The Author is Dead (2022) by A. Carver

The Author is Dead (2022) is an independently published locked room mystery novel by a pseudonymous author, "A. Carver," which is described as "a fair play mystery novel uniting the detective revivals of Robin Stevens and Anthony Horowitz with impossible crimes worthy of John Dickson Carr and Christianna Brand" – structured like a Japanese shin honkaku mystery. Carver's The Author is Dead is a Western take on shin honkaku novels like Yukito Ayatsuji's Jukkakukan no satsujin (The Decagon House Murders, 1987), Masahiro Imamura's Shijinso no satsujin (Death Among the Undead, 2017) and The Kindaichi Case Files series. The mysterious author undeniably succeeded in laying out an elaborately designed, maze-like plot that paid homage to the traditional detective story of the past and present. That playful, meta-like fun also makes the story tricky to discuss without spoiling any of the fun. So have to gloss over a lot of details, including most of the impossibilities. Let's dig in! 

Alex Corby is a teenage girl nearing her twenties and has been devoted fan of Adam Carver's Castles in the Sky series ever since she was a child. Castles in the Sky is "a quartet of young adult mystery thrillers set in Gothic times" and eerie castles where "baffling murders occurred with probability-defying frequency" in a "parade of ever more unfathomable locked-room mysteries." Alex has been active on a fansite, Besieging Heaven, since she was twelve under the username "RedRidingBlood."

The long-awaited, eagerly anticipated conclusion to the series has recently been published to the predictable complaints of hardcore fans that "the finale wasn't a patch on the preceding volumes," but nothing to put a dent into the astronomical sales. So the author decided to throw a private party at his house on the Scottish coast, Carver's Rest, to celebrate both his birthday and the smash of the Castles in the Sky tetralogy. Carver's Rest is not an ordinary house, but a self-designed dream house resembling a medieval castle complete with a drawbridge, "only way in or out," which turns the place into an island – a dream destination to any die-hard fan of the series. Alex won a members-only contest through the fansite and arrives horrendously late during a cold, snowy night when most of the party has already retired to their rooms.

This is the first part of the story that requires glossing over as Alex "felt a little like the heroine of Castles in the Sky on that fateful night" and stumbles across an "impossible crime that had vanished in the night." What, exactly, that impossibility comprises of is something for you to discover, but can reveal it's the first of four locked room mysteries in which the culprit turned the crime scene into a "taped-shut tomb." These locked room problems are an homage to Carter Dickson's He Wouldn't Kill Patience (1944) and Clayton Rawson's 1948 short story "From Another World" ("Carr and Rawson both wrote taped rooms; even challenged each other to do it, actually..."), which all have new and very different solutions to the tape-sealed rooms. Since the locked room vanished without a trace, Alex decided to keep it to herself the next morning when she meets the other attendees. The professionals and her fellow fans.

Firstly, there's Adam Carver's literary agent, Maria Bole, and his illustrator, Quinn Shillerdyce, who had "so richly furnished Castles in the Sky with his portrait-style art and characteristic oil-painting covers." Franny Smythe is the creator of the Humble Mom Reviews blog and "a high-profile supporter" of the series who's always first to get a review-copy. Secondly, there's the fan-section headed by the admin of the fansite, Vi Malik ("SiegeMasterV"), who created Besieging Heaven shortly after the publication of the first novel, Death in the Walls. Colin West ("DaVinciCorpse") is the fan community's "chief supplier of gothy fanart" and Yva Dysart ("BardOfDeathY") writes the fanfiction to his fanart as well as providing the story with plenty of false-solutions. "Corvus Crown" is the community's "theorist extraordinaire," of whom nothing is known, but "had solved the central mystery of Hand at the Threshold from only its synopsis" and "deduced the entire plot of A Coffin Nail Creaks from a pre-release preview chapter." Crown's vision of what the final, long-delayed volume might look like was realised by Colin and Yva "as the infamous fan-novel The Fourth Wall Crumbles." Lastly, there's the host's wife, Victoria Carver, who's neither in the publishing business nor a fan.

Some of you who follow this blog and share my fascination for the Japanese detective story can see the resemblance to the previously mentioned The Decagon House Murders and The Kindaichi Case Files. The internet fangroup recalls Seimaru Amagi's third Kindaichi light-novel, Dennō sansō satsujin jiken (Murder On-Line, 1996), which is possibly the first traditional whodunit to use the internet in a meaningful way and centers on an online chat group of mystery fans, the On-Line Lodge – who have a disastrous offline meeting at a sky resort. Just like this story, most of the (main) characters are either teenagers or barely out their teens. I noted in my review of Jim Noy's The Red Death Murders (2022) how much joy it does me to see how the Western and Eastern detective story have interacted over the course of a century. Edogawa Rampo introduced the Western-style to Japan over a century ago, which evolved into the honkaku mysteries of Seishi Yokomizo to eventually give rise to Soji Shimada and the shin honkaku movement in the 1980s. A movement that rejuvenated the genre with its young, college-age detectives, corpse-puzzles, customized architecture and unashamedly embracing all of the genre's tropes to simply have a bit of clever fun. Now those ideas and attitudes are beginning to journey back to the West to help ignite a Second Golden Age. The Author is Dead, The Red Death Murders and certain elements from the work of James Scott Byrnside are only the first sparks. Like you would expect from such a mystery novel, the murders and sealed rooms begin to stack up pretty quickly.

I can't discuss those sealed rooms and impossibilities in depth, because they're either incredibly tricky in presentation or tethered directly to the who-and why. I can lightly touch upon some of them without concentrating on the finer details.

Beginning with the second, no-footprints-in-the-snow impossibility that interestingly employs a tape-sealed door as an obstacle to the outdoors crime scene where the drawbridge and a broadsword is used to go medieval on the poor victim. This impossibility provides the story with very fun false-solution that would require a ball of yarn the size of your cat's wildest daydreams. I'm not saying anything about the third sealed room scenario, but the fourth and last one makes a spirited attempt to present "the fourth murder was a perfect locked-room murder." A room sealed airtight with one door taped shut, the second door locked and the balcony covered with unbroken snow. I really liked the logical paradox at the heart of this trick (you know what when you read it), but have a problem (SPOILER/ROT13) gung gur fbyhgvba nqzvggrq gung "orngvat gur fabj jnf whfg n obahf" naq gur zheqrere jbhyq unq "cebonoyl whfg unir fjrcg gur jubyr onypbal," vs gurer unq orra ab jnl gb trg npebff vg. Naq vg jnf irel pbairavrag ubj gur fgbel nyybjrq gur zheqrere gb pvephzirag guvf bofgnpyr. Vg jbhyq unir orra zber pbaivapvat unq gur zheqrere orra sbeprq gb erzbir gur fabj, juvpu pbhyq unir freirq nf n pyhr gung ng gur gvzr jbhyq abg qrfgeblrq gur ybpxrq ebbz vyyhfvba. N pyhr gung pbhyq unir orra pnzbhsyntrq jvgu n irel yvtug, dhvpx fubjre bs nsgre fabj gung jbhyq yrsg n irel guva fabj ba gur onypbal. Fb vg jbhyq nccrne ba svefg fvtug nf vs gur onypbal unq n pnecrg bs haoebxra fabj, hagvy fbzrbar abgvprf vg'f bayl n guva svyz naq gung cerivbhf fabj zhfg unir orra pyrnerq njnl.

