Read Ebook {PDF EPUB} The Quest For The Missing Girl by Jirō Taniguchi Taniguchi Jirō’s World of Manga. When manga creator Taniguchi Jirō died in February 2017, the majority of the Japanese media described him as the artist of Kodoku no gurume (The Solitary Gourmet), the series he was best known for in his home nation. In France, however, detailed coverage in Le Monde and other press outlets primarily paid tribute to his solo works Aruku hito (trans. The Walking Man ) and Haruka na machi e (trans. A Distant Neighborhood ), which won acclaim in the country. Taniguchi may well be more highly regarded in Europe than he is in Japan. He took inspiration from Franco- Belgian comic artists like Mœbius and François Schuiten, and most of his works are available in French. His standing in France is apparent from his being one of just three mangaka to receive the Chevalier of the Ordre des Arts et des Lettres, alongside Akira creator Ōtomo Katsuhiro and Matsumoto Leiji of Ginga tetsudō 999 ( Galaxy Express 999 ) fame. In December 2017, publisher Shōgakukan released two posthumous volumes including unfinished works by Taniguchi. An exhibition in the same month at the Maison Franco-Japonaise in Tokyo put his exceptional talent on display. Taniguchi created Kōnen no mori (Light-Year Forest) in the last two years of his life, when he was battling illness. It was published in Japan in 2017 in an unusual full-color, landscape format. Taniguchi said that he wanted to create scenery that seemed to express its own emotions. The collection Izanau mono (Tempting Things) includes works in science fiction, historical drama, modern, literary, and other genres, some of which are unfinished. At Home in Different Genres. Born in Tottori Prefecture, Taniguchi made his debut in the 1970s in the Young Comic weekly. In the 1980s, he formed part of a new wave of creators working in a realistic comic style known as gekiga , collaborating with writers like Sekikawa Natsuo and Tsuchiya Garon (Marley Carib). The series Jiken’ya kagyō (Trouble Is My Business) continued until 1994, despite changes in magazine and publisher, with a noticeable evolution in Taniguchi’s style from the unpolished lines of the early days to later refinement. Taniguchi’s early masterpiece Kaikei shuten was published as Hotel Harbour View in Canada in 1990. It was the first time foreign readers could encounter his art in translation. Taniguchi took inspiration from film noir in the illustrations for novelist Yahagi Toshihiko’s hard-boiled Manhattan Op . From the late 1980s to the 1990s, Taniguchi explored a range of new fields, working on the dog tale Buranka (Blanca), the mountaineering manga K , and Botchan no jidai (trans. The Times of Botchan ). The latter work, which centered on Natsume Sōseki and other modern writers, won the Tezuka Osamu Cultural Prize. He also ventured into science fiction with Chikyū hyōkai jiki (Ice Age Chronicle of the Earth) and fantasy with Genjū jiten (Tales of the Prehistoric Animal Kingdom). It is rare to find a mangaka at home in so many different genres. Botchan no jidai (trans. The Times of Botchan) took a decade to complete. Kodoku no gurume (The Solitary Gourmet), illustrated by Taniguchi and written by Kusumi Masayuki, is the most popular work associated with Taniguchi in Japan. Its simple tales of a man eating alone at various real-world restaurants is surprisingly appealing. Western Tokyo Dramas. Aruku hito (trans. The Walking Man ) is another of Taniguchi’s 1990s works. A story told mainly by the pictures rather than the text, it has an atmosphere redolent of both bandes dessinées comics and the films of Ozu Yasujirō. A kind of holy text for dog lovers, Inu o kau (Owning a Dog) warmly depicts the relationship between pet and owner. From the late 1990s to the 2000s, Taniguchi’s talent bore fruit in works like Ikaru (Icarus)—written by Mœbius—and A Distant Neighborhood . He won fans in France with his painstaking, detailed style in which he spent time to get each picture right rather than zipping on to the next panel. The text for Kamigami no itadaki (trans. The Summit of the Gods ) came from a recent hit mountaineering novel by Yumemakura Baku. Taniguchi adapted the large-scale work to the comic format. In the autobiographical Fuyu no dōbutsuen (trans. A Zoo in Winter ), he traced his path from salaryman to mangaka . The