Jinx: Drama Queen 👸 Han Dan and The Joker 🤡😈-part 2

When Protection changes Hands

In the first part, I focused on the Joker’s method: not brute force, but construction. One visible diversion captures attention (chapter 96), while another movement unfolds elsewhere. (chapter 97) The interview, the damaged poster (chapter 96), the hallway encounter, the former director’s sudden presence — none of these incidents need to be isolated events. They can be read as layers of the same design, arranged to poison the climate around Joo Jaekyung and Kim Dan through mistrust, guilt, and confusion.

Yet while returning to the final scene once again, I realized that another question may now matter even more than the scheme itself: the question of protection.

Until now, protection in Jinx often appeared in the form of rescue. (chapter 79) Danger emerged first, and only then did someone intervene. Joo Jaekyung repeatedly occupied that role. (chapter 17) He was the one who could step in, overpower threats, and remove Kim Dan from immediate harm. Kim Dan, by contrast, was usually placed on the other side of that equation: the one exposed, cornered, or in need of help. But rescue and protection are not the same thing.

The Gym’s Intervention: A Case Study in Failed Protection

A precise materialization of this concept can be seen in the scene where Joo Jaekyung, blinded by rage, is physically restrained by Park Namwook and other gym fighters (chapter 96). On the surface, this action resembles a form of protection: they are stopping him from committing a violent act that would derail his career, effectively “saving” him from himself (chapter 96). Yet, this is rescue, not protection. Their intervention is purely physical, reactive, and localized. Crucially, as they physically struggle, Park Namwook and the others remain mentally and verbally passive. (chapter 96) They do not challenge the source of the rage or offer a solution. They only seek to manage the immediate visible symptom. While the fist is stopped, the underlying “toxic climate” that allows these provocations to take root is left completely intact. This scene proves that without speech, strategy, and mutual agency, physical restraint—even when well-intentioned—is just temporary damage control. This is exactly the kind of passive, limited intervention that the new paradigm must overcome.

Rescue is immediate and visible. (chapter 72) It answers a crisis once it has already begun. Protection reaches further. (chapter 72) It concerns safety before the blow lands, the ability to recognize manipulation (chapter 49), to prevent harm from taking root, and to create a space where trust can survive pressure.

That distinction becomes difficult to ignore in the current arc. The hallway scene, the compromised penthouse (chapter 97), the article on the cellphone (chapter 91), and Kim Dan’s recent actions (chapter 97) all suggest that the old division may no longer be stable. The familiar roles of protector and protected are beginning to shift.

If that is true, then the real tension of the chapter may not be limited to whether Kim Dan will stay or leave. It may concern something deeper: who can protect whom now, and what protection truly means when fists, money, and walls are no longer enough.

The First Protection: Kim Dan Must Protect Himself

There is another layer that cannot be omitted. Before Kim Dan can protect Joo Jaekyung, he may first need to protect himself. That matters because the hallway is not a neutral space for him. (chapter 97) This atmosphere of entrapment is a haunting echo of the story’s beginning. One of the most defining early images of Kim Dan shows him descending a narrow, outdoor staircase, accompanied by the thought: (chapter 1). In that moment, the world was a predatory space where every threshold was a threat.

By returning to a similar threshold now—the dark hallway—the narrative forces Kim Dan to confront that original wound. The question is no longer just ‘is he safe?’ but rather, has he found a way to carry safety within himself so that the world no longer feels like that desolate staircase? If the man waiting there is the former director, Kim Dan would not simply see an unwelcome visitor. He would see the return of an earlier danger. (chapter 90) The memory is important. The director did not lure him with kindness alone. He used his position (chapter 1), status, and Kim Dan’s financial desperation to force compliance. Kim Dan needed the job, needed the salary, needed stability. (chapter 90) The imbalance of power was already doing the violence before any physical act began. What appeared outwardly as professional authority became a means of control. The setting itself carries symbolic weight: enclosed space, unequal power, obscurity, silence. (chapter 90) A place where Kim Dan’s options were reduced and his voice cornered. The hallway now echoes that structure. It is dark. It is private. It is detached from witnesses. (chapter 97) Once again, the same man appears in a threshold space, waiting. Seen this way, Kim Dan’s shock is not weakness. It is recognition. (chapter 90) This contrasts to his reaction at the restaurant. His fear was not only about the present moment. (chapter 90) It was the body remembering before language could fully explain why. (chapter 90) Trauma often recognizes danger faster than conscious thought. If so, the first battle of the chapter is not just one of emotional endurance, but of practical application. Like mentioned above, the look on Kim Dan’s face in the hallway is not one of paralyzing fear, but of profound shock (Chapter 97). It is the shock of recognition, yes, but it is also the moment where his training meets reality.

Jinx-lovers will recall the pivotal training session in Chapter 88, where Joo Jaekyung pinned him to the mat and challenged him: (chapter 88). In that moment, the champion wasn’t just showing dominance; he was imparting a philosophy of resistance. He taught Dan that ‘technique beats size’ (chapter 88) and that even a smaller person can take down a ‘bigger guy’ (Chapter 88).

The hallway encounter with the former director is Kim Dan’s first ‘unscripted match.’ The question is no longer whether he is a ‘frightened victim,’ but whether he can now apply the champion’s lessons, when the stakes are no longer a training mat, but his own physical and emotional safety. Can he use the ‘technique’ of self-assertion and restraint he learned in the gym to dismantle the ‘size’ of the director’s predatory influence? Only by proving he can protect himself using the tools Jaekyung gave him can the stage be set for mutual protection.”

The Joker Card and the Cellphone

One image deserves to be reconsidered before anything else. Earlier in the story, Joo Jaekyung was shown holding a Joker card. (chapter 27) The object symbolized instability, provocation, loss and a game whose rules could suddenly change. It represented a force that unsettled even the champion. Now another object occupies his hand: (chapter 91) the cellphone containing the article about the disgraced former director. (chapter 91) The visual echo matters. The card belonged to a world of tricks, chance, and psychological disturbance. The cellphone belongs to a world of information, memory, and proof. If the earlier Joker card stood for loss and frustration, this new “card” may stand for its opposite: exposure and “victory”. That possibility becomes especially important in the hallway. (chapter 97) So the moment Joo Jaekyung recognizes the intruder as the former director, then Joo Jaekyung is no longer facing an unknown threat. He is confronting a man whose public downfall has already been documented. In other words, the hallway does not only contain danger. It also contains evidence. It stands for trespassing and lack of credibility. This would mark a major turning point for the champion. In the past, he often relied on force, money, private networks, or silence after the fact. Hence he never reported himself the crimes to the authorities (chapter 18) because, for Jaekyung, the ‘system’ was never a source of safety. This mistrust is rooted in a childhood where his abuse was an open secret that remained unaddressed (chapter 72). While the director of the boxing studio knew of his suffering, the police were never involved. There is a bitter irony in the fact that while his father was a violent thug (chapter 72), on paper he remained a ‘good citizen’ who never faced legal repercussions. Jaekyung learned that authorities protect the appearance of order rather than the victims of violence. This skepticism manifested again at the docks (chapter 69), where he chose to ‘save’ Kim Dan through private force rather than wait for legal intervention. Yet those methods repeatedly failed to create real safety. Problems were hidden, postponed, or redirected, or relegated (chapter 52) but not resolved. The cellphone introduces another path (chapter 91): report the crime immediately, involve the authorities, and refuse to let the event be swallowed by the same closed systems as before. If so, the real weapon in his hand is not violence, but the possibility of lawful action.

When the Queen Protects the Champion

If Joo Jaekyung’s protection may now take the form of evidence and public accountability, Kim Dan’s protection works differently. His strength lies in perception. One detail remains highly significant: according to me, Kim Dan never watched Baek Junmin’s interview in full. (chapter 96) He only read the headlines. On the surface, this might appear dismissive or indifferent. (chapter 96) Yet it can also be understood as an expression of Jeong. Kim Dan’s attention was not captured by the Joker’s performance. His concern went directly to Joo Jaekyung and how such exposure might wound him. He absorbed the central facts — poverty, orphanhood, hardship — but did not grant full authority to the humiliating spectacle built around them. (chapter 96)That distinction matters because Baek Junmin likely assumes that public narrative equals truth. If the audience hears something loudly enough, then it becomes reality. But Kim Dan now stands in a different position. He has already met Hwang Byungchul. He has already heard another version of the champion’s past, something the Joker is not expecting. He knows about the father’s abuse, the violence of the home, and the suffering hidden behind Joo Jaekyung’s coldness. (chapter 72) This means that if the hallway encounter is designed to reveal a “hidden truth” — like for example that Joo Jaekyung is only a thug, a violent man who attacks doctors (chapter 1) and patients (chapter 52) ) someone unworthy of trust— the strategy may fail at its most important point. The intended listener is no longer ignorant. Kim Dan can now protect the champion by refusing reduction. He can challenge selective storytelling. Jaekyung is frequently depicted as an avid reader (chapter 97), a sign of a deeply disciplined and self-educated mind. This intellectual depth is his most overlooked form of protection. It means he isn’t just a ‘frightened kid’ or a ‘reactive thug’; he is someone who understands the power of information.Besides, he is a huge reader. He can insist that pain has context, that trauma cannot be erased, and that one act of rage does not explain an entire person. In earlier chapters, Joo Jaekyung protected through action (buying clothes, teaching him how to swim). Here, Kim Dan may protect through interpretation and words.

And this gives the title Drama Queen Dan a deeper irony. What once sounded playful or dismissive can now be read as the name of someone who understands that drama is not merely chaos, but the struggle over meaning itself. A “queen” in this sense does not protect through brute force, but through perception, timing, and the ability to read the hidden script beneath appearances. Kim Dan’s strength lies precisely there. He can recognize when pain is being turned into narrative, when provocation is being staged as truth, and when the man beside him is being reduced to a role he does not deserve. If Joo Jaekyung guards through physical power, then Kim Dan may guard through interpretation—protecting the champion not by striking an enemy, but by refusing to let false stories rule the stage.

Speech Over Force

This possibility reveals a deeper reversal in the story. For a long time, force appeared decisive while speech remained secondary. Those with power acted. (chapter 90) Those without power endured. Silence was survival, and violence seemed to be the language that changed outcomes.

But the hallway may invert that pattern for another reason as well: both Jokers (chapter 96) behind the present tension rely on the same weapon — the past. (chapter 90)

That may be the clearest link between Baek Junmin and the former director. Neither truly confronts the present. Instead, each tries to reactivate an earlier version of the people before them. Baek Junmin depends on old wounds, old shame (chapter 96), and old reactions, as though Joo Jaekyung were still trapped inside the same vulnerabilities and Kim Dan still occupied the same desperate, submissive position. (chapter 90)The former director operates similarly, but with a more intimate cruelty. He does not speak to Kim Dan as a person in front of him. He speaks about Kim Dan to Joo Jaekyung, reducing him once again to an object of transaction, greed, and sexual humiliation.

That distinction matters. The insult is aimed at Kim Dan, yet delivered through the champion. (chapter 90) Kim Dan is called money-hungry, fake, a slut, someone whose affection can be bought. Their apparent happiness is framed as performance, their bond as a financial arrangement, intimacy as deception. In one move, the former director attempts to degrade Kim Dan and poison Joo Jaekyung’s trust at the same time.

This is why his rhetoric belongs to the logic of the past. He still imagines Kim Dan through the old hierarchy: poor, vulnerable, purchasable, voiceless. He assumes economic need must still define him. He assumes shame will still silence him. He assumes that if enough dirt is thrown, the old imbalance will return by itself.

Baek Junmin’s logic is similar. He acts as though Joo Jaekyung can still be provoked into self-destruction (chapter 96) and as though Kim Dan can still be reached through doubt, guilt, or public image. Both antagonists depend on immobility. Once weak, always weak. Once poor, always dependent. Once violent, always reducible to violence.

Yet the present is no longer identical to the past. Kim Dan is no longer the employee trapped inside institutional dependence. He is no longer alone, voiceless, or forced to endure humiliation in exchange for survival. (chapter 97) Hence he plans to cook the athlete’s favorite dishes. (chapter 97) Joo Jaekyung is no longer merely a reactive fighter ruled by rage. He is now capable to reflect on his own behavior. (chapter 97) Their relationship itself has altered the conditions on which those older scripts depended.

That is why force becomes less reliable here. In darkness, appearances are unstable. Shadows distort faces, gestures, and intention. A punch may become proof. A reaction may complete someone else’s script. If Joo Jaekyung strikes first, the aggressor can pose as victim. If Kim Dan retreats in silence, the old narrative appears confirmed.

Words, however, can interrupt that mechanism. A refusal can expose coercion. A clear statement can stop confusion. Naming a lie can weaken it. Calling the police can shift the frame from private manipulation to public accountability. Speech does not erase the past, but it prevents the past from dictating the meaning of the present.

The staircase deepens this reading. Earlier, I described the hallway as a stage, and a stage always implies an audience. If so, who is meant to witness the scene? Perhaps Joo Jaekyung (chapter 97), expected to arrive at the right moment and see only the surface of what is happening. Perhaps hidden accomplices waiting nearby. Perhaps no single person, but the imagined spectator inside each victim — the internalized fear that says humiliation is inevitable and resistance useless.

The architecture matters. The elevator is the visible and ordinary route, (chapter 97) the official path of movement. But once it closes, that route disappears. What remains is the staircase: the emergency passage, yet also the more secret and ambiguous one. In Jinx, stairways (chapter 50) seem to be linked to conspiracy, crime (chapter 50), or offstage maneuvering (chapter 96). The hallway therefore feels less like a neutral corridor than a set arranged for entrapment, where ordinary exits vanish and only compromised paths remain.

That is why the real struggle of the scene may not be between strength and weakness, but between two temporal logics. (chapter 97) One insists that people never change and can always be returned to their former place. The other proves that they have changed already.

Joo Jaekyung may need to discover that strength includes relying on the police. Kim Dan may need to discover that care includes speaking aloud. And both may need to recognize that protection no longer lies in repeating old reactions, but in refusing the script entirely.

The real victory of the hallway may therefore not belong to the stronger fist, but to the clearer voice.

The Book and the Question of Time

The Gift as Emotional Infrastructure

At first glance, the book may look like a simple gift. (chapter 97) But it carries a far deeper meaning. It is not merely a birthday present. It is an expression of love, gratitude, and attentive recognition. That distinction matters because the story has already shown another gift: the keychain. (chapter 97) The keychain came together with a birthday card, yet the champion only truly saw the object. He never had the chance to read the written message attached to it. He only discovered its existence much later. (chapter 81) As a result, the gesture remained incomplete and vulnerable to misunderstanding. (chapter 45) The material gift was visible, but the feeling behind it stayed hidden. The book changes that structure. (chapter 97) Unlike the earlier present, it unites both functions at once. It is a physical object, but it also communicates what words alone might struggle to express. Even before it is opened, its cover already speaks.

Linguistic Shadows: Love, Stay, and Rest

Its title can be read in several layers. (chapter 87) Oui, c’est l’amour means in French Yes, this is love. The phrase functions almost like an answer to all the confusion that came before: the uncertainty in the dining room (chapter 93), the champion asking what he was feeling, the hesitation around whether kindness was guilt (chapter 93), pity, or something else. (chapter 93) The title responds clearly where the characters still struggle to do so themselves. Yes—what exists here is love. Another visible word, reste, signifies stay or remain in French. Yet because the final letter appears hidden or incomplete, the word can also be seen through English eyes as rest. (chapter 97) That double reading is powerful. It joins emotional fidelity with emotional relief. Stay with me. Remain beside me. Rest now. Sleep in peace. All of these meanings answer Joo Jaekyung’s deepest needs more precisely than an expensive object ever could.

The Portable Home: Love as a Protective Sanctuary

All of these meanings answer Joo Jaekyung’s deepest needs more precisely than an expensive object ever could. He needs someone who remains. (chapter 97) This linguistic double-meaning transforms the book from a mere object into the blueprint for a Home. For Joo Jaekyung, home has historically been a site of trauma and violence—a place where he was exposed rather than shielded. This longing for a safe domestic space is rooted in a childhood vow. In a poignant flashback (chapter 72), a young Jaekyung stands in a snow-covered phone booth, promising: ‘One day I’ll make a lot of money… and stop him. So can you come back home?’ For the young champion, ‘Home’ was a conditional destination—a reward that could only be reclaimed once he had enough wealth to physically ‘stop’ the source of violence. He equated protection with financial power and the physical ability to gatekeep. Yet, as an adult, even with the wealth and the power to stop anyone, he remained ‘homeless’ in spirit. By offering him the book and a space to ‘stay,’ Kim Dan is updating this childhood vow. He is proving that a ‘Home’ is not something Jaekyung has to buy or defend alone through force; it is a sanctuary that is built through mutual presence and emotional safety. Kim Dan is offering a new kind of protection: the creation of a domestic sanctuary. If the ring is a place of performance and the hallway a place of entrapment, the book represents a ‘portable home.’ (chapter 97) It signals that protection is no longer about walls or wealth, but about being truly ‘seen’ and ‘housed’ in another person’s care. In this sense, love becomes the ultimate protective layer, providing the internal peace necessary for the champion to face the external storm. He needs rest from insomnia and endless pressure. He needs affection detached from performance. He needs permission to exist outside the ring.

What does he need most on the eve of a fight? Not more hype, not more strategy, not more pressure—but a peaceful night and the possibility of sleep.

This is why the hidden or incomplete letter matters as much as the printed word. Something unfinished becomes full only through interpretation, just as the relationship itself has been moving from partial gestures toward clearer recognition. The cover says more than it first appears to say, just as Kim Dan’s care has always meant more than it openly declared. In other words, by receiving such a book, Joo Jaekyung’s insomnia can finally vanish.

Temporal Sabotage: Choosing Care Over Spectacle

Timing therefore becomes decisive. The Joker’s method depends on buying time (chapter 93), delaying genuine encounters, and keeping everything trapped inside the schedule of the match. Everything must wait until after the fight: truth, tenderness, resolution, emotional clarity. Human feeling is subordinated to spectacle.

The book does the opposite. It accelerates emotional truth. If given before the match (chapter 97), it says now what the system insists should only come later. It offers comfort before performance, care before victory, and peace before violence.

In that sense, the gift is not a distraction from the fight. It may be the very thing the champion needs most in order to face it.

The title therefore transforms the book into more than a purchase. It becomes a message Kim Dan may not yet be ready to say aloud. Through this single object, he expresses affection, constancy, and concern for the champion’s suffering. (chapter 97) In that sense, the gift also embodies Jeong: a form of attachment built not through grand declarations, but through accumulated care, remembered details, silent loyalty, and the desire to ease another person’s burdens. Kim Dan does not simply give an object. He gives the emotional attention he has been carrying for Joo Jaekyung all along.

Kim Dan did not buy the book out of obligation or because a date on the calendar demanded it. He bought it because, while moving through his own day, his attention still turned toward Joo Jaekyung. (chapter 97) Care continued in absence. The relationship was active even when they were apart. This places the gift in sharp contrast with the keychain episode. Back then, Kim Dan selected something through external logic. He entered the dressing room (chapter 42), crossing into the champion’s private space (chapter 42), and chose according to appearance and assumed usefulness. The gesture was sincere, but still uncertain. It responded to what Joo Jaekyung seemed to need. (chapter 42) The book is different because it responds to who he is. (chapter 97) Kim Dan remembers that the champion had been reading this author before. He notices the new release. He immediately connects it to Joo Jaekyung’s insomnia and inner unrest. The choice therefore emerges from observation, memory, and understanding rather than surface impression. This means the gift is modest in price but immense in emotional value. It is inexpensive materially, yet rich in evidence. Evidence that Kim Dan listens. Evidence that he watches carefully. Evidence that the champion exists in his mind beyond moments of direct contact. And that is precisely why it may become the best gift Joo Jaekyung has ever received. And he could even cry out of “happiness”. Not because of luxury. Not because of status. Not because it flatters his public identity. But because it answers a wound deeper than material lack: the fear of being unseen except for utility, strength, or performance. The fear of never being loved. Furthermore, the champion’s interest in this author also indicates his transformation (chapter 97), as the book seems to focus on emotions and relationships. It shows that despite the appearances, the athlete’s also learning and expanding his horizon.

So if crisis changes the order (the encounter with the director in the hallways), then the champion could discover or receive the gift beforehand, then the logic transforms entirely. The book would no longer reward success. It would precede it. Joo Jaekyung would receive something valuable not because he won, but because he already matters before the outcome is decided. That reversal is crucial. The wider system values him through belts, money, spectacle, and usefulness. The book values him as a person in advance of all results. This is why the gift stands against the Joker’s method. Manipulation delays truth, creates misunderstanding, and keeps feeling trapped behind timing, fear, and competition. The book does the opposite. It brings hidden care into the open. It accelerates emotional truth. It interrupts the schedule imposed by the match. And perhaps most beautifully, it gives Joo Jaekyung something rarest of all: not admiration, not demand, not pressure—but a sign that someone has truly learned how to love him.

The Damaged Poster, the Interview and the Wrong Audience

The ruined poster outside the gym should not be read in isolation. (chapter 96) It gains fuller meaning when placed beside the interview that preceded it. Together, they resemble two versions of the same attack: one verbal (chapter 96), one visual. One addressed through media spectacle, the other through physical vandalism. Both attempt to shape how Joo Jaekyung is seen.

At first glance, the interview appears directed toward the obvious audiences: the public, fans, gym members (chapter 96), sponsors, and the broader world watching the scandal unfold. The damaged poster seems to continue that same logic by materializing contempt in public space. The champion’s image is defaced where others can see it. Reputation is targeted through humiliation.

But there may be a more intimate audience hidden inside both gestures. One might think, it is to provoke the champion in order to have him disqualified. (chapter 96) However, there exists another possible interpretation. Readers may remember the earlier café scene, where Kim Dan met Choi Gilseok and photographs of that encounter were later sent to Joo Jaekyung. (chapter 48) That episode already suggested the presence of an unseen observer—someone in the shadows who understood that images can wound relationships more efficiently than fists can. If those photographs were indeed part of Baek Junmin’s broader method, then the interview and the poster follow the same principle: public content designed for private damage.

Seen this way, the real target is not only mass opinion. It is the person whose opinion matters most. Kim Dan. Don’t forget that back then, the physical therapist refused to accept the offer from the director of the rival gym: money, a place to stay, a treatment for his grandmother. But such a decision meant that the main lead was rejecting to work for Baek Junmin.

By this point, The Shotgun likely knows that Kim Dan has returned to Joo Jaekyung’s side. (chapter 93) He knows the physical therapist is no passing employee, but someone emotionally significant. That changes everything. If Kim Dan cannot be removed physically, he may be pressured psychologically.

The message then becomes sharper.

You chose a loser. (chapter 96)
You chose a weak man.
You chose a lost puppy (chapter 96), someone shameful, poor, abandoned, ridiculous.
You attached yourself to the wrong person.

The cruelty of the interview lies precisely here. It does not merely insult the champion’s past. It tries to make attachment to him feel embarrassing. (chapter 96) It reframes loyalty as foolishness. It attempts to poison admiration itself.

And this is where an important reversal emerges.

What is Kim Dan to Joo Jaekyung in reality? Not simply an employee, debtor, or dependent figure. He has become something closer to a true fan in the deepest sense of the word: someone who sees beyond branding, beyond headlines, beyond victories and losses. He is a true champion. (chapter 97) Someone who remains emotionally invested in the person rather than the image.

That kind of recognition is dangerous to Baek Junmin’s strategy because it cannot be controlled through spectacle alone. A casual fan (chapter 52) may turn away when public opinion shifts. A sponsor may withdraw when scandal appears. A crowd may cheer one day and mock the next. (chapter 36) But Kim Dan’s bond is no longer built on those unstable foundations. He believes in him.

He knows the child behind the champion. (chapter 94) For Baek Junmin, lost puppy oozes resent and mockery, but for the physical therapist, the same expression evokes care and protective instincts. (Chapter 29) He knows the wounds behind the arrogance. He knows the habits, the loneliness (chapter 97), the insomnia, the roughness that conceals care. He has seen the human being hidden beneath the public mask.

Once that level of knowledge exists, posters lose some of their power. (chapter 96) Headlines lose authority. Insults become transparent in their intention. This does not mean the attacks are harmless. Public humiliation can still wound, and symbolic destruction still creates pressure. But the scheme may fail where it matters most: in the private bond it seeks to fracture.

The wrong audience may have been chosen—or rather, the chosen audience may no longer respond in the old way.

There is another irony worth noting. Kim Dan never directly witnessed either of the two symbolic attacks. He did not see the damaged poster, and he did not fully watch the interview. The messages designed to shape his perception never reached him in the intended form.

This raises an important question about Baek Junmin’s own perspective. What exactly was he reacting to when he decided to escalate? (chapter 93) He may have seen the champion’s emotional reaction after the victory in Paris (chapter 87), where Joo Jaekyung visibly searched for Kim Dan in the crowd. Or he may have encountered videos (chapter 90) circulating online of the disturbance at the restaurant. (chapter 90) In either case, the external image would have looked simple: Joo Jaekyung had been provoked once again. The champion still appeared volatile, reactive, and unchanged.

And that perception matters because it fits the larger objective already discussed: to make Kim Dan leave the champion’s side and to have finally Joo Jaekyung disqualified for good. If Joo Jaekyung can be framed as unstable, violent, humiliating, or impossible to trust, then separation may occur without force. Kim Dan would withdraw on his own. The bond would break itself under pressure.

The restaurant scene especially could be misread in exactly that way. From an outsider’s perspective, Joo Jaekyung moved toward violence, while Kim Dan arrived only afterward to stop him. (chapter 90) It could seem as though the physical therapist was merely restraining, interrupting, or obstructing the champion. A hindrance rather than an ally. (chapter 90)

But that reading misses the hidden truth of the scene. (chapter 90) No outsider could know that the tension began because Kim Dan had left the room in emotional distress. No camera would capture the private wound beneath the public reaction. What looked like friction between the former director and the celebrity was in reality the consequence of care, misunderstanding, and emotional stakes invisible to spectators.

This highlights the fundamental flaw in Baek Junmin’s strategy. Junmin operates entirely within the realm of the Spectacle. Hence he is in reality the Drama Queen Han. His weapons are visual and immediate: TV interviews (Chapter 96), headlines (chapter 95), and shows designed for public consumption. To Junmin, truth is something manufactured for the camera; it is a ‘show’ of superiority and victimhood. This is why his method relies on surfaces—he assumes that if he can change the ‘image’ of Joo Jaekyung in Kim Dan’s eyes, the bond will break. (chapter 96)

However, Joo Jaekyung has quietly transitioned from being a ‘subject of the spectacle’ to a ‘man of the word.’ While Junmin is busy giving interviews, Jaekyung is increasingly depicted in private, intellectual moments. (chapter 97) We learn through Kim Dan’s observations that Jaekyung’s room is full of books and that he relies on reading to quiet his mind (chapter 97).

This shift is symbolic: Images are imposed, but words are interpreted. By becoming a reader, Jaekyung is no longer just a body to be filmed or a monster to be headlined; he is a person seeking depth. (chapter 97) When he reads the article about the Director’s sexual harassment (chapter 91), he is using the ‘word’ as a tool for justice, contrasting Junmin’s use of the ‘word’ for slander. Kim Dan, as a reader himself, recognizes this. He chooses the depth of the ‘book’—and the man who reads it—over the superficiality of the ‘video’ Junmin tries to sell him. In this arc, the bond remains unbroken because it is written in a language of depth that Baek Junmin’s cameras simply cannot capture.

Exit Scene: Stay and Leave

This returns us to the chapter’s apparent dilemma: stay or leave. (chapter 97) On the surface, the choice seems simple. Stay and remain inside danger. Leave and survive. But such a choice belongs to the Joker’s logic because it assumes safety is still tied to place: the penthouse, the gym, the old structures around them.

What if that assumption is already false? The penthouse has been compromised. Wealth did not secure it. The gym no longer guarantees protection or care. (chapter 96) Titles cannot create peace. (chapter 95) Walls cannot protect trust.

If so, then leaving a place may no longer mean losing safety. And staying may no longer mean remaining physically where one stands.

There is another detail that deepens this possibility. In an earlier reading of chapter 96, I described the relationship between the two protagonists through the idea of tactile dissonance. Their bodies no longer moved in harmony. (chapter 96) Distance, interruption, and broken rhythm shaped their contact. On the physical level, they seemed out of sync.

Yet chapter 97 reveals another reality beneath that surface: they are now mentally and emotionally aligned. (chapter 97) This alignment appears through a series of quiet but striking parallels. (chapter 97) Both independently buy the same cake. (chapter 97) Both choose gifts centered not on themselves, but on what the other would enjoy. (chapter 97) Each thinks in terms of the other’s happiness before speaking to the other directly. Care has become mutual instinct rather than negotiated obligation.

Even the visual composition reinforces this movement. (chapter 97) The author places them in mirrored and balanced panels, separated in space yet linked in intention. They stand apart physically, but the framing suggests an inner synchrony stronger than distance. What chapter 96 presented as bodily discord, chapter 97 answers with emotional consonance.

That contrast matters. Physical harmony can be disrupted by circumstance, misunderstanding, or outside interference. Mental and emotional harmony is harder to break, once it has truly formed. It means that even while separated by walls, schedules, or danger, they are already moving toward the same conclusion. (chapter 97) Stay together. And that conclusion may not be reached individually. They are no longer two isolated people reacting alone. They are becoming two people capable of choosing together. That’s what the couple rings symbolize here. (chapter 97) This is why the final question of the chapter may be less “Will Kim Dan stay?” or “Will he leave?” than whether they will make a shared decision at last. The mirrored gifts, the synchronized thoughts, the parallel panels — all suggest they are approaching a moment of joint agency. They are moving toward a ‘third path’ where they stay together by leaving the trap.

This transition is foreshadowed by the symbolic cards in their early history. If the former director represents the Joker card—the unpredictable threat to their peace (Chapter 27)—then the two ‘3’ cards Kim Dan held symbolize a deeper, private destination.

In Chapter 33, Jaekyung takes Dan to a secluded, ‘unknown’ location (chapter 33) where ‘no one would come’ (Chapter 33). The presence of the actor entering the club in slippers and no jacket despite the winter cold suggests a desperate, hurried escape from a world that had become a ‘trap.’ (chapter 33) Even then, Jaekyung’s motivation was clear: he followed Kim Dan because he could not bear for him to leave. That secluded house could be the physical ‘home’ Jaekyung had built while waiting for a partner worthy of sharing it.

Therefore, ‘leaving’ the current hallway or the compromised penthouse does not mean losing safety (chapter 97); it means relocating their sanctuary to a place where they are finally ‘alone’ in the way they both desired. They aren’t just fleeing a villain; they are choosing to occupy the ‘3’ cards—the private space they first glimpsed in Chapter 33. The mirrored gifts and synchronized thoughts suggest that for the first time, they aren’t being forced into a location; they are making a shared decision to ‘stay’ in each other’s presence while ‘leaving’ the narratives imposed upon them by others.”

If that happens, then the true harmony of the chapter will not be tactile at all. It will be volitional: two people finally choosing the same path at the same time.

Conclusion: Mutual Protection

The deeper movement of the story may therefore be this: rescue is no longer enough. Rescue removes someone from danger after the damage has begun. Protection asks how danger is recognized earlier (chapter 88), resisted differently, and prevented from defining the future. Joo Jaekyung may protect Kim Dan not through another violent intervention, but through truth made public, lawful action, and the refusal to let harm disappear in silence contrary to the past. Kim Dan may protect Joo Jaekyung not through physical force, but through knowledge (chapter 47), revelation (chapter 48), and the rejection of false narratives designed to reduce him (chapter 96). Each now carries what the other lacks. That is why the hallway matters. (chapter 97) It was staged as a place of fear, separation, and confusion. Yet it may become the very place where the old hierarchy collapses. Protector and protected are no longer fixed identities. If they overcome what is coming, it may be because they finally learn to protect each other. Ultimately, this shift reveals the story’s most vital truth: that safety is not a geographic location, and ‘home’ is not a piece of real estate. At the beginning of his journey, Kim Dan wandered through the city convinced there was ‘nowhere left in this world where I can feel safe’ (chapter 1). He looked for safety in walls, in locked doors, and in financial stability, only to find them all fragile. But as the protection changes hands in the hallway, we see the emergence of a different kind of fortress. If they can withstand the Joker’s design, it will be because they have realized that they are no longer each other’s burden or rescue project (chapter 97) — they are each other’s sanctuary. In a world of damaged posters and compromised penthouses, the only place left to feel safe is not a place at all, but a person.

Feel free to comment. If you have any suggestion for topics or Manhwa, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Twitter-Tumblr 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.

Jinx: Drama Queen 👸 Han Dan and The Joker 🤡😈-part 1

The latest chapter ends with an image that feels too deliberate to dismiss. A dark hallway. (chapter 97) An unexpected visitor. For readers, this is no coincidence. We already know enough to recognize a move set in motion from elsewhere. (chapter 93) The former director did not appear there by chance. What remains uncertain is not whether this is a scheme, but how the latter was arranged and what it is meant to achieve.

The real uncertainty belongs to Kim Dan. He steps into the corridor visibly shocked (chapter 97), confronted by a man who should not be there. His first thought is easy to imagine: Why is he here? Yet from that single question many others unfold. Who gave him the address? (chapter 97) How did he get inside? Why tonight? What role is he meant to play? And who is this encounter truly meant for? Since then, speculation has been running wild. Some predict a kidnapping. Others expect assault, self-defense, blackmail, public scandal, or another painful but brief departure. Every reader seems to be writing a different next episode and everything seems possible.

And yet the most interesting question may not be which shock event comes next, but what this final scene is already telling us about the direction of the story. In Jinx, closing moments rarely function as decoration. (chapter 97) They often contain clues — small visual decisions, strange timing, unusual framing, details that seem minor until later chapters reveal their weight. A final panel does not always announce the future directly, but it can offer glimpses of the forces already in motion.

That is why this essay is less about prediction than interpretation. The final beat of chapter 97 functions less as a simple cliffhanger than as a map of the unrest to come. (chapter 97) When this dark hallway encounter is set beside earlier thresholds, repeated patterns, and the chapter’s charged atmosphere, the outline of the coming conflict begins to emerge. The question is not only what may happen next, but why it happens now. This meeting takes place at the precise moment, when emotional pressure and narrative conditions have finally converged, making an earlier reckoning impossible.

One lesson from previous schemes in the story should also be remembered. Manipulation rarely arrives through a single act. When something suspicious occurred before (chapter 35), it was not one wrongdoing but two (chapter 36) or three (chapter 36) layered together: one visible distraction, another hidden move (chapter 37), and often a consequence (chapter 40) that only became clear afterward. In other words, the first event is rarely the whole trick. It is only the surface. If that pattern still applies now, then the interview may be only the loudest surface event, (chapter 96) while the real movement of the scheme occurs elsewhere — perhaps in the damage already done, or in the encounter still waiting in the dark.

This is where the title Queen Han Dan and the Joker enters the stage. It may sound playful at first, yet it points toward two very different forms of power now colliding. The Joker from Badman evokes chaos, disruption, and the pleasure of tearing order apart — qualities that fit Baek Junmin’s methods throughout the story (chapter 96). He does not merely attack people; he unsettles structures, humiliates rivals, and turns instability into advantage.

Yet the word joker carries another meaning as well: the unexpected card (chapter 27) that can suddenly change the game. By sending the former director into the hallway (chapter 97), Baek Junmin may believe he is playing such a card — one final move capable of breaking the fragile balance between the protagonists. But cards are dangerous things. Once played, they no longer belong to the hand that used them. They enter the table, where anyone can read them differently.

What is meant as a weapon may become a clue. What is sent to divide may instead reveal how much was hidden beneath the surface all along. And that is where the second half of the title quietly waits. If the Joker represents the move, Kim Dan becomes the board itself—the space where hidden strategies collide, and where even the most vulnerable piece can become a Queen when the game reaches its endgame.

The Joker’s Stage

Let us begin with the hallway itself. Many readers focus on what the former director might say or do, but before any words are spoken, the environment is already telling a story. The scene does not unfold like an accidental encounter. It unfolds like an arranged entrance.

The man is not standing directly in front of the elevator doors (chapter 97), where one would naturally wait if the goal were immediate contact. Instead, he has placed himself farther down the corridor. This matters because distance creates delay. Kim Dan must first step out, walk forward, and commit himself to the space before fully realizing that someone is there. By the time recognition becomes possible, the elevator doors have already closed behind him. (chapter 97) The easiest path backward has vanished. The resident is inside his own home, yet the geometry of the scene briefly turns him into the trapped figure.

Even more striking is the man’s posture. He is turned away from the elevator. (chapter 97) One might argue that he simply heard the lift arrive and then turned around — yet that is precisely what does not happen. He does not react immediately to the sound of the doors opening and the light. (chapter 97) He does not turn at once when footsteps begin. (chapter 97) The movement comes later (chapter 97), only after Kim Dan has already advanced and the elevator has closed. This delayed turn transforms a normal greeting into something theatrical. It resembles the timed reveal of an actor who waits for the right cue before facing the audience. Recognition itself is staged.

Darkness intensifies that impression. (chapter 97) There is no sign of a building-wide blackout. (chapter 97) The elevator functions normally. Yet the hallway itself remains unusually dim. This suggests not an ordinary malfunction, but lighting that has been selectively tampered with (chapter 97): the machinery still works, while the very space of encounter has been left in shadow. The contrast becomes sharper when we recall the earlier elevator and hallway scene from chapter 31 (chapter 31), which many readers have already associated because of the roses. Jinx-Lovers were moved that Joo Jaekyung had not forgotten that Kim Dan was fond of flowers. (chapter 97) Yet they overlooked another detail: that same threshold was fully lit, (chapter 31) and a lamp stood on the right side of the frame. In the present scene, that source of light has vanished. (chapter 97) Warmth and visibility once accompanied that passage. Now they have been replaced by coldness and obscurity. The shadows conceal identity, soften the traces of old bruises, and make the figure harder to recognize at first glance. (chapter 97) But they also perform symbolic work. Darkness signals secrecy, hidden intention, and the possibility that something is being arranged outside the viewer’s full awareness.

That does not necessarily mean everyone in the building is maliciously betraying Joo Jaekyung. The point is subtler than conspiracy. A guard may have let someone in as a favor. Staff may have assumed the visitor belonged there. Someone may simply have failed to verify who entered. In many systems, damage does not begin with grand treason. It begins with carelessness, routine shortcuts, or the small convenience of not checking facts. The same logic may be at work here. Once people stop checking what is true, appearances begin to govern reality. Kim Dan no longer appears at the gym (chapter 96), meals are handled by someone else (chapter 96), old routines seem restored (chapter 97) From the outside, the easiest conclusion is that the “hamster” has left. Yet that conclusion may be entirely false. He did not disappear. He only disappeared from view. And this observation leads to a deeper question. Who was the former director truly there to meet? Formally speaking, he has come to the penthouse of Joo Jaekyung, its official resident and owner. On paper, the visit concerns the champion. Yet formal appearances can be as misleading as visual ones. A registered address does not necessarily reveal the real destination of a scheme. Just as people may mistake absence for departure, they may also mistake the legal resident for the intended target. What appears to be a visit to one man may, in reality, have been arranged for another.

Yet the strongest clue may arrive after the reveal. (chapter 97) The former director is not startled, nor does he show visible signs of panic. He does not step back, apologize, retreat, or behave like a man caught trespassing. He remains composed. That calmness matters. If Joo Jaekyung were the true target, Kim Dan’s arrival should complicate the plan. Instead, the intruder stays exactly where he is, as though the person now standing before him is the one he came to meet.

(chapter 97) Kim Dan’s reaction is equally revealing. He freezes, but he does not panic, which becomes perceptible, once you compare his reaction at the restaurant. (chapter 90) The expression in the hallway is shock rather than terror. (chapter 97) This is not yet the fear of immediate violence. It is the cognitive shock of seeing someone impossible in a place where he should not exist. The emotional blow comes from meaning, not force. In that sense, the first weapon of the scene is psychological.

This changes how we read the likely target. The encounter may ultimately affect Joo Jaekyung, but its first aim appears to be Kim Dan. He is the one isolated, confronted, and forced into a moment of uncertainty. That matters because chapter 97 repeatedly frames his position through the question of movement: (chapter 97) whether he will go or remain. While Kim Dan crosses the street lost in thought, the pedestrian signal turns red (chapter 97), visually interrupting departure itself. By contrast, Joo Jaekyung’s desire to ask him not to leave (chapter 97) is paired with forward motion and a green light. (chapter 97) The chapter therefore stages two opposite directions at once: one character preparing to walk away, the other trying to keep him near. In that sense, the hallway confrontation strikes at the story’s central tension: stay or leave. (chapter 97) It appears designed to turn Kim Dan away at the very threshold where his deeper desire is already moving in the opposite direction (chapter 97) — not toward departure, but toward remaining at Joo Jaekyung’s side.

There is another reason this matters. To grasp the full significance of the scene, we must remember the beginning of the story. In episode 1, Joo Jaekyung summoned Kim Dan (chapter 1) to the penthouse and sent him the address while having sex with someone else. Kim Dan arrived under false assumptions, believing he had been called for treatment. In episode 2, not only the hallway was lit (chapter 02), but also the door stood open, and deception functioned through entry: he was drawn into a private space without understanding what awaited him inside. (chapter 2) The present encounter reverses that structure almost exactly. Now the door remains closed and the director is also standing at a certain distance from it. (chapter 97) The intruder does not seek to enter the penthouse, but to stop Kim Dan outside it. Additionally, this contrast strongly suggests that the former director is trespassing rather than arriving by invitation. Deception no longer serves to bring him inward, but to keep him from returning. (chapter 97) What once began with forced access may now continue through engineered exclusion.

The hallway carries another layer as well. (chapter 40) Earlier in the story, a different corridor became the place where Kim Dan’s heart first moved toward Joo Jaekyung. (chapter 40) There, the champion stood in light, framed by cameras and public attention, dazzling through image and presence. (chapter 40) That threshold marked attraction, recognition, and emotional movement toward him. The present hallway appears as its inversion. Darkness replaces light. (chapter 97) Intrusion replaces admiration. Instead of drawing Kim Dan closer, the scene may be designed to turn him away.

The corridor may carry yet another memory in the champion’s story. On the day before the match (chapter 49), Joo Jaekyung also encountered Baek Junmin in a hallway while Kim Dan watched from behind. To everyone else, the scene appeared harmless, even cordial: two fighters exchanging a handshake in public view. (chapter 49) Yet beneath that surface, something very different was taking place. The Joker used proximity and secrecy to whisper words that dragged the champion back toward a buried past (chapter 49) — weakness, humiliation, the memory of being a vulnerable child. The visible gesture was friendly; the hidden action was psychological assault. (chapter 49) That earlier corridor teaches us how these spaces function in Jinx: not merely as passages, but as places where unseen truths move beneath staged appearances. If so, the present hallway may repeat the structure in altered form. Joo Jaekyung now stands nearby but outside the frame, while Kim Dan occupies the position once held by the champion. What was previously aimed at one man’s repressed wounds may now be redirected toward another’s.

And yet darkness does not eliminate the possibility of light. It merely changes its source. In the earlier corridor, radiance came through spectacle. Here, if anything is to shine, it may have to shine through words: truth spoken aloud, motives exposed, guilt refused, emotional clarity finally named. That possibility matters because it points beyond Joo Jaekyung’s earlier response at the restaurant, where force answered insult. (chapter 90) This new threshold may demand another kind of strength altogether.

For that reason, the hallway should be understood as more than a corridor. It becomes a stage, a threshold, a place of transition, and certainly a test. The lighting, the distance, the delayed reveal, the closed elevator, the calm intruder, and the frozen witness all make the encounter feel less like reality unfolding naturally and more like a scene being performed. Before anyone speaks, the setting itself tells us that this night has been scripted to look like chance. Beneath the silence, another question is already waiting: stay, or leave?

The Joker’s Mask

The former director’s face matters as much as his position. (chapter 97) Mingwa draws him in a strangely diminished way. His bruises have almost vanished, yet not entirely. His glasses are opaque, hiding the eyes. Most striking of all, his mouth seems absent.

This is not how a fully present person is framed. It is how a function is framed. Without visible eyes, we cannot read sincerity, shame, fear, remorse, or hesitation. Without a readable mouth, speech itself becomes suspect. He does not appear as a man arriving to express something authentic. He appears as a messenger carrying lines that may not truly belong to him. Someone else may be speaking through him before he even opens his mouth.

The fading bruises deepen this effect. The traces of earlier violence remain, but only faintly. Darkness covers what is left of them. Old damage is neither fully shown nor fully erased. It is managed. The image suggests someone who carries the past into the present, yet only in the form most useful for the current performance.

The shadows may conceal even more than injury. (chapter 97) The man appears to be wearing the same clothes as before, linking this encounter to his earlier humiliation and social decline. (chapter 90) If so, the lack of light performs another function: it softens the visible signs of downfall. (chapter 97) The corridor does not simply hide wounds. It hides status. Poverty, disgrace, and failure are pushed into the background so that another narrative can stand in the foreground. By concealing how diminished he truly is, the scene allows Kim Dan to momentarily forget that this is a defeated enemy. In shadow, he can return as something more imposing: not a fallen man, but a ghost from the past. (chapter 90)

That contrast becomes sharper when we remember how he was drawn earlier in the story. Then, the director was all excess: licking lips (chapter 90), sweating greed, vulgar speech (chapter 90), predatory fantasy, shameless mockery (chapter 90), and a grin (chapter 90) that exposed appetite without restraint. He was visually loud, almost grotesquely transparent. Readers did not need to guess what kind of man stood before them. His face announced it.

Now the opposite occurs. (chapter 90) The eyes are hidden. The mouth recedes. The body grows still. The vulgar man seems to vanish into silence. But this should not be mistaken for redemption. Nothing in the visual language suggests genuine growth or moral awakening. What we are shown is not transformation, but suppression. He is not rewritten; he is dimmed.

And because he is low-key, language moves to the center. If the face cannot be trusted, if motives cannot be read, if the body itself has been visually reduced, then words can only become the true instrument of the next encounter. The danger is no longer what he can do, but what he has come to say. That is why he feels less like a person arriving with his own truth than a carrier of prepared lines — accusations, selective facts, emotional triggers, or a version of the past designed to wound on command. The real blow may not be physical at all. It may arrive through sentences.

The image also evokes an unexpected cultural echo. The facelessness recalls the famous scene in The Matrix where Neo suddenly discovers he has no mouth.

There too, the horror lies not in physical violence alone, but in the revelation that reality itself has been controlled by a larger system. Speech is removed because truth has been confiscated. The association is striking here. The former director appears less like a free subject than a man absorbed into someone else’s script. Yet the parallel may go further. In The Matrix, Neo eventually becomes the one who breaks the illusion. If this hallway is built on false appearances, then the real question is not whether a mask has arrived, but who will refuse the reality it tries to impose.

If the director is a mask — no eyes, no mouth, no visible agency — Kim Dan is becoming the opposite. (chapter 97) Even in shock, his expressions remain vivid and legible. His silence is full of inner questions. He thinks, reacts, judges, and feels in ways the other figure no longer seems able to display. The scene therefore stages more than an encounter between two characters. It stages a collision between a hollow vessel and a developing soul.

This is why a sincere apology feels unlikely as the true purpose of the scene. (chapter 97) If repentance were central, the image would need visibility: a readable face, clear bruises, accessible emotion, remorse we could recognize. As you can see, the scene in the hallway contrasts so much with the one in the Fairy wheel with the firework (chapter 84), where both main leads were trapped “together” and sound played a huge importance. Instead, the final scene in episode 97 withholds precisely those things. The darkness does not stage confession. It stages concealment. (chapter 97) The man himself becomes harder to read so that attention shifts toward whatever story he has been sent to deliver.

That is why the director feels less like the author of the scene than one of its props. He may move and speak, yet the visual language reduces him to an instrument: a body placed in the hallway so that someone else’s strategy can speak through him. He is not the Joker. He is the mask the Joker chooses to wear. If the Director is a prop (the Mask) and the hallway is a stage, then the only way for Kim Dan to “win” is to refuse the script.

The Conditions of Entry

We have already established the most important surface illusion: from the outside, it could appear that Kim Dan had left the penthouse. He no longer appeared at the gym. No one seemed to mention him to Joo Jaekyung. The champion himself was increasingly framed in isolation (chapter 97), absorbed by training and the imminent match. Publicly, Kim Dan had vanished. Privately, he had not moved at all.

What makes this significant is that Kim Dan himself may not have realized how easily absence can be misread. To him, remaining inside the apartment for several days may have meant reflection, hesitation, emotional conflict, or simply staying out of sight. (chapter 97) To outsiders, however, invisibility can quickly harden into narrative. If a person is no longer seen, people begin to explain that disappearance for themselves. And the easiest explanation is often the wrong one.

We have already seen this with Joo Jaekyung. After the match, Kim Dan was no longer beside him (chapter 52), and the champion interpreted that separation through what little he could observe. Later, at the hospital, he heard that Kim Dan had quit. (chapter 53) But quitting the job did not automatically mean leaving altogether. In his mind, Kim Dan had stepped out of the professional role, not necessarily out of his personal orbit. The evidence before him therefore remained partial: distance, silence, and formal resignation, but no clear answer about the bond between them. Hence he imagined that the main lead was still living in the penthouse. (chapter 53) Yet what he “knew” was never the full truth. It was a narrative assembled from scattered pieces while the emotional reality remained elsewhere.

There is another reason to take this seriously. Earlier in the story, Kim Dan was already being watched. (chapter 46) Secret photographs were taken of him without his knowledge. According to me, Baek Junmin was the one behind the camera. The hamster’s movements were monitored. His connection to Joo Jaekyung was observed from afar. That matters because it suggests the schemers did not suddenly become interested in him now. They had already understood that the physical therapist was not a minor side figure, but someone emotionally tied to the champion. If one wanted to wound Joo Jaekyung indirectly, Kim Dan had long been the obvious path.

At the same time, those operating from the shadows would have every reason to conceal their own involvement. (chapter 93) If Baek Junmin and Choi Gilseok are orchestrating events, they cannot appear to be doing so. A clean scheme often works best when responsibility seems to originate elsewhere. The most effective leak is not the one traced to its author, but the one attributed to an innocent intermediary.

This is where Park Namwook becomes central. Whether knowingly or not, he may be the most useful source of mistaken information in the entire system. He lives close enough to the champion’s routines to notice changes, yet not close enough to grasp their private meaning. He sees absence (chapter 66), altered schedules, replaced meals, and silence. From those fragments, a conclusion becomes tempting: Kim Dan is gone. Joo Jaekyung is alone again. And finally, don’t forget how Doc Dan was introduced to the champion for the first time (chapter 1): he had been hired by Park Namwook, for the previous physical therapist had suddenly quit. (chapter 1)

If that assumption took hold, it could open the perfect pretext. The former director would not need to arrive as an intruder, but as a practical solution. (chapter 1) A replacement. A therapist. Someone sent because the champion supposedly lacks proper care before an important fight, and, unlike others, is not asking too much money. (chapter 54) Observe how the manager reacted, when Joo Jaekyung selected the one with a lot of credentials. Park Namwook jolted. The language of professionalism becomes cover for personal sabotage. Entry is granted not through force, but through usefulness.

And this possibility gains weight when we remember the beginning of the story. Kim Dan first entered Joo Jaekyung’s orbit through need, employment, and convenience. (chapter 2) Professional necessity became the doorway through which a far more intimate bond later emerged. If so, the present scheme may mirror that origin in corrupted form. What once began through work and gradually became attachment is now imitated as strategy. A “helper” is sent not to heal, but to divide.

Even Park Namwook’s earlier words cast a shadow here. He claimed they had brought Joo Jaekyung the best in the industry (chapter 5), yet Kim Dan’s own life tells another story: job loss (chapter 1), exclusion, desperation, and a system willing to discard him while rewarding others. The language of merit has never been neutral in Jinx. It often hides power, convenience, and who gets chosen or erased.

There is also a darker irony beneath the practical excuse. Sending the former director under the pretense of treatment would place bodily care (chapter 97) beside an old superstition already tied to the story: sex before a match, the so-called jinx. In that framework, the intruder becomes more than a substitute therapist. He becomes the bridge through which blame can later travel. Professional contact, private scandal, and preexisting fear could all be rearranged into one accusation.

Such a scene would not only endanger Kim Dan. It would immediately raise another chain of suspicions: who knew where they lived, who allowed access, who understood the timing, and who knew enough about the champion’s private beliefs to exploit them. Anyone linked to that chain could appear implicated, whether guilty or not. Once again, appearances risk becoming accepted as truth before the latter has even had the chance to appear.

At the same time, Kim Dan’s role itself could be distorted. The physical therapist who offers care may be recast as something else entirely — a source of temptation, scandal, or transactional intimacy. In that sense, the scheme would not merely attack people. It would attack identities.

That is why the true question is not simply how the man entered the building. He may have entered much earlier — the moment appearances replaced truth, assumptions replaced knowledge, and a system once again mistook Kim Dan’s invisibility for his absence.

Queen Han Dan Learns to Speak

Before going further, I should pause for a moment and explain the title. Why Han Dan? Why a queen? Why borrow concepts that, until recently, were unfamiliar to me as well? I only began thinking in these terms after watching this video that introduced two emotional ideas often associated with Korean drama narratives: Jeong and Han.

It is almost ironic that Korean dramas led me toward manhwas — and then helped me understand them differently.

Once I encountered those notions, the recent evolution of Kim Dan and Joo Jaekyung began to appear in a new light.

Jeong can be described as a deep bond formed slowly through shared everyday life. It grows through meals, routines, repeated gestures, quiet care, silent loyalty, and the feeling that these are my people. It is not limited to romance. Jeong often appears in the background, through presence more than declaration, through consistency more than spectacle. It is affection sedimented over time.

Han, by contrast, is compressed sorrow mixed with resentment that never fully disappears. It is the emotional weight left by abandonment, humiliation, injustice, debt, grief, or wounds that remain unresolved. Han is pain carried forward in time. It may remain silent for years, then suddenly speak through anger, distance, bitterness, or refusal.

In the earlier chapters, Kim Dan seemed to embody Jeong more clearly. (chapter 56) He stayed beside his grandmother. He worked despite exhaustion. He treated Joo Jaekyung despite fear and humiliation. He cooked (chapter 22), cleaned, worried, forgave, and endured. Much of what he gave happened almost invisibly. And that is precisely why Jeong is so often underestimated. It does not announce itself dramatically. It appears in support that is constant yet barely noticed until it is missing. Kim Dan’s passivity and silence were therefore not emptiness, but one form of devotion. I admit this was not immediately obvious to me. At times, Kim Dan’s attitude even frustrated me, because I was shaped by a different cultural environment — one in which care is often expressed more directly, emotions are verbalized more openly, and disagreement is more readily shown. Imagine that he did not talk to his roommate for 8 days! (chapter 97) In his mind, he was being considerate. He was giving him space, (chapter 97) supporting him quietly. In such a framework, silence can easily be interpreted as weakness, passivity, or a lack of personality. Precisely for that reason, the concept of Jeong became so illuminating. It allowed me to recognize that affection does not always announce itself through dramatic words or visible intensity. Sometimes it is carried through constancy, restraint, everyday gestures, and the quiet decision to remain.

Joo Jaekyung, on the other hand, was marked by Han. (chapter 72) He carried paternal violence (chapter 72), maternal abandonment, poverty, humiliation, insomnia, and the pressure of surviving through strength alone. His anger, possessiveness, and emotional volatility (chapter 91) were the visible forms of pain that had never healed. Even his need to control others often looked less (chapter 45) like confidence than fear translated into aggression.

Yet the story has changed. Kim Dan was the first to express animosity openly in season 2. He criticized Joo Jaekyung. He pushed him away. He refused his offers. He told him plainly that this was how he had always been treated. (chapter 64) Silent suffering became spoken judgment. Han entered his voice.

His collapse and departure only deepened that shift. He no longer swallows everything in silence. He no longer acts as a servant of Park Namwook, he keeps distance from him. (chapter 95) He no longer feels endlessly obliged. And when he sees the former director, his second reaction is not meekness but disgust. (chapter 91) That matters. Resentment is no longer buried beneath obedience. It has become part of his emotional language. But this change is not limited to anger alone. It also deepens Kim Dan’s ability to reflect. Earlier, he often positioned himself only as the one who had to endure, obey, or silently adapt. (chapter 46) Now he begins to examine situations from more than one side. He can recognize not only how he was hurt (chapter 97), but how his own actions may have wounded others as well. When he remembers packing in haste and preparing to leave, he no longer sees himself simply as justified and Joo Jaekyung as wrong. He understands that sudden departure, silence, and emotional withdrawal could wound the other person too.

That shift matters because it opens the door to reinterpretation. Once experience is no longer divided into victim and offender, Kim Dan can finally perceive gestures he once dismissed. (chapter 97) A command to eat more, once read as control (chapter 79), can be understood as concern. (chapter 97) Practical attention can reveal tenderness. What had seemed oppressive begins to show another meaning. This delayed recognition matters because Jeong is not always perceived in the moment it is given. For Joo Jaekyung, its value becomes visible through distance, uncertainty, and the fear of loss. For Kim Dan, recognition emerges differently: through gratitude, self-reflection, and the gradual realization that gestures once dismissed or misunderstood had been forms of care all along.

It also explains why Kim Dan rarely expects care for himself. For so long, he embodied the side of Jeong that gives, supports, and remains present for others. (chapter 96) He knew how to look after people, but not how to imagine being looked after in return. Receiving affection is often harder than offering it.

The same transformation can be seen in Joo Jaekyung. As Han encounters Jeong, strength begins to change its meaning. He starts to notice another world beyond force, pride, and survival: a world of mutual attention , small gestures (chapter 80), and emotional responsibility. (chapter 65) In different ways, both men are learning that relationships are not built through victory over the other, but through a new way of seeing one another.

Meanwhile, Joo Jaekyung has begun to move toward Jeong. One key moment came when he blamed Baek Junmin (chapter 54) rather than Kim Dan. He distinguished the real source of harm instead of attacking the nearest vulnerable person. Since then, he has worried about Kim Dan’s meals, noticed his body, bought flowers and cake, remembered small preferences, and even more than ever wants him to stay after the match. Care has begun to replace reflexive aggression.

This is where the title becomes meaningful. Han Dan is not mockery. It names Kim Dan’s transformation into someone who can finally carry and express Han instead of burying it beneath everyone else’s needs. It may also mean, for the first time, that his resentment will be directed outward — not against himself, nor only against Joo Jaekyung, but toward those who truly abused their power, such as the hospital director. The playful word queen acknowledges another change: he is no longer standing at the edge of the drama like a pawn moved by stronger hands. He has become central to the game itself.

In chess, the queen is the most versatile and often the most decisive piece. She is also the piece players fight hardest to protect. That symbolism matters here. Kim Dan may still appear vulnerable to those who underestimate him, but he now occupies the emotional center of the story. To remove him is no longer to remove a side character. It is to destabilize the entire board.

And there is one more reason the title matters now. If the current chapter turns on the question of whether he will stay or leave, then Kim Dan is no longer merely choosing for himself. His movement now affects the structure around him. That is what queens do in stories and in games alike: they transform space through the position they occupy.

There is also a more playful yet surprisingly revealing possibility hidden in the scene. Kim Dan does not return empty-handed (chapter 97), but carries a birthday cake covered in cream — an object already charged with recognition, celebration, affection, and the wish to create a shared moment. Just as importantly, playfulness is no longer absent from Kim Dan’s inner world. The man who once moved through life almost exclusively through duty, anxiety, and endurance is now capable of imagining teasing intimacy, shared fun, and lightness with Joo Jaekyung. (chapter 97) That shift matters enormously. It means joy has entered a consciousness long governed by burden.

In the exaggerated emotional grammar of many Korean dramas, conflict is often expressed through symbolic gestures such as the famous kimchi slap, a drink thrown in someone’s face or poured on someone’s head (chapter 37), or another act of public humiliation in which ordinary objects suddenly become dramatic instruments. Read through that lens, the cake in Kim Dan’s hands contains its own ironic potential: it could become not merely dessert, but a comic weapon of refusal, an insult that answers intrusion with ridicule.

Such a gesture would be funny on the surface, yet deeply meaningful underneath. The current arc is framed by seriousness, gravity, contracts, injuries, and psychological pressure before an important match; a messy burst of cream would instantly shatter that oppressive atmosphere and expose how fragile the staged tension really is. It would also reverse Kim Dan’s usual position in the story. For so long, he has been the one acted upon, blamed, cornered, or used by stronger figures. If he were the one creating the scene, even for a moment, he would step out of passivity and become the active force. More than that, the cake suggests a new relational role. (chapter 97) To bring someone a birthday cake is to acknowledge their existence, mark their growth, and care for them. In that sense, Kim Dan is quietly establishing himself as a hyung (chapter 97) — not the domineering version represented by Baek Junmin (chapter 96), who claimed authority through superiority, manipulation, and the posture of the one who “knows better,” but a different kind of hyung whose authority comes through tenderness, emotional understanding (chapter 95), and the ability to create warmth. If the self-proclaimed men of power arrive with schemes (chapter 93), threats, and humiliation, Kim Dan arrives with celebration, and perhaps with fun as well, a different kind of enjoyment and laughter than the Joker’s. (chapter 87) With this panel it is clear that Baek Junmin will never have the last laugh. Anyway, the impact of such a reversal would not be limited to the intruder alone. Instead of answering tension with more anger, Joo Jaekyung himself could be drawn into laughter. That possibility is relevant, because laughter would do what violence cannot: it would break the script from within. Remember how powerless he felt after the exposure and humiliation. (chapter 96) No one was there to cheer him up, they all stood silently and passively. (chapter 9) And if that very object of care were turned against the intruder, the symbolism would become sharper still: false authority would be confronted by a truer one, and the entire machinery of intimidation would collapse into absurdity. What appears playful therefore leads back to the deeper logic of the title itself, because every new gesture Kim Dan makes now carries structural weight within the story. And there is one more reason the title matters now. If the current chapter turns on the question of whether he will stay or leave, then Kim Dan is no longer merely choosing for himself. His movement now affects the structure around him. That is what queens do in stories and in games alike: they transform space through the position they occupy.

The Joker’s M.O.

If the hallway is the stage and the former director the mask, then Baek Junmin’s true weapon is not brute force, but construction. He does not merely strike; he arranges circumstances in which others mistrust one another and accept a false story as truth. The earlier image of him studying the calendar already suggested a man interested less in impulse than in timing, pressure, and sequence. (chapter 93) A manufactured narrative is far more dangerous than a visible enemy because it recruits its targets into its own logic, compelling them to generate the suspicion, conflict, and emotional damage themselves. The Joker does not need to control every move if he can persuade others to perform the script for him. (chapter 96)

We have seen this layered pattern before. Prior to their first match, the public meeting between Kim Dan and Choi Gilseok functioned as a visible distraction (chapter 48), as they met in front of the building where the gym Team Black is. Besides, the encounter was easily photographed and readily interpreted as betrayal. (chapter 48) Yet behind that surface stood the hidden move: the altered spray (chapter 49), seemingly tied to revenge, (chapter 48), but more likely prepared in advance to cause damage under pressure. In that reading, the point was never only retaliation. The point was that Kim Dan could later be made to carry the blame for everything surrounding the chaos. One event captured attention, another produced harm, and the true consequence emerged only afterward. What appeared spontaneous was structurally engineered. (chapter 51) But the irony is that neither the champion nor his manager called the police for an investigation right away.

The same architecture now returns. (chapter 96) The interview serves as the public strike — humiliation and provocation aimed at a wider audience. It drags old wounds into the open and fixes attention on spectacle. The ruined poster becomes the next layer: visible violation, immediate outrage, the sense that hostility has entered Joo Jaekyung’s own space. The atmosphere changes before any direct confrontation even begins.

Only after those outer layers comes the darker move: (chapter 97) the hallway encounter. Hidden from public view, detached from cameras, and staged in shadow, it targets something more valuable than image — trust, emotional balance, and the fragile question of whether Kim Dan will stay or leave. Public scandal can be repaired. A shaken bond is harder to restore.

