#if that was mark it's even bigger bs since he is dead inside more than anyone in the franchise

[acecroft]

SAW II (2005) dir. Darren Lynn Bousman

[possiblyimbiassed]

The lying liars who lie

Years and years late to the party, I’ve finally gotten my hands on all the DVDs of BBC Sherlock, and I thought it would be fun to watch the extra material carefully, one piece after another, and also listen to at least some of the show makers’ commentary of the episodes. But at this point, after S4 where DVDs seemed to be a constant lying device in general, I tend to look at them with a bit more suspicious eyes...

I still love the show of course, but now that I’ve taken this deep dive into all the special features, I find them a truly hard thing to try to wrap my head around. Even this long after the fact, I’m amazed by the amount of shameless, self-congratulatory BS in the DVDs, where the people involved can’t have enough of complimenting each other and their show, while they skillfully avoid to discuss anything actually meaningful about the plot line. ;) For example, Moffat claims in the S2 DVD that “In fact, you’ll never see a more obsessively authentic version of Sherlock Holmes than this one”. But if we follow their light-hearted commentary, which basically takes the show at face value, I’d call that not just hyperbole, but an outright lie. If you want to see the ‘authentic’ stories from ACD’s work in this show, you’ll definitely need to go much deeper into the subtext and meta levels - neither of which are mentioned on these DVDs of course. Here’s my own (rather subjective) ‘review’ of the whole thing, trying to pinpoint why I view most of the commentary of the show from its own makers as an advanced art of deception. 

(My musings under the cut)

Series 1 - a wealth of extra material

First of all - as many of you probably knew already - the whole of the Unaired Pilot is added to the DVD of S1. In the extra material about the making of the series, they (Sue Vertue, Mofftiss and others) talk about what things they changed between the Pilot and ASiP, claiming that many changes were necessary improvements once they knew that they had a whole series and a lot more time at their disposal. 

Which I can perfectly understand and agree with in general. But I think what’s missing in their discussions is more interesting than what’s actually there (”Mind the gap” ;) ). Things that I would expect from the show makers when they go to the trouble of comparing the pilot version with the aired product. There’s not a word, for example, about the fact that they added both Mycroft and Moriarty to the story in ASiP - two characters who later turn out to play major roles and appear in almost every other episode until the end of TFP. Or about the choice that one of the screenwriters would play Mycroft. 

Neither do they discuss why they chose to relocate the place where Sherlock was challenged by the cabbie from 221B to Roland Kerr’s School of Further Education. Instead they focus on the details, like for example the new design of the interior of 221B.

Not to mention the fact that almost every scene in the Pilot is mirrored in ASiP (as pointed out long ago by @kateis-cakeis X), but at Angelo’s in the Pilot Sherlock follows the events with the cabbie while looking in an actual mirror. I even noticed that in the Pilot the cabbie is offering Sherlock dark-coloured bottles with the pills in them, while in ASiP those bottles are transparent, as if the cabbie is offering Sherlock to play Black or White in the chess game that he is simulating. What’s with all these mirrors, though? Not a word on the DVD... ;)

Now, even though these rather remarkable choices are neglected together with a great bunch of minor ones, I still think that the most interesting fact about all this is that they actually included the whole pilot version within this DVD, which is sold by the franchise. Why even do this, when it raises far more questions than it answers? The only logical reason I can come up with is that they’re laying out a track of little hints that anyone with a deep enough interest in the show to actually buy the DVDs can try to follow. And it seems to me that lying by omission is one of the first steps in the long line of cryptic and misleading author comments on this show. But at the same time, they clearly want the fans to have access to it all, even the abandoned version.