original picture for the cover of the mountaineering manga K . The original picture for the cover of Kamigami no itadaki (trans. The Summit of the Gods ) has a power almost three-dimensional in nature. In his major works of the 2010s, Furari and Sennen no tsubasa, hyakunen no yume (trans. Guardians of the Louvre ), he put an imaginative historical spin on the themes of The Walking Man in a fusion of Franco-Belgian bandes dessinées and Japanese manga styles. If only we could have seen more of this distinctive Taniguchi expression in further works. Taniguchi was eager to adapt to manga Ryōken tantei (Hunting Dog Detective), a hard-boiled and heart-warming novel of man and dog written by Inami Itsura. The Tokyo exhibition displayed Taniguchi’s great ability and range. Yonezawa Shin’ya of the organizing Fondation Papier offered hints on how to enter the world of the mangaka . “Taniguchi went to work in Kyoto after graduating from his Tottori high school, but left after six months and headed for Tokyo. He lived in the western suburbs of the capital for the rest of his life. Perhaps this is why you can sometimes see suburban Tokyo scenery in the background of his manga. You almost never see shitamachi low-town neighborhoods. While some of his works are set in his hometown, you could say his later output is drama that emerges from the scenery of west Tokyo. In this newly settled area, there are not the same strong ties to the neighborhood and land, so this is what gives his works their universal themes.” The original picture for the cover of Venezia . (Originally published in Japanese on December 15, 2017. Reporting and text by Yoshimura Shin’ichi. Photographs by Nagasaka Yoshiki, courtesy of Fondation Papier. © Papier.) The Quest For The Missing Girl by Jirō Taniguchi. Ever seen this train carriage in Kyoto? Manga writer Taniguchi Jirō happens to be my favourite. Especially the time travel story Haruka na machi e/ Distant Neighbourhood , which was recently turned into a live action movie by Sam Garbarski. It is about a Japanese office worker in his midlife crisis, who gets warped back to his youth in 1960s Japan. He falls in love again and discovers the secret of his parents. Can he stop his father from leaving the family? Will he mature during his unexpected trip to the past? Taniguchi is clearly “the psychologist” among the manga artists. He earned the nickname of “the Hergé of Japan” for his sober and clear drawing style. Tottori is his home town, therefore the advertisement is on a train carriage from Kyoto to the city of the big sand dune (see blog December CJS Blog). Taniguchi has also mangafied Kawakami Hiromi’s wonderful novel “The Sky is Blue, the Earth is White” – about a compelling love story of a young women with her former school teacher. . Must-Read . Taniguchi depicts faces and identities from their vulnerable side. This transpires even from the reproduction on the train carriage. His characters are hesitant, pensive, and seeking. I also love the way he draws landscapes, places, nature, even big cities like Tokyo in a realistic and almost inviting manner. If you want some more action or even crime, check The Quest for the Missing Girl about teenage prostitution in Shibuya. In short, a confession: I would never have thought that my excursions to Japanese graphic literature would make me re-think my own relationship with my parents… Taniguchi (who makes a short appearance in the film Distant Neigbourhood ) has proved otherwise. Touché, monsieur ! Jiro Taniguchi.

Jiro Taniguchi ( 谷口ジロー , Taniguchi Jirō ? ) is a Japanese mangaka, born 14 August 1947 in Tottori Prefecture, Japan. Contents. Biography. Extract from Aruku Hito. He began to work as assistant of the late mangaka Kyota Ishikawa. He made his manga debut in 1970 with Kareta Heya (A Desiccated Summer), published in the magazine Young Comic. From 1976 to 1979, he created several hard-boiled comics with the scenarist Natsuo Sekigawa, such as City Without Defense , The Wind of the West is White and Lindo 3 . From 1984 to 1991, Taniguchi and Natsuo Sekigawa produced the trilogy Bocchan No Jidai . In the 1990s, he came up with several albums, among which Aruku Hito ( 歩くひと ? ) , Chichi no koyomi (The Almanac of My Father), and Keyaki no ki .

