Please support the authors by reading Manhwas on the official websites. This is where you can read the Manhwa: Jinx But be aware that the Manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. Here is the link of the table of contents about Jinx. Here is the link where you can find the table of contents of analyzed Manhwas. Here are the links, if you are interested in the first work from Mingwa, BJ Alex, and the 2 previous essays about Jinx The Giant of Paper and Laughter -part 1 and part 2 and Drama Queen 👸 Han Dan and The Joker -part 1
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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.

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(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.
(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.
(chapter 35), it was not one wrongdoing but two
(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.
(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.
(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.
(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 31) and a lamp stood on the right side of the frame. In the present scene, that source of light has vanished.
(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.
(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) 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 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 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 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.
(chapter 90) This new threshold may demand another kind of strength altogether.
(chapter 90) If so, the lack of light performs another function: it softens the visible signs of downfall.
(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.
(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) 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.
(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.
(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.
(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.
(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) 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.
(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.
(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.
(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.
(chapter 72) He carried paternal violence
(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.
(chapter 64) Silent suffering became spoken judgment. Han entered his voice.
(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.
(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.
(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.
(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.
(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.
(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 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. 
(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 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 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 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.
(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.
(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 54), injuries
(chapter 95), overtraining, disqualification
into accusation and his own misconduct into Kim Dan’s supposed guilt.
(chapter 6) 

(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.
(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.
(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.
(chapter 73); not toward a gym aimed at progression, but into a space governed by risk and illegality.
(chapter 74) To conclude, he did not fall outside the system; he was never inside it to begin with.
(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 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.
(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.
(chapter 43), reassurances, even moments of apparent protection and respect
(chapter 1) in which responsibility dissolves into circumstance.
(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.
(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 52) and the champion’s drinking
(chapter 54)
(chapter 96) It requires something both have avoided until now: to meet each other’s gaze.
(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.
(chapter 96) But something has shifted. The image no longer holds in the same way.
(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.
(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) The system was not yet fully opaque. It could still be glimpsed—but only indirectly, through inconsistencies that were sensed rather than fully articulated.
(90 days), reversible, even later framed as recovery
(chapter 57) — is now recoded as something definitive.
(chapter 69) A disqualification operates differently.
(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.
(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.
(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.
(chapter 51) So he had not bet on the Shotgun’s victory.
(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.
(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.
(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 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 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.
(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.
(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.
(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.
(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.
(chapter 74) rather than systemic conditions. Thus he accepted that his body as a fighter got so damaged.
(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 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 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.
(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.
(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.
(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.
(chapter 94) They attest to the existence of parents, of a prior life, of relationships that were not entirely erased but quietly set aside.
(chapter 7)
(chapter 65) The debt is not mentioned; it is simply endured. In doing so, its cause is displaced, if not entirely obscured.
(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.
(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.
(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.
(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.
(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 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.
(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) 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.
(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 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)
(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.
(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.
(chapter 30) Let’s not forget that the champion’s “jinx” is linked to the smell, something which Baek Junmin revealed earlier. 

(chapter 94) They are traces of a life already shaped by forces that remain unseen. What appears as warmth and innocence is, in fact, embedded in a process of dispossession that has already begun.
(chapter 27) Each time it is played, it reveals a rigid structure. One player accumulates, the other is gradually dispossessed. There is no space for coexistence or shared success. Loss is not accidental. It is built into the rules.
(chapter 80) These reactions were not incidental. They already suggest two fundamentally different ways of inhabiting the game. One resists and attempts to escape. The other endures and adapts.This distinction becomes crucial in episode 94.
(chapter 94) They do not present a complete story. They offer fragments. Some are clear, others overlap, and one remains partially hidden. This fragmentation is not accidental. It requires reconstruction. We have to put them together, like pieces of a puzzle. And this raises a simple question.
(chapter 94) And yet, this answer is incomplete. One image remains partially concealed, almost erased by another.
(chapter 94) It is easy to overlook, and that is precisely why it matters. Because once we begin to count more carefully, we also begin to see more precisely.
(chapter 80), but also in reality, as he owns several properties. But he does not immediately understand what these photographs represent. What he sees are pleasant memories.
(chapter 94) And when he takes pictures of these pictures, his gesture exposes the limit of his perception. He preserves what is visible, not what it signifies. The stylistic shift reinforces this moment. Rendered as a chibi, the “Emperor” is momentarily stripped of his predatory gaze. His perspective is simplified, almost purified. He no longer sees Kim Dan as a function or a role, but as a cute and sensitive child. And yet, this remains incomplete. He captures the image, but not the structure behind it. He perceives the warmth, but not the cost that made it possible. He sees the surface of a life, but not the forces that shaped it.
(chapter 41) and later spends a significant amount on a gift for Joo Jaekyung.
(chapter 42). This repetition is not incidental. It reveals a pattern: Kim Dan directs resources outward, not inward. He prioritizes others over himself. Even his relationship to food reflects this shift. As an adult, he skips meals when he is stressed, despite having once eaten well.
(chapter 94) His body is supported, carried, entirely dependent. In another, he is sitting on a step while holding a puppy close to his chest.
(chapter 94) In the almost hidden image, only one foot is visible, lifted off the ground: this is enough to conclude that he is running.
(chapter 94) Hence his only picture in his childhood is linked to a tournament and boxing.
(chapter 47) Her presence does not replace the parents. It supplements a structure already under pressure.
(chapter 48) In the city view, nature has not disappeared entirely, but it has been pushed to the margins. Hills and trees remain in the distance, while the foreground is dominated by dense construction, commercial buildings, and rooftops. The naming of places such as “The Lake Shops” is particularly revealing. The reference to the lake suggests a natural environment that is no longer accessible. What remains is its name, preserved as a surface within a commercial structure. This transformation is not incidental. Striking is that this image mirrors the painting in the champion’s penthouse:
(chapter 93) But the lake has been replaced by a building. It corresponds to a broader process of urban redevelopment, in which natural or semi-rural areas are progressively absorbed into economic systems based on property, rent, and commercial use. In this context, land is no longer lived on. It is monetized.
