The Green-Eyed One takes Y·N to the Throne Rite

The event in which the green-eyed faction brings Y/N toward the throne ritual marks the point at which her captivity becomes an attempted supernatural transformation. Y/N, a sixteen-year-old girl, is dragged into a stone building, restrained by root-like forces, and presented to an unseen power as “My king.” The sequence moves from forced movement and apparent helplessness toward revelation and resistance: the throne is connected to Gehan, ruler of Gehenna, while the blood-red moon enables Y/N to move and join her light and dark selves. By seizing the glass ball and opening the gates of hell, Y/N turns the ritual’s expected submission into an assault on Gehan’s authority.

Causes and Setting

Y/N’s passage toward the ritual follows a larger pattern of removal from familiar protection. Earlier, her mother abandons her beside the road by driving away after telling her to leave the car, leaving Y/N calling for her to come back. The later ritual repeats that abandonment in a supernatural form: instead of being left in an ordinary landscape, Y/N is taken from one reality into another. A shadow pulls her through a mirror that feels like water, placing her inside the mirror and establishing the kind of unstable threshold through which the green-eyed forces control access to their world.

The immediate approach begins when Mark walks with Y/N for some time and points toward a giant stone tower, identifying it as the destination. The tower’s apparent distance becomes confinement when Y/N finds herself directly in front of the stone building. Mark pushes her inside and shuts a heavy door. The movement therefore carries a double meaning: the building is not merely a place where the ritual will occur, but a structure that converts guidance into betrayal and arrival into imprisonment.

Capture and Forced Procession

Inside the building, Y/N is drawn toward a chair whose purpose she does not understand. Before she can reach it, a small rock strikes her head, followed by a warning telling her to run. She briefly wonders whether the voice belongs to Jungkook, but the warning does not create a successful escape. Someone seizes her from behind, and Jackson says that she should not run because they are close to achieving their goal. The words expose the procession as deliberate rather than accidental: Y/N is being delivered somewhere, and her resistance is treated as an interruption of a planned ceremony.

Jungkook intervenes by knocking Jackson to the floor and holding him by the throat. He tells Y/N to go, giving her a brief opening to escape. The interruption changes the balance of the scene, but it does not release her. A substance or force catches Y/N, pulls her down, and drags her rapidly across the floor toward a throne-like object. Jungkook begins to protest, but the force has already converted the floor into a mechanism of transport. Y/N is not walking toward the throne by choice; the ritual itself appears to possess the ability to move her body.

The restraint becomes more severe when root-like growths cover Y/N’s mouth and pull her backward into the throne. She is completely stuck. At the same time, one of the figures forces Jungkook’s head upward by pulling his hair, placing both captives into a posture of submission. Jackson then walks forward, stops in front of Y/N, bows, and asks her to come, ending with the title “My king.” The gesture is ceremonially respectful but materially coercive. It gives Y/N a royal designation while denying her the freedom associated with authority, making the title part of the ritual’s attempt to define and possess her.

Threshold and Revelation

The ritual’s spatial logic shifts after Y/N is immobilized. She can no longer see what is above or below; there is only white space. Within that blank environment, an unidentified voice calls her name and says, “Finally we meet after all this time..” The encounter implies that the throne ceremony is not simply a public presentation before the green-eyed faction. It is also an introduction to an older or previously concealed power whose relationship with Y/N predates the immediate capture.

The later explanation identifies Gehan as the ruler of Gehenna itself, which Jinyoung equates with what humans call Hell. This revelation gives the throne a political and mythic significance. Y/N is not being brought before an ordinary leader or confined in an ordinary chair; she is being delivered into the domain of a ruler whose authority extends over Gehenna. The earlier title “My king” consequently becomes part of a hierarchy centered on Gehan, while Y/N’s placement before the throne suggests that her body or power is intended to serve that hierarchy.

Blood Moon and Resistance

The ritual’s control is interrupted when a blood-red moon appears and a red light falls upon Y/N. She had felt something tighten around her neck and believed she was stuck, but the red light restores her ability to move. The blood moon thus functions as a reversal within the ceremony: the same setting that confines Y/N also becomes the condition under which she can act again. Her freedom is not restored by the guards or by the architecture; it emerges through a supernatural transformation of the ritual space.

Y/N’s resistance becomes collective and internal at once. Her light and dark aspects speak to one another and insist that they must leave before they can know what is happening to their ordinary external self. The three versions of Y/N hold hands in a triangle, and the dark aspect tells them to concentrate while the others do the rest. This formation turns division into coordination. What had appeared to be a fractured identity becomes a means of action, allowing Y/N’s separate aspects to cooperate rather than remain objects of possession.

The decisive reversal follows when Y/N reaches into one of Gehan’s pockets and takes the glass ball, stating that she will keep it. She pushes Gehan away and concentrates on imagining the gates of hell into existence. The resulting rumbling signals that the ritual has been redirected against its presumed ruler. Y/N no longer merely survives restraint; she takes an object from Gehan, uses her own concentration, and attempts to open a passage capable of challenging or containing his realm.

Consequences and Narrative Significance

The ritual’s aftermath reveals that Y/N’s power is dangerous even to those trying to control her. A blue bubble appears and grows until it takes human form as Y/N’s mother, who looks worried and asks what has happened and whether the girl is Y/N. The maternal image reconnects the supernatural confrontation with the earlier abandonment, but it does not erase the intervening history of captivity. The mother’s appearance instead places personal identity beside cosmic conflict: the girl left by a departing car is now powerful enough to summon the gates of hell.

Assiah later explains that Y/N was possessed by her own power. This statement reframes the ritual’s apparent possession. Y/N was not simply controlled by an external green-eyed entity; her own divided force had become overwhelming, turning her body into the site of the struggle. Assiah offers not to harm her, and after asking the others to stand together, focuses energy that makes them slowly disappear. The group is therefore removed from the ritual’s immediate danger through another act of supernatural intervention, while the exact fate of the throne setting remains tied to the broader effort to end Gehan’s control.

The consequences extend to the cursed members of the green-eyed faction. Assiah finds Bambam with a hole through his chest, injured while trying to stop Y/N, and uncovers Gehan’s mark on his wrist. She identifies the mark as evidence of a curse that has held them for far too long and begins working directly on its energy. The throne ritual thus exposes not only Y/N’s struggle but also the coercive system binding those who appear to be her captors. In the sequence’s final moral reversal, the people delivering Y/N to the throne are themselves shown to be subjects of Gehan’s power, while Y/N’s attempt to open the gates becomes the action that threatens the structure governing them.