A Taxonomy of Mystery Tricks

ATAXONOMY OF
MYSTERY TRICKS
EDOGAWA RAMPO
Translated by Alexander Zhang
Published by
Demon Crane Press
2023
Table of Contents
Introduction 3
1. Tricks Concerning the Culprit’s Identity (225) 9

1.1 One Person, Two Roles (130) . . . . . . . . . . . . . 9
1.2 Unexpected Culprits (75) . . . . . . . . . . . . . . . 13
1.3 Culprit Self-Erasure (14) . . . . . . . . . . . . . . . 16
1.4 Unusual Victims (6) . . . . . . . . . . . . . . . . . . 18
2. Tricks Concerning Exiting the Scene (106) 20

2.1 Locked Room Mysteries (83) . . . . . . . . . . . . . 20
2.2 Footprint Tricks (18) . . . . . . . . . . . . . . . . . 28
2.3 Fingerprint Tricks (5) . . . . . . . . . . . . . . . . . 29
3. Tricks Concerning the Time of the Crime (39) 30

3.1 Time Tricks Involving Vehicles (9) . . . . . . . . . . 30
3.2 Time Tricks Involving Clocks (8) . . . . . . . . . . . 31
3.3 Time Tricks Involving Sound (19) . . . . . . . . . . . 31
3.4 Time Tricks Involving Weather or the Seasons (3) . . 32
4. Tricks Concerning Weapons and Poisons (96) 33

4.1 Tricks Concerning Murder Weapons (58) . . . . . . . 33
4.2 Poisoning Tricks (38) . . . . . . . . . . . . . . . . . 36
5. Tricks Concerning Hiding Things (141) 40

5.1 Hiding a Corpse (83) . . . . . . . . . . . . . . . . . 40
5.2 Hiding a Living Person (12) . . . . . . . . . . . . . . 43
5.3 Hiding an Object (35) . . . . . . . . . . . . . . . . . 43
5.4 Replacing a Body or Object (11) . . . . . . . . . . . . 45
6. Miscellaneous Other Tricks (93) 46
1
A Taxonomy of Mystery Tricks
7. Cryptographic Techniques (37) 54

7.1 Transposition Ciphers . . . . . . . . . . . . . . . . . 55
7.2 Pictographic Codes (4) . . . . . . . . . . . . . . . . 55
7.3 Allegorical Codes (11) . . . . . . . . . . . . . . . . . 56
7.4 Permutation Ciphers (3) . . . . . . . . . . . . . . . . 56
7.5 Substitution Ciphers (10) . . . . . . . . . . . . . . . 58
7.6 Intermediary Ciphers (9) . . . . . . . . . . . . . . . 62
8. Unusual Motives (39) 64

8.1 Crimes of Emotion (20) . . . . . . . . . . . . . . . . 64
8.2 Crimes of Greed (7) . . . . . . . . . . . . . . . . . . 65
8.3 Crimes of Abnormal Psychology (5) . . . . . . . . . . 65
8.4 Crimes of Belief (7) . . . . . . . . . . . . . . . . . . 65
9. Tricks for Solving Cases (45) 66

9.1 Phsyical Clues (17) . . . . . . . . . . . . . . . . . . 67
9.2 Psychological Clues (28) . . . . . . . . . . . . . . . . 71
Appendix: Psychological Mysteries 77

From “Preface to The Illusion Castle” . . . . . . . . . . . . 80
From “A New Example of Psychological Mystery” . . . . 81
About the Author 84
2
Introduction
The two longest essays in this collection are “An Examination of

British and American Mystery Short Stories” and “The Peculiar Crim-
inal Motives of Mystery.”1 Both were serialized in Jewel (Hoseki)
magazine a few years ago. Shortly before writing those essays, I
read the “Locked Room Lecture” in John Dickson Carr’s novel The
Hollow Man, and found it fascinating. It sparked a kind of ambition
in me, and I thought it might be interesting to write something like
it, covering all of mystery fiction’s tricks.
So, with the intention of accumulating material, I began taking

notes on the tricks in British and American mysteries. Fortunately,
I had already read a considerable number of post-war novels, and
taken simple notes. I decided to use them as a starting point, and
focus on gathering short stories, which I hadn’t read much of until
then. At the time, I owned about a dozen British and American
short story masterpiece collections. I read through them, created
cards for each work, and prepared a table of trick frequencies. Then,
I read almost every back issue of New Youth (Shin Seinen) and the
other mystery magazines, created cards for each translated story, and
made a frequency table for them as well, which I compared with the
frequency table for the British and American collections. In this way,
I gathered trick cards for some four or five hundred short stories.
“An Examination of British and American Mystery Short Stories” and
1
“A Taxonomy of Mystery Tricks” was published as part of Rampo’s 1954 essay
collection The Illusion Castle Continued (Zoku Geneijo). The other essays are not
included in this standalone edition.
3
“The Peculiar Criminal Motives of Mystery” were both byproducts of

this effort. Upon rereading those essays, I found traces everywhere
of the fact they were written as preparation for creating a taxonomy
of tricks. I realized it would be inconsistent to include them in this
collection, while omitting the fundamental discussion on tricks. It
would be like having an introduction and no main argument; not only
would readers find it unsatisfying, I would be unsatisfied as well. So
I hurriedly decided to write down a trick catalog and explication.
I attempted to create a taxonomy after the aforementioned articles

were serialized in Jewel, but was not satisfied with the results. At
first, I simply took my notes on British and American masterpiece
novels and short stories, generalized them into categories, and tried
to list them in as orderly a fashion as possible. Since my categories
weren’t arrived at deductively, the taxonomy was strangely irregular.
I redid the classification several times, but it never felt quite right.
Thus, I chose to consult with some mystery enthusiasts from the

Mystery Writer’s Club. Until that point, I had also not written any
notes on Japanese works. I wanted to get additional examples from
people well-versed in Japanese material, so I made several trips to
the third floor of Jewel’s publisher, Iwaya Shoten.
Every Saturday in the reception room on the third floor of Iwaya

Shoten, there is a gathering of some of the mystery fiction lovers from
the Mystery Writer’s Club. Although its members have changed
over time, during my visits, the club regulars were Kenji Watanabe,
Takehiko Takeda, Ryūji Kurobe, Kawatarō Nakajima, and Eiji Katsura.
I also saw many near-regulars, like Eizō Ninomiya, Toshiyasu Uno,
Yūzō Chiyo, Shachihiko Okada, Kyōsuke Kusuda, and Saburō Washio.
I believe I visited every Saturday for four weeks. I read out my
taxonomy and 700-plus trick examples, and asked for their advice.
700-plus tricks may seem like a lot, but the people gathered there
4
were all well-versed in mysteries, foreign and domestic. In many

cases, just mentioning the author and title was enough for them to
know the trick involved. I only had to briefly explain the works that
people hadn’t read. After four four or five hour sessions—roughly
twenty hours—my task was complete.
Among the members, the ones who gave me the most advice were
Eizō Ninomiya, Eiji Katsura, Kenji Watanabe, Kawatarō Nakajima,
and Kyōsuke Kusuda. I wrote down works that hadn’t been included
in my catalog as I listened, and so was able to add a large number of
Japanese stories with different tricks.
However, this method was, of course, imperfect. When I explained

the trick taxonomy, the people around me spoke if they had more
examples of a particular kind. Since they only told me what they
could recall on the spot, things that no one thought of at the time are
omitted. The Western examples are limited to the works I read and
a few that Mr. Ninomiya and some others added, while the Japanese
examples are limited to what came to people’s minds during the four
meetings. Looking over the examples for each trick listed below,
I see many places where I think someone will point out that I’m
missing an important work, especially a Japanese work. In fact, I’m
anticipating such feedback. I hope readers who notice an important
work missing will take the trouble to inform me.
But while I consulted with the connoisseurs of the club and did what
I could, that doesn’t mean I immediately completed the taxonomy.
In fact, I made no progress until today. When I consider why, several
reasons come to mind: the 700-some trick examples were still not
enough; the classification wasn’t as good as I thought it would be;
and writing in a manner similar to Carr’s “Locked Room Lecture”
would require many pages and more than just incomplete notes,
such that I’d probably have to reread each work. I began to doubt
whether it was worth spending so much time and effort on this task.
5
Moreover, unless I named the original works when explaining each

trick, it wouldn’t be very interesting, but doing so would be like
revealing the secret behind a magic trick. Readers who hadn’t yet
read the work would have their future enjoyment halved. On the
other hand, writing without disclosing titles would require long
explanations, be incredibly tedious, and halve the value of the trick
discussions themselves. Many days passed while I vacillated over
what to do.
Additionally, I thought it would be interesting to investigate stories

from literature and history, before the birth of mystery as a genre.
That way I could find the origins of each trick, and discuss its lineage.
I managed to trace a few tricks, like “Faceless Corpses,” “Locked
Rooms,” and “The Culprit and the Victim Are the Same,” but it was
impossible to quickly research all the tricks in this way. So a desire
to wait until those investigations were complete also contributed
somewhat to my delay.
However, as I mentioned before, in a book centered on “An Exam-

ination of British and American Short Stories,” I could not simply
exclude a discussion of tricks. I therefore decided to at least note
down the items from my trick catalog, and add a minimum of expla-
nation. This way I could give myself some peace of mind and ask
for the reader’s sympathy. If I had the inclination to write a book
on tricks as detailed as Carr’s “Locked Room Lecture” within the
next year of two, I could simply attach a disclaimer to this book and
be satisfied (the four essays after this, from “Ice as a Weapon” to
“The Desire to Transform,” expand on some of the tricks touched
on here; if every trick were discussed that way, it would make for
a sufficiently thick book). But I don’t want to invest significantly
more time writing about tricks, so if a skeleton isn’t put to print,
the trick taxonomy I took such pains to create may end up never
seeing the light of day. To avoid such a regrettable situation, I am
6
hastily jotting down an outline of my taxonomy, fully aware that it

is a highly incomplete, unfinished product.
Now, onto the classification of tricks. Initially, my desire to cre-

ate something resembling a coherent classification system led me
to three major categories: “Tricks Concerning Humans,” “Tricks
Concerning Space,” and “Tricks Concerning Time.” I tried to sort ev-
erything into these boxes, but doing so left me with embarrassingly
few examples purely concerning time. I tried various other unifying
principles, but none left me satisfied. One reason is probably that
I grew disheartened and put the task aside. However, given the
above circumstances, I must now somehow organize things so I can
present them here. Therefore, I’m shelving the notion of a formal
classification system. Instead I will focus on simply listing all the
tricks I collected, generalizing inductively.
The main text intersperses categories with explanations, which may

make the classification scheme unclear, so I will include a sort of
table of contents2 , to allow you to see all categories at a glance. The
number following each category represents the number of matching
examples listed in the main text. By dividing these by the total
number of examples, 821, you can find the percentage of examples
that fall under that category.
As you can see, there are nine major categories. However, sections
7-9 use different characteristics from the preceding categories. From
a classification perspective, they should be separated, but to avoid
that hassle, I have simply listed them in parallel. Also, sections
1-6 don’t form a classification system either. Section 6 especially is
quite disorganized. It’s simply a loose collection of tricks that were
difficult to put in any of the preceding categories, but I had no better
ideas.
2
The table of contents has been moved to the beginning of this edition.
7
Due to time and page length limitations, the text that follows has
numerous spots where you may need to guess at what I mean. Some
parts may be difficult for readers unaccustomed to mystery fiction to
understand, but to write in a way that is interesting and understand-
able to everyone would require many more pages, so I can only ask
for your understanding. The explanatory text varies in complexity;
tricks from works without a Japanese translation are described in
more detail, while stories that everyone is familiar with are written
about as succinctly as possible.
Some examples have been included in multiple categories. Removing

duplicates might have reduced the total count of examples by about
ten to twenty percent, but for the sake of writing convenience, I
wasn’t too strict about it. The tricks from many Japanese works
are common knowledge, so I mention both author and title. For
Western examples, I often mention only the author. The titles are
preserved in my original notes.
8
1. Tricks Concerning the Culprit’s Identity (225)
1.1 One Person, Two Roles (130)
Of the 821 trick examples I collected, 130 fall under “One Person,
Two Roles,” making it the most frequently seen trick. The next most
frequent are “Locked Room” tricks with 83 examples, which I will
describe later. Whether “One Person, Two Roles” or “Locked Room,”
the repeated use of a trick may seem absurd to those outside the
mystery fiction world. However, even with the same trick, there
can be many variations, and as long as this room for variation and
creativity is made use of, repetition needn’t invoke disgust. Now,
I’ve divided the “One Person, Two Roles” trick into subcategories as
follows:
1.1.1 The culprit disguises themselves as the victim (47) This

category includes uses of “One Person, Two Roles” where the cul-
prit pretends to be the victim, or something similar. It is further
subdivided as follows:
1.1.1.1 The culprit disguises themselves before the crime (16)
The culprit may temporarily pretend to be the victim, in order to

remove themselves from suspicion. Among well-known works with
a Japanese translation, Percival Wilde’s Inquest is an apt example.
This category also contains two novels by Agatha Christie, novels by
A.E.W. Mason and Ngaio Marsh, and short stories by Christie and
Ernest Bramah, for a total of 7 examples.
9
Alternatively, the culprit may swap identities with the victim. These
stories involve soldier impersonating a wealthy fallen comrade, or
the survivor of a shipwreck impersonating a wealthy victim whose
identity they know well, and returning home after many years to
secure a fortune. The purpose of this swap may be to commit a crime.
A well-known example is Freeman Crofts’ The Ponson Case. Also in
this category are novels by Helen MacInnes, Virgil Markham, G.D.H.
Cole, Anthony Hope, and Mary Chalmondely, and short stories by
Seishi Yokomizo, Edogawa Rampo, and Nicholas Brady, totaling 9
examples.
1.1.1.2 The culprit disguises themselves after the crime (31)
After killing the victim, the culprit may disguise themselves as the
victim and pretend they are still alive, in order to create an alibi. A
suitable example is Crofts’ Sir John Magill’s Last Journey. This category
includes novels by Carter Dickson, Ellery Queen, Raymond Chandler,
and short stories by Christie, E.C. Bentley, G.K. Chesterton (four
examples), James Hilton, and J.D. Beresford, totaling 14 examples.
Alternatively, the culprit may switch places with the victim, by dis-
guising themselves as the person they killed and continuing to live
that way. The oldest example of a work that uses this trick, to my
knowledge, is Charles Dickens’ Barnaby Rudge (released 1841, the
same year as “Murders in the Rue Morgue”). I discuss this in detail
in a separate essay, “Dickens’ Pioneering.” More modern exam-
ples include Arthur Conan Doyle’s The Valley of Fear, novels by John
Dickson Carr, Michael Innes, Kay Cleaver Strahan, Harrington Hext,
Crofts, and Erle Stanley Gardner, and short stories by H.C. Bailey,
Teignmouth Shore, Doyle, Dickson, Chesterton (three examples),
Christie, and Rampo, totaling 17 examples.
1.1.2 An accomplice disguises themselves as the victim (4) An

accomplice of the culprit disguises themselves as the victim, is seen
10
by others, and creates an alibi for the culprit. Desides Carr’s It Walks
by Night, this category includes novels by Christie and Rampo, and a
short story by Dickson.
1.1.3 The culprit disguises themselves as one of the victims (6)

Besides S.S. Van Dine’s The Greene Murder Case, this category includes
novels by Christie, Stanislas Steeman, and Queen, and two short
stories by Chesterton.
1.1.4 The culprit and victim are the same person (9) I find it
particularly interesting to see how stories violate the common-sense
notion that culprit and victim, being enemies, can never be the same
person. There are three cirumstances in which this can occur:
1.1.4.1 The culprit steals their own belongings (4) Someone may break
into their own safe and simulate a robbery in order to avoid repaying
debts. An old short story by Arthur Morrison, “The Stanway Cameo
Mystery,” even has a character sneak into their own home. Further
examples include two short stories by Melville Davisson Post, and
one by Chesterton.
1.1.4.2 The culprit wounds or poisons themselves (4) The culprit wants
to ensure outsiders see them as the victim of an attempted murder.
This is slightly different from the “Suicide Disguised as Murder”
trick I will discuss later. One example is my short story “Who”
(“Nanimono”). This category also includes novels by Queen and
Raymond Postgate, and a short story by Saki.
1.1.4.3 The culprit plays two roles, erases a fictitious identity, and pretends to
be the murderer (1) This unusual idea is found only in one of Ronald
Knox’s short stories. The protagonist wants to commit suicide due
to an incurable disease, but lacks the courage to do so. He fakes a
murder so he can be sentenced to death—a truly unconventional
premise. The plot is described in more detail in my essay on “The
11
Peculiar Criminal Motives of Mystery,” under “Another Example of

