga Kienu Ma ni (Detective Jinguuji Saburou: Before The Light Fades) (PSX)

This year's detective games I played were a bit uneven. Games like Tantei Gakuen Q (GBA) and Web Mystery (Dreamcast) were just bad, while a game like Detective Conan: Phantom Rhapsody just didn't quite do what it should've done. For me, the final choice lay between Sherlock Holmes - Crimes and Punishments, which was a very enjoyable Holmes game with lots of potential with its deduction system and Tantei Jinguuji Saburou: Tomoshibi ga Kienu Ma ni, which was the accumulation of all the games in the series before it. In the end, I think I enjoyed Tomoshibi ga Kienu Ma ni the best: Crimes and Punishments aimed very high, but some missteps led to a gap between the ideas behind the game and the final product. Tomoshibi ga Kienu Ma ni on the other hand does everything it had set out to do in a fantastic way and makes a better impression as a whole package.

Oh, as for other non-detective games this year: Gakkou de Atta Kowai Hanashi S (Scary Stories That Happened at School S, PSX), Kurohyou 2 (Black Panther 2, PSP), E.X. Troopers (3DS) and Xenoblade Chronicles (Wii) were all great.

Most Interesting Never-Before Read Author! Of 2014
Kim Nae-song (with Main)

Okay, within any given year, I actually seldom read new writers, so the list of candidates isn't very long anyway. Authors I had never read before until this year include Yamaguchi Masaya, Henry Cecil, Jan Apon (of whom I read no less than four novels this year!), Amagi Hajime and Hayasaka Yabusaka (and some others). But the one I had the most fun with, and whom I want to read more is the author considered the father of the Korean detective story, Kim Nae-song. Main was a great detective-adventure, which might have been not extremely strong in the puzzle department, but I just loved the energy that went into it. The fact that Kim wrote both in Japanese and Korean, is also interesting and I'm pretty sure we'll see more of him on the blog.

The Best 'Trick'! Of 2014!
Trick TV Special 3

I love the ending of Trick - Final Stage, the last film in the long-lived comedy-mystery series, but overall, from the comedy to the mystery plot, Trick TV Special 3 was the better Trick production and one of the best episodes in the series ever.

The Best Trick! Of 2014!
Anraku Isu Tantei ON AIR (The Armchair Detective ON AIR) (Arisugawa Alice, Ayatsuji Yukito)

I love what is usually called a 'trick' in Japanese, though the meaning is a bit wider than the usual English meaning. From the actual mechanical trick to a locked room murder to simply the trap set by the author on the reader, it's all a trick. When I try to write my thoughts of a book, I often tend to write about the originality of a trick and how it was used in the story. Anyway, I read stories with some great tricks this years. From an original locked room in Abiko Takemaru's Ningyou wa Tent de Suiri Suru to the excellent usage of the format of the story (in this case; a voiced reading) in Norizuki Rintarou's Satsujin Pantomine, from the famous The House in Goblin Wood by Carr to the also infamous impossible Diecide in Amagi Hajime's Takamagara no Hanzai. Or what about the inverse mystery about something as trivial as stolen cakes in Yonezawa Honobu's Charlotte Dake wa Boku no Mono, or the absolutely shocking trick that almost seems to come out of nowhere in Hayasaka Yabusaka's Marumarumarumarumarumarumarumaru Satsujin Jiken. But I chose a TV production this time because it made so good use of its visual format.The thing pulled off in Anraku Isu Tantei ON AIR is one of the reasons I do reviews about detective fiction in any medium, rather than just focusing on books.

The Most Difficult Book Read. Ever!
Kokushika Satsujin Jiken (The Black Death Mansion Murder Case) (Oguri Mushitarou)

Books you want to have read, but don't want to read? That's this. It might be hailed as one of the Three Occult Books of Japanese mystery fiction, it might be an example for a lot of modern Japanese detective novels, but oh, it's almost unreadable. The evil offspring of a detective novel and an occult encyclopedia. I read a comic version of the same book last month by the way and that was almost normal, but that in turn kindawent against the crazy atmosphere of this book.

The Just-Ten-In-No-Particular-Order-No-Comments List

Youi Kinpeibai (The Bewitched Plum in the Golden Vase) (Yamada Fuutarou)
Kawaramachi Revoir (Van Madoy)
Egami Jirou no Dousatsu (The Insight of Egami Jirou) (Arisugawa Alice)
Main (The Demon) (Kim Nae-song)
Ikeru Shikabane no Shi (Death of the Living Dead) (Yamaguchi Masaya)
Settled Out of Court (Henry Cecil)
Handoutai Tantei Machina no Miteigina Bouken (The Undefined Adventures of Semiconductor Detective Machina) (Morikawa Tomoki)
A Aiichirou no Tentou (The Fall of A Aiichirou) (Awasaka Tsumao)
Trial and Error (Anthony Berkeley)
Sweden Kan no Nazo (The Swedish Mansion Mystery) (Arisugawa Alice)

And that's it for this year! But like I said in the introduction, I have way too many reviews already lined up for posting, so this blog will go on like always also in the new year.

賑やかなこの街の空に思い切り張り上げた声は

何処か遠くの街に居るあの人へのHappy Birthday

「Happy Birthday」　（杏子）

I cry out loudly to the skies above this lively city

To that person somewhere in a faraway city Happy Birthday

"Happy Birthday" (Kyouko)

The previous post was actually meant as the last update this year, but the mailman decided differently. This time, the real last update of 2014, a Short Short post with a selection of great drawn and animated mystery from Japan. Also, I have to mention it again: why do they always release Kindaichi Shounen and Detective Conan on or around the same day?!

Kindaichi Shounen no Jikenbo R 4 ("The Young Kindaichi Case Files R 4") continues the Fox Fire Float Murder Case which started in the previous volume and is a surprisingly well-made story. The news of the death of a childhood friend brings a group of ex-boy and girl scouts back together, now all grown up as high school students. One of them is Hajime, grandson of the famous detective Kindaichi Kousuke, who still has fond memories of a camp trip many years ago (in which the kids got lost for two days, and Hajime managed to save one of the girls who was bit by a poisonous snake). But death seldom rides alone, and during their stay in the little village, more of Hajime's friends are killed, with all murders being 'decorated' following local fox legends. It is obvious that one of his friends must be the murderer, but who and why?

When I say that The Fox Fire Float Murder Case is a good story, I mean that in the sense of its dramatic qualities. As a mystery story, I'd have to say that it's not a particularly strong story: the tricks the murderer performs are not difficult to guess and even the identity of the murderer is incredibly easy. And like always, the motive is Revenge Because of A Tragic Past. What did I like about the story then? Well, it's neat to see that Hajime is actually part of the Tragic Past. Usually, we see a murderer crying about something horrible (s)he had to suffer because of the victims and we're presented with some sort of long flashback that is supposed to get you emotionally (the mileage on the effectiveness of that may vary). This time however, flashbacks to camp are spread throughout the story, in the form of Hajime talking about his own past. It makes the actual narrative-aspects of the story much more enjoyable, as we have a murderer from Hajime's own personal circle (in the past). The ending in particular is fantastic. The personal angle been done before, for example in The Yukikage Village Murder Case, but like in that story, The Fox Fire Float Murder Case feels fresh because it approaches the series' formula from another angle. The mystery plot is a bit weak, but overall I think this was a solid story that continues the quality of the R series.

Detective Conan 85 is a volume I've been waiting for for a long time. It's been half a year past since the previous volume?! I remember a time when the wait between volumes was about three months. Anyway, this is the volume fans have been waiting for for years. Literally. The Scarlet Truth Revealed gives answers to questions first raised in volume 58, which was originally released in 2007! While after seven years, I think most of the faithful readers had already guessed most of the truth behind the infamous Raiha Pass Incident, which has been the main propulsion for the plot of Detective Conan the last couple of years (especially with the confirmation they put in Detective Conan: Dimensional Sniper), but it was still a pleasure to read this story: once you realize how carefully Aoyama has built this story, the hints he hid throughout the years, it's just amazing.

Seriously, think about it: for seven years, Aoyama has been carefully leaving hints and clues, spread across a variety of 'minor' and unrelated stories, all as a build-up to this moment. Seven years! And the hints have been completely fair, but at the same time I doubt anyone had figured out Aoyama's master plan in details. I too had guessed most of the truth behind the Raiha Pass Incident, but I had overlooked quite some little details that showed how careful Aoyama planned this story, but also how fair he has been these seven years. It's too bad this is a difficult story to 'just' recommend: as a detective story, purely looking at its qualities as a mystery story, the whole Raiha Pass Incident story (starting in 2007) is a fantastic story. But because it is spread across different minor stories, it's also near impossible to ask someone to 'just' read it: you'd have to go through almost 30 volumes of Detective Conan to get the full effect! (But the pay-off is incredible).

The volume also contains The Trap of the Headless Shogi Player (coded message based on shogi terms and another Traffic Agent Yumi love story) and The Dead Body Sunken in the Pool and Glass (dead body suddenly appearing in a hotel pool), but they are just boring compared to The Scarlet Truth Revealed. Wait, no, The Trap of the Headless Shougi Player is boring even without the comparison.

To commemorate the twentieth birthday of Detective Conan, a TV special was broadcast on December 26. Titled The Disappearance ofEdogawa Conan - The Worst Two Days in History, this special was not only 'just' an anniversary special, it was also heavily promoted as being based on a script by film director Uchida Kenji. The special starts with Conan witnessing a suspicious deal going on in the local public bath, but before he's able to do anything he... slips on the floor and hits his head. The two mysterious men, one the infamous hired killer Kondou, the other a tricksman called The Ad Lib Dragon, abduct Conan (claiming to bring him to the hospital), but in True Great Television tradition, they discover that Conan has lost his memory because he hit his head. The two men are apparently busy with some kind of big deal, and they are told by their boss to bring the now helpless Conan along, as a child will come handy for their plans. Meanwhile, Haibara and professor Agasa find out that Conan has been kidnapped by dangerous people and try to locate him.

I am divided about this TV special. It is definitely a good mystery story. I've never seen anything by Uchida Kenji, but I loved the mystery plot and especially how it played with the viewer's expectations. Neat scene cuts, fairly well pacing (the middle part is a bit boring, but there's a reason for that) and good stuff is done in the ninety minutes runtime. As a mystery movie, I can easily recommend this to any viewer. On the other hand, I am pretty sure this was not originally written for Detective Conan. This was just a story Uchida had and rewrote to add in Conan and the gang. Most of the story is actually about the legendary hitman Kondou, the current job and the other crooks involved in the business and you can just feel that Conan was just added to the original story. So I quite liked it as a standalone mystery story, but not really much as a Conan story, as the Conan link was just so obviously added in the plot at a much later stage.

But in the I-definitely-liked-this category: the first half has an almost unbelievably active Haibara. The first half could easily have been called Detective Ai. Actually, make me a Detective Ai special!

And that wraps this post and this year up!

Original Japanese title(s): 天樹征丸（原）、さとうふみや（画）　『金田一少年の事件簿Ｒ』第4巻、青山剛昌　『名探偵コナン』第８５巻、青山剛昌（原）　『江戸川コナン失踪事件　～史上最悪の二日間』

「何となれば、探偵小説において、第一の容疑者は九部九厘まで決して犯人ではないからである。数々のもっともらしい証拠を、その物語の残りの頁の厚みが、全能神のごとくに粉砕する。（風太郎曰く、誰か、環に紙を綴じた、探偵小説用の円い書物を発明する人はありませんか？」

「厨子家の悪霊」　（山田風太郎）

Because in mystery novels, the first suspect is almost certainly never the murderer. No matter how much unmovable evidence there is, it will all be smashed in pieces by the wrath of the remaining number of pages of the story. (Is there someone who can come up with a round-type of book especially for detective novels, with the pages bound like a ring?, says Fuutarou).

"The Evil Spirit of the Zushi Clan" (Yamada Fuutarou)

Happy New Year! I'm kinda ridiculously far ahead with writing reviews, so I'm writing this very first post of the year 2015 in August of 2014. Who knows what happened between my writing this post and it appearing online?!

Kyozou Inraku ("Virtual Carnal Pleasure") collects nine of Yamada Fuutarou's early short stories, originally published in the period between 1947 and 1953. Unlike the Yamada Fuutarou short story collections I've discussed earlier on the blog (Meiji Dantoudai, Youi Kinpeibai), Kyozou Inraku is just a random collection of short stories, without any connection whatsoever between them storywise. Formwise, these early stories do already feature certain familiar tropes Yamada Fuutarou likes to use in his later detective stories and is thus quite interesting for those who want to dig a bit deeper into Fuutarou's writings. A notable omission in this collection is Yamada's debut story, Daruma Touge no Jiken ("The Darma Pass Case"), which dates from 1947, like many other stories in the collection.