(chapter 72): a “cutthroat” environment in which neglect was common and institutions such as the boxing gym functioned as substitutes for basic care. The difference is subtle, but decisive. Kim Dan grows up at the moment of rupture. This is why the unseen game does not begin with loss. It begins much earlier, in the conditions that make that loss possible.
(chapter 94) She even associates this scene with Kim Dan’s happiness, while the photography contradicts this notion. The child is not at peace. He had just been crying. The moment is not one of stability, but of rupture. And yet, it is precisely this image that becomes the anchor of nostalgia. This creates a displacement.
(chapter 19) becomes particularly revealing. In the first photograph, the women from the market are visibly present.
(chapter 94) The photographs it contains are not neutral. They are selected, arranged, and interpreted according to Shin Okja’s perspective. The image of separation becomes the “good old days,” while the image of relative stability is excluded from that narrative.
(chapter 80) structuring time as progression, accumulation, and eventual resolution. Her movement does the opposite. It moves backward, not toward victory, but toward a point of refuge. The album becomes a space in which time is reversed and the pressures of the present are temporarily suspended.
(chapter 94) Her persistent desire to see him “fattened up” is quite telling; it is not truly about the pleasure of eating, but about returning him to a state of physical dependence. To “fatten” a child is to exert a primary form of care that requires no complex dialogue or adult understanding—it is the most basic “rule” of her version of the game.
(chapter 47) remain tied to necessity. They reveal that, over time, the relationship between Kim Dan and his grandmother was no longer defined solely by care, but also by dependence.
(Chapter 94). He speaks as if he were a baby when they vanished, yet the memory indicates the opposite. Moreover, the photos of him offering daisies and running prove he was old enough to know them. To survive under his grandmother’s care, Dan had to adopt her memory as his own, internalizing the image of a man who started from “nothing.” By erasing the parents, Shin Okja effectively erased the “Dan” who was once the center of a loving world, leaving behind only the “Doc Dan” who exists to serve the needs of others.
(chapter 47) He stands still, holding bouquets, looking at the camera to comply rather than engage. He is no longer a child “being,” but a trophy of successful care. His growth is recontextualized as the “interest” on his grandmother’s sacrifice, transforming his development into something useful and legible. This logic of appropriation is the “unseen rule” Dan eventually internalizes: his value is no longer grounded in his existence, but in his functional utility.
(chapter 47) confirms this. The tears are not excessive. They are appropriate. Thus he could have cried, because he lost the dogs for example.
(chapter 94) In this sense, her perspective is structured by a normative expectation. A boy should be strong. He should endure. He should not cry. This creates a paradox.
(chapter 47) Over time, Kim Dan learns to see himself as she sees him. The qualities that once defined his childhood — openness, sensitivity, emotional responsiveness — are no longer recognized as strengths.
(chapter 94) She noticed his absence, but she failed to see his red eyes, his suffering. She does not fully register the adult standing in front of her. She continues to relate to him through the image she has preserved. This is where the gesture of removing the glasses becomes significant.
(chapter 41) Birthdays are not trivial details. They function as markers of time, inscribing the individual within a social and temporal order. They acknowledge growth, change, and the passage from one stage of life to another.
(chapter 11)
(chapter 88). The temporal proximity is clear. If the grandmother is aware of his matches — if, as she claims, they “give her strength”
(chapter 94) — then she should also be aware of this date. But she does not mention it.
(chapter 94) Her concern is not oriented toward his life as it unfolds, but toward maintaining a certain relational dynamic.
(chapter 94) Her knowledge is indirect, fragmented, and yet presented as intimacy. This gap is not incidental. It has structural consequences.
For the first time, Kim Dan is acknowledged as someone who has grown, who has endured, and who has reached a stage that cannot be reduced to dependency. The celebration does not create his maturity. It makes it visible. So this image could be seen as a picture taken by the main lead on Kim Dan’s birthday. And observe that this image lets transpire the presence of the photographer and the strong connection between the main lead and the photographer.
(chapter 48) And the switched spray was the price to pay for the “visit” at the café.
(chapter 19)
(chapter 59) by rediscovering the photos from his childhood, like the vanishing of the “puppy”.
(chapter 60)

(chapter 57) and its future adoption which got reinforced with the reappearance of an old picture showing Kim Dan holding a puppy.
(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.
(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 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?
(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.
(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.
(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.
(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.
(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 45) Because gold, in that moment, could only represent value imposed from the outside—status, reward, recognition.
(chapter 94) The beach is not a random setting.
(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.
(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.
(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.
(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.
(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.
(chapter 94) For the first time, what had always structured him—enduring, adapting, protecting others—no longer works.
(chapter 94) He was even told to. But he didn’t. He chose to remain beside him.
(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.
(chapter 94) The beach is not just a backdrop. It is a boundary.
(chapter 94)
(chapter 94)
(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.
(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) Not simply because of the place. But because of who is beside him.
(chapter 94), the lighthouse
(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.
(chapter 59) In other words, it connects movement to orientation.
(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.
(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.
(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.
(chapter 94)
(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. 
(chapter 41) from a place of growth, exposure, and vulnerability. This interpretation gets once again validated on the beach.
(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) The child, who had long been denied acknowledgment, is finally being seen—and more importantly, affirmed.
(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.
(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)
(chapter 41)
(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.
(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.

(chapter 40) What appears to be coincidence is often carefully engineered.
