- Main focus of my page will probably be MTP and BSD with some other things I like on occasion. Sometimes I have taken a dip into sociology and psychology analysis, i do general analysis of themes/ideas in the show I mentioned and sometimes i just do funny posts or highlights of trips in the future or even casual reviews im not sure yet.
- Not spoiler free for BSD/MTP manga!!!
- DNI - z!0nist, hom0phobe, r4cist etc.
- Anime/manga I like - Bungo Stray Dogs (both), Moriarty the Patriot (both), Yuri On Ice (anime), Case Study of Vanitas (anime + part of the manga), SK8 the Infinity, tgswiiwagaa (manga), the summer hikaru died (anime), (will update as I watch more)
- Other shows - Arcane, TGCF (donghua only currently), Derry Girls, etc. (some of these i like more intensely than other lmao, will update as I find any others)
- Kpop fan, Stray Kids are my favourites, also love ATEEZ, Purple Kiss, Xdinary Heroes, Twice, Loona, P1Harmony, NMIXX. Listen to a lot of other kpop artists overall.
- Other things I like/have - I love collecting stuff especially Kpop albums and manga, I ADORE ROLLERCOASTERS (special interest of mine), love me some lego (flowers sets especially), have a crystal collection I do not know how to use (they're just pretty), I have a collection of signed books if that's something you find cool, i'm starting to gain a decent amount of plushies for the first time since I was young (many of them are Kirby), now I'm a pokemon card collector (my fav is Diancie).
- Things I want to do/like to do - write powerpoints about my interests, infodump about things i like (majority of my posts), would like to try cosplay (either Chuuya or Sherlock), have tried scrapbooking before idk if i'm any good at it?, occasional lyric analysis, i enjoy organising things too. and sometimes the occasional silly post as a treat.
You know I didn't really think I was that much of an Alcroft shipper but I had a random idea and now i'm writing a fanfic about them sending letters/having meetings during the time Albert was imprisoned. And now I ship them more but I can't tell if I just ship the versions I made up in my head whilst I was writing. i'm confused. how did I get here.
perhaps controversial but i think fukuzawa could save everyone if he gave amenogozen a little kiss. it's fukuchi's body. surely the home of a god is not immune to worship it once knew?
the fact that Εchi fukuchi, the former military hero, died as a traitor to humanity, disgraced in the eyes of the public.
and the concept of the remaining hunting dogs, fukuzawa and ranpo being the one who actually find a spot for him in a burial site and then being the only visitors to his grave.
"You're not the real Gen'ichrio, are you?" - a fukufuku one-shot
[Important context: So this is a Fukufuku fic based on TSHD, wherein Fukuchi returns from war and reconnects with Fukuzawa. But this is not Fukuchi, it is actually an unknown entity who has his mind, body and memories. I had the idea of him dying at war on an island, and what comes back is an entity of conflicting instincts - the inherent hunger and violence of war flow through him, but a desire to be kind and protect others also stands. Fukuzawa is also struggling with a lot of guilt - guilt for his old job as an assassin, guilt for letting Fukuchi go to war (and his eventual death) without him, guilt for his own feelings (he, like Yoshiki in TSHD struggles with accepting his sexuality and the pressures of his associates for marriage), etc. They kind work through it all together I suppose. In this story they would be around 31 yrs old. If you think they seem overly nostalgic, I like the idea that 'Fukuchi' would be so focused on nostalgic memories as that's all he had to imitate the real Fukuchi. I'm thinking of making a bunch of linked one-shots. ]
This is based on the first half of the first chapter of TSHD, wherein Yoshiki voices his suspicions of Hikaru and 'Hikaru' reveals himself to be something else entirely. Highly recommend reading the first chapter or watching the first half of the first episode of the anime for context. I use a lot of elements of that, including some almost exact dialogue. Idk if that's a bad thing or not I haven't written many fics before.
~
The dojo's walls were bathed in the evening sun. The only sounds detectable were the clashing of wooden spears, the creaks of the floorboards and the quiet huffs of exhaustion from the two men as they sparred. Each one a master of the art of the sword, engaging in a friendly duel, 'for old times sake' as one had suggested. Within the next minute came a final blow and a celebratory cheer. One reign victorious for the evening.
Fukuzawa took to preparing some green tea, the loser's penalty for the day. It was not usual of him to lose so obviously, but his thoughts distracted from his usually perfect form and technique.
It had been six months since the end of the war, and it was around then he reunited with his dear friend Fukuchi. He had reached out from the hospital a week after the ceasefire and wished to see his best friend immediately. Unusually sappy of the man, but Fukuzawa obliged. His duties were done, after all, as there was no one else he needed to assassinate now the conflict was resolved. It was nice to run away from that job even for a moment, and the nostalgia of conversing with his childhood friend might help him escape his thoughts. They'd met at 14 years old, at this very dojo, and had spent much time together until the war seperated them.