One interesting motif in this collection is the use of letters as a plot device. Almost all stories feature a letter in one way or another and some stories consists even only out of letters, presenting the mystery and solution in one or multiple epistles. The opening story, Ganchuu no Akuma ("The Demon In Her Eyes"), for example, is one long letter, written by the narrator to his brother to explain his sudden flight from home. Like so many with Yamada's stories, his tale is that of unrequieted and unfulfilled love and it takes a while before a mystery of sorts presents itself to the reader. The basic premise is one Yamada Fuutarou simply loves and often reuses in different forms, and while this effort wasn't bad, Yamada has certainly written better variations on this story.

Renzai ("Sin of Love") consist out of a series of letters written to "Yamada Fuutarou", a certain famous mystery writer. An old school mate tells Yamada about how he happened to have met his old sweetheart, how sad he was to hear she was already married and the mysterious murder of the woman's husband some time later. He implores Yamada Fuutarou to help clear his sweetheart's name, who is the main suspect because she was the only other person in the house during the murder. The impossible crime aspect of the story is a bit unbelievable, but it works in the world Yamada has sketched within these letters and the story is actually quite well written, with the tone of each letter changing slightly, and with the reader's view on events described in previous letters changing with each subsequent letter.

I can't talk too much about Rounin ("The Wax Person"), as it kinda spoils the interesting points of the story, but it starts with the narrator receiving a letter from a friend who has recently died; the letter was written before his death. The truth behind his death becomes clear as he reads the letter. This story is more a horror-mystery story than a pure mystery story, despite the presence of a locked room mysery, but I quite like it.

Shisha no Yobigoe ("The Call of the Dead") is where Yamada Fuutarou goes Inception with the letter motif: it is (1) a story, where in (2) a letter is read, which chronicles past events, in which (3) another letter is read. So a story within a story within a story. The focus of everything is the second-level story, about the ex-husband who had been receiving letters from his deceased wife every week after her death for some years. The letters were without a doubt written by his dead wife, but can one really believe that the postman of Hades makes his round all the way to the world of the living? The mystery makes use of a familiar Yamada Fuutarou trope, but I liked it how it was done here and this story is fun to read, because as you go deeper in each level, you gain new questions and answers about the previous level. Kinda like how the consequent letters of Renzai work.

Letters are also used in Zushike no Akurei ("The Evil Spirit of the Zushi Clan") and Kokui no Seibo ("The Madonna Dressed In Black"), but less prominently: letters are usually just used to deliver the truth, rather than being a formal part of the story structure. Zushike no Akurei ("The Evil Spirit of the Zushi Clan") reminds of Yokomizo Seishi or Takagi Akimitsu, with twisted family relations, family curses about a one-eyed dog, logical chains based on the criminal's actions, but is nonetheless very Yamada Fuutarou-esque story. A lot happens within the just short of hundred pages though, a bit too much: by the end of the story, you'll have lost count of the number of surprise twists.

Kokui no Seibo ("The Madonna Dressed In Black") on the other hand is a very different kind of story, about a man and his relation with a female medical student who has to sell her body to feed her and her baby. The man especially feels attracted to the gap between the girl 'in the light' and the girl in bed. It would kinda spoil the story if I go on, so I'll just stop here, but once again a letter explains everything about a mysterious event later in the story. Truly shocking, it is not, but I liked the writing of the story: Yamada Fuutarou does these kind of stories about almost fetish-like love quite well.

Kyozou Inraku ("Virtual Carnal Pleasure") is one of Yamada Fuutarou's better known stories. Actually, all of the stories in this collection are well known, but this one in particular. A woman who has swallowed mercury is brought to the hospital by her little brother-in-law. The woman used to work there as a nurse and everyone is curious to what has happened. It appears the woman's husband was responsible for this, but why? What lies behind this initial event is a wonderful, but absolutely frightening spiraling madness which only Yamada Fuutarou could have come up with. Seldom have I seen such a motive, such twists in such short a story! It reminds of Rampo's ero-guro-nonsense ideas, but this goes deeper than Rampo, and the story actually works quite well as a fair-play detective story. Probably the best story in plotting and execution. And it has one of those titles that make absolutely sense in hindsight.

In Sayounara ("Farewell"), a town is evacuated and sealed because of the discovery of the Black Plague in a dead mouse. Two veteran cops who patrol the town think something fishy is going on and they get the shock of their lives when they realize that this certain part of the town, is built precisely the same as a town they both remember very well: ten years ago, during the war, they were trying to arrest two persons just as US bombers flew over the town and destroyed it completely. A whydunnit that isn't much of a mystery, but a very heartwarming, and heart-rending story.

Kiiroi Geshukunin ("The Yellow Boarder") is strangely enough a Sherlock Holmes-pastiche. Like Shimada Souji's effort, this is a funny crossover with Holmes and the famous writer Natsume Souseki, who had studied in London. Holmes and Watson take on the case of the mysterious disappearance of a certain Mr James Phillimore, whose name should sound familiar to Holmes readers. What follows is a story with many twist and turns, murder and a surprising ending, but I liked it more as a detective story than a Holmes pastiche. Not to diss Holmes, but this story was way too complex for a Holmes pastiche. As a mystery story, it's great though, I just don't think it really fits the form of a Holmes story.

As a collection, Kyozou Inraku has some great stories, but one can't deny that a lot of the nine stories resemble each other. Yamada Fuutarou really likes letters, twisted love (sometimes of the sadomasochistic kind) and a certain kind of story structure I can't specify for fear of spoilers, and while he can certainly do great things with these ingredients, it can become a bit boring if you are served the same constantly. I wish the editors had made a more varied selection of stories (of course, if Yamada Fuutarou's short stories are really all alike, then there's not much they can do, I guess...). I wouldn't recommend Kyozou Inraku as an introduction to Fuutarou's short stories (Meiji Dantoudai and You Kinpeibai are much better), but if you have already read some of his works and want to move to his earlier works, Kyozou Inraku is an okay volume.

Original Japanese title(s): 山田風太郎『虚像淫楽』: 「眼中の悪魔」 / 「虚像淫楽」 / 「厨子家の悪霊」 / 「蠟人」 / 「黒衣の聖母」 / 「恋罪」 / 「死者の呼び声」 / 「さようなら」 / 「黄色い下宿人」

「命題は証明された」

『すべてがＦになる』

"The proposition has been proven"

"Everything Becomes F"

The TV series in today's review ended just before Christmas, but an animated adaptation is already planned for later in 2015. And there's a reasonable chance I'm going to watch that too.

Subete ga F ni Naru ("Everything Becomes F") is a 2014 TV series based on the S&M novel series by Mori Hiroshi. The series borrows its title from the first book in the mystery series (reviewed here) and adapts five of the ten novels (each story consisting of two episodes). Like in the original novels, Subete ga F ni Naru is about the often impossible crimes the duo Saikawa Souhei (assistant-professor in Architecture) and Nishinosono Moe (student) encounter (thus the name S&M). Moe is the one who gets interested in cases and tries her hand at solving them (helped by the fact her uncle is a high-ranking police officer), while Saikawa is usually just dragged along against his will. It is always Saikawa however who solves the crime, though he only does so because he is interested in the problem itself and wants to know the answer (and is not particularly interested in denouncing the murderer).

The mysteries often have an impossible angle to them and also often feature a scientific tone to them. The first novel, Subete ga F ni Naru, is well remembered as groundbreaking as a scientific mystery novel, as it incorporated elements like computers, networks, viruses and virtual reality in its plot, which was all relatively new technology to consumers when the book was first released in 1994. Mori Hiroshi has an engineering background, which apparently often comes back in his books (I haven't read enough of his work to really add to that).

The series makes a fairly solid start with Tsumetai Misshitsu to Hakasetachi- Doctors in Isolated Room ("The Cold Locked Room and the Scientists - Doctors in Isolated Room"). Saikawa and Moe are visiting a research laboratory where they witness an experiment conducted in a super-cooled room, with lab assistants walking in and out the room in body suits. Saikawa and Moe join the little afterparty, which turns into a grieving party, when they discover the bodies of two lab assistants who had participated in the experiment inside a locked segment of the experiment room. The problem: from the moment the experiment started until the afterparty, the single entrance to the experiment had been under constant observation, so how did the bodies get there?

This was published as the fourth book in theS&M series, but was actually the first story Mori wrote: the manuscript of Subete ga F ni Naru just happened to win a prize, which became his debut novel (he had to shuffle with his stories because of that). Anyway, the setting is pretty cool (observed experiment, bodies popping up out of nowhere) and while it's quite easy to roughly guess what has happened, I think as a first episode, Tsumetai Misshitsu to Hakasetachi does a great job at presenting a solvable, but not too easy locked room murder, as well as introduce the major characters of the series. I just thought it a bit of a shame that the supercooled room wasn't of real importance to the mystery plot: I had kinda hoped that supercooling something was part of the mystery. Because you don't see that often.

Compared to the first episode, Fuuin Saido- Who Inside ("Sealed Once More - Who Inside") feels a lot more old-fashioned. No scientists and experiments, but a cursed box and vase which has made several victims inside a locked room. When during a visit of Moe and Saikawa to the family, the curse takes another victim, the two decide to solve the mystery. There is one part of the mystery I absolutely love for several reasons. I have actually also played with a similar trick in my head, so it was pretty cool to see a possible way of using it in a detective story, but I also managed to catch on it quickly because of that. The 'type' of trick is something I'd associate more with Mori's 100 Years series, but it works quite well here too. I thought the rest of the story not particularly memorable though and the mystery around the cursed box a bit too unbelievable.

I refer to my review of the novel if you want to know more about Subete ga F ni Naru - The Perfect Insider ("Everything Becomes F - The Perfect Insider") in detail, but in short, it's about the murder of the genius scientist Magata Shiki (who will turn out to be a pivotal figure in all of Mori's series), who until her escape from life lived inside a locked room inside a laboratory on an island. Moe and Saikawa happen to be in the facility when the dead body of Magata wearing a wedding dress is discovered, but no murderer is found inside the room where Magata had lived half her life. And what was the meaning of the words she spoke to Moe: they'll meet when everything becomes F?

Underwhelming might be the word I'm looking for. This is a TV drama, so it has budget limitations, but I had always imagined something... grander and more hi-techy from this story than what was presented here. I do have to say, part of this is because the drama is set in modern days, while the book was originally published in 1994. In twenty years, concepts like computers, networks and Trojan Horse viruses have become common knowledge in society, but they talked about these things in this episode like it was all magic, even though it's set in 2014. It just doesn't work. Also the first episode did way too little to set-up the story, resulting in something that felt rushed. As a mystery story, Subete ga F ni Naru is still fairly cool (even if not completely fair in my opinion), but I feel this adaptation could have been much better.

I do have to say, re-experiencing the story made me realize Subete ga F ni Naru is thematically a lot better than I had remembered. Not that the themes are presented particularly well in these episodes though, it definitely needed more screentime to really develop. But it reminds of Kyougoku Natsuhiko's Mouryou no Hako ("Box of Goblins") in a certain way at the core, which is not a bad thing at all.

Suuki ni Shite Mokei - Numerical Models ("A Figure of Ill-Fortune - Numerical Models") starts with the murder on a model actress (and decapitation!) in a locked room during a figurine convention. The obvious suspect is the only other person inside the locked room, but he happens to also be the main suspect of another locked room murder that happened at the same time at his university. What follows is a mystery story that is more focused on motive than the circumstances of the double locked room murder (which is actually rather simple) and while not bad per se, these two episodes are easily the weakest of the whole drama. I do have to admit, the setting of figurine collectors is an interesting one and while it is quite different from 'usual' business of the S&M series, I quite enjoyed seeing this background.

The final story Yuugen to Bishou no Pan - The Perfect Outside ("Limited and Very Little Bread - The Perfect Outsider") gives us a parade of impossible crimes commited in an amusement park: a body that disappears from a church, a woman killed in her hotel room with the police standing in front of the only exit and a man stabbed by a ghostly walking armor during a virtual reality demonstration. The only thing Moe and Saikawa do know is that Magata Shiki (who appeared two stories earlier) is behind this all. The episode itself is okay, with a rather daring solution to all of the murders that is elegantly simple, but I have the feeling that it just didn't work really well as a TV episode. I usually try to look at tricks & stuff in mystery fiction seperate from the plot, but this was definitely a story that would benefit a lot from better synergy between the mystery and the theme/story and I have the feeling that this is in fact the case for the novel. I suspect that simplifying the plot for 2x50 minutes just didn't work well for this story, as the story felt a bit underwhelming, despite obvious points of interest that could have been much more (the same holds for the adaptation of Subete ga F ni Naru by the way).