Other than that tiny niggle, the locked room-tricks impressively tackled the seldom tried tape-sealed room scenario with four distinctly different setups and solutions, which not merely carries and gives weight to a routine whodunit plot – which is beautifully tied together with who-and why. Or, as Alex reflects, "the truth was something they had felt would be neither accepted nor understood without the support of a whydunnit and a howdunnit." A pet peeve of mine is how often the motive is treated like an afterthought in detective stories, which I still consider to be an important piece of the puzzle. So it was fun to see it get acknowledged ("you only ever find them out after the criminal's been caught, and it's usually something you couldn't possibly have anticipated") and getting properly treated.

So the story has a strong genre awareness and its playfulness is one of its absolute strong suits. For example, the introduction comes after the third chapter ("please excuse the late appearance") and several more interruptions follow culminating with an audacious Challenge to the Reader. While the other interruptions put Carr's "The Locked Room Lecture" from The Three Coffins (1935) and Ronald A. Knox's "Ten Commandments for Detective Fiction" to work as clues or red herrings. My only problem is that Knox's rules were a little modernized with the fifth rule being changed to "there must be no stereotypes among the cast," which The Author is Dead broke left and right. Half of the cast of characters are members of a fandom that's active online. And you can tell! Just look at what Jim and I did when we got slightly annoyed at a lazily cobbled-together anthology (the result). We didn't break any stereotypes that day. Before going over a few of the expected drawbacks in this self-published debut, I need to praise a phenomenal piece of misdirection. I spotted the murderer, figured out the first impossibility and had a pretty good idea how the second one could have been rigged as (ROT13) gur pnaqyrf va gur tngrubhfr jrer snveyl zragvbarq naq gura vtaberq hagvy vg jnf rkcynvarq, juvpu vf rabhtu gb znxr zr zvtugl fhfcvpvbhf. Only to have it apparently smashed to pieces in front of my eyes! And the best part is that was done (ROT13) jvgu n cresrpg rknzcyr bs jung V dhnyvsl nf na vzcbffvoyr nyvov.

So, while certainly an ambitiously written and plotted debut, not everything was done exactly perfect. Firstly, the characters like to stall and take their time to get their point across or go somewhere. I found it amusing when they were outside theorizing and someone remarked they're "still virtually outdoors in the icy cold" and says that "theory will be just as good inside." I remember that was my criticism of a short story by Paul Halter, but it happens throughout the story and becomes particular annoying when they take their time to get to the fourth sealed room. One of the characters casually mentions he might have found another tape-sealed room, which is lost in conversation until Alex remembers the startling announcement. It takes roughly two whole chapters to eventually get into that room. They have a pretty solid reason to get to that room as quickly as possible, because (ROT13) gur cerivbhf frnyrq ebbz fubhyq unir znqr gurz njner bs gur cbffvovyvgl gung gurer zvtug or fbzrbar va gur ebbz jub'f nyvir naq va arrq bs uryc. So their lack of urgency in getting to that room became a little vexing. I'm sure a good editor (Jim?) could trim down or iron that out. Secondly, the book has a three-story floor plan of Carver's Rest, but no floor plans or diagrams for the four locked room-puzzles. Not that diagrams or more floor plans are absolutely necessary, however, they always feel conspicuous by their absence when there's a whole parade of miracle crimes passing by. And there are readers who have trouble picturing such tricks in their mind's eye. My last piece of nitpicking is not so much a flaw as it a limitation.

Carver's The Author is Dead is a mystery reader's detective novel straddling the dividing line between a handful of different periods, styles and subcategories like the Golden Age detective fiction, locked room mysteries, young adult and the Japanese shin honkaku style – particularly resembling its anime-and manga incarnation. So not every single reader is going to fully appreciate, or get, the story as those (specialized) styles and periods don't always have a large, overlapping readership. Someone who decides to pick up the book for its Young Adult template (Enid Blyton gets name checked) would likely find the theorizing and lack of action heavy going, while a reader of Golden Age mysteries is usually not overly familiar with what has been going on in Japan. Such as its anime-and manga versions. When they do, they often find the combination of minors and gruesome murders jarring. So the only readers who'll fully appreciate The Author is Dead are that small collection of batshit basket cases who are so obsessed with locked rooms and impossible crimes, they scour every nook and cranny of the genre to find them. If you have been following this blog, you know what I mean. A sure fire way to lodge your work tightly in the hearts and minds of impossible crime fans, but not every mystery reader is drags a copy of Robert Adey's Locked Room Murders (1991) around like a Holy Book or has bookmarked John Pugmire's "A Locked Room Library" ever since it was posted back in 2007.

However, nitpicking aside, I think most will agree the only thing really lacking here is a little bit of trimming and some polish, which is quite an accomplishment for a self-published debuting mystery novelist to the point you can call it prodigious – comparable to Byrnside's Goodnight Irene (2018). There are naturally a couple of flaws and imperfections to be found, but to already have such a tight grasp on a multi-layered, complicated and entangled plot stuffed to the gills with locked room murders, quirky, recognizable characters and meta-clues was a joy to come across in a self-published mystery novel. Hopefully, The Author is Dead won't be the last we'll see from the mysterious "A. Carver."

Even more importantly, my theory of why and how a Second Golden Age is going to take shape is starting to come true. During the late 1990s and 2000s, the internet handed a new and open market place to independent publishers and secondhand book dealers as well as giving easy access to public domain work, which steadily increased the availability of normally hard-to-find or even completely forgotten Golden Age authors and novels. I predicted in the 2000s (wrote about it in 2014) that next would be Renaissance Age of reprints (I was right!) and how that period of rediscovery will come to be seen in the decades ahead as the herald of a Second Golden Age. What I didn't foresaw was the influence of the Japanese detective story, but I'm not complaining. Now we're not yet in the throes of a Second Golden Age. I think we're still in 1912 as the first writers and detective-characters began to emerge from the shadow of Sherlock Holmes, but we're slowly getting there. Mark my words!