Upon meeting him again, Fukuchi was surprisingly excitable - unusual for someone returning from a war zone. He eagerly chatted with Fukuzawa about days gone by, and Fukuzawa enjoyed reminiscing (albeit with less enthusiasm than his friend). He thought it was going to be an occasional thing, but Fukuchi started asking him to meet weekly once he'd got out of hospital. Again, slightly unusual of him, but Fukuzawa brushed it off as an effect of the war (enhancing his desire to see familiar, living faces). Eventually, Fukuchi suggested a few weeks away from the city on a trip to their childhood home, and staying at the dojo they used to spar in as young adults. Fukuzawa also agreed, but only out of obligation and nostalgia - he hadn't been back in such a long time, but the most interesting part of the village had left with him years earlier.
It was their first night at the dojo and Fukuzawa was uneasy. He'd begun noticing a lot of things about Fukuchi that didn't seem... right?. Some small personality changes mainly, and what confirmed his suspicions was a slight change in his fighting technique. A change so slight that most people wouldn't notice. But not Fukuzawa. He knew exactly how Fukuchi fought, down to his breathing patterns. This wasn't the same as the technique he'd kept and prided himself on since his childhood.
It was this line of thinking that caused Fukuzawa to lose today's duel. He could hear Fukuchi muttering about the fight across the room, about it being just like the days of their youth. Fukuzawa raised his voice slightly when responding.
"Well back in our youth, I usually won the duels."
Fukuchi shouted back, "I'll have you know that I won just as many duels as you, my friend! We were of equal skill after all."
"You may tell yourself that, but I had noted every win and loss down in our youth. I had many more wins than you by a larger percentage." Fukuzawa brought the green tea over to the table Fukuchi had set up moments earlier by the open side of the dojo.
"You were always so very meticulous, Fukuzawa." Fukuchi hurriedly picked up his cup from the table and took a sip. A warm smile radiated from his face. "Wow. Just like it used to be. How'd you learn to brew it the same anyway?."
"I was taught by the owner years ago. You were too busy stealing candied chestnuts at the time." Fukuzawa remarked, a slightly laugh escaping his lips.
The other responded back with a much louder chuckle. "Suppose I was then. Maybe you'll have to teach me."
Fukuzawa didn't process this response. It was too busy inside his brain. He was carefully thinking through his next question, in case this world would come tumbling down around him. If his suspicion is wrong, he could brush it off as an odd sense of humour. If he was right, though....
He released his breath as if he was gasping for air. "Can I ask you something?" The air stagnated for a second as he awaited a response.
"Sure, what's the problem? Oh, is this about Kin from the village? Are you finally asking her out?!"
Fukuzawa shuddered at the mention. Now was not the time to think about that. His words came out with a slight shakiness as he asked.
"You're not the real Gen'ichirΕ, are you?"
The air felt thick in Fukuzawa's throat. He could feel Fukuchi's eyes staring so sharply at him. He turned to face Fukuchi, only for half his face to be obscured by... something. This something was coming from his left eye. It was almost indescribable. A mass of swirls and shapes in a void that emerged and covered his face. No, replaced half of his face.
"My imitation was supposed to be perfect." Fukuchi spoke with a solemn hint in his voice.
"I'm begging you. Don't tell a soul" Fukuchi pleaded in half-whispers, his words slightly distorted as if through radio static. "For the first time, I was living as a human. I got to enjoy friendship, travelling and even green tea. Who I am as a person and my body are both borrowed..." His voice trailed off slightly, allowing for a moment of silence where Fukuzawa realised he was hyperventilating so aggressively it was as if he'd run miles away. Yet he was still in the same place, sat in front of his friend's almost dissolving face. Fukuchi's hands clenched even tighter on the back of Fukuzawa's shirt, feeling like it might rip at any second.
"Please. I don't want to kill you."
Fukuzawa shuddered once again. A solitary tear escaped his right eye, trailing down his face as he tried processing what was happening. There was only one train of thought he could muster in that moment.
'Either way, Fukuchi is already gone... so even if it's fake, I still want him to be with me.."
Once he could catch his breath enough to speak, he could only muster a similar half-whisper as his companion had previously.
"Okay, 'Fukuchi', it's nice to meet you."
~ End of part one ~
[Yes despite my intro I do have a part 2 planned... I will post it at some point i swear. Also I hope this is decent I've never usually been good at this. Hope you enjoyed!]
So an update on this... a slightly edited version of this is part one of a multi chapter fic on AO3. If you are interested, parts 2 and 3 will be out soon.