All in all, Subete ga F ni Naru was a fairly decent mystery series. I haven't read enough of the original novel series to comment on how the adaptation was (though I do remember being surprised at Saikawa being a Windows user in the TV series), but I do have the feeling that some of the more interesting parts of Mori's books (themes like the exact sciences and parts about conciousness) didn't really work out that good on screen and at times the series did feel a bit lacking. That is, while the TV series was okay, I could catch glimpses of themes and ideas that I'm quite sure are developed better in the original novels. An adaptation doesn't have to be an 1:1 copy of the original, of course, but with Mori's stories, I often feel that his mystery plots do benefit a lot from supporting themes. If you have the chance, I think the books have much more to offer, but if the TV series is your only choice, it's an amusing enough adaptation.

Original Japanese title(s): 森博嗣（原）　『すべてがＦになる』

「あの、私は今から鹿児島にいくのですけど、どちらに行かれるのですか？」

「一緒だ！　バカかてめえ。　鹿児島行きの便だろ、これ」

『哀川鳥』（サンドウィッチマン）

"I'm going to Kagoshima today. Where are you heading?"

"The same place of course! Are you stupid?! This is the plane to Kagoshima!"

"Aikawa Chou" (Sandwichman sketch)

Am I the only person who for a long time, kept confusing Freeman Wills Crofts and R. Austin Freeman? Also, I keep writing Will instead of Wills!

The retired Andrew Crowther's daughter Elsie has been in an accident in Paris, and now the old man, his son-in-law and granddaughter are on their way to France on (Freeman Wills Crofts') The 12.30 From Croydon (1934). When they arrive in France though, they discover that Crowther has not survived the jump over the pond. Flashback some weeks earlier, where we learn about Crowther's nephew Charles Swinburn and the imminent danger his factory is facing because of the Great Depresson. Pleading with his wealthy uncle doesn't help, as Crother thinks Charles isn't doing his best and he should try harder. But trying harder won't help a business that will go belly-up in maybe two weeks, so Charles decides that to save the factory, his employees and the chance to marry his love, Crowther must die, so he can inherit. Charles concocts an intricate plan to poison his uncle, which succeeds, but after the crime other problems pop up he hadn't foreseen, one of which the famous Inspector French.

Two years ago, I read Freeman Wills Crofts'Mystery on Southampton Waterand I loved the thrilling inverted adventure. In fact, I loved it so much I bought The 12.30 From Croydon soon after finishing that book (a Japanese translation because I was in Japan at the time). And it took me over two years to read it. Well, it took me three days once I actually got started, but I have read the prologue at least five times the last two years... I should probably just read Crofts in English, instead of an old Japanese translation...

Anyway, so the only other Crofts I've read is Mystery on Southampton Water, which is very similar to The 12.30 From Croydon: they were published in the same year (1934), both are inverted mystery stories starring Inspector French, both are about a man trying to save a business in trouble, both plans initially work, but other unforeseen problems pop up that force the protagonist to take emergency measures.. So I am very tempted to compare the two novels, and in my opinion, The 12.30 From Croydon is the less entertaining one. Not that it is bad, but it I find it less alluring. One of the reasons I liked Mystery on Southampton Water was the tension of the story and the presentation: it starts out as an inverted mystery with spy-thriller theme, jumps to a police procedural part starring Inspector French and turn jumps back to a second inverted mystery plot, and even though the writing style (in the Japanese translation) was very bland and dry, I was still captivated from start till finish.

The 12.30 From Croydon however sticks with Charles for practically all of the story: French appears a few times, but he is only allowed to talk about his investigation in the final two chapters of the novel. Until that part, we just follow Charles in his adventures and even though there are some thrilling events after the murder on Crowther, especially past the 70% mark when everything starts to fall apart, the story misses a kind of tension because the reader doesn't know why everything is going wrong. Suddenly the police is very suspicious of Charles, and neither he nor the reader knows why. It just happens and the reader and Charles just have to sit still and accept it all. Of course, Inspector French does explain how he first came to suspect Charles in the end, but I didn't like the way the story suddenly switched to a very passive role for Charles.

In Mystery on Southampton Water, we saw a lot more of Inspector French's investigations, so we knew why he started to haunt the suspects. It's the same with Columbo: after the murder, the murderer and Columbo usually share screentime and we see how both sides react to each other. Tension is created, because the reader is aware of what is going on at both sides (to an extent), like seeing a chess game. In comparison, The 12.30 From Croydon is like watching a chess game where you only see the white pieces and you're only told what happened and where the opponent's pieces were after you lost the king. Emphasis lies on the criminal's psychology and the thoughts he has as he reacts to each new development, which can be fun, I guess, but I personally prefer the excitement of seeing how both sides react to each other, rather than just one side of a game with an inverted mystery.

The 12.30 From Croydon is an okay inverted mystery, but so many of its elements are featured in the more amusing Mystery on Southampton Water, I am tempted to say you're better of reading that novel than Croydon. If you're more into criminal psychology and so, Croydon might have more to offer than Southampton though.

"You don't stand a ghost of a chance, Yugi, because..."

"How many times are you going to use that line?!"

"Yu-Gi-Oh! Abridged"

Almost through my backlog of Japanese translations of (originally) English novels! I'll probably still occasionally get one if the original release is hard to get, but I have to say, it feels good to see the pile disappear, as it usually takes a lot more time / effort to go through a translated book.

The return of actress Vera Vane from Hollywood to her husband's side, the famous best-selling author Amos Cottle, is reason for a little party at his publisher's. To be exact: everyone who knows Amos is desperate to keep Vera away from Amos, because she has a rather negative influence of the drinking kind on him and they try to keep her happy with the party. A game of 'two-thirds of a ghost' is played (a quiz parlour game), but the guests discover at the end of the game that Amos Cottle has written his last word and has gone to join the heavenly scribes. Unwillingly though, it seems, as someone slipped some cyanide in his drink. Among the guests is the famous psychiatrist/criminologist Dr. Basil Willing, who will act as our detective in Helen McCloy's Two-Thirds of A Ghost (1956).

Through A Glass, Darkly was the first McCloy I ever read, about two years ago, and I quite liked the mystery with a supernatural twist. Two-Thirds of A Ghost has been in my to-be-read pile for a long time now, as I think I bought my used copy not long after reading Through A Glass, Darkly, but you know how things go. The first thing that I thought interesting was that the series detective, Dr. Basil Willing, actually acts as a series detective! Might sound strange, but I tell you, Willing's appearance in Through A Glass, Darkly is rather bland and subdued and during a book club discussion on the book, we found that actually most people didn't realize that Through A Glass, Darkly was a series novel starring Basil Willing ('wait, he's the protagonis?!'). Anyway, this time we actually see Dr. Basil Willing employing his grey cells from a relatively early stage in the story on and he keeps in charge throughout, so no confusion there.

What might seem a bit confusing, is the direction of the investigation in the early parts of the story. With a poisoning and a parlour game, I thought Two-Thirds of A Ghost would be about figuring out how someone managed to poison Amos during the game, but the main focus of this novel lies not there, but on a different problem that I'd better not reveal here. Willing's investigation is instead focused on literary detection: we follow him as he reads memos, notes, letters, book reviews of Amos' books and other texts, which also appear in the novel itself. And of course, through a close reading of these documents, Willing will discover something shocking that leads to the murderer of Amos. Literary detection is not an extremely rare thing in mystery, though the whole literary background of Two-Thirds of A Ghost does add to the experience. Literary detection is also usually not the most prominent mode of detection in most mystery novels, but I quite like the somewhat meta-method of mystery-solving.

Other examples I've discussed on the blog are the bibliomysteries Biblia Koshodou no Jikentechou ("The Casebook of the Antiquarian Bookstore Biblia") and Murderer's Items, which are often about the contents of the books in the spotlight. The most extreme example is Yumeno Kyuusaku's Dogura Magura, which might be about a madman trying to unravel a mystery through documents written by himself. Or another madman. Or maybe it was all a dream. Let's stop talking about Dogura Magura now before I get sucked into its spiraling madness once again.

McCloy makes great use of the literary background and it's not only just the mode of detection. There's also room for some literary criticism and topics like 'true literature', authorism and 'what sells' are featured quite heavily during the discussions between the actors of this story. Yet these discussions never feel unnatural, nor does Two-Thirds of A Ghost feel too much as a vehicle for McCloy to spout her thoughts, as these topics are naturally of importance to characters like literary critics, agents and publishers. I liked the final confrontation with the culprit also connected with these themes at some level, just like how Through A Glass, Darkly's ending also interacted in a meaningful way with its overal supernatural theme.

I like the overall themes of Two-Thirds of A Ghost, though I have to admit that especially in the first half of the novel, I was kinda bored as the story didn't seem to move at my prefered speed. But I guess your mileage may vary on that. On a thematic level, this is a good novel though.

今はもうレールだけが残されてるこの広場で

私はまだ列車を待ってる

この場所から離れゆく日　思い描き今日も待ってる

「Rusty Rail」（Garnet Crow）

At this square with only rails left

I'm still waiting for the train

I wait, thinking of the day I'll leave this place

"Rusty Rail" (Garnet Crow)

The upcoming And Then There Were None and Tommy and Tuppence series of the BBC might be the Agatha Christie TV adaptations that get the most attention in the Western world, but the last few months my attention was all focused on a certain Japanese production.

1933, Shimonoseki. Having successfully solved a murder case in a militairy camp, the great detective Suguro Takeru returns to Tokyo by the luxary sleeper express Touyou, which provides a straight connection between Shimonoseki and Tokyo. Because of full bookings, Suguro is unable to find a sleeping compartment on the train, but a chance encounter with his old friend Boku, who works at the Ministry of Railways, he managed to get safely aboard the Touyou Express. The train goes off in the night and Suguro and Boku enjoy a good meal in the luxary train, while meeting the colorful cast of fellow passengers. Among them is Toudou, an unpleasant businessman, who tries to hire Suguru to protect hem from a hidden enemy. Suguro declines, saying he only takes cases that interest him personally, as well as confessing to simply not liking Toudou, but the following day, the discovery of the corpse of Toudou in his sleeping compartment proves that he was indeed in grave danger. The express got snowed in, meaning the murderer must be one of the guests in the train, but who? It is up to great detective Suguro Takeru to solve this murder on the Touyou Express in the TV special Murder on the Orient Express (or Orient Kyuukou Satsujin Jiken).

Oh, what, Murder on the Orient Express? Yes, Murder on the Orient Express is a two-part 2015 TV special based on Agatha Christie's famous novel featuring the Belgian detective Hercule Poirot. That fact alone might be interesting to a lot of viewers outside Japan, but in Japan, I think this special was especially anticipated because Mitani Kouki wrote the script. Mitani Kouki is a playwright/director, originally connected to the Tokyo Sunshine Boys theater troupe. Known for his comedic style, he has directed some fantastic slapstick-inspired comedy movies like Radio no Jikan (AKA Welcome Back, Mr. McDonald), The Uchouten Hotel, The Magic Hour and Suteki na Kanashibari. One of his better known plays was Juuninin no Yasashii Nihonjin ("12 Gentle Japanese"), a fantastic parody on the courtroom drama classic 12 Angry Men. But he is also an important person in the context of this blog: he wrote Furuhata Ninzaburou, the fantastic Japanese Columbo and Ellery Queen-inspired TV show (he also wrote the novelization of the first season, a translation of the first chapter available here) and he runs an interesting TV show called Sherlock Holmes at the moment which features not actors, but puppets! Anyway, I've been a big fan of Mitani for quite some years now, so I was very curious to this marriage between Christie and him.

Mitani's Murder on the Orient Express is a two-part TV special, each part more than two hours long. The first "night" (episode) aired on Sunday, January 11th and introduced the viewer to great detective Suguro Takeru. As you can guess from the summary I gave above, the whole plot of the original novel was relocated to Japan and instead of a funny Belgian with a mustache, we know have Suguro Takeru, a Japanese detective with a funny mustache. While all names have been changed to Japanese names, the new names are actually quite close to the original names (Boku instead of Bouc, Hirude instead of Hildegarde etc.). And while some might think that these kind of changes are always for the worse, but I think that last year's The Long Goodbye proved that it can work out perfect.

In fact, the first episode is too loyal to the original work and especiallythe 1974 film of Murder on the Orient Express. While the first episode is a pretty decent TV dramatization of the original story, it's almost impossible to detect Mitani's touch. Sure, there are the lush sets, the bright colors and the faces we've come to expect in a Mitani film (Nishida Toshiyuki, Satou Kouichi, Kobayashi Takashi and Yagi Akiko among others are familiar faces in Mitani movies). But almost everything, from the lines down to many of the camera angles and shots, seem to be inspired very much by the 1974 film adaptation starring Albert Finney. Nomura Mansai's Suguro Takeru (the Poirot substitute) is also very much like Finney's Poirot, down to the strange voice and occasionally weird expressions (though Suguro is even sillier than Finney's Poirot). In the end, I did not feel like this production did anything substantionally better than the 1974 film production it obviously was imitating. There's some good acting going on (like the 1974 film production, this TV special also features an all-star cast), but I was not a fan of Suguro himself (who was arguably the worst of the cast).