Escape.”
1.1.5 The culprit disguises themselves as a third party (20)

There are numerous instances of a culprit using a disguise to cast
suspicion elsewhere in both foreign and domestic mystery, making
it impossible to record them all without omission, but examples
include Eden Phillpotts’ The Red Redmaynes, and novels by Gaston
Leroux, Christie (two examples), Émile Gaboriau, Crofts, Queen,
Hext, Hilton, Dickson, Maurice Leblanc, and Junichirō Tanizaki.
This category also includes two short stories by Doyle, three by
Chesterton, and examples by Christie, Baroness Orczy, and Dorothy
Sayers.
1.1.6 The culprit disguises themselves as a fictional character

(18)
1.1.6.1 The culprit lives a double life, erases their own identity, and commits
the crime as a fictional character, thereby obfuscating the motive (10) Ex-
amples include John Rhode’s The Murders in Praed Street, novels by
R. Austin Freeman, Crofts, Israel Zangwill, W.F. Harvey, Anthony
Abbott, and Dickson, and short stories by Doyle and Chesterton, as
well as my own short story “Pomegranate” (“Zakuro”).
1.1.6.2 The culprit lives a double life, commits crimes under their fictional
identity, then erases that fictional identity (7) One example is Doyle’s
“The Man with the Twisted Lip.” Other examples include novels by
Christie and Roger Scarlett, and short stories by Knox and Chesterton
(3 examples).
1.1.6.3 The victim happens to play two roles, making it appear as if one
identity killed the other and disappeared, but in reality someone disguised as
that identity was the killer (1) The only example of this elaborate trick
is A.A. Milne’s The Red House Mystery.
12
1.1.7 The culprit uses a body double (19) The category involves
creating an alibi and avoiding suspicion by using someone else as a
body double. Various tricks that are more accurately “Two Persons,
One Role” rather than “One Person, Two Roles” are included, as
well as tricks where twins play a single role. Besides Christopher
Bush’s The Perfect Murder Case, this category includes novels by Carr,
Mignon G. Eberhart, Strahan, Chandler, MacInnes, Cole, Johnston
McCulley, Takatarō Kigi, and Rampo, and short stories by Doyle
(three examples), Christie, Chesterton (two examples), Clouston,
Vakkel, Mallock, and Austin.
1.1.8 One Person, Three Roles and others (7) These are included
as extensions of “One Person, Two Roles,” and are not too numerous.
For “One Person, Three Roles,” there’s Phillpotts’ The Red Redmaynes,
Cole’s The Death of a Millionarie, my Beast in the Shadows, and Chester-
ton’s eccentric short story of human disappearance, “The Blast of
the Book.” For “Three Persons, One Role,” there’s Carr’s The Unicorn
Murders. For “Two Persons, Four Roles,” there’s Sayers’ Strong Poison
and Saburō Kōga’s “The Invisible Thief ” (“Sugata Naki Kaitō”).
1.2 Unexpected Culprits (75)
1.2.1 The detective is the culprit (13) The beginnings of “the de-
tective is the culprit” can be seen in Poe’s “Thou Art the Man,” but
to my knowledge, the first story to actually use this trick was Zang-
will’s novel of 1891. After that came Michael Dred, Detective (1899), a
more obscure collaborative work by Marie and Robert Leighton, then
Leroux’s well-known The Mystery of the Yellow Room (1907). Subse-
quent novels with this trick include works by Leblanc, A.E. Fielding,
Mary Roberts Rinehart, Christie (two examples), Queen, and Shirō
Hamao. It is also featured in two short stories by Chesterton.
13
1.2.2 The judge, policeman, or jailer is the culprit (16) This trick,
where the judge is the culprit of the very case they are adjudicating,
is indeed a unique one. Though the concept seems like it could be
traced back quite far in both Western and Eastern contexts, I lack
specific knowledge of its early appearances. Of the examples I do
know, an early one is the short story “The Broken Jug” by German
writer Heinrich von Kleist (died 1811). In mystery fiction, Post’s
“Naboth’s Vineyard” (included in his 1918 short story collection)
is an early example. There’s one instance in Chesterton’s short
stories, and in recent years, this trick has been used in a Queen
novel as well. Cases where the culprit is not a judge but a prosecutor
include A.K. Green’s Dark Hollow and Akimitsu Takagi’s The Noh Mask
Murder Case (Nomen Satsujin Jiken). Stories where a police officer is
the culprit include Jūran Hisao’s Demon City (Mato), which makes
the police chief the culprit, and Carr’s The Lost Gallows, which makes
the deputy chief the culprit. Other works where a police officer is
the culprit include short stories by Dashiell Hammett, C. Daly King,
Thomas Burke (in his famous work “The Hands of Mr. Ottermole”),
Chesterton, and Bailey. The “jailer is the culprit” trick appears in a
Queen novel and a Chesterton short story. Additionally, one Carr
novel features an impossible crime where a currently imprisoned
inmate is the perpetrator.
1.2.3 The discoverer of the crime is the culprit (3) It’s not un-
common in reality for the person reporting a murder to be the true
culprit. As such cases are mundane, they are not included here. Also,
since there is a section on “Locked Rooms” later, examples in which
the discoverer of a locked room is the culprit are omitted here as
well. Remaining examples include two novels by Christie, one of
which is The Secret of Chimneys, and a short story by Bentley.
1.2.4 The narrator is the culprit (7) This category also omits
examples that are part of a “Locked Room” scenario. The first work
14
to use this trick was Swedish author S.A. Duse’s Dr. Smirno’s Diary
(originally published 1917, almost a decade before Christie’s The
Murder of Roger Ackroyd, 1926). Works by Anthony Berkeley, Virgil
Markham, Nicholas Blake, Seishi Yokomizo, and Akimitsu Takagi
also fall under this category.
1.2.5 A seemingly incapable minor or elderly person is the

culprit (12) Examples of minors as culprits can be found in Queen’s
The Tragedy of Y, and novels by Beresford, Doyle, Queen, Postgate,
and Blake, as well as short stories by Doyle and Saki. Examples
where the elderly are the culprits include Wilde’s Inquest and works
by J. Jeffrey Farjeon, Takatarō Kigi, and Unno Jūza.
1.2.6 A disabled or ill person is the culprit (7) Among stories

with disabled culprits, “Strange Tracks,” a short story by Austrian
author Balduin Groller, is the most notable. Other examples include
two novels by Carr, one by J.S. Fletcher, and one by Unno Jūza in
Japan. While I believe there are stories where an ill person is the
culprit in the West, I have not read any. Japanese examples can be
found in Broken Reeds (Oriashi) by Takatarō Kigi, and works by Kazuo
Shimada.
1.2.7 A corpse is the culprit (1) A truly outlandish concept where

a pistol is placed in a corpse’s hand, and rigor mortis causes the
finger to pull the trigger, killing a victim in the room. There is just
one example: Arthur J. Rees’ “The Finger of Death.” Additionally,
Van Dine mentions a real-life instance of this occurring in Chapter
13 of The Kennel Murder Case.
1.2.8 A puppet is the culprit (1) A wooden puppet holds a pistol,

and as water drips from the ceiling, the wood swells, causing the
puppet’s finger to move and fire the weapon. Green describes a
French novel of this sort in an essay, though both author and title
are unknown (refer to the October 1928 issue of New Youth).
15
1.2.9 An unexpectedly large number of people are culprits (2)

Examples of this include Christie’s Murder on the Orient Express and
Knox’s short story “The Murder at the Towers.”
1.2.10 An animal is the culprit (13) These stories aim to sur-

prise the reader with the realization that what they believed to be
a human culprit was, in fact, an animal. First was Poe’s orangutan
in “The Murders in the Rue Morgue”; then came Doyle’s adder in
“The Adventure of the Speckled Band;” then a phantom hound, a
horse, a lion’s jaw, a bull’s horn, a unicorn, a cat, a venomous spi-
der, a bee, a leech, and a parrot (as a thief). The authors of these
works include Doyle (three examples), Thomas Hanshew, Freeman,
Crofts, Christie, Hubot, Anthony Wynne, Victor Whitechurch, and
Morrison.
1.3 Culprit Self-Erasure (14)
1.3.1 The culprit fakes their death by fire (4) Often, people will
falsely believe that someone died in a fire. If human bones are
discovered in the ashes, they could turn out to be animal bones or
anatomical specimens. There are also intricate cases where one is
led to believe this trick was used, but in fact it wasn’t. This category
includes one short story by Doyle and two by Freeman, as well as a
novel by Crofts.
1.3.2 The culprit fakes their death by other means (3) Instances
where someone pretends to drown and then assumes another identity
were already discussed under “One Person, Two Roles,” so they’re
not included here. This leaves only a few other examples. There are
two stories, from Steeman and Christie, where several characters
seem to die mysteriously, but in reality, one survives. Addition-
ally, Dickson once employed a technique used to play dead upon
16
encountering a wild animal in the mountains. A man is found lying

on a rocky seashore during a storm. When a friend discovers him
and checks his pulse, it seems to have stopped. While the friend
rushes to town for help, the man quietly gets up and leaves. It’s
later believed he was swept away by the waves, but in fact, he used
a trick to make it appear as if his pulse had stopped. Some say it’s
done with willpower, but it’s actually done by placing a small ball or
something similar under your armpit, and pressing on the artery.
1.3.3 The culprit undergoes a physical transformation (3) While

there are many examples of self-erasure by scarring one’s face or
burning it with sulfuric acid, both writers and actual criminals have
considered going a step further, and using plastic surgery to com-
pletely change a person’s appearance. Since these examples involve
changing one’s appearance to become someone else, formally, they
belong in the “One Person, Two Roles” category. However, some
simply don’t fit that description, and so are included here. Some of
the works listed under “One Person, Two Roles” 1.1.6.1 also fall into
this category, but examples where the emphasis is on transformation
include a collaborative work led by Abbott, The President’s Mystery
(described in more detail in my essay on “The Peculiar Criminal Mo-
tives of Mystery,” under “Escape”), Kuroiwa Ruikō’s translated work
The Phantom Tower (Yureito), and my own short story “Pomegranate”
(“Zakuro”).
1.3.4 The culprit disappears (4) These involve a literal disappear-

ance. Historically, E.T.A. Hoffman wrote about a human disappear-
ance in Mademoiselle de Scuderi. When a person vanishes in a situation
where vanishing is seemingly impossible, such as while scaling a
wall or running away, it essentially creates a locked-room mystery,
but outdoors. Hoffman settles on having a hidden door in the wall,
which works because it’s not a mystery novel, but having a secret
door in a “locked room” isn’t particularly interesting. Mysteries
17
from the Cabriolet era often described a culprit fleeing into a dead
end enclosed by high walls, and vanishing as if they had evaporated.
These scenes still appear in recent adventure mysteries, but they’re
seldom masterful tricks. Margery Allingham’s Flowers for the Judge
is one of the better novels to feature a culprit disappearance, but
the solution is more physical technique than magic trick, so I don’t
find it particularly noteworthy. The magician-author Carr has, of
course, made use of disappearance tricks several times. The Curse of
the Bronze Lamp centers around a human disappearance, but the trick
is a simple one where the master switches places with a servant,
which is not all that impressive. The trick in Herbert Brean’s recent
work Wilders Walk Away seems interesting in comparison. It is a
human disappearance novel, and a few of the tricks in it are quite
well executed. Tricks like someone disappearing from a locked room
with a window on a festival day, or footprints suddenly vanishing
on a sandy beach, are purely illusionist in nature, but nevertheless
interesting. I feel there is more to write about self-erasure, but my
notes on these tricks are incomplete enough that I cannot recall
more at this moment.
1.4 Unusual Victims (6)
Examples of tricks involving victims are relatively few and insignif-

icant, so instead of putting them into a separate section, I will ad-
dress them here. Besides mysteries concerning the culprit’s identity,
method, and motive, naturally there can also be mysteries concern-
ing the victim. Mystery stories been written where instead of seeking
the culprit, the investigator seeks to identify the victim. Take, for
example, a work by Pat McGerr. In a place far from their homeland,
several individuals get hold of a newspaper from back home, and
read an article about a crime. However, the victim’s name is torn
18
and unreadable, so using the newspaper article, they guess who the
victim might be. In addition, while not precisely about searching for
a victim, there are stories where, due to the victim being unusual,
the reason for the murder is completely inscrutable. As the motive
is unknown, one might argue for these examples to be recorded in
the section on motives, but there are some that stress the “mystery
of the victim” more than the “mystery of the motive,” so they’re
included here. Many works of this type involve multiple seemingly
unconnected victims, whose murders appear to be the aimless acts of
a homicidal maniac, but ultimately have some rational explanation.
Christie’s And Then There Were None, Cornell Woolrich’s The Black An-
gel, Rhode’s The Murders in Praed Street, Craig Rice’s The Fourth Postman,
and Steeman’s The Six Dead Men belong in this category.
19
2. Tricks Concerning Exiting the Scene (106)
2.1 Locked Room Mysteries (83)
One of the earliest detective novels to take the “impossibility” of

the locked room as its theme was Poe’s “The Murders in the Rue
Morgue.” Both Poe’s work and Leroux’s much later The Mystery of the
Yellow Room were inspired by a real incident. Around forty years ago,
I read George Sims’ account of that incident in the December 1913
issue of The Strand Magazine, and have kept my notes on it to this day.
According to Sims’ account, the incident occurred roughly a hundred
years before his time (at the beginning of the 19th century). Back
then, a young lady named Rose Delacourt lived on the top floor of
an apartment building in Montmartre, Paris, in a room was about
sixty feet above the ground. When she didn’t wake up by noon one
day, police broke into her room and found her dead, stabbed in the
chest while lying in bed. The weapon was still embedded in her
body, and seemed to have been thrust with such force that the tip
protruded from her back. The window was locked from the inside,
as was the room’s only door. The key was still in the keyhole, and
even the bolt secured. The sole passage was the fireplace chimney,
but upon inspection, it was impossible for even the skinniest person
to pass through. No items were stolen, and no known grievances
were uncovered during the investigation. Although the case was
discussed many times over the years by crime researchers, it was
reportedly still unsolved a century later, in 1913. However, stories
20
involving locked room mysteries can be traced even further back.