In 1992-1993 he collaborated with Garon Tsuchiya for the manga Blue Fighter ( 青の戦士 , Ao no Senshi ? ) , Knuckle Wars ( ナックル・ウォーズ , Nakkuru ? ) and Live! Odyssey ( LIVE! オデッセイ ? ) . In 2001, he created the Icare (Icaro) series on texts by Mœbius. Jirô Taniguchi gained several prizes for his work. Among others, the Osamu Tezuka Culture Award (1998) for the trilogy Bocchan No Jidai , the Shogakukan prize with Inu wo Kau , and in 2003, the Alph'Art of the best scenario at the Angoulême International Comics Festival (France) for Haruka na Machi e . His work has been translated in many languages. Story lines. Far from the violent storylines often associated with young men's manga, Taniguchi has developed a very personal style, more adult. Along with other writers, like Tsukasa Hōjō, his comics focus more on the Japanese society and culture, with a subtle analysis of its customs and habits. THIS WEEK IN COMICS! (2/15/17 – Quartier voisin) As you have probably heard, the manga artist Jirō Taniguchi died this past Saturday. I'll leave the summation of his life and work in more capable hands, as my own familiarity is strictly limited to those works we've seen translated to English - not an inconsiderable amount, but far less than the total output of an artist who'd been publishing professionally since the early 1970s. Still, I did notice a few interesting things in the reportage surrounding his departure. For example, The Magic Mountain -- a mid-'00s serial which, to my knowledge, was never even collected in Japanese, let alone translated to English -- has unexpectedly been cited several times among a very small handful of his notable works. I suspect this is because the Belgian publisher Casterman, which disseminated word of Taniguchi's death in the west, released a French-language edition back in '07, and presumably made note of that in a press release; venues then repeated the information in English environs, a veritable dye pack bursting against their unfamiliarity with the artist's oeuvre. It's okay: that's how these things are reported in the generalist press, and it speaks well of Taniguchi's renown that such irregularities are even visible. But that raises another question - what kind of renown are we talking about? The BBC prominently observed that Taniguchi's works were "widely praised for the gentle manner in which he approached subjects that were often unique for Japan's manga consumers," and "stood apart in a genre sometimes seen as rooted in extreme violence and pornography." Far be it from me to downplay the storied legacy of smut in Japanese comics, but framing Taniguchi as Manga's Good Boy does a disservice to both the breadth of his career and the facts of his publication history in English. From "Hotel Harbour View", written by Natsuo Sekikawa (VIZ, 1990). Indeed, extreme violence is where it all began, though the extremity was of an unexpected type. In 1990, VIZ debuted its "Spectrum" line of bookshelf-ready paperback originals, their dimensions matching those of popular softcover collected editions of American comic books. All of the works included in that line featured conspicuously detailed, laborious art (one supposes to flatter the tastes of local comic shop denizens, as was often the strategy in 20th century manga localization), but not all of them enjoyed the same success; nobody without a PhD in bullshit or the word "VIZ" on a tax return remembers Yu Kinutani's Shion: Blade of the Minstrel , but Hotel Harbour View , drawn by Taniguchi and written by Natsuo Sekikawa, became something of a cult favorite. I first heard about it on one of the British genre comic writer Warren Ellis' various message boards, deep in the midst of the 'decompression' trend in early-to-mid-'00s superhero comic books, but even those space-y, wide-paneled movies-on- paper had nothing on the climax to Taniguchi's & Sekikawa's title story, in which a fatal bullet is fired from a gun, only arriving at its target an extravagant thirteen panels later. Even at *that* time such excess was startling; in 1990, it must have seemed nearly obscene, though the authors carefully contextualize their flamboyance as the event horizon of an anti-hero's worldview - he is a normal, cancer-stricken man who has hired an assassin to attack him while he engages in a private fantasy of life as a gangster; if he kills her, he will prove himself the idol he has dreamed of being, but even if he fails, a dramatic gunshot death