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i got all the time in this world...and i can play with you all day long :)

This is my only account, psychotic TJ stans love to impersonate and create fake accounts of me <3

professional comment replier i’m afraid
scrambling to find everything I read before the mangago shutdown

...

...

Compared to his genius older twin brother Jeong Jaeui, ex-soldier Jeong Taeui thought he was average...

Oh my beloved Jo <3 My beloved Orion. He only deserves the best. And I’m sorry and hurt for Ian fans who wanted the best for him as well.

The real intellectual readers all collectively agree, understand, and know that this ending is fucking bs. She sabotaged and insulted her own work, and failed to keep up with her own narrative. Or maybe, just like Tj glazers who don’t see that this ending is bs and unsatisfying for their TjIan endgame, she used the fact that Tj is Ian’s first love to conveniently and shallowly rush the ending for TjIan.

Doyak really thinks we’re too dumb to notice how the established logic, character motivations, and plot points she wrote herself contradict her ending of Wet Sand. How some of the shit that happened in the gang war had missing conclusions and aftermath. How Jo carried more meaningful emotional weight for Ian than Tj ever did. How Ian’s journey arc was a major part of his character development, yet was dismissed. How Tj never had a proper redemption arc, and that was also dismissed. How Tj and Ian's relationship didn't have development at all. We see it all. We notice it all. None of it adds up to this bs ending.

I never want to see a side story or sequel for Jo written by Doyak. Ever. I’m actually glad she doesn’t plan to make any. Let’s not make this series any worse than it already is. Oh wait, Wet Sand is already at its absolute fucking worst.

I’m still happy for Ian because he met Jo. Even if it was for a short time, he got to experience genuine and selfless love, something he never really had before.

I know he’ll always remember Jo and cherish what they had. And honestly, if Jo hadn’t stopped him, they probably would’ve had their “what could have been.”

She just changed the tragic fate of Orion (Jo) but never their tragic love story, so she made Ian immortalize his love for Jo in the night sky full of stars and she really made Ian yearning for Jo forever (chap 98 narrator) looking at the stars even if he’s with Tj lol - So this is what a bittersweet ending means.

Well, I admit I expected too much for this story and for Ian’s journey, and I love his character so much and expected so much better for him. I still love the story despite the ending disappointing me. Also, maybe don’t call this a noir genre with the Disney ending lol because this ending is butt of a joke for noir!

Congrats, TjIan!
JoIan is so special to me and I never regret supporting them.

I have very strong opinions and express them often, so I have no filter and mean what I say. If it makes you mad, it's not my problem. 

DNI if you can’t grasp why SA is wrong, don’t know what consent is, think dubcon/noncon isn’t SA, glorify it, excuse it, victim blame, normalize it, or romanticize it. DNI if you're a minor and on top of that, disagree with all I've stated above. Genuinely, get help immediately if you are any and all of the above. As long as you understand all of the above, I don’t care if you read stories with TWs/CWs and love it cause it's in its nature or cause of other reasons. 

DNI if you're rude to uploaders! I don't support full AI translations, only when used if needed. 

DNI if you slap “autistic” on every socially awkward character. Social ineptness ≠ autism. Autism is a neurodevelopmental condition you’re born with. It’s not caused by a bad childhood, trauma, or “being bad at socializing.” They don’t share your experiences just because you relate to them, so stop projecting. Unless it’s explicitly stated or portrayed (consistent traits like sensory sensitivities, communication patterns, developmental context, etc.), they’re not autistic. Not every quiet, blunt, or emotionally stunted character is neurodivergent. Sometimes they’re just written that way. Stop throwing labels around and actually comprehend the character instead of reducing them to a one dimensional ‘autistic’ label. Not sorry.

Getting me to read something below a 9.0 rating is difficult. Ironically, my average rating ends up being a 6.3.

I will always prefer the green flag over the red and black flag. Or just the overall better ml.

I farm on official sites when I have time.

Good art ≠ Good storyline

• All Time Fav BL •
° Love for Sale ( Peak )
° The Summer Hikaru Died ( Ik it's queer. I love the symbolism and metaphors that I find. )
° Aporia ( One of the better bdsm series )
° MadK ( Literally read it once, and now, I think about it every once in a while. )
° A First of Summers ( Another "wholesome", grounding age gap )
° A Home Far Away ( This shit is ragebait. )
° Koi ga Ochitara ( Short, sweet and simple age gap )
° Stigma and Ouroboros ( Both on dark topics and themes related to SA and abuse, that I relate to, think of often, and wonder why we don’t have more like these two, among a sea filled with SA and abuse that handle them so poorly in narrative writing. )

• MLs/MCs who I love and think they deserve better. This means I dislike the series and/or their toxic, abusive partners. •
Seo Yeon-Oh ( Limited Run )
Saein ( Say A Little Prayer )
Dong-gyun ( BJ Alex )
Yesung ( Incomplete Combustion )
My Beloved Joseph Landi ( series is not worth mentioning )
My Beloved Bird & Lobotomized Ian Youngwoo Shin ( same fuckass series )

Uncontroversial Opinion : Killing Stalking is not a BL.

