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Chekhov’s principle about how you can’t introduce a gun in the first act of a story without using it later on might also apply to Toru (Nijiro Murakami).

When the university student impulsively snatches a pistol from a dead body he finds by a riverside in Tokyo, the unfulfilled potential of his new acquisition starts to nag at him. Why have a gun, after all, if you’re not going to shoot it?

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