Seen this way, the incidents are not random noise but coordinated pressure applied on different levels. First reputation. Then emotion. Then relationship. First the crowd. Then the self. Then the private space between two people. That is why the Joker is dangerous. He does not merely create problems. He sequences them. He understands that after enough pressure, people begin linking separate blows into one story, even when the links are false. And once that happens, blame can be redirected toward the nearest vulnerable person.

And that is where Kim Dan becomes central. The most efficient scapegoat is rarely the strongest rival. (chapter 96) It is the figure others still believe to be vulnerable: someone economically fragile (chapter 48), emotionally tied to the target, marked by past shame and abandonment wounds (he is also an “orphan”), and assumed to carry burdens in silence. From the outside, Kim Dan may still appear to fit that role. The schemers likely imagine a man who is isolated, unsupported, and easy to overwhelm — someone with no real backing, no language of resistance, and no choice but to absorb whatever is placed on him.

That assumption, however, may already be outdated. Earlier in the story, guilt and pressure might have worked more easily. Kim Dan often endured, withdrew, or blamed himself before questioning the motives of others. But he is no longer standing in the same place. He has begun to judge situations differently. He is now ready to talk (chapter 97) and become more proactive, hence he bought a cake, a book and has planned to cook for the champion. This means that he is now capable to recognize manipulation, and to speak where he once remained silent. The very person chosen as the easiest target may no longer be available in the form they remember.

Against the old Kim Dan, an accusation only needed to feel believable long enough to wound. Against the present Kim Dan, it may need to survive scrutiny, contradiction, and reply. And that response may be more dangerous than the accusation itself. For many of the burdens that could be placed on Kim Dan lead back to the former director’s own actions. If Kim Dan lost work (chapter 1), struggled to be hired elsewhere, fell into desperation, or became vulnerable to exploitation, (chapter 3) those conditions did not emerge from nowhere. They followed the abuse and professional ruin inflicted earlier. The blacklisting was and is the reason why he is not looking for a job in Seoul (chapter 56) In that sense, an attempt to blame Kim Dan for everything risks exposing the original cause instead. The man chosen as scapegoat may now be able to point back at the hand that first pushed him toward the edge. The setting makes that possibility even sharper. The hallway is dark, where faces are obscured and appearances become uncertain. But in darkness, a voice can be heard clearly. (chapter 97)

That is why the exact charge (the topic for the guilt trip) can remain flexible. Financial losses, damaged sponsors (chapter 54), injuries (chapter 95), overtraining, disqualification (chapter 96) leading to the loss of the championship belt — any of these can be reframed as the price of keeping Kim Dan close. Incidents tied to the hospital or health center can be folded into the same narrative. The content changes according to circumstance, but the structure remains the same: different burdens, gathered under one convenient name. He is guilty to have ruined the champion’s life.

Yet the hallway introduces another layer as well: the method of the former director himself. Long before this chapter, his preferred weapon was already visible. He repeatedly transformed abuse into accusation and his own misconduct into Kim Dan’s supposed guilt. (chapter 6) (chapter 90) (chapter 90) The wording changes, but the structure remains constant: responsibility is reversed until the victim feels like the cause.

If such rhetoric returns now, it would not merely repeat the past. (chapter 91) It would reactivate Kim Dan’s deepest vulnerability — the hidden belief that he damages the people around him. That is why separation matters so much. If Kim Dan can be pushed away from Joo Jaekyung first, he becomes easier to confront, easier to shame, easier to burden with every old and new misfortune. At the same time, the former director of the hospital can be blamed, if his presence was detected there. Alone, he can be told that he caused the champion’s losses, scandals, exhaustion, or decline. Beside Joo Jaekyung, those accusations meet resistance. Away from him, they may sink inward.

The true violence of the Joker is therefore narrative violence. He does not invent reality; he edits it. Misunderstandings become destiny. Coincidences become proof. Pain becomes accusation.

This is how a person is turned into a jinx. Not through magic, fate, or any real curse, but through repetition. Enough setbacks are placed beside his name, enough unrelated wounds are retold as his doing, enough guilt is made to feel natural. Eventually, others stop seeing separate causes and begin seeing only him. If pushed far enough, Kim Dan is no longer seen as healer, partner, or future companion. He becomes the explanation for misfortune itself. He becomes the jinx. To transform the emotional center of the story into a curse is to attack the structure forming around him — to recast the Queen as poison. The royal image carries another implication as well. (chapter 97) A queen is not only a powerful piece on the board; she also evokes a form of recognized union. In that sense, turning Kim Dan into a jinx would do more than isolate him personally. It would poison the very idea of partnership beside Joo Jaekyung. The chosen companion, the one meant to remain, is recast as a threat. What should signify attachment, continuity, and perhaps even a future resembling marriage is rewritten as danger. The attack therefore falls not only on a person, but on the bond’s legitimacy itself. (chapter 97)

Yet this retelling carries a second insult that is easier to miss. (chapter 95) It reduces Kim Dan to a curse while also erasing Joo Jaekyung’s agency. The champion is treated not as a man shaped by discipline, endurance, and strength, but as someone passively ruled by outside influence. His achievements, sacrifices, and proven resilience disappear behind the convenience of blame. The scapegoat story diminishes them both.

Ultimately, this method targets their oldest wounds. For Joo Jaekyung, the pressure point is abandonment: the fear that whatever he values will be taken or corrupted. For Kim Dan, it is the belief that he burdens the people he love. Hence he got abandoned. One voice in a dark hallway could therefore reopen two childhood wounds at the same time. If both can be pushed back into those inner prisons, they may damage the bond themselves without the schemer needing to break it directly.

That is why the hallway matters. (chapter 97) It is the newest trigger in a longer chain, designed to make pain interpret everything that follows. Yet the Joker’s power depends entirely on whether the targets accept their assigned roles. The moment Kim Dan rejects inherited guilt, or Joo Jaekyung questions the frame imposed on him, the script begins to fail.

And here the argument returns to the beginning. The dark hallway was never only a threat. It was also a question. Not simply who entered, but who will define what that entrance means.

The first incident is only the surface. What waits beyond it is still open. The two men may stay together (chapter 97), but even that would not be the end of the story. To stay can mean many things: to choose each other openly, to confront the systems around them, to speak truths long avoided, or to leave old roles behind while standing side by side. The real next move may not belong to the Joker at all. But if the script depends on their silence, what happens when the scapegoat finally finds his voice? And if the “Jinx” is proven to be a lie, what remains of the man who built his life around that fear?

Feel free to comment. If you have any suggestion for topics or Manhwa, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Twitter-Tumblr 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.

Jinx: The Giant Of Paper 🗞️ and Laughter 🫢- part 2

After publishing the last essay, I had another realization. The problem is that with episode 97 being released today, I do not have the time—or the energy—to create a new illustration. And yet, the idea that emerged feels inseparable from my analysis of chapter 96 and its conclusion. It is not a new direction, but a continuation. A prolongation of The Giant of Paper and Laughter.

In the final part, I wrote:

At first glance, this moment appears to concern Kim Dan alone. (chapter 96) His hesitation, his position, his choice. But this would be too limited. Because episode 96 does not present a single decision. It constructs a field of decisions.

And within this field, Kim Dan is not the only one who must choose. His position becomes visible precisely because another figure, at the same moment, reveals the consequences of having chosen differently.

This is where Baek Junmin re-enters the analysis. His interview is not simply an attack, nor merely a rewriting of the past. It is the manifestation of a trajectory—a chain of alignments that began long before the present and that now reaches its visible form. What he says about Joo Jaekyung—about wrong choices (chapter 96), wrong people, wrong environments—does not only describe the other. It reflects himself. And with this reflection comes something else. Because choices do not only structure positions—they produce affects. What cannot be corrected becomes regret. What cannot be acknowledged becomes resentment. In this sense, the question that concludes the previous essay—what does it mean to choose?—cannot be answered by looking at Kim Dan alone.

It must be read against its opposite. Not the right decision in formation, but the wrong decision repeated.

Repetition without revision

The interview does not merely recount the past; it anchors itself in the present through the choices that continue to define Baek Junmin’s reality. (chapter 96) What begins as a critique of Joo Jaekyung (chapter 96) gradually reveals itself as a confession: a pattern of alignment from which the speaker cannot escape.

He insists—almost obsessively—that Jaekyung chose the wrong path: the wrong gym, the wrong environment, the wrong guidance (Chapter 96). Yet, the moment we shift our gaze from his words to his actions, a different coherence emerges. Baek Junmin is not correcting the champion’s mistakes; he is reproducing them. But this reproduction is not limited to structure. It extends into the relation he claims to describe. What he presents as guidance reveals itself as something else entirely. (chapter 96) He does not protect the past; he exposes it. He does not preserve proximity; he weaponizes it. The one who speaks as a former “hyung,” as someone who once stood close, reveals himself through the very act of speaking (chapter 96): not as a guide, but as the wrong companion.

Because to recount the past in this way is not neutral. It is to betray it. The intimacy he invokes becomes the condition of its distortion. What should remain within the bounds of shared experience is extracted, simplified, and made public. In doing so, he does not simply diminish Joo Jaekyung—he violates the relation that once connected them.

And yet, within this violation, another layer becomes visible. The betrayal he enacts is not only directed outward; it is already inscribed in the narrative he constructs. (chapter 96) In recounting their shared past, he attributes to Joo Jaekyung a form of abandonment without ever naming it as such. The figure that emerges is that of someone who turned away, who stopped looking back, who severed a bond that had once been taken for granted. This is never stated directly. It is implied, dispersed across fragments, but it remains perceptible. What appears as accusation begins to resemble projection—not as a declared grievance, but as something his discourse cannot fully conceal.

At the same time, he introduces a second distortion, more subtle but equally decisive. Success is no longer presented as the result of choice, effort, or trajectory, but reduced to chance. What had been built becomes “luck.” (chapter 96) In this shift, agency is erased. The champion’s path is no longer something he forged, but something that merely happened to him. This reduction is not incidental. It allows Baek Junmin to neutralize what he cannot replicate. If success is luck, then failure requires no explanation. If choice is denied, then responsibility can be displaced.

The authority he summons (chapter 93) to legitimize this narrative—a doctor presented as a voice of institutional truth—is fundamentally fractured. This is no neutral expert, but a fallen figure stripped of professional standing. The choice is not incidental; it reveals a structural flaw. Junmin does not distinguish between genuine authority and the mere veneer of it. And observe how he came to this choice: (chapter 93) He heard Heo Manwook call him by his former title and took it at face-value. For him, legitimacy is secondary to utility; if a figure serves his narrative, their instability is disregarded. In attempting to conceal his manipulation, he exposes it: his world is built upon figures who reside in the same gray zone he claims to have transcended.

As long as these figures remain unstable, (chapter 93) responsibility can be displaced. But the moment they act, that displacement collapses, and the weight of the compromised authority returns to the one who selected it. He speaks of “wrong choices” while trapped in a cycle of making them.

This repetition is not a new phenomenon; its roots reach back to the “hyung” he invokes. (chapter 96) This figure is not a neutral reference of proximity, but the terminal point at which Junmin’s trajectory was fixed. And Choi Gilseok resembles the hyung from his “youth”. He made a fortune on the tie, something that left the champion in paper “traumatized”. Unlike Joo Jaekyung—whose development remained anchored within the disciplined, visible structures of professional sport despite his volatility—Baek Junmin was initiated into a different system entirely. The mentor he followed did not lead him toward discipline, but into the underground (chapter 73); not toward a gym aimed at progression, but into a space governed by risk and illegality.

This distinction is decisive. Baek Junmin was not forged as an athlete, but as a combatant within a system designed for exploitation rather than recognition. Hence he became a thug. His skills were never oriented toward a title or a visible legacy; they were mobilized within a circuit that remains deliberately obscured. (chapter 74) To conclude, he did not fall outside the system; he was never inside it to begin with.

This explains why his status as “champion” remains fundamentally unstable. (chapter 96) He can occupy the position, but he cannot embody it. The void—the lack of a public image, the absence of the KOFC belt, the failure of his stage name to resonate—finds its explanation here. What he has acquired institutionally, he does not possess symbolically.

This void fuels the intensity of his rhetoric. Joo Jaekyung represents the one element Junmin cannot integrate: a trajectory that, despite its fractures, leads toward visibility and continuity. Jaekyung’s past cannot be reduced to weakness because it contains a structure that allowed for transformation. Faced with this, Junmin’s only strategy is inversion. Strength is recoded as arrogance (chapter 96); discipline as obsession; continuity as a series of humiliations.

He must rewrite the past because he cannot match it. Yet, this strategy produces the opposite of its intended effect. The more Junmin insists on a hierarchy in which he “knew better and was better” (chapter 96) the more he reveals his complete dependence on that very structure. Despite his title, Junmin remains the ‘lost puppy’ (chapter 96) of the narrative—a man who never outgrew the need for a ‘hyung’ to validate his existence. He seeks a vertical order not to lead, but to belong; he is a stray barking at the gates of a professional world that will never truly claim him. His identity requires a vertical order; without an opponent to place beneath him, nothing of Junmin remains.

Ultimately, the interview becomes unintentionally revelatory. It does not expose the champion; it exposes the speaker. The man who claims to be the superior guide reveals the limits of that claim through his own path. He embodies the “wrong choice”—not as a moral failing, but as a structural condition.

He did not choose his path; it was determined the moment he followed a mentor into exploitation. In the present, he does not deviate from that origin; he reproduces it, surrounding himself with figures that mirror his own instability. This is why his victory remains hollow. He has won the position, but not the meaning. He speaks, but cannot stabilize his narrative. He appears, but is never truly seen. In seeking to prove that Joo Jaekyung chose wrongly, he proves only that he is still choosing wrong himself.

The False Brotherhood and Its Collapse

The architecture of the past does not remain confined to memory; it persists in the present, manifesting in forms that are less visible and more socially acceptable, yet no less decisive.

On one side stands the specter of the underground “hyung,” (chapter 74) the figure who initiated Baek Junmin into a system of exploitation masked as guidance. On the other, Baek Junmin himself attempts to reproduce this exact position. (chapter 96) He presents himself as the one who “had it better ” and was better —the guide who observed, managed, and ultimately surpassed. What emerges is not an isolated trajectory, but a cycle: a form of brotherhood that offers protection while fundamentally structuring dependence, hierarchy, and control.

Joo Jaekyung has already detached himself from this cycle. What remains unresolved, however, is not his position, but Kim Dan’s perception.

The Institutional Guise of Care

In the present, the structure of the “hyung” reappears in a different guise: Park Namwook. (chapter 5) Unlike the underground mentor, his authority is institutional and his position legitimate. For Kim Dan, this distinction is decisive. (chapter 7) He perceives in the manager a form of empathy (chapter 36), a concern for the athlete’s well-being—a figure capable of managing what he himself cannot. Kim Dan’s trust does not emerge in a vacuum; it is built through a series of interactions that appear, at first glance, to confirm this perception (chapter 7). Park Namwook speaks the language of care, addresses him with familiarity, and repeatedly positions himself as someone who values both the fighter and the medical staff. If there was tension between them, he would side with him and not Joo Jaekyung. (chapter 37) Even when he intervenes critically (chapter 50) —questioning his decisions or demanding explanations—these moments are framed, in Kim Dan’s perception, as being in the champion’s best interest rather than as acts of control.

This interpretation is reinforced by Kim Dan’s own professional framework. As a physical therapist, he is accustomed to working within systems of authority where trust in doctors, managers, and institutional structures is not only expected but necessary. (chapter 27) He assumes coherence where there is only alignment of interests. What appears as consistency in Park Namwook’s behavior is therefore not examined as strategy, but accepted as sincerity.

As a result, isolated gestures—compliments (chapter 43), reassurances, even moments of apparent protection and respect (chapter 53) —acquire disproportionate weight. They become evidence of character rather than elements of a broader pattern. The contradiction between care and control does not disappear; it is simply reinterpreted. And it is precisely this reinterpretation that allows Kim Dan to maintain his belief in the manager’s integrity.

This belief produces a critical displacement. Trust becomes delegation; responsibility is transferred. When Joo Jaekyung is injured, Kim Dan does not follow. (chapter 95) He remains outside, convinced that the manager will provide what is needed—not only physically, but emotionally. The transparent door does not function as a barrier, but as an illusion of access. He sees, but he does not intervene. But more importantly, he is turning his back to the door, a sign of trust in the coach and manager.

What he fails to perceive is that this care is conditional. (chapter 36) It is directed toward the fighter, not the man. The gestures that appear protective reveal themselves, upon closer inspection, as instrumental. They aim at performance, recovery, and return—not at recognition. The same figure who speaks of concern is also the one who disciplines, who corrects, and who reduces the athlete to a function when he deviates. The language of care coexists with the mechanics of control.

Within this logic, another mechanism becomes perceptible: the gradual transformation of causality into coincidence. When tensions accumulate—injury, disqualification (chapter 95), conflict—these events are not articulated as consequences of decisions or structures, but as misfortune. What appears is a discourse of “bad luck,” (chapter 1) in which responsibility dissolves into circumstance.

Such a framing is not neutral. By presenting the sequence of incidents as accidental, it allows the figure who manages them to remain untouched. At the same time, it opens the possibility of displacement. If events are no longer the result of identifiable actions, they can be attached to a presence—to the one who arrived before their occurrence.

In this configuration, Kim Dan becomes vulnerable to a reinterpretation of his own role. His arrival can be recoded not as support, but as disruption; not as care, but as a source of imbalance. What he perceived as trust risks being inverted into suspicion.

This contradiction becomes fully visible in the moment where Park Namwook himself attempts to explain the incident. Faced with material damage, his first reflex is to neutralize causality: the event is described as if it had occurred on its own, as if timing, rather than action, were responsible. (chapter 96) The breakdown “chooses” its moment; no agent is named.

And yet, this neutralization cannot be sustained. The very next step—filing a police report—reintroduces what the discourse had attempted to erase: the necessity of responsibility. A report presupposes an act, an author, and a sequence that can be traced. In this brief oscillation, the limits of the managerial narrative become visible. What could previously be contained within the language of coincidence now demands articulation in terms of cause. The system that functioned through displacement is forced, however briefly, to acknowledge the existence of an origin.

It is precisely at this point that avoidance becomes impossible, though he is trying to hide behind the “we”, probably the institution MFC.

The Dissonance of Misrecognition

The dissonance between Kim Dan and Joo Jaekyung does not emerge from absence, but from misrecognition. Kim Dan does not abandon the champion; he entrusts him to the wrong figure. In doing so, he reproduces the very structure that had once shaped Baek Junmin. Thus it is no coincidence that in the interview, Hwang Byungchul is described as a bad coach. (chapter 96) The reality is that Park Namwook is indeed a bad coach and even manager. (chapter 31) Here, if the athlete had followed this recommendation, he would have injured himself badly. What appears as protection recreates distance; what is named as guidance results in isolation.

This repetition reveals a deeper continuity. The same logic that governed the underground now reappears within the institution. What changes is not the structure, but its appearance.

This distance is further reinforced by the way Kim Dan encounters the external threat. (chapter 96) By remaining at the level of headlines, he experiences the situation as a public disturbance to be managed rather than as a personal violation to be understood. If he had watched the interview, he would have noticed the lies in the narration. So the narrative reaches him already filtered and stabilized, removed from its affective core. In this sense, his reliance on headlines mirrors his reliance on Park Namwook: both provide a form of safety that depends on distance, and both prevent direct engagement.

The Collapse of Mediation

The collapse begins when this distance can no longer be maintained. Baek Junmin’s intervention forces a shift by dissolving the boundary that had sustained Kim Dan’s position. By targeting not only Joo Jaekyung, but also the physical therapist (through the former hospital director) (chapter 93), the discourse eliminates the possibility of neutrality. What had remained external becomes immediate. Kim Dan is no longer in a position to interpret from afar; he is implicated. The Shotgun needs a doctor to discredit a physical therapist in the end. And it is clear that Park Namwook has the tendency to avoid trouble and implication. Hence he protects institutions, in particular MFC.

At this point, delegation becomes untenable. The belief that another could assume responsibility reveals its limits. What is exposed is not only the failure of the manager’s care, but the consequence of having trusted it. Under this new light, I realized why Mingwa included this incident at the hospice. (chapter 59) He had indeed made a mistake here, but the director of the hospice had defended him. He was not fired after this incident. Hence I come to the following deduction: Kim Dan is about to be confronted not simply with an external threat, but with the realization of his own misrecognition.He trusted the wrong hyung, just like Joo Jaekyung did. (chapter 95) Until now, he has no idea about the champion’s losses (chapter 54) and the consequences of his “departure” to the seaside. The incident at the health center, the slap at the hospital (chapter 52) and the champion’s drinking (chapter 54)

Conclusion: Presence as Choice

The conflict that follows is not incidental; it is necessary. It marks the moment where presence can no longer be replaced by function. In this rupture, the structure of the false brotherhood becomes fully visible. Whether in its underground form or its institutional version, it operates according to the same logic: authority without recognition, proximity without understanding, guidance without responsibility.

The “hyung” is no longer the one who commands or stands above through proximity to power. (chapter 96) It becomes something else entirely: the one who remains, who sees, and who does not turn away.

This position is not given; it is produced through conflict. The argument that emerges is therefore not a deviation from the relation—it is its condition. It forces Kim Dan to confront not only the system, but his own place within it. Only then can he occupy a position previously unavailable to him: not as a subordinate or a function, but as the one who chooses to stand beside—even when no role requires it.

Within this shift, the structure of hierarchy itself begins to invert. The one who once stood below becomes the one who sees, who understands, and who remains. If the term “hyung” is to acquire meaning beyond formality, it can no longer designate authority, but recognition. And such recognition cannot be assumed. (chapter 96) It requires something both have avoided until now: to meet each other’s gaze.

Feel free to comment. If you have any suggestion for topics or Manhwa, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Twitter-Tumblr 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.

Jinx: The Giant Of Paper 🗞️ and Laughter 🫢- part 1

The Champion: A Giant?

Who is the giant? The answer seems self-evident—at least at first. (chapter 1) A towering figure, a champion, a name that carries weight across arenas and screens. Someone whose image is large enough to be printed, displayed, and recognized at a glance. And yet, that same image can be torn.

A poster is damaged. (chapter 96) Its surface scratched, its authority weakened. What was meant to represent strength suddenly appears fragile, almost replaceable. Around it, nothing changes immediately. The world continues, the match approaches, the voices keep speaking. (chapter 96) But something has shifted. The image no longer holds in the same way.

At nearly the same moment, another kind of intervention takes place. (chapter 96) Not physical, but verbal. A voice begins to recount a past—selectively, confidently, as if it had always been clear. (chapter 96) Details are rearranged, others omitted. What emerges is not a lie, nor entirely the truth, but something in between: a version that is easy to follow, easy to accept, and difficult to challenge. And with it, the figure at the center begins to change.

This is not a confrontation. It is a process. What appears to be under attack is a person. But what is actually being altered is something less tangible and far more unstable: the way that person is seen. An image, once fixed, becomes negotiable. A narrative, once assumed, becomes uncertain. And suddenly, the question of strength is no longer tied to the body, but to something else entirely. (chapter 96)

So we must ask again. If the giant can be reduced to paper, then perhaps the giant was never there to begin with. (chapter 96) Or perhaps it was never where Jinx-lovers were looking. Because if the Emperor is not the Giant, then the real one has yet to be named.

To approach this question, it is not enough to follow the fight itself. One must look elsewhere: at images that are destroyed as easily as they are produced, at voices that reshape the past in real time, and at the sequence of events that gradually transforms perception without ever appearing as a direct attack. Only by tracing these shifts—between what is shown, what is said, and what begins to disappear—can we begin to understand where power truly resides.

The Making of the Giant of Paper

Before it is destroyed, the image must first be made.

But this construction does not begin in the present. It has already taken place—earlier, more discreetly, and under different conditions. At that time, the narrative surrounding Baek Junmin followed a familiar pattern. (chapter 47) He was introduced as the “underdog,” the one rising unexpectedly, the figure whose ascent could be celebrated. The framing was simple, effective, and, to some extent, transparent. It invited attention, but it also raised suspicion.

There were signs. Voices questioned the legitimacy of the narrative (chapter 47) (chapter 47), suggesting that what appeared as spontaneous recognition might in fact be influenced, if not orchestrated. The idea that media coverage could be shaped (chapter 47) —financially or strategically—was not dismissed. It circulated, hesitantly, at the margins. Yet this suspicion remained limited in scope. It did not extend to the system itself. The integrity of the organization, and more specifically of the MFC, was not openly challenged. Instead, doubt was redirected toward the figure of the rising fighter. The question was not whether the structure produced the narrative, but whether Baek Junmin had benefited from it.

This distinction is crucial. By locating the potential manipulation at the level of the individual rather than the institution, the system remained intact, unquestioned, and therefore protected. What was perceived as irregularity did not lead to structural critique, but to localized suspicion. This also explicates why the main lead couldn’t find any information about Baek Junmin. (chapter 47) The system was not yet fully opaque. It could still be glimpsed—but only indirectly, through inconsistencies that were sensed rather than fully articulated.

The present situation is markedly different. As the match approaches, the same mechanisms reappear—but without resistance. The headlines no longer build an underdog (chapter 95); they reorganize an already established hierarchy. Joo Jaekyung is no longer presented as the stable center of the narrative. Instead, uncertainty surrounds him. One headline, in particular, reveals the logic at work with striking clarity:

“Joo Jaekyung’s sudden disqualification… is Baek Junmin at risk?”

At first glance, the headline appears contradictory. A disqualification, by definition, should settle a situation. It should close the case, eliminate ambiguity, and stabilize the hierarchy. And yet, here, it produces the opposite effect. This is not a simple inconsistency. It is a deliberate construction that operates on two temporal levels simultaneously.

On the one hand, the headline refers backward. By invoking a “sudden disqualification,” it reinterprets the past. What had previously been presented as a suspension — temporary (90 days), reversible, even later framed as recovery (chapter 57) — is now recoded as something definitive. (chapter 96) The shift is subtle but decisive. A suspension belongs to the logic of administration; a disqualification belongs to the logic of judgment. The suspension was grounded in medical authority. (chapter 52) It was issued by MFC doctors, as the incident took place there. It implies a temporary exclusion, a controlled interruption that does not fundamentally challenge legitimacy. The athlete remains inside—recognized, ranked, and, in principle, recoverable. Hence he was ranked as third in August. (chapter 69) A disqualification operates differently. (chapter 96) It does not merely suspend participation; it redefines status. It exceeds medical judgment and enters the domain of institutional authority. It relocates the athlete outside the system, not only temporarily but symbolically. What is questioned is no longer his presence, but his legitimacy. The issue is no longer whether he can compete, but whether he should have been recognized as a competitor at all.

This distinction is decisive. It points toward the involvement of the institutional hierarchy—figures such as the MFC CEO and those who operate alongside him. Hence his “invitation” for a match in Paris was never revealed to the public. (chapter 69) The panel from chapter 47 (chapter 47), makes this structure perceptible. The presence of executive figures, the proximity between management and select fighters, and the emphasis on “star quality” reveal a structure in which recognition is not solely determined by performance.

In this light, the shift in terminology acquires a broader significance. It does not simply reinterpret an event; it exposes the conditions under which decisions are made. The hierarchy of the organization is not neutral. It intervenes, adjusts, and, when necessary, redefines outcomes in order to preserve its own coherence.

By allowing the media to replace “suspension” with “disqualification,” the MFC does not intensify the punishment—it repositions the athlete. What had been a procedural measure becomes a moral and structural judgment. The shift authorizes a different interpretation of past events.

(chapter 95) In this sense, the change of terminology performs a protective function. If the situation remains a suspension, it can be contested. It leaves open the possibility of return, of reinstatement, and, crucially, of legal challenge. The athlete remains within the framework and can therefore claim rights—question prior decisions, contest irregularities, and potentially demand compensation.

A disqualification closes that space. By framing the exclusion as definitive and justified, it neutralizes the possibility of reclamation. It stabilizes the loss of the title by presenting it not as a consequence of circumstance, but as the logical outcome of misconduct. The narrative anticipates contestation and preempts it. It transforms a potentially disputable situation into one that appears settled.

This is where the broader context becomes relevant. The sequence of events—the unresolved tie (chapter 51), the irregularities surrounding the match, the incident with the switched spray—contains elements that could be reexamined. Joo Jaekyung’s public challenge in Paris reactivates these tensions. It signals not only resistance, but the possibility of escalation. By refusing to accept the existing narrative, he reopens questions that the system had already moved to close.

From this perspective, the headline does not simply report—it anticipates. (chapter 95) It prepares the ground for a conflict that has not yet fully emerged. By framing the situation as a disqualification and by presenting the athlete as a destabilizing figure, it redirects attention away from the structural irregularities and toward individual behavior. At the same time, it reassures those who depend on the system’s stability—sponsors, partners, and institutional actors—that the situation is under control.

The transformation of language thus serves a double function: it delegitimizes the athlete while protecting the structure. Moreover, if something were to happen again—another incident, another “sudden” event, it would not appear as an isolated occurrence, but as confirmation of an already established pattern. The result is a double bind. The past justifies suspicion, while the future is prepared to confirm it.

Within this structure, Baek Junmin occupies an equally unstable position. The question of risk does not truly endanger him; it legitimizes him indirectly. By presenting him as someone who could lose what he has gained, the headline acknowledges his status without fully affirming it. He is recognized, but conditionally. His position depends less on his own victory than on the continued framing of his opponent as problematic.

What appears, then, is not uncertainty in a general sense, but a controlled instability. The narrative does not aim to clarify the situation. It aims to maintain a tension in which one figure is constantly redefined as a potential threat, while the other is never entirely secured as a legitimate successor.

Even in apparent advantage, he is not affirmed. What is striking is that, even after his so-called victory, he continues to be referred to as the “underdog” (chapter 52), notably among the members of King of MMA. This persistence is not merely rhetorical; it reflects a deeper uncertainty regarding the legitimacy of his rise. Within the fighters’ own environment, the outcome of the match is not experienced as a clear victory. Baek Junmin himself acknowledges that he was “this close to winning,” (chapter 51) revealing that the tie has not been integrated as a legitimate conclusion. It persists instead as a wound: a result experienced not as confirmation, but as deprivation. In this sense, his current aggression does not only seek promotion; it seeks retrospective compensation.

The betting dynamics further reinforce this ambiguity. (chapter 52) While it is suggested that significant sums were placed on Baek Junmin, this perception proves misleading. The apparent support masks a more calculated position, in which the outcome itself—rather than the fighter—is the object of investment. The smile that accompanies the announcement of the tie reveals that the result was not a disruption, but a realization of expectation. (chapter 51) So he had not bet on the Shotgun’s victory.

This distinction is crucial. What appears as confidence in Baek Junmin is, in fact, confidence in the structure that produces the outcome. The fighter becomes the visible beneficiary of a system whose logic exceeds him, while the absence of a decisive victory prevents his recognition from stabilizing. He is supported, but not validated. The problem is not that he lost. The problem is that he never clearly won against Joo Jaekyung and that this unresolved result seems to have fixed him in a position of grievance.

In this light, the persistence of the “underdog” label is no longer paradoxical. It reflects the gap between institutional designation and experiential acknowledgment. This gap becomes even clearer when one recalls that Baek Junmin never earned the KOFC belt in the way Joo Jaekyung did. (chapter 75) The latter’s rise was marked by a visible title, publicly attached to his name and career trajectory. Baek Junmin, by contrast, occupies the position of champion without passing through the same symbolic sequence of recognition. All this time, he was working in the shadow, in the illegal underground fighting. What he inherits institutionally, he does not fully possess symbolically. He may occupy the position of champion, but the conditions of his ascent prevent that position from being fully recognized as legitimate. The label that once signified ascent is never replaced by one that would confirm his dominance. At the same time, his stage name The Shotgun (chapter 49) fails to establish itself. Neither his peers nor the media adopt it. Instead, he is consistently referred to by his real name: Baek Junmin. (chapter 95) This absence is not insignificant. In the world of competitive sports, a title or nickname is not merely decorative; it is a marker of recognition, a sign that an identity has been collectively validated. To name a fighter is to fix his position within the symbolic order of the sport. By refusing—or failing—to adopt his stage name, the media and his environment deny him that stabilization.

This absence of recognition is not limited to language; it extends to the level of the image. A champion, within the logic of modern sports media, is not only defined by a title but by the visual confirmation of that title. (chapter 52) Victory must be seen, fixed, and circulated in order to become real. In this respect, Baek Junmin’s position reveals a fundamental volability. His so-called victory does not produce a defining image. The match that secured his title was neither clearly decisive nor widely broadcast, leaving no shared visual reference through which his dominance could be established.

As a result, the media does not construct him as a figure. It names him, but does not show him. (chapter 95) It becomes more visible, if you contrast this show with the one about the celebrity in episode 52: (chapter 54) Instead, it continues to rely on the image of Joo Jaekyung. Even in defeat, the latter remains visually central: his body, his injuries, his presence provide the material through which the narrative is articulated. (chapter 95) The fallen champion supplies the image that the reigning one lacks. This imbalance has significant consequences.

Without a stable visual identity, Baek Junmin’s title remains abstract, insufficiently anchored in public perception. His victory does not become an event that can be collectively remembered, but a result that must be asserted repeatedly. In this sense, he occupies the position of champion without acquiring the symbolic legitimacy that would normally accompany it. He wins the position—but not the identity. He does not fight to win—he fights to be seen. And now, you comprehend why he did the interview on the day, the champion’s image got ruined. (chapter 96) The MFC may have declared him champion, yet this recognition remains institutional; it does not translate into collective acknowledgment among the masses. Hence he is never seen signing autographs. (chapter 93) He always appears sitting in the office separated from the other members. Hence, visibility must be manufactured for him to be recognized as a champion.

In doing so, it also redefines the role of Joo Jaekyung. Disqualified, he should disappear. Instead, he persists as a destabilizing presence—no longer a contender, but still a threat. His exclusion does not neutralize him; it transforms him into a figure whose very absence continues to structure the narrative. and the headlines with the sudden disqualification becomes a focal point. (chapter 96) Doubt replaces confidence. The questions posed are no longer about the rise of one fighter, but about the possible fall of another.

What is striking is not the content itself, but the absence of reaction. Where earlier moments revealed suspicion, the current ones are met with silence. Neither the fighters nor the surrounding figures openly challenge the narrative. (chapter 96) The possibility of manipulation, once acknowledged, is no longer articulated. It is as if the system no longer needs to hide. Its operations have become sufficiently integrated to function without being named.

It is within this context that the poster must be understood. (chapter 96) Its destruction does not initiate the process—it materializes it. What had been unfolding across media and digital spaces now appears in physical form. The gesture, however minimal, suggests a continuity between what is said and what is done. The narrative does not remain abstract; it produces effects.

And yet, this effect raises a deeper question about agency. At first glance, the figure associated with this transformation seems clear. Baek Junmin dominates the narrative space. His name circulates, his rise is emphasized, his position reinforced. It would be tempting, therefore, to identify him as the Giant—the one who displaces, replaces, and ultimately stands at the center of this reconfiguration.

But this identification does not hold. Because Baek Junmin does not control the narrative; he moves within it. He benefits from it, embodies it, and perhaps even believes in it—but he does not produce it. The coherence of the operation exceeds him. It extends across media outlets, digital platforms, and institutional structures that coordinate visibility, attention, and interpretation.

What emerges, then, is a different configuration of power. The Giant is not the figure that appears, but the structure that allows it to appear in a certain way. It is not located in the individual, but in the network that sustains and amplifies him. (chapter 95) Behind the visible face lies a set of interests that do not present themselves directly—economic, strategic, and, at times, illicit. The circulation of narratives is not neutral; it is tied to flows of capital, influence, and control that operate beyond the surface of the story.

In this sense, Baek Junmin is not the Giant, but its surface. (chapter 96) This becomes visible when one considers the asymmetry of representation between the two fighters. At Team Black, Joo Jaekyung’s presence is materially affirmed through the large poster displayed at the entrance. His image is fixed, visible, and collectively recognized. It establishes him not only as a champion, but as a figure whose status is publicly validated. (chapter 1) No such affirmation exists at the rival gym, King of MMA. That’s why Baek Junmin remains a champion on paper—validated by the system, but not embodied within it.

At the same time, this absence points beyond the individual. The figure that appears in the foreground conceals a more complex network of influence. Behind Baek Junmin stands not only the local structure of the gym (chapter 96), but also broader institutional connections (chapter 96), including corporate interests that extend beyond the immediate context of the sport. (chapter 48)

The image, then, is not missing by accident. Its absence reflects a displacement: what is not consolidated at the level of the individual is sustained elsewhere, within a network that organizes visibility without fully exposing itself. He gives it form, visibility, and direction—but the force that sustains it remains elsewhere, less visible, and therefore more difficult to confront.

The ruined poster (chapter 96), then, does more than signal the fragility of an image. It reveals the presence of a system capable of extending its influence from representation to action, from discourse to intervention—without ever fully exposing itself.

And yet, this configuration produces an unexpected reversal. The figure that appears largest—the one whose name circulates, whose presence dominates the narrative—is not the one that holds power. (chapter 96) Conversely, what truly determines the outcome remains largely unseen, operating through structures that do not present themselves directly. The opposition, then, is not between two equally visible figures, but between what can be perceived and what cannot, between a presence that can be attacked and a force that cannot be easily located. Under such conditions, the struggle cannot take the form it seems to promise.

And yet, this progression leads back to the initial question. Who is the Giant? If we must finally name the Giant, we find it is not a person, but an entity: Goliath. Yet, in this modern arena, the script of the ancient myth has been inverted. Unlike the biblical Goliath—a singular, towering physical presence—this Goliath is invisible and decentralized. It is a vast network of corporate interests, manipulated media headlines, and systemic corruption. The traditional ‘Giant’ is an easy target because of its scale, but the MFC remains untouchable precisely because it hides behind its ‘paper’ constructions. (chapter 11) It is a shadow that cannot be struck with a stone. However, this configuration reveals a fundamental weakness: the Giant is not just made of paper; it is rotting from within. If the foundation of the MFC is nourished by money laundering (chapter 48) and sustained by “paper companies,” then its strength is an illusion maintained by silence and complicity. In this light, the damaged poster in Chapter 96 (chapter 96) acts as a physical mirror for this hidden corruption. Just as the poster’s surface is scratched and its authority weakened, the system itself is rotting. The perpetrators here are not just sports managers; they are criminals operating under the guise of legitimacy—white-collar offenders hiding behind tax evasion and financial fraud.

This corruption signifies that the Giant’s power is entirely transactional. It exists only as long as the ‘papers’—the ledgers, the contracts, and the bribe receipts—remain hidden. The “paper” that grants the Giant its size is the same material that ensures its fragility. It implies that the removal of a single, strategic sheet—not a physical blow, but a structural one—could bring the entire edifice to collapse. In this light, the stone that brings down Goliath is not found in the ring, but in the hands of the law. A single police report (chapter 18), a testimony, a leak of financial records, or a documented truth becomes the only weapon capable of tearing through the Giant of Paper. To destroy the narrative, one does not fight the image; one strikes the ledger.

To conclude, the threat does not come from within the arena, but from outside it. Not from physical confrontation, but from the transformation of hidden records into acknowledged facts. The Giant of Paper does not collapse under force. It collapses when what sustains it can no longer remain concealed.

The Laughter That Rewrites a Life

So if Goliath is a “Giant of Paper” (Money and Shell Companies), then this interview is the “Ink.” The money laundering creates the Giant’s body, but Junmin’s laughter and rewritten history provide the Giant’s “skin”, the part the public sees. What unfolds in the interview is not a spontaneous outburst, nor the crude provocation of a rival seeking attention. It is something far more controlled. The tone oscillates between mockery and composure (chapter 96), between laughter and measured statements (chapter 96), as if two registers were deliberately intertwined. On the surface, Baek Junmin performs the role expected of him: the confident fighter, amused, dismissive, superior. The smirk, the laughter, the casual insults (chapter 96) — these elements construct an image of dominance that appears almost effortless. (chapter 96) And yet, beneath this performance, another layer becomes visible. The vocabulary shifts. The insults become structured. (chapter 96) The accusation of an “inferiority complex” does not belong to the same register as the crude remarks that surround it. It introduces a clinical tone, one that suggests interpretation rather than reaction. This is not the language of impulse. It is the language of framing.

This shift is not accidental. It indicates preparation. Baek Junmin does not speak as an isolated fighter improvising under pressure. His discourse bears the marks of prior construction, as if it had been shaped, filtered, and calibrated before being delivered. (chapter 96) This physical evasion—the refusal to meet the gaze of the lens—suggests a speaker who is not recounting a memory, but reciting a script. The ‘clinical’ term is a foreign object in his mouth, a tool handed to him by the ‘Giant’ behind the scenes. The alternation between vulgar insults and quasi-medical terminology creates a carefully controlled ambiguity: what is said can wound, but cannot be easily prosecuted. The insults remain indirect, the claims remain interpretative, and the responsibility is constantly displaced.

In this sense, the interview operates within a legally protected gray zone. It is not pure defamation, because it avoids explicit false statements that could be challenged in court. (chapter 96) Instead, it relies on suggestion, selective truth, and reframed memory. The figure speaking appears spontaneous, but the structure of his speech reveals constraint. Someone, somewhere, has ensured that the line is never fully crossed: lawyers, doctors… (chapter 96) Crucially, the author employs a recurring visual metaphor to mark the boundary between Baek Junmin’s calculation (chapter 96) and his true self. Whenever he is forced into restraint—when he must deliver the scripted, empathetic lie—his eyes are firmly shut (Chapter 96). As he claims his heart was ‘broken’ by the disqualification, he physically blinds himself to the truth of his own joy, locking his real expression behind his eyelids to maintain the professional mask. The public sees only his calculated composition.

This contrasts sharply with his open-eyed laughter elsewhere (Chapter 96). In this moment, the mask slips completely. His eyes are wide, his face is true to itself, and his smile let transpire pure disdain. Here, he reveals to the audience that he is no real friend. His words about Jaekyung’s ‘growth’ become an act of deep condensation. The closed eyes represent the restraint required to lie, but the open, mocking face is the true reflection of his contempt. However, the script lets transpire that he is the one suffering from a huge inferiority complex. (chapter 96)

This is where the role of the surrounding structure becomes visible. The discourse does not only protect the speaker; it protects those behind him. The gym, its backers, and the wider network that sustains him remain shielded. What is exposed is the target; what remains invisible is the mechanism that enables the attack.

The laughter, then, is not simply mockery. (chapter 96) It is part of the strategy. It softens the accusation, disguises intent, and transforms aggression into performance. It allows the speaker to say what must be said—while appearing not to say it at all.

This duality is essential. It allows the discourse to operate in a gray zone where it can neither be dismissed as pure aggression nor fully challenged as a verifiable claim. By alternating between vulgarity and pseudo-analysis, the speaker protects himself. The laughter and smile disarm, the terminology legitimizes. What emerges is a narrative that can circulate freely without exposing itself to direct contestation. It resembles testimony, yet avoids accountability. In this sense, the interview does not simply attack; it reorganizes.

The past becomes its primary terrain.

Rather than confronting Joo Jaekyung in the present, the discourse moves backward (chapter 96), selecting fragments of childhood and reassembling them into a coherent but partial story. Absence is introduced where complexity once existed. (chapter 96) The mother disappears, reduced to a simple fact—“he had no mom”—as if this absence were self-explanatory, requiring no further inquiry. The father is not mentioned at all. With this omission, an entire dimension of the champion’s history is removed, along with the implications it carries. What remains is a simplified figure, detached from lineage, stripped of context, and therefore easier to redefine. This absence becomes all the more striking, when one recalls that Baek Junmin only began interacting with the main lead after the death of his father, himself a former boxer. (chapter 74) The omission cannot therefore be reduced to coincidence. It suggests either a lack of knowledge regarding this dimension of the past, or a deliberate decision to leave it unaddressed. In both cases, the effect is the same: a crucial element of the champion’s formation is excluded from the narrative, preventing any recognition of continuity, inheritance, or transmission.

The moment his existence becomes publicly acknowledged, the narrative constructed by Baek Junmin begins to collapse. What was presented as a story of weakness and isolation is recontextualized through lineage and inherited proximity to the world of fighting. Even if the father did not train him—and indeed opposed boxing—his presence reintroduces continuity where the interview imposed rupture. At the same time, at no moment, the Shotgun brought up the physical abuse from Joo Jaewoong, so Baek Junmin’s hypocrisy gets exposed (“It breaks my heart…”). Besides, this revelation risks extending beyond the individual case. It reopens the question of the structural links between combat sports and illicit networks (chapter 73), a connection that the narrative had carefully displaced. What appears as a personal account thus becomes unstable, exposing not only its own inconsistencies, but the broader system it sought to conceal.

But let’s return our attention to the Champion in Paper. The latter inserts himself into that past. (chapter 96) He becomes the one who “looked out for him,” the one who was followed, the one who observed, judged, and ultimately surpassed. The relationship is rewritten as hierarchical and unilateral. He was the hyung who knew everything better, and Joo Jaekyung was just stubborn. (chapter 96) What might have been coexistence becomes dependence. What might have been proximity becomes subordination. In doing so, Baek Junmin does not merely diminish the other; he constructs himself as the necessary reference point through which that past can be understood.

And yet, this reconstruction is unstable.

Because it encounters a form of resistance that does not depend on counter-speech, but on the persistence of verifiable traces. (chapter 71) The photograph of the young fighter with his coach introduces a contradiction that the interview cannot fully absorb. It does not merely suggest discipline or continuity; it attests to a process that precedes and exceeds the narrative imposed upon it. The trajectory it reveals is not incidental, nor dependent on a single relationship, but anchored in duration, training, and transmission.

This contradiction is reinforced by another element. On the night of his father’s death, Joo Jaekyung had already won his first boxing tournament (chapter 73). This detail is decisive. It establishes that his development was already underway, and that his formation cannot be reduced to the simplified account presented in the interview. It also repositions Hwang Byungchul. Far from being the negligible or ineffective figure implied indirectly by the discourse, he appears as part of a structure that enabled this early progression.

What emerges, then, is not simply an alternative narrative, but the presence of a witness. A successful coach and gym owner (chapter 71) , the tournament, the documented progression—these elements introduce points of verification that resist the logic of selective reconstruction. The past is not entirely available for reinterpretation; parts of it remain anchored in events, relations, and figures that can contradict the imposed version. On the other hand, the Champion in Paper has only his recollection as evidence which is based on the narration of others.

This is precisely what Baek Junmin fails to account for. His discourse is structured by comparison and hierarchy, focused on the figure of the main lead as an isolated reference point. In doing so, it overlooks the broader network of relations within which that figure was formed. The result is a narrative that appears coherent, but rests on an incomplete—and therefore unstable—foundation.

This is precisely what the interview seeks to neutralize. By reducing the past to a series of humiliating details—isolation, poverty, neglect, weakness—it transforms development into deficiency. The years of training disappear behind anecdote. Dedication is replaced by ridicule. The champion is no longer someone who became strong, but someone who was once weak. The temporal movement is inverted. Growth no longer leads forward despite his claim, (chapter 96); it is used to anchor the subject in a diminished origin that can be continuously recalled and reactivated.

In this sense, the strategy aligns with the earlier shift from suspension to disqualification. It is not enough to destabilize the present; the past must also be rewritten. Only then can the figure be fully redefined. And yet, this operation produces an unintended effect.

By insisting on hierarchy, by constantly positioning himself above, Baek Junmin reveals the very limitation that structures his discourse. He can only define himself in relation to another. He only knows one world: social darwinism, while Mingwa via Shin Okja and the landlord are promoting “mutual aid”. His identity depends on comparison (chapter 96), on opposition, on the maintenance of a vertical order in which he occupies the superior position. This is why the notion of “inferiority complex” becomes central. It is projected outward, attributed to the other (chapter 96), but it simultaneously exposes the logic that governs his own position. Without that hierarchy, his discourse loses its foundation.

This dependency explains why his recognition remains incomplete. Despite the visibility granted by the interview, despite the circulation of his name and statements, he does not acquire a stable identity as champion. He is present everywhere, yet never fully constituted. The system amplifies his voice, but does not anchor his image. He speaks, but does not replace. The absence noted earlier persists. His figure remains suspended, contingent on the very narrative he helps to produce.

This is where the notion of a Pyrrhic victory becomes relevant. (chapter 96)

The attempt to destroy the opponent’s image does not result in consolidation, but in exposure. By bringing the past into public discourse, by mobilizing language that exceeds his own register, by aligning himself so visibly with a broader narrative apparatus, Baek Junmin reveals the conditions that sustain him. The interview does not conceal the system; it makes it perceptible. The coordination between discourse, timing, and prior events—such as the vandalized poster (chapter 96) —suggests an operation that extends beyond the individual. What was meant to appear as personal testimony begins to resemble a structured intervention.

Even the proximity to cyberbullying operates within this ambiguity. (chapter 95) The content humiliates, distorts, and circulates widely, yet it remains carefully calibrated. It avoids direct falsification, relies on selective truth, and frames interpretation as opinion. This positioning allows it to evade legal accountability while maximizing its effect. The attack is real, but its form protects it from being easily named as such.

In the end, the interview does not establish Baek Junmin as the Giant.

It confirms his role within the system that produces the Giant. He acts, speaks, and provokes, but the coherence of the operation does not originate with him. It passes through him. And in doing so, it exposes both his intention and his limitation. He seeks recognition through destruction, but what he ultimately reveals is the structure that makes such destruction possible.

The Echo of Laughter: When Others Begin to See

The interview does not end with the one who speaks. (chapter 96) What is said circulates, settles, and reaches those who were never meant to be its primary audience. Its impact is not measured by its accuracy, but by the way it interferes with existing perceptions. It does not simply construct a narrative; it tests how that narrative will be received, absorbed, or resisted. In this sense, its true effect becomes visible only when it encounters those who carry fragments of the past it attempts to rewrite.

The Bad Coach and his Dump Gym

For Hwang Byungchul, this encounter produces a rupture. Until this moment, his position had been defined by distance and partial understanding. He had witnessed certain events, sensed irregularities, and yet never fully questioned the structure within which they occurred. His interpretation of the past remained localized, focused on individual decisions (chapter 74) rather than systemic conditions. Thus he accepted that his body as a fighter got so damaged. (chapter 71) And he did not have a physical therapist back then either. The interview disrupts this equilibrium. By erasing his role (chapter 96) —by reducing the champion’s formation to failure, neglect, or insignificance—it forces a confrontation the coach had previously avoided.

Baek Junmin’s words disturb that stability in another aspect: the champion’s mother. For Hwang Byungchul, her absence had long been integrated into a tragic but coherent explanation. She had left (chapter 72), yes, but she had reasons. The father was violent, the household unstable, and escape could therefore be understood as a form of necessity. In this interpretation, the mother’s departure remained painful, but intelligible. What he failed to ask, however, was the decisive question: if she left to save herself, why did she leave the child behind? Why was the boy not taken with her? For him, absence did not mean abandonment. He still had a positive vision of the mother: caring and selfless. (chapter 74) The interview brutalizes this unresolved contradiction by collapsing it into a simpler formula: (chapter 96) That statement is false in one sense, since Hwang Byungchul knew she existed, but it also exposes the existential truth he had failed to confront. The child may have had a mother in biography, yet he was lived and treated as if he had none. What Hwang Byungchul had accepted as abandonment with reasons now reappears as a far more troubling failure of protection.

The same pattern returns in his understanding of bullying. Hwang Byungchul had once witnessed mockery (chapter 72) and humiliation directed at the young fighter. But he interpreted it as an isolated incident, something that could be resolved by intervention, discipline, or the simple restoration of order. (chapter 72) In doing so, he mistook a visible moment for the whole of the problem. He overlooked the impact on the little boy’s soul. What Baek Junmin reveals—despite his malicious intentions—is that (chapter 96) this mockery was not occasional. It was structural. It became a gossip. The insults about smell, weakness, dependency, and social inferiority do not describe a single event; they evoke an entire environment in which the child was continuously reduced, laughed at, and pushed to the margins. The director of the gym had believed that stopping one episode meant ending the problem. The interview forces a more painful recognition: he had not grasped that ridicule was not an interruption in the boy’s life, but one of its formative conditions.

This is why I believe that the interview must have affected him so deeply. Sure, he might have felt insulted by such comments, (chapter 96) Yet, Baek Junmin’s statement compels the former coach to revisit the foundations of his own understanding. He had totally misjudged the mother, his image of her was influenced by his own projection and experience. Thus he had not grasped the champion’s suffering: the longing for his mother and her betrayal. The bullying he had witnessed, he had not truly measured. The ruthlessness he later attributed to the champion(chapter 71), as if it were an exceptional trait now begins to look like the product of a much longer history of humiliation, abandonment, and misrecognition.

In this sense, Baek Junmin’s version does not become powerful because it is true. (chapter 96) It becomes dangerous because it exploits gaps that were already there. Hwang Byungchul is not destabilized by a complete fabrication, but by a narrative that twists fragments of reality he himself had once simplified. The interview therefore produces a delayed crisis of interpretation. It reveals that what he took for explanation had often been only a way of stopping inquiry too soon.

What is at stake for him is not merely recognition, but responsibility. The narrative he hears does not simply contradict his experience; it exposes its limits. What he once perceived as isolated incidents now appears as part of a larger configuration he failed to grasp. The figure he believed he understood is re-presented in a way that both distorts and reveals. In this tension, a new possibility emerges: not the recovery of a stable truth, but the realization that his previous certainty was incomplete.

This delayed recognition extends even further. Until now, Hwang Byungchul had been confronted with a fact he could not fully explain: Joo Jaekyung never contacted him. (chapter 71) Not once. Despite the years of training, despite the shared history, despite the role he himself believed to have played (chapter 74), the champion had cut all contact without explanation. This absence had remained unresolved, almost suspended—something to be accepted, but not truly understood. Hence he became resentful.

The interview alters that. By reconstructing a childhood marked not by isolated hardship (chapter 96) but by continuous ridicule, it introduces a new interpretative frame. The gym, which Hwang Byungchul had perceived as a place of discipline and formation, reappears under a different light. It was also a space where the young fighter had been exposed, diminished, and observed by others without protection. But furthermore, the mockery existed outside that environment and Hwang Byungchul had no idea about it.

This realization produces a shift that is both subtle and decisive. The silence of Joo Jaekyung no longer appears as distance, indifference, or ingratitude. It becomes legible as avoidance. Not of the coach as an individual, but of everything he represents: a place, a period, a configuration of relationships in which humiliation and growth were inseparably intertwined.

In this sense, the absence of contact is no longer a mystery. It is a continuation. What the interview does, then, is not simply distort the past. It forces Hwang Byungchul to recognize his own shortcomings. The bond he believed to exist was real—but it was not the only one. Alongside discipline and effort, there had always been something else: exposure, vulnerability, and the gaze of others.

The Grandmother’s Hero

If the interview unsettles Hwang Byungchul by forcing him to reinterpret the past, its effect on Shin Okja can only follow a darker, more intimate path. It does not invite analytical distance; it collapses distance altogether.

The words about the absent mother resonate with a haunting familiarity. For Shin Okja, (chapter 96) is not a piece of news; it is a recognizable configuration of suffering. (chapter 65) The simplified narrative offered by Baek Junmin aligns too easily with her own history of hardship. But this immediacy has a cost. By recognizing the pain, she risks accepting the distorted framework through which it is presented.

The Collapse of the “Best Effort” Myth

This recognition forces a reassessment of her own narrative. For years, Shin Okja’s internal conviction was built on a single idea: she had done her best to raise Kim Dan (chapter 65), even if it was never enough. Her role was defined by sacrifice, by the necessity to protect and sustain the “child” she still perceives in him—someone to be fed, guided, and contained rather than allowed to stand fully on his own.

Baek Junmin’s account destabilizes this framework. (chapter 96) By presenting a version of Joo Jaekyung who grew up without stable protection—without consistent care—the interview challenges the assumption that such protection is the decisive condition for survival. If the celebrity was once weak, isolated, and exposed, yet became the strong and composed figure she now sees, then his development cannot be fully explained through the model she has relied on. One could say that to Shin Okja, the black wolf is a “Giant of Flesh and Bone”—someone whose strength is real—which makes her realize that her grandson, and her own history, have been built on “Paper.” (the pictures of Kim Dan’s childhood).

At the same time, this confrontation extends beyond Joo Jaekyung and returns to Shin Okja’s own past. For years, she had described Kim Dan as an orphan—a term that appears factual, but in reality simplifies a far more complex history. The photographs contradict this reduction. (chapter 94) They attest to the existence of parents, of a prior life, of relationships that were not entirely erased but quietly set aside.

In this sense, Shin Okja did not simply care for Kim Dan; she also reshaped the narrative of his childhood. By presenting him as an orphan, she created a version of the past that was more coherent, more manageable, and easier to endure. In other words, she rewrote the past out of guilt and “protection”. The ambiguity surrounding his parents—their absence, their responsibility, their place in his life—was not explored, but neutralized.

This alteration, however, is not without contradiction. While Shin Okja presents Kim Dan’s past as one of absence, the present remains marked by a persistent trace: debts. Unlike Joo Jaekyung, who endured poverty but was not bound by it, Kim Dan’s life is structured by an obligation he cannot escape. (chapter 7)

This aspect is notably absent from her own account. When she speaks of the past on the beach, she evokes hardship, sacrifice, and endurance, yet she avoids addressing the existence of this burden. (chapter 65) The debt is not mentioned; it is simply endured. In doing so, its cause is displaced, if not entirely obscured.

But debt is never neutral. It implies a prior history, a chain of decisions and responsibilities that cannot be reduced to absence. In this sense, it contradicts the narrative of orphanhood she has constructed. It suggests that the past was not erased, but transformed into a silent obligation carried into the present.

The interview reactivates this contradiction. (chapter 96) By reducing Joo Jaekyung’s childhood to a simplified narrative of poverty and abandonment, it mirrors the very mechanism through which Shin Okja has spoken about Kim Dan. Yet the presence of debt prevents such simplification from holding entirely. It anchors the past in the present, making it impossible to maintain a version of events in which nothing preceded her care.

Baek Junmin’s interview reactivates this suppressed dimension. By reducing Joo Jaekyung to a child “without a mother,” it reproduces the very mechanism Shin Okja herself had employed. The parallel is difficult to ignore. What appears as manipulation in one case reflects a similar simplification in the other.

Taking Strength for Granted

This realization forces Shin Okja to confront a dimension of Kim Dan’s past she had long underestimated. When he was hurt, her response had always been immediate and absolute: to reassure him, to remain by his side, to insist that her presence was enough. (chapter 57) It was not only a gesture of comfort; it was a conviction. It implied that the absence of others could be compensated by her own care.

But this belief now reveals its limits. Kim Dan’s suffering was not confined to the private sphere. It extended into the social space, where absence became stigma (chapter 57), and where being “different” invited mockery and exclusion. What Shin Okja had perceived as a problem of loneliness was also a problem of exposure and humiliation.

In this sense, her care did not eliminate the wound; it coexisted with it. She protected him from being alone, but not from being seen by others in a way that diminished him. The interview reactivates this overlooked dimension. By describing Joo Jaekyung as a child who was mocked and reduced, it forces her to recognize that Kim Dan may have endured something similar—even while she believed she had protected him. (chapter 57) And exactly like the director of the gym, what she imagined as a single incident, was not. It followed the main lead constantly.

This realization reveals the limits of her perspective. Shin Okja had taken Joo Jaekyung’s strength as something self-evident. (chapter 21) She perceived him as a finished figure—healthy, solid, and self-sufficient—without questioning the conditions that made such stability possible. Even when she turned toward him with warmth (chapter 94), her perception remained structured by Kim Dan. She acknowledged his place beside her grandson, but not the history that had formed him. She had never asked him any question in the end.

A dissonance emerges. If a child can grow up and become strong without the form of protection she considers essential, then the meaning of her own care becomes uncertain. (chapter 65) The question shifts: not whether she cared, but how that care has shaped the one who received it.

The contrast takes on the form of a mirror. Kim Dan continues to struggle with basic acts such as eating (chapter 94), withdrawing under pressure rather than sustaining himself. While Jaekyung’s strength appears to have been forged under conditions of absence, Kim Dan’s fragility seems to persist within the structure of her presence.

In this sense, the interview does not only reshape her perception of Joo Jaekyung. It fractures the image she had constructed of her own life. For years, she had organized her story around sacrifice. She had done her best, endured hardship, and carried responsibility for Kim Dan. This narrative gave coherence to her actions. But the existence of another child—equally abandoned, yet differently formed—introduces a contradiction she can no longer ignore.

It displays her own shortcomings as well.

Not as a lack of care, but as a limit in perception. She acted, protected, and endured, but without fully questioning the effects of her own form of care. In doing so, she may have replaced one form of absence with another form of dependency.

The Hesitation of the Heart

Shin Okja does not reject the narrative, but she can no longer fully accept her own. The interview generates a space of hesitation—a subtle but decisive shift in which the image she had constructed begins to destabilize. For the first time, the narrative does not pass through her unchanged.

The interview sought to fix Joo Jaekyung’s meaning as a failure. Instead, it unsettles the foundation of Shin Okja’s identity as a caregiver. By exposing the champion’s past vulnerability, Baek Junmin unintentionally reveals the limits of her own understanding. The laughter that accompanies the discourse continues to circulate (chapter 96), but for Shin Okja, it no longer confirms anything. It becomes a source of volability.

And within that uncertainty lies a consequence that has yet to unfold. The past she had simplified can no longer remain closed. What was once presented as settled now demands to be reconsidered. The interview does not simply alter her perception of Joo Jaekyung—it compels her to reopen the question she had avoided: the story of Kim Dan’s parents, and the truth she chose not to tell.

The Hamster, The Stone and The Giant

If the earlier parts exposed how the image is constructed, manipulated, and weaponized, the final movement begins where all structures fail: in the body. Kim Dan’s injured hand is not a minor detail. (chapter 96) It marks the collapse of his function. Up to this point, his position remained stable precisely because it was limited. He could stay at Joo Jaekyung’s side (chapter 96) without confronting what that presence truly meant, because he occupied a role. He was the physical therapist. His gestures, his proximity, his care—all of it could be justified, contained, and, above all, depersonalized.

The injury disrupts this equilibrium. Without his hand, he can no longer act. He can no longer treat, no longer intervene, no longer define himself through usefulness. The role disappears, and with it, the distance it maintained. What remains is no longer a function, but a presence. No longer a professional relation, but a personal one. At this point, concealment becomes impossible. Because what had remained unspoken now demands articulation. If he is no longer “needed” as a therapist, then why does he remain? And if he chooses to remain, on what grounds?

For the first time, Kim Dan cannot rely on necessity. He must decide.

The Two Triangles: A Structure That Must Be Chosen

When you look at my illustration, you will realize that I added a star on the physical therapist’s shirt. The addition of the star on the therapist’s uniform is more than a “badge of office”; it is a geometric prophecy. It represents the intertwining of two disparate lives—the red triangle of Jaekyung’s force and the blue triangle of Dan’s empathy. When these two triangles overlap, they create a structure (The Star) that is far more stable than the ‘Paper Giant’ of the MFC. This star is naturally a reference to the star of David. But at the same time, I wanted to avoid any reference to religion as such. The star of David is created by 2 triangles intertwined together. And the moment you accept that each main lead represents one triangle, you realize that both can become the star of David, once they become a team and a couple.

Until now, the connection between Joo Jaekyung and Kim Dan existed, but it remained indirect. It was sustained through intermediaries, through roles, through asymmetries that prevented true alignment. Joo Jaekyung’s red triangle was defined by force, hierarchy, and isolation. Kim Dan’s by care, dependency, and containment. The two structures intersected, but they did not yet stabilize into a shared configuration.

The injured hand alters this balance. (chapter 96)

It removes Kim Dan from the passive stability of his role and forces movement. He can no longer remain the one who adapts, who follows, who responds. He must now step into the point of intersection—the space where both triangles meet. And this space is not given. It must be chosen.