• Genres / Tropes I Dislike •
 childhood friends (always the same boring plots) | friends to lovers (same boring plots) | showbiz (cringe) |  school with smut (they're minors bro) | college (boring setting, unless art is pretty and plot is good) | extreme financial gap, especially involving yakuza/mafia (seen and read a million times before), slice of life (boring, no substance, unless mature and executed well, like Love for Sale) | mother like ukes (it's usually their only personality) | any top who can't do basic household chores and cooking without even trying and falls in love with the bottom just cause he does these for him (superficial) | toxicity, sa, abuse, huge power dynamic (vast majority with these themes are not handled well and almost everyone will applaud, thinking it's truly dark and psychological ☠. If I manage to read them, it's only for the emotional aspects.)

• Genres / Tropes I love : No explanations needed cause they're simply unique, rare, or peak when executed well. •
omegaverse | age gap (preferably older top and younger bottom) | similar statures / buff bottoms (I really don't mind skinny bottoms though. They deserve love too.) | switches | power bottoms | bdsm | coming of age | wholesomeness | drama | psychological | yearning (puppy and yearning are different. Not a big fan of puppy lovers), pure hearted and selfless lovers | grounding | healing/emotional journey | character driven plot

• First BL : I Hear the Sunspot : 7.5/10 •
Purchased at a bookstore cause the art caught my eye lol. I don't plan to purchase the latest volume cause I didn't like it that much when I read it on here. First couple of volumes were really good though. I love that it's a wholesome romance and brings attention to deaf and hard of hearing people. The character development just needs more work, and the plot needs more substance. The author also doesn't seem to go deeper and explore more implications of the deaf hearing relationship. It's starting to feel like a generic romance manga.

Starting to pick up josei and GL cause I'm getting bored of BL or at least I think I am. I only keep up with my favorite updates. If I'm reading josei, I want a dominant, independent, strong female protagonist. I berate the men in josei if they're reasonably trash, including the ML. I do the same to trash men in bl. All fair.

The daughter of a duke, the stuttering Maximilian, married a knight of lowly status at her father’...

Since some people keep dismissing different interpretations of Chapter 99, I want to point out something based on the art itself.
One consistent detail in Doyak’s storytelling is Ian’s footwork or the visibility of his feet/shoes touching the ground. This visually establishes: his location, physical presence and his grounding in a specific space within the story.

If you look at Chapters 90 to 98, she consistently shows Ian standing or moving with his feet clearly on the ground. This reinforces that Ian is physically present in those scenes. She never misses this detail, or at least includes one frame, whether it’s a wide panel or a focused shot, where his feet are visible.

Except in Chapter 99. Ian’s feet or shoes are not shown at all. Even when he is standing on the other side of the room, a chair is placed in a way that blocks his lower body, including his feet. Meanwhile, TJ’s footwork is emphasized panel by panel, clearly showing his movement and physical presence. She could have easily included at least one frame showing Ian’s footwork, just like in previous chapters, but she didn’t.

If Doyak consistently uses foot placement to establish spatial grounding, then the absence of Ian’s footwork in Chap 99 feels intentional. It raises the question of whether Ian is truly grounded in the same space and time as TJ.

So it’s interesting how some people call others delusional for having different interpretations and pointing out inconsistencies, while at the same time preaching about media literacy, yet only engaging with the story on a surface level and responding in a passive-aggressive way.

Some people need to learn the difference between a “DREAM” VS “PSYCHOLOGICAL STATE” of a character. And I never even mentioned the word “DREAM” in my analysis LOL

First off, I want to point out that identifying the different POVs of each character is important to understand the full context of the scenes, especially in visual storytelling where you need to know whose POV we are seeing. In Chapter 99, we have two different POVs. The first part of the chapter is Ian’s POV (The MC)

Explanation of the first part, Ian’s POV

The background, place, and time are important in this chapter because the author purposely showed a geographically identifiable location in Chicago so we can know where Ian is currently living. She showed it not just once but 3 times, including two characters(Ian/Toby) and a place possibly connected to Joseph.

Ian enters the restaurant where Toby is working and has a casual conversation with her while having his breakfast. Ian is smiling, drinking his coffee with his eyes open, and he looks a bit older here too lol. I want to add this because we see a different version of Ian in the next part of the chapter.

Notice how the author showed the details of the restaurant interior, including the radio, decor, and other elements. One thing about dyk is that she always uses ambiguous words or dialogue so people can form different interpretations. The whole conversation with Toby is full of ambiguity. For example, Ian is working hard and they rarely see each other lately, but he also asked Toby to move to this city.

