Furuhata Ninzaburô

As said in the title, the format of this show is inspired by Columbo (which I do not really care for), but with important variants. The most important difference is that, while Columbo is serious detective drama, this show is intended as light-hearted dramedy, and great care is taken to showcase the talents and inidividualities of the stars of the day who, of course, featured as the criminal. That it is made as Columbo-style show meant the audiences know the crimes and criminals from the start, and are guaranteed maximum screen time of the intellectual battle between the detective and the criminal.

Most of the methods are not ingenious, and some of the motives are insignificant, thus a truly lighted-hearted show. The main challenge, however, is to compete with the detective to identify as many, and as quickly as possible, clues that lead to the final conviction. In a way, it's the intellectual race between the audience and the sleuth. However, where Columbo often spot the most-minute-bordering-on-absurdity clues (e.g."not greeting your wife when coming home" equals "knowledge of the murder"), this show usually has the criminal commit one or two humorous slips and is not ruined by the ambition to create a superhuman braniac. On top of it all, the scripts are well-written and humorous, and the acting superb. You always feel refreshingly entertained (never burdened which is surprising for sleuth shows).

I have devoted a significant amount of time and effort to writing the scripts for a 12-episode series of similar mystery dramas, all part of a locked-room series. The process has been incredibly challenging yet rewarding. From the initial conceptualization to the intricate plotting, each step demanded meticulous attention to detail. Crafting a coherent and engaging storyline required hours of brainstorming and countless revisions to ensure the mystery remained compelling and the logic airtight.

One of the most difficult aspects was developing the characters. Creating believable and multidimensional characters who could realistically navigate the complexities of the plot was no easy task. Each character had to have a distinct voice and background, with motivations and actions that felt true to their personalities. Balancing these elements while maintaining the suspense and intrigue of a locked-room mystery took a considerable amount of time and dedication.

Despite these challenges, the process has been incredibly fulfilling. It made me appreciate the depth and complexity required to craft a truly exceptional mystery. This realization struck me profoundly when I began working on "kisaragi 2024." The script for this drama stands out as a masterpiece, a work of brilliance that is both unparalleled and impossible to replicate. It seamlessly integrates intricate plot twists, engaging character arcs, and the unique atmospheric tension that defines a great locked-room mystery.

In light of this, I feel compelled to pay my respects to Mr. Tamura. His influence and the high standards he set have been a guiding force throughout my writing journey. Creating a mystery drama of this caliber has been an arduous yet enlightening experience, and it has deepened my admiration for those who excel in this genre. Through my work, I hope to honor Mr. Tamura's legacy and contribute to the rich tapestry of mystery storytelling.

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This is the general review of the three seasons of TV series.

The entire series is accompanied by two fatal flaws.

1. Always explain the murderer and everything from the very beginning. So for the rest of the time, the audience would have to wait and see the male number one to reveal the truth through jokes (he is really jokes forever!).

The practice of revealing the answer at the beginning is the first taboo of reasoning works, it reduces the fun and connotation of reasoning works to the greatest extent.

2. Solving the case extremely relies on confession. This is obviously abnormal. (This is also a common problem in Japanese detective works. They always hope and believe that the righteous party can get it and must rely on the active cooperation of the prisoner) In particular, this simple pattern is repeated in every episode of the TV series. The audience is like playing with bricks whose shapes and construction methods never change, just changing the stickers on the bricks.