This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/
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1. Yoon Seungho the king
After the end of season 1, I had been contacted by many followers asking me about the possible ending of Painter Of The Night. Many feared for a depressing ending, as Byeonduck had declared that the protagonists would be happy on their own. In their mind, this meant that the protagonists wouldn’t end up together. My reply was that the couple would become happy without getting too dependent on each other. I meant Yoon Seungho and Baek Na-Kyum would come to give a new sense to their own life, and their love would help them to have a goal and purpose in their life. And that’s how real couples live. Thus while examining season 1 closely, I came to imagine that Yoon Seungho would become the king and Baek Na-Kyum his painter. As you can see, very early on, I connected the noble to royalty. Why? First, we had the lord outlining his powerful position in front of the painter. (chapter 11) Secondly, I had associated the main lead to the eagle which is the symbol for the kings and emperors in Europe. He was seen here flying (chapter 30), and his fingers reminded me of the eagle’s claws. (chapter 18) And this perception got even reinforced, when I saw this panel: (chapter 52) In this scene, he was sitting like a king surrounded by his “court”. The hanbok had such a design that I couldn’t help myself associating it to Joseon’s monarchy.
However, I have to admit my mistake, for this interpretation was strongly influenced by my own culture and as such European history. Yet, here we are dealing with Korean and as such with Joseon culture. Hence the symbol for Joseon’s dynasty is not the eagle, but the dragon. That’s why when I saw this new image on Twitter , I had another revelation. On the one hand, it actually confirmed that Yoon Seungho was somehow destined to become a king, yet he is not represented by the eagle or the phoenix, but by the dragon. Hence the moment I saw this image, one idiom came to my mind: Dragon king!
Because of this sudden association, I decided to look more into it. Thus imagine my surprise, when I discovered this:
Yongwang, or Dragon King, is a deity of the river or the sea, overseeing peace in the house, good health and longevity in the family, the harvest, catch and safe sailing. Yongwang is also called Yongsin (Dragon God).
Communities worshipped Yongwang as a water god, holding divine powers to control rainfall. Dragon King worship is closely related to the contemporary practice of staging rituals at village springs or wells that are believed to be dwelling places for Yongwang. Around the country there are also legends regarding dragon springs and dragon wells, created by a dragon that brought rain to repay humans by turning wasteland fertile, which shows that Yongwang is closely related to farming. […] In shamanism, Yongwang oversees not only fishing, but the souls of those who have drowned and died. In the worship of household gods, it is a deity that oversees peace in the household, good health and longevity in the family, the harvest, catch and safe sailing.
Among rituals held for Yongwang in the home by women, the most widely spread is yongwangmeogigi (feeding the dragon king), also referred to as yongsinje (dragon god ritual) and gaetje (fishing ritual). This ritual can take place in three different venues: First is a private well in the backyard; second is the communal well, where, in some cases, a spring ritual (saemje) is held, then water from the well is brought to the home and placed in the kitchen or on the sauce jar terrace for the Dragon King; […] https://folkency.nfm.go.kr/en/topic/detail/2618
The moment I read this article, I couldn’t restrain myself making the parallels between Yoon Seungho and Yongwang. First, the deity in the background reminded me of Yongwang. (chapter 100), though this deity is always accompanied with a dragon and in this picture, the readers couldn’t see one. However, it is possible that the author didn’t desire to reveal too much.
“his most distinctive traits are that his beard, moustache and eyebrows are (usually) “spiky,” protruding in sharp points, sometimes resembling coral, and his eyes are often bulging out like those of a fish. He most often holds the banya-jinju (般若眞珠, flaming pearl of wisdom, a type of ma-niju 摩尼珠), but sometimes a branch of coral or a sword.” quoted from http://www.san-shin.org/EKB-Yongwang-DragonKing.html
Secondly, we have a strong connection between rain and the main lead’s situation and emotional state. It rained, when the lord had sex with Baek Na-Kyum. (chapter 21) Why? It is because the lord was happy. These were the tears of happiness, which Yoon Seungho couldn’t express contrary to the painter. And this is no coincidence that in chapter 58, it started snowing, when the couple was making love: (chapter 58) And we had the same weather, when Yoon Seungho saved his lover. (chapter 102) The weather was expressing the main lead’s emotions: tears of happiness or sadness. We could say that the lord has the “power” to move the sky.
