Painter Of The Night: Fortune-telling 🔮 (second version)

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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After reading such a title, my avid readers are now imagining that the topic of this essay is a prediction concerning season 4. But no… far from it. In this text, I will explain the importance of fortune-telling in Painter Of The Night. But before going into details, it is important to define fortune-telling.

fortune-telling, the forecasting of future events or the delineation of character by methods not ordinarily considered to have a rational basis. Evidence indicates that forms of fortune-telling were practiced in ancient China, Egypt, Chaldea, and Babylonia as long ago as 4000 BCE. Prophetic dreams and oracular utterances played an important part in ancient religion and medicine. Predictive methods of fortune-telling include astrology (interpretation of the movements of heavenly bodies as influences on earthly events), numerology, and the utilization of objects such as playing cards, tea leaves, crystal balls, dice, fire, water, and scattered salt. Fortune-telling as a process of character analysis can take such forms as graphology (study of handwriting), physiognomy (study of facial characteristics), phrenology (study of contours on the skull), and palmistry (study of lines on the palm of the hand). Quoted from https://www.britannica.com/topic/fortune-telling

As you can see, there exist different methods to make predictions, but anyone will say that so far in the manhwa, we only had dreams or nightmares revealing the future.

1. The utilization of objects

However, this is not correct, for the lord had a vision, when he killed the boar. (Chapter 83) But what was the vision telling to the main character? The problem with visions is that their message is never clear. It is up to the fortune-teller. The beholder can interpret the hallucination differently. Here, one might say that the blood let Yoon Seungho see that one servant, in our case Kim, was working against him with 2 nobles: Min and Jihwa. It was already predicting Min’s death, for the blood pond was touching the noble on the right, while the other nobleman with the hat is not connected to the blood. The red-haired master only lost his topknot a second time. This is no coincidence. The vision showed that Black Heart would die by the hand of 2 people, Yoon Seungho the child and Yoon Seungho the adult. Thus Byeonduck created such a panel: (Chapter 102) The lord was in a dissociative state. In his rage, the main lead was brought back to his own past, when he was a victim of gangrape. (Chapter 102) He was acting like in trance, the painter’s bloody face had opened the Pandora’s box. (Chapter 101) Remember his confession in the bedchamber: (chapter 55) Simultaneously, this vision (chapter 83) could display the argument between Yoon Seungho and his childhood friend in front of the scholar’s house. The servant was the witness, and he got spared thanks to the red-haired master’s appearance. (Chapter 100) But if so, this means that the domestic will die, after his master abandoned him and ran away. Remember that the blood spurt is linked to the person without a hat. (chapter 83) Another possibility is that Min was shown in the middle, and he was the puppet of the two elders, father Lee and Yoon Chang-Hyeon. Note that when we saw them in season 3, both were wearing their hat. (chapter 82) (chapter 86) And if I consider that this vision is referring to Kim, then it already announces his doom. Another possibility of interpretation is to say that the boar embodies the king, which Yoon Seungho defeats by removing from his side Lee Jihwa and Min, both were used as tools to control and tame the main lead so that he would remain by the pedophile’s side. This means that the moment he executed Black Heart and cut off the friend’s topknot, he was finally able to escape from the ruler’s claws. And if the noblemen are referring to the elders, the message doesn’t change. The moment the main lead killed Min, he wounded the king so that the elders are affected, one more than the other. And Kim didn’t stop his young master, for the butler thought that with his suicide, he could finally free himself from his task of taking care of Yoon Seungho. With his suicide, Kim would be able to live in peace. He would no longer be tormented by the main lead’s suffering. In his mind, his suicide was the natural outcome of such a long suffering. As you can see, this hallucination can be interpreted so differently. And the more information we will get in season 4, the more precise the interpretation of this vision can become.

Then we have the painter’s vision in the mirror which worked like a crystal ball. Here, the artist saw himself embracing Yoon Seungho which he rejected. (Chapter 28) As you can see, blood and a mirror were used as objects for “fortune-telling“, though the main characters had no idea about their signification. While the painter rejected this “hallucination“, Yoon Seungho had the impression that it was real. Thus he turned around. He imagined that the two nobles were approaching him. (Chapter 83) I have always said that Yoon Seungho and Baek Na-Kyum are shamans, but they have no idea about their true identity. This means, none of them considers himself as a fortune-teller, though both have this gift. They have no one telling them about their skills, they can predict the future and even repel evil spirits.

Yet, the nightmares and dreams represent the biggest part of fortune-telling in Painter Of The Night. On the other hand, it is also possible that Byeonduck reveals later that other skills were used in the past (like handwriting or physiognomy), for face-reading was popular in Joseon (see for example the Korean movie The Face reader), and we have the lord’s beautiful handwriting. (Chapter 92). Keep in mind that since the lord wrote a poem in season 3, this means that he must have done it in the past too, but this twice. In season 1, he wrote one, when he switched the paper, yet it must have occurred before, for we had two circles, which corresponds to two full moons. My friend Luzyla brought my attention that in the whole story, Byeonduck only drew one full moon, and this in chapter 1. This announced the beginning of a new circle!! The third one and observe that the moon was far away, very high up in the sky, while the night sky was very dark. (Chapter 1) There was no moon light which I consider as a reference to the painter‘s absence in Yoon Seungho‘s life. Under this perspective, the manhwaphiles understand why in episode 102, Byeonduck drew such a moon. (chapter 102). Their trust and love had been tested, thus I am assuming that season 4 will be the beginning of the 4th circle, where the protagonist will face the main culprit for his suffering: the mysterious lord Song, the king.

2. Dreams and visions

But let‘s return our attention to the dreams and nightmares of the characters, which were reflecting the future. First, the readers can recall all the painter’s wet dreams. They all became true, like I had written in previous analyses. Baek Na-Kyum dreamed of receiving a love confession from Yoon Seungho and being called tenderly (chapter 56), and it became a reality. (Chapter 91) But the artist never accepted these visions, for he was rejecting sodomy and later he was in denial about his affection for the main lead. Yet this is no longer possible. The artist has already confessed and is determined to remain by the noble’s side, no matter what.

Concerning the nightmares, I am quite certain that you remember the lord‘s which is the longest in the whole story. (chapter 74) Here again, we have an allusion to the bloodbath in the shaman‘s house, for the position of the hands reminds us of Black Heart’s reaction before the main lead stabbed him. (Chapter 102) Nevertheless, I believe that this nightmare was already announcing to the protagonist that he would dirty his own hands, and kill people. On the other hand, the readers should keep in their mind that since the story is going in circle, the nightmare was also a reference to the past and Yoon Seungho’s suffering. But the aristocrat was not the only one having nightmares, the manhwaworms will certainly recall Jihwa‘s torment (chapter 50) and Baek Na-Kyum‘s nightmares in the bedchamber. (Chapter 34) and (Chapter 98) In the last one, he believed to see the scholar’s corpse. The artist had even an auditive hallucination. (Chapter 98) This means that a similar situation will occur. Someone will repeat Jung In-Hun’s words. (chapter 98) How could he be with the man who killed his family (for example Heena)?

3. Dream or nightmare?

However, there exists another person who had a premonitory dream, but I just realized it recently! In addition, you are wondering where this dream was. (chapter 45) Yes, in chapter 45!! How did I come to this conclusion? The first clue is the black frame. (chapter 45) Byeonduck always uses it in order to indicate that we are dealing with a memory or a dream. Secondly, in this scene we are supposed to see Baek Na-Kyum with his lover, both kissing tenderly, yet in the same chapter, the author let us see the reality of their interaction. (chapter 45) The painter was more acting like a robot, he was not able to procure pleasure to Yoon Seungho. He was not talented. As you can see, the introduction allowed us to see the dream of a fortune-teller concerning Yoon Seungho and the painter. But wait… (chapter 45) Who is who here? In this image, the artist is lying on the bed, he is recognizable by his slender and smooth leg and his thin foot. The lord is on the top, the beholder can identify him with his bigger and rounder butt. However, in the second picture, their position is switched. (chapter 45) The painter is on the top, he can be identified by his flat chest, while the lord is lying on the bed. Here, we see the artist showering Yoon Seungho with love, giving everything so that Yoon Seungho feels so good. One might argue that this can not be possible because of the lock of hair on the temple. Baek Na-Kyum doesn’t have one. (chapter 45) But don’t forget that we are here dealing with a premonitory dream. In my opinion, the lock of hair is implying that Baek Na-Kyum will be wearing a topknot in the future, similar to this situation: (chapter 87) This means that the person saw in this dream that Baek Na-Kyum would become the lord’s partner, and he would even be dressed like a noble (a topknot and white pants). Don’t forget that in season 2, he was still wearing grey pants and not white. (chapter 46) And this vision came true in season 3: (chapter 79) This is the same position, but from a different perspective. (chapter 45) But who has been foreseeing this scene or better said, who was recalling this dream, as it was a memory triggered by words? KIM! Don’t forget that he was present, when he heard this grapevine about the fiancée. However, I have more evidences for this interpretation. First, I have already pointed out that the butler was the one spreading rumors. (chapter 45) Moreover, it is related to the vocabulary employed by the commoners: black sheep. It is very similar to a bird of misfortune. Besides, who can call Yoon Seungho the black sheep of the Yoon family? The person behind this insult reveals that he knows the family very well. But why would he do such a thing? The reason is simple. This vision for the butler was not a dream, but a nightmare!! 😮 Why? It’s because it was announcing that Yoon Seungho would cut ties with the pedophile, his unofficial “husband”. Kim had made sure that no information about Yoon Seungho would leak to the outside for almost 10 years, the town folks didn’t know lord Yoon at all. But due to Bongyong and his loose lips (chapter 45), a rumor started that Yoon Seungho had a fiancée. Thus Kim chose to spread rumors in the village to kill the grapevines about the existence of Yoon Seungho‘s fiancée with another gossip. He used Jihwa and the incidents in the past… One might argue that it is not possible, because it looks like the rumor about the existence of Yoon Seungho’s sodomy existed before than the presence of a fiancée.

But please now read carefully chapter 45 again. After hearing this rumor, there was a caesura (the title), which we could judge as an indication for a time jump. Besides, this is what we see right after. (chapter 45) The owner of the stand is sitting and he has a white scarf, but in the next panel, the person is standing, and has a red scarf. (chapter 45) Moreover, the headcover on one player is much slightly darker. This is another indication that there could be a time jump between these two panels. But one might argue that the rumors about Yoon Seungho’s homosexuality were existing before the grapevines about the fiancée. (chapter 45) But not necessarily. Imagine, the butler had such a dream, and his memory got triggered, when he heard the commoner talking about the incident with Bongyong for the first time. But don’t forget that the man is a traveling merchant, so in the butler’s mind, the trader would leave the town and as such he wouldn’t be able to mention this to others. But he never imagined that the man would meet his friend. (chapter 45) In order to ensure that no one would take this rumor seriously, Kim made sure to spread the rumors about Lee Jihwa and Yoon Seungho’s sexuality.

First, we could see in chapter 40 that no one knew the lord in town. (chapter 40) His joke with the red dot was not even noticed by the woman and seller of the mirror!! Both were totally indifferent. Though he had made a joke, his action had caused no wave. Besides, we should question why the man would say that even dogs would know about his homosexuality. This implies the intensity of the grapevines. It displays that someone was deliberately leaking this information to the outside. Furthermore, one witness is saying that Yoon Seungho‘s affairs used to stir up the village… when did it happen? (chapter 45) Moreover, which affairs was he referring to? He has no idea about the masturbation in the tailor’s shop and the red dot on the painter’s face. As for Lee Jihwa’s humiliation, it was definitely not leaked to the outside as well. Besides, remember the comment from the red-haired master’s servant. (chapter 41) Striking is that (chapter 45) this statement was immediately denied by one player. As you can see, people were confused for one reason. Someone had spread a different grapevine as counter-measure. But why did Kim do this?

First, no one should be aware that Yoon Chang-Hyeon had been sent away from the family mansion. From my point of view, no one knew that the protagonist had been abandoned by his family and was the owner of the mansion. But this doesn’t end it. I have already pointed out the existence of a fake marriage between Yoon Seungho and the pedophile. In my eyes, the main character has always been the king’s ghost bride. The rumors about the main lead’s sodomy were there to ensure that no one should expect a marriage of the protagonist. The latter was already married, but the king can not claim him. And now, you comprehend why he has hanboks with designs. He was sending him clothes as a reward and a reminder that he was already taken. Note that he was always wearing a hanbok with a design, each time he had kept his distance from the painter. (chapter 34) (chapter 45) Here, Baek Na-Kyum had just returned to the mansion after his second desertion. (chapter 52) The lord had kept his distance from the artist for one week, though I believe that he still came to see him (chapter 51),(chapter 51) for the painter’s scarf was put on the way Yoon Seungho did in the courtyard in chapter 69. (chapter 69) And now, you comprehend why Kim criticized the painter in the courtyard. The lord would come to see him ensuring that he was well covered. The butler had every reason to view this dream (chapter 45) as a nightmare, for the king would get infuriated, and he could vent his frustration on the butler. He had not done his job properly. Observe that in chapter 45, Kim was acting more like the lord of the mansion, as he left the mansion without permission, he also bought ink and paper without the main lead’s knowledge, and even gave an order to Deok-Jae in order to reinforce his jealousy. (chapter 45) Now, I have the proof for this interpretation. The guardian was on his way back to the gate, so why did the valet ask him to bring the items to the painter’s study? Actually, Kim could have done it himself, it is not so that his master was waiting for him or had been requesting his presence. (chapter 45) Now, you are probably thinking that this essay has reached an end. But no… Why?

4. The other definition of “fortune-telling”

As you can see, this term has another signification which is not well known among people. In truth, this idiom is used in psychology. I discovered this, while I was looking for a word describing the butler’s mind-set. Everything started with this thought triggered by these two panels. (chapter 87) What if the butler had been saying the truth? He had no idea what was going on inside the room of the kisaeng house. But as an outsider, he observed this. Nobles were going to and from lord Yoon’s chambers. The readers had the impression that the young master was getting raped in the bedchamber. Yet, like I had pointed out, this is definitely not true, for the teenager was dressed. (chapter 87) We could detect the presence of a stock, this means that in the bedchamber, he was physically abused. And the butler could have jumped to the wrong conclusion, exactly like in this scene. (chapter 77) He had seen the kiss between the two boys, but because of Yoon Seungho’s smile, he had assumed that Yoon Seungho was consenting. (chapter 77) However, like mentioned before, the protagonist was under the influence of a drug. So in his eyes, it was, as if the young boy had been the one kissing Lee Jihwa. Because of this scene, he assumed that the two boys were fooling around. He jumped to the wrong conclusion that Yoon Seungho was a sodomite, something Kim truly abhors. So my idea was that the butler could have made the same mistake concerning the bedchamber: he made an assumption, and he jumped to the wrong conclusion that Yoon Chang-Hyeon was treating his son as a prostitute for his own greed and ambition. Because of these two expressions “assumptions” and “wrong conclusion”, I started researching for this. And this is what I found:

“As a therapist, I define this pattern of behavior as “making assumptions.” Some cognitive behaviorists call this behavior fortune-telling. Fortune-telling is considered a cognitive distortion leading to depression and anxiety. Cognitive distortions are irrational beliefs that have become habituated because they have been reinforced over time. […] Burns discusses the fortune-telling bias as “jumping to conclusions.” He states that people jump to conclusions because of impatience to achieve a resolution to confusing unresolved situations. In haste, people mentally make inferences without adequate supporting evidence. These inferences and conclusions may be negative or catastrophic, but people draw them in order to feel the situation is resolved.” Quoted from https://www.psychologytoday.com/us/blog/sustainable-life-satisfaction/201909/are-you-guilty-making-too-many-assumptions

Striking is that these persons fortune-telling are trying to fill the blanks by their own thoughts and experiences, in order to control their life, yet they have always negative expectations. This shows that they are motivated by fear. While they guess, they believe to know the truth and to know people, thus they can make rash decisions. And now, you comprehend why Kim always says this: “I thought…” And because they think, they know people, they don’t feel the need to talk to others.