The Further Misadventures of Ellery Queen (2020) edited by Josh Pachter and Dale C. Andrews

The Misadventures of Ellery Queen (2018) is a tribute to the American detective story, Ellery Queen, which collected a selection of quality pastiches, parodies and a potpourri of short stories paying tribute or poking fun at all things Elleryana – written by a who's who of the traditional detective genre. A smorgasbord of laudatory tributes from such notable short story writers as Jon L. Breen, William Brittain, Edward D. Hoch and Arthur Porges and mystery novelists like Lawrence Block and Pat McGerr. The anthology was apparently successful enough for Wildside Press to commission the editors, Josh Pachter and Dale C. Andrews, to put together two additional volumes with The Misadventures of Nero Wolfe (2020) and The Further Misadventures of Ellery Queen (2020).

I've not gotten around to The Misadventures of Nero Wolfe with the exception of one short story, Thomas Narcejac's "L'orchideé rouge" ("The Red Orchid," 1947), because it has a lot of excerpts from larger works. And that doesn't really appeal to me. The Further Misadventures of Ellery Queen, on the other hand, has been near the top of the pile for nearly two years and the reason why I only just got around to it is my obsession with obscure, rarely collected or anthologized short (impossible crime) stories. 

The Further Misadventures of Ellery Queen has a similar structure as The Misadventures of Ellery Queen with anthology being divided in five parts, "Prologue," "Pastiches," "Parodies," "Potpourri" and "Postscript," but the stories from both anthologies compliment each other – continuing and even completing a few short-lived series. For example, it contains the second of two Celery Green stories by Porges and a second case for Pachter's young E.Q. Griffen. So put on your pince-nez, pretend you went to Harvard and jump into the Duesenberg. We're going on a road trip through Ellery's Wonderland.

The collection opens with J. Randolph Cox's "The Adventure of the Logical Successor," originally published in the September 1982 publication of the Baker Street Journal, which serves as the collection's prologue. It's not really a detective story, but tells the story of a retired Sherlock Holmes who has "succeeded in replacing the pursuit of the underworld with the keeping of bees." However, the Great Detective keeps getting visitors who aspire to take on his mantle. There were two Americans, Nick Carter and Craig Kennedy. A Montenegrin of "somewhat corpulent proportions" and "a little Belgian fellow with an enormous ego," but only when a young Ellery Queen comes knocking does Holmes sees a potential and logically successor to his legacy. But only "if he can overcome his affectations" and "tendency to impress people with how correct he is in his deductions." And "if he is fortunate enough to find the right Boswell." So a fun little opening yarn playing on one of my guilty pleasures (crossovers).

The second part with pastiches begins with Maxwell E. Siegel's "Once Upon a Crime," written in 1951 when Siegel "was seventeen and besotted with Ellery Queen," but the story was not published until it appeared in Old-Time Detection #16 (2007). Siegel story's casts Ellery as a middle aged writer who's "running out of ideas for his novels" and his turned to children's books, fairy tales and nursery rhymes for inspiration. But, one evening, his study is burglarized, vandalized and the book-lined walls strewn with flowers. This sets in motion is a string of bizarre, seemingly unrelated incidents without apparent rhyme and reason. Ellery is struggling to find a logical link to tie them all together, which he eventually does. Admittedly, the story is nicely done piece of fanfiction, but, even in the world of EQ, it seems like (ROT13) n ebhaqnobhg jnl gb qryvire n zrffntr.

The next story is actually the first half of Chapter 11 from Marion Mainwaring's Murder in Pastiche (1954), but skipped it as the book is currently awaiting trial on the big pile.

Edward D. Hoch's "The Circle of Ink," originally published in the September/October, 1999, issue of Ellery Queen's Mystery Magazine, resettles the series in modern times and finds Ellery Queen lecturing applied criminology at a university – reflecting on how casual classroom dress had become and the presence of laptop computers. Wherever Ellery goes in the world, or time, there's usually a murder or two waiting just around the corner. And he soon learns that Professor Androvney was shot and killed in his office at the university. A murder linked to four other shootings on the Upper West Side during the past few weeks, which all have two things in common: the victims were shot with .22-caliber target pistol (likely equipped with a silencer) and "a small red circle on the back of each victim's left hand." That's where the commonalities end. So do they have a Son of Sam-type serial killer on their hands? Ellery cautions that serial killers shouldn't be confused with series killers "who kill a certain number of people with some goal in mind." While they're both insane, the series killer's insanity is "twisted into a pattern the killer can see." Find the pattern and you know whodunit. Since this is an EQ story, there's method to the murderer's madness with a decidedly classical touch to the motive. Leave it to Hoch to deliver one of the better and more entertaining detective stories of the collection!

Mă Tiān's "The Japanese Armor Mystery" (2005) was translated from Chinese by Steve Steinbock and is my favorite story from the collection as its plot is firmly rooted in the Japanese shin honkaku school of detective fiction. The story is set in a small, unassuming town, Montreux, where Joseph Marlow retreated to raise his four adopted children in quiet luxury, but, as the old patriarch got old, he also got sicker. And, as the story opens, he's dying of cancer. During a cold, winter night, the family mansion becomes the scene of a bizarre double murder. A noise rouses the household and they find the body of a local troublemaker outside in the snow, but what's weird is that the body is clad in "a suit of samurai armor made completely of wood." He had been shot at close range without any footsteps in the surrounding snow! A second shot is heard and Marlow is discovered dead in his bed. Fortunately, Inspector Richard Queen, Ellery Queen and Nikki Porter happened to be in the neighborhood to lend the local police a helping hand. What's uncovered in less than 15 pages could have easily supported a novel-length story as it has literary everything. A snowy country house. A murdered patriarch and an impossible crime that form a "two-body problem." Alibis and clues. A somewhat surprising solution that I should have seen coming, but was too busy starring myself blind on a completely wrong pet theory. But loved the story. It reminded me of what you would get if you combined a 1930s Christopher Bush novel with John Dickson Carr-style impossible crime.

The next story is "The Mad Hatter's Riddle" (2009) by Dale C. Andrews, but already read and reviewed the story back in 2020. However, it has to be said that the title of the story ended up outshining most of the plot. You have no idea how brilliant it's until you read the solution. 

"A Change of Scene" by Jane Hutchings, editor of Ellery Queen's Mystery Magazine, is original to this anthology and has Ellery Queen, Nikki Porter and Inspector Queen going to Chicago during the holiday season to do some sight seeing, Christmas shopping and watching the Christmas parade with floats – celebrating both the season and the city's storied history. During the parade, William Nagel was in the crowd with his wife and relatives. One minute he was right there beside his wife and the next moment he was gone. Did he disappear voluntarily or did his union job get him into trouble with the mob? Either way, Nikki has "a desire to beat Ellery to a case's solution" and begins to investigate on her own. A pleasant, lightweight detective story with a quasi-impossible problem that made good use of its historical setting.

