A Fatal Crossing: Agatha Christie meets Titanic in this unputdownable mystery

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A tantalizing and captivating plot, filled with detail and texture to enhance the feeling of the halcyon days of the liners and their times' Shots Magazine

The plotting is clever and detailed – there’s even lots of recaps and explanations for those of us who need reminders to keep up! The disadvantage to this is that is does slow down the narrative a little at times (and it is quite a long book).There is certainly plenty to like about "The Murder Game" and the influence of those aforementioned authors is plainly evident. There is a nice prologue to set the scene and introduce the key protagonists in true "Golden Age" mystery fashion. The setting, too, is very Christie-esque and I liked the way the author made use of a 1920s themed murder mystery game to create a mystery within a mystery. Not only did this allow homage to be paid to that classic era, but it also reminded me of the technique employed by Anthony Horowitz in his "Magpie Murders" and "Moonflower Murders" books. It won't escape fans of Horowitz that there is something of a "Midsomer Murders" feel to this story too.

This one couldn’t be more up my street if it tried – a 1920s setting, a murder mystery, a transatlantic crossing aboard a ship… it’s the ultimate in closed circle mysteries! My main reason for DNFing is because the premise is inaccurate, although my knowledge of this only comes from my career. Essentially, there's upset in a Devon village when the lighthouse is to be developed by a local developer who left for London as a teen and has returned; he is hugely unpopular because he 'stole' the planning permission for development from a popular local who also runs the tourist information. I'm a Town Planner and it's impossible to steal a planning permission, it belongs the building, not to a person. My other issue, that the local council is believed to have been bribed by the developer to give him the planning permission, comes across as lazy plotting that bashes 'corrupt' councils. Anyone can apply for planning permission, for any building, but only the person who owns it can implement that permission, if approved, and undertake the development. This is your standard murder-at-the-party format that includes many twists and turns that accompany the complex narrative. There are deep lies and discoveries that intertwine between past and present and Hindle has really set a stride with this one. There are layers to these characters motives that are expressive but brutal. As before, we've had to pay attention to close details to follow everyone's steps and motives. This was an engaging read, but it did fall short on its surprises. The writing is innovative and can be deemed as a step up from A Fatal Crossing but the characters weren't as interesting. This could be more since A Fatal Crossing was one of my favourite reads of the year. The ending I personally thought was absolutely ridiculous. I was actually quite annoyed that i’d read so much just get that ending. Not only that but it left a major unanswered question and made me dislike the main character even more than i thought possible.Whilst there’s a great twist at the end that I hadn’t seen coming, the main murder mystery just didn’t hold my attention. The book felt over long in places, and the storyline about the missing daughter felt too much like a plot device to really inspire any sympathy for Birch. I enjoyed what I read of this more than the A Fatal Crossing, because it felt more focused and more clearly plotted. However, there are a lot of characters and perspectives though, which I was struggling to keep on top of, but this may have improved had I continued to read.

The story brought two key characters in Birch, the ship's officer and Temple, the policeman who happened to be on the boat; don't ever believe in coincidences. Birch really had my heartstrings with his rather tragic past and depressed nature. I liked him a lot and felt him to be the intergrity compass of the piece. Temple seemed shady from the start with a slice of maybe he's okay. While it seems like it should be a fun night out not everyone's motives are what they seem. There's the troubled joint owner of the hotel who has devised a mystery game that has links to events from the past, a couple who have been protesting the redevelopment of the local lighthouse, the builder and his wife looking to improve their social standing and a journalist looking for a big story to get him out of town. Add to this a small cast of actors and a few unexpected attendees and it's a recipe for an interesting and murderous evening. Temple is furious that he has to put up with Birch, and so begins their acrimonious partnership in which the pair have 4 days to find a killer, after which the liner arrives in New York, the passengers disembark, and there will be no chance of resolving the case. Birch is a traumatised man who served in the war, left with a bullet wound in his shoulder. His daughter, Amelia, has been missing for 2 years, and his marriage to Kate has fallen apart. He blames himself, he is a shadow of the man he used to be, putting his hopes in finding Amelia on the only person he has any faith in, American Raymond, clinging to a yellow ribbon belonging to Amelia as if his life depended on it. Virtually all the crew, with the exception of Wilson avoid Birch, he is incapable of maintaining any relationship. Temple is a man with his own demons and secrets, he refuses to divulge what police business has him travelling on the liner.It’s November 1924, when the ship Endeavour sets sail from Southampton for New York, with a total of 2000 passengers and crew.

The mystery itself is an intriguing one. It is possibly not the most original but sometimes it's great to just relax and enjoy a story that has a traditional feel to it. It's like settling down to watch a classic murder mystery on a Sunday evening. There are a few twists and turns, the odd red herring and a few reveals around events that happened in the past. I did see some of the reveals coming but there were a few surprises in there too. They are to take part in a murder mystery game with a 1920s twist, and everyone has their own part to play. I really wanted to enjoy this book. I love Agatha Christie so a murder mystery set in the 1920’s sounded right up my street. Unfortunately I didn’t find myself particularly engaged in the story, or really caring about the outcome. Overall it’s a good read and it was an entertaining few hours but it just didn’t have the depth and complexity I was hoping for. I enjoyed the claustrophobic atmosphere of this book and the setting of the slightly run down hotel. The coastal location really added to the tension and the feeling of being trapped. I was hoping that the murder mystery aspect of the book would play out more and be more incorporated into the plot as that was what drew me to the book in the first place. While the plot was entertaining, it wasn’t as tightly drawn as I would have liked - there were a few plot holes that I couldn’t bring myself to ignore. I had guessed the killer about halfway through the book and although the final twist was one I didn’t see coming, it stretched my credulity somewhat.Temple and Birch make an interesting partnership, particularly as it’s a very reluctant one! As an intelligent, competent and experienced detective, Temple is not at all happy about having an inept and bumbling ship’s officer shadowing his every move, saying the wrong things and interfering with the investigation. Birch is our narrator, and as we only see things from his point of view, Temple comes across as bad-tempered, rude and hostile, but there are hints that there’s more to each character than meets the eye. While Temple’s past and his reasons for boarding the Endeavour are shrouded in mystery, we learn that Birch is haunted by the disappearance of his young daughter Amelia and the breakdown of his marriage. Publishing director Emily Griffin acquired world rights including audio to The Murder Game and an untitled novel from Harry Illingworth at D H H Literary Agency. With no phone signal and no way out of the house, the others are trapped with a killer in their midst. There’s a lot of repetition of the same interactions between the main two protagonists – I guess in an attempt to build up to the climax where everything is revealed but it’s done in a fairly lazy way where no new information is slowly revealed.