Herodotus’s Histories, from the 5th century BC, contains a tale from
around 1200 BC about the Egyptian king Rhampsinitus, which offers
an early example of locked room mystery. A builder, commissioned to
construct the king’s treasury, secretly builds in a flaw for his children,
and leaves instructions for its use in his will. Hs sons use the flaw
to sneak in and steal the treasures. Another Greek writer from the
2nd century BC, Pausanias, tells a similar story about the architects
Agamedes and Trophonius, involving a locked room mystery with a
secret flaw.
Another ancient example can be found in the “Story of Bel,” from

the Apocrypha of the Old Testament. The king of Babylon worships
an idol god named Bel. Despite presenting offerings of sheep, grain,
and numerous other items, then locking the temple doors to prevent
anyone from entering or leaving, the offerings disappear overnight—a
locked room mystery. The belief is that the god Bel is consuming
these offerings, until a young man named Daniel, playing the role of
a detective, exposes the secret mechanism: a secret passage under
the temple altar, through which priests may sneak in during the
night and take the offerings.
In both Herodotus and the Biblical Apocrypha, there is a secret en-

trance, so by today’s standards these would be considered unfair
locked-room mysteries. In fact, on reflection, even Poe’s “The Mur-
ders in the Rue Morgue” could be considered unfair, because the
window nail was broken from the inside. So, what would be the first
“locked-room” story without such flaws? Doyle’s “The Adventure
of the Speckled Band” (included in The Adventures of Sherlock Holmes,
published 1892) and Zangwill’s novel of 1891 were written around
the same time. Compared to the relatively simple “The Speckled
Band,” the latter novel is a much more satisfying locked-room read.
Though Zangwill’s book has not received much attention in the West,
21
it ought to be recognized for using the most advanced locked-room

trick of its time, and for pioneering another major trick.
I have broadly categorized locked room tricks into cases where the
culprit was not in the room at the time of the crime, cases where the
culprit was in the room at the time of the crime, and cases where
neither the culprit nor the victim were in the room at the time of the
crime. These are further subdivided as seen below. While it goes
without saying that I referred to Carr’s “Locked Room Lecture,” the
classification system is my own, and I have added some tricks that
were not mentioned there.
2.1.1 The culprit is not in the room at the time of the crime
(39)
2.1.1.1 A mechanical devices within the room is used (12) Examples include:
a bullet from a telephone (a short story by Cole), an electrocuting
telephone receiver (a novel by Arthur B. Reeve), a lockhole pistol de-
vice (a novel by Van Dine), a gunshot timed with a clock (from Carr’s
lecture), a falling dagger (a novel by Phillpotts), a pendulum set to
inflict a blow (a short story by Sayers and “Crime Scene” [“Hanzai no
Ba”] by Takashi Asuka), a suffocating bed (I recall reading a transla-
tion by Kuroiwa Ruikō, probably of a story by Fortuné du Boisgobey,
where a canopy bed automatically folds into a box, suffocating the
sleeper), a poison gas-emitting bed (a novel by Phillpotts), a pistol
or other device fired by the melting of ice or the expansion of freez-
ing water (Carr’s lecture), an arson timed with chemical reaction
(Saburō Kōga’s “The Amber Pipe” [“Kohaku no Paipu”]), and arson
timed with a clock and electrical bomb (a novel by Richard Hull).
Most of these tricks are overly mechanical and, with few exceptions,
cannot escape being deemed childish.
2.1.1.2 The murder is conducted from through a slightly opened window—en-

try from the window being impossible as the room is above the third floor—or
22
some other small gap in the locked room (13) Examples include: firing a
dagger from a gun from a window in the opposite building (a short
story by Freeman), firing a bullet made of rock salt through a win-
dow from afar (a novel by Dickson; the rock salt dissolves inside
the body), hanging the victim when they stick their head out of a
window, using a looped rope lowered from the floor above, then
lowering the body to the ground to simulate suicide (a short story
by Chesterton), and shooting a pistol from outside the room, then
throwing it inside to make it appear as though the culprit was in
the room (a novel by Dickson). In cases where the room is on the
first floor, examples include: using a Reggie Tongue (a claw toy with
XXXXXs that expand and contract) to extract the murder weapon
from a table inside the room via a gap in the window curtains, and
exchanging it with another weapon, obliterating the evidence (a
novel by Dickson), using a Judas Window trick (a novel by Dickson; I
will avoid revealing the secret), and shooting a poisoned dart tied to
silk thread through a gap and then pulling it out (a novel by Dick-
son). Tricks that cannot be explained in a few lines can be found in
novels by Walter Harich and Scarlett, and short stories by Knox, C.E.
Roberts, Jacques Futrelle, and Dickson.
2.1.1.3 The victim is led to cause their own death, which is not a suicide (3) A
pertinent example is Carr’s The Red Widow Murders. This trick can also
be found in a novel by Allingham, and Carr’s lecture describes a story
where “the victim is pre-emptively instilled with psychological fear,
becomes nearly frenzied with terror, and is led to die by mishap.”
2.1.1.4 A suicide is disguised as a murder (3) Diguised suicides that do

not involve a locked room are discussed later on in Section 6. Within
this category are Seishi Yokomizo’s The Honjin Murders and a short
story co-written by Edgar Jepson and Robert Eustace. Similar to
these is a story where the victim puts on a one-person show inside a
locked room, inflicts a wound upon themselves, then pretends they
23
were wounded by an evil spirit (a short story by Carr).
2.1.1.5 A murder is disguised as a suicide (2) Those not involving a locked

room are discussed later, as previously noted. Examples include
the aforementioned Chesterton work, where the victim is hanged
from an upper story window, then made to appear as if they hanged
fromselves from a tree on the ground, and a short story by Knox
which cannot be easily summarized in a few words.
2.1.1.6 The culprit is non-human (6) This overlaps somewhat with Sec-
tion 1.2, but examples that involve both a non-human culprit and a
locked room include short stories by Poe, Doyle, and Morrison, as
well as works by Post, Leblanc, and Rampo (via a “sun and water
bottle” trick).
2.1.2 The culprit is in the room at the time of the crime (37)
2.1.2.1 A door mechanism is used (17) The culprit exits the room after
committing the crime, inserts the key into the lock from inside,
and employs a mechanism to secure the bolt or latch from outside.
Examples include a novel by Van Dine, short stories by Jenkins and
Frank Froest, Akimitsu Takagi’s The Tattoo Murder Case, novels by
Carr and Edgar Wallace, a novella by Christie, and a short story by
Kyōsuke Kusuda. Specific scenarios include using a magnet to move
the bolt (a novel by Wallace); entering and exiting by unhinging
the door while keeping it locked, then restoring the hinge from
outside (works by Zangwill and Clayton Rawson); propping a body
against the door, so that its weight creates a locked room (a novel by
Queen); locking the door normally from outside, blending in with
the people breaking into the room, and quickly inserting the key
into the broken door lock from inside (works by Zangwill, Rawson,
and Carr); inserting the key from the inside, exiting, closing the
door, sticking a tweezer-like tool called an “oustiti” (reportedly well-
known in the American criminal community) into the keyhole from
24
outside, and using that to pinch and rotate the key (observed in a
criminology text); and using a double key trick, where the culprit
has two of the same key, leaves one inside the lock, exits, closes the
door, then inserts the second key from outside to make the first fall
inside the room, before locking the door and removing the second
key (a work by Zangwill).
2.1.2.2 The crime is made to appear as if it occurred later than it did (15)
This has some overlap with the section below about “Time Tricks
Involving Sound” (3.3), but methods include playing a record with
the victim’s voice in the locked room after the crime (novels by
Christie and Van Dine), triggering a gunshot sound in the locked
room after the crime (novels by Rees, Carr, Dickson, and Scarlett),
creating a fake gunshot sound by bursting an inflated paper bag
(a novella by Christie), and rigging a large clock to fall and make
a noise, to imply the crime happened at that moment (a novel by
Isabel Myers). One can also utilize ventriloquism (a novel by Carr),
or trick an eyewitness into seeing an already dead victim as still alive.
Examples include adjusting the position of a seated corpse to cast
its shadow on the window curtain (a novel by Scarlett), and hanging
a large sheet of yellow paper from a string to mimic the back of a
person in a gown (when viewed through glass from a distance), then
pulling the paper into a stove with another string to burn it (a novel
by H.H. Holmes). If it’s hard to understand these two examples
from description alone, imagine all other aspects of the situation are
conveniently constructed to allow for the trick. Another method is
for the culprit or an accomplice to disguise themselves as the victim.
While this overlaps with Section 1.1.1, examples of the trick in the
context of a locked room can be found in works by Bentley and Carr,
and two novels by Dickson.
2.1.2.3 The crime is made to appear as if it occurred earlier than it did (2)
The person who discovers the crime is the culprit. The victim is
25
administered a large number of sleeping pills beforehand. When

there is no response to knocking on the door, the culprit breaks in,
commits murder in that instant, and makes it appear as if the victim
was killed before the door was broken (a novel by Zangwill and a
short story by Chesterton). Examples of “the discoverer of the crime
is the culprit” in non-locked room scenarios were discussed earlier
in Section 1.2.3.
P.S. I forgot to include a particularly elaborate trick that belongs in

this category. It involves lifting part of the ceiling of the locked room
with a jack, to create a gap through which the perpetrator can enter
and exit. This trick was featured in the short story “The 51st Sealed
Room” by Robert Arthur, which was a finalist in Ellery Queen Mystery
Magazine’s contest last year (Akizo Yamashita translated it for the
June 1953 issue of the Kyoto fanzine Locked Room). Later, Saburō
Washio built on this idea in a short story where not just part of the
roof, but the entire roof of a hut is lifted with a jack to enter and
exit, then returned to its original state. An even more extravagant
idea, heard from Jūzaburō Futaba and thought to be from a work
by Herbert Brean, involves killing someone outdoors, then hastily
constructing a hut over the corpse to create a locked room. Since
a simple hut can be built overnight, this isn’t impossible. Building
the house after the murder feels like a magic trick Chesterton would
have thought of; I find the concept very interesting.
2.1.2.4 After the discoverers of the crime force open the door and rush in,
the culprit hides behind the door, and escapes while the others look towards
the victim (1) This method may seem absurd, but by defying the
expectations of mystery readers accustomed to complex solutions, it
paradoxically provides a surprising twist. It is featured in a novel by
Rawson, a master of trick-based storytelling.
2.1.2.5 The locked rooms is on a train (2) The murder takes place in
a train compartment, electric locomotive, or the like. Especially
26
while it is moving, a train is an ideal locked room, as it is isolated

from the outside. Examples include a novella by Crofts and Sōhei
Shibayama’s The Electric Locomotive Murder Case (Denki Kikansha Satsujin
Jiken). Cabin rooms on ships have similar properties, which were
made use of in a short story by Christie. If one considers the entire
ship to be a locked room, there are several more examples, but most
were not intended as locked rooms by their authors.
2.1.3 The victim is not in the room at the time of the crime (4) It
may seem strange to say that the victim was not in the room during
a locked-room incident, but this can occur if the culprit brings a body
killed elsewhere into the room, then creates a locked room, or if the
victim enters the room after being seriously injured and, for some
reason, locks the door from the inside before dying. I’ve found no
examples of the former scenario, where the locked room is created
after bringing in the body, possibly because simply moving the body
is enough to establish an alibi. As for the latter scenario, the victim
may create a locked room in order to protect the culprit, or out of
fear of being pursued by an enemy. An example of the former is a
short story by Leblanc, and an example of the latter is “Glass House”
(“Garasu no Ie”) by Kyūhei Shima. There are also stories where,
after the victim sustains a fatal injury and enters the room, another
criminal comes in, unaware that the victim has already died, and
shoots them with a pistol, then creates a locked room (a novel by
Van Dine). Alternatively, a body killed outside may be thrown into a
locked room through a high window (a novel by Dickson).
2.1.4 A locked room escape trick is used (3) These stories concern
escaping from prison. The three examples I know of are The Escape
of Arsene Lupin by Leblanc, The Problem of Cell 13 by Futrelle, and The
Headless Lady by Rawson, all of which were well done. More interest-
ing real-life examples of escape tricks can be found in biographies of
the late, great American magician, Harry Houdini. He traveled the
27
world, demonstrating prison escapes in various countries, and per-

forming magic tricks where he was locked inside a safe and showed
how he could break out.
2.2 Footprint Tricks (18)
Examples of this include walking backward to make it appear as if

the path taken to the crime scene was actually the path taken to
leave, or vice versa (a novel by Nicholas Blake, and my “Who”);
walking on one’s hands while upside down (short stories by Groller
and Dickson); having a horse make cow hoofprints (a short story
by Doyle); using stilts to disguise footprints (a novel by Dickson
and my “Black Hand Gang” [“Kurotegumi”]); using two identical
pairs of shoes to leave false footprints and confuse the investigation
(a novel by Crofts); and attaching horseshoes to human shoes, to
mimic horse tracks (described in an essay by George Sims). There
are also various ways to leave no footprints at all, such as by moving
through the air like a cable car (Akimitsu Takagi’s “Snow White”
[“Shirayuki Hime”]), throwing a boomerang (described in a short
story by Chesterton), having a hot air balloon’s anchor accidentally
hit and kill a person on the ground (this is mistaken for a murder
by bludgeoning in one chapter of a Sexton Blake story), or by some
method that cannot be explained so briefly, as in a novel by Dickson,
and two short stories by Chesterton. Tricks involving tire tracks are
also featured in short stories by Doyle and Chesterton.
Footprint tricks have a long history. While more precisely a “footprint

discovery” trick, in Biblical Apocrypha’s “Story of Bel,” which I cited
earlier, flour is spread ahead of time on the floor of the room where
the culprit appears, and footprints left in it are used as evidence.
This is similar the trick in Doyle’s “The Adventure of the Golden
28
Pince-Nez,” where Holmes discovers a person hiding in the room by

dropping cigarette ashes all over the floor.
2.3 Fingerprint Tricks (5)
Fingerprints, palm prints, lip prints, and the like are often used as
clues, but in the collection I gathered, they are hardly ever used as
tricks. Doyle used a fingerprint-forging trick quite early on, at a
time when fingerprint investigation was not yet widespread, in “The
Norwood Builder,” and Freeman often made good use of fingerprints
(his novel The Red Thumb Mark is representative), but though forging
fingerprints can be interesting in a true story, it’s not particularly
interesting as a trick. A “negative fingerprint” trick (where ink
remains in the indentations between ridges of a finger after it is wiped
off, causing negative fingerprints to appear in photographs, and
mislead identification) is used in my story “The Twins” (“Sōseiji”),
and in a novel by Carr.
Mark Twain invented the fingerprint novel, and several examples

exist from the period between Twain and Doyle, but all use finger-
prints as evidence for suspect identification, and are not examples of
fingerprint tricks. I detailed the history of these fingerprint novels
in another essay, “Meiji Era Fingerprint Novels,” so I won’t repeat
that information here.
29
3. Tricks Concerning the Time of the Crime (39)
These tricks aim to construct an alibi by creating a situation where

it was temporally impossible for the culprit to have been at the
scene of the crime when it occurred. The trick of killing someone,
then disguising oneself as the victim, which I mentioned earlier, is
also, broadly speaking, a temporal alibi. Here, however, only tricks
directly related to time are collected.
3.1 Time Tricks Involving Vehicles (9)
Soon after bicycles were invented, they were still unknown in the
countryside, and stories were written in which the culprit secretly
uses a bicycle to travel to and from the crime scene at unimaginable
speed, thus creating an alibi (Boisgobey’s The Nameless Man [Kaitei no
Jūzai], a short story by Milward Kennedy). There is also a novel by
Wallace in which an alibi is created by using an airplane instead of a
train, at a time when passenger planes did not yet exist. Crofts is a
master at creating tight time alibis through the clever use of trains
and automobiles; vehicle tricks can be seen in many of his works,
including The Ponson Case. There are stories in which the culprit
skis or swims somewhere that would be too far away overland in
order to create an alibi (both novels by Christie), as well as stories
in which the culprit uses tidal currents (Yū Aoi’s “Kuroshio Murder
Case” [“Kuroshio Satsujin Jiken”], a short story by Takashi Asuka),
30
or temporarily adds a second motor to a boat to double its speed (a

novel by Crofts).
3.2 Time Tricks Involving Clocks (8)
The hands of a clock broken during a murder can be adjusted after-

wards to create a false impression of the time (novels by Duse and
Earl Biggers, and a short story by Doyle). Alternatively, at night,
someone may mistake the reflection of a clock for a real clock, and
interpret the time backwards (a novel by Mason). Electric clocks
too, may err due to a voltage drop (Takatarō Kigi’s Broken Reeds). A
particularly inventive trick involves a man living in a country house
setting every clock inside, from wall clocks to the servants’ pocket
watches, to the same wrong time, so that the servants believe the
man left at a different hour. After fulfilling his objective, he resets
all these clocks back to the correct time (a novel by Bush). This
category also includes a novel by Carr and a play by Armstrong.
3.3 Time Tricks Involving Sound (19)
Alibis can be forged using a telephone (novels by Crofts, Carr, and

Allingham). Witnesses can hear the voice of a murder victim after
their death, through the use of a record player (novels by Christie,
Van Dine, and Scarlett)—these examples overlap with those de-
scribed earlier under “Locked Rooms” (2.1.2.2). Another example
of this is Yoshio Inoue’s “Alibi Story” (“Aribai no Hanashi”), from
the 1936 spring special edition of New Youth. Creating an alibi via
radio is possible, too (a novel by J.C. Masterman and a short story
by Hilton). A pistol murder can committed using a silencer, and
a fake gunshot sound produced later to create an alibi (novels by
31
Rees, Fielding, Carr, Dickson, and Scarlett, and a short story by F.