Arthur Porges' "The Indian Diamond Mystery" first appeared in the June, 1965, issue of EQMM and is reprinted here for the first time to open the volume's parody section. So who better to do the honors than Celery Green. This is almost a direct sequel to the previous Celery Green tale, "The English Village Mystery," in which Inspector Dewe East "scored a minor triumph" in titular village with assistance of the well-known American detective, Celery Green. Not before "almost the entire population had been exterminated." Inspector East has an opportunity to redeem himself when a tip puts him on the trail of a well-known, international jewel thief, Fanfaron Mironton, who "stole the hundred-thousand-guinea Indian diamond." Mironton is trapped inside a hotel, tries to shoot himself out of a tight corner and is eventually arrested, but "there was no trace of the Indian Diamond." Luckily, Celery Green is still in England and usually needs no more than a few hours to solve a crime. And he quickly figures out how the diamond could have vanished from a closely guarded hotel. The solution is in principle not impossible, but Porges made it extremely silly.

The second parody is Jon L. Breen's "The Lithuanian Eraser Mystery" (1969), but also reviewed that story back in 2019. So moving on to the next EQ spoof. 

"The Little Sister in Crime" by Theodore B. Hertel, Jr. originally appeared in a chapbook that was put together for the 1997 Bouchercon with Raymond Chandler's The Little Sister (1949) as a kind of unifying theme. All of the stories had to be titled "The Little Sister in Crime" and had to be set a fictional Bouchercon between 1920 and 1941 with a number of obligatory references and scenes that had to be included. So the story gave Ellery a little sister, Hillary Queen, who accompanied her father and brother to Bouchercon where they meet all the famous detectives like Philip Marlowe, Nero Wolfe and Perry Mason – most of whom either employ ghost writers to get their names out or trying to find one. Ellery Queen hires two cousins in New York to put together stories based on his cases and pays them "a pittance to do so." One of the attendees is a depressed Barnaby Ross who hasn't much work since Drury Lane's Last Case (1933) was published. But was it the reason why he committed suicide in his hotel room? And was the message scrawled in blood a dying message or a suicide note? There's a "Challenge to the Reader," but the solution couldn't have been more telegraphed if the story had been stuck in an anthology entitled The Further Misadventures of Ellery Queen. Still a fun little story.

Jon L. Breen and Josh Pachter's "The German Cologne Mystery" had a long road to publication and began sometime during the 1970s as solo-effort by Pachter to write an EQ parody, which was originally titled "The Cologne Cologne Mystery." But the story was turned down by EQMM. Years later, Breen got to tighten up the story and was published in the September/October, 2005, issue of EQMM thirty years after it was originally conceived. The celebrated mystery writer and amateur detective, Celery Breen, is playing cards in a room of the Hotel Madrid when someone gets himself killed down the hall. Carlos Nacionale is lying in a pool of blood and clutching a pair of ordinary dice between his right thumb and forefinger, but Celery ensures his father, Inspector Wretched Breen, the victim had been poisoned and the slit throat was simply a shaving accident as all the classic symptoms of poisoning are there – no heartbeat, no pulse, no nothing ("Q.E.D."). Celery believes the dying message will reveal the source of the poison, but Inspector Breen draws a different conclusion. A very fun take on both the fallible detective and the exasperating sleuth who can't get to the point.

Rand B. Lee is the son of one half of the EQ writing team, Manfred B. Lee, whose "The Polish Chicken Mystery' is published here for the first time and has three famous detectives answering that age-old question. Why did the chicken cross the road? I didn't care much for Miss Marple's solution, but liked the one Sherlock Holmes came up with and Ellery Queen had the best answer. Although he had more to work with it. A fun short-short.

One of the highlights of the previous anthology was Josh Pachter's "E.Q. Griffen Earns His Name" (1968), which he wrote when he was sixteen and concerns the eleven children of a policeman all named after famous detective characters. “E.Q. Griffen's Second Case” is the sequel and first appeared in the May, 1970, issue of EQMM and has E.Q. assisting his father with the murder of a hippie, poet and children's author. Garrett Conway was stabbed while walking down the street, but Conway, "long familiar with the doings of children," scrawled a dying message on the concrete. A simple "1 2 3." The answer to the problem is not bad and a child would likely catch on to the meaning of the dying message faster than an adult, but the Author's Note explained that readers at the time complained about the dying clue. There's a technical flaw in it and a few simple changes would have improved the story, but Pachter decided to leave it as he originally wrote it. I agree and respect that. This story and premise of the whole series is nothing to be ashamed off considering how old he was when he wrote it. I still want that Gideon Fell Griffen locked room story!

Arthur Vidro's "The Mistake on the Cover of EQMM #1" (2018) was first published on the EQMM website and is more of a snacksized puzzle than a story with the story title summing up the puzzle. However, this short-short puzzle is loaded with Easter eggs and there's a lengthy Editor's Note ("Easter in the Autumn") pointing them all out. 

"The Pink Pig Mystery" by Jeffrey Marks is original to this anthology and visits an often overlooked patch of the Elleryverse, the Ellery Queen Jr. series. Between 1942 and 1966, eleven juvenile mystery novels were published with nine starring a young Djuna and his Scottish terrier, Champ. Marks returned took a stiff dose of childhood nostalgia and returned to the series with a story set during the Second World War. There were talks in Manhattan "about bomber strikes like the ones in London" or "the kamikaze attacks on Pearl Harbor." Ellery packed up Djuna and Champ to the country side, but there they become involved (together with two other kids) in the mystery of a pristine pink pig in a muddy pigsty. Very much a children's mystery with a simple, straightforward plot, but perfectly replicated those vintage juvenile mysteries and the EQJR series.

The collection ends with a postscript from the real "Ellery Queen," Frederic Dannay and Manfred B. Lee, which is an anecdote illustrating "the authors' recognition (and humility) that their deductive powers do not match those of their fictional detective." The piece is fittingly titles "The Misadventures of Ellery Queen" and made perfect ending to the collection. 

So, on a whole, my opinion of The Further Misadventures of Ellery Queen is pretty much the same as The Misadventures of Ellery Queen. Not every story is a winner or will stick in your mind, but not a single truly bad story or even one I just disliked. An impressive accomplishment for any short story collection, but especially impressive when it's an anthology of pastiches, parodies and homages written by a bunch of unapologetic fanboys and fangirls – which makes it even more impressive I liked both anthologies. As some of you regulars know, I'm not very big fan of pastiches in general and stand with Rex Stout that authors should “roll their own,” but never had much of problem with EQ pastiches. Probably because the series (sort of) allows for all these alternative universes to exist. Hopefully, a third anthology is somewhere in the future as their should be more than enough material left. There's Donald A. Yates' "The Wounded Tyrolean" (c. 1955), Rintaro Norizuki's "Midori no tobira wa kiken" ("The Lure of the Green Door," 1991), Dale C. Andrews' "Four Words" (2020) and the uncollected radio scripts. Highly recommended to every EQ fan!

