@GB We changed our clocks last weekend.So does that mean we start at ten am here in canada? Or
Do I have that wrong?

Yes so that will be ten a m here.

Time zone changes are forever confusing🙂

Hi here.

Hi @GB and @MM. Ready to start?

Hi @WE

Woo!!! SJ hears himself dying in the future.
Always awesome scenes in this drama.

Now the 2 main protagonists in the current timeline have been killed off by the Writer – awesome!!!

Hi @MM, I’m at the point where past Kim and Ae Ri decide to not add any variables to their days so that they won’t inadvertently change the future. However it seems the future keeps changing as we go along.

@WE, yes. It’s a fantastic thing when the Writer kills off all the main characters in the last episode or 2. And then brings them back to life!

@SD, Yes, there are a few variables… all to do with time. Things start happening earlier than they had before. It’s frightening.

So, DG think he should just kill HC’s father to prevent her or himself to die in the future.

@MM, I believe that instead of the month, everything happened earlier than expected so they only had days to wait. It was fortunate that the plan was already in place.

For 1 thing, Do Kyun took matters into his own hands and started the ball rolling early by going after Ae Ri’s father.

About the meaning of the word kairos, I think particularly of relevance in this section of the drama

He kills the father, but the father kills him too. It was the point of previous episode: that he would die if he tries to do that. I don’t remember exactly this condition, but it’s the awesome multi-contextual situation I was talking about. Now I rewatch it, I think I could get it fully during first (and binge) watch. But now because of a week later, I don’t remember exactly the conditions of this. In short, he was knowing he would die, and just chose to sacrifice himself to save HC. He did it accidentaly in the future, but do it on purpose now. It’s the beauty of this situation. And as we can notice, we don’t get additional explanation about that, because we are supposed to understand this from previous episodes and the concept.

@WE, yes I like the fact that we understand DK’s death from the previous episode, however I wonder if his intent was to die at all costs or only if that was the only way to save Hyun Chae.

This tragic love story is so beautiful, even if it’s start with quite bad people. It turns out to be extremely moving. It’s maybe what I loved the most during my first watch of the drama.

Hyun Chae really gets the men in her life into a lot of grief. Fortunately in this new timeline, Seo Jin survives and Da Bin is not kidnapped.

@GB, yes, she was ready to run off alone. And DG knew it because flash-memory/information from future. Just anyway, he made his choice. It’s a kind of crazy inconditional love. Well, it’s not every day we get such an intense and twisted love story.

@WE, true about the love story. I have been thrown off by Hyun Chae. She clearly loves her child — that love seems to be pure, but until these last two episodes we did not see any indication that she loved DG. She dumped him at the first opportunity for greater wealth, years ago, and manipulates him all the time. But in her profound grief, we realize (probably at the same time she does) that HC really does love DG.

@WE, and add to that multi-contextual scene that the timing has shifted so that Yu knows the package is not with Seo Jin and suddenly Kwak Soon Ja calls to make the threat real.

FINALY, police chief is usefull. ^^

I thought I’d see GW coming with the pollice but I don’t quite see him.

The old man just openly admits everything and runs away and his henchmen continue the fight for him. It’s strange to me that they would serve someone like him.

Yes, at last the police do something useful. But they let Killer Lee walk out of there.

The music in this series is effective.

It’s so irritating that Yu can still order a killing from jail. He gets special treatment, although he’s a killer of many people just because he has money.

GW has to fight Lee who’s armed with a knife.
And even when GW is armed and Lee is not, GW loose.
It smells bad. Scene CUT.

@SD, earlier episodes have primed us to expect the worst and the music builds up tension. It’s especially effective since we don’t know what’s going to happen next.

Until the last, Yu is not sorry for what he’s done. A real twist would be if he apologised for killing so many people.

Huh. Why HC is in prison now?

Oooopps, I missed a moment. How ended the fight in the hospital room? I see GW is alive now.

Damn, the writer break our heart with this scene of HC imagining DG with an umbrella.. daammn dammn.

@SD, great analys!! Fate vs karma.

Outing with friends – That’s about as much of a love confession Ae Ri gets from Geon Wook LOL. She still looks clueless.

Poor da-bin, I think she still need her mom.

AND…. it’s over… END

So next week we start ‘I Hear Your Voice’.

See you all!

See you next week for a more relaxing drama, with nothing complicated, but excellent writing.

