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no matter from which angle you look at it, the "amagasaki incident" can be regarded as a wonder in the history of japanese crimes since the new century. for decades, a middle-aged woman with an ordinary appearance has been rampant in the urban circle of osaka bay, wantonly invading other people's homes, using mental control and violent abuse to seize tens of millions of yen in assets, and brutally killing more than a dozen lives. the above description is based on reports from the japanese media. the sensational words "witch" and "devour" were everywhere when the case was revealed. the japanese people were all horrified by miyoko kakuta's ability to manipulate, just like the "erased family" in kitakyushu. for a time, experts and commentators began to analyze and sigh on the big and small screens.

when reporter koichi ono set foot on the land of amagasaki, a large number of reporters who reported on the "amagasaki incident" had already scattered, leaving behind the people who had been harassed to the point of anger. the owners of the izakaya would become alert when they saw unfamiliar faces. in 2012, after the case was exposed, reporters were scrambling to get the materials. koichi was not uninterested. on the contrary, with his keen sense of news, he judged that there were a lot of blind spots under the iceberg, and these materials were faithfully restored and recorded in the book "parasitic family". in this book, a "spectacle" of a crime was returned to daily life. when the hidden evil is evenly distributed in the daily necessities through affectation, will the public fight back against it? if not, the "amagasaki incident" is just a spectacle. curiosity can only bring excitement, but the excitement is always short-lived. the aftermath of the incident is accompanied by numbness, staring at the abyss of japan's reality.

"my deepest impression of that auntie is money. in short, no matter where she goes, she is looking for someone to "slaughter" her... auntie kadota said: 'without money, there is no fate, and without money, there is no fate. this is a world that values ​​money.'" miyoko kadota became an unforgivable demon, of course, thanks to the environment. her father was a contractor who brutally exploited workers, and her mother was a strong-willed person who engaged in the flesh trade. she was born in the "baby boom generation" in japan after the "world war ii". at that time, amagasaki city was an industrially developed port city, where workers from all over the world gathered, and many of them were "illegal workers" who smuggled from the korean peninsula. growing up in such a family, lacking the love of her parents, miyoko got involved in society since she was a child. not only did she blackmail her classmates with gangsters, but she even became a pimp at the age of 16. in ono mitsuru's writing, miyoko's childhood acquaintances all lamented that she (at that time) was not actually a bad person, but her family environment was too bad. the "baby boomer generation" helped japan's economic recovery after the war, but it also sowed some seeds of instability. there were big problems with the education of families with many children, and the japanese government's focus at the time was all on the economy, with a tolerant attitude towards illegal immigration, the rise of the "gangsters" and the sex industry. i won't repeat the many complicated details one by one, but just looking at the fact that miyoko was introduced to prostitution by her biological mother, you can imagine that this might be the starting point of her evil.

koichi ono's writing style is very different from the current crime books. he has a lot of casual writing and literary expressions. for example, the "connection" with insiders is always in the ktv box; trying to figure out the mentality of the interviewees, constantly interpreting the possible situations in his mind, and preparing response strategies in advance. but obviously this experienced, brave and resourceful investigative reporter also has some insincere words. after reproducing the criminal experience of miyoko kakuta as much as possible in the whole scene, he came to a conclusion-"miyoko is by no means a monster. she killed the other party because she was weak. if she didn't do this, she would be restless day and night, worried that someone would plot against her." seeing this, readers will feel uncomfortable. this female devil who committed suicide in the detention center used the most "convenient" method to make all the sins meaningless, and our author came up with a very japanese reason for the crime-"yes, it's not easy for her..."

this kind of ending is really nothing new.

keigo higashino's novel malice can be seen as an extension of this emotion. when writing malice, higashino had obviously not yet entered the atmosphere of public opinion that he had run out of ideas. he did not need those redundant preparations to grab the reader's attention. the multi-line narrative can not only explain the details and clues, but also keep the suspense, because what he wants to explore in this novel is the core point of the "motive" of the crime. he uses the story to tell the public very frankly that "evil" sometimes does not need a reason. the means by which miyoko kakuda disintegrated other people's families, took advantage of the situation, and illegally occupied them were not actually very clever. verbal threats and violent abuse were no different from the widespread bullying in japanese schools. in the bullying incident recorded in the book 43 intentions to kill, the victim was found dead next to a store in tama river, kawasaki city. ryota, who was only 13 years old, was naked and had as many as 43 knife wounds on his body. the criminals were all his classmates. according to the investigation of the author kota ishii, these perpetrators actually had no obvious motive for the crime, and they might just think that ryota was easy to bully. similarly, in 2004, miyoko kanoda placed a young couple she met at a pachinko parlor under house arrest and demanded a ransom from the woman's family. unexpectedly, the man's friend happened to be involved in the underworld, and miyoko was threatened by him instead. she was completely weak to the strong, and completely strong to the weak. this was the criminal philosophy of miyoko kanoda, who "traveled" across the seto inland sea, harmed many well-off families, and killed more than a dozen people - she would do whatever it took to make herself look stronger. she didn't have to defeat her opponent, but to find an opponent she could defeat.