(chapter 81)
(chapter 71)
(chapter 54) He was increasingly portrayed as reckless and irresponsible for continuing to fight despite his condition.
(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.
(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)
(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
(chapter 40) A doctor took a blood sample from Kim Dan, and the laboratory later produced a component analysis report.
(chapter 41)
(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.
(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.
(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.
(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.
(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.
(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.
(chapter 52), Kim Dan is no longer present. After confronting him and suspecting a betrayal
(chapter 50)
(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.
(chapter 51) But this time, the pattern is disrupted. Kim Dan is not there when the institutions intervene.
(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.
(chapter 51)
(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.
(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.
(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) —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 59)
(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.
(chapter 94), the situation could disrupt the plans surrounding the anticipated fight with Baek Junmin.
(chapter 47)
(chapter 88)
(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.
(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)
(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.
(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)
(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 46) Yet even before examining the room itself, the exterior sign already introduces an intriguing ambiguity. The building is labeled
(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.
(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 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. 
(chapter 46) In this structure, Choi Gilseok himself appears less like the true mastermind than another intermediary in a much larger financial chain.
(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 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.
(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.
(chapter 33)
(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 42)
(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 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.
(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.
(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.
(chapter 16) Instead of verifying the information, he projects his own criminal assumptions onto the situation.
(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.
(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.
(chapter 46) The “hand” of the organization may execute violence, but it does not decide the strategy.
(chapter 16), emphasizing the asymmetry between predator and prey. Yet when he threatens the disgraced hospital director, the composition changes subtly.
(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.
(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.
(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)
(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.
(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.
(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.
(chapter 91) Thus I deduce that the physical therapist has become the real target of the next plot.
(chapter 50)
(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 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.
(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)
(chapter 61). Each layer appears authoritative, yet together they create a system in which accountability becomes blurred.
(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) Secondly, he was doing it for the money, hence he called him a slut.
(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.
(chapter 91)
(chapter 36)
(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 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.

(chapter 117) I am quite certain that many were outraged and disgusted by the scholar’s smooching. First of all, why did the learned sir do it? One might say that it is related to the petition which is in Yoon Seungho’s possession.
(chapter 117) The learned sir was tasked by the mysterious noble wearing a purple hanbok to retrieve the document. I would like to call my avid readers’ attention that we never saw the man introducing himself to the former teacher. He could have definitely impersonated someone, for this trick has often been used in this story. Anyway, in exchange for this favor, Jung In-Hun got promised a high position in the government.
(chapter 115) Thus Jung In-Hun has only one option left. He needs to utilize a spy and traitor in order to get the document. Because Jung In-Hun has known the painter since his childhood, it is not surprising that he chose to approach Baek Na-Kyum. As you can imagine, episode 117 is a new version of episode 24
(chapter 24), where the angry learned sir asked the naive artist to spy on their benefactor and episode 35
(chapter 35). In the latter, the scholar gave the same task to the main lead, but his attitude was totally different. He was acting like a gentle and concerned man, hence he stroke Baek Na-Kyum’s head and cheek.
(chapter 35) He had two reasons for that. First, the painter was still recovering from his long illness. So he couldn’t act so coldy, for his selfishness and heartlessness would have become obvious. The learned sir had to justify his egoism and indifference. During his illness, he had at no moment visited him, but he had his reasons.
(chapter 35) He hoped for the painter’s understanding. All this because he needed the low-born more than ever. He had not renounced on discovering Yoon Seungho’s weakness yet. However, in season 1, he failed to achieve his goal, because after the night spent with the main lead, Baek Na-Kyum refused to divulge any information about the meeting between the host and his brother Yoon Seungwon.
(chapter 38)
(chapter 117) Hence we should consider the scholar’s kiss as the kiss of Judas. The latter, known as the Betrayal of Christ, is the act with which Judas identified Jesus to the multitude with swords and clubs who had come from the chief priests and elders of the people to arrest him. Thus I am expecting an arrest of the painter in the future. Since he is the love interest of Yoon Seungho, he has once again become the target of the next plot.
(Chapter 118) While he had faked his pity and empathy for the painter, when the latter was exposed to gangrape
(chapter 118), the ending of the episode is showing him as a monster, acting like Min and his friends.
(chapter 115) However, this is impossible. Time is the proof for the lord’s innocence. 7 days have already passed since Yoon Seungho’s violent outburst in front of the learned sir’s home. Don’t forget that it took Yoon Seungho 6 days to regain consciousness.
(chapter 116) And the manhwaphiles saw that the painter spent the night with his lover after their conversation at the pavilion.
(chapter 117) This means that Na-Kyum’s visit to the gibang could only take place after that night. That’s how I came to the conclusion that the meeting took place after 1 week (6 days+ 1 night). However, the swollen cheek will easily vanish within one week contrary to the stabbing.
(chapter 117) Therefore after the release of episode 117, I had imagined that the wound from the learned sir was faked with the rouge from the noonas. Yet in episode 118, I detected the busted lip which can not be faked. The scratch is the evidence that the wound is real. Jung In-Hun knew too well that he couldn’t frame his previous sponsor for this. Hence he avoided to reply to the painter’s interrogation.
(chapter 118) Furthermore, his cheek was perfectly fine, when he left his home.
(Chapter 117) This must have happened on his way to the gibang or in the gibang itself! So who would do this? Yoon Chang-Hyeon? The noble with the purple hanbok? I will answer to this question further below.
(chapter 57) It is less pronounced, for Jung In-hun only met this mysterious man once contrary to the main lead. Even Baek Na-Kyum noticed the transformation, hence he got scared.
(Chapter 118) He couldn’t recognize his former teacher. The learned sir had become like a violent beast. But why would he be so frantic and hopeless that he became violent in his gestures and words? It is because he had been threatened again. The wounded lip and cheek are the evidences that he has been coerced to convince the painter that the latter should return to his side.
