With the Babel rerun underway, Theresa's flower field and cliff scene can finally be fully shared. This shoot mainly aimed to recreate that memory belonging to Kazdel, bringing out the feeling of the flower field pouring backward out of the valley. We found a wasteland for the shoot, where rough stones piled up, creating a strong cliff atmosphere. To create the Flower field photography effect covering the earth, we brought a large number of artificial daisies and arranged them one by one in the stone crevices and mud; we had to be very careful when walking. The dress was specially chosen with thick, draping fabric and an extra-large hem with a petticoat inside, so spinning in it would give that fragmented yet weighty feel. Because the dress was so heavy, and the surrounding stones were hard and slippery, I had to hold onto the rocks several times to stabilize my center of gravity while posing, and the hem got quite dusty. The hair was specially extended and dyed long pink hair, which needed constant combing to prevent tangling. The black flower hair accessory on the head was crucial to the styling, adding a sorrowful and oppressive touch. The bouquet in my hand consisted of fresh small white daisies, which, combined with the expression, gave a feeling of tranquility mixed with determination. To capture unique visual angles, the photographer lay flat on the high rocks the entire time, having to avoid clutter at the frame's edges and even watch out for loose gravel underfoot; framing the shots was very arduous. The most time-consuming part of post-production was the glowing pink threads. We wanted them to entangle the character like fate without obscuring the facial expressions. This required drawing them one by one with the pen tool, then adjusting the opacity and glow effects to match the character's pink hair. Since I wasn't wearing tights, we simply used the long dress to cover the lower half of my body. The visual tension relied entirely on the skirt's drape; not much was exposed, which actually fits the character's original design. We chose evening lighting. The cool-toned rocks paired with the white flowers and dress, plus the warm pink of the threads, directly amplified the character's feeling of still holding onto hope amidst despair. Theresa's charm lies in her benevolence and determination; though she is a Demon King, she is more like a gentle messenger. During the shoot, we repeatedly experimented with her gaze and aura, such as a slightly lowered gaze or looking straight into the lens with compassion, like in photo three. We also shot a lot of behind-the-scenes footage. The shooting process was very fun. Although tiring, it felt very immersive and was an unforgettable experience. Looking at the finished product and recalling how she ended at Babel gave a very magical feeling. I communicated with the photographer for a long time this time on how to make the skirt and flowers look like they were dancing in the wind. I twirled the skirt in front, and he took burst shots, eventually choosing the most natural one. The makeup artist was also constantly adjusting the saturation of the eyeshadow, aiming for that sense of exhaustion after experiencing monumental events. Everyone helped tidy up the wind-blown hair and clothes. Walking on those uneven stones was a real test of balance, and I almost fell several times. In post-production, we also specifically added dust in the air and the Tyndall effect for the lighting. For the close-up in photo one, to clearly capture the light in the eyes, we used a reflector and shot all afternoon until we were satisfied. These were all very interesting experiences. Writing up to this point, I suddenly feel that being able to meet everyone as Theresa is a very happy thing.