Hazell Ward’s debut novel The Game Is Murder arrives with the audacious promise that you, the reader, will solve a decades-old murder case. What begins as an invitation to a murder mystery party in a Georgian townhouse on Broad Way quickly transforms into something far more unsettling—a metafictional labyrinth where the boundaries between reader, detective, and character dissolve with unnerving precision.
The premise is deceptively simple: reinvestigate the 1974 murder of nanny Sally Gardner, for which Lord John Verreman disappeared and was never found. Detective Max Enygma receives an invitation from David Verreman, the victim’s son, to attend what appears to be an elaborate dinner party designed to solve his father’s case once and for all. But Ward’s true genius lies not in the central mystery—though it’s cleverly constructed—but in how she systematically dismantles every expectation we bring to detective fiction.
The Art of Literary Manipulation
Ward demonstrates remarkable skill in manipulating reader expectations, employing what can only be described as literary sleight of hand. The novel opens with direct address to the reader, complete with a formal contract that must be signed before proceeding. This contract becomes central to the narrative’s structure, establishing rules for both author and reader that Ward will later use to devastating effect.
The writing style deliberately echoes the golden age of detective fiction, with chapter titles that are direct homages to classic mysteries—from “A Murder Is Announced” to “The Thirteen Guests.” Ward’s prose captures the mannered elegance of Christie and Sayers while injecting a distinctly modern cynicism. Her narrator addresses the reader with the casual brutality of someone who knows exactly how this game will end: “You are our fall guy. Our patsy. Our schmuck.”
What makes this approach particularly effective is Ward’s deep understanding of genre conventions. She doesn’t simply subvert them—she weaponizes the reader’s familiarity with detective fiction against them. Every red herring, every gathering of suspects, every dramatic revelation is simultaneously genuine plot development and commentary on the artificiality of such devices.
Character Development Through Fractured Reality
The characterization in The Game Is Murder operates on multiple levels of reality. Max Enygma begins as a fairly standard private detective—cynical, pill-popping, divorced—but gradually becomes aware that he exists within a constructed narrative. This meta-awareness doesn’t diminish his humanity; rather, it adds layers of existential dread to his investigation.
David and Daniel Verreman function as both hosts and antagonists, their roles shifting depending on which version of reality the reader currently inhabits. Their dinner party guests—all bearing names from classic detective fiction—serve as witnesses, suspects, and ultimately as representations of different approaches to mystery writing itself.
Ward’s handling of the victim, Sally Gardner, deserves particular praise. Rather than allowing her to remain a mere plot device, Ward gives her a voice through the testimonies of those who knew her. The revelation that she “sparkled” and “fizzed” with life makes her murder feel genuinely tragic rather than simply functional.
Structural Innovation and Narrative Complexity
The novel’s structure mirrors its thematic concerns with truth and artifice. Divided into three acts, the story repeatedly pulls back the curtain on its own construction. The famous “dinner party” that forms the novel’s central conceit is gradually revealed to be an elaborate fiction—there are no guests, no food, sometimes not even a brother for David Verreman to interact with.
Ward’s use of typography and formatting becomes part of the storytelling itself. Conversations between the narrator and an unseen interlocutor appear in italics, creating a sense of multiple voices within the narrative consciousness. Maps, contracts, and appendices are presented as genuine documents, blurring the line between fiction and documentary evidence.
The pacing reflects Ward’s background in academic writing—this is not a book that can be speed-read or skimmed. The warning in the preface proves prophetic: details matter, and Ward rewards careful attention while punishing casual reading. Some readers may find this demanding approach exhausting, but it serves the novel’s deeper purpose of examining how we construct meaning from narrative.
The Murder Mystery at the Heart
Despite its experimental framework, The Game Is Murder delivers a satisfying mystery. The 1974 case involves genuine detective work, with Enygma examining forensic evidence, witness testimony, and physical clues. Ward demonstrates solid research into police procedures and courtroom drama, grounding her metafictional flights in credible investigative detail.
The solution, when it comes, manages to be both surprising and inevitable. Ward plays fair with her clues while misdirecting attention through the very conventions she’s simultaneously critiquing. The revelation that jury foreman Raymond Postgate is the true killer works because Ward has seeded the evidence throughout, even as she distracts us with more obvious suspects.
However, the mystery sometimes feels secondary to Ward’s literary experiment. Readers seeking straightforward detection may become frustrated with the constant interruptions and narrative games. The balance between puzzle-solving and literary deconstruction doesn’t always feel stable.
Critical Assessment: Ambition Versus Accessibility
Ward’s debut demonstrates impressive ambition and remarkable technical skill, but this very ambition sometimes works against reader engagement. The novel demands active participation in a way that can feel exhausting rather than exhilarating. The constant breaking of the fourth wall, while thematically relevant, occasionally undermines narrative momentum.
The metafictional elements, while cleverly executed, sometimes feel like academic exercises rather than organic story development. Ward’s background in creative writing academia shows both in her sophisticated understanding of literary theory and in occasional passages that read more like dissertation chapters than popular fiction.
The novel’s treatment of violence, particularly the murder of Sally Gardner, maintains appropriate gravity despite the playful narrative framework. Ward never allows the literary games to diminish the human cost of the crime, though some readers may find the juxtaposition of serious subject matter with experimental technique unsettling.
A Worthy Addition to Meta-Detective Fiction
The Game Is Murder stands as a significant contribution to the small but distinguished tradition of self-aware detective fiction. Ward joins authors like Paul Auster, Jorge Luis Borges, and Anthony Berkeley in creating mysteries that are simultaneously about detection and about the act of reading itself.
The novel’s exploration of reader-author relationships feels particularly relevant in our current literary moment, where the boundaries between creator and consumer continue to blur. Ward’s formal contract with the reader anticipates contemporary discussions about authorial responsibility and reader agency.
For all its experimental flourishes, the book succeeds because Ward genuinely loves the genre she’s deconstructing. Her affection for classic detective fiction shines through every pastiche and parody, making this feel like loving critique rather than cynical demolition.
Similar Reading Recommendations
Readers who appreciate Ward’s approach should seek out:
- The Poisoned Chocolates Case by Anthony Berkeley – The template for meta-detective fiction
- If on a winter’s night a traveler by Italo Calvino – Another novel about the reading experience itself
- The Name of the Rose by Umberto Eco – Combines detective fiction with literary theory
- Atonement by Ian McEwan – Explores the relationship between truth and narrative
- The Thursday Murder Club by Richard Osman – A more accessible take on self-aware mystery writing
- The Seven Deaths of Evelyn Hardcastle by Stuart Turton – Genre-bending mystery with experimental structure
Final Verdict
The Game Is Murder is a demanding but rewarding debut that will divide readers sharply. Those willing to engage with Ward’s literary games will find a thoughtful meditation on the nature of story, truth, and justice wrapped within a genuinely clever mystery. Others may find the constant meta-commentary exhausting and the experimental structure off-putting.
Ward has created something genuinely original within the well-trodden paths of detective fiction. While not every experiment succeeds completely, her debut marks the arrival of a significant new voice in literary crime writing. The novel’s flaws—occasional pretension, uneven pacing, demanding structure—are inseparable from its considerable strengths. This is detective fiction for readers who want to think about why they read detective fiction in the first place.
For those brave enough to sign Ward’s contract and engage with her rules, The Game Is Murder offers exactly what it promises: a complete solution to a complex case, delivered through innovative storytelling that challenges both genre conventions and reader assumptions. Just remember—in Ward’s world, unsolved mysteries are not permitted, and the consequences of failure extend far beyond the pages of any book.