Furthermore, the well plays a huge role in this story. Many people are found dead in a well (chapter 97), and according to me, the messenger was drown there. (chapter 94) In addition, my theory is that Deok-Jae and/or Jung In-Hun’s body were placed in a jar in order to hide the murders. For me, the jar plays a huge role in Painter Of The Night… thus Byeonduck created such a scene in season 2 (chapter 46) and we have so many jars next to the pond: (chapter 94) [For more read the essay “The secret behind the library”]
Furthermore, this story takes place in Jemulpo, a town situated next to the sea, and Yongwang’s realm is supposed to be in the sea. (chapter 91) This is no coincidence. To conclude, all these elements (rain, jar, well, soul of a deceased), connected to the dragon king, are present in Painter Of The Night. Thus I came to the conclusion that Yoon Seungho is like Dragon king. This reinforces my conviction that the main lead is not only connected to shamanism, but also embodies royalty. So he might not be the king of Joseon, but he is powerful in his own way, though he is not aware of this. And note that the moment he wished to commit suicide by drowning in the pond, he was brought back to life. (chapter 102) Water is his true element.
In different temples, you can discover Yongwang accompanied with a woman. She is also dressed in royal clothes with a small crown. What’s unclear is if she’s another Yongwang or if she’s his wife. And this could be a reference to the painter, who will become Yoon Seungho’s bride, but his true identity will remain hidden.
What caught my attention is that the rituals concerning Yongwang are held by women, which stands in opposition to the shrine and Confucianism. (chapter 85) This means that in the Yoons’ mansion, people didn’t venerate this god. And since the aristocrat made such a statement to the elder Yoon Chang-Hyeon, (chapter 86), I have the impression that in season 4, we will assist to a real ritual to ward off evil and back luck, leading the tormenting souls to the afterlife peacefully.
And this leads me to the following observation, the dragon in Korea and Joseon is perceived as a good omen! He would bring good fortune.
Since the release, I realized that the decorated tree (chapter 100) and this altar (chapter 100) were exposing the presence of a ritual. However, my problem was that I couldn’t determine exactly the nature of the ritual. But by making the connection between the dragon and good fortune, I had now more clues. I have to admit that I can not be 100% sure for this, but this is what I found:
“Yonggyeong (Kor. 용경, Chin. 龍耕, lit. dragon’s plowing) is a custom observed on Dongji (Kor. 동지, Chin. 冬至, Winter Solstice) in which people tried to predict the outcome of farming for the upcoming year based on the direction and angle of cracks on the surface of a frozen pond. The custom is also known as yonggari (Kor. 용갈이) or yong-ui batgari (Kor. 용의 밭갈이), both meaning ‘plowing by the dragon.’ When ice covers a pond, there is often a crack that divides the ice sheet into two halves, as though a field were divided along a furrow left after plowing. This phenomenon was considered a trail left by a dragon and, therefore, interpreted as having divinatory power concerning farming success in the year ahead. […]
According to another custom referred to as dongbok (Kor. 동복, Chin. 凍卜, lit. ice fortune-telling), on the eve of the year’s first full moon (the fourteenth of the first lunar month), people left two bowls of fresh water out overnight and positioned them north and south of each other. The next morning, they examined the ice sheet that appeared in the bowls and tried to predict the success of farming in the northern and southern regions. quoted from https://folkency.nfm.go.kr/en/topic/detail/4622
The timing fits to our story, and we have the presence of bowls in front of the deity in the yard. In my eyes, the shaman had prepared a ritual for the dragon king, and was praying for the success of the farming. Don’t forget that it takes place just before Spring. Consequently, this is not surprising that the lord got connected to peasants and this very early on. (chapter 4) (chapter 6) (chapter 82)
This observation leads me to the following conclusion: Yoon Seungho, as a new version of Dragon King, will bring luck to the commoners and peasants. He will help them to improve their living conditions (education and good farming). As you already know, I consider Yoon Seungho as a representative of Sirhak. [For more information read the essay “The scholars’ fight”] And now, you comprehend why very early on, I expected that Yoon Seungho would become a king. He doesn’t need to become a real “king”, yet there is no ambiguity that his fate is to become famous as a spiritual and fair leader.
3. Dragon and imoogi
That’s the reason why I started looking for more information about the dragon. As the readers could see through the deity, this mythical animal is strongly connected to water!
