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[littencloud9]

Get attacked!! ✨🌈SEND THIS TO OTHER BLOGGERS YOU THINK ARE WONDERFUL. KEEP THE GAME GOING🌈

AWWW ILY <333 sending this back to you and always a million hugs

[miwhotep]

7 REASONS WHY MILVERTON CAN STILL BE ALIVE

Reading @diveintovortex 's recent post, I again, got inspired to make an analysis why Milverton can still be alive. I already did one like this before, related to the main antagonist of the James Bond universe, Ernst Stavro Blofeld, but today's post will rely heavily on the manga. Here, I will raise seven points why Milverton might not gone yet and we can suspect to see him again.

1, CHARACTER DESIGN

Milverton is one of the most detailed, most bothersome to draw characters of Yuumori (especially with that hair). If we look more deeply into the manga, we can see that the characters who only appeared for a few chapters - like Whiteley - are always designed in a more simple way. Milverton's character design has too much work in it, it wouldn't worth it if this was all the storytime he got. Milverton's distinct look suggests that he was meant to be much more than just a plot-device overall, he is a character on his own who still has hella lot of potential in him.

2, EYE COLOUR

Yes, I can list it under the point above as well - but I wanna focus on this a little more. Only three characters has unnatural, symbolic eye colours in the series: William, the main character, his brother, Louis - who gets important later on - and Milverton. Considering this tendency, his eye colour - beside it referencing snakes - also implies that Milverton is an important character - again: a character, not a plot-device - but Milverton was mostly just a plot-device yet, whose role was getting Sherlock and William face each other. Maybe, just like Louis, he gets important later on.

3, THE LITTLE TRIVIAS

Milverton has some, for the plot, seemingly irrelevant trivia the manga just casually drops at us - like his branch firm in New York. This New York connection gets interesting since Sherliam also ended up in New York. Was this just a coincidence? Or we will come back to this in Part 2?

4, THE RUSKIN SCENE

Ruskin, unlike Milverton was never meant to be an important character - his character design got re-used from The Adventure of One Student and we didn't even get to know his first name - but the manga still gave him a little focus at the end of Two Criminals, where we can see him searching for Milverton instead of saving himself from the burning house. He most likely survived and I'm sure there was a reason his love for Milverton got some attention in that chapter. I used to speculate that it was to forecast that he will get back to get revenge for his boss later - but again, his character design doesn't suggest he is an important character. On the other hand, that scene could be also to hint that Ruskin will save Milverton. Ruskin is not stupid - he could suspect what happened from the open door where Milverton jumped out - and that door could also provide the fastest way for Ruskin to leave the about-to-crash house. Not much time passed since Milverton got shot who could survive if Ruskin gets him out of the water in time. If he jumped into the water to escape, he might've found Milverton as well.

5, THE WATER PARALLEL

This point was suggested by @shreddedleopard during one of our talks whom I fully credit the idea to. Milverton keeps paralelling William in poses, methods - and even in "death": William "died" by falling into the water, too. If this was meant to be yet another parallel between the two, that also suggests that Milverton as well, might turn out to be alive.

6, SHERLOCK AND THE CONSEQUENCES OF HIS MURDER

Milverton's body was never found what let Sherlock escape from the consequences of the murder. However, this might not be the true reason why his body never got found - Milverton's death was actually too bothersome if it was meant to be only for this. It would've been simplier if he just got shot, dying inmediately and his body getting burned with the house and Sherlock could've get away with the murder in this case, too. Milverton also didn't got shot in the heart, but suffered injuries what he could survive if he gets treated in time. If the writer truly wanted us to fully believe that Milverton is dead, it could've been done easily with a heartshot.

7, YUUMORI IS A SHERLOCK HOLMES ADAPTATION

Despite that Moriarty the Patriot gets inspiration from other places than Sherlock Holmes stories - like the James Bond universe or The Dark Knight movie - it's still a story focusing on Sherlock Holmes characters - and the most iconic Sherlock villain beside Moriarty, Irene Adler or Moran is Charles Augustus Milverton... who still has lot of potential. And beside him, who could be the next antagonist in Part 2? The other Sherlock villains who didn't get used yet aren't as much of a big names. That's another point what can suggest that Milverton's arc is still unfinished.

Milverton not getting enough attention in Part 1 despite he clearly implied to be an important character was due to putting too much focus on him could complicate or even get the attention away from the Moriarty Plan what was the main theme of the series in Part 1. Maybe what we saw about Milverton yet was just an introduction and now, that we already know how dangerous and evil he can be, we can see more of his evil in Part 2. Because I'm sure if he is alive, he is ready to commit even bigger atrocities what we could imagine.