At this stage, Shin Okja’s position becomes decisive. (chapter 94) Throughout the narrative, she functioned as a center of gravity, bringing both structures into contact without resolving them. She connected, but she also maintained separation—protecting, guiding, and, at times, limiting.

Now, this role shifts.

By confronting her own shortcomings—by recognizing both the limits of her protection and the reality she had obscured—she no longer holds Kim Dan in place. Instead, she allows for movement. Not through direct intervention, but through the collapse of her previous certainty. She does not create the union. But she makes it possible.

David Against the Giant

Within this configuration, the opposition can now be clearly defined. The Giant is not Joo Jaekyung. It is not really Baek Junmin. It is the structure that produces images, controls narratives, and sustains itself through circulation—media, institutions, capital, operating without a single visible center. It is Goliath.

Not because it is singular, but because it is diffuse, difficult to locate, and nearly impossible to confront directly. Against it stands not a figure of strength, but a transformation of position. Kim Dan does not oppose the Giant through force. He has none. His injured hand marks precisely this limitation. He cannot act within the logic imposed by the system.,

And yet, this limitation redefines the confrontation. Because David does not prevail by matching strength. He prevails by refusing the conditions under which strength is measured. The ‘hamster’—Dan’s symbolic identity—is the stone that brings down Goliath. Not because it strikes a blow, but because it represents a pure relation (family and companionship) that the corporate system cannot monetize or understand. Goliath falls because he cannot compute the value of a love that requires no ‘function.'”This is where Joo Jaekyung becomes decisive. (chapter 88) The “hamster” is not an isolated symbol. It has been shaped in relation to Joo Jaekyung—through proximity, through tension, through a form of attention that is neither hierarchical nor purely functional. If Kim Dan embodies connection, Joo Jaekyung embodies determination and direction. (chapter 94) What emerges between them is not dependency, but a potential alignment. That’s the reason why I believe that contrary to that morning (chapter 96), Kim Dan might decide to follow Joo Jaekyung. (chapter 96) Is it a coincidence that his pajamas are black and white, the two colors of the yin and yang?

Kim Dan’s decision—to remain, to speak, to step forward without the protection of his role—is therefore not an individual gesture. It is the moment where both trajectories intersect. He does not act as a therapist. He does not act as someone who is “needed.” He acts without function. He becomes the hamster, and as such the companion and family. And this changes the terms entirely.

Because the system depends on roles: the fighter, the doctor, the champion, the underdog. These roles can be named, framed, circulated, and manipulated. They can be turned into headlines, into narratives, into images. But what cannot be easily captured is a relation that escapes these definitions.

And now, let me ask you this: what does Joo Jaekyung desire from Kim Dan in the end? To be looked at (chapter 96) and as such to be loved, something his mother never did. (chapter 73) Even with an injured hand, he can do this. As you can see, I am full of hope.

From Laughter to Meaning

At this point, the motif of laughter undergoes a decisive transformation. Until now, laughter functioned as a weapon. (chapter 96) It diminished, exposed, and rewrote. In Baek Junmin’s discourse, it accompanied the reconstruction of the past, turning memory into ridicule and experience into spectacle. What he did not know is that he was acting like Joo Jaewoong. (chapter 73) His words are punctuated by smirks, interruptions, and mockery. The childhood he evokes is not one of growth or development, but of humiliation, hierarchy, and control. (chapter 96)

What is striking, however, is what is absent. (chapter 96) There is no trace of joy, only resent. No trace of play. No trace of shared experience (chapter 96) that would give meaning to the past beyond domination. Everything is reduced to struggle, inferiority, and dependence. Childhood, in his account, is not a space of formation, but a field of comparison.

This absence is not insignificant. It reveals a fundamental limitation. As Aristotle suggests, Pleasure in the job puts perfection in the work. (chapter 88) Without it, action becomes mechanical, external, and ultimately unsustainable. What is done without pleasure cannot reach completion, because it remains detached from the subject who performs it. (chapter 95)

In this light, Baek Junmin’s narrative exposes its own failure. He speaks of training (chapter 96), of hierarchy, of superiority—but never of enjoyment. His relationship to fighting is entirely structured by comparison and domination. It is something to win, to prove, to impose—not something to inhabit. As a result, his position remains fundamentally unstable. He can occupy the role of champion, but he cannot embody it. He performs strength, but does not internalize it. His smile contrasts so much to the champion’s after his first victory. (chapter 73)

This is why his laughter remains empty. (chapter 96) It is directed outward, against the main lead and others, and depends entirely on their diminishment. It cannot sustain itself. It requires a target. In contrast, Kim Dan is associated with a different form of laughter. (chapter 27) The hamster—seemingly insignificant—represents companionship, warmth, and a form of joy that does not depend on hierarchy or recognition.

This laughter is not directed at someone. It is shared. And this distinction is decisive. Because it introduces a form of meaning that cannot be produced or controlled by the system. It cannot be staged, monetized, or weaponized. It exists outside the logic of visibility that governs the Giant. At this stage, the opposition is no longer between two fighters, but between two forms of value:

one that circulates, amplifies, and consumes
and one that connects, sustains, and transforms

The End of the Circle, The Beginning of Another

Episode 96 marks the closure of a cycle. (chapter 96) The athlete voiced his distress, exhaustion and loneliness. The mechanisms that structured the previous movement—manipulation, narrative control, role-based identity—reach their limit. The image is destabilized, the past is rewritten, the system becomes visible.

But this closure does not conclude the movement. It opens a threshold. (chapter 96)

What follows does not extend what came before. It interrupts it. And this new cycle does not begin with a fight. It begins with a decision. The question is no longer external. It cannot be delegated, postponed, or reframed. Should he follow the champion’s words—or respond to what those words conceal? (chapter 96) “I want you to stay!” To obey the word is to remain a servant; to hear the silence behind the word is to become a partner.

Because Joo Jaekyung’s command to leave is not neutral. (chapter 96) It’s the consequence of pain, it belongs to the logic of rupture, of protection through distance, of a structure that resolves tension by separation. To obey would be to repeat the past—to accept absence as the only possible form of resolution. To follow the athlete, however, would be something else entirely. Not obedience to his words, but an understanding of what they conceal. Not submission, but a deliberate alignment: an act of commitment. A decision to remain—not because he is told to, but because he chooses to.

The Giant remains. The structure persists. But for the first time, it is no longer the only force shaping the outcome. Because David has entered the field. Not as a figure of opposition. But as a position that refuses to be absorbed.

PS: My prediction is that the doctor goes to the bathroom, where the athlete is! A new version of this scene, but here, the roles would be switched. (chapter 30) Let’s not forget that the champion’s “jinx” is linked to the smell, something which Baek Junmin revealed earlier. (chapter 96)

Feel free to comment. If you have any suggestion for topics or Manhwa, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Twitter-Tumblr 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.

Jinx: Tactile ✊ Dissonance: When Touch Falls Out of Sync

SMACK

It begins with a gesture that is refused. (chapter 96) A hand reaches out to continue what is not yet finished. Kim Dan tries to stop the champion, to maintain the contact, to complete the treatment. (chapter 96) The response is immediate: Joo Jaekyung pushes the hand away.

This gesture is brief, but not accidental. What is interrupted here is not simply a movement, but a relation. A touch meant to relieve tension does not create connection. It remains limited to the body, without opening any space in which the burden itself might be shared. Between intention and response, between movement and meaning, something falls out of sync. But let me ask you this. When does such a misalignment begin? Is it in the gesture itself, or long before it?

When I first composed the illustration Tactile Dissonance , episode 96 had not yet been released. That’s why the gesture in the picture is not included. Yet I had already sensed the coming rupture. I was not working from an abstract impression alone. Two specific scenes were already guiding my thinking: the one on the beach, where Kim Dan and Joo Jaekyung share a quieter, more immediate form of proximity (chapter 95), and the one in the office, where Park Namwook places his hand on the champion’s shoulder and directs him once more toward performance. (chapter 95) Both scenes belonged to episode 95, and together they already announced a growing dissonance.

Two spaces seemed to coexist without fully meeting. One was structured, directive, and oriented toward control and performance. (chapter 95) The other was quieter, grounded in proximity, shared time, and a more fragile sense of presence. (chapter 95) They did not openly clash, but they did not align either.

Seen in this light, chapter 96 does not introduce the disturbance. It makes visible what episode 95 had already begun to prepare. Now that episode 96 has been released, many readers perceive something familiar. They speak of a return, of repetition, of the “old” Joo Jaekyung resurfacing. Why? Because they adopt Kim Dan’s perspective. (chapter 96) From where he stands, the words and gesture appear as rejection, and the scene seems to confirm an old pattern. (chapter 96)

But is it really a return? What appears to be continuity may in fact be something else coming into view. Not a simple regression, but the surfacing of a misalignment that had already begun to emerge between those two earlier scenes. What chapter 96 reveals is not merely anger, but a growing lack of synchrony between different meanings of touch.

This disturbance does not remain confined to a single gesture. Once perceived, it begins to reappear elsewhere (chapter 95): in what is missing, in what is delayed, in what no longer coincides. A presence that is no longer acknowledged. (chapter 95) A response that arrives too late. (chapter 95) A touch that relieves tension, but does not invite the burden to be shared. (chapter 96) A hand placed on a shoulder as if the body itself could once again be used to solve what language, trust, or recognition have failed to address. (chapter 95) Nothing overtly breaks, and yet continuity begins to loosen.

Where, then, does this disturbance become perceptible? In absence? In timing? In the way bodies approach (chapter 95) — or fail to?

To follow this movement, we need to look more closely at what does not immediately impose itself: the gaps between exchanges, the intervals between actions, the subtle shifts that gradually alter how each scene holds together.

Absence Before Intrusion

The disturbance does not begin with noise. It begins with something much more unsettling: silence and absence.

When we examine the first scene in the office from episode 95, Joo Jaekyung is not surrounded. (chapter 95) There is no entourage (chapter 36), no managers, no advisors (chapter 47), no representatives from the entertainment agency (chapter 81). And yet, we know this moment matters: the match is approaching, the stakes are high, the narrative around him is already circulating. He only has 10 days left.

So we have to pause. Where is everyone? (chapter 95) In earlier moments, this kind of preparation was never solitary. There were always voices, intermediaries, people whose role was precisely to frame, manage, and anticipate what was coming. But here, none of them are present. Not even Yosep. And the latter was already absent in the meeting before the match in Paris.

At the gym, he is nowhere to be seen that day. (chapter 95) It becomes even more obvious, if you compare the sparring between the champion and Oh Daehyun (chapter 95) and the one in episode 1, where the other partner got injured. (chapter 1) He rushed to the injured fighter. But in episode 95, he is invisible. No explanation, no transition. His absence is not emphasized—and yet, it echoes. Especially if we recall episode 46, where he was on the verge of being sent out (chapter 46), tasked with gathering information, while Park Namwook positioned himself as the director of Team Black: (chapter 46) This detail is not incidental. It establishes a division of roles that is directly connected to a larger structure: the network linking gyms and the MFC. This network is not hypothetical; it is explicitly confirmed in episode 49 (chapter 49), when Choi Gilseok asks Park Namwook why he was absent from the Seoul managers’ meeting. In other words, coordination between gyms and directors is not occasional—it is organized, expected, and institutionalized.

If we return to episode 95 with this in mind, Yosep’s absence can no longer be read as a simple gap in the scene. It acquires a precise function. If Park Namwook is physically present at the gym (chapter 95), yet we know that meetings and exchanges between directors must still be taking place, then the question becomes unavoidable: who represents Team Black within that network at that moment?

The most coherent answer is that Yosep has now been tasked with that role. Let’s not forget that he is the one who reported the incident with the switched spray to MFC and the police. (chapter 52) His absence in episode 95 is therefore not passive. It indicates that he is operating elsewhere, in contact with the MFC and other gyms, possibly relaying information or participating in discussions that remain off-screen.

And if that is the case, then another implication follows. Yosep’s path cannot remain confined to Team Black. It necessarily extends into the same network of directors introduced in episode 49. Once this structure is established, his absence in episode 95 no longer appears accidental, but functional. He is positioned within a space where exchanges between gyms take place, where information circulates, and where decisions are coordinated beyond the immediate scene.

This has a direct consequence. (chapter 95) If Yosep is operating within that network, then his trajectory is no longer limited to internal interactions. It must, at some point, intersect with other directors—among them Choi Gilseok, whose role as the head of King of MMA places him at the center of that inter-gym structure.

And this is where episode 96 introduces a revealing shift. (chapter 96) Yosep is the one who calls Joo Jaekyung. He is already informed. More importantly, he is the one who presents the video—the interview in which Baek Junmin openly frames the confrontation.

This is not entirely new. Yosep had already acted as an intermediary in episode 52, when he reported the switched spray incident to the MFC and the police. (chapter 52) At that moment, his role was to transmit information upward within the system, in an attempt to clarify the situation and prevent it from being buried.

But in episode 96, this function takes a different form. Yosep no longer operates within a controlled, institutional framework. (chapter 96) Instead, he becomes the relay of a narrative that is already circulating publicly. What he transmits is no longer a report meant to establish truth, but a mediated version of events—one that exposes Joo Jaekyung to an external gaze shaped by others. (chapter 96) And this is precisely why the final panel echoes the earlier scene in the office. (chapter 95) In both cases, Joo Jaekyung is positioned in front of a surface that reflects him—not literally, but symbolically. In episode 95, the television interrupts the voice of strategy and replaces it with an image that speaks without dialogue. In episode 96, that image is no longer neutral. It carries a judgment, a narrative imposed from the outside.

The athlete is no longer simply receiving information. He is being confronted with a version of himself constructed by others. What appears on the screen, and what circulates among the surrounding voices, functions as a distorted reflection—one that does not emerge from within, but is imposed upon him.

This is where the shift becomes perceptible. (chapter 96) The space remains silent in structure (chapter 96), but the silence is now filled with a gaze. Not an exchange, not a dialogue, but an exposure. The crowd does not speak to him; it looks at him. What changes at this point is not only how he is seen, but how this gaze begins to affect him. The image imposed from the outside does not remain external. He is forced to just consume the image. It begins to function as a reflection—one that reduces him to weakness, to a past version of himself framed as inadequate.

This is where the psychological dimension emerges. The discomfort is no longer limited to exposure. It becomes internal. What he faces is not only the judgment of others, but the possibility that this image might coincide with something he already struggles to reject.

The fear, then, is not simply being seen. It is recognizing himself in what is being shown. What appears on the screen does not just distort him—it confronts him with a version of himself he cannot fully distance himself from. It is the moment when the external and internal critic shake hands.

Presence As A Barrier

The absence identified in episode 95 does not result in an empty space. (chapter 95) On the contrary, it reveals a configuration in which presence itself becomes insufficient—and, at times, obstructive.

Yosep’s displacement into the network has already altered the structure of mediation. His absence from the room signals that the circulation of information now takes place elsewhere, beyond the immediate scene. What remains, however, is not a neutral void. Park Namwook is present. (chapter 95) From his position, one might assume that he is watching Joo Jaekyung’s back—that his presence compensates for the absence of others.

But this interpretation depends on taking the scene at face value. And this is precisely where caution is required.

Because the sequence encourages a specific reading: we see the athlete hearing the comment from the moderator (chapter 95) while seated in front of the television (chapter 95), and only afterwards do we hear the manager’s voice (chapter 95) The arrangement leads us to infer that Joo Jaekyung must have switched on the TV himself in order to watch the program.

But is that what the scene actually shows?

A closer reading—one that does not rely on appearance alone—reveals a different configuration. The television is already on before any identifiable action is clearly attributed to him. (chapter 95) Then at the end of the scene, (chapter 95) the author reveals a table full of notes and a pen next to his left hand, while the champion is holding a sheet of paper. This image exposes that Joo Jaekyung was actually engaged in another activity: he was writing notes for his next fight. This implies that he was not oriented toward the act of watching, but toward a process of concentration. So why would he watch a show, when he is developing his game?

This is where Park Namwook’s position becomes crucial. (chapter 95) He is not seated beside the athlete. He does not share the table. He does not enter the space where the notes were being written and where strategy is being worked out. Instead, he stands behind him, physically present yet spatially removed from the process unfolding at the table. The distance matters. If he were truly participating in preparation, he would be positioned next to him, not outside that shared space.

The remote control matters just as much. (chapter 95) The hand with the remote control appears before the manager himself, a sign that the item was not placed on the table. It is in Park Namwook’s hand, not on the table, not by Joo Jaekyung’s notes, and not within the athlete’s immediate workspace. This detail does not prove with certainty that the manager switched the television on. But it does establish something important: control over the device is associated with him, not with the athlete seated at the table.

And there is another clue. In the key panels, Joo Jaekyung is depicted without visible eyes.. (chapter 95) In both panels, his eyes are obscured. (chapter 95) This is not a minor stylistic choice. In other moments (chapter 47), his gaze is sharply defined and functions as a marker of attention (chapter 36), recognition, or confrontation. Here, that anchor disappears. The subject is present, but not visually positioned as the origin of perception.

This is where the distinction between appearance and construction becomes decisive. From the perspective of appearance, he is watching. From the perspective of construction, he is being placed in front of an image, while the scene quietly encourages the audience to attribute that choice to him. (chapter 95)

Park Namwook’s words (chapter 95) sound protective, but they also reinforce the misleading impression that the athlete had chosen to watch in the first place. The instruction redirects attention toward Joo Jaekyung’s reaction and away from the more troubling question: who switched the television on?

That question cannot be dismissed, because the staging keeps it alive. The athlete was actually writing, before the manager arrived. The latter stands apart. The remote is in the manager’s hand. The broadcast is already running. Taken together, these details do not support a simple reading of self-exposure. They point instead toward a scene in which responsibility is subtly displaced.

In that sense, Park Namwook’s presence does not function as genuine protection. It becomes a barrier. He is close enough to shape the environment, yet too far from the table to participate in strategy. He intervenes, but only after the intrusion has already begun. And by framing the moment as if Joo Jaekyung were the one who chose to watch, he helps conceal the very conditions that made the exposure possible.

What appears, then, is not a straightforward scene of concern, but a more troubling configuration: a manager who is present, who holds the means of control, who stands behind the athlete rather than beside him, and whose intervention arrives too late while subtly shifting the burden of agency onto the one already exposed. In other words, it is not protection, but misdirection.

If the intrusion does not originate from Joo Jaekyung, then the question inevitably shifts: who benefits from this configuration—and why does it occur at this moment?

The answer may lie in a gradual shift that has already been unfolding in the background. (chapter 87) (chapter 89)

Park Namwook’s position is no longer what it once was.

Earlier, he functioned as a central figure of coordination—someone who structured preparation, mediated between systems, and directed the athlete’s trajectory within the network. But in episode 95, that role appears altered. He is present, yet no longer seated at the table where strategy is being constructed. The notes belong to Joo Jaekyung alone. The space of planning has become solitary.

This is not a minor detail. It signals a displacement. The manager is no longer actively shaping the game plan. He is no longer the one organizing knowledge, anticipating the opponent, or guiding the process. Instead, he stands aside—close, but not integrated.

Within this context, his interventions take on a different meaning.

His suggestion (chapter 95) appears, at first, as a return to fundamentals—a call to discipline, to physical preparation. But the scene contradicts this interpretation. (chapter 95) He is not training with the champion. He just stands by the side and yells some advice. The statement functions less as an instruction than as a repositioning.

A way to reassert relevance. (chapter 95) When Namwook can no longer contribute to the strategy (the mind), he retreats to the only place he has power: the body. He wants Jaekyung to be a machine again because you can “manage” a machine or tame a “beast”, but you have to “respect” a strategist. The same applies to the television sequence. If control over the device is indeed in his hands, then the intrusion is not random. It becomes part of a configuration in which he remains the one who can still act—even if he no longer defines the strategy itself.

This does not necessarily imply deliberate malice. But it does suggest a form of compensation. As his role within the system weakens, his mode of intervention shifts. He no longer leads the process (chapter 13); he intervenes at its margins. He does not construct the framework; he reacts within it. And in doing so, he creates situations in which his presence becomes necessary again —whether by interrupting, redirecting, or framing what is happening.

Within this context, even the exposure to the broadcast can be read differently. It may function as a trigger, (chapter 95) an attempt to provoke a reaction, to reignite aggression, to restore a version of Joo Jaekyung defined by instinct rather than reflection. This interpretation gains weight when we consider the recent disruption of routine. Because of Kim Dan (chapter 88) and Shin Okja (chapter 94), the champion’s schedule has already shifted: training has been interrupted, attention divided, priorities altered.

From this perspective, the intrusion is not only a breach—it is also an attempt to recalibrate. This is why the contradiction persists. He appears protective, yet the conditions of exposure remain unresolved.
He speaks of training, yet does not occupy the space where training is structured. What emerges is not a stable role, but a transitional one—marked by loss of authority and attempts to compensate for it. And this becomes even more obvious during the conversation in the office.

The Conductors of Dissonance

What emerges across episodes 95 and 96 is not a series of isolated misjudgments, but a structural shift in how mediation operates around the athlete. Both Yosep and Park Namwook remain present as intermediaries, yet their function has fundamentally altered: they no longer regulate the flow of external information (chapter 37) —they allow it to pass through unchecked. (chapter 96)

In high-level competition, this flow is never left unmanaged. Athletes are typically shielded from media exposure in the critical period before a match to prevent distraction conflict. As noted in contemporary sports psychology, unmediated scrutiny triggers cognitive overload and shifts an athlete’s identity from performer to victim. (for more read https://www.drpaulmccarthy.com/post/how-to-master-mental-preparation-in-sport-a-pro-athlete-s-secret-guide) This “blackout” is a fundamental principle of performance; external narratives impose an image from the outside, forcing the athlete to divide attention between performance and representation.

In Joo Jaekyung’s environment, the opposite occurs. (chapter 96) The boundary between preparation and exposure collapses as the interview is introduced directly into his workspace. (chapter 96) The consequences are immediate. Instead of focusing on process —evident in the strategic notes he is writing (chapter 95) —he is drawn into what cannot be controlled: public judgment and the reconstruction of his past as weakness.

This exposure disrupts the vital transition from “life” to “sport,” from the social self to the performing body. He is not allowed to “park” the external world; he is tethered to it. The image on the screen follows him into the space where focus should be consolidated.

From Buffers to Conduits

Management is not only about training the body; it is about structuring the conditions under which performance becomes possible—controlling timing and ensuring that what reaches the athlete can be processed without destabilization. Here, the figures who should operate as buffers instead act as conduits. They do not absorb pressure; they transmit it. This shift becomes even more visible in the episode of the destroyed poster. (chapter 96)

At first glance, the sequence appears straightforward: Park Namwook reacts with surprise (chapter 96), but he can clear grasp the situation: an act of vandalism. Then he questions the identity of the perpetrator (chapter 96), and turns suspicion toward the fighters present. (chapter 96) The scene frames him as someone discovering the vandalism alongside the others.

But the sequence does not hold under closer examination. (chapter 96) Yosep is already inside the gym before the others arrive. He opens the door from the inside. This detail matters. (chapter 96) It establishes that information about the incident could have circulated before Park Namwook’s visible reaction. The coach could have called the owner of Team Black. And yet, no such prior knowledge is acknowledged. Because of the interview, no one questions his previous behavior and whereabouts.

At the same time, the manager’s response contains a contradiction. (chapter 96) He expresses confusion, asks who could have done this—yet moments later, he states that the surveillance system had “chosen now of all times to break down.” This is not a neutral remark. It implies prior awareness of the system’s failure—knowledge that precedes the supposed moment of discovery.

The scene, therefore, operates on two levels.

On the surface, it presents ignorance. Structurally, it suggests awareness. So is it a coincidence that he has a drop of sweat on his face (chapter 96), when he reveals that the CCTV was not working?

This gap mirrors the earlier television sequence. In both cases, the framing directs attention toward immediate reaction—surprise, concern, intervention—while obscuring the conditions that made the situation possible. The question is not only what is seen, but what is withheld. Besides, observe that the fighter’s reply “We just got there” (chapter 96) seems to imply that it was not the case for the manager, which would explain why he knew about the broken CCTV.

Resistance and Distortion

This failure can be understood more precisely if we consider mediation as a system of circulation. Information, pressure, and expectation move continuously through the athlete’s environment. Management functions as a regulator of this flow—maintaining balance and preventing overload.

What we observe instead is the introduction of resistance. Resistance does not stop the flow; it transforms it. The information still reaches Joo Jaekyung—but no longer in a form that can be integrated. It arrives as pressure, as judgment, as an external gaze that destabilizes rather than supports.

Yosep relays the interview. Park Namwook allows—or in the best case fails to prevent—the broadcast. Both don’t report the intrusion of external events into the training space on time. In all these cases, they do not absorb or transform pressure before it reaches the athlete. They transmit it in a form that intensifies its impact. Their interactions stand in opposition to his relationship with Kim Dan which brought sparks in his life.

Energy is not removed from the system—it is converted to heat. (chapter 96) This transformation is not abstract. It is rendered directly in the body of the athlete. His breathing becomes labored, his skin flushed, his eyes reddened—as if the system itself were overheating. The excess cannot circulate; it accumulates.

What could have been directed toward performance becomes agitation. In this sense, the athlete is no longer simply exposed to pressure—he becomes its site of conversion. The system does not regulate energy; it displaces it, forcing the body to absorb what should have been filtered. Their role as managers does not disappear—it degrades. They continue to mediate, but only as points of resistance within the circuit, distorting the very flow they are meant to regulate.

And once this distortion is introduced, its effects are immediate: The athlete is not simply informed—he is destabilized. Even after his outburst at the gym, Joo Jaekyung does not collapse into uncontrolled reaction. When confronted with Kim Dan’s words and actions (chapter 96), he does not raise his voice. (chapter 96) He articulates his thoughts (chapter 96), maintains composure, and—most importantly— (chapter 96) attends to the other’s response before leaving. (chapter 96) This detail matters.

It reveals that the disturbance does not entirely override his capacity for regulation. The system overheats, but he does not fully give in to that state. Instead, he attempts to contain it. That’s why we can not say that the champion is like before. He has changed a lot, even much more than the physical therapist.

The imbalance, therefore, becomes more apparent. The failure does not lie in an absence of control within the athlete, but in the conditions imposed upon him. What should have been regulated externally is forced inward. He is left to process, absorb, and manage pressures that were never filtered.

In this sense, his composure is not evidence of stability—it is evidence of compensation.

The Architecture of Friction

If the first scene in episode 95 is structured by absence and intrusion, the second office scene introduces a different configuration: enclosure.

The glass door is closed. (chapter 95) At first glance, its transparency suggests continuity—the inside and the outside remain visually connected. And yet, the author frames the door in a way that emphasizes secrecy, separation rather than openness. The image functions less as a window than as a boundary.

This becomes clearer when we contrast two perspectives. (chapter 95) From within the office, the gym is reduced to indistinct chatter. Voices are present, but blurred, stripped of clarity and meaning. What was previously intrusive—the gazes, the noise, the surrounding activity—is now filtered, contained, pushed into the background.

But from the outside, the configuration appears entirely different. Through the glass, Joo Jaekyung should be visible. The space is not fully sealed; it remains exposed to observation. The boundary does not operate symmetrically. This asymmetry is crucial.

The office isolates him from participation, but not from visibility. He is removed from interaction, yet remains within sight. The result is not protection, but a controlled form of exposure—one in which the outside is muted for him, while he himself remains visible to the outside, but not accessible. (chapter 95) In this sense, the door does not simply separate two spaces. It reorganizes their relationship.

What disappears is not the presence of others, but the possibility of exchange. And yet, the office introduces a second layer of distortion—one that concerns not only interaction, but the staging of authority. (chapter 95) We are not allowed to see inside the office through the glass door. (chapter 95) The frame isolates the sign: Director’s Office. Function is foregrounded, identity withheld. The question of who truly occupies that role remains suspended.

Inside, the spatial arrangement resolves this ambiguity—without fully clarifying it. (chapter 95) The couch is positioned in front of the desk, not behind it. Park Namwook sits on that couch, facing Joo Jaekyung. He does not occupy the desk itself—the formal seat of authority remains physically unclaimed. And yet, the alignment of the space creates a different effect.

Because the couch is not neutral. It is placed directly within the axis of the desk. Sitting there, Park Namwook is not behind authority, but projected through it. The desk stands behind him like a backdrop, a silent structure that frames his position and lends it weight. This configuration produces a subtle inversion.

He does not sit at the desk— but the desk sits behind him. And that is enough to transform perception. From this position, he speaks as if the authority associated with the desk extended forward into the space he occupies. His words (chapter 95) —evaluations, warnings, directives—are no longer those of a participant within a shared process. (chapter 95) They take on the tone of someone who assesses from above, even though his position does not formally grant him that role.

At the same time, the visual field reinforces this ambiguity. (chapter 95) The diplomas and titles—belonging to the gym, to Team Black, to the fighter’s achievements—are aligned within the same spatial frame. They are not his, and yet they appear within his field of authority.

The result is not explicit appropriation, but positional absorption. He does not claim ownership. He occupies the frame in which ownership is displayed. This is what destabilizes the interaction. Because Joo Jaekyung, seated opposite him, is no longer addressed as a collaborator within preparation. He is positioned as the one being evaluated—measured against standards that are invoked from a place that is only partially legitimate.

Authority, here, does not reside in the desk itself. It emerges from the alignment between space, position, and speech. Under this new light, it becomes comprehensible why Park Namwook was surprised, when the sportsman selected the new physical therapist himself. (chapter 54) He imagined that the celebrity would entrust him the selection. To conclude, Park Namwook’s seat is not random. He represents a hindrance to the fighter’s emancipation, becoming the director of a gym.

Speech, Gaze, and the Burden Shift

Within this enclosed space, the manager’s discourse does not merely fill the silence—it structures it. His speech follows a consistent pattern (chapter 95), one that does not distinguish between statements and questions in the way one might expect. At first glance, he appears to ask. (chapter 95) (chapter 95)

But these questions do not function as openings. They do not create space for an answer, nor do they suspend judgment. On the contrary, they are immediately followed—sometimes within the same sequence—by conclusions that override any possible response:

Besides, when he observes (chapter 95), readers can detect a pattern emerging.

Each question anticipates its own answer. Each one narrows the field of meaning before the athlete can speak. There is no pause, no waiting, no negotiation. The form of dialogue is present, but its function is absent. Hence it turns more into a monologue, where the manager actually reveals his own desires and dreams. He wants to be remembered as the one behind the star’s success.

The sequence is revealing. The question does not lead to understanding; it leads directly to judgment. It serves as a transition, not toward exchange, but toward interpretation. What could have remained open is immediately closed. In this sense, the distinction between question and statement collapses. Both operate within the same structure: they define rather than explore, they impose rather than receive.

The misperception becomes even more striking when we consider the direction of Joo Jaekyung’s gaze. (chapter 95) It is not directed downward, as the phrase “rock bottom” would suggest. It shifts sideways, through the glass door, toward the outside. His attention is not absent, but displaced. He is focused elsewhere: he is observing Kim Dan interacting with the other members. Contrary to the past, he is no longer reacting violently. The jealousy has vanished from his gaze. Park Namwook misrecognizes this movement. He translates lateral orientation into vertical collapse, converting a gaze toward the outside into evidence of inner deficiency. What exceeds his framework is not explored; it is redefined.

This misrecognition is not incidental. It reveals the limits of the system through which he perceives the athlete. The gaze toward the outside signals precisely what had already been established: the disruption of the transition between life and sport. The external world has not been left behind. It persists, intrudes, and continues to shape the athlete’s state. He is not allowed to become a human it; he has to remain in the sport world.

But within Park Namwook’s framework, such a condition cannot be acknowledged. For him, there is no meaningful space outside performance. (chapter 95) There is no transition to negotiate, no boundary to maintain. There is only the fight. What appears, from this perspective, as distraction is therefore reinterpreted as failure. What is, in fact, a tension between two spheres is reduced to a flaw within one.

This reduction structures everything that follows. (chapter 95) If he loses the title, he will be reduced to nothing. What is striking is not only what is said, but what is systematically excluded. The recent intrusion—the broadcast, the circulating narratives, the external gaze—is never acknowledged as a possible cause. Its impact on the athlete’s mental state is not considered. Instead, the problem is located entirely within Joo Jaekyung himself. The disturbance originates outside, yet the responsibility is reassigned inside.

By framing the issue as a matter of “focus” or “headspace,” Park Namwook transforms a complex configuration into an individual deficit. The athlete is no longer someone reacting to pressure; he becomes someone failing to meet a standard.

This logic extends into action. When Joo Jaekyung is struck during training (chapter 95), the same structure reappears. There is no attempt to understand why the mistake occurred, no effort to connect it to distraction, fatigue, or accumulated pressure. Instead, the moment is isolated: “How could you let that punch land?” The error is treated as self-contained, detached from the conditions that might explain it. He shows no sign of empathy in the end.

Speech, here, does not investigate. It attributes. And it is at this point that speech, gaze, and gesture converge.

When Park Namwook places his hand on Joo Jaekyung’s shoulder (chapter 95), the contact appears supportive. It suggests reassurance, proximity, perhaps even solidarity. Yet within this configuration, the gesture performs a different function. It does not distribute the burden; it fixes it. The shoulder—site of weight and endurance—becomes the point at which responsibility is anchored. What has already been established through language is now reinforced through touch: everything depends on the athlete. At the same time, this gesture negates the existence of the shoulder injury and surgery.

The rhetoric intensifies this compression. The match is framed in absolute terms, almost as a matter of life and death. Alternatives disappear. Nuance disappears. What remains is a binary: perform or fail. (chapter 95) Within such a framework, there is no space left for external influence, emotional disturbance, or personal life. These dimensions are not contested; they are excluded in advance.

This narrowing of perception is also visible in the gaze. In one panel, Park Namwook’s eyes are fully rendered—sharp, focused, unequivocal. (chapter 95) This clarity signals a mode of perception that has already appeared elsewhere. When he looks at the main lead and calls him “fresh meat” (chapter 74), the same logic is at work. The individual is not encountered as a subject, but classified as a function, reduced to a body that can be evaluated and positioned.

The same reduction governs his reaction to the vandalized poster (chapter 96). His anger is immediate, but its object is telling. He does not interpret the act as hostility or as a symbolic attack directed at Joo Jaekyung. Instead, he speaks of damage, of responsibility, of compensation. The act is translated into material loss. What matters is not what it signifies, but what it costs. At the same time, he imagines that this is the work of a single person! But the broken CCTV (chapter 96) implies that different people were working together.

Meaning disappears. Across these moments, a coherent framework emerges. The fighter is treated as a body, the title as an objective, the image as an asset. Everything is brought back to function and value. Within such a system, there is no place for what cannot be measured or controlled. This is why no question can remain open, why no answer can be explored. To do so would require acknowledging that something lies beyond performance—that the athlete’s state might be shaped by forces that cannot be immediately quantified.

Speech and gaze align. They produce the same effect: a world in which only performance is visible, and everything that exceeds it is excluded. The consequence is a complete displacement of responsibility. What originates from the outside—the pressure, the exposure, the intrusion—is redefined as coming from within. The athlete becomes both the site and the cause of the problem.

And this has a direct impact on his relationships. If everything is reduced to performance, then anything that does not serve that function becomes secondary, if not obstructive. There is no conceptual space for Kim Dan within this framework. (chapter 95) Between the fighter and the title, no third position can be sustained. The growing distance between them is not arbitrary; it is structured. As the burden becomes internalized, it can no longer be shared. And now, you comprehend why later in front of the huge window, Joo Jaekyung chose to listen to his “hyung”. (chapter 95)

What appears as rejection is, in fact, the effect of a system in which there is no room for anything that cannot be reduced to function. The disturbance becomes perceptible not only in absence or timing, but in the way bodies are no longer allowed to coexist within the same space. That’s why the physical therapist was separated from his mate by the glass door.

And this is why the rupture (chapter 96) that follows does not emerge suddenly. It is already inscribed within this configuration—within a logic that isolates, reduces, and ultimately separates.

Static Presence

If the office reveals a system in which speech imposes and reduces, the scene on the beach appears, at first glance, to offer its opposite. (chapter 95) The spatial configuration changes immediately. There is no barrier, no desk, no imposed hierarchy. (chapter 95) Joo Jaekyung and Kim Dan sit side by side, aligned within the same horizontal plane. The asymmetry that structured the office—front versus opposite, speaker versus evaluated—seems to dissolve. The scene suggests proximity, even equality.

And yet, this alignment remains incomplete. Joo Jaekyung makes a promise first. His words introduce a form of commitment that exceeds the logic of performance: (chapter 95) The statement appears unconditional. It gestures toward continuity beyond the fight, beyond the system that had previously defined him. It is not framed as strategy, nor as obligation, but as presence.

But this movement does not return to him. (chapter 95) The promise is unilateral. There is no reciprocal formulation, no mirrored commitment, no re-articulation of the bond from the other side. What is offered outward is not taken up and extended; it remains suspended.

The image makes this asymmetry visible. (chapter 95) In Kim Dan’s gaze, Joo Jaekyung is not reflected. What appears instead is the lighthouse in the distance. At first glance, this suggests a displacement: the athlete’s presence does not fully register within his field of vision.

But this detail carries a second implication, if you compare it to the athlete’s night, where he felt relieved that Kim Dan was alive: (chapter 69) This panel implied that Kim Dan had become his whole world. The comparison exposes that the athlete is still not in the center of his life yet. The lighthouse is not only an external point of orientation. (chapter 95) It also reflects a position that Kim Dan begins to assume. Stable, distant, constant—it does not move toward the other; it remains where it is, offering direction without entering the movement itself.

In this sense, the gaze does not simply turn away from Joo Jaekyung. It aligns with a role. Kim Dan does not step into the relational space opened by the promise. He situates himself beside it, as a fixed point rather than as a participant. What Joo Jaekyung offers is presence—“I’ll always be in your corner.” What Kim Dan adopts is function: to remain steady, to support, to endure.

This is why the promise remains unilateral. It is not rejected. It is not contradicted. But it is not mirrored either. It is received from a distance, translated into a different register. The response (chapter 95) acknowledges the gesture without entering into it. The exchange closes without becoming mutual.

What emerges here is not rejection, but non-reciprocity. And yet, this position is not without expectation. To become a lighthouse is also to be looked at.

Even if he does not fully engage with the promise, Kim Dan places himself in a position of orientation—someone who remains, who supports, who is “there.” This stability carries an implicit hope: that the other will return to it, will recognize it, will rely on it. This position also sheds light on another element that remains present, yet unaddressed: Joo Jaekyung’s insomnia. (chapter 91) It lingers in the background, acknowledged but never truly treated. And yet, it is not incidental. Insomnia signals the inability to withdraw, to interrupt exposure, to let the body enter a different rhythm. In this sense, it mirrors the function of the lighthouse. A lighthouse remains on—it stabilizes, but it does not allow rest. Kim Dan’s care operates in a similar way: constant, attentive, but not rhythmic. It keeps the athlete oriented, but does not create the conditions for him to “switch off.” What appears as support therefore also sustains the very state it fails to resolve.

This metaphor is what makes the following moment so revealing. When Joo Jaekyung leaves the next morning without turning back and replying (chapter 96), without reestablishing that line of orientation, the structure collapses. What had been silently assumed—being seen, being turned toward—is no longer confirmed.

The wound does not emerge from contradiction. It emerges from absence. Kim Dan is not rejected in words. He is not dismissed explicitly. (chapter 96) But the position he has taken—the one of quiet constancy, of supportive presence—is not acknowledged. The lighthouse remains, but no one looks at it. Striking is that before the champion left, the doctor tried to reconnect with him by wishing him good luck.He is modest and hesitant. (chapter 96) At first glance, this appears simple. But it is not neutral. It is a repetition. Kim Dan tries to reactivate a shared ritual—the one established after the night in Paris.(chapter 87) A moment where touch, words, and intention aligned. (chapter 87) A moment where connection was not abstract, but embodied. (chapter 87) But in front of the entrance, something is missing. (chapter 96) The hands do not meet. Under this new light, it becomes comprehensible why the star did not reply to the physical therapist’s words. (chapter 96) He feared to waver. He is now treating the physical therapist as a distraction and a weakness.

The structure of the gesture is reproduced (chapter 96) —the wish, the proximity, the intention—but its core element is absent. There is no joining of hands, no shared contact that would anchor the exchange in the body. The movement remains incomplete. And it was the same on the beach.

There is no joining of hands, no shared contact that would anchor the exchange in the body. The movement remains incomplete.

And this absence is decisive. Because in the earlier scene, the hand was not just a gesture—it was the point of synchronization. It created a circuit: touch, recognition, response. The body confirmed what the words suggested. Here, that circuit does not close. Joo Jaekyung responds—he takes the hand, he squeezes it, he even leans closer, whispering: (chapter 87) But what he asks for reveals the shift. (chapter 87) He does not reciprocate the wish. He redirects it. The gesture is no longer shared—it is instrumentalized. The touch does not establish equality; it becomes a means. What is requested is not mutual presence, but support directed toward a single objective: the fight. (chapter 87) And yet, beneath this request, something else becomes visible. What he asks for is not only strength. It is connection. The whisper, the closeness, the physical proximity—all point toward a need that exceeds performance. But this need is not articulated as such. It remains displaced, translated into the language of the match. “Give me strength” replaces “stay with me.”

This is why the moment remains unresolved. Because what Joo Jaekyung seeks is not what Kim Dan offers—and what Kim Dan attempts to offer is not what Joo Jaekyung is able to receive. The misalignment persists, but it shifts its form. Kim Dan reaches through repetition (chapter 96) —through ritual, through care, through a reconstruction of what once connected them.
Joo Jaekyung reaches through intensity—through touch, through urgency, through a need that he cannot fully name.

But the two movements do not coincide. And this is where the earlier observation becomes fully visible. Kim Dan is not rejected in words. He is not dismissed explicitly. But the position he has taken—the one of quiet constancy, of supportive presence—is no longer acknowledged. This means, that the lighthouse is no longer working.

And yet, this is precisely where the scene opens toward a future resolution. Because the image of joined hands — earlier echoed outside the narrative—suggests a moment that has not yet been reached. A point where gesture, intention, and response will finally align.

Where support is no longer unilateral. Where presence is no longer translated into function. Where touch is no longer redirected, but shared. In other words: a moment where they become a team.

This introduces a different form of misalignment than the one observed in the office.

There, the problem lay in imposed meaning—in a discourse that defined the athlete from the outside. Here, the misalignment takes the form of incomplete presence. The relation is not constrained by speech, but it is not fully inhabited either.

This becomes more visible when we follow Kim Dan’s position across subsequent scenes.

At the gym, he asks, “Are you okay, Mr Joo?” (chapter 95), but the question remains confined to the immediate, physical state. When the athlete is injured, he treats the symptom. He wipes the blood, observes the body, intervenes where necessary. But he does not investigate the cause. The question of why the injury occurred—what led to the lapse—is never pursued.

This orientation continues in the penthouse. (chapter 96) Care is translated into technique. Emotional tension is approached through physical intervention. The body becomes the site where the problem is managed, even when its origin lies elsewhere.

Even when he recognizes the external pressure (chapter 96); this recognition does not lead to inquiry. It remains observational, not relational. He does not question the narrative, nor its effects. He adapts to it. I doubt that he even watched the interview, as the former coach and director Hwang Byungchul got insulted and diminished. (chapter 96)

This is not indifference. It is a limitation. Kim Dan does care. But his care operates within defined boundaries. He approaches Joo Jaekyung as a patient, not as a subject whose experience must be understood in its entirety. He does not impose a framework, as Park Namwook does—but neither does he challenge one.

And this has consequences. If everything is reduced to performance, as in the manager’s framework, there is no space for relationship. But if care remains confined to function, there is no space for shared experience either.

Between the fighter and the title, Park Namwook leaves no room. Between the patient and the body, Kim Dan does not fully enter. In both cases, something remains unaddressed.Joo Jaekyung is neither fully defined nor fully understood. He is managed, he is treated, he is supported—but not met in the space where his experience actually unfolds.

And this is why the misalignment persists. Not because there is no care, but because care itself remains incomplete.

Functional Distance

The misalignment on the beach—where Kim Dan assumes the role of a lighthouse (chapter 95) —finds its physical conclusion in the refused gesture of Chapter 96. When Joo Jaekyung pushes the hand away (chapter 96), he is not merely rejecting a movement; he is rejecting the limitations of the role Kim Dan has chosen to inhabit.

In this moment, the “Lighthouse” stance becomes a psychological shield. For Dan, retreating into his role as a physiotherapist provides a sense of safety and professional boundaries. Hence he watches his loved one from afar the entire time. (chapter 95) But for Jaekyung, this boundary is experienced as abandonment. By attempting to “complete the treatment,” Dan tries to force the interaction back into a patient-doctor dynamic at a moment of profound emotional crisis. (chapter 96) He feels like he is not even recognized as a friend. (chapter 96)

This is the core of the dissonance: Dan offers a functional touch where Jaekyung requires a relational one. By focusing on the muscles, Dan treats the body as a “thing” to be fixed—an object of study rather than a subject of experience. He fixes the symptom (the tension) while avoiding the cause (the humiliation). The “Smack” of the rejection is the realization that as long as Dan is “treating” him, he doesn’t have to “know” him.

Jaekyung does not reject the therapy; he rejects the distance that the therapy maintains. He pushes the hand away because he recognizes that a lighthouse, while constant, is fundamentally inanimate. It can guide him through the storm, but it will never enter the water to help him swim.

The Walk As Deferred Synchrony

If the rest of Joo Jaekyung’s world is structured by management, performance, and functional roles, the hospital room in episode 94 introduces a radically different configuration. (chapter 94) The space is quiet, contained, almost suspended—and within it, a gesture occurs that does not follow the logic established elsewhere.

When Kim Dan’s grandmother reaches out to pat his cheek, the touch does not regulate, correct, or demand. (chapter 94) It is not a gesture of control, nor of care defined by function. It is, instead, a gesture of recognition and affection.

This distinction is decisive. Because when she says, (chapter 94) she does more than offer a blessing. She disrupts the entire structure through which Joo Jaekyung has been perceived. Until this moment, he exists within systems that reduce him: to a body that performs, to a fighter who must win, to a patient who must be stabilized. His value is always defined externally—by outcome, by function, by necessity.

Here, for the first time, he is addressed as a subject and even as a “child”. Not as someone who must achieve, but as someone who can be happy. And more importantly, that happiness is not imagined in isolation. It is articulated as relational, inseparable from Kim Dan’s own. The statement does not position him outside the bond, but within it. It creates a shared horizon—one that neither the manager’s discourse nor the medical framework had allowed to exist.

This moment does not yet produce synchrony. It creates the conditions for it. The grandmother’s touch does not establish a reciprocal exchange, but it opens a space in which such an exchange becomes thinkable. It introduces a possibility that exceeds both control and care: the possibility of being seen without being reduced. And this recognition carries weight.

Because it introduces a new form of burden—not the burden of the title, not the pressure to perform, but the burden of being acknowledged as someone whose life can be shared with another. From this point onward, Joo Jaekyung is no longer only confronted with expectations. He is confronted with a possibility he does not yet know how to inhabit.

What follows immediately after makes this even more explicit. (chapter 94) When the grandmother suggests that “the three of us can go for a walk,” the gesture shifts from recognition to movement. The proposal is not incidental. It translates what has just been opened into a concrete form.

Walking implies more than proximity. (chapter 47) It requires alignment—of direction, of rhythm, of time. It transforms a moment into a duration, a shared presence into a shared trajectory. It is, in its simplest form, the embodiment of synchrony. This observation outlines the contrast to the champion’s promise on the beach. (chapter 95) They did not walk together, they remained seated. That’s why their lack of alignement was not truly perceptible.

And the stroll introduces something new: a structure of togetherness. Not a dyad, but a triad—the three of us. A temporary, fragile configuration that resembles a family. Not defined by roles, but by movement. Not by function, but by coexistence.

But this movement does not occur. Kim Dan refuses—gently, almost imperceptibly. “It’s late… we’ll go next time.” The refusal is not confrontational. It does not reject the connection. But it postpones it. And this postponement is decisive.

Because the synchrony that had just become possible is deferred. The transition from recognition to shared experience is interrupted. The moment remains suspended, unfulfilled. This hesitation reveals something fundamental about Kim Dan’s position.

He receives the grandmother’s words, but does not fully step into what they imply. (chapter 96) He remains within the logic that has defined him: that of care, of responsibility, of quiet support. Like the lighthouse that appears in his gaze, he positions himself as a fixed point—present, reliable, but distant. He does not move. He doesn’t follow his heart. And yet, to walk would require precisely that: to leave that position, to enter into a shared rhythm, to participate rather than to stabilize. Kim Dan cares, but he cares as a fixed point. He watches the ship struggle against the narrative, but he stays on the shore. The grandmother offers a rhythm. Kim Dan offers a delay. And in that gap, the walk remains a ghost, and the touch remains a dissonance.

This is where the misalignment begins to take shape. Because while the grandmother opens a space of relation, neither of them fully occupies it. Joo Jaekyung is confronted with a possibility he cannot yet sustain. Kim Dan is offered a movement he does not yet recognize. The result is not failure, but deferral. And this deferral reverberates through what follows.

But this is precisely where another form of presence emerges—one that operates through absence. During the night in the penthouse, Joo Jaekyung does not think of the grandmother. (chapter 95) Her words are not recalled, her figure is not evoked, her request is not consciously revisited. On the surface, she is absent. And yet, this absence is deceptive.

Because what structures his reflection in that moment is not the memory of her voice, but the transformation it has already produced. The opposition that surfaces—(chapter 95) —is no longer stable. It is immediately unsettled by another voice, another possibility: (chapter 95) And what follows is not an abstract idea. It is an image. Kim Dan appears. (chapter 95) This shift is decisive. The grandmother is not present as a figure, but as a function. She has already altered the internal configuration through which Joo Jaekyung perceives himself. Her gesture has been absorbed, displaced, and translated into a new form of questioning.

In this sense, she is no longer external to him. She has entered his inner world. Not as a memory—but as a structure. (chapter 95) This is why her absence matters. Because it reveals that the disturbance does not require constant visibility to persist. It has already taken root. The question she introduced—of a life beyond performance, of a relation beyond function—continues to operate, even when she is no longer present.

And it operates through Kim Dan. That’s the reason why the champion pushes away the physical therapist. The image that interrupts the logic of victory is not the grandmother—it is him. This substitution is not accidental. It shows that the possibility she opened is now anchored in their relationship.

But this anchoring remains unstable. Because while Kim Dan appears within that internal space, the relation itself has not yet reached synchrony. The image is present, but the connection is not yet fully realized.

This is what intensifies the tension.

The grandmother’s intervention has already reshaped the internal landscape. (chapter 94) It has introduced a new axis—one that opposes performance to relation, victory to something else that remains undefined, but essential. But this axis is not yet resolved. It exists as a fracture. And from this point onward, absence no longer signifies emptiness. It signifies transformation. What is no longer visible has already begun to act.

The recognition cannot be undone—but it cannot yet be realized either. It lingers, as a possibility that remains out of reach. It transforms the meaning of subsequent gestures, without stabilizing them.

What emerges from this configuration is no longer only an internal fracture within Joo Jaekyung, but the outline of an external conflict that has yet to fully surface. Because the three logics that now surround him cannot coexist indefinitely. On one side, Park Namwook—and beyond him, the structure of the MFC—continues to operate within a closed system of performance. Within this framework, there is no space for anything that does not directly serve the fight. (chapter 96) Thus the physical therapist is not included in the meeting. Distraction must be eliminated, influence must be controlled, and relationships are tolerated only insofar as they remain functional. The body must remain available, and the mind aligned.

On the other side, Kim Dan represents something that this system cannot fully integrate. Not because he opposes it openly, but because his presence introduces a different logic—one that is not reducible to performance. (chapter 95) Even in its incomplete form, his care interrupts the continuity of the system. It creates pauses, displacements, moments where the athlete is no longer entirely absorbed into the role assigned to him.

Up to this point, this tension has remained diffuse. It has manifested as misalignment, as silence, as failed gestures. But the conditions are now in place for it to become explicit. Because what the system requires—and what Kim Dan begins to represent—are no longer compatible. For Park Namwook, there can be nothing between the fighter and the title. For Kim Dan, there is something else—though he has not yet fully claimed it. This is why the dissonance intensifies around touch, around presence, around time. These are precisely the points at which the two logics intersect.

And this is where the conflict will inevitably emerge. Not as a simple opposition between individuals, but as a confrontation between two ways of relating to Joo Jaekyung: one that reduces him to a function, and one that—however imperfectly—begins to recognize him as a subject. What has so far remained unspoken is therefore not absent. It is gathering.

Feel free to comment. If you have any suggestion for topics or Manhwa, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Twitter-Tumblr 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.

Jinx: The Piercing 🪬Amber 🪙 Shore 🏖️

The Language of Foreshadowing

Have you ever noticed how Jinx often tells us what is about to happen, long before the characters themselves realize it? I am quite certain that my avid readers are already thinking about the puppy (chapter 57) and its future adoption which got reinforced with the reappearance of an old picture showing Kim Dan holding a puppy. (chapter 94)

Yet a small detail from episode 93 (!) caught my attention, and I couldn’t ignore it. Do you remember the breakfast scene in episode 18? (chapter 18) Kim Dan and Joo Jaekyung are sitting together, but there is still a distance between them. And between them, almost quietly, hangs a painting: a winter landscape. Bare trees, cold tones, a distant city. Everything feels still… almost frozen. (chapter 18) This image reflects their state at that moment, that’s why it is placed between them, even behind them. They are close in space, yet emotionally far apart — trapped in silence, routine, and roles. Alive, but not truly living. At the same time, this shows how they treat their past and themselves. Additionally, they seem to draw a line between themselves and others, as if hiding behind invisible walls. Present, yet unreachable.

The painting reinforces this impression. It is not shown as a single, unified image, but divided into separate panels. Fragmented—just like them. They are not whole.

Much later, in episode 93, we encounter a similar composition. (chapter 93) The setting remains, but the painting has changed. Winter has given way to a living landscape: trees with leaves, a mountain rising in the background, and beneath it a stretch of water reflecting the light. (chapter 93) The atmosphere is warmer, softer, alive … yet not fully bright. The colors matter. The trees are not green, but muted—brown, almost beige. Life has returned, but it remains subdued, as if the scene itself is hesitating between seasons. And yet, the structure persists. The image is still divided. The fragmentation remains—but the distance between the panels has narrowed.

This shift is not incidental. It reflects a transformation in both Joo Jaekyung’s and Kim Dan’s internal states. (chapter 93) The winter of isolation gives way to a quieter, emerging warmth—one that prepares the ground for the conversation on the beach. There, under the amber light of the setting sun, this internal change becomes visible: what was once buried in silence begins to surface, and what once signified loneliness is reinterpreted as endurance.

But the characters are not whole yet. The walls have not disappeared. They had only begun to soften, until the both of them went to the beach together.

So what exactly are we witnessing here? (chapter 94) A simple change in atmosphere? A moment of intimacy? Or the beginning of a deeper transformation in the way Kim Dan and Joo Jaekyung perceive themselves and, above all, each other?

To answer that question, we need to look more closely at what comes next. I would like to begin with a contrast: the expensive golden keychain on the one hand, and the beach conversation on the other. Why gold then—and why amber now?

Gold as Silence

The contrast began long before the beach. On his birthday, Kim Dan tried to express what he felt through a gift and a card. He chose an expensive golden keychain (chapter 55) —something polished, valuable, appropriate. Alongside it, he wrote a message that sounded careful, respectful, almost rehearsed: (chapter 55) “I truly appreciate everything you’ve done for me.” “I’ll work even harder.” “I hope to work with you for many years.” At first glance, nothing seemed wrong. The gesture was thoughtful, the words polite. And yet, something felt restrained.

The language belonged to a world of duty and hierarchy. It reflected the position Kim Dan believed he had to occupy: a subordinate expressing gratitude to someone above him. His words were correct—but they were not fully his. And the card itself revealed that.

He began to write “To be honest”… but stopped after “To be ho”. (chapter 55) The letters were erased before the sentence could even exist. This is not a correction. It is a hesitation made visible. The thought emerged—but it was interrupted. Before honesty could take shape, it was already suppressed.

What remained on the card was therefore not what he first intended to say, but what he allowed himself to say. What was missing was not sincerity, but freedom. He did not speak from a place of confidence, but from a need to maintain balance. The gift and the card functioned as a safe substitute for something he could not yet articulate. They allowed him to remain within the structure he knew: gratitude, effort, loyalty.

Gold, in this context, carried a precise meaning.

It represented value, recognition, and status. It was something that could be measured, offered, and accepted without ambiguity. But it was also impersonal. It created distance rather than closing it. The keychain was expensive, but carried no warmth of its own.

This only becomes fully clear later, on the beach. (chapter 94) There, when he finally spoke without the protection of formality, his words shifted. He admitted what had remained hidden at the time of the gift: To be honest, he did not think he could do it. He did not feel confident enough to stay by Joo Jaekyung’s side. (chapter 55) Though his words seemed clear, this “hope” was not entirely his. It was shaped by something that had not yet been severed. At that point, Kim Dan had not truly separated himself from his grandmother. (chapter 94) His sense of self was still tied to her—emotionally, morally, almost structurally. He was not yet standing on his own, but continuing a role he had long internalized: enduring, adapting, staying where he was needed.

So when he spoke of “many more years,” it was not the expression of a free decision. It was an extension of obligation. (chapter 41) A continuation of a life he had learned to accept, rather than one he had chosen. This is why the card feels so careful, so measured. Not because he lacked sincerity – but because he lacked strength in his eyes.

And the erased beginning—“To be ho”—makes this even clearer. Because what he had wanted to say was not a promise. It was doubt. He did not trust himself. (chapter 51) And because of that, he clung to Joo Jaekyung—not simply as an employer, but as a figure through whom he could stabilize his own sense of worth. Remaining by his side, working harder, staying useful… all of this allowed him to compensate for what he felt he lacked. (chapter 55)

His “hope” was therefore not an expression of desire, but a strategy. A way to hold himself together. This is why the confession on the beach reframed the entire birthday scene. (chapter 94) He can no longer use his grandmother or the champion to define himself, as their collaboration is limited in time as well.

What had once appeared as gratitude now revealed itself as restraint. What had sounded like commitment now exposed hesitation. And what looked like gold… turned out to be something else entirely. Under this new light, we begin to understand why Kim Dan could neither confess his affection—nor fully express his gratitude.” (chapter 45) Because gold, in that moment, could only represent value imposed from the outside—status, reward, recognition.

But the sunset on the beach spoke a different language. (chapter 94) And perhaps this shift is not only carried by words—but already visible.

If we look closely, something subtle emerges. (chapter 94) The colors of the scene echo the keychain itself. (chapter 55) The gold, of course—but also the red and black attached to it. On the beach, these same tones reappear in what they wear, in how they are visually composed within the frame.

What had once existed as an object—held, offered, external—now surrounds them. It is no longer something exchanged between them. It is something they inhabit together. (chapter 94) But there is more. They are not simply sitting side by side. They are looking at each other. And that gaze changes everything. Because for the first time, the connection is no longer mediated—neither by a gift, nor by roles, nor by unspoken expectations. It is direct. Mutual. Sustained. The gaze becomes the binding element.

It replaces the object. It replaces the silence. And in doing so, it creates something new. Without fully realizing it, they begin to form the outline of a team—one that is no longer defined by hierarchy or obligation, but by presence and recognition.

Not of display, but of transformation. Not of perfection, but of something preserved, altered, and made meaningful over time. And this is why I could no longer associate that scene with gold. The gold had spoken in his place—but it had spoken the wrong language. Only later did Kim Dan begin to replace that language with something more direct, more vulnerable. And it is precisely at that moment that the tone of the story begins to change.

The shift from gold to amber starts here.

Between Silence and Honesty

If we return to the beach scene, something immediately stands out—not only what Kim Dan says, but how he says it.

“To be honest…” (chapter 94)
(chapter 94) “If I’m being totally honest…”

This phrasing is not new, as we have seen its interruption before. On the birthday card, the sentence never reached completion. It stopped at “To be ho”. But what was interrupted there was not simply honesty. It was the fear of burdening someone else.

For Kim Dan, speaking honestly had never been neutral. (chapter 94) To express doubt, sadness, or uncertainty meant placing weight on another person. It meant becoming a problem rather than a solution. And this was something he had learned to avoid.

Even in small, seemingly harmless moments, this pattern had already been visible. Being called a “crybaby” may sound trivial (chapter 94), but it reveals something deeper: emotions were not meant to be expressed freely. They were something to control, to contain, to keep from overflowing. This means that by his grandmother’s side, he learned to hide his suffering behind a smile, something I had long detected.

Sincerity, for him, was inseparable from vulnerability. And vulnerability risked becoming a burden. This is why the sentence could not be completed. “To be honest…” was not just difficult to say. (chapter 94) It was something he believed he should not say.

And yet, on the beach, that same sentence returns. (chapter 94) Not once—but twice. Not as a clean declaration—but as something he repeats, almost carefully, as if testing whether he is allowed to continue. Each time, he creates a small distance before speaking, as if preparing both himself and the other for what might follow.

The hesitation is still there. Either he apologizes or he makes a pause. He lowers his gaze or looks at the horizon. He assumes that what he says might not be welcome. It even becomes truly palpable, when he employs this idiom for the first time on the beach: (chapter 94) He fears reproaches or discomfort. And this is where something shifts. Joo Jaekyung interrupts him: “Don’t say that.”

At first glance, this could sound like a refusal—as if he were rejecting what is about to be said. But in reality, it does something else. He is encouraging Kim Dan to speak. He rejects the assumption behind his words. Not the confession—but the idea that it is unwelcome. In that moment, Kim Dan is not silenced. He is allowed to continue. And this changes everything. He proceeds carefully, but he proceeds. So he is honest, but not yet free. And this is precisely what makes the moment meaningful. Because this time, he does not stop; not because fear has disappeared, but because it is no longer decisive.

And yet, something else becomes visible here. When he later says, (chapter 94), he does not look directly at Joo Jaekyung. His gaze shifts toward the horizon. At first, this might appear as hesitation reflected by the points of suspension, but it carries a different meaning. He is not withdrawing. He is protecting it. Because what he is about to say touches on something deeply personal—not only for himself, but for the other as well. By avoiding direct eye contact, he creates a space in which Joo Jaekyung does not have to respond, does not have to defend himself, does not have to expose what he may not yet be ready to show. In this sense, his restraint is not a sign of fear or shame. It is a form of respect. A way of allowing honesty to exist without embarrassing the other and forcing him into vulnerability.

To understand why he speaks here—and not before—we need to look at the place itself. (chapter 94) The beach is not a random setting.

But there is another reason why this place matters. Kim Dan does not only go there when he is alone. (chapter 59) He goes there when he is struggling—when something within him can no longer be contained. (chapter 94) In those moments, the usual mechanisms—enduring, adapting, maintaining balance—begin to loosen. The roles he has learned to perform no longer fully hold. And this is what links the beach to something more fundamental.

Honesty. Because if we think back, the first time this place was truly defined was not through him—but through his grandmother. (chapter 53) At the hospital, she spoke openly. She expressed regret, desire, and a final wish without filtering it, without protecting him from the weight of it. (chapter 53) It was a moment of sincerity that did not try to reduce itself.

And Kim Dan carried that moment with him. So when he returns to the beach, he is not only seeking comfort. He is returning to a place that has already been marked by truth—a place where emotions are not managed, but felt.

This is also why the scene in episode 59/60 becomes so significant. (chapter 60) When he reaches his breaking point, it is here that the boundary between control and collapse begins to dissolve. The beach is no longer just a refuge—it becomes a space where everything that has been contained threatens to surface at once.

And this is what Joo Jaekyung perceives as well. (chapter 80) For him, the place becomes associated with something dangerous: loss, disappearance, the possibility of not returning. Hence he taught him later how to swim.

But for Kim Dan, the meaning is different. The beach is not where he wants to disappear. It is where he can no longer pretend. He had come here before, in chapter 59, after Heesung and Potato had left. (chapter 59) It was already a place he chose in difficult moments. Not to avoid something—but to face it in his own way.