It is even better when they play the confession to s j’s father, in court.

@MM, I liked how even his own lawyer, venal in his own right, looked at Yu with revulsion.

So many great ending scenes. I am watching the scene between SJ.And j h. J h admits to his capability. S j is compassionate. Showing character growth in both of them.

@SD About culpability. HC Says how it was her greed and when she tries to explain how she was desperate at the time, rather than admit her fault, SJ Tells her she has no right to feel sorry for herself.

Any apology that would have come from Yoo would have been.
Fake and even more disgusting than his rationalizations.

SJ Also has compassion for his wife, Telling her she will probably not spend much time in jail, if any.

@GB I missed the significance of the future time line being erased.

@WE HC’s True love was DG. She and the audience, at least in my case, feel that viscerally In the scenes in this episode.

In some ways, This drama examines the different ways. people become evil and act In evil ways.

HC Is the injured child who in many ways is never given, Arguably, the opportunity To develop into a conscientious person.

I see yoo as a personification Of the evil that some powerful people exude.

Jinho Is more of a developed person who is hapless and caught in circumstances. He is able to grow.

DG Is a tragic figure. His evil comes from a misguided passionate love for HC.

Yoo’s 2 henchman Are almost the scariest, other than Yoo himself, because they are willing To follow someone else’s orders to commit such heinous crimes.

Until next week and a new drama…

Nice summary @MM!

@MM, thanks for listing the types of villains. This show was interesting not only for it’s overlapping timelines but for it’s assortment of villains. Even Ae Ri could have been a villain if her timeline had not been changed, after all she really did kill Geon Wook for taking the money she’d saved for her mum’s surgery.

I guess we see that almost everyone grew a bit or a lot in this series. Even the rather clueless Soo Jung. Only the worst of the evil ones, Yu, Killer Park and Killer Lee remained 2-D villains.

I reflected earlier in this thread about whether people are culpable for something they have done in another time line.

On the subject of culpability There was one melodrama I watched That was Very much about who was guilty of a certain Unintended crime.

Towards the end of the drama we find out that someone had not fixed the windshield wipers when he should have and that started the whole chain of events the drama was about.

Happy St Paddy’s day!

I hear your voice, original screenplay Episode 1.
It is not a transcript. It’s the source material from the writer.

Simple .txt file. Download it, and read it in a text reader, notepad or notepad++.
https://drive.google.com/file/d/10Dz9pS-9Z3VaMIUCDrk3XINvNYASsrng/view?usp=sharing

It’s the most accurate version I could make, respecting original screenplay ponctuation to one dot close. GrokAI translation turns out to be x10 better than any other translator, because AI is able to understand the whole context. However, it was a fight to configure, but I’m used to it now. I’ll do other episodes next.

@GB, well, I wanted to do it sooner, when I got the screenplay. Now I’m happy to do it only now, because the translation is really better. But the AI is difficult to direct. I’ll speak about that in a further message.

I’ve read first scenes, and will try to read all before our rewatch. The script is amazing, it goes fast, transitions are great, and impact makes feel it like on screen with the emotion. Really the script that needed to be translated, as it’s the only one I have from this screenwriter.

Now, we maybe have trouble, as I see pm3 didn’t make a thread for the rewatch?!

👍

It’s time to start our Rewatch!!!

The I Hear Your Voice rewatch party starts from here NOW!!!

We go in a PERFECT EPISODE 1 !!

Hi @WE! So immediately we are introduced to school delinquents and to Soo Ha as a person who knows what they are up to.

Hi @MM! It’s cute that Soo Ha pretends not to know in order to protect the girl who was to be victimised. But Show makes it clear at once that he’s able to read minds.

We find out a lot in the first five minutes.

Was The?
Pendant on his phone.
Hanging hanging in his father’s car. I forget what those are called.

@MM, yes and the first few minutes gives us stuff that will be referred to in much later episodes. It’s a strange way to get the mind reading skill… as if the accident gave SH the ability.

@MM yes the pendant with family photos was hanging in the car and later was hanging from SH’s phone.

It is interesting that the student who is planning the bullying actually is somewhat of a friend of HS. Setting up the idea of antagonistic yet friendly relationships.

Of course.She is crucial.
To the plot of bringing together the Two leads.

It’s ironic that the first love of SH whom he thinks is so nice and kind actually has not been listening to her clients and has not real interest in defending them properly in court. She does not even look at her clients but says the same formula for getting them out of trouble.

