Kojima ended his recommendation of And Then There Were None with a joke: he claimed there were eleven victims, not ten, because after “there were none” Christie killed another person — the reader — with her charm. He named himself as that victim and concluded that the Kojima who hated books had thus disappeared.
If he had to preserve a single Agatha Christie novel, Kojima would choose And Then There Were None. He admired that a locked-room mystery in which everyone dies could work and that its premise, its misdirections and its final twist still surprised contemporary readers.
In 2010, a display in a bookstore marking the 120th anniversary of Agatha Christie’s birth re-hooked Kojima and led him to reread her major novels to find out what had fascinated him as a child.
Kojima compared Christie’s novels to quiz shows and video games: brisk reads of precise length and density that focus on dilemma and deceit rather than leaving a depressive social or emotional burden. He argued that, as with action or puzzle games, readers learn her patterns with practice and engage in an intellectual contest with the author, though Christie will defeat them again if they become complacent.
“Originally, I was writing Hideo's Mysteries as a joke on Twitter.”
What moved Kojima most about All She Was Worth was that the suspect hardly appears directly: only traces, photos and rumors remain of a woman who erased her past to keep on living. In the final confrontation he shared the detective’s absence of anger and even found himself wishing the culprit might get away; when he closed the book he felt she was still waiting and that his own hand rested on her shoulder.