Scott Fitzgerald. Some of these overlap with the fake gunshot sound
tricks described in “Locked Rooms” 2.1.2.2). One can also make a
loud noise at night to give the impression that a murder occurred at
that time (novels by Dickson and Myers), or use ventriloquism (a
novel by Dickson and a short story by Chesterton). I recall an old
Japanese tale using vocal mimicry, but I can’t think of its title at the
moment.
3.4 Time Tricks Involving Weather or the Seasons (3)
The confusion of transitioning between standard time and daylight

saving time can be exploited to forge an alibi (Yūzō Chiyo’s “The
Feast of Fools” [“Chijin no Utage”]). Though not a natural phe-
nomenon, the date change that can occur during an ocean voyage
can be used similarly (a novel by Rufus King). In cold countries, one
can make use of the fact that lamp oil freezes late at night (Kyōsuke
Kusuda’s “Snow [“Yuki”]). Tricks involving the weather on the day
of the crime, as well as solar or lunar eclipse tricks, also belong in
this category.
32
4. Tricks Concerning Weapons and Poisons (96)
4.1 Tricks Concerning Murder Weapons (58)
These tricks complicate the investigation by using a weapon or tech-

nique that is not generally considered to be a means of murder. There
is such a wide variety of these tricks, a systematic classification isn’t
possible, so I will list several subcategories in no particular order.
Many of the examples in this section overlap with those listed ear-
lier under “Murder through a slightly opened window” (2.1.1.2).
Duplicates are not excluded.
4.1.1 The victim is killed by an unusual blade (10) If the victim is

stabbed with a thin shard of ice, the weapon can melt away without
a trace (a short story by Jepson and Eustace). The same thing can
happen in a stabbing by icicle (Sunao Ōtsubo’s “The Luck of Early
Spring” [“Risshun Daikichi”]). Ice has a variety of other uses, span-
ning several different categories, which are detailed in a separate
essay on “Water as a Weapon.” Other unusual blade tricks include
stabbing the victim with a shard of glass, then hiding it by wiping off
the blood and submerging it in a large bowl of water (a short story
by Dickson); firing a dagger from a gun (a short story by Freeman);
using the art of knife-throwing (a novel by Carr and a short story
by Post); using the hands of a large clock as weapons (a novel by
Carr); murder by boomerang (two short stories by Chesterton), and
murder by harpoon (a short story by Doyle).
33
4.1.2 The victim is killed by an unusual bullet (12) Murders may

be carried out with the sun and a water bottle (short stories by Post,
Leblanc, and Rampo). The victim may be shot with rock salt (a novel
by Dickson), an ice bullet (a short story by Green), or an ice arrow
(an epigram by the Roman poet Martial from the 1st century BCE,
a story from Hanshew’s Cleek: The Man of the Forty Faces), and the
murderer can rig explosives to the end of a golf club (a short story
by Bentley). Other bullet-related tricks can be found in a novel by
Marsh, and short stories by Rhode, Cole and Leonard Gribble.
4.1.3 The victim is killed by electrocution (6) A strong electric

current may be administered via telephone receiver (a novel by Wal-
lace). The victim may be kiled by an electric bath (a novel by Dickson,
a short story by Woolrich, “The Electric Bath Case” [“Denkiburo no
Kaishi Jiken”] by Unno Jūza), and a death by electrocution may be
disguised as a death by lightning strike (a short story by Bramah).
Running a current through a chessboard is used in a short story by
Christie.
4.1.4 The victim is killed by blunt-force trauma (10) One trick

in this category involves the victim dying when their iron helmet is
broken by a hammer thrown from a great height (a short story by
Chesterton). Other tricks include murder by hot air balloon anchor
(a Sexton Blake story), murder by pendulum (a short story by Sayers,
“Crime Scene” by Takashi Asuka, and The Ancient Tomb Murder Case
[Kofun Satsujin Jiken] by Kazuo Shimada), murder by a falling block of
ice (Rampo’s “Death of a Sleepwalker” [“Muyūbyōsha no Shi”), and
murder with a mandolin (a novel by Queen). Paradoxically, the earth
itself can also be a weapon (short stories by Poe and Chesterton). A
trick of this kind appears in a short story by Frank King.
4.1.5 The victim is killed by crushing (3) Tricks in this category

include crushing the victim inside a giant cylinder (a short story
by Doyle), rigging a statue to fall on someone (a short story by
34
Chesterton), and crushing someone with the lid of a stone coffin (a

short story by Chesterton).
4.1.6 The victim is killed by strangulation (3) By pressing down

on the lid of a large trunk, one may strangle a victim who has stuck
their head inside to search (a novel by Carr). By hanging the victim
upside down with their legs tied, one can make their murder look
like a natural death (a short story co-written by L.T. Meade and
Robert Eustace). Alternatively, cloth woven from plant fibers which
contract when wet can be arranged around the neck of the victim,
such that during a sudden rainstorm, they contract rapidly, and cause
death (an example is cited in Murder Theory [Satsujin Ron] by Fuboku
Kosakai).
4.1.7 The victim is killed in a fall (5) All of the examples I gathered
involve the use of an elevator (novels by Biggers, Everhart, and
Scarlett, and short stories by Chesterton and Robert Winton).
4.1.8 The victim is killed by drowning (2) Examples include

forcing the victim’s face into a washbasin to induce suffocation, then
making it look like a drowning (a novel by Crofts), and lurking
underwater in a diving suit to drown a swimmer (a novel by Van
Dine).
4.1.9 The victim is killing by an animal (5) Many of these over-

lap with tricks described previously under “Unexpected Culprits”
(1.2.10), so only five examples will be listed here. By attaching a
lion claw-like fixture to the end of a stick before beating someone to
death with it, a murder can be disguised as a lion accident (a short
story by Doyle). A lion can be given sneezing powder to induce it to
sneeze, and so bite the head a lion tamer who puts their head inside
the lion’s mouth for performances (a short story by Hanshew). A
cow sticking its head out of a passing freight train may gore a woman
who was sticking her upper body out of a passenger car window,
35
with the accident being misidentified as a murder (a short story

by Freeman). Unicorn legends can be blamed for a killing with a
horn-shaped weapon (a novel by Carr). Doyle’s “The Adventure of
the Speckled Band” also falls in this category.
4.1.10 The victim is killed by some other outlandish weapon

(2) The victim may be confined to a small room next to the bells
of a church tower, causing nerve strain that leads to their death (a
novel by a famous British author). A woman may bite off someone’s
tongue while seeming to bestow a kiss, and so commit multiple
murders (Bakin Kyokutei’s The Eight Dog Chronicles [Nansō Satomi
Hakkenden]).
4.2 Poisoning Tricks (38)
While countless crime and mystery stories involve poison, those

that use poison as a trick are not as numerous. Introducing strange
and unknown poisons can in fact detract from the fun of a mystery,
so such examples will not be included here. Interesting uses of
poison can be found more often in Western medieval history, espe-
cially Italian history, than in mystery fiction. There are many books
on the history of poisoning in the West, but the most interesting
Japanese works are Dr. Fuboku Kosakai’s Poisons and Poisoning [Doku to
Dokusatsu] (Volume 1 of the Complete Works of Fuboku), which was
serialized in New Youth at the end of the Taisho era, and Dr. Tanemoto
Furuhata’s Stories of Poison and Poisoning (Doku oyo Dokusatsu Mono-
gatari), which is currently being serialized in the Journal of Criminology
(Hanzai Gaku Zasshi).
In toxicology, poisons are classified by their chemical properties, but

in mystery fiction, the chemical formulae of poisons are not crucial,
and in some cases the identity of the poison is not clearly described.
36
Thus, it is more convenient here to divide poisons into three types:

those that enter the digestive system through the esophagus, those
that enter the bloodstream through the skin, and those that enter
the lungs in gaseous form.
4.2.1 The victim ingests the poison (15) While many stories deal
with ingested poisons, few are worthy of being listed in a taxon-
omy of tricks. Arsenic was often used in old crime novels, but in
recent years, cyanide compounds have become the most popular
choice. Memorable poisons from recent mysteries include poison
mushrooms (a short story by Bramah), wolfsbane (a novel by Hull),
and pathogenic bacteria (a novel by Francis Iles). The poison may be
administered by hiding it in chocolate (a novel and two short stories
by Berkeley), or by adding it to a sandwich (a novel by Iles and a
short story by Irvin S. Cobb). Tricks for extending the acting time of
the poison to establish an alibi include coating with sugar, placing
just one poison pill at the bottom of a bottle (a novel by Crofts),
using a heavy liquid poison that settles to the bottom of a medicine
bottle (a novel by Christie), and adding frozen poison to a drink,
with the perpetrator demonstrating the drink’s safety by tasting it
while frozen, but having the victim drink after it melts. This last trick
is used a novel by Dickson, but I also remember seeing something
similar in a work from Jewel’s special edition new author collection.
Alternatively, a dentist can fill a cavity with poison during treatment
(a novel by Christie); someone can add curare poison, which has no
effect until mixed, to alcohol, then arrange for the victim to drink it
themselves (a novel by Dickson); and poison can be applied to stamp
backs, book pages, and pencil tips, in anticipation of them being
licked (a short story by Queen). A cup can contain a mechanism
for dispensing poison, and a poison pill may be transferred from
mouth to mouth during kissing (both examples are from Western
history). The culprit can learn to throw poison, by throwing a cup
37
of water long distances without scattering, then use this skill to

poison the aquarium inside a locked room with a window (a short
story by Roberts); and though not technically a poison trick, the
technique of crushing glass into a fine powder and mixing it into
food has also been frequently used (for example, in a short story by
Stacy Aumonier).
4.2.2 The victim is injected with the poison (16) Examples of

this include a chair with a poison needle (a short story by Jepsen
and Eustace), a table knife that injects poison into the palm when
gripped (a real case from Western history), and a ring that injects a
dose of poison during handshakes (mentioned in Western history
and I believe in a novel, though I can’t recall which). Poison can
also be applied to the fingers of a six-fingered skeleton (a short story
by Hanshew), a bundle of needles (a novel by Queen), or the legs
of a wire spider (a novel by Baynard Kendrick). A venomous snake
can be mistaken for a patterned band (a short story by Doyle), and a
small one can be concealed in hair (a short story by Fulton Oursler),
or within a walking stick (a Western short story I can’t recall). A
living venomous lizard can be placed on a pipe and disguised as
sculpture (a work by an unknown author in a collection by Julian
Hawthorne), and a scenario can be engineered where death occurs
upon being stung by a bee (a short story by Wynne). Poisoned
arrow tricks have been used in a short story by Queen, a novel by
Dickson, and two works by Doyle. A flautist may put a small poison
dart into their flute, so that when it is played, the dart is blown
into a dancer’s neck, causing death (a short story by Goodrich).
Additional examples include poisoned shirts, sheets, and shoes (all
from Western history). With a poisoned shirt, poison is soaked into
the area around the waist, which continuously rubs against the skin,
causing tiny scratches that allow the poison to enter the bloodstream.
Though not poison in the traditional sense, air has also been used for
38
murder, by injecting it into a vein (a short story by Sayers, Akimitsu

Takagi’s The Noh Mask Murder Case).
4.2.3 The victim inhales the poison (7) Examples of inhaled poison
tricks include murders conducted using an indoor gas lamp or gas
fireplace (a short story by Futrelle, Junichirō Tanizaki’s “On the
Way” [“Tojō”]), a poison gas-emitting bed (a novel by Phillpotts),
poison matches (a novel by Chesterton), a poison lamp (a short
story by Doyle), and poisonous flowers (found in Western history
and in a story by a Japanese newcomer, though I can’t recall who).
Other examples include poison candles (Western history), liquid
poison spread on a wall, which becomes poison gas upon a rise in
temperature (a novel by Reeve), and liquid air, used to fill a room
with carbon dioxide (Saburō Akanuma’s Devil Apocalypse [Akuma
Mokushiroku]).
39
5. Tricks Concerning Hiding Things (141)
5.1 Hiding a Corpse (83)
5.1.1 The corpse is hidden temporarily (19) Corpses have been

hidden in many strange locations, including in a barrel (Crofts), in
a wool bale (Marsh), in a coffin with a second body (a short story
by Doyle), inside a snowman (a novel by Nicholas Blake, a Sexton
Blake story), as a waxwork figure (a novel by Carr), and mixed with
shooting range targets (a novel by Dickson). I myself have often
made use of iki dolls and chrysanthemum dolls, for example in
Vampire (Kyūketsuki). Other hiding places include a large trash can (a
short story by Chesterton, my The Dwarf [Issun Boshi]), a pile of war
dead (Chesterton), a large postal bag (Chesterton), a refrigerator
(Udaru Ōshita’s The Cook of Kurenai-Za [Kurenaiza no Hōchū]), a coat
on a coat rack (Chesterton), a chair cover (Dickson novel), a double
bass case (Seishi Yokomizo’s The Butterfly Murder Case [Chōchō Satsujin
Jiken]), a large picnic basket (a short stoy by Carr), and a trunk (a
short story by Christie, Rampo’s Incident at the Lakeside Inn [Kohantei
Jiken]).
5.1.2 The corpse is hidden permanently (30)
5.1.2.1 The corpse is buried (2) This can be in either an already excavated
tomb (a short story by Bailey), or under the pretense of filling in an
old well (Rampo’s “The Twins”).
5.1.2.2 The corpse is submerged in water (1) A short story by Poe.
40
5.1.2.3 Balloons are attached to the corpse to bury it in the sky (2) Jun
Mizutani’s “O Sole Mio,” a short story by Kazuo Shimada.
5.1.2.4 The corpse is cremated (5) Henri Landru burned bodies in an

oven, and his is technique common in mysteries as well. If only the
face is burned, this becomes the “faceless corpse” trick mentioned
later. Examples include short stories by Doyle and Freeman, novels
by Fletcher and Crofts, and Rampo’s Incident at the Lakeside Inn.
5.1.2.5 The corpse is dissolved (1) In Western history, there are examples
of a large chemical tank being created to dissolve people one after
another. I can’t recall an example from Western mystery fiction at
the moment, but Junichirō Tanizaki’s Daytime Demon Talk (Hakuchū
Oni Gatari) is themed around this trick.
5.1.2.6 The corpse is walled in (5) Examples include Poe’s “The Cask
of Amontillado,” Honoré Balzac’s “La Grande Bretèche,” a novel
by Carr, a short story by Chesterton, and my “Panorama Island”
(“Panorama Shima”).
5.1.2.7 The corpse is transformed into something else (11) This can be a
mummy (a novel by Freeman, short stories by Doyle and Henry
Wade), corpse wax (Rampo’s “Daydream” [“Hakuchūmu”]), or a
plaster statue (Chesterton). The body may be plated and turned into
a bronze statue (a novel by Dickson and a short story by Sayers),
ground and turned into sausages (a true story from Germany, a short
story by Kyosuke Kusuda), thrown into a cement furnace and turned
into fine powder (Yoshiki Hayama’s “The Letter in the Cement
Barrel” [“Semento Taru no Naka no Tegami”]), shred and mixed
with pulp to make paper (Kyosuke Kusuda’s Human Poems [Ningen
Shishu]), or frozen with dry ice and shattered into pieces (a short
story by Hiroshi Kita).
5.1.2.8 The corpse is fed to an animal (3) It may be swallowed by a reptile

like a large snake (a short story by Unno Jūza), eaten by birds (a
41
short story by Williams), or eaten by the human culprit (a short story

by Lord Dunsany), though the last option is not usually considered
consumption by an animal.
5.1.3 The corpse is moved as a deception (20) While not literally

hiding it, the act of moving the corpse can be used to conceal a
crime.
5.1.3.1 The corpse is moved a short distance (9) A fatally wounded victim
may walk and change position on their own (novels by Van Dine
and Carr), or the corpse may be thrown (a novel by Dickson, Sunao
Ōtsubo’s Tengu, and a story by a new Japanese writer whose title
escapes me, where a snowplow train flings a corpse far away). There
are many other interesting examples, but as I can’t explain them
in so few lines, I will simply list them by author: short stories by
Chesterton and Allingham, and novels by Dickson (two examples)
and Scarlett.
5.1.3.2 The corpse is moved a long distance (11) The corpse may be placed
on the roof of a freight train to transport it to a distant location (a
short story by Doyle, Rampo’s “Demon [”Oni”], and Yokomizo’s
Detective Fictions [Tantei Shōsetsu]. The same idea is applied to a
double-decker bus in a novel by Brian Flynn), or moved by tidal
current (The collaborative work The Floating Admiral, Aoi’s”Kuroshio
Murder Case,” and Shimada’s Society Page Reporter [Shakai Bu Kisha]).
Other examples that can’t be explained briefly include novels by Carr
and Dickson, and two short stories by Chesterton.
5.1.4 The corpse is made faceless (14) Methods include burning

or disfiguring the face (novels by Doyle, Dickson, Chandler, Rhode,
Christie, and Queen, and short stories by Chesterton and Bramah),
decapitating and hiding the head or swapping it with another (an
episode in Herodotus’ Histories, novels by Queen, Rice, and Rawson,
and a short story by Chesterton), and hiding the torso (Akimitsu
42
Takagi’s The Tattoo Murder Case). This trick is explained in detail in a

seperate essay on “Faceless Corpses.”
5.2 Hiding a Living Person (12)
A living person may be hidden as a hospital patient (a short story

by Doyle, Rampo’s “Demon”), kept in prison for a minor offense (a
short story by Christie), left in a coffin together with a corpse (a short
story by Doyle), or concealed within a large drum (Parallel Cases from
Under the Pear Tree [Tang Yin Bi Shi]). An escaped prisoner may blend
into a masked ball, pretending to be costumed as a prisoner (Chester-
ton). Someone may quickly disguise themselves as a scarecrow in a
field (Chesterton), or transform into a postal worker or conductor,
right in front of one’s eyes (a short story by Chesterton, a novel
by Queen). They may also wear two different colored swimsuits
before removing one (Udaru Ōshita’s “Dr. Hirukawa” [“Hirukawa
Hakase”]), or pretend to be a doll or plaster statue (a Zigomar story
by Léon Sazie, many of my works).
5.3 Hiding an Object (35)
5.3.1 Gemstones are hidden (11) Gemstones may be pushed into a

wound (a short story by L.J. Beeston), swallowed by geese or camels
(short stories by Doyle and Wells), swallowed by the culprit (no
examples in my collection), hidden in a bar of soap (a short story
by Christie), embedded in a plaster statue (a short story by Doyle),
placed in an antique pot (a novel by Morrison), or hidden in makeup
cream (my The Dwarf ). They may also be buried in the soil of a
potted plant (a short story by Crofts), hung on a necklace amidst the
shiny decorations of a Christmas tree (a short story by Sayers), put
43
inside the leg of a Go board (Saburō Kōga’s “The Crystal Faceted