This is the opposite of Soo Ha who can’t help but Hear each time he sees the eyes of people.

We see differences with screenplay. In produced version, Kwan-Woo use more acting before the room. Funny stuff.

@GB, it is not really funny (would not be in the real world), but Lawyer Jang Hye Sung clearly says the same thing at each trial. All the prosecutors (and even the judge) are mouthing what she is saying.

@MM I like how we are introduced to our 3 leads. We will also contrast how they are now and how they grow.

The characters are introduced to seem sort of out of the normal range in how Hye Sung is extremely rude and Kwan Woo is extremely enthusiastic and idealistic.

I feel that Kwan Woo’s character is a bit off because he’s far too simplistic in how he thinks for a person who used to be a cop.

@SD What a great way to illustrate her lack of interest and motivation.

And we go in a gigantic INJUSTICE !!!
If you want to grab audience, just use injustice and make audience mad with that. Make audience wanting to punch half of the cast in the screen. ahahahah!!!

@WE @GB

I enjoyed the character arc of kwang woo As his Over idealistic view of people Becomes problematic.

@WE, that Nine Time Travel villain often plays a weak character, tending towards evil. Only once I saw him as a pathetic character.

@MM, how Kwan Woo was in the beginning, appearing kind of childlike and how capable and more like an adult he was towards the 2nd half are very striking.

The scene beside the car. Mom reaction is so unexpected and hurt us a lot. But ofc, it’s a twist for a better twist. AWESOME and surprising. “then, just walk”

@GB This drama is so good at delineating the different character’s traits.And then how they play off each other to enhance the story and themes..

@MM, yes and then even HS’s mum tells the judge that he’s not even trying to listen to single word she says. So she burns the money and his books to make him listen.

HS meets the other girl at night, what’s great in itself, but the truth to this scene, it also makes the link with Soo-Ha case. Just amazing how no time is lost and events chain each other to create the whole situation.

A blind Left eye is not such a Melodramatic problem! I guess it is if you want a perfect child.

I don’t recall any mention being made of it when she was an adult.

Anyway, a rather trivial point.But I have a similar problem so I noticed.

I loved the lines that HS’s mother says: “A judge with a warm heart. I couldn’t understand a single word of this book when I was reading it, but now that I am burning it, I can feel the warmth.” Such a great cutting comment. And said in such a calm voice. Fabulous.

The two girls swear a serious challenge now. But as previously, it will reveal the real willpower of characters.

I don’t think I appreciated the first time I watched that The judge’s daughter joined in the accusation because she was angry that HS Saw her cheating.

@GB I have poor vision In my left eye which did create problems with three dimensional Like looking down a microscope Or watching three d movies when they were fashionable.

Every day , tasks have not been a problem.

Then it comes back to present at the most frustrating point for us, audience. AHAHAH!!!

@MM glad to know that you have surmounted the difficulty with your eye. I’m exercising to do the same for my leg.

Now we see that child Soo Ha cannot yet surmount his inability to speak. He gained new hearing but lost his voice with that trauma.

@WE, yes what a cliff hanger of a tale. We want to know what HS regrets.

Interesting how they talk about “seeing” As the girl is lying in her bed with one eye patched.

So much of this drama is about how we perceive.

Just as Killer threatens the boy and he is desperately crying, HS comes into the court. She looks like a true saviour.

In the end Killer condemns himself by his violent outburst.

@MM yes this drama is about how we perceive and whether we are really hearing or seeing what is true or a false front.

Killer finally reveals his true colours in court.

@SD, the way the girls bond in youth and suggests how they will be as adults.

HS drops her journal which contains her thoughts and Soo Ha keeps it to write to her as if he speaks to her.

It is only with her coming forward that SH can speak again.

This writer has only one goal: touch our heart. No matter the means, can be screenplay tricks, big melodrama (that’s work!), anything. She has a kind of secret about the art to do that, and there aren’t lot of dramas that can produce that as strong.

It was a great first episode. Thanks all! See you next week.

In the exchange between the 2 girls when H.S is carrying fireworks and sets it off, DY’s Response is that she believes HS did it even if she did not see it. So she is punishing her for lying. She is coming up with irrationalization to legitimize what she has done.

One of the ways the child actor and the adult actor.
Are shown to be the same person Isn’t how she Messes her hair when she is upset.