Moving on to Series 2, time for bigger lies 

In the extra material of this DVD Benedict himself describes how his character "faces one of his deadliest enemies in the shape of Love, and it comes in the form of Irene Adler, who is this extraordinary dominatrix [insert here a bunch of superlatives regarding Adler]...”. And then we see how Adler whips Sherlock with a riding crop (without any kind of consent, I have to add) while he’s lying on the floor, and we have Lara Pulver telling us how it was to have a go at Benedict on set. So Holmes whips dead bodies and Adler whips living; seems like a match made in hell! :))

Gatiss claims, grinning with his whole face, that “they’re clearly, absolutely made for each other”. OK, so I think we can see Sherlock being intellectually impressed by Adler, and even trying to protect her from Mycroft, and we can see John acting jealously. We can also see her being dressed and styled as a perfect, female mirror of Sherlock. But I’m still at a loss what all this has to do with love on Sherlock’s part? Especially since he’s not even responding in any fashion to her various attempts at seducing him. 

And there’s more: Paul McGuigan, the director of ASiB, claims that the scene where Sherlock has a conversation with Adler inside his Mind Palace about the crime case with the car that backfires "is a part of a kind of love story, if you like...” No, I don’t. Maybe it’s just me, but if their aim really was to convey to their audience a love story between Sherlock and The Woman, I think they failed miserably. All I see is a guy ’mansplaining’ to a clever woman how to use her brain, while she’s trying to flirt with him by expressing her admiration (to no avail, though) and make deductions at the same time. Nothing new under the sun, really. John did the same thing repeatedly in ASiP (without making own deductions) and got far more attention from Sherlock, but I’ve never heard any of the show makers call that ”a love story”. But by ’lie-splaining’ the scene with Irene to the audience, they try to manipulate us all to see it as such...

In all the direct commentary of this episode, where Steven, Mark, Sue, Benedict and Lara are present, I get the impression that every time they even touch on the relationship between Sherlock and John, they hurry to add the term “friendship” or “man love” or similar words in case they forgot them at first, avoiding even the tiniest possibility that there could be anything more going on between them. They even explain that when Irene calls them “a couple” she does not mean anything romantic. This whole approach feels almost paranoic in the midst of all the laid-back jokes and light-hearted talk about the filming. It’s as if a sort of restrictive, heteronormative filter or blanket is being constantly applied, to teach the audience the ‘no homo’ lesson of it all. And the more I listen to this, the more tiresome it becomes.

In the commentary Moffat does reveal an interesting detail, though: that the ‘Flight of the Dead’ in ASiB was inspired by a cut out scene in the Bond movie On Her Majesty's Secret Service. To me this is just one more reason to question the ‘authentic’ quality of this scene, as opposed to possibly taking place in Sherlock’s Mind Palace. But I digress... 

Listening to the commentary in general, it’s like it’s aimed to distract the attention from what’s going on at the screen rather than highlight it and try to explain their intentions. They do mention that Irene didn’t actually ‘beat’ Sherlock in the end of ASiB, but there’s no explanation of this obvious deviation from canon, where Adler does indeed fool Holmes, taking advantage of his prejudices.

The rest of the extra material of S2 is mostly about technical stuff, special effects and such, and also about filming techniques and Benedict’s delivery of fast deductions. But the part I really do love is the one where Andrew Scott talks about how much he enjoyed playing the scene where Moriarty dances before breaking into the Crown Jewels. That’s one of my favorite scenes of he whole show. :) Also, the takeaway message from this DVD is Moffat’s words at the end: 

“These are still the formative years of Sherlock Holmes, and the most important thing about this series is not that it’s updated; it’s the fact that those two men are still young and they’re still at the beginning of what they don’t yet know is gonna be a lifelong partnership”. 

And then comes Series 3... 

...and its extra material, with the most blatant attempts at deception so far, I believe. At this point Sherlock is called a “psychopath” by both the show’s characters, John’s blog, Benedict Cumberbatch and Martin Freeman as if it were true, which is a big deviation from ACD canon. That simply doesn’t happen there; while Holmes is sometimes described as eccentric, no one in the books is ever claiming that Sherlock Holmes has some kind of mental illness leaning towards cruelty and egotism - not even his enemies say this about him. In the show, however, they begin in ASiP with making him torture a dying man for information (something that is not included in the Pilot). And in S3, where they avoid discussing the reason why they turned Mary Morstan into a ruthless assassin, this major shift is glossed over by the fact that in the same episode (HLV) they also turn Sherlock into a murderer, who cold-bloodedly blows the brains out of a blackmailer for threatening to make said assassin’s crimes public. 