As a detective story, I still think Murder on the Orient Express is a very enjoyable story. Sure, the impact it had originally might have weakened a lot because the story is fairly well-known, but I still love the dialogues between the varied members of the cast, the way the investigation develops and the shocking truth revealed in the conclusion. It's a timeless story, I think, and I enjoyed it this time too, even after having experienced the story countless of times in all kinds of media.

Interesting was the fact that Murder on the Orient Express consisted out of two parts though: the first part is a complete adaptation of the novel and covers exactly the same ground the novel and the 1974 film did. So what was the second episode?

The second episode, which aired the following day on Monday, January 12th, is actually an inverteddetective story and tells the complete story of Murder on the Orient Express the other way around, from the viewpoint of the murderer(s), starting with the motive and then all up to how the murder was prepared, committed and consequent happenings on the Touyou Express. It's a daring move, as I don't think there are many adaptations of mystery stories that suddenly change a 'normal' detective story in an inverted one. Also, storywise it necessary has little to add to the story told in the first episode. but I thought this second episode was pretty decent. I can't say too much about it, because it would obviously spoil who's guilty of the murder in the Touyou Express and the set-up, but freed from the shackles of the original story and film, Mitani finally manages to sneak in a little of his own touch. A lot of Mitani's movies are about 'backstage' worlds: Radio no Jikan was about the production of a radio drama, The Uchouten Hotel about a hotel staff. So 'backstage' of a murder actually fits Mitani's interests quite well. It is definitely not the witty, chaotic comedy you usually associate with Mitani, but there are some heartwarming and funny scenes in there that are definitely Mitani, and still fit within the world of Murder on the Orient Express. The moments were Mitani and Christie both have a chance to do their thing at the same time are sadly enough quite rare, but those rare moments are definitely highlights. Also, I think that Mitani came up with better explanations for some of the events in Murder in the Orient Express than Christie did in the book, which are explained in this part.

I suspect that Mitani actually wanted only to do the second episode. Like I said, he has experience with 'backstage' stories, as well as inverted detective stories with Furuhata Ninzaburou, so I can totally imagine him proposing the inverted take on Murder on the Orient Express, only to be told by the higher-ups they want a 'normal' take of the story. So he then made two episodes.

The special has some great music tunes though and I was kinda surprised to see Kusabue Mitsuko in the role of Countess Todoroki (Princess Dragomiroff in the original): she often starred in Ichikawa Kon's Kindaichi Kousuke films. The overall production value is fairly good.

In the end, I have to admit that I was a bit disappointed in Mitani Kouki's Murder on the Orient Express. As a mystery story, I still enjoy it a lot, but the first episode is basically a copy of the 1974 film, with little new to add. Mitani's writing is nowhere to be seen and Suguro can be a bit irritating. The second episode on the other hand is highly original, being an inverted take on the story. It's here where he managed to add a bit of himself, but still, I have questions about the necessity of this episode, because most of the information given here, we already figured out in the (orthodox) first episode. The first episode is probably fun if you have not read the original novel or haven't watched the 1974 film, others can just skip to the second episode, I think.

Original Japanese title(s): Agatha Christie (原）、三谷幸喜（脚本）『オリエント急行殺人事件』

気が付けば求めていて

同じじゃない愛すれ違う

形のないものに焦がれて

true heart of mystery eyes

「Mysterious Eyes」　（Garnet Crow）

You were looking for it before you realized it yourself

And passed by a different kind of love

Longing for something without any form

True Heart of Mystery Eyes

"Mysterious Eyes" (Garnet Crow)

TheJapanese silver screen often features mystery films, but most Japanese mystery films are usually spin-offs of TV series (which in turn may be based on novels/comics). It's seldom to see a novel-to-film adaptation that skips the TV series stage, so I was fairly surprised by the subject of today's post!

Rinda Rika is the 'All-Round Appraiser Q', a specialist in appraising everything and anything. From the price of jewels to the authenticity of documents, she can appraise anything thanks to her amazing powers of observation and knowledge about pretty much anything. These powers also helped her uncover a jewel heist-in-progress. The owner is very thankful and reveals he is the Japanese agent who is arranging an upcoming visit to Japan from none other than the Mona Lisa. He sends Rika to Paris and the Louvre to take a test for determining the local curator be in charge of the Mona Lisa during its stay abroad. Rika passes together with Ryuusenji Misa, a specialist in art and they undergo even extra training in recognizing the real deal and fake paintings back in Japan, where people are eagerly awaiting the smile to arrive. But there is some secret hidden within the eyes of the Mona Lisa which proves even difficult to Rika in the 2014 film Bannnou Kanteishi Q: Mona Lisa no Hitomi, or the official English title: All-Round Appraiser Q: The Eyes of Mona Lisa.

All-Round Appraiser Q (Bannou Kanteishi Q) is a fairly popular novel series by Matsuoka Keisuke and while The Eyes of Mona Lisa is the first time the series made the jump to live-action, it's actually based on the ninth book (of twelve) in the series. Why an adaptation of a late entry in the series? Well, The Eyes of Mona Lisa was co-produced in both Japan and France, so they needed a France-related story, I guess. The film does feature some elements of the other volumes; a lot of the backstory as portrayed in the film, as well as Rika's first meeting with the journalist Ogasawa Yuto, is taken from the first volume.

As a detective series, All-Round Appraiser Q is not a particularly fair one. Like Sherlock Holmes' infamous Sherlock Scans, most of the deductive developments in the plot are made only possible because of the All-Round Appraiser's incredible powers of observation coupled with even more incredible and detailed knowledge about the most random things and events. There is no way a normal human being (the viewer) is supposed to solve this on their own and the series is more focused on making Rika look absolutely awesome with all her deductions.

Which can work fairly well. The Eyes of Mona Lisa for example has a great opening scene that shows off Rika's observational and deductive powers. It's not fair at all, but it does a good job at letting the viewer know how Rika's mind works and how she makes her deductions. Sherlock showed us that even super-complex-deductions-that-the-normal-viewer-can't-do-themselves can be fun if presented well and it works for The Eyes of Mona Lisa too most of the time.

The middle part of the film is a bit slower, with less mystery-solving and a lot more normal art appraising, but is helped by a rival-figure in the form of fellow curator Misa. I guess that the dynamics are the same as in 'normal' rivalry in detective fiction and appraising is a lot like detecting, but because you don't see any reasoning of why and why they think picture X is fake and picture Y is real, the middle part can feel bit a boring. The finale brings everything together though and even though there are some hiccups in the plot, overall, I think The Eyes of Mona Lisa works as a light mystery film with an emphasis on the characters. Which is probably true to the original novels.

This film does feature some nice shots (of the pieces of art), and I think this was the first Japanese film to be shot at location in the Louvre. While story-wise, the narrative doesn't always provides the viewer with much to look at, luckily most of the visuals manage to do a reasonable job.

Hmm, now I think about it, a mystery story filmed at the Louvre about a secret hidden within the Mona Lisa... Sounds kinda familiar. The Eyes of Mona Lisa is quite different from The Da Vinci Code though, from how the story is told to the stakes in each story. The rather slow middle part of The Eyes of Mona Lisa is pretty much the opposite of cliffhanger-marathon The Da Vinci Code...

All-Round Appraiser Q: The Eyes of Mona Lisa is a fairly amusing mystery film that has an interesting angle with the art appraising story. And the Mona Lisa of course. The plot occasionally stumbles over its own feet and for some, the appraisal angle can be a bit boring, but nice visuals and the not-too-heavy story did provide me with two hours worth of entertainment.

Original Japanese title(s): 松岡圭祐（原）　『万能鑑定士Ｑ　モナ・リザの瞳』

"Oh shit, it's dim sum time!"

"True Crime - Streets of LA"

I know some people like to collect their books from the same publisher / with the same style. With English releases, you can often choose between (at least) an UK and US release, so sometimes you gotta pay attention when purchasing books. I myself usually don't mind what edition I get, by the way. Still, I find it quite surprising to see that even though I own less than ten Judge Deenovels, they come from like four or five different publishers...

The Chinese Gold Murders was about Judge Dee's first appointment as a town magistrate in ancient China, but by the time of Robert van Gulik's Murder in Canton, Judge Dee has worked his way all the way up to Lord Chief Justice. Only special cases can bring the judge and his subordinates outside the Imperial City, and the disappearance of a court censor is such a case. Judge Dee and two of his faithful fellows Chiao Tai and Tao Gan, make their way to the southern harbor city of Canton, where the censor was last seen. The search for the censor is made difficult because of the delicate political and social circumstances of Canton: many Arabs reside in the city for the trade, as well as a great number of the Tanka people. Can the judge find out what happened to the censor?

I should probably do some research on books before purchasing them, rather than just going by the cover. I was unaware that Murder in Canton would be (chronologically) the last in the series. I haven't read the Judge Dee books in order, and it's not really necessary to do so (in fact, I read them criss-cross), but I had kinda wanted to keep this book for last. But ah well...

To be honest, I found Murder in Canton to be one of the less entertaining novels in the series. Sure, the basic premise is still the same, even if Judge Dee is in a higher position now: like always, he's new in town, he has his small group of subordinates with him and he gets involved with three mysteries that end up connected. No surprises there. Well, except for the fact that because Murder in Canton is set so late in the Judge's career, some of his faithful followers have other obligations that prevent them from joining Dee on his new mission (but that happened in some other novels too).

I wasn't too charmed by the novel's mysteries though. All the Dee books are about the Judge investigating multiple mysteries at the same time (because it wouldn't make sense for the highest judicial and investigating official in a district to work on only one case at a time) and the first couple of books had these mysteries intertwine in suprising ways. But these mysteries, even though connected at some level, were often seperate storylines. Murder in Canton is promoted again as being a story of the Judge investigating three cases, but it is clear right from the start that these aren't three storylines that happen to be connected, they are all one and the same plot, just different ends and I wonder why Van Gulik so desperatedly tried to sell it as three mysteries again.

Of course, this wouldn't be a problem per se, but I thought that the (single) story of the disappeared censor was a bit chaotic and boring. Coincidence has always been a staple of the Judge Dee series, but Fate must have had a very busy day with Murder in Canton, and the story seems to meander a bit aimlessly in the middle part of the book. Also, some stories might work with midget assassins and foreign assassins and I'll admit that at least the special setting of Canton makes it somewhat more plausible, but still, I had to raise an eyebrow (figuratively speaking. I can't actually...). The confrontation at the end of the story is a great effort at bringing the cool logic of a Van Dine school novel in an usually more vague, intuition-based series, but it lacks a bit of convincing power, both seen as a 'logical' deduction scene, as well as a classic 'Judge Dee' confrontation scene.

I liked the multi-cultural aspect of Murder in Canton though, something also seen in some of the other novels (like The Chinese Maze Murders). And atmosphere and random trivia on ancient China is something Van Gulik, a famed Sinologist, always excelled in and he delivers in this novel too. No worries about that.

Overall I'd say I thought Murder in Canton was a mediocre Judge Dee story. It has some points that make it special, especially as it's set as the last novel and thus ties up some of the characters overarching storylines, but as a standalone mystery novel, I thought it a bit disappointing compared to earlier efforts.

「キャンプ　キャンプ　またキャンプ　今日もキャンプ　あさっても」

『キャンプの歌』 (『名探偵コナン』より)

"Camp! Camp! Camp Again! Today's camp and tomorrow too!"

"The Camp Song" (from "Detective Conan")

I think I've only gone camping just once, near the end of elementary school. All my other 'experience' with camping is derived from seeing it in detective fiction. And for some reason, something always happens. The most ridiculous happening? A volcano eruption.

Detective Boys Conan, Ayumi, Genta, Mitsuhiko, Ai and professor Agasa are on their way back from a short camping holiday in the Yamanashi prefecture (the former Kai/Koushuu Province), when the professor's Beetle breaks down. And what's worse, the professor strains his ankle as they were walking down the road. Luckily, the kids and the professor manage to get a lift to Kurofuchi Village, to the Kubo Inn. The Kubo Inn was once a popular inn with a hot spring, but the spring dried up some years ago and business has been bad since. The group decide to stay here for a day so the professor can recover. The children are told about the legend of the famous warlord Takeda Shingen having buried a treasure somewhere in the mountains near Kurofuchi Village many centuries ago, and try their own hand at some treasure hunting, but things go wrong when the girls Ayumi and Ai get hold of a crucial hint, and are kidnapped by two suspicious men (← of course, kidnapping little girls is kinda suspicious). Can Conan, Genta and Mitsuhiko save the girls and find Shingen's legendary treasure in the novel Meitantei Conan - Koushuu Maizoukin Densetsu ("Detective Conan: The Legend of the Hidden Koushuu Treasure")?