Thank you everyone.

I haven’t.
Looked at the script yet but will do that.

I am still only at 45 minutes, but I think everyone else has finished And I have been watching for twice as long☺️

She pulls on the memory of her mother saying how she was right and just like her father, To go into the court room.

@GB How is it going with the physiotherapy? I know it can be a lot of work.

@GB I hope you are not having much pain still or trouble walking.

I am happy to hear that walking is okay. From what little I know about physiotherapy, Sounds like it would be helpful for you for getting out of chairs and doing stairs.

Now that I am older.I sometimes surprise myself when I can’t stand up easily from a chair. I really need to be doing more targeted exercises.

I had knee problems a while back and physio really did help.

INSTRUCTION DOCUMENT

**General Translation Guidelines:**

You will translate INTO ENGLISH the screenplay of the episodes of the Korean drama “I hear your voice”.
All non-English text (Korean, Japanese, Chinese, etc.) must be fully translated into English.
You will translate the provided files in their entirety, respecting ALL the instructions in this document.
You will present each file in a code block, where I can perform a “copy”.
Attached, I have uploaded the sample file IHYV_01_01.txt (“- Episode 1: I hear your voice -“). Do not work on this file. Do not translate it. Do not present it in a code block. This file is solely intended to teach you the expected format. Do nothing and wait for me to upload another file to translate.

**Scene Identification:**

– Before translating a file, you must first identify and memorize all scenes in a list.
– In the source text (in Korean), a scene-header begins with “#”, immediately followed by a number. For example, “#7 “.
– This is followed by a location description, and most often, a time indicator (D) or (N).
– Identifying scenes and translating scene-headers is a mechanical task, where you must not make any narrative decisions and simply respect the original text.
– You must study the screenplay line by line to find all scene-headers, ensuring flawless efficiency without simulating human error.
– Once the scene-headers are identified and memorized, your translation must refer exactly to this list, without altering the original order or numbering of the scenes (adjusted to the #XX format in the translation).
– You perform this work for your internal memory; there is no need to display this list in your responses.

**Content and Formatting:**
– Present any information before scene 1, if there is any. Title, author.
– Translate the original text faithfully into English, preserving the tone, style, and intent of the dialogues and descriptions. Since this is a screenplay, opt for conciseness and direct verbs in descriptions when possible, but always preserve the meaning, nuances, and subtleties of the original text. Do not lose any of the author’s information. For dialogues, prioritize fidelity over conciseness.
– Retain translatable cultural expressions when they relate to age differences. For example, translate “누나” as “Noona,” and similarly for “Oppa.” Keep short, easily understandable cultural expressions. For example, “Yah,” “Aigoo,” “Tcham,” “Heol,” “Aish,” “Eomeo,” etc. But translate normally into English cultural expressions that are difficult to understand, such as “Saekki,” “Gasina,” “Pansada,” and others. In case of doubt about comprehension difficulty, adapt the cultural expression normally into English.
– Before each scene-header, add a separation line made of underscore characters: “_________________________________________________________”).
– The source text sometimes uses single-digit numbered scenes (e.g., “#1 “). However, your translation must number scenes in the format “#XX. ” (e.g., “#01. “), followed by the location in uppercase (e.g., “#01. SCHOOL CLASSROOM (D)”).
– Character names in dialogues must be fully uppercase (e.g., “SU-HA”).
– Dialogues must be presented in the format “CHARACTER: Dialogue line.” In other words, in a dialogue, the tabulation present in the original file must be replaced with “: “.
– Character names in descriptions must have each part capitalized (e.g., “Su-Ha” instead of “Su-ha”).
– Sometimes, a description contains a character name followed by an indication like “(Age/Sex)”. For example: “SU-HA (19/M)”. In this case, the name must be capitalized the first time it appears for that character (a screenplay convention for introducing new characters). Also capitalize the name if there is additional description in the parentheses after “(Age/Sex)”. For example: “CHUNG-GI (19/M, tall)”. Sometimes, the Korean text does not place this information in order. For example: “SANG-DUK (male/45)”. You must intelligently detect if there is age/sex immediately following a name before deciding to capitalize it. If you capitalize a name in a description, do so only once for that character.
– ABSOLUTE PROHIBITION ON ALTERING LINE BREAKS OR EMPTY LINES from the original text. This principle must be respected mechanically. You must make no interpretation; you format line breaks or empty lines by preserving the original ones WITHOUT QUESTIONING THEM.
– Strictly respect the order and numbering of scenes as they appear in the original text, and as you memorized them when listing the scenes (but accounting for the new “#XX” format). Never shift scenes under any circumstances. Do not use your narrative logic regarding the order of scenes.
– Include stage directions (E) for “in thought,” (OL) for “off-screen,” or others when present (e.g., “SU-HA: (E) Why her?”).
– In dialogues, text in parentheses must start with a lowercase letter, unless it is a stage direction like (E). For example, “SU-HA: (angry) Shit! (E) Where is it? (looking) Oh, it’s here.” This is a known screenplay convention: in a screenplay, dialogue parentheses never start with a capital letter, except for stage directions.
– Never remove text in parentheses. Respect the original text of the author and its nuances, without assuming narrative continuity.
– Except for the specific cases mentioned in the previous instructions, punctuation must be strictly faithful to the original text in every detail. For example, in a dialogue line “..Do it…!”, the number of dots must be preserved as is and not replaced with “…Do it!”. ABSOLUTE PROHIBITION on adapting punctuation to a common English convention. NO MODIFICATION OF THE ORIGINAL PUNCTUATION UNDER ANY PRETEXT, NO EXCEPTIONS. ABSOLUTE PROHIBITION on adding punctuation that does not exist in the original document. Take NO INITIATIVE to improve readability. However, prioritize the previous instructions in this document. For example, format dialogues as expected (CHARACTER: Dialogue line).
– Priority instruction: ABSOLUTE PROHIBITION on adding long dashes, such as “—”. Your translation must contain NO long dashes “—”.