“Assumptions damage our capacity to relate to others. If you are always assuming you know how others think and feel, you stop listening and communicating and leave them feeling trapped or misunderstood. And relationship difficulties, whether at work or home, can lead to low self-esteem and depression. quoted from https://www.harleytherapy.co.uk/counselling/making-assumptions.htm

This explains why Yoon Seungho felt so lonely in the end. The butler was not talking to him due to his mind-set. But naturally, he had other reasons to do so. He had to hide his own wrongdoings, he had made wrong decisions. He had jumped to wrong conclusions.

But this doesn’t end here. There exist 10 types of cognitive distortions, and in my opinion, Kim has many of them: All-or-nothing, overgeneralization, arbitrary interpretation/interference, selective abstraction, mental filters, jumping to conclusion (fortune-telling and mind reading), magnification and minimization, should statements, labeling, emotional reasoning, discounting the positive. I am not giving all the definitions of these types, for it would be too long. But you can read them in the links I posted below.

All-or-nothing thinking is also known as black and white thinking or polarized thinking. This type of thinking involves viewing things in absolute terms: Situations are always black or white, everything or nothing, good or bad, success or failure.2All-or-nothing thinking is associated with certain mental health conditions, including narcissistic personality disorder (NPD) and borderline personality disorder (BPD).3 Quoted from https://www.verywellmind.com/ten-cognitive-distortions-identified-in-cbt-22412

The butler only sees two categories: friend or enemy. There’s no between. Hence if there’s a disagreement, he will view the other as an enemy.

“Arbitrary inference is “the process of forming an interpretation of a situation, event, or experience when there is no factual evidence to support the conclusion or where the conclusion is contrary to the evidence” [1]. https://www.psychologytools.com/articles/unhelpful-thinking-styles-cognitive-distortions-in-cbt/

And this is exactly what the butler did, when he saw the two boys (chapter 77) He ran away, and didn’t question the boys in order to discover the truth behind the stolen kiss. There was never a trial, for he had already acted as the judge and the witness. For him, the perpetrator was his master due to his huge smile, but he had not been paying attention to Lee Jihwa’s facial expressions (blushing) and his actions. In my opinion, he was already expecting the worst in Yoon Seungho, though the butler was not conscious of this. He repeated the same mistake, when he went to the shed in chapter 63. He thought that Yoon Seungho was raping Baek Na-Kyum in the shed, which was not the case. He ran away too, thus he assumed that Baek Na-Kyum would decide to leave the mansion.

And now, you have the explanation why the maids asked this to the butler: (chapter 17) This is an expression that he would often use. We could witness this cognitive distortion (should statement) in front of the shed. (chapter 77) This explains too why Yoon Seungho is called a black sheep, a bird of misfortune. (chapter 87, labelling)

Kim doesn’t accept arguments, for him a quarrel is something negative, as he has the impression that his authority is questioned. He is overgeneralizing, for he views nobles as violent liars. Thus he said this to the main lead: (chapter 68) But here, like I pointed out before, he was excluding himself from this incident. Let’s not forget that he had been the one dragging him to the shed.

I have been describing Kim as a fake shaman for quite some time, and now this new discovery reinforces my interpretation. He is a fake fortune-teller, someone who has mental problems. From my point of view, he had already a negative attitude about the young master, when he met him for the first time. Don’t forget that he only served him for a decade, this means that Yoon Seungho’s downfall coincides with Kim’s arrival. In my eyes, it is related to the description father Yoon had made about his own son. Remember what he said to the doctor: (chapter 57) He had been ill, since he was very young. But the physician mentioned the good notoriety about Yoon Seungho: he was intelligent. Striking is that Kim has never mentioned this. Either he is not aware of this, because he only met the protagonist after hearing the negative comment from the father, or as a person suffering from cognitive distortion, he is only remembering the negative aspects. I had already exposed that this was not related to sodomy, for sexuality was not relevant, when he was just a child. From my point of view, Yoon Chang-Hyeon saw in his son’s questioning and critical thinking a problem. He was not respecting the elders, and Kim is definitely a reinforcer of social norms. From my point of view, the drug administrated was not to treat him for sodomy, but in order to obtain his obedience. We were all assuming that the visit to the doctor must have occurred after the stolen kiss, but it could be the opposite. Why? It is because the physician revealed the valet’s second visit which occurred after the incident in the kisaeng house. (chapter 57) And now, imagine this. What if the purpose of the drug was to make Yoon Seungho submissive? Thus the young boy was smiling, and doesn’t remember the stolen kiss. Striking is that cognitive distortion has an impact on memory, it can create distorted memories. And this would confirm my previous assumption that here, the butler was mixing two memories together. (chapter 65) Since the butler has always been expecting the worst unconsciously, I am suspecting that he is the one who offered Yoon Seungho to the king! That way, he imagined that his master would be protected, unaware that he had never been forced to have sex before. There’s no ambiguity that his cognitive distortions led to Yoon Seungho’s suffering. Hence the father and the king will be quite surprised when they discover the verity. Kim badmouthed the main lead calling him a bird of misfortune, though lord Song views him differently, as he keeps sending him hanboks with cranes and phoenix, asymbol for good fortune.

Due to his fortune-telling and mind-reading, the butler had never confided to the protagonist, he was never close to Yoon Seungho. I would even go so far to say that he even tormented him (see the flashback triggered in chapter 81). He had lied, for he had only told what he had already interpreted. The readers will certainly recall his MO: to mix a truth with a lie!! This is the evidence of a cognitive distortion, though in the past it was not done consciously. His so-called predictions were all fake, for he always made a wrong interpretation! This brings me back to the beginning of this essay. A dream and vision are difficult to discern, and they can have many meanings, but the valet only knew one way how to read them: in a negative way. And when it happened, the valet saw his false predictions confirmed, while in truth he had just mixed causes and consequences. Because he had jumped to the wrong conclusion, he had contributed that the tragedy would take place. Deep down, he knows this, but he is refusing to admit it. This explains why he is plagued by his guilty conscience, as long as the young man remains by his side. Thus he said this to the painter: (chapter 87) He was talking about himself here. For the valet, there’s only one solution: “Out of sight, out of mind!” Hence he hoped that the father would take away Yoon Seungho from the mansion.

5. Baek Na-Kyum’s role

The manhwalovers understand the painter’s personality and role. He stands for hope and change, thus his dreams are always connected to something positive. He stands in opposition to the valet. The artist’s role is to teach the butler a terrible lesson which he will pay with his life in my opinion, as the lord’s vision implied in chapter 83. Kim is just an ignorant servant. He can never make real predictions. In addition, he doesn’t know people at all. How so? Don’t forget that the painter is a butterfly, and the moves from a butterfly are never predictable. The butterfly can have a terrible impact on others, the so-called butterfly effect. Therefore all the valet’s schemes were always doomed to failure in the artist’s presence. (chapter 45) And the nightmare Kim had will become a reality, and this shows that he was never loyal to Yoon Seungho. Here, he saw the lord relaxed and enjoying his time, but this couldn’t make the butler happy for two reasons. He feared the king’s reaction. The latter would never accept being rejected. Secondly, he realized that he would lose his position as the ghost lord. The valet rejected this vision exactly like all the other characters, but this was pointless, since he is fighting against the gods. When the butler had a real vision, he denied its existence, he preferred his own fortune-telling and mind-reading. He envisioned that since these two tools had helped him in the past, he could succeed again.

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Painter Of The Night: Sex and drugs 💉💊

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/ 

Feel free to make some donations/sponsoring: Ko-fi.com/bebebisous33  That way, you can support me with “coffee” so that I have the energy to keep examining manhwas.

I have to admit that when I chose this title, I imagined that this analysis would be very short, for I mainly desired to talk about Min. However, the more I pondered about the content of this essay, I realized that I should actually include all the drugs in Painter Of The Night. This led me to examine all the other characters suffering from drug addictions. That’s how I made new discoveries again.

1. The drugs in Painter

First, it is important to list the drugs present in this manhwa. We have alcohol (chapter 75), tobacco (chapter 61) and opium (chapter 52).

And because Min and his friends brought opium to the Yoon’s residence and the main lead was present, the readers jumped to the conclusion that the main lead would smoke opium too. (chapter 52) And this perception got reinforced, when the butler confided this to the physician later: (chapter 55) Many readers had the impression that Yoon Seungho had been smoking opium, many went so far to imagine that he had been smoking opium right from the beginning. (chapter 5) However, this was just a lie. Yoon Seungho never smoke opium!!

2. Yoon Seungho’s true addiction

And now, it is time to prove my interpretation. First, you’ll realize the deception, once you read the side effects of opium:

Short term effects may include: 1. euphoria, 2. relaxation, 3. analgesia” quoted from https://adf.org.au/drug-facts/opium/

This drug has a sedative effect, therefore the opium smoker falls into a torpor and semi-sleep. And we know that Yoon Seungho avoids sleep, for he is plagued by nightmares. (chapter 74) Hence consuming opium would even instigate his nightmares. In addition, observe that in chapter 5, Yoon Seungho was never euphoric nor sleepy. He could interact with the painter normally.

Nicotine causes a range of effects on both the body and mind, including:

Decreased appetite

Heightened mood […]

Sweating

Nausea

Diarrhea

Better memory

Increased alertness

https://www.verywellmind.com/nicotine-addiction-101-2825018

As you can see, nicotine increases alertness and memory. Therefore the lord never forgot the words from the painter during the day. They bothered him so much that he kept thinking about his own image: (chapter 05) As you can see, Yoon Seungho had a drug addiction, nitocine.

One might argue that he started smoking opium only later.

And now, pay attention to this image. (chapter 52) The noble in the background was the one smoking opium. Besides, the manhwaphiles will certainly remember how Yoon Seungho behaved in that scene. He heard Min’s words addressed to the painter, he walked straight to Black Heart in order to protect his lover, well aware that Min would invite the painter to join the party. (chapter 52) This means, he was conscious and alert. Besides, we saw him later getting in rage (chapter 53). Here, I would like the manhwaphiles to keep in mind that side effects of opium like euphoria, relaxation and analgesia last for at least 3 to 6 hours. So this outburst of rage is an indication that our protagonist was not under the influence of opium. He was not hallucinating either. He had grasped the whole situation, when he heard Deok-Jae predicting a terrible fate to the artist. In addition, this drug is not considered as a poison inducing psychosis.

opiates are the only sedative drugs that possess an anti-psychotic effect.” quoted from https://pubmed.ncbi.nlm.nih.gov/24563427/

However, this doesn’t mean that an user from opium won’t suffer from any psychotic symptoms. They are more related to withdrawals or to hallucinations due to the big consumption of opium. https://www.therecoveryvillage.com/opiate-addiction/related-topics/opiate-psychosis/

However, one of the side effects of nicotine is heightened mood, this would explicate his outburst of rage and his irritability right after smoking tobacco. (chapter 52) This explicates why he beat Min and Deok-Jae so furiously, he wasn’t acting under the influence of hallucinations. He was perceptive, he had clearly understood the meaning behind the servant and the noble’s words. As you can see, the lord’s mood swings were more triggered by his addiction to nicotine. This explicates why the main lead had such a violent outburst in the shed after the abduction. He had smoked tobacco the whole day. (chapter 61) Remember how I compared him to dormant volcano, here he was boiling internally.

On the other hand, a person consuming opium will show signs of withdrawals 24 hours after the use. And these are the following signs of opioid withdrawal: Anxiety, insomnia, sweating, vomiting, diarrhea, shaking, yawning, restlessness, widened pupils, body aches, seizures, hallucinations, body aches, rapid breathing, fast heartbeat and more importantly irritability. https://www.webmd.com/mental-health/addiction/opioid-withdrawal-symptoms#1

Min shows all the signs of a withdrawal in chapter 76. First, he vomits, but hides it under the excuse, he drank too much. He gets in rage, when No-Name calls him a fool. He can no longer keep his mask contrary to the altercation in episode 41, when Yoon Seungho compared him to a mouse: (chapter 41) Besides, we have another evidence that Black Heart has developed an addiction to opium with the following panel: (chapter 76) The gaze is different, an indication of the widened pupils. Furthermore, his restlessness is perceptible the way he approaches The Joker. This time, he has to meet the criminal personally. We could say that he rushes to meet the criminal. Like he said, he was “running out of time”… (chapter 76) These words reflect his own troubled mind.

However, you can see that the lord didn’t get any sign of withdrawal after that terrible night in episode 52. Yes, he got sick, but it is because he didn’t sleep and he had no clothes on. Therefore he caught a cold. Let’s not forget that he had lived for a week without eating or sleeping properly. But my most conclusive evidence is this panel:

(chapter 74) Observe the painter’s reaction. He is coughing, he doesn’t seem affected by the smoke, while he had a total different reaction in chapter 54: Note the euphoria and the sedative effect on the artist’s face. This explicates why he didn’t push the rapists away.

As a conclusion, Yoon Seungho is not addicted to opium, he never smoked it. The aristocrats chose his place to smoke it, because they wouldn’t be caught by their parents. That’s the reason why the noble said this to Black Heart. (chapter 53) They wanted to smoke this drug there, for no one would interrupt them. But because Yoon Seungho let them smoke opium, he became guilty by association: he was also an opium smoker. And the readers had fallen into the same trap. As you can see, I believe that the author is using the method on the manhwaphiles. They are misled by what they see and hear without questioning the authenticity of the statement.

The manhwaphiles will say that Yoon Seungho has another addiction: alcohol. (chapter 55) However, this is another deception. Yoon Seungho is no alcoholic either!! 😲

I have many evidences for this. First, notice that during the first sex orgy, there was no drink and food offered. It was simply sex!! (chapter 08) So his debauchery was linked to sex and nothing more. He would live for sex and nothing else. Furthermore, the manhwalovers will certainly recall the lord’s behavior in the tavern. He ordered wine(chapter 75), but notice that he never became drunk like the painter. (chapter 75) The main lead can consume wine in moderation contrary to the painter!! Therefore he has no addiction to alcohol.

And this is different for Baek Na-Kyum, who became a drunk after his abandonment. (chapter 1) Notice that each time, Baek Na-Kyum would drink alcohol, he could never stop until he almost lost consciousness and started hallucinating (chapter 19) or he would be so inhibited that he couldn’t walk properly. These were the sign of his addiction. I can’t forget the lord’s words in episode 75: (chapter 75) Here, he saw how the alcohol was affecting his lover’s behavior.