Koushuu Maizoukin Densetsu (2005) was the first of three original novels based on the Detective Conan series: later years would bring novelisations of the live action drama series of Conan, but no more original novels. This first novel in the series was written, and illustrated by Tani Yutaka, one of Conan's creator Aoyama Goushou's assistants and this book marks Tani's own debut as a writer.

And I can't describe this book but as 'a run-of-the-mill Detective Boys story'. Which is good, I think. And bad? It certainly has all the elements you'd also see in a Detective Boys story in the main series: the kids on camp, accidently stranding somewhere, hunt for treasure, a coded message... There have been dozens of Detective Boys stories ever since the start of the Detective Conan series 20 years ago that also feature these tropes, and to be honest, they're usually also more fun. Koushuu Maizoukin Densetsu is a rather uninspired version of the familiar story pattern, as the main mystery isn't that exciting. At least in the main series, the mysteries are usually of a higher quality.

The main mystery revolves around a code that leads to the buried treasure of Takeda Shingen, but as this novel is obviously meant for children, the code isn't very difficult to solve. I do like that, even though the code does require information probably not commonly known by children, enough relevant background information is given throughout the text, so it's perfectly possible for the intended readers of this book to solve the code by themselves (with some hints given by Conan). I have the feeling the codes in the main series are a lot more difficult, even if it's a story involving the Detective Boys (the infamous Desperate Revival story in volume 25, for example), so while it's actually solvable this time, it might seem a bit too easy.

The story does a good job at recreating the atmosphere of the main series, again by using the familiar tropes, but because of that, it's also very easy to compare Koushuu Maizoukin Densetsu to similar stories and it becomes clear very fast that this is nothing more than a mediocre story. And because Detective Conan is originally a comic series, I am tempted to ask the question, what does it add to the experience of this being a normal novel, instead of being in the comic book format? I'd say nothing, and even say that I'd much prefered it to have read this story as a comic. With some of the Kindaichi Shounen no Jikenbo novels, I at least understand that motives to tend get a bit more gruesome compared to the original comic series, so those stories couldn't appear in as a serialized series in Shounen Magazine. But with Koushuu Maizoukin Densetsu, there are no real benefits to it being a novel instead of a comic.

And then it hit me. This is like a Famous Five novel. I quite liked the Famous Five actually. The books should be lying here somewhere...

It's been many years since I read the other Conan novels, but I think I quite liked the third novel, The Ejinbara Witch. I guess this might these books might be fun for kids, but if you think about it, the comic version is actually much easier to read, and more fun too, so I don't really see the added value of the novels, if the mystery plot isn't particularly strong. And as a standalone story, Meitantei Conan - Koushuu Maizoukin Densetsu, definitely isn't impressive.

Original Japanese title(s): 青山剛昌（原）, 谷豊（小説、画）『名探偵コナン　甲州埋蔵金伝説』

「つまりさ・・・・・、たとえばハリウッド発の映画を見ていて、一時間が経過してもまだヒロインの女優が登場しなかったり、ハイジャックもビルジャックも起きない、エイリアンすら現れない、そんなことがあると思う？」

「確実にありえませんね」

「推理小説を読んでて、総ページの半分が終わっているのに誰も殺されない、名探偵すら出てこない、そんな推理小説ある思う？」

「確実にありえませんね」

『サイコロジカル　（上）兎吊木垓輔の戯言殺し』

"Ever heard of a Hollywood movie where one hour in, the actress playing the heroine still hasn't made an appearance, no hijack or building hijack has happened, not even an alien showing up?"

"That's absolutely impossible"

"Ever heard of a mystery novel where halfway through, nobody has been murdered yet, and the great detective still hasn't made an appearance?"

"That's absolutely impossible"

"Psycho Logical - The Killing Joke of Utsurugi Gaisuke"

I mentioned I had read the prologue of Arisugawa Alice's Sweden Kan no Nazo at least six times. I think I've read the prologue of today's book even more often! And of course, when I finally got through that hurdle, I sped through the story in record time...

Zaregoto series:
『クビキリサイクル青色サヴァンと戯言遣い』 | Deheading Cycle: The Blue Savant and the Nonsense Bearer
『クビシメロマンチスト人間失格・零崎人識』 | Strangulation Romanticist: Human Failure - Zerozaki Hitoshiki
『クビツリハイスクール　戯言遣いの弟子』 | Hanging High School - Disciple of the Nonsense Bearer
『サイコロジカル　（上）兎吊木垓輔の戯言殺し』、『サイコロジカル（下）曳かれ者の小唄』 | Psycho Logical - The Killing Joke of Utsurugi Gaisuke (Part 1) / Kouta's Bluff (Part 2)

The narrator and Kunagisa "Dead Blue" Tomo make their way to the research facility led by Shadou Kyouichirou, which lies somewhere far away in the mountains. Their goal is get Utsurugi "Green Green Green" Gaisuke out of the facility. Utsurugi used be a member of Tomo's team of hackers which surprised the world several years ago, but is for some reason now working for professor Shadou. Forced to work might be a better expression. Anyway, negotiations with Shadou don't go very well, even if Tomo and the narrator do get a chance to have a talk with Utsurugi and everyone agrees to continue the talk the following day, but plans change when the following day, Utsurugi is found murdered in his own research building. And with murdered, I mean that his eyes were poked out with a scissor, his stomach was cut open and his arms sawed off. What's more baffling is that the logs show that nobody had entered or left their own research building, meaning that nobody could have murdered Utsurugi. Can the narrator and Tomo find out who killed "Green Green Green" and how the murderer managed to commit a locked ~~room~~ building murder in NisiOisiN's Psycho Logical?

Psycho Logical is the fourth book in NisiOisN (Nishio Ishin)'s Zaregoto (joke, nonsense) series and is split up in two volumes, Utsurugi Gaisuke no Zaregotogoroshi ("The Killing Joke of Utsurugi Gaisuke") and Hikaremono no Kouta ("Kouta's Bluff"). The zany light novel series stars an unnamed narrator who has a tendency to get into strange adventures and murder mysteries thanks (?) to his curious friends and acquaintances, among them the genius hacker Tomo and the "World's Strongest Private Contractor" Aikawa Jun. But despite all the locked room murders this series features, the biggest mystery remains the narrator himself. He has a distinct speech style where he talks around, in, out, besides and over any topic, earning him the name of "nonsense bearer". Add in the fact he is quite negative and easily lies to everyone (including himself and the readers) and you have one of the most unreliable narrators in fiction ever. I quite like his narration, but I can imagine it can be a bit tiring too and the fact you can never really get into the narrator's head, might be a bit distracting for those who want to focus on the story and the murders.

Setting-wise, Psycho Logical is similar to the first book in the series, Kubikiri Cycle: a locked room murder mystery with the narrator and "Dead Blue" Tomo in an isolated setting (Tomo wasn't present in the second and third book). Thematically, there are also similarities, including an on-going discussion on geniuses, but a quick look at the two titles immediately shows the biggest difference. Kubikiri Cycle was NisiOisiN's first book and was a murder mystery with quirky characters. As the series continued, NisiOisiN slowly expanded the world of Zaregoto and by Psycho Logical, one could say that the characters are the main, the murder mystery is just a side course. Psycho Logical gives a look into both the narrator's and Tomo's past and the relation between the two and the actual murder of Utsurugi Gaisuke doesn't happen until the very, very end of the first book. The focus of the series has definitely shifted by now and because I heard that the mystery element is all but gone in the last two titles in the series, I think this is the last time I'll do a Zaregoto review here.

Psycho Logical's locked ~~room~~ building murder is quite fun, I think though. Sure, it keeps in the tradition of a certain trope I already mentioned in my review of Kubikiri Cycle, but I quite enjoyed the idea behind the locked room mystery and is definitely quite original. And because I already did a spoiler section in that review, another one:

Spoilers for Kubikiri Cycle, Kubishime Romanticist, Kubitsuri High School and Psycho Logical!! (Select to read):

It's actually quite interesting to see how parts of the human body are being used again and again in this series: as a step, as a transporting vessel, as a key and now as a piece of rope (in the narrator's solution). I don't know if NisiOisiN is trying to say something, but the constant de-humanizing of the err... human body in this series is somewhat disturbing. Now that I think about it, unlike Danganronpa, practically all of the geniuses and super-humans in this series are mental geniuses. I guess that Aikawa Jun is a physical monster, but she is also feared for her mind and not just her raw power...

The setting of the scientific facility and the heavy security reminds me of Mori Hiroshi'sSubete ga F ni Naru / The Perfect Insider. I don't think it's a really rare setting in mystery fiction (if anything, the use of keycards / logs / security cameras et cetera make it ideal for it), but I can't actually remember other stories with a similar setting except for that one Kindaichi Shounen story...

I will admit that I am overall a very pragmatic mystery reader. If you have browsed this blog, you have probably noticed that I mainly focus on elements like structure, plot and tropes. The way a story is written, let's say the literary qualities of a story, usually don't matter to me that much. But I absolutely looooooove NisiOisiN's writing style! The wordplay, his roundabout way of talking, everything. Each of his Zaregoto books have been filled with quote-worthy material (something I am very grateful for). And even if you're not very proficient in Japanese, it's still very readable: the vocabulary itself isn't very difficult, but NisiOisiN's just has a great sense of playing around with written words. Like the series title says, it's all nonsense and jokes, but great nonsense and jokes.

Overall, I quite enjoyed Psycho Logical. Sure, the murder mystery appears quite late in the story, but it is a fun, even if simple locked room murder and the narration is still absolutely fantastic. But, as it seems the mystery element basically disappears in subsequent books, I think this will be the last time I'll write about the Zaregoto series on this blog, even if I might still read them just to see how the series ends. But for now, I've read enough nonsense.

Original Japanese title(s): 西尾維新『サイコロジカル　（上）　兎吊木垓輔の戯言殺し』 / 『サイコロジカル　（下）曳かれ者の小唄』

"It's our problem - free philosophy Hakuna Matata!"

"The Lion King"

It took me almost two years to work up the courage / spirit to go through today's book. The prologue was just too dense to get through. Of course, when I finally got past the prologue, it turned out to be not nearly as bad as I had feared.

A distressed call screaming murder brings the police to the doors of the mansion owned by the wealthy Jewish financier François Dassault. Dassault however refuses to let the local cops inside and uses his connections to get Inspector Maugars in his house, who will hopefully help hush up what Dassault calls an unfortunate lethal accident that happened on his premises. One of Dassault's guests tripped and hit his head on the stone floor, it seems at first sight, but when Inspector Maugars discovers a knife wound in the dead man's back and a broken knife with the SS emblem on it, the case turns into a murder case. And a screwy one too. For one, it seems that Dassault's guest was not a voluntary guests, as the lack of luggage, the bare minimum of furniture in the room and the locks on the door suggest. And even more crazy is that after questioning all those in the house, it seems the man was stabbed in a triple locked space: (1) the third floor room in which the victim was discovered was locked from the outside, the third floor can only be reached from the second floor (which also houses the safe with the room's key), and (2) the staircase to the second floor was under constant watch by several witnesses on the ground floor and finally, (3) the only exit out of the mansion was also being watched. And the case seems to be connected to a group of Yewish people who survived the concentration camps... A most difficult situation, but Yabuki Kakeru (friend of the Inspector's daughter Nadia) is convinced he can bring light to the case with his phenomenology in Kasai Kiyoshi's Tetsugakusha no Misshitsu ("A Locked Room for Philosophers", 1992)

Tetsugakusha no Misshitsu is the fourth book starring Yabuki Kakeru, a Japanese student of philosophy who solves baffling crimes and mysteries through phenomenology, i.e. the analysis of structures of experience and conciousness. It is worth noting that Tetsugakusha no Misshitsu was published almost ten years after the third entry in the series, and while I have not read any of the other novels, it is said that Tetsugakusha no Misshitsu is a turning point for the series with a slightly different tone. Oh, and the long period between the third and fourth book certainly didn't stop Kasai from starting Tetsugakusha no Misshitsu with a long prologue where Kakeru and Nadia talk in detail about their previous adventure, including delicious spoilers, and discuss a bit of philosophy, so Reader Be Warned: the first sixty pages of this book can be difficult to get through.

But then again, what is sixty pages of a story that consists of 1100 pages spread over two volumes? It's certainly not the longest detective I've read (hello Jinroujou no Kyoufu and Ankokukan no Satsujin), but short, it is not.