And this place carried meaning. (chapter 53) Through his grandmother , the ocean had been described as something beautiful, something capable of giving strength and comfort (chapter 53) — even when experienced alone. It did not require company to feel complete. Kim Dan held onto that idea.

So when he returned here, he did not come empty-handed. He came with an expectation. (chapter 59) That this place could give him something. That it could help him endure. That it might allow him to feel what she had felt—and, perhaps, soften what he himself was feeling. In that sense, the beach was more than a memory. It was a possibility. That’s why he visited the beach, when he was struggling.

But there is another layer to this. The beach was not only a place he returned to when he was struggling. It was also a place through which he tried to reconnect. (chapter 94) Not simply to escape— but to experience, in her place, what she had once described. To share that moment indirectly, as if the beauty of the ocean could bridge the distance between them, soften the absence, and momentarily silence his loneliness.

This is what gave the place its meaning in the past. Because if he could see what she had seen — if he could feel what she had felt — then perhaps he would not be alone in it. (chapter 59) And yet, this meaning does not remain stable.

In episode 94, he returns to the same place—but for a different reason. (chapter 94) Not to maintain the connection — but to bring it to an end.

But this possibility is no longer simple. Because the beach is also tied to his grandmother in another way. (chapter 94) When she suggested going for a walk together, he refused, for in his mind, the destination would be the ocean. To go there with her would have meant transforming that space into something else: a shared moment marked by what was about to end (chapter 53). It would have forced him to confront her condition directly, and don’t forget that this place is strongly intertwined with sincerity. He couldn’t mask his feelings. So he postponed it. And instead, he returns later—with Joo Jaekyung.

Now ask yourself: why here, and why with him? Because this is where the scene shifts. Kim Dan did not only come to the beach to find comfort. He also came to reach a form of closure. (chapter 94) For the first time, what had always structured him—enduring, adapting, protecting others—no longer works.

And in that moment, he is not alone. Joo Jaekyung is there. He could have stayed in the car. (chapter 94) He was even told to. But he didn’t. He chose to remain beside him.

This changes the situation entirely. Because Kim Dan is no longer speaking into silence. He is speaking in the presence of someone who stayed. And that creates a new tension. On the one hand, he still does not want to burden him. On the other, he can no longer remain silent. This is why his honesty takes this form: hesitant, repeated, apologetic—but expressed. So what are we witnessing here?

Not simply a confession. But a shift in conditions. The place offered meaning—but not enough to contain what he felt.
The memory of his grandmother gave direction—but not resolution. (chapter 94) And the presence of Joo Jaekyung created something new: A space where silence was no longer the only option. The sentence that once stopped at “To be ho” now reaches its end.

Not because fear has disappeared — but because, for the first time, it is no longer stronger than the need to speak.

The Shore: Where Two Worlds Meet

If we look more closely at the setting of this scene, we begin to understand why it had to take place here—and nowhere else. (chapter 94) The beach is not just a backdrop. It is a boundary.

A meeting point between two elements: Water and earth. Movement and stability. Depth and surface.

Water carries memory. It is fluid, unstable, impossible to fully grasp. It reflects what lies beneath—emotion, unconscious experience, everything that cannot easily be contained or articulated. The shore, by contrast, belongs to the realm of the tangible. Sand, ground, the space one can stand on. It represents reality, structure, adulthood—the world of roles and responsibilities.

And where are Kim Dan and Joo Jaekyung positioned? (chapter 94) Exactly at that threshold. They are not in the water. They are not fully on stable ground either. They sit at the point where both worlds meet. And psychologically, this position mirrors their state. Both men are suspended between two identities:

  • the child shaped by past experiences (chapter 94) (chapter 94)
  • the adult defined by roles, expectations, and survival strategies (chapter 94) (chapter 94)

The amber light of the setting sun intensifies this ambiguity. It does not belong fully to day or night. It merges opposites rather than separating them. Just like this moment. Just like them.

But the meaning of this place becomes clearer when we compare two moments that occur here. When the grandmother speaks about Kim Dan, her words establish a distance: (chapter 65) Even though they have lived together for years, she positions herself outside his inner world. She observes him—but does not truly reach him. And the image reflects this separation. The water and the sand remain clearly divided. The boundary holds.

Now compare this to the later scene. (chapter 94) Joo Jaekyung appears to create distance—but in reality, he reduces it. The “friend” is himself. What cannot be said directly is nevertheless expressed. And this time, the image of the shore changes. The colors warm. The boundary between water and sand begins to dissolve. The elements no longer remain strictly separated—they begin to blend.

This shift is decisive. Where the grandmother’s words maintained distance, Joo Jaekyung’s words—however indirect—open a space. And this is why Kim Dan can ask a question here. (chapter 94) Because he does not interrupt. He listens. (chapter 94) He allows the confession to unfold—even in its distorted form. And once it has been spoken, he does something no one else has done before. He recognizes it. (chapter 94) In that moment, indirect speech is no longer needed. What Joo Jaekyung could not say directly is named—clearly, without hesitation. And this act changes the structure of the exchange.

Because Kim Dan is not simply responding. He is translating. (chapter 94) Not simply because of the place. But because of who is beside him.

Joo Jaekyung does not fully understand him. But he does something essential. He stays, as he has come to associate solitude with boredom. (chapter 94) He waits and later listens. And he does not turn away. He shows an interest in his thoughts and inner world. (chapter 94)

For the first time, Kim Dan is no longer facing a boundary that reflects distance—but a presence that allows something to pass through it. The shore, then, is not only a line between two worlds. (chapter 94)

But this exchange is not one-sided. Because Joo Jaekyung’s confession does more than reveal something about himself—it creates a form of acceptance and reciprocity. By exposing his own vulnerability, however indirectly, he does not remain outside Kim Dan’s inner world. He steps into it—and, at the same time, invites Kim Dan to do the same. Hence he is now capable to express his true admiration: (chapter 94)

And this changes not only their exchange—but the meaning of the place itself. Because for Kim Dan, the beach had never been just a location. It was tied to a memory that was not his own. To something his grandmother had described—something beautiful, something meaningful—but always experienced alone. What he sought there, in the past, was not simply comfort. Like mentioned above, it was connection.

The hope that, by returning to that place, he might feel what she had felt. That the beauty of the ocean could bridge the distance between them. That it could, even briefly, soften his loneliness. But that experience had always remained incomplete. Because it was never shared. Now, for the first time, that changes.

He is no longer alone in front of the ocean. He is not imagining what someone else once felt. He is living something—here, in the present—with someone beside him. (chapter 94) A moment that is not remembered. Not borrowed. Not projected. But shared.

That’s why he will never forget this moment. Because what he had longed for was not only to be understood—but to experience something meaningful with another person, without distance, without roles, without having to carry it alone.

And this is where the difference with the grandmother becomes clear. She spoke about Kim Dan without ever truly entering his experience. The distance remained intact. Joo Jaekyung, by contrast, does something else. He does not know Kim Dan’s entire past —but he reaches toward him. Not by asking directly. But by making himself available.

And this movement carries an implicit request: (chapter 94) not to remain alone in what has just been revealed.

In other words, Joo Jaekyung is not only confessing. He is asking—quietly, almost unconsciously—to be trusted and as such accepted. And Kim Dan responds to that request. Not by withdrawing. Not by protecting the other through silence. But by speaking.

The shore no longer separates. It begins to connect. Not fully. Not clearly. Not without hesitation. But enough for something new to emerge.

And this “something” can now be named more precisely. (chapter 94): friendship.

Not as a completed bond—but as a shift in how they relate to one another. Until this moment, their interactions had been structured by roles: patient and therapist, employer and subordinate, champion and supporter. Each exchange was framed by function, expectation, or necessity. Here, that structure loosens. They are no longer speaking from their roles—but to each other. Hence they look at each other at the end.

Not to fulfill a function. Not to maintain a balance. But to share something that belongs to neither of those frameworks. The first moment that carries the shape of friendship.

Signs of Direction: Sun, Lighthouse, Pier, and Umbrellas

If the shore marks a boundary, the horizon introduces another question altogether: not where they are, but where they are heading. (chapter 94)

And here, the visual composition becomes extremely revealing. The scene does not simply give us a beautiful beach. It places in front of the reader several structures of orientation: the sun (chapter 94), the lighthouse (chapter 94), the pier (chapter 94), and, more discreetly, the red tent with the two umbrellas (chapter 94). None of them is accidental. But their meaning is not only symbolic. They reveal something that neither of them have not yet fully realized. That they were never entirely alone.

The Lighthouse and the Sun: Two Models of Survival

The contrast between the two protagonists is rooted in how they seek light. For Kim Dan, orientation was never about an abstract goal, but a concrete person: his grandmother. She was the fixed point that prevented him from drifting into total darkness.

This is why the lighthouse is his defining symbol. (chapter 94) It stands visible and steady—a structure built to guide and prevent loss. Yet, Kim Dan associates it with loneliness. The lighthouse embodies the gap between what is present and what he is able to perceive. It provides direction, but not warmth; it signals, but does not embrace. It stands near, yet remains fundamentally separate. For Dan, the lighthouse represents support without true intimacy—a guidance that keeps him vertical but leaves him emotionally shivering.

Joo Jaekyung operates by a different celestial logic. When he speaks of his “friend,” he associates survival with the sun—a distant, overwhelming source of power. (chapter 94) In Jaekyung’s philosophy, one endures by fixing their eyes on a high, unreachable goal. The sun provides the energy to keep moving, but like the lighthouse, it offers no closeness. It is a strategy of survival based on projection and distance. It kept him alive, but it also kept him isolated. His “goal” is like his life strategy: disciplined and bright, but emotionally unreachable. And what is the common denominator between them? By keeping their gaze on the sun or lighthouse, they couldn’t see that they are surrounded —by nature and by human structures. (chapter 94) They are in reality not alone. The sea, the sky, the light… but also the lighthouse, the pier, the tent.

The Pier: The Human Path

Between the verticality of the lighthouse and the distance of the sun lies the pier. Extending outward into the water, it represents something fundamentally different: not a distant point, not a fixed signal—but a path. A human construction.
A movement toward something not yet reached.

But more importanty, the pier leads toward the lighthouse. (chapter 59) In other words, it connects movement to orientation.

And this is exactly what happens in the dialogue.

(chapter 94) his words seem, at first, to reinforce isolation. They reduce human experience to sameness. They remove the possibility of being uniquely understood. But that is only one side of it. Because these words also do something else. They reach Kim Dan. They meet him precisely at the point of his fear: the fear of being alone, of being left behind, of losing the only structure that gave his life direction.

By framing loneliness as something universal, Jaekyung transforms it. Not into something to escape—but into something survivable. And this is where the visual composition becomes decisive. While he speaks, the pier extends behind him—toward the lighthouse. His words follow the same movement. They begin in distance— but they arrive at Kim Dan, the “lighthouse”.

Even if unconsciously, he builds a bridge. On the other hand, his advice reflects his past philosophy. One could say that he isn’t offering empathy, for he is erasing difference. By reducing everyone to a single condition, he creates a defense against true connection. If everyone is “the same,” no one is uniquely lovable or truly distinct. His words reflect his indifference towards others.

Yet, his life contradicts his cynicism. He speaks as if he survived by solo strength, ignoring the “piers” in his own life—people like Hwang Byungchul (chapter 72) or his mother. He resists any narrative of dependence because to acknowledge others is to acknowledge vulnerability. He looks at the horizon and overlooks the pier at his side, even though he has been standing on it all along. It is because he was constantly staring at the “sun”. Therefore his reaction is not surprising. (chapter 94) To acknowledge others would mean acknowledging vulnerability—not just as a condition, but as something shared. So instead, he generalizes. He replaces relationship with sameness. And in doing so, he protects himself from the risk of trust.

As you can see, each element reflects something about Kim Dan and Joo Jaekyung’s inner state and philosophy. This means that as soon as the athlete’s words reached the doctor’s lighthouse, the latter showed him that there was a light much closer to him than the “sun”… the “lighthouse”.

And then there are the more discreet signs in the background: the red tent and the two umbrellas. (chapter 94) These details are easy to overlook, and yet they may be among the most intimate symbols in the entire sequence. Observe that when Kim Dan admits that he wished he had met him sooner, the red tent and the two umbrellas already stand there in the background.

The symbolism is almost painfully clear. The red tent suggests shelter, enclosure, perhaps even the outline of a home. The two umbrellas echo the possibility of shared protection, of two people occupying the same protected space. And yet, neither character has stepped into that space. The tent remains in the distance, just as the umbrellas remain unused. Home exists as a possibility, but it is not yet inhabited.

This is what makes the image so moving. They are no longer completely separate, but they are not “inside” yet either. They are still outside the shelter that awaits them. The home is there, but it has not yet been entered. In other words, the beach scene does not conclude their journey. It stages the threshold of it.

And that is why all these directional symbols matter together.

The sun shows the old logic of survival through distant purpose. The lighthouse shows the old logic of attachment through lonely guidance. The pier shows the beginning of a path toward someone else and stands for connection, endurance and trust. The tent and the umbrellas show the possibility of a shared dwelling that has not yet been claimed.

So the horizon in this scene is not empty at all. It is crowded with future meanings. But none of them is fully realized. The characters are still between states, between models of life, between kinds of love. They can see direction now, but they have not yet arrived. And perhaps this is precisely the point.

The scene does not tell us that they are already safe. It tells us that they are no longer directionless and alone. (chapter 94) They are moving toward each other mentally and emotionally.

The Champion Without a Childhood

And yet, even within this setting, something is still missing. When Joo Jaekyung speaks about his past, the visual language becomes striking.´We do not see a child. (chapter 94)

We see an adult figure—walking through a space that should belong to childhood. A silhouette. A presence without age. It is not simply that the child is absent. It is that he was never allowed to exist. But this absence does not emerge in isolation. It is embedded in the environment itself. Look closely at the setting of his memory. The narrow streets. The damaged houses. The dense accumulation of structures. Everything is gray, as if there was no life at all.

And above all: the mountain in front of him—blocked, obscured, almost inaccessible. He is surrounded by civilization. But not in the sense of protection or community. Rather, as constraint. As enclosure. As a space already marked by hardship, deterioration, and survival. This is not a childhood landscape. It is a system.

And this observation leads me to the following deduction. Jaekyung does not know nature. Not as openness. Not as refuge. Not as something one can enter freely.

The mountain is there —but it is not reachable, as it has lost its true function. The sky is present—but it is not experienced. Everything is filtered through structures. Through walls. Through streets. Through necessity.

This is why the sun becomes so central in his narrative. (chapter 94) Not as beauty. Not as warmth in a relational sense. But as something else: as air. (chapter 94)

As the only available form of escape. When he speaks of finding “a goal to work toward,” and the image shifts toward the sun, this is not just ambition. It is survival. The sun is the only thing that cannot be blocked by his environment. The only thing that exists beyond the system surrounding him. He does not move toward nature. He looks upward—because upward is the only direction that remains open.

And this is precisely where Kim Dan’s response becomes so striking. (chapter 94) He can’t help himself asking him for a confirmation. When Joo Jaekyung begins with (chapter 94), the formulation appears to create distance. It suggests another person, another life, another experience. But this distance does not hold.

Because the narrative that follows immediately undermines it. The “friend” is described as someone who, at a decisive moment, felt as if he was completely alone in the world. (chapter 94) Someone who grew up without parents, without siblings, without any form of support. The statement is absolute. It leaves no room for exception. And this is where the logic of the confession reveals itself.

If this person truly experienced himself as entirely alone—if there was no one to rely on, no one to turn to—then the very idea of a “friend” becomes impossible. The term contradicts the condition it describes. (chapter 94) In other words, the story cancels its own premise. The “friend” cannot exist as a separate figure. He can only be the speaker himself. At the same time, the main lead’s confession displays that he has no true friend in his life in the end. These words expose his isolation and loneliness.

In addition, this allows us to understand the deeper structure of his trauma. This is not only parentification. It is deprivation on multiple levels. Emotional, yes. But also spatial. Experiential. He was not only denied care. He was denied an environment in which childhood could unfold. (chapter 94), the exact opposite of Kim Dan.

This is why the visual metaphor is so radical. (chapter 94) There is no rupture between past and present. No transition. No visible child. Only continuity. A life that begins already in function. A childhood replaced by endurance.

And this absence is reinforced later. When his mother denies this reality (chapter 74), she does not simply reject his suffering. She erases the condition that produced it. Which leaves him with no framework to understand what is missing.

This explains everything. Why he distances himself. (chapter 94) Why he reduces relationships to roles. Why he cannot understand his own emotions. Because there is no internal reference for them. The child is missing.

And this is precisely where the connection to the present becomes decisive. Because the landscape he carries within him—the enclosed streets, the obstructed mountain, the unreachable outside—stands in direct contrast to the image that surrounds him now.

The open horizon. The visible sea. The unobstructed light. (chapter 94) This shared experience makes him see the world in a whole new light. It is no longer gray, but colorful, as he is not alone anymore. He no longer needs to look at the horizon or the sun. (chapter 94)

And even more importantly: the painting. (chapter 93) The mountain.
The sunlight. A version of nature that is no longer blocked—but offered. This is not accidental. It suggests something fundamental: what was once inaccessible is now placed before him. But he cannot reach it alone.

This is where Kim Dan’s role becomes clear. Because Kim Dan is not only the one who listens. He is the one who already belongs to that space. He understands nature—not as distance, but as experience. (chapter 94) Not as something to look at—but something to enter.

And this is where we can return to the director’s words. (chapter 75) This was never only about people. It was about environment. About perception. About everything that exists beyond the narrow structure in which Jaekyung learned to survive: shared experience.

In that sense, Kim Dan does not simply recognize the child in him. (chapter 94) He represents something else: a path. Not upward, like the sun. But outward. Toward a world that was always there— but never truly lived.

The Piercing Amber Gaze

And this is precisely where Kim Dan’s role becomes decisive. When he says, (chapter 94) something subtle, but profound, happens. He is no longer addressing the champion, the figure admired by others for his strength and victories. He is speaking to the child. Not the one who succeeded, but the one who endured. That’s why later the author turned the adult Joo Jaekyung into a “child” (chapter 94) In that moment, admiration shifts into recognition. What is acknowledged is not performance, but survival.

This is where the symbolism of amber becomes essential. Amber is not merely a color. It is fossilized tree resin—something that once flowed from a living organism, exposed to light, warmth, and time. Over time, this fluid substance solidifies, preserving within it traces of what once existed: fragments of life, suspended and protected. For this reason, amber has long been associated with the preservation of time, with memory made tangible, with something that endures beyond its original state. But this preservation is not neutral. What amber holds within it are not only traces of life, but also moments of rupture —organisms (insects, pollen) that were caught, immobilized, unable to escape. In this sense, amber is inseparable from loss. It preserves not only what once lived, but also what was interrupted, what was wounded, what could not continue. It is memory—but memory marked by pain.

But amber carries another layer of meaning. Often described as “sunlight in solidified form,” it is linked to warmth, vitality, and life energy. At the same time, across many cultures, it has been used as a protective talisman—worn to ward off harm, to bring balance, to protect the vulnerable. It is both a carrier of memory and a source of protection. Something that does not erase what has been, but transforms it into something that can be held, endured, and even passed on.

This dual nature is crucial. Because Kim Dan embodies precisely this transformation.

Like amber, he originates from something living—from the “tree,” (chapter 41) from a place of growth, exposure, and vulnerability. This interpretation gets once again validated on the beach. (chapter 94) A tree is placed right behind the main lead. Doc Dan has experienced loss, abandonment, and instability. And yet, unlike Joo Jaekyung, he has not responded by distancing himself or hardening into detachment. He has not rejected what he felt. Instead, he has absorbed it.

What he carries is not untouched innocence, but something altered through time—something that has endured. His capacity to care, to attach, to return to others despite the risk of loss is not naïve. It is the result of transformation.

This is what defines his gaze. (chapter 94) When Kim Dan looks at Joo Jaekyung, he does not stop at the surface—the fame, the strength, the constructed identity. He perceives what lies beneath it, but he does not expose it in order to dismantle it. He preserves it differently. (chapter 94) And this is where the nature of his admiration becomes clear. Kim Dan does admire strength, but not the kind that needs to be constantly proven or displayed. (chapter 94) He recognizes something prior to all of that: endurance, resistance, the ability to survive without support, without childhood, without refuge.

When he says that enduring such hardship is a testament to Joo Jaekyung’s strength, he does not diminish that strength—he relocates it. (chapter 94) He shows him that it was never dependent on winning, never tied to performance or recognition. It existed long before the fights (chapter 94), long before the titles, long before anyone acknowledged it. And this changes everything. Because if strength has already been proven, then it no longer needs to be demonstrated again and again. It no longer needs to be defended, tested, or confirmed through every challenge.

This is why the moment is both destabilizing and liberating. It destabilizes Joo Jaekyung because it undermines the foundation of his entire system (chapter 94), which was built on proving himself through action and endurance. But at the same time, it frees him from that necessity. For the first time, strength is no longer something he has to chase: it is something he already possesses.

And this shift has a deeper implication, because it directly contradicts the words that had defined him for so long. The father’s voice that told him: (chapter 73) A statement that reduced his existence to failure from the very beginning, leaving him with only one option—to prove, endlessly, that this judgment was wrong.

Up until now, everything in his life can be understood as a response to that accusation. Every fight, every victory, every act of endurance functioned as a counterargument. Strength was not something he had—it was something he had to demonstrate, again and again, in order to negate that original condemnation. But Kim Dan’s words on the beach break that logic. (chapter 94) He even wishes, he had known him before so that he could express his admiration much sooner. That’s how the jinx gets removed.

By recognizing his endurance as strength, he removes the need for proof. He does not argue against the past. He does not deny what happened. Instead, he reframes it. What was once the basis for humiliation becomes the evidence of resilience. What was meant to define him as a “loser” is revealed as the very condition that required strength to survive.

In that sense, Kim Dan is not simply comforting him. He is undoing the structure of that internal voice. Because if Joo Jaekyung’s strength is already real—already proven through what he endured—then the accusation loses its power. It no longer requires an answer. It no longer demands a reaction. This is precisely why his response is not verbal, but visual. (chapter 94) He keeps looking at Kim Dan, unable to look away, as if held in place by something he cannot yet fully process. It is not fascination in the superficial sense, but recognition. The words reach a part of him that had remained unaddressed for years. (chapter 94) The child, who had long been denied acknowledgment, is finally being seen—and more importantly, affirmed.

If he no longer needs to disprove that he is “nothing,” then he is no longer bound to constant confrontation. He no longer needs to accept every challenge, no longer needs to measure himself through endless trials. For the first time, he can step out of that cycle. He can choose. He can decide what is worth engaging with—and what is not.

In other words, Kim Dan’s recognition does not simply validate him. It releases him. What he is responding to is not only kindness, but accuracy. For the first time, someone names his past without reducing it, without turning it into weakness or failure. (chapter 94) And this is what makes Kim Dan’s words so powerful: they do not impose meaning—they reveal it.

Because in that moment, the structure through which Joo Jaekyung had perceived both himself and others begins to shift. Kim Dan is no longer reduced to a role, no longer confined to the position of a physical therapist or a tool meant to counter his “jinx.” He becomes something else entirely.

A presence. Someone who sees him. Someone who understands him. Someone who reaches him. In other words, for the first time, Joo Jaekyung is able to recognize him not through function, but through relation. Not as a means—but as a person. And this is precisely what opens the possibility of something he has never truly experienced before:

friendship.

This is exactly what amber does. It does not erase the past, nor does it glorify it. It preserves it, but transforms its meaning. What was once a source of isolation becomes something that can be acknowledged. What was once hidden becomes something that can be seen without shame. This is why Kim Dan’s gaze is piercing—not because it is aggressive, but because it reaches what had been sealed away and makes it visible without destroying it.

And this transformation has consequences. Because if his past is no longer a source of shame, but of strength, then it no longer renders him silent. What he had once accepted—criticism, blame, humiliation—because he believed it reflected who he was, begins to lose its legitimacy. The internalized voice that reduced him to nothing is no longer left unanswered. And in doing so, it offers something new. Not judgment. (chapter 57) (chapter 89) Not expectation. (chapter 88) But a form of recognition that restores his position in relation to others. For the first time, he is no longer defined by what was done to him. He is no longer confined to enduring in silence. Instead, he gains something he had been denied: the ability to respond.

To speak back. To defend himself. To demand respect—not as a performance, but as a condition of his existence.

Seeing Each Other

This is why the final image of the scene carries so much weight. (chapter 94)

They sit on the same bench. They face the same horizon. There is no confrontation. That’s why they are no longer facing each other like rivals or challengers. (chapter 9) The tension that once structured their encounters has disappeared.No imbalance of power. No role to perform. For the first time, their positions align. (chapter 94)

Earlier, the movement seemed to come from Joo Jaekyung. (chapter 94) Like the pier, he extended something of himself outward—hesitant, indirect, not fully conscious—yet reaching toward the other. His words, even in their abstraction, had begun to bridge a distance. Now, something shifts. It is as if the lighthouse responds. (chapter 94) That’s why doc Dan is wearing the color than the lighthouse. Not by moving—but by illuminating.

By revealing how far that movement has already gone. (chapter 94) By casting light on a path that was not recognized as such. What Joo Jaekyung could not see—what he could not yet name—is made visible through Kim Dan’s recognition. The distance he believed to be absolute is shown to be already crossed, at least in part.

And this changes the meaning of the moment. Because for the first time, they are not approaching each other from opposite sides. (chapter 94) They are already there. Together. And this is why for the first time, they see each other.

Not as:

  • champion and employee
  • strength and dependence
  • giver and receiver

But as two individuals shaped by their past. Two people who have endured. Two people standing—at different points—on the same threshold between what was and what might still become. They are finally friends.

The Direction of The Gaze

So if we return, one last time, to the images that quietly accompanied them—the paintings—we might begin to see it differently. At first, it seemed to reflect distance. (chapter 18) A frozen landscape, divided, silent. Then, later, it changed: the trees regained life, a mountain appeared, water began to reflect the light. The scene softened, but it never became whole. (chapter 93) The fragmentation remained.

And perhaps this is precisely the point. Because what the painting was showing was not only a change in atmosphere—but a direction.

A destination. The forest. The mountain. The water.

Places that exist beyond the walls, beyond the roles they had learned to inhabit. And perhaps the scene in episode 93 makes this even clearer. (chapter 93)

This time, Kim Dan is the one facing the painting. He looks toward the landscape—the trees, the mountain, the water—while Joo Jaekyung sits beside it, almost turned away. The image is closer to him, placed on his side, and yet he does not truly see it. The distance between them has narrowed—but their orientations are not yet the same.

Kim Dan is already aligned with what the painting suggests. Joo Jaekyung is not. The destination is near him—but not yet accessible to him. And this is where their roles begin to shift. The painting is already announcing that doc Dan is taking the lead. Thus Joo Jaekyung followed him to the beach. (chapter 94)

Because if the painting indicates a direction—toward the woods, the mountain, a space beyond the structures that confined them—then it is Kim Dan who is able to recognize it. Not because he is stronger. But because he has already learned to move through loss without closing himself off. Hence he could confess in his drunken state and later recognize his feelings pretty quickly. (chapter 41)

And this is where the story quietly folds back onto itself. The puppy and the dog we are invited to remember… are no longer there. (chapter 94) They vanished from Doc Dan’s life, exactly like the puppy who is now buried near those same hills and trees. (chapter 59) The image of warmth we associate with it is, in reality, the trace of a loss. So he did not just lose his parents, but also pets.

Just like the painting. Just like the beach. What appears as beauty is never separate from what has been lost.

And yet—this is where Kim Dan becomes truly significant. Because despite that loss, he did not turn away.

He did not close himself off (chapter 57), nor reduce others to something distant or manageable. Instead, he remained capable of attachment. Of care. (chapter 7) Of returning, again and again, to places that carried pain—because they also carried meaning.

In this sense, the painting was never just a background. (chapter 93)

It was a quiet anticipation. Not only of the beach, or the conversation, or the emerging honesty—but of something more fundamental: a way of being. Not whole. Not free from fragmentation. But no longer frozen.

And perhaps this is why the image never becomes fully bright. Because what we are witnessing is not a completed transformation—but a movement. From silence to speech. From distance to presence. From loss… to the possibility of loving again.

And perhaps this is where the meaning of that moment on the beach becomes clearest. Because this is also where Joo Jaekyung begins to find an answer to a question he could not yet articulate: (chapter 93) “ The answer is not given to him directly. It appears in front of him on the beach. (chapter 94)

In the way Kim Dan looks at him—without distance, without calculation, without turning away. There is no performance in that gaze, no role to maintain. Only a quiet, unguarded presence. And in that moment, something shifts.

The one who had learned to distance himself, to objectify, to control… is now confronted with something he cannot reduce. Not strength. Not obligation. But something else. Something he does not yet fully understand — but can no longer ignore. Love. And perhaps this is why the image lingers. Because while the champion is still searching for words, the “child” has already sensed it.

Feel free to comment. If you have any suggestion for topics or Manhwa, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Twitter-Tumblr 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.

Jinx: The Man 👤 Who Knew Too Much 👮‍♂️ – part 2

I know that my avid readers were expecting an analysis of episode 94, especially because the conversation between the two main leads was so moving. Actually, the illustration and the title are already prepared. Beautiful, right? Yet I could not help myself returning once again to the criminals. My fascination with thrillers and investigations probably gives it away: when I read this story, I instinctively begin to examine every image, words and event like a detective reconstructing a case.

You may therefore wonder what triggered this sudden return to the question of conspiracy.

Surprisingly, it started with a very quiet panel. (chapter 94) In this moment we learn that Kim Dan lost his parents in an accident when he was a child, though we shouldn’t trust this confession as the truth due to the debts. Anyway, the word “accident” immediately resonates with a principle that has appeared again and again throughout the story: someone being at the wrong time, at the wrong place.

In Kim Dan’s case, however, the catastrophe is natural. It is not the result of manipulation or conspiracy. Fate simply intervened. The tragedy shaped his life, leaving him alone with his grandmother and forcing him to grow up prematurely. This explains the origins of his powerlessness and passivity. His entire existence is marked by the consequences of that accident. Yet precisely because this accident is natural, it casts a revealing light on the world of the criminals.

In their world, accidents are manufactured. (chapter 40) What appears to be coincidence is often carefully engineered.

The Criminal Method

When we examine the schemes surrounding Joo Jaekyung and Kim Dan, a recurring structure becomes visible. The antagonists rarely attack their targets directly. Instead, they create situations where events unfold in such a way that someone appears to have been caught at the wrong place, at the wrong time.

The pattern is remarkably consistent. First, the media narrative is prepared. Hence an article about his shoulder injury was leaked to the press. (chapter 36) At the same time, social medias were manipulated in order to stir public pressure and push the champion toward accepting the match in the States. (chapter 36) But we only discover this MO thanks to the match with Arnaud Gabriel and the Entertainment agency’s involvement. (chapter 81)

After the incident in the United States, the manipulation did not stop. On the contrary, it entered a new phase. The media reported that Joo Jaekyung had been suspended because of his temperament. (chapter 52) Officially, the story suggested that his own behavior had caused the problem. In reality, however, this removal also had another function: it cleared space for Baek Junmin’s rise. That’s the reason why the article with The Shotgun was placed directly below the star’s and why the director Hwang Byungchul accepted easily the disqualification of his former pupil. (chapter 71)

At the same time, the public image of the champion was gradually reframed. (chapter 54) He was increasingly portrayed as reckless and irresponsible for continuing to fight despite his condition. (chapter 54) In this new narrative, the original leak of confidential medical information was no longer treated as the real wrongdoing. The focus shifted entirely onto the athlete himself.

Rumors about the champion’s injuries, his unstable recovery, and his arrogance could now circulate in advance, so that any later setback—including a possible defeat in Paris—would appear understandable, even inevitable. (chapter 70) Once such stories enter public discourse—injury, temper, arrogance—every later incident can be read as confirmation. The narrative becomes self-reinforcing. The media no longer merely reports events; it prepares the framework through which future events will be judged.

Second, a destabilizing trigger is introduced. Often this takes the form of drugs or pharmaceutical substances. The drugged beverage in the United States (chapter 37) and the suspicious spray (chapter 49) used during the manipulated match both belong to this category. These substances create uncertainty about the athlete’s physical condition and about the legitimacy of his treatment. But this implies the involvement of the pharmaceutical industry. (chapter 41)

The third step in this pattern is the involvement of authorities and institutions. Once the destabilizing event has occurred, official actors step in: security personnel, referees, medical staff, health centers, or the sports organization itself. Their intervention transforms a chaotic incident into an officially documented event.

This stage is essential, because institutions possess something criminals do not: legitimacy. The incident in the United States reveals how institutional authority can be used to control the narrative. After the incident with the drugged beverage was reported to the MFC, security personnel intervened and brought Kim Dan into an interrogation room. (chapter 40) The scene resembled a police investigation, yet these men were not representatives of the state. Hence there was no translator and lawyer. They were dressed-up employees of a private organization whose primary objective is to protect the company from scandal and as such from losing money

During the interrogation, the agents attempted to frame Kim Dan by focusing on the “nutrition shake” he had allegedly consumed. He seemed to be part of a scheme. (chapter 40) At first glance, this strategy appears effective. By redirecting attention toward the therapist, the organization can distance itself from the real problem: the suspicious beverage that had been introduced into the environment of the fight.

However, the scheme overlooks an important detail. The incident did not remain entirely undocumented. (chapter 40) A doctor took a blood sample from Kim Dan, and the laboratory later produced a component analysis report. (chapter 41) This report becomes significant for two reasons. First, it confirms that the contamination was real. The substance had indeed been introduced into the environment surrounding the fight. Such a finding inevitably raises questions about how the drink entered the system controlled by the MFC. In order to avoid institutional responsibility, the organization therefore needed a convenient explanation—someone outside its sphere of influence who could be blamed for the incident, antis. (chapter 41)

Second, the timing of the report is revealing. The results of the component analysis appear in the very same episode in which the MFC doctors give their approval for the next fight. (chapter 41) This coincidence exposes another layer of the mechanism. While the laboratory analysis confirms that an illicit substance had been present, the medical authorities simultaneously authorize the champion to continue fighting. The two decisions cannot easily be separated. Together, they suggest that the involvement of the doctors helps stabilize the narrative: the suspicious beverage becomes a secondary issue, while the focus shifts toward the champion’s physical condition and his decision to fight despite his shoulder injury.

In this way, medical authority does not simply clarify the situation. It contributes to transforming a troubling incident into a new plot and manageable story. To conclude, the MFC medical authorities approving the fight are now part of the scheme, accomplices of the set up as well. Doctors have entered the chain of events. But why did all the employees (security agents, doctors) started helping? The fear of a scandal and the involvement of the media … and naturally loss of money (chapter 40) That’s why they needed a scapegoat. First Kim Dan, later antis and finally the athlete himself. And who fears a scandal in Jinx? One might say Park Namwook (chapter 31) who always hides behind authorities and shows distrust toward fighters. But he is just reflecting the attitude of the other MFC accomplices.

The same mechanism appears during the events surrounding the manipulated match and the switched spray. Joo Jaekyung’s ankle got injured after the substance had been used. (chapter 50) Observe that in the locker room, the coach declares the athlete as fit despite the injury before going to the health center. The chronology is important, as the MFC doctors have the final saying. So when the champion is taken to the health center before the fight. the responsibility is shifted.

By examining the athlete and clearing him for the match despite the injury, the medical authorities effectively became responsible for the decision that allowed the fight to proceed. In principle, such a medical examination should have resulted in documentation of several elements: the condition of the ankle, the treatment administered, and the circumstances surrounding the injury. But I am suspecting that the documentation was either ignored or deliberately minimized the ankle injury. Why?

Keep in mind that the narrative that later circulated in the media tells a different story. Instead of focusing on the injured ankle and the suspicious spray, the discussion shifted almost entirely toward the champion’s shoulder injury. (chapter 54) The public narrative portrayed him as reckless for continuing to fight despite his physical condition. The responsibility for the situation was therefore redirected toward the athlete himself. MFC’s notoriety remained clean, the employees were all safe, they were not facing any financial or legal repercussion contrary to the star. (chapter 54) Hence Park Namwook remained passive.

The later meeting at the restaurant confirms this strategy of containment. The CEO of the MFC (chapter 69) apologized for the behavior of the security staff toward one of Joo Jaekyung’s team members. (chapter 69) Significantly, this apology took place behind closed doors, not in front of the media, and doc Dan is still left in the dark about it. The goal was therefore not transparency but damage control. They were in reality attempting to bury everything, to buy some time, until the athlete would lose his next match.

By presenting the incident as the result of overzealous security agents, the organization could deflect attention from the more troubling questions raised by the drugged beverage and the switched spray, the lack of security and neglect. (chapter 69) The problem was reduced to a matter of manners rather than a potential security failure or institutional complicity. In this way, the apology functioned less as an admission of guilt than as a mechanism to close the case quietly before it reached the public sphere.

Interestingly, the executive describes the substance as a “fake supplement.” This terminology already reveals a subtle shift in language. The laboratory analysis had identified the compound as an aphrodisiac. In other words, a drug that can exist within the legal pharmaceutical sphere. By presenting the substance as a “fake supplement,” the organization avoids raising uncomfortable questions about the origin and distribution of the compound. The problem is no longer framed as the misuse of a pharmaceutical drug but as the circulation of a counterfeit product introduced by an external criminal actor. In this way, the language protects not only the organization itself but also the broader pharmaceutical system from scrutiny. And don’t forget that Doc Dan got informed about the connection between the rival gym and the parent pharmaceutical company in the States.

And now, the modus operandi of the villains and schemers becomes clear. When these incidents are considered together, a consistent criminal method emerges. The antagonists try to trap their targets like hunters. Instead, they construct situations in which events appear to unfold naturally while responsibility is quietly redirected elsewhere.

The structure remains remarkably stable: first a compromised situation is created, then a destabilizing act of sabotage is introduced, and finally responsibility is redirected toward a convenient scapegoat. In this way, institutions remain intact while the blame falls on expendable individuals.

This is how the underworld functions. Someone is always placed in the wrong place at the wrong time, and the lowest figures in the hierarchy—the minions—are left to take the fall. For this very reason, criminal organizations and drug cartels are notoriously difficult to dismantle: the system protects itself by sacrificing those at the bottom while the structures above remain untouched.

If this pattern truly governs the criminal strategy, then the attack against Kim Dan cannot be limited to a single incident. The physical therapist represents the most vulnerable element in the entire situation: he comes from poverty, lacks institutional protection, and his professional credibility can easily be questioned. For this reason, it is likely that the conspirators will attempt not one manipulation but several. And the last one will force them to expose their true nature: they are criminals and no doctors, directors or athletes (kidnapping).

These stunts will almost certainly revolve around the same thematic field that has already appeared in the story: wrongdoings, drugs and substances. Whether through medication (chapter 91), drinks , smoking, (chapter 65), or other forms of contamination, each incident would undermine Kim Dan’s credibility as a medical professional. If the therapist can be portrayed as irresponsible, incompetent, or compromised by substances, the institutional narrative could once again shift responsibility onto him.

Kim Dan and The Medical Trap

Once this mechanism becomes visible, the events in the locker room acquire a different meaning. At the very moment when the scheme reaches its decisive phase (chapter 52), Kim Dan is no longer present. After confronting him and suspecting a betrayal (chapter 51), Joo Jaekyung leaves the locker room alone and goes to the health center. And don’t forget that before, he even refused his treatment for the ankle injury before. (chapter 50)

As a result, Kim Dan is absent when the champion is treated at the MFC medical center and at the health center. (chapter 50) He therefore has no knowledge of what happens there: the medical examination, the decisions taken by the doctors, and the institutional narrative that later emerges from this encounter.

This absence is crucial. The criminal method described above requires the presence of a convenient scapegoat at the moment when the official version of events is constructed. (chapter 51) But this time, the pattern is disrupted. Kim Dan is not there when the institutions intervene.

Paradoxically, the accusation that drove Joo Jaekyung to distance himself from his therapist also removes him from the very situation in which he might once again have been blamed. The scapegoat has disappeared from the scene.

That’s why Joo Jaekyung had to take the blame for the outcome and the “scandal”, the brawl burying the incident with the switched spray!! (chapter 52)

To understand the consequences of this absence, we must therefore return to the locker room itself—where suspicion, photographs, and accusations first triggered the rupture between the two men. The confrontation in the locker room marks the moment when this criminal mechanism nearly achieves its objective. At this point in the story, suspicion has already begun to circulate around Kim Dan. (chapter 48) Photographs of him had been sent to Joo Jaekyung, suggesting that the physical therapist might have been communicating with Baek Junmin through the director of the other gym. (chapter 51) Confronted with these images and the growing confusion surrounding the match, the champion reaches a painful conclusion: that his roommate may have betrayed him.

In the locker room, this suspicion finally erupts into open accusation. (chapter 51) Joo Jaekyung confronts Kim Dan directly and demands an explanation. For the first time, the therapist is placed in the exact position that the criminal schemes had been preparing all along: the position of the possible traitor.

From the champion’s perspective, the logic seems simple. The photographs appear to show a connection between Kim Dan and his rival. While Joo Jaekyung believes he has finally uncovered the truth behind the sabotage, he is in fact reacting to a carefully constructed illusion. He is not realizing that the match was rigged, the jury and moderator had been bought. They had planned the tie. That way, MFc appears as a legitimate sports organization. The images and circumstances that appear to implicate Kim Dan are themselves part of the larger mechanism designed to redirect suspicion toward the most vulnerable figure in the entire situation. (chapter 51)

Timing, however, remains the key element in the criminals’ strategy: everything depends on placing someone at the wrong time and at the wrong place. Yet in this instance, the timing fails. The report of the incident surfaces only much later, after Potato hears about the situation. (chapter 52) By that point, the circumstances have already changed. The use of the switched spray introduces a new dimension to the case, and with it the possibility that another authority must intervene.

For the first time, the matter can no longer remain confined within the internal structures of the MFC. (chapter 52) The situation now risks attracting the attention of the police. As you can see, by remaining passive, Joo Jaekyung in his own way protected the physical therapist from real trouble. If he had truly blamed him, he could have “called” the police, but he did not.

In other words, the conspirators would have obtained their perfect scapegoat. The champion’s rejection therefore becomes a blessing in disguise. By removing Kim Dan from the scene, he prevents the therapist from being trapped inside the very mechanism designed to destroy him.

Baek Junmin and the Shadow of the Police

The appearance of the police in chapter 52 introduces an element that cannot be ignored. Up to this point, the incidents surrounding Joo Jaekyung have largely been contained within private structures: the MFC, its security personnel, and its medical institutions. These actors possess authority, but they remain part of a controlled environment where scandals can be managed internally.

The police represent a very different kind of authority. Interestingly, the narrative later reveals that Joo Jaekyung himself had previously spent time at a police station following an incident involving damaged property and a street fight. (chapter 74) The coincidence between these two moments—chapter 52 and chapter 74—suggests more than a simple narrative repetition. Both situations involve the same institutional actor: the police.

This connection raises an important question. Why does Joo Jaekyung immediately suspect Baek Junmin with the switched spray (chapter 51), when the pictures only show Choi Gilseok and he was not even present in the locker room?

The answer may lie in his own past experience. When the champion finds himself at the police station in the earlier incident, the situation appears similar to the pattern we have already observed elsewhere: a chaotic confrontation, witnesses present, and a narrative that quickly identifies him as the responsible party. Moreover, observe that during that night, the future champion (chapter 74) has a similar wound on the forehead than The Shotgun. (chapter 74) If Baek Junmin had orchestrated that earlier event, the strategy would have been simple but effective. Instead of attacking his rival directly, he could create circumstances that forced the authorities themselves to intervene. But why would he involve the police, when he is involved in the criminal world? Such a tactic would allow him to remove or weaken Joo Jaekyung without openly violating the protection imposed by his hyung (chapter 74), who had explicitly forbidden him from harming the champion.

In this scenario, the police become an instrument. By manipulating witnesses—perhaps even paying students who had previously been bullied (chapter 74) —Junmin could ensure that the story presented to the authorities pointed toward Joo Jaekyung. For the students involved, the arrangement would offer a practical advantage: financial compensation and a chance to escape their own precarious situation. But for that stunt, The Shotgun got to pay a heavy price: not only the scar on his forehead (chapter 93), but also a life in the shadow forever. It is clear that he could never get rich and famous through his illegal fights. Hence he resents the main lead so deeply.

The result would be a classic example of the principle that governs the criminal world depicted in the story: placing someone at the wrong time and the wrong place. His suspicion toward Baek Junmin does not arise from speculation alone. It is grounded in experience.

If this interpretation is correct, Baek Junmin’s strategy becomes clear. By orchestrating a situation that attracts police intervention, he can remove his rival without ever directly attacking him. IMO, he is on his way to play a similar trick than in the past. Hence he looks at the calendar, timing is essential. (chapter 93) The authorities perform the task that Junmin himself is forbidden to carry out.

Moreover, the champion understands another important rule of the criminal world: organized crime usually avoids the police whenever possible. The mob prefers to settle conflicts quietly through money, intimidation, or internal arrangements. Calling the authorities risks exposing the entire network. This interpretation also explains why Joo Jaekyung doesn’t report the trespassing and assault to the authorities. (chapter 18) He knows how the criminal world functions.

Thus I deduce that with this new offer to the former hospital director, the Shotgun is involving not only the medical world more deeply into the scheme, but also the police. (chapter 91) The article reports that the director of X General Hospital was accused of sexual harassment by several members of the hospital staff. The scandal eventually forced the institution to suspend his medical license. Yet the wording of the report also exposes an important detail: the hospital reacted slowly, and the affair was handled primarily as an internal disciplinary matter.

In principle, repeated sexual harassment by a hospital director should not remain merely an administrative issue. Such actions constitute criminal offenses and could have led to a police investigation. Instead, the institution appears to have contained the scandal within its own structures.

In other words, the hospital followed the same logic that we have already observed in the MFC and within the criminal world itself: avoid the police whenever possible. The reasons are obvious. Once law enforcement becomes involved, internal arrangements lose their power and other crimes could come to the surface. Reports are reopened, testimonies are examined, and the entire chain of responsibility may become visible.

Another important ingredient of this plot is silence. The scandals are not denied outright; they are contained, privatized, and buried. The MFC admits the set-up only behind closed doors. The hospital treats criminal behavior as an internal disciplinary matter. The underworld, for its part, prefers money and intimidation to police reports. In each case, silence becomes a tool of power. What remains unspoken protects the system. That’s why the witnesses and victims need to speak up and report the crimes. Doc Dan has not reported the assault yet: (chapter 90)

Seen from this perspective, the Shotgun’s proposal to the disgraced director acquires a new meaning. By recruiting a figure who already stands at the intersection of scandal and institutional cover-up, he introduces another fragile element into the situation. The director represents a man whose career collapsed precisely because a scandal nearly escaped the control of the institution that protected him. But in his eyes, he stands for “respectability and trust”, as he is called doctor. (chapter 93)

If such a person becomes involved in the scheme against Joo Jaekyung and Kim Dan, the consequences could extend beyond the criminal underworld or the sports organization. The medical world itself—and potentially the legal system—may be drawn into the conflict.

In that sense, the Shotgun’s move does not merely deepen the conspiracy. It risks bringing the one actor that all these systems usually try to avoid: the police. A lesson that he didn’t learn from the past.

And now you may wonder why I remain so focused on the earlier episodes instead of concentrating entirely on episode 94. The reason lies precisely in what this scene reveals.

The conversation between Joo Jaekyung and Kim Dan makes something suddenly clear: together, they embody the opposite principle of the one that has governed the criminal schemes throughout the story. (chapter 94) Up to this point, the antagonists have relied on a simple but effective strategy. By manipulating circumstances, they repeatedly place others at the wrong place and at the wrong time. Each incident—whether involving the media, drugs, or institutional authorities—follows this logic. Someone is caught in a situation carefully arranged by others and must carry the consequences.

Episode 94 breaks this pattern. (chapter 94) There is trust, recognition, admiration and open-mindedness. In their mutual confession, the two protagonists do something that none of the criminals ever achieve: they seize the moment at the right time and in the right place. They speak and listen to each other. Instead of being manipulated by circumstances, they recognize the opportunity before them and act upon it.

The result is not merely emotional reconciliation. It quietly undermines the very mechanism that has been used against them. For the first time, the logic of coincidence and manipulation no longer dictates the outcome.

Turning the Method Against the Criminals

Yet the story introduces an important twist. The main couple gradually learns to use the same modus operandi against their enemies: at the right time and the right place. (chapter 59) (chapter 79) (chapter 94)

A revealing example occurs when Joo Jaekyung publicly challenges Baek Junmin after the fight against Arnaud Gabriel. (chapter 87) By issuing the challenge in front of the cameras, the champion forces the MFC to respond. Even though the season had effectively ended, the public nature of the declaration creates pressure that the organization and the media cannot easily ignore.

In that moment, Joo Jaekyung takes control of the narrative.

Baek Junmin suddenly finds himself in the same position that his victims usually occupy: he cannot escape the situation. Instead of manipulating time and circumstances, he must react to them. His glance toward the calendar reveals his awareness that the timing is no longer in his control. (chapter 93)

The antagonists attempt to regain that control by scheduling events close to Christmas, a moment when institutions and public attention may be distracted. Time itself becomes another instrument within the conflict. A second possibility also emerges from the same logic of timing. If the grandmother were to pass away soon (chapter 94), the situation could disrupt the plans surrounding the anticipated fight with Baek Junmin.

A funeral represents the ultimate example of being at the wrong place and at the wrong time. Death does not follow the schedules of sports organizations or criminal schemes. It interrupts them. In such circumstances, Joo Jaekyung might decide not to appear at the match himself and instead send a replacement fighter, much as similar substitutions have already occurred in the past. (chapter 47)

But the champion’s public statement has already changed the balance of power. By drawing the attention of the media and the authorities, he forces figures like Choi Gilseok to operate under pressure and make mistakes. The latter must begin bribing officials and manipulating the environment simply to buy time. The system that once protected the criminals begins to turn against them.

The Man Who Knew Too Much

This development also explains the deeper meaning behind the title “The Man Who Knew Too Much.”

Knowledge in this story does not come from theory or speculation. It comes from experience. (chapter 94) Joo Jaekyung has survived the criminal world long enough to understand how its mechanisms operate. Through his actions, he gradually passes this knowledge on to Kim Dan. (chapter 88)

He taught him how to swim. He taught him how to fight. He taught him how to take care of himself and to express his opinion and desires. In other words, Kim Dan came to internalize that he also deserved respect. (chapter 91) The athlete exposed him to situations that forced him to grow stronger and more independent. He shared his thoughts and philosophy to his “pupil” as well (chapter 94) so that at the end, Kim Dan admits to see him as a “younger sibling”. (donsaeng in Korean) (chapter 94)

Yet his transformation has another consequence. Kim Dan has also become both a witness and a target of the champion’s jinx. By standing beside Joo Jaekyung, he has been drawn into the very chain of manipulations that once isolated the athlete. He can expose the existence of money laundering.

For the first time, the couple begins to grasp wrongdoings and even understand how this mechanism works. And once someone understands the trap, the outcome of the game can change.

The criminals may continue to rely on their favorite principles— money and placing others at the wrong place and at the wrong time. But the situation has now changed. In fact, the schemers will end up being caught at the wrong time and at the wrong place.

Until recently, however, Joo Jaekyung himself was unable to expose Baek Junmin openly. One reason lies in a more personal burden: shame. (chapter 94) The champion carried the weight of his past—his violent environment, the humiliation he endured, and the circumstances that shaped his rise. Speaking about these events would have meant revealing parts of his life he preferred to bury. (chapter 94) The conversation on the beach changes this dynamic. By confessing his past to Kim Dan, Joo Jaekyung frees himself from the silence that had protected his enemies. The shame that once prevented him from speaking begins to lose its power.

And once the athlete is no longer bound by shame, he can finally do something he had avoided for a long time: he can speak and reveal his knowledge to the media.

Feel free to comment. If you have any suggestion for topics or Manhwa, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Twitter-Tumblr 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.

Jinx: The Man 👤Who Knew Too Much 🕵️‍♂️-part 1

Sorry for the hiatus, but as you can imagine, it is related to my work. I recently got more responsibilities.

The Importance of Knowledge

Many classic thrillers have explored the dangerous consequences of knowing the wrong thing at the wrong time. Alfred Hitchcock once built an entire film around this very idea: someone who accidentally discovers too much becomes a threat. In The Man Who Knew Too Much, knowledge is not merely information—it is a liability.

The moment someone understands how the hidden mechanism works, that knowledge becomes dangerous. Insight is inseparable from the plot itself, because it exposes the existence of a conspiracy. To know too much therefore means to become a threat to those who depend on secrecy. Information stops being neutral; it transforms into a risk that must be contained, silenced, or eliminated. The moment a hidden truth surfaces, those who possess it risk becoming targets themselves. Episode 93 of Jinx seems to echo this logic. (chapter 93) Beneath the apparent calm of the chapter lies a growing tension: secrets circulate quietly, alliances remain uncertain, and certain characters may already know more than they should. (chapter 93)

At first glance, the chapter appears to focus on the evolution of the relationship between Joo Jaekyung and Kim Dan. (chapter 93) linked to their previous night together. During the night they shared, the invisible wall that once separated them seemed to disappear completely. Their intimacy was no longer defined by domination or obligation. Instead, the encounter suggested equality (position of 69)(chapter 92) and reciprocity—an exchange, as Joo Jaekyung himself described it, of “give and take.” (chapter 92) In a striking reversal, Kim Dan took the initiative (chapter 92), after being asked about his own desires. (chapter 92) He was no longer driven by shame, debt or obligation. (chapter 92) For the champion, the moment carried the weight of something deeper than physical pleasure (chapter 92), for he was able to give pleasure to his partner. Thus his self-esteem could only be boosted. For Kim Dan, however, it remained simply sex. (chapter 92) The imbalance between their interpretations already foreshadowed the tension that would emerge the following morning.

That tension becomes visible when Kim Dan calmly refuses Joo Jaekyung’s attempt to continue taking care of him. (chapter 93) For the first time, he establishes a clear boundary. The gesture signals a new stage in his personal development: for the first time, Doc Dan speaks as a professional, as a physical therapist (chapter 93) who knows his role and his responsibilities. He refuses the help with the meals not out of pride, but because he clearly frames it as part of his job. In the past, he would have simply listened, letting others decide or speak in their name (chapter 42); now he asserts his own authority and expertise. But just as this moment seems to mark a quiet step forward in their dynamic (chapter 93), the narrative abruptly widens its focus, drawing the reader away from this personal shift toward a far more ominous development unfolding elsewhere. (chapter 93)

Far from the intimacy of the penthouse, Baek Junmin appears surrounded by an invisible barrier (chapter 93) separating him from Choi Gilseok and Heo Manwook. The atmosphere of that scene is strangely detached. Junmin seems unconcerned with the financial urgency discussed around him; his attention is fixed instead on the cellphone. Yet the readers cannot see what he is watching (chapter 93), while he casually blows a bubble of gum, creating a small moment of distraction that contrasts with the tension of the conversation around him. Only when he eventually reaches for the calendar on the desk, (chapter 93) does the focus of his attention become clear: the approaching match. What matters to him is not money, but time. What seems to occupy his mind is not the money being discussed, but the ticking clock before the fight—suggesting he may be searching for a way to reclaim his standing, restore his reputation, and probably settle an old score. But if this is indeed his objective, one question inevitably arises: what kind of weapon does he intend to use?

The cover illustration accompanying this essay proposes one possible answer. Rather than depicting a single event, it visualizes the network of hidden connections surrounding Baek Junmin: the underworld figures who support him, the organizations that benefit from his actions, and the champion who stands at the center of these intersecting interests. In such a configuration, information itself may become the most dangerous tool. If certain characters possess fragments of the past — memories, secrets, or assumptions about who Joo Jaekyung once was or about the physical therapist — then exposing or manipulating that knowledge could prove far more destructive than any physical confrontation.

This leads to the central question of this essay: who, in this story, truly knows too much—or believes that they do—and what happens when that knowledge is finally brought to light?

The Office – Where the Readers Begin to Know Too Much 😮

Episode 93 opens in a location that immediately signals danger: the office of Heo Manwook (chapter 93). The place is recognizable because the interior furniture (chapter 93) matches the office previously shown in episode 46. (chapter 46) Yet even before examining the room itself, the exterior sign already introduces an intriguing ambiguity. The building is labeled (chapter 93) “Errand Center – Repo – Demo.” At first glance, the name suggests a mundane service business. An errand center typically performs small tasks for clients—delivering packages, transporting items, or running administrative errands. Thus shortly after, Jinx-philes discover that a package has been successfully delivered. (chapter 93) The additional terms reinforce this impression: “repo” evokes repossession services that recover unpaid property, while “demo” suggests demonstrations or promotional tasks. Taken together, the sign appears to advertise a collection of ordinary logistical services.

However, within the narrative context the meaning becomes far more unsettling. Each of these activities revolves around the same principle: carrying out tasks on behalf of someone else. (chapter 93) The vocabulary is deliberately neutral, but the logic easily translates into criminal practice. Errands can become intimidation missions, repossession can turn into violent debt collection, and demonstrations can serve as distractions or staged incidents. The apparently harmless name therefore functions as a façade, masking a network that organizes coercion, surveillance, and illegal gambling operations. Even the office furniture contributes to this illusion. (chapter 46) The couch and armchairs resemble the kind of seating commonly found in legitimate businesses—familiar from many office settings in K-dramas—suggesting a place where clients might calmly sit down to discuss matters. Yet the scene reveals a striking contrast: no one actually uses this furniture except Baek Junmin. (chapter 93) The debtor is instead beaten near the entrance, deliberately kept far away from the seating area. In this way, the loan shark and his men ensure that the couch and chairs remain untouched, almost as if they were props. (chapter 93) The furniture thus reinforces the same strategy as the office name itself: it maintains the appearance of a respectable business while the violence of the operation is carefully kept out of sight.

This principle of delegated action (chapter 93) reveals something deeper about the structure of the organization itself. (chapter 46) At first glance, the office appears to belong to Heo Manwook (chapter 93), who confronts victims and manages the loan shark operation. Yet the scene gradually reveals that he is less a true mastermind than a frontman—a visible intermediary who handles the dirty work. (chapter 46) Hence he calls Choi Gilseok “boss” and asks about the current situation. (chapter 93) Behind him stands Choi Gilseok, the director of King of MMA, who clearly exerts greater influence over the situation. He coordinates financial decisions, negotiates with outside contacts, and attempts to contain the consequences of the recent scandal. And yet even Choi Gilseok is not the ultimate authority. (chapter 48) In episode 48, he revealed that his actions were connected to a parent pharmaceutical company (F Pharmaceuticals), suggesting that the criminal activities surrounding the fights, betting, and intimidation may ultimately serve a larger financial structure. In that sense, the Errand Center name becomes almost literal: every actor in this network appears to be running errands for someone higher in the hierarchy, forming a chain of delegated power in which responsibility constantly shifts upward.

This ambiguity becomes even more striking when one considers Kim Dan’s own situation in season 1. In order to offer an expensive gift to Joo Jaekyung, he took a job as a courier (chapter 42), delivering food or packages across the city during the night. His work is built on the same basic principle: completing tasks and transporting items for others which exposed him to dangers and shame. (chapter 42) The parallel is subtle but revealing. While Kim Dan runs legitimate errands for the athlete’s sake, the criminals in the Errand Center perform their own “services” within the shadow economy. Both operate within a system of delivery and obligation—yet one side does so out of feelings, while the other exploits the structure for predatory purposes. Gratitude versus Greed.

Thanks to my friend @Rin_de_eegana, I discovered that the Japanese translation

even labeled the place as a “detective agency,” a term that evokes investigation, surveillance, and the gathering of information. At first glance, the presence of such an office might suggest a professional organization specialized in surveillance and intelligence gathering. Earlier in the story, this is precisely the impression the narrative created. Kim Dan’s background was carefully investigated: photographs were secretly taken, a dossier was assembled, and details about his personal life were documented (chapter 46). The operation looked methodical, almost professional, as if a genuine investigative agency had been hired to monitor the champion’s environment.

Yet, the office scene in chapter 93 quietly dismantles that illusion. (chapter 93) Choi Gilseok, Heo Manwook and his minions are not behaving like investigators at all. No one is collecting new information. No one is analyzing evidence. Instead, the conversation revolves around debts, payments, and damage control. The supposed detective agency suddenly looks much closer to what it truly is: a loan shark operation that had previously hidden behind the façade of investigation. (chapter 93)

This shift becomes particularly visible in the dialogue between the director of King of MMA and Heo Manwook. The latter asks whether the situation has been “sorted.” (chapter 93) The reply reveals the underlying problem: they have already spent a considerable amount of money cleaning up the mess connected to Joo Jaekyung. The champion’s televised revelation has created waves. People had to be silenced, favors had to be paid, and the organization now finds itself under financial pressure. Choi Gilseok even admits bluntly that money is tight.

The financial tension visible in the office scene becomes even more revealing when one recalls an earlier accusation made by Heo Manwook in front of Kim Dan. (chapter 11) At that moment, the loan shark explicitly raised the possibility of money laundering. This detail suddenly casts the entire network in a different light. The illegal gambling operations visible on Heo Manwook’s computer are therefore not merely a source of profit; they may also serve as a mechanism through which larger sums of money circulate and are quietly reintegrated into the legal economy. (chapter 46) In this structure, Choi Gilseok himself appears less like the true mastermind than another intermediary in a much larger financial chain.

In episode 48, Gilseok revealed that his activities were connected to a parent pharmaceutical company (chapter 48), suggesting that the underground fights and betting operations might ultimately serve broader corporate interests. Yet the director of King of MMA does not behave as a purely obedient subordinate either. (chapter 46) In chapter 46, he was already acting behind the back of that parent company, manipulating events to influence the outcome of the fight. Later developments—such as the conversation at the café with Kim Dan and the suspicious use of the spray—suggest that he may eventually have received support from that higher structure. (chapter 49) At the same time, however, the director of the gym clearly took personal risks. By secretly betting on the “underdog” (chapter 52) and manipulating the situation through the switched spray, he appears to have pursued his own strategy within the system.

This double game helps explain why the organization now finds itself under financial strain. The fake director of the gym was not simply executing orders; he was gambling within the laundering mechanism itself. When Joo Jaekyung publicly exposed the situation on television, the carefully balanced financial structure began to wobble. Joo Jaekyung’s public provocation therefore did more than damage reputations—it interfered with the flow of money itself, forcing the network to spend resources on bribes and damage control while threatening the laundering pipeline that sustained it. Yet earlier in the story, the logic had been very different. As Park Namwook once remarked, Jaekyung’s fame made him the fighter who would “rake in the most cash.” (chapter 46) In other words, the champion was originally the system’s most valuable asset. His visibility and reputation attracted attention, betting activity, and therefore profit. However, once he disrupted the carefully orchestrated mechanisms behind the fights, that same visibility became dangerous. The athlete who once generated the most revenue suddenly turned into the network’s greatest liability. From that moment onward, the logic of profit shifted into the logic of elimination.

The sequence of panels reveals another layer of the network. Choi Gilseok is first shown speaking with a person (chapter 93) who may be connected to the police in a surprisingly casual tone, thanking him and even suggesting they play golf together. The expression “I’m glad it arrived safely” implies that the unknown person must have received some hush money. Rather than a confrontation between criminals and investigators, the conversation suggests familiarity and mutual benefit. Only later does he mention that they need to “wrap this up before the fuzz makes a move.” On the surface, this sounds like fear of law enforcement, but placed after the friendly phone call, the line reads less like genuine concern and more like a reminder to settle matters quickly before any official attention becomes inconvenient. In other words, they are attempting to buy some time, to interfere in the investigation so that they don’t get caught.

This moment becomes even more intriguing when one remembers an earlier scene involving Yosep. (chapter 52) After the dressing-room incident, Yosep reported the situation to both the MFC and the police, turning this incident into an official and legal issue. Yet the investigation immediately encountered a convenient obstacle: there were no cameras in the dressing room, meaning the case would take time to resolve. If the officer Choi Gilseok is speaking with belongs to the same network (police or MFC), the investigation itself may already be entangled in the system it is supposed to expose. But the revelation in the media made it impossible to bury it for good, as it was exposed to the “world”.

