University Games Orient Express & Murder on the Nile Set of 2 Jigsaw Puzzle. Read Reviews Write a Review. Save when you buy both puzzles! Test your detective skills as you piece together the clues in these interactive jigsaw puzzles. Once the scene is finished, examine the evidence to solve the mystery! Murder on the Nile - Red Herring Games Murder on the Nile Lady Carmathen has been found dead on a cruise to celebrate a successful archaeological expedition funded by her husband. She was found in her cabin, brutally stabbed in the chest and left lying in a pool of blood. Agatha Christie - Death on the Nile Walkthrough & Cheats. Our Agatha Christie - Death on the Nile Walkthrough provides helpful hints and tips on how to beat this thrilling hidden object adventure game. Join Hercule Poirot in investigating a murder mystery. Find helpful clues, interrogate suspects, as you draw ever closer to solving this perplexing case and finding the true murderer. Directed by John Guillermin. With Peter Ustinov, Mia Farrow, Simon MacCorkindale, Jane Birkin. As Hercule Poirot enjoys a luxurious cruise down the Nile, a newlywed heiress is found murdered on board. Our Agatha Christie - Death on the Nile Walkthrough provides helpful hints and tips on how to beat this thrilling hidden object adventure game. Join Hercule Poirot in investigating a murder mystery. Find helpful clues, interrogate suspects, as you draw ever closer to solving this perplexing case and finding the true murderer in Agatha Christie - Death on the Nile.
Based on the novel of the same name, Agatha Christie: Murder on the Orient Express brings players into the mystery as an Orient Express employee named Antoinette. During the train ride, a murder occurs and then an avalanche blocks the train's path -- leaving it immobile in the middle of Europe. Antoinette's mission to solve the crime is aided by the legendary detective, Hercule Poirot, who although is injured and bed-ridden throughout the game, can still offer hints and tips to stumped players. David Suchet, an actor who portrays Poirot in the A&E television series, lends his voice to the game as the dedicated detective. Gamers navigate Antoinette through three different environments: the train, the area around the avalanche, and a train station in Istanbul. Players must interact with over 20 different characters and collect clues that help the protagonist solve the crime.
If you've heard of at least one of Agatha Christie's Poirot novels, chances are it'll be Murder on the Orient Express. Makes sense, then, that The Adventure Company decided to choose this title as the next installment in their ongoing Poirot game adaptations. With such a popular story, and thus a wealth of content possibilities for the game, you'd think that the final product would be genuinely entertaining, but unfortunately what's been churned out will be hard-pressed to satisfy even the series' most die-hard fans.
Murder on the Orient Express plays like a generic point and click adventure, with mouse clicks dictating the movements of the main character, Antoinette Marceau, who happens to be a rather upper-class female member of the train company that runs the Orient Express in this case. Yes, it's unfortunate that no direct control of Poirot himself has been implemented, something sure to cause at least some disappointment to fans expecting to step right into the shoes of the little Belgian chap.
However, there is some method to the developer's madness, as this particular sidestep from the novel's narrative allows for a greater believability of the game's events, with the player's learning curve being reflected in the similarly amateurish actions of Antoinette herself. Even so, there's still plenty of interaction with Poirot, who acts as your guide and mentor throughout the investigation. David Suchet lends his voice talent to the character and does an excellent job of it too, accurately recreating his loveable twisting of the English language and his fascination with the 'little grey cells'.
Surprisingly, the rest of the cast do a satisfactory job too, with the majority of the spoken dialogue sounding fairly natural and unforced, save perhaps for some of Miss Marceau's crazy accentuations.
Voice acting aside though, it soon becomes apparent that the game has one major problem - it's all set on one train. Yes, the developers obviously tried to get around this sad fact by adding a few little side-areas, such as the starting marketplace and another train station, as well as a snow-covered mountainside, but these only take up a relatively short amount of playtime. When it comes down to it, you're stuck on a (admittedly very opulent) train for several hours with a varied group of equally weird people, such as a governess working in Baghdad and a British army officer returning from India. Now, perhaps in real life, on a real train journey, talking to such an eclectic bunch would be an interesting way to pass the time, but games are meant to provide fun and enjoyment first and foremost, and speaking to fake people on a fake train is nothing more than a vocal chore. Some would argue that it's a vital part of the proceedings to get to know your suspects as deeply as possible, and to a point this is completely true, but then perhaps that's also an argument as to why making Poirot mysteries into adventure games isn't such a good idea in the first place.