Ball” [“Suishō no Kakudama”]), or kept in a pipe (a short story by
Beeston).
5.3.2 Gold coins, gold bars, or banknotes are hidden (5) A box
of gold bars can be made to look like plated screws and smuggled (a
short story by Freeman). Gold coins can be melted and flattened to
resemble paper, then stuck under wallpaper throughout the house (a
short story by Robert Barr), or dissolved and invisibly preserved in
aqua regia (a shōnen mystery novel by Fuboku Kosakai). Banknotes
can be rolled up and disguised as candle wicks (example not recalled),
or hidden inside a radiator (a short story by Dickson). Gold bars can
be hidden in a mine (a novel by Leblanc).
5.3.3 Documents are hidden (10) Documents can be nonchalantly

exposed, to hide them in plain sight (Poe’s “The Purloined Letter”).
Alternatively, they may be placed inside the cover of a book, such as
the Bible (short stories by Post and Samuel H. Adams), between the
lining and the outer fabric of a hat (novels by Queen and Leblanc),
or inside a glass eye (Leblanc). Other tricks in this category can be
found in works by Christie, Doyle (two examples), and Allingham.
5.3.4 Miscellaneous objects are hidden (9) A ship or car can be

rapidly repainted (a novel by Crofts), the color of a horse can be
changed by applying paint over its body (a short story by Doyle),
and wooden sticks can be thrown into the sea, under the guise of
practicing fetch with a dog, before one throws away a cane (a short
story by Chesterton). A door can be painted to cover up the smell of
a corpse (a short story by Doyle), objects at the scene can be turned
upside down to hide a clergyman’s collar (a novel by Queen), and
a paper tape can be tied to a pistol, with the other end given to a
sheep, so that as the sheep eats the paper, the tape is pulled along,
causing the pistol attached to it to be hidden in straw (a short story
44
by Kyosuke Kusuda). Other tricks in this category can be found in

two short stories by Dickson, and one by Gaul.
5.4 Replacing a Body or Object (11)
A fake signal light can be created, in order to make a train derail

(a short story by Bramah). A burning oar may be mistaken for a
lighthouse, and so lead a ship into a reef (a short story by Chesterton).
A fake red post box on a street corner may create a false sense of
place (Jiro Kuzuyama’s “The Woman Who Bought Red Paint” [“Akai
Penki wo Katta Onna”]). Other examples include faking a corpse
(a novel by Christie), a wrist (a short story by Chesterton), human
bones (a novella by Chesterton, a short story by S.B. Thompson), a
masterpiece painting (a novel by Fuller), photographs (Takagi’s The
Tattoo Murder Case, Rampo’s The Dwarf ), and a movie (Rampo’s Fruit
of the Bizarre [Ryōki no Hate]).
45
6. Miscellaneous Other Tricks (93)
Notable tricks that do not belong to any of the previous categories

have been collected here. Many of them could be described as “hiding
the crime” tricks, as opposed to the previous section’s “hiding people
or objects” tricks, but not all fall under that umbrella.
6.1 Mirror Tricks (10) A case of mistaken identity may arise from
reading someone’s initials in reverse, from a reflection in a mirror
(a novel by Christie). A clock face can similarly be read backwards
(an already mentioned novel by Mason). Various magic tricks with
mirrors have been used in mystery fiction (a short story by Dickson,
a novel by Rawson, a short story by Freeman, and Kikuo Tsunoda’s
Miraculous Bolero [Kiseki no Borero]). A large mirror can be used to
make one person appear as two, and create a locked room (a novel
by Carr), and one’s own reflection in a mirror on the back of a door
can be misinterpreted as another person standing in the hallway (a
short story by Chesterton), or even mistaken for an enemy and fired
upon (another short story by Chesterton). A novel by Scarlett also
falls under this category.
6.2 Optical Tricks (9) Color blindness tricks can be found in short
stories by Dickson and Post, a novel by Queen, Yokomizo’s “Crimson
Mystery (”Shinku no Nazo”), Koga’s Green Crime (Midoriiro no Hanzai),
and Kigi’s “Red and Green” (“Aka to Midori”). Nearsightedness
tricks can be found in short stories by Poe and Doyle, and a lattice
trick appears in “Murder on D-Hill” (“D-Zaka”) by Rampo.
46
6.3 Distance Tricks (1) Someone may be blindfolded and taken

on a carriage ride for a long time, making it seem like they’ve been
transported somewhere far away, when in fact they’ve just been sent
in circles and dropped off near their point of departure. I belive there
are examples other than Doyle’s “The Engineer’s Thumb,” but I
didn’t find them while gathering this collection.
6.4 Confusing Chaser and Chased (1) While there is only one
example, it’s interesting as a magic trick, and so is included here.
There’s a rakugo tale in which a fast man chases a thief and acciden-
tally overtakes him. When a passerby asks, “Where’s the thief?”,
the man answers, “He’ll be along shortly.” Chesterton wrote a short
story, “Red Wins, Blue Wins” [“Ako Kate Ao Kate”], using this psy-
chological illusion, where it’s unclear who is the victim and who is
the culprit. Similarly, another rakugo tale, Soba Haori, makes use of
confusion between “the eater and the eaten.” After a large snake
swallows a human, it’s seen licking a certain herb, which makes its
belly shrink. Accordingly, a competitor prepares the herb for a soba
eating competition. However, upon licking the herb, the man’s body
is dissolved, leaving only a pile of soba sitting there, wearing a haori.
Before his death, I saw Mr. Kosakai write down that this could be
the basis for a mystery story.
6.5 Slight of Hand Murders (6) These are tricks where someone
is killed with a move too fast for the eye to see, ensuring the act
goes unnoticed. A prime example is Chesterton’s “The Vanishing
of Vaudrey,” which is analyzed in more detail in a separate essay,
“An Examination of British and American Mystery Short Stories.”
Similar techniques are used in novels by Masterman and Queen, and
in another short story by Chesterton. These tricks can also be part of
a locked-room mystery, as in a novel by Zangwill and another short
story by Chesterton.
6.6 Murders Committed Amidst a Crowd (3) The idea behind
47
these tricks is that it may be paradoxically safer to commit murders

in public, much like how “The Purloined Letter” taught us that the
best hiding place is often in plain sight. Examples can be found in a
novel by Rice and two short stories by Chesterton.
6.7 “Red Headed” Tricks (6) These tricks are named after their
archetype, Doyle’s “The Red-Headed League.” The idea is to recruit
red-haired individuals as bizarre camouflage for a major crime behind
the scenes. Variations on this concept can be found in three of
Doyle’s short stories, as well as in short stories by Robert Parr and
Georges Simenon, and a novel by Bush.
6.8 “Two Rooms” Tricks (5) The short story “Two Rooms” (“Fu-
tatsu no Heya”), which was translated for New Youth’s August 1922
special edition, left a deep impression on me. In New Youth, it was
credited to Robert Winton, but when it was later included in The
Complete Collection of Mysteries, the author was was F.G. Hurst. It’s un-
clear which name is correct, and neither is particularly well-known1 .
However, the story’s premise is quite interesting. It revolves around
a building with two completely identical rooms, one on the ground
floor and another on a higher floor. The victim is tied up on the
ground floor, and a time bomb set next to them with a warning about
an impending explosion. They are then drugged and transported to
the identical room on a higher floor. Upon awakening, the victim
believes the explosion is imminent, and tries to escape through the
door. However, just beyond the door of this room is an elevator
shaft, so the victim falls and dies without the culprit ever directly
laying a hand on them. Dickson’s “Crime of the Non-Existent Room”
employs a similar trick, though not for killing. Queen’s The Lamp
of God (which I translated shortly after the war) uses two identical
buildings instead of rooms. In popular fiction, there is a Fantomas
story that features two identical rooms, stacked vertically to create a
1
“Two Rooms” may in fact be an original story by Seishi Yokomizo
48
large elevator. A murder takes place in the upper room, but when
the elevator is raised, the completely identical lower room takes its
place as the crime scene, erasing any trace of the crime. I borrowed
this idea for my novel The Golden Mask (Ogon Kamen).
6.9 Crime of Probability (6) Junichirō Tanizaki’s “On the Way” uses
a trick of this type, and Robert Louis Stevenson’s “Was It Murder?”
is an older story that could arguably belong in this category. Within
mystery fiction, it is used in Phillpotts’ Portrait of a Scoundrel and
Christie’s Poirot Loses a Client, and in “The Finger Man” by Jerome
and Harold Prince. All of these were written after “On the Way.”
My own work “The Red Room” (“Akai Heya”) also falls in this
category.
6.10 Crimes Exploiting a Profession (1) If a doctor turns evil,

they could use their profession to kill without arousing suspicion.
Among the most interesting examples of this is a short story by
Gribble called “The Case of Jacob Heylyn.” In it, a dentist kills a
patient during treatment by firing a gun into their mouth. After the
body is moved elsewhere, the patient’s murder is thought a suicide
due to the manner of death, thus diverting any suspicion.
6.11 Self-Defense Tricks (1) These tricks involve disguising a

killing as a necessary act of self-defense, when it is in fact a pre-
meditated murder. My story “The Cliff ” (“Dangai”) aimed for this
concept, but was unable to execute it well. I’m unaware of other
works that use the idea.
6.12 Double Jeopardy Tricks (5) In criminal proceedings, once

a case has been tried and a final verdict rendered, the same issue
cannot be tried again (Article 39 of the Japanese Constitution; similar
laws exist in the UK and the US). The same principle is used in this
trick. In a murder case, the real culprit may fabricate evidence that
they committed a lesser crime related to the incident, quickly confess
49
to that, get sentenced for it, and thereby evade the charge of murder.
This trick is employed in Christie’s The Mysterious Affair at Styles, Post’s
short story “The Man with Steel Fingers,” and George Bancroft’s
novel The Ware Case. I also recall it being used in part of Van Dine’s
The Scarab Murder Case. Also, about a decade ago in the UK and US,
there was a fad for mystery novels containing real pieces of evidence,
like printed court records, letters, telegrams, newspaper clippings,
hair samples, torn photographs, and train tickets. A representative
work of that genre, Dennis Wheatley’s Who Killed Robert Prentice?, is
built around this “Double Jeopardy” trick.
6.13 Murders Witnessed by the Culprit From Afar (2) Witnessing

the crime from a distance can help the culprit establish a rock-solid
alibi. During the war, I used a trick of this sort for a spy story
serialized in the magazine Sunrise (Hinode), though as it depicts the
US as an enemy nation, I’ve refrained from publishing it in book
form. After the war, when I read Carr’s The Emperor’s Snuff-Box, I
realized he had used the same trick in a different way, and felt a kind
of kinship with his ideas.
6.14 Nursery Rhyme Murders (6) This is more a type of plot

than a type of trick, but it involves creating an eerie atmosphere
by having murders unfold according to a nursery rhyme. Examples
include Harrington Hext’s Who Killed Cock Robin?, Van Dine’s The
Bishop Murder Case, Christie’s And Then There Were None, Queen’s
Double, Double, Elizabeth Ferrars’ I, Said The Fly and Queen’s short
story “The Adventure of the Mad Tea Party.”
6.15 Scripted Murders (6) Stories in this category aim to create a

sense of eeriness, much like nursery rhyme murders. The concept
of horrifying events unfolding as described by an ancient text, or
the words of the dead, is an ancient one. It appears in old Japanese
fables, and is related to the dread brought on by the prophecies and
divinations of Greek oracles and Chinese oracle bones. It is often
50
incorporated into scriptures like the Bible, but can also be applied
to mystery fiction, to create scripted murders. Examples include
Junichirō Tanizaki’s The Cursed Play (Noroi wa Reta Gikyoku), Christie’s
The A.B.C. Murders, Queen’s The Tragedy of Y, Blake’s There’s Trouble
Brewing, and Seishi Yokomizo’s Gokumon Island (which features haikai
murders) and The Village of Eight Graves.
6.16 Letters from the Dead (3) These stories involve letters that
appear to have been written by the deceased not before, but after
their death. The supernatural phenomenon ultimately turns out
to be a trick. Examples include Beeston’s “Letter from the Dead,”
Leblanc’s The Teeth of the Tiger, and Masayuki Jō’s “Dead Man’s Letter”
(“Shibito no Tegami”).
6.17 Maze Tricks (4) A maze is a visual representation of the idea

of mystery, so there’s an intrinsic connection between mazes and
mystery fiction. However, there aren’t many examples of mazes
themselves being used as tricks. Examples include J.J. Connington’s
Murder in the Maze, Kenneth Whipple’s The Killings in Carter Cave,
Carr’s The Twisted Hinge, and a short story by Queen.
6.18 Hypnotism Tricks (5) Since one can seemingly achieve any-
thing with hypnotism, it doesn’t align well with the rationalism of
mystery fiction; according to Van Dine’s twenty rules, using it is a
“foul.” It is seen more often in stories from when hypnotism was still
a novelty, but few of those tales have become classics. An exception
is M.P. Shiel’s novella “Prince Zaleski,” which still has a place in
mystery fiction history. The author appears to have written many
other works involving hypnotism, including a novel, Dr. Krasinski’s
Secret. More recent works with this trick include Dickson’s The Red
Widow Murders, and short stories by Austin and Gilbert Frankau.
P.S. Brean’s recent novel The Darker the Night also centers around
hypnotism.
51
6.19 Sleepwalking Tricks (4) Wilkie Collins’ The Moonstone is a good

example of this sort of trick. While tackling sleepwalking head-on
can disrupt the logic of a mystery story, I have read other exam-
ples, namely Henry James Forman’s Guilt (1924) and Sax Rohmer’s
“Tragedies in the Greek Room.” My own “Death of a Sleepwalker”
also falls in this category.
6.20 Amnesia Tricks (6) This is also more a type of plot than a
type of trick. After the war, psychological thrillers involving amne-
sia became very popular in Europe and America, but pure mystery
stories had been using this trick for some time. Examples include
two short stories by Collins and one by Arnold Port. I remember
reading a mystery translated by Ruikō in which a character loses
their memory due to a train collision, and the strange old man in
Yūhō Kikuchi’s translation of The Tickencote Treasure would probably
also be considered an amnesia patient today. Moreoever, a few years
ago, when E.C. Bentley, the author of Trent’s Last Case, released the
psychological thriller Elephant’s Work (his first novel after a long
hiatus), it too had amnesia as its central theme.
6.21 Outlandish Thefts (2) It may seem strange to put these tricks
here, but I don’t know of a better place, so I’ll mention them now.
One example is the vanishing carriage incident, where a trick is used
to steal a specific carriage from a cargo train while the train is moving.
This is used in a short story by Whitechurch, “Sir Gilbert Murrell’s
Picture.” An even bolder trick involves the entire train vanshing, as
in Doyle’s “The Lost Special.”
6.22 Murder Exchanges (1) Person A wants his father to die sooner
so he can inherit his wealth; Person B despises his unfaithful wife
and wants to get rid of her, having found a new lover. Despite being
strangers with no prior relationship, by chance they learn of each
other’s secret desires, and decide to engage in a murder exchange: A
will kill B’s wife, and B will kill A’s father. Since A has no connection
52
to B’s wife, and B has no connection to A’s father, neither culprit