The triple locked room murder happens early in the story and is great. It has the allure of one of those matryoshka dolls, with a locked room in a locked room in a locked room and Kasai adds enough twists and turns and fake solutions to the plot to keep the locked room mystery entertaining. Especially the way in which series detective Yabuki Kakeru manages to use the Amazing Powers of Philosophy to solve the crime is fantastic and like most of the best locked room murders: the solution itself is actually amazingly simple. And as if that wasn't enough, the story features another triple locked space mystery, one that happened in the past in a concentration camp. While the solution to this past murder is not nearly as elegant as that of the first one, these two mysteries do keep Tetsugakusha no Misshitsu going at a good pace for a fairly good time.

A fairly good time, I stress, because I have to be honest, I didn't enjoy all of the book(s). While this was the first novel by Kasai Kiyoshi I have read, this was certainly not my first encounter with him. I think that anybody who does any serious research on Japanese detective fiction will come across his name very early in the process, as he is also the author of a seminal series of books on the history of Japanese detective fiction and basically impossible not to know if you want to research Japanese detective fiction through the fields of sociology, philosphy and literary history and even formalism. So this might be my first meeting with series detective Yabuki Kakeru, I have been familiar with Kasai Kiyoshi and his thoughts on detective fiction for a good six, seven years now and we haven't always been the best of friends. I have the same with Tetsugakusha no Misshitsu.

There are quite some discussions on philosophy in this story, partly because Kakeru is in fact an international student in France to research philosophy, but an important philosopher who is Martin Heidegger in all but name also plays an indirect role in the plot and sometimes the characters start discussing the meaning of death and Dasein for a lot of pages and while I understand some do love philosophy, it's just not a field of interest to me. Especially not because I have read a lot of Kasai's ideas on philosophy in his academic works on detective fiction (the points he discusses in Tetsugakusha no Misshitsu will be very familiar to those who have read Kasai's Tantei Shousetsu Ron books). That said, I can imagine that someone with an interest in philosophy enjoying the discussions. I for example loved it when Kyougoku Natsuhiko wrote about folklore studies on youkai in Ubume no Natsu, which others might have hated. At any rate, philosophy does play a part in the themes of Tetsugakusha no Misshitsu, as the title A Locked Room for Philosophers suggests, so it's not just pedantry like in Kokushikan Satsjin Jiken. But considering this is a 1100 page story, with quite some talk on a discussion I do not particular like, so you can imagine I did find it a bit tiring. Heck, I think the book could have been half the length it is now and still work. But mileage may vary.

The funny thing about series detective Yabuki Kakeru is that he uses philosophy (phenemonology) to solve crimes. Which means he usually needs to see the whole phenomenon if he actually wants to analyse it. And yes, that in turn means he usually can't solve a crime until all elements of a crime have revealed itself. Kakeru can explain serial killings, but he can't stop serial killings because his method involves analyzing the meaning and connections of the whole picture. Kindaichi Kousuke also has a nasty habit of not being able to save anyone until the end of a case, by the way.

If you asked me if I enjoyed Kasai's Tetsugakusha no Misshitsu, I'd say "Yes, but...". It is a locked room for philosophers, which I am not, but the core locked room mystery is indeed well constructed. I am not sure whether it helped that I was already quite familiar with Kasai's academic works though. At one hand, it was kinda reading the same story again, but on the other hand, it did make the philosophic talk a bit more easier to follow because I knew where Kasai was going to. I think I might read some of the earlier novels in the series (which are less taxing, I heard), but I don't think I will read any of the later novels, if they all follow the tale as told in Kasai's academic work on detective fiction.

Original Japanese title(s): 笠井潔　『哲学者の密室』

Love you, love you 世界は

ただ君だけ待ちつづけてるのさ・・・

The end of days!!

「鋼の救世主」 (JAM Project)

Love you, love you, the world

is just waiting for you

The end of days!!

"The Steel Messiah" (JAM Project)

I finished the wonderful Dr. Sam Hawthorne series last year, but that doesn't mean I won't read more of Edward D. Hoch's mysteries. Today, a poor Hoch I bought around the time I bought my very first Sam Hawthorne book, and which had to wait until I finished that series.

Simon Ark is a mysterious man, who claims to be walking around Earth for two-thousand years now. He does more than just walking of course: his goal is to find and fight evil in all its forms. The protagonist, a journalist (and later editor), first meets Simon during the coverage of a mysterious mass suicide, where all 73 inhabitants of a small isolated village jumped off a cliff together. Since then, the two have become friends and while we never know for sure whether Simon is really as old as he says he is and whether the rumors of Simon once being a Coptic priest in Egypt are true, we do learn one thing about Simon in Edward D. Hoch's The First Casebook of Simon Ark: he sure knows about people and the evil schemes they can concoct. Simon travels the world researching the Occult and Supernatural and he occasionally comes across strange cases that seemingly involve Powers of the Other Side, but he ironically always proves that behind these strange, impossible murders, disappearances and other mysteries lurks not the devil, but simply the hearts of wicked men.

Yes, Tokyo Sougensha always has awesome covers for their Edward D. Hoch books.

Simon Ark was Hoch's very first series detective, as he starred in Hoch's 1955 debut story, The Village of the Dead. And because Simon Ark is already about two-thousand years old, a couple more or less years don't matter: Hoch had Simon Ark appear in stories all the way up to 2008, for a total of 61 adventures. The First Casebook of Simon Ark (the English title of Simon Ark no Jikenbo I) is the first of five volumes published in Japan that sadly enough don't cover the entire series yet. Each of the volumes contains a random selection of Simon Ark stories. This first volume for example features both Hoch's debut story from 1955, as well something more recent like The Faraway Quilters from 2003. These Japanese volumes are not based on any of the earlier English Simon Ark releases, as far as I know.

The Dr. Sam Hawthorne stories were highly standardized impossible crime stories, set mostly around one setting. While most of the stories were really good, they were practically all made with the same LEGO blocks and the background settings of the stories tend to seem very much alike. This is definitely not the case with the Simon Ark stories. Yes, most stories do feature some kind of supernatural or occult element, be it the mention of devils, some occult book or magicians, werewolves or other fantastic beings. But the stories are set all over the world, with different people and background settings and types of mystery. Sure, it's often an impossible crime, but definitely not always and the reader is always kept on his toes because you don't really know what's coming until you're actually in the story. It's something I kinda missed in the Sam Hawthorne series, so I quite enjoyed that in The First Casebook of Simon Ark.

I'm not doing write-ups on all the stories, because they are kinda short and I might spoil too much just by writing about them. But to pick a few out: Not really impressed by the opening story/Hoch's debut story, Village of the Dead. It has potential, sure, as it's a great setting (the mass suicide) and there are hints here and there about something really supernatural, but it lacks convincing power. The S.S.S. deals with a shady religious society which kinda reminds of the faux cults and psychics in Trick: the story is a great whodunnit for the amount of pages. Master of Miracles is probably the most Sam Hawthorne-esque story in this volume, with an impossible disappearance set in a small community (a woman and her car disappears from inside a car wash). Somewhat easy to solve, but quite entertaining.

Random thought: a globetrotting priest solving impossible crimes with a supernatural and occult tone.... Simon Ark is like a palette swapped Father Brown. Slightly darker Father Brown.

One of my earliest encounters with the mystery genre was Scooby-Doo! and I still love it when supernatural elements (or the suggestion of) make it into a detectives story. So you can imagine that I quite enjoyed The First Casebook of Simon Ark. But it's not just the occult tone of the series: while I have to admit that not every story is as good as the other, there are quite some well written mysteries collected in this volume and I think that most readers will be quite pleased with this first meeting with the mysterious Ark.

Original title(s): Edward D. Hoch 『サイモン・アークの事件簿』: 'Village of the Dead'「死者の村」 / 'The Vicar of Hell'「地獄の代理人」 / 'Day of the Wizard'「魔術師の日」 / 'Funeral in the Fog'「霧の中の埋葬」 / 'The Man who Shot the Werewolf'「狼男を撃った男」 / 'The S.S.S.'「悪魔撲滅教団」 / 'The Touch of Kolyada'「妖精コリヤダ」 / 'The Society of the Scar'「傷痕同盟」 / 'Master of Miracles'「奇蹟の教祖」 / 'The Faraway Quilters'「キルトを縫わないキルター」

波の上漂う海月をみるのが好きで

いつまでもどこか遠い世界想い馳せるよう

「君という光」 (Garnet Crow)

I like watching the jellyfish floating on the waves

Always as if my mind flies off to some world far away

"A Light Called You" (Garnet Crow)

Sometimes it's weird switching reading languages halfway through a series. This is actually the first time I read Crofts in English instead of Japanese...

Inspector French series
The 12:30 from Croydon (1934)
Mystery on Southampton Water (1934)
Fatal Venture (1939)

Chance brought travel expert Henry Morrison on board of a scheme hatched by barrister Bristow of a cheap holiday liner that cruises along the British Isles. Bored millionaire Stott in turn was responsible for the necessary financial means and the idea of turning the cruise ship into a casino ship. The cruise ship would go up and down the coast line of the British Isles allowing for one day excursions on the mainland, while at night the ship would move outside the British territorial waters and the gambling rooms would be opened. Fullfilling the wish of the wealthy British well-offs of exploring the hidden attractions of the homeland, as well as providing the thrills of the roulette table, the project becomes an instant success. But not all is well on the floating heaven and one day, Money-Bags Stott is murdered during one of the day excursions on the mainland. But with wronged business partners, vengeful business rivals and inheriting relatives around, it's not easy finding the right man. Fortunately Chief Inspector French and his wife were already on board of the wicked ship and French wouldn't be French if he didn't make quick work of the Stott Slaying Scheme in Freeman Wills Crofts'Fatal Venture (1939).

My third Crofts and the first that isn't an inverted mystery. Yet it follows the same basic pattern seen in the other books I read: we follow the adventures of a young man busy with some kind of business scheme, a murder happens and French appears late in the story to unravel a deadly intrigue(and Fatal Venture does have some elements of the inverted mystery). While I loved Mystery on Southampton Water, I was, while not disappointed, not very impressed with The 12:30 From Croydon. How did Fatal Venture fare?

Not bad, actually, but I am not sure if for the right reasons. Fatal Venture is clearly split into two parts: the first part is about how the business plans between Morrison, Bristow and Stott came to be. I love this part. You see the three coming up with the idea, slowly gathering information to see if it's doable, outwitting rivals and finally setting sail with their seaworthy goldmine. It's thrilling, it's has a sense of adventure and.... it has absolutely nothing to do with a mystery. It's a swashbuckling account of three men coming up with a neat business scheme, but that is it. The story moves into the second half with the murder on Stott, but then you realize that the first enterprising half has very little to do with the actual murder mystery. Even if the first hundred or so pages of this book had been compressed in a five page explanation, the mystery plot wouldn't have suffered at all. No crucial hints, no foreshadowing, nothing. Heck, the murder isn't even commited on board of the cruise ship!

The second half features an alibi-cracking mystery with French and while it's an okay plot, I think the trick was much better suited for a neat and clean short story, rather than extending it with almost hundred pages of introduction that weren't really necessary for the trick to work in the first place. And I don't mind short story tricks being extended into longer stories per se, but I expect the plot to made a bit more complex to compensate for the larger amount of pages in such case: a red herring here, a sub-plotline there, maybe two mysteries.... I don't expect two stories that genre-wise don't really feel connected stuck together. Because that is it. Fatal Venture feels like two stories, only one of them a mystery. And strangely enough, I liked the non-mystery part better.

In the three Crofts I read, young men in business have all played a large role in the story. This is actually the first time that business actually goes well however, which was a nice change of pace after the depressing "I need money or I'm finished and others will go with me" stories of Mystery on Southampton Water and The 12:30 From Croydon. I also think I know understand why I found The 12:30 From Croydon less entertaining than Mystery on Southampton Water, despite their similarities (see reviews). In Croydon, problems with the business of the protagonist were basically solved with the murder and the inheritance. In Southampton Water, the business problems don't go away after the murder though and it stays a point of fear throughout the novel. So in Southampton Water, you have the dread of both Inspector French hunting the protagonist and the future of the business, while in Croydon, it's actually just the police. Sounds like a small difference, but Ithought Southampton Water was a lot more entertaining. The build-up of Fatal Venture might not be related to the actual murder mystery, but the question of whether the scheme is going to succeed is urging the reader to go on, and by the time the anxiety surrounding the business is dispersed and we know it's become a success, we're given something new in the form of Stott's murder.

I had a great time with Fatal Venture, but strange enough not because of the mystery plot. Is the mystery bad? No, but in the form as it was published, Fatal Venture is basically one business novel and a slightly too long mystery short story. If you want a focused mystery novel and/or don't like reading about business schemes and such, Fatal Venture is definitely not for you. I enjoyed the book, but I can definitely understand if people don't like this one.