But there is another visual clue that deepens this interpretation. (chapter 93) If attentive readers look closely at the surroundings of the office in chapter 93, they will notice the presence of the rival gym King of MMA located next to the loan shark’s headquarters. This small detail quietly reveals the proximity between the world of professional MMA gyms and the underground economy of illegal fights and gambling. The boundary between legitimate sport and criminal activity appears far thinner than it first seemed. The gym known as “King of MMA” stands almost literally beside the loan shark operation, hinting at the structural connections that bind them together.

In this sense, the office scene becomes a place where readers begin to perceive the outlines of a hidden system. Throughout the story, they have witnessed conversations from multiple perspectives: between the protagonists and villains (chapter 48), between the loan shark and the director (chapter 46), and within the MMA world (chapter 69). They know, for instance, that Heo Manwook once misunderstood the name “Team Black,” interpreting it as a brothel rather than a gym (chapter 16). Jinx-Lovers have seen fragments of the schemes unfolding behind the scenes and can therefore begin to assemble the existence of several overlapping plots.

And yet, despite these clues, the full picture remains incomplete. One crucial element still escapes both the characters and the audience: the identity of the person who secretly took the photographs of Kim Dan and Joo Jaekyung (chapter 46). If Heo Manwook’s organization—the supposed detective agency—had truly conducted that surveillance, they would already recognize Kim Dan and understand his connection to the gym. Moreover, the earlier phone conversation between the hyung and the loan shark indicates that Choi Gilseok already possessed those photographs while sitting in his own office at the gym. This strongly suggests that the person who gathered that information did not belong to the Errand Center at all.

The office therefore becomes the starting point of a different kind of investigation—not one carried out by the characters inside the story, but by the readers themselves. By piecing together scattered details across multiple chapters, Jinx-lovers gradually uncover the outlines of a conspiracy that none of the individual actors fully control. Somewhere in the shadows, (chapter 33) (chapter 46) (chapter 48) another observer must exist—someone who collected information long before Choi Gilseok revealed his second scheme to his right-hand. While the men in the office rush to repair their collapsing financial operation (chapter 93), the audience slowly realizes that the true structure behind these events may be far larger than any of them suspect.

Yet in this very moment another development quietly takes place. For once, Baek Junmin does not remain in the shadows behind his hyung, behind Choi Gilseok, or behind the criminal hierarchy. (chapter 93) He speaks himself. Addressing the disgraced hospital director, he offers to erase the man’s debt—on the condition that he carries out a task for him. (chapter 93) The threat that accompanies the proposal is unmistakable: failure will be punished with death.

In doing so, Junmin transforms the doctor’s debt into an instrument of coercion. (chapter 93) The indebted man is no longer merely a victim of the loan-shark system; he is being recruited as an expendable agent within a new scheme. Ironically, this moment also marks the point where Junmin unknowingly pulls another institution into the conspiracy. (chapter 91) By involving a former medical authority in an illegal act, he brings the corrupted medical world to the surface and connects it directly to the network of underground betting and money laundering.

What Junmin likely perceives as a safe and clever manipulation may therefore function as something far more dangerous. By offering to erase the doctor’s debt in exchange for a task, he believes he can remain safely removed from the action itself. (chapter 93) That’s why he is smirking. The wrongdoing will be carried out by someone else, allowing him to stay in the shadows as he always has. Yet Junmin underestimates the weight of his own words. (chapter 93) In both the criminal and the legal worlds, speech itself carries responsibility. A spoken order, a promise, or even the disclosure of information can create liability. The story has already demonstrated this elsewhere: the leaking of Joo Jaekyung’s patient file triggered legal consequences and led the champion to file a lawsuit against the hospital. (chapter 42)

Junmin’s proposal therefore does more than recruit a desperate man—it transforms him into the author of the scheme. (chapter 93) Hence the director asks him this question. He is now taking the lead. Knowledge and liability become inseparable. Once the doctor accepts the offer, Junmin’s words effectively pull the trigger: the moment the deal is spoken aloud, the hidden system that sustained the illegal fights begins to lose its stability. By drawing the corrupted medical world directly into the operation, the fighter who once thrived in the shadows may in fact become the spark that accelerates the collapse of the entire machine. I would even add, with this new stunt, he is not realizing that he could be blamed for the past crimes (drugged beverage, switched spray etc.).

Heo Manwook – The Hand of the Machine

Before turning to Baek Junmin’s intervention, it is worth examining the role of Heo Manwook more closely. Throughout the story, the loan shark repeatedly threatens the hands of his victims. (chapter 16) Doc Dan’s hand got crushed and the former hospital warden is warned that he might lose his fingers; thus he might no longer be able to work. (chapter 93) The threat is not random. It reveals the symbolic position Heo Manwook occupies within the criminal structure.

Heo Manwook represents the operational hand of the system. While others design schemes or manipulate financial flows, he executes the violence that keeps the network running. His task is not to think strategically but to enforce obedience: take care of the illegal gambling site (chapter 46), collect debts (chapter 11), intimidate victims, and ensure that money continues to circulate through the laundering mechanism. In this sense, the repeated focus on hands and fingers becomes meaningful.

The hand is the instrument of action (chapter 93) —the part of the body that allows people to work and generate the very income he seeks to extract. By threatening to destroy his victims’ hands, however, Heo Manwook undermines that capacity himself. The gesture exposes a certain narrow-mindedness: his violence contradicts the economic logic he is supposed to enforce, revealing not only his cruelty but also him as an enforcer who acts impulsively rather than strategically.

Yet the irony of his position becomes increasingly visible. Although he runs what appears to be a “detective agency,” he repeatedly demonstrates an inability to perform the most basic function of investigation. (chapter 11) When he confronts Kim Dan about the origin of the money used to repay his debt, he does not rely on financial records or systematic research. Instead, he interrogates the doctor through intimidation and violence. The encounter in episode 16 occurs almost by coincidence, when he meets Kim Dan on the street and hears about his imminent moving (chapter 16) rather than locating him through documentation or surveillance. This observation corroborates my previous deduction: he is not the one following the physical therapist in secret and taking pictures of him. Secondly, observe his reaction, when he reads the money transfer: (chapter 16) The loan shark reads the name quickly or without interest, so that he can only remember the most striking word. In this case, “Black” stands out, while “Team”—a generic word—disappears from his memory. So his phrasing suggests he did not pay attention to the full name. This displays his lack of professionalism. He doesn’t investigate carefully.

Even his interpretation of evidence proves unreliable. Upon seeing the name “Team Black,” his minions and Heo Manwook quickly assume that it refers to a brothel. (chapter 16) Instead of verifying the information, he projects his own criminal assumptions onto the situation. (chapter 16) The supposed detective agency therefore produces not knowledge but distortion. Rather than gathering reliable intelligence, it generates blind spots that weaken the entire network. In this sense, the situation ironically echoes the logic behind The Man Who Knew Too Much. In Hitchcock’s story, the danger lies in possessing knowledge that exposes a hidden conspiracy. In Heo Manwook’s case, however, the problem emerges from a different form of knowledge: experience. Years of operating in the criminal underworld have convinced him that he already understands how the world works. Hence he misjudged the champion’s skills. (chapter 17) Instead of investigating carefully, he interprets every new piece of information through the lens of his past encounters and knowledge. His boss is rigging fights, so the others must do the same. When confronted with the name “Team Black,” he immediately assumes it must refer to a bar or brothel. What appears to be practical experience therefore becomes a liability. The man who believes he knows reality best may in fact be the one most vulnerable to misreading it.

This failure becomes particularly significant when one considers his connections to the medical underworld. During his threats, Heo Manwook casually refers to organ trafficking (chapter 93), suggesting that his operations intersect with the shadow side of the medical system. Such activities require the knowledge and complicity of doctors. The earlier intimidation of Kim Dan and the threats directed toward his grandmother (chapter 11) (chapter 16) demonstrate that Heo Manwook was already operating within that gray zone where medicine, crime, and financial exploitation overlap. It is therefore not surprising that the disgraced hospital director later appears within this environment. The medical world has long been entangled with the loan shark’s activities and this through Choi Gilseok who has a connection to a pharmaceutical company.

At the same time, however, Heo Manwook himself occupies a precarious position within the hierarchy. Although he runs the office and commands his subordinates, his authority is ultimately dependent on Choi Gilseok. (chapter 46) The phone calls between the two reveal a relationship defined by obedience. When Choi Gilseok reprimands him for the failed scheme, Heo Manwook immediately accepts the criticism and follows his orders. (chapter 46) The “hand” of the organization may execute violence, but it does not decide the strategy.

Visually, the story even reflects his gradual loss of power. Earlier confrontations often depict Heo Manwook towering over his victim (chapter 16), emphasizing the asymmetry between predator and prey. Yet when he threatens the disgraced hospital director, the composition changes subtly. (chapter 93) The two men are positioned almost at eye level, confronting one another on the same plane. The shift is striking. The man who once dominated every encounter now appears lowered, forced into a confrontation with someone who mirrors his own corruption. The hierarchy begins to flatten. This visual transformation acquires an additional meaning when one recalls Joo Jaekyung’s realization in episode 91. (chapter 91) Reflecting on the men who had abused Kim Dan, the champion bitterly admits that he is “no different from the fuckers who took advantage of you.” Although Jaekyung is still unaware that Heo Manwook actually attempted to rape Kim Dan earlier in the story, the scene nevertheless establishes an unsettling parallel between different forms of abuse of power. The disgraced hospital director exploited his authority as a physician, while the loan shark uses violence and intimidation to dominate his victim. Both belong to the same shadow world where institutional positions become instruments of exploitation.

In this sense, Heo Manwook also resembles another figure hinted at by the narrative’s broader thematic references: the “man who knew too much.” As the operator of the supposed detective agency, (chapter 17) he possesses extensive knowledge about the hidden mechanisms of the criminal network — rigging fights, illegal betting, debt collection, organ trafficking, and even the exploitation of vulnerable individuals. Yet this knowledge does not grant him control; instead, it entangles him more deeply in the system’s corruption. The more he knows about its secrets, the less clearly he perceives reality. Years of operating within the criminal network have isolated him from the logic of the legal world. Surrounded by corruption, intimidation, and bribery, he gradually begins to believe that these mechanisms can shield him from any real consequences. The knowledge that once gave him power therefore becomes a distortion: it convinces him that he can act with impunity, imagining that the system protecting him will always remain intact. What once appeared to be power gradually reveals itself as liability. I would even add. This protection could only function as long as the system itself continued to run smoothly. It depended on the uninterrupted flow of money circulating through the laundering network. The moment that flow is endangered—when bets collapse, scandals emerge, and funds begin to disappear—the shield of protection weakens. Figures such as the director of the gym and the loan shark suddenly become far more exposed than before.

Another recurring element reinforces this tension: the knife. Earlier in the story, Heo Manwook is already associated with the sudden appearance of a blade during his confrontation with Joo Jaekyung. (chapter 17) The weapon signals impulsive violence rather than calculated strategy. (chapter 17) The knife belongs to the realm of direct physical force—the crude instrument of someone who acts rather than plans. At the same time, this weapon reveals why Heo Manwook believes that his power and strength are real. The latter stands for ultimate violence, someone can die with such a weapon. However, like exposed in a previous essay, MMA fighters can still die with bare hands. A wrong move or a mistake … (chapter 25)

Striking is that the attack with the knife did not occur in an open fight. (chapter 17) Instead, the weapon appeared abruptly from behind, transforming the encounter into an act of treachery rather than a fair confrontation. The knife therefore becomes a symbol of unfairness, backstabbing and betrayal. Rather than representing courage or open combat, the weapon exposes the opposite: deception, hypocrisy, and cowardice. Heo Manwook and his men do not confront their victims openly. Instead, they rely on tools—blades, bats, and intimidation—to frighten and wound those who cannot defend themselves.

This symbolism becomes even more striking when placed next to Baek Junmin’s later threat toward the disgraced hospital director. (chapter 93) When Junmin swears to “gut him like a fish,” the language itself evokes the imagery of a blade. Even though no weapon appears in the panel, the metaphor unmistakably suggests the act of cutting open a body. The threat therefore carries the same symbolic weight as the earlier knife attack: violence delivered through sudden, treacherous intervention rather than through open confrontation.

At the same time, Baek Junmin’s words unintentionally reveal something about the world he comes from. Earlier conversations among fighters hint that illegal matches often involve hidden weapons and brutal ambushes rather than regulated combat. (chapter 47) The underground arena operates according to entirely different rules, where knives are not anomalies but part of the environment. In this sense, Junmin’s threat does more than intimidate the former hospital director—it exposes the violent logic of the system that produced him.

This background also helps explain the visual markers associated with the fighter himself. (chapter 93) The scar crossing his face suggests past encounters with blades, while the demon tattoo carrying a knife in its mouth reinforces the imagery of violence as an ever-present companion. In the world of illegal fights, the blade is not merely a weapon. It is a sign of survival within a system where betrayal, ambush, and hidden violence are part of the rules.

Seen from this perspective, the knife becomes a recurring motif that links several narrative threads: the cowardly intimidation practiced by the loan shark, the brutal culture of underground fights, and the language of threats used by Baek Junmin. Each instance reveals a world where violence is rarely honorable. Hence it is rather fake, though both men believe that they are “real” and as such “strong”. Instead, it appears as something sudden, concealed, and treacherous—an instrument of systems that operate in the shadows rather than in the open.

Ironically, the greatest vulnerability of the loan shark is not a rival fighter, the police, or even the collapsing betting scheme. His true Achilles’ heel lies in a far more mundane object: the cellphone and as such the digital world. From the beginning, Heo Manwook demonstrates a profound distrust of digital evidence. Even after Kim Dan transfers the expected amount of money for the month, (chapter 11) the loan shark refuses to rely on the transaction itself. Instead of trusting the digital record, he personally visits Kim Dan and continues the physical abuse. In his worldview, confirmation must come through intimidation rather than documentation.

Yet this instinct reveals a crucial blind spot. The system he participates in increasingly operates through precisely the kind of digital traces he refuses to respect. (chapter 17) When Joo Jaekyung later transfers the money directly to him using his own phone (chapter 17), the transaction itself becomes a form of evidence. What Heo Manwook perceives merely as a convenient payment leaves behind a record — one that cannot be erased by violence. The phone quietly transforms the power dynamic: intimidation may silence witnesses, but it cannot erase a transaction history.

This weakness becomes even more visible when the narrative contrasts his behavior with Joo Jaekyung’s. (chapter 91) The champion carefully reads the news article exposing the former hospital director’s crimes. (chapter 91) Through that article, the audience learns that the man’s medical license has already been suspended.

Heo Manwook, however, never appears to read this information. (chapter 93) When confronting the disgraced hospital administrator, he still addresses him as “doctor.” He still thinks, he can treat patients. (chapter 93) The mistake is revealing. It shows that the loan shark operates not through careful verification but through assumptions and second-hand knowledge.

This vulnerability becomes even clearer inside the office itself. (chapter 46) The computer visible on Heo Manwook’s desk quietly contains a record of the entire operation. The illegal betting site displayed on the screen is not merely a tool for profit; it is also a potential archive of evidence—transactions, accounts, and financial flows that could expose the laundering system. In other words, the machine that allows the network to generate money simultaneously preserves the traces of its crimes.

The question, however, is whether Heo Manwook truly understands this danger. The computer is still on his desk, but this time unused, as he has other things to do. (chapter 93) Throughout the scene he appears less like an independent decision-maker than an obedient intermediary who follows the instructions of Choi Gilseok. (chapter 93) Rather than taking initiative himself, he waits for orders from the director of the gym. This dependency raises a crucial uncertainty: if the system begins to collapse, will he even recognize the need to erase these traces? If not, the very tools that enabled the network’s operations—the phone, the betting platform, the office computer—may ultimately become silent witnesses against him.

For this reason, the interaction with the disgraced doctor marks a turning point. As the system begins to destabilize, the “hand” that once enforced obedience now finds itself confronting forces it cannot fully control. The network’s operational executor is gradually being pushed downward, while another figure—Baek Junmin—steps forward with his own plans. The collision between these two trajectories appears increasingly inevitable.

Baek Junmin – The Man Who thinks Who Knows Everything

If the office scene exposes the true nature of Heo Manwook’s organization, the final figure sitting in that room introduces a different kind of mystery: Baek Junmin. (chapter 93) Unlike the other men present, he appears strangely detached from the conversation unfolding around him. While Heo Manwook and Choi Gilseok discuss debts, payments, and police connections, Junmin shows little interest in the financial urgency dominating the room. Instead, he lounges in the armchair typically reserved for the “CEO” or company owner, casually chewing gum while glancing at his phone.

This posture is revealing. In a room where the others are preoccupied with stabilizing a failing operation, Junmin behaves with the careless ease of someone who feels entitled to the space. The seat he occupies subtly reinforces this impression: he places himself in the position of authority without actually participating in the responsibilities that come with it. The attitude he projects is less that of a strategist and more that of a spoiled child, detached from the consequences of the situation unfolding around him. (chapter 93)

Only when he reaches toward the calendar, does the focus of his attention become clearer: the approaching match. (chapter 93) The fight appears to function as a deadline, a moment toward which his thoughts have been quietly moving while the others worry about debts and bribes. At first glance, this might simply indicate that he is counting down to the fight. Yet the gesture suggests something deeper. Unlike the others in the room, Junmin does not seem to experience time as a practical pressure linked to debts, bribery, or police intervention. His notion of time is psychological rather than material. He is not living in the present urgency of the criminal network; he is still trapped in an older temporal logic shaped by humiliation, resentment, and wounded pride.

This is why the televised revelation matters so much. (chapter 87) Joo Jaekyung’s public exposure of the stunt did not merely create financial problems for the organization. It inflicted a fresh narcissistic wound on Junmin himself. The humiliation was public, visible, and impossible to ignore. In that sense, the upcoming match is not only a sporting deadline but also a symbolic countdown: a chance to reverse the humiliation, reclaim his standing, and restore a damaged image. Time, for Junmin, does not move forward in a stable or mature way. It circles obsessively around injury, revenge and shame; he stores it.

(chapter 93) Seen in this light, the gum becomes more than a casual gesture. It reinforces his childishness. Junmin does not cry, does not openly rage, and does not confess weakness. Notice that he is not even training at the gym, though King of MMA is next door. This contrasts so much to Joo Jaekyung who continues to maintain a disciplined routine despite everything. Thanks to his determination, he was able to leave poverty behind and overcome a brutal childhood. As Kim Dan later remarks on the beach, this perseverance is (chapter 94)

The juxtaposition between the Shotgun watching the video (chapter 93) and the quiet conversation on the beach therefore reveals two radically different understandings of strength. For Joo Jaekyung, strength has gradually come to mean endurance: the ability to continue moving forward despite humiliation, hardship, and personal loss. (chapter 94) For Baek Junmin, by contrast, strength remains tied to wounded pride and the desire for retaliation.

Rather than transforming humiliation into growth, he remains trapped within it. This is precisely why his request to the doctor is immediately accompanied by a threat: (chapter 93) The sentence reveals the logic governing his actions. Authority, in his world, is not built on discipline, patience, or competence, but on intimidation. Violence becomes the only language through which he can assert control. In this sense, the panel exposes the profound immaturity behind his performance of indifference. While the champion disciplines his body and confronts his past, Junmin simply reproduces the brutality that once humiliated him.

But let us return to Baek Junmin and the bubble gum. His behavior only makes visible how immature his emotional world remains, exposing a lack of professionalism and inner strength. While the champion disciplines his body and confronts his past, Junmin sits idle, replaying an insult and waiting for an opportunity to restore his pride. The others are trying to save a criminal enterprise under pressure; Junmin is still silently thinking of the insult, fixated on the idea of revenge. Thus I deduce that he is watching Joo Jaekyung’s last match.

This deduction raises another possibility. If Junmin is indeed watching footage of Joo Jaekyung’s last match on his phone, the scene may contain a hidden clue. After that fight, the champion briefly turns toward the outside of the cage and asks someone whether he did well. (chapter 87) The moment appears insignificant to most spectators. Yet for someone who already knew the identity of the person standing there, the gesture could reveal something important.

If Junmin had previously followed Kim Dan and taken photographs of him (chapter 46) —as suggested by the anonymous surveillance images circulating earlier in the story—he would immediately recognize the pattern of Joo Jaekyung’s behavior. The champion’s glance toward the cage-side observer would no longer appear random. It would identify the person occupying that position: the physical therapist Kim Dan.

In this sense, the scene may quietly suggest that Baek Junmin already knows more than the other characters in the room. While Heo Manwook and Choi Gilseok remain unaware of Kim Dan’s real identity, Junmin might have been the one who first connected the champion to the young therapist. Doc Dan is the champion’s vulnerability, he has feelings for him. If this interpretation is correct, the invisible wall separating him from the others takes on a new meaning: Junmin is not merely detached from their conversation—he may already possess information that they do not.

Yet another detail complicates the situation even further. (chapter 93) Throughout the entire scene, Baek Junmin remains silent—but silence does not necessarily mean ignorance. While Heo Manwook and Choi Gilseok are focused on collecting money and resolving immediate problems, Junmin is still present in the room, quietly hearing everything that is being said.

One particular detail may therefore become significant: the repeated references to a “doctor.” The man being pressured by the loan sharks is clearly identifiable as the former hospital director who once fired Kim Dan. (chapter 93) His appearance leaves little doubt—he wears the same clothes and glasses seen in earlier chapters. (chapter 90) The only difference is the loss of his spectacles. They are not only broken, but also lying next to him. The loss of his glasses mirrors his situation: he is forced to face reality and as such he is discovering the true reasons behind doc Dan’s greed: despair and fear in front of the loan shark. (chapter 90) One could say, he is now receiving his karma. Like mentioned above, the behavior and words of the men (chapter 93) confronting him suggests that they are not left in the dark concerning the situation of the perverted hospital director. They are not truly interested in investigating his work place. Choi Gilseok and Heo Manwook appear not only impatient, but they don’t question his social status. Rather than asking questions about the man’s circumstances, he simply pressures him to produce money.

This urgency is revealing. If the loan sharks had taken the time to examine the man’s background carefully, they would almost certainly have discovered the recent scandal surrounding him. (chapter 91) An article had already exposed the accusations of sexual harassment and the suspension of his medical license. If Heo Manwook and Choi Gilseok had read that report, their reaction would likely have been very different. A disgraced doctor without a license represents a debtor with extremely limited means of repayment. Under normal circumstances, they would immediately question how he intended to pay them back.

The fact that they do not ask such questions suggests that they simply do not know. They are rushing the process, focused on immediate cash rather than information. Their attention is consumed by the financial damage caused by Joo Jaekyung’s televised revelation, leaving them little time to investigate the background of the man sitting in front of them.

But Baek Junmin’s position in the room is different. Unlike the others, he is not distracted by money or debts. While pretending to be uninterested—chewing gum and staring at his phone—he may in fact be absorbing every detail of the conversation. If Junmin has already connected Kim Dan to Joo Jaekyung, hearing the word “doctor” in this context could suddenly activate an entirely new chain of associations.

In that sense, the scene may represent a crucial turning point. The loan sharks believe they are merely collecting a debt. Yet the presence of the former hospital director introduces a piece of information that may be far more valuable than money. The moment Junmin realizes who this man is, a doctor, then he can jump to the conclusion that he represents a good tool against Joo Jaekyung and Kim Dan. The question is: did he read the news and does he know what role he once played in Kim Dan’s life (the sexual harassment)?, especially if he was the one following doc Dan. I have my doubt about it, as he could never forget the humiliation on TV. Moreover, let’s not forget that officially, the main lead got “fired” after the incident leaving a stain on his resume. (chapter 1) So what did he hear at the office the whole time? (chapter 93) Doctor, doctor… And why did Joo Jaekyung speak about the prank in the first place? It was for Doc Dan’s sake and to restore his honor. (chapter 87) Joo Jaekyung came to the conclusion that the prank had destroyed Doc Dan. (chapter 91) Thus I deduce that the physical therapist has become the real target of the next plot.

Yet Junmin’s behavior reveals another pattern that runs consistently through the narrative: he rarely confronts his enemies directly. Instead, he repeatedly hides behind authority.

Earlier in the story, he invokes the protection of his mysterious “hyung.” (chapter 74) Later, he relies on Choi Gilseok to approach Joo Jaekyung with an offer (chapter 48) designed to manipulate the outcome of the fight. When the doctor rejects the offer, the scheme unfolds in a different way. The manipulation involves not only gambling but also medical interference — the suspicious spray used during the match and Choi Gilseok brought it himself and gave it to one of his members. (chapter 50)

The same logic appears within the institutional framework of the sport. The CEO of the MFC openly praises (chapter 47) Junmin’s “star quality” and supports his rapid rise within the organization. Such endorsement provides him with a form of institutional legitimacy that shields him from direct scrutiny. His authority does not come from discipline or merit alone but from the structures that elevate and protect him. And observe how the lady in red protected the “champion’s reputation”. (chapter 69)

Even the medical system itself appears to participate in these manipulations. In episode 41, the medics clear Joo Jaekyung to fight (chapter 41), though it was clear that the champion’s shoulder condition had worsened. (chapter 41) The official report contradicts the observations of the physical therapist. Moreover, they had allowed the fight, though the athlete’s foot had been injured. (chapter 50) Later, after the match, the examination of the fighters at the health center takes place in conditions that clearly lack privacy (chapter 52) : there are no curtains separating the athletes during their medical checks and treatment. This unusual setup allows information to circulate freely between competitors. Authority, rather than truth, determines the outcome.

This pattern repeats again in the media narrative that follows the fight. (chapter 54) Experts criticize the champion’s decision to fight despite his condition, and news reports emphasize the financial damage caused by his brawl and declining brand value. (chapter 54) Responsibility is gradually shifted away from the structures that enabled the situation and toward the fighter himself.

Seen together, these elements reveal Junmin’s true modus operandi. Rather than confronting his opponents directly, he operates through a chain of authorities: criminal patrons, gym directors, corporate executives, and medical institutions. Each layer provides protection while simultaneously distancing him from direct responsibility. Violence, manipulation, and reputation damage are carried out by others, while Junmin remains positioned just outside the immediate line of accountability.

Seen in this light, the presence of the disgraced hospital director in the office may represent a new opportunity for the Shotgun. While Heo Manwook and Choi Gilseok focus only on collecting a debt, Junmin may recognize a different potential. The man in front of them is not merely a debtor. He is a doctor — a figure associated with knowledge, prestige, and institutional authority.

If such a figure could be used to shift blame onto Kim Dan, the consequences would be devastating. The young physical therapist already occupies a vulnerable social position: he comes from poverty, lacks institutional protection, and carries the stigma of having been dismissed from the hospital (chapter 1) and even he made a “mistake” at the Light of Hope once. (chapter 59) Finally, because of the perverted hospital warden’s assault, the main lead ended up blacklisted. He could never get hired at another hospital. If the narrative surrounding the injury were manipulated, the responsibility for Joo Jaekyung’s worsening condition and the schedules could easily be redirected toward him.

Several elements would support such a strategy. Though the doctor protested, the champion nevertheless continued to fight and used the report from MFC doctors as justification. In a manipulated narrative, these facts could be rearranged to suggest that the inexperienced therapist had mismanaged the situation.

This possibility becomes even more disturbing when one considers Park Namwook’s role within the system. (chapter 46) Throughout the story, the coach frequently appears wearing glasses—a visual symbol traditionally associated with knowledge and clarity. Yet despite this apparent vision, he repeatedly fails to recognize the dangers surrounding Joo Jaekyung. As the champion’s manager, Park Namwook is responsible for organizing his schedule and protecting his long-term career. In principle, this role should place him in the position of a guardian. But he does not intervene (chapter 41), he just stands by his side.

In practice, however, the opposite often occurs. Earlier in the story, Joo Jaekyung openly questions why he was scheduled for so many events in the first place. (chapter 17) Instead of acting as a protective barrier between the athlete and the pressures of the industry, Park Namwook frequently defers to the logic of the organization. When the CEO of MFC later invites the champion to an important meeting, the coach encourages him to attend, once again placing institutional expectations above caution. (chapter 69) In this sense, Park Namwook’s authority begins to resemble the same pattern visible in Baek Junmin’s behavior: responsibility is repeatedly shifted upward toward the organization MFC or Joo Jaekyung as the owner of Team Black (chapter 88)

The result is a chain of authority in which no single actor fully accepts responsibility. The manager defers to the organization (MFC or the star), the organization relies on medical clearance, and the medical staff produce reports that legitimize risky decisions (chapter 61). Each layer appears authoritative, yet together they create a system in which accountability becomes blurred.

Baek Junmin’s strategy exploits precisely this weakness. By bringing the disgraced hospital director into the situation, he introduces a figure whose authority once belonged to the medical world itself. The newspaper article reveals that the hospital had tolerated the director’s abusive behavior for a considerable time before finally suspending his license under public pressure. (chapter 91) In other words, the institution protected him as long as the scandal remained manageable. Only when external scrutiny became unavoidable did the hospital distance itself from him. Hence his face got almost exposed.

Seen from this perspective, Junmin’s decision to involve the former doctor does not merely introduce a new accomplice. It exposes the deeper corruption already present within the medical system. The “rotten apple” did not emerge from nowhere; he was produced and sheltered by the institution that now claims to reject him.

This development creates a dangerous convergence between two worlds: the criminal network surrounding illegal fights and the institutional structures of sport and medicine. By aligning himself with the disgraced doctor, Junmin believes that he is protecting himself, unaware that he is effectively importing the corruption of the medical sphere into the arena of professional fighting and as such endangering his own position. The boundaries separating criminal manipulation, corporate interests, and medical authority begin to collapse.

In that sense, the situation no longer concerns only a personal rivalry between fighters. It reveals the fragility of the entire system surrounding the champion. The figures who should protect him—the manager, the organization, and the medical staff—are themselves embedded in structures that can be manipulated.

At this point, Baek Junmin’s nickname begins to acquire a deeper symbolic meaning. (chapter 49) A shotgun is not a weapon designed for precision. When fired, it releases multiple pellets that spread across a wide area, striking several targets at once. Junmin’s strategy follows a similar logic. Rather than confronting Joo Jaekyung directly, he destabilizes the structures surrounding him: the media narrative, the medical establishment, the leadership of MFC, and potentially even the champion’s personal relationships. Each move strikes a different layer of the system protecting the fighter. The goal is not a single decisive blow but a gradual weakening of the entire structure around the champion.

Yet this strategy carries an inherent danger. By firing into multiple institutional spheres at once, Junmin risks exposing connections that were previously hidden. The medical world, the fighting organization, and the criminal network surrounding illegal betting are not isolated domains; they intersect. In that sense, Junmin does not merely act like a fighter seeking revenge. At this moment, he becomes “the Shotgun.” The weapon does not only wound a single opponent; it blasts open the structures that conceal corruption. By pulling the trigger, Junmin risks revealing the true nature of MFC, the sport itself and the network of interests surrounding them (the medical world and the pharmaceutical company).

So if this interpretation is correct, the office scene may foreshadow the next stage of the conspiracy. Junmin does not need to attack Joo Jaekyung directly. Instead, he may target the person the champion cares about most.

Kim Dan.

The Disgraced Director – Knowledge as Liability

The appearance of the former hospital director in Heo Manwook’s office introduces another crucial figure into the unfolding conspiracy. (chapter 93) Unlike the other men in the room, this individual already stands at the intersection of several narrative threads. He knows Kim Dan. (chapter 90) He has encountered Joo Jaekyung. And he has personally witnessed the dynamics between them.

Yet this knowledge is fundamentally distorted. Because of the circumstances surrounding their earlier encounters, the disgraced director arrived at a false conclusion: he believed that the physical therapist and the champion were romantically involved. Let’s not forget that he had blacklisted him in his career. From his perspective, the young doctor could only be the athlete’s intimate partner rather than his professional caregiver. (chapter 90) Secondly, he was doing it for the money, hence he called him a slut. (chapter 90) This misunderstanding fundamentally shapes how he interprets the situation. In this sense, the disgraced director resembles Heo Manwook. Both men rely heavily on their past experiences when judging others. The loan shark assumes that Kim Dan must have obtained the money through prostitution or some other illicit activity, while the former hospital director interprets the closeness between the athlete and the therapist as evidence of a romantic relationship. In both cases, what appears to be practical knowledge becomes a source of blindness. Their experience allows them to recognize familiar patterns, but it also prevents them from seeing the complexity of the reality before them. The relationship between Joo Jaekyung and Kim Dan does not fit into a simple category such as business, manipulation, or romance. Their bond evolves gradually and reflects a far more complex emotional dynamic. (chapter 93) Yet characters like the loan shark and the disgraced director attempt to reduce it to a single explanation that matches their own expectations. In doing so, they illustrate another variation of the same paradox: those who believe they know the world best are often the least capable of perceiving its truth.

A Dangerous Instrument

At the same time, his position is extremely precarious. Unlike Baek Junmin or the loan sharks, the disgraced director cannot confront either Joo Jaekyung or Kim Dan directly. Both men already recognize him. His earlier misconduct in the hospital and at the restaurant have exposed his character, and his recent public scandal has destroyed his professional legitimacy. (chapter 91)

This is precisely why indirect strategies are the only solution for him.

If Kim Dan indeed becomes the next target of Baek Junmin’s schemes, the director initially appears to offer a convenient opportunity. As a doctor, he possesses the authority and reputation associated with the medical profession. From Junmin’s perspective, such a figure could provide legitimacy to accusations directed at the young therapist. Yet this calculation overlooks a crucial reality. The man’s reputation has already collapsed. The public scandal surrounding the accusations of sexual harassment has stripped him of his professional credibility and resulted in the suspension of his medical license.

This loss of status drastically changes his position. The disgraced director can no longer act openly within the medical world. Any direct accusation coming from him would immediately be discredited because of his scandal. However, this does not mean that he has become powerless. On the contrary, his former position may still grant him access to personal contacts and informal networks inside the medical system. Instead of acting publicly, he could therefore operate indirectly—reaching out to former colleagues or institutions and encouraging them to question Kim Dan’s competence or responsibility, as this is something he experienced in the past. (chapter 1)

The Vulnerability of an Invisible Doctor

Such a strategy would exploit an existing weakness in Kim Dan’s situation. Earlier in the story, when Joo Jaekyung attempted to locate him after his disappearance (chapter 56), hospitals repeatedly responded that they had never heard of anyone by that name. (chapter 56) This reaction suggests that the young therapist had already been erased from the professional network in Seoul. Far from protecting him, this invisibility places him in an extremely fragile position: without institutional recognition, he has no professional community capable of defending him.

If rumors about Kim Dan suddenly begin circulating within the medical world—or even appear in the media—the contradiction would be striking. Only a few months earlier, no hospital acknowledged his existence. Yet now doctors or the media would suddenly be discussing him as a controversial figure linked to the champion’s injury. Such a sudden shift would inevitably raise questions.

For Joo Jaekyung, this discrepancy could become the first clear sign that something is wrong and lets not forget that in the past, he doubted the doctors. (chapter 5) The athlete might realize that the narrative emerging around Kim Dan does not match the reality he previously encountered while searching for him. What appears at first as professional criticism could therefore reveal the existence of a coordinated attempt to manipulate the story.

Medical Confidentiality as a Weapon

Another possibility makes the situation even more troubling. If Junmin or the disgraced hospital director wished to discredit Kim Dan, they could not necessarily need to rely solely on rumors or professional criticism. A far more effective strategy would involve the selective leaking of medical information.

Kim Dan’s own patient file could become a weapon. (chapter 91)

The young therapist’s history of psychological struggles and emotional distress is part of his medical record. Under normal circumstances, such information would remain strictly protected by medical confidentiality. Yet the story has already demonstrated how easily such boundaries can be violated when institutional interests are at stake. (chapter 36)

Earlier in the narrative, the medical system showed little hesitation in discussing Joo Jaekyung’s injury publicly. Experts speculated on television about the champion’s condition, and reporters openly discussed his worsening shoulder problem despite the obvious ethical implications of revealing medical information without the patient’s consent. (chapter 54) Striking is that no one in the medical world sided with the star because of his law suit against a hospital (chapter 42)

These scenes suggest that medical confidentiality in this world is far from absolute. When money, reputation, or institutional pressure become involved, private information can quickly turn into public material.

If the same logic were applied to Kim Dan, the consequences could be devastating. And don’t forget how the main lead reacted to this situation: he was rather indifferent. A leaked file describing his mental health struggles could easily be used to construct a narrative portraying him as unstable, unreliable, or professionally unfit. Under this light, you comprehend why I placed Choi Heesung in the illustration, as he was the first one bringing up the notion of mental illness. (chapter 89) In such a scenario, the young therapist would not simply be accused of incompetence. His entire credibility could be undermined, before he even had the chance to defend himself.

The strategy would also serve several interests at once. And like mentioned above, the medical institutions involved could shift responsibility for the champion’s worsening injury onto a crazy outsider. MFC could distance itself from the controversy surrounding the fight. And Baek Junmin could exploit the scandal to weaken both Joo Jaekyung and the man closest to him.

What makes this possibility particularly disturbing is that it would rely on a form of violence that leaves no visible wounds. Instead of physical intimidation, the attack would take place through information — through documents, rumors, and carefully constructed narratives.

In other words, the same system that once erased Kim Dan from the medical world could suddenly reintroduce him into public discourse under the worst possible circumstances.

The Man Who Knows Too Much

Yet the plan also contains a dangerous flaw. The disgraced director is far from a reliable ally. His public scandal has already destroyed his credibility, and his own actions in the past reveal a man driven by opportunism and self-preservation. If pressured too far, he may choose to reveal far more than Junmin expects. Instead of stabilizing the situation, his intervention could expose the corruption of the very system Junmin is attempting to manipulate. How so? It is because he was brought to Heo Manwook’s office. (chapter 93) In the past, the loan shark never brought his victims into his own headquarters. Debtors were usually confronted in their homes (chapter 5) or attacked in the street . (chapter 1) His office functioned as a hidden lair, carefully separated from the violence carried out by his subordinates. The presence of the disgraced director inside that office therefore represents a significant rupture in Heo Manwook’s usual methods. (chapter 93) Moreover, this time he is the one beating the victim, while one of his minions is standing. (chapter 16)

The doctor’s presence there represents a source of danger. He is no longer merely a possible instrument; he also becomes a witness. By hearing the conversation about bribes, police pressure, and debt collection, he acquires dangerous knowledge about the criminal network itself. (chapter 93) In that sense, the same man whom Junmin hopes to use as a tool against Kim Dan simultaneously becomes a liability capable of exposing the entire scheme.In other words, the former doctor could end up betraying the schemers, something the Shotgun is not expecting.

The urgency created by recent events has forced the organization to abandon its usual caution. At the same time, the visual composition of the scene creates a revealing illusion. (chapter 93) Seated prominently in the center of the room, Baek Junmin appears almost like the true authority figure — the one silently observing while others handle the negotiations. His posture suggests the role of a mastermind directing the operation from the background. Thus the scared director could misjudge the true position of the “champion”, he is the real mastermind behind this. And this time, he could no longer hide behind his hyungs or organizations.

This creates a striking contrast with Kim Dan himself.

Kim Dan also possesses knowledge about the hidden world surrounding Joo Jaekyung. He has witnessed suspicious medical decisions (chapter 41), manipulations within the fighting organization (chapter 37, the drugged beverage), and the athlete’s deeply personal belief in the so-called “jinx.” Yet despite these insights, Kim Dan remains largely excluded from the decision-making processes that shape the champion’s career. In several crucial moments—such as the incident at the health center—he was deliberately kept in the dark.

The contrast between the two figures could not be sharper. The disgraced director possesses knowledge but uses it as a potential weapon. Kim Dan possesses knowledge but has no idea about his own power. What distinguishes them is that the main couple is starting sharing their thoughts and insight to each other, while at the office, the schemers keep their insight to themselves. Yet, a plot can only work, if intel is exchanged. At the same time, the information has to be accurate as well. But for that, the villains have to expose their “knowledge” and as such “vulnerabilities”.

In the end, the question is no longer simply who knows too much. Baek Junmin believes he understands everything: Kim Dan, Joo Jaekyung, and the system surrounding them—especially the power of money. Yet his confidence rests on misinterpretations and assumptions. Kim Dan, by contrast, never claims such certainty. Still, he has witnessed the hidden mechanisms of that same system—its corruption, its manipulation, and its violence—without fully grasping their meaning. Yet the way he acquires this knowledge is fundamentally different. His insight does not come from intimidation or control, but from the confessions of others. He listens patiently and attentively, without judgment. (chapter 47) (chapter 48) (chapter 74) Joo Jaekyung represents yet another form of knowledge: the knowledge of experiences. Through hardship, defeat, and survival, he has learned to recognize the realities of the world step by step. By living next to doc Dan, he learned to listen and observe so that he is now more aware of the world surrounding him. The true tension of this arc therefore lies not simply between ignorance and knowledge, but between three different ways of understanding reality. One man believes he understands everything, another quietly carries knowledge that could expose it all without realizing it, while the third slowly learns the truth through experience.That is precisely why, in the illustration, they now stand facing each other.

Feel free to comment. If you have any suggestion for topics or Manhwa, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Twitter-Tumblr 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.

Jinx: The Hidden 🐍 Predators 🐺🦊(part 2)

Why Two Wolves?

In the first part, I mentioned both Perrault and Grimm not because the stories differ superficially, but because their shared surface—the famous bed scene—hides radically different logics of danger. If one remembers only the dialogue (“What big eyes you have!”), the two versions appear nearly identical. A wolf deceives a girl; she is eaten. Yet the decisive differences lie not in the dialogue but in the structure surrounding it.

In Grimm’s version, the moral is embedded in the ending. The girl disobeys her mother by leaving the path.

Because of her disobedience, she is swallowed, but she is rescued. The huntsman cuts open the wolf’s belly; order is restored; the wolf is killed through a trick. The lesson is corrective and communal: authority intervenes, discipline saves, error can be redeemed. Red Riding Hood learns. She does not stray again. The world remains morally structured.

Perrault’s ending, by contrast, is final. There is no huntsman, no rescue, no second chance. The girl is eaten and remains eaten. One might wonder why. The answer lies not only in the conclusion but in the construction of the encounter itself. In Perrault’s original French text, the wolf is introduced as “Compère le loup”. The word compère does not designate a stranger. It implies familiarity — a companion, an acquaintance, even a friendly associate. From the beginning, the wolf is socially positioned, not alien. Hence the forest in this version is not associated with danger or wildness. The woods are seen as a prolongation of the civilization and society. The predator belongs to the same communicative world as the girl. The danger is therefore not external intrusion but internal misrecognition.

This familiarity is reinforced in the bed scene. When the girl arrives, the wolf does not immediately attack. He instructs her to place the cake and butter aside and then tells her to come into bed with him. Perrault explicitly writes that she removes her clothes before getting in. The intimacy is staged. Closeness precedes violence. The scene imitates adult seduction before revealing predation. The girl is not seized; she participates in the proximity. That participation is precisely what makes the ending irreversible in Perrault’s social universe. Thus the old French expression “avoir vu le loup” (to have met the wolf) means to have lost virginity or have gained sexual experience. Under this light, one might understand why the wolf as Joo Jaekyung’s personality fits so well. (chapter 3) The latter became responsible for the hamster’s sexual education.

In Grimm’s version, this dimension disappears. The wolf does not construct a prolonged intimacy. After the dialogue, he simply springs from the bed and devours her. There is no undressing, no extended staging of physical closeness. Violence interrupts; it does not grow from apparent consent. Grimm transforms the libertine into a beast. The danger becomes physical appetite rather than social seduction.

Striking is that at the end of the story, Perrault articulates the moral explicitly:

The ending is the moral. There is no reversal because social damage, in Perrault’s world, is irreversible. The wolf represents not wild nature but libertine society. He does not attack in the forest because woodcutters—witnesses—are nearby. He waits until he can move the girl into a private domestic space. He speaks politely. He proposes a race so that he can reach the grandmother’s house sooner. He performs civility. Once in the house, the girl observes inconsistencies, but she accepts the animal’s explanations. Her failure is not merely disobedience; it is misjudgment.

That distinction is why both versions were necessary. Grimm teaches obedience within a moral universe that restores balance. Perrault teaches discernment within a social universe that does not. He is promoting critical thinking.

And Jinx unfolds more in the latter.

The Director: An Anaconda or a Wolf?

At first glance, the hospital director resembles Perrault’s wolf. (chapter 90) He is not impulsive. He is not openly violent. He operates within institutions, within offices, within controlled environments. He isolates rather than attacks. He frames rather than forces. Like Compère le loup, he is not a stranger; he is part of the social order. He belongs to the system. That belonging is precisely what grants him access.

His resentment (chapter 90) reveals that his true wound is territorial. He can no longer find his targets within the hospital. He lost control. He lost narrative dominance. This explicates why the predator retaliated against Kim Dan by badmouthing him. (chapter 1) He made sure that the protagonist was economically and socially “ruined”. However, at the restaurant, what did he discover? A happy man with a companion! Despite his “revenge” for the loss of his territory, the physical therapist’s life had not been ruined. Thus he tried to slander the physical therapist, he was just a slut. (chapter 90) The problem is that the champion did not react like expected. He got angry at the “client” and not at the “prostitute”. He never thought that the main lead would side with such a person. Thus the hospital director voiced a menace: (chapter 90) His threat is not confession; it is defensive strategy. It reveals what he fears most: exposure. Not moral reckoning, but visibility. The predator who once operated in sealed rooms now imagines himself dragged into the open. And that possibility terrifies him.

In Perrault’s logic, harm succeeds because it occurs without witnesses. The wolf avoids the woodcutters. Thus he relocates the act into a private domestic space. But one might wonder about the identity of the woodcutters in the Korean Manhwa. In the architecture of a scandal, the “Woodcutter” represents the Bystander Effect woven into the fabric of an organization. In the fairy tale, the woodcutters are physically present but functionally absent; their focus on their “job” creates a peripheral noise that masks the wolf’s approach.

(chapter 91)

When an institution like Saero-An Hospital (chapter 90) prioritizes its “output” (reputation, profit, or clinical operations) over the safety of its staff, it adopts the woodcutter’s axe. By focusing only on the work at hand, the institution effectively grants the predator a “sealed room.” The wolf doesn’t need to hide from the woodcutters; he only needs them to keep their heads down. What makes him powerful is not brute force but the absence of eyes. The director functioned the same way. His authority depended on institutional insulation — doors closed, hierarchy unquestioned, narratives controlled. As long as no one looked too closely, he remained Compère — familiar, respectable, legitimate.

However, visibility destroys that structure. It is no coincidence that the name of the institution is not revealed. It is strategic, it is about containment and damage control. (chapter 91) “Director of X General Hospital.” The letter X replaces identity. The institution remains faceless, protected, intact. Only the individual is exposed. He becomes the “black sheep,” the aberration, the singular deviant whose removal restores the illusion of purity. This means the system has not truly fractured. It has absorbed the shock. The management is shielded. The hospital’s reputation survives. The corruption is reframed as personal misconduct rather than structural tolerance. And that explains why the director initially felt safe. It is because he knew the “Mother” (the institution) and the “Woodcutters” (the staff/administration) were more invested in the “Big Hospital” image than in the safety of the “daughters” (the employees). And this is precisely where Perrault’s logic returns — not only through the wolf, but through the adults. In Perrault’s version, one might ask: where are the parents? The mother sends the girl into the forest without any warning. The grandmother only thinks how lovely her grandchild is, hence she is not talking about the dangers. None of them prepare her to recognize manipulation. Neither the mother nor the grandmother teaches her to question charm. She is well-bred, polite, obedient — but not trained to distrust sweetness.

Perrault’s moral seems directed at the girl, but indirectly it exposes society. A culture that values politeness over discernment produces vulnerability. The wolf thrives not only because he is cunning, but because the girl was raised to comply. The blame, therefore, is not purely individual.

The same mechanism appears in the hospital scandal. By omitting the hospital’s name, the article preserves the illusion that corruption was singular. But the panel in which Kim Dan reflects (chapter 1) disrupts the illusion that this was ever an isolated deviation. It reveals that shielding authority at the expense of subordinates was already the hospital’s modus operandi. The management’s instinct was not investigation, but preservation. Not accountability, but hierarchy.

This is crucial. Before the scandal became public, the hospital had already demonstrated where its loyalties lay. The director was protected. The subordinate was expendable. Dan lost his position; the director remained secure. That earlier incident establishes a pattern: institutional cohesion prioritized over justice. Now compare this to the anonymous article. (chapter 91) The article does not expose the forest. It exposes one wolf. Hence the hospital name remains concealed, while the man’s face is “revealed”. The director’s license is suspended. Publicly, the system appears decisive. But structurally, the logic remains the same: protect the institution, isolate the individual. The difference is only in scale. Previously, Dan was sacrificed to shield the director. Now the director is sacrificed to shield the hospital.

The mechanism is identical. This is where Perrault’s tale deepens the analogy. In the fairy tale, the mother sends the girl into danger unprepared. The adults create conditions in which charm is not interrogated. When the wolf succeeds, the girl bears the consequence. Society remains unexamined. Hence in Perrault’s tale, there is no huntsman because society itself is implicated. The wolf is not defeated because the environment that produced him remains untouched.

Likewise, the hospital’s earlier response shows that vulnerability was institutionalized. Victims were isolated. Complaints were contained. Authority was insulated. The forest was never safe; it was simply unacknowledged. The article does not expose the forest. It exposes one wolf.

And that is the most disturbing parallel: predators thrive where institutions prefer appearance over introspection. And now, let me ask you this question: what about MFC as institution then?

Perrault’s warning is therefore double-edged. It cautions young women about gentle wolves, but it also exposes a society that raises daughters to be agreeable rather than analytical. In both cases, the danger is not only the wolf. It is the world that allows him to pass as familiar.

That is why his language is not remorseful but retaliatory. (chapter 90) “If I fall, he’s going down with me” translates into: If I am exposed, I will contaminate the narrative. I will ensure that no one stands clean beside me. The threat is not about truth; it is about mutual ruin. This is Perrault’s mechanism inverted: when privacy collapses, the wolf attempts to drag the girl into public disgrace so that exposure harms both equally. If he cannot remain hidden, he will ensure that the victim appears complicit. What the director fears most is not prison, nor even moral judgment. It is losing control of the story.

And this leads me to the following observation: (chapter 90) The director claimed that doc Dan ruined his life, though the article makes it clear that it happened because of the collaboration of different victims. (chapter 90) The moment he got caught by the nurse in the office, gossips started circulating, and previous victims recognized that they were not the only ones. The man could no longer escape the gaze from the staff. Hence he had to seek his “targets” elsewhere. The restaurant scene clarifies his new method. He is sitting with a man in a curated adult space—low light, alcohol, controlled proximity. (chapter 90) It resembles the wolf’s preferred setting: intimacy that appears voluntary. What caught my attention is that he complained about his partners. (chapter 90) That line exposes the structural wound. “Pandering” implies performance. It implies negotiation. It implies mutuality. It implies that he must now ask rather than take. In the hospital, he did not have to pander. Authority substituted for charm. Hierarchy substituted for consent. Privacy substituted for persuasion.

Outside that territory, he is reduced to the marketplace of mutual agreement, — dating apps, casual meetings, drinks that require conversation rather than compliance. And he resents it. I came to think about dating apps, because the perverted hospital director did not meet the man at the XY club (chapter 33), but at the restaurant. If he had known such a club, he could have met the green haired-guy or the “uke” from episode 55. Thus I deduce that the sexual predator is actually hiding his “homosexuality”, he had been living a double life in the end, like the wolf in Perrault. That’s why he targets “virgins”. Since he used the expression “pandering… get by”, Mingwa implies that this man must have told the men (“all kinds of people”) he met, he was looking for a boyfriend to justify his action. (chapter 90) However, this lie was quickly caught by the unknown companion, as the perverted director paid no attention to him. (chapter 89) This exposes that the sexual predator hadn’t dropped his old mind-set, selfishness and entitlement. When the man abruptly stands and leaves, the director is surprised. (chapter 90) That surprise matters. It suggests expectation of compliance, of silent agreement, of recognition of coded signals. The man likely does not belong to the director’s ecosystem; he does not recognize the invitation as opportunity but as lack of respect. Thus he exits. (chapter 90) The fact that the wolf tried to talk him out of it indicates that their relationship was not only superficial, but also more equal. Humiliation is crucial. Predators who rely on social camouflage depend on territory. When territory collapses, strategy must change.

This is where the transformation begins. Until he meets Doc Dan, the director functions like an anaconda: silent constriction, gradual suffocation, no visible struggle. The anaconda does not bite first; it coils. It removes oxygen slowly. The hospital setting enabled precisely that kind of predation—isolated rooms, professional hierarchy, reputational shields. After the loss of his territory, we could say that he becomes acting like a “wolf” from Perrault’s version. He has many relationships (all kinds of people to get by). Perrault’s wolf survives because he is charming and unmarked. He passes as “Compère.” Yet, the moment the champion crosses his path, the director transforms one more time: (chapter 90) This is where Grimm enters. His true nature got exposed, he is socially identified as predator.

Thus I initially deduced that the perverted hospital director would retaliate against the famous champion. (chapter 90) Jaekyung represents exposure. He is public, visible, media-facing. He has sponsors, contracts, a name that circulates. Reputation is capital in MMA. A scandal can destabilize a career faster than defeat in the ring.

But the new development alters this trajectory. (chapter 91) The director has already been exposed. His license is suspended. His name circulates in headlines. Even if the hospital remains anonymous, he does not. His face may be blurred, but within professional and social circles, recognition is inevitable.

This changes the mechanics of revenge. Previously, he could have weaponized narrative. Now, narrative cannot be weaponized — because he lacks credibility. Any accusation coming from him would be read as retaliation. He is already stigmatized as the wolf.

And stigma has consequences beyond reputation. He complains that he must “pander to all kinds of people just to get by.” (chapter 90) That line once indicated resentment toward consent. Now it reveals something deeper: he may no longer even succeed in pandering. Who would willingly meet a man publicly accused of harassment? (chapter 91) Even if strangers do not immediately recognize him, someone eventually will. His social ecosystem contracts.

He becomes even more isolated than before. This is where the transformation accelerates. And when charm is no longer viable and narrative manipulation is no longer credible, only one option remains: force without pretense.

This is where Grimm’s wolf enters fully. In Grimm’s version, the wolf does not maintain prolonged civility. He springs. (chapter 90) He devours. (chapter 90) There is no sustained camouflage. Violence becomes explicit.

The director’s inner monologue already reveals this potential pivot: (chapter 90) That sentence reframes restraint as error. It converts missed coercion into regret.

Now add stigmatization. If he cannot find partners, if he cannot reclaim status, if he cannot control narrative, if he has nothing left to lose, then the probability of retaliation and desperate reassertion increases. Not because he desires intimacy. But because he desires dominance. And dominance without insulation becomes assault.

The restaurant rejection already wounded his ego. Besides, his behavior at the restaurant could be seen as intrusion. (chapter 90) Hence he ran away. The exposure destroyed his credibility. The public article marked him. His ecosystem collapses. He is no longer hidden wolf. He is identified predator.

Predators who lose camouflage often escalate rather than retreat. Thus the revenge element shifts from narrative contamination to bodily assertion. Not scandal against Jaekyung. Not media manipulation. But an attempt to reclaim asymmetry through direct coercion. This does not guarantee success.

But it increases probability. The fairy-tale logic therefore completes itself:

Perrault shows the wolf who hides behind civility. Grimm shows the wolf who leaps when civility fails.

In Jinx, we may be witnessing the precise moment where camouflage is no longer possible — and where the predator, stripped of territory and credibility, risks becoming the brute he once avoided being. The resentment we see in his thoughts suggests precisely that possibility. When he sees Kim Dan thriving elsewhere, when he frames him as “whoring himself out,” he begins to rewrite the narrative: if Dan is already a “whore,” then coercion becomes transaction. In that logic, force becomes justified. And remember how Heo Manwook reacted, when he imagined that doc Dan was selling himself: (chapter 16)

This is the most dangerous pivot. Perrault’s wolf survives through civility. Grimm’s wolf initially survives through brutality, until he is caught (the huntsman = police). The director initially belonged to the first category. After losing territory, he risks evolving into the second. To conclude, the shift from anaconda to wolf is not a metaphorical flourish; it is psychological escalation. Camouflaged predators who lose control often intensify behavior rather than retreat.

And now, you are probably wondering why I included the actor Choi Heesung in the illustration of “predators”, though he is a second lead.

The False Mirror: Choi Heesung and The Gentle Wolf

At first glance, Choi Heesung stands disturbingly close to Perrault’s wolf. Not only he appears as polite and gentle (chapter 30), but also as selfless. (chapter 30) Yet, he is a libertine, though he claims to be pure by stating that he is looking for his soulmate. (chapter 33) Hence no one is suspecting the darkness in his heart. Even the champion believed in his words, when he claimed that he had some feelings for doc Dan. (chapter 58) The resemblance is deliberate. He is discreet. He avoids public scrutiny. He hides his intimacy with Potato. (chapter 43) Therefore the latter was not present at the champion’s birthday party. The actor operates in private spaces (special episode 2) and prefers silence over visibility. Like Perrault’s Compère le loup, he does not appear monstrous. He appears socially legible — even charming. He navigates controlled environments. He is careful about who sees what.

On the surface, the symmetry is unsettling. Perrault’s wolf does not attack in the forest. He speaks politely and seduces next to the Woodcutters. (chapter 35) He proposes a “race”to the little girl, in Jinx it’s a meal (ramen in Korean, an allusion to sex) (chapter 35) He softens his voice. He invites the girl into bed. (special episode 1) He constructs intimacy before violence. He depends on civility as camouflage.

But what distinguishes a “libertine” is the absence of responsibility in their actions and words. Once the “Little Red Riding Hood” loses their virginity, the culprit is not blamed, but the victim. That’s why Perrault warns young women. The latter have to take the responsibility for the wolf’s behavior. Therefore it is not astonishing that the actor agrees that the chow chow becomes “responsible” for him. (special episode 1)

Because Heesung, too, prefers the private over the public, he exists in the gray zone where discretion and desire intersect.

But resemblance is not structure.

The decisive difference lies in how secrecy is used. Perrault’s wolf hides in order to extract. Civility functions as access. Privacy ensures there are no woodcutters. Sweetness precedes consumption. The wolf’s politeness is not restraint — it is strategy. Heesung’s secrecy functions differently. It is not just defensive, he still wants his partner to have fun. (special episode 1) It is not about power display, but fun. He hides not to isolate his partner, but to shield himself from exposure. His discretion protects his own public image, not his access to another’s body. The imbalance exists — it cannot be denied — but it is not systematically mobilized to erode consent. The latter comes from their initial contract: Potato is at his beck and call.

The wolf uses secrecy to manufacture vulnerability. Heesung uses secrecy to simply avoid visibility and responsibility. This distinction becomes clearer in their relation to inexperience.

For Perrault’s wolf, virginity is not intimacy. It is resistance waiting to be broken. (chapter 90) The girl’s naivety is eroticized precisely because it promises asymmetry. The invitation into bed is staged. Her undressing is narrated. Closeness is prolonged. The violence emerges from intimacy.

Control is primary. Desire is secondary. Heesung’s response to inexperience produces discomfort rather than appetite. (special episode 1) He has been avoiding “virgins” for one reason. He knows how a “virgin” would react to his dream ” to find his soulmate”. They would take his “words” seriously and imagine him as someone serious and reliable. But by selecting partners with sexual experience, he can claim that he made a mistake, they were no soulmate. (special episode 1) But this panel exposes even better why the actor is so different from Perrault’s wolf. Youth symbolizes “vulnerability and innocence” and that’s something he has been avoiding. The reason is simple. That way, he can avoid accountability. That’s why he panics, when he hears the age. He realizes his mistake! This reveals that though Heesung is a libertine, he is different from the hospital warden. He is not seeking pleasure in asymmetry, fear, shame and power. He is not targeting “virgins” to exploit their vulnerability. He has been avoiding “virgins”, as he knew that he would have to take responsibility. In reality, he has always feared attachment. Where the wolf eroticizes vulnerability, Heesung is destabilized by it.

What complicates the contrast with Choi Heesung is not that with his smiles, he resembles (chapter 34) the predator by accident (chapter 90), but that he resembles him convincingly enough to be confused with him.

In the first part, we wrote: “Something walks close, warm and familiar — speaking softly, until trust opens the way.” That description applied to the wolf. But it also applies to the fox. Heesung’s true animal is not the wolf. It is the fox (chapter 89) — clever, adaptable, socially fluid. The fox does not devour. It maneuvers and as such plays tricks.

And yet the fox can be mistaken for a wolf. Heesung repeatedly uses proximity through work to create intimacy. (chapter 32) He first approaches Kim Dan through professional contact. Later, he suggests a gig to Potato (special episode 1) or uses training space to remain near Potato. (chapter 88) Even in the gym, he casually asks Yoo-Gu to hold mitts — reorganizing the work structure in ways that subtly serve his private interest. Work becomes the bridge. The boundary blurs.

And here lies the dangerous resemblance. He reproaches Joo Jaekyung: (chapter 89) The accusation implies that Jaekyung contaminates professional space with sex. Yet Heesung himself collapses that boundary. He initiates intimacy with Potato after drinking. He knows the other is intoxicated. He proceeds anyway.

This is not predatory orchestration. But it is negligence toward asymmetry. This is where the question becomes unavoidable: when is it consent, and when is it coercion?

Is consent present simply because no explicit “no” was spoken? Is coercion present only when force is visible?
Or does the line lie elsewhere — in power, in context, in intention? Mingwa gave us the answer: (chapter 90) It is when one makes a clear decision and accepts the consequences. Yet, Heesung violated this rule, for he knew Potato was drunk. He did not stop. He did not insist on postponement. He allowed desire to override clarity. That choice introduces asymmetry. Alcohol clouds agency. Youth complicates balance. Professional proximity blurs roles. Secondly, he is rejecting accountability. Finally, he never tried to correct Potato’s error and false belief. He took advantage of his ignorance. So his behavior could be perceived as manipulative and coercive.

From the outside, the structure resembles the predator’s method: work proximity, private space, imbalance, intoxication. But coercion is not defined by imbalance alone. It is defined by how imbalance is used. The hospital director manufactures dependence. (chapter 90) He isolates. He rewrites refusal. He eroticizes resistance. He regrets restraint. His desire intensifies when asymmetry is greatest. Heesung does not erode consent systematically. He does not isolate Potato over time. He does not rewrite refusal as invitation. But he does blur boundaries. He does allow alcohol to intervene. He does prioritize desire over clarity.

From the outside, that distinction may not be visible. And that is where misrecognition becomes dangerous.

Heesung does not publicly acknowledge the relationship. (special episode 1) He hides it, though he tried to reveal it to doc Dan (chapter 58). If the truth were exposed — an actor secretly sleeping with a younger, inexperienced partner whom he approached through work — the narrative could easily frame him as exploitative. He could be accused of sexual harassment.

He would appear as a predator. Not because he functions like the hospital director — but because the structure resembles it. Fox mistaken for wolf.

The key distinction lies in aftermath. When Jaekyung reflects (chapter 91) the emotion is internalized. He experiences remorse not because he was exposed, but because he crossed a boundary. He separates work from intimacy afterward. He becomes rigid about consent, alcohol, and clarity. Therefore imagine his reaction, when he discovers the true nature of the relationship between Choi Heesung and Potato. He can only be shocked and angry.

This is why Jinx constructs the resemblance so carefully. Surface similarity forces the reader to confront how easily desire, secrecy, and proximity can resemble coercion. The difference lies not in discretion, nor in imbalance, nor even in sexual contact under imperfect conditions. It lies in how power is processed before and afterward. At the same time, it gives an answer how to read the first night between the main couple. It was no sexual harassment.

The wolf converts vulnerability into entitlement. The fox risks vulnerability through miscalculation.