will provide the perfect transubstantiation of noir role-playing into reality, blessing his otherwise unremarkable life with the only meaning he values: that of splashy, violent media. From "Benkei in New York", written by Jinpachi Mōri (VIZ, 2001). Taniguchi had done quite a few comics of the full-contact type, including the long-running crime series Trouble Is My Business (also with Sekikawa, begun in 1979) and several gritty sports manga with future Old Boy writer Garon Tsuchiya, though the full scope of his career had already grown to include the dense, demanding historical-literary serial The Times of Botchan (once more with Sekikawa, begun in 1987). Nonetheless, Taniguchi's next appearance in English came via VIZ's Pulp , an anthology magazine aimed at mature readers, brimming with the sort of violent, sexy and somewhat art-damaged works that could only be enhanced by the addition of somebody who came up professionally around the same time as Katsuhiro Ōtomo and worked in a similar cartoon-realist meter. Benkei in New York may have come from a different writer (Jinpachi Mori), but its brooding and bloody assassination action was not wholly unlike that of Hotel Harbour View . A collected edition arrived in 2001, as the face of manga in English gradually began to change into something more youth-oriented and demographically egalitarian. Subsequent Taniguchi releases came from other publishers, and proved aberrational: Samurai Legend (CPM Manga, 2003), a minor historical adventure drama written by Kan Furuyama, and Icaro (iBooks, 2003-04), an allegorical SF collaboration severely distilled from a scenario by Jean "Moebius" Giraud & Jean Annestay that at least offered Taniguchi an opportunity to indulge his career-spanning affection for bandes dessinées . French-language publishing loved him back. He'd been introduced to that audience in 1995, through a work far removed from bullet holes and sword fights - his masterpiece, The Walking Man . From "The Walking Man" (Fanfare/Ponent Mon, 2004). Introduced to English-dominant audiences in 2004 by the UK-Spanish publishing association Fanfare/Ponent Mon, The Walking Man marked the beginning of what is meant when Taniguchi-in-translation is described as "gentle" and "unique". There is really no 'plot' at all to the book, presenting instead a series of quiet vignettes in which a nameless man strolls around outdoors, taking in the sights. In truth, this stuff is not totally without peer in Japanese comics - not long afterward, there was a series that became very popular among aficionados of unofficially translated manga scans online: Hitoshi Ashinano's Yokohama Kaidashi Kikō (1994-2006), a soothing slice-of-life feature set in a fantastic world. A similar project, Kozue Amano's Aria , saw legit translation from ADV Manga the same year as The Walking Man . At the same time, it would be a mistake to downplay the novel characteristics of Taniguchi's approach. This is not a science fantasy work, there are no impressive vistas of the speculative imagination to be found, and the protagonist is not an endearing young woman of the readily marketable type. Instead, it's a study of movement, place and gesture, wholly removed from ostensibly similar works of North American art comics at that time - the spare lyricism of John Porcellino, or the slashing marks of the Fort Thunder residents. This is an 'art' comic drawn with a crystalline certitude of realist space beyond that of even the most 'realism'-obsessed pop comic books in English; the result is something distinctly observational, as if you are literally standing next to the lead character and literally experiencing the outdoors alongside him, but only in the terrain of a dream, your POV shifting up close and away from his body, time dilating - the toolkit is the same used in that long gunshot from years ago, put to less bombastic but still formally perverse ends. at least by local standards. It is also like cinema, in the way Hotel Harbour View is 'like' the films of Melville, or the early Nouvelle Vague, though I have always found comics, by their unity of drawing, to be a more readily absorbing 'reality' than film, which sculpts time from the stuff of mechanical capture, and is thus endlessly discursive from the continuum of seeing. But maybe that's just me. From "The Walking Man" (Fanfare/Ponent Mon, 