Notice that at no moment during the night (52-53-54), Yoon Seungho walked under the influence of alcohol. His feet were the proof that he never consumed wine to the point he would lose consciousness or started hallucinating. (chapter 53) He was walking straight. When the readers saw the following image, they saw it as a confirmation that Yoon Seungho was a drunk. (chapter 54) But in truth, he took some wine in order to overcome his pain, to give himself some “courage” to go through. He had longed for the artist’s warmth after a week of separation, but he knew that Baek Na-Kyum viewed sex as prostitution. He was alert enough to see the consequences of his decision (chapter 54), therefore he broke the bottle. (chapter 54) This is no coincidence that he destroyed the bottle of wine. He had the impression that this drug was the cause for his “hallucination”, he was seeing the painter in ecstasy which could only remind him of his own past. Besides, he didn’t want his companion to become a shadow of himself: (chapter 54) He recognized the perversion of the artist’s redness and lost gaze. He loved him for his pure gaze and blushing.

For an alcoholic, a single drop of alcohol is a synonym for a relapse. Hence the addicted has to avoid anything related to alcohol, like vinegar or medicine containing alcohol. So when the lord proposed the wine, he had no idea about the consequences of his offer. So imagine his reaction, when he heard this: (chapter 75) The lord was responsible for his relapse!! Naturally, this could only pain the lord, for the latter wanted to make his lover smile. On the surface, Baek Na-Kyum’s words were reflecting the truth, as the master had encouraged his lover to take the soju. Hence Yoon Seungho could only feel accountable for this situation. He decided to act as a mature man who should take care of his lover’s intoxication. On the other hand, during the whole dating, Yoon Seungho always remained clear-minded, this was another indication that he never abused alcohol.

So when he said this to Bongyong (chapter 78), I believe that Yoon Seungho never proposed too much wine to his lover afterwards. He had made the experience that if he did, he would be the reason why Baek Na-Kyum would become a drunk. In my opinion, the painter’s relapse was linked to his own suffering, he was tormented by the idea that Yoon Seungho would abandon him, his affection was not deep. Since they had no longer any sex, he had the impression that Yoon Seungho’s love for him was vanishing. As you can see, the painter’s dependency to wine was linked to his repressed libido and his fear of abandonment.

As a conclusion, Yoon Seungho was never addicted to opium or wine. However, this doesn’t mean that nicotine addiction is no big deal. In truth, this drug is as unhealthy as any other drug. The withdrawals are only perceptible, when a consumer stops smoking. The addiction is never obvious like opium or heroine. In addition, the body doesn’t just get poisoned because of nicotine, but the latter also affects sexuality and as such relationships.

The investigators began to realize that smoking actually became a method of subtle communication for members of the couples being studied. Lighting up gave clues to each partner that it was time to talk, time to give space, or even time to defend yourself because a world-class argument was about to begin. federally funded study is scheduled to go on for another year, and hopefully, will provide methods to help counsel couples how to recognize cigarettes as an abusive third member of their relationship. If couples are going to weed the habit from their lives, the researchers say they will have to find other ways to relate to each other, and more often than just during the familiar after-sex smoke. And of course, as Jordan found, smoking can directly torpedo the sex, too.” quoted from https://www.webmd.com/men/features/want-better-sex

3. The truth behind Kim’s statement

But then why would the butler describe his master as a man addicted to wine and alcohol (chapter 55), if this was not correct? It is related to the situation how the lord became ill: the orgies and more precisely the presence of Black Heart.

What caught my attention is this: (chapter 33) Compare this sex orgy with the following one: (chapter 8) At Black Heart’s party, wine and tobacco were offered, while in Yoon Seungho’s bedchamber you only had books, pictures and sex. Besides, there were more guests. As you can sense, the parties were totally different: austerity versus luxuriousness. Yes, Min wanted to impress his host Yoon Seungho!! He desired to show him what a true sex orgy was. He desired to prove that he was the real hell-raiser, the real king among nobles.

Besides, another detail caught my attention: (chapter 33) The Joker and the bottle of wine!! The manhwaphiles will certainly recall how the villain offered the expensive alcohol to Yoon Seungho (chapter 19). Moreover, I realized that in episode 33, we have a slight change. While Black Heart is seen first with the pipe full of tobacco, (chapter 33), slowly the author brought the villain in connection to the bottle of wine: And at the end, we have this: (chapter 33) The pipe is no longer present, but Byeonduck focused on the bottle. In my eyes, she desired to outline that Min was slowly getting addicted to alcohol. This means, Black Heart is not only addicted to nicotine and opium, but also wine! Notice this:

  • chapter 43:
  • Chapter 83: .

In these two scenes, Min was serving alcohol or encouraging Jihwa to drink! And now, you have an explanation why the red-haired master became a drunk, when he got abandoned by his lover or tormented by the murder plan. Black Heart was the one introducing this addiction to the second lead. And this interpretation becomes more visible, if the manhwaphiles revisit the event around the failed gangrape.

chapter 51

The person laughing so loudly was in reality Min. You recognize him with his green hanbok. So he was visiting his “acquaintance” and was drinking wine there. While the maid thought, the lord would be the drunk one (chapter 51), I believe that Black Heart was the main consumer!! And now, you comprehend why Yoon Seungho fell into debauchery. (Chapter 55) There was this peer pressure coming Min, who loved luxurious parties. But these parties were no longer sex orgies, for the protagonist was no longer interested in sex. He needed to offer something else to his guests: alcohol and food. Therefore the last picture above is actually more deceiving the readers than anything else. It gives the impression that Yoon Seungho was consuming wine all the time, while in truth he was killing time with these parties. He was alert for the most part of time keeping his thoughts to himself.

But like I outlined above, Black Heart was the one who became more and more addicted. First nicotine, then wine and finally opium. But why? Notice that this coincides with his obsession with the painter. He grabbed the bottle of wine (chapter 33), when Yoon Seungho refused to share his painter with him. So when he heard that Yoon Seungho was organizing parties again, he envisioned that his plan had succeeded. Hence he visited the mansion, yet his loud laugh was actually masking his pain. (chapter 51) He was far from happy, for his fixation on Baek Na-Kyum had not disappeared at all. Therefore, it is not surprising that he started drowning his sorrow. However, alcohol was no longer effective, he needed something stronger to dull his agony. That’s how he discovered opium. And notice that when the lord got punched in the propriety, he felt no pain. (chapter 54) He didn’t protect himself, he had no strength because of the relaxing and sedative effect. He even laughed, a sign that he was under the effect of the drug. (Chapter 54)

However, this doesn’t mean that Min left the house happily! All the guests got evicted like vulgar commoners. His ego was definitely hurt, just like the other nobles’. Therefore on his way out, he told Kim that they had been evicted due to Yoon Seungho’s intoxication. He was under the influence of alcohol and opium. That way, appearances were saved. For the butler, the truth didn’t matter. He could just portray his master as a man living in debauchery, so that no one would ever blame him for this! The appearances were against him. He had indeed organized parties, but they were no longer sex orgies.

The most infuriating is that the butler was to blame for this “relapse”. He had made sure that the painter and his lord would no longer be together. Since he had no sex, then he could only offer wine and food. But there’s another point why I don’t believe that Yoon Seungho ever consumed opium. Since this drug was illegal in Joseon, the butler would have to dirty his own hands to buy such a thing. Besides, notice that the nobles brought the drug themselves. (Chapter 52) This shows that the aristocrats had to buy the opium themselves. This was too dangerous to give this task to a domestic, the latter could definitely betray them. So when Black Heart said that the main lead was smoking opium, his true goal was to ruin the main lead’s reputation. And for Kim, it was perfect. He needed his master to have a bad reputation so that he could live his life peacefully.

4. The connection between sex and drugs

In my opinion, Min’s addictions are his karma. He had to pay a huge price for plotting in order to obtain the painter. He became more and more addicted to the wine, and later to the opium, when he thought that his plan had succeeded. In other words, his opium’s addiction is the divine retribution for hurting the shaman. The irony is that his obsession for Baek Na-Kyum never disappeared. In other words, since he couldn’t have sex with the painter, he replaced sex with drugs. That’s how I realized the following connection. Baek Na-Kyum, Jihwa and Black Heart used drugs to cover up the absence of sex and indirectly love. For me, they somehow symbolize a subterfuge, to mask the absence of passion.

Notice that the artist’s libido is strongly intertwined with the paintings, so the moment he could no longer paint, he was forced to become chaste. Hence he started drinking. (chapter 75) This strong connection between sex and drugs gets even confirmed in the same episode. Notice that in that scene, Yoon Seungho had not sex with the painter for a while, and Baek Na-Kyum was definitely missing it. Naturally, his true desire was to get loved by his companion. For the low-born, sex is a symbol of love. Hence he drunk because of Yoon Seungho. (chapter 75) He felt the need to fill the void. But I believe that the incident with Nameless was a wake-up call for the artist. Through the hug and the music box, he realized that the lord’s affection had not diminished at all. And now, you comprehend why the painter is no longer addicted to the wine. He no longer feels awful and fears abandonment…

As for Jihwa, he drank, when he was happy, for he imagined that he would get his friend’s attention again, or when he was sad, for he had been repudiated. Once he got abandoned, he could no longer have sex… (chapter 36) and he drowned his sorrow in wine. (chapter 59) However, this association between alcohol and his lust for Yoon Seungho started changing, after Jihwa had sex with Nameless. Notice that in episode 83, he is no longer looking like a wreck. (chapter 83) He is still biting his nails, a sign of remorse and fears, but he is no longer obsessed with Yoon Seungho. From my point of view, the torments the second lead suffered in the second season played a huge role. He started drinking alcohol for another reason. (chapter 50) This time, he got afraid of the consequences for the murder. As you can perceive it, there was a slight shifting. This shows that the wine became less and less connected to his obsession with his childhood friend, his desire to have him. This explicates why he was so devastated at the end of the second season. Out of guilt and anxiety, he started drinking again. (chapter 76)

And now, we have to wonder why Lee Jihwa doesn’t seem plagued like in the past. (chapter 83)It is because his father got involved again, and visited father Yoon. The second lead imagines that after his father’s intervention, his problems will be solved. He won’t have to fear for his life, for Yoon Seungho will be sent away to his father. (chapter 82) He knows about his father’s plan. If Yoon Seungho is forced to submit himself to his father, he won’t be able to use his wealth and power to attack him. That’s the reason why he is no longer looking like a wreck. In other words, he is well aware what is going to happen to his friend. He witnessed the abuse, but he doesn’t care, for his “life is in danger”. 🙄 As for Min, he looks more healthy again (chapter 83), for he had to plot in order to achieve his goal. He needed to find a new puppet, lord Lee, and as such he needed to make a good impression. He had to become proactive and become more directly involved. Hence he needed to be more alert.

As for Yoon Seungho’s addiction, it becomes obvious why Yoon Seungho smoked in the past. It was not related to sex, but to his inner turmoil. He had to calm down his frustration and negative emotions. Notice that only he smoked during the day, a sign that this was not connected to sex at all. However, it started changing too. Yoon Seungho felt the need to smoke while having sex with the painter (chapter 45), for he felt something was missing. Consequently, this is not surprising why Yoon Seungho had a sex marathon in the shed after smoking the whole day. It was to contain his rage, but also to mask his strong desire for the painter. What caught my attention is that after their love session, the main lead started smoking again, exactly like in the past. (Chapter 74)However, there is a huge difference. In my opinion, he was trying to control his sexual desires. Remember the quote above: nicotine has a huge effect on libido. That’s another reason why Yoon Seungho was so chaste in the study: (chapter 74)

However, what caught my attention is that during the third season, we never see Yoon Seungho smoking. Though he hurt the painter and felt terrible, he decided to leave the mansion in order to hunt. He wanted to vent his anger and hide his anxieties: (chapter 83) This observation is important, for it shows that he is no longer using tobacco to hide his inner turmoil. That’s why I believe that Yoon Seungho’s addiction was originally linked to his traumas. It was his way to “anesthetize his emotions”, he had the impression that he would become more clear-sighted.

5. Personality and drugs

I have to admit that when I started preparing this analysis, I tried to discover why Min, who is a psychopath, would come to consume drugs. That’s how I discovered that personality indeed plays a huge role.

The Five-Factor Model of Personality

The Five-Factor Model of Personality is a group of five broad trait aspects that help explain personality differences and people’s behavior. The five traits include:

Extraversion- is when someone enjoys being around other people more than being alone.

Neuroticism- is the tendency to be in a negative, stressed, or anxious emotional state.

Agreeableness- is a set of characteristics perceived by others as being sympathetic, warm, kind, and considerate.

Conscientiousness- is being careful or diligent, hoping to do a job or task successfully, and to take obligations seriously. Conscientious people tend to be organized and efficient.

Openness to Experience- indicates how open-minded a person is, and is characterized by being imaginative and curious, and enjoyment in trying new things.

Generally, those who use drugs or alcohol are characterized by having high Neuroticism, high Openness to Experience, low Agreeableness, and low Conscientiousness.

quoted from https://www.fortbehavioral.com/addiction-recovery-blog/personality-traits-related-to-drug-use/

After reading this quote, you can recognize that Black Heart has a predisposition for addiction. He fits the following profile: “high Neuroticism, high Openness to Experience, low Agreeableness, and low Conscientiousness”. He loves experiencing new things (chapter 52), he is always seeking entertainment (chapter 66), a sign that he is not hardworking. He is very sensitive to criticisms, which was underlined in chapter 83 one more time. (chapter 83) Therefore I tried to find out if persons suffering from Antisocial Personality Disorder could be suffering emotionally, though they are supposed not to feel any pain and empathy. And yes, such persons are definitely not happy, for they are often lonely.

psychopaths may be unhappy due to the quality of their interpersonal relationships. Romantic relationships and friendships are critical to happiness. […] The results from our studies suggest that people with high levels of psychopathic tendencies are generally unhappy. They show low levels of positive emotions and life satisfaction, and high levels of negative emotions and depression. Further, this unhappiness is partially explained by the poor quality of their romantic relationships. ” quoted from https://www.psychologytoday.com/us/blog/the-happiness-doctor/201701/are-psychopaths-happy

This explicates why Min was so obsessed with Baek Na-Kyum. (chapter 9) He felt lonely, and hoped that the artist would give him the same gaze, when he looked at the protagonist. He had already snatched Lee Jihwa, but the latter was too obsessed with his childhood friend to look at him in a different way. Min was definitely longing for love, but he could never admit it. Striking is that Min picked his “bride”, exactly like the psychologist Love described it:

For instance, Love notes that individuals high on the psychopathy spectrum prefer friends who contribute to their volatile lifestyles, such as criminals, fellow thrill-seekers, or ego-feeding suck-ups. Teaching psychopaths how to form healthier, more positive, interpersonal relationships with emotionally stable individuals, however, may help to reduce their antisocial behaviors.” quoted from https://qz.com/819283/can-people-who-have-psychopathic-symptoms-feel-love-or-be-truly-happy/

And now, you comprehend why Min was dissatisfied with Lee Jihwa in the end. The latter was a delinquent, a selfish man who desired Yoon Seungho’s constant attention. He could never give him the attention and love Black Heart was longing. (chapter 66) Hence he could only view the second lead as his puppet. That’s why The Joker had to use “drugs” to mask his emptiness and longing for affection.

On the other hand, the Five-Factor Model of Personality explicates why Yoon Seungho never fell into debauchery so deeply. First, he didn’t have many addictions despite suffering for a decade. His tumultuous sex life was influenced by the brainwashing and his traumatic past. In my opinion, the principles from Taoism were another reason why the protagonist never became a drunk or desired to smoke opium. Then he reads books, but no one knows this except the butler. Finally, he definitely worked hard, for he could gather wealth and create connections. From my point of view, the enemies are definitely underestimating his power.