has a discernible motive, which ensures neither is suspected of a
crime. The American author Patricia Highsmith wrote a novel around
this concept titled Strangers on a Train (1950). A film adaptation by
Raymond Chandler was recently released (in 1953), so it’s probably
fresh in readers’ minds.
53
7. Cryptographic Techniques (37)
Back in my student days, I created a taxonomy of cryptographic tech-

niques. I included this taxonomy in my 1925 publication “Detective
Hobby” (“Tantei Shumi”) and again in my 1931 essay collection
“Villainous Aspirations” (“Akunin Shigan”). Since then I have made
revisions to that original classification, which I present here.
Cryptography has changed significantly since 1931, thanks to ad-

vancements made during the war. Complex combinations are now
crafted using automatic computing machines. However, as cryptog-
raphy grows increasingly mechanized, the element of ingenuity that
once made it so captivating has vanished completely, making it less
suitable material for novels. This is likely why cryptographic stories
have nearly disappeared from contemporary fiction.
For my collection, I was able to gather a mere 37 examples of crypto-

graphic fiction. However, when classified according to my taxonomy,
it’s clear they fall mostly under categories 7.3 “Allegorical Codes”
and 7.6 “Intermediary Ciphers.” This suggests readers appreciate
clever cryptographic techniques. If a category has no number beside
it, that means I was unable to find any stories that fit that specific
category.
54
7.1 Transposition Ciphers
According to Plutarch’s Lives, ancient Spartan generals could encrypt

messages using a rod called a scytale. Both sender and receiver
needed rods of the same thickness. The sender would wrap a strip of
leather or parchment around their rod, and write a message across
the seams. The recipient could then read the message after wrapping
the strip around their own rod, but someone without the correct
diameter rod would find decrypting the message difficult. This is the
principle of encryption by transposition. Several other techniques,
like the grille cipher, are based on the same principle.
7.2 Pictographic Codes (4)
These techniques involve simplifying the shape of an objects or route

into a basic drawing, much like a child’s doodles. Examples can be
found in Leblanc’s The Hollow Needle and Saburō Kōga’s “The Amber
Pipe.” A primitive form of this technique is used when vagabonds
and thieves write peculiar symbols with chalk on roadside stones
and fences to convey messages only understandable to their peers.
Military semaphore signals fall into this category, as do the sign
languages used by criminals and geisha alike.
Pictographic codes can also serve as a form of shorthand. The monks

of old who abbreviated kanji with special symbols can be seen as
employing a form of shorthand encryption. A related technique is
the “picture-hunt cipher,” which is used in mysteries like M.P. Shiel’s
cryptographic novel “The S.S.,” and Swedish mystery author Frank
Hellar’s The Emperor’s Old Clothes. Similarly, real life spies might use
a drawing of a butterfly, where the pattern on its wings is actually a
map.
55
7.3 Allegorical Codes (11)
Cryptic allegories have been used to communicate since ancient

times. Examples include ancient Japanese love poems, Takanori
Kojima’s cherry tree verse, and Western riddles. This cryptographic
technique is not a mechanical process, but rather something pri-
marily constructed and deciphered using wit, making it a popular
choice for mysteries. The content of the cryptogram in Poe’s “The
Gold-Bug” is an allegorical code, as is the curse in Ruikō’s translation
of The Phantom Tower. Other notable examples I’ve collected include
Doyle’s “The Musgrave Ritual,” Post’s The Great Cipher, Bentley’s
“The Ministering Angel,” M.R. James’ The Treasure of Abbot Thomas,
O. Henry’s “Calloway’s Code,” Sayers’ “The Learned Adventure
of the Dragon’s Head,” Allingham’s “The Case of the White Ele-
phant,” Bailey’s “The Violet Farm,” and Bentley’s “The Inoffensive
Captain.”
7.4 Permutation Ciphers (3)
This technique involves rearranging letters, words, or phrases in

an unusual sequence to deceive the reader. Several forms of this
method exist.
7.4.1 Basic Permutation Ciphers (1)
7.4.1.1 The characters are read in reverse This involves reversing the
order of characters, turning the word “face” into “ecaf,” “seed” into
“dees,” and “bag” into “gab.” In some old, simplistic cryptographic
novels, letters were written in reversed script, though I can’t recall a
specific example at the moment. Another old technique is to replace
each letter with the next in the alphabet, substituting “A” with “B,”
56
or the Japanese character i with ro. This method is described in the

section on “Substitution Ciphers” below.
7.4.1.2 The characters are read perpendicularly (1) This involves reading
several lines of similar text vertically (for English) or horizontally
(for Japanese), to derive a meaningful message. Part of my “Black
Hand Gang” code employs this technique, and I think Western cryp-
tographic novels have used the method as well.
7.4.1.3 The characters are read diagonally This is just like the method
described above, except with the characters aligned diagonally.
7.4.2 Mixed Permutation Ciphers Letters, words, or phrases may

be jumbled according to a mutually agreed upon rule, rather than
read in a straightforward order, making the message appear chaotic
at first glance. The complexity of this method varies by the rule. A
word-level mixed permutation cipher was famously used by the Earl
of Argyle during his conspiracy against James II.
7.4.3 Null Insertion Ciphers (2) This technique involves inserting

unnecessary letters, words, or phrases into a message, to hide the
intended meaning. An example of a word insertion cipher can be
found in Doyle’s “The Adventure of the Gloria Scott.” The phrase
“The game is up” is hidden within the longer sentence “The supply
of game for London is going steadily up.” The other words are un-
necessary. Ideally, the full sentence, with inserted words, would also
carry a different meaning. The same principle applies to the “Phrase
Insertion Cipher.” Doyle’s “Adventure of the Greek Interpreter” falls
into this category, as someone inserts hidden Greek phrases into a
conversation. However, the conversation’s overall meaning does not
remain consistent.
7.4.4 Grille Ciphers These can be considered a type of null inser-

tion cipher. Although only slightly different overall, they are worth
mentioning here. A simple version involves using a square piece of
57
cardstock or cardboard, with horizontal and vertical lines drawn on it

to create a grid similar to manuscript paper. A few randomly chosen
squares are cut out to create windows, the resulting grille is placed
over a sheet of paper, and the intended words written one letter at
a time through the windows. After this, the grille is removed, and
random letters used to fill the blank spaces between the original
letters, obscuring the message. If the recipient has an identical grille,
they can place it over the text and easily read the intended words,
which anyone without the grille would find difficult to decipher. This
is a basic grille cipher.
To complicate things, after writing letters through the windows of

the grille, you can rotate the grille 45 degrees to the right or left
(ensuring the previously writen letters do not show through the new
windows), and continue writing the next part of the message. By
rotating the grille in 45-degree increments, four different sections
of the grille will open up, allowing four times as many letters to be
written, before the remaining blank spaces are filled wih random
letters. The recipient, who also has the grille, can also rotate it in 45-
degree increments to read the message in order. There is a circular
version of this, too. Though a disc doesn’t have clear 45-degree
rotations like a square grille, it can still be rotated strategically to
reveal a message.
7.5 Substitution Ciphers (10)
According to cryptography books, there are main cryptography tech-

niques: transposition and substitution. Transposition aligns with
what I call “permutation ciphers,” while substitution is used by
“substitution ciphers.” Clearly, these are the two main sects in cryp-
tography, with substitution being especially crucial. All modern
58
mechanical ciphers belong in this category. Substitution involves re-

placing letters, words, or phrases with other letters, words, phrases,
numbers, or symbols to obscure their meaning. In most cases, a
“keyword” known only to the communicators is required to decrypt
the message.
7.5.1 Simple Substitution Ciphers (7)
7.5.1.1 Symbolic Substitutions (2) These include dot substitutions,

like Braille and Morse code, which were often used by spies to
communicate. Line substitutions, like the famous line segment
cipher invented by King Charles I, as well as the “zigzag cipher,”
work similarly. One writes the alphabet horizontally, places a piece
of paper underneath, and draws lightning-shaped lines beneath the
letters. The recipient, who has a piece of paper with the same
alphabet and spacing, can place it on top to understand the message.
The ciphers in Poe’s “The Gold-Bug” and Doyle’s “The Adventure
of the Dancing Men” are further examples of this technique, as is
the Masonic cipher, which uses sections of a grid to represent each
letter of the alphabet.
7.5.1.2 Numerical Substitutions (2) One can represent each letter of

the alphabet with a single number or several numbers (for example,
“A” may be represented by 1111, “B” by 1112, “C” by 1121, and so
on). Wynne used a cipher of this sort in his novel The Double Thirteen.
There is also an inverse tecnhnique, where numbers in a text are
represented using a cipher. Freeman’s short story “The Puzzle Lock”
is based on this idea. In it, Roman numerals (IVXLCM) are picked
out from a text, and rearranged to form the combination to a safe.
7.5.1.3 Alphabetical Substitutions (3) Each letter of an original text

can be replaced by another letter or sequence of letters. In F.A.M.
Webster’s short story “The Secret of the Singular Cipher,” each
letter of the alphabet is represented by another letter; in Lillian de
59
la Torre’s short story “The Stolen Christmas Box,” the letter F is

represented by “aabab,” in an example of multi-letter substitution;
and in Alfred Noyes’ “Uncle Hyacinth,” the phrase “Bon voyage”
is used as a substitute for “U-boats,” demonstrating word-level
substitution. Alternate readings of kanji in Japanese can be used
to convey different playful meanings, and a similar technique can
be used in English as well. An example is writing “ghoti” to mean
“fish.” This works because “gh” is pronounced “f ” as in “enough,”
“o” is pronounced “i” as in “women,” and “ti” is pronounced “sh” as
in “ignition,” resulting in “fish.”
7.5.2 Complex Substitution Ciphers (3)
7.5.2.1 Vigenère Ciphers (1) To setup a Vigenère cipher, one must first
arrange the alphabet in a square grid, with each row starting with a
different letter, shifting by one letter each time. The first row should
start with A, the second row with B, the third row with C, and so
on, until there are enough rows to create a square. Then, write the
standard alphabet horizontally above the first row of the square, and
vertically along its left side. These two alphabets serve as the basis
for creating the cipher. In cryptography, this square is referred to as
the “Vigenère Table,” after its inventor, Blaise de Vigenère. There
are three essential elements in the ciphering process: the original
message (referred to as the plaintext), the keyword (the key), and the
resulting encrypted message (the ciphertext). To encrypt a message,
place a slip of paper containing the plaintext and key next to the
alphabet square. Say the plaintext is “ATTACKATONCE,” and the
key “CRYPTOGRAPHY.” Now, find the first letter to be sent, A, in
the horizontal alphabet of the square. A is the first column. Next,
find the first letter of the key, C, in the vertical alphabet of the square.
C is the third row. Now, draw a vertical line down from the A at
the top, and find where it intersects with the row for C, to find the
first letter of the ciphertext. In this case, it is the first letter of the
60
third row, which is C. Next, find the second letter of the plaintext,
T, in the horizontal alphabet, and the second letter of the key, R,
in the vertical alphabet. Where the lines from both intersect, you
will find K. So, the second letter of the ciphertext is K. Following
this method ensures the ciphertext does not always represent A
with the same letter, C. Instead, it is sometimes P, or G. Frequency
analysis usually allows decipherers to know that the most frequently
seen letter in the ciphertext means E, based on the frequency of
letters in English, but here it is inapplicable. Moreover, if the square
grid contains numbers instead of alphabets, the ciphertext will also
consist solely of numbers. The cipher is thus difficult for others
to break, but remarkably easy to decrypt with the keyword, as the
aforementioned encryption process can simply be reversed. Modern
mechanical cryptography is essentially a highly complex version of
this technique, though they may have already progressed to using a
cube, rather than just a square. If old ciphers are linear, then what
is described here could be called planar, and mechanical ciphers
volumetric. I remember once reading about a very simple version of
a Vigenère cipher in a Sexton Blake story. The technique has been
known for quite a long time.
7.5.2.2 Slide Rule Ciphers (1) These operate on the same principle as
the Vigenère cipher, but adapt its square to resemble a slide rule, a
tool often used by engineers. First, create two long, ruler-like strips
of thick paper (or plastic or something). On one strip, write the
alphabet from A to Z, and on the other, write the alphabet from A
to Z twice, making it twice as long. Call the first strip the “Index”
and the second strip the “Slide.” Arrange them so that the “Index”
is fixed, while the “Slide” can move left and right. At this point, a
keyword should be chosen. Find the first letter of the key on the
Slide, and align it under the first letter (A) of the Index.
Then, find the first letter of the message you want to encrypt on
61
the Index. The letter directly beneath it on the slide is the cipher-
text letter. Repeat this process for the entire message to encrypt it.
A recipient with the same slide rule can decipher the message by
reversing this process. Within mystery fiction, this technique was
described and used in Helen McCloy’s novel Panic.
7.5.2.3 Disc Ciphers (1) Just as there are disc-based calculators, there
are also disc-based cipher encoders. The principle is the same; you
have a stack of two discs with one labeled “Index,” and the other
“Slide.” Instead of sliding strips left and right, you simply rotate the
discs to find your answer. A disc cipher is used in Elsa Barker’s short
story “The Key in Michael.”
7.5.2.4 Mechanical Cipher Machines Currently, such machines are pre-

dominantly used for military and diplomatic purposes. Their operat-
ing principle can be said to have evolved from planar to volumetric,
and they may even employ mathematical tables, like a table of random
numbers. However, they are no longer well suited for cryptographic
novels focused on wit and deduction.
7.6 Intermediary Ciphers (9)
These involve using various intermediary media to create the ciphers.

There are many examples of this technique in mystery novels, as
it involves a good dose of wit. One example is typewriters. Some
old typewriters had numbers and symbols on the same key, which
allows one to represent numbers and letters through those symbols.
Once you realize the typewriter is the intermediary, you can solve
the cipher right away. Arthur Marchmont’s Miser Hoadley’s Secret,
which I read a long time ago, is built around this concept. Book
codes are another intermediary often seen in novels. The sender
writers a set of three numbers to indicate the page, line, and position
62
in a book of each word or character of the plaintext, and the recipient

must have the same book to decode the message. The Bible and
well-known novels are commonly used for this purpose, though
Doyle’s The Valley of Fear employs an almanac, and Crofts’ Inspector
French’s Greatest Case uses a stock exchange report. Christie’s “The
Four Suspects” uses a florist’s catalog, Boucher’s “QL 696.C9” uses
a library catalog, and Doyle’s “The Adventure of the Red Circle”
uses classified advertisements. Another technique is flashing lights,
which are also used in “The Red Circle.” Percival Wilde’s “The
Pillar of Fire, features cigarettes as a means of sending Morse code
signals in the dark, and Leblanc has a short story where sunlight is
reflected with mirrors from window to window to communicate. My
own”The Two-Sen Copper Coin” (Nisen Dōka) also belongs here,
as it employs an intermediary medium. One of the most ingenious
examples, however, is an anecdote from Herodotus’s Histories, where
a human is used as the medium. During wartime, to avoid the
danger of sending a written letter, a slave’s head is shaved under the
pretense of treating an eye condition, and a message tattooed on his
scalp. After waiting for his hair to grow back, the slave is sent to
the recipient’s camp, where the message is read by shaving his head
again.
There exist many other cryptographic techniques, including aburi-

dashi, invisible ink, musical substitutions, and musical notation
ciphers. One can also encode messages as knots in rope or string, or
use Jindai Moji characters. Nevertheless, I believe the most common
techniques were covered.
63
8. Unusual Motives (39)
I’ve discussed in detail the motives of mystery fiction in a previous

essay on “The Peculiar Criminal Motives of Mystery,” so here I will
just list the categories. Though it would be interesting to catalog
and compile statistics on the motive in every mystery I’ve read, I
don’t have notes on everything, so I can list only the most unusual
examples. But perhaps that’s only appropriate in a taxonomy of
tricks, as motives in general aren’t particularly tricky.
8.1 Crimes of Emotion (20)
8.1.1 Romantic Crimes (1)
8.1.2 Revenge Killings (3)
8.1.3 Superiority Complexes (3)
8.1.4 Inferiority Complexes (4)
8.1.5 Escapes (5)
8.1.6 Altruistic Crimes (4)
64
8.2 Crimes of Greed (7)
8.2.1 Inheritance (1)
8.2.2 Tax Evasion (1)
8.2.3 Self Defense (3)
8.2.4 Protecting a Secret (2)
8.3 Crimes of Abnormal Psychology (5)
8.3.1 Homicidal Manias (2)
8.3.2 Murder as Art (2)
8.3.3 Oedipus Complexes (1)
8.4 Crimes of Belief (7)
8.4.1 Religious Beliefs (1)
8.4.2 Ideological Beliefs (2)
8.4.3 Political Beliefs (1)
8.4.4 Superstitions (3)
65
9. Tricks for Solving Cases (45)
My notes primarily focus on documenting the tricks used by culprits.