2004). Of course, Taniguchi eventually enjoyed a movie version of his work in the west: Quartier lointain (2010), from Belgian director Sam Garbarski, adapting Taniguchi's series A Distant Neighborhood , released in French by Casterman, 2002-03 (Best Scenario winner at Angoulême 2003), and later in English by Fanfare/Ponent Mon, 2009. As luck would have it, by the time The Walking Man hit the market for bookshelf-ready comics had matured to the point where Taniguchi could become a viable brand, associated very closely with Fanfare/Ponent Mon, which would release fifteen books of his comics (not counting assorted reissues, a short story in the Japan as Viewed by 17 Creators anthology, or his grey tones on Frédéric Boilet's & Benoît Peeters' Tokyo is My Garden ), ranging from the sensitive-macho silliness of The Quest for the Missing Girl (2010) to The Summit of the Gods (2009-15), a five-volume adaptation of a mountain climbing adventure novel by Baku Yumemakura. Nonetheless, it seems to be The Walking Man and A Distant Neighborhood that have controlled the tone of remembrances focused on Taniguchi the introspective dramatist. I am actually not so keen on his personal dramas; if made to choose, I would recommend A Zoo in Winter , a 2005-07 serial from the Japanese magazine Big Comic Original collected in English by Fanfare/Ponent Mon (at this point Taniguchi arch-specialists) in 2011. This at least, is set in the world of late-'60s popular manga, with Taniguchi drawing on his own apprenticeship to shōnen artist Kyūta Ishikawa for some keen observations as to the dynamics of a manga studio; there's also a great bit with the Taniguchi stand-in protagonist getting cornered at a bar by a revolutionary folk singer who won't shut the fuck up about the Marxist ninja cartoonist Sanpei Shirato that's far too keenly felt to not be a real incident. From "A Zoo in Winter", translation by Kumar Sivasubramanian (Fanfare/Ponent Mon, 2011). It is grossly dewy and sentimental fare, though - packed with decent boys, roguish men with decent sides, decent men with roguish sides, and women who are alternately inscrutable and passionately dedicated, when not inspiring the protective impulse. Virtually every chapter involves a moment of empathetic realization worthy of a feel-good television movie, culminating in the full-throttle melodrama of a creativity-stoking gravely ill girl, and while I understand this is of great appeal to some (and perhaps of personal import to Taniguchi), I find it all awfully sodden and pat in execution. And even then, it is conceptually not so far removed from the prolific and studio-powered works of a veteran commercial mangaka like Kenshi Hirokane, specialist in salaryman soap opera and easily digestible human interest fare. I only say this to offer a more rounded perspective on Taniguchi's career; he is in no way sui generis, though he is often superior. Always, his draftsmanship is very accomplished, and his visual narration as clean as can be. The Walking Man is undeniable, recommended with no hesitation, while Hotel Harbour View I consider a classic of its kind; maybe someday it'll come back in print, ideally with the 100 or so additional pages of stories from the Japanese edition. Hell, maybe Fanfare/Ponent Mon will finish releasing The Times of Botchan , which it began publishing in 2005, only to trail off following the fourth of ten volumes; I suspect there are deeper layers of Taniguchi's talent hidden within this collaboration, just as there are surely surprises scattered throughout the untranslated regions of his library, a far greater thing than we've had occasion to witness during his life. PLEASE NOTE: What follows is not a series of capsule reviews but an annotated selection of items listed by Diamond Comic Distributors for release to comic book retailers in North America on the particular Wednesday identified in the column title above. Be aware that some of these comics may be published by Fantagraphics Books, the entity which also administers the posting of this column, and that I also run a podcast with an employee of Nobrow Press. Not every listed item will necessarily arrive at every comic book retailer, in that some items may be delayed and ordered quantities will vary. I have in all likelihood not read any of the comics listed below, in that they are not yet released as of