"You're not the real Gen'ichrio, are you?" - a fukufuku one-shot
[Important context: So this is a Fukufuku fic based on TSHD, wherein Fukuchi returns from war and reconnects with Fukuzawa. But this is not Fukuchi, it is actually an unknown entity who has his mind, body and memories. I had the idea of him dying at war on an island, and what comes back is an entity of conflicting instincts - the inherent hunger and violence of war flow through him, but a desire to be kind and protect others also stands. Fukuzawa is also struggling with a lot of guilt - guilt for his old job as an assassin, guilt for letting Fukuchi go to war (and his eventual death) without him, guilt for his own feelings (he, like Yoshiki in TSHD struggles with accepting his sexuality and the pressures of his associates for marriage), etc. They kind work through it all together I suppose. In this story they would be around 31 yrs old. If you think they seem overly nostalgic, I like the idea that 'Fukuchi' would be so focused on nostalgic memories as that's all he had to imitate the real Fukuchi. I'm thinking of making a bunch of linked one-shots. ]
This is based on the first half of the first chapter of TSHD, wherein Yoshiki voices his suspicions of Hikaru and 'Hikaru' reveals himself to be something else entirely. Highly recommend reading the first chapter or watching the first half of the first episode of the anime for context. I use a lot of elements of that, including some almost exact dialogue. Idk if that's a bad thing or not I haven't written many fics before.
~
The dojo's walls were bathed in the evening sun. The only sounds detectable were the clashing of wooden spears, the creaks of the floorboards and the quiet huffs of exhaustion from the two men as they sparred. Each one a master of the art of the sword, engaging in a friendly duel, 'for old times sake' as one had suggested. Within the next minute came a final blow and a celebratory cheer. One reign victorious for the evening.
Fukuzawa took to preparing some green tea, the loser's penalty for the day. It was not usual of him to lose so obviously, but his thoughts distracted from his usually perfect form and technique.
It had been six months since the end of the war, and it was around then he reunited with his dear friend Fukuchi. He had reached out from the hospital a week after the ceasefire and wished to see his best friend immediately. Unusually sappy of the man, but Fukuzawa obliged. His duties were done, after all, as there was no one else he needed to assassinate now the conflict was resolved. It was nice to run away from that job even for a moment, and the nostalgia of conversing with his childhood friend might help him escape his thoughts. They'd met at 14 years old, at this very dojo, and had spent much time together until the war seperated them.
Upon meeting him again, Fukuchi was surprisingly excitable - unusual for someone returning from a war zone. He eagerly chatted with Fukuzawa about days gone by, and Fukuzawa enjoyed reminiscing (albeit with less enthusiasm than his friend). He thought it was going to be an occasional thing, but Fukuchi started asking him to meet weekly once he'd got out of hospital. Again, slightly unusual of him, but Fukuzawa brushed it off as an effect of the war (enhancing his desire to see familiar, living faces). Eventually, Fukuchi suggested a few weeks away from the city on a trip to their childhood home, and staying at the dojo they used to spar in as young adults. Fukuzawa also agreed, but only out of obligation and nostalgia - he hadn't been back in such a long time, but the most interesting part of the village had left with him years earlier.
It was their first night at the dojo and Fukuzawa was uneasy. He'd begun noticing a lot of things about Fukuchi that didn't seem... right?. Some small personality changes mainly, and what confirmed his suspicions was a slight change in his fighting technique. A change so slight that most people wouldn't notice. But not Fukuzawa. He knew exactly how Fukuchi fought, down to his breathing patterns. This wasn't the same as the technique he'd kept and prided himself on since his childhood.
It was this line of thinking that caused Fukuzawa to lose today's duel. He could hear Fukuchi muttering about the fight across the room, about it being just like the days of their youth. Fukuzawa raised his voice slightly when responding.
"Well back in our youth, I usually won the duels."
Fukuchi shouted back, "I'll have you know that I won just as many duels as you, my friend! We were of equal skill after all."
"You may tell yourself that, but I had noted every win and loss down in our youth. I had many more wins than you by a larger percentage." Fukuzawa brought the green tea over to the table Fukuchi had set up moments earlier by the open side of the dojo.
"You were always so very meticulous, Fukuzawa." Fukuchi hurriedly picked up his cup from the table and took a sip. A warm smile radiated from his face. "Wow. Just like it used to be. How'd you learn to brew it the same anyway?."
"I was taught by the owner years ago. You were too busy stealing candied chestnuts at the time." Fukuzawa remarked, a slightly laugh escaping his lips.
The other responded back with a much louder chuckle. "Suppose I was then. Maybe you'll have to teach me."
Fukuzawa didn't process this response. It was too busy inside his brain. He was carefully thinking through his next question, in case this world would come tumbling down around him. If his suspicion is wrong, he could brush it off as an odd sense of humour. If he was right, though....
He released his breath as if he was gasping for air. "Can I ask you something?" The air stagnated for a second as he awaited a response.
