If The Gentle Light had continued, what, do you think, would Yo Han's immediate thoughts/feelings have been upon seeing Ga On again?
Well. I mean. I don't really think — I know. Because I'm sometimes forced to write down the Yo Han bits that just won't leave me the fuck alone. Usually just short snippets, often ones that aren't even connected, but yeah. If I don't, they'll keep looping inside my head, slowly driving me insane.
So anon can have some Yo Han POV, as a treat:
Yo Han took another sauntering step forward, gaze wandering over Kim Ga On's terrace. Pots, plants, and various tools littered the space, but it was by no means cluttered or disorganized. Everything had its proper place, either tucked away in practical plastic crates or arranged in neat little rows. Even the plants were positioned with great care, lining the otherwise empty space — enveloping it, turning it into something more than just a terrace.
Like a small oasis of life — delicate yet vibrant — right there in the heart of Seoul.
Yo Han shook his head and walked over to the shelf placed against one of the walls, plants of all shapes and sizes crowding together inside it.
How very like Ga On, to surround himself with so much life.
And to be so desperate for something to care for that he hoarded these frail little plants, showering them with the love and affection he couldn't find an outlet for elsewhere. It seemed that Kim Ga On might very well cease to exist if he wasn't allowed to care for and nurture the living and breathing things around him, the need going beyond instinct into outright compulsion.
That innocence and selflessness was a weakness — a big, blinking target, so easy to exploit — but, at the same time, so breathtakingly beautiful it only added to Ga On's radiance.
Yo Han was frustrated by how much he adored it.
He reached out and slowly ran his finger along the leaf of one of the nearby plants. Yo Han was no expert, but it looked paler than it probably should have — closer to yellow than green. He frowned, his gaze flicking between the plants in front of him.
Almost every single one of them looked the same.
Discolored, with drooping leaves, some even edged with dry, crusty browns.
A small flicker of discomfort — of dawning realization — was all the warning Yo Han got before his chest clenched. He had no time to brace himself, the bloom of concern fierce enough to almost knock the breath out of him.
The implication was all too clear.
Kim Ga On might be withering away faster than Yo Han had anticipated.
___
Though I guess that's technically BEFORE he sees Ga On? So here's the one when he actually turns around and sees him for the first time in months:
Yo Han had pictured the moment many times over. He'd wondered — maybe even fantasized — what it would be like to see Ga On again after so many months apart. But none of those scenarios, each studied and evaluated down to the smallest detail, could prepare Yo Han for what he actually found when he turned around.
Not even once, at any point during his musings, had Yo Han thought that the first thing he would feel was a sharp, painful pang of guilt.
The eyes meeting his — those soft doe-eyes, usually so bright and vibrant — were flat and empty. They looked too big on Ga On's face, too black and bottomless against the paleness of his skin. As if there was nothing but a gaping emptiness behind them.
There was no spark. No light.
Nothing.
The world seemed to shift, just a fraction, but still enough to make Yo Han's stomach drop. The curl of dread was paralyzing.
He'd always known he was fated to eventually smother that gentle, fragile light, but he hadn't expected it to happen like this.
Not this soon.
He wasn't ready for that loss yet. He honestly never would be.
And so, for once, Yo Han didn't know what to do — or even how to react. The longer he stood there, staring into those blank eyes, the more the guilt grew. He could feel it seeping into his veins, slowly taking hold.
It hurt to breathe.
A pain which didn't ease even when something finally did shift inside Ga On's eyes. Because what Yo Han saw wasn't life, excitement, or even hope, but the heart-wrenching hunger of a desperate, half-starved creature, so weak it was a miracle it could even function.
The emptiness in Ga On's eyes suddenly made sense.
He was empty. And Yo Han could see the hunger growing — the near-frantic need to fill that cold, hollow space. And he knew exactly what had caused it.
Exactly what Ga On needed in order to fill that void inside of him.
If Yo Han had wanted to make Ga On less dependent on him, he'd failed.
___
... I guess the short answer would be: "... oh fuck."?
Bear in mind that I currently have no plans (or time) to write another chapter from Yo Han's POV, but yeah. I hope you enjoy the snippets?
Also, to be entirely honest with you all, it fucking hurts to write Yo Han's POV, especially these emotional scenes x'D Like, I feel for Ga On when I write about him and his struggles, I definitely do. But Yo Han is too similar to me in how he deals with and processes emotions so I'm, like, in agony when I write stuff like this because I can relate to it too much.
So some of my stubbornness not to write his POV is honestly sheer self-preservation at this point x'D
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my favourite thing about chuuya nakahara is that he's just kind of. chill. about everything. he's like, my tragic backstory has no hold on me, i went to therapy and i'm all good now. i'm a bad guy cuz it pays good and my found family happens to be here. what do you mean that's not a good reason, you a cop or something?
someone will betray him and he'll go ok well that's pretty upsetting. they probably had a good reason though. i'll forgive them if they let me get a good punch in. if they're really just a hater they're giving me bad vibes and i don't wanna deal with 'em at all tbh.
things have been done to him that would warrant a lifelong crusade of revenge for anyone else, but for chuuya nakahara it's just, that was super not cool but i'll let it slide if you get therapy with me.
chuuya is down for any crime and thinks moral boundaries are for losers and stuff but he's the nicest guy in the port mafia when it comes to not mistreating his subordinates and probably helps old ladies cross the street. he shows up for a solid 10-20 minutes of screentime per season and makes all the fans fall in love with him while doing the bare minimum, and despite technically being a villain i don't think he's worked against the agency a single time (although to be fair this is often not on purpose). he also does the bare minimum every time he's asked to help in-universe and clearly isn't even trying, and he sweeps anyway because he is ridiculously overpowered and could probably kill literally everyone if he actually wanted to, and i just. no one is doing it like him. you go you unbothered king.
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at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"
like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.
"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."
... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.
and i'd still keep writing.
i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.
i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley
"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"
and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.
it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.
you create because you're greedy.
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