i think quality-wise it's obviously complex & there's much still to learn but i'm less interested in whether it measures as dislike/like than how it falls into alien stage's idealisation-as-love aspect: because in many ways none of this is strictly "love" — the children in anakt are constructing what it must mean out of nothing & this process occurs simultaneously with their manifestation of their own selves. & i think w/ hyuna that mired sort of intimacy in their few official art is best mixed in with her own Evasion & clouding over of luka (in my previous answer where i was talking about how luka thinks about her: he does something similarly divergent from alnst's idealisation form). in her profile she says "i shouldn't have approached you from the beginning and been nice to you... shall we talk about something else?" — the evasion, the shortness, very different from the answers she uses for everyone else. she's kind of refusing to let him become her ghost lol. in the artbook, they say "from the outside, hyuna appears to be moving forward, but in reality, she’s unable to escape her past." i really like how all in has hyuna creating her own, Changed Fantasy with the lyrics about her control through which her own Free self is made manifest coming off as a Kind of proof of life against the way said lyrics r layered with flashes of luka and hyunwoo & her own desperate expression. she's not singing about luka...! she's singing about herself but he appears nonetheless and the lyrics at the points he appears characterise her further to me. like she still makes the gestures mid song, going through the motions of exhibited confidence despite her distressed expression... it fascinates me in how a stage where everyone story-ises another in order to get this individuation (see: ivan),, its not just that hyuna sings about herself,, she does this on top of a Refusal of luka. compare this with luka who always sings in a way where he's obscuring himself! i really enjoy the lyrics from drunk and party [goodbye, i'll release you / from these cold shackles / your body and soul, bruised and broken / your freedom was taken away so you couldn't fly, sing!] because of the way its directed towards Someone else, keeps herself in that area of savior. but the someone else in question is hypothetical, unformed outside their plight, unlike a lot of the other songs. and so now the hyuluka art comes off as this — frame of romance, almost. luka the blissful, blushing bride & hyuna's expression of horror. in the newest art his hand curls around her hip (the location where the brand is on his own body), like he's trying to inscribe himself onto the idea of her, and she's revolted by the idea of this and he can do this, because she's Off Stage. she's the concept of freedom he has made his own... but she's alive and kicking & that's why them actually seeing each other on the stage is such an important moment to me. like,, hyuna lives in a way where she's trying to cut herself off from the sticky connections of the past, the same ones the stage is composed of. and it's really interesting how she saves mizi because she sees herself in her? it makes me think of luka-sua parallels, lol & how sua according to the artbook wanted to preserve mizi's innocence to her detriment, so that she could live within that beautiful innocence of the "heavenly garden", to the point of becoming an obstacle to mizi's growth... and luka's obsession with hyuna's idea of freedom on the stage has me speculating that something in a similar flavour happened there. because hyuna is so obsessed with growing Past it now, in a way, and luka is like a sua who lived. i'm very curious about their past..!