Things start to get a bit more interesting when the actual murder occurs, with the change in atmosphere blatantly apparent in both the music and people's behavior, but all too soon the game falls back into a monotonous grind as you go around talking to the same people; asking them all the same questions, nabbing everyone's passports, taking everyone's fingerprints and generally getting rather bored. What's worse is the fact that sometimes people have the habit of mentioning things that haven't actually happened yet, causing a fair amount of confusion and raising some questions about the integrity of the game's programming, leading to a feeling that the developers only took into account one order of doing things and hoping no one decided to do anything differently. One saving grace is the unobtrusive presence of Poirot, resting in his room after handily injuring his ankle. Even though he leaves you to solve much of the mystery for him, you're free to visit him whenever you need a hand with something or a few hints to guide you along, though the amount of help you actually get is cleverly controlled in the form of a challenge he proposes. There's nothing actually stopping you from getting him to tell you what to do, but the sense of satisfaction you get from figuring something out on your own is a big enough deterrent in most cases.
Luckily, you'll find the odd puzzle filtered out from the monotony of constant questioning, and for the most part they're not too bad. Throughout the game you'll find yourself trying to construct a makeshift contraption to heat a scrap of paper to make the ink on it readable, searching for a replacement pipe to fix the heating system in the train to stop everyone freezing to death and piecing together a ripped up letter, among others, all of which provide an enjoyable distraction that helps the adventure flow more smoothly.
The menu interface, on the other hand, could have seen better days. Every item you collect is displayed in the main inventory section, and each can be examined more closely to search for extra clues, something which works well enough. However, sometimes the need to combine items arises, and this is done on a different menu. Each individual item needs to be dragged into a separate box before all the items can be combined at once, a process which is fairly long-winded and could have easily been implemented in the main inventory section to make things much simpler. At least a 'quick shortcut' system has been included to allow for fast travel between different train carriages, something which saves a good deal of time during the constant backtracking.
Visually AWE has done a decent, if unspectacular job, with a believable reconstruction of the Orient Express, and fairly human-looking people to inhabit it. At no point does anything stand out as being exceptional, but collectively the locations turn what is a rather confined and relatively small game world into an interesting place to be, and the soundtrack successfully complements the story's events with some enjoyable, if slightly limited, compositions. In fact, these are the game's best aspects, and their inclusion turns what would have been a complete bore into a much more tolerable adventure.
So there we have it. Murder on the Orient Express is certainly competent and has some nice touches, as well as decent voice acting and a fleshed-out playing environment, that all add up to create a realistic and believable setting which stays pretty true to the original book, save for its own few liberties. However, the very nature of the story does not lend itself well to adventure games in general, hence the monotony of the questioning and a general lack of variety throughout, and as such the final product is more a pain than a Poirot. Competent, but doesn't lend itself well to the genre.
People who downloaded Agatha Christie: Murder on the Orient Express have also downloaded:
Agatha Christie: And Then There Were None, Agatha Christie: Evil Under the Sun, Agatha Christie: Death on the Nile, Alfred Hitchcock Presents The Final Cut, Black Dahlia, Black Mirror, The, Al Emmo and the Lost Dutchman's Mine, 9: The Last Resort
Portrait of the British writer Agatha Christie in December, 1952. (Photo by Keystone-France/Gamma-Rapho via Getty Images) Keystone-France/Gamma-Rapho via Getty Images
The Queen of Mystery and Mayhem continues to haunt the literary landscape. This past fall a new movie edition of Agatha Christie's classic crime novel Death on the Nile was scheduled to come out. Instead a new hardback copy was released after the movie was delayed. The film is now scheduled to come out later this year, starring Kenneth Branagh, Gal Gadot, and Armie Hammer.
Born in 1890, Christie's work has enjoyed immense popularity ever since its release. Her books continue to be best-sellers while her biographies often quip that only the Bible and Shakespeare outsell her work. Novels such as And Then There Were None, Murder On the Orient Express, and The A.B.C. Murders have continued to enjoy popularity beckoning numerous movie and television adaptations since her death in 1976. And with good reason, she practically invented the bestseller modern mystery genre.
Death On the Nile, like a fair amount of Christie novels, is set abroad. The novel was published in 1937 during the interwar period. The novel follows Hercule Poirot, one of Christie's famous detectives, while he is on vacation in Egypt. Poirot is onboard a steamer going up the Nile River when a murder takes place, followed by another and another. Soon a proper investigation is underway.