(Chapter 118) His grabbing and yelling ooze urgency. One might think that the mysterious aristocrat with the purple hanbok is behind this, for he once voiced a menace towards the villain.
(chapter 117) However, observe that in their meeting, Jung In-Hun spoke about affection
(Chapter 118) and this doesn’t belong to this man’s world (power, lineage, yin/yang, education). And it is the same for Yoon Chang-Hyeon. The latter embodies hatred and rejection for sodomy!
(chapter 86) He was even willing to kill his own son, moreover he threatened Yoon Seungho to have the painter killed.
(chapter 116) That’s how I deduced that the person behind this intervention is actually longing and hoping for love from Yoon Seungho. Thus he requested from the learned sir to take back the painter.
(chapter 94), then the kiss
(chapter 95) The artist had kissed the main lead for two reasons. He desired to convey the sincerity of his attachment and to prove that this was real. Yoon Seungho shouldn’t imagine that this was just an illusion, as he often questioned his own senses and sanity. In the gibang, the learned sir changed the chronology: first the smooching, then the confession. Why? It is because he thought that the painter still loved him, when Baek Na-Kyum showed concern for him.
(Chapter 118) Due to his arrogance and vanity (the negative aspects of self-love), he jumped to the conclusion that nothing had changed. The painter seemed to be still naive.
(chapter 118) Hence his surrogate father smirked. The irony is that there exist different kind of love: friendship, family… At the beginning, the artist was still viewing Jung In-Hun as a friend. Thus he got worried about his wounds. Yet observe that he had no intention to bid farewell to the former teacher.
(Chapter 118) He is no longer considering him as a father figure, let alone a close one. Imagine the irony! In reality, the low-born was announcing to his former role model that he was abandoning him. Yes, it is the positive reflection of the scene in the library:
(chapter 40) Jung In-Hun’s words came back to bite him. He is the one acting like a prostitute, like a man consumed by lust!
(chapter 118) Baek Na-Kyum, as the mirror of truth, is not only confronting the scholar with his bigotry and dishonesty, but also the mastermind behind this encounter. This explicates why the learned sir spoke about love:
(chapter 118) This was the same for Yoon Seungho. The sexual abuser had only been obsessed with his own reflection and desires to the point that he never paid attention to his sex partner’s gaze… the loss of light in the gaze, the absence of tears … Besides, there was no agreement, everything was based on coercion and Kim knows that. That’s the reason why Jung In-Hun had tears in his eyes! It is because the main lead used to cry as well… asking for his pity and mercy. Since the scholar never cried before, I believe that the latter had asked to shed some tears in order to move the heart of the counterpart.
(chapter 118) Baek Na-Kyum was never his young protégé, only his student. Why? It is he never protected him, he just consoled him!
(chapter 94) However, like I had already outlined, Yoon Seungho was offered “protection” in exchange for his favors. That’s how the main lead got rewarded with the mansion and the proprieties. But now, Yoon Seungho is willing to give up on everything for Baek Na-Kyum.
(Chapter 11) Back then, the painter had the burst lip and the glowing cheek too.
(Chapter 11) He had protected Jung In-Hun, when the latter was suspected of ruining the painting. And how had Yoon Seungho acted in that scene? He had spoken like a powerful person, like a ruler!
(Chapter 11) As you all know, my theory is that behind the name “lord Song” is hiding the king. But since I made a connection between episode 11 and 118, I deduce that Jung In-Hun has been put in the same position than the painter. His karma… for feigning ignorance and letting Baek Na-Kyum take the fall. He is paying for his wrongdoings all at once (11, 29, 35, 40). And what had Yoon Seungho said to his future lover?
(Chapter 11)
(Chapter 11) Yes, so far no one has been talking or thinking about the king as someone involved in the main lead’s suffering. Yet, I would like to outline that the gibang belongs to the state and as such to the king. Only a rich and influential person could hire the kisaengs for the day
(chapter 118) Not even “lord Song” or lord Haseon from episode 107 couldn’t pull such a trick.
(Chapter 107) He had announced his visit and the kisaengs had to gather next to the gate. There, the mysterious man selected only one woman.
(Chapter 107) However, in episode 118, the kisaeng talking to Baek Na-Kyum expressed that there were different parties. Each kisaeng was participating in a different festivity (“It’s not usually this busy”). She would have mentioned it, if there was a huge party in the gibang. But there is another clue for the king’s intervention: the pipe is no longer visible in the noonas’ room
(chapter 96: it’s on the table), just like there are now two mirrors and the number of rouge has also increased.
(Chapter 118) Finally, this painting, Hokjado, is actually mocking the monarch.
(chapter 105) The tiger in the painting usually represents the ruling elite, and its ridiculous expression is a satirical commentary on their behavior. He is here portrayed as a lazy man focused on smoking and pondering.
(chapter 116) It signifies that this panel is a new version of this scene:
(chapter 103) And what is the common denominator between these two scenes? Both protagonists rejected the help from the staff, especially from butler Kim.
(chapter 102) He was already giving up on everything, even his own life, if he had not the artist by his side. Under this new light, it becomes comprehensible why killing the painter is not the first option for the pedophile.
(chapter 118) He is implying that he should take the exam and get a high position…. he should go to Hanyang. That way, he would cross the path of the ruler. Striking is that the young man employed the expression “bondage”. Is this a reference to BDSM? For me, Yoon Seungwon is helping the invisible hand which explains why he is betraying his father again.
(chapter 118) He did it in the past, and he is repeating his actions. He shows no regret or remorse for the past
(chapter 118) except his promise:
(chapter 118) In fact, he blamed his brother and his father for everything, even Yoon Seungho’s way of life. His concern and affection for Yoon Seungho are totally superficial and trivial in the end. Why didn’t he ask about his wounds? He met him the next day after he regained consciousness.