A note for the curious: I don't know if there anymore Misadventure anthologies in the work, but there's American detective character with the name recognition and more than enough material associated with him to cobble together The Misadventures of Philo Vance.

The Shanghai River Demon's Curse (1997) by Seimaru Amagi

During the 1990s and early 2000s, the co-creator of The Kindaichi Case Files, Seimaru Amagi, wrote nine "light novels" in the series and four were translated as part of either the Kodansha English Library or Kodansha Ruby Books, which were intended as an educational tool to help improve the English of Japanese readers – not to dazzle Western readers. Hence, each novel ends with a nearly thirty-page long English-Japanese vocabulary list. 

According to our resident expert, Ho-Ling Wong, the English editions enjoyed a long print-run in Japan and there must be "a fair number in circulation," but, in the West, copies have become as rare and elusive as a Kappa. Not quite rare or obscure enough to elude me forever!

Several years ago, I came across Dennō sansō satsujin jiken (Murder On-Line, 1996), which is possibly the first detective novel to use the internet meaningfully in a traditionally-styled mystery complete with an isolated, snowbound setting and ironclad alibis. You can borrow a digital copy from the Internet Archive. Next one that fell into my hands was Operazakan – aratanaru satsujin (Opera House, the New Murders, 1994), published in English simply as The New Kindaichi Files, but the plain, uninspired title hides a classic, first-rate theatrical locked room mystery – translating into my favorite Kindaichi title to date. Ikazuchi matsuri satsujin jiken (Deadly Thunder, 1998) is a very minor, short and somewhat flawed detective story, but you can cross-off some of its shortcomings against an imaginative piece of miniature world-building and an inventive impossible crime. So that left with me with one more title to track down. 

Shanhai gyojin densetsu satsujin jiken (The Shanghai River Demon's Curse, 1997) is the fifth novel in the series and the third to be translated, which turned out to be a bit of an odd duck. 

The Shanghai River Demon's Curse brings Hajime Kindaichi and Miyuki Nanase to Shanghai, China, where the famous Yang Variety Troupe performs a daily, two-hour variety show at the Mermaid Hall. An enormous ship moored along the bank of the Huangpu River. The main event of the show is an acrobatic underwater act, "The Legend of the River Demon," which is patterned after the tale of a creature that's half-fish, half-human that lives at the bottom of the river. A monster with the ability to curse, or even kill, human beings. In some places, it's considered "bad luck to mock such spirits on stage" like "in Japanese ghost stories."

Following a performance of "The Legend of the River Demon," the director of the troupe, Yang
Wang, is found in his office with a bullet in his head, but his body and the floor are unaccountably soaking – water has "the unpleasant odor of freshwater fish." Even stranger is that the murderer scratched a huge Chinese character for “spring,” a meter wide, on the wall. The first word of the lullaby of the river demon's curse. However, the Shanghai police have a very human suspect in their sights.

Once the show begins, with "animals like the tiger and monkey roaming around," the door to the dressing room is locked from the inside and it's "impossible for anyone from the audience to get in," which was still locked from the inside when the show ended. Nearly everyone on that side of the door had an alibi except the victim's son, Yang Xiaolong. His young sister, Yang Lili, writes her Japanese penfriend, Miyuki, a distressed letter saying her brother is suspected to have murdered their father. Miyuki decides to go Shanghai to help by bringing her childhood friend, Hajime Kindaichi, who's "the grandson of the master detective Kosuke Kindaichi" and "solved several cases for the Metropolitan Police Department." But his grandfather's name or reputation is not as well-known in China, which is one of the challenges facing the young detective who became a little timid when landed in foreign country for the first time in his life.

When they finally arrive in Shanghai, there are two big surprises waiting in the wings. Firstly, they find Detective Li Boer, of the Shanghai Police, in the company of their friend in the MPD, Inspector Kenmochi. Recently, the body in a decade old murder case was identified and "a small clue" led the Tokyo police to the Japanese director/producer of the Yang Variety Troupe. But is there's a link to the new murder? Secondly, Kindaichi and Miyuki get to witness a second murder during a performance of "The Legend of the River Demon" when a body plunged down from above the stage into the swimming tank. Another bullet to the head and the Chinese character for "summer" was slashed in the victim's back with a knife. So the murderer was intended to follow the grim lullaby. 

In spring, the boat is flooded,

In summer, the river turns a murky mauve,

In autumn, the traveler must drink putrid water,

In winter, fish no longer swim but sleep.

These murders also have an element of the impossible as the victims were shot with a derringer, which apparently can vanish, or materialize, whenever it's convenient to the murderer. The part of the ship between Yang's office and the dressing room was locked at the time of murder, which meant that nobody went in, or out, before the police arrived. So nobody had an opportunity to dispose of the gun, but they went over the entire ship with dogs and metal detectors without finding anything. They simply assume the murderer found a way to throw it in the river until discovering the second murder was committed with the same weapon! I've seen two variations on this type of vanishing weapon trick before and hated both of them. This one is marginally better, because Amagi tried to make it somewhat convincing. But the trick is still Yozaburo Kanari. Yes, Kanari's name in this context is a euphemism for shit.

Well, so far, it seems like a fairly standard and typical Kindaichi story with exception of the setting and its effect on Kindaichi's normally cocky attitude, but the story moves away from the series formula in the second-half – turning into a chase story with a coming-of-age angle. Kindaichi helps Yang Xiaolong to escape from police custody and they're chased to Shanghai as they make a run to the Yang's home village. A dirt poor place where the children had to grow up faster in order to make money, which is why Xiaolong and his sister acts so much mature than Kindaichi. But, while their on the run, they both find something of themselves they had either lost or never had. This comes at the expensive of the usual plot structure with the alibis, impossibilities and the nursery rhyme theme of the murders being heavily underplayed during the second-half.

I also hated that during the first-half an intriguing, quickly discarded plot-thread was introduced when Kindaichi learned of a former troupe member, Wang Meiyu, who was a superb swimmer, but a bit strange. Meiyu not only swam really well and could stay underwater forever, but "she only ate aquatic plants and freshwater fish." And it was her talent that lead the troupe to adopt the "The Legend of the River Demon" as their signature act. But then strange rumors began to circulate. Members began to talk that every time she took a shower, the bathroom would "reek of fish" with "large fish scales on the floor." So they began to avoid Meiyu and culminated in her committing suicide by jumping into the river from the toilet window. She left four characters scrawled in blood on the wall and has now risen from "the depths of that murky river" to extract revenge. But the plot-thread was quickly brushed aside. And given an even quicker explanation towards the end. So the only reason why it was even brought up was to give the book a snappy title.