But without ever getting into the “why” of it all, the cast and crew seem overly happy and smiling describing these rather morbid choices as something positive; “fantastic”, "fresh and new” and "amazing” are their choice of words. Benedict claims that Mary, who has literally shot and almost killed Sherlock in HLV, is now "a new best friend of Sherlock’s”. Amanda claims that Mary “is protecting John” when she shoots Sherlock in the chest. Now they’re both psychopaths, and poor little John is forced to stomach them both because he’s addicted to danger. In Amanda’s words, Mary also “kind of gets in between the two of them, but she wants them to be together as well”.  Which is a load of BS considering that Mary tries to kill the protagonist of the story.

Lars Mikkelsen thinks it’s “such a good script” because “you’re mislead as an audience”. But he never gets the chance to expand on what the misleading actually contains, because then Mofftiss cut in to express how much they love playing with “what ifs”. As if this whole mega-budget project of a show were just a big experimental playground without any actual story to tell. 

Benedict repeats his line from HLV that Magnussen “preys on people who are different” and Moffat also says he “exploits people who are different”. Which is really confusing, considering what we can see Magnussen actually do in the show. Lady Smallwood and John Garvie are two well-established, powerful governmental politicians whom Magnussen blackmails by finding their respective pressure points. In Garvie’s case his pressure point seems to be alcohol problems in his past, but according to media he’s later arrested on charges of corruption. Lady Smallwood is blackmailed on the basis of her husband having sent compromising letters to a minor many years ago, in spite of later claiming that he thought she was older and stopped when he found out the truth. And then Magnussen is blackmailing an assassin who recently threatened to execute him but shot Sherlock Holmes instead, in order to try to get at Sherlock’s brother Mycroft, another powerful governmental figure. 

But what does media seeking out dirt on certain people in power and their families have to do with “people who are different”? Despicable as the method may be, isn’t this unfortunately how political power play usually works in our society? Or are TPTB somehow a repressed minority group now? Unless this whole “people who are different” accusation is actually about something entirely different, something that none of the show makers even cares to mention... ;)

In these DVDs, none of the involved persons is ever discussing the change of roles with regards to canon, though, or the (lack of) logics in this turn of events, or even a hint about the narrative motivation behind them. It’s all about the great Drama, the extraordinary visual effects and the aim to endlessly “surprise the audience”. Which is fine by me to a certain extent, but when this is all that’s being said, it feels extremely superficial, as if the audience is merely seen as a bunch of consumers that have to be triggered more and more by horror, special effects and cliff hangers to be able to appreciate the show. (“Warm paste” indeed, like Gatiss has later criticized some viewers of wanting...) While the "why”; the idea behind this surrealistic adaptation, made by self-proclaimed fanboys of ACD, is not even touched upon. Around this, the silence is total and therefore totally confusing.

Maybe I shouldn’t even go into Series 4...

...but why not, since I’ve already started? :) 

First of all, there’s a lot of extra material on this DVD and I particularly love the parts about the music and composing and Arwel Wyn Jones’ work with the design and build-up of John’s and Mary’s flat and the interior of 221B. Those bits are truly enjoyable. What I could live without, though, is the leading commentary that kind of instructs us, the audience, how we should interpret the show. 

Benedict is on it again on this DVD, telling us that in TST they picked up where they left off in S3 and “It’s a very happy unit of three people that then become four.” Why does he feel the need to make this statement, considering how S3 ended? Actually, if there’s anything I totally fail to see in S4, it’s happiness. The banter between the three  of them may seem entertaining for a while, but who could have a relaxed, warm relationship with someone who tried and almost succeeded to kill you less than a year ago? Without any sign of remorse? Now there’s a dark tone of discomfort and mean jokes that feels forced and not even a bit happy to me. 