the writing of this column, nor will I necessarily read or purchase every item identified; THIS WEEK IN COMICS! reflects only what I find to be potentially interesting. You could always just buy nothing. SPOTLIGHT PICKS! My Favorite Thing is Monsters Vol. 1 : I can only assume you've heard of this one, as Fantagraphics has been giving it a damned hard push. And why not? This 386-page debut graphic novel by Emil Ferris blends autobiography, murder mystery, wartime drama and classic monster movie tropes, all of it presented in the form of a young girl's notebook from the 1960s, its pulsing, bravura ultra-hatched color drawings created with ballpoint and felt-tipped pens. Adding to the book's mystique, its initial 2016 print run then found itself stranded on a cargo ship in the Panama Canal after the freight company fell into financial calamity - only now can this work be released for wide sales. Paul Tumey reviewed it in advance last year, and the author herself has recently put together a new introductory comic; $39.99. Lovers in the Garden : Being the new comic from Anya Davidson, a 1970s-set urban drama in full color. That's really all I know about this 64- page Retrofit/Big Planet release, but Davidson is one of the most restless talents around today, and anything she releases is immediately of interest; $10.00. PLUS! Forever War #1 (of 6) : Some of you might remember this one - not just the 1974 Joe Haldeman novel (depicting a man's travels through vast space and, as a result, time, all in the service of a massive, dubiously-premised war, Vietnam parallels not to be missed), but the 1988-89 comics adaptation drawn by Belgian artist Mark "Marvano" Van Oppem, released in English across the first half of the 1990s by NBM. Now Titan re- releases the project as a series of comic books, variant covers and all, in case you've missed it; $3.99. Starseeds : Can't say I'm familiar with the work of Mexico-based multimedia artist Charles Glaubitz, save for the fact that he's been exhibited by Monte Beauchamp of BLAB! , and he does seem to have the sort of molten pop-psychedelic style typified by works of that long-lived forum. Anyway, this 240-page, 7.5" x 10" color Fantagraphics hardcover is his first graphic novel, "a work of mythical, pictorial, illustrative, and cosmological components, while combining elements of myth, religion, and spirituality with comics, hermetic ideas, alchemy and science." Or, so says the publisher; $29.99. Reich #1 (&) #3 (of 12) (&) Cerebus in Hell? #1 (of 4) : A pair of possible-confusing indie comic book projects, each stemming from earlier work. Reich is a biographical project the artist Elijah Brubaker published through Sparkplug Comic Books starting in 2007; now Alternative Comics returns the series to comic book stores, in a somewhat mixed manner. issue #2 seems to have arrived last week, per Diamond's release list. Cerebus in Hell? is a jokey series Dave Sim has spun off from his long-lived self-publishing project in commemoration of its 40th anniversary, put together from clip art with latter-day production collaborator Sandeep Atwal as a set of gag strips. Still from Aardvark-Vanaheim, itself approaching its 40th birthday; $3.00 ( Reich , per issue); $4.00 ( Cerebus ). Umbra : Another one from Dover, this time collecting a 2006 miniseries from artist Mike Hawthorne and writer Stephen Murphy, the latter making a rare non- Teenage Mutant Ninja Turtles -related appearance in comics subsequent to the stoppage of his signature series, The Puma Blues . I recall enjoying this in comic book form - a delve into secret global histories with action-adventure and bizarre science elements. Concise too at 144 pages, some of them devoted here to a newly expanded ending; $16.95. The Wild Storm #1 : Since I've mentioned Warren Ellis above (he was also involved with VIZ's Pulp magazine, albeit as a columnist), I should note that he remains active in comics, here as the frontman for the sort of thing you used to see more of in cape comics back in the '00s - full- blown revisions of certain superhero franchises, built around strong writerly perspectives. The subject matter here is the WildStorm line of comics founded by Jim Lee at the birth of Image and acquired by DC toward the end of the '90s; I believe the brand has been dormant for the better part of a decade now, so -- coupled with Ellis' own history with some of these characters, including Stormwatch and its megahit successor, The Authority -- there may be some pent-up demand. The art on this debut issue is by Jon Davis-Hunt (I've liked his muscular and bloody art on the 2000 AD werewolf fantasy serial "Age of the Wolf"), with Ivan Plascencia; $3.99. 