#morimyu

[nadcisnienie]

Aristocrat Sherliam for the love of the game...

[aritealeaf]

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 — 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 – the only exception being Milverton’s 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 – 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 – 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 — 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 — 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 — a gun is also a symbol of choice. By killing a person for the first time, Sherlock can start a new life — the life of a sinner; but he does not kill — as in the ideal outcome for him, going through a trial was not to use a gun — 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 — 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 – 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 — 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 — and only — 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 — villain's symbol — 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 — 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 — 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 — 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 — 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 — 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 — 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 — despite what Liam says — for Sherlock to commit a crime. When he kills, his gun is not 'brand new' anymore. He chooses to become a killer — 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' – 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 — 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 — 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 — 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 — 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 — 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 — 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 — 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 — 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 — 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 — 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 — 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 — 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 — 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 — 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 — 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 — I think the most beautiful use of the pistol's symbolism — 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 — 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 — 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 — that's right, he is not playing a villain — and he is giving his sword to us — 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 — motto of MI-6 — and he gets a fake, painted gun from Liam instead. But what interests me more is Louis. He uses his knife — just a small part of the sin that Liam carries — 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 — 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 — 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 — 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 Liam’s knight now, the way Moran was for part 1. Sherlock does have the potential to become another knight, wishing to protect not Liam’s safety, but Liam’s freedom. This is also confirmed by the position he takes behind Liam’s throne in the cover of part 2, the same way Moran did for the cover of ‘Play of the Lord of Crime’. However, this is too far-fetched, and Moran still protects Liam, just secretly. I am not sure what Sherlock’s next step will be – 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.

[kumoriyami-xiuzhen]

Morimyu cast is also the best.

[knives-and-narcissi]

Just sitting here, on a lazy Sunday afternoon, thinking about the fact that Sherlock was probably compared to Orpheus by William because he, too, was not allowed to look upon the true William before the end of The Final Problem.

Sherlock’s first true glimpse of William’s secret identity— as the LOC— was predestined by William himself to be the moment Sherlock would lose him forever, to death. Just like when Orpheus looked upon Eurydice and in doing so, sealed their parting forever.

However, William’s fatal miscalculation here was in what he believed Sherlock would see when he finally was given the entire image of William. He did not see the cold-blooded killer that William had perhaps hoped, but instead, he saw the good of William’s heart.

I actually adore how much more tragic Reprise made William with the addition of this song. The glimpse into how he truly sees himself and how, even at this moment of the story, he has written his own end is really devastating.

Tadasuke-san and Nishimori-san, I am once again 👏👏👏 so, so grateful that Morimyu exists.

[fatuousion]

I don't remember if I already said that but Morimyu Irene Adler is so so SO gorgeous

[starlostlix]

A selection of my favourite Morimyu Sherliam motifs

I watched most of Morimyu/Morimu for the first time about a month ago, and this version of Sherliam is probably close to my favourite representation of their dynamic (closely tied by the manga) because there's so many aspects that the musicals strengthens and deepens their relationship- especially with instrumental and lyrical motifs, so here's some of my favourites (mostly lyrical motifs):

[A lot of my lyric translations will be based off of @morimyulyrics and their translations]

- Sherlock the Violinist and William the Pianist -> So in Morimyu, most of the live music is done by two instruments - Piano and Violin. The Piano is almost a constant; it soundtracks the majority of scenes, especially when William and his allies are on stage. The violinist is only on stage and plays for Sherlock and his allies. The piano represents William - his control over the stage and narrative as the Lord of Crime. The violin represents Sherlock; largely because he's a violinist himself (as there are a few tracks where he mimics playing violin as the sound comes from the stage violinist). When they play in tandem, usually reserved just for Sherliam scenes, they merge very well and it's quite beautiful. William also controls the ends of musical pieces on occasion (see this post where I talk about this a little bit more).

