One day, you’re going to grow up and life will seem all at once so much harder and so much better. There will be a galaxy sized array of choices and nobody to take responsibility for your mistakes but you. So, you’ve got to make your mistakes while you can, burn down the bridges while there’s still someone there to reassemble the pieces. You’ve got to daydream in class and spend your nights writing bad poetry with smeared ink on white walls. You’ve got to have the reflection of the moon in your eyes and doodle stars in the margins of your life. You’ve got to fall in love and get heartbroken and be a heartbreaker, and you’ve got to do it now. Because there will come a time when heartbreak ruins your life and doodling costs you your job and bad poetry isn’t as comforting. There will come a time when you are supposed to stop dreaming and start being “responsible”, which we all know is just another word for ordinary. You’ve got to do everything you’ve ever dreamed of now, because the world is going to try to crush that beautiful spirit of yours. And one day, you just might let it. Nobody thinks they’ll be the one with the regrets and lost dreams until they’re sitting in an office, working a 9-5 job wondering when the hell their entire lives flew by.
Let’s talk about an Ariel who walks away—limping, mouthing inaudible sailors’ curses, a sea-brine knife in her belt.
Ariel traded her voice for a chance to walk on land. That was the deal: every time she steps, it will feel like being stabbed by knives. She must win the hand of her one true love, or she will die at his wedding day, turn to sea foam, forgotten. The helpful steward tells her to dance for the prince, even though her feet scream each time she steps. Love is pain, the sea witch promised. Devotion calls for blood.
But how about this? When the prince marries another, nothing happens. When Ariel stands over the prince and his fiance the night before their wedding, her sisters’ hard-won knife in hand, she doesn’t decide his happiness is more important than her life. She decides that his happiness is irrelevant. Her curse does not turn on the whims of this boy’s heart.
She does not throw away the knife and throw herself into the sea. She does not bury it in the prince and break her curse—it would not have broken. She leaves them sleeping in what will be their marriage bed and limps into a quiet night, her knife clean in her belt, her heart caught in her throat. Her feet scream, but they ache, too, for the places she has yet to see.
Ariel will not be sea foam or a queen. There is life beyond love. There is love in just living. Her true love will not be married on the morn—the prince will be married then, in glorious splendor, but he had never been why she was here.
Ariel traded her voice for legs to stand on, a chance at another life. When she poked her head above the waves, it wasn’t the handsome biped that she fell for. It was the way the hills rolled, golden in the sun. It was the clouds chasing each other across blue sky, like sea foam you could never reach.
(She does reach it, one day, bouncing around in the back of a blacksmith’s cart, signing jokes to him in between helping to tune his guitar. They crest up a high mountain pass and into the belly of a cloud. Her breath whistles out, swirls water droplets, and she reaches out a hand to touch the sky. Her feet will scream all her life, but after that morning they ache just a little bit less).
I want an Ariel who is in love with a world, not a prince. I don’t want her to be a moral for little girls about what love is supposed to hurt like, about how it is supposed to kill you. Ariel will be one more wandering soul, forgotten. Her voice will live in everything she does. She uses her sisters’ knife to turn a reed into a pipe. She cannot speak, but she still has lungs.
Love is pain, says the old man, when Ariel smiles too wide at sunrises. It’s pain, says the innkeeper, with pity, as Ariel hobbles to a seat, pipe in hand. At least you are beautiful, soothes the country healer who looks over her undamaged feet. The helpful steward had thought she was shy. Dance for the prince even though your feet feel stuck with a hundred knives.
Her feet feel like knives but she goes out dancing in the grass at midnight anyway. She’s never seen stars before. Moonlight reaches down through the depths, but starlight fractures on the surface. Ariel dances for herself.
She goes down to caves and rocky shores. Sometimes she meets with her sisters there. Mouths filled with water cannot speak above the sea, so she drops into the waves and they sing to her, old songs, and she steals breaths of air between the stanzas. She can drown now. She holds her breath. She opens her eyes to the salt and brine.
Ariel uses canes and takes rides on wagons filled with hay, chickens, tomatoes—never fish. She earns coins and paper scraps of money with a conch shell her youngest sister swam up from the depths for her, with her reed pipe, with a lyre from her eldest sister which sounds eerie and high out of the water. The shadow plays she makes on the walls of taverns waver and wriggle like on the sea caves of her childhood, but not because of water’s lap and current. It is the firelight that flickers over her hands.
When she has limped and hitched rides so far that no one knows the name of her prince’s kingdom, she meets a travelling blacksmith on the road with an extra seat in his cart and an ear for music. He never asks her to dance for him and she never does. She drops messages in bottles to her sisters, at every river and coastline they come to, and sometimes she finds bottles washed up the shore just for her.
They travel on. When she breathes, these days, her lungs fill with air.
Some nights she wakes, gasping, coughing up black water that never comes. There is something lying heavy on her chest and there always will be.
Somewhere in the ocean, a sea witch thinks she has won. When Ariel walks, she hobbles. Her voice was the sunken treasure of the king’s loveliest daughter, and so when they tell Ariel’s story they say she has been robbed. They say she has been stolen.
She has many instruments because she has many voices—all of them, hers; made by her hands, or gifted from her sisters’ dripping ones. Ariel will sing until the day she dies with every instrument but her vocal cords.
She cannot win it back, the high sweet voice of a merchild who had never blistered her shoulders red with sun, who had never made a barroom rise to its feet to sing along to her strumming fingers. She cannot ever again sing like a girl who has not held a dagger over two sleeping lovers and then decided to spare them. She decided not to wither. She decided to walk on knives for the rest of her life. She cannot win it back, but even if she could, she knows she would not sound the same.
They call her story a tragedy and she rests her aching feet beside the warming hearth. With every new ridge climbed, new river forded, new night sky met, her feet ache a little less. They call her a tragedy, but the blacksmith’s donkey is warm and contrary on cold mornings. The blacksmith’s shoulder is warm under her cheek.
Her feet will always hurt. She has cut out so many parts of her self, traded them up, won twisted promises back and then twisted them herself. She lives with so many curses under her skin, but she lives. They call her story a moral, and maybe it is.
When she breathes, her lungs fill. When she walks, the earth holds her up. There is sun and there is light and she can catch it in her hands. This is love.
(Here is my theory based on the posters from Love Yourself linked in with WINGS, HYYH, INU, RUN and the Prologue)
So in both of Jin’s Love Yourself Posters, he talks about turning back time.
The first one:
“If I could turn back time, I want to be the greatest guy in the world.”
The second one:
“If I could turn back time, I want to go back to that summer sea.”
He he wants to go back to the ‘summer sea’ and become the greatest man in the world. So where is this summer sea and how will it make him the greatest man?
Think of it this way, The I NEED U MV (Original) came out in May 2015 and the prologue came out in October 2015. In between that is summer. In both of the videos, the boys can be seen beside the sea, at the end of I NEED U and in the prologue video.
They have a lot of fun by the sea. If you take the time between the release of the MVs, I think you could arguably say that this sea that they visit is the ‘summer sea.’
Anyway, back to the rest of the Love_Yourself posters. Before talking about the individual posters, I want to talk about the pairing ones first. These are the same pairings from Run/Prologue but mostly their WINGS Short Films (all theories on that are in my theory masterlist btw)
All of the members that came in pairs (Suga and Jungkook, Jimin and J-Hope, Rap Monster and V) had the same comment on their poster. “When we came back from that sea, we were all alone.”
As I’ve mentioned in my previous theories, I believe that the scene at the sea/beach in the prologue occurred before INU (and RUN). At the sea, they were all happy and good friends, no one seemed injured or hurt.
So they were at the sea, perfectly fine, but when they came back they sort of separated and became lonely and I think it’s to do with their individual posters.
(I’ll talk about Jungkook later) Suga’s poster the translation was “Don’t come near me, I’ll only bring you misfortune.” What if after they came back, the scene in Run happened. When Suga was ‘drunk’ and he and Jungkook got into a fight. Which then lead to the INU hotel scene, when he was alone, and Jungkook was out and got beaten up by those ‘thugs’ ultimately getting hit by a car.
If Suga and Kookie got into a fight, then in the end, it’s likely that he blames himself for Jungkook’s accident. He thinks he’s bought Jungkook misfortune by putting him into a wheelchair (from Jungkook’s poster). That’s why, in their pairing poster, the say that they were alone after coming back from the sea.
At the sea they were together, but after, they became lonely because of the fight
Next is Jimin and J-Hope.
Theirs isn’t as obvious, but I think a lot of it links in with Hobi’s Short Film (theory here). He has Munchhausen’s syndrome where he basically fakes illness to keep himself in care. Like I said, Jimin took care of him the most as we can see in this scene in Run.
I guess this does come in to Jimin’s Love Yourself poster where is says, “I lied because there is no reason to love someone like me.” Jimin may have lied to keep J-Hope away from him, because he thinks he’s undeserving of love.
