As Edogawa Ranpo’s work was published in the application year as a creative novel, 1923 is remembered as an indispensable year in the history of Japanese creative mystery novels. It is no exaggeration to say that there were mystery novels in popular literature magazines, but in most cases, there were many works that were read and discarded because the composition of the works was crude, the characters were sparse, and the sanctions were so popular. In such a situation, the appearance of Ranpo would have served as a refreshing agent like rain in a drought. At that time, at a relatively late age, Edogawa Ranpo appeared like a comet under the pen name of a pun and published many hot topics, but over time, the early witty and challenging fresh materials were depleted faster than expected, and by the time he reached an age of doubt, he was branded as a representative writer of Eroticism and Grotesquery. Perhaps it is related to the dreamy, erotic material and gothic atmosphere, which are somewhat different from the early styles, but considering the impact of his works on general popular culture in the process of being consumed as media content such as movies, TV, and radio, I think Ranpo’s achievement is somewhat negative. Moreover, it should not be overlooked that his mystery novel has a unique location and historical achievement that divides Japanese mystery paragraphs before and after Ranpo, and is still loved by the general public to the extent that it is constantly reproduced and reinterpreted through video media as well as general research. Therefore, I would like to analyze the works of the early Ranpo period, which received enthusiastic support and support from mystery writers and readers, focusing on “Exploration of Human Psychology”, “Intellectual Play”, and “The Pursuit of Honkaku Detective Story”, which he was very interested in and played a decisive role in the early works. Specifically, this study tried to find out the unique value of Ranpo’s detective story ｢Dzakanosatsujinjiken｣, ｢Shinrishiken｣, and ｢Yanenouranosanposya｣ in the early days of Ranpo’s works.