100 Manga Artists : Finally, we return to Japan-by-way-of-Europe for your book-on-comics of the week. Originally released in 2004, the enormous Taschen art book Manga Design proved itself a genuine oddity - over 500 pages of seemingly random profiles of manga artists from across the post-war history of the form, many of them otherwise totally unfamiliar to western publication, accompanied by unusual and often rather obscure sample images. There was also a DVD of artist interviews, including a bit with Naoki Urasawa from well before more than a few hundred English readers knew who he was. Anyway, this is a smaller (5.7" x 7.9"), fatter (672-page), 'revised' edition of the original, apparently whittling down the profiles to only 100 and losing the DVD entirely. I've gotten lost in the original many times. Edited by Julius Wiedemann, with text in English, French and German; $19.99. Little Noir Stories: The Case of the Missing Girl Walkthrough. Welcome to the Little Noir Stories: The Case of the Missing Girl walkthrough on Gamezebo. Little Noir Stories: The Case of the Missing Girl is a Hidden Object game / Interactive Novel for the PC created by Sarbakan Game Studio and published by Big Fish Games. This walkthrough includes tips and tricks, helpful hints, and a strategy guide on how to complete Little Noir Stories: The Case of the Missing Girl . How to Play. The cursor changes when you move your mouse over an interactive area. A magnifying glass indicates you can take a closer look, whereas a sparkling area indicates there are hidden objects to find. If you linger in a scene where there’s nothing more to do, you’re prompted with a “You’re Done Here” sign, and an arrow that shows you the way out. Click on the flashlight to get a hint. Wait for the flashlight to fully recharge itself before using it again. If you click on random objects too quickly, the screen will turn blurry and unfocused for a while. At the bottom of the screen, you’ll be shown an objective to fulfill. If there are several objectives, you can use the up and down arrows to scroll through them. The Toolbox icon shows what’s in your inventory. Objects in your inventory may be combined so that they can be used in a scene. Journal. The Journal icon takes you to your main control panel. Here you can adjust Options or exit to the Main Menu. As you progress through the game, take the time to read through the pages as it contains additional insights and interesting details. The Map shows you the various rooms in the building. You may only visit rooms that are unlocked. The People tab shows character profiles of all suspects, and even of the detectives. The Case tab lists additional notes and observations about everything you encounter. The Checklist shows the chapter’s objectives, chapter progress and a list of secret tasks to complete. Secret Tasks: these mini-tasks are not necessary to the game, but in completing them you learn more about the story and the characters. Be aware that you can only finish a secret task within a specific chapter. When you move on to the next chapter, your task list is erased and replaced with a new one. Walkthrough. At the start of a new game, you are asked to choose a mode: Classic or Novel . If you change your mind, you will be able to switch to the other mode in between chapters. Classic Mode: Conversations are short and non-interactive. You are given only the basic objectives. Secret tasks are fewer and easier to achieve. Lists of hidden objects are provided, instead of having the player figure out what to find. Novel Mode: You can interact with the characters by choosing what response to give them. Depending on your response, you may discover the characters’ secrets. Choose this mode if you want a longer, more satisfying game with more tasks to complete and non-specific hidden object lists. Tutorial: You can opt to turn the Tutorial on or off. Experienced players may want to turn off the Tutorial, as the objective checklist and sparkling highlights provide plenty guidance in the game.