the motives behind extremely vicious crimes are often very empty and meaningless, which is perhaps what makes people think more terrifying.

however, as bystanders, we still have huge doubts. miyoko kanoda occupied the magpie nest in other people's houses and abused and beat them wantonly. the movement was definitely not small (there are many witnesses and insiders in the book), but there were very few people who were willing to call the police for the victims. this paradoxical phenomenon seems to coincide with the statement in the book-"i don't know about other places, but in amagasaki, everyone has the attitude of 'i won't ask you, and you don't ask me'." this is not just amagasaki. the image of japan as a whole seems to be like this worldwide. on the one hand, it is extremely self-disciplined and has a precise grasp of the sense of boundaries; on the other hand, it is extremely cold. many cases are caused by missing early intervention (clearly exposed). "the parasitic family" mentions an example. mr. feng, who was detained by miyoko, escaped by chance. he repeatedly reported to the local police station that he and his family were abused and bullied by kanoda, and asked the police to intervene in time to save his daughter. however, the police rejected mr. feng on the grounds of "not intervening in family disputes". they also implied that this matter was not a "case" and it was not convenient to file a case for investigation. mr. feng, who was desperate and worried about his daughter, had to return to the devil's den and instigated kakuta miyoko to commit multiple thefts with him. only then did he attract the attention of the police and escape from the clutches of the devil. unfortunately, his daughter was already deeply trapped and eventually became a victim of kakuta miyoko. ono koichi wrote: "the flames of anger and sadness that had just burned in mr. feng's eyes were no longer there. his eyes lost all emotions, like two endless empty holes. at this moment, i felt it for sure. indeed, the culprit of all this was miyoko. if she had not been involved, none of the tragedies would have happened. however, the real trouble is that miyoko is just a medium. her existence triggered the hidden evil in society and individuals. and all these evils were imposed on the victims. i couldn't help but shudder."

the inaction of the japanese police in major cases has become a "famous thing", and the irresponsibility in handling cases and the bowing apology afterwards are in contrast. when miyoko kakuta played with the existing family relationships, the japanese police actually treated the lives of the people as a joke. you can also think about why japanese criminal investigation dramas are so popular and why inspector megure can't do without conan edogawa.

in 1995, the great hanshin earthquake caused a major disaster in the region, with houses collapsed and people trapped. for a time, the local government lost its administrative capacity, and the victims in many areas could only save themselves. whenever there is a power failure and vacuum at the grassroots level, other forces will take advantage of it. the yamaguchi-gumi acted as a civilian rescue force during this period, which became its moral support for dominating japan at the end of the century. the "amagasaki incident" is actually closely related to the invisible "dark curtain" of japanese society. miyoko kakuta has close ties with the local evil forces in amagasaki city. many of the young people who helped her commit crimes have a gangster background. another hidden connection is the "no man's land" situation of koreans in japan. the japanese police hesitated in the incident and were unwilling to cause trouble or even revenge for themselves. the tv series "pachinko" (also known as "bullet ball game") is adapted from the novel of the same name by korean writer lee min-jin. it tells the story of the family changes of koreans under the influence of japan and the united states. the struggle, hesitation and long-term lack of pain are all the keys to our understanding of the "amagasaki incident" from another perspective. however, the tv adaptation obviously added a lot of "chicken soup" from american productions, such as "history has failed us, but we are fearless", which obviously narrows the complexity that lee min-jin wants to express. because fearlessness is actually a perfunctory act, just like kakuta miyoko who committed suicide in the detention center, invisible evil surges underwater, and indescribable terror lurks around life.

bulletball game episode poster

when ono koichi was about to end his investigation of the "amagasaki incident", a pub owner who was already familiar with him teased him and asked when he would come to amagasaki again. ono also jokingly answered that maybe he would come back when the big devil appeared here again. how many true words are cruelly exposed in reality in the form of jokes. "in fact, only the kakuta family disappeared, right? apart from that, nothing has changed. their accomplices are still there, and there are many people doing the same thing..." news investigations cannot realize the reporter's personal ideal of seeking truth and saving the world. ono koichi can only escape, leaving behind a line of sentences with a spirit and temperament similar to lu xun.

"the streets were dark and silent at night, and i started walking."