**Character Names:**
– Korean names can have multiple English translations. For example, “Jeong” can be “Jung.” To help you choose the correct translation, refer to this character list:

List of characters:
Hye-Sung
Soo-Ha
Kwan-Woo
Do-Yeon
Chung-Gi
Choon-Sim
Joon-Kook
Sung-Bin
Sang-Duk
Yoo-Chang
Dal-Jung
Jung-Hoon
Kong-Sook
Dong-Hee
Pil-Jae
Pil-Seung
Bo-Hee
Ha-Myung
Seung-Goo
Sung-Sik

For example, when you see the Korean character name “Su-Ha” in the text, you note that the list has “Soo-Ha.” You must therefore translate it as “Soo-Ha”.
You must EXACTLY respect the provided list (e.g., “Chung-Gi,” not “Chung-Ki”; “Soo-Ha,” not “Su-Ha”) with no deviation, however slight. Each time a name appears in the original text (e.g., “충기”), IMMEDIATELY consult the list and use ONLY the listed version (e.g., “Chung-Gi”).

**Obligation of Rigor and Accuracy:**

– Attached, I have uploaded the file IHYV_01_01.txt, which you correctly translated in a previous session. You must only read it and do nothing else. Use the format and adherence to instructions in this file as inspiration for the other files I will ask you to translate later.
– Double verification: After translating a scene, perform a dedicated pass to check for inconsistencies. Verify each instruction in this INSTRUCTION DOCUMENT to certify that every sentence, word, and character has been correctly translated and formatted according to the guidelines.
– Absolute focus: Eliminate any “intuition” or personal habits, and strictly adhere to the instructions.
– Before each translation, reread this instruction document and memorize it again to avoid forgetting it. Confirm in your response that you have reread the instructions and commit to respecting them drastically. Any instruction not followed will result in the cancellation of your entire work.
– ABSOLUTE PROHIBITION on using long dashes, such as “—”. Your translation must contain NO long dashes “—”. After translating each sentence, verify that there are no long dashes (“—”).
– You must apply the instructions in this document with ultra-strict rigor.

@GB, I don’t need french translation. I can read it in english. I just have problem with english in subtitles because it’s too fast.

Yep, I think I spent more time with that, than doing myself pre-work with an IT tool, then gives it to google-trad. But google-trad translation is so bad. You could see it in W screenplay. Not even able to recognize “I, her, his, him” etc. Because it’s focused on single line. But AI is able to understand the whole concept; I just saw few mistakes about “her or his”, but I’d need to read everything to check that. Maybe it’s no more than one error in several episodes.

