──── Pills for colds, meals for hunger, me for you.
FACE THE SHADOW!
OR
SEVENTEEN'S 14TH MEMBER
SEVENTEEN ♱ WINEKISSES
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ZERO Epigraph
ACHLYS DOESN'T HAVE to ask to be loved. She will always believe that, with SEVENTEEN, she will find her way back. Even if it seems like it's final, like she will never see them the same way again, like nothing will go back to the way it is, like the change is irremediable, like there's a mountain between them, and like she knows in her bones that they have been separated irremediably — she will find the path back, across rivers, valleys and cities. They will only be separated once they take the choice of letting go.
OR IN WHICH LI ACHLYS is most notably whipped for thirteen grown men and the always enchanting CARATs, finds out just how fun music is, and rethinks her life decisions at least five times a day. All of this for $36 per stage...
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NIGHTINGALE Achlys Lī
The Universal Epitaph '95 ♱ Vocal ♱ Joy
i. Coy — Mr Floyd Larry ❛ Joyful summers end in slumber, Fearing defeat, a gallant mystery. ❜
Die Your Daughter .ii Susannah Joffe — ❛ I'm left to pawn you off, I will die your daughter. ❜
iii. Stargazing — The Neighbourhood ❛ Even if you go now, Your spirit still lives. You say you want it to be great again, But it was never that way to begin with. ❜
Kill For You .iv Gigi Perez — ❛ I guess that you were right, And pardon my mistake, I'll never be the one that got away. ❜
v. Puedes Contar Conmigo — La Oreja de Van Gogh ❛ Sólo quedarán, Los buenos momentos de ayer, Que fueron de los dos. ❜
&
THE SEVENTEEN MEMBERS AS THEMSELVES
NOTES ♱
Old readers will be aware of this, but just in case any new readers have, for some unknown reason, chosen to read this book: it's several years old and heavily unedited. Beware.
WARNINGS ♱
The following triggers are present in the book: — Violence, — Obsessive behaviour, — Attempted harm, and — Swearing. Please proceed with caution.
COLOPHON ♱
Credits go to Red Velvet's Joy (Park Soo-young) for Achlys' faceclaim. Characters except the protagonist and others (stated in the chapter 'Family') are the intellectual property of another, making this pastiche unprofitable, and, furthermore, transformative. Any happenings that share any sort of resemblance with reality are purely fictional.
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