And yet — in a world quick to judge by appearances — the fox may be labeled as a wolf. That is the uncomfortable tension Mingwa builds. Because the story is not only about identifying predators. It is about learning to distinguish between domination and error, between strategy and immaturity, between systematic coercion and boundary failure.

If Choi Heesung’s relationship with Potato were to become public, how would it be read? Would he be framed as a predator — the older actor who used work proximity and intoxication to seduce an inexperienced partner? Would he become the new “black sheep,” sacrificed to protect the image of the entertainment agency? (chapter 33) Or would attention shift to the structure that allowed blurred boundaries to exist in the first place?

This question is not hypothetical. It repeats a pattern already established. Observe how Joo Jaekyung sued a hospital for leaking information, though the lawyer and the institution put the blame an individual. (chapter 36) When the hospital scandal broke, the institution remained unnamed. (chapter 91) The director was isolated as the deviant. The system survived. Corruption was reframed as personal misconduct. Structural tolerance became invisible.

If Heesung were exposed, would the narrative follow the same logic? Would he be condemned as an individual aberration? Or would the agency be questioned for cultivating environments where professional and private hierarchies overlap, where young trainees depend on seniors, where silence protects image?

The fox can easily be mistaken for the wolf. But the forest still matters. And this brings us to a larger structural mirror: MFC.

When schemes unfolded inside the fighting world — manipulated matches, concealed injuries, silent complicity — who bears responsibility? The CEO? The manager? The doctors who testified selectively? (chapter 41) The security guards who enforced silence? (chapter 40) The sports reporters who repeated the official version? The referees? The moderators? The corrupted director of the gym Choi Gilseok? Or the institution itself?

If one fighter becomes the scapegoat (chapter 52), does the structure remain untouched?
If one CEO falls, does the culture disappear? (chapter 47)
If one predator is exposed, does the ecosystem dissolve? (chapter 48) As you can see, I have the feeling that the pharmaceutical company might become the topic of the next scandal.

Perrault’s tale quietly asks the same question. The wolf is blamed. But who raised the girl to trust sweetness without discernment? Who allowed her to walk alone? Who normalized obedience over critical thought? The fairy tale ends with the wolf devouring the girl — and society intact. Grimm adds a huntsman, but the forest remains.

So when the next scandal erupts — whether in the hospital, in the agency, or in MFC — the real question will not be merely who acted wrongly.

It will be: who benefited?
Who remained silent?
Who enforced the hierarchy?
Who preferred reputation over accountability?

And perhaps the most uncomfortable question of all: Will another wolf be sacrificed — while the forest survives once again?

Feel free to comment. If you have any suggestion for topics or Manhwa, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Twitter-Tumblr 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.

Jinx: The Beginning 🧶 of the End ⛓️‍💥❄️

Sorry for the delay, but I am getting surged soon, thus I was busy preparing lessons for the time during my absence.

The Beginning of the End

The audience sensed it before it could fully articulate why: Jinx is nearing an irreversible threshold. Not an ending yet, not a climax in the conventional sense, but a point beyond which the story cannot return to its original configuration. (chapter 89) Episode 89 does not rely on spectacle, confrontation, or confession. Instead, it performs something far more unsettling. It turns back toward the beginning (chapter 89) and begins to unravel what was once deliberately sealed.

What makes this episode feel decisive is not merely a rearrangement of power, but the return of elements that were present from the very first chapter —elements whose meanings were never in doubt, yet whose consequences were never allowed to surface. (chapter 1) At the start of Jinx, the readers were not ignorant. We knew that Kim Dan had been sexually harassed. (chapter 1) We knew there was a witness. We knew that what happened was not ambiguous in moral terms.

What was ambiguous was power.

A hospital director fired Kim Dan not because the truth was unclear, but precisely because it was clear—and dangerous. Using institutional authority, he covered the scandal, protected himself, and quietly ensured that Kim Dan would never be able to work as physical therapist and even speak again. (chapter 1) The outcome was not accidental, but Kim Dan didn’t experience it as a calculated purge or a conspiracy that must be fought. He accepted the loss of his job almost as a given, even as he recognized the injustice of it. What unsettled him was not the fear that others would disbelieve him, but the realization that responsibility stopped with him. He lost a prestigious hospital position and the professional future attached to it, while the hospital director faced no consequence at all. Kim Dan did not protest or seek redress; instead, he turned his attention inward, wondering what was said about him afterward, in rooms or institutes he was not allowed to enter. The truth was known, yet it changed nothing, because Kim Dan was silenced. No one listened to him or defended him, while the perpetrator alone was given the authority to determine the truth. The witness stayed silent, the institution spoke elsewhere, and Kim Dan was removed from his own story. And that’s how the asymmetry became something he quietly carried as his own burden.

This is why Episode 89 does not feel like escalation—it feels like unsealing.

The return of the perverted hospital director (chapter 1) is not a revelation of new information. It is the resurfacing of a figure who once proved that truth alone was insufficient. His reappearance signals that what was buried at the beginning of the story—harassment, witness, cover-up, professional erasure—is no longer content to remain inert. The silence that once protected the hospital director is beginning to fray, unwinding slowly, like a gift ribbon pulled loose thread by thread. What was known but unspeakable is approaching exposure not through confession, but through loss of insulation.

This return is mirrored by another, quieter but equally significant absence: the grandmother.

In Episode 89, she is no longer shown directly. (chapter 89) Instead, the narrative offers a bird’s-eye view of the hospice Light of Hope as Joo Jaekyung’s car leaves the parking lot. The implication is unmistakable. Her death is imminent. But just as importantly, she is transitioning from presence to spectral force—no longer intervening, no longer negotiating, but lingering over the narrative as memory and obligation.

This, too, echoes the beginning of Jinx. (chapter 1) Readers did not meet the grandmother until Episode 5. (chapter 5) Before that, her existence was inferred rather than seen: through debt, through responsibility, through the ruined house Kim Dan inhabited. Absence structured the story before presence ever did. The grandmother was a force long before she was a character.

Now the movement reverses. Presence recedes back into absence. But unlike in the beginning, Kim Dan’s life is no longer centered on her care. That responsibility has been entrusted elsewhere, and her absence no longer governs his choices. In Episode 89, the hospice is no longer framed as a home, but as a stop along the way. (chapter 89) When Joo Jaekyung speaks of “the way home,” (chapter 89) and Kim Dan repeats the phrase without hesitation, the shift is unmistakable. Home has been reassigned. It is no longer the place where Kim Dan endures obligation or where his grandmother is (chapter 56), but the place where he lives in the present: the penthouse. The grandmother’s influence has not vanished; yet it has been reduced to a short visit, while he spends time with his fated partner a long time on the road. Her absence no longer anchors him to a life of quiet survival. He is now enjoying life, hence he is seen smiling and talking informal to the athlete. (chapter 89)

This mirroring is not cosmetic. It is structural. The story returns to the conditions of its origin—sexual violence handled institutionally, professional precarity (chapter 1), unseen decisions made about Kim Dan without his consent (chapter 1) — but it does so in a transformed landscape. (chapter 89) Debts have been paid. Contracts are finite. A witness exists, though he doesn’t believe in the “angel”. (chapter 89) Kim Dan is no longer isolated in his knowledge, nor alone in bearing its consequences. Joo Jaekyung detected the presence of a “predator”. (chapter 89)

That is why Episode 89 feels like the beginning of the end. Not because everything is resolved, but because the story has reached the point where truth no longer needs to beg for permission to exist. What was once survivable only through silence can now be named, contested, and reclaimed.

By folding the opening of Jinx back into its present, the author signals that the love story between Kim Dan and Joo Jaekyung is approaching its final test. No longer a story of endurance under constraint, it is becoming a story about emancipation under scrutiny—about what happens when love, guilt, responsibility, and institutional memory are finally forced into the same frame, by those who were once excluded from it.

The Beginning of the End is not an announcement of tragedy. It is the moment when the story turns back on itself and says: now the truth can move.

Seeing Is Not Knowing

Episode 89 does not introduce this logic; it exposes it by repetition. From the very first chapter, Joo Jaekyung’s relationship with his former physical therapist already functioned as a negative prefiguration of Kim Dan’s own trajectory. (chapter 1) The readers never saw what caused the unknown therapist’s departure. Instead, the incident is relayed second-hand, through Park Namwook’s narration—an account that reduces the event to temperament, friction, and inevitability. The physical therapist is said to have “rubbed him the wrong way.” An incident occurred and the athlete was exposed as the problem. The job was framed as undesirable. The departure was normalized.

Crucially, Joo Jaekyung accepted this explanation without investigation. He was surprised that the therapist quit (chapter 1), but he did not question the narrative offered to him. He never tried to justify his own action either. Park Namwook, as manager, occupied the position of authority: the one who explained, interpreted, and closed the case. He never checked the facts, like for example “rubbing him the wrong way”. He acted as the prosecutor, judge and lawyer at the same time. What happened before remained unseen, and therefore unexamined. The truth did not need to be falsified; it only needed to be summarized.

Crucially, the manager also treated resignation as resolution. Once the physical therapist left, the problem appeared solved. Replacement substituted for accountability, and the consequences of this closure were never considered. The difficulty in filling the position (chapter 1), the reluctance of applicants, and the need to recruit Kim Dan through informal channels all suggested that something else had already been circulating: a reputation formed in absence, not through evidence.

Like Kim Dan after him, Joo Jaekyung is first not confronted with accusations (chapter 9), explanations, and silence. Only after the “hamster’s arrival”, the athlete is gradually exposed to gossip, badmouthing (chapter 47) and exclusion. This reached its peak with the famous slap at the hospital. (chapter 52) It shows that like doc Dan, the celebrity bears the effects of a narrative he did not author, one that no longer requires verification and questioning because it has already been administratively settled.

Episode 89 reactivates this same structure—but from another angle.

Heesung believes he knows the truth because he has seen something. (chapter 89) He witnessed a kiss between Kim Dan and Joo Jaekyung, and from that single image, he constructs a complete narrative: a kiss is turned into something raw and sexual. For him, intimacy replaces training, desire replaces discipline, and the explanation Kim Dan gives becomes, in his eyes, a lie. (chapter 89)

Yet this is where the episode quietly undermines Heesung’s certainty. Kim Dan is not just fabricating an alibi. He is not inventing a cover story. They were indeed training. (chapter 88) The kiss does not erase what preceded it; it merely interrupts it. Kim Dan’s explanation is therefore neither wholly true nor wholly false. It is a partial truth, shaped by shyness, by a desire to protect, and by shame. Hence he is sweating, when he explains his presence to Potato. (chapter 89) To know the “whole truth” would require access not only to events, but to intentions, emotional thresholds, and timing—access no single witness ever has. Only gods have such power.

And that’s how Choi Heesung views himself. He considers himself as the “perfect lover”, thus his dream has always been to find his soulmate, another “perfect lover”. (chapter 33) That’s the reason why he was attracted to Kim Dan in the first place. He is an angel (chapter 30), as the latter is quiet, self-effacing. selfless, attentive, humble and absorbs blame instead of projecting it. Kim Dan initially fits the fantasy of the perfect lover — someone who would not disrupt Heesung’s self-image. Hence he doesn’t need to do anything. (chapter 31) By siding with doc Dan and acting as the angel’s advocate (chapter 89), the comedian can appear as a saint.

But the reality is that the “fox” is overestimating himself. He is just a human like Joo Jaekyung and as such a sinner. The actor’s error is not merely that he lies, but that he lies by omission (chapter 89) and generalization. Because he saw one thing, he believes he knows everything. Because he believes he already knows Joo Jaekyung —his temper, his reputation, his past, his belief (chapter 32)— he believes that he can judge the celebrity. However, he does not consider that something else might have happened before the moment he witnessed. The kiss becomes totalizing. Training is retroactively erased.

This is precisely the same epistemic shortcut Park Namwook took in Season 1.

In both cases:

  • authority or proximity substitutes for inquiry,
  • a partial observation becomes a total explanation,
  • and investigation is deemed unnecessary because the observer believes he already understands the subject.
  • Crucially, judgment in these moments is driven not by facts, but by emotion. Resentment, jealousy, fear, and wounded pride shape perception long before evidence is considered. What presents itself as moral clarity is, in reality, affective certainty.

Yet justice—whether institutional or interpersonal—cannot emerge from emotion. It requires distance. It requires restraint. It requires a form of deliberate indifference: not apathy, but neutrality. The refusal to let feeling stand in for truth. Therefore a judge will always listen both sides (defendant, plaintiff). Neither Park Namwook (chapter 52) nor Heesung exercises this control. Both act from positions of perceived authority, and both mistake emotional coherence for factual accuracy. Their confidence does not only arise from what they know, but also from how strongly they feel. The strength of conviction replaces the labor of verification.

This failure becomes especially visible in Heesung’s interpretation of Kim Dan’s departure. (chapter 58) He imagines a simple narrative: Kim Dan must have left because of Joo Jaekyung’s temper, his rudeness, his violence, probably due to the “defeat”. A quarrel, therefore, naturally leads to separation. From this assumption follows a paternalistic conclusion: the “hamster” must be hidden from the athlete for his own good. Protection becomes justification; concealment becomes virtue.

Heesung delivers this judgment (chapter 89) while smoking—a detail the episode insists on repeating, and one that should not be aestheticized. The cigarette does not merely accompany his words; it alters the air in which they are spoken. (chapter 89) Smoke replaces oxygen. What should be a space for clarification becomes a polluted environment where nothing clean can circulate. His speech is not only corrosive; it is toxic, dispersing blame without responsibility and judgment without accountability.

This is not the violence of a raised fist, but of contamination. Heesung does not attack Joo Jaekyung directly; he saturates the space with inevitability. His words do not argue—they suffocate. By framing Jaekyung as fundamentally unlovable (“after everything you’ve done”), he does not describe a reality; he reinscribes a conviction that already haunts the champion: that love is structurally inaccessible to him, that intimacy is something he can only damage, never deserve.

In this sense, Heesung’s intervention is not corrective but punitive. It does not open a future; it seals one. The smoke signals this closure. There is no fresh air, no possibility of reconfiguration—only the quiet assertion that the past defines the present absolutely. And because Heesung speaks from a posture of apparent control, he mistakes pollution for moral clarity. He leaves believing he has spoken the truth, while what he has done is reinforce the most destructive lie Joo Jaekyung already believes about himself.

What Heesung never questions is whether this narrative is complete—or even accurate. He doesn’t know about the incident with the switched spray, about doc Dan’s mental and emotional suffering, he has no idea about doc Dan’s past as well. It was, as if the young man had no past or no trouble before his interaction with the sportsman. He does not ask why Kim Dan stayed as long as he did, why he returned, or how the relationship itself has transformed. He doesn’t look at the physical therapist at all, thus he can see no change. (chapter 89) The possibility that Kim Dan acted with agency, discernment, or desire is excluded in advance. Kim Dan is reduced to a fragile and innocent object of care rather than a subject capable of choice. He doesn’t know what is good for himself. (chapter 89)

What Jinx exposes here is not dishonesty, but epistemic arrogance: the conviction that seeing grants mastery over meaning.

The irony, of course, is that Joo Jaekyung once occupied this very position. (chapter 1) He accepted Park Namwook’s account of the former physical therapist because it aligned with what he believed he knew about himself and others. Now, in Episode 89, he becomes the object of the same logic—reduced, explained, and judged by someone who believes that proximity equals comprehension. This repetition matters.

It shows that truth in Jinx is never neutral. It is filtered through:

  • authority (Park Namwook),
  • jealousy and wounded pride (Heesung),
  • reputation and past violence (Joo Jaekyung),
  • and self-effacing silence (Kim Dan).

To know the full truth is impossible—not because the truth is unknowable, but because every character approaches it already shaped by prior experience. What changes in Episode 89 is not the existence of bias, but the story’s willingness to expose it as bias.

Heesung believes he knows the truth because he has seen something. A kiss. A single image, isolated from its sequence, elevated into certainty. From that moment on, everything else becomes irrelevant. And because he saw this before (chapter 58), he reinterprets the kiss as “fuck” and not as the expression of love and tenderness. In other words, he is witnessing “true love”, but he rejects it. This exposes that he has no true notion of real love. In his mind, Joo Jaekyung abused his position as “employer”. (chapter 89)

Heesung presents himself as morally superior because he does not resort to physical violence. (chapter 89) But this distinction is hollow. Harm does not require raised fists. It can be inflicted through trick, insinuation, through speaking about someone rather than to them, through occupying the role of moral arbiter while denying the other person a voice. (chapter 89) Kim Dan has always disliked this — being spoken for, spoken over, spoken around. Episode 1 and 57 established this clearly. Episode 89 simply mirrors it back.

What makes Heesung especially dangerous is that he uses Kim Dan as a shield. He claims to defend him, but only in his absence. By positioning himself as Kim Dan’s advocate, he grants himself authority while quietly stripping Kim Dan of agency. His concern is not what Kim Dan wants, but what Heesung believes Kim Dan deserves. In doing so, he protects his own wounded pride — the pride of someone who cannot accept that Kim Dan rejected him.

This refusal is key. Heesung cannot bear the idea that Kim Dan would choose Joo Jaekyung, even date him. (chapter 89) His comment “You’re not ….” implies the expectation of a confirmation. Both are not dating. What Joo Jaekyung is actually doing exceeds the category Heesung understands. This is not casual dating. It is not secrecy. It is not consumption. It is preparation. Continuity. A future. Symbolically, Joo Jaekyung is already a step beyond “dating”: he is moving toward marriage — toward public, accountable union. He is closer to commitment than the cursed “Romeo”. That’s the reason why the author included such a reference at the store: (chapter 89).

And this is where the contrast becomes stark. Heesung, who performs moral responsibility, is not dating Potato openly. He keeps relationships provisional, deniable, suspended in ambiguity. He treats the young fighter more like a puppy or servant than as an equal partner. Joo Jaekyung, who is accused of being reckless and violent, does the opposite. He assumes responsibility. He spends time with doc Dan by teaching him swimming and fighting, he pays debts. He limits contracts. He buys a suit not for himself, but for Kim Dan’s future. He does not erase the past; he integrates it into a shared trajectory.

In this sense, Heesung is not the opposite of institutional power — he is its echo. He speaks confidently, withdraws responsibility, and leaves consequences to others. He does not strike, but he silences. He does not coerce, but he defines reality from a position Kim Dan never consented to.

The tragedy is not that Heesung lies consciously. It is that he is convinced he is telling the truth.

Not Seeing but Knowing

Episode 89 ends not with confrontation, but with a visual verdict. (chapter 89)

At one table sits the former hospital director. His presence is quiet, restrained, and deeply uncomfortable. Nothing about him suggests ease. His coat remains on, his tie loosened but not removed — a body prepared to leave rather than settle. He did not come to linger. He did not come to enjoy himself. His posture signals transience, not belonging.

The drink in front of him reinforces this distance. Whisky on the rocks is not a drink of sharing or unfolding; it is a drink of insulation. Cold, undiluted, contained. It is consumed alone, meant to harden rather than open. Even when accompanied, the director remains isolated. The person across from him seems to be talking to him (chapter 89), yet the antagonist does not engage him. Conversation fails to circulate. Responsibility, like dialogue, stops at the rim of the glass.

This matters because the director is not merely observing Kim Dan — he is being corrected by him.

For a long time, the director believed he knew how Kim Dan’s story had ended. Fired, blacklisted, erased — a life quietly ruined by institutional power. That belief allowed him to move on without consequence. Silence had done its work. The trick had succeeded.

What sustained this belief was secrecy. Not ignorance, but managed invisibility. Power, in Jinx, does not primarily operate through open coercion, but through control of circulation (chapter 48): who is seen, who is spoken about, and who is allowed to speak at all. By removing Kim Dan from institutional spaces and ensuring that the story of his dismissal was settled elsewhere, the director did not merely punish him — he rendered him socially invisible. Thus no one knew about doc Dan, when the athlete looked for him. (chapter 56) As long as Kim Dan remained unseen, power could continue to “know” without ever needing to verify.

The episode makes this collapse of power visible through contrast, not moral correction. In the flashbacks, the hospital director appears with controlled dominance (chapter 89) rather than exposed guilt. His posture is upright, leaning in. His hand rests on Kim Dan’s shoulder without hesitation—uninvited yet unchallenged. His face shows satisfaction, not doubt. He smiles while Kim Dan sweats and is attempting to stop him. (chapter 1)

This is not the memory of a man who feared consequences. It is the memory of someone operating comfortably inside a system designed to protect him. (chapter 89) His confidence is instrumental, not emotional: the calm of someone who knows where authority lies and how silence will function afterward. The grayscale of the flashback does not condemn him; it preserves his former certainty. In memory, he is still the predator—not because he is crueler there, but because the environment still belongs to him: the hospital.

What has changed in Episode 89 is not his nature, but the terrain. (chapter 89)

In the restaurant, his stare freezes (chapter 1) not because he feels guilt, but because his old script no longer applies. He is no longer positioned above Kim Dan—neither institutionally, socially, nor visually. He cannot initiate contact without exposing himself. He is no longer buffered by uniforms, corridors, professional hierarchies, or closed rooms where truth can be settled elsewhere. The architecture that once enabled him—white coats, administrative silence, procedural opacity—is gone. And he can not confide to his colleague either, hence he keeps starring the main couple. (chapter 89)

Predators rely on asymmetry and enclosure. Here, both have dissolved. This is why his reaction is not anger. Anger presumes leverage. What we see instead is hesitation: the moment a predator realizes the habitat that sustained him no longer exists. His disorientation is not ethical; it is strategic. He is recalculating risk. There is no redemption here, no moral awakening. He does not look ashamed. He looks uncertain—stripped of guarantees, not conscience. (chapter 89)

This makes the contrast with Kim Dan and Joo Jaekyung even sharper. Their interaction is openly intimate, casual, and socially legible. (chapter 89) They do not require shadows, isolation, or ambiguity to touch. Their closeness does not depend on secrecy or hierarchy. Where the director’s former power depended on institutional opacity, hierarchical distance, and Kim Dan’s vulnerability, Joo Jaekyung’s present intimacy depends on none of these. And no one seems to pay attention to the “main couple” at all. (chapter 89)

That is the true reversal the episode stages. Power has not disappeared; it has migrated. The table of the hamster and wolf is placed higher than the one where the perverted director is seated. (chapter 89) It no longer operates through enclosure and silence, but through visibility and mutual presence. What once required corridors and closed doors now unfolds in the open air of a shared table. And this, finally, is what the director is forced to see. (chapter 89)

What unsettles the director is not confrontation, but visibility: the realization that secrecy can no longer protect the knowledge he once mistook for truth. His wrongdoing can now get exposed, for doc Dan is now standing close to the “spotlight”. Joo Jaekyung is not just a face, but also a voice. Thus the latter could sue a hospital. (chapter 42) This raises the following question: was the wolf suing the hospital where doc Dan got his first “gig”,?

What the nameless director sees now contradicts that certainty. (chapter 89) Kim Dan is not diminished. He is not withdrawn, anxious, or broken. He is smiling. Relaxed. Present. He laughs. He blushes. His body no longer carries the posture of someone living under constant threat. And he is not alone. He is sitting with a famous athlete — not as an accessory or subordinate, but as an equal. But more importantly, he is not pushing away the gentle gesture from the famous MMA fighter, while the “old creep” couldn’t forget doc Dan’s rejection. (chapter 89)

This is the shock. (chapter 89)

The director did not anticipate survival. He did not imagine joy. He certainly did not expect visibility.

Across the restaurant, a different table breathes. (chapter 89)

Kim Dan has removed his jacket. His body is at ease in the space. He is not preparing to leave; he is inhabiting the moment. The drink shared here — red wine — is not incidental. (chapter 89) Wine is relational. It opens, breathes, changes with time. It is meant to be shared, discussed, returned to. It presupposes duration. Where whisky seals, wine circulates.

Where the director’s table is suspended in cold certainty, Kim Dan and Joo Jaekyung’s table exists in a shared present. Air moves. Attention moves. When Joo Jaekyung looks at Kim Dan, he does not define him or speak for him. He responds to him. Kim Dan is not summarized. He is addressed. And observe that doc Dan is gradually imposing himself as the senior. He is now the athlete’s hyung. (chapter 89)

The contrast is not moralistic. It is structural.

The director represents a mode of power that knows without seeing. He once decided truth behind closed doors, believing outcomes were sufficient proof. Even now, his presence is shaped by that same logic: observe without engaging, remember without reckoning, drink without sharing. The irony is that he is exactly like Heesung. He thinks, what he sees is the truth. He believes to know. Because he is a hidden homosexual, he can only interpret such a gesture as the expression of love, (chapter 89) but also as commitment. In his eyes, they are dating, they are a couple. The irony is that he is only partially correct. They are not an official couple, but they act like one. Moreover, they are working together. So they are more than just a couple. Finally, this happy moment doesn’t indicate what doc Dan went through in the past, the switched spray, the drugged beverage and a huge depression.

Joo Jaekyung represents something else entirely. Not innocence, not purity, but responsibility. He does not deny the past; he incorporates it. He does not insulate himself from consequence; he assumes it. The space he shares with Kim Dan is not free of history, but it is no longer governed by silence. In fact, now their “history” is full of funny stories. (chapter 89) But more importantly, he doesn’t hide his affection and attraction to doc Dan, while the other did it behind closed doors. Finally, thanks to doc Dan, Joo Jaekyung is learning to pay attention to his surrounding. That’s how he sensed the gaze from the perverted hospital director. (chapter 89)

This is why Episode 89 feels decisive without resolving anything.

The director’s return does not promise immediate punishment or exposure. It signals displacement. The world he once controlled through erasure no longer centers him. The person he believed he had reduced to nothing is not only alive, but visible — and no longer alone. He is even happy.

Power that relied on not seeing has lost its authority. What replaces it is not revenge, but relation.

And this is what marks The Beginning of the End, the final emancipation of Doc Dan. The latter does not arrive through confrontation or declaration, but through legibility. In the fitting room, the suit is not a costume of aspiration or disguise; it is a confirmation that he can now be seen without being reduced. He looks back, not down. He asks, (chapter 89) not as a plea for permission, but as an invitation into a shared future. The pause of the older man watching him echoes a different kind of professionalism: not predatory authority, not performative control, but quiet recognition. Furthermore the doctor’s suit reminded me of the doctor in episode 13, Cheolmin (pattern, colors). (chapter 13) The visual resemblance to Cheolmin is not accidental. It aligns Kim Dan’s future not with power that operates through secrecy, but with practice grounded in fun, care and responsibility. Earlier, suits belonged to those who decided outcomes behind closed doors (chapter 89); here, the suit becomes a sign of re-entry without erasure. (chapter 89) Bought by Joo Jaekyung but chosen by Kim Dan, it marks the return of agency. What was once a symbol of exclusion now signals continuity. Kim Dan is no longer preparing to survive. He is preparing to live. Hence his birthday is approaching.

Not because justice has been delivered, but because those who once “knew” without seeing are finally forced to see—
and discover that their knowledge and power were never secure, only temporarily protected by illusion.

Feel free to comment. If you have any suggestion for topics or Manhwa, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Twitter-Tumblr 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.

Jinx: The Birth 🎴 of A Flower 🌸 (part 1)

Where is a Flower in Episode 88?

Episode 88 of Jinx immediately drew readers’ attention to two moments in particular: the training session between Kim Dan and Joo Jaekyung (chapter 88), and the final panel hinting at an imminent confrontation with Choi Heesung. (chapter 88) Discussions largely revolved around physical proximity, discipline, and anticipation — around bodies in motion and the promise of conflict to come. At first glance, the episode seemed to oscillate between intimacy and tension (chapter 88), between preparation (chapter 88) and interruption (chapter 88).

Only on closer reading does another layer emerge — one that does not oppose these moments, but reframes them. The training session is not merely about discipline or proximity, and the final panel is not only a promise of confrontation. Both scenes (chapter 88) are structured around restraint (chapter 88): what is held back (chapter 88), delayed, or redirected. Words are measured, authority is redistributed, and decisions are deferred (chapter 88) rather than imposed. What initially appears as physical intensity and narrative suspense begins to reveal a deeper reconfiguration of roles, responsibility, and choice.

At first glance, the title may seem paradoxical. The episode takes place a few weeks after October (chapter 70)—most likely in November— in late autumn. (chapter 88) This temporal setting is visually reinforced by the environment itself: in the opening sequence marked “a few weeks later,” the tree is already bare, its leaves gone. Nature offers no spontaneous image of growth or renewal. If a flower were to appear in this chapter, it couldn’t belong to the season. It must be cultivated, protected, and sustained in a green house—something that emerges not from natural abundance, but from deliberate care. So where does this idea of a flower come from?

Closed Circuits and the Logic of the Number Eight

The title emerged from a visual and structural observation. Chapter 88 is built around the number eight: a chapter defined by two closed circuits that finally cross. Remember how I described the relationship of the main couple in the essay : a closed circuit which we could witness once again in the training room: (chapter 88) There are once again sparks between them. The number 8 is not just related to doc Dan [for more read  The Magic Of Numbers ] and his relationship with the athlete, but also to the other couple: Heesung and Yoon-Gu. This means, the latter represent the other closed circuit. Hence the other couple appeared in episode 35 and 58. (chapter 58) Two trajectories —long separated, repeatedly missing one another—intersect at last. When two eights overlap, they form neither a loop nor a knot, but a new shape: a flower-like figure, suggestive of opening rather than closure. This crossing does not resolve everything; instead, it creates the conditions for growth for all the characters. We could say that each closed circuit forms two petals so that their interaction with each other will affect them positively.

Color as Emotional Structure

The flower, however, is not only numerical or temporal. It is also chromatic. A flower is never defined by form alone, but by shading—by gradients, transitions, and the coexistence of multiple tones within a single structure. Thus in French certain flowers serve to define pigments: rose for pink, violet for purple. In this sense, episode 88 does not merely contain colors; it behaves like a flower unfolding through shades. Episode 88 is saturated with color: pink (chapter 88), white (chapter 88) purple (chapter 88), blue, gray, , (chapter 88) red (chapter 88) and black (chapter 88) Pink frames tenderness and mutual awkwardness; purple marks embarrassment and heightened awareness; red signals suppressed anger and looming confrontation; black absorbs fear, silence, and unresolved tension.

White, notably associated with Park Namwook, carries a more ambivalent meaning. (chapter 88) It evokes innocence on the surface, but also ignorance—an unexamined moral comfort that allows him to retreat from responsibility while claiming authority. His lightness contrasts sharply with the weight of the decision he refused to make: visually underlined by the black-lined spiral hovering near his head—an emblem of irritation without accountability.

Blue and gray dominate the scene in which Joo Jaekyung announces his seemingly excessive training demands. (chapter 88) On the surface, the atmosphere feels cold and authoritarian. Yet the exaggeration itself reveals something else: the demand is deliberately absurd, almost teasing. Joo Jaekyung is testing resolve, not imposing punishment. The joke —visible thanks to the chibi and the brief spark within the athlete’s gaze— goes unnoticed. No one laughs. The room’s muted colors reflect this misrecognition—care and fun are present, but not yet legible to those receiving it.

At first glance, the setting itself seems to resist any floral reading. (chapter 88) The scene unfolds not in nature, but in a gym in Seoul—an urban, enclosed space associated with discipline, repetition, and control rather than growth or renewal. This tension may explain the readers’ initial surprise: a flower appears where one would expect only concrete, steel, and hierarchy. Yet in Jinx, the flower does not belong to nature as landscape, but to nature as process—to emergence, care, and relational change.

This process is not introduced through scenery, but through bodies marked by green. And the latter symbolizes nature. In episode 88, two characters (chapter 88) are dressed in green (chapter 88), a choice that appears unobtrusive—almost practical—yet is unmistakable within Mingwa’s chromatic language. Green here does not function as pure nature or renewal, but as transition: a sign of growth that is still constrained, negotiated, and incomplete. It is not a vivid, liberating green, but a muted one—ranging from green sheen to subdued olive—closer to endurance than vitality, to steadiness rather than expansion. Growth is present, but it has not yet broken free; it remains embedded in effort, restraint, and adaptation.

Crucially, this shorts’ shade recalls the photograph of Kim Dan with his grandmother (chapter 19), where green and floral elements once functioned as a silent language of care and containment. The repetition is not accidental. By wearing a similar tone in the present, Kim Dan does not merely revisit the past; he carries it forward. (chapter 88) The color no longer signifies dependency or shelter alone, but continuity of self. It marks a return to an inner disposition that predates trauma—a self capable of care, persistence, and quiet resilience. This means that he is closer to his true self.

Placed within the gym’s dominant blues and grays, this green does not signal leisure or escape. It signals cultivation. Growth here is neither spontaneous nor decorative; it must be trained, maintained, and protected. The flower does not bloom despite the city—it blooms through care, discipline and recognition. What initially appears paradoxical becomes coherent: in Jinx, growth is not opposed to structure. It is shaped by it.

From Flower to Language: Communication Deferred

Crucially, the flower also functions as a metaphor for communication. (chapter 19) Flowers are not passive decorations; they carry meaning, intent, and symbolism. The background is composed of hydrangeas in blue, pink, and pale violet—colors traditionally associated with gratitude, tenderness, apology, and emotional nuance.

Unlike roses (chapter 35), which tend to assert a singular message (love, passion, beauty), hydrangeas communicate multiplicity and emotional ambivalence; they speak in clusters rather than declarations. This visual language mirrors Kim Dan’s inner world at the time (chapter 19): affection entwined with dependency and sorrow, care mixed with silence, love present but unspoken.

This chromatic memory resurfaces later through a different floral gesture: the bouquet Choi Heesung offers Kim Dan —pink roses paired with baby’s breath (chapter 31). Here, the symbolism shifts. Pink roses convey affection and admiration, while baby’s breath suggests innocence and fragility. Yet the arrangement is excessive, overwhelming, and mismatched to its recipient. The bouquet does not listen; it speaks at Kim Dan rather than with him. Significantly, Heesung comes to associate Kim Dan himself with the flower—something delicate, beautiful, and deserving of protection, but also something to be handled, displayed, and possessed.

Episode 88 reframes this logic entirely. The “birth of a flower” no longer refers to being perceived as fragile or decorative, but to a return to growth from within. (chapter 88) Kim Dan’s green training clothes—visually echoing the green shirt he wore in the photograph with his grandmother—signal continuity rather than regression. This is not a retreat into childhood dependency, but the reappearance of an inner child now disentangled from obligation and fear. The flower that reemerges here is not gifted, not arranged, not imposed—it grows. In this sense, episode 88 introduces a missing element in the dynamic between the two protagonists: not desire, not care, but communication. And it is here that Choi Heesung becomes central—not as a rival or antagonist, but as a structural bridge, as in reality he represents the rose, “La vie en rose” . He embodies speech, playfulness, and visibility, yet also reveals their limits when they are severed from responsibility and respect. I will elaborate about this more below.

The illustration accompanying this essay includes a fifth, shadowed petal inspired by the Mugunghwa—the Rose of Sharon, a national symbol of Korea often associated with endurance, justice, and continuity. This fifth petal does not yet fully bloom. It signals something incomplete, something still forming: a question of justice, choice, and mutual recognition that the narrative has only begun to articulate.

Finally, this essay reads episode 88 through the lens of Erich Fromm’s definition of love—care, responsibility, respect, and knowledge. For me, these 4 notions are represented by the 4 petals. In this chapter, Joo Jaekyung visibly embodies care, responsibility, and a growing respect for others’ autonomy. What remains absent is knowledge: a true understanding of Kim Dan’s inner life, just as Kim Dan himself has yet to fully understand Jaekyung beyond his role and past. The flower, then, is not the endpoint. It is the beginning of a process in which these missing elements may finally emerge.

What follows is not an analysis of victory or defeat, but of growth—quiet, fragile, and cultivated under constraint. This is not the celebration of happiness already achieved (chapter 88), but the moment in which the conditions for happiness are finally put into place. And now let me ask you this. What is the symbol of happiness? Smiles and laughs. During the training session, Kim Dan smiles. These moments are brief (chapter 88) and goes unnoticed by him (chapter 88) and his fated partner, yet it directly answers what Joo Jaekyung has repeatedly expressed as his desire: to be the source for Kim Dan’s smile and to smile together. (chapter 83) What is striking is that neither of them recognizes this fulfillment. (chapter 88) Kim Dan does not register his own smile as happiness, and Joo Jaekyung does not realize that he is already producing what he seeks. As elsewhere in Jinx, happiness precedes awareness. It exists before it is acknowledged—by both sides.That’s why I selected the title: the flower embodies happiness, as its life is just as short as happiness. (chapter 31)

A. Joo Jaekyung × Kim Dan: The First two Petals

The training sequence in episode 88 cannot be read as a simple exercise scene, nor as a sudden moment of equality or mutual play. It is, instead, the continuation of a long-standing relational pattern in which care is expressed indirectly (chapter 88), asymmetrically, and through the only language both characters know how to use: work. (chapter 88) What appears at first glance as coercion (chapter 88) or discipline is in fact a negotiation shaped by habit, fear of burdening the other, and an inability—on both sides—to articulate desire outside professional roles.

1. How the training is suggested: care disguised as necessity

Crucially, the idea of training does not emerge in the gym itself. It is first introduced in the car (chapter 88), a space that is never neutral in Jinx. A car has one driver, one direction, one authority. By placing the conversation there, Mingwa signals that the relationship is still structurally asymmetrical at this point: Joo Jaekyung leads, Kim Dan follows.

Joo Jaekyung frames the proposal as a matter of stamina and work. (chapter 88) Training will help him in his career. This framing is not accidental. Joo Jaekyung does not yet know how to say: “I want to spend time with you“, or “I’m afraid you won’t be safe, once you leave my side“. He knows only how to justify closeness through usefulness. Training becomes a rational excuse for proximity, a legitimate reason to demand time without admitting emotional dependence.

At the same time, this proposal is deeply protective. Joo Jaekyung has seen Kim Dan collapse from exhaustion in the past. He knows his physical limits better than Kim Dan himself. (chapter 88) Secondly, such a training suggests that the athlete is gradually remembering this scene of the almost-rape. (chapter 88) In his subconscious, he knows that this was not prostitution. (chapter 17) Therefore it is not surprising that instead of asking permission or explaining concern, he imposes the idea—because that is how he has learned to act as a captain, a fighter, and later a manager. Authority precedes dialogue. (chapter 88)

2. The first refusal: self-neglect disguised as strength

Kim Dan’s first response is immediate: (chapter 88) He refuses. This is not politeness. It is not consideration for Joo Jaekyung’s fatigue. It is a reflex rooted in long-standing self-erasure. Kim Dan genuinely believes he is strong enough. More importantly, he believes that needing care is illegitimate.

This refusal is governed by habit:

  • the habit of minimizing himself,
  • the habit of overestimating endurance,
  • the habit of believing that receiving attention makes him a burden.

At this stage, Kim Dan is not yet protecting Joo Jaekyung; he is protecting the structure that allows him to remain useful and unobtrusive. Accepting training would mean admitting vulnerability—and worse, accepting time, effort, and concern directed at him.

The sportsman ignores this refusal. This moment is important because it reveals both the problem and the intention. Joo Jaekyung acts like a parental figure, not a partner. He overrides consent not out of cruelty, but out of conviction that he knows better. His care still takes the form of command. This explicates why the physical therapist’s agreement is accompanied with a drop of a sweat. “Okay” indicates more discomfort than joy and gratitude. He doesn’t feel indebted toward the athlete, rather embarrassed.

Thus the asymmetry is intact. The training is not born out of his own desire.

3. The pause: time passing, resistance softening

Striking is that this conversation is revealed, after the champion asked doc Dan to get changed. (chapter 88) In other words, the request from Joo Jaekyung appears as a memory from the physical therapist. Why? (chapter 88) Because Mingwa refuses the “clean” sequence in which an order is issued and immediately executed. The narration inserts a gap—an interval of off-panel time that we are forced to reconstruct from Kim Dan’s recall. (chapter 88) The narrative does not jump immediately into physical training, because the temporal gap is supposed to mirror the time jump as well. There were other training sessions. This temporal gap matters. The doctor’s inner thoughts (chapter 88) “I guess we’re doing it today, too…” implies routine without inner desire and daily regularity. This means that the training sessions only took place, when the champion asked doc Dan to change his clothes. Doc Dan was not looking forward for the training sessions or reminded the athlete of his promise or request.

That pause changes the meaning of consent and compliance. If the scene were immediate, Kim Dan’s earlier refusal (“Oh no, thank you, I can manage—”) would read as a clear boundary and Joo Jaekyung’s “Just do as I say” as a straightforward override. (chapter 88) But because the chapter returns to the topic through memory, the refusal is not portrayed as a decisive line—rather, it becomes the first phase of a negotiation Kim Dan does not yet know how to conduct. His resistance softens not because he suddenly “wants” the training, but because habit takes over: he is used to accommodating authority, used to re-framing his own limits as irrelevant, used to translating pressure into “normal.” The break between the command and the actual session is precisely where that old reflex does its quiet work.

By the time they appear in the practice room, Kim Dan is showing no hesitation. He is training eagerly. (chapter 88) Instead Kim Dan no longer insists on his own sufficiency. He no longer says “I can manage., but doc Dan admits not only his own lacking. (chapter 88), but also his own desire. He finally expresses his desire to improve, to learn more.

This admission marks a decisive internal shift. In earlier chapters, “I can manage” functioned as a shield: a way to deny need and avoid dependence. Here, Kim Dan allows himself to recognize that improvement exists precisely because limits existed before. The champion’s explicit comparison with the past (chapter 88) creates a temporal bridge that enables this recognition. Only once change is named from the outside can Kim Dan cautiously acknowledge it from within.

At the same time, this acknowledgment remains fragile. Kim Dan does not fully accept the implications of Joo Jaekyung’s praise. (chapter 88) His response — “I still have a lot to learn” — both accepts growth and reinscribes distance. He recognizes the fighter’s effort and dedication, yet still fears relying on the athlete’s benevolence. (chapter 88) This is why he immediately reframes the future in terms of independence: he will “keep up the training on [his] own.” Gratitude is present, but it remains incomplete, protective rather than connective. He still experiences himself as a potential burden. But why?

It’s because he tried to care for the athlete in his own way by suggesting a rest, but the champion denied it. (chapter 88) The problem is that his form of care was influenced by his own mindset and emotions: his physical limitations.

This attempt at care fails not because it is insincere, but because it is misaligned. Kim Dan does not ask whether Joo Jaekyung wants to rest; he assumes that rest must be what is needed, because that is what he himself would need in the same situation. His concern is genuine, yet it is filtered through his own bodily limits and emotional economy. Fatigue, for him, is something that must be managed cautiously, avoided, negotiated. When he encounters a body that does not obey those rules — a body that still has stamina, that refuses the logic of depletion — his offer of care is quietly rejected.

This rejection is decisive. It reveals a gap Kim Dan cannot yet bridge: the realization that Joo Jaekyung’s needs do not mirror his own. (chapter 88) The athlete does not require rest in the same way, and more importantly, he does not articulate his needs through physical exhaustion at all. What Kim Dan fails to perceive is that the training itself is Joo Jaekyung’s way of staying regulated, present, and emotionally grounded. It is also his source of joy. By denying the necessity of rest, the champion is not dismissing care; he is refusing a form of care that does not correspond to him.

Confronted with this mismatch, Kim Dan retreats. If his attempt to care is ineffective, then the safest response is to minimize his demands. This is where gratitude hardens into distance. He thanks Joo Jaekyung for his help with a smile, acknowledges his progress, and immediately insists on autonomy: he will continue alone. The logic is protective. If he does not rely, he cannot burden. If he does not ask, he cannot be refused again.

What emerges here is not self-confidence, but a familiar defense. Kim Dan is not asserting independence from strength; he is withdrawing from uncertainty. His insistence on training alone does not signal rejection of connection, but fear of asymmetry — fear that he cannot offer something equivalent in return. Because he interprets care primarily through physical effort and endurance, he cannot yet recognize that his presence, attention, and willingness to engage already matter.

In this sense, the moment exposes the limits of projection. Kim Dan’s care is sincere, but it remains anchored in his own survival strategies. Until he can decouple care from exhaustion, and need from weakness, he will continue to misread situations where what is required is not restraint, but accompaniment. The training, then, is not only about building strength. It is the first site where Kim Dan begins to confront the possibility that care does not always flow from managing limits — but sometimes from staying, even when one feels unnecessary.

This is significant. It shows that Kim Dan is beginning to speak, but still cannot speak for himself. His old habit remains: if something feels wrong, it must be because the other person needs rest, not because he is tired, scared, or overwhelmed. In other words, care is emerging—but it is displaced.

This is precisely why the gesture that follows (chapter 88) carries such weight. For the first time in this exchange, care is directed back at Kim Dan without condition. It is not framed as instruction, correction, or evaluation. It is neither command nor test. It is a simple, protective statement that mirrors Kim Dan’s earlier concern — but without projection. Joo Jaekyung does not deny Kim Dan’s limits. He acknowledges them. There is no reproach, only concern. (chapter 88)

Here, the asymmetry softens without disappearing. Joo Jaekyung remains physically dominant, emotionally inarticulate, and structurally in control of the situation. Yet the direction of care shifts. He does not accept Kim Dan’s attempt to exit the dynamic under the guise of independence. Instead, he counters it with responsibility: you matter enough to be protected. The pinky promise that visually accompanies this exchange reinforces the meaning. Promises in Jinx have often functioned as burdens or traps — obligations that freeze people in place. This one is different. It does not demand performance. It does not extract sacrifice. It asks only for self-preservation. (chapter 88)

This is where the flower begins to appear — not as harmony, not as symmetry, but as mutual misrecognition slowly correcting itself. Kim Dan still does not fully grasp that Joo Jaekyung’s desire to train him is also a desire to spend time with him. Joo Jaekyung, in turn, still cannot articulate that desire outside the language of work. (chapter 88) Training becomes the only acceptable medium through which closeness can occur. Pleasure and intimacy surface unintentionally — in teasing, in competition, in shared breath — but remain unnamed.

Crucially, this is not rigidity. It is habit. Both men operate within deeply ingrained routines shaped by survival rather than joy. Rest, breaks, and leisure have only ever been framed in relation to the champion’s career: recovery after injury, distraction after stress, sanctioned release after pressure. They know how to stop working; they do not know how to share fun. There is no vocabulary yet for casual togetherness — no restaurant, no cinema, no idle wandering. Training fills the gap because it is the only space where proximity feels justified.

Thus, the training is neither purely imposed nor fully shared. It begins as Joo Jaekyung’s initiative, shaped by authority and concern, but it gradually becomes a site where Kim Dan starts to renegotiate his self-image. By acknowledging both his limits and his desire to improve, Kim Dan takes a first step away from the logic of endurance alone. He still retreats into self-sufficiency, but the retreat is no longer absolute. He speaks more. He hesitates less. He accepts care, even if he cannot yet rely on it.

The flower here is not bloom, but formation. It is the slow emergence of a relationship that must unlearn the equation between care and burden, strength and isolation, desire and duty. Nothing is resolved. But something has shifted: care is no longer one-directional, even when it remains uneven. And for the first time, both characters participate — imperfectly, awkwardly, but genuinely — in sustaining it.

4. Where pleasure enters—and why it is unspoken

As the training progresses, something shifts subtly. Joo Jaekyung smiles (chapter 88). He teases. (chapter 88) He challenges. He praises: (chapter 88)

These are not neutral compliments. They are moments where discipline slips into enjoyment. Joo Jaekyung is no longer training only to prepare Kim Dan for a future without him; he is enjoying the present interaction. And yet, he cannot name this enjoyment.

Pleasure appears within work, not alongside it. Intimacy emerges through exertion (chapter 88), not rest. Thus the doctor mistakes the embrace for a technique and not the expression of love. (chapter 88) And observe that the athlete still refuses to express the true meaning of his hug. His explanation still remains technical, defensive, and strategically framed: (chapter 88) This sentence is crucial. It reduces contact to function. The closeness of bodies, the pressure of weight, the proximity of breath are translated into instruction. What could be acknowledged as reassurance or care is instead displaced into pedagogy. Joo Jaekyung does not deny intimacy; he relabels it.

What the image reinforces is not distance, but deferral. The focus on bodies — on interlocked legs, grounded feet, balanced weight — emphasizes control and stability rather than vulnerability. Affection is allowed to exist only when it can be defended as functional. The mount is maintained not because Joo Jaekyung wants to keep Kim Dan close, but because losing it would constitute failure.

And yet, the sequence immediately preceding this moment shows both characters acutely aware of their racing hearts,

(chapter 88) of breath held too long, of proximity charged with something unnamed. The technical explanation arrives after that awareness, not before it. This confirms that the instructional language functions as a shield — not against intimacy itself, but against having to speak it.

Yet the narrative immediately undermines this technical framing. (chapter 88) Directly after warning against lowering one’s guard, Joo Jaekyung kisses him.

The kiss is not furtive, accidental, or one-sided. Both characters are fully present. They look at each other. Neither pulls away. The contradiction is deliberate: the body does what the language refuses to acknowledge. Vigilance and intimacy coexist in the same gesture. The warning about control does not prevent closeness; it becomes the pretext through which closeness is allowed.

This is the crucial correction: Joo Jaekyung is not simply disguising intimacy as technique. He is containing it. The kiss does not negate the instructional frame; it slips through it. Pleasure is permitted only insofar as it does not require verbal recognition. Love is enacted, but not named.

For Kim Dan, this ambiguity poses no immediate problem. He has been kissed before. Physical intimacy is not new to him, and he has learned — through prior encounters — not to interrogate its meaning unless forced to do so. He does not question whether the kiss signifies affection, reassurance, desire, or attachment. Instead, he relocates intimacy spatially rather than emotionally. His only objection is not that the kiss happens, but where: (chapter 88) This line is telling. Kim Dan does not resist closeness itself. He resists its placement. Intimacy, in his understanding, belongs elsewhere — to the penthouse, to private space, to moments already coded as sexual or domestic. What unsettles him is not the kiss, but the fact that it occurs inside the domain of work.

In other words, Kim Dan does not yet read intimacy as something that can coexist with discipline. He accepts affection when it appears in designated zones, but not when it disrupts functional categories. The gym is a place of training; therefore, what happens there must remain legible as training. Joo Jaekyung’s technical explanation gives him exactly that permission.

This is why Kim Dan accepts the justification without protest. He does not reinterpret the embrace as love because he does not yet need to. The structure remains intact: work is work, intimacy is intimacy, and when the two overlap, the overlap is attributed to technique rather than feeling.

In this sense, Joo Jaekyung’s restraint protects both of them. It protects Kim Dan from having to reinterpret the gesture emotionally, and it protects Joo Jaekyung from articulating feelings he has no vocabulary for outside the grammar of training. Care is real, but its meaning is postponed. Love is present, but encoded as vigilance.

This postponement explains why the “flower” has not yet opened. It exists, but inwardly folded. Growth is happening, but it is constrained by the only relational language both men currently share: effort, endurance, correction, control.

They know how to train together.
They know how to recover.
They know how to endure crisis.
They know obligation.

They do not yet know how to choose pleasure together — how to eat, rest, shop, watch a movie, or enjoy time without purpose. Even their earlier “break” at the amusement park existed because Joo Jaekyung needed rest, not because they mutually chose leisure. Fun, like intimacy, has always been instrumental.

What episode 88 reveals is not the absence of love, but its confinement. Pleasure appears — undeniably — yet remains untranslated. Sensation does not yet become knowledge. The flower is there, but it has not learned how to open outside the discipline that first allowed it to grow.

5. The slow reversal: from imposed care to accepted challenge

The most important moment comes when Kim Dan manages to reverse positions and pin Joo Jaekyung. (chapter 88) The shock and joy are mutual. Joo Jaekyung is genuinely surprised. Kim Dan is genuinely proud—though he barely allows himself to register it. (chapter 88) This is not equality yet. But it is the first time Kim Dan experiences himself as capable, not merely compliant. The training that began as imposed authority becomes a shared test and experience. Importantly, Kim Dan did not ask for this moment. It emerged because he stayed. This stands in opposition to the sparring in front of the fighters. (chapter 26) Back then, Doc Dan had accepted the challenge due to Potato, though deep down he desired to have the champion as his teacher. (chapter 25) That’s how it dawned on me that doc Dan has gradually taken over Yoon-Gu’s previous place at the gym. He is an “unofficial member” of Team Black. Thus he mops the floor and Yoon-Gu is not there to stop him or reclaim this position. (chapter 88) Yoon-Gu’s position within the gym has improved. He is now considered as a real fighter.

6. Where the flower is

If the previous sections trace a movement, this final observation names its limit. To understand why the flower in episode 88 has only begun to appear, it is necessary to return to Erich Fromm’s definition of love, which rests on four inseparable elements: care, responsibility, respect, and knowledge. [For more read:“The Art Of Loving” (locked)] Love, in this framework, does not exist where only one or two of these are present. It requires all four to be active at once in order to become sustaining, conscious, and mutual.

Episode 88 makes one thing unmistakably clear: in the relationship between Joo Jaekyung and Kim Dan, three of these elements are already in place. One is not.

Care is not what this relationship lacks. (chapter 88) Joo Jaekyung’s care is visible throughout the episode, even when it is expressed awkwardly or through misdirection. His insistence on training, his attention to Kim Dan’s stamina, his refusal to let Kim Dan dismiss his own physical limits (chapter 88), and his final reminder to “take good care of yourself” all belong to the same logic. This care is protective and practical, but it is still delivered under the cover of training—phrased as guidance, risk-management, and performance maintenance rather than as attachment. He is capable of saying “take care,” but he still cannot say what the care ultimately means: I want you close; I worry about losing you; I don’t know how to keep you besides making you stronger. For someone like Jaekyung, whose life has been organized around performance and endurance, this is the only available language of concern. Kim Dan, too, expresses care, though in a displaced form. He worries about Jaekyung’s exhaustion, (chapter 88), minimizes his own needs and tries not to become a burden. Care moves in both directions, even if it rarely reaches its intended target.

Responsibility is equally present, and equally heavy. Jaekyung assumes responsibility for Kim Dan’s safety and future (chapter 88), particularly in light of his own awareness that their time together is limited. The training is not arbitrary; it is oriented toward what comes after him. Kim Dan, meanwhile, takes responsibility in another way: by insisting on self-sufficiency (chapter 88), by promising to continue training on his own, by framing improvement as something he must manage independently. What stands out is that responsibility exists on both sides, but it is carried separately. Each assumes it alone, without yet allowing it to become shared.

Respect, too, is not absent. Jaekyung respects Kim Dan’s capacity to grow. (chapter 88) He challenges him not because he sees him as weak, but because he believes resistance is possible. (chapter 88) His praise, rare and restrained, signals recognition rather than indulgence. Kim Dan, in turn, respects Jaekyung’s discipline and endurance, sometimes to the point of idealization. This respect remains asymmetrical, but it is real. It has begun to shift from hierarchy toward recognition.

What is missing, and what keeps the flower from fully appearing, is knowledge—not information, not memory, but Fromm’s sense of active understanding of the other as a subject with inner needs, fears, and desires. In The Art of Loving, knowledge means seeing the other as they are, which requires two things at once:

  1. Honesty toward oneself (recognizing one’s own needs, fears, and desires), and
  2. Articulation toward the other (making that inner reality available rather than acting it out indirectly).

This is why words matter so much. Without words, care can exist, responsibility can exist, and even respect can exist — but they remain opaque. Joo Jaekyung knows exactly what he wants: time, proximity, continuity. He is acutely aware that his time with Kim Dan is running out. (chapter 88)

What he lacks is not intention, but translation and even courage. He does not know how to express his desire outside the vocabulary of work, discipline, and physical instruction. He can insist, challenge, and protect, but he cannot yet name why he does so. He still thinks, it is not possible to be loved due to his huge flaws and past wrongdoings. Kim Dan, on the other hand, does not yet know how to read care when it is not framed as sacrifice or obligation. He interprets insistence as burden, closeness as technique, affection as something that must be relocated elsewhere—into private space, into the penthouse, into moments that feel safer and more legible.

Their misunderstanding does not stem from a lack of feeling. It stems from a lack of confidence and shared language. Love is enacted rather than understood. Care, responsibility, and respect circulate between them, but knowledge—the capacity to see and articulate the other’s inner reality—has not yet entered the relationship. The reason is that both underestimate themselves. Thus both don’t speak the truth. This is why the flower in episode 88 is real but incomplete. It exists in the slow shift from refusal to engagement, from habit-driven self-denial to cautious participation. It exists in the fact that Kim Dan accepts the training not because he must, but because he begins to recognize the results from Jaekyung’s effort and insistence. He gradually accepts that Joo Jaekyung is genuinely concerned about him. He is gradually enjoying this, thus he voices his desire to learn more. Another problem is that both still think, they know each other. They have not recognized the importance of “words” and “honesty” yet. Nevertheless until knowledge emerges—until what is enacted can also be spoken—the flower remains folded inward. Not absent. Not broken. Simply unfinished.

Heesung × Potato: The Other Two Petals — Knowledge Without Responsibility

If the bond between Joo Jaekyung and Kim Dan exposes a surplus of care constrained by poor articulation, the dynamic between Heesung and Potato reveals the opposite imbalance:: knowledge without responsibility, and therefore without respect. The actor is able to express his thoughts and emotions all the time, yet he is not taking Potato’s feelings and thoughts into consideration. Thus he simply asks Yoon-Gu to hold the mitts and not be his sparring partner. (chapter 88) The way the “gumiho” speaks to the chow-chow is quite telling. He expects an agreement. Striking is that the young fighter doesn’t agree to the actor’s request, he answers with another question: “You don’t need a sparring partner?”. This question reveals that Yoon-Gu had already imagined himself differently. He had pictured a future moment in which he would not merely assist the actor’s training, but share it. In other words, he had already crossed an internal threshold: from helper to potential partner. The question exposes a private projection — a hope — that had not yet been verbalized until this moment.

That is why this exchange marks Yoon-Gu’s transformation. That’s why he is wearing a olive green sweater. (chapter 88) Olive green is not the vivid green of aspiration or idealization, nor the cold institutional green associated with discipline and hierarchy. It is a grounded, muted green — a color of transition. Symbolically, it sits between admiration and autonomy. By wearing it at this moment, Yoon-Gu visually signals a shift away from the champion’s gravitational pull. He is no longer oriented upward, toward an untouchable figure, but sideways, toward a peer relationship he is beginning to imagine. The green does not announce arrival; it marks movement. Growth here is not explosive but cautious, uneven, and still uncertain.

Crucially, this transformation does not stem from insecurity. Yoon-Gu is not suffering from low self-esteem. On the contrary, he speaks easily, moves freely, and voices his expectations without hesitation. What he lacks is not confidence, but self-awareness. He does not yet understand the structure he is entering, nor the asymmetry embedded in it. He mistakes proximity for reciprocity, access for acknowledgment. And the chow chow’s lack of self-awareness is also present, when he imagined that he could have followed to the amusement park. (chapter 87) For him, this trip was related to work, while in reality it was a date in disguise.

This becomes clearer when contrasted with the main couple. Between Kim Dan and Joo Jaekyung, communication is constrained, indirect, and often misaligned, as both are suffering from a low self-esteem and their past traumas. Desires are hidden behind habit, duty, or technical language. By contrast, the dialogue between Yoon-Gu and Choi Heesung is strikingly explicit. Both second leads speak readily. They articulate preferences, make requests, and voice dissatisfaction without visible hesitation. The only difference is that Heesung allows misunderstanding to persist. Joo Jaekyung abruptly corrects it. Neither approach is emotionally generous—but only one produces shock rather than slow erosion.

To conclude, this apparent fluency masks a deeper problem. What is missing here is not expression, but reflection.

Earlier, Yoon-Gu’s actions were shaped by obligation, imitation, or conditional promises (cleaning the floor, holding equipment or a bottle, proving usefulness). Here, the initiative is internal. He is no longer reacting to instructions; he is testing the possibility of recognition. (chapter 88) The desire precedes permission.

The tragedy of the moment lies not in the refusal itself, but in how it is answered. Heesung does not respond to the desire embedded in the question. He bypasses it with a technical explanation — size difference — which neutralizes the emotional risk Yoon-Gu has taken. (Chapter 88) The answer restores hierarchy without acknowledging the transformation that has already occurred. Secondly, the answer closes the future by appealing to a supposedly objective limit. Yoon-Gu can never be his sparring partner. The best he can do is hold the mitts and nothing more. The fox is using his seniority and body to have the final say.

This is where Heesung’s pride in knowing turns into arrogance. His explanation contradicts the very logic that governs the gym itself. Joo Jaekyung has just demonstrated explicitly that technique outweighs physical size, that discipline and practice can reverse power relations. (chapter 88) Under that framework, Yoon-Gu is not disqualified; he is qualified. He has trained. He belongs. So technically, Yoon-Gu could indeed beat the actor, as the “puppy” has trained for a long time at Team Black.

Yet Heesung’s knowledge is not grounded in the present conditions of Team Black. It is grounded on his past experience: he received special training from Joo Jaekyung. In other words, he is biased. Heesung prides himself on knowing. (special episode 1) He knows people’s patterns. (special episode 1) He knows how relationships fail. (chapter 33) (chapter 33) He knows what he does not want. His language is saturated with judgment shaped by past experiences: lovers who become “too clingy,” attachments that turn inconvenient, people who should remain “better off” elsewhere (chapter 58). This knowledge is not neutral; it is retrospective and comparative. It is built from what has disappointed him before, and it governs how he evaluates others in the present. He views himself as superior to the champion morally.

This is where the symbolism of the “grass being greener on the other side” becomes essential. (chapter 33) Heesung’s orientation is never toward what is unfolding, but toward what might be better elsewhere—another partner, another configuration, another future. His repeated invocation of a “soulmate” is revealing: it displaces intimacy into a hypothetical horizon. By looking at the grass, he is overlooking the flower. Love, for him, is something to be found later, once the conditions are ideal. What exists now is always provisional, always lacking, always subject to replacement. He needs the “perfect” lover, and in his eyes, Potato doesn’t meet his conditions: too innocent and too young. (special episode 1) This explicates why the young fighter is only considered as “fuck buddy”. (special episode 1)

Potato exists precisely within this gap. Because he wanted to take responsibility. (special episode 1), he is present, available, even emotionally invested—but he is never treated as sufficient. He is smaller (chapter 88), younger and as such less experienced, he is positioned as someone who does not yet qualify as a sparring partner, or even less as a boyfriend. Observe how he presented his relationship to doc Dan. (chapter 58) Heesung’s use of the pronoun “we” is, on the surface, inclusive. Linguistically, it frames his relationship with Potato as mutual, shared, and consensual. But pragmatically, it does the opposite. The “we” is spoken over Potato’s head, not with him. Thus Potato is physically present but discursively absent. He does not confirm, nuance, or reciprocate the statement verbally. The pronoun thus becomes a rhetorical appropriation rather than a sign of partnership.

What makes the remark particularly uncomfortable is the context: Heesung is not speaking to Potato, but to Kim Dan. The sentence is not meant to communicate within the relationship; it is meant to display the relationship to a third party. In that sense, “we” functions as a prop. It allows Heesung to stage intimacy without assuming responsibility for how that staging affects the person he claims to include. He is not saying that he is dating Yoon-Gu either. In other words, he is behaving like Joo Jaekyung in season 1. (chapter 31) He denies the existence of feelings and attachment.

The embarrassment of Potato is not accidental. It is structurally produced by the asymmetry of the situation. Heesung controls the narrative, the tone, and the implication. By adding “in more ways than one,” he sexualizes the bond implicitly, while maintaining plausible deniability. Nothing explicit is said; everything is insinuated. This is knowledge without accountability. Heesung knows exactly how the line will land—on Kim Dan, and on Potato—but he does not take responsibility for either impact.

On the other hand, Heesung feels so comfortable around doc Dan, that he is willing to divulge more. He assumes Kim Dan will “understand” him. He is speaking in a coded register, relying on shared cultural assumptions: that closeness implies sexuality, that sexuality implies connection. In doing so, he treats Kim Dan as a potential ally in interpretation, not as a moral interlocutor. He expects recognition, perhaps even complicity, rather than reprimand or judgment.

