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十津川警部
十津川警部 アキバ戦争
「明日香を、預かっている。一億円用意しろ」。秋葉原名物のメイド喫茶の人気メイドが何者かにさらわれた。警視庁の捜査員たちは翻弄された末に身代金を奪われてしまう。そして、誘拐犯からさらなる要求が突きつけられた! 十津川警部・亀井刑事のコンビと、明日香のファンを自認する異能の“オタク三銃士”が、時に協力しつつ、時に相手を出し抜きながら、真相へと迫ってゆく。
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About the author
Kyōtarō Nishimura
338 books18 followersKyotaro Nishimura (pseudonym of Kihachiro Yajima, born 6 September 1930 in Tokyo, Japan) is a Japanese writer of mystery stories. Nishimura is best known for his "train series" mysteries. He won the Mystery Writers of Japan Award in 1981 for The Terminal Murder Case.
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Displaying 1 of 1 review
March 30, 2019
Nishimura, loves, his, commas. That's, something I had, noticed, before, but really annoyed, me in this book. On top of that, "Akihabara" is, probably, the weakest of the books, I have read, written by him (or his ghost, writer, because taking into account the way he poops a book every, like, day, he could challenge James Patterson for the most vacuum/clone/simplistic I write non-stop writer in the world).
Because Nishimura is, just, basically, your Japanese Patterson in, many ways. Easy, to read, not very, complicated, plots, lots of, dialogue, and, a book, every month (Patterson always seems to have friends to help him though, and he has branched into sci-fi and all that weird stuff; Nishimura keeps his plots mystery/police and train's timetable related).
Here we have 'maid café's, otaku's, and a kidnapping (luckily for us the trains are almost left out of the story). But, sadly, Nishimura doesn't seem to know what to do with this endless world of possibilities, and riches, including the weirdest otaku's ever, and squanders a plot that in his earlier years would have been way better developed. As with "外国人墓地を見て死ね", it seems he has lost his touch. And it is a pity, because the easy to read, characters, dialogues and all that used to work is there (also the problems: repetition of things that have been explained before (stories that have been serialized before becoming a book have this problem, they have to remember the reader what was going on like a month before; simple dialogues and character development; simple plot)). But before there was a charm, more care in the characters and situations, and a better (even if still rushed) resolution to the proceedings. Here is like, I don't know what Akihabara or otaku mean but they seem interesting, so I will put them in the story, and then, out of the blue, I will give you the answer to the mystery (that never even becomes a mystery to start with). And that without taking into account the weird/head-scratching behaviour of many of the characters, that, basically, don't behave like, human beings.
A, Nishimura, minor, effort. Go, again, to his first, like, books.
The best: it is your average Nishimura
The worst: otaku and Akihabara: couldn't you do something better with those ingredients than just have the characters go around for no particular reason, Nishimura (or ghost writer)?; the characters take decisions that may be ok in a sci-fi story but not here; lame mystery (and resolution), 'commas'
Alternatives: Within Nishimura, "終着駅(ターミナル)殺人事件" or "消えたタンカー" are much better. Edogawa Rampo, Arthur Conan Doyle, Agatha Christie, Keigo Higashino, Akimitsu Takagi, Hideo Yokohama's "ルパンの消息", Natsuo Kirino, Miyabe Miyuki, Seicho Matsumoto… Should I keep going?
4/10
(Original Japanese version)
Because Nishimura is, just, basically, your Japanese Patterson in, many ways. Easy, to read, not very, complicated, plots, lots of, dialogue, and, a book, every month (Patterson always seems to have friends to help him though, and he has branched into sci-fi and all that weird stuff; Nishimura keeps his plots mystery/police and train's timetable related).
Here we have 'maid café's, otaku's, and a kidnapping (luckily for us the trains are almost left out of the story). But, sadly, Nishimura doesn't seem to know what to do with this endless world of possibilities, and riches, including the weirdest otaku's ever, and squanders a plot that in his earlier years would have been way better developed. As with "外国人墓地を見て死ね", it seems he has lost his touch. And it is a pity, because the easy to read, characters, dialogues and all that used to work is there (also the problems: repetition of things that have been explained before (stories that have been serialized before becoming a book have this problem, they have to remember the reader what was going on like a month before; simple dialogues and character development; simple plot)). But before there was a charm, more care in the characters and situations, and a better (even if still rushed) resolution to the proceedings. Here is like, I don't know what Akihabara or otaku mean but they seem interesting, so I will put them in the story, and then, out of the blue, I will give you the answer to the mystery (that never even becomes a mystery to start with). And that without taking into account the weird/head-scratching behaviour of many of the characters, that, basically, don't behave like, human beings.
A, Nishimura, minor, effort. Go, again, to his first, like, books.
The best: it is your average Nishimura
The worst: otaku and Akihabara: couldn't you do something better with those ingredients than just have the characters go around for no particular reason, Nishimura (or ghost writer)?; the characters take decisions that may be ok in a sci-fi story but not here; lame mystery (and resolution), 'commas'
Alternatives: Within Nishimura, "終着駅(ターミナル)殺人事件" or "消えたタンカー" are much better. Edogawa Rampo, Arthur Conan Doyle, Agatha Christie, Keigo Higashino, Akimitsu Takagi, Hideo Yokohama's "ルパンの消息", Natsuo Kirino, Miyabe Miyuki, Seicho Matsumoto… Should I keep going?
4/10
(Original Japanese version)
Displaying 1 of 1 review