(chapter 118) It was, as if they had two different fathers. Note that despite the father’s cruel action, the young noble still calls Yoon Chang-Hyeon as “father”. To conclude, Yoon Seungwon doesn’t consider the protagonist as his brother despite his words. The younger master is the reflection of the learned sir, the one faking “love, honesty and concern” for a close one, whereas in reality these persons are more worried about their own future and comfort.
(chapter 37)
(chapter 107), whereas the main lead had decided to protect his family despite their betrayal and abandonment. Under this new light, it becomes comprehensible why Yoon Seungwon has no interest to expose the petition contrary to the past.
(chapter 118) It is because he knows the truth now. Nevertheless, he is choosing to keep his brother in the dark, for this revelation would make him appear as a liar. He definitely feels bound by secrecy.
(chapter 76)
(chapter 118) For this winning hand, Yoon Seungho had to suffer a martyrdom. Hence it becomes comprehensible why he is envisaging to renounce on everything.
(chapter 117) He was only happy by the painter’s side.
(chapter 25) On the other hand, I had made this connection, even before the release of episode 118. Why? It is because through deductions, I had already come to the conclusion that this was a stolen kiss.
(chapter 24), then he hugged him
(chapter 29). While the first embrace took place in a deserted area (close to the port), the second hug was witnessed by many people. It was in the open, moreover the so-called “hero” had jumped off the horse during the parade which could only catch the attention from the crowd.
(chapter 111) Between the two embraces, we shouldn’t overlook the caresses on the head and cheeks which I mentioned above. As you can imagine, the kiss of Jung In-Hun represents the climax of their intimacy. Striking is that the affectionate gestures always took place in public (street twice and the courtyard).
(chapter 34) His kiss is displaying his hypocrisy, which the artist could only feel. Hence he didn’t reciprocate the smooching. His lips remained immobile.
(chapter 19) Therefore I come to the conclusion that this kiss is like the embrace from episode 29: fake! It is because the learned sir needs him! This statement stands in opposition to the protagonist’s love confession.
(chapter 117) His presence and affection represent the biggest treasure for Yoon Seungho. Baek Na-Kyum is his only source of joy and happiness. However, for the learned sir, the “need” has a different foundation. He can lose everything, if the painter doesn’t choose him. And if he were successful, he would even get power! As you can sense, for the learned sir, Baek Na-Kyum is just a tool, while for the Black Knight, he is a necessity! Without him, he has no reason to continue living. Jung In-Hun is desperate to survive, while Yoon Seungho is pushed to give up on his suicidal thoughts THANKS TO His father:
(chapter 111) His gaze oozed not only arrogance, but also blindness. Imagine that he was smirking in front of the painter while looking at the wealthy aristocrat. It was, as though he thought that the artist wouldn’t notice his disdain and vanity. He imagined that the artist was still naive and ignorant like in season 1. This explains why the painter expressed his disapproval about the learned sir with a smile later:
(chapter 111)
(chapter 111), for Baek Na-Kyum is always accompanied by his soul mate (chapter 40, 45, 74-75, 91-97, 104-105) In addition, people would have recognized him due to the previous parade and noticed his interaction with the artist. Nevertheless, the villain needed privacy, as he was inciting the main lead to commit a wrongdoing: betrayal towards Yoon Seungho. So their meeting could never be mere coincidence and happen in the open. Their reunion had to be planned properly and in secrecy. Thus it signifies that it had to happen behind the dark knight’s back. I would even add that the beloved couple needed to be separated! And now, you comprehend why their meeting had to take place in the gibang! In season 3 and 4, the kisaeng house is the place where the main leads got separated from each other, though the intervention from the noonas didn’t always work like expected.
– first separation, for Yoon Seungho had to take care of the noona Heena
Here we witnessed his return. However, the kisaengs badmouthed Yoon Seungho
(chapter 93) Their attempt was to create a riff between the couple.
(chapter 94), when the painter thought that they would go to the pond.
(chapter 94) Why didn’t the artist follow his partner right away?
(chapter 96) She intervened too late, and her brother didn’t notice her presence.
(chapter 99) Yet, we never saw the face carrying the light
(chapter 97) But it can not be the officers, for they were carrying torches.
(chapter 97) Yet, the light in the previous image is nearer to the ground than to the top of the door. Besides, carrying a torch in a building made of paper and wood is quite dangerous. For me, the person approaching their suite could only lift such a candle light
(chapter 19) We have two possibilities left: the kisaeng Heena or the butler.
(chapter 98) This confrontation didn’t occur in episode 93, for the kisaeng’s back was illuminated by the candle light, whereas the room was darker in episode 93.
(chapter 93) The light was standing further away from her in this picture. Hence I deduce that the lord must have revisited the kisaeng during that night. Because she was not holding the candle light, I can only deduce that the person witnessing this second conversation was butler Kim! Besides, we have another allusion to him through the reflection of episode 19 and the first Wedding night. Then later, Heena tried to convince her brother to leave Yoon Seungho’s side
(chapter 97) by blaming him for Jung In-Hun’s murder, but her intervention failed. In reality, the separation could only take place thanks to the intervention of Yoon Seungho’s staff. In episode 97, the servants were definitely manipulating the painter with this corpse
(chapter 97), whereas in episode 98, the maids had to play their role as well: badmouthing their master
(chapter 98). He was a cruel and violent lord!
(chapter 105: Heena was strong enough to follow her brother to the door, and this quite quickly, for she witnessed their argument), the other cast doubts in Baek Na-Kyum
(chapter 109) and finally the third one lied to her donsaeng.
(chapter 105) Yoon Seungho had mentioned that he would return to the kisaeng house in order to fetch his lover.