As a conclusion, when in chapter 52 we had this cold war between Black Heart and Yoon Seungho, we didn’t assist to a sex party, but to a drug party: tobacco, opium and wine. There was no sex at all!! Hence Yoon Seungho had no erection… however, they attempted to turn this into a sex orgy (chapter 54), but fortunately they failed. Thus when I look again at this sex orgy (chapter 8), I can only view this as quite harmless: this party reflected the main lead’s purity. He is definitely no hell-raiser!! The real one is Black Heart, but father Lee has not realized it yet, for he believes in reputation and rumors. Since Min was able to keep his name intact, the lord Lee trusted in the noble’s integrity. He never discovered that his son was under the influence of a vicious and perverted man. I would say now, Jihwa is supporting a murderer. (chapter 83)

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Painter Of The Night: Love and Sex 👨‍❤️‍👨 (second version)

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/

Feel free to make some donations/sponsoring: Ko-fi.com/bebebisous33  That way, you can support me with “coffee” so that I have the energy to keep examining manhwas. It would also cover my expenses for the blog.

When I examined the sex scenes from the first season (see the analysis “Sex or Love?), I realized that each character had different expectations from the sexual encounters. They were either looking for sex or for love, but each time they were not able to express their desire and even to recognize the distinction. Why couldn’t they sense the difference? It is related to the way the characters were raised.

1. Sex and philosophy

On the one hand, Baek Na-Kyum was taught by the learned sir and Heena noona that sex and as such homosexuality was dirty (chapter 34), only spiritual love was allowed (chapter 19) (chapter 68). This signified that in his education, not only sex was prohibited, but also sexual desires were denied. Although love was expressed through hugs (chapter 66) (chapter 68) and caresses (chapter 10) (chapter 68), they were devoid of sexuality. The painter experienced love, but was not allowed to experience sexuality. He was only authorized to paint it for the scholar’s sake. On the other side, Yoon Seungho was raised the opposite: love was not allowed, as it was a sign of submission and weakness. Sex was permitted, because it was considered as a fight in order to defeat his opponent. These were the butler’s doctrines. That way, he could still have a connection to the main lead. If he came to love someone (the pedophile), the lord could definitely abandon the valet and reveal his betrayals. In other words, he used pity as a way to tame the lord. At the same time, sex also served to gain some benefit, as it was an exchange of favors (giving versus receiving), (Chapter 71). I connect this philosophy to the king and indirectly to the butler. With sex, the nobles could exchange some favors. These huge divergences in the mindset explicate why there were so many misunderstandings between Yoon Seungho and Baek Na-Kyum, as their education diverged so much.

2. Sex and prostitution

Yet, despite the contrast, both educations had something in common: prostitution. Heena noona hates sex, because it is related to her work. The scholar rejects it, for it is beneath him. He expects the low-borns (Baek Na-Kyum and Heena noona) to become his prostitutes, if it’s necessary, while he can maintain his image of a proper scholar. Father Yoon used his son as a prostitute, and the main lead realized it after his father’s betrayal and abandonment. This explicates why “prostitution” stands in the center of the second season. For Baek Na-Kyum was brought to the mansion against his will, but he received certain privileges, his status was never clearly defined. Although Yoon Seungho thought, he had won the battle (chapt45), as the painter had accepted him as his sexual partner, he had to realize slowly that he was wrong. He imagined that since the artist had remained by his side and was accepting to have sex with him, he had achieved what he wanted: in his unconscious it was to be loved. Yet, it was just an illusion. The painter saw himself as a whore and the master as a man consumed by lust. As you can see, the noble was forced to judge the nature of the sexual encounters differently. He had associated sex to love due to their Wedding night, therefore he imagined that the moment the painter was accepting him, the problem was solved. He would be able to relive this wonderful moment, but however nothing like that happened. He felt never satisfied, as there were no feelings at all. Hence he even had sex during the day, believing that the artist’s lack of experience was the problem. (Chapter 45) While the lord became Baek Na-Kyum’s sexual emancipator, the painter became the lord’s teacher for love. This explicates why the low-born forced the lord to question his own identity and feelings.

But let’s return our focus on the common denominator: prostitution. As long as the painter chose to stay, because he had a roof over his head and could eat properly, we could definitely say that till 49 his stay at the mansion was indeed closer to prostitution than a master- servant relationship, because the commoner was never treated like a domestic. He only had sex with the lord and had some privileges. (chapter 46) He was never asked to do other work, although the artist tried to change his situation. Since he was behaving like a whore, he felt that he had no right to express any thought and emotion. He couldn’t show any pleasure. That’s why there were no feelings in their sex encounters, and the lord could sense the difference. Consequently, when the lord realized that he was still perceived as a man consumed by sex (chapter 48), he changed his behavior. He acted like a real client at the brothel (chapter 48), but at the same time he cornered the painter to have multiple climaxes in order to let him experience that he liked having sex with him. (chapter 49) As you can observe, the lord linked sensuality to love. If he could provoke ejaculations, then it meant that the artist was definitely feeling something for him. However, the moment the lord liberated the painter from his pejorative perception about himself (he is a prostitute), the painter reacted the exact opposite. Now, he was the one using Yoon Seungho, the latter was his plaything. (Chapter 49), his prostitute, for he was the one procuring pleasure to Yoon Seungho. As you can see, the roles had been switched. This means that now the painter had the upper-hand in their relationship. We could even say that the noble was willing to accept his fate. (Chapter 49) Yet there was a difference from the past. Yoon Seungho would feel pleasure as well. This is not surprising that Kim chose to intervene and separate the couple right after. Without sex, the painter had no power over the master. That’s the reason why the butler revealed his knowledge the morning after. The protagonist had to hear from his butler the real cause for Baek Na-Kyum’s passivity and torpor: (chapter 50). Through this revelation, the lord was indirectly confronted by his own reflection: he was indeed asking from Baek Na-Kyum sexual favors in exchange for his stay at the mansion. That’s the reason why the lord had a “relapse“ and kept his distance from the painter.

3. Abstinence and love

However, because Yoon Seungho was now associating sexual pleasure with the painter, the noble was no longer able to have sex at all. Don’t forget that Baek Na-Kyum symbolizes love. Seungho-Ya 😉 couldn’t even get an erection with a fellatio given by someone else. (chapter 52). This was important, because for the noble, it meant that he could no longer have sex with other partners. Without sex, the lord was forced to question himself and ponder on the true nature of his relationship with Baek Na-Kyum. He felt jealousy during that night, he was very protective as well. (Chapter 52) His sexuality had already become an expression of his love, although the main lead was still unaware of his own feelings. That’s why I come to the conclusion, chapter 52 was actually revealing Yoon Seungho’s monogamy, although it looked the opposite. And this becomes truly visible, when the gangrape was about to occur. He felt no urge, when he was with the guests, yet the moment he brought the artist to the bedchamber, he couldn’t stop himself from kissing his loved one. (chapter 54) He was definitely longing for his warmth. This explicates why the noble got so infuriated, when he was confronted with the consequence of his bad decision: (chapter 54) the artist was on the verge to be no longer monogamous, as he would be tasted by other aristocrats. In this scene, the lord would have indeed become a client and pimp, if he hadn’t chased away his guests. Although the painter was indeed upset afterwards about this incident (chapter 55), deep down he sensed that his master had protected him. This night was important for the main lead: he was forced to admit his own feelings for the painter. Therefore, we could say that the issue with the prostitution was solved after chapter 54. Yoon Seungho thought that the moment he confessed, the painter would get scared and run away, but it didn’t happen. Why? Love among men and especially between a brutal noble and a commoner, was a taboo, like Min had underlined. Secondly, if the lord had indeed feelings for him, he had behaved like a beast during that night. He had mistreated Baek Na-Kyum. In his mind, the artist would never accept him.Besides, the painter had clearly denied the affection from the main lead. In his eyes, the painter’s words were indicating a rejection. (chapter 54) Thus I conclude that Yoon Seungho and Baek Na-Kyum had come to an implicit agreement: they had a master-servant relationship (chapter 56), although Baek Na-Kyum started perceiving himself as a domestic from chapter 51 on again. He kept following the head-maid and Kim (chapter 51) in order to help them. Therefore the readers could witness the return of the white headband in chapter 52: his task was to paint for his master. (Chapter 52)

However, this new situation didn’t last long due to the artist’s abduction. The lord thought that since he had properly confessed to his servant (chapter 62) here, he whispered to Baek Na-Kyum that he adored him), he would bind the artist to himself.

4. The real relapse: sex, the symbol of submission

Nevertheless the commoner disappeared making Yoon Seungho think that the moment he revealed his vulnerability, he got betrayed and abandoned. This explicates why the noble punished the artist, when he was found. Since they had a master-servant relationship and the artist had run away, this meant that Baek Na-Kyum was rejecting the lord’s love. Hence he could only treat him like his sex toy (chapter 63), exactly like he had wished in chapter 49. The only difference is that this time, the painter was here for the lord’s pleasure. The roles had been switched again. As the manhwaphiles can perceive, the noble and painter had a similar reaction: they both tried to deny the existence of love in their relationship. That’s the reason why the noble stopped the artist from confessing: (chapter 63) They just had a sexual relationship which could provoke pleasure, but that was it. But in order to ensure that the artist wouldn’t run away again, he used sex to “tame“ Baek Na-Kyum. If the main lead could procure multiple climaxes to the artist, then the latter was forced to admit that only Yoon Seungho could be his “partner“. This explicates why the noble kept pointing out how the artist would react to his lover’s body. (Chapter 63) (chapter 64) He was moaning and would ejaculate constantly thanks to the main lead. Yet, during this second marathon, the noble was actually deceiving himself. (Chapter 62)

5. Love and servitude

Although he treated the painter like a servant, as the latter was asked to paint, Yoon Seungho couldn’t help himself cleaning Baek Na-Kyum and bringing him to his bedchamber. (Chapter 65) This shows that the painter had gained a new position: he was indeed a favored servant. He was allowed to spend the night in his lover’s bed and he could see the lord getting dressed. (Chapter 65) The slight change was that now the main lead was aware of this. This truly exposes the lord’s affection for the artist. He might have treated him like a plaything in the shed, in reality he had attempted to show “his skills“ as a lover. He had licked him, bit him and the painter had felt pleasure, though he kept saying no! This is not surprising that Yoon Seungho had denied the kiss in the study. (Chapter 64) Because that’s how he had been deceived that night in the study. (Chapter 49) Baek Na-Kyum had silenced him with the kiss, as the main lead was about to protest. (Chapter 49) When he mentioned the kiss, the symbol for love, in his confession, it was connected to sensuality and not affection. Hence he didn‘t kiss him at the end of the second marathon. As a conclusion, by bringing the artist to his bedchamber, the lord never realized that his action was betraying his words from the night before. They were definitely more than 2 naked bodies. The lord trusted the painter so that he could lie down next to him in the bed. (Chapter 65) Striking is that Heena noona’s intervention destroyed their terrible but short-lived master-servant relationship, because the noble was faced with the truth: he had brought back the artist to the mansion against his will. (chapter 65) What caught my attention is that the painter’s disappearance mirrored the lord’s wrongdoing. Lee Jihwa and the main lead had both kidnapped the artist. That’s why I believe that when he heard Heena’s words in the study (chapter 68), the noble could only come to the following conclusion: he could only let the painter choose his destiny. But the moment the artist decided to remain by his side, he needed to change Baek Na-Kyum’s position in the mansion. He was no longer a servant, but a noble guest. Hence the lord tied the scarf like aristocrats did. (chapter 69) Consequently, we could say that the painter had a similar status than Jung In-Hun. Yet, there was a huge difference: the owner of the mansion was now acting like the painter’s servant. Hence Deok-Jae’s words came true: (chapter 46).

6. Nobility and love

From chapter 69 on, there were two masters in the mansion: (chapter 71). Why? It is because the lord made the decision that the painter chose him, then this means that he became his wife, though at the end of season 2, he was not thinking about marriage yet. He was not aware of this perception. By becoming his official partner, the spouse obtains the status of his husband: nobility. This explicates why the lord ate with his lover (chapter 74) and allowed him to smoke. Then in season 3, he gave him ladies-in-waiting in order to give him some company. (Chapter 78) He even gave him the music box, which was mistaken as a dowry. However, the problem is that the painter was still fighting his own feelings for the protagonist due to Heena noona’s words and past experience with the scholar. He feared that this new situation was too beautiful to be true, hence he thought that the lord’s feelings would fade away. But there was another reason for doubting the lord’s affection: there was no sex. (chapter 74) The painter had come to associate sex with love too. Yet, the moment he relived his trauma, he only found comfort and safety in the lord’s embrace. (Chapter 76) The main lead didn’t reject the painter’s urge for a hug in front of commoners. At no moment, Yoon Seungho felt embarrassment. He treated him like a special treasure. That’s how the painter came to realize that Yoon Seungho‘s love for him was true and genuine. Consequently, he decided to rely on him and to trust him. That’s why in this panel, the painter closed his eyes: (chapter 76) We could say that he was reminded of his own past. When he was a child, he sensed love through hugs and caresses. Since the painter could feel the lord’s genuine affection and warmth, he recognized that even when there was no sex, love was present. All his senses made him perceive the lord’s love: (chapter 76) His words showed his care and concern, then he bought him an expensive music box. (Chapter 76)

7. The symbols for the couple‘s love

But by accepting the noble’s affection, the painter was also incited to question his affection for Yoon Seungho. On the other hand till chapter 94, he hadn’t voiced it yet. As you can see, the abstinence at the end of season 2 and the beginning of season 3 had a important function. It helped the painter to admit the existence of love and more precisely the lord’s affection for him, a reflection of the lord’s situation in season 2 (50-54). Simultaneously, it meant that the painter could no longer deny his attachment to Yoon Seungho too. Therefore it is not surprising that in the bedchamber, when the artist tried to initiate a kiss, it could be perceived as the start of a love confession. (Chapter 80) And now, you comprehend why the painter didn‘t confess during that night. He got interrupted. The kiss was the symbol for their love. Thus it is no coincidence that just after his confession,. (Chapter 94) the painter initiated a long and sensual kiss with his “husband“. (Chapter 95) Since the painter had received caresses and embraces in his childhood, he came to view the kiss as the symbol for true love. And note that the kisses exchanged in the gibang were full of passion and love. This was the perfect combination of love and sex. (Chapter 95)

On the other hand, the lord had developed a different preference: the locked gaze, the warm embrace and the joined hands. Thus when he confessed his affection for the painter in the kisaeng house, observe what he did: (Chapter 96) This shows that Yoon Seungho has always longed for a pure and spiritual love in the first place. His sexual preferences were already palpable in the last love session (season 2): (chapter 72) We could say that he discovered all his sexual preferences thanks to the painter.

Thus my prediction in the first version that the painter would express his love through sex later came true. He tried to initiate it with a kiss. He was moved by the lord’s loving gaze and smile. (Chapter 80) But he failed due to the intervention of the butler and other schemers. Besides, the whispering of „Kyumah“ could only make his heart race. Let’s not forget that his painting in the sand (chapter 1) externalized his own philosophy: love and sex can’t be separated. Note that the couple is is hugging and kissing at the same time! 😍 This picture will represent the peak of their love! Striking is that when the couple confirmed their mutual affection, they did in the kisaeng house, the symbol for prostitution. This truly exposed that Yoon Seungho had been treated like a male night servant in the past. .