Thankfully, the solution was not all bad with a pretty good alibi-trick and an inspired piece of misdirection, which successfully hid the murderer for a good chunk of the story. I eventually figured it out, because if you how the gun can vanish and reappear, you know who pulled the trigger. Not so good is that other parts of the solution stretches things considerably with an unnecessary, rather cruel twist nearly ruining the whole thing. I mean, this murderer is very likely going to be executed. So why throw that revelation out there? Amagi is the Soji Shimada of the anime-and manga detective story who is nearly unmatched when it comes to erecting grand-scale plots with majestic locked room-and alibi-tricks, but when it comes to characters, sometimes he goes one twist too far. Deadly Thunder has a similar problem.

So, on a whole, The Shanghai River Demon's Curse is not entirely without interest and its break with the formula and foreign setting makes it a worthwhile read to long-time fans of the series, but don't expect anything more than an average detective story. Regrettably, the weakest of the four translated novels.

This more or less closes the chapter on The New Kindaichi Files light novels with such untranslated novels as Yūrei kyakusen satsujin jiken (The Ghost Passenger Ship Murder Case, 1995) and Onibijima satusjin jikes (The Ghost Fire Island Murder Case, 1997) remaining tantalizingly out of my reach. Well, the novels are out of my reach, but not the '90s anime adaptations. So I might make one of those my next stop in the series.

Deadly Thunder (1998) by Seimaru Amagi

Earlier this year, I tracked down and reviewed an obscure, hard-to-get Japanese light novel in The New Kindaichi Files series, Operazakan – aratanaru satsujin (Opera House, the New Murders, 1994), written by the Soji Shimada of the anime-and manga detective genre, Seimaru Amagi – who crafted a beautiful, perfectly executed theatrical (locked room) mystery. One of the better entries in the Kindaichi franchise demonstrating Amagi is a mystery writer who's firmly entrenched in the traditions of the shin honkaku school. 

A fact he already proved with another light novel, Dennō sansō satsujin jiken (Murder On-Line, 1996), which is perhaps the first whodunit to use the internet in a meaningful way. Not to mention his original manga stories/anime adaptation of The Prison Prep School Murder Case, The Rosenkrauz Mansion Murders and The Legendary Vampire Murders. So I was eager to get my hands on the other two translations in the series, but those editions were intended for Japanese readers learning to read and speak English. Consequently, the well of secondhand copies in the West is practically empty and bone-dry.

Nevertheless, I managed to get hold of a copy of the sixth title in the series, Ikazuchi matsuri satsujin jiken (Deadly Thunder, 1998), which is the fourth and last novel to be translated and is a relatively minor story compared to the bigger, previously mentioned cases – centering on "a spontaneous crime" with an improvised trick. A trick turning an otherwise simple, straightforward murder into an impossible crime! It's not the no-footprints trick that makes Deadly Thunder somewhat standout, but how the plot combined everything from elements of cultural anthropology and entomology to geology and meteorology. All of these different aspects come together in the remote, unique setting of the story with the result reminding me of the regional mysteries by Todd Downing and Arthur W. Upfield. Two names not often associated with the Japanese shin honkaku detective story. 

Deadly Thunder has a standard enough opening with Hajime Kindaichi and Miyuki Nanase traveling to a tiny, remote village to visit a former classmate, Akie Asaki.

The land around Kumoba Village is "shaped like a valley or a basin," which makes it very hot during the summer with clouds forming above the surrounding mountains to produce heavy thunder and rain storms. In the past, the locals thought these thunderstorms were an act of the gods and appeased them with the three-day Thunder Festival. A long-standing, unbroken traditional of 300 years that has preserved to the present-day, but the rain and thunderstorms also gifted the village something special and unique. A kind of clay that's only found in Kumoba Village, which is washed down from the mountains.

Akie comes from a long line of potters whose "curious, translucent white" pots were presented to the Shogun during the Edo period and the ground their family home stands on has the best pottery clay, which is why it's surrounded by a large, foreboding wall with spikes on top – erected by previous generations "to protect the clay from robbers." She has to share the home with her stepmother and stepsister, Hazuki and Shigure Asaki, who Akie and her aunt, Haruko, consider intruders ("those two"). They also have a quasi-residential house guest staying at the annex, Kyoichi Muto, who's an entomologist. Apparently, the village is also rather unique in its "variety and number of cicadas."

So the setting is very well piece of miniature world-building as Amagi created a small, unique geographical area and populated it with a unique, somewhat isolated culture. A culture with its own history, religious practices and even architecture. Such as all the houses being low built, single-storied "to avoid being struck by lightening" with a tall tree in every garden to "serve as a lightening conductor." Another interesting aspect is how rich Deadly Thunder is in sound. Deadly Thunder is filled with the sound of falling rain, claps of thunder, chanting, beating of drums and "the incessant drone of cicadas," which all helped elevate a mostly routine detective story.

This kind of world-building is unfortunately a rarity in the detective genre, but Amagi has done it before, on a much larger scale, for Detective Academy Q with The Kamikakushi Village Murder Case. I co-reviewed the anime adaptation with Jim here.

Anyway, as the story moves towards the halfway mark, everyone begins to prepare for the first day of the annual Thunder Festival, but the celebration, or rather spectacle, ends with Hazuki discovering Muto's body in annex – bludgeoned to death. The body was covered in "hundreds, no thousands, of cicada shells," but even more inexplicable where the two sets of footprints going from the back of the house to the annex. A set of fresh, recently made prints belong to Hazuki, while the older, rain washed tracks were made by the well-worn, easy to identify sandals of the victim. So with the question of time and rain taking into consideration, the tracks turned the murder into a locked room mystery! 

Deadly Thunder has only one body and three suspects, which has been done before in the series (e.g. The Blood Pool Hall Murder), but not very often and the plot really needed a good locked room-trick to give the plot some weight. Thankfully, the locked room-trick delivered as it did something new with the no-footprints scenario, but with all the clues in place necessary to arrive at (nearly) the same conclusion as Kindaichi. Why the body was covered in cicada shells was an inspired piece of plotting functioning as both a clue and a red herring.

The reader has an easier time putting all the pieces together than Kindaichi as he has to deal with a local policeman, Detective Akai, who's more annoyed than impressed by the grandson of "the master detective Kosuke Kindaichi." Even if he "solved several murder cases and mysteries that the police couldn't solve." Detective Akai only sees an ordinary high school student who speaks to adults like they were taking classes together. Kindaichi has to learn and show a little humility before getting an opportunity to prove himself to Detective Akai. One of those many small touches that made the story shine.