"Sure, what's the problem? Oh, is this about Kin from the village? Are you finally asking her out?!"
Fukuzawa shuddered at the mention. Now was not the time to think about that. His words came out with a slight shakiness as he asked.
"You're not the real Gen'ichirΕ, are you?"
The air felt thick in Fukuzawa's throat. He could feel Fukuchi's eyes staring so sharply at him. He turned to face Fukuchi, only for half his face to be obscured by... something. This something was coming from his left eye. It was almost indescribable. A mass of swirls and shapes in a void that emerged and covered his face. No, replaced half of his face.
"My imitation was supposed to be perfect." Fukuchi spoke with a solemn hint in his voice.
"I'm begging you. Don't tell a soul" Fukuchi pleaded in half-whispers, his words slightly distorted as if through radio static. "For the first time, I was living as a human. I got to enjoy friendship, travelling and even green tea. Who I am as a person and my body are both borrowed..." His voice trailed off slightly, allowing for a moment of silence where Fukuzawa realised he was hyperventilating so aggressively it was as if he'd run miles away. Yet he was still in the same place, sat in front of his friend's almost dissolving face. Fukuchi's hands clenched even tighter on the back of Fukuzawa's shirt, feeling like it might rip at any second.
"Please. I don't want to kill you."
Fukuzawa shuddered once again. A solitary tear escaped his right eye, trailing down his face as he tried processing what was happening. There was only one train of thought he could muster in that moment.
'Either way, Fukuchi is already gone... so even if it's fake, I still want him to be with me.."
Once he could catch his breath enough to speak, he could only muster a similar half-whisper as his companion had previously.
"Okay, 'Fukuchi', it's nice to meet you."
~ End of part one ~
[Yes despite my intro I do have a part 2 planned... I will post it at some point i swear. Also I hope this is decent I've never usually been good at this. Hope you enjoyed!]
BSD chapters 120.5 and 125/6: ideology, the 'Avengers Assemble' moment and what could have been
MANGA SPOILERS AHEAD
On a reread of the more recent bsd chapters I got thinking about the moment in chapters 125.5-126 where members of the ADA, Port Mafia and the Guild make their reappearance to fight the Gozen creatures (the monsters that follow the defeat of Divine Being Gozen) in a kind of 'Avengers Assemble' style moment. Whilst I think the concept of most of the ability users we've seen reappearing to defeat the biggest evil yet is very interesting, I dislike some elements about the way it was executed in the manga and some ways it could have been done differently in order to tie into established themes in previous chapters, the ideologies of other characters and beliefs in humanity.
So back in 2024 on my twitter account I posted a short 3-post thread about the idea of getting together BSD's ensemble cast to fight the biggest threat they'd ever seen, as shown below. The power of the Tripolar singularity and the entity emerging from it was yet unknown and potentially terrifying so I kind of hammed up the dramatics a little for a funny tweet. It was mostly a fun concept I would have enjoyed the idea of seeing rather than an actual prediction and yet it sort of came true.
[I refer to Divine being Gozen as 'Godman' as he had not yet been referred to by name at this point. This is around the time of chapter 114.5 with the context of the anime S5 post credit scene.]
Slightly cringe old tweets aside, I think I still agree with my suggestion here - but for different reasons. I still heavily enjoyed the chapters when they released, especially with the cameos of long unseen characters and even a Verlaine main manga debut. But I don't think in hindsight that the idea was written and developed the way it could have been.
A side tangent as to a smaller part of why i dislike it - it does read to be a bit corny. It mimics those major team up of superheroes in comic book movies a little too much (I was a big fan of Marvel movies as a kid/younger teen which was probably what made me partial to the idea of it happening in BSD in the first place). Many of the characters are kind of making silly jokes/sarcastic comments (Verlaine now was not a time for a jab at your brother who is thousands of miles away) and it feels less organic than it could have. Whilst a lot of characters do that in BSD, it does feel a little out of place now after the sheer horrors SSKK witnessed at Divine Being Gozen's hands. Maybe more comments about saving the city of defeating Fyodor would have made it feel more real to me I guess, maybe trying to be more endearing???. Although I still don't know if that would have solved that. Maybe this concept is inherently a bit corny. Basically, when the main thing you do for the plot is make a joke it feels very unnecessary and unnatural (I had the same problem with most of the dazai fyodor shibusawa trio scenes in dead apple).
The main thing I want to discuss though is the potential connections it could have had to Fukuchi's goal of world peace through the removal of states and the debate which ensues between Fyodor and Fukuzawa about it in chapter 120.5. I made a post about this chapter when it came out (here), which I do recommend reading as I will likely bring up similar points now but they will be expanded upon a bit more, but I shall summarise their main ideologies as well.