But Martin tells us how excited John and Mary are about starting a family and Amanda mentions how much they’re looking forward to the baby. Again and again it’s repeated, as though trying to rub it in: “they’re in a good place, they’re a loving, married couple”. Yeah, right - a child that (judging by TSoT) wasn’t at all planned and now with an assassin for a mother... Twice we see the new parents complain that their daughter has the mark of Satan on her forehead and debate which horror movie she’s from. The clichéd hypocrisy of it all is sickening, and I’m willing to bet that it’s really meant to be. ;) 

But Gatiss chimes in, deciding for us all that the christening of Rosie is “a funny scene” and “they’re enjoying each other, enjoying being on adventures as a three”.

An interesting detail is that Gatiss also tells us that the working name of this episode was “The Adventure of the Melting power Ranger”. So this little blue guy was that important? :) And - even more interesting - is when he says: “Cake is now the code for violent death”. So how should we interpret Sherlock, John and Molly going out to have cake in TLD then, on Sherlock’s (supposed) birthday? 

These might be jokes, though, but when they tell us that Sue cries every time she sees Mary’s death I strongly believe they must be joking. How could anyone feel truly moved by this overly sentimental long monologue where far more efforts are put into reacting to Mary’s speech than saving her life? And John’s mooing like a cow, is that also moving? :)

One thing Martin says about TLD that actually disgusts me is regarding the morgue scene where John assaults Sherlock and Sherlock lets it happen: “From there, really, their relationship can only sort of rebuild, that’s the absolute worst it can get”. As if outright physical abuse would be something that makes you want to rebuild a relationship? Wow - just wow... How far can they go with this crap?

Anyway, when we finally arrive at the absurdity of TFP and Sherlock’s ‘secret sister’, everything is of course discussed as if she actually does exist on the given premises, and everything she does is ‘real’, no matter how impossible it would be in real life. The abandonment of any attempt to have the story line make logical sense is skillfully covered up by more distraction with fascinating technicalities of the film making process. This is where Gatiss makes his now almost classic statement that after Sherlock and John jump out of the window at 221B when a grenade explodes there, it’s just “Boop! And they’re fine.” 

Of course there’s no serious attempt at explaining this logically. Except perhaps Gatiss claiming that they both landed on Speedy’s awning - whatever good that would do to them, since the awning is leaning downwards, but never mind... But we never even saw that happen, did we? A great deal of time is then dedicated to show all the precautions to have Martin and Ben jumping safely at low level onto a madras supported by empty cardboard boxes.

Sian Brooke did say something interesting about Sherrinford, however, that got me thinking. She said that Eurus “wants revenge for the years and years that she has been held captive” there, isolated, and that in TFP the Holmes children are now “lab rats” and “it’s an experiment”. On a meta level, I think we can indeed see this episode - and maybe the whole show - as a kind of experiment, but maybe we, the audience, are also lab rats? Since Sherrinford is slightly shaped like a film camera (not commented in the extra material, of course), it leads my thought to all the adaptations through the years and years where Holmes and Watson have not been allowed to be together. A whole century when Sherlock Holmes has been held captive, restricted by the very same sort of heteronormative filter that all this extra material imposes; it’s like Sherrinford, isn’t it? Which gives all the more meaning to Moriarty’s arrival to the island, accompanied by Freddy Mercury’s “I want to break free”...