"She's bloody dying and all you bring us is lupins. All we've eaten mate for the last four bleeding weeks is lupin soup, roast lupin, steamed lupin, braised lupin in lupin sauce, lupin in the basket with sauted lupins, lupin meringue pie, lupin sorbet. We sit on lupins, we sleep in lupins, we feed the cat on lupins, we burn lupins, we even wear the bloody things!"

"Dennis Moore" (Monty Pyton)

Today: two Lupins for the price of one!

A reported robbery at the home of Gaston Gournev-Martin brings police detective Guerchard on the scene. He discovers the Duke of Chamerace in the neighbourhood and suspects that this so-called Duke is in fact the infamous thief Arsène Lupin. Despite Gournev-Martin's own testimony that the Duke of Chamerace is indeed who he claims he is, Guerchard still suspects that Arsène Lupin is behind the Duke's facade. When Arsène Lupin announces he is going to visit a party of the Duke, Guerchard (who is also told to solve the Lupin case within a week) decides to pay an unannounced visit, in the hopes of catching the phantom thief and proving that the Duke is nothing more than a thief in the 1932 film Arsène Lupin.

Arsène Lupin is based on the same-titled four-part play by Maurice Leblanc (literary father of Arsène Lupin) and Francis de Croisset. The play was also novelized by Leblanc himself with the same title. It is one of the Lupin stories I haven't read yet, so I started with the film without knowing what to expect. What is usually the case with Lupin: anything can happen.

And overall, I thought Arsène Lupin was quite amusing. The stars of the film are definitely the Barrymore brothers, who stand opposite each other as the Duke (John) and Guerchard (Lionel). There are the usual Lupin shenigans of one knowing the other is Arsène Lupin, yet not able to prove that and these confrontations come alive by the acting of the brothers. This tension is definitely the best part of the film. The story itself is a bit smaller than other Lupin stories, but that's because the original story is based on a play, I think. As a result, there are a lot of one-on-one scenes, and the story never reaches a really exciting climax.

Sure, there's a rather big heist planned at the end of the film, but it almost seems like an afterthought, as the tone is quite different from the rest of the story, and it never feels as big or brilliant a heist as we're used to in other Lupin stories. Like I said, I haven't read the original book/play, so I don't know what exactly is original to the film and what isn't, but I suspect the last part is a film original. I mean, I know the real Arsène Lupin isn't always a nice guy, but he would never threaten to sell a girl off into white slavery.

Anyway, an amusing watch with the gentleman-thief. And sometimes it's good to know the family trade stays alive after several generations. In Japan, Monkey Punch's Lupin III series has been a staple and important part of Japanese popculture since 1967. Lupin III is the grandson of Arsène Lupin, but while still a thief capable of the most amazing feats, he's usually less of a gentleman. Actually, it depends on who is writing him. Lupin III is everything from a James Bond to Robin Hood, depending on the production. Miyazaki Hayao (of Studio Ghibli)'s early film directing career includes The Castle of Cagliostro for example, an adventure film starring a heroic Lupin III. A more recent adventure of Lupin III is the crossover film Lupin III VS Detective Conan (2013), which pitted the legendary thief and his gang against the pint-sized detective.

Lupin III (2014) is a recent live-action film adaptation of the successful franchise. The Works is a international gang of thieves with several notable young up-and-coming members, including Lupin III (grandson of the legendary Arsène Lupin), Mine Fujiko (a femme fatale) and Jigen Daisuke (crackshot and bodyguard). One day, the Works is betrayed by one of its members who steals the Crimson Heart of Cleopatra, leaving Lupin and Jigen with no home and the desire to steal back what was taken from them. Lupin and Jigen soon make a name as internationally wanted thieves, who are occasionally helped and occasionally betrayed by Fujiko. They finally discover the whereabouts of the Crimson Heart of Cleopatra, which is being kept in a high-security building/safe called Ark of Navarone. Enlisting the help of several fellow thieves, including the swordsman Ishikawa Goemon, Lupin III and his gang set out to retrieve their loot, while being chased by Interpol detective Zenigata.

The franchise of Lupin III has been going on for a long time with a variety of productions, so I wasn't too surprised the live-action film was once again about the first time the Lupin gang (Lupin III, Jigen, Goemon and Fujiko) come together to work as a team. Over the history, the Lupin gang has had many first encounters, and all different, so I wasn't at all bothered at the Uncle-Ben-Must-Die-Again approach to the franchise.

But that doesn't mean that Lupin III is a good film. On paper, the story isn't that different from most Lupin III (animated) specials of the last couple of years: an action-packed film with a heist as its background setting (it's not really a heist film though, just an action flick). On screen, the story just didn't really work. And that's not because I don't like live-action adaptations of manga/anime source material. In fact, I can quite appreciate them (the recent Rurouni Kenshin trilogy was quite impressive for example). But the production team must get the tone right: a tone that fits with the franchise, but also with the live-action format. Lupin III fails to succeed here.

The action scenes are chaotic and shoddily taken: you are given a split second shot of something, only for it to be replaced by another shot at another angle / level of zoom of the same action, leaving the viewer in confusion of what the hell is going on. The more fantastic action scenes don't always work: a car chase scene on the highway hits the right tone most of the time, but then the presence of Goemon (a swordsman who can cut everything) kinda ruins the scene (in fact, I think that Goemon doesn't work at all in this film). Goemon cutting everything in a cartoon or comic, okay, but it just doesn't really translate well into the real world. The Rurouni Kenshin films struck a great balance between reality and slightly fantastic battles (jumping several meters up in the sky etc.) consistently throughout the three films, but the fairly realistic tone of Lupin III clashes with the cartoony comedy it occassionally also tries to utilize. A group of three enemy enforcers has the same problem: they are obviously inspired by cartoon designs (their clothing is ridiculous), whereas the rest of the cast is dressed in a fairly sensible manner (and still true to their original designs).

But Lupin III is also not a very surprising film. It's actually quite predictable, and again, that doesn't automatically mean it's bad (because I am quite OK with formulaistic approaches), but there was very little I truly enjoyed in this film running more than two hours. One of the few scenes I really loved is at the beginning, when Lupin and Jigen make their way out of a gang hideout with their loot on their backs: the scene is obviously inspired by the opening of The Castle of Cagliostro and gave me a big smile and the hope this could be something good, but alas.

Also, the film was shot with an international cast, and the version I saw had everyone dubbed in Japanese (including some of the Japanese actors!), which was kinda distracting. Oguri Shun did an excellent Lupin III though (who also did Kudou Shinichi in some of the Detective Conan live action TV specials. Meaning he would be both Lupin III and Shinichi if they would ever do a live-action Lupin III VS Detective Conan).

Lupin III is a rather mediocre adaptation of the famous franchise. It occassionally hits the right tones, but doesn't more often than it does. And I heard a sequel was already under production. Huh. I hope the next film manages to come up with an atmosphere that fits Lupin III and its own live-action framework.

Original Japanese title(s): モンキー・パンチ（原）　『ルパン三世』

熱い心クサリでつないでも今は無駄だよ

邪魔する奴は指先ひとつでダウンさ

「愛をとりもどせ!!」 (クリスタルキング)

Even if you bind my burning hart with chains, it's no use

I knock down everyone who stands in my one with just one finger

"Take back my love!" (Crystal King)

I have a whole bunch of unread Edogawa Rampo volumes lying around here. It's basically my emergency kit: whenever I have nothing else to read, or I want to read something I know I can get through quickly and still have some fun with, I pick up one of these volumes. And so today, another of Rampo's novels.

In Edogawa Rampo's Akuma no Monshou ("The Crest of the Devil", 1937~38), an unknown enemy has threatened to wipe off CEO Kawate Shoutarou and his family of the face of this world. Because the famous detective Akechi Kogorou has left the country for other business, Kawate decides to hire Professor Munakatari, another private detective who has been making a name for himself as being at least the equal of the great Akechi Kogorou. But even Professor Munakatari has to admit that this case is a lot more complex, and the secret adversary much more dangerous than he had assumed. Without breaking even a sweat, the avenger manages to kill one of Munakatari's assistants, do the same with Kawate's youngest daughter and stage a disappearing act with the elder sister from a guarded room inside a well-secured house. The only clue Munakatari has is the murderer's fingerpint: this mark of the devil with three distinctive swirls appears on every crime scene, like a face laughing at Kawate and Munakatari.

Akuma no Monshou was originally serialized in the magazine Hi no De from September 1937 until October of the following year, with Yokomizo Seishi as its editor. Rampo was also busy with the serialization of Shounen Tantei Dan in the same period by the way, so it was a productive time for him. Wthin the oeuvre of Rampo, Akuma no Monshou holds a B-rank in terms of name I think: it's not as known as other works by Rampo, but it is certainly not an obscure title (I even have a comic version of it by The Accidents'Yamada Takatoshi).

But this is definitely not Edogawa Rampo at his best. A lot of the plot consists of reusing elements of other, and usually better stories he had written in the past and considering Rampo's strange fascination for mirrors, Akuma no Monshou ironically feels like a laughing mirror version of these stories. Mirrors appear in the form of a mirror house in this novel by the way, and you'll see a lot of other familar Rampo tropes too, but their use never feels original. It's all an inferior version of what Rampo had already done a lot better in the past. People hiding in stuff? Done better in The Human Chair. Public display of dead bodies and themes of voyeurism? Done better in The Dwarf. Mirrors and lenses? The Hell of Mirrors. A long detective story? Kotou no Oni was much more entertaining and it doesn't even come close to the excellent novella Nanimono (translation here). Every element in Akuma no Monshou has been done before by Rampo himself and much better.

And while I have the feeling Rampo was aiming for a traditional mystery plot with Akuma no Monshou, it's so full of silly stuff it is hard to take the novel seriously. The plan of the avenger is unneccessary complex and time-consuming, half of the plot is held together through threads of coincidence and luck and even though I absolutely love Rampo's work in general, even the sillier ones, I have difficulty finding something that really sets this novel apart from other Rampo stories in a positive way. The only part remotely interesting is the way the three-swirl fingerprint keeps turning up everywhere as the symbol of the avenger, but even that isn't really as terrifying as it could have been.

In general, Rampo has problems with longer stories. His novels were usually serialized, and he often just winged the plot together as he went (Kohantei Jiken for example). Because of that, a lot of stories feel very episodic and never really well planned out. This doesn't mean all of Rampo's longer works are bad: sometimes the chaos works (it certainly worked out for something like Ougon Kamen for example) and as the Lupin novels also show, episodic events do add a sense of thrill and adventure to the overall story. But Akuma no Monshou is an example of how it sometimes kinda falls apart and you're left with something, while not absolutely unreadable, is still not close what it could have been.

Personally, I have to admit that this has been a good lesson because for some reason, I've liked practically all I've read of Rampo. Even though I know he wasn't always at his best when at the writing table: there are actually quite a lot of his stories that were received quite badly when they were published and Rampo himself is the first to admit that a lot of his work isn't as good as it should be, one can read in his memoirs. But for me, Akuma no Monshou was the first story I just didn't manage to really like. Ah well, at least now I am sure I am not just a blind Rampo fanboy.

Akuma no Monshou is a very mediocre work by Rampo. You can find practically all of it, in a better form, in Rampo's other works. You're better off reading those stories, and if you have already, then there's no need whatsoever to read Akuma no Monshou.

Original Japanese title(s): 江戸川乱歩『悪魔の紋章』

I Miss You Miss Mystery

君の全てを知りたい

必ず暴いて見せる　

偽装られたアリバイを壊して

「Miss Mystery」 (Breakerz)

I miss you Miss Mystery

I want to know everything about you

I will reveal everything

And break down your alibi

"Miss Mystery" (Breakerz)

Strangely enough, this isn't my first book I got from South-Korea. I am making a guess though that this will be the first and only English write-up of this book out there... Also: this is actually the first book I started and finished in 2015. All of the books I posted about before, andfor months after this post, were read in 2014...

A Collection of Detective Stories from Keijou (original title: "Gyeongseong ui ilbon eo tamjeongjakpumjip") is one of the most interesting and odd book releases I know off. Like the title says: the book, released last year in South-Korea, is an anthology of detective stories written in Korea during the period the Great Korean Empire was colonized by Japan. Most of the writers featured in this anthology were Japanese living in Keijou (Seoul as it was called during the colonization) at the time, I think, but the book also features the very first detective story in Japanese written by a Korean. The 22 stories and essays (dating from 1927~1937) are scanned from their original sources (mostly magazines) and while it can be a bit difficult to make out the writing sometimes, the fact you can read everything like it was originally printed (together with the original illustrations) does add to the 'authentic' feel. The book ends with a postface that gives a paragraph or two about each story and the publishing background.