However, whenever I noticed an ingenious method of uncovering the
criminal, I made sure to record it as well. Upon organizing my notes,
I found that I had accumulated a small collection of such tricks. One
might call these byproducts, not substantial enough to warrant their
own section, but I’ve decided include them anyways.
To tell the truth, it would have been interesting to note down every
clue leading to the culprit’s discovery across all works, and to analyze
the clues statistically. However, even if I had done that, I doubt I
would have found many truly tricky and innovative clues.
Since they are called detective novels, one would expect the detec-
tive’s reasoning to be the focus of creativity. However, in reality,
the appeal of mystery fiction lies more in the carefully thought-out,
ingenious, and original techniques used by the criminals to conceal
their crime. As a result, authors pour most of their creative energies
into those aspects of the story, often relegating the detective to mere
explanation.
Interesting techniques on the part of the detective are found not so

much in mystery fiction, as in histories of real-life criminal cases, and
books on forensic science and investigation. They are all straightfor-
ward and lacking in novelty and, as a result, less interesting from a
novelistic perspective. Freeman is an author who tried to focus on
the detective’s reasoning, but this approach actually made his works
66
somewhat tedious. Simply repeating what is written in forensic

textbooks does not make for a particularly engaging read.
Identifying blood stains, fingerprints, footprints, hair, and bullets;

examining dust and other microscopic particles; analyzing forged
documents and handwriting; using composite photographs and lie
detectors; all are interesting bits of practical knowledge. However,
when a novelist simply describes them as they are, the result is not
very impressive. In novels, originality is paramount.
Since I therefore did not include such thoroughly explored tech-

niques, we are left with a rather meager collection of tricks. More-
over, not all are within the realm of forensic and investigative science.
They are just the examples I was able to find.
9.1 Phsyical Clues (17)
9.1.1 A needle is stuck into the sole of a shoe A clever trick from
Biggers’ The Black Camel. Where the suspect walked, and where they
stopped, is determined through the almost invisible needle marks
left on the linoleum floor of the room.
9.1.2 A needle is leaned against the bottom of a door A trick

to check if someone has sneaked into a room during the night. No
matter how gently the door is opened, the leaned needle will fall,
and the intruder will likely not notice. I think there is an example of
this in a famous Western work, but I cannot recall it at the moment.
Alternatively, one may use thin thread, stretched across like a spider’s
web.
9.1.3 Fresh grass is seen under a stone In Doyle’s “The Boscombe

Valley Mystery,” the fact that the grass under a stone is still alive
67
proves that the stone was moved there recently. This inspired my
short story “The Ticket.”
9.1.4 A characteristic knot is identified The most common ex-

ample is a “sailor’s knot.” Occupation can be deteremined from
the way something is tied, so when a knot appears at a crime scene,
investigators, as a rule, do not untie it. Instead they cut the rope
with scissors elsewhere. Examples of knots as clues can be found in
Doyle’s “The Adventure of the Abbey Grange” and “The Adventure
of the Cardboard Box,” as well as in my own work, “Who.” More-
over, according to forensic science books, one can deduce a person’s
occupation by looking at their hands and noting where calluses have
formed.
9.1.5 Mud splatter on trousers is analyzed Sherlock Holmes

amazes one of his clients at their first meeting by accurately guessing
which part of London they came from, using the color of the mud on
their trousers. He does this by correlating the mud on the trousers
with the mud found on specific roads, and deducing direction of
travel. Both Doyle and Freeman frequently employed this kind of
reasoning in their works. Mud and dust analysis is now an important
part of forensic science, and pioneers in the field like Hans Gross
and Edmond Locard have even said they have much to learn from
mystery novelists about the analysis of microsopic particles.
9.1.6 Fingerprints are analyzed While fingerprints are in the realm

of forensic science, mysteries were incredibly quick to adopt their
use for individual identification (see my other essay “Meiji Era Fin-
gerprint Novels” for more details). This shows that techniques
from forensic science and investigation can be fascinating in mystery
fiction, if they are utilized before becoming common knowledge.
9.1.7 Broken glass is reconstructed In Freeman’s “The Case of

Oscar Brodski,” fragments of a broken eyeglass lens are found at
68
the crime scene, and reassembled. Among the fragments, pieces

are discovered that differ in quality and curvature. They are ulti-
mately identified as pieces of a broken wineglass, which leads to
confirmation of the culprit. Other examples include piecing together
torn photos or documents, and deciphering burnt letters. Nowadays,
these techniques are all common knowledge in the field of forensic
science.
9.1.8 The lengths of shadows are analyzed By analyzing the length

of shadows in a photograph, the time the photo was taken can be
determined, which can debunk false time claims. This technique
is used in Connington’s The Sweepstake Murders. Another common
technique is checking the weather conditions on the day of the crime
against astronomical records to expose false claims.
9.1.9 Left-handedness is identified Noticing that someone is left-

handed can be crucial in determining the perpetrator. This is used
in several works, including Christie’s “Murder in the Stables” and
Queen’s The Tragedy of Z.
9.1.10 A sudden increase in appetite occurs A sudden increase

in the amount of food a character consumes can indicate they are
harboring and sharing meals with someone in their room. Detec-
tives often understand that a sudden increase in appetite may mean
someone is being concealed. This is used in Doyle’s The Valley of Fear
and “The Adventure of the Golden Pince-Nez,” and in Carr’s The
Eight of Swords.
9.1.11 A retinal optogram is used The face of the culprit, seen at

the victim’s moment of death, may be imprinted on the retina and
revealed by autopsy. This idea is explored in Roberts’ short story
“The English Filter.” Despite being used in novels, the phenomenon
has been scientifically disputed, though there are recent studies that
support it.
69
9.1.12 The shooter of a firearm is identified Though this is ac-

tually done in investigations, it is among the newest identification
techniques, so it’s worth mentioning briefly. When a pistol is fired,
tiny particles of gunpowder can bounce back onto the shooter, and
adhere to the hand holding the pistol, as well as the sleeve, shoulder,
and chest. These particles are invisible to the naked eye but can be
made visible through a chemical treatment, which can quickly reveal
who among a group of people fired a gun, without requiring tedious
detective work. While it narrows the scope of mysteries, just like
fingerprints did, countermeasures analagous to the use of gloves
to avoid leaving fingerprint will surely be developed. Clayton Raw-
son’s 1940 novel The Headless Lady is one of the earliest examples I’ve
come across of mystery fiction incorporating this new identification
technique.
Various other physical clues and techniques are included in my notes:

Difficult-to-read writing on blotting paper can be seen by reflect-
ing it in a mirror, as in Doyle’s “The Adventure of the Missing
Three-Quarter.” Holmes is an expert at identifying different types of
tobacco ash. The arrangement of blood vessels in the retina varies
from person to person, and can be used for individual identification.
When someone is stabbed with a blade, the hole in their clothing
may be smaller than the blade due to the fabric’s elasticity—a fact
that can cause misunderstandings (the same applies to skin and
muscle). Other tricks include determining the manufacturer of a
pencil using its shavings, and using handwriting analysis to identify
a criminal by realizing that a document was written half by a parent
and half by their child, as in Doyle’s “The Adventure of the Reigate
Squire.” None of these are particularly groundbreaking, however.
70
9.2 Psychological Clues (28)
9.2.1 The criminal makes an oversight There are many examples

in literature of detectives exploiting oversights made by criminals.
Examples include the painted wall in Crime and Punishment, the dam-
aged folding screen in my “Psychological Test” (“Shinri Shiken”),
the raindrops in Scarlett’s The Back Bay Murders and the banknote
serial numbers in their Murder Among the Angels (which I adapted
into The Triangle House Terror), and the culprit’s delusion and ultimate
downfall in Carr’s The Emperor’s Snuff-Box. In both Bush’s The Perfect
Murder Case and Kelman Frosts’ “The Terrible Evening Paper,” the
culprit tries to use the act of purchasing the evening paper to create
a time alibi, but because he is unaware the paper was delayed, the
alibi fails. Post’s “An Act of God” displays a similar kind of ingenu-
ity. The story describes Uncle Abner uncovering a forged document
by noticing that misspellings supposedly made by a deaf-mute are
not visual mistakes in letter shape, but the phonetic mistakes of a
hearing person.
9.2.1 Even and Odd and Strawmen There’s a famous quote from
Dupin in “The Purloined Letter” regarding the game of “even and
odd.” He says, “I knew a boy about eight years of age, whose suc-
cess at guessing in the game of ‘even and odd’ attracted universal
admiration… One player holds a number of marbles in their hand,
and demands of another whether that number is even or odd… Of
course the boy I allude to had some principle of guessing; and this
lay in mere observation and admeasurement of the astuteness of
his opponents. For example, an arrant simpleton is his opponent,
and, holding up his closed hand, asks, ‘Are they even or odd?’ Our
schoolboy replies, ‘Odd,’ and loses; but upon the second trial he
wins, for he says to himself, ‘the simpleton had them even upon the
first trial, and his cunning is just sufficient to make him have them
71
odd upon the second; I will therefore guess odd’… a simpleton a

degree above the first will propose to himself upon the first impulse
the same variation; but a second thought will suggest this is too
simple, and finally he will decide upon putting it even as before…
The boy’s success thus consisted in identifying his intellect with
that of his opponents.” This approach of reasoning according to the
intelligence of one’s opponent is key to detective work.
“Strawmen” similarly comes from a remark of Uncle Abner’s. “The

criminal of the lowest order gives the authorities no one to suspect.
The criminal of the second order sets up a straw man (false lead)
before his own door, hoping to mislead the authorities. But the
criminal of the first order sets it before the door of another, expecting
the authorities of the state to knock it down and take the man behind
it.” This can be seen as an advancement of Dupin’s investigative
philosophy.
9.2.3 Mind reading is used In general, great detectives excel in

the art of discerning human nature. However, what I’m referring to
is specifically the mind-reading displayed by Dupin in Poe’s “The
Murders in the Rue Morgue.” In that story, Dupin accurately deduces
the thoughts and feelings of the narrator by observing his subtle
behaviors. Holmes similarly deduces Watson’s thoughts and feelings
in Doyle’s “The Resident Patient” and “The Cardboard Box.” The
above examples are anecdotes not directly related to the solving of
the crime, but Van Dine made a concerted effort to incorporate this
technique in his cases, as in The Benson Murder Case.
9.2.4 The criminal leaves an aesthetic clue People with a keen

sense of aesthetics can intuitively sense if something is amiss in a
room they’ve never seen before, even if the anomaly is quite subtle.
By relying on this aesthetic intuition, they can infer the existence
of missing items and so successfully identify the perpetrator. An
72
example can be found in Chesterton’s “The Worst Crime in the

World.”
9.2.5 Too much evidence is found When a detective comes across

two or three pieces of evidence too easily, they must be cautious.
Often, this is a sign that the real culprit has planted false evidence
to cast suspicion on someone else (they have placed a strawman at
someone else’s doorstep). Classic examples include Poe’s “Thou
Art the Man” and, in modern times, Van Dine’s “The Scarab Murder
Case.” A reverse strategy, where someone intentionally leaves evi-
dence against themselves, is also possible. By making the evidence
too obvious, they can make it seem like they couldn’t possibly be the
real culprit. Christie employs this tactic in parts of “The Mysterious
Affair at Styles.”
9.2.6 A decoy is used Sometimes, the culprit can be baited into

actively making a “criminal mistake,” through decoy tactics. A prime
example is in Milne’s The Red House Mystery. Investigators loudly
announce their plans to search a pond for crucial clothing, prompting
the culprit to beat them to the punch and search the pond themselves,
only to be caught in the act.
9.2.7 Surveillance is used If “third degree” interrogation can be

deemed a form of torture, then so can persistent surveillance. The
strategy is to follow the suspect without making any direct moves.
The constant presence of a man tailing them day and night, no matter
where they travel, can be enough to wear down the nerves of the
guilty party, and lead them to give themselves away. I remember
there being two or three examples in fiction, but I can’t recall titles
at the moment. This tactic can’t really be called a “clue,” but as it
came to mind, I’ve included it anyways.
9.2.8 Psychological Mysteries While we’re discussing psychologi-

cal clues, I’d also like to touch on the topic of psychological mysteries.
73
Since the beginning of my career as a writer, I’ve believed mysteries

based on psychological evidence to be deeper and more interesting
than those based on physical evidence. My 1925 work “The Psycho-
logical Test” was an expression of this belief. My short story “Doubts”
(“Giwaku”) also took a psychological approach, but it ended up being
a failure. “Psychological Test” was inspired by psychologist Hugo
Munsterberg’s 1911 book Psychology and Crime. It tells the story of a
criminal trying to deceive a psychological test. The test involves a
pulse meter, which could be considered a predecessor to the modern
lie detector, and the measurement of reaction times in a word asso-
ciation test. Ultimately, the deception fails due to an “oversight.”
However, I realized I needed some physical evidence to conclusively
solve the case, so I borrowed a technique from Dostoevsky’s Crime
and Punishment, which has an interrogation about whether a wall was
repainted. In my story, I used scratches on a gold folding screen
instead. Van Dine debuted after me as a writer, but he clearly also
attempted to use psychological reasoning, rather than conventional
physical evidence, in his first and second novels, The Benson Murder
Case (1926) and The Canary Murder Case (1927). However, he too had
to incorporate physical evidence for his cases to hold up in court.
After The Greene Murder Case, his initial ambition for psychological
mystery novels faded, and he ended up producing ordinary mysteries,
albeit embellished with pedantry and culture.
Van Dine’s interest in psychological detective work is well expressed

in his famous introduction to the World’s Great Detective Stories anthol-
ogy. In it, he mentions two authors of psychological mystery fiction
before him, and enthusiastically describes their representative works.
They are Anthony Wynne’s The Sign of Evil (1925), and Henry James
Forman’s Guilt (1924). I haven’t had a chance to read the former, as I
couldn’t get hold of a copy, but I did read a novel by the same author,
The Double Thirteen, which was not at all interesting. The latter book,
74
Guilt, I was able to get a copy of, and I found it somewhat interesting.
The author uses Freudian reasoning to solve a murder stemming
from a romantic relationship. (See Appendix 1 for more).
Ellery Queen’s history of short form mystery fiction, Queen’s Quorum

(1951), cites Harvey O. Higgins’ short story collection “Detective
Duff Unravels It” (1929) as a pioneering work of psychoanalytical
mystery fiction. The description states: “Every crime is committed
in two places—at the physical scene of the crime, where the police
investigate it, and in the mind of the criminal. Detective John Duff
follows the second trail—deep in the mind of the perpetrator. He
unravels one murder mystery by analyzing the victim’s dreams; he
discovers the identity of a thief who steals gold picture frames by
probing the unconscious fears of the owner’s wife; he solves a kidnap-
ing by uncovering the suppressed desires of a beautiful debutante;
he even invents a love charm as a psychiatric aid to detection.”
Japan’s Takatarō Kigi published his first psychoanalytic mystery,