The construction of imperialist identity is deeply embedded in the bedrock of British literature, whether this comes in depictions of war and veterans as in Virginia Woolf's Mrs. Dalloway or reckoning with the legacy of colonialism as in Zadie Smith's White Teeth. To construct an empire a domain is needed, an ‘us' and ‘them.' Christie's own interests led her directly into this path. Crime novels require an ‘us' and ‘them' as well, usually in the form of an evil other. Even cozy murder mysteries demand an outsider lurking around the corner and an explanation of how they became an outsider. If they used to be part of ‘us' a justification for their turn to evil is needed.
Christie's novels have not been a stranger to controversy, from having to rename novels to her construction of ‘native cultures,' as evidenced in A Caribbean Mystery as well as here in Death On the Nile. Her work frequently uses racist language and insults in its construction of ideas around criminality and guilt, whether through offhand comments or outright stereotypes.
Crime novels must be thick with atmosphere. ‘Out there' locations become familiarized and laden with imagery, while nearby locations are twisted into the less familiar. Either way, evil is outside the pleasant hearth. Agatha Christie's interest in the 'Orient' is pervasive. She often visited famous dig sites and met her second husband and noted archaeologist, Max Mallowan, at one such site in Ur.
Scholars have looked into the melting pot of orientalism, racism, and colonialism in Christie's work. Mevlüde Zengin has written articles that discuss the work of postcolonial scholar Edward Said, the author of the foundational text Orientalism, in relation to Christie's construction of the Orient as Other. Still, most analyses of Christie's work appear to hardly note her history of Orientalism and racism. If they do, they seem to brush it aside, as a 2010 New Yorkerprofile of Christie seems to. While a deeper analysis of racism and colonialism has begun in literary discourse, Christie appears to have emerged relatively unscathed.
Christie herself acknowledges Death On the Nile as one of her '‘foreign travel' ones' and believes detective stories have no reason not to be escape literature. The question quickly becomes who is escaping whom and to where?
Her canon often harkens back to the interwar period, musing at the loss of a certain kind of life by placing older investigators like Poirot or Miss Marple alongside younger, wilder characters who have different political or economic stations. Many of these characters have, at least according to Poirot and Miss Marple, loose morals.
Christie constructs an atmosphere of claustrophobic corruption in Death On the Nile. Poirot, while walking through Assuan, 'closed in upon' by 'infantile riffraff.' The 'riffraff' are merchants, who he goes on to call a 'human cluster of flies.' Poirot is not the only character who refers to Egyptians this way. The one character who does arguably speak up for Egyptians is denounced as a communist full of venom. The communist, Mr. Ferguson, fetishizes Egypt as a land of perfect workers who apparently don't see death the same way the West does. After one murder takes place he callously remarks to another steamboat passenger that she should 'look on death as the Oriental does. It's a mere incident–hardly noticeable.' Another murder suspect remarks 'There's something about this country that makes me feel–wicked. It brings to the surface all the things that are boiling inside me.'
Like crime novels must, Death On the Nile has a shining unimpeachable hero. Poirot is a retired police officer, an educated bachelor, and a refugee according to his biography although this is not mentioned in this novel. He quotes extensively from the Bible about covetousness and lets little slip his watchful eye. When Poirot talks it is often in riddle-like dialogue or to dispense advice. He has a lot to say about love and adultery, the body should be second to the mind.
Christie is interested in writing nearly unsolvable puzzles. She often said all her books' riddles were easily answerable despite often having trick endings. Her puzzles were a small, entertaining way to simplify evil. In Christie's neat world, condensing evil into a neat puzzle allows us to feel cozier in our houses at night. The coziness of life as we know it can continue thanks to the creation of order by people like Poirot.
Dame Agatha Christie in Paris in March 1971 (AFP via Getty Images) AFP via Getty Images
It makes sense to want the world to be solvable. To box evil as something outside us. To believe that justice occurs over there to other people and that it is not a communal effort but an individual one. That version of justice requires less work. This is perhaps why Christie is so successful. Her puzzles are good, soapy fun. Her prose is more like a play than a novel with stories being told mostly through dialogue. They are the epitome of the beach read. This quick fix can be comforting, like a story we already know. Some have theorized that this is why shows like Law & Order: SVU are so popular. We want to believe justice is doled out somewhere, in a neat hour or two hundred pages.