Now you know why I think this is an interesting release, but why odd? Well, except for the postface, everything in this book released in South-Korea, is completely in Japanese. As said, the contents consist of scans from their original sources and that means they were all written in Japanese. So yes, most people in South-Korea wouldn't even be able to read this book, even though it was published there! And even for those who do know Japanese, this book features pre-war Japanese, which has different spelling rules and can be quite difficult to read if you're only familiar with post-war Japanese. Add in the fact that the topic of the book, detective stories from Keijou, is probably not that popular and I really have to ask the question: who came up with the idea of publishing this book, in this particular form, in South-Korea? Heck, the contents of the book is from right-to-left (Japanese), even though the cover and binding is actually made from left to right (Korean)! I'm probably just missing some insight that explains the genius plan behind this book.

And a friend from South-Korea bought this curious book for me, so I can read it here in the Netherlands. Don't you just love overly complex international stories? My friend knows Japanese too by the way and she thought the book almost unreadable, to give you an idea of how common pre-war Japanese is.

I won't be discussing all of the 21 stories + 1 Edogawa Rampo essay in the anthology. Not only would that make this review way too long, I'll have to be honest and say that a lot of the stories are not particular good. Which for some stories, is even too nice a way of describing them. There are some stories that fall in the 'wide' crime genre, and some of the stories are literally: "A heinous crime happened. It was never solved. The end". So I'll just mention those that left an impression.

The book starts with Kui ni Tatta Mesu ("A Knife as a Stake"). The story was written by Kim Sam-gyu between 1929 - 1930 and is known as the first detective story written by a Korean in Japanese. The story starts with the murder on the heiress of a wealthy family, who is stabbed with a knife, which also holds the Spade of Ace card. This first victim is soon followed by more dead, each also being stabbed together with playing cards. The resulting chase for the unknown serial killer is a bit boring to be honest and the identity of the murderer is rather disappointing because there was just too small a cast and everyone ended up being related to the case for some reason or another. More interesting as an anecdote in history than stand-alone detective story.

The anthology features a great number of stories by the Keijou Detective Hobby Club (Keijou Tantei Shumi no Kai), which I think is a club of detective fiction lovers and writers. I say think, because the commentary included in the book that probably explains more about the club and its members is one of the few things in Korean. Which I can't read. Most of the club stories are relay-stories. Onna Supai no Shi ("Death of a Female Spy") starts out as a fairly amusing story where a female spy who infiltrated a communist group/revolutionaries is killed. Each new installment basically turns the story around and while it definitely does not seem like there was any planning done on the story, I had a couple of laughs seeing how each writer seemed to be intent on 1) turning everything the previous writer did around and 2) making things as complex as possible for the next in line. It's even more obvious with Mittsu no Tama no Himitsu ("The Secret of the Three Jewels"), which starts out as a Lupin-esque story where a man is suddenly given three jewels that appear to be the key to a horrible secret, which turns into a Russian melodrama in the second installment and finally the last installment which tries to make sense out of the two previous installments.

The anthology also features two Japanese translations of Sherlock Holmes stories. While Nazo no Shi ("The Mysterious Death") is a straight translation of The Speckled Band, the translation of Silver Blaze (under the title Meiba no Yukue, "The Whereabouts of the Famous Horse") is a bit more interesting. While the story is still set in England, everyone actually has Japanese names. I'd understand if the complete story had been moved to Japan, but why change the names, but keep the setting of England? It'd say it's even a bit distracting to have "Horimi" watch for curious incidents of dogs in night-time.

Houseki wo Nerau Otoko ("The Man Who Wanted The Jewel") by Sagawa Harukaze (better known as Morishita Uson) is a wonderfully hilarious story where a police inspector happens to learn of a jewel heist by a infamous thief and lays a trap for him. The story is short, but satisfying and invokes the spirit of the famou French gentleman thief.

Tenkyoushuu Daijuuichigou no Kokuhaku ("Confession of Asylum Prisoner No. 11") by Yoshii Nobuo (of the Keijou Detective Hobby Club) is another hilarious story of an asylum patient telling how he came to cry out "the wind is blowing, the wind is blowing!" which got him admitted in the mental hospital. It starts out so dark, but the ending is fantastic. It is not a real detective or crime story, but it certainly made me laugh. Ijiwaru Keiji ("A Spiteful Detective") by Yamazaki Reimonjin (kinda guessing the reading of the given name) too is a funny story about something that appears non-criminal at first, but ends with a little twist. His story is subtitled "a detective sketch", so that gives the reader an idea of what to expect.

A lot of the stories are "crime" stories and while as pieces of fiction, they don't impress at all, I do have to say I found these stories interesting as relics of the past, because I normally would have never even thought of trying these stories. With the stories dating from 1927~1937, it's funny to see how many of these stories feature communists and left-wing activists as a source of evil. There's also a faint anti-foreigner tone to be found at times. I don't think people would nowadays read these stories just for fun (I wouldn't), but presented in this form, I thought it was fun to read these stories for a chance, instead of the time-proven classics of yore. Another element that really made you feel these stories were from another time and space was the censoring! Sexual expressions were censored, but that made some stories actually appear more erotic than they probably were. (Ex: "And then he XXXXXXXXXXXXXXXX her.").

It is not directly related to the contents of the book, but I had fun reading pre-war Japanese. I had read some short stories before, but never something as long as this. It's not completely different from modern-day Japanese, but it takes a while to adjust to the alternate spelling conventions and more complex characters. Still. it only makes me wonder more why a book in pre-war Japanese is published in modern-day South-Korea.

While not all stories of A Collection of Detective Stories from Keijou are as amusing, I quite enjoyed the book overall. While I have some questions about the specifics behind this publication and I really have to wonder how many people bought this book, I think the book does offer an interesting look in an otherwise overseen element of both Japanese and Korean detective fiction history.

Original Korean title: "경성의 일본어 탐정 작품집"
Original Japanese title(s): 金三圭「杭に立ったメス」 / 山崎黎門人、阜久生、吉井信夫、大世渡貢「女スパイの死」 / 山岡操、太田恒彌、山崎黎門人「三つの玉の秘密」 / Arthur Conan Doyle, 芳野青泉（訳）「名馬の行方」 / Arthur Conan Doyle, 倉持高雄（訳）「謎の死」 / 秋良春夫「捕物秘話」 / 青山倭文二「水兵服の贋札少女」 / 青山倭文「犯罪実験者」 / 総督府、野田生「青衣の賊」 / 末田晃「猟死病患者」 / 森二郎「共産党事件とある女優」 / Y・黎門人「彼をやっつける」 / 白扇生「闇に浮いた美人の姿」 / 倉白扇「暗夜に狂う日本刀脳天唐竹割りの血吹雪」 / ヒアルトフ・アルクナア伊東鋭太郎（訳）「夜行列車奇談」 / 佐川春風「宝石を覘う男」 / 木内為棲「深山の暮色」 / 山崎黎門人「意地わる刑事」 / 山崎黎門人「蓮池事件」 / 吉井信夫「癲狂囚第十一号の告白」 / 古世渡貢「空気の差」 / 江戸川乱歩「探偵趣味」

I'm singing in the rain

Just singing in the rain

What a glorious feelin'

I'm happy again

"Singin' in the Rain" (From: Singin' in the Rain)

Today's topic has a rather long title. I think the longest and boring title that has passed by on this blog for now is of a game though: A Steamy DS Suspense Mystery - The Data Files of Freelance Writer Tachibana Maki - Toyako / The Seven Spas / Okuyu no Sato.

One day, mystery writer Ishioka Kazumi tells his friend and detective Mitarai Kiyoshi about an interesting story he heard on the radio: according to the caller, some nights ago, during a heavy rain, he saw a beautiful woman dressed in a white one piece place her umbrella on the road. Several cars evaded it, but finally one car drove over the umbrella, breaking it. The woman then picked up the umbrella and continued down the road. Ishioka thinks it's a mystifying tale, but Mitarai quickly deduces that there must have been a reason for the woman to do so and infers a criminal event behind it all. A corpse is indeed discovered in an apartment building near where the woman was seen and the police once again (unofficially) depend on Mitarai to help find the women in white in the TV drama special Tensai Tantei Mitarai ~ Nankai Jiken File "Kasa wo Oru Onna"~ ("Genius Detective Mitarai ~ Difficult Case Files: The Woman Who Broke Her Umbrella") (or Kasa wo Oru Onnna for short. Why do Japanese TV specials always have these impossibly long titles?!)

The Mitarai Kiyoshi series is a long-running novel series about the astrologist-turned-private-detective-turned-neurologist Mitarai Kiyoshi and his mystery writer friend Ishioka Kazumi, written by Shimada Souji. Since their debut in The Tokyo Zodiac Murders (1981), the duo have been solving a great number of strange cases, with some of their adventures widely seen as among the best of Japanese detective fiction in general. The TV drama Kasa wo Oru Onna ("The Woman Who Broke Her Umbrella"), broadcast on March 7 2015, is the first time the series has been adapted to the screen and is based on a short story originally included in Shimada's novelette collection UFO Oodoori ("UFO Main Street", 2006).

I have not read the original story, but overall, I quite liked this TV special. The opening parts are definitely the best: it starts off with a great scene where Mitarai and Ishioka show off their Sherlock Holmes-Watson-esque relation and where Mitarai manages to deduce a shocking truth behind Ishioka's story about the woman and her umbrella. The problem itself resembles one of those everyday life mysteries (a woman purposely breaking her umbrella in the rain), but it soon turns into a full-fledged murder investigation, where Mitarai manages to show his superior intellect. I really enjoyed the first quarter of the special.

But the special then fails to get in a good pace then, which is partly intentional, partly unintentional, I think. The first half of the special is mostly done with just four characters: Mitarai, Ishioka and two police inspectors, who discuss the case from various angles. This is a set-up I usually really like in novels, just characters bouncing off ideas of each other, but in Kasa wo Oru Onna, it is a bit dry, even if actually a lot of ground is covered through those discussions. I can definitely understand if people find this part too boring too, as there is little tangible progress done in these scenes. By the time we reach the latter half of the TV special, I feel the novelette has been stretched out too thin: most of the elements needed to solve the case have already been mentioned, but it still takes ages to get to the conclusion. The final solution to the mysterious case of the woman and the broken umbrella is okay: its scale works for a TV production (I'd love to seeNaname Yashiki no Hanzai on the screen, but whether it would work?), and it has the TV-drama angle, but personally, I find the deductions that started the case a lot more interesting than the truth revealed in the conclusion.

Oh, and a highlight in Japanese TV dramas of the last 10 years or so are the scenes when the detective solves the case in his/her head. Catchphrases have always been a thing, but I think the first 'big' one is Galileo, where the titular Yukawa "Galileo" Manabu suddenly starts writing equations at random surfaces (ground, windows, tables, glass showcases...), and it appears that each new TV drama tries to top that with its own take on it. Recent examples of fairly elaborate "it's solved" scene are throwing paper in the air (SPEC), random flashes of the relevant facts together with irrelevant and slightly disturbing shots of an unknown woman (Watashi no Kirai na Tantei) and multiple personalities talking to each other (Subete ga F ni Naru). Kasa wo Oru Onna naturally also features one that visualizes the way Mitarai sorts out the case in his head.

I have to say, the actors chosen for Mitarai Kiyoshi and Ishioka Kazumi were quite interesting, to say the least. Mitarai was played by Tamaki Hiroshi, who fairly recently played the lead detective in the TV series Watashi no Kirai na Tantei. Ishioka Kazumi is a non-detecting Watson-esque role, but actor Doumoto Kouichi played the armchair detective in Remote (2002), as well as the supernatural-werewolf-detective in Ginrou Kaiki File (1996). I wonder if there's some kind of shortlist for possible leads in detective series in Japan.

Also, I thought it is worth noting that the leads were two males. The last few years, Japanese TV dramas based on novel series seemed to have been pushing the male + female duo as protagonists (for the romantic tension it creates on screen). Well, I guess Subete ga F ni Naru is just following the originalS&M novels, but the original novels behind TV drama like Galileoand Watashi no Kirai na Tantei did not feature (heavily) the male+female duo: characters were rewritten just for the TV series. But on the other side, this series was also (slightly) catering to the fangirls(or boys) with some lines between Mitarai and Ishioka, similar to what Sherlock has been doing. I think it is also (slightly) present in the original novels, but never as obvious and elaborate as in Arisugawa Alice's Writer Alice series.

I think they were planning to produce more of these specials in the future, depending on the ratings. I am not sure how well it did, but I think Tensai Tantei Mitarai ~ Nankai Jiken File "Kasa wo Oru Onna"~ was a fun TV special that serves as a good introduction to the long-running series. Now I hope they take on one of the older, grand-scale locked room mysteries in the series.

Original Japanese title(s): 島田荘司（原) 『天才探偵ミタライ～難解事件ファイル「傘を折る女」～

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白川疏水通で大文字送り火

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