As you can imagine, I am expecting a new version of this love session. (chapter 72) in the next season, for the painter is still calling his lover “lord Seungho“ (chapter 99) (chapter 102) This means that he is still viewing himself as a low-born. But note that contrary to the past, Baek Na-Kum is now wearing a hanbok and he has no other clothes. Thus I am deducing that the painter’s next lesson is to drop his notion that he is a commoner. He will be taught to view himself as an equal to Yoon Seungho. Only when he has internalized that there is no gap between him and his lover, then he will be able to address him as “Seungho-YA!“ At the same time, both protagonists will come to realize that they can express their love differently. Poetry, painting and more importantly through their desire to protect their loved one. The lord will start protecting Baek Na-Kyum more actively, just like the painter will decide to show more interests in his lover’s skills and past life. Baek Na-Kyum will feel responsible for the bloodshed in the shaman’s house. In my opinion, the lord will confide to him what happened to Min and the other nobles. I am assuming this, for the lord remained silent, when the messenger of his father came to the mansion. He didn’t want to scare his lover because of his brutal outburst. (chapter 84)

8. Sex, passion and confession

What caught my attention is that unlike in the first season, where characters came to find love and had sex or the reverse, the second season presented each sexual encounter as a sex session, but at some point love came to the surface.

  • chapter 45: The trigger for the change is the noble’s words. The latter keeps talking to the painter asking for an reply. Hence in my eyes, there are glimpses of love the moment Baek Na-Kyum said this: It sounded like a confession, hence the seme became more passionate:
  • chapter 48/49: Here the lord acted like a client. Yet, notice that the lord is speaking again forcing to express himself. And the moment the painter cried and started voicing his own opinion, the sexual encounter was affected. (Chapter 49) The lord comforted the artist and hugged him: (chapter 49) An expression of love and affection, but the painter rejected it, as he mistrusted his own judgement. He couldn’t help thinking of the learned sir’s fake embrace. Striking is that despite the rejection, the painter kissed and hugged back his lover (chapter 49), which made the lord believe that he could only get embraced by the painter, if they had sex.
  • This explicates why in chapter 63, the lord forced the painter to hug him: . Although the second sex marathon starts like a pure sex session, the moment the painter calls Yoon Seungho differently, the lord’s attitude changes. The painter is turned around and faces his lover, a sign that they are getting closer. Striking is that again through their conversation, the painter is pressured to think about his own emotions. However, due to his own insecurities and fear, the noble still can’t trust the artist’s words, therefore there’s no confession. As you can see, love was not absent, it is just that both main leads were in denial.

Naturally, the night in chapter 58 and 70, 71, 72 and 73, are different. Although in chapter 58, the noble confessed and made love to the painter, he was also cornering his lover. The latter was not really able to move. He was trapped under his body, the lord was blaming him for turning him into a wreck. (Chapter 58) Thus he should become responsible for him. Yoon Seungho was unconsciously trying to push the painter to reciprocate his feelings, an imitation of Lee Jihwa‘s confession. Nevertheless, the painter remained silent, therefore it meant that his love was still denied. That’s why it stands more under the sign of dream and illusion. Consequently, the night in chapter 70, 71, 72 and 73 contrasts so much to the one from chapter 58. This time, it symbolizes the lord’s pure love. As such, the sex is already a real expression of love. That’s why the lord asked to be called intimately: Seungho-Ya (chapter 72) On the other hand, this love session was strongly intertwined with the notion of forgiveness and punishment as well. This is important, it reveals that Yoon Seungho had internalized that sex was the expression to redeem himself. He had been tasked in the past that if he desired to obtain “forgiveness“, then he should have sex. And by comparing all these sexual encounters, I came to the following conclusion: the lord’s words definitely contributed to change the nature of the sex session, just like the hug.

And observe that the lord started hugging the painter more often outside sex, but the painter could never sense his affection. In chapter 49, he judged the warmth as fake. In chapter 66, he had a flashback, hence he couldn’t witness his lord’s attention and care. But the lord discovered this kind of embrace, when he helped the painter in chapter 53: That’s how the noble experienced the embrace as a source of comfort and affection. Therefore you can comprehend, why I wrote above that the painter was teaching the lord how to love properly, but also why the embrace became the symbol for love in the lord‘s eyes. He had never been embraced before by a man. And Lee Jihwa had recognized the true signification of this gesture, when he spied on the couple (chapter 43). That‘s how he knew the friend‘s biggest desire: and was deeply hurt after this discovery (Chapter 57) However, this shows that Yoon Seungho is a quick learner, because he knew what to do, when the painter was in pain and destress. At the same time, it explains why he could fake the embrace in chapter 62: This hug stands in opposition to the one at the end of season 3: (chapter 102) The artist was forgiving his lover! Love represents selflessness, tolerance, forgiveness, warmth, affection and assistance which is transmitted by the embrace. Now, you understand why Yoon Seungho was still not satisfied after the sex session in the study, he was longing for the hug. (Chapter 84) In his unconscious, he knew that if the artist hugged him, he would have forgiven him. But he had no idea about it, thus he couldn’t suggest this. So far, he had experienced the embrace from the artist while having sex. Deep down, he had already internalized the embrace to forgiveness. So we could say that the absence of the embrace in this scene was the lord‘s punishment for the fake hug in the shed. And the painter let him discover the true nature of a warm embrace: (chapter 88) This is not surprising that this hug was not connected to sex at all. Yet it moved the lord so deeply. As the manhwalovers could sense it, season 3 was focused on love and sensuality. During that season, the couple was able to voice about their sexual desires and their preferences. (chapter 91)

As for the lord’s addiction to grab the artist’s hand, we have to envision that it is related to the lord‘s huge trauma. (Chapter 86) No one close to him had grabbed his hand in order to show their support. This gesture in the picture embodies abandonment. On the other hand, the painter had been the first one to take his hand and to swear “loyalty“. (Chapter 30) The joined hands were repeated in season 3 , the only difference is that this time, Baek Na-Kyum was doing it willingly. (Chapter 88) The symbol for support, company and responsibility.

As a conclusion, the dichotomy between love and sex in the relationship between the protagonists is no longer existing at the end of the third season. Both have come accept their love for each other. But it already started vanishing at the end of season 2. Although the painter had not confessed properly yet, the return of the embrace and his request for help are strong indications that Baek Na-Kyum was now accepting his affection. He was now trusting the noble, hence he revealed an important clue about the abduction.

Consequently, I am predicting that in season 4, we will see a new erotic painting of the couple, the symbol of their affection which will stand in opposition to the ones from season 1. It won’t be about conquests and as a tool to procure an erection for the nightly activities. That’s the reason why I am now expecting only one erotic picture: the document of their official union. (chapter 1) versus chapter 41 (chapter 41) Under this perspective, it becomes understandable why the couple neglected these pictures. They were all devoid of affection, it was more about prostitution and battle! And here is now the question? Where are these drawings?

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My instagram-tumblr-twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.

Painter Of The Night: Truth and memories (second version) 🧠

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/

Many readers are able to recognize the similarities between chapter 40 and 75, because both episodes contain the following elements:

  • The prank: (chapter 40) (chapter 75: repetition from chapter 74)
  • The presence of the bulletin board (chapter 40) versus (chapter 75)
  • The honest conversation between the protagonists, where Yoon Seungho is encouraging his lover to introspect himself (chapter 40) versus (chapter 75)
  • The color of the sky (chapter 40) versus (chapter 75)
  • The presence of memories: (chapter 40) versus (chapter 75)

Yet despite all the parallels, if I had to give a title to chapter 75, I would select “Memories” and not “Responsibility”, although the latter is still present in episode 75. Why? It is, because the painter talks about his past and youth and as such, he is forced to bring up memories. (Chapter 75) And this made me realize two things: Baek Na-Kyum embodies memories, hence we got many flashbacks from the painter (chapter 2, 11, 23, 34, 38, 40, 41, 46, 56, 57, 60, 66, 74, 75), whereas Yoon Seungho embodies truth. Note that unlike the artist, Byeonduck showed us only a few memories from the aristocrat (chapter 19, 25, 48, 55, 74 with the nightmare). Moreover, the latter is always confronting the painter with his questions and observations. The noble wants him to be true to himself and question his own motivation. (Chapter 75) And this observation made realize another aspect about Yoon Seungho, because unlike chapter 40, the aristocrat stands in the center of episode 75: the significance of memories in the lord’s life.

1. Memories and identity

In order to understand why I came to this conclusion, it is relevant to examine the memories in chapter 40 due to the parallelism. There, the painter recalled the questions and comments from Yoon Seungho, which incited the commoner to ask his teacher about his future. Once the scholar had succeeded, would he become responsible for the painter, like he had implied? And observe that during the confrontation, the artist used a statement from the past: (chapter 29) Thanks to the memories, the low-born had gathered courage and faced his teacher. However, this discussion led to a tragedy. Baek Na-Kyum got hurt, because his learned sir chose to destroy him in the worst possible way. With his words, he showed his true thoughts (chapter 40) and in order to reinforce his statement, he made sure that Baek Na-Kyum would perceive his real gaze: cold and ruthless. (chapter 41) But more striking is that the scholar used memories (the kisaeng house) to define the painter’s identity: he was born to be a prostitute despite his “lessons”. He puts the whole responsibility and blame on the commoner. As a conclusion, the memories served in the conflict to identify Baek Na-Kyum. Who was he really to the scholar? Was he his helping hand, like the low-born claimed, or was he just a “prostitute” according to the scholar?

2. Memory loss and identity

This connection between memory and identity in the manhwa is not random, because according to John Locke’s “memory theory”, a person’s identity only reaches as far as their memory extends into the past. In other words, memory is a necessary condition of personal identity. Thus, as a person’s memory begins to disappear, so does his identity. Therefore, we could say that without memory, there’s no identity. On the other hand, in my previous analysis, I had demonstrated that the lord’s unconscious was trying to force his conscious to remember his past, because he had repressed his traumatic past. This meant that he was suffering from memory loss. Hence we could say, that he lost his own identity. This is not surprising that childhood trauma and memory loss go hand-in-hand. Blocking out memories can be a way of coping with the trauma. It goes even so far that an adult survivor of childhood trauma can even believe that he was never a victim of childhood trauma. Consequently, in case of a permanent memory loss, it signifies that the victim even loses his own identity. Since my theory has been confirmed that the lord was a painter in his youth, chapter 75 actually exposed the memory loss in two different ways:

  1. First, the lord couldn’t even remember painting an orchid (Chapter 75), an indication that his short-term memory was defective due to his lack of sleep.
  2. However, the master’s hand could still paint a orchid without paying too much attention to his hand. It exposes that it was actually an automatic gesture, revealing that he had internalized such a gesture in the long-term memory. And note that when he did this, he mentioned his youth (chapter 36) Therefore I come to the conclusion that Yoon Seungho’s short-term memory is not working properly. Imagine, he could remember one incident from his childhood, but he couldn’t remember painting the orchid. Hence I believe that the lord can’t even reminisce the drawings in chapter 8 and 23 . Only thanks to Baek Na-Kyum’s mention, he was able to recall the drawing. Thus the manhwalovers can comprehend why I consider the artist as a synonym for memories.

3. Trauma and memories

But in the manhwa, there’s more than just memory loss due to a coping mechanism. Traumatic events such as sexual assaults, are encoded differently than more routine due to extreme fear. The victim won’t be able to remember everything, just details, the chronology will be mixed up due to existential fear, that’s why if you recall the following panel, you’ll truly grasp the real atrocity of Yoon Seungho’s suffering. (Chapter 65) While he can’t remember what truly happened due to his poor emotional and physical state, Kim somehow blames him. The young master is so confused that he has to defend himself. This means that after the first rape, the domestic didn’t even comfort the protagonist, but he used the victim’s vulnerable state of mind (who was confused due to this terrific incident) to manipulate the noble’s memory.

That’s why when police investigate a sexual abuse and interview a victim, the latter will always be interrogated twice. The first interview focuses more on the sensory and emotional memories, while during the second, the officers will try to reconstruct the chronology. This explicates why they always wait for quite some time for the second statement. It is necessary, as the memories are now stored and they can be retrieved, although due to fear and stress, the incident can never be properly reconstructed. As you can imagine, Yoon Seungho was not in the capacity to testify about the sexual assault. This terrible event affected his memory so much that he was not given the opportunity to denunciate the crime. He was made speechless in the end due to the insinuation and as such manipulation. I bet, he couldn’t even describe what had truly happened to him. That’s why he repressed the first rape.

4. Amnesia and manipulation

But now imagine this. You are exposed to physical and sexual abuse for more than a decade, this means that your memory will be definitely affected. You are living constantly in fear and stress, two important factors, which can trigger memory loss. [read more here: https://www.verywellmind.com/what-causes-memory-loss-4123636] Like I explained briefly above, terrific events are never encoded normally. This signifies in our case that the lord’s faculties to memorize were definitely affected due to the constant exposure, which can make him more vulnerable to false memories. Studies show that individuals with PTSD, a history of trauma, or depression are at risk for producing false memories, when they are exposed to information that is related to their knowledge base. This also signifies that they are more receptive for manipulations. Therefore I come to the next deduction that in chapter 68, Kim was definitely attempting to distort the past and create false memories. (Chapter 68) He mixed facts with lies in order to confuse his master’s judgement and memory. That’s the reason why it is important now to recall my initial statement: without any memory, there’s no identity. This signifies that in chapter 68, when Kim tried to give him memories, he desired to give him a certain identity: he was similar to his father. The latter would punish or imprison the boy and not release him. Giving a false reflection and identity is something Kim had never done before in front of his master, as he knew that his master feared his own image. However, he never imagined that Yoon Seungho would react differently. Instead of pushing away the painter, he let the artist choose his fate.

5. Making memories and forgiveness

However, in order to comprehend the topic memory, it is relevant to know how memory functions. The latter is divided in 3 parts: encoding, storage and retrieval. And in order to encode information, you have to utilize your senses. There are 3 types of encoding: semantic (words), visual and acoustic (sound). The manwhaphiles should recall that according to my interpretation, Yoon Seungho had been deprived of all his senses, therefore he lived like a ghost. And this signifies that he couldn’t make any memory at all. And with no memory, you have no identity and as such no life. That’s why when he cut ties with Jihwa the first time, he never mentioned the word “memories”, but time spent together: (Chapter 18) In my opinion, this shows that Yoon Seungho had no true memory in reality. He knew that they had sex together, but that was it. It was more like “the night is long and I need to kill time so that dawn can come faster.” Note that he never mentions their childhood together. With this interpretation, it becomes comprehensible that the main lead could act, as if nothing had happened between Jihwa and himself after the topknot incident. From my point of view, he had literally forgotten the incident, yet for Jihwa, it meant that he had been forgiven. (Chapter 59) And this explicates why Yoon Seungho barges in the mansion in chapter 67: he makes it clear that he won’t forget what happened. (Chapter 67) The real forgiveness occurred in chapter 59: Despite the caused pain, Yoon Seungho was willing to overlook the terrible action (chapter 59), but he made it clear that he would never reciprocate the feelings. This was real forgiveness from my perspective, whereas in the past, Yoon Seungho couldn’t remember anything. Jihwa had the terrible habit to use the past in order to torment his childhood friend, which always triggered buried emotions connected to memories, which the noble couldn’t control. From my point of view, the lord only had flashbulb memories which the readers could discover in chapter 55: (chapter 55)

“A flashbulb memory is an accurate and exceptionally vivid long-lasting memory for the circumstances surrounding learning about a dramatic event. Flashbulb Memories are memories that are affected by our emotional state.” quoted from https://www.simplypsychology.org/flashbulb-memory.html

These memories connected to emotions were the remains of his deeply repressed memories. The lord could only remember the feelings he had felt during his traumatic past. To sum up, the lord had no real recollection of his past, and the few things he knew were manipulations and lies explained by his butler. Therefore you can comprehend why Kim got scared (chapter 56), when he heard that lord Song asked for a meeting. The latter could definitely reveal new information and let the protagonist realize that he was truly suffering from memory loss.