Then we have the most ambiguous question from Toby, “Is it today?” What exactly does “today” mean in Ian’s POV? Ian answers yes while looking at the blue sky in the morning. We do not fully know yet because the POV shifts right after the blue sky panel to TJ’s POV. Ian’s “today” could mean something entirely different from TJ’s “today” in the second part, setting up parallel and contrasting narratives rather than a continuous sequence of events.

Explanation of the second part, TJ’s POV of “Today”

This part is more psychological in terms of a noir genre interpretation.

It starts with a panel of a light blue sky, possibly before noon. TJ’s “today” is his release day after two years in prison, which is honestly unbelievable lol. He was picked up by Chiwoon and the rest of the gang. We again see location panels of New York streets and buildings.

During the car ride, Chiwoon says, “Boss, are you listening?” and TJ replies, “Yeah, whatever.” I think TJ is physically present, but mentally and emotionally starting to disengage.

Also, one of the funniest things about this car ride is the wordplay the author uses, like “destination” and “arrival,” which we also saw in Chap 98 from Ian’s context. When they arrive at the destination, TJ never asks more about the place or the house.

Then the color of the sky shifts to yellow-pink. My theory is that this is a filtered reality that reflects TJ’s psychological state or what we can call the “golden hour.” This reconstructs his harsh reality through self-deception and creates a temporary idealized illusion of what he wants to see and feel after his 2-year prison sentence. He is physically grounded, but mentally and emotionally in tunnel vision.

When the T-junction house appears, there are only two cars shown, the white and black cars used by TJ and his gang. So where did Ian park his car? Did he walk from Chicago to the outskirts of New York? LOL Did he take a plane and then a taxi? Ian can afford to buy a house but not a car? And honestly, who would buy a house located in a T-junction? That screams bad luck. It feels like the house is attracting negative energy.

When TJ enters the house, he is surprised to see Ian on the other side of the room. But here is the important part. Why does the author only show TJ’s footwork moving on the floor panel by panel, but not Ian’s feet or movement at all? The fact that she purposely added a chair to hide Ian’s feet is very suspicious.

If you are actually reading Wet Sand and not just clips on TikTok or X, you would notice that the author loves showing Ian’s footwork or at least his feet/shoes on the ground in whatever place he is in. Compare this to Chapter 98 with Jo, where both of their feet are shown, meaning they share the same time and space and are both physically grounded in reality.

That is why I think in this 2nd part chapter TJ is the only active participant, while Ian is static or a projected illusion.

The “too perfect” script of Ian saying,
“How is it? This house, what do you think? I really hope you like it here. I worked my tail off to get this place ready. It wasn’t exactly easy, you know.”

My interpretation is that this connects to the mansion TJ built for them and for the gang members. This dialogue could be TJ’s wishful regret because he was never able to show that mansion to Ian after he sold it for gang funds.

They are shown hugging, kissing, and touching, but we never see both of their feet on the floor of the house. There are no full head-to-toe panels. The focus is mostly on their faces, upper body, or mid shots, not the lower part showing their feet.

The background also alternates between a white void and the house, and there are fewer interior details compared to the first part of the chapter.

They are smiling with their eyes closed, which gives a surface-level happy and domestic feeling. In contrast, Ian in the first part is smiling with his eyes open.

There is also a strange glow on TJ’s face, and then we get a very focused close-up of Ian saying “I love you” with his eyes closed again. The author usually emphasizes the eyes of her characters so this detail is important.

Additionally, Ian’s outfit is inconsistent. In the first part, he is wearing a white T-shirt with a black top, while in the second part he is wearing only a white T-shirt.
Honestly the most believable proof of Ian’s real presence would be details TJ could not control or imagine, like consistent clothing, objects or actions tied to Ian’s grounded reality in Chicago. Those details are missing.

In my conclusion, Chap 99 presents two parallel “Today” timelines, where Ian’s POV reflects grounded reality, while TJ’s POV represents a psychologically filtered, idealized version shaped by self-deception and regret.

Doyak, maybe you can deceive everyone but not me! LMAO how can you make Ian say the magic three words with 0 build-up and with his eyes closed?! Like I said in my previous post “the eyes are the window to the soul,” and throughout the story, she always highlights the eyes of each character especially Jo and Ian, and Tj always described how he wanted Ian to look at him, and don’t forget Ian in his poetic era describing Jo’s blue eyes lol. Anyways I will make a different post about my own interpretation of Chap 99 and maybe make a comparison to Chap 98.