I think I’ll let the final words in this little exposé come from Mark Gatiss in The Writers’ Chat (my bolding):

“Moriarty is a fascinating thing in that in our sea of ongoing lies, one thing we’ve genuinely been completely consistent about is telling people he’s dead. But no-one believes it! And it’s a rather brilliant thing.”  Again - self-congratulatory statements. But instead of providing some actual evidence of the death of this character, who has kept popping up in almost every episode since his supposed demise, they think that the more a confirmed liar repeats something, the truer it gets? And the more we’re supposed to believe them? Well, all we can do is wait and see. :)

Tagging some people who might be interested: 

@raggedyblue​ @ebaeschnbliah​ @sarahthecoat​ @gosherlocked​ @lukessense​ @sagestreet​ @thepersianslipper​

My earlier meta on a similar topic (X)

[perhaps-in-anotherdream]

[CN] Season 2- Victor and MC- Chapter 4 & 5 (Eng Translation)- Part 3

⌚Warning:⌚ This post contains detailed spoilers for a chapter that is yet to release in the global server. Don't continue under the cut if you don't wish to be spoiled!(◍•ᴗ•◍)

✧✧ PART 1 || PART 2

-

✧ [CH 4-12] ✧

At BS office: With the help of her subordinates, MC is working on gathering information on Lu Kang, and the mysterious man in black. But the tracker she left on him lost its signal after some time, so the investigation has reached an dead-end for now.

It's also the day Victor will be released from the hospital. So, MC goes to pick him up.

He has changed out of his hospital gown, and returned to his suit and leather shoes.

I sigh inwardly, though Victor has always been very busy, but recently he seems to have become even busier.

MC: You've just been discharged from hospital, don't you want to go home and rest?

Victor: It's not like I was really hospitalized. Besides, I remember that you still have something to report to me.

MC: Now I understand that being a CEO is really not easy.

Victor: If you really want to be considerate of others, improve the quality of your work.

I tilt my face up, and pat my bag while looking at him.

MC: So where does CEO Victor want to test the quality of my work?

Victor: Go to LFG.

-

MC notes that Victor gets in his work mode™ as soon as he enters LFG LOL

MC reports Victor about her findings that Lu Kang once lost a lawsuit against LFG and seemed to hold LFG responsible for the bankruptcy.

Victor explains that the deal with Lu Kang's company didn't proceed because they were found secretly making false accounts and such doings will eventually lead to plummeting. LFG never did or neither do they need to persecute anyone for business competition, and it'll bring more trouble than benefits anyway.

I scrutinize the sharp air exuding from his eyebrows, and can't help but mutter under my breath.

MC: Victor, you've always been so decisive and swift in action. Haven't you made more or less some enemies?

[Note: MC uses the idiom "雷厉风行" which literally translates to- passing like thunder and moving like wind.]

Victor: When there are interests involved, even if you do nothing, there will be enemies. The rules of the game are inherently cruel, and to have people who want to put some tricks to use, is quite ordinary.

MC gives Victor another report which she compiled based on Lu Kang's memory.

MC points out- the lawsuit incident was a while ago and it shouldn't be the reason he attacked Victor. She assumes-- it has something to do with the "game" that was mentioned in his memory many times. Lu Kang and the young man who partnered in the game probably tried to escape halfway, and they were killed because of the "no escapee rule."

Victor takes MC's reasoning under consideration, and specifically points out that all the victims of the murders are Evolvers. MC expresses her assumption that it could be because the authority of the game has some hidden agenda.

We glance at each other, and once again each sink into reflecting on the matter.

After a while, Victor picks up the last page of the report, and flips through it.

Victor: The trail for that killer is broken?

MC: Yes, should be. We suspect that he threw away the tracker.

Victor looks at the contents of the report repeatedly, then presses it on the table, and taps his fingertips on the last spot tracked by the tracker.

Victor: This place, you've only checked the public webpage. So the trail is not completely broken yet. Let them use the internal channels to investigate again. Don't waste the first-level authority I gave you.

Victor raises his eyes and looks at me, then puts the report back in my hand.

MC: Do I need to investigate that game altogether?

Victor: No need. I will send someone specialized to investigate. Remember, everything you just said is only a conjecture.

Victor: Without my permission, do not voluntarily investigate in private.

MC: Yes, BOSS.

The worries that have been clogging up in my chest for days, finally dissipates in several degrees. Even if I sympathized with Lu Kang, this action to get back at someone is never the right thing to do.

MC: Fortunately, this car accident is not related to the Evolver assassination. Just as I said, who would be so courageous, that he dares to pick a fight with CEO Victor?