(chapter 105) Yoon Seungho was just thinking of a momentary separation, whereas the kisaeng implied that his departure was definitive. This shows that they had hidden the main lead’s true intention from the painter. This was no coincidence in my eyes.
(chapter 118) However, I believe that Jung In-Hun was lying, for his visit could be leaked to the owner of the mansion. He has no idea that no one is siding with the main lead. But by saying this, he was covering up for the gibang, and as such Heena. She was definitely her source of information.
(chapter 68) Why? It is because she has always loved the learned sir and projected her own thoughts and emotions onto the artist. In my eyes, this encounter is to prove the kisaeng wrong, to confront her with reality and her prejudices. What caught my attention is that each time, the painter couldn’t meet Heena, her absence was justified that she was serving a nobleman outside.
(chapter 93)
(chapter 118) Notice that the painter is already thinking that she was not expecting him. Yet, it is clear that he would come to the kisaeng house, for Yoon Seungho had been invited by his brother. The invitation had already been proceeded the day before:
(chapter 117) So if something were to happen, Heena could feign ignorance and as such innocence. After their last argument, the noble has learnt that he shouldn’t keep his distance from the artist and he should confide to him, hence he talked about elopment at the pavilion.
(chapter 25)
(chapter 77) in a previous analysis. However, I will only focus on the comparison between episode 19 and 118, for both represent a first kiss!
(chapter 118) And remember that in episode 19, the painter had caught the main lead by surprise, when he entered the room.
(chapter 25) Thus I am deducing that this scene
(chapter 96), this means that he has finally accepted his homosexuality. Consequently, the sexual abuser could have the impression that he just needs to remove the painter from the main lead’s side and that’s it. He can replace the artist… impersonation once again!
(chapter 96) These notions are all reflected in the confrontation between Baek Na-Kyum and Jung In-Hun:
(chapter 105) Hence I came to the conclusion that the stolen kiss from Jung In-Hun represents a farewell, though the learned sir has no idea of this signification. Thus I thought of Judas’ kiss. The learned sir failed to achieve his goal exactly like in season 1. Even back then, he was distressed and under pressure, for he had recognized that he needed to pass the civil service examination first.
(chapter 115) In my opinion, he will be framed for the incident in the shaman’s house.
(chapter 115) Hence I have the impression that this stolen kiss will have huge repercussions not only for the learned sir, but also for Heena.
(chapter 118) Observe that the painter wanted to ignore the words from the fake teacher. So he could have a change of heart and report the incident to the authorities. He doesn’t know that his lover killed Black Heart and his friends. The learned sir was admitting that his nightmare had truly happened.
(chapter 83)
(chapter 88) From my point of view, the schemers are projecting their own thoughts and emotions on Yoon Seungho. Moreover I am quite certain that they have already calculated the possibility of a rejection. The painter’s so-called wrongdoings from season 1 (chapter 11: the ruined painting, chapter 29: desertion) and season 2 (chapter 61: the desertion) were all perceived as rejections. If he is caught with Jung In-Hun alone, they anticipate that Yoon Seungho will react like his father. He won’t be able to discern the truth. Baek Na-Kyum is not faithful and is now tainted. Or even worse… Yoon Seungho might commit a crime. This thought seems to contradict my previous statement: Jung In-Hun is acting on the pedophile’s order. Nonetheless, my theory is that there exist two conspiracies:
(chapter 107)
(chapter 115)
(chapter 115: flower pattern and no sleeve, the beard covers the jaw )
(chapter 117: no pattern, the lips are covered by the moustasch, straight)
(chapter 117) There are simply too many divergences to say that it is a mistake from the author. This would actually mean that she is quite sloppy. Furthermore, I decided to rely on my eyes and not a belief: there is only one lord Song. Thus you comprehend why I never called the man talking to Jung In-Hun lord Song. So if my theory is true, this would signify that these men represent the previous gang “dogs of Joseon”, the older version of this:
(chapter 101) And No-Name was treated exactly like Lee Jihwa, but he got framed and sentenced. Finally, I would like to point out that there were 3 black men involved in the first fake sexual education:
(chapter 86) A coincidence? I don’t believe this. Besides, I discovered a relevant detail about petition and government.
(chapter 107) Far away from the protagonist, he had to rely on his helping hands and his advisors. He trusted their words. Finally, we have the vision from Lee Jihwa:
(chapter 101) That’s the moment when the truth will come to light. Someone will get angry, because he got confronted with the painful reality: he was a man consumed by lust, he was selfish, cruel, abusive, ignorant, coward, and even naive. He was never destined to be the protagonist’s life companion.
(chapter 116) He was in truth Yoon Seungho‘s bird of misfortune. He is responsible for his misery. Before, I had assumed that right from the start, the pedophile could have been eyeing the pure teenager, but it is also possible that everything happened due to back luck. Each person made a mistake, out of fear they lied to cover up for their wrongdoing and chose Yoon Seungho as scapegoat. Father Lee tried to hide his son’s sodomy out of shame. If so, the king became responsible, for he never investigate the matter properly. It was his role as ruler to give justice and he failed terribly. In fact, he benefitted from this. Hence it is normal that he is now judged as the main culprit for Yoon Seungho‘s misery. Contrary to Baek NA-Kyum, the main lead can not act, as if nothing had happened.
, I detected a strong connection between chapter 10 and 117. The common denominator was the pavilion. The learned sir brought the artist under the pretense for a walk in order to seek seclusion and privacy. While he faked his worries
(chapter 10), he wanted the painter to stop working for Yoon Seungho. He desired him to leave the propriety, for he saw Baek Na-Kyum as a rival. Unlike the painter, the scholar had not been invited to join the party the night before. Hence he had to portray Yoon Seungho in such a bad light!