In the WS S3 teaser, they showed the 3 MCs hands like reaching and touching something like that but I won’t elaborate into that lol. Let’s focus on Ian’s hands in S3. Remember when Ian left a note for Joseph saying, “I’m sorry, I’ll come back,” but erased the “I’ll” and didn’t write “come back”. There is a panel showing his hand trying to reach, then stopping and closing into a fist. This visually represents Ian’s self-restraint, his guilt, fear and struggles with self-worth versus his desire. That note appeared in his inner thoughts 2-3 times in S3. He also said this to Jo “I will come back” but he didn’t look at Jo while saying it. It is also a callback to S1 when Tj said to Ian while sleeping, “Youngwoo, come back.”
Dyk also posted a teaser of Ian’s hand holding a white folded paper before chap 90 was released. When the chap dropped, we discovered what was on the note: Jo’s name and number. Ian then called Jo in the following chapters.
So how do you reach someone? You can touch them, be with them physically or communicate with them. That is what Ian did with Jo.
However, reaching someone for Ian is not as simple as physical touch or communication like it is for normal people. For him, it means becoming someone who deserves to stand beside them and see them as an equal. It means being able to love without fear of causing harm and closing the emotional gap he feels between himself and the person he loves.
That is why Ian said he couldn’t go with Jo. As he explains in Chaps 97–98, he knows he isn’t ready. He is still carrying anxiety and wounds of the past that haven’t healed, both physically and emotionally. He doesn’t want Jo to be the “fixer” or “caretaker” of a broken person. He knows it could lead to another unhealthy relationship and hurt both Jo and himself deeply. He admits he loves Jo and if he could, he would want to keep doing it. But he needs to heal first so he can fully reach him.
In chap 97, when Jo tried to reach for him, Ian’s hand stopped him. Then in chap 98, Ian almost turn around to look back, but Jo stopped him: “Don’t look back. If you’ve decided your destination, don’t look back. Just go.” Jo is the only person who truly allows him to heal and pushes him to move forward. So instead of reaching for Jo, Ian put his hand over his heart while crying.
I think what Ian meant by “to fully reach you” is that when he returns, he wants to reach Jo as his whole self. He wants to show and share both parts of who he is, his present self and his past self (the healed version) of Ian, as one complete person who belongs to the future.
Also we can also connect the word “reach” to “destination” Like “Ian finally reach his destination” lol the power of wordplay.

JoIan were both crying. Jo asked Ian if he ever love Jo during their time together and he said yes that wasn’t a lie. Ian wanted to turn around, but Jo told him not to look back! Jo was crying and said once you decide on a destination, don’t look back and just go. It’s heartbreaking they’re letting each other go. ╥﹏╥

You don’t think about someone and tell yourself, “I don’t deserve this person or their love. I will only harm them if I stay. I’m the worst,” if you feel indifferent toward them. And you don’t tell someone that you’re worried and fear for their life, their future, and the people around them, believing that living together would only bring them harm, if you truly feel nothing for them.

If you’re familiar with the very common “Noble Idiocy” trope, you’ll probably understand what I’m saying. But Ian’s reasons here actually feel valid because of his trauma and severe self-worth issues. On top of that, he had just been shot on the way to Jo. Imagine being ready to leave your past behind, only for that same past to suddenly interrupt you again.
His fear for Joseph’s safety resurfaced. He likely started imagining a “what if” scenario. What if he actually went and lived with Jo, and then someone from his past suddenly appeared again and pointed a gun at Jo? That fear alone could make him push Joseph away.

He hid his gunshot wound so well, but Jo still noticed that something wasn’t right. And asked Ian if he was okay.

Also, the panels that highlight and focus on their eyes side by side. They say the eyes are the window to the soul.

Some people are interpreting this chapter alone as Ian not going to Jo and immediately assuming he rejected Jo because he didn’t love or care, then jumping to the conclusion that TJ is the EG. But if you read carefully, what Ian said to Jo can mean something entirely different.
It can be seen as Ian rejecting himself for Jo’s sake. He’s thinking about Joseph’s life, his future, and the people around him. If Ian chose to live with Jo in his current state and mindset, he would likely feel like he’s dragging him down or blame himself for whatever happens in Jo’s life. We can see that clearly in his monologue: “I don’t deserve Joseph. I’m unworthy. I’m worthless.” That shows how deeply rooted his trauma and self-worth issues are.
When Ian says he “found his destination,” it can also mean that he has finally found his true self, his own goals or purpose. But he wants to start over alone, free from external influences and his past. This chapter is about Ian choosing himself first.
Everyone seems so caught up in the romantic angle that they forget the importance of character development.

Compared to Jo and Ian parting ways with emotional honesty and mutual understanding, choosing to let go for the sake of individual growth, TJ’s scene inside the police car feels deeply ironic. He was thanked by a police officer because his daughter was safe, and then he laughed. That laugh almost feels like he was laughing at himself and at the absurdity of the situation. He had just said he wanted to quit the gang, yet instead of fully facing accountability, he was still clinging to and stuck within the very system built on power and money to avoid the consequences of his actions.