This is where the contrast with Joo Jaekyung becomes sharp. Joo Jaekyung struggles to name intimacy and often hides it behind work or discipline—but he does not instrumentalize language to control (special episode 1) or humiliate the other. (chapter 34) Heesung, by contrast, is fluent. He can name, joke, insinuate. What he lacks is restraint and responsibility. His ease with words does not signal emotional intelligence; it signals control.

Heesung does not call Yoon-Gu weak outright, but the hierarchy is unmistakable: Potato is handled (chapter 88), redirected (special episode 2), corrected. (chapter 88) Even when Heesung intervenes on his behalf, it is not through shared responsibility but through dismissal—deciding what is best for him without asking what he truly wants.

This lack of responsibility is crucial. Responsibility, in Fromm’s sense, is not obligation imposed from above; it is the willingness to respond to the other as a subject whose needs and presence matter now. Heesung does not assume this stance. He neither commits nor withdraws cleanly. Instead, he hovers—knowing enough to judge, but refusing the burden of staying.

This explains why Heesung reacts so strongly to the relationship between Kim Dan and Joo Jaekyung. He does not simply misunderstand it; he rejects it (chapter 31) because it violates his model of love. Doc Dan is not introduced or claimed as his boyfriend. For him, it is simply related to the athlete’s jinx. (chapter 32). It has no declared endpoint, no moral clarity (chapter 34), no soulmate label. Rather than engaging with what the relationship is doing —how it functions, how it transforms both participants—Heesung tries to name it away: a jinx, a mistake, a lack of feelings. Naming, here, becomes a defense against involvement.

The scene in the penthouse crystallizes this refusal. (chapter 34) Heesung enters fully aware of what he is likely to witness. He is not naïve, nor totally surprised. Hence he doesn’t flee right away. Yet instead of acknowledging the reality before him, Doc Dan is not someone the fighter fucks, until he passes out, (chapter 33), he reframes the encounter as an accusation. The man is crazy. (chapter 34) Joo Jaekyung becomes the problem, the one who “deserves to suffer.” (chapter 58) This moral displacement allows Heesung to maintain distance: if Jaekyung is guilty, then no self-examination is required. Forgiveness—central to this arc (from 79 to 89)—is rendered impossible, because forgiveness would require recognizing shared vulnerability rather than assigning blame.

Potato, by contrast, is repeatedly asked to adapt. Earlier, he cleans, waits (chapter 25), accepts deferral. Later, he is displaced entirely. Unlike Kim Dan, who gradually moves from imposed participation to earned agency, Potato is never given a space where effort leads to recognition. (chapter 85) However, this panel implies that the young man has already been able to enter competition. Striking is that his promise at the seaside sounds like commitment (chapter 59), but the reality diverges. It only binds doc Dan. If the latter returns to Seoul, he has to promise to train with Potato. The reason is simple. He is already committed to the actor, he is already at his beck and call. Potato’s promise echoes the earlier promise forced upon Kim Dan by his grandmother: a future-oriented vow that justifies present sacrifice while guaranteeing nothing in return. (chapter 11)

This is the structural tragedy of the Heesung–Potato dynamic. There is confidence and knowledge—sharp, observational, even insightful—but it is not paired with responsibility. And without responsibility, respect and care collapse into condescension. Potato is not met as an equal in becoming, but as someone perpetually not-yet-ready. While Yoon-Gu had been deeply affected by doc Dan’s departure. (chapter 78), he didn’t remind doc Dan of his promise. At the same time, observe that none of the fighters apologized or promised something. When they hugged the doctor, they didn’t pay attention to the physical therapist’s reaction: his passivity and silence. The “laugh” lacked genuineness and felt wrong at the time. (chapter 78)

But let’s return our attention to the petals Heesung and Potato. Placed beside Joo Jaekyung and Kim Dan, the contrast is stark. Jaekyung lacks fluency, but not commitment. He does not know how to speak love, yet he stays. Heesung knows how to speak about dating and love, hence he offers a bouquet of roses. But he does not remain when love demands endurance rather than evaluation.

Secondly, Heesung embodies selfishness, which is also perceptible the way he appears at the gym. (Chapter 88) He had planned to use the gym without the champion’s consent and knowledge. And Potato was not expecting the presence of the main couple either. (Chapter 88) This is how it dawned on me why Mingwa recreated such a situation for Heesung. Observe his reaction, when he opened the door. He never answered the question to Potato. In fact, he slammed the door and kept his thoughts to himself. (chapter 88) As you can detect, he remained silent the whole time. It was, as though he was ignoring his lover.

What ultimately exposes the asymmetry in Heesung and Yoon-Gu’s relationship is not overt exploitation, but silence. Episode 88 stages this with remarkable precision. Heesung enters the gym without coordination (chapter 88), without consent from its owner, and without paying any visible cost. He does not announce himself as a guest, does not ask permission, and does not explain his presence. Instead, the intrusion is normalized through omission. Silence becomes the mechanism by which power circulates unnoticed.

Crucially, Yoon-Gu is excluded from the truth of the situation. Readers understand why Heesung is there; Yoon-Gu does not. The actor’s internal reaction (chapter 88) can be read as a moment of comic frustration. In fact, it reveals something far more consequential: this visit was never conceived as a shared activity with Yoon-Gu at all. The training session was not planned for him, nor with him. Yoon-Gu was not included as a subject in Heesung’s intention. He was a means.

This internal monologue exposes the logic of the intrusion. Heesung did not come to train with Yoon-Gu, nor to support him, nor to acknowledge his aspirations. He came to work off his own emotional agitation, to use the gym as a private outlet. Therefore it is not surprising that Yoon-Gu’s presence is reduced to him holding the mitts. His presence is incidental—useful, but not constitutive. When the situation threatens to escalate (chapter 88), Heesung does not think, What will happen to Yoon-Gu? He thinks only of himself: his inconvenience, his exposure, his embarrassment.

That omission is decisive. It confirms that Yoon-Gu is positioned not as a partner in training, but as an accessory to Heesung’s fitness and fun. He provides access, labor, and cover, yet remains excluded from knowledge and from choice. This mirrors an earlier pattern: just as Kim Dan once provided unpaid care under the guise of compensation (chapter 32), Yoon-Gu now provides unpaid labor and institutional access under the guise of familiarity and generosity (chapter 35). In both cases, Heesung benefits from proximity without assuming responsibility for the other person’s risk. Silence, here, is not neutral—it is the mechanism by which that asymmetry is maintained.

At the same time, this regret (chapter 88) confirms that Heesung knows he has crossed a boundary. Yet this awareness produces no corrective action. He does not warn Yoon-Gu, does not acknowledge the risk he is creating for him, and does not assume responsibility for the consequences of being discovered. His concern remains entirely self-directed: embarrassment, inconvenience, exposure. Yoon-Gu’s position is not considered.

The irony is that this silence is beneficial for the chow chow . (chapter 88) It actively conceals Yoon-Gu’s complicity while simultaneously depending on it. Heesung could not have accessed the gym without Yoon-Gu. The most plausible inference is that Yoon-Gu provided entry—either by unlocking the space or by lending legitimacy to Heesung’s presence. Yet when the moment of confrontation approaches, Heesung does not speak. (chapter 88) He does not answer Yoon-Gu’s question—“Is there someone in there?”—because answering would reveal responsibility. Another important detail is that though Yoon-Gu provided the access, he simply followed the actor. The latter is the one opening the door to PT Room and not the member of Team Black. It exposes that the fox is really the one committing the wrongdoing, and he can not blame the chow chow for it.

Silence, here, is not absence of speech but a strategy of avoidance. (special episode 1) Heesung does not negotiate, explain, or repair. He doesn’t give any excuse. He moves through spaces as though access were guaranteed and consequences optional. However, this time, his silence is used against him. (chapter 88) Forgiveness, responsibility, and mutual recognition—central to the arc unfolding elsewhere—are entirely absent from his conduct. Where Joo Jaekyung begins to redistribute choice and accountability, Heesung consolidates control by refusing to speak.

This is why Heesung cannot embody forgiveness in this arc. Forgiveness requires acknowledgment; acknowledgment requires speech; speech requires responsibility. Heesung chooses none of these. Instead, he preserves his self-image by leaving others to absorb the impact of his actions. Yet, in episode 88, it is no longer possible.

In this sense, the flower associated with Heesung and Yoon-Gu never opens. Knowledge is present. While Heesung understands dynamics, motives, and outcomes, the chow chow heard all the information (chapter 52) about the switched spray, but he only reported one thing: Kim Dan is innocent. So while insight is present, responsibility is systematically deferred. Without responsibility, respect cannot follow. And without respect, what appears as connection is merely use, quietly sustained by silence.

In the end, the other two petals do not fail because of ignorance. They fail because knowledge, when severed from responsibility, becomes a tool of avoidance. Love is postponed indefinitely—always imagined, never practiced. On the other hand, since he knows about the champion’s past sexual habits, it signifies that the actor became the witness of TRUE LOVE. Joo Jaekyung is kissing doc Dan. (chapter 88) The irony is that the actor didn’t realize this. He had the impression to be exposed to a similar scene than in the penthouse. (chapter 88) It is important because with this knowledge, he can expose the truth to doc Dan: the athlete loves him. In the past, he could say this without explaining his statement. (chapter 35) And now, pay attention to the logo on the doctor’s t- shirt. (chapter 88) First, it appears on the left side, positioned close to the hamster’s heart. Moreover, it looks like an orange eye. Orange is not only the color of Heesung the fox (chapter 34), but also of friendship and social communication and interaction.

That means, doc Dan is on the verge of having true friends. Joo Jaekyung will stop demanding exclusivity by isolating doc Dan from the others. (chapter 79) Besides, it is the same logo than when Yoon-Gu was spying behind the closed door. (chapter 23) That’s the moment Potato realized the truth about the couple: they were intimate. That’s the reason why I am convinced that Heesung will play the role of the messenger and mediator between the wolf and the hamster.

To conclude, I perceive the actor as the bridge between the two main leads. He embodies language, knowledge, love as feeling, but more importantly he stands for friendship and fun, notions which don’t exist in the main couple’s world yet.

That’s it for the first part. In the second part, I will examine the final panel and the significance of the fighters’ return.

Feel free to comment. If you have any suggestion for topics or Manhwa, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Twitter-Tumblr 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: The reality of nightmare (podcast/video)

Please support the authors by reading the manhwas on the official websites. This is where you can read the manhwa Painter Of The Night. 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 of 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.

This is my second podcast. I am quite in a hurry, because I would like to share my observations and thoughts concerning chapter 115. However, due to a students exchange, I am still running out of time, as the release of episode 116 is right around the corner. It is still lacking, for I had not the time to write the text. I just took notes, hence I had to speak freely. Nonetheless, contrary to my first podcast, I am now including the pictures. Sorry for the hesitations and my French accent.

Play the video while listening to my podcast.

Like mentioned in the video, one common denominator between episode 83 and 115 is deception. While the guest Lee Jihwa got deceived by his friend with a prank, the learned sir is about to get deceived by lord Song. In my opinion, the latter has already decided to get rid of Jung In-Hun, the moment the learned sir is no longer useful. Why? He needs to eliminate the witness of his intervention. In fact, he just needs to reveal some information in delay. The scholar hated the protagonist Yoon Seungho and he tried to seek revenge on him. He betrayed him on many occasions, thus he looked into his past in order to discover any weakness. In other words, once the Yoons are removed, the schemers plan to frame the learned sir for „Yoon Seungho‘s death“. Hence he abused his position and framed the Yoons in order to cover up his crime!! For me, father Lee and lord Song are following the principle: one hand washes the other. That way, they can keep their hands clean!! And who would expose the learned sir‘s „crime“ to the monarch in delay? Kim… who could appear as a loyal servant to Yoon Seungho, though he couldn‘t stop the tragedy!! Thus the lord had this vision in episode 83. (chapter 83) Besides, don‘t forget that Black Heart got fooled himself and ended up dead. But like I outlined it before, their plan won‘t work because of the butterfly „Baek Na-Kyum“.

So while in episode 111, the learned sir thought, he was getting closer to his dream, he experienced a huge awakening within a few hours. He lost everything and this was done on purpose. The schemers desired him to lose everything so that he would do something reckless out of hatred and envy. The higher he climbs, the harder he falls! The reality is that he is just a greedy, arrogant and selfish man. He was never satisfied with his own life. He thought, he was destined to greatness! Yoon Seungho as the mirror of truth was exposing him to reality which the learned sir rejected in the end. (Chapter 115) The reality was too painful, hence he chose the illusion, thinking that with his new position, he would be able to do anything, especially if he is getting the support from lord Song. In my opinion, he is falling into a trap. He would realize it, if he pondered and didn‘t let his emotions cloud his judgement. Lord Song waited for his suffering and humiliation. By rejecting reality, the learned sir chose the nightmare, a very unpleasant and frightening experience.

The painter‘s dreams always come true!

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 Reddit-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: The enigmatic and dark face 👹behind the purple hanbok 🟣 (second version)

Please support the authors by reading the manhwas on the official websites. 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.

As you have already noticed, I am writing less about Painter Of The Night, though this manhwa remains my favorite story. The problem is that more and more people are moving away from the Korean webtoon for different reasons, like the absence of eroticism, or Lee Jihwa and No-Name are no longer included in the story. Another reason is that the author is focusing more and more on the mystery and as such on the lord’s past. This means that right now, the manhwaphiles are asked to read the manhwa like detectives looking for evidences and traces. Finally, I believe that the biggest reason for the loss of interest is that the manhwalovers hoped to witness more romance, yet Baek Na-Kyum keeps suffering and this partially because of Yoon Seungho’s “bad decisions”. Some readers couldn’t understand why Yoon Seungho would run after the man in the purple hanbok. (chapter 106) How could he abandon his lover like that? For some readers, he acted like a fool. Nevertheless, his reaction was normal, because the man with the purple hanbok represents the cause for Yoon Seungho’s martyrdom. This means that the ghost with the purple hanbok symbolizes danger for the protagonist. And if he gets targeted, his lover will suffer too. Striking is that during the same day and night, there is another person wearing a purple hanbok: Yoon Seungho! (chapter 107) Therefore it is no coincidence that in chapter 107, he was portrayed as a source of danger for the elder master Yoon and the mysterious “lord Song”. (chapter 107) According to “lord Song”, him and Yoon Chang-Hyeon were forced to renounce their position because of Yoon Seungho. In this image, the villain implies that the main lead is a blackmailer. (chapter 107) In other words, in episode 107, the manhwalovers are witnessing a fight between 2 men wearing a purple hanbok!! In this story, purple is the symbol for violence and peril. This explicates why Byeonduck employed this color, when Yoon Seungho was portrayed as a ruthless lord: (chapter 10) Under this new approach, it becomes comprehensible why the artist was wearing a purple hanbok after the bloodbath. (chapter 102) He was the reason for the “purge”. From my perspective, the artist is cleaning the “place”, hence he is the target of the villains and antagonists. At the same time, this color represents Joseon’s royalty, hence it is no coincidence that the king was mentioned in this very episode. (chapter 107) Therefore my theory that Baek Na-Kyum is related to the ruler gets reinforced. However, in episode 107, only the main lead and the new villain were seen with the purple hanbok, therefore in this essay, I will examine not only the new character “lord Song”, but also Yoon Seungho!

1. Between poker face and face like thunder

In the latest episode, some manhwalovers were upset, when they saw Yoon Seungho turning his back on the painter. (chapter 107) They had the impression that he was abandoning the artist one more time. And that’s how the painter felt the situation either! That’s the reason why Baek Na-Kyum was upset. (chapter 107) It was, as if the main lead was acting like the patriarch Yoon. This perception got reinforced, because the lord had a poker face and didn’t talk to his lover. (chapter 107) However, we could see before that the main lead was far from being detached, when it comes to Baek Na-Kyum. When he entered the study, his visage oozed shock and worries. (chapter 107) This truly divulges that the artist means everything to the lord! But there is more to it. I would like to point out that the noble did listen to Baek Na-Kyum who criticized the doctor’s diagnosis. (chapter 107) Yoon Seungho didn’t side with the old bearded man in front of the painter. He thanked the man and sent away him with respect. (chapter 107) So he gave the impression that he was listening to the painter. However, the reality was that at the end, he still listened to the doctor thinking that it was for the painter’s best interest. Since Baek Na-Kyum was traumatized from the sexual assault, the main lead thought that he was hiding his illness or he was in denial. What caught my attention is that Yoon Seungho followed the doctor leaving the artist in the bedchamber alone. On the one hand, this could be perceived as a prison, yet I judge his gesture as the opposite. It is to protect Baek Na-Kyum! In Yoon Seungho’s mind, behind the closed door, his lover won’t see or hear what is happening in the courtyard. He will be protected from cruel reality.

2. The lord and the physician

Since the main lead was very courteous towards the physician, it shows thatYoon Seungho valued the physician’s effort and talent. He trusted the man like his father did with the other physician. While Yoon Seungho appeared emotionless, the doctor had no poker face during his explanation, he was even caught smiling: (chapter 107) He showed no real empathy for Baek Na-Kyum. It was, as if he was showing Schadenfreude. But this doesn’t end here. Kim brought a different doctor. It is not the same physician who assisted Baek Na-Kyum a month ago!! (chapter 107) First, the clothes diverge. The belt is blue, his sleeves are covered with some white protections. (chapter 107) (chapter 103) Finally, the white hanbok is much longer, and his pants are blue, while the other had white trousers. In my essay “The mysterious doctor”, I had already pointed out the existence of different physicians. But now, I have a definite proof for this interpretation. (chapter 107) How could he say that his health had deteriorated since a month ago? This is how the artist looked like a month ago: (chapter 103) (chapter 103) He was under the influence of the aphrodisiac, and he could have died of an overdose. (chapter 103) His face and his body were covered with bruises. How could the doctor say that his condition had worsened? This means that he had not seen the patient a month ago. To sum up, the doctor was impersonating his fellow. Note that he claimed to have prescribed the drug himself. (chapter 107) Striking is that the doctor is often utilizing the expression “seem” and “imagine”, yet a physician should use facts and as such symptoms. But he never did. The idioms exposed his manipulation, this was not a real examination. The author made sure to confuse the readers. They had seen the painter vomiting before, hence it looked that the physician was right. (chapter 106) However, this image displays the betrayal from the physician, for I believe that this represents his view The latter had seen the artist in the restroom, but he had not intervened!! Besides, just because the artist had disgorged once, this doesn’t signify that he had done it all the time for one month. This is how the artist looked like, while he was walking through the street: (chapter 104) He looked healthy and happy. The reason for his nervousness was the lord’s actions during that day. Moreover, the painter’s hand had been scratched… yet you see no bandage around his hand. (Chapter 107) As you can see, the doctor was exaggerating, as he was generalizing the regurgitation! (chapter 107) This means that the painter was telling the truth! To conclude, the physician was utilizing the butler’s MO: mixing a truth with a lie. And turning an incident into a generality, and as such into a prejudice.

Observe that during the same episode, Yoon Seungho had a sudden revelation, he had discovered that the form of the mouth was betraying the thoughts and emotions of the counterpart: (chapter 107) Yoon Seungho was slowly realizing that his butler has not been telling the truth. He was gritting his teeth exposing his discomfort! This gesture indicates that someone has to endure something unpleasant, has to control himself and persevere. However, he was telling the opposite to his master: he had nothing to worry!! He should do nothing and simply lie low. The authorities had no suspicion about him. That’s the reason why the main lead desired to talk to the valet (chapter 107), and he got angry, for his servant was talking back and not answering him properly. (chapter 107) We could say that the latter was not obeying his lord. Striking is that the domestic was also lying, for he feigned ignorance first, before giving a more precise answer. (chapter 107) It looks like valet Kim and the physician got away with their tricks, for neither the doctor nor the the butler got admonished in the bedchamber. But what caught my attention is that after hearing the words from his lover, he replied that way: (chapter 107) This expression (“I see”) is important, because it could be the indication that the noble could discern the truth with his mind’s eye, like this (chapter 107) or the opposite, though I am still optimistic. We will see in the next chapter.

Nevertheless, after 3 seasons, the lord was taught that he should trust his lover. In season 4, he is hiding the truth from the painter, for he wished to spare his lover’s mind and heart. This has nothing to do with faith, but for Baek Na-Kyum it leaves a different impression. Yoon Seungho might have doubted his words here…. (chapter 106), but we shouldn’t overlook that later the painter had yelled in order to voice his opinion which had caught his companion by surprise. (chapter 107) Therefore I thought that the noble would believe Baek Na-Kyum, but in reality, the opposite happened. He acted exactly like his father, trusting the words from the doctor. Let’s not forget that Yoon Seungho was drugged since his youth because of Kim and the physician!! (chapter 57) The father was convinced that his son had been ill for a long time. And from the mysterious “lord Song”, the manhwalovers discovered that the main lead was fed with an aphrodisiac: (chapter 107) (chapter 57) Therefore the doctor’s statement in episode 57 appears in a different light: he knew what he was prescribing! He knew what Yoon Chang-Hyeon desired thanks to the idiom “the wayward yang energies”. It was to provoke an erection. I would like to expose that the physician deceived the painter, (chapter 57) for at the end, the physician admitted that he had given the “solution” to the father. The father had received the medicine!! [For more read the essay “Yoon Seungho and the puzzled physician”] That’s the reason why I am suspecting that the lord’s cold demeanor is not linked to the artist, rather to the physician who “smiled” 🙄 while accusing the painter of lying. (chapter 107) He was hiding his illness, he was in denial. Nonetheless, the form of his mouth was betraying him. Moreover, don’t forget what the painter had said to his lover before: (chapter 106) He was supposed to get a drink from the physician. So the lord could remember the artist’s words and perceive the doctor as a traitor and liar. He could jump to the conclusion that the man had given his lover a drug. Under this new light, it dawned on me that the artist could have been telling the truth to his lover there: (chapter 106) He could have eaten something at the kisaeng house, and as such been drugged there. This would explain why the couple got interrupted while eating. (chapter 106) That way, the “doctor” would not be suspected of a crime. Besides, according to me, the couple was actually sitting in the courtyard where the medicine store was!!

Finally, let’s not forget that the doctors often got threatened by Kim: (chapter 33) (chapter 65) Furthermore, in season 1, the artist had been forced to drink an aphrodisiac. So far, the main lead has never threatened or suspected a doctor. As you can see, there is a strong connection between the doctor and death! To sum up, we are witnessing the start of the storm… and when the painter was recovering, this represented the calm before the storm!!

3. The lord’s revelation

And now, it is important to explain why the main lead returned to the shaman’s shrine. He seemed to have forgotten his lover. (chapter 107) It is related to the rumors he heard in the street. (chapter 106) The woman announced that the sacred tree had burned to the ground!! That’s the reason why it was gone… However, her words were just lies, for the tree is still standing there. (chapter 107) But note that she connected the incident to misfortune! In other words, she was denying the intervention of humans!! However, the lord had visited the place of his crime before. (chapter 104) This is what he had been told: the intervention of ghosts or spirits!! On the other hand, the unknown speaker had never mentioned the tree! Only the house had burned down. Nonetheless, even this statement was a lie, for the house was still standing too. (chapter 104) The anonymous tattler has been actually deforming the reality which Yoon Seungho had accepted as such back then!! But due to the grapevines, the lord noticed that he had been misinformed. There were differences between the declaration of the anonymous witness and the gossips which forced him to return to the scene of the crime. Because the tree was still standing, the lord recognized that he had been deceived: not only the tree was intact, but also the house despite the traces of a fire. That’s the reason why he looked in the direction of the building. (chapter 107) For the second time, he was using his own senses. This means that he was no longer relying on the informant’s eyes and ears! Nonetheless, this time, it is concerning his perception of his own surroundings, and no longer how to judge the artist. To conclude, he is now slowly using his own eyes and mind’s eye to perceive reality and as such the truth. For the house was not burned down, it implies that bodies were not turned into ashes. (chapter 106) Since the schemers are mixing a lie with the truth, the lord heard that lord Shin had been killed during that night! However, when the lord had assassinated Black Heart and his friends, the young noble had never met lord Shin! Hence the gossips in town made the lord recognize that something huge is about to happen: a manhunt, and he could get into trouble. Besides, the grapevines are revealing the existence of witnesses and the main lead is aware that the noona is an important « witness ». But the problem is that by mixing each time a lie with a fact, the schemers are not realizing that the truth is coming to the surface, as minus and minus make plus.

Striking is that the author never revealed the identity of the speaker (chapter 104) Why? It is to keep the mysterious vibe, to encourage the manhwalovers to ponder on the identity of the informant. One thing was sure, the lord was the listener due to the expression “I shudder to think”! Thus he didn’t use his mind’s eye in that scene. I am suspecting that the valet was the one who had informed his master. I have two reasons for suspecting him. First, this view is quite similar to this picture from chapter 50: (chapter 50) Here, the butler had tattled on the painter so that the noble would distance himself from his sex partner. And in episode 104, we have a similar situation: through suggestions, the main lead was encouraged to send back the painter to the kisaeng house. Secondly, why would the lord think of the butler, when he saw the sacred tree? (chapter 107) It is because the valet is connected to this place. From my point of view, the noble discovered the truth: his father is involved in the plot, though Yoon Chang-Hyeon is just a tool to wound and weaken him. That’s the reason why he remembered his father’s mouth from that night: displeasure and hatred. (chapter 107) At the same time, I couldn’t help myself associating this image to this one: (chapter 88) During that night, he discovered warmth, loyalty and tenderness! In the darkness, the lord could detect the presence of the light: the painter! During that night, they vowed fidelity to each other. And in the garden next to the shrine, Yoon Seungho made the opposite experience: it was dawning on him that people from his own family, Kim and Yoon Chang-Hyeon, (chapter 88) are lying to him and even betraying him, especially if his life is threatened. Let’s not forget that this time, the lord did commit a crime and he is aware of this. In the bedchamber, the lord had criticized his own father, nonetheless he still thought that his father had just made a bad decision. (Chapter 86) His words implied that the elder master Yoon had never intended to wound him. It was just because of his stupid believes: (Chapter 82) Preserving the continuity of the lineage and ensuring that the Yoons remain powerful and wealthy. However, in front of the tree, the lord is slowly recognizing that his father is about to ruin him for his own sake.

That’s the reason why in the same chapter, the author put the elder master Yoon in the same situation, he is not using his own senses and as such his mind’s eye. Hence he is repeating the same mistake. He would still choose to trust lord Song and his black guards (chapter 107), and abandon his own son. This (chapter 107) He listened to the reports of others. This signifies that he chose darkness over the truth. That’s the reason why his face is now covered by a shadow, he is turning his back on the light. (chapter 107) This image is the negative reflection from the night of the revelation in season 2. Despite the betrayal and agony, (chapter 62) the main lead chose not to punish his lover (chapter 63), he even swore that he would never let him go. (chapter 63) As the manhwalovers can detect, the main lead was always able not to get swallowed by the darkness, thanks to the artist, he could still see the light. However, his father is making the opposite decision, unaware that he is “doomed” to fail! Karma is already waiting for him. And because the patriarch is now living in the darkness, he can not recognize the manipulations, as he is forced to use others to guide him.

This is particularly visible in episode 107. Yoon Chang-Hyeon never went to the shrine, thus he is unaware that there are traces to be found!! The house and the tree are not razed! Moreover, (chapter 107) the branch on the ground is the evidence that someone set fire to the shaman’s shrine and the tree! Secondly, the black guard deceived the patriarch: (chapter 107) Lord Shin was murdered afterwards and not before Black Heart and his friend!! The word “later” is relevant, for it implies that the young yangban was killed close to the place where the nobles Min and his friends were sentenced. But his body is lying elsewhere! (chapter 103) This signifies that Yoon Chang-Hyeon is innocent! He never murdered Lord Shin in the woods, for he relied on the assistance of the helping hands. He never visited himself the scene of the crime. (chapter 103) At the same time, we can exclude that the black guard was the one killing the young scholar, for his pants are rather brown than grey. (chapter 107) Nevertheless, the helping hand is far from innocent, because he is deceiving the bearded man. And now take a closer look to the black guards from episode 99: These two men are different, for their mask is white and not black. Besides, their clothes are black and not brown. Finally, the belt diverges as well: a huge purple strip with a different color in the middle, while the other guard is only wearing a simple ribbon. Thus I am inclined to think that the black guard is not only manipulating Yoon Chang-Hyeon, but he is also in truth working for someone else. Moreover, why would the man cover his face in the room, if he is truly working for the patriarch? (chapter 86) And this observation leads me to the following question: when was lord Yoon informed about the protagonist’s crime and lord Shin’s death? (chapter 107) As you can see, timing is essential. And how did the elder master Yoon know about lord Song’s visit at the gibang? Everything is pointing out that during this night, people are plotting against the couple. And the elder master Yoon took Lee Jihwa’s place.

But why would the schemers wait for a month before deciding to attack and frame Yoon Seungho? (chapter 102) From my point of view, it is related to Lee Jihwa. My theory is that the elder Lee can frame the main lead for assassinating his son, because during that night, Black Heart was dressed like Lee Jihwa. They needed the corpses to be decomposed so that father Lee could claim that Yoon Seungho had killed his son!! And the hanbok would serve to identify the corpse. In addition, he would use the incident with the sword as an evidence for his lunacy. (Chapter 67) It is important that the red-haired master is not perceived as traitor, rather as a victim. Moreover, since some time passed on, people have already forgotten the friend’s confession in the inn. However, the elder master Lee will never report Yoon Seungho to the authorities, it has to come from the father himself. That way, his involvement will never be detected. From my point of view, the schemers are trying to turn father and son against each other so that the Yoons get destructed. One might reject my theory about the implication of father Lee, but let me ask you this… What are “Lord Song” (chapter 107) and Lee Jihwa’s colors? (chapter 12) Purple and yellow, right? Observe that the lord is wearing the same colors during that night: a purple hanbok with a yellow scarf! (chapter 107) This is no coincidence.

Purple and yellow are complementary colors, which means they sit on opposite sides of the color wheel. Yellow and purple paint mixed together makes brown. The type of purple and yellow you choose can affect how light or dark the brown appears. The result is usually a lighter brown. ” Quoted from https://www.color-meanings.com/what-color-purple-yellow-make-mixed/

And what is the patriarch Lee’s color? BROWN! (chapter 67) Under this new perspective, it becomes comprehensible why I am suspecting that this guard (Chapter 107) is actually working for father Lee while faking to help Yoon Chang-Hyeon. He is wearing brown pants and his shirt is maintained with a purple ribbon! Besides, we need to question ourselves where the father is staying: And now, it is time to focus on the mysterious “lord Song”.

4. Lord Song, the man with the purple hanbok

Finally, the author revealed the face of “lord Song”. (chapter 107) Furthermore, he could be recognized with the purple hanbok. (chapter 107) However, if you compare the form of the beard and the nose, the manhwaphiles can quickly recognize that Lee Jihwa saw someone else in the past, although the hanbok seems to have the same pattern than in episode 83. (chapter 83) Besides, another divergence is that the faceless lord Song has a rebellious strand in the neck which is not the same with “lord Song” from episode 107. As you can see, I deduce that we are dealing with two different “lord Song”. But this doesn’t end here. Secondly, according to father Lee, the man lost his home! (chapter 82) So how can he be wearing a purple hanbok, if he lost his position and home? This color is reserved for important people. In addition, when he entered the kisaeng house, the artist’s noona called him differently: (chapter 107) She called him “lord Haseon” and not “lord Song”! Interesting is that neither the Korean nor the Spanish version utilizes such a name! I don’t think that the translator took the liberty to create a fictional name. Hence I am deducing that the author is trying to leave different clues in each version!! Naturally, Haseon could be his first name, yet there is no ambiguity that this man has a bad reputation among the kisaeng house. He was called “lecher” and in the Spanish version, he was described as sexual maniac. (chapter 107) Hence I doubt that the noona would feel so close to such a man and address him with his “first name”. On the other hand, the kisaeng has a drop of sweat on her face, which is a sign for a lie and deception. (Chapter 107) Nevertheless, here she was talking to herself. Thus I deduce that she was deceiving herself. But where did she lie? The important guest had announced his arrival, so his visit was never « Out of the blue…? » This explicates why many kisaengs were gathered next to the gate while waiting for the arrival of the « honorable » guest. (Chapter 107) This signifies that « lord Haseon » is true, while « out of the blue » is the lie.

Finally, let’s not forget that during the same day, we saw different “lord Song” strolling through the street!! According to me, 3 different enigmatic men wearing a purple hanbok. And now pay attention to this: (chapter 86) We also have three men in this scene… For me, it becomes clear that the man facing Yoon Chang-Hyeon has been impersonating the real “lord Song”, and the stupid patriarch has never recognized the “prank”. Now, I am even questioning if Yoon Chang-Hyeon is even able to identify lord Song correctly!! I mean, due to the name and the color of the hanbok… he could be thinking that he is meeting lord Song again. Imagine that they have not seen each other for 10 years!! (chapter 107) Besides, Yoon Chang-Hyeon’s vision of the world is based on the words from lord Song and others. Who informed him about the whereabouts of « lord Song » in the gibang? The man had not come to the kisaeng house for a long time. Because of this information, the patriarch is led to think that he is meeting « lord Song ». His perception of the world and his eldest son is embossed by lord Song. Thus he repeats the same expression from his counterpart: “lowly beast”. (Chapter 107) (chapter 107) Finally, like outlined above, the main lead imagined that he was meeting the same doctor, while in truth it was not the case. So « old friend » could be deceiving:. (Chapter 107) He could be one of the three men! The real « lord Song » who brought pain to Yoon Seungho is someone else. Let’s not forget that Kim fears the man, (chapter 56) and his statement implies that Yoon Seungho is usually not allowed to ignore the man’s request: (Chapter 56). « At this time » stands in opposition to « always » which means that he can reject the invitation only because he is sick. To conclude, for me, this is not the lord Song Yoon Seungho hates and fears!

What caught my attention is that the mysterious and evil « lord Song » calls the young main lead « lowly beast » (chapter 107) which actually reflects the mind-set of the speaker. He is projecting his own thoughts and emotions onto the protagonist. In reality, he is the one licentious and we know that for sure, as the kisaengs are the witnesses of his perversion. Thus he is called « a lecher » and they wish to avoid him like the pest! (Chapter 107) Moreover, he didn’t visit the kisaeng house for a long time, (Chapter 107) yet his recent short visits left such a negative impression on the noonas. (Chapter 107) Hence they judge him as a pervert. And since the head-kisaeng received him at the gate, this signifies that this man has been in contact with the kisaeng house and in particular with the kisaeng leading him to the room.

The bearded man claims that he has been punished like the elder master Yoon (chapter 107), but note that his words are contradicting father Lee’s version! The former never mentions the loss of his home, in fact, only the elder master Yoon lost everything! (chapter 107) This statement confirms that the protagonist’s father is so stupid, because he is blinded by his hatred and resent. He is not detecting the contradictions. But we have another source confirming that this “lord Song” is actually fake!! (chapter 37) The fake servant NEVER mentioned the retirement of lord Song. As you already know, for me, No-Name is the real lord Song who took the blame for everything, for he let people use his “name”. The most terrible thing is that “lord Song” puts the blame on Yoon Chang-Hyeon, when he explains his failure about the sexual education. (chapter 107) The main lead was too young back, and this was the father’s decision to let his son receive such a sexual education and even to feed him with some drug. Remember that the patriarch is the one who procured the aphrodisiac, for he followed the suggestion from others. As you can see, lord Song is putting the responsibility onto the elder master Yoon. At the same time, he insinuates that the lord’s fever back then was the result of the abuse of aphrodisiac. But is it true? Why am I doubting his words? First, the painter had become ill due to the sex marathon. (Chapter 33) Secondly, how does the lord know about the master’s illness, when his fever was only discovered after the straw mat beating? (Chapter 77) Besides, no physician had been fetched back then. Finally, how can lord Song remember the lord’s condition so well after 10 years? It is because he is using the diagnosis on the painter from the previous doctor: (chapter 103) Here, the man with the purple hanbok was utilizing the painter’s illness to hide his own crime. Under the pretense to help « Yoon Seungho » to become a man, the man abused him not only physically, but also sexually. There is no doubt that this reconversion was fake!

And since his strategy worked in the past, he makes the same suggestion. He offers his assistance to educate his second son: (chapter 107) However, the trick doesn’t work, exactly like No-Name’s prediction: (chapter 76) But there is another reason why Yoon Chang-Hyeon doesn’t get fooled a second time. (chapter 107) It is because he would be forced to question himself, if he is not the cause for this disposition: (chapter 107) That’s the reason why he puts the whole blame on his eldest son.

Furthermore, the manhwaphiles could detect that the « sexual education » didn’t last one night, but days! Compare the two following pictures: (Chapter 86)(chapter 107) In episode 86, there are two kisaengs and 3 men next to the main lead. I am excluding the father. The young master’s hands were tied with a white ribbon, and he still had his jacket on. However, in the second picture, the ties are now black and he is no longer in possession of his white jacket. How could they remove his shirt, when his hands were attached? This means that we are witnessing a different night. Striking is that it is raining, exactly like during the scene in episode 77. (Chapter 77) Thus I come to the following deduction: Yoon Seungho was sentenced to the straw mat beating, because after 2 nights, he had not been able to « have an erection ». They mixed a truth with a lie: (chapter 107) They never let him have an erection, for he was always tied up!!

But what caught my attention is that the lecher (chapter 107) was sitting exactly like Min. (chapter 52) And what had Black Heart thought during that night? He had wished to taste the artist, while before he had desired his death. This is not random at all. There is a strong connection between death and sex which is also present in the conversation between lord Song and his « old friend ». The former reproached the elder master Yoon to have protected his son for too long. (Chapter 107) Yet, the readers could witness that this was not the case, as the father had refused to send for a doctor, when Yoon Seungho had become ill. But who was protecting whom here? Naturally, Yoon Seungho is the one who has always helped his father. Note that despite being the real owner of the mansion, he never tried to dethrone his father. He still protected his father’s reputation. (Chapter 78)

Observe that the painter was supposed to be in the kisaeng house, if he had not detected his lover’s departure! (chapter 107) Hence I am now assuming that this night is a reflection from chapter 67 and 69!! Min’s plan! (chapter 69) He had gone to the kisaeng house with the hope that the artist would return with his noona, and back then he had impersonated Lee Jihwa for the first time. (chapter 69) As the manhwalovers can detect, the sudden return of lord Haseon is intentional. So who is he targeting here? (Chapter 107) Here, the fake lord Song never named the protagonist specifically, he just employed the idiom « lad ». For me, the real schemers are after the painter, for the latter painted a picture which exposes the real lord Song’s crime: the sexual abuse. For me, the « document » is the erotic publication. Yet, the evil joker is gaslighting the patriarch by implying that he is now blackmailed by his own son. They need to remove the main lead in order to be able to target Baek Na-Kyum. Besides, I have already outlined that the artist is a witness and victim of Lee Jihwa’s crimes… just like he is a witness of the fake lord Song’s abuse. Thus the noona said this: (chapter 107) Her words indicate that these two characters know each other.

Note that the father is incited to kill his own son, for the latter represents a source of threat for his ambition. He could ruin Yoon Seungwon’s career. (Chapter 107) To conclude, the schemers are presenting the main lead as a hindrance to the patriarch’s dream. (chapter 107) Striking is that the man implied that Yoon Seungho would blackmail the father and lord Song because of a document. But this statement is wrong! The main lead never threatened his own father… First, he only reminded him of the past and the accusation for “treason”. (chapter 86) (chapter 86) He was the keeper of his secret!! This explicates why the fake lord Song mentions « lad » and not the main lead. He gaslighted his counterpart, and created a false reality, while for me, it is clear that the real source of threat is Baek Na-Kyum. And who wanted him to be removed from the main lead’s side? Father Lee! (Chapter 82) In fact, both schemers have one goal in common: the couple is the victim and witness of their « crimes ».

To conclude, while Yoon Seungho stands for love, sanity, truth and reality, the other man with the purple hanbok symbolizes abuse, perversion, deception and illusions. Whereas the father is about to get deceived a second time, I believe that the opposite is happening to Yoon Seungho. Since the latter saw the ghost in town during that day, he can only deduce that « lord Song » is assisting his father again, exactly like in the past.

PS: I still have so much to tell, especially about the kisaengs and the abuse in the gibang. However, I can only write a new one, when this analysis reaches at least 100 views.

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 Reddit-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: The shadow 👤 behind the shrine ⛩️

Please support the authors by reading the manhwas on the official websites. 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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Lezhin Korea released a few panels from season 4, thus we could discover that lord Shin got into trouble. He is on the ground, his face bruised and bloody, while he is asking an anonymous man for help. He is mentioning the shrine. As he is wearing the same hanbok, we can definitely assume that this scene takes place during the same night. The irony is that each time Byeonduck offers a new piece of a puzzle, she also creates a new riddle or mystery. How did the young master get wounded in the first place? And who is the person facing lord Shin?

1. The shoes and the weapon

First of all, I would like to point out that this image confirmed my results from my ongoing investigation. The author is using the shoes and clothes to give clues about a person‘s identity. Thus I was definitely right to say that during the abduction in season 2, there were two perpetrators. (Chapter 59) (chapter 66) The size and length of the protections and the cords around the pants were different. Besides, the masks were also different due to the form of the mouth.. (Chapter 61) (chapter 61) Finally, I had also detected his presence next to the barn because of a time jump. First, the manhwaphiles saw Lee Jihwa sitting on the floor, (Chapter 60), then shortly after he was standing at the entrance of the storage room holding a fireplace poker! (chapter 60) His position indicated that the young master had shortly left the building. However, the readers had not witnessed his move, for the author had diverted their attention by exposing the character‘s inner thoughts. He was recollecting the past, while talking to himself. (chapter 60) However, how did the fire poker end up in his own hand? The last time this tool was seen, it was in the kitchen. (chapter 60) As you can see, each image has its importance! However, I doubt that the upset aristocrat had this sudden idea and returned to the kitchen and take the fire iron. His mind and heart were definitely elsewhere, while such an action exposes the intention of hurting someone. Jihwa was acting, as if he was in trance, the moment he saw the hickey and heard the painter’s scream. His long lasting stupor was visible in this image. (chapter 60) That’s the reason why I had developed the theory that someone was hiding in the shadow, next to the barn and observing the evolution of the event. [For more read the essay “No matter what… Baek Na-Kyum must vanish“] For me, it could only be Kim. The latter had put the fire iron in the young man’s hand with the hope that he would strike Baek Na-Kyum. My conclusion was that he was not just involved in the painter’s abduction. However, all these were minor circumstantial evidences. Now, I found more concrete proofs for this hypothesis. Thanks to the new release, I can corroborate my assumption! 😱 The fireplace is the evidence of his involvement during that night! Why would Byeonduck zoom on the furnaces? (chapter 57) It is because they serve as a clue for unveiling the truth. (chapter 60) And now take a closer look at the stove in the storage room! (chapter 62) It is the same furnace! 😨We all assume that the lord prepared the fireplace, because he put his clothes on his lover. But is it true? We were all jumping to this conclusion, but actually we never saw it. Our brain was led to fill the blanks. (chapter 61) Finally, the readers were all assuming that the butler had never entered the storage room due to this image and his action before. (chapter 61) But is it true? He could have opened the door before, and go to the lord in order to explain his intervention. Faking his concerns for the painter. Why would he place the fireplace there? He wished that the warmth from the fire would wake up the painter. Hence he remained close to the gate of the storage room. That way, he had a reason to visit his master. Moreover, the author exposed that the valet had been keeping an eye on his master for a while too. (chapter 62) Because the valet went to his master, we got the impression that the valet had followed his master’s instructions. (chapter 61) In fact, this request could be perceived differently. The lord had seen the butler’s intervention, hence he expressed this wish. From my point of view, the butler must have brought the fireplace to the barn, and he left the poker there on purpose. I am quite certain that some people will think that I am again exaggerating. But why did the butler put a fireplace with a fire iron in the lord’s room, when the coal was not properly lit? (chapter 86) Compare the fire to this one: (chapter 62) But note that in the furnace, there was a fire iron too. (chapter 88) Consequently, I am suspecting that Kim had expected an outburst from Yoon Seungho. The latter could hurt his father with the fire iron. But none of this happened, for the lord preferred playing a comedy.

But let’s return our attention to the fireplace in the storage room. My theory would explain why Kim encouraged his master to go to the barn. (chapter 61) He hoped that Yoon Seungho would become so enraged due to the betrayal that in his violent outburst, he would grab the tool and wound the artist!! Thus he said this the next morning: (chapter 65) He had expected that the lord would hurt the main lead. But how was he supposed to harm Baek Na-Kyum in the end? With the fire iron… This signifies that he had been present in the barn during the abduction, and even knew the place of the sequestration. Thus he took the furnace and the fire iron to the shed.

And now, you have the explanation how lord Shin was wounded. He got beaten with a fire iron! This explicates the cut on his nose. Compare his face to the painter’s who got wounded by wooden sticks. (chapter 99) The painter’s head was bleeding, but his face and nose remained intact. (chapter 99) Besides, this theory also explains why the shrine is set on fire. (chapter 103) The fire iron is connected to a stove. Finally, I would like to outline the absence of the furnace in the shrine, though it was very cold outside. (chapter 99) So when the lord said this to his lover (chapter 88), we could interpret it the following way. It was once again a vision from the future, he was seeing from lord Shin’s perspective the betrayal. To conclude, I am sensing many parallels between the noble’s death and the night of chapter 86/87/88.

But I have another evidence that the butler had been spying on Jihwa and No-Name. How is it possible that Lee Jihwa had such a vision? (chapter 60) (chapter 60) At no moment, he was told that his childhood friend had been brought to the physician’s. He just heard him leaving. Moreover, the joker never mentioned the place where the couple was fooling around. (chapter 60) He didn’t even admit that he had seen them himself. These were memories from someone else! One might assume that these could represent the criminal’s recollection, but I don’t think so. He arrived much later to the physician’s house. If he had been present right from the start, he could have kidnapped Baek Na-Kyum on his way to the restroom. (chapter 59) To conclude, the person with such memories (chapter 62) had been at the doctor’s office before. This stands in opposition to the false memory the red-haired master had in the study. (chapter 43) Here, he had visited the place, hence he could imagine what had happened, though he never saw their encounter according to me. [For more read the essay “The liars in front of the mirror of truth: Lee Jihwa and Yoon Chang-Hyeon”] This explains why he created a false memory. However, in chapter 60, it is simply impossible for him to have such a vision, for he was not there. And in the propriety, only two people could know about their love session, the doctor and naturally the valet. For the latter is constantly seen with the bucket of water, I conclude that this can only be the butler. (chapter 58) He had left the bucket of water in the patio! But note that when the painter left the room, the item had simply vanished. (chapter 59) The painter was not supposed to detect his presence.

2. Identifying the shadows

Since I recognized the presence of a third person involved in the kidnapping from season 2, I come to the deduction that we have in this scene 3 people. And if the release is not changing, and these panels are still framed in black, this signifies that the readers are dealing with remembrance again. So we could say that we are seeing the event from the perpetrator’s perspective. But we will see. On the other hand, why am I so sure about the presence of 3 people? First, don’t forget that the story is going in circle, thus the author is working with reflections. The manhwaphiles will certainly recall that lord Shin had been made unconscious by No-Name, when he had approached Lee Jihwa. (chapter 100) The manhwaworms can grasp the similarities. Back then, the lord had refused to help Baek Na-Kyum, thus he was even encouraging Lee Jihwa to return to the shrine. Hence he had acted as a willing accomplice and perpetrator. Thus his karma is to be denied any assistance, he is punished the same way than his friends, Min and the other nobles. Finally, observe that the red-haired master (chapter 100) was lowering himself in front of No-Name which reminds me a lot to lord Shin’s situation. However, the naïve yangban is not suspecting the person facing him. He has the impression that the latter will listen to him and assist him. Thus I deduce that he was assaulted by someone else, the third person… I am excluding 2 people with the beating, for the noble was not unconscious in contrast to the scene in front of the scholar’s house. Besides, this person was not strong enough to kill the noble and had not tied him up either. (chapter 66) (chapter 99) Lord Shin was still conscious, and he could still run away, until he met this mysterious person. Why do I think so? It is because lord Shin is not suspecting the one standing in front of him. If they were together, he would have recognized the betrayal. From my point of view, he didn’t see them together. And I have another evidence for this interpretation. This picture is a reflection from this one due to the presence of the shadow. (chapter 88) Abandonment and rejection versus embrace and acceptance. And what had Yoon Seungho said during that fateful night? (chapter 88) (chapter 88) But while the painter was exposed to sexual abuse, lord Shin had indeed left his friend’s side. In my eyes, lord Shin embodies treason. As you can see, I conclude that lord Shin is about to get assassinated and from the person he expected the least. Why? It is because no one has to realize that lord Shin ran away from the shaman’s shrine. (chapter 102) He was a survivor. The opposite from this scene. They faked the painter’s desertion, (chapter 60) hence in episode 102 they had to mask his escape, for this would have exposed the involvement of other people, like Lee Jihwa, the doctor with the drugs and Heena. And now, you have the explanation why the shadow hidden behind the tree had put mattresses on the soil. The desertion and survival from lord Shin should not be detected. But who is this person facing the weak lord? And who is the third person who hit the young man? First, I would like to answer the second question.

3. Identifying the helping hand

We have to suspect a rather frail person who can be reckless and even stupid. As you can envision it, I am now suspecting the kisaeng Heena. Not only her philosophy allows her to be blinded by hatred, but also she witnessed herself her brother’s terrible condition. (chapter 99) Secondly, the moment she hears from someone that she got betrayed, for her brother died, she could definitely resent Min and his friends. But one might argue that she was killed by the two guards, or if she is alive, she was held captive by them. However, it is important to recall the following rules: the clothes and shoes are revealing the character’s identity. Both men are not wearing robes. Besides, they are not wearing black shoes like the other black guards! Yet, note all the black guards from chapter 7, 64/65 and 86 were wearing black shoes (chapter 7), (chapter 65) or boots (chapter 86), a sign for a high position. They even had all a sword. Why would the guards from chapter 99 use a wooden stick? In my eyes, it is because they are no real black guards. Besides, I detected that one man had a scarf similar to the butler’s, from lower quality. Thus I am suspecting that these two men are more servants than trained black guards. In other words, they are commoners. This would explicate why they didn’t know how to tie Heena properly. Her mouth was not covered, her feet were not tied. Thus they covered their face. That way, Baek Na-Kyum wouldn’t recognize them. And if he were to survive, then he could blame it on Yoon Chang-Hyeon, as their uniform was similar. During the assault, he couldn’t pay attention to such details and question their true origins. Besides, don’t forget that so far, the beating was tasked to the staff: (chapter 13) (chapter 77) As you can see, the wooden stocks were present during the first straw mat beating.

Under this new light, the manhwalovers can grasp why their face was masked. If they had to be identified, then by the clothes… that way they could mislead the investigation and frame innocents. We could detect their involvement in this scene, (chapter 101), but here Min thought that he was capable to frame the Lees. The other evidence for this interpretation is the presence of two servants during the main lead’s hunt, while he was wearing the suspicious boots. (chapter 83) As you can detect, I see a strong connection between the new panel and the hunt from chapter 83. And here we have 3 people again.

But let’s return our attention to the kisaeng who I am suspecting to be behind the noble’s wounds. What caught my attention is that the woman has always been involved in kidnapping and immobility (being tied up). She was present, when the lord was dragged and tied up. (chapter 68) She was again a witness, when her brother was tied up in the bedchamber. (chapter 66) Finally, when her brother was on the verge of getting abducted, she saw him lying unconscious with a bloody face. However, she never considered it as an abduction, for his hands and feet were not tied up. (chapter 99) That’s the reason why she blamed him with her questions. She implied that he shouldn’t have fought back. As you can see, I detect a common thread between Heena and her presence in different scenes: sequestration and a bloody face. But this doesn’t end here. When the young painter got beaten in the gibang, there was a furnace on the left side. (chapter 94) For me, this incident was to push the painter to leave the gibang and as such to listen to Heena’s suggestion. Furthermore, the man on the left side was wearing a white headband, though he was dressed like a noble in a hunting outfit! The hair dress and his moustache [for more read the analysis “Painful departures”] led me to the following assumption: He was just a commoner in the end, impersonating a noble.

The other clue for Heena’s involvement in lord Shin’s demise is her presence in chapter 88. (chapter 88) She was supposed to discover a crime scene. But what did she do? She didn’t report it to the authorities. Why? It is because the schemers implied that she would never get justice. As a kisaeng, she was totally powerless.

Thus the moment someone tells her that her brother died by the hands of nobles, the young woman’s hatred for yangbans can only increase. At the end of season 3, Yoon Seungho and even the shadow behind the shrine believed that the painter had died too. Consequently, the painter was just given a purple hanbok, and the main lead went to the mountain. Since the protagonist was under such a shock and pain, he never pondered why there was a person helping him. He was behaving like Lee Jihwa during the night of the abduction, the hanbok was put in his hand. The sword, the scholar’s glasses and even the painter’s clothes vanished from the shrine. (chapter 102) This is the evidence that someone had manipulated the crime scene. The clothes from the painter could serve as evidence of her brother’s curtains. Heena could come to the conclusion that Min had gone back on his words, and her fake death, which had definitely shocked (chapter 99) and bothered her, could only be perceived as real at the end. But this means that while Yoon Seungho had murdered the nobles, there was someone hiding in the shadow , exactly like in season 2. He had not stopped the execution either. He could have faked his late arrival and the shocked lord would have even believed him. This time, the man in the shadow had covered the bloody traces and had thought that the noble outside had died from cold. (chapter 61) And according to me (chapter 61) the second Joker (Kim) had tried to murder the painter, but he had failed, for he had covered the painter’s head. (chapter 66) However, his new attempt to have the painter vanished failed again.

4. The “trustworthy” disguised man

What caught my attention are the pants. The form and color remind me a lot of the painter’s. (chapter 97) It could be the same, though I have my doubts. Secondly, I suddenly got aware that the painter had 3 different grey pants at least. (chapter 4) This one had a cut just below the knees, though the color is much brighter. (chapter 84) This is the third one I detected, as the shape of the pants diverge once again. This explicates why Baek Na-Kyum chose to change his clothes before leaving the mansion. (chapter 85) And because his pants are very similar to the painter’s, I deduce that he must be close to Baek Na-Kyum or at least he has a spy informing him about the artist’s clothes. Compare his pants to other servants: (chapter 97) (chapter 61) (chapter 67) (chapter 67) Their pants have either a different pigment (white, black, khaki, or light grey) or the shape is different. That’s the reason why I am assuming that the person was wearing these trousers on purpose. A new version of this scene: (chapter 98) The only difference is that the disguised person is alive contrary to the corpses in the wells. But the problem is that the shoes are betraying him. The boots resemble a lot to Yoon Seungho’s which the latter utilized during the hunt. (chapter 83) What did the lord see back then? Three shadows, two men wearing a gat and one caught in the middle with a topknot. Since I consider Yoon Seungho as a shaman, I believe that this vision was not only referring to the past and the incident in the shrine. It exposes the immutable truth, the involvement of three people, either. This is no coincidence. Thus imagine one moment that this illusion was referring to lord Shin’s murder. He is about to get murdered because of a new conspiracy. From my point of view, the man is disguising himself. However, I doubt that he is wearing the lord’s boots. The latter could be “couple boots”, just like the lord and the painter had couple hats. (chapter 91) And note during that day, Baek Na-Kyum was called sir due to his hat and clothes. (chapter 91) However, if the woman had paid attention to his shoes (mituri), she would have realized that our beloved painter is just a low-born. One might think that I view Kim as the one facing lord Shin. Strangely, I am suspecting the involvement of someone else. One thing is sure. The person in front of lord Shin is disguising himself, and the latter trusted the man in front of him. But his misfortune was not to identify correctly the person, for he didn’t detect the contrast between the clothes and the shoes. And the author left us another clue that disguise plays a huge role in our protagonists’ suffering. Why is Kim wearing a gat with a headband for nobles, when he is dressed like a servant? But there is another detail what caught my attention. He is wearing a bag. It was, as if he had packed his belongings before leaving the mansion. This means, he is taking his brown hanbok, but he is not wearing it. He reminded me of Deok-Jae. (chapter 44) (chapter 54) But the readers should question themselves this: why did Kim dress like this in the first place? From my point of view, the schemers have already planned to frame Baek Na-Kyum for the murder of the nobles and even of Jung In-Hun. Kim is trying to separate the couple so that the artist can be arrested easily and sentenced immediately. By burning the place, the evidence that Baek Na-Kyum was a victim vanished. That’s how they can manage to turn a victim into a perpetrator. They wanted to erase every trace of the crimes, but then the return of the painter will force them to change their plan. The fire can help them to turn Baek Na-Kyum into a scapegoat. That’s the reason why the anonymous shadow is wearing clothes similar to the painter’s. No one should recognize him. Later, Baek Na-Kyum can be “identified” as the culprit. And any blood trace on his clothes could serve to incriminate the painter. They could use the resemblance of the clothes as a proof for his crime. That’s the reason why lord Shin had to die in the end. And if lord Shin never doubted this person, I am suspecting that the latter is working with the authorities. Kim is not the only suspect, for according to me, there always exist a conspiracy of 3 and even 5 people. This observation leads me to create a list of suspects. First of all, Yoon Seungho’s confession to the learned sir should help us to determine the schemers and culprits. (chapter 44). A synonym for old bearded men is “elders”. The latter are supposed to serve as role models. That’s the reason why the young man didn’t suspect the man. With his beard, he must have oozed “responsibility” and even “selflessness”. But who are the suspects?

  • The officer from the bureau investigation is definitely involved. Thus he misled Yoon Seungho. Besides, observe that the officers are connected to fire! (chapter 94) Secondly, his explanation implied the involvement of a physician. (chapter 98) Though he had been found in a well, the lord’s comment insinuates that “Deok-Jae” had been stabbed. Striking is that the lord didn’t show any interest in the violation of clothes and the servant’s death. This reaction surprised the yangban which left him speechless. It is important, because this shows that the schemers were trying to direct the lord’s attention to a certain person: Lee Jihwa. They were trying to instill the thought that Lee Jihwa had planted a professional spy in his household. And after his betrayal, Deok-Jae had run away with the money earned from his work.
  • The physician: What caught my attention is that the author focused on the fire place at his office. (chapter 57) Why? There has to be a reason. I don’t believe in coincidence in Painter Of The Night. Furthermore, observe that both men, Kim and the doctor, were sitting in the kitchen, similar to Jihwa and No-Name. (chapter 57) Finally, the painter met the Joker again on the same day he visited the physician. (chapter 75) Finally, why was the doctor never brought to the mansion again after his last visit in chapter 57? And it looks like he was not there to treat Baek Na-Kyum. The latter is suffering from PTSD. Thus the painter had a nightmare. Hence I have the impression that the butler’s intervention and suggestion to Yoon Seungho will fail. The lord won’t be able to leave his side. Moreover, I would like the readers to recall that when Baek Na-Kyum got sick, a different physician was fetched. (chapter 33) Different clothes displays a different identity. From my point of view, the doctor doesn‘t want to be connected to Yoon Seungho. Finally, don‘t you find it weird that he was not by his side in chapter 57? He literally abandoned the young master in the room with the painter (chapter 57), though the latter was a patient too. He had a wounded wrist. The physician should have controlled Yoon Seungho’s fever, brought him water and even an infusion. His absence and passivity caught my attention. So what was he doing in the kitchen? Finally, the doctor is also connected to the shaman. Not only he mentioned him, but also there is the symbol of shamanism in his kitchen. Why did the gods want our couple to have their first “true” love session at the physician’s office? Somehow, it was to confront him with the truth. Finally, don’t you find it weird how Kim reacted (chapter 82), when the new version of Deok-Jae made the following suggestion to Kim: (chapter 82) Hence the doctor is not off the hook, quite the opposite.
  • Father Lee: he has a huge motivation to eliminate not only the painter, but also Min. The latter had denunciated Lee Jihwa’s crime to Yoon Seungho. Since I judge father Lee as someone suffering from Machiavellianism, he certainly plotted something behind Yoon Seungho, and not only once, but at least twice. Moreover, someone could have divulged to the patriarch that Black Heart had been responsible for the loss of his son’s topknot and his manipulations. Besides, Black Heart had witnessed the altercation between the Lees and Yoon Seungho (chapter 67), and discovered Lee Jihwa’s sodomy which was supposed to be a secret. The father is well aware that the main lead’s suffering is linked to the young master’s sexual orientation, which the father had always denied. His involvement could be detected, when he allowed one of his servants to be dragged to the gibang. (chapter 99) Finally, The Joker also heard father Lee’s humiliation and powerlessness. (chapter 67) He never asked for the authorities’ assistance, for his son’s crime could have come to the surface. And since there was a ruckus in the gibang, where his name was mentioned, he had another reason to kill lord Shin. With his disappearance, his son’s “crimes” would be buried. Moreover, his son never went to the bureau of investigation to clear his name. (chapter 101) Thus the fire could be seen as a desperate measure to cover the Lees’ culpability.
  • Because people are violating code dress, and they are wearing similar clothes to deceive people, I think that we should include the tailor in the list of suspects, but the one I am referring to is the one from chapter 64. (chapter 64) He can play a huge role by making a false testimony, as he can recognize the clothes ordered by the clients.
  • Finally, I would like to include these two men. (chapter 37) The latter had already disguised himself in season 1, and due to his age, no one would suspect his real nature or power. Then we have this faceless man from chapter 83: (chapter 83) I am not including Yoon Chang-Hyeon in this list, for he is not intelligent and cunning enough to develop such a plan. For me, he is just a pawn. Thus he never intervened on his own. He was always pushed by others’ suggestions. Yet, there is no ambiguity that the elder Yoon will be involved in a new plot.

To conclude, I am suspecting many people involved in lord Shin’s struggle and curtains. Thus expect in season 4 new plots again. Finally, I would like to underline the butler’s hypocrisy one more time. While he keeps saying to his master that he is a bird of misfortune, why is he remaining by his side? Dedication or love? I have my doubt, for he keeps badmouthing him. If this “curse” was true, how come that he did not suffer like the painter? And note that he has a drop of sweat on his face, the symbol for manipulations and lies. In my eyes, the words from the publication are reflecting the butler and Heena’s philosophy. Why? Both are trying to hide their own wrongdoings and bad choices. They are still in denial to admit their responsibility.

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 Reddit-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: The shadowy plot(s) 👀 from the past 🙊

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.

There is a reason why I selected the illustration of season 4 for this essay, though my focus is the past, and more precisely Yoon Seungho’s suffering. It is because the darkness surrounding the protagonist not only refers to his tragic youth, but also it reflects the situation of the manhwalovers. The latter are still in the dark concerning his torment. His terrible secrets have not been totally unveiled. So far, the author allowed the readers to see glimpses of his past, like f. ex. the gangrape or the suicide of his mother. But these were just small pieces of the puzzle, thus it is still impossible to have a complete picture of his martyrdom. There are many reasons for this. The main victim never testified about his suffering, he refused to open up to Baek Na-Kyum. (chapter 84) Then many witnesses vanished (chapter 86) or the ones alive preferred telling lies in order to hide their own wrongdoings or are simply in denial about their own culpability. Finally, the victim, the perpetrators and accomplices had no idea about the whole truth. They only know or knew certain facts, because many of them were deceived as well. What exactly happened to Yoon Seungho? How could this take place, though he belonged to one of the most powerful noble families? Now, you are probably expecting that I will give you answers to all these questions, and recreate the past. But I have to admit that it is not possible, for I don’t know the whole chronology. Consequently, I added “shadowy” in the title. To conclude, my real intention is more to offer new pieces from the riddle than create a whole new “story”. The main source for this new insight is the painter’s fate which is a reflection from the noble’s past and torment. This means that Byeonduck left traces in season 1, 2 and 3! That’s how I discovered that he had been abandoned and betrayed by everyone, kidnapped, treated as a male kisaeng, robbed, abused, raped and even gangraped at least twice, tortured and finally drugged! But like mentioned above, it is difficult to give the proper order and the persons truly involved in the crimes. On the other hand, what I can guarantee is that Yoon Seungho’s nightmare is linked to conspiracies. I came to this conclusion, because if you compare all the seasons, you will detect the presence of plots. There exists at least 3 main plots in each season, though there definitely exist more. The conspiracies are all connected to incidents.