(chapter 10) Back then, the vain and stupid man thought that the main lead had truly liked his poem. Thus he imagined that he could get the attention from the protagonist, once he got rid of his competitor.
(chapter 10) This is not surprising that the author employed a panel from that chapter.
(chapter 118) Back then, the artist had not detected the manipulation. Hence he had protected his former teacher, when the latter got accused of ruining the painting. This confession from the scholar
(chapter 10) stands in opposition to Yoon Seungho’s. The latter has no expectation from the artist.
(chapter 117) The latter is the one deciding about the lord’s fate. But why did he go to the pavilion with the painter? For privacy and intimacy! They needed to discuss the matter about the brother and the petition, a dangerous matter.
(chapter 117) Here, the painter was acting as the main lead’s right-hand and advisor. He is taking over the butler’s function. He was full of concern for his loved one asking him to postpone the reunion (chapter 117) And the moment the artist voiced his fears
(chapter 117), the noble suggested to leave everything behind.
(chapter 117) And what would people see from far away? 2 people showing closeness and attachment, they wouldn’t expect a desertion, an abandonment!! And now you comprehend why Yoon Chang-Hyeon was sitting in the pavilion in town
(chapter 116) It was, as if he was trying to get an alibi for his crime: he had planned to have his son killed, but it didn’t happen as expected. Thus he was forced to join his son.
(chapter 116) This means that he was exposing his crime to people in town. Furthermore, he even confessed his hatred for his own son. He yelled this:
(chapter 116) Yet, by stating this, he was admitting that he was violating social norms (Confucianism). That’s how I realized that the pavilion is not only the place where Yoon Seungho’s emancipation takes place, it is also the symbol for betrayal and abandonment.
(chapter 101) Finally, a long time ago, I had developed the theory that the pavilion was the place where Yoon Seungho got abused.
It is the same pavilion than Yoon Chang-Hyeon’s. This means that the couple will purify this place. At some point, the lord and his knight will come to admire the pond with the lotus flowers:
(chapter 117) Byeonduck let us see a glimpse of their future.


(chapter1) Or was she simply the noona?
(chapter 70) At some point, I came to realize that Heena had acted as the surrogate mother, but she had never clearly stated that she was the painter’s mother. In other words, his adoption was never official, which explicates why the main lead only considered her as his older sister. This is important, because her ambiguous status can not only generate problems, but also expose her betrayal towards Baek Na-Kyum. Note that in chapter 97, the noona treated Baek Na-Kyum as her “child” who wouldn’t listen to her
(Chapter 97), while later she implied that they were both equal, for she employed the personal pronoun “us”.
(chapter 97) On the other hand, she used her seniority as status, when she called him a fool
(Chapter 97). He lacked experiences, hence he was too naïve, and as such he would trust the protagonist too easily. As you can see, Heena herself had an ambiguous relationship with her brother. Nonetheless, thanks to chapter 93, I got finally a definitive answer about Heena’s true identity. She is indeed the head-kisaeng in the gibang. I realized that the protagonists were invited to stay in Heena’s personal room.
(Chapter 93) That’s the reason why the seat of the host was empty and why Yoon Seungho didn’t go there. He would have violated social norms, if he had taken her seat.. Moreover, by doing so, he would have revealed that he knew where the woman was. This could have raised questions.
(Chapter 68) was in truth a huge window. How do I know this? First, in this scene, the scholar was hiding a huge white vase with red flowers. Hence I deduced that Jung In-Hun couldn’t have walked through that “gate”, it was just a window. Therefore I assumed that he had to walk past the flowers, either turn to the right or the left. Secondly, observe that next to the lantern on the left, there is a small white panel. This means that the view from chapter 93 was more or less taken from the right corner. Moreover, in the next chapter, Heena is not facing this “window”, when she is in the same building.
(Chapter 69) This time, the white vase with the flowers is standing in front of a wall. That’s how I deduced that Heena had to turn to the left in order to go to the hallway.
(chapter 69) On the other hand, another element caught my notice. In this picture,
(chapter 93) which is not present in episode 69.
(chapter 93) Since I came to the conclusion that Heena’s private room was on the right side after the corner, I deduce that the kisaeng was not on her way to her room. Moreover, since the kisaeng was walking in the same direction than the scholar, I can only conclude that Heena was actually approaching the entrance of the building. I believe that she had turned around, but the author didn’t reveal this. One might argue that it is possible that in chapter 68, the learned sir could have gone with the painter to Heena’s bedroom. However, back then the latter was not the head-kisaeng. We know this due to the presence of a kisaeng standing right behind Yoon Chang-Hyeon during the sexual lesson.
(chapter 70) That’s how I realized that Byeonduck had deceived the readers once again. She was playing with reflections. That’s the reason why I deduced that Heena was not talking loudly by accident in front of Black Heart.
(chapter 69) It was done on purpose!! She wished that Min would take care of her brother. Under this new light, it becomes comprehensible why the noona has a drop of sweat on her cheek. She is faking ignorance, she is acting, as if she was very protective of her brother. She uses illusion to manipulate people. In reality, she was acting here. One might argue that I am overthinking again. This is not possible, for Heena didn’t know Min at all. Hence she couldn’t manipulate him. The latter had heard of her for the first time in Yoon Seungho’s mansion.
(chapter 66) But let me ask you this. How could Heena have never met Min, when she was the head-kisaeng? Secondly, just because the servant had never heard of the noona, this doesn’t mean that it was the case for Black Heart. The domestic assumed Black Heart’s ignorance, just like the readers. Moreover, recently I had detected that Heena had been standing in front of a mansion belonging to a noble.
(chapter 46) This was not Yoon Seungho and Lee Jihwa’s mansion, for the gate and walls
(chapter 67) diverge. Moreover, Min has been seen in the kisaeng house in so many chapters
, (chapter 19)
(chapter 59). Here, I would like to point out that in episode 59, Lee Jihwa had visited the kisaeng house on different occasions, for his hair was slowly growing. 