[vindicated-truth]

@diveintovortex has made another fascinating discovery about the music that plays during Joowon's arrest of Dongsik, and when Han Kihwan compares Joowon to his mother as he stands in the rain.

There's apparently a 3rd scene in which it plays:

When Dongsik told Jihwa that he can't let Joowon go to hell alone.

I reiterate my theory that this music can somewhat be referred to as "Joowon's Theme", because in all 3 scenes, Joowon is the central topic.

I have a twofold interpretation of what this music means for this specific scene, but before that, let me share a tangential but related theory:

If there really is no other scene that this specific music is played in earlier episodes, then this must mean it's been composed late, just for the final two episodes of the show (Episodes 15-16).

Take note that albums are prepared much earlier for release, so if this music was only composed towards the end of the production for the actual show, then it makes sense that the music did not make it to the official Beyond Evil OST album, for the simple reason that the schedule of the music's final composition didn't make it in time to be part of the album's official release and distribution.

That being said, given the trio of scenes centering around the theme of reaching out, these are my twofold interpretations:

Han Joowon

In my previous post I talked about how the music seems to evoke the central theme of loss, longing, reaching out, and letting go, particularly when it pertains to the twofold relationship Joowon has with his mother, and with Dongsik.

@diveintovortex took it a step further and juxtaposed this as well with Joowon's relationship with his father.

What's fascinating to juxtapose now is the way the music is used in succession in three specific scenes:

When Han Kihwan talks about Joowon as weak because he's incapable of accepting other people's offered hand when they reach out to him.

When Dongsik tells Jihwa that he can't let Joowon go down for his father's sins alone.

When Dongsik surrenders himself to Joowon in the end, fulfiling his promise that even in this, they will go down together.

What the music is meant to center on, therefore, is this beautiful, heartrending journey of Joowon finally having someone reach out to him, and Joowon finally, finally accepting that offered hand in return.

It's why everything about the story is written in a way that is meant to come back full circle, because with the arrest scene in the end, it's not only figurative, but literal: Dongsik truly does offer his hands for Joowon to take, for Joowon to latch handcuffs on—and forever lock their relationship together in a way that will always be inescapable.

Inseperable.

A willing surrender—to each other.

Oh Jihwa

And while I know this is meant to center Joowon's journey of finally letting someone in—that he's finally, finally not alone anymore—I can't help but relate this central theme of reaching out to Jihwa, too. That there's a reason this music played between her and Dongsik, too.

Because I realize that all this time—she must have been feeling left out, too. And this is her aching to reach out, especially to Dongsik, to let her in, too.

She's expressed this frustration several times over the course of the show, when she can't help but feel left out especially within the small circle of friendship she shares with both Dongsik and Jeongje—both of whom she grew up with, has been friends with for 31 years, and whom she regards as her dearest friends.

And yet many times, both Dongsik and Jeongje have shunned her: Dongsik in wanting to protect her, and Jeongje—in many ways, in wanting to protect himself.

Dongsik didn't want to let Jihwa in too close to the situation, not just so that she won't get hurt, as Dongsik knows Jihwa is more than capable of protecting herself, but more importantly—so that Jihwa doesn't have to compromise her values and her job in helping Dongsik out.

Dongsik has already resigned himself to being branded as a criminal; he can't let Jihwa become one, too.

With Jeongje—I think there's a part of him that has always been afraid that letting Jihwa in too close would eventually also make him face the truths about himself that he's been running away from, for 21 years. Unlike Dongsik, who leaves Jeongje well enough alone because Dongsik trusts him far too much, Jeongje knows that—with her intellect, tenaciousness, and unshakeable principles—Jihwa won't.

Jihwa has consistently been the one between the three of them who's stubborn and persistent in finding out the truth—and it's precisely why Jeongje can't let her get too close, either.

Jihwa, however, doesn't know either of these things about Dongsik and Jeongje. And you can clearly tell that she isn't just frustrated about it—she's also deeply hurt.

Kim Shinrok's brilliant acting comes beautifully, heartbreakingly into play when Jihwa finally bursts into angry tears in front of Dongsik.

Essentially, what she's saying to Dongsik is parallel to what Dongsik has been saying all along to Joowon, too:

"I'm your friend. Please, let me in.

Don't I deserve your trust, too?"

[butterfirefly]

"What are you up to right now?"

