Automatically translated.View original post

👑 Master Keiko recounted the plot of the death trick. ðŸŒđ

ðŸ“Ē DAIFUKU News

👑, Master Kega told me about the plot of the hidden gimmick. ðŸŒđ

â™Ŧ â™Ŧ The novel "Dead Hidden Trick" is considered the first long novel of the "Galileo series," right?

Higashino: If it's a short story, especially this series, I've barely used all my power to figure out the tricks or mechanics of the case. Besides, this time the protagonist is the villain or the suspect, I feel that this character is very attractive, so I want to use the space of a long novel to gradually fully convey his story.

â™Ŧ â™Ŧ The protagonist of "Ishigami" is placed as a mathematician and has been a major competitor to Yukawa since college.

When I thought about the plot, I asked myself, "What kind of person can make Yuga a headache?" This time I wanted to be a straightforward and sharp logic person. To find someone who can fight a physicist properly, I thought of a mathematician first.

â™Ŧ â™Ŧ How do you have the image of a "mathematician"?

When I wrote this story, I met and talked to several math professors, and in my college days, I studied some advanced mathematics.

The real mathematician, the thought cycle is completely different from the average person, they see what others don't see, and the way they understand the world is completely different.

I myself am very good at math, but when I meet people who are really better, I know that there are people above us, and I can't understand their whole worldview.

It may not be a very straightforward comparison, but like someone who trains with the ability of Absolute Pitch and someone born with that talent, the sounds they hear are completely different. I think a genius mathematician would be like that.

I read a book that said,

"Science has no limits, but man's ability to understand has limits."

I think mathematics is the most obvious example. If someone discovers a new theory, he will send it to the leading mathematicians around the world to verify it.

But as the theory becomes more and more complex, there will begin to be people who cannot understand it.

The world of mathematicians looks like a pyramid, and even higher up, the lower the number of people who understand the content, and it is said that at the top of the pyramid, there are only about seven people who really understand it.

....

"Hidden death" is a multi-faceted novel, like a polyhedron that, no matter what side, always finds interest in another way.

📖 Read the full article at: https://www.booktime.co.th / Articles / Master Keiko tells of the plot of the hidden gimmick.

