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?
Unable to view this article?
This could be due to a conflict with your ad-blocking or security software.
Please add japantimes.co.jp and piano.io to your list of allowed sites.
If this does not resolve the issue or you are unable to add the domains to your allowlist, please see out this support page.
We humbly apologize for the inconvenience.