What caught my attention is that the Korean dragon has no wing, yet it can still fly and he has no beard!! But more importantly, this creature is a combination of different animals: the body of the snake, the antlers of the deer, the forehead of the camel, the nose of a pig, the ears of the cow, the claws of the hawk, the scales of the carp, the fist of a tiger and the eyes of the rabbit! He contains all the strongest features of these animals:
- luck for the pig
- strength for the tiger
- elegance of a deer
- stubbornness and resistance of a camel
- compassionate and giving nature of a cow
- the constant change, the metamorphosis of a snake (cycle of death and rebirth)
- the rapidity of a hawk
- fertility of a carp
- the abundance of the rabbit by sharing its eyes
In other sources, I read that the Korean dragon had also features of the dog, the frog and the sheep. But why does this mythical animal possess so many features from different creatures? It is because this powerful, God-like creature embodies the love and respect Korean people have for the natural world. I would even say that he represents nature, and as such he stands for harmony and justice. By being sharing features of different animals, he can understand their life. This is not surprising that the Joseon kings utilized this animal as their emblem. It symbolizes their power (omnipotence and “immortality”) while substantiating their ability to be fair and just rulers.
Striking is that we have an allusion to these animals in Painter Of The Night. First, the lord was able to kill the boar (chapter 83) and the deer (chapter 22). Then the lord compared Baek Na-Kyum’s eyes to a rabbit. (chapter 78) Since both resemble each other, I deduce that the main lead has the same eyes, the rabbit’s. Like mentioned above, he utilized his fingers similar to claws: (chapter 18) He would fly like a bird, though he has no wing (chapter 30). His fists in this scene reminded me of a tiger’s: (chapter 54) One might argue that this signification is totally impossible, for the lord doesn’t have the body of a snake. This point can be refuted very easily. What is the major characteristic of a snake is molting. A regularly recurrent event during the activity period of all snakes is the shedding of the skin. This coincides with the lord’s change of clothes. The latter reflected his downfall and rising. Furthermore, this animal is linked to death and rebirth. My avid readers are already aware that I had detected different scenes, where we could witness the lord’s spiritual death and rebirth, like for example in the shed: (chapter 62) When he discovered his misjudgment the next morning, he felt like dead. He no longer saw himself as a lord, but came to view the painter as his new lord : (chapter 66) As a conclusion, Yoon Seungho shares so many similarities with the dragon that I came to view him as one. This explicates why even after getting married, he will never wear a beard! The change of dresses and hair dresses of Yoon Seungho represents the different social status in Joseon society: young master, painter, male kisaeng, slave, peasant, executioner, servant, lord, concubine, “wife”/husband” etc. Moreover, since I had detected parallels between the protagonist and the legend of Dangun, this could only reinforce my conviction that Byeonduck is referring to old tales and religions (and as such Dragon King) in her story. The author has already stated that she won’t create a story with the couple set in our time, and this becomes understandable, if she is constantly referring to old traditions and myths.
According to different sources, the Korean dragon is not born as such. They were once said to be Imoogi , a giant lizzard that resembles sea serpents. They exist several different versions on how Imoogi become Dragons. One said it would take a thousand years for them to become a dragon, while another says they must catch Yeouiju (star) falling from the sky. Thus in temples and in pictures, the Korean dragon is also always represented with a ball.
“Another theory that exists and sounds the most logical to me, says that Imoogi was born in a place where living and dead intermingled. It was created in cave where thousands of people were stuck due to war in 420AD. As more and more people started to die in the cave, their intense agony and suffering led the foundation for Imoogi’s birth and therefore it symbolizes destruction and sadness. Imoogi controls the power of birth, death and rebirth. Ouroboros, a symbol of wholeness/infinity is also represented by a snake(serpent) eating its tail.” quoted from https://rtaori60.medium.com/imoogi-the-great-lizard-aca02c6c9b1e
Since it takes 1000 years for an imoogi to transform into a dragon, we have 10 years of suffering in Painter Of The Night. For me, this is not random at all. This means that after chapter 102, Yoon Seungho turned into a real dragon! This corresponds to his Coming-Of-Age. That’s the reason why I don’t think that he will be manipulated again like in season 2 and 3! My avid readers are already aware of the presence of ouroboros in this manhwa. For me, Kim symbolizes the imoogi and Ouroboros! He could never turn into a real dragon. But why does the imoogi need to wait for so long ? Some say that this is a curse, other traditions hold the idea that Imoogi are “pupae” or “larvae” of dragons. And they will become full-fledged and full-fledged dragons after being in the ocean for 1000 years. This signifies that time, experience and patience are essential for this transformation. Thus not every imoogi can become a dragon in the end, and that’s Kim’s fate. He was not able to recognize Yoon Seungho as his “yeouiji”. The shaman’s house reminds me of the cavern (chapter 102), and thanks to the painter, Yoon Seungho’s soul was able to escape this “mental prison”.