6. Recovery from amnesia: memories

However, due to the exposure to arts, his eyes got healed, hence he could sense positive emotions and as such create good memories (visual encoding). From my point of view, when Baek Na-Kyum entered his life, the noble had started developing good memories, because so far, all he had were traumatic memories. However, Yoon Seungho’s capacities to memorize were under-developed due to the lack of practice. This explicates why he shows no interest to discover why the commoner stopped painting. This was not meaningful to him, and the readers should know that people will only memorize significant information. The emergence of his memory is visible in chapter 1. We see him speaking about his nightly activities so positively, but observe that he is only talking about recent and meaningful memories. (Chapter 1) Striking is that when Baek Na-Kyum confronts him with his poor image (“man consumed by lust”) (chapter 4), the lord is bothered. He is forced to ponder why he is described like that, hence he has to recall events from the past. At the same time, when the lord read the poem, he was encouraged to recall the original sijo. This shows that at some point, Yoon Seungho rediscovered literature. Words and paintings helped to create memories. Thus if you pay attention, you’ll notice that the more time passes on, the more memories the lord has. They are strongly intertwined with the paintings. The latter helped him to reminisce the sex sessions and his past. He can’t forget how the painter masturbated behind the door. He is even getting more and more good memories. (chapter 18) Then in chapter 19, he reminisces the painter’s facial expressions which puts him in a good mood. (Chapter 19) This explicates why Yoon Seungho was so moved by the painter’s confession during their Wedding night. For the first time, he experienced warmth and love, he even heard a love confession. This could only be stored as a wonderful memory. At the same time, he hoped, the artist would create a picture of this night in order to ensure that this memory was real. Moreover, note that in chapter 58, he externalized how much this night meant to him. (Chapter 58)

Yet, the manhwaphiles can detect that in his confession, the memory is not entirely described as positive: “haunt”. This explicates why I consider the Wedding night as a turning point in Yoon Seungho’s life. This memory is a combination of positive and negative elements. The lord wished to relive this, but he was not satisfied, because he knew that he had impersonated the scholar. Moreover, the manhwaphiles should reminisce that after this night, the lord will do terrible things to the artist and as such, he gets now terrible memories. That’s the reason why in my opinion, Byeonduck chose to expose the rape as a flashback from the master’s perspective. Because of his bad actions, Yoon Seungho feels huge pangs of conscience and can’t act like nothing happened. He is now forced to remember. However, in my eyes it is different from the past. Before, he was just a ghost, hence he was incapable to get memories, with Baek Na-Kyum’s help, he can get memories which will help him to face his own traumatic past.

7. Memories and learning

There’s one aspect, strongly connected to memory, which I didn’t mention so far: learning.

” Learning and memory operate together in order increase our ability for navigating the environment and survival. Learning refers to a change in behavior that results from acquiring knowledge about the world and memory is the process by which that knowledge is encoded, stored, and later retrieved.” quoted from https://opentext.wsu.edu/psych105/chapter/8-2-how-memory-functions/

As you can see, in order to change, the lord needs memories. Through positive and negative experiences, the noble can gain knowledge leading to a change of attitude which the readers could observe. Gradually, the noble learnt from his mistakes and good memories. Therefore, this is no coincidence that when in chapter 75, Baek Na-Kyum talks about his past and memories, he criticizes his master: (Chapter 75) He gives him the impression that he will never change, the lord wouldn’t even remember him after his death. Now, you grasp why he reproaches Yoon Seungho his fickle nature, he is indirectly referring to the lord’s memories. (Chapter 75) His feelings will fade away just like memories. He will forget him. What the painter doesn’t realize is the following: this date is actually an important moment in Yoon Seungho’s life. For the first time, he gets to discover the painter’s memories and past, which now the noble can store as his own. He will never forget this day, especially when he heard that the painter would cry because of him (a new version of chapter 21: (chapter 21) , but here out of concern. In other words, Baek Na-Kyum would like to be remembered. Hence he complains that the lord didn’t call for him. And this can only make the lord happy, because he can detect through the painter’s words that the latter is longing for his presence and care. From my perspective, Yoon Seungho has finally grasped why the artist is not truly honest with him. Therefore he can only tease his lover pushing him to make the first step. Let’s not forget that right now, the master is now treating his lover as his new lord. So the latter has to call for him. (Chapter 75) Here, the protagonist clearly displays that he has never forgotten his companion. Their date is so important for two reasons. It allows the noble to gather more information about the commoner, and get a really good memory before the next tragedy.

From my point of view, it will help him to face his own traumatic past. Let’s not forget that a rape is planned, so if the noble was to discover this, he would be definitely reminded of his own past. And this truly happened in season 3. Simultaneously he would be able to help his lover to recover from the traumatic incident. We shouldn’t forget that during the kidnapping, the lord’s smile was the reason why Baek Na-Kyum didn’t lose his sanity (Chapter 60) and could cope with the kidnapping much better. Note that he has no nightmare afterwards. And this detail is important, because we have to envision that while Yoon Seungho was exposed to physical and sexual abuse for a decade, he had no good memory at all in order to remain sane. Moreover, he never felt loved. Consequently, he couldn’t even think of anyone in a positive way. That’s why he was so damaged in the end. (Chapter 57) The presence of a loved one is necessary in order to cope with traumatic childhood abuse.

8. The impact of Yoon Seungho’s traumas on his mind and attitude

And this leads me to the next observation: Due to his childhood trauma, the lord’s memory was affected and didn’t work properly, as for a long time, his memory was not encouraged to encode events. On the other hand, because of Baek Na-Kyum, Yoon Seungho was forced more and more to face his traumatic past, therefore his fears and abandonment issues came to the surface. This explicates why he couldn’t pay attention to details and never questioned the circumstances of the first abduction. Note that during the night at the physician’s, he still doesn’t trust his own senses. (Chapter 58) This signifies that he is unsure if what he is experiencing is real or not. From my point of view, the memory loss and his life as ghost affected his brain and the way to encode and store information. Hence he has no real recollection of the incident with Deok-Jae (chapter 30 and 53). That’s why he is not asking for his whereabouts. However, I believe to see a turning point in chapter 75. By giving the lord the opportunity to have a real date, where he could hear and see that Baek Na-Kyum was definitely affected by him, the noble will react differently compared to the first abduction and after the painter’s first flashback. He will not lose his mind blinded by his emotions and insecurities, he knows that the artist chose him. And he won’t blame himself like for the first flashback. Remember that in chapter 66, he never called the physician. Why? Because someone told him that the painter needed the presence of a loved one to recover. Kim made sure that Yoon Seungho would feel guilty. Deep down, Yoon Seungho knew that he was responsible for the panic attack. (Chapter 66) But the real cause for all this was the butler’s silence and complicity. That’s why he remained by his side, until the artist had recovered. Thus I had predicted that after meeting Nameless, Baek-Na-Kyum would get a panic attack. (Chapter 75)

This is what I wrote in the first version:

“However, this time, the noble will wonder how this could happen. They had a nice conversation, where they exchanged thoughts. He is not responsible and it can’t be the alcohol. Moreover, he will recall his lover’s words: He won’t focus on his own emotions, but will try to calm down the artist and investigate why the painter reacted like that.” It is definitely possible that he brings back the painter to the mansion and decides to visit the physician in order to ask for an advice. From my point of view, thanks to the new memories, the noble is learning more about his surroundings and gaining more experience.”

However, the reality was that Yoon Seungho thought that the painter’s panic attack had just been triggered by the entertainers. (Chapter 76) He didn’t take his words seriously, for he believed that he had discovered the truth. Therefore the lord never investigated the circumstances of the kidnapping. Since he thought, he knew the truth, he had no reason to question this. Why did the Joker scare the painter so much? Thus the lord didn’t take the memories from the painter seriously. How could he, since he had been already informed? However, the revelation from Min had diverted Yoon Seungho’s attention from the real problem: the involvement of the helping hands (Kim, Deok-Jae, No-Name) and of the mastermind behind this.

9. Baek Na-Kyum’s memories and truth

What caught my attention is that Baek Na-Kyum is also hurt, though he has memories from his past. What he confessed to his lover represented a bad memory, and this made him feel guilty. Striking is that he believes, he knows the truth, as he can reminisce his past. Yet, he is making a huge mistake: memories are by no means facts, they are biased and even tainted. The artist took the scholar’s words as face-value. He never questioned his words, therefore he blamed himself for Jung In-Hun’s failure. Here, I would like the manhwaphiles to notice the parallels between Jihwa and the artist: both feel responsible for a tragedy, while in reality it was not the case. Both were victims of manipulations and lies.

My theory is that the learned sir imagined that he had finally the possibility to get a high position. Yet the incident in the gibang put an end to it, and this is definitely related to the erotic pictures. However, there is no ambiguity that Jung In-Hun was actually receiving his karma. Remember that in the Alternative Universe, the protagonist used Jung Na-Min as his artist name. In other words, the name of the artist must have had an effect on his career. Besides, let’s not forget that the teacher is preaching immobility, for people’s fate is always determined. (Chapter 6) They can not escape their conditions. Thus the gods chose to punish him the following way: he could never escape his own situation. He would remain a man with no wealth and connection. Thus no matter what he did, it ended with a failure. Therefore it is not surprising that he came to resent the painter, for he caught the attention of a powerful noble and this at least twice. The scholar was offered a position, but due to the incident in the gibang, the sponsor changed his mind. Hence he blamed Baek Na-Kyum for not securing a post. It was, as if he had stolen it from him. I think, Jung In-Hun published poetry, but couldn’t get recognition. Therefore he used the incident (discovery of the erotic pictures) in order to punish him and force him to give up on painting. He couldn’t allow that a commoner was more successful than him. At the same time, it was the reason why there was a ruckus in the gibang too. But now, we have to wonder why Baek Na-Kyum talked about his past. From my point of view, an important detail played a huge role at the inn: (Chapter 74) Observe that the woman has a similar hair dress than his noona. That’s why I believe that when he saw her, he must have been reminded of her. Note that when he speaks about the leftovers, he describes leaving food as a sin, but strangely, in chapter 40/41, he had the opposite attitude. (Chapter 41) He didn’t eat all the sweets or even skipped meals. (Chapter 41) In other words, he didn’t eat everything and committed a sin. This indicates a certain hypocrisy, simultaneously Baek Na-Kyum’s lack of critical thinking, when it comes to his noona. Moreover, he says the opposite of what he thinks. In chapter 74, he claims that the lord has changed(chapter 74), in episode 75, he claims that he has not improved his behavior. The painter’s memories clearly reveal Heena’s strong influence, which explains why he doesn’t make the first step in the end. He would like the lord to become responsible for him. But Yoon Seungho would like the opposite, because that way, the low-born can never claim that he was forced or pressured by him. In my eyes, Baek Na-Kyum still fears to be perceived as a man consumed by lust, if he makes the first move.

That’s why I believe that Yoon Seungho embodies the truth, while Baek Na-Kyum represents the past and memories. The commoner’s past will become the trigger for Yoon Seungho to decide to discover the truth about his own past and as such regain his own identity: he was a talented painter with a promising future. Since the low-born’s past with the kisaeng and the scholar are more recent, it is much easier for Yoon Seungho to unveil the lies concerning Baek Na-Kyum’s past in the kisaeng house. At the same time, thanks to the physician, Baek Na-Kyum is gathering information about his lover’s past (chapter 57), which will assist him to regain his lost memories.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My instagram-tumblr-twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.

Painter Of The Night: Words

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/

On the surface, it looks like in chapter 73 nothing important happened, because the two protagonists have just sex. However, this is just deceiving, for the significance lies in the details, and more precisely in the words. First, what caught my attention are the expressions used by Yoon Seungho. These reveal a lot about his actual state of mind. Pay attention to the following images, and try to find out the common lexical field: (chapter 73) Here, the relevant word is “enter”, an equivalent for invade.

(chapter 73) Mess is a synonym for chaos and wreck. (chapter 73) In the third panel, Yoon Seungho is implying that the painter just has to call him Seungho-Ya, and he will stop immediately. Strictly speaking, he is referring to the saying: your wish is my command. (chapter 73) Strangely, the word “bow” has two significations: a ribbon or a weapon. (chapter 73) In the fifth image, Yoon Seungho actually means seduction, yet he utilized the idiom “provocation”. Finally, we have Yoon Seungho’s favorite expression “fret”. During this night, he keeps mentioning it in connection to the painter: (chapter 72) (chapter 73) I have to confess that in this situation, I can’t help myself associating this idiom to an anxious animal trying to escape. Now, I would like to sum up all the expressions the main lead employed: enter, mess, word as a synonym for command, bow, provoke and fret. As you can observe, they are all connected to war and conquest. However, since the lord dropped his armor for good, I believe that the aristocrat is thinking about something else: hunting, which coincides with his second hobby. (chapter 41) Baek Na-Kyum is his prey, and the lord is trying to catch his heart through sex. However, Yoon Seungho’s attitude is not consciously done, he is not aware that he is speaking like a hunter. More astonishing is that the painter’s vocabulary mirrors his lover’s: (chapter 73) The word spot is a synonym for target and prey. (chapter 73) The prey has to move on at his own pace in order to escape from the hunter. Nevertheless, (chapter 73) the target is wounded (“it hurts”) and tied up. Even Yoon Seungho’s words are referring to a wound, as if the animal was bleeding to death (chapter 73) , as it keeps leaking (chapter 73) As you can observe, Yoon Seungho is so pleased by the painter’s reactions. Imagine, with a few licks and one thrust his lover had two climaxes. He has the impression that he is getting closer to his goal, winning Baek Na-Kyum’s heart. Therefore he becomes more passionate and impatient. He can’t wait to claim the artist as his “wife”, that’s the reason why he can’t take a break. Hence his lover has to refrain him, asking him for a moment of respite. (chapter 73) But the lord is known as an impatient man, which seems to be confirmed here. However, in reality it took him many months to be gazed and even accepted. Now that Yoon Seungho is seeing how affected the artist is with his words, caresses and kisses, he is so happy that he calls his lover (chapter 73) revealing that they have no longer a lord-servant relationship. This exposes how much the main lead wishes to be intimate with the artist. Therefore, he can’t simply wait contradicting himself. (chapter 73) His actions prove that he is definitely in a hurry.