There is, however, a minor problem with the solution. Amagi added a last-minute twist that gave the story an ending as black as the ink with which it was printed, but not a fair surprise as it's impossible to anticipate the motivation behind the act. A smudge on an otherwise very well written, competently plotted detective story.

That being said, the good definitely outweighed the bad with a simple, but good, locked room-trick and a splendid, vividly realized setting, which told its story in less than a 130 pages with full-length illustrations. The short length proved to be an asset as it enlarged all its strong points and prevented the story from overstaying its welcome by dwelling on its weaknesses. So, yeah, a perfect detective story to nip at during a lazy summer afternoon.

The Mystery of the Disappearing Cat (1944) by Enid Blyton

So far, I've grossly neglected the juvenile detective story in 2021 with my review of Bruce Campbell's The Mystery of the Vanishing Mystery (1956) dating back to October, 2020, but a certain someone acted as a constant reminder to return to this largely unexplored nook of the genre – particularly to the surprisingly plot-conscious Enid Blyton. The Rat-a-Tat Mystery (1956) was my previous exposure to Blyton and it was disappointing, but it didn't erase the rigorous plotting, clueing and clever use of red herrings in The Mystery of the Invisible Thief (1950). The Rilloby Fair Mystery (1950) added a new angle to an age-old locked room-trick. Why not return to Blyton with another one of her locked room mysteries that has received some praise from her resident fanboy. 

The Mystery of the Disappearing Cat (1944) is the second novel in The Five Find-Outers and Dog series and takes place at the beginning of a long, nine-week summer holiday. A holiday reuniting Fatty, Larry, Daisy, Pip, Bets and Fatty's free spirited dog, Buster, who solved The Mystery of the Burnt Cottage (1943) over the Easter holiday. So they wish there will be another mystery for them to solve during the summer, but everything appears to be quiet and peaceful in the Peterswood.

Only thing of interest that has lately happened is Lady Candling moving into the house next door to Pit and Bets. While their new neighbor doesn't have any children their age, Lady Candling has brought along her prize-winning collection of Siamese cats, who have a cat-house in garden, where they strike up a friendship with the gardener's boy, Luke – a 15-year-old lad who can hardly read or write. Luke is "terribly clever with his hands," carving wooden animals and making twig-whistles, as well as knowing everything about the birds in the countryside. And that's more than enough for the Five Find-Outers! All they have to do is watch out for the head-gardener, "horrid Mr. Tupping," who's one of the vilest creatures to ever wander onto the pages of a children's story. More on that in a moment.

The Five Find-Outers finally get "a real, proper mystery" when the cream of Lady Candling's prize-winning cats, named Dark Queen, disappears from her cage in the cat-house, but the Monkey's Paw is at work as their wish comes at a prize. Dark Queen was stolen between four and five o'clock, which means that only Luke could have stolen the cat. At the time, Luke was working around the cat-house and swore nobody else had been anywhere near it.

Constable Goon is more than willing to go along with Mr. Tuppering to apprehend Luke as the cat-napper, as nobody else could have possibly done it, but The Five Find-Outers believe their new friend "would never, never do a thing like that." So they recklessly plunge themselves headfirst into another rabbit hole with Buster leading the charge.

A notable highlight of their detective efforts is when they investigates the cat-house, ahead of Goon, where they find an incriminating clue and conclude it must have been planted to cast suspicion on Luke. So they nick the evidence, empty their pockets and litter the cage with false-clues like peppermint drops, a shoe lace, a ribbon, a button and cigar stubs – which "surprised and puzzled" Goon to no end. An act so legally questionable that it would make Perry Mason beam with pride at the next generation of detectives. Another thing I thought was really well done is that the disappearance act is repeated a second time, like a script, under practically identical circumstances. Once again, the only person present at the time was Luke. Even the Find-Outers begin to wish "everything wasn't so dreadfully puzzling."

Blyton showed her credentials as a mystery writers by playing a fair hand, although not quite as brilliantly as in The Mystery of the Invisible Thief, but the given clues should give the story's intended audience a shot at putting all the pieces together themselves. However, it won't fool an adult reader for even a minute and a jaded mystery reader can figure out the locked room-trick before it happens. But there was still much to admire about the plot. 

Blyton used the locked room trope like an expert as it served two very specific purposes (ROT13): gb tvir gur png-anccre na hafunxnoyr nyvov and unaqvat gur cbyvpr n ernql-znqr fhfcrpg, which Blyton handily jenccrq hc naq cerfragrq nf n ybpxrq ebbz zlfgrel. Something I can appreciate as a snobbery prone connoisseur of puzzle plots and locked room mysteries. While the whole thing is as clear as day to adult readers, it was amusing to see how Blyton misdirected her young readers using adult authority (gur haoernxnoyr nyvov) and the general inexperience of the Find-Outers. Such as not immediately understanding the clue they smelled in the cat-house, but never in a condescending or superior way. Blyton respected both her characters and readers. A fact perhaps better reflected in the dark, realistic undertone of the series.

Firstly, in this story, there's that "rude, bad-tempered old man," Tupping, who regularly abuses Luke verbally and boxes his ears, but he also tore apart Bets strawberry garden in a rage. Bets had been given a few strawberry runners from his garden ("he really thought it was his garden, and not Lady Candling's") and had to get even with an 8-year-old girl. Luke also lives in constant fear that his abusive stepfather will belt him "black and blue," if he finds out he's suspect or loses his job. Something else that's always hovering in the background is the parental neglect of Frederick "Fatty" Trotteville as Larry remarks in passing to him "Your mother and father don't bother about you much, do they?" as "you seem to go home or go out just whenever you like," which is very different from the household of the brother and sister of the group, Pip and Bets – whose parents have a bed-time bell to let them know its time to brush their teeth. So these moments drift over the blue, sunny skies of this series like dark, wispy clouds that occasionally intrude on the lull of the lazy, endless summer holiday as brief reminders of their impending adolescence and coming adulthood. However, it's still something far away on the horizon and there's nothing that will impede on the summer-time mystery adventure!

So, yeah, The Mystery of the Disappearing Cat is another top-notch (locked room) detective story and stands closer, quality-wise, to what made The Mystery of the Invisible Thief such a pleasant and welcome surprise. So, hopefully, there's more where those two came from.

The New Kindaichi Files (1994) by Seimaru Amagi

Two years ago, I reviewed Seimaru Amagi's Dennō sansō satsujin jiken (Murder On-Line, 1996), a so-called "light novel," which is the Japanese, manga-like equivalent of young adult fiction complete with illustrations and penned all nine light novels in The Kindaichi Case Files series – published between 1994 and 2001. Only four of the novels were translated as part of the Kodansha English Library, but copies have become scarce over the past two decades. 