But as we have seen year after year, comfort reading is usually only comforting for some. If some readers can easily skip over Christie's racist remarks or descriptions of people as 'human clusters of flies,' many other readers cannot or will not.
Agatha Christie Murder On The Nile Game
It has become a tiresome refrain: do we force old texts to adhere to 'what we now know?' As if, in Christie's time, Egyptian writers were not writing of their own experience.
Based on the novel of the same name, Agatha Christie: Murder on the Orient Express brings players into the mystery as an Orient Express employee named Antoinette. During the train ride, a murder occurs and then an avalanche blocks the train's path -- leaving it immobile in the middle of Europe. Antoinette's mission to solve the crime is aided by the legendary detective, Hercule Poirot, who although is injured and bed-ridden throughout the game, can still offer hints and tips to stumped players. David Suchet, an actor who portrays Poirot in the A&E television series, lends his voice to the game as the dedicated detective. Gamers navigate Antoinette through three different environments: the train, the area around the avalanche, and a train station in Istanbul. Players must interact with over 20 different characters and collect clues that help the protagonist solve the crime.
If you've heard of at least one of Agatha Christie's Poirot novels, chances are it'll be Murder on the Orient Express. Makes sense, then, that The Adventure Company decided to choose this title as the next installment in their ongoing Poirot game adaptations. With such a popular story, and thus a wealth of content possibilities for the game, you'd think that the final product would be genuinely entertaining, but unfortunately what's been churned out will be hard-pressed to satisfy even the series' most die-hard fans.
Murder on the Orient Express plays like a generic point and click adventure, with mouse clicks dictating the movements of the main character, Antoinette Marceau, who happens to be a rather upper-class female member of the train company that runs the Orient Express in this case. Yes, it's unfortunate that no direct control of Poirot himself has been implemented, something sure to cause at least some disappointment to fans expecting to step right into the shoes of the little Belgian chap.
However, there is some method to the developer's madness, as this particular sidestep from the novel's narrative allows for a greater believability of the game's events, with the player's learning curve being reflected in the similarly amateurish actions of Antoinette herself. Even so, there's still plenty of interaction with Poirot, who acts as your guide and mentor throughout the investigation. David Suchet lends his voice talent to the character and does an excellent job of it too, accurately recreating his loveable twisting of the English language and his fascination with the 'little grey cells'.
Surprisingly, the rest of the cast do a satisfactory job too, with the majority of the spoken dialogue sounding fairly natural and unforced, save perhaps for some of Miss Marceau's crazy accentuations.
Voice acting aside though, it soon becomes apparent that the game has one major problem - it's all set on one train. Yes, the developers obviously tried to get around this sad fact by adding a few little side-areas, such as the starting marketplace and another train station, as well as a snow-covered mountainside, but these only take up a relatively short amount of playtime. When it comes down to it, you're stuck on a (admittedly very opulent) train for several hours with a varied group of equally weird people, such as a governess working in Baghdad and a British army officer returning from India. Now, perhaps in real life, on a real train journey, talking to such an eclectic bunch would be an interesting way to pass the time, but games are meant to provide fun and enjoyment first and foremost, and speaking to fake people on a fake train is nothing more than a vocal chore. Some would argue that it's a vital part of the proceedings to get to know your suspects as deeply as possible, and to a point this is completely true, but then perhaps that's also an argument as to why making Poirot mysteries into adventure games isn't such a good idea in the first place.
Things start to get a bit more interesting when the actual murder occurs, with the change in atmosphere blatantly apparent in both the music and people's behavior, but all too soon the game falls back into a monotonous grind as you go around talking to the same people; asking them all the same questions, nabbing everyone's passports, taking everyone's fingerprints and generally getting rather bored. What's worse is the fact that sometimes people have the habit of mentioning things that haven't actually happened yet, causing a fair amount of confusion and raising some questions about the integrity of the game's programming, leading to a feeling that the developers only took into account one order of doing things and hoping no one decided to do anything differently. One saving grace is the unobtrusive presence of Poirot, resting in his room after handily injuring his ankle. Even though he leaves you to solve much of the mystery for him, you're free to visit him whenever you need a hand with something or a few hints to guide you along, though the amount of help you actually get is cleverly controlled in the form of a challenge he proposes. There's nothing actually stopping you from getting him to tell you what to do, but the sense of satisfaction you get from figuring something out on your own is a big enough deterrent in most cases.
