Throughout literary history, “assassin” has been employed as a richly evocative term, simultaneously conjuring images of shadowy, deadly figures and symbolizing broader themes of betrayal, injustice, and moral ambiguity. In Gothic narratives such as those by Edgar Allan Poe ([1], [2]) and in the dense, atmospheric prose of Victor Hugo ([3], [4], [5], [6], [7]), the assassin emerges as a mysterious, often elusive agent of death whose very presence intensifies a sense of impending doom. Meanwhile, in the works of Alexandre Dumas, the term takes on a multifaceted role—ranging from a literal criminal figure in political intrigues ([8], [9], [10], [11], [12], [13], [14]) to a more nuanced character whose identity and intent blur moral boundaries ([15], [16], [17], [18], [19], [20], [21], [22]). Mark Twain and Charles Mackay, on the other hand, use the word with a dash of irony and social commentary, highlighting both its literal and metaphorical implications ([23], [24], [25], [26], [27]). Even in works like Mary Shelley's Frankenstein ([28], [29], [30]) and Dante’s Inferno ([31]), “assassin” resonates as a symbol of the darker facets of human nature and fate. Through these diverse narratives, the literature not only chronicles the deeds of assassins but also employs the term to reflect the complexities of power, guilt, and redemption.