Ho-Ling Wong commented on my review to explain that "these books were not really intended for the international market," but to help Japanese readers who were learning to speak English and the reason why there are English/Japanese vocabulary lists at the end of the books. So not that many copies journeyed to the West.

Nevertheless, when has the obscure, out-of-print status of a tantalizing-sounding detective novel ever stopped any of us? John Norris has obscurity serve him drinks while reading. I managed to get hold of a copy of the first novel in the series, Operazakan – aratanaru satsujin (Opera House, the New Murders, 1994), which appeared in English under the nondescript title of The New Kindaichi Files. But don't let the bland title fool you. The book is an important entry in the series mythos and a sterling performance of the theatrical mystery novel with a five-star locked room-trick! 

The New Kindaichi Files is a sequel to the very first Kindaichi (manga) story, Operazakan satsujin jiken (The Opera House Murder Case, 1993), published in English in 2003 by TokyoPop as The Opera House Murders, which brought Hajime Kindaichi to the Hotel Opera on Utashima Island – where he was confronted by a string of murders modeled on Gaston Leroux's Le fantôme de l'opéra (The Phantom of the Opera, 1909). Kindaichi would return to Utashima Island a total of four times to solve Phantom of the Opera-themed murders. Ho-Ling reviewed the first three cases in 2012 in his blog-post "Three Act Tragedy" and discussed the fourth story in two-parts, which can be read here and here. But, for now, let's take a closer look at the second story that once again bathed the small island in blood.

Kazuma Kurosawa is one of the top five directors in Japan, reformer of modern drama and "the man behind the commercial success of theater" who had written and directed eight hit versions of The Phantom of the Opera. Ten years ago, Kurosawa had bought the island and spent six years restoring and converting the Georgian-style vacation home into a hotel with theater, which opened four years before The New Kindaichi Files. And what happened during its opening can be read in The Opera House Murders. Four years later, the old theater had been torn down and a new one built where Kurosawa plans to stage his ninth version of The Phantom of the Opera.

Hajime Kindaichi, Miyuki Nanase and Inspector Isamu Kenmochi all receive an invitation to the grand reopening of the Hotel Opera, because they were caught in the middle of "the serial murders at the Hotel Opera" and it was Kindaichi who unmasked the Phantom – although it was Kenmoichi who received the credit and the Metropolitan Police Superintendent's Medal. When they arrived on the island, Kindaichi experiences "a twinge of nostalgia" and "something less pleasant." A strong feeling that something bad is about the happen and the cast of characters for the impending tragedy have already taken their place on the stage.

The stars of the Genso theater group and play are an husband-and-wife acting duo, Kozaburo and Seiko Nojo, but they're not particular warm, or pleasant, people to be around. Yukio Midorikawa, Atsushi Takizawa and Rio Kanai are the other actors of the troupe who have one, or more, roles to play in the production. There's also a university student, Rokuro Eguchi, who works on the island every summer and a reclusive painter, Seiji Makube, whose features are obscured by a surgical mask. Dr. Eisaku Yuki rounds out the party and he was also present during the first series of murders on the island. Only eight hours pass before all hell breaks loose on the isolated island.

A small piece of paper with an ominous warning is found, saying "Carlotta sang farewell as the chandelier fell," signed "P," but when they investigate the theater with "an enormous chandelier" suspended over the stage, it's discovered completely empty. So they fastened the door from the outside with a padlock, but a short time later a crash shakes the house and rattles the windows, which unmistakably came from the theater. The door is opened in full view of everyone and what they discover is Seiko Nojo's body on the stage, "crushed beyond recognition," among the smashed and shattered remains of "that massive piece of intricate glasswork." More shockingly, Seiko had been strangled before the murderer dropped the chandelier on her. But how?

The whole auditorium had been "completely locked up," but somehow, "the murderer carried the body onto the stage" and "dropped the chandelier on it" before vanishing from a theater where "one set of doors was closed from the inside" and "the other entrance was shut with a padlock" – not a window to be found. Honestly, The New Kindaichi Files is the best and most original locked room mystery I've come across since Tokuya Higashigawa's Misshitsu no kagi kashimasu (Lending the Key to the Locked Room, 2002) and James Scott Byrnside's The Strange Case of the Barrington Hills Vampire (2020). Amagi crafted a minor gem of a locked room mystery, while flexing his plotting skills, peeling away the layers as he added new ones. Such as giving away part of the trick early on in the story, but at the same time complicating the whole problem with pesky alibis, unclear motives, more murders and a false-solution to the padlocked entrance. Only to deliver a knockout punch in the end with a thoroughly satisfying and original solution the murder in the locked theater. A solution that even takes into account the illogicality of presenting the murder as an impossible crime and what gave the murder the idea to stage such a trick.

A multi-layered locked room-puzzle that clearly shows the difference between Amagi and the series co-creator, Yozaburo Kanari. Amagi understands what makes a detective-plot ticks and Kanari clearly doesn't. Something that's also reflected in how Amagi managed to cleverly subvert the series formula to (temporarily) hide the murderer. It's why it took me longer than usual with this series to catch on to the murderer, which gave me a pretty good idea about the real angle of the motive. But not the locked room-trick. The trick I envisioned was amateurishly stupid and clumsy in comparison. Amagi is the Soji Shimada of the anime-and manga detective story.

Only weak spots in the solution is that the story conveniently ignores how easily a padlock can be picked open, or refastened again, and long-time mystery readers unfamiliar with the series will likely have an easier time spotting the murderer – because they don't know what they're supposed to expect from the setup. Other than that, The New Kindaichi Files is not merely a good and solid entry in the long-running Kindaichi series, but an excellent and beautifully executed theatrical locked room mystery in its own right. I can't exactly tell you why, but this is the most fun I had reading/watching Kindaichi. Highly recommended, if you can find a copy!

So let me end this review with a plea to Kodansha to reprint those four light novels that were translated into English during the 1990s, which would now be a welcome addition to the steadily increasing stream of shin honkaku translations. Now there's an actual audience for them. A good alternative would be a four-in-one volume from Locked Room International with Ho-Ling, a huge fan of the series, writing the introduction to give new readers a crash course in all things Kindaichi. Even better would be brand new translations of all nine novels, but that's perhaps asking too much. Well, here's hoping something will materialize in the not so distant future.

On a truly last note, my edition is a thing of beauty: a paperback with dustjacket with the back and leaves covered in Japanese writing, but you can actually read the story inside with the detailed floor plan of the theater, diagram of part of the locked room-trick and illustrations of the characters/scenes as the cherry on top – giving you the best of all worlds.