Luckily, you'll find the odd puzzle filtered out from the monotony of constant questioning, and for the most part they're not too bad. Throughout the game you'll find yourself trying to construct a makeshift contraption to heat a scrap of paper to make the ink on it readable, searching for a replacement pipe to fix the heating system in the train to stop everyone freezing to death and piecing together a ripped up letter, among others, all of which provide an enjoyable distraction that helps the adventure flow more smoothly.
The menu interface, on the other hand, could have seen better days. Every item you collect is displayed in the main inventory section, and each can be examined more closely to search for extra clues, something which works well enough. However, sometimes the need to combine items arises, and this is done on a different menu. Each individual item needs to be dragged into a separate box before all the items can be combined at once, a process which is fairly long-winded and could have easily been implemented in the main inventory section to make things much simpler. At least a 'quick shortcut' system has been included to allow for fast travel between different train carriages, something which saves a good deal of time during the constant backtracking.
Visually AWE has done a decent, if unspectacular job, with a believable reconstruction of the Orient Express, and fairly human-looking people to inhabit it. At no point does anything stand out as being exceptional, but collectively the locations turn what is a rather confined and relatively small game world into an interesting place to be, and the soundtrack successfully complements the story's events with some enjoyable, if slightly limited, compositions. In fact, these are the game's best aspects, and their inclusion turns what would have been a complete bore into a much more tolerable adventure.
So there we have it. Murder on the Orient Express is certainly competent and has some nice touches, as well as decent voice acting and a fleshed-out playing environment, that all add up to create a realistic and believable setting which stays pretty true to the original book, save for its own few liberties. However, the very nature of the story does not lend itself well to adventure games in general, hence the monotony of the questioning and a general lack of variety throughout, and as such the final product is more a pain than a Poirot. Competent, but doesn't lend itself well to the genre.
People who downloaded Agatha Christie: Murder on the Orient Express have also downloaded:
Agatha Christie: And Then There Were None, Agatha Christie: Evil Under the Sun, Agatha Christie: Death on the Nile, Alfred Hitchcock Presents The Final Cut, Black Dahlia, Black Mirror, The, Al Emmo and the Lost Dutchman's Mine, 9: The Last Resort
Portrait of the British writer Agatha Christie in December, 1952. (Photo by Keystone-France/Gamma-Rapho via Getty Images) Keystone-France/Gamma-Rapho via Getty Images
The Queen of Mystery and Mayhem continues to haunt the literary landscape. This past fall a new movie edition of Agatha Christie's classic crime novel Death on the Nile was scheduled to come out. Instead a new hardback copy was released after the movie was delayed. The film is now scheduled to come out later this year, starring Kenneth Branagh, Gal Gadot, and Armie Hammer.
Born in 1890, Christie's work has enjoyed immense popularity ever since its release. Her books continue to be best-sellers while her biographies often quip that only the Bible and Shakespeare outsell her work. Novels such as And Then There Were None, Murder On the Orient Express, and The A.B.C. Murders have continued to enjoy popularity beckoning numerous movie and television adaptations since her death in 1976. And with good reason, she practically invented the bestseller modern mystery genre.
Death On the Nile, like a fair amount of Christie novels, is set abroad. The novel was published in 1937 during the interwar period. The novel follows Hercule Poirot, one of Christie's famous detectives, while he is on vacation in Egypt. Poirot is onboard a steamer going up the Nile River when a murder takes place, followed by another and another. Soon a proper investigation is underway.
The construction of imperialist identity is deeply embedded in the bedrock of British literature, whether this comes in depictions of war and veterans as in Virginia Woolf's Mrs. Dalloway or reckoning with the legacy of colonialism as in Zadie Smith's White Teeth. To construct an empire a domain is needed, an ‘us' and ‘them.' Christie's own interests led her directly into this path. Crime novels require an ‘us' and ‘them' as well, usually in the form of an evil other. Even cozy murder mysteries demand an outsider lurking around the corner and an explanation of how they became an outsider. If they used to be part of ‘us' a justification for their turn to evil is needed.
Christie's novels have not been a stranger to controversy, from having to rename novels to her construction of ‘native cultures,' as evidenced in A Caribbean Mystery as well as here in Death On the Nile. Her work frequently uses racist language and insults in its construction of ideas around criminality and guilt, whether through offhand comments or outright stereotypes.