Victor: The "bodyguard" is finally relieved?

MC: Relieved!

Victor: Go back when you feel relieved. Start concentrating on your task next week.

I grab the report, preparing to leave, just then Victor calls me again. I look back, and see that he seems to have sent a message to someone.

He halts for a moment, then stands up with one hand propped on the tabletop, his deep gaze falling on my face.

Victor: Thank you for these few days.

I stare blankly at him for a while, and quickly perk up with an even bigger smile.

MC: No need to be polite, Mr. Victor. Just let me book a free pudding from Souvenir!

I turn around at Victor's momentary expression of helplessness, running out of the office like a wisp of smoke.

Ever since confirming his safety, I feel that every time we see each other, it all becomes much more relaxed.

Behind the current life, there are still bubbling up unsettling factors in motion.

But precisely because things being as such, is what makes me want to cherish the rare tranquility all the more.

-

✧ [4-13] ✧

Just a moment after walking out of the LFG building, I suddenly remember that I've forgotten one thing, and rush back to the lobby.

After talking to the administrative staff at the front desk, I dial Victor's number.

Victor: Hello?

MC: Victor, I forgot one thing just now. To congratulate you on your 'discharge', I've prepared a small gift for you. The staff will deliver it for me later.

Victor: ....I've said I wasn't really hospitalized. What are you up to again?

MC: Just treat it as a blessing. You must accept it! That's all.

Victor: Hold on.

MC: Is there anything else?

Victor: Help me think of a name.

MC: What kind of name? A kitten, a puppy or a relative's child?

Victor: ....Common name, male.

MC: Why are you asking this all of a sudden?

Victor: Because your imagination is comperatively rich.

What kind of answer is this...

I complain inwardly, but still give it a serious thought.

MC: Let me think. How about this one!

(Players get to choose a name from the three options)

Victor: What kind of strange name is that...

Victor's helpless sigh comes from the other end of the phone.

Victor: Never mind. I shouldn't have had any expectations. I'll accept your gift. That's all.

After hanging up the call, I'm still a little baffled by the request.

He abruptly asked me to help think of a name, and also a male's name. Could it be that he is going to use it himself?

Could it be that there is something that requires a disguised identity?

But does he even need to disguise.... aren't the six letters "Victor" the best pass in itself.

Anyway, the name I gave him off the top of my head, he definitely won't use it.

I shake my head, my train of thoughts returning to the gift I've left behind just a moment ago, and can't help but look forward to it.

I wonder when the Victor of now receives this gift, what will the expression on his face be like?

-

✧[POV back to Victor's office]✧

Closing the last document, Victor leans into his chair, gently pinching his brows.

Opening his eyes, the pink-colored gift box on the corner of the table enters his line of sight again. The lofty color seems to be urging him to open it as soon as possible.

Victor unwraps the box, and inside lies a round Shiba Inu doll, appearing a little old.

He wrinkles his eyebrows, takes it out, and sees a small folded note also being pressed onto the bottom of the box.

He patiently unfolds the note again, the carefully and neatly written calligraphy greets his eyes.

Victor: (reading the note) "Congratulations on your 'recovery,' and here's a small gift for you. This is the doll that has accompanied me for many years. I wish you well and hope you're happy." - MC

Victor: ....Childish.

Victor subconsciously says a word, and falls silent again.

Unknowingly why, but he always feels that he's somewhat familiar with this scene, but he also can't amalgamate the impression any further.

Even just the silly Shiba-Inu doll on the table, brings him a trace of intimacy.

[Note: This is the same Shiba-Inu doll MC's dad gifted her as a kid, and she gave it to Victor in S1 "Rooftop Date," when she wanted to comfort him realizing how much he misses his departed mom.]

It seems as if, ever since meeting her and getting acquainted with each other, this strange feeling often arises.

Is it because she has an Evol associated with memories?

But again, Victor is also very clear that her Evol doesn't have effect on himself.