We know that Hoseok’s love is selfless as from his poster he says that “As long you can shine, I’m okay,” meaning that he’ll do anything to make someone else happy, even at his own expense. Jimin probably thought he didn’t deserve it and lied to J-Hope to push him away.
Now J Hope is ‘okay’ because he isn’t being so self-destructive in his love, and Jimin is just falling deeper into his lie and feelings of low self-worth.
In their pair photo, we can see that J-Hope is the one that’s in the bright room with the big window seemingly smiling, and Jimin is in a parallel room but it’s not well lit and the windows have bars on them
Jimin’s solo song Lie even said that he felt caught and trapped in his lie, so the room could be a personification of that. There could also be the fact that, because J-Hope is so sacrificing, he always wants to make others happy, even though he says he’s fine, maybe he isn’t? That’s why he fakes illnesses, to make it seem like maybe one person at least (hospital staff) care about him? Hmm…
Next is Rap Monster and V.
Extract from my theory as mentioned above ^
Another thing I want to bring in is both of their short films. V’s posters says “If I had made a different choice, would you not have left?“ Maybe he’s asking Namjoon this question. To which his reply, in his poster, is “I only watch you from behind, because now is not the time.” Notice how Rap Monster is on the bus and how Tae is crouched on the road? It could indicate RM leaving V.
Back to the short film, in V’s, he’s taken to be arrested after being caught vandalising graffiti. I’ve talked before about how I think that Rap /monster ran away from all the members, maybe he got sick of all of the graffitiing, the running in tunnels, the general bad behaviour, and tried to find ‘himself’ (reflection).
Again, V is asking for help, maybe he’s asking Namjoon for help, but Namjoon is just lying there saying “I’m fine” - maybe he found his peace, and broke the circle where he was always running to V and helping him.
They have the same caption as everyone else, we were alone when we came back from sea. They were really close friends at sea but after V’s attempted(?) suicide in the prologue, maybe Rap Monster realised that he needed to leave? Did he think he was a bad influence on Taehyung? He known know isn’t the time to get involved again, and just watched Tae from afar.
Coming to Jungkook, we all noticed that he was the only one that was happy in his poster with a ‘positive’ message on it. He got hit by that car in INU but seems to be at peace with the accident. What he is sad about, probably, is losing Suga (I already explained most of my thoughts on that poster here btw).
But where does Jin’s time travelling come into this? Well it’s clear that pretty much all of the members have their regrets. At least, they all know that they’ve become distant ever since they came back from their trip to the sea.
Suga bringing others misfortune, Jungkook’s in a wheelchair (but doesn’t seem to mind), Jimin had to tell a lie, J-Hope sacrificing himself to make others happy, V wishing he made a different choice, Rap Mons can only watch from behind. Jin wants to take it all back. All the bad things happened when they came back from the sea.
Remember at the end of the prologue, there was that scene where Jin’s looking at the picture that Rap Monster took of him and Suga at the petrol station?
But when he pulls is out later, it turns out that it’s just empty???
ANDDDDD then, Big Hit re-uploaded the video, but this time, the scene was missing!! What if that’s when Jin time travelled?! He wet back in time, so that scene where he was alone never happened.
I believe this happened in the Japanese Ver. of Blood, Sweat and Tears.
He travelled back to make it so that nothing in Run and INU happened? Made it so that no one would have their regrets, and everyone would be happy, taking them back to that summer sea. Would that make him the greatest guy in the world? To take away all of his members’ problems? Those six petals he holds so dear, he could really protect them?
What about right at the end of Jap BS&T?
When Jin rolls up to Namjoon’s petrol station where he works? Don’t you think that could be the point at which he travelled back in time. He’s alone in the car.
Jin even says, “it’s been a while” here. It’s been a while since they say each other. A while after the prologue, but just before INU. Rap Mon seems fairly happy here, not like how he was when he got mistreated in INU
Also, when Jin sees him, he doesn’t have his cigarette lollipop either, so he travels back to just before it all starts to go wrong, to go and save them.
Apparently Doctor Who is really popular is South Korea as well. Outside of Britain (where my UK ARMYs at?!) apparently South Korea holds the most views for the time travelling Doctor, so who knows?
What do you think? Did I miss something out? Let me know :D
Will and Nico have to be on opposing teams in capture the flag because if they were on the same team, there’s no way the other would win. ((Reyna and Nico think they’re such badasses but it’s okay cause they totally are.))
Will trying to use his sunlight control to throw Nico off his shadow-traveling game. Golden. ahaha. ((Mansi’s sunlight-controlling headcanon. His art is awesome, you should check them out!!))