Crime novels must be thick with atmosphere. ‘Out there' locations become familiarized and laden with imagery, while nearby locations are twisted into the less familiar. Either way, evil is outside the pleasant hearth. Agatha Christie's interest in the 'Orient' is pervasive. She often visited famous dig sites and met her second husband and noted archaeologist, Max Mallowan, at one such site in Ur.
Scholars have looked into the melting pot of orientalism, racism, and colonialism in Christie's work. Mevlüde Zengin has written articles that discuss the work of postcolonial scholar Edward Said, the author of the foundational text Orientalism, in relation to Christie's construction of the Orient as Other. Still, most analyses of Christie's work appear to hardly note her history of Orientalism and racism. If they do, they seem to brush it aside, as a 2010 New Yorkerprofile of Christie seems to. While a deeper analysis of racism and colonialism has begun in literary discourse, Christie appears to have emerged relatively unscathed.
Christie herself acknowledges Death On the Nile as one of her '‘foreign travel' ones' and believes detective stories have no reason not to be escape literature. The question quickly becomes who is escaping whom and to where?
Her canon often harkens back to the interwar period, musing at the loss of a certain kind of life by placing older investigators like Poirot or Miss Marple alongside younger, wilder characters who have different political or economic stations. Many of these characters have, at least according to Poirot and Miss Marple, loose morals.
Christie constructs an atmosphere of claustrophobic corruption in Death On the Nile. Poirot, while walking through Assuan, 'closed in upon' by 'infantile riffraff.' The 'riffraff' are merchants, who he goes on to call a 'human cluster of flies.' Poirot is not the only character who refers to Egyptians this way. The one character who does arguably speak up for Egyptians is denounced as a communist full of venom. The communist, Mr. Ferguson, fetishizes Egypt as a land of perfect workers who apparently don't see death the same way the West does. After one murder takes place he callously remarks to another steamboat passenger that she should 'look on death as the Oriental does. It's a mere incident–hardly noticeable.' Another murder suspect remarks 'There's something about this country that makes me feel–wicked. It brings to the surface all the things that are boiling inside me.'
Like crime novels must, Death On the Nile has a shining unimpeachable hero. Poirot is a retired police officer, an educated bachelor, and a refugee according to his biography although this is not mentioned in this novel. He quotes extensively from the Bible about covetousness and lets little slip his watchful eye. When Poirot talks it is often in riddle-like dialogue or to dispense advice. He has a lot to say about love and adultery, the body should be second to the mind.
Christie is interested in writing nearly unsolvable puzzles. She often said all her books' riddles were easily answerable despite often having trick endings. Her puzzles were a small, entertaining way to simplify evil. In Christie's neat world, condensing evil into a neat puzzle allows us to feel cozier in our houses at night. The coziness of life as we know it can continue thanks to the creation of order by people like Poirot.
Dame Agatha Christie in Paris in March 1971 (AFP via Getty Images) AFP via Getty Images
It makes sense to want the world to be solvable. To box evil as something outside us. To believe that justice occurs over there to other people and that it is not a communal effort but an individual one. That version of justice requires less work. This is perhaps why Christie is so successful. Her puzzles are good, soapy fun. Her prose is more like a play than a novel with stories being told mostly through dialogue. They are the epitome of the beach read. This quick fix can be comforting, like a story we already know. Some have theorized that this is why shows like Law & Order: SVU are so popular. We want to believe justice is doled out somewhere, in a neat hour or two hundred pages.
But as we have seen year after year, comfort reading is usually only comforting for some. If some readers can easily skip over Christie's racist remarks or descriptions of people as 'human clusters of flies,' many other readers cannot or will not.
Agatha Christie Murder On The Nile Game
It has become a tiresome refrain: do we force old texts to adhere to 'what we now know?' As if, in Christie's time, Egyptian writers were not writing of their own experience.
Murder On The Nile Game
Looking at Death On the Nile or any such novel as a work of political discourse is ill-fated. Of course Christie was a product of her time. And still, readers will find her work comforting, like reading an old Bible verse even if one no longer believes or a sonnet one has heard too many times. Simple tales of right and wrong need broad brushstrokes and phantoms in the distance, but what they don't need are complex characters with chewy backstories. While there is a pleasure in reading tales, they also create an important imperative to diversify a literary diet and seek writers whose work can offer counterbalances to the pacifying pastorals of writers like Agatha Christie.