This association to the hunt exposes two important aspects: the noble has not entirely changed… these idioms are the remains from his previous doctrines, but they are much softer. The lord is now attempting to woo the artist, so that the painter can finally admit that he loves being with him and that only Yoon Seungho is able to make him happy, even if it is through pleasure. This chapter is an allusion to chapter 45, where I had already pointed out that the noble was deluding himself by calling the artist an easy conquest. Back then, this comment made me so laugh, because chapter 42 clearly outlined that it wasn’t even easy due to the lord’s grimace during the intercourse. (chapter 42) And observe that this chapter confirms my interpretation. First, the noble has a similar facial expression exposing that he has to work hard in order to please his lover. He is still clinching his jaw, however the manhwaphiles can detect two huge differences: the mouth is more open and he is now blushing. This shows how much this hunt is touching his heart. And the comparison makes me realize that Yoon Seungho’s final sexual emancipation could be symbolized, when he moans his lover’s name while having an orgasm. That’s why we have the lord calling the painter so affectionately (Na-Kyum-Ah) before the second round. (chapter 73)

Since this love sessions reminds us of a hunt, it is not surprising that winning the painter’s heart is not easy, because he might scare the target. First, when the lord continued thrusting, his lover begged him to stop. The former had to yell and use his hand to stop him. (chapter 73) In order to reassure his partner, he kissed his hand (chapter 73) showing that he was serious with his saying: Your wish is my command. In addition, he wanted to demonstrate that he hadn’t forgotten his promise: not to scare him.

At the same time, Baek Na-Kyum likes rough sex as well, hence he has to beg his partner for his help. He is not satisfied with his own actions. This explicates why there is this alternation between speed accompanied with roughness and a breather. (chapter 73) The noble and Baek Na-Kyum’s desires stand in opposition to the artist’s weakened physical condition. The latter can’t physically keep up, hence he faints at the end. (chapter 73) The prey has definitely been wounded by this special hunt. However, Yoon Seungho did achieve something really important. The blushing painter cried out of excitement during his final climax. (chapter 73) Yet, I doubt that this will be noticed by the aristocrat. He is definitely too shocked by the incident. His lover fainted. In my eyes, there is no ambiguity that Yoon Seungho will panic again. He has three reasons for that:

  1. He never forgot the consequences of the first sex marathon. (chapter 32) He felt so remorseful and was so worried that he ran away, too scared to face the painter and assume his responsibilities. However, he made sure that a physician was fetched. This terrible experience explicates why the lord panicked in chapter 50. He envisioned for one moment that he had overdone it again.
  2. Secondly, he witnessed within one day how the painter fainted twice. The latter had a flashback so that he became unconscious. The lord thought that he could die. The noble had such huge pangs of conscience that he couldn’t forget the painter’s poor condition. Hence he desired to verify if he had recovered in the bathroom.
  3. Finally, during this night, he noticed how the painter breathed heavily. (chapter 72) He was worried, but the painter reassured him. In truth, the heavy breathing was caused by a climax, which the artist tried to hide from his lover. Therefore, there’s no doubt that after this chapter, the noble will question his behavior again. As a hunter, he overestimated the strength of his “prey”. Moreover he will realize that Baek Na-Kyum’s words contributed to this incident. Let’s not forget that Yoon Seungho was following the artist’s request. (chapter 73) This time, the painter’s exhaustion occurred due to both protagonists. That’s why Yoon Seungho will realize that he has to become more responsible and can’t just give the whole responsibility to Baek Na-Kyum. He should have paid more attention to the artist’s health and physical condition. And Kim took advantage of the situation. Thus from that night on, the lord kept his distance from his lover. From my point of view, the valet used these expressions against the main lead. He had been targeting the artist, turning him into a prey, hence the painter could not refused. Kim’s MO has always been to mix cause and consequences. Besides, since he heard such words, he could only have a negative impression. The manhwaphiles shouldn’t forget that the valet is a pessimistic person due to “fortunetelling”. [For more read the essay “Fortunetelling”] As you can see, due to this incident the main lead learned another important lesson: consent. Therefore the lord said this later (chapter 75) (chapter 79) In the second case, he made sure that both were on the same page. He had felt coerced. Through this fainting, the main lead became more careful and responsible for both of them. The problem is that he was still influenced by his past experience: sex is like a battle… which was now transformed into a hunt.

This parallel between this love session and the hunt gives us an explication why the author chose to include gestures and words from the sex session with Jihwa (chapter 14-15). First, the positions are similar, which my follower @I_Love_Seungho truly observed. . (chapter 15) Secondly, Yoon Seungho repeats similar expressions: (chapter 73) (chapter 14) And this is how I made the connection with this love session, as I was paying attention to the words.

Let’s start with the last two pictures. Note that in episode 14, the seme didn’t smear the sperm on his own body, but he put it into his childhood friend’s mouth. This gesture gave us the feeling that the sperm was something dirty. Notice that the lord’s words sound like a reproach towards his friend. The personal pronoun “You” stands in the first position, while in chapter 73 it looks more like a compliment (What a mess you’ve made), as “what a mess” is associated to an exclamation. In other words, in chapter 14 the second lead is blamed for the chaos and dirt he created, while Baek Na-Kyum gets praised..

Besides, the manhwaphiles should recall that initially the noble just gave pleasure to his sex partner without getting anything in return. (chapter 14) It didn’t happen, because he was selfless… no, this was the consequence of Jihwa’s attitude who did nothing to “seduce” his friend. He refused to kiss him (chapter 14), but like he explained, his visit was because he was giving in to Yoon Seungho’s ways. But we have to question ourselves: who wanted whom here? The second lead did visit his friend, as he was seeking his company for sex. He could have refused, as his friend never forced him, but he did not. Moreover, the lord made it clear that Jihwa was just coming for sex and nothing more, yet the childhood friend never denied it.

In addition, he punished his partner by not kissing him. Hence his behavior implied that Yoon Seungho had to pleasure him. As you can truly observe, Jihwa never made the effort to conquer his friend, he projected his own thoughts into his sex partner in reality. This sex session reflects the epitome of war… who will admit his defeat first? That’s why there’s no love and warmth. Besides, both protagonists were quite passive in this sex session. Jihwa only changed his attitude, when he sensed the presence of an enemy in the room: the painter. The friend never asked for his host’s help either. This explicates why the lord could only look at the painter’s facial expressions during the sex session. The latter was the only one who seems to be affected by his gestures and gaze. Jiwa hid how he was affected, he never allowed him to see his weak side. In addition, Jihwa’s words were full of criticisms. This is not surprising that Yoon Seungho was behaving in a similar way. He was reflecting the second lead’s behavior. In my eyes, Jihwa treated his friend like a real sex toy who was there to pleasure him, hence the fellatio is done to prepare the penetration. That’s why there’s no real exchange, the lord is very passive as well during the blowjob. He feels nothing at all . When the sex session started, he seemed to be in a hurry too, similar to chapter 73, but for a different reason. He desired his job to be over. Therefore I come to the conclusion that Jihwa was having sex on his own. Note that once the penetration happened, the second lead had the impression, he had won the battle and war. (chapter 15) However, Jihwa never truly invested his energy and effort to woo his childhood friend’s heart. This is no longer surprising why the second lead felt so lonely, even during their intimate time. Yet the irony was that the head-kisaeng was treated like a tool for Jihwa’s pleasure, and the latter never realized that.

On the other hand, Baek Na-Kyum keeps complimenting his partner , he even recognizes that praising him too much could encourage Yoon Seungho to become more passionate, hence he diminishes his praise afterwards. (chapter 72) Baek Na-Kyum’s words and reactions are the reason why the lord is so affected. But unlike in chapter 14, the painter asks for his lover’s help showing that making love implies the involvement of two persons and not just one. Like I had written in a previous analysis, the lord is discovering that giving pleasure to his lover is also receiving. Hence he blushes and becomes more passionate. (chapter 73) His blood is boiling not due to anger, but due to his intense feelings. Both lovers are proactive here (chapter 73) which contrasts so much to the sex session in chapter 14. (chapter 15) That’s why words are really important, they reflect people’s mentality. The lord went after his lover’s heart, therefore he “worked” hard to please his partner discovering that he felt so much pleasure as well. However, now he needs to become more patient and responsible by resisting to temptation: (chapter 73) But more importantly, he has to learn to woo the artist differently, not only through sex… Winning the lover’s heart and hand is called courting, and not hunting. On the other hand, for Kim, the conversation let appear Yoon Seungho as a rather “brutal” man imposing his will onto the artist. He was cornering his prey… while the artist could only look like a man consumed by lust for he would accept this “pressure” and “mistreatment” (tie up, bow).

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My instagram-tumblr-twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.

Painter Of The Night: “Love💘 , embrace and caress👨‍❤️‍💋‍👨” (second version)

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/ 

It would be great if you could make some donations/sponsoring: Ko-fi.com/bebebisous33  That way, you can support me with “coffee” so that I have the energy to keep examining manhwas. Besides, I need to cover up the expenses for this blog.

In my last analysis entitled “The Light in the Heart”, I had portrayed Baek Na-Kyum as someone whose recovery and transformation were completed due to the number of white candles next to the painter’s head. (chapter 70) 3 symbolizes perfection and completion. But I have not entirely explained how the artist could overcome his traumatic past and even find closure. So far, I elaborated that the missing farewells played a huge role in the painter’s trauma, as they triggered his abandonment issues. Thanks to Yoon Seungho’s decision, the artist was allowed for the first time to bid farewell to his noona properly. (chapter 69) But there’s more to it. In my opinion, the physical touch, in the form of caress and embrace, played a huge role in the painter’s traumatic past too. However, before starting to explain this element, I need to elaborate how it came to this.

First, I have to admit that I had problem to discern the true nature of the relationship between the painter and Heena. She is acting like a mother, although the protagonist describes her as his older sister. (chapter 70) Then thanks to my readers @_Winnie_L_ and @AkaiHikariChan who pointed out, the kisaeng is definitely too young to be the mother, I got a new revelation. Since Baek Na-Kyum is a reflection of Lee Jihwa, it means that the commoner was raised by an absent parent too. That’s why we don’t see the head-kisaeng at all. She is also like a ghost, the female version of father Lee. (chapter 67) Thus we have two possibilities. Either the head-kisaeng is someone else and Heena noona took over her role, or Heena noona became the head-kisaeng, but she never claimed Baek Na-Kyum as her son. Thus the painter ended up with a ghost mother. On the one hand, Heena noona acted like a sister in front of him and she requested from him to be called “noona”, on the other hand, she behaved like a mother towards Baek Na-Kyum. Observe that Heena is the only one with a name. The only difference is that the head-kisaeng relied on the kisaengs to raise the low-born, whereas the noble Lee employed his domestics. This explicates why Heena noona started acting like a mother. But this caused her to struggle due to her young age. She was so overwhelmed with this task, that she had to rely on the scholar. And there is a reason why the kisaeng trusted the low noble so much. She was not just blinded by her own feelings (chapter 68). Her decision was influenced by her past experiences and fears. The head-kisaeng judged the learned sir as a good and responsible man. And how could he win her trust? Since the story is constructed like a kaleidoscope, this means, we must have a new version of this during the first season. In my opinion, the scene with the worker is the repetition from the past. (chapter 29) First, observe that the young girl is sitting on the teacher’s lap and the learned sir is holding a book. So if someone saw this from far away, the beholder would think that the scholar is reading the book to the child. It even gives the impression that he is actually teaching the young girl to read. But note that in this scene, the low noble is in reality talking to the commoner. For the young girl, it means that she is forced to sit and do nothing. That’s why she turns her her head to the learned sir wondering what he is expecting from her. (chapter 29) What is she supposed to do? Observe that he replies to her interrogating expression with a smile, yet he doesn’t give her any instruction. I would say, he treats her like a doll. And now, replace the young girl with Baek Na-Kyum, and the latter has to sit there for a while. You can easily grasp why the painter could only fall asleep. (chapter 70) In front of the kisaengs, the scholar created the illusion that he was teaching, while in truth he just saw it as a diversion. This explicates why he utilized this idiom to Yoon Seungho. (chapter 6) Diversion has two meanings:

  1. something that takes your attention away from something else: Shoplifters often work in pairs, with one creating a diversion to distract the staff while the other steals the goods.
  2. an activity you do for entertainment: Reading is a pleasant diversion. quoted from https://dictionary.cambridge.org/dictionary/english/diversion

This outlines that this expression is far from anodyne. While we all associated “diversion” to the second significance, the low noble meant the first meaning. In the past, I used to think that the scholar was hoping for the artist to doze off so that he would spy on the guests at the kisaeng house. He was talking to the noonas with the boy on his lap in the hope to discover “secrets”. However, since I realized that Jung In-Hun was the one who brought the baby to the gibang, he had many reasons to go to the kisaeng house. He could hope to get connection to powerful nobles and even get information. However, from my point of view, since he had entrusted the artist to the noonas, he knew that the gibang was the perfect place to hide secrets as well. Remember that the conversation in this precise chapter was about “secret and protection”. (chapter 29) And now the scene at the kisaeng house can only be perceived in a new light. (chapter 68) Jung In-Hun must have come to an agreement with a rich noble and made a deal with him. The presence of the painter was no coincidence, and it diverted attention from the real target of abuse: Yoon Seungho, who got dragged away. The painter and the other noona thought that Heena had been the victim of violence from a noble, but she was not. She served as diversion. Too blinded by her prejudices and own fears, the young woman wasn’t able to perceive the true nature of the learned sir. While she saw the scholar as a hero, because he hugged the painter and took him away from this terrible place, she never questioned the scholar’s attitude. If he had been a true hero, he would have rescued her and not abandoned her. She never got aware of his betrayal. In other words, the scholar helped to create a secret. This explicates why the learned sir is well aware of the nobles’ fear. In his eyes, they all have something to hide.

But let’s return to our first observation: the head-kisaeng neglected her adopted son, for she was too overwhelmed with the huge responsibility. The manhwaphiles should remember that neglect is a form of abuse and it can lead to the loss of senses. That’s why I described Lee Jihwa as blind and deaf. With this new interpretation, I come to the conclusion that Baek Na-Kyum had the same fate. Moreover, his mind’s eye couldn’t get developed. Due to his abandonment issues, he desired to grant Heena’s wishes. That way, he wouldn’t be rejected. However, this couldn’t fill the void. That’s the reason why Baek Na-Kyum drew a lot of paintings as a child. (chapter 1) Here, the witness was lying, as he was distorting the past, the painter wouldn’t draw erotic pictures constantly. The head-kisaeng didn’t take care of her son and during the day, the noonas were all resting so that the painter was on his own. This panel illustrates the painter’s isolation and loneliness. At the same time, I envision that the scholar visited the kisaeng house during the night so that he could approach the noonas, explicating why the boy would doze off too. Moreover, painting was a way for the painter to cope his loneliness and his loss of senses. As a conclusion, the painter was not only suffering from abandonment issues, but also from neglect which made him more and more dependable on Heena noona and the learned sir.