- 'Catch me if you can' -> the classic line is turned into a song! The verse reads "Catch me if you can, Mr Holmes. If you can, go ahead and try, Mr Holmes." The concept of William being 'caught'/Sherlock 'catching' William comes up many many times as it did in the manga, but turning it into a song (and a reoccurring motif) feels very poignant and more emotionally driven.

- 'I hope'/'I will' -> this is the title of Op2's closing number, as well as seperate songs in Op4, and comes up a lot.

The 'I hope' side of the Op2 closer is William's desire for Sherlock to catch him - "Catch me if you can, Catch me, you can do it" - which expands upon the 'catch me if you can' theme to be more of a desire. The 'I will' of that same number is Sherlock's side, his commitment to apprehending the Lord of Crime (LOC) - "I will catch you, I will expose you, past all of the illusions" - and ultimately they (William and Sherlock will meet "at the end of this mystery."

Then in Op4 there's two pairs of tracks that express the same sentiment: the first sets up their desires and then the second shows a stronger desperation for them. Sherlock's first track 'I will' talks about him sticking with what he believes in and where his heart takes him in order to catch the Lord of Crime, no matter how "dark the fields" or "high a tower I must climb" (cheeky Tower Bridge reference maybe?). That "I will definitely catch you, with my own hands" is his dedication to unraveling the mystery and finding the Lord of Crime. William's first track 'I hope' is his desire to, when he lets his life go, have Sherlock by his side. The hope that he can get one wish, and that wish is for Sherlock to "catch my wicked soul". To him Sherlock is the "protagonist of the play I write, the light shining... and this light is too bright for me" - aka he thinks he is not worthy of it but he hopes Sherlock can catch him anyway.

William's second song 'On this path' is a much darker and depressive view, one where he essentially begs for it to be Sherlock who will kill him - "My heart silently hopes, please, at the end of all this. Sherlock, you'll be the one to do it. Extinguish the fire of my cursed soul... with your own hands, Sherlock". He thinks he is truly beyond saving ("I can't ask for salvation, nor forgiveness"), or being truly 'caught', with allusions to a 'cancer' grown on his heart and the 'scent of blood' on his fingers and his 'filthy body' showing him seeing himself as fully corrupted. There's that finest glimmer of 'hope', but it's now twisted to be about death. Meanwhile, Sherlock is dealing with the guilt of Milverton's murder but still thinking of William - "I know sinners do not deserve their wishes to be granted, yet this desire won't fade. Liam, I.. to you..". Sherlock still wishes to catch William (now that he knows he's the LOC), to "uncover everything about this most amazing mystery... stand in the same field and see the same things as you..". His more desperate wish, that he feels he doesn't deserve, is to fully understand William.

- "With your/my own hands" -> referenced in Op4's 'I will' and 'On this path' as shown above. Their mutual desire for the chase to end with them confronting each other, using their hands to catch (as Sherlock wants) or kill (and William wants towards the end).

- Rondo -> A type of composition, utilised by name in the song 'Swirling Rondo' (Op3) - where Sherlock likens his chase of the Lord of Crime to a dance where he does not know his dance partner by name, and the composition and moves of the routine are dictated for him. All he can do is follow in the steps he thinks the Lord of Crime wants him to do, simply "riding the rhythm of the rondo". With the Lord of Crime always disappearing no matter how he chases. William's side of the number also echoes my favourite recurring motif, as explained below. But they agree that they wish to find each other at the end of it all. Also the composition itself in this scene does actually feel like it's spinning, just as the characters are on stage (switching positions from stage front and stage back in a circle). Very smartly done scene.