1. The conspiracies

To validate my theory, I will use the first season as an example. The incident with the ruined drawing was actually initiated by Min and his friend with the mole. Black Heart had slapped his friend (chapter 9), so that the latter visited Lee Jihwa to arouse his jealousy. It was to push him to commit a crime so that Baek Na-Kyum would be removed from the main lead’s side. As you can see, there were 3 people involved, though the readers only saw the result. (chapter 12) They had the impression that the red-haired master had acted on his own. However, he had been manipulated, incited to commit a crime. But my point is not to diminish his wrongdoing, rather to expose the involvement of the schemers. Hence at the end of season 1, the author unveiled their true role and as such their identities. (chapter 43) However, observe that when Lee Jihwa went to the pavilion, the noble with the mole had other guests. 2 nobles left the place, as they refused to participate in a murder. (chapter 43) Funny is that they are now witnesses of Min’s crime. This can have repercussions in season 4. Black Heart had been the one who had suggested the assassination to Lee Jihwa. And the aristocrats were still there, when he had made this proposition. (chapter 43) But the two empty seats also serve as a metaphor for the existence of other helping hands: Kim and No-Name! The latter was about to get hired by the young master. Hence I deduce that this scene was to display the existence of accomplices who had always been acting in the shadow. Or we could say that the number of conspirators increased! However, I would like to point out the existence of a second conspiracy: the stolen wine. (chapter 19) And this is related to Kim and the gibang. Yet, the butler ruined Black Heart’s plan. To conclude, we have two main plotters in season 1, but the butler’s bad intentions were not detected, for Yoon Seungho’s bad actions were more eye-catching. People had the impression that the valet was defending the artist’s best interest. From my point of view, the number of persons involved in the plot kept increasing, as they needed more and more accomplices. The reason is that their plans didn’t work out like expected. At the end of season 3, Min involved the kisaengs in the gibang, while Kim asked the assistance of the staff, the maids (chapter 91) and the servants (chapter 97). Thus I deduce that in the past, the same must have happened. Many people were involved in the downfall of Yoon Seungho and his family. But who was the real target in the end? It is difficult to say with 100% certainty.

While Min serves as a reflection from the main mastermind in the past, his actions are not entirely clear. Note that he kept changing his mind and heart. On the one hand, he wished to have the painter killed, then later to have the young artist by his side as a source of entertainment. Yet, there is no doubt that he wished to have sex with Baek Na-Kyum right from the start. (chapter 8) Thus in season 2, he came to this resolution: (chapter 56) He had planned to rape him before having him eliminated. This shows his inner conflict. From my point of view, the painter’s death is connected to the incident in the gibang. (chapter 1) Baek Na-Kyum was a witness of Min’s wrongdoing, just like the painter was a witness and victim of his crimes in the shrine. (chapter 99) One thing is sure: Min was full of greed and jealousy. He was determined to harm and ruin Yoon Seungho. Hence I come to the deduction that the real target of the conspiracy in the past was Yoon Chang-Hyeon. And his son was used against him.

Interesting is that in the first season, the plots were not obvious, except one: the painter’s murder! The conspiracies only came to light, when the readers paid attention to details. The best example is the incident with the open door: (chapter 16) This doesn’t look like a crime. However, it is one! It was done on purpose, to separate the couple. Someone had intervened in order to interrupt this session, and as such someone had been spying on them. Deok-Jae only revealed his spying activity from chapter 16 in season 2: (chapter 53) Yet, the one opening the door had been Kim. This gesture can be considered as trespassing and invasion of privacy, the new version of this scene. (chapter 16) But instead of revealing the truth, the butler sided with Lee Jihwa, and allowed him to trespass the propriety again. In my eyes, the butler thought (chapter 17) that Yoon Seungho would come to perceive the painter as a man consumed by lust. He imagined that he would caught them fooling around. As you can see, this ruckus was also a plot, though it doesn’t look like one. Why would the maids gossip in the courtyard? (chapter 18) From my point of view, the valet expected that the lord would fear people’s gaze and a scandal. Thus he would send away the painter to protect his “reputation”, but the opposite happened. Under this perspective, the manhwalovers can grasp why it is difficult to calculate accurately the number of plots and accomplices. Besides, some were naïve pawns, others not. And since I examined the first season more closely, it is necessary to analyze the vanishing of Jung In-Hun. His disappearance is strongly intertwined with Yoon Seungho’s secret. How so? The learned sir was determined to find the lord’s vulnerability and as such secret.

2. The scholar’s disappearance

Many readers have the impression that the learned sir is still alive, for they never saw his corpse or his execution. Since they had somehow witnessed Jung In-Hun’s departure, they knew that the learned sir could not have been killed in his humble home. I had already detected very early on, like other manhwaphiles, that the murder scene had been staged. (chapter 88) Thus many readers jumped to the conclusion that the learned sir had already switched sides and was plotting against the main lead. They had his following words in their mind: (chapter 29) Thus many concluded that he had participated in the prank, faking his death. On the other hand, the manhwalovers believed to have seen Heena’s death! (chapter 99) However, observe that we never saw her corpse. She was still alive in this panel. I had already pointed out that her murder was actually faked. Her mouth was not covered, hence she could have screamed, but she remained silent (blank speech bubble). Secondly, she never moved her legs… contrary to Yoon Seungho’s behavior in the gibang. (chapter 68) That’s the reason why I came to the conclusion that Heena’s curtains didn’t take place. Hence I deduced that in the past, someone’s death must have been “faked” too and this vanishing must have affected the main lead’s fate. The other deduction is that the learned sir must be “dead”, as the author is working with positive and negative reflections. I had already presented this theory in two different compositions (“That day” and “The secret behind the library“) However, for each murder, the culprit must have a strong motive. For me, the mastermind behind his death is the pedophile himself. This man, (chapter 37) who is the king in my eyes. [For more read the essay “The face of lord Song“]

3. The reasons for the assassination

Why would he eliminate the learned sir? In the past, I had said that he had ordered it out of jealousy. He believed that Jung In-Hun had become Yoon Seungho’s lover, for his brother had mistaken his identity. (chapter 37) Since Baek Na-Kyum was wearing a hanbok, Yoon Seung-Won thought that the person hidden under the hanbok was no commoner! Thus he called him a fellow. However, this motive is quite thin! Yet, two new details caught my attention. His visit to the “fake shaman” and his request. Notice what he told the man:(chapter 29) He was announcing to the dark haired man his true intention. He desired to abandon and betray Yoon Seungho the moment he reached the first place in the civil service examination. He saw him as a burden. This is important, because his words represent a confession of his “sin”!! The scholar was admitting to the commoner that once he reached the first place, he would cut off his ties with the protagonist. But actually, the latter is connected to the pedophile. It was, as if he was saying that he would betray the king, for the young main lead is close to the king. On the other hand, he needed to reach the first place for this. And now, you have the explanation why he got killed. He needed to vanish, before he participated in the next round! The mysterious lord Song needed to remove him, before Jung reached the first place and betrayed his “lover”. In a certain way, the man could justify his action that he has been protecting Yoon Seungho from a future betrayal. However, there is no ambiguity that the true motive was jealousy. But he had naturally another motivation. It was important that the lord’s past never came to light either, as his secret was strongly intertwined with the ruler’s past actions. To conclude, the pedophile had every reason to order his assassination. But he was not the only one behind his death. Other people had an interest in this crime as well.

Jung In-Hun’s ”dream” stands in opposition to Yoon Seungwon‘s statement who somehow promised his father that he would reach first place. That’s the reason why the father boasted in the bedchamber. (chapter 86) However, in reality, he was relying on the king’s help and intervention. And this confession to the “fake shaman” represents the learned sir’s karma. He had asked the painter to act like a spy (chapter 24), not realizing that he could be spied himself! He didn’t grasp that he exposed his weakness to the commoner: the civil service examination. Thus the man had constantly drops of sweat on his face and interrogated Jung In-Hun. (chapter 29) The girl was there to create a certain closeness. He was acting like Kim, asking why! But the stupid and arrogant learned sir thought that because the man was a commoner, he was ignorant and could be manipulated like the painter! (chapter 29) He thought that the low-born would buy his lie here… but in my eyes, it was the opposite. He had already perceived the learned sir’s true nature. But he acted, as if he was agreeing. In other words, the scholar fell into his own trap. He envisioned that the man was “powerless”, but he overlooked his connections. The manhwalovers can see the contradiction, for he had approached the man due to his connections! .As you can see, I am more than ever convinced that the scholar has long been murdered. He was betrayed, exactly like he had planned to abandon Yoon Seungho! The pedophile must have heard from the servant about Jung’s plan, as he had confided it to the worker!!

Thus the man decided to meet Jung In-Hun himself, and give him a warning. He described the Yoons as powerless due to the purge. (chapter 37) But this doesn’t end here. (chapter 37) Yoon Chang-Hyeon was portrayed as a traitor! The “fake servant” implied with his statement that there was a conspiracy, and the patriarch was involved. But in exchange to save his own skin, he had tattled on the others! He was trying to insinuate that if Jung In-Hun interacted more with the Yoons, his reputation could get tainted. He could get suspected of “treason” too, or he could get betrayed too. While the man met the learned sir during the day, the brother went to the villa in a hurry during the night. (chapter 37) So it looked like the “scholar” had not grasped the warning. And if Yoon Seungwon had been informed about the content of the conversation between the learned sir and the “fake shaman”, it is not surprising that he rushed to his brother’s side. He could use this opportunity to warn him about a betrayal. However, he couldn’t do it so, because he imagined that the learned sir was present. This would explain this image: (chapter 36) Hence he chose a different approach: filial duty. And the brother’s observation could only corroborate the pedophile’s perception. The scholar was Yoon Seungho’s lover, but he was also a backstabber. But let’s return our attention to the “mysterious lord Song”‘s statement: Yoon Chang-Hyeon is a denunciator, not a man of honor. (chapter 37) Due to his denunciation and crime, he had to leave the mansion so suddenly leaving the protagonist behind. That’s what the old bearded man implied here. However, I believe that this declaration is a mixture of truth and lie! That’s how I could make the sudden connection: (Chapter 67) Lee Jihwa had not only been denunciated, but he had been confronted by his friend! And the traitor was right by his side. As you can see, chapter 67 was a reflection from episode 37!! These two episodes have another common denominator: the betrayer had made the following suggestion. (chapter 67) In exchange for his “survival”, he should help Black Heart and allow him to act on his behalf. This was the new plan. That’s how he started impersonating Lee Jihwa. That’s the reason why I come to the conclusion that in the past, the impersonation must have happened, but it took place in the beginning. Secondly, I am assuming that a traitor must have suggested to Yoon Chang-Hyeon to leave the mansion and abandon his son behind! (chapter 27) And who is it? For me, it is Kim acting on the pedophile’s behalf. Striking is that in episode 27, the learned sir escaped death thanks to the intervention of the old bearded domestic and Baek Na-Kyum. Thus it came to my mind that the pedophile could even claim that he had eliminated the learned sir, because Yoon Seungho had attempted himself to kill him in the past. He had acted on his behalf. And what do have all these chapters have in common? SPYING and tattling! In episode 27, the servant unveiled a part of the past, (chapter 27) Someone had tattled on the Yoons in the past, but the patriarch was turned into the traitor himself which the young main lead came to believe. Thus Yoon Seungho could say this to his father: (chapter 86) However, I am suspecting that this is not true, someone else tattled on the powerful family and made a false accusation! As you can imagine, I am inclined to think that father Lee must have been behind this! Why? It is because he can no longer do it! Thus in season 3, he approached the patriarch Yoon. (chapter 82) If the lord Seungho had truly committed a crime, he should have reported it to the authorities. The stupid Yoon Chang-Hyeon never wondered why the elder Lee visited him during the night and asked for his assistance. Furthermore, the elder Lee had been allowed to enter the bedchamber and see the huge drawing which could have been perceived as a sign of treason. He was eyeing at the throne. (chapter 82) Note that the aristocrat mentioned “punishment” in this context. So maybe, he denunciated the patriarch so that the whole family would get punished. Father Lee was definitely played in this scene, hence I believe that someone had already anticipated his reactions. He would seek revenge. But this doesn’t end here. I had connected “rash departure” to “treason and spying”. And now, observe what Yoon Seungho said to his butler (chapter 50) He had sent Jung In-Hun away in order to get rid of him! However, because of the expression “I thought”, I am quite certain that this idea had been suggested to him by the valet! I would like to underline that in this episode, the valet was acting as a tattler! (chapter 50) But in order to hide his own crime, he portrayed it as a rumor (It may not be accurate”). This truly underlines the butler’s MO. He used information and turned it as gossips to hide his spying activities. The shadow… Simultaneously, he turned gossips into a verity!! This is no coincidence that in season 3, the same method was employed. Yoon Seungho was supposed to have murdered the scholar and Deok-Jae! My avid readers can sense the leitmotiv in all these episodes. RUMORS are turned into a reality, and as such a CRIME! Even here… (chapter 37) (chapter 37) But Kim is not the only spy and traitor! The younger brother Seungwon is also one! Thus he was introduced in the same chapter. And I have an irrefutable evidence that the old bearded man was in contact with the younger master. Only recently, I realized that the man never mentioned the protagonist’s name, he just said “this one”. This idiom implies that there is another one!!! This is the evidence that he was in contact with Yoon Seungwon. Finally, why would the man talk about the elder master Yoon the entire time? It is, because technically Yoon Seungho is just the elder son. This means that the pedophile never officially gave the title to the protagonist. These were empty words. (chapter 86) But since our beloved man started living in the bedchamber, this became a reality. That’s the other reason why Yoon Seungho was encouraged to live in debauchery and not to take the civil service examination. But this only occurred, the moment the lord returned living in the mansion and not before!! Secondly, I realized that this statement about Yoon Chang-Hyeon will become a reality for the “fake servant” himself. (chapter 37) Not only he justified his return to the familial domain with the main lead’s lunacy (“under the pretense of some problem with this one”), but also he accused his own son of a crime. (chapter 94) This means that he acted as a traitor, tattling on his own relative. Finally, observe that once confronted with brutal reality, the father did run away. (chapter 87) The white bearded man’s words became a reality. However, since the fake servant, the mysterious lord Song, judges the elder master Yoon as a troublemaker and hypocrite, there is no ambiguity that the elder master Yoon will get into trouble. Since he did it in the past, he can only get suspected in the present.

Besides, because the scholar is now dead, the pedophile can only put the whole blame on someone else refusing to become responsible for this. He has always acted in the shadow. We have three possibilities: he puts the blame on Yoon Seungwon, and say that he had done it out of jealousy. Or Yoon Chang-Hyeon had intervened, because Jung represented an hindrance to the Yoons’ dream. Besides, he was supposed to stay in the mansion in Hanyang, and that’s where the rest of the family is living. (chapter 86) But the worst would be that the painter is blamed for his assassination. He did it out of resent! But this would expose the true thoughts of the schemers, the pedophile and Kim. That’s how they act, when they feel offended and bothered.

Striking is that the protagonist has no idea, that the banishment was staged, for he was told the same lie. In his mind, the father lives in exile.: (chapter 37) One thing is sure: the father’s dream will turn out to be an illusion. For me, the younger brother’s biggest wrongdoings are spying, tattling and badmouthing. And the best evidence for this interpretation is this situation: (chapter 44) He had given the ruined painting to his father, putting the blame on his brother, well aware that the latter would get angry. He was observing his father’s reaction. (chapter 44) Yet, there is a difference to the past. Here, he had been fooled! He truly believed that this was his brother’s doing, whereas in truth the butler had been the one who had fooled him. (chapter 38) And this is important, because when the letter was given to the brother, Jung In-Hun witnessed the wrongdoing from the butler!! (chapter 38) And now, you know why the learned sir had to die!! He had caught the valet in the act. He had betrayed Yoon Seungho, though he didn’t realize it. The learned sir tried to discover the content of the letter, and as such was prying on his sponsor’s weakness.(chapter 38) Hence I come to the conclusion that KIM played a huge role in the learned sir’s death as well. I would even say that he was the one who pushed the others to have the scholar and the painter killed. Both knew about the butler’s tricks without realizing his significance. (chapter 37) Hence I deduce that as the story progressed, the role of the butler started changing. Now, I see him as a the main plotter, while all the others are now his pawns. We could say that the valet has gradually followed the pedophile’s path. However, there is no ambiguity that it was not the same in the past!

4. A new plot

I am quite certain that many manhwalovers are doubting my theory that the fake servant is the king and the main culprit in Yoon Seungho’s nightmare. Why? It is because in chapter 83, we saw a dark haired man, and according to Lee Jihwa, this was the mysterious lord Song. (chapter 83) How can he be the same than the one from episode 37? The change of his hair color could be explained by a huge shock. But this is rather thin as a justification. Besides, now I am more inclined to think that these are two different persons, and that the main culprit is the one from episode 37. Why? It is because he smoked and utilized the same expression: “strange”. (chapter 37) An idiom that Yoon Seungho constantly utilized: chapter 16, chapter 21, chapter 50, chapter 71 (chapter 71). This means that he couldn’t understand, for he has a different way of thinking. This outlines his narrow-mindedness and his tendency to plan everything. He doesn’t like surprises.

Since the readers saw the hanbok and the beard, they imagine that he is the main culprit. But I would like the readers to keep in mind that Baek Na-Kyum’s fate is the clue about the main lead’s suffering. And how many people desired to have him by their side? TWO! Yoon Seungho and Min…. and we could say that both kidnapped the artist! The main lead did it in episode 1, and the other in episode 99! This means that Yoon Seungho should have two main sexual abusers in the past! However, in difference to the young lord, the painter only had sex with the main lead. Min always failed to taste him! That’s the reason why I am suspecting that the man from chapter 83 could represent the “first sexual abuser”. Besides, observe that he is not smoking! (chapter 83)

Because we saw the purple hanbok, we all imagined that he was representing the king or was connected to the palace. But is it true? Notice that one of the guests only has a moustache beard (chapter 83) which is actually connected to commoners. [For more read the essay “Painful departures“] Remember that Min tried to deceive people by wearing a similar hanbok which Lee Jihwa would often wear. (chapter 69) Hence I started wondering if the mysterious man with the beard was not impersonating someone, for example “lord Song” and in reality he was just a merchant. Why merchant? It is related to the shungas and the hanboks. The king can not be involved in trading directly. However, this is what Yoon Seungho told to the learned sir: (chapter 22) Nevertheless, the main lead could have never been involved in commerce, for he lived as a prisoner for many years. And this is what was said about the ruler: (chapter 76) He is not so wealthy. How come? Yoon Seungho’s fortune must have a different origin.

Besides, I would like to outline that when Min was facing the ghost Yoon Seungho, he denied his responsibility by putting the blame on the childhood friend: (chapter 102) Min had never predicted that the young master would run to his friend and denunciate him to Yoon Seungho. However, since Black Heart had employed the assistance of servants (chapter 101) , the kisaengs (chapter 95) (chapter 96), the officer (chapter 98), No-Name, the doctor with the drugs and butler Kim, this signifies that behind the name Lee Jihwa stand many people! As you can see, the name “lord Song” doesn’t refer to one person, but many… My theory is that No-Name is the true owner of the title, but that’s how he ended up losing his home and his name! That’s the reason why I believe that in this image (chapter 83), we only see one of many persons hiding behind the name “lord Song”. To conclude, I came to the theory that the men from chapter 37 and 83 are both “lord Song”, though the one from episode 37 can only be the king. But if the man in episode 83 was impersonating lord Song, and as such was dressed up as a royal, he was actually violating laws.

I would like to point out that Min had three goals, not only to ruin Yoon Seungho, but also to get rid of Baek Na-Kyum and Lee Jihwa. Why? It is because he had framed them for the incident in the gibang. (chapter 1) Furthermore, Lee Jihwa could testify that Black Heart was the mastermind of the murder. Thus I deduce that in the past, the mastermind must have had three intentions as well:

  • remove Yoon Chang-Hyeon from his son’s side. That way, he could outlive his sexual fantasies. (chapter 50)
  • ruin the Yoons which represented a thorn to his power, hence the young man was incited to hate and blame his father.
  • get rid of all the potential witnesses and accomplices.

We shouldn’t overlook that Min used to be the main lead’s sexual partner too. Hence we could say that he was trying to get rid of a former lover and potential rival! That’s why I can’t help myself thinking that the man in purple could have been fooled himself. (chapter 83) Here, he was smiling… but don’t forget that in this story, karma always retaliates immediately! The best example is the scholar who wished to discover the noble’s secret, but didn’t realize that his vulnerability and intentions were revealed. In episode 83, this smiling man tried to drive an edge between the two childhood friends, and he could definitely witness how the two sons entered the room before the arrival of the elders! Therefore his punishment should have been separation as well. (chapter 83) The main lead was slapped and called animal, hence there is no ambiguity that at some point, the man must have suffered as well, unless he let others take the fall for him. We know for sure that the main lead was tortured, and as such arrested for a crime he didn’t commit! Besides, I would like the manhwaworms to keep in mind the importance of cosplay and “coup de théâtre”. We had the perfect illustration in chapter 37, (chapter 71) chapter 87) and episode 92. The schemers in the past had definitely played with illusions and tricks. Thus I am expecting that it is now the pedophile’s turn to get fooled.

One possibility is that father Lee denunciated the Yoons saying that they were planning a coup d’Etat, and had already selected a new king. And don’t forget that he was wearing clothes that was indicating that he belonged to the royal family!! Thus his identity could have been mistaken. To conclude, for me, the man with the purple hanbok represents the reason why Yoon Seungho suffered. This led to the purge of the noble families close to the Yoons. But since the real “lord Song” had allowed people to use his name, he became the culprit for all the wrongdoings committed by others. Hence he lost everything. (chapter 82)

5. The poisoning

Another possibility is that the man with the purple hanbok got poisoned, and Yoon Seungho was framed for the man’s death or injury. I am suspecting a poisoning incident in the past. If it didn’t take place during that fateful night/day (chapter 83), then it definitely must have taken place before. But how did I come to this conclusion? According to my observations, karma always retaliates right away, though the “wrongdoer” has no idea, as the person doesn’t see the connection between the “punishment” and the sin. But I would like to point out that in each season, we had poisoning. (chapter 36) Here, the painter was forced to take an aphrodisiac under the pretense of his health. This action was repeated in season 2 (chapter 54) and 3. (chapter 100) The nobles made him smoke opium or drink the aphrodisiac. The purpose of such drugs is to obtain the painter’s submission and control his mind and reactions. Striking is that each time, the perpetrators were “punished”. Kim was insulted and his plan didn’t work out. (chapter 37) As for the young lords, they were evicted like commoners and later the others were even killed. As you can see, each time the poison was employed, there was a retaliation.

But note that in season 2, Deok-Jae had put stones in the painter’s rice. (chapter 47) (chapter 47) If the painter had not eaten with the lord, the latter would have never noticed the incident. However, he believed the maids’ words. (chapter 47) Hence he never investigated the matter. But this prank represented a serious issue. This could have been judged as an attempt against the owner of the mansion. (chapter 47) And now look at this panel: (chapter 83) Yoon Seungho had refused to take the drug! The bowl reminded me of the one from chapter 47! Finally, the butler had tried to give his master the drug in season 3 (chapter 77), but the latter had again rejected it and this twice. (chapter 77) Kim calls the drug “medicinal tea”, truly an euphemism. It is also possible that the real target of the poisoning was Yoon Seungho, but since he was protected by the gods, someone ended up taking the “drug”. Because he was wearing a purple hanbok, the investigator mistook his identity, a royal member. Hence the Yoons were suspected of treason. Don’t forget that during this party, there was a kisaeng by their side. (chapter 83) And the latter are trained to cook dishes for the clients. My avid readers are certainly recalling that since season 2, I have been waiting for a poisoning incident which became a reality at the end of season 3. Thus I come to the conclusion, that such an incident should be shown in season 4, one in the past and the other in the present.

To conclusion, since many people were hiding behind the name “lord Song”, it became a taboo. However, as the king had achieved all his goals thanks to this name, (chapter 56), he came to adopt this title in order to hide his identity and actions. Byeonduck explained in her notes that Baek Na-Kyum had no idea about Min’s name. And this is the same for Yoon Seungho. The pedophile could continue hiding behind “lord Song”, as the latter was blamed for everything. The pedophile could divert attention from his own tricks. That’s the reason why he would never write any letter to Yoon Seungho under this name. This means that at the end, the main culprit, the king, will be perceived as the main responsible for Yoon Seungho’s torment, similar to Min’s situation, just before got killed. Though many other people were involved, Yoon Seungho was able to judge the joker’s actions correctly, he was the main mastermind behind the plots. This explicates why the gods made Yoon Seungho forget the old bearded men’s face. (chapter 44) This was a blessing in disguise. The moment the main lead faces the king, Yoon Seungho will be able perceive the truth. The king was behind his torment, and the butler had been his helping hand all along, the professional spy planted in his family. However, I don’t think that the monarch will admit his crimes and apologize for his wrongdoings. He will need a scapegoat, and this can only be the butler, the only one who knows the truth!

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 Reddit-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: “Promise me 👄 you’ll never forget me because … 🥺”

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.

Notice: Each new follower or new subscriber with an email address is contacted by me so that they can get the password.

As the readers can see, the title consists of an unfinished sentence. I did it on purpose for two reasons. First, it would have been too long. Secondly, it would have revealed the central topic of this essay. The name of this composition is in truth a quote from A. A. Milne. The manhwaphiles can see that I would like to analyze the new pictures released from Lezhin inciting me to present new interpretations, theories and predictions.

1. Yoon Seungho and Sleeping beauty

Interesting is that on February 1st the Korean company tweeted this image. The manhwalovers could barely see Yoon Seungho’s face, for he was surrounded by darkness. When I saw it, my first thought was to associate the protagonist to “Sleeping beauty”. He had the same expression than in the bedchamber, when he was sleeping totally relaxed. (chapter 87) He was not tormented by a nightmare, like the painter discovered it in chapter 38: And the darkness reminded me of the forest of thorns and as such of the curse put on the princess. The darkness, the metaphor for the forest of thorns, is the reason why the lord felt trapped and suffocating in his torment. (chapter 86) This contrasts to the princess’ situation, for the latter had no idea about the existence of the prison. It only appeared, when she fell asleep. Moreover, in this picture the obscurity is slowly disappearing announcing that the main lead is about to wake up, he is on the verge of being released from his curse. This signifies that the protagonist is slowly returning to life, allowing him to be able to fight back, the moment he is confronted with reality. He will be able to voice his thoughts and emotions contrary to his past lethargy.

In the fairy tale from Charles Perrault and the brothers Grimm, the princess was put to sleep for 100 years in order to avoid the terrible curse that the wicked witch had placed on her. Originally, she should have died, but thanks to the intervention of one fairy, the curse could be modified and attenuated. Instead of death, it was just “sleep”. My avid readers can already detect the similarities, as the young master’s martyrdom lasted 10 years. Not only the numbers are similar, but the idiom the lord employs to describe his past life is related to sleep: “nightmare”. (chapter 86) This shows that he had problems to distinguish illusion from reality. Why? He had long internalized that nightmare is real world. Hence any pleasant event could only be judged as dream and illusion. This explicates why the lord still feared that the painter’s love confession was a chimera. Besides, I had already pointed out that till the lord’s final suicidal attempt linked to the painter’s love and death, the lord was not truly living. I had compared him either to a dormant volcano or to a zombie. It is relevant, because thanks to the artist, the noble is learning that realism is not just made of betrayal, agony and torment. Happiness can still exist in real world, but in order to achieve happiness, the person has to work! That’s the reason why the American dream combines happiness with zeal and commitment. Therefore the main lead could only end up suffering, for he remained passive till the end of season 3. Therefore, till the end of season 3, he was not able to detect his true enemies and anticipate their moves.

Consequently, both characters, the lord and Sleeping beauty, have another common denominator. They couldn’t determine their own fate due to the intervention of others: the fathers, the “fairies”, the prince/king and the fortunetellers. Yes, sleeping beauty is connected to horoscopists. Actually, the fairy tale “Sleeping beauty” has its origins in the story “Sun, Moon, and Talia” from the Italian author Giambattista Basile. In this narration from the 17th Century, the so-called talented astrologers, tasked by Talia’s father, had predicted her future.

“at length they came to the conclusion that she would incur great danger from a splinter of flax. Her father therefore forbade that any flax, hemp, or any other material of that sort be brought into his house, so that she should escape the predestined danger.” Quoted from https://sites.pitt.edu/~dash/type0410.html

However, the lord’s attempts were a failure. The young woman couldn’t escape her terrible destiny, for she was left in the dark. Moreover, Talia was raped 😨 during her sleep by a king who was already married. Due to this encounter, the cursed protagonist got pregnant, and gave birth to twins, Sun and Moon. Under this new perspective, the readers realize that this panel is actually announcing the content of season 4. The lord’s rape will come to the surface! Furthermore, my avid readers can notice another parallel with the manhwa. I had already compared the main characters from Painter Of The Night to the moon and the sun. For Yoon Seungho, the painter symbolizes the sun and as such life, for he was slowly bringing him light, warmth (chapter 63), love and happiness in his nightmare. In his darkest moment, he voiced a wish, which exposed the return of hope. This corresponds to the spark of faith, the gradual return of trust in his life. On the other side, Baek Na-Kyum came to view his lover as the moon giving him light and hope during the night again. (chapter 94) I would like to point out that the artist has always associated this satellite to a source of joy and love, like we can detect it here. (chapter 94) Finally, Talia could get liberated from her curse thanks to her children. The splinter of flax got removed from her finger, the moment the babies were sucking on them. This signifies that she got revived thanks to love and life. Moreover, she woke up, the moment the source of her pain was removed. This observation leads me to the following conclusion: the noble can only be completely freed from this darkness, the moment his suffering is removed and as such revealed!! This means that Yoon Seungho will be able to voice his misery and denunciate the crimes he was exposed to. He will be able to identify the persons responsible for his suffering. He might know a name, lord Song, but he has no idea about his true identity. That’s how his burden will be erased. Like mentioned above, the noble’s physical and sexual assault will be brought up to light. That’s the reason why the new image announcing season 4 is so dark. They represent a reflection from Yoon Seungho’s past and torment.

Nonetheless, we should focus on the positive aspects, the gradual vanishing of the blackness. Hence I see this dark picture in a good light. It actually symbolizes peace, hope and faith. This explicates why once I detected the painter’s hair in this image, I imagined that the lord was sleeping with Baek Na-Kyum while holding him in his arms. At the same time, he was smelling his hair, a new version of this scene: (chapter 38) I thought that the couple would share the bed, thus the lord could relax. He felt protected by his lover. In other words, I was already envisioning that this scene is a reflection from chapter 97/98, for the couple had not been able to sleep together. (chapter 97) However, the moment Lezhin published the second panel, I realized that this illustration was referring to a different element in the same scene: separation. Thus I deduce that the embrace during the sleep must have happened before, for the noble’s eye has no dark circle. He looks rested and relaxed.

But let’s return our attention to the comparison between sleeping beauty and our beloved seme. The king was actually cheating on his wife, hence he only stayed in Talia’s home for a certain time. He not only hid the truth from her, but also made an empty promise, he would bring her back to his kingdom!

In the meanwhile the king remembered Talia, and saying that he wanted to go hunting, he returned to the palace, and found her awake, and with two cupids of beauty. He was overjoyed, and he told Talia who he was, and how he had seen her, and what had taken place. When she heard this, their friendship was knitted with tighter bonds, and he remained with her for a few days. After that time he bade her farewell, and promised to return soon, and take her with him to his kingdom. And he went to his realm, but he could not find any rest, and at all hours he had in his mouth the names of Talia, and of Sun and Moon (those were the two children’s names), and when he took his rest, he called either one or other of them.” Quoted from https://sites.pitt.edu/~dash/type0410.html

And that’s how she became the victim of another plot, the queen got jealous and chose to get rid of Sun and Moon before targeting Talia herself. And this shows that deceptions and conspiracies stand in the center of this fairy tale! At no moment, the main lead heard the truth from her father or her future husband. Thus she couldn’t protect herself correctly, just like she could never anticipate her enemy’s moves. And that’s exactly what happened to Yoon Seungho. He was left in the dark the whole time, while people made empty promises to him. When Kim revealed Yoon Chang-Hyeon’s promise, the butler was implying (chapter 77) that he was doing it for the noble’s best interest. He insinuated that he was protecting him and he should trust him and his father. But this was not true, for he had not revealed the truth to Yoon Seungho, the stolen kiss. (chapter 88) This image was mirroring the past, someone had made the promise to the young master that he would “stay by his side”, implying that he would protect him, but he had failed to keep his words, for he had trusted more in others’ comments. (chapter 88) Because of the tragedies, the main figure got blamed, and as such he got cursed. He was a bird of misfortune, while in reality he was the main victim. In “Sun, Moon and Talia”, the perpetrator and the accomplices, the king and the astrologers, they all got scot-free. I am certain that it was the same in Yoon Seungho’s past. And because there are astrologers in this fairy tale, I am more than ever convinced that a shaman played a huge role in the young master’s downfall.

Yet there exists a huge difference between Painter Of The Night and the Italian story. Contrary to Yoon Seungho, Talia was not conscious, when she got sexually assaulted. She was left in the dark about the true origins of her motherhood. That’s the reason why she didn’t suffer from PTSD or better said from nightmares while asleep. She could never make the connection between the rape and the birth of Sun and Moon. She just saw them, and fell in love with them, as they marked the end of her solitude. The king never described the intimacy as a crime, it was portrayed as a normality. Thus her sleep is not connected to pain and nightmare, rather to a blessing and peace.

2. Memories and farewells

What caught my attention is that the king from “Sun, Moon and Talia” never saw the sex as a crime. Why? From my point of view, it is related to his position. As the ruler, he can do whatever he wants. Yet, the reality is that he is bound by traditions and religion. Yet, he chose to disregard them. Moreover, the most surprising is that he actually forgot his encounter with Talia for a while.

In the meanwhile the king remembered Talia, and saying that he wanted to go hunting, he returned to the palace, and found her awake, and with two cupids of beauty. Quoted from https://sites.pitt.edu/~dash/type0410.html

It exposes his selfishness and superficiality in the end. He was not truly motivated by love, rather by lust. It took him more than a year before returning to her side. And that’s how he discovered that he had now heirs! This explicates why he made such a promise to the young mother (bringing her to his realm with her kids), though he still remained passive afterwards. He had been able to continue his lineage, thus everything was fine. The fairy tale is actually exposing the king’s flaws and sins. In my eyes, his behavior is reflecting the pedophile’s from Painter Of The Night. Moreover, the ruler vowed faithfulness to Talia, when he announced that he would bring back her and their children to his realm. But he knew that it was not possible, for he still had a wife. This means that the king couldn’t live with Talia together. His time with her was limited, hence he justified his vanishing with “hunting”. Yes… another parallel with the lord’s attitude. (chapter 83) In Painter Of The Night, the hunts were always used to provoke a quarrel and as such a separation, but it never worked. This is important, because this shows that the couple from the Italian story had to separate. It is now time to reveal the whole quote from Milner:

“Promise me you’ll never forget me because if I thought you would, I’d never leave.”

His words indicate the difficulty of departure. In order to overcome the distance, one needs absolute trust in the partner’s love and loyalty. And this situation is actually reflected in the second picture released from Lezhin. Byeonduck is now announcing the separation arc. Since Yoon Seungho is closing his eyes while kissing Baek Na-Kyum’s eye, I come to the interpretation that the lord is trusting blindly his lover. He is not doubting the artist’s affection. There is no ambiguity that he is also embracing his lover. He is actually making here a promise to the painter. This is what Lezhin wrote on Twitter:

시샘달 하루부터 닷새까지. 매일 정오 찾아 오겠노라, 약조하마. From the first day to fifth day, I’ll come to you every day at noon, in the morning (translated by papago).

He will not only return to him, but also he is telling the time of his return!! This means that the lord has now regained the notion of time! Kim, whom I consider as a new version of Chronos, is no longer controlling the main lead, because he is no longer owner of his time. The panel with the text is already displaying the butler’s loss of power. To conclude, this panel represents the positive reflection from this scene: (chapter 97) Back then, the lord was scared, for he still doubted the artist’s love confession. It was too beautiful to be true! However, back then, the artist never doubted his own resolution, thus he gave comfort to his lover by giving him his hand. (chapter 97) (chapter 97) At the end, the lord expressed the following wishes: (chapter 97) In other words, he desired that the painter would follow his requests and as such he should vow him loyalty and trust one more time. The irony is that the lord was actually the one breaking his vow, for he left his lover without saying goodbye. Thus I conclude that in this scene, the characters have switched their position: Yoon Seungho is no longer doubting the artist’s sincerity and loyalty, for he could witness with his own eyes the abduction and the sexual assault. Yet, the painter is in tears, because he is already missing his lover. The tears doesn’t just represent agony, but also longing. What caught my attention is that the drawing is very similar to this image: (chapter 78) This means that the lord is smelling his partner’s hair helping him to remain strong and calm. He is now trying to memorize his lover’s odor so that he can forget this stench, a remain from the past: (chapter 86) This can only help him to defeat his “opponents”. Finally, in different analyses, I had already interpreted that Baek Na-Kyum was embodying memory, whereas the lord stands for truth. The image is actually a reference to recollection and as such honesty. There is no ambiguity that both men are trusting each other, but the painter is crying, for he fears for his lover’s life either. Yoon Seungho is leaving him in order to protect him in my eyes. And this leads me to the following deduction. When the lord is about to leave, Baek Na-Kyum is not left in the dark contrary to episode 97. He knows the whole truth, for the lord must have confessed to him. We could say that he is not leaving without a word (chapter 97). Furthermore, this signifies that the artist doesn’t need any longer to rely on the explanations from others. Thus the artist will keep his promise (chapter 88), though he won’t be by his side physically! They are no longer relying on the butler and his “information”. The trick played at the end of season 3 won’t work on Baek Na-Kyum any longer. He will no longer be swayed. And the promise made by the lord is the reason why the painter will remain loyal. He will stay at the place he is living and wait for his lover’s return. He has no question either.

Many manhwalovers might be unhappy about this evolution, for they love watching the couple living together. But keep in mind that this is totally necessary, because this will push Baek Na-Kyum and Yoon Seungho to create paintings and even poems. This can only incite them to recall their past moments together. A new version of this scene: (chapter 23) (chapter 24) In other words, this announces the return of Yoon Seungho’s passion for painting! And it is the same for the painter. The erotic picture should reflect their love for each other, created based on memories. At the same time, this can only push the noble to demonstrate his talents to others refuting all the negative rumors about him: he is intelligent and possessing his whole mind. Furthermore, this can help him to reminisce his tragic past, what led him to his downfall and suffering. This signifies that he will be able to confront his past and his memories. He will be able to identify the rape, and Kim already exposed the truth to Yoon Seungho, when the former suggested him to ensure the painter’s consent. This shows that Kim was well aware of the sexual abuse, but he chose to never divulge the verity. On the other hand, the pedophile thought in the past that the young master would never forget him due to his position, thus he had no problem to leave Yoon Seungho behind and make no real promise. Departure was never painful for him… hence this quote (“Promise me you’ll never forget me because if I thought you would, I’d never leave.”) will become a reality for the mysterious lord Song, but it is already too late. In fact, the gods punished him by making Yoon Seungho suffering from amnesia. He is not attached by loyalty to the pervert.

Yoon Seungho’s vow with Baek Na-Kyum diverges so much to the monarch’s behavior from “Sun, Moon and Talia”. The latter broke his promise on so many levels. First, he hid the queen’s existence to the protagonist. But this doesn’t end here. He left her behind without making sure that her family was protected. He thought that this secret would guarantee her safety. However, in the story, the king couldn’t help himself revealing the secret and that’s how the queen discovered his betrayal and infidelity. I would like the readers to keep in mind that back then, polygamy was considered as a huge sin in Europe. Note that at the end, the legal wife was the one who brought the “princess” to the kingdom and this for a trial. So where was the king? He was often busy eating! We could say that he didn’t keep his promise out of laziness and even naivety. He allowed that Talia was accused of infidelity and witchcraft, for she had seduced him. He only appeared at the end of the fairy tale. He only voiced regret and put the blame on the queen, while in reality he was the main culprit for this situation.

“The king suddenly appeared, and finding this spectacle, demanded to know what was happening. He asked for his children, and his wife — reproaching him for his treachery — told him that she had had them slaughtered and served to him as meat. When the wretched king heard this, he gave himself up to despair, saying, “Alas! Then I, myself, am the wolf of my own sweet lambs. Alas! And why did these my veins know not the fountains of their own blood? You renegade bitch, what evil deed is this which you have done? Quoted from https://sites.pitt.edu/~dash/type0410.html

The manhwalovers can detect many similarities with Painter Of The Night. The ruler will never recognize his crimes and even wrong decisions. He neglected Yoon Seungho, but chose to put the blame on others. First, the young master, then the patriarch Yoon Chang-HYeon, the kisaeng, “No-Name” and finally Lee Jihwa. At some point, it will be the butler’s turn. On the other hand, since no one of them was willing to recognize their own fault and involvement, they preferred blaming the victim, for the latter was the only one without a voice. Thus Yoon Seungho is accused of being consumed by lust, he was neither faithful, while in truth, he had no saying from the start. (chapter 57) That’s the reason why I believe that when an incident occurred during that night (chapter 83), the main lead was framed. He got accused of a crime, whereas he had been the true target in reality. There is no ambiguity that the abusers doubted the protagonist’s loyalty and integrity, for they were themselves untrustworthy. They all knew that they had lied and deceived the young master at some point.

And this leads me to the following conclusion. The separation is necessary, since the story is going in circle. Back then, the “pedophile” couldn’t stay by the young master’s side due to his duties. Thus he could only appear, when he was “hunting”. This means, the painter is put in the same situation than his lover in the past. However, the huge difference is that Yoon Seungho came to hate the mysterious lord Song! He never wished his return… However, since he had lost the notion of time, he could only live in fear. That’s how he came to develop insomnia. This explicates why the man trained the protagonist to have a sex marathon, for his time in Jemulpo was limited. Thus I deduce that the pedophile never bid farewell to Yoon Seungho and barely talked to him as well, unless he gave orders. In my eyes, he relied on others: Yoon Chang-Hyeon the kisaeng, Yoon Seungwon and Kim. Yet, deep down, the perpetrator was well aware that he was abusing the young master. But he chose to close an eye, until an incident occurred. That’s the reason why he could never trust the male kisaeng in the end. As a conclusion, season 4 symbolizes the opposite to the past: acceptance, love, faith, closeness, verity and transparence despite the return of darkness. This explicates why the illustration is quite “easy” to interpret despite the blackness.

3. Interpretation of the second panel

It is possible, if you compare the image to others. This picture contrasts so much to this one:

  • prank – seriousness
  • light – dark
  • smile – tears
  • Yoon Seungho made sure that the painter stayed by his side, he even stopped him to retrieve the music box, while now the lord has the opposite intention. He is now the one leaving the painter.
  • The small gap between the main leads indicating that despite their closeness, there still existed a wall between them. This displays that in the new illustration, the distance is no longer existing. Both are fully trusting each other. The lord must have confessed what happened to the painter at the end of season 3, and the painter must have also explained how he came to leave the mansion. In other words, both revealed many secrets concerning the last incident,

That’s the reason why I come to the following deductions. They are biding farewell outside. The painter followed him to the door. However, here the lord is not suicidal at all. In fact, the promise represents the source of strength for Yoon Seungho. The latter has to remain alive in order to protect Baek Na-Kyum, definitely a new version of this scene: (chapter 11) However, there is no ambiguity that the painter can only fear for his lover’s life. The closed eye contradicts the haunted gaze in the shaman’s house. (chapter 102) Despite his closed eyes, he is now able to discern the truth, and it is the same for the painter. Their Third eye is now fully awakened.

But the most important detail is the lord’s kiss on the artist’s eye. The lord had already done it in the past. When he kissed the artist there for the first time, the latter was unconscious. (chapter 21) This gesture symbolizes the epitome of the noble’s affection and the desire to give “happiness”. Then in the bedchamber, he did it in order to console his partner. (chapter 82) With his kiss, he was asking for his forgiveness. This means that the kiss on the eye serves as reassurance and comfort either. Thus we had this scene in the study: (chapter 84) The lord had kissed his lover there, because he was voicing his attachment and desire to redeem himself and to comfort the artist. As you can see, it was a combination of all the previous significations. Yet, the lord had not grasped the “gravity” of his “wrongdoing”. Thus the kiss was associated a certain playfulness in the study. As a conclusion, this image symbolizes the reality. Both are aware of the truth, willing to face it together. The lord is attempting to console his lover, to reassure him that everything will be alright. He is sorry, for he is making him cry again, but this separation is necessary. It was, as if he was seeking Baek Na-Kyum’s forgiveness. He is honest and serious. He is now capable to face reality. But there is more to it. The new image contrasts to this one too:

  • light -dark
  • happiness – sadness
  • sun – moon
  • the hand with a foot – the couple’s faces

This contrast confirms my previous signification: this happy moment in the painter’s childhood had been short-lived, because he had been left in the dark. While he was with the scholar and was happy, something terrible must have happened to someone close to the painter. It reinforced his guilt and abandonment issues. Besides, I had already outlined that this scene must be connected to a departure, a “farewell”. [For more read the essay “Baek Na-Kyum’s foot“] In the past, I had assumed that it was related to Heena, but it could be linked to the gibang in general. Another kisaeng could have vanished suddenly. That’s how I realized why the painter came to love the moon and night! I recognized that many wounds in the painter’s life had occurred during the day: (chapter 94) (chapter 94) (chapter 34) (chapter 11) (chapter 19) He came to feel more safe during the night, until he met Yoon Seungho in season 1. From that moment on, his night life got slowly affected. That’s how he discovered that night could be associated to pain and agony too. Yet, deep down, he still felt safe by the noble’s side. As you can see, the new illustration is reinforcing my theory that this image is not just mirroring a happy moment in the painter’s youth. The latter actually symbolizes illusion and deception, whereas the dark panel oozes reality and honesty.

And all this leads to the final conclusion: the last common denominators between Sleeping beauty and Yoon Seungho are vengeance, greed and jealousy. That’s the reason why Talia came to be arrested and falsely accused. Nonetheless, none of the characters realized this. The cursed princess in the Perrault’s or the Grimms’ version had no idea about the intervention of the witch/fairy who had felt insulted either. This is the reason why the Yoons’ reputation got ruined. The couple can only discover these elements, when someone witnesses such a scene and reports it to the “schemers”, and as such to the “mysterious lord”. The latter can only be upset, for the young man has never acted this way with him.

“Promise me you’ll never forget me because if I thought you would, I’d never leave.”

Yoon Seungho can leave his lover’s side without fearing his sudden vanishing. He is exactly thinking like Milner. However, these words stand in opposition to the butler’s philosophy: (chapter 51). Hence the butler could perceive this promise as a betrayal from Yoon Seungho. The latter is slowly forgetting the valet, he is no longer seeking his assistance and his side.

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 Reddit-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: Juicy Deeds🤝 and Dry Words 🗯

Please support the authors by reading the manhwas on the official websites. 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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I am quite certain that people are wondering about the connection between the title and the illustration. In the latter, we have Baek Na-Kyum’s hand holding Yoon Seungho‘s. Yet there is neither word nor sex in the panel, for both are still dressed and there is no speech bubble. Yes, when people read juicy deeds, they were already imagining that I would describe a love session like this one (chapter 96), because of the expression „to do the deed“: (chapter 87) However, the deed is not just related to intercourse, like the manhwaphiles could discover it in chapter 51. With „deed“, Deok-Jae was referring to murder and assassination. As you can see, deed has other meanings than sex. Thus it has for synonyms action, accomplishment and reality!! So when I selected this name for the essay, I was thinking of the relationship between action and word. And this connection came to my mind, when Byeonduck released the last picture, because the painter’s action symbolizes a conversation and as such words.

1. Interpretation of the newest release

As my avid readers already know, it is already possible to understand the symbolism behind this picture by contrasting it to similar gestures. Because the painter‘s hand is above the noble‘s hand, I deduce that the artist was the one initiating the touch. Note that he is intertwining his fingers with Yoon Seungho‘s indicating that he is seeking closeness and intimacy. This detail is important, for the hand is conveying a message: „I feel you. I understand you. I am by your side.“ How do I know this? It is because this gesture corresponds to this one from chapter 88:

1. 1. Reflection from chapter 88

(Chapter 88) By reaching his hand, the painter was letting him know that he was no longer alone in this world. He was not only joining his side, but he was willing to try to understand the main lead. (Chapter 88) This gesture stands in opposition to the situation with Yoon Chang-Hyeon. (Chapter 86) During that fateful night, the father neither talked to his son nor looked at him. He even turned his back to him, when the young master attempted to grab his father‘s hanbok. Both scenes from chapter 88 and 86 have two common denominators: an action accompanied with silence!! Yet, what distinguishes them from each other is the nature of the deed, the action. Alliance and empathy versus abandonment and estrangement! This is no coincidence that after reaching his hand, Baek Na-Kyum started confessing his thoughts and emotions to his lover: (Chapter 88) As you can sense, the hand gesture delivered a message, but the painter still felt the need to clarify the meaning of his hand. He was willing to remain by his side, but he was still afraid of him. He didn’t want to create a misunderstanding, like for example that he wouldn’t argue with him or that his loyalty was now unconditional or total. That way, Yoon Seungho wouldn’t come to view him as a hypocrite or as dishonest, if an argument would appear. Thus he needed words to explain his position. He would remain by his side and attempt to sympathize with him, but he still felt insecure and had doubts. In other words, his action (his hand gesture) was not truly reflecting his mind and heart. (Chapter 88) Hence we could say that there was still a gap between the gesture and the words. He was willing to trust him and to be loyal to him, but not all the doubts had vanished. That’s the reason why the lord hesitated before hugging him. (Chapter 88) Later he even asked his lover not to leave his side no matter what. (Chapter 88) To conclude, the hand gesture in episode 88 was connected to insecurities and as such fear, yet the painter had shown no hesitation to take his hand. The anxiety was not visible.

1. 2. The hand and anxiety

Striking is that when the painter had reached Yoon Seungho’s hand for the first time, his hand was trembling. He was so scared of the main lead that he didn’t dare to take his whole hand. (Chapter 30) His fingers barely grabbed his hand, so when he made the following vow, he was not entirely sincere or better said, truly determined to keep his promise. (Chapter 30) The words were not truly in unison with the gesture either. Therefore he once tried to leave the mansion in season 2. When he pledged loyalty, his intention was to protect his teacher. To conclude, fear has always been present, when the painter took Yoon Seungho’s hand. Even in chapter 88, but contrary to the scene in the courtyard, his hand was not shaking. (Chapter 88) Why? It is because the origin of his fright was different. In the courtyard, he feared for his life and Jung In-Hun’s, whereas in the bedchamber, he was more afraid of the lord’s flashbacks and dissociative states. He had no idea why Yoon Seungho could change so much abruptly to the point that he would hurt himself, not just him. (Chapter 82) This explicates why the artist chose to remain by his side, though the lord had broken his promise. (Chapter 82) On the other hand, in this scene (chapter 82), the lord was grabbing his lover’s hand out of fear. He was recognizing his mistake and was trying to beg for his forgiveness, though he couldn’t express it directly. Striking is that during the lord’s flashback, his hand was trembling as well, grabbing onto his partner’s body. (Chapter 81) It was, as if Baek Na-Kyum was his rescue buoy, helping him not to be swallowed by the darkness. Thus I came to the conclusion that the protagonists’ hand gestures are all connected to anxiety and pain. 😲 Hence I am deducing that in this scene, Baek Na-Kyum is holding his lover’s hand, for he has already sensed the noble’s doubts and insecurities. He is there to comfort and reassure him. He won’t leave his side no matter what. Therefore I deduce that such a gesture can only encourage Yoon Seungho to open up and reveal his traumatic past. This is something that Baek Na-Kyum had always wished in season 3, nonetheless his wish never got granted.

1. 3. Reflection of chapters 97 and 98

And note that Baek Na-Kyum was unconscious, when Yoon Seungho had a flashback and was sent back to the past. (Chapter 102). This would have definitely scared Baek Na-Kyum, especially Yoon Seungho’s haunted gaze. On the other hand, since the painter had been himself the victim of physical and sexual abuse, the artist can only grasp why the noble reacted that way: fear, anger, despair and heartache. The artist had also been desperate, in pain and scared in the shrine, though this time, he had not screamed for his help. Since the lord had not returned to the mansion, how could he expect him to come to his rescue?

From my point of view, the lord has to explain the reason for his behavior from that night, he committed a massacre. Since the couple is in the bedchamber, I come to the conclusion that this image is linked to the painter‘s nightmare too. (Chapter 98) Back then, he had been waiting for his lover‘s return and explanations. He wanted to hear him and get his reassurance and comfort. . (Chapter 98) The latter couldn’t reassure the painter with his hand contrary to the previous night. (chapter 97) Exactly like mentioned above, the painter’s hand gesture is connected to fear and conversation. (chapter 97) Striking is that in the gibang, the lord confessed his biggest fear to his future “spouse”. He feared to lose him, though one of his biggest desires had been finally fulfilled. This means that Yoon Seungho felt even more insecure and frightened than before after receiving the artist’s love confession. That’s the reason why I believe that the new picture is standing in opposition to the scene in the gibang. The lord will feel relief after his admission. As a conclusion, the image is announcing the lord’s confession and the artist will listen to him without any judgement or fear. He will never reject him or call him crazy due to his past action.

1. 4. Reflection of chapter 89

What caught my attention is that the painter had touched the main lead’s hand in another occasion. (Chapter 89) While the painter was sitting on his partner’s lap (chapter 89), he was massaging the wounded fingers. It was, as if he was treating his companion’s wound. Note that after his terrible flashback, the painter had avoided to grab his hand out of fear that he might hurt Yoon Seungho even more. (Chapter 84) Therefore I conclude that the new panel is an allusion to treatment. While in episode 89, the painter was acting as a doctor, in the new image, the young man is working more like a counselor or psychologist. The aristocrat’s hand might not be wounded in that scene, but this is not the case for his heart and mind. So for me, this scene is connected to mental treatment. And by confessing his past, he will get liberated from his burden, released from that darkness. He will be able to finally see the light and to have hope again. As you can sense, I see a connection between episode 84 and this new panel. Note that during that day, the painter was also holding the noble’s hands, but here they were facing each other. (Chapter 84) However, the lord had refused to open up. This is no coincidence that the author had not created such a picture during that chapter. As the manhwalovers can detect, I believe that in that scene, Yoon Seungho will confess and reveal the source of his self-hatred and guilt. As a conclusion, though this image looks very romantic and beautiful, I think that it is accompanied with fear, guilt and agony. The readers could definitely come to cry while the lord’s revelation. Since the painter spoke in chapter 30, 84, 88 and 89, I am assuming that this time, he won’t talk much so that the lord can speak more freely.

But if the manhwaphiles compare all the mentioned scenes, they will realize that the hand gestures were strongly connected to promises or vows. It becomes even more obvious, when the artist criticized his lover for his bad behavior (chapter 82), caused by the panic attack. This is no coincidence that the painter employed the expression „empty words“. His action was not reflecting his words. Thus there exist the following quotes

  • “Actions speak louder than words“.
  • „Words are from the lips, actions are from the heart“: Rachida Costa.
  • „Well done is better than well said“: Benjamin Franklin.
  • The superior man acts before he speaks, and afterwards speaks according to his actions.” – Confucius

And that’s how I realized the importance of the link between action and words. The former is mirrored in the hand, while the words are connected to the tongue and mouth. Thus I come to the conclusion that when Baek Na-Kyum is holding his lover’s hand, he is no longer scared of Yoon Seungho. Therefore, I deduced that here it was not the case for the noble. Hence I believe that this gesture is to encourage Yoon Seungho to open up, to confess his doubts, guilt and pain. But by putting his hand over Yoon Seungho‘s, the artist is demonstrating that he is protecting him. He will listen to him and remain by his side and this no matter what. As you can sense, I am expecting a new version from that night (chapter 88), and this, although the lord is indeed a murderer. For Baek Na-Kyum, his gesture will have a different meaning: he saved his life and freed him from his torment. Secondly, if the lord reveals the circumstances of his mother’s death, the artist will definitely deny his responsibility in her death, a new version of this scene. (chapter 75) And because I detected a discrepancy between words and gestures, I recognized the presence of another trick from Byeonduck.✨

2. Passivity and silence

What caught my attention is that during the love session from chapter 91, the readers discovered the painter’s likes. While the lord said this to the painter: (chapter 91), the latter denied this with the following statement. (chapter 91) But when did the painter admit that he liked embracing him? In this panel! (chapter 88) That’s the reason why the lord got surprised and moved. As you can see, the author never revealed this whispering to the manhwalovers! The latter had the impression that the lord’s reaction was related to the loving embrace, but it was only partially correct.

This is important, because in this scene, the words were matching the action! That’s the reason why Yoon Seungho could finally accept it as a warm and sincere hug!! The painter was honest towards him. This scene contrasts so much to the love session at the physician’s, where the painter had hugged him, but had remained silent (chapter 62), when the lord had confessed to adore him. (chapter 62) This explicates why Yoon Seungho was so pained in season 2. He got embraced, but there were no words. Consequently, when the painter vanished during that night, the lord could only perceive the embrace as hypocrisy and fakeness. That’s how I realized that the story is developed on the contradiction between words and actions. But not only that, there exists a strong link between silence and passivity. Thus after the abduction in season 2, Baek Na-Kyum remained more or less silent (chapter 62), and as such he was totally passive. He never stood up and begged the lord for his leniency. He stayed there on the bed giving the impression that he was indifferent. That’s the reason why Yoon Seungho got more enraged, for he felt fooled. This means that the absence of words represent inaction… This explains why Yoon Seungho had to corner the main lead in chapter 48 (chapter 48) to say something, as he had sensed his passivity behind his „submissive attitude“. This is no coincidence that during this night, the painter felt extreme pleasure to the point that he peed. Therefore he could voice his wish to Yoon Seungho during the love session from season 2. (chapter 73) That’s how the lord concluded that the painter liked riding him, while in reality such a climax had appeared for the first time, when both were facing each other! (chapter 49)

And this leads me to the following observation. The protagonists were the targets of plots, because both of them had been silenced. By being voiceless, they had been turned into naïve puppets. Their silence corresponds to their passivity. This interpretation helps to understand why the artist was more active in season 1 (chapter 4) than season 2. He was encouraged by his future partner to speak up, yet the moment he got heartbroken, he was left speechless. And note that when the lord played his prank in the bedchamber, he never said anything to his father. (chapter 83) He didn’t move as well. Why? It is because he knew that talking to his father was pointless. However, Yoon Seungho had hoped that with his prank his father would finally see the truth. He had been fooled by Lee Jihwa and father Lee!! But the stupid father never realized it. As you can see, the lord had in that scene long given up to use words, he hoped that his father would see the truth with the prank. Don’t forget that deed stands for truth and reality. He thought that “actions would speak louder than words”, but he was proven wrong. This signifies that in this scene, (chapter 86) Yoon Seungho had acted the opposite, he had tried to speak up, but he had been muted. I am also thinking that the young master must have attempted to converse to his father (chapter 77) here as well, but the lord had not listened to him. Why? It is because Kim had said nothing!! (chapter 77) Silence was considered as an admission. This is no hazard that the butler didn’t take care of his young master. This scene symbolizes the quote “Actions speak louder than words” (chapter 77) The butler had betrayed the young master’s trust, for he had not intervened. He should have defended Yoon Seungho, but no in fact he had sided with the elder master Yoon once again. Not only he had not reminded Yoon Chang-Hyeon of his promise, but also he had assisted the ruthless father by giving himself the straw mat beating! (chapter 77) That’s the reason why the other servant looked down on Kim. Even after hurting his young master, he stayed paralyzed giving the impression that he felt nothing for Yoon Seungho! And this was actually true, for the valet felt more betrayed by the master’s attitude than pained due to the wounded noble. Like mentioned above, he could have refused to do it, but no! This is not surprising that the young master felt pained and angry. Striking is that in this scene, the main lead never said anything… a sign that he was already resigning to his fate! He was no longer resisting! And this leads me to the following conclusion. In season 3, Yoon Seungho was rather passive, hence he didn‘t voice the source of his suffering to Baek Na-Kyum!! However, he was not totally inactive, for he still opened up to the painter at the end of season 3. He was able to express his likes, dislikes and fears, hence Min’s first plot didn’t work out like expected!! And the return of his active attitude was already perceptible in the bureau of the authorities. (chapter 98) Here, he examined the robe and questioned the officer. The problem is that he was still relying on his staff and as such Kim. Therefore it is not surprising that he could still be manipulated by the schemers. Hence I am anticipating a total change in season 4. By conversing with the painter, the lord can only become more proactive to the point that he will be able to ruin the next schemes. I am even expecting a prank from the protagonists in season 4!! But this doesn’t end here. I am deducing that in the past, Yoon Seungho suffered because one tormentor would do things and say nothing, while the other would talk a lot, but act the opposite!! For me, these descriptions fit to Kim and the pedophile. I have the impression as well, that both characters came to switch their behavior. In one circle, Kim did many things, but remained mute, but later he did the exact opposite. I would like to point out that in season 3, he acted this way. He would promise loyalty to the lord, (chapter 77), but backstabbed him in the shadow. Besides, we shouldn’t forget that a narcissist’s words don’t match their action, because they are pathological liars. And so far, I had portrayed father Yoon (overt), Kim (covert) and even Jung In-Hun (overt) as people suffering from NPD. And I am assuming that the mysterious lord Song is not different from them, though I am suspecting that he must be a covert type.

And now, you are probably wondering why I added the adjectives “juicy” and “dry” to the title, while so far, my main focus was “action” through the hand gesture and words. The reason is simple. There exists an Arabian proverb: “A promise is a cloud, fulfilment is rain”. Since in this country, rain is rare, the saying is showing that people make promises easily (cloud), but they never keep their words, for it almost never rain. I found it interesting that it rained, when the butler and the father betrayed both the main lead. Their actions exposed their true colors. (chapter 77) Besides, it also snowed, when the painter got abducted twice, a sign that actually a promise had been broken.

3. Conclusions

Thanks to the lord’s actions (his obsession and love for the painter), Baek Na-Kyum could finally become owner of his own body and thoughts. That’s the reason why he could pee in the study, the bedchamber and the gibang and this without getting any reprimand, while the painter’s actions could bring the lord’s tears back! Their actions, the hand gestures and the embraces, became fruitful. This means that Yoon Seungho is finally possessing his own body and mind. This is no coincidence that he lowered himself, when he apologized to his lover. (chapter 102) He is no longer following social norms. This could only happen, because the lord had just committed a huge crime. What is the point to respect laws and tradition, when he became a murderer? Any other transgression can only appear as harmless. That’s the reason why I am expecting that Yoon Seungho decides to disregard social norms from that moment on and play a prank on the “villains” of this story.

Before closing this essay, I would like to mention other scenes, where the hand from the protagonists was connected to fear, confession, comfort and reassurance: (chapter 76) (chapter 53) (chapter 87), while the same extremity symbolizes the opposite with the villains and antagonists: violence, silence, submission (chapter 83), hatred and resent (chapter 97) Here, Heena was hurting her brother, because she wanted him to face “reality”. What caught my attention is that we never saw the father’s hand in chapter 86! (chapter 86) Why? It is because it reveals his powerlessness. And this leads me to the following conclusion: the deed stands for reality and honesty, while the words symbolize emptiness, illusion and deception. And now, you comprehend why this work is composed by the dichotomies: dream, words and mouth versus reality., action and the hand. This means that in season 4, the manhwaphiles should try to analyze the thoughts and emotions of the characters behind the hand gestures. At the same time, they can also verify if my interpretation is correct. Is the zoom of the protagonists’ hand connected to fear, confession, empathy and assistance?

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 Reddit-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.