“Retinopathy” (“Mōmaku Myaku Shishō”) in 1934. Some of his early
psychological short stories also incorporated his medical specialty,
Pavlovian conditioning. More recently, between 1949 and 1950, he
has serialized a full psychoanalytic novel, The Sins of My Schoolgirl
Days (Waga Jogakusei Jidai no Hanzai).
Most of the works I’ve listed add psychological reasoning to the

traditional structure of mystery fiction. However, over the past
two decades, a different form of novel called the “psychological
thriller” has developed and become popular enough in Europe and
America to overshadow traditional mystery fiction. As the genre is
not constrained by the need to logically solve mysteries, extensive
psychological and literary exploration is possible. I think authors
who are tired of puzzles and formal logic should seriously consider
venturing into this area.
75
I wrote the above in haste, so it is inevitable that there will be

omissions and inconsistencies. Section 9 in particular was not pre-
planned, and the entire work is incomplete, but I have decided to
leave corrections and revisions for a later date. For now, this is the
first draft of my trick taxonomy. I look forward to your corrections.
76
Appendix: Psychological Mysteries
The following is an old article draft I wrote for the December 1946
issue of Jewel. I’ve included it here as a description of the two
psychological mysteries mentioned earlier.
In Van Dine’s discussions on detective fiction, there’s a section where

he touches upon psychological mysteries: “The alienist detective is
not a far cry from the pathologist detective, and though there have
been several doctors with a flair for abnormal psychology who have
enacted the role of criminal investigator, it has remained for Anthony
Wynne to give the psychiatrist a permanent place in the annals of
detection. In his Dr. Hailey, the Harley Street specialist (the best
of whose cases is related in The Sign of Evil), we have an admirable
detective character who mingles neurology with psychoanalysis and
solves many crimes which prove somewhat beyond the ken of the
Scotland Yard police. It was Henry James Forman, however, I be-
lieve, who gave us the first strictly psychoanalytical detective novel
in Guilt—a story which, despite its unconventional ending and its
singularity of material, makes absorbing reading.”
I wanted to read these two works for a long time, but kept putting it
off. Finally, at the beginning of this year, I read Anthony Wynne’s The
Double Thirteen (1925), and very recently, Henry James Forman’s Guilt
(1924) (I still haven’t been able to get my hands on The Sign of Evil).
The Double Thirteen, featuring Dr. Hailey, was not very interesting. It
concerns a murder linked to the conflicts of an international secret
society, focuses on the tedious deciphering of a lengthy cipher, and
77
shows little creativity. Though the term ‘psychoanalysis’ frequently

appears in the text, the novel itself is not at all psychological. Even
Sherlock Holmes is more psychological than the Dr. Hailey of this
novel. I have two other books by Wynne, The Horseman of Death
and The Mystery of the Ashes, but am not yet inclined to read them.
However, I would still like to read The Sign of Evil.
Forman’s Guilt was somewhat better in comparison. But that’s not to

say I would recommend it be translated. Van Dine wrote that it devi-
ates from the conventions of mystery novels, but I think its deviations
are still too mundane. If it had strayed further while maintaining
the structure of a mystery, it could have been far more interesting.
Besides the real culprit, two other characters are suspected. The
first feels forced and uninteresting due to a weak connection to the
overall plot. However, the motive of the second suspect is purely
psychological, and quite intriguing.
A and B have been close friends since childhood. Both are single,
and share an apartment like brothers. Miss C is A’s girlfriend, and
lives in the same apartment. She eagerly wishes to marry A, but
no matter how long she waits, A never proposes. Miss C thinks A
is not considering marriage because he is content with his current
life, especially his close friendship with B. She concludes that if B
were out of the picture, she could marry A. Killing B is her only
option, which is why she falls under suspicion. However, regardless
of whether this explanation is correct, the killer turns out to be
someone else. In the end, it is revealed that A is the true culprit.
The motive is a Freudian complex. His subconscious harbors an
intense hatred for his close friend B, whom he does not consciously
despise at all. This complex causes him to unconscious kill his friend
during a sleepwalking episode. The culprit attempts to recreate his
somnambulistic state through self-hypnosis, and ultimately exposes
the truth himself. The plot is indeed unique, but I’m rather lukewarm
78
about the way it progresses. It’s very formulaic, and some of the
tricks used are similar to those of The Moonstone, so it feels unoriginal.
That Van Dine chose these novels to represent world psychological
mystery fiction is quite disconcerting. In terms of sophistication,
Japan’s Takatarō Kigi is far superior.
However, there is another reason Van Dine showed interest in this

sort of story. Early in his career, he envisioned a broader kind of
psychological mystery. When I revisited his works during the war,
I got the sense that when he first ventured into mystery fiction, he
aimed to revolutionize the genre by creating a method of detection
based solely on psychological evidence, rather than physical clues.
His arduous efforts are apparent in his first novel, The Benson Murder
Case, which is imbued with the deep meaning and naive ambition of
an epoch-making author, more so than The Greene Murder Case or The
Bishop Murder Case. However, to reason solely on psychological clues
is an extremely difficult task, and even a master could not completely
succeed. (Though I think Van Dine’s ideas were realized to a degree
in some older works, like Zangwill’s The Big Bow Mystery, and a few
of Chesterton’s short stories) By his second novel, The Canary Murder
Case, psychology alone was no longer sufficient, and he had to adopt
physical evidence. By The Greene Murder Case, physical evidence had
overwhelmingly taken precedence.
Psychological mystery stories in the strict sense might be defined as

those with psychopathology and psychoanalysis, like the novels of
Wynne and Forman; reflexology, like Takatarō Kigi; or psychological
testing, like Munsterberg. If so, what Van Dine aspired to create was
a broader category. There is also a third, even broader category of psy-
chological novel, which in general literature includes authors ranging
from Proust to Dostoevsky. Within mystery fiction, Simenon’s works
would fall under this category. The adjective “psychological” can
be used describe any of these three distinct categories, and I have a
79
fondness for all three, but examples of the first, most strictly defined
type are not scarce, both in Japan and internationally. One could call
the genre somewhat conquered. What I hope for is the exploration
and development of the second and third categories. My dream for
the future of mystery fiction is to use the methods of psychological
novels (the third type) to reason through psychological mysteries
(the second type).
Now, on the subject of psychological mystery fiction, I would like to

quote the following two texts.
From “Preface to The Illusion Castle”
In my essay on “The Future of British and American Mystery Fic-

tion,” I described Margaret Millar’s Wall of Eyes on the basis of James
Sandoe’s review, and suggested it may point to a new direction for
honkaku mystery fiction. Recently, I had the chance to read Wall of
Eyes myself, and now I must admit my imagination may have taken
me a little too far. Millar’s novel is written in a psychological style
almost like “stream of consciousness,” and the perpetrator is kept
hidden until the very end. But while a major trick is employed, I did
not feel it demonstrated the level of originality needed to herald a
new direction for honkaku mystery. The novelty of this work lies
mostly in its psychological narrative techniques, but I found the trick
used to conceal the culprit somewhat ordinary, and not well aligned
to the writing style. That characters with such great psychological
insight would all fail to notice the Lupin-esque deception feels rather
unnatural, especially given the entire narrative is psychologically
drawn.
In my description of the book, I mention that a psychiatrist plays the

role of the detective. In fact, while a psychiatrist does appear in Wall of
80
Eyes, they don’t play a significant role. Instead, a police detective does
the psychology, and performs most of the deductions. I also write
that, “the author achieves the seemingly impossible: By depicting the
culprit’s psychology through countless carefully selected fragments,
she allow readers to fully experience their fear, without knowing
their identity.” This was taken directly from Sandoe’s review, and
in truth was the aspect I had the highest expectations for. However,
upon actually reading Wall of Eyes, I did not feel that way at all.
The way the culprit’s identity is hidden is not much different from
traditional mysteries, and I didn’t find the portrayal of their fear
before being discovered exceptionally well-written either. Though
it does do these things, I feel many traditional works are actually
better in this regard (e.g. The House of the Arrow). Nevertheless, the
methods of psychological description used in the narrative are fresh,
and a major trick is hidden at the end, so the book is still a novel
attempt at the genre, and well worth a read.
From “A New Example of Psychological Mystery”
Originally published in the August 1953 edition of Locked Room maga-

zine.
I would like to write a few words about American author Margaret

Millar’s The Iron Gates, which I finished reading just last night. I was
particularly impressed by it, hence my desire to write.
James Sandoe, the American critic, has described Millar’s Wall of

Eyes and The Iron Gates as “psychological thrillers that fully retain
the interest of a true mystery novel.” I repeated this statement in
my essay on “The Future of British and American Mystery Fiction”
in The Phantom Castle. From Sandoe’s description, I imagined these
novels could provide a new direction for psychological mystery fiction
81
(not “psychological test” fiction, but stories that center around the
mysteries and tricks of psychology itself). I thus read Wall of Eyes with
high hopes, but it didn’t live up to my expectations (I noted this in
my preface to The Phantom Castle). I also read her well received novel
of last year, Vanish in an Instant, and found it even less interesting.
Consequently, I gave up on Millar.
I was unable to acquire The Iron Gates for quite some time, but recently
I finally had the opportunity to borrow it from someone. Upon
reading it, it became clear to me that James Sandoe’s comments
about the book were not exaggerations. Perhaps because I read
it without high expectations, I found myself incredibly impressed,
particularly by the riveting intensity of the sections near the end.
It stands on par with, and in some ways even surpasses, post-war
works like William Irish’s Phantom Lady, Agatha Christie’s A Murder is
Announced, and Josephine Tey’s The Daughter of Time (which I discussed
in last February’s edition of Chuo Koron).
Explaining exactly why I found it so impressive would require more

than just a few short paragraphs (I hope to write about it in detail
somewhere else in the future). It’s a psychological novel, yet a major
mystery remains hidden until the very end. Psychological hints
are scattered throughout the narrative, which upon reflection align
perfectly, just like the clues in a traditional mystery. These hints,
which must be understood from the perspective of psychoanalysis,
aren’t concrete evidence in a legal sense, but may resonate more
strongly on a psychological level than physical proof. It hints at what
I have long spoken of: a world of true mystery fiction, featuring
psychological techniques.
I cannot call Millar’s novel a perfect example of this new type of mys-
tery. Certain aspects, such as the killer’s motive, leave something to
be desired. However, it offers something fresh and entirely differ-
ent from the combination of mystery and psychological description
82
found in Millar’s other work, Wall of Eyes. In The Iron Gates, I sense
the dawn of a new age of true psychological mysteries.
83
About the Author
Edogawa Rampo (1894-1965), born Tarō Hirai, is known as the

“Father of Japanese Mystery.” In Japan, he remains among the most
well-known and influential writers of the genre. His debut work,
1922’s “The Two-Sen Copper Coin,” took inspiration from classic
Western detective stories like Edgar Allen Poe’s “The Gold Bug” and
Arthur Conan Doyle’s “The Adventure of the Dancing Men,” but
incoporated elements of Japanese culture and tradition, to create
what is generally considered the very first honkaku mystery. When
it was published in New Youth, it was praised as one of the few
domestic short stories to match the quality of Western fiction. He
would follow up with more works in the same vein, including the
first Japanese locked room story, “Murder on D-Hill,” and the first
inverted mystery, “The Psychological Test,” both featuring series
detective Akechi Kogoro. The continued publication of these stories
led to him becoming perhaps the first full-time mystery author in
Japan.
Rampo’s earliest works are considered honkaku, or “orthodox,” mys-

teries. Such stories follow in the footsteps of writers like S.S. Van
Dine or John Dickson Carr, and value puzzling climes, fair cluing,
and rational deduction over dramatic suspense or surprise twists. In
addition to pioneering the genre, Rampo also worked closely with
some of its key figures. His friend Seishi Yokomizo was the author
of the Kosuke Kindaichi novels, and Rampo’s editor for some time
pre-WWII. However, Rampo himself achieved greater success with
84
stories that emphasized the erotic and grotesque, like 1925’s “The
Human Chair,” 1927’s The Dwarf, which was made into a film the
same year, and 1934’s The Black Lizard, which was adapted into a play
by Yukio Mishima. Though he considered the novels he wrote in
this style inferior to his early work, they were widely popular, and
among the few pre-war novels never go out of print after the end of
the conflict.
After about 1935, Rampo stopped writing as much fiction for adults,
and turned towards stories for children. The Fiend with Twenty Faces,
the first installment of his Boy’s Detective Club series, came out in
Shonen Club in early 1936. It featured Akechi Kogoro together with
his young assitant Kobayashi, and was very popular with its audience,
dominating Rampo’s output after the war. It also spawned numerous
radio, movie, and TV adaptations.
Around the same time he turned to children’s fiction, Rampo also

became more active as a critic. His first collection of essays, Demon’s
Words was published in fall 1935, followed by Lord of the Illusion Castle
in 1947, The Illusion Castle in 1951, and The Illusion Castle Continued in
1954. His appraisals of works like Akimitsu Takagi’s Tattoo Murder
Case and Matsumoto Seicho’s Points and Lines were critical to their
success. In 1947, he founded in the Mystery Writer’s Club, later to
become the Mystery Writers of Japan, after his home, which survived
the firebombing of Tokyo, became a place for mystery authors to
borrow and discuss books. The Mystery Writers of Japan Award
and the Edogawa Rampo Prize, both organized by the club, remain
important paths to discovery for new authors to this day.
85

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ATAXONOMY OF

1. Tricks Concerning the Culprit’s Identity (225) 9

2. Tricks Concerning Exiting the Scene (106) 20

3. Tricks Concerning the Time of the Crime (39) 30

4. Tricks Concerning Weapons and Poisons (96) 33

5. Tricks Concerning Hiding Things (141) 40

6. Miscellaneous Other Tricks (93) 46

7. Cryptographic Techniques (37) 54

8. Unusual Motives (39) 64

9. Tricks for Solving Cases (45) 66

Appendix: Psychological Mysteries 77

About the Author 84

The two longest essays in this collection are “An Examination of

So, with the intention of accumulating material, I began taking

“The Peculiar Criminal Motives of Mystery” were both byproducts of

I attempted to create a taxonomy after the aforementioned articles

Thus, I chose to consult with some mystery enthusiasts from the

Every Saturday in the reception room on the third floor of Iwaya

were all well-versed in mysteries, foreign and domestic. In many

However, this method was, of course, imperfect. When I explained

Moreover, unless I named the original works when explaining each

Additionally, I thought it would be interesting to investigate stories

However, as I mentioned before, in a book centered on “An Exam-

hastily jotting down an outline of my taxonomy, fully aware that it

Now, onto the classification of tricks. Initially, my desire to cre-

The main text intersperses categories with explanations, which may

Some examples have been included in multiple categories. Removing

1.1 One Person, Two Roles (130)

1.1.1 The culprit disguises themselves as the victim (47) This

1.1.1.1 The culprit disguises themselves before the crime (16)

The culprit may temporarily pretend to be the victim, in order to

1.1.1.2 The culprit disguises themselves after the crime (31)

1.1.2 An accomplice disguises themselves as the victim (4) An

1.1.3 The culprit disguises themselves as one of the victims (6)

Peculiar Criminal Motives of Mystery,” under “Another Example of

1.1.5 The culprit disguises themselves as a third party (20)

1.1.6 The culprit disguises themselves as a fictional character

1.2 Unexpected Culprits (75)

1.2.5 A seemingly incapable minor or elderly person is the

1.2.6 A disabled or ill person is the culprit (7) Among stories

1.2.7 A corpse is the culprit (1) A truly outlandish concept where

1.2.8 A puppet is the culprit (1) A wooden puppet holds a pistol,

1.2.9 An unexpectedly large number of people are culprits (2)

1.2.10 An animal is the culprit (13) These stories aim to sur-

1.3 Culprit Self-Erasure (14)

encountering a wild animal in the mountains. A man is found lying

1.3.3 The culprit undergoes a physical transformation (3) While

1.3.4 The culprit disappears (4) These involve a literal disappear-

1.4 Unusual Victims (6)

Examples of tricks involving victims are relatively few and insignif-

2.1 Locked Room Mysteries (83)

One of the earliest detective novels to take the “impossibility” of

involving locked room mysteries can be traced even further back.

Another ancient example can be found in the “Story of Bel,” from

In both Herodotus and the Biblical Apocrypha, there is a secret en-

it ought to be recognized for using the most advanced locked-room

2.1.1.2 The murder is conducted from through a slightly opened window—en-

2.1.1.4 A suicide is disguised as a murder (3) Diguised suicides that do