Thanks for tagging me, @diveintovortex 🌻💙

It's 3:48 PM. Just made myself a cup of coffee and will now hunt for a Hallmark movie to watch. Not sure yet if I'm going for a rewatch of a mystery movie (I've watched like. 90% of them already lksdjflksd) or find something even lighter. Or should I look for a new anime? K-drama? C-drama? We'll see. 😅 Maybe once the caffeine hits I'll have the energy to play my daily sudoku (I've been trying to beat the extreme level without making any mistakes. So far it's 80% fail and 20% "Woah how did I do that??").

Had a sip of the aforementioned coffee and didn't burn my tongue. Hurray!

No-pressure tagging: @yersina @greyscale-enthusiast @marcsnuffy @murasaki-cha @hehearse @ukiyolatte @cat-tyy @forechoes @fallingsnowmissingdarling @suosage and anyone else who'd like to join! 😊

[butterfirefly]

Thanks for the tag, Sina! <3

No-pressure tagging @diveintovortex @greyscale-enthusiast @hehearse @sctir @marcsnuffy and anyone else who wants to join ^_^

rules: make a poll with five of your all time favorite characters and then tag five people to do the same. see which character is everyone's favorite!

Tagging @admirableadmiranda @jiangwanyinscatmom @origami-penguin @danmeireader @chronic-dreamer

[littencloud9]

when u get this, list 5 songs u like to listen to, publish. then, send this ask to 10 of your favorite followers (positivity is cool) 💖

oooh!! ty for the ask hehe <3

[littencloud9]

tagged by @diveintovortex <3 ty for the tag ily

—

- favourite colour: yellow <3 but pink is a close second

- last song i listened to: better man by taylor swift

- currently reading: …nothing 😞 stares at the unread books on my shelf

- currently watching: technically nana but that’s on pause until i finish this exam season sigh. and i have watched two eps of kimi ni todoke as well!

- currently craving: mala 🥲 or just something spicy in general

- coffee or tea: tea <3

- current au: uhhhh i have a shiguang (angel cxs x devil lg) AU for a big bang :) it is certainly Going

—

(no pressure tags: @hamstertross @frankenjoly @ashenaura @good-vs-evo + anyone else who wants to hop in!)

[littencloud9]

ty for the tag vhas hehe <3

i have wips for other fandoms but those are the ones that are the most active

tagging: @frankenjoly @ashenaura @diveintovortex !!

Thank you very much @sequinhaze for tagging me!💜💜💜

I almost have a full card. I just don't drink alcohol, coffee or tea ever.😂 I often drink hot chocolate instead :p I also hate wattpad bc that's where people have reposted my fics a few times.

Now tagging @violetgarlends , @cecropiacrown , @fenglianist , @milfzun @butterfliesandresistance if you feel like it of course!💜

!!!! @love-burned-orchard I WANTED TO TAG YOU TOO AND FORGOT, SORRY😭💜

[vindicated-truth]

@diveintovortex has made another fascinating discovery about the music that plays during Joowon's arrest of Dongsik, and when Han Kihwan compares Joowon to his mother as he stands in the rain.

There's apparently a 3rd scene in which it plays:

When Dongsik told Jihwa that he can't let Joowon go to hell alone.

I reiterate my theory that this music can somewhat be referred to as "Joowon's Theme", because in all 3 scenes, Joowon is the central topic.

I have a twofold interpretation of what this music means for this specific scene, but before that, let me share a tangential but related theory:

If there really is no other scene that this specific music is played in earlier episodes, then this must mean it's been composed late, just for the final two episodes of the show (Episodes 15-16).

Take note that albums are prepared much earlier for release, so if this music was only composed towards the end of the production for the actual show, then it makes sense that the music did not make it to the official Beyond Evil OST album, for the simple reason that the schedule of the music's final composition didn't make it in time to be part of the album's official release and distribution.

That being said, given the trio of scenes centering around the theme of reaching out, these are my twofold interpretations:

Han Joowon

In my previous post I talked about how the music seems to evoke the central theme of loss, longing, reaching out, and letting go, particularly when it pertains to the twofold relationship Joowon has with his mother, and with Dongsik.

@diveintovortex took it a step further and juxtaposed this as well with Joowon's relationship with his father.

What's fascinating to juxtapose now is the way the music is used in succession in three specific scenes:

When Han Kihwan talks about Joowon as weak because he's incapable of accepting other people's offered hand when they reach out to him.

When Dongsik tells Jihwa that he can't let Joowon go down for his father's sins alone.

When Dongsik surrenders himself to Joowon in the end, fulfiling his promise that even in this, they will go down together.

What the music is meant to center on, therefore, is this beautiful, heartrending journey of Joowon finally having someone reach out to him, and Joowon finally, finally accepting that offered hand in return.