And this leads me to the following aspect: Baek Na-Kyum is the lord’s Yeouiji, his fallen star fulfilling all his wishes. That’s the reason why the dragon is never seen without his star. One might say that this is exaggerated. However, my avid readers should remember that I had associated the painter to a star, the sun, in previous essays, even before making the relation between the dragon and Yoon Seungho! This explicates why the lord is carrying his lover like his bride (chapter 45) (chapter 102), similar to the dragon in the picture above. His “star” serves as his guide, support and his source of life. Thus when the main lead confessed to the painter for the first time, the sun entered the bedchamber (chapter 55) and as such his heart and mind.
Therefore I come to the conclusion that in season 4, the readers will witness a clash between two dragons, the king and Yoon Seungho! The fight between the fake and the real dragon! Thus when the author released this panel recently, (Twitter), she was actually announcing the arrival of the monarch in Joseon. Hence you comprehend why I selected such a title, the rise of the dragon. “Lord Song” can no longer hide his true identity.
4. Dragon king and expulsion
My readers will certainly recall that the starting point of this essay was this expression “dragon king” which came to my mind, when I saw the recent publication. Why? First, the main figure was wearing the gonryongpo (곤룡포), where dragons are sewn on it. This hanbok is the everyday robe for the king which explains why the latter is always wearing the red robe all the time he appears in front of people. Hence I made this association in my mind: dragon king. When Byeonduck published this image, , she was naturally creating a new story, another Alternative Universe. The student Baek Na-Kyum who got bullied by the classmate Deok-Jae was suddenly sent back to Joseon, and appeared in front of the king’s bedchamber, Yoon Seungho.
Striking is that this panel resembles a lot to this picture which the author hasn’t used yet: The painter is sitting inside a room, while Jung In-Hun is standing outside. Nonetheless, the position of the characters are very similar. This indicates that the author’s new alternative story is actually inspired by the main story!! This can only reinforce my perception that Yoon Seungho in the main story is associated to royalty. However, since it is a reflection, I deduce that this image is the positive reflection of this scene: How did the learned sir react here? He criticized the painter by stating that this was “filthy”. In this scene, the characters are caught by surprise, but it becomes obvious that there is no disgust or expulsion. In fact, the fall of man took place before, for Baek Na-Kyum was sent to Joseon. In this encounter, I detect attraction and curiosity. Hence I come to the conclusion that in the original story, when this scene took place, , Yoon Seungho was far from being living like a king. As you already know, according to my interpretation, the protagonist was treated like a male kisaeng. That’s the reason why I believe that this scene played a huge role in Yoon Seungho’s liberation, the physical expulsion from hell in the end. Since in the parallel story, the student experienced time-travel and as such rejection and expulsion, I conclude that in the main story, Yoon Seungho must have made a similar experience! But this doesn’t end here, as the readers should keep in the mind the following rule: The painter’s destiny reflects the lord’s.
On the other hand, the manhwaphiles will complain that so far, Yoon Seungho has never appeared as a dragon. Yet, we shouldn’t overlook that the phoenix is the symbol for the Queen in Joseon. (chapter 50) (chapter 52) This means that the mysterious lord Song was actually claiming the main lead as his wife in the last scene. Min and his friends were sent there in order to entertain the protagonist, but they failed. This explicates why the next day, Black Heart was seen with a hanbok of lower quality. (chapter 56) It was, as if Min had been compensated for his bruised face by the mysterious lord Song. However, for the pedophile, Black Heart was just a concubine, and not his main wife! Hence the hanbok had not such a detailed and expensive design. This would explain the villain’s jealousy. And now, if you look back at the hanboks from the main lead, you will recognize his ascent. First, he is wearing green, which is similar to Yoon Chang-Hyeon’s color. At the same time, his hat resembled a lot to Kim’s. (chapter 1) Then later, he is mostly wearing blue which is actually the color of the Crown prince. (chapter 11) Yet, his robes initially have no design. Slowly, the lord is wearing colors and designs that are actually reserved for a king: blue, red, black and purple. This constant change of hanboks symbolizes the “snake molting” and as such his transformation and rising. This is not astonishing that on the night of the bloodbath, he had such a hanbok: (chapter 102) Here, he was no longer acting like a noble, but as a ruler. Don’t forget that according to me, the mysterious lord Song had proclaimed the main lead as his unofficial Queen by giving him hanboks with phoenixes. However, naturally, this was never mentioned to Yoon Seungho directly. Why? It is because Kim usually selects his clothes. However, this rise was not natural, as the lord had no real saying in this matter. The real metamorphosis took place in the shaman’s house, when the lord was sent back to the past and as such the darkness. (chapter 102) The moment he left the “cave”, he went to the mountain and surrounded by the wind and water, he changed into a dragon. This expulsion corresponds to the final release, the lord’s mind is finally freed from the darkness, while I believe that this scene is linked to the lord’s physical liberation. .