Or is that, it's simply owing to her?

Victor blankly stares at the doll for a while, and by the time he circles back to his senses, it's already somewhat late.

He pulls open a locked drawer next to his desk, puts the doll inside, and catches a glimpse of the document marked with a sharp " S " symbol underneath.

"Illegal psychoactive drugs", " CORE", "has the potential to stimulate Evol"...

Several eye-catching keywords are marked in red, even in the twilight, which are still clearly identifiable.

The information the girl has reported to him once again surfaces in Victor's mind.

She has organized it very meticulously, but after reading it all thoroughly, the dense fog before his eyes hasn't dispersed.

Those layers of crisscrossing threads seems to have already involved all the parties, standing in different positions, making the situation chaotic.

And all these disputes still ultimately point to the same source--

BLACK SWAN CORE.

When it's all said and done, is this situation because everyone is eager to obtain it, or is there an unknown force hiding in the depository, pulling the strings?

There are still numerous issues that needs to be resolved, and one can not always watch the fire burning across the river.

Victor locks the drawer, and glances at the clock on the wall.

The phone rings at the right time, it's an encrypted email from BS.

Mail: "BOSS, as per your requirements, the relevant information has been sent to the other party."

Victor simply knocks down a reply, gets up and puts on his jacket, preparing to leave.

A pile of events is connected into a ring, and each angler, too, is bait for another.

He is looking forward to what kind of prey can be hooked this time.

-

✧ [CH 4-15] ✧

Victor meets Lucien at the research center, who hands him the report of a research.

Victor says the results are clear but Lucien says they only confirmed their guesses, and that CORE has been the focus of everyone after Evol was publicized, but there are perhaps other things affecting the world. Lucien asks if Victor feels that the world is not quite right and that every civilization circulates within a box, the time they have is likely more limited than expected.

Victor says it depends on how an individual views the matter, there's no need to pre-determine an outcome.

Lucien asks Victor if he believes he'll be able to get out of the box. Victor replies, "Not believe, it's a must."

After Victor gets in the car, he receives an email: "Dear Mr. [the name MC chose for him earlier], thank you for your support towards Hunter Games."

The rest of the email is basically explaining the rules of the game.‶

-

✧ [Victor scene in CH 5] ✧

Victor is returning from a business trip. After giving Goldman some instructions, he glances out of the window of the helicopter. Even though everything is peaceful, to him something always seems amiss.

He receives an email containing only one word, "Advanced." His expression doesn't change much since he already expected this outcome. The mail disappears, and he taps on another anonymous email with the instructions- He'll be entering the betting venue in 15 minutes and he should get prepared.

When the helicopter is about to land on the LFG rooftop, he glances out of the window once again and observes the people of the city living their day to day peaceful lives.

The noise-reduction headset cuts out the sound of the outside world, but the mere information sent back to him by his vision, is sufficient to prove the tranquility of the world before his eyes.

The helicopter lands. He settles some works with the staff.

Victor raises his hand to look at his watch, the gray clouds being reflected on the dial, slightly blurs the trajectory of the clock hands.

In a split second, along with lowering his arm, an inconspicuous red light suddenly streaks across the dial.

There's still ten minutes to enter the "betting venue".

The staff turns around, walking towards the elevator, cold wind blows on Victor's face, fluttering the hem of his coat.

Somewhere directly opposite, a small cross hair has always been aiming at the position of his heart.

??: "Code L" elimination plan in progress, target locked.

A second before the trigger is squeezed tightly, the person behind the lens suddenly lifts up, raises his head, looking straight into the set of deep eyes in the distance.

The clamors of the city conceals much of the noise, the discharge of bullet muffles in the silencer, so much so that in this shattering rain, it doesn't even make a crisp sound of snapping a branch.

A dispute between the light and the dark, seemingly has arrived to its conclusion.

[Trivia: The call that comes with the Chapter karma card-- is actually Victor nagging with MC on her report over phone inside the helicopter-- before it lands on the LFG rooftop!]