So for a small recap, Fukuzawa believes distinctly in the ideology Fukuchi pursued - the idea that the kindness and good-hearted nature of man (and the power of the book) could lead to a united humanity, free from divisions of 'us' and 'them'. Fyodor disagrees, believing that man cannot bear the weight of a high moral standard and will fall victim to societal pressures - they would rebel against a worldwide dictatorship (no matter how benevolent its leader) and will give rise to new divisions. However he also believes that there is still a way to unite humanity: a war between ability users and regular humans, utilising humanity's thirst for violence and conflict to not only rid the world of ability users but to unite what remains of humanity along with it.
This debate is super interesting and the chapter it's from is probably one of my favourites of recent bsd chapters. The ideologies seem so fundamentally different but actually work towards a similar goal (the eventual eradication of divisions and creation of world peace, with utilisation of the book/One Order). And one of the most fascinating parts is Fyodor calling himself Fukuchi's "disciple".
As my original post about the chapter mentioned, Fyodor has long been associated with religious imagery, particularly Christianity. But he is not the only successor or disciple present. In fact Fukuzawa is also technically Fukuchi's disciple, but in a different way.
Fukuzawa didn't at first believe Fukuchi's ideas were possible, but after Fukuchi's death he believes in executing the plan to the letter - relying on humanity's kindness for a shot at world peace, and establishing a worldwide military force known as the 'Army of Mankind' (although it is unclear if he will accept the leadership rule that only Fukuchi trusted him with or not). Fukuzawa has always believed in the benevolence of humanity (as is clear in his way of running the ADA) and so Fukuchi's ideas align with his beliefs. And the ADA act as his disciples - they follow his orders, and his ability helps the members control their abilities too. It may feel to him that, with his ability expanded to every soldier, a union of all militaries and the execution of world peace is more feasible.
Fyodor however hijacked Fukuchi's plan to forward his own beliefs about humanity and ability users in particular - man is not strong enough morally to hold together a united humanity without first eradicating a common enemy (ability users). He inherits the dream of world peace, but with a new method relying on the eradication of one singular division to forgo the rest (one that he believes will last longer). He, as a disciple, betrays his 'leader' Fukuchi, somewhat akin to Judas' betrayal of Jesus (although I don't have much detail to go to with this comparison, the Bible is not something i've very knowledgeable in). And he has his disciples - ones that very blindly follow his rule despite it costing their lives (the snipers/getaway drivers of chapters 127-8, and you could argue Nikolai was also one at least at some point. You could also say that Divine Being Gozen and the Gozen monsters also are disciples but not necessarily of their own free will).
And so we come back to Chapter 125/6 and it's Avengers Assemble moment, and the conflict can take on a new meaning. It's a clash of beliefs about humanity. A clash of the disciples of Fyodor vs the disciples of Fukuzawa. A clash between two students of the same teacher, taking different conclusions from the same lessons, if you will. And arguably this moment should have been engineered to represent that (at least more than it does). The various organisations putting aside their differences to defeat Fyodor acts as a representation of people putting aside divisions (the 'us' vs 'them') to defeat a large common threat to their lives.
There were many ways to strengthen this point, and one of my main suggestions is to have different characters from different organisations interact more (the present organisations being the ADA, Port Mafia, Guild the Hunting Dogs (kind of) and Special Division). The closest we got to this is Tecchou and Kenji, who actively aided each other earlier on in the arc in the search for Jouno/helping Atsushi. We also had Fitzgerald cooperation with the ADA despite their previous conflicts, but this wasn't on a one on one basis. There's also Yosano helping Margaret and the Special Division's director which are also good examples but do not take place during the battle. Akutagawa and Atsushi is also a good example but is already long established. I wish we could have had uncommon individual interactions with abilities that pair well together which they wouldn't have known before the meeting. For example - Kunikida could keep a steady stream of Lemon shaped bombs coming for Kajii, or Tanizaki working with Lucy to create multiple copies of Anne. I would suggest more but I do find it hard to remember everyone's abilities and their strengths/weaknesses. My point being, seeing individuals break down their divisions in real time as well as on an organisational level would have really enhanced its relevance to the ideological conflict.
Another way would be to focus on cooperation between ability users and regular people. Part of the ability users' goal is to save the people trapped in the airport as well, and we have seen these people give advice to the ability users before (such as the fighter jet engineers who Akutagawa asked about ways to bring Fyodor's jet down). Ways to implement this include survivors directing ability users to others in need, the ability users without combat-viable skills directing emergency services etc. This would really be interesting as when applied to Fyodor's ideology we would see that ability users are not the enemy of these people and there is potential of a united front without the divide between ability users and regular people. However, the ADA is still forced to disband post-battle because of the allegations against them, so people still view them as an enemy regardless - which neither proves nor disproves Fyodor's points.