5. Nightmare and dream
Above, I had mentioned that the painter was the dragon’s fallen star and the love sessions were strongly connected to the weather. If so, why did it snow, when the learned sir left the mansion? (chapter 44) It is because the main lead was thinking that the painter would actually run away. Thus the door was left opened, and he was wearing warm clothes. Yoon Seungho never imagined that Baek Na-Kyum would remain by his side. Yet, during the previous night, the lord had consoled his lover by embracing him.
Furtheremore, the manhwalovers could also wonder why the lord had a nightmare in the bedchamber after their second love session? The painter’s presence should have brought relief. Moreover, during that night, there was no rain. (chapter 71) But this can be refuted easily. First, don’t forget that during this love session, the lord was acting like a servant pleasing his new lord. So this had nothing to do with Yoon Seungho’s feelings like sadness or happiness. He was determined to keep the painter by his side, and ignoring his own feelings. He never expected the artist to reciprocate his feelings. Secondly, Yoon Seungho’s nocturne vision is not just a nightmare, but also a DREAM! Yes, you are reading this correctly. Only recently, I discovered that all the artist’s visions are a combination of 3 elements: memory, nightmare and dream! I will give you three examples as illustration, for I am slowly running out of time.
Chapter 28: This vision is a combination of these three elements: memory, nightmare and dream. This had happened during the First Wedding Night (memory) (chapter 21), then we have a similar situation in chapter 49: , , but the painter was rejecting this future. Hence he considered it as a nightmare.
- Chapter 34 : Memory ; nightmare the lord becomes a ghost and confronts the painter with his biggest fears (admitting his attraction, passion for erotic paintings and homosexuality) and dream (The painter’s true desire was that the lord would kiss him, he was deeply longing for his lips, yet he was still in denial in this vision.
- Chapter 98: Memory, for the painter was remembering the corpse in the courtyard, a dream, as he wished the return of his loved one . He hoped that the lord would take care of him personally. Naturally, the “spirit” is the nightmare .
Since the lord’s fate and personality are similar to the painter’s, I could only come to the conclusion that the lord’s vision in the bedchamber is not just showing the past and the future horror. It also exposes the lord’s dream and hope! 😮
So where were his desires visible? First it was about breaking free from his jail… (chapter 74) This had already happened, but the lord had not grasped the significance. (chapter 53) Besides, he had not opened the door himself. Even when he went to the scholar Lee and opened the door with the his foot, the lord still felt trapped. (chapter 67) Then in season 3, he could break a door, but it was thanks to the painter. (chapter 96) This shows that the lord’s wish to get released had not been fulfilled so far. In my eyes, it is connected to the torture Yoon Seungho suffered and as such to the purge organized by the authorities. That’s the reason why I deduce that the lord will break a door in season 4, and this won’t be by accident and it will be witnessed by many people contrary to chapter 53, 67 and 96! The broken door will reflect the lord’s rise and power, and no one will be able to stop this. In my eyes, this wish is connected to the door in the servants’ quarter. That’s how his imprisonment started.
Moreover, the protagonist was voicing his thoughts, the reproach to Kim and his father! They had abandoned him. (chapter 74) The “dragon” wished to see Kim and his father, and confront them! And this did take place in season 3. Yoon Seungho confronted the butler with his attitude and betrayal (chapter 77), but this argument was just short-lived. He still viewed the valet as a hard-working and trustworthy person. He had just made bad decisions. Then in the bedchamber, the lord could blame the father for his suffering: (chapter 86) As you can see, the lord’s wishes were granted, but the nocturne vision was so difficult to grasp that neither the readers nor the main lead could interpret the message correctly immediately. Besides, the nightmare was mostly silent. But this doesn’t end here.