Yet, this doesn’t end here. Each time, Heena noona was confronted to violence, she sent away the painter. He was not just forced to leave his noona’s side, he had to leave the house as well. He ended up in the countryside (chapter 70) , in the middle of nowhere, surrounded by water and rice fields. While some might view these panels as quite idyllic, I interpret these as the opposite: Baek Na-Kyum had no roots and no roof over his head. He couldn’t even find a refuge, which reminds us of the scene in the first chapter: (chapter 1) This picture exposes the painter’s lack of attachment. He has no home, no wall to protect him… there’s only emptiness surrounding him, which contrasts so much to Yoon Seungho’s situation, who lived in a prison. Hence I understand now why Baek Na-Kyum is determined to remain by Yoon Seungho’s side. (chapter 68) For the first time, he has a room for himself, and even if he is pushed away, he can express his sadness and seek comfort in his room: (chapter 41) and (chapter 52). Note that each time, he was unhappy, he was requested not to cry (chapter 26) (chapter 68: he is sent away due to his tears) (chapter 70) If you pay attention, you’ll notice the only one allowing the painter to voice his wound and to shed his tears is indeed Yoon Seungho. Each time, he desires to know the cause for Baek Na-Kyum’s tears. (chapter 1) The difference is even palpable in chapter 26: He left him some space and time to cry, hence when he returned, he didn’t say: don’t cry. He just makes this comment (chapter 26). And like I underlined it before, the lord is always focused on the reason for the artist’s tears. This led to the confrontation: who is responsible for his heartache? (chapter 26) Sure, in the bathroom, Yoon Seungho is still very rude, however he never employs the negation. Nonetheless, the low-born could never perceive this divergence, as the nuance is not so obvious. This explicates why in chapter 41, the artist misjudged the noble’s intervention. When the latter wanted to see his face and as such his tears, (chapter 41) the former refused to do so, because he anticipated that the lord would ask the same thing: stop crying. However, the master wanted to know the cause for his agony, which is totally different. This scene is really important, because it shows another issue. Baek Na-Kyum was never allowed to cry. His tears were associated to annoyance and burden. That’s why he desired to be left alone in the end. He feared that if the lord saw his tears, he would be requested to stop crying. And this fear of letting his tears coming up explains why the painter hid his eyes with his arm during the physical abuse. (chapter 34) Under this new approach, we understand better (chapter 68) why the lord chose to retreat. Here, the master saw the commoner’s tears with his mind’s eye and realized that he needed to give him some space and time again. But more importantly, he never entered the room, giving him some privacy. He learnt an important lesson here: solitude doesn’t stand in opposition to distance and abandonment. In this scene, Heena noona never requests from the painter to stop crying, she just wipes his tears with her hand and caresses her brother’s cheeks. (chapter 68) In my opinion, she hoped that if he voiced his emotions, he would follow her. She had an interest in this, that way she could express her disapproval and use her authority to force the painter to obey her. (chapter 68) What the noona didn’t realize is that the main lead’s decision to respect the low-born’s needs (crying and not entering his room) was the reason why Baek Na-Kyum selected him in the end. There’s no doubt that the lord was associated to home for good, because he is the first one who allowed him to cry and to have a room, where he could seek refuge after getting hurt. Under this new light, the readers can better grasp why Baek Na-Kyum is healed now.

However, my examination is still not finished. I had portrayed the commoner as suffering from the loss of sight and hearing due to his neglecting mother/noona. But this doesn’t mean that he had lost his body too. Since he was deprived of these two senses, he had to rely on the physical touch in order to compensate his isolation. And now, you understand why the learned sir and Heena noona had such power over him and why the young boy was so submissive. They used the caress and the embrace as a way to impose their will. That’s how they got so close to Baek Na-Kyum, explaining why the commoner would lose his voice after all (speech ability). He became submissive in his desire to please his loved ones. He saw in their caresses and embraces a sign of affection. He was not wrong, but their attachment was linked to their own interests. Thus their love was rather superficial.

What caught my attention is that the kisaeng stroke the painter’s cheeks, (chapter 46) when the latter was sent away, But she didn’t hug her brother. Why? It was to stop him from protesting. (chapter 46) But I would even go further. I don’t think that Heena noona used to embrace her brother. This perception was somehow confirmed in season 3. (chapter 94) Here, the infant hugged his noona, but she didn’t return his gesture. Moreover, she hadn’t stopped the laughing nobles as well. Furthermore, (chapter 66) note the huge distance between the two characters in the last panel. This is no coincidence, therefore I perceive the embrace in chapter 66 in a new light. (chapter 66) It was the first time that Baek Na-Kyum got embraced by his noona. And all this, thanks to Yoon Seungho. In my opinion, the kisaeng got really scared and concerned for her brother. And there’s a reason for this lack of worry. She relied too much on Jung In-Hun. Her false perception is particularly visible, when she claims . (chapter 68) Why does she expect this? From my point of view, her words imply, she must have helped the learned sir in the past: one thing is sure. She was not entirely honest with her donsaeng here, as the manhwaphiles can detect the drop of sweat. But more importantly, we have to question ourselves if the gibang was not used in the past to spread rumors about the Yoons again, and Jung In-Hun could heard something. I am even envisioning that she must have reported conversations to him, a new version of chapter 24: Remember that in that scene the painter doesn’t comprehend the meaning behind this order. If this theory is true, then she never saw the consequences of her action, similar to her brother in chapter 24. If she truly did it, she must have justified this, because the learned sir needed it, she was responsible for him. This would explicate why she is surprised that the artist is responsible for the learned sir. Anyway, due to her assistance, she expected from Jung In-Hun that he would take care of the painter. There’s no doubt that she loved the scholar, and since the boy had entered the kisaeng house due to the learned sir, there is a high possibility that Heena noona got close to Baek Na-Kyum for that reason too. That way, she hoped to earn the scholar’s acceptance and admiration. Since the painter was left alone and longed for love, the latter could only rely more and more on Heena noona, especially due to the incidents where Baek Na-Kyum was wounded. (chapter 94) She created a dependency, while simultaneously, she would delegate her responsibilities on the other noonas. Heena noona became the painter’s mother, yet she was never one officially. Consequently, I believe that her bond was not entirely selfless, which became truly visible in season 3. Let’s not forget that the kisaeng was portrayed as quite rude and selfish in certain scenes. The way she hugged her brother was not tender in my eyes. (chapter 68) For me, her real “admiration” was for the learned sir, therefore it becomes understandable why she wasn’t bothered, if Jung In-Hun asked for her help in exchange for taking care of Baek Na-Kyum. According to my theory, the learned sir had brought himself the baby to the gibang, this means that in chapter 46, he could only accept the kisaeng’s request. He had no other choice, for in Heena’s eyes, they were somehow related. From my point of view, Heena noona hoped that Jung In-Hun would even assist her and help her to leave the gibang. But this never happened. In my opinion, there exists another reason why the painter was sent to the learned sir. And it is related to Yoon Seungho, the erotic paintings and the pedophile.

The kisaeng helped the scholar, while the latter assisted her with her burden: raising a boy. From that moment, a toxic relationship started, which could only affect the young boy. This would explicate why she accepted that Jung In-Hun would leave her behind while getting beaten. For this kind of incident recurred, we have to imagine that the low noble and the kisaeng contributed to add another artist’s trauma: the abandonment issues and the loss of home.

From that moment, he was forced to roam around with the scholar during the night. (chapter 70) And now, we have to question ourselves why the kisaeng chose to send away the painter in the end. From my point of view, it wasn’t really to protect him… since Baek Na-Kyum was now an adult, the role of the scholar was no longer necessary. First, the artist was supposed to be literate. At the same time, the low noble couldn’t take him any longer, when the kisaeng got hurt again. This kind of diversion was no longer possible. The man was old enough to intervene, hence not only he could have defended his sister, but also he could have investigated what was happening in the gibang. That’s why Heena sent him away to the scholar and observe that the noonas were not even informed. (chapter 46) Why? Because she knew that they would have questioned her. Moreover, the noonas might have convinced the donsaeng to stay in the gibang. In my eyes, the noona thought that she was doing it for her son’s best interest, while in reality she had other motives to ask the painter to leave the gibang. Unconsciously, she desired to leave that place too. From my point of view, she dreamed that the learned sir would take her away at some point. This interpretation was proven correct in season 3. (chapter 97) In exchange for her services, she had to bring Baek Na-Kyum to Min, the noona would be able to escape the gibang.

Therefore it is time to focus on the learned sir again. Exactly like I had anticipated, the low noble blamed the painter for his inability to read: he would doze off , while in reality the low noble made sure that the artist would fall asleep. Besides, if the painter was awake during the night, this signifies that he had to sleep during the day. And in order to obtain the painter’s assistance, he noticed that the low-born was sensitive to physical touch: the scholar chose the hug. That’s why we see him embracing the young boy in chapter 68 or piggybacking in chapter 70. We have to envision that first he embraced him in front of the kisaeng, then once they had left the town, the noble would change the position. Yet, I believe that Heena had here romanticized this embrace. It represents a distorted memory mixed with fantasy. What caught my attention is that in both hugs, the noble could hide his face and in particular his eyes. At the same time, the learned sir wasn’t faced with the commoner’s tears and sadness. He could feign ignorance. (chapter 70) But this could only work, until the painter entered adulthood. After that, he could no longer use the boy as tool and diversion. Even if the learned sir’s affection was genuine in the beginning, the nature of their relationship could only change, for the learned sir had kept using him in the past. It had become a habit.

Envision this: his ties with the kisaeng house were cut off. And since he had never taught the painter to write and read properly, Jung In-Hun was cornered. Moreover, there is no ambiguity that the learned sir started viewing Baek Na-Kyum as a burden, this means that at some point Jung In-Hun must have felt the exact opposite of this: (chapter 44)

And since the scholar has always disdained the commoners, he could only abhor the idea to keep hugging the artist. The latter was now a grown-up. Hence he used the erotic painting as an excuse to abuse Baek Na-Kyum physically. That way, the noble was no longer obliged to caress or embrace the painter. However, because of this method, he destroyed the painter’s body symbolically. (chapter 34) And this leads me to the following conclusion: the painter ended up in the same state than Yoon Seungho’s. Both lost their senses and their own body. And now, you can comprehend why the main lead can’t cry yet. The return of his tears will mark the end of the transformation and his recovery.

Nonetheless, let’s return our attention to the scholar and his relationship with the painter. If the manhwaphiles pay attention to the progression of the first season, they will notice the increasing intimacy between Baek Na-Kyum and Jung In-Hun. First, it started with a stroke (chapter 10), then in chapter 24 he touches his shoulder and kisses his hands. (chapter 24) With my new interpretation, you can comprehend why he did this. He tried to use the same method from the past: he knew that physical touch would make the artist submissive. And the climax was reached in chapter 29 with the fake embrace and the betrayal: (chapter 29) From that moment, it went down again. We returned to patting (chapter 35) and strokes (chapter 35) and finish with this final touch of the painter’s cheek: (chapter 38) And the physical interaction reflects the learned sir’s loss of power. Despite his attempts, he was not able to obtain the artist’s submission like in the past. That’s the reason why he could only resent the artist. We have to remember that the low noble really detested this physical intimacy, hence he would tighten his jaw or grind his teeth. (chapter 24) Note that in many panels, we never see the scholar’s facial expressions, but there is no ambiguity that he could never truly hide his disdain. But the painter was still blinded by his “admiration” for Jung In-Hun. However, after the argument at the library, the painter lost his sight and hearing again. He was too wounded by the final blow.

And now, you understand why Yoon Seungho’s actions (seeking intimacy) could only help the painter to recover. First, he had been able to remove the poison from the artist’s mind before the backstab in the library. The lord had encouraged Baek Na-Kyum’s critical thinking. This explicates why after the scholar’s betrayal, the painter’s independent mind resurfaced first. (chapter 46) Then the readers witness the return of the artist’s 5th sense (touching) in chapter 49. That’s the reason why the noble could finally get the painter’s attention afterwards. For me, the touching has always been the most important sense in his life, which explains why Heena and Jung In-Hun had such control over the low-born. Then in chapter 52, we assist to the revival of the artist’s sight: (chapter 52) And now you comprehend why Heena and Jung In-Hun were defeated. The hug in chapter 66 helped him to satisfy an important need: he was truly embraced while getting comforted. Simultaneously, the hug is not entirely related to the kisaeng, but to the study. Remember that we never saw her hugging him before. At the kisaeng house, he didn’t feel like he truly belonged there, and Heena would always send him away due to his cry. While Heena anticipated with this embrace, the painter would follow her like in the past, she experienced a shock. Now, the painter was no longer blindly listening to her suggestion. And now, you understand why she kept touching the artist. She was trying to influence the painter through the physical touch. Under this new light, I understand why she said this after all: (chapter 68) Yoon Seungho is famous for intimacy, then this would signify that she would lose control over the painter forever. This explicates why Heena noona is not respecting her brother’s wish in the end. And if you compare the two farewells between the kisaeng and the main lead, you will detect a huge progression: (chapter 69) They hug each other here, the painter can get closure, because this is just a goodbye. The noona asks him to send letters, this means that she is telling him that he is not abandoned. This night was important, because the painter’s abandonment issues got treated. Hence it is no wonder why the painter could move on from the past during the same night.

And now, it is time to come to the final part, the significance of the painter’s memory in chapter 70. From my point of view, we should perceive as a new version of chapter 34: Back then, he recalled the repressed physical abuse. However, his conscious dismissed it again. However, this time it is different. The painter in possession of his whole body is reminded of the scholar due to Heena noona’s farewell. The closure he got by bidding her farewell triggered a long repressed memory too. The learned sir was the one who consoled him in the past. And while he recalls that night, the adult Baek Na-Kyum realizes that the scholar’s care was not fake in the past. He would keep him company and talk to him, he was his companion of the night. However, for me, this scene outlines his superficiality and indifference. He diverts his attention so that he wouldn’t feel sad any longer. But it was, as if he was ignoring his sadness, for he wouldn’t talk about the incident. (chapter 70), He would even smile making him look indifferent. (chapter 70 Then he makes the following reproach: he was lazy. (chapter 70). For me, during that night the artist realizes that despite the huge blow in the library, Jung In-Hun had not been bad to him all this time. He had good memories. This means that he was able to take his distance and look back at his childhood under a new perspective. The learned sir had been there for him in the past. In this moment, when he saw the moon, he was reminded of the learned sir. It might not follow him specially, but it is always there. (chapter 70) The learned sir will always be a part of his life, as he belongs to the past. As you can see, in this scene, Baek Na-Kyum was moving on. Therefore I interpret this scene as a real breakthrough. The painter is no longer under the influence of the scholar. The latter can not longer manipulate him like in the past [though now I believe that he is dead], and this revelation was triggered by Heena noona and her embraces. But at the same time, he is not rejecting or resenting the man. And this interpretation becomes even more visible in season 3: (chapter 94) His heart and mind are now in peace. He is no longer suffering from a guilty conscience. And this truly exposes that the artist’s abandonment issues were created by Heena.

Under this new interpretation, the scene at the bathroom becomes another significance. The lord decided to let the painter feel and see his affection. He chose a different approach: caressing the finger and the hand tenderly, then the chin before kissing him. (chapter 70) However, what caught my attention is that his touch is never to shut the artist’s mouth. Observe that he lets the mouth open, while he caresses the hands, the chin and even after kissing the painter. (chapter 70) He has the right to speak, while Heena noona and Jung In-Hun used the embrace and caress as a way to render Baek Na-Kyum mute. And since the affection through physical touch was a way to win the painter’s heart, there is no doubt that Yoon Seungho is on his way to win his heart. Now, the painter is finally looking at him and the scholar’s influence has been finally erased. Baek Na-Kyum is now totally over Jung In-Hun, as he has now only view him as a companion and friend, and nothing more. He is no longer his idol. In other words, the low-born has finally found closure. In episode 70, his heart is free.

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