Crime Scene Asia: when forensic evidence becomes the silent witness is a casebook of fascinating true stories from Singapore, Malaysia, HK, The Philippines and Indonesia. Its opening case begins when the body of a woman is found in a Singapore nature park. Nobody has reported her missing. Nobody knows who she is. The only clue to her identity is a set of tiny numbers etched into a series of implants in her teeth. Police door-knock the dentists of Singapore until they find the one who treated her. Then, following a trail of numbers called from her phone, they unmask her killer. In another case, set 300 kms away, in Kuala Lumpur, a married man is arrested for the murder of his mistress. Police are adamant that he is her killer. But the man’s lawyer can point to forensic evidence that tells a different story altogether. Meanwhile one of the book’s Hong Kong cases tells the story of a humble truck driver facing jail for his apparent involvement in a bombing plot allegedly masterminded by two of the former British colony’s most notorious gangsters. Then the evidence of a forensic scientist sets him free.

Volume 1 of Crime Scene Asia features nine delectably horrid crimes that take readers on a chilling trip through the dark underbelly of contemporary Asia. This volume serves up the unique flavor of crime in six of Asia’s most dynamic and fascinating lands, written by nine seasoned crime writers based throughout the region. The pieces in this crime anthology may be fiction, but they read like the more attention-grabbing stories seen frequently in newspapers across Asia.

Crime Scene Asia is a casebook written by award winning Australian Author Liz Porter of fascinating true stories throughout Asia. Its opening case begins when the body of a woman is found in a Singapore nature park. Nobody has reported her missing. Nobody knows who she is. The only clue to her identity is a set of tiny numbers etched into a series of implants in her teeth. Police door-knock the dentists of Singapore until they find the one who treated her. Then, following a trail of numbers called from her phone, they unmask her killer. In another case, set 300 kms away, in Kuala Lumpur, a married man is arrested for the murder of his mistress. Police are adamant that he is her killer. But the man’s lawyer can point to forensic evidence that tells a different story altogether. Meanwhile one of the book’s Hong Kong cases tells the story of a humble truck driver facing jail for his apparent involvement in a bombing plot allegedly masterminded by two of the former British colony’s most notorious gangsters. Then the evidence of a forensic scientist sets him free.

The first ever multi-author anthology of crime fiction set in Singapore. Featuring stories from veteran UK crime writer Stephen Leather, Singapore Literature Prize winner Ng Yi-Sheng, and popular Singapore-based authors Richard Lord, Chris Mooney-Singh, Dawn Farnham, Lee Ee Leen, Pranav Joshi, Zafar Anjum, and Carolyn Camoens.

Visual evidence is the sine qua non of the modern criminal process—from photographs and video to fingerprints and maps. Siam's New Detectives offers an analytical history of these visual tools as employed by the Thai police when investigating crime. Covering the period between the late nineteenth century and the end of the Cold War, the book provides both an extended overview of the development and evolution of modern police practices in Thailand, and a window into the role of the Thai police within a larger cultural system of knowledge production about crime, violence, and history. Based on a diverse set of primary sources—police reports, detective training manuals, trial records, newspaper stories, memoirs, archival documents, and hard-to-find crime fiction—the book makes two related arguments. First, the factuality of the visual evidence used in the criminal justice system stems as much from formal conventions—proper lighting in a crime scene photo, standardized markings on maps—as from the reality of what is being represented. Second, some images, once created, function as tools, helping the police produce truths about the criminal past. This generative power makes images such as crime scene maps useful as investigative aids but also means that scholars cannot analyze them simply in terms of mimetic accuracy or interpret them in isolation for deeper meaning. Understanding how modern legal systems operate requires an examination of the visual culture of the law, particularly the aesthetic rules that govern the generation and use of documentary evidence. By examining modern policing in terms of visual culture, Siam's New Detectives makes important methodological contributions. The book shows how a historical analysis of form can supplement the way many scholars have traditionally approached visual sources, as symbols requiring a close reading. By acknowledging the productive nature of images in addition to their symbolic functions, the book makes clear that policing is fundamentally an interactive, creative endeavor as much as a disciplinary one.

Written by some of the most notable criminologists of South Asia, this book examines advances in law, criminal justice, and criminology in South Asia with particular reference to India, Pakistan, and Bangladesh. The edited collection explores, on the basis of surveys, interviews, court records, and legislative documents, a wide range of timely issues such as: the impacts of modernization and globalization on laws combating violence against women and children, evolution of rape laws and the issues of gender justice, laws for combating online child sexual abuse, transformation in juvenile justice, integration of women into policing, the dynamics of violence and civility, and the birth of colonial criminology in South Asia. Students of criminology and criminal justice, practitioners, policy-makers, and human rights advocates will find this distinctive volume highly valuable.

Writer PORNSAK PICHETSHOTE’s long-awaited follow-up to the critically acclaimed INFIDEL with stunning art by ALEXANDRE TEFENKGI (OUTPOST ZERO)! Following Edison Hark—a haunted, self-loathing Chinese-American detective—on the trail of a killer in 1936 Chinatown, THE GOOD ASIAN is Chinatown noir starring the first generation of Americans to come of age under an immigration ban, the Chinese, as they’re besieged by rampant murders, abusive police, and a world that seemingly never changes. "Edison Hark immediately joins the ranks of Phillip Marlowe and Sam Spade in a smart, classic noir drenched in style and history."—JAMES TYNION IV (DEPARTMENT OF TRUTH, Batman) "A gripping and authentic crime story from an Asian-American POV. This is the book I've been waiting for!"—CLIFF CHIANG (PAPER GIRLS) "A brittle story that takes place during an unfamiliar time in our history that is tragically all too familiar now in our present."—BRIAN AZZARELLO (100 Bullets, MOONSHINE)