(chapter 74) In this image, he is floating in the air… a sign that his status is changing. At the same time, this shows that he is escaping from the hands. They are trying to drag the main lead down. Thus I come to the conclusion that the vision was announcing the lord’s transformation (into a dragon) and as such his “rise”. Note that in this image, he is still a teenager, but in the following panel the protagonist has already become an adult. (chapter 74) Simultaneously, the vision also displays the lord’s expulsion from “hell”, the sex orgies (chapter 74). the hands are trying to bring him back. This image displayed that Yoon Seungho would become powerful, and the hands wouldn’t be able to contain him any longer. The pink is a reference to the painter, and not just to the gibang! Thanks to the painter, Yoon Seungho is changing so that he will be able to face the KING, but not only him!! This is what the dream was telling him too. Thus we have this image: (chapter 74) Simultaneously, the dream showed that the lord wished to see this painting again, though deep down, he blames this image for his suffering. As you can see, the vision was revealing the tormented disposition of the lord. He was switching from nightmare to dream and the reverse… a mixture of anxieties and desires.
However, pay attention that the painting was standing behind Yoon Seungho, when the hand grabbed him (chapter 74) This signifies that he was approached by someone from behind, he had not noticed that the “door” had been opened. Thus he never expected his apparition. For me, this perception demonstrates that the painting is not the real cause for Yoon Seungho’s suffering. Since he had turned around, I came to recognize that this scene stands in opposition to the situation in the painter’s nightmare: (chapter 34) The painter had been able to witness the entrance of the ghost contrary to Yoon Seungho. The latter was caught by surprise. This image illustrates the lord’s biggest fear. That’s how I realized that his biggest nightmare is not the pedophile in my opinion, for the main lead in Baek Na-Kyum’s “nightmare” (chapter 34) stands for attraction, honesty and love… thus it should be the opposite in Yoon Seungho’s nightmare: repulsion, betrayal and resent! He fears to admit the truth, the biggest traitor is Kim, but he is still in denial. He has repressed the terrible betrayal from Kim, just like the painter’s, though I think that the biggest traitor in Baek Na-Kyum’s case is not really Jung In-Hun, but Heena. This would explain why Heena noona was not present in the terrible vision in chapter 34. This is not random that we don’t see the face of the owner’s hand. Naturally, the king was involved in this betrayal, for Yoon Seungho is caught between the hand and the painting. He was trapped between two forces.
This means that Baek Na-Kyum will help Yoon Seungho to face the truth: Kim is a traitor and the king is the pedophile. The vision is indicating that the butler will betray him again in the future, backstab him one more time… However, this time he will recognize his action. Why? Because this time, there is light in the room… as Baek Na-Kyum symbolizes the Yeouiju, the fallen star helping the dragon. If the author presents another dream from the main lead, we will definitely get new clues. And this brings me to the following conclusion:
Yoon Seungho had been portrayed as a bird of misfortune on purpose. (chapter 86) In reality, he was a dragon, who could bring luck and fortune to the person who would cherish him. This is no coincidence that the pedophile sent hanboks with the crane (chapter 34), (chapter 45) In his eyes, the main lead brought him luck, as all his wishes got fulfilled, and he was never caught committing a sacrilege or crimes. However, since the presence of Baek Na-Kyum by Yoon Seungho’s side, it looks like nothing is going like planned. The main lead is not only drifting more and more away from him, he even left everything behind. That’s the reason why I believe that the dragon, the king, will vent his anger on many people in season 4, a new version of this scene. (chapter 30), but much more brutal and violent! While this “dragon”, the king, stands for court, and as such civilization and immobility, the Korean dragon embodies nature and hope for commoners who dreamt of ascending the ranks! This is not surprising that Baek Na-Kyum is slowly ascending the ranks, while in the past Kim was acting as the unofficial lord of the Yoons’ mansion.
As a conclusion, in season 4, expect a battle between an “imoogi” and dragons. In addition, it becomes obvious that the winners will be our beloved couple. Since Yoon Seungho was turned into a “dragon”, I am more than ever convinced that he will act like in season 1: confident, perceptive, smart and cheerful! He can not longer be used like a pawn, for the “dragon” can not be tamed! And removing the falling star would signify the dragon’s death!
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