And I think there's a beauty in this not proving anything. Even with these examples to strengthen or disprove the points Fukuzawa and Fyodor make, none are concrete. There's proof that people can shed their divisions and unite, that ability users and regular people can work together in the name of peace. But there's also proof that people will choose the easy option over the kind, and that people will still create and maintain divisions over time. It's all theoretical. Nothing can be proved unless it is actively put into place and the consequences are tested. There is likely realities in the BSD universe in which one person prevailed over the other. A world with Fukuzawa at the helm of the Army of Mankind. A world where that collapses. A world where ability users and the general population go to war. A world where ability users are eradicated and all is well. A world where it is not well. A world where the war lasts forever. A world where the ability users win. Some of those may be the same, some different. Both of them may be proved to be too idealistic, or to be rational. But this one falls into neither. Neither Fukuzawa/Fukuchi's or Fyodor's ideology prevails because they weren't meant to.
[It was very hard to come to a conclusion on this but I think this is coherent? I really wanted to talk about this since the idea popped up and I don't know if how i've explained is good but oh well we are here now. This is more about 120.5 than 125/6 which is accidental but fits better I guess.]
Still not over atsushi ripping a whole dimension apart to save akutagawa. He was so gay he forgot the laws of quantum physics. Love that for them. Love it when the yaoi goes cosmic.
Im grading the final exams for the class I TA for and I'm checking the name of the one I've just graded so I can enter it in the gradebook when I notice that after the name it says in parentheses "just visiting ! =)". And that I do not know this student, they are not enrolled in this class, and they just showed up on the last day to take the final . Innovative use of free will
I was rewatching 'Study in S' and realised that Sherlock's pistol was new at that point in the story, which is beautiful on both plot and metaphorical levels, so it inspired me to write an overall analysis of the pistol's role in manga and adaptations!
Pistols in Moriarty the Patriot β props for villainy
A pistol has several meanings in mtp, and I will discuss all of the potential readings, case by case. However, one stays true: a gun is nearly always a prop for villainy, not a tool. What I mean by it is:
We barely see actual gun killings in the series β the only exception being Milvertonβs death;
Guns are a part of the characters' image whenever they are supposed to be a villain, as if props help to identify their role in the story.
For example, Liam is holding a gun on the cover of the first volume because he plays the role of villain for us, for the Londoners, for Sherlock. However, is he a true villain in nature β an evil person with bad intentions? A gun can point to someone who takes on the role of the villain, but barely to an actual vicious person.
Study in S β early meanings of the pistol
In 'Study in S', the only difference between the two guns that Holmes and Hope have is that Sherlock's hasn't been fired yet. This is sort of foreshadowing: Hope is an actor playing a murderer, villain with the same gun as Sherlock. In other words, Liam shows Sherlock how a simple person like him becomes an actor, and how, as a director, Liam provides actors with the symbols of villainy. To go further, Liam never kills anyone with the pistol himself β the ones who use guns are always his actors, they use them as supplied props, like Moran, his gunman, or Hope. Liam later provides Sherlock with the same prop β Hope hands him a gun that has been used to kill, a symbol of sin. With the pistol, Sherlock is given a choice between killing Hope and keeping him alive β a gun is also a symbol of choice. By killing a person for the first time, Sherlock can start a new life β the life of a sinner; but he does not kill β as in the ideal outcome for him, going through a trial was not to use a gun β not to become a sinner yet.
We could say that the pistol symbolises power when it is not a tool for killing, as when Sherlock wields a gun, or when John tries to stop him with one, they both want to take control of the situation through violence. A gun is a symbol of a different kind of villainy or sin β it is a sign of a violent manner.
Sherlock fires his new gun for the first time when he is mad at not being able to get closer to the Lord of Crime, imagining how he would shoot Hope. This is the only time Sherlock is close to becoming the true villain, so to speak (I will come to Milverton's case later), but it is not the gun that makes him the villain; it is a selfish motive to find the truth, no matter the cost of sacrificing another human life.
The pistol is not an automatic symbol of true villainy. A person has to commit a crime or make a selfish, immoral choice for it to become one.
Milverton's death β the difference between a necessary act and true villainy
Milverton's case is interesting. It is the only gun killing in the series. It is the only time Liam threatens someone with a gun, and the only time Sherlock kills someone with it. If we keep the villain's symbol metaphor, now that Sherlock killed someone with a pistol, that should make him automatically a villain β and it does make him a sinner. But Sherlock did not become a true villain after he killed Milverton. He used his gun, he killed, but mainly for a humane reason. Compared to 'Study in S', where, if he killed, he would do it for a selfish reason solely, here he decides to kill someone vicious to society and his friend. The gun becomes the symbol of a villainous act, but Sherlock does not become a true villain himself.