It's why everything about the story is written in a way that is meant to come back full circle, because with the arrest scene in the end, it's not only figurative, but literal: Dongsik truly does offer his hands for Joowon to take, for Joowon to latch handcuffs on—and forever lock their relationship together in a way that will always be inescapable.

Inseperable.

A willing surrender—to each other.

Oh Jihwa

And while I know this is meant to center Joowon's journey of finally letting someone in—that he's finally, finally not alone anymore—I can't help but relate this central theme of reaching out to Jihwa, too. That there's a reason this music played between her and Dongsik, too.

Because I realize that all this time—she must have been feeling left out, too. And this is her aching to reach out, especially to Dongsik, to let her in, too.

She's expressed this frustration several times over the course of the show, when she can't help but feel left out especially within the small circle of friendship she shares with both Dongsik and Jeongje—both of whom she grew up with, has been friends with for 31 years, and whom she regards as her dearest friends.

And yet many times, both Dongsik and Jeongje have shunned her: Dongsik in wanting to protect her, and Jeongje—in many ways, in wanting to protect himself.

Dongsik didn't want to let Jihwa in too close to the situation, not just so that she won't get hurt, as Dongsik knows Jihwa is more than capable of protecting herself, but more importantly—so that Jihwa doesn't have to compromise her values and her job in helping Dongsik out.

Dongsik has already resigned himself to being branded as a criminal; he can't let Jihwa become one, too.

With Jeongje—I think there's a part of him that has always been afraid that letting Jihwa in too close would eventually also make him face the truths about himself that he's been running away from, for 21 years. Unlike Dongsik, who leaves Jeongje well enough alone because Dongsik trusts him far too much, Jeongje knows that—with her intellect, tenaciousness, and unshakeable principles—Jihwa won't.

Jihwa has consistently been the one between the three of them who's stubborn and persistent in finding out the truth—and it's precisely why Jeongje can't let her get too close, either.

Jihwa, however, doesn't know either of these things about Dongsik and Jeongje. And you can clearly tell that she isn't just frustrated about it—she's also deeply hurt.

Kim Shinrok's brilliant acting comes beautifully, heartbreakingly into play when Jihwa finally bursts into angry tears in front of Dongsik.

Essentially, what she's saying to Dongsik is parallel to what Dongsik has been saying all along to Joowon, too:

"I'm your friend. Please, let me in.

Don't I deserve your trust, too?"

@diveintovortex has just made the remarkable observation that there is a background music in Beyond Evil that isn't part of the official OST album.

I have yet to check the accuracy of this in rewatching the whole show (and isn't it insane to rewatch a whole series just to check the OST, my god Beyond Evil drives us all insane) but so far, this one special soundtrack plays in only two key moments:

1. The moment when Han Kihwan was in his car with Lee Changjin, telling him about how Han Joowon takes after his mother, Lee Suyeon, in that they're both pathetic and weak people because they don't know how to reach out to others for help. 2. The moment when Han Joowon arrests Lee Dongsik.

Again, I'm not sure if there are other moments in which this specific soundtrack is played, but with these key moments as the only ones the music is used so far, it's safe to say that this music is something akin to "Han Joowon's Theme".

It's—a heartrending juxtaposition of loss and abandonment: the loss of human connection, the fear of losing someone you love.

It's—a heartbreaking juxtaposition between Han Joowon's mother, and Han Jowoon's partner.

Lee Suyeon, the mother who abandoned him, and made Joowon into the kind of person who believes that everyone he ever allows himself to love will leave him in the end—therefore there's no use for human attachment.

And then, to juxtapose that with him arresting Lee Dongsik, heartbreakingly reinforcing the fact that in the end, he has to let go of everyone he has ever allowed himself to love.

And in both cases—it's because of him.

“If I leave Joowon here, will you let me go?”

"If you don't arrest me, I won't ever turn myself in. Please arrest me now."

This is the young boy who had never forgotten that the only reason his mother felt trapped in a loveless, abusive marriage is because of him.

This is the young man who had never forgotten that his partner had promised to turn himself to him, for him to arrest himself.

This is the young boy who stepped back when his mother reached out to him, refusing when she asked him to come to her.

This is the young man whose partner had to be the one to reach out to take his hand, for him to make the final arrest.

This is—the music of Han Joowon's heart breaking over and over again as he is forced to let go of the person he loves.

Because this is what they believe is the right choice they should make for their own life. Even if it meant breaking Joowon's heart.

Even if it meant breaking Joowon.

It makes the coda in the end so much more meaningful now, to juxtapose the scene of Joowon finally visiting the grave of the mother who abandoned him—and reuniting with the partner he himself had handcuffed, once upon a time.

His mother had never—and will never—come back to him, ever.

His partner—did.