- The wind blows -> whilst there are references in the reprises of Op1 and 2, the original utilisation of this motif comes from Op3's William solo 'In the isolated room'. Here William likens his heart to a frozen lonely room, where no warmth or movement can reach. But at some point, a breeze makes its way in - "A warm quiet wind caresses my cheek", makes his hair sway, moves his heart. Even lets him hope that "Perhaps even God will allow me this" - perhaps he can hope to have but one moment of peace. And he knows the source, as he says in the song, but he only expresses that fact that Sherlock is the breeze in the song 'Swirling Rondo'. The phrase 'The Wind Blows' reoccurs in a few different songs, including but not limited to: 'Holding my heart' (op3), 'I Hope' (op4), and 'William & Sherlock' (op5)! This is such a beautiful motif in my opinion because it really strengthens how much Sherlock means to him.

- Hearts -> a lot of Sherliam's lyrics make direct references to the concept of their hearts: as an example of how they are affected by each other. Such as 'Swirling Rondo' having lines about the "rondo of our hearts," Sherlock's second solo from Op4 taking about how "I'll reach your heart" in reference to William, or William referring to himself as a "demon with a broken heart" in 'William & Sherlock', as well as the metaphor of the frozen heart in 'In the isolated room'. Not comprehensively covered by any means, because there's many instances of this.

- Orpheus and Eurydice -> Whilst I haven't seen Op2 reprise, I am aware of a new song that was added into that production during the two detectives arc through lyric translations by 'IHopeIWill13'. Not only do they both utilise the 'the wind blows' line, and reference the warming of hearts, BUT they also reference the tale of Orpheus and Eurydice. I understand this reference more now because I listened to the Hadestown soundtrack, but essentially this greek myth revolves around a musician falling for a beautiful woman (I think she's a Nymph, although research is unclear) who tragically dies, and he makes the journey down to hell to see her again and plays a song so beautiful it inspires compassion in Hades, who lets them try to escape the realm on one condition - Orpheus cannot look back at Eurydice, or she is doomed to die. William's line "You are like Orpheus, showering a beautiful melody into my universe of scattered numbers" and Sherlock's line is "You are like a nymph, drifting deep within the forest of mysteries, toying with me." Now, Orpheus' song in his grief was told to have moved everything, living or not, in the world - that's the kind of power William associates Sherlock with, which is crazy; also note how both of them talk in a specific relation to themselves - "my universe", "toying with me" - it's symbolism related entirely to their own feelings rather than outside symbolism. It's personal. Also in a sort of foreshadowing; as Orpheus, Sherlock is not able to truly look upon William (to fully understand him) until the Final Problem (where William is supposedly doomed to die), much like Eurydice.

[This is also not comprehensive coverage of all the motifs between them, but just a few I like the most. I really need to watch the reprises because I've heard there's some great fibonacci symbolism in Op1 reprise which interests me. Apologises if these explanations are confusing, it's hard to work with PLUS I started this a month ago and only just added a few other points.]

[karereiko]

EDIT: If you see this post first, this is update of 2025, because Zaiko no longer works, here you can see probably more info about adding subs etc, but Morimu is no on Theater Complex and here is info: https://www.tumblr.com/karereiko/774930891629789184/theater-complex-town-platform-specifically-for

Hello, everyone from Yuumori fandom.

Guess what, because of Concert that will be held in July all parts of Moriarty the Patriot Musical (op1-op5) are available to rent and watch online. With my Morimu fanarts or other talks about it I often get asked where you can watch it, often my answer is that you have to buy DVD or Bluray to watch this wonderful adaptation of Moriarty the Patriot manga. I know it's a big cost and hard to get for some so Streaming like this is a great opportunity to watch Morimu.

Official twitter posted few days ago about this possibility and here is the post with all information about it:

MUSICAL『MORIARTY THE PATRIOT』

ZAIKO is the market leader in providing ticketing technology for live events and streaming shows. Monetize your show, engage fans, user anal

1600 yen is great amount to check if you will like it and wach it because I think it's worth any money, director who made morimu clearly loves manga, he treats source material with care and even makes it batter at some times, there is also a lot less cuts than in anime, like a lot. May be little spoiler or not, but Baskerville arc is there and Durham date too, as well as many Sherlock and John stuff that was cut in anime, some things from Moran arc etc. this is already big selling factor, right?

Actors are amazing and they love and care for characters they play. I wasn't into any actor adaptations before Morimu, I was ok with musicals but not caring too much about them and Morimu sold me since first part and it only got better and better each part even if you think that's not possible. Songs are there to make emotions and moments deeper or to have real fun with plot they show, they are not there just for song to be there. So yes high recommendation for you all to check Morimu if you didn't saw it yet. The most amazing thing is that you don't need VPN to buy those streams.

I was going to write about this few days ago and was busy, good I didn't because I talked with friends in Yuumori fandom who knows morimu and we were troubled to recommend this stream to people who doesn't understand Japanese. Morimu is faithful adaptation so almost like 70% lines comes from manga and you should understand what's going on if you read manga. Still, with subs it's a lot easier.

Kana did amazing job in creating English translation for Morimu Op1-Op4 at this point, all who bought DVD/Bluray versions of Morimu are using those subs and if you decide to buy own copy after seeing stream then those subs works great with DVD/Bluray versions.

So we talked over the stream matter and from what we checked with this plugin to Chrome it's possible to play subs with Morimu stream after you rent it (It works only with Chrome but if you know other program like this you can try it on different browsers, we only checked Chrome and this plugin) :

Substital: Add subtitles to videos and movies

Add captions to any video or movie on Netflix, Youtube or other platforms.

The only matter is that Kana saved subtitles in .ass file format, but you can easily format them to .srt file format that this plugin plays with this site:

This tool converts subtitles to srt. It supports most subtitle formats including ass to srt, ssa to srt, webvtt to srt, and smi to srt.

You just open subtitle file and save it as srt, and open it with plugin to your Morimu stream. If you will have any more problems with subs them write me a message and I will try to help as soon as work let's me. PS. If you have problem with loading subs with plugin please rename files so they doesn't have special letter or dot, rename it like Op1.srt or something simple.

I think this is the easiest option that creators gave us now to watch Morimu, it was never so easy to buy or rent it until now, you had to use crazy VPN programs and other stuff to just check on it. So this is best option since for sure it won't last forever. Such promotional streamings are only around when new part is coming up, currently Concert I mentioned.

So for other things I wanna to say. If you get your copy of Morimu then please don't share it, don't post it to any social sites. Company that makes Morimu is quite strict with that matter and they do search who uploads those musicals and strikes them down/ deletes files even on places like google drive. Even without it, it's a matter of love for Moriarty the patriot. As much as fandom wants more people to watch those musicals, any piracy might destroy our chances to get Op6, possibilities for future streams and other stuff. Currently with Op5 we reached end of Final Problem arc and there is hope that maybe one day New York arc will be done in op6. Any piracy, sharing and messy stuff might destroy such chance, so please if you hold dear MTP then respect those rules. Watching streams with your friends in closed groups after you buy it isn't bad but please hold from any public sharing (they would be taken down anyway, but it would still put us fans in very bad light).

I know end of this post was not nice but it had to be told. I hope this possibility will help you see Morimu and fall in love with it like I did. I would recommend at least seeing OP1 and OP2, it should hook you and OP3 is where everything hits even more than op1-2, more hits from songs, more hits from sherliam stuff.

Hope to see you in Morimu cult :D... ehem... fandom. May you have "wind" (for some Great Detective) in your heart like William....

[kaysa21]

Day 7 - Free day

MoriMyu Sherliam chibis (bkg found in internet)

My first SherliamWeek is successfully completed! I had so much fun,saw many beautiful arts, I’m happy. Thank you all!

Also - those attending MoriMyu on July 4th, I’ll have freebies for you! Stickers, postcard, badge & lens fiber (with Moriarty gang and Holmes gang). Please approach me, I’ll be wearing a William inspired outfit and I’m looking forward to meeting fellow YuuMori fans there!