However, I think the most interesting fact is Liam's words about his planning for Sherlock to kill much later. We can assume the victim could be someone else, but I am sure Liam meant himself. He wanted to be the first β and only β person to be killed by Sherlock's hand, his pistol. In this case, a gun is not only a symbol of a villain but also of new life Sherlock started when he met Liam. Liam is the one to give Sherlock a choice to kill with a similar gun, to make him fire his own for the first time and kill with it, just not at the planned time. Liam wanted Sherlock to go through a character's journey of using violence only when necessary, using a pistol β villain's symbol β only when necessary, to kill the greatest enemy of all.
But he forgot that he himself became a necessary evil. Liam is not a true villain like Milverton β a person revelling in crime, who does not use guns but makes his 'actors' do the 'dirty work' with knives and bare hands. Liam provides his actors with a tool that makes the kill faster and less emotional, while killing with his sword and staining his own hands with blood. He does the dirty work, he carries the sin. A sword is the antithesis of a gun: dirty work with a blood trail left after, compared to an easy and clean crime with less distress for the killer. If we get back to Enders' killing another man, Moriarty nudged him to use a knife β a tiny, but coincidentally a fitting case for a blade being used when the criminal has to atone for what they have done. Liam chooses to kill and acknowledge what he has done. Liam is a sinner, but he is no true villain β his murder is a selfless act.
The same as for Sherlock. When he kills Milverton, it is partly a necessary act, so, in the end, he actually follows Liam's script to come to violence only when needed. This makes both Liam and Sherlock equals β they both are necessary villains. They both wielded a sinful weapon for the greater good.
To go deeper, I would even say that in both of their decisions to use a pistol, we actually can see a hint of selfishness. When we see Liam with a gun on the cover of the first volume and in the first opening, he wants to die alone; his care for others stems from a selfish wish. There is a slightly selfish motive to Sherlock's decision to kill Milverton, too β he wanted to prove his independence to Liam. In the end, however, the decision to kill for both of them originated from a good place, and it was their main force. It happens that, through these decisions, using the pistols, they can fulfil their selfish desires β to prove independence and to die alone.
The story is called 'Two Criminals' for a reason: both symbolise Miverton and Liam, and Liam and Sherlock. Two antagonists of the story. Two people who do necessary acts of villainy. Two wielding a gun, willing to use it only on one true villain of the story,
The difference between the two criminals, Liam and Sherlock, is that it takes time β despite what Liam says β for Sherlock to commit a crime. When he kills, his gun is not 'brand new' anymore. He chooses to become a killer β to become a villain. We can say that his 'becoming' (ha-ha) was a slow-burn process (I really want you to read it as a Hannibal reference. I do not know how to do it smartly).
Liam and Sherlock's 'rivalry' β differences across adaptations
Both show openings serve as staged plays rather than accurate depictions of reality, and the rivalry between Sherlock and Liam is portrayed as more extreme in both.
In the first one, Sherlock and Liam point their guns at each other β this only emphasises that the pistols are props, as we know they have no such deep hatred for one another.
In the second opening, Sherlock shoots Liam with a gun β something that would never happen in reality, either. The openings look like Liam's script for his murder, if anything. Liam not having a pistol to point at Sherlock is not about being unequal to him β but about his acceptance of death.
But Sherlock and Liam do point guns at each other only once when Milverton exposes them both, and they shortly change their target the moment they confirm they are on the same page. However, the scene in which Liam points a gun at Sherlock after Milverton dies varies across adaptations.
In manga and anime, Liam points the gun at Sherlock for a couple of reasons. Firstly and most importantly, it is to warn: they are on opposite sides, enemies, and they should commit to their roles, to his script. Liam does not kill with a gun β this could be a hint for Sherlock: there is still a purpose for him in Liam's plans. Secondly, I actually leave a room open to the possibility that Liam could be scared. He saw Sherlock doing something improbable β he does not know what his next step will be, either. This idea is confirmed by what he says to Louis afterwards and by how he says it β with shock and fear. Liam suppressed all these emotions throughout the scene with Sherlock, even as he felt terrified of what he had done to Sherlock and what Sherlock would do to him in return.
Sherlock is angry in the scene β a good indicator of comparison for later is the way he says, 'I will. One day I swear I will.' But why is he angry? He felt like a marionette; he had also just killed a man, but in addition, Liam pointed a gun at him. And as they are finally equals, Sherlock responds to a symbol of violence with a harmless, actually helpless, but an attack β an expression of his rage. There is nothing else he can do but to assure Liam he will catch him. Interestingly enough, Sherlock is prepared to be killed as one of the outcomes β he later analyses why he was not. Yet, he still does not take a gun to point at Liam, only emphasising that Sherlock has no intent to proceed playing the game of rivals or killing Liam, even if it means that he would be killed in return.
In the musical, however, the use of guns tells a slightly different story.