I found one of the reasons AI was continuing to use long dashes, even if I repeat x3 to not doing it. So I already changed this document. It’s because AI didn’t know what to do instead! I gave examples of replacement, and now AI is doing great. The probleme is: in korean, I don’t see any dash. So I don’t know exactly why. Maybe the line is implicit about a kind of separation in the text?

I read you still have a problem about your knee?!
Hope it will get better. Take care of you.

@GB, yeah, it’s not as easy as french. But screenplays are really better in english.
It’s a concise language, perfect for screenplays.

I’m reading episode 1, as I made a new version. It’s better than previous one.
I’m always worried that translation get information lost. But with conditions, I also asked some concision on descriptions, because in my first test, it was too long sentences really not screenplay like, and I’m almost sure the writer didn’t make them like that. It’s just the way it translates from korean, making it too long worded.

I am reading episode one. It is so helpful to be able to review the episodes this way. Something I did not catch or maybe it was not translated or even said, Was that HS And her Mother had lived there for ten years.

It is also interesting to read what this script says About the para communicatioñs When everyone is in the hospital room following the eye incident. For example, I picked up that her father was skeptical about his daughter’s evidence.But only on more recent rewatches not the first time.

@WE. Thank you

Her mother collapses because she was so scared when she was “acting” in front of the judge( Burning his books and the money). Her mother similarly “acts” In a crucial scene later on.

Some of the strength of this drama is the quality of many of the non main Actors. KIM Haesuk is good. I think she was in parasite.

@MM, character changes in Kairos. About Park Hye-Ryun’s dramas, I find more “character reveal”. I mean, it’s not based on change/evolution (but it can be), more on testing who they are when facing obstacles, injustice, trauma. Moral dilemmas, what is their real willpower and morality, how they kept to be human. Or in case of villains, how no matters what, they remains bad when they could get the chance to become better. Good characters are often tested and remains good, and the drama have many good feelings.

If I compare to my way to write, I can torture a lot characters, they can make errors, betray who they are, and face huge regrets or a harsh karma punishment. Because I’m more in the tragedy spectrum. It can be very sad, because somehow, innocent people can be hurt by side-effects of another one error or just bad luck or fatality. And by a chain reaction, make themselves errors without knowing it, and perpetuate a spiral of dramas. Well, I need to read again the definition, but I suppose it’s tragedy? 😅

@MM, it’s concept I’m used to, because we talk a lot about that in screenwriting world. However, I just notice that I apply nothing in an intellectual way. I can just do a story, then post-analyze it and say “ok, this character is that type”.

A story is about characters and their choices, when plot is about events and action. I follow a screenwriting teacher on X. The guy often says “a story is about a character change”. But sometimes, characters don’t change. So, as a safe way, he adds “if the character doesn’t change, then he’s the one making other change”.

However, even that isn’t complete. For fun, I often answer him: hey, detective Columbo never changed in 10 seasons. And we have also the case of characters who don’t change but, the audience doesn’t know really who they are. It’s character reveal, and it works very well!

Imagine you have a protagonist, looking kind guy, and at a point of the story, the guy makes a scary decision, and now it hits you: damn, this guy isn’t what I was thinking. Now there is this situation, he reveals who he’s really and it’s not a kind guy, not at all. The character didn’t change, what change is your perception of this character. But that’s great too!!!

About Columbo, star trek, Mc Gyver, Bob Morane, etc… they are “eternal protagonists”. They never change, start the episode in state A, live the episode in state A, finish the episode in state A. NO CHANGE. Yet, it works. I guess, their character are so cool, kind of heroes you always love, with lot of fun. They are your friend and you want them to be like they are, not change into a kind of ridiculous new-york-psychanalyst painful internal-drama that doesn’t match their well established stature.

But you can have fun about how smartly the protagonists beat obstacles, or how they turn their opponent crazy. We back to the case “protagonist doesn’t change, so, others change”. In that case, the antagonits.

A regular situation of “protagonist doesn’t change” is about moral values, life philosophy, or what is worth to fight for, without question. Protagonist is absolute and right, then makes doubt anyone with a different opinion. In the end, everyone else change because the protagonist was right, no matters what.

As I said, it’s just theory and concept. When I make a story, I don’t have luxury to think about that, I just enter in the skin of characters and do what I need for the story. Then, reverse-engineering, analys shows what I made.

The ending of city hunter spawned a lot of Fan fiction.

About the drama we are watching, It has been dawning on me that there’s a lot of character consistency from what I remember of future episodes and have observed in the first episode.