🙏 Source of news: https://share.google/O00iIeNhEYOnZcwS0

# Dead hidden trick # Higashi no Kega # Investigative fiction # Daifuku Publishing House # daifukupublishing

13 hours agoEdited to

... Read moreāļāļēāļĢāđ„āļ”āđ‰āļ­āđˆāļēāļ™āđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§āđ€āļšāļ·āđ‰āļ­āļ‡āļŦāļĨāļąāļ‡āļāļēāļĢāļ„āļīāļ”āļžāļĨāđ‡āļ­āļ•āļ™āļīāļĒāļēāļĒ "āļāļĨāļĨāļ§āļ‡āļ‹āđˆāļ­āļ™āļ•āļēāļĒ" āļ—āļģāđƒāļŦāđ‰āļœāļĄāđ€āļŦāđ‡āļ™āļ āļēāļžāļĨāļķāļāļ‹āļķāđ‰āļ‡āļ‚āļ­āļ‡āļ™āļąāļāđ€āļ‚āļĩāļĒāļ™āļ—āļĩāđˆāļ„āļ­āļĒāļŠāļĢāđ‰āļēāļ‡āļ•āļąāļ§āļĨāļ°āļ„āļĢāđāļĨāļ°āđ€āļĨāđˆāļēāđ€āļĢāļ·āđˆāļ­āļ‡āđƒāļ™āļĄāļļāļĄāļĄāļ­āļ‡āļ—āļĩāđˆāļŦāļĨāļēāļāļŦāļĨāļēāļĒāđāļĨāļ°āļĄāļĩāļŠāļąāđ‰āļ™āđ€āļŠāļīāļ‡āļĄāļēāļāļāļ§āđˆāļēāļ—āļĩāđˆāđ€āļ„āļĒāđ€āļ‚āđ‰āļēāđƒāļˆāļ„āļĢāļąāļš āļŠāļīāđˆāļ‡āļ—āļĩāđˆāļ™āđˆāļēāļŠāļ™āđƒāļˆāļĄāļēāļāļ„āļ·āļ­āļāļēāļĢāđ€āļĨāļ·āļ­āļ "āļ­āļīāļŠāļīāļ‡āļēāļĄāļī" āļ•āļąāļ§āļĨāļ°āļ„āļĢāļ™āļąāļāļ„āļ“āļīāļ•āļĻāļēāļŠāļ•āļĢāđŒāļĄāļēāđ€āļ›āđ‡āļ™āļ•āļąāļ§āđ€āļ”āļīāļ™āđ€āļĢāļ·āđˆāļ­āļ‡āļŦāļĨāļąāļāđāļ—āļ™āļ—āļĩāđˆāļˆāļ°āđ€āļ›āđ‡āļ™āļ™āļąāļāļŸāļīāļŠāļīāļāļŠāđŒāļŦāļĢāļ·āļ­āļœāļđāđ‰āļŠāļ·āļšāļŠāļ§āļ™āđāļšāļšāļ›āļāļ•āļī āļ‹āļķāđˆāļ‡āļŠāļ°āļ—āđ‰āļ­āļ™āļ–āļķāļ‡āļ„āļ§āļēāļĄāđ€āļ‰āļĩāļĒāļšāļ„āļĄāļ‚āļ­āļ‡āļ•āļĢāļĢāļāļ°āđāļĨāļ°āļāļēāļĢāđƒāļŠāđ‰āđ€āļŦāļ•āļļāļœāļĨāđƒāļ™āđāļšāļšāļ—āļĩāđˆāđāļ•āļāļ•āđˆāļēāļ‡āļˆāļēāļāļ™āļąāļāļŠāļ·āļšāļ—āļąāđˆāļ§āđ„āļ› āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļ•āļąāļ§āļĨāļ°āļ„āļĢāļ—āļĩāđˆāļĄāļĩāļ„āļ§āļēāļĄāļĨāļķāļāļ‹āļķāđ‰āļ‡āđāļĨāļ°āļĄāļĩāļ§āļīāļ˜āļĩāļ„āļīāļ”āļ—āļĩāđˆāļ‹āļąāļšāļ‹āđ‰āļ­āļ™āđ„āļĄāđˆāļ˜āļĢāļĢāļĄāļ”āļēāļ™āļąāđ‰āļ™āļ—āļģāđƒāļŦāđ‰āļ™āļ§āļ™āļīāļĒāļēāļĒāļĄāļĩāļ„āļ§āļēāļĄāļŠāļĄāļˆāļĢāļīāļ‡āđāļĨāļ°āļ™āđˆāļēāļ•āļīāļ”āļ•āļēāļĄ āļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļ‚āļ­āļ‡āļ­āļēāļˆāļēāļĢāļĒāđŒāđ€āļ„āđ‚āļ‡āļ°āļ—āļĩāđˆāđ€āļĢāļĩāļĒāļ™āļ„āļ“āļīāļ•āļĻāļēāļŠāļ•āļĢāđŒāđāļĨāļ°āđ„āļ”āđ‰āļžāļšāļāļąāļšāļ™āļąāļāļ„āļ“āļīāļ•āļĻāļēāļŠāļ•āļĢāđŒāļˆāļĢāļīāļ‡ āđ† āļ—āļģāđƒāļŦāđ‰āđ€āļ‚āļēāļŠāļēāļĄāļēāļĢāļ–āļ–āđˆāļēāļĒāļ—āļ­āļ”āđ‚āļĨāļāļ—āļąāļĻāļ™āđŒāļ—āļĩāđˆāļ‹āļąāļšāļ‹āđ‰āļ­āļ™āļ™āļĩāđ‰āļ­āļ­āļāļĄāļēāđ„āļ”āđ‰āļ­āļĒāđˆāļēāļ‡āļ™āđˆāļēāļŠāļ™āđƒāļˆ āļāļēāļĢāļ™āļģāđ€āļŠāļ™āļ­āđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§āļ—āļĩāđˆāļŠāļ°āļ—āđ‰āļ­āļ™āļ–āļķāļ‡āļ„āļ§āļēāļĄāļŠāļēāļĄāļēāļĢāļ–āļ‚āļ­āļ‡āļĄāļ™āļļāļĐāļĒāđŒāļ—āļĩāđˆāļĄāļĩāļ‚āļĩāļ”āļˆāļģāļāļąāļ”āđƒāļ™āļāļēāļĢāļ—āļģāļ„āļ§āļēāļĄāđ€āļ‚āđ‰āļēāđƒāļˆāļ„āļ§āļēāļĄāļ‹āļąāļšāļ‹āđ‰āļ­āļ™āļ‚āļ­āļ‡āļ§āļīāļ—āļĒāļēāļĻāļēāļŠāļ•āļĢāđŒāđāļĨāļ°āļ„āļ“āļīāļ•āļĻāļēāļŠāļ•āļĢāđŒ āļŠāđˆāļ§āļĒāđƒāļŦāđ‰āļœāļđāđ‰āļ­āđˆāļēāļ™āļĄāļ­āļ‡āđ€āļŦāđ‡āļ™āļ„āļ§āļēāļĄāļĨāļķāļāļ‹āļķāđ‰āļ‡āļ‚āļ­āļ‡āļāļēāļĢāļ„āļīāļ”āđāļĨāļ°āļ§āļīāļ˜āļĩāļāļēāļĢāļ§āļīāđ€āļ„āļĢāļēāļ°āļŦāđŒāļ—āļĩāđˆāđāļ•āļāļ•āđˆāļēāļ‡āļ­āļ­āļāđ„āļ› āļ™āļīāļĒāļēāļĒ "āļāļĨāļĨāļ§āļ‡āļ‹āđˆāļ­āļ™āļ•āļēāļĒ" āļĒāļąāļ‡āđ€āļ›āļĢāļĩāļĒāļšāđ€āļŠāļĄāļ·āļ­āļ™āļĢāļđāļ›āļ—āļĢāļ‡āļŦāļĨāļēāļĒāđ€āļŦāļĨāļĩāđˆāļĒāļĄ āļ—āļĩāđˆāļĄāļļāļĄāļĄāļ­āļ‡āļ•āđˆāļēāļ‡ āđ† āļˆāļ°āđ€āļœāļĒāđƒāļŦāđ‰āđ€āļŦāđ‡āļ™āļĄāļīāļ•āļīāđāļĨāļ°āļ„āļ§āļēāļĄāļ™āđˆāļēāļ„āđ‰āļ™āļŦāļēāļ—āļĩāđˆāļŦāļĨāļēāļāļŦāļĨāļēāļĒ āļāļēāļĢāļ­āđˆāļēāļ™āļ™āļīāļĒāļēāļĒāđ€āļĢāļ·āđˆāļ­āļ‡āļ™āļĩāđ‰āļˆāļķāļ‡āđ€āļŦāļĄāļ·āļ­āļ™āđ„āļ”āđ‰āļŠāļģāļĢāļ§āļˆāđ‚āļĨāļāļ‚āļ­āļ‡āļ•āļĢāļĢāļāļ°āđāļĨāļ°āļˆāļīāļ™āļ•āļ™āļēāļāļēāļĢāđƒāļ™āļĢāļđāļ›āđāļšāļšāļ—āļĩāđˆāļĨāļ°āđ€āļ­āļĩāļĒāļ”āļ­āđˆāļ­āļ™ āļœāļĄāļ„āļīāļ”āļ§āđˆāļēāļŠāļģāļŦāļĢāļąāļšāļœāļđāđ‰āļ—āļĩāđˆāļŠāļ·āđˆāļ™āļŠāļ­āļšāļ™āļīāļĒāļēāļĒāļŠāļ·āļšāļŠāļ§āļ™āļŦāļĢāļ·āļ­āļ­āļĒāļēāļāđ€āļĢāļĩāļĒāļ™āļĢāļđāđ‰āđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļ§āļīāļ˜āļĩāļāļēāļĢāļ„āļīāļ”āđ€āļŠāļīāļ‡āļ•āļĢāļĢāļāļ°āđāļĨāļ°āļĄāļļāļĄāļĄāļ­āļ‡āļ‚āļ­āļ‡āļ™āļąāļāļ„āļ“āļīāļ•āļĻāļēāļŠāļ•āļĢāđŒ āļāļēāļĢāļ­āđˆāļēāļ™āļ™āļīāļĒāļēāļĒāđ€āļĢāļ·āđˆāļ­āļ‡āļ™āļĩāđ‰āļˆāļ°āđ€āļžāļīāđˆāļĄāļžāļđāļ™āļ„āļ§āļēāļĄāļĢāļđāđ‰āđāļĨāļ°āļŠāļĢāđ‰āļēāļ‡āđāļĢāļ‡āļšāļąāļ™āļ”āļēāļĨāđƒāļˆāđ„āļ”āđ‰āļĄāļēāļāļ—āļĩāđ€āļ”āļĩāļĒāļ§ āļˆāļēāļāļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļŠāđˆāļ§āļ™āļ•āļąāļ§ āļœāļĄāđ€āļŠāļ·āđˆāļ­āļ§āđˆāļēāļāļēāļĢāļ—āļĩāđˆāļ™āļąāļāđ€āļ‚āļĩāļĒāļ™āđƒāļŠāđˆāđƒāļˆāđƒāļ™āļāļēāļĢāļ§āļīāļˆāļąāļĒāđāļĨāļ°āļ—āļģāļ„āļ§āļēāļĄāđ€āļ‚āđ‰āļēāđƒāļˆāļ­āļĒāđˆāļēāļ‡āļĨāļķāļāļ‹āļķāđ‰āļ‡āļ–āļķāļ‡āļŠāļīāđˆāļ‡āļ—āļĩāđˆāđ€āļ‚āļĩāļĒāļ™āđ€āļ›āđ‡āļ™āļŦāļąāļ§āđƒāļˆāļŠāļģāļ„āļąāļāļ—āļĩāđˆāļ—āļģāđƒāļŦāđ‰āļ‡āļēāļ™āđ€āļ‚āļĩāļĒāļ™āđ‚āļ”āļ”āđ€āļ”āđˆāļ™āđāļĨāļ°āļ™āđˆāļēāđ€āļŠāļ·āđˆāļ­āļ–āļ·āļ­āļāļ§āđˆāļēāļāļēāļĢāđ€āļ‚āļĩāļĒāļ™āđāļšāļšāļœāļīāļ§āđ€āļœāļīāļ™ āđāļĨāļ°āđ€āļĄāļ·āđˆāļ­āļœāļđāđ‰āļ­āđˆāļēāļ™āļŠāļąāļĄāļœāļąāļŠāļ–āļķāļ‡āļ„āļ§āļēāļĄāļ•āļąāđ‰āļ‡āđƒāļˆāļ™āļĩāđ‰āđāļĨāđ‰āļ§ āļˆāļ°āļ—āļģāđƒāļŦāđ‰āļ™āļīāļĒāļēāļĒāđ€āļĢāļ·āđˆāļ­āļ‡āļ™āļąāđ‰āļ™āļĄāļĩāļ„āļļāļ“āļ„āđˆāļēāļ—āļēāļ‡āđƒāļˆāđāļĨāļ°āļ„āļ§āļēāļĄāļŠāļ™āļļāļāļŠāļ™āļēāļ™āļ—āļĩāđˆāđ€āļāļīāļ™āļ„āļēāļ”āļ„āļīāļ”āļ­āļĒāđˆāļēāļ‡āđāļ™āđˆāļ™āļ­āļ™