Liam points his pistol at Sherlock only in the beginning when they see each other clearly for the first time, putting it down slowly as Milverton speaks proudly of his plan coming true. That's it. Neither Liam nor Sherlock points guns at each other afterwards at all. Sherlock does not draw a pistol at Liam willingly β this is true across all adaptations, which is an amusing contrast to what we are shown in the opening: the only one who ever points a gun at the mortal enemy is Liam, not Sherlock. Even when Liam points a pistol at Sherlock in the musical, Sherlock does not respond to it with violence β he knows Liam will not kill him, but he is also already sure he will not kill Liam either. Sherlock does not commit to the role intended for him, not only by killing Milverton but also by not using violence against Liam.
And Liam does not point a gun at him either when they talk again β he is more visibly shocked than in any other adaptation, less hiding his emotions.
Sherlock chooses to convince Liam with the purity of his feelings in all adaptations β but in the musical, Sherlock's 'I will. One day I swear I will' is softer, filled with more grief and longing rather than with anger, which also aligns with an emotionally focused retelling of the story. In musicals, they do not talk like enemies β they talk like friends who have to part. Liam does not turn to violence, so neither does Sherlock. No guns are visible in the scene.
In the end, when they meet at the bridge, none of them comes with a gun. They do not come as villains. They come as humans. They do not come playing their roles, even if Liam wants them to. Sherlock has no detective hat (oh, and add to that the fact he never wore a hat before that either β he never wanted to play the role of a hero that Liam wrote for him), and Liam has no gun. When they fall, they are equals. This message is also seen in the special cover of volume 14 β I think the most beautiful use of the pistol's symbolism β where we see Sherlock and Liam taking off each other's 'symbols'. Liam takes off Sherlock's hat, and Sherlock puts Liam's gun down. They see each other's faces behind the masks Liam gave to them. Behind the prop.
Funnily enough, after the fall, the meaning of guns slightly changes. The cover of volume 19 is a parallel to the special cover of volume 14. The pistol and the hat are in the same positions, but the ones holding them are Liam and Sherlock themselves, and they are not forced to. The hat and the gun are not symbols of good and bad here. Sherlock and Liam hold the symbols in a relaxed manner β they embrace themselves and their past. Liam is ready to atone for his crimes, and Sherlock is ready to return to solving crimes for his own pleasure β not as a part of Liam's play.
Part 2 and speculation derived from pistol meanings
What interests me are the covers of volumes 20 and 21. Liam is not holding a gun β that's right, he is not playing a villain β and he is giving his sword to us β foreshadowing him becoming the mastermind who gives others a chance to act. However, Sherlock is holding a gun. We are too early in part 2 to draw much from this, but I wonder whether this is a symbol of him embracing his sinful past, too, or foreshadowing the future.
There are likewise some differences in Moriarty's family. Moran is encouraged not to kill anyone β motto of MI-6 β and he gets a fake, painted gun from Liam instead. But what interests me more is Louis. He uses his knife β just a small part of the sin that Liam carries β throughout the manga, yet in part 2, we see him with a gun. He does not kill or hurt anyone with it, just threatening the drug chain members, as when wounding one of them, he uses a knife instead. I would return the meaning of the pistol to symbol of power in this case, because Louis still chooses to hurt the way he did before β the way Liam killed, with a sword, full acknowledgement. However, with the current sentiment of all characters keeping secrets and scheming against each other, Louis could easily become one of the 'villains', the same way Moran was one for 'The Adventure of the Empty Hearts', who, may I remind, killed with a gun, and was the only character to use the weapon at all in the beginning of the arc. Louis already has the potential to be an antagonist in an emotional conflict β taking care of Liam and keeping him safe in his own way, simultaneously contributing to Liam staying in the cage. That is at least my far-fetched suggestion, based on reading without chapter 91, but as far as I understood, Louis did not change his opinion on keeping Liam backstage in that one. I also suggest that Sherlock and Louis are the rivals in the next few arcs β and if both of them appear on the cover with guns, it will only confirm my hypothesis.
(Please, let Louis on the cover of volume 22 hold a gun, none of us will survive, PLEASE PLEASE PLEASE-)
P.S. Rereading the analysis, I could speculate on why Sherlock holds a gun. It could mean that he is Liamβs knight now, the way Moran was for part 1. Sherlock does have the potential to become another knight, wishing to protect not Liamβs safety, but Liamβs freedom. This is also confirmed by the position he takes behind Liamβs throne in the cover of part 2, the same way Moran did for the cover of βPlay of the Lord of Crimeβ. However, this is too far-fetched, and Moran still protects Liam, just secretly. I am not sure what Sherlockβs next step will be β knowing him, he needs to talk to Liam first, and I love him for that.
Thank you for reading! This is the first BIG analysis I did; I asked for an external read, but I could still miss mistakes and sentences that break the flow, so I hope to improve my style in the future.