(chapter 59) Moreover, note that his visits took place during the day and not during the night. Why? It was for privacy and so far, during the day, the manhwaphiles never saw any kisaeng in the gibang.
(chapter 1)
(chapter 94) Lee Jihwa was not supposed to meet kisaengs. As you can see, Min had strong connections with the gibang, just like Lee Jihwa. Hence Black Heart should have known Heena, for she was the head-kisaeng. But I would like to bring up a more conclusive proof for this interpretation.
(chapter 19) This image was showing us that Yoon Seungho was visiting the gibang. However, pay attention to the pattern of the doors in the last picture and the next:
(chapter 19) The motive diverges, it looks like the one from the hallway with the purple veils. This means that the party was not taking place in the room shown in the former picture. What caught my notice is the presence of the white vase with the red flowers in front of the building. It was present in each scene taking place in the gibang.
(chapter 93) For me, the red flowers symbolize Heena noona. This explicates why during the painter’s dream, the flowers were not present.
(chapter 87), as Heena was not included in his vision. And this image
(chapter 44) Due to the similarities, I believe that in chapter 19, Byeonduck was actually exposing the ghost head-kisaeng. Exactly like the father, she was hiding. Why? It is because she is involved in Yoon Seungho’s suffering. And now, imagine her reaction, when she hears that Black Heart has organized a feast for the main lead’s honor. The woman could only avoid the main character. And now, you have the explication why Heena as the head-kisaeng was not present during that festivity. It was deliberate.
(chapter 19) Striking is that the kisaeng had a similar hair dress than Heena, This is no coincidence. She was acting as the head-kisaeng. The manhwalovers will certainly remember that only two kisaengs had no braided bun or braids: this one
(chapter 51)
(chapter 93)
(chapter 93)
(chapter 95) The extravagant hair dress was exposing the kisaeng’s status. And now, you comprehend why the other noona explained the disappearance of Heena during that night.
(chapter 19) But how could she sense that the noble was in a good mood? The latter was silent and not even smiling.
(chapter 19) How could she claim this? In reality she was actually spying on him. Heena had no idea why the lord would come to the gibang, especially after suffering there so much. The kisaeng’s task was to dig up information. This visitation must have bothered the head-kisaeng.
(chapter 69) She was even turning her back to him. But actually, she could have detected his presence, exactly like I had recognized him: through his laugh!!
(chapter 99) He was wearing a veiled hat, yet in chapter 69, this was not the case.
(chapter 88)
(chapter 99) Under this new light, Min’s words get a new signification:
(chapter 99) He was implying that they knew each other for a long time! The irony is that the manhwaphiles had the impression that their relationship was recent, and his cynical tone contributed to it. Secondly, he called her Heena, a sign that they were close to each other. Note that Lee Jihwa never mentioned her name.
(chapter 99) His words even insinuate that Black Heart had just given the following order. The red-haired master should just fetch a kisaeng and in my opinion, Heena was waiting for Lee Jihwa’s arrival to leave the gibang. According to his words, he had no idea about the kisaeng’s identity. But is it true? I have my doubts now, and this for two reasons. Why would he ask about her identity, when he already knows that she is a kisaeng? The drop of sweat on his face is an indication that he is lying. But the problem is to determine if the deception is only referring to “I heard not a word” and to all the questions. Let’s not forget that he knew about Min’s initial intention. The moment Lee Jihwa arrived in the gibang, she just followed him. That way, they would avoid to attract attention, and with her new hair dress
(chapter 86) The latter had been eyeing the throne in the family mansion, but he failed to take over the mansion. This was the negative reflection of Heena. Whereas the kisaeng had a powerful position in the gibang, it was the opposite for the patriarch. He was no longer recognized as the head of the Yoons. Yet, both have something in common. Both lost their position for good, for Heena and Yoon Chang-Hyeon couldn’t take or keep the seat. We could say that both got defeated by Yoon Seungho. In chapter 93, the main lead acted as a respectful and calm master, whereas in the bedchamber he showed no respect to his own father. He talked back and even made fun of him.
(chapter 87) This picture stands in opposition to this one:
(chapter 93) To conclude, the surrogate mother and the patriarch made a similar experience in season 3. Both got deceived by manipulations and in both cases, letters played a huge role.
(chapter 94), definitely thinking that he was doing the right thing. He thought that he could never get into trouble. But this is just a deception in my opinion. As for the former head-kisaeng, she has to run away, for she did something wrong! In the past and in the present! She definitely plotted, and she is aware that her actions will have terrible repercussions.
(chapter 99) No one would be looking for her. The problem is that the witnesses of her curtains all vanished. Lee Jihwa ran away, Black Heart got killed with his friends, and the only survivor, lord Jang, was confronted with real corpses in the shaman’s house.
(chapter 102) That’s why I come to the deduction that her murder will be questioned. Why? There is no blood contrary to the bloodbath in the shaman’s house and there is no corpse!! Since Black Heart used different corpses in order to deceive Heena and the couple, there is no ambiguity that the head-kisaeng’s curtains will be doubted. Striking is that Heena staged her death out of cowardice and selfishness, while Yoon Seungho made the opposite decision. He was resolute to commit suicide in order to follow his lover in his death. During that night, Heena and Yoon Seungho lost their “home”, but at the end, he found his true home: the painters embrace.
(chapter 102) He gave up on everything (fortune, house and life), hence he will be rewarded for all his sacrifices. Under this new light, I am more than ever convinced that Heena has not reached the bottom. Her karma is to be punished for her deceptions and acting!
(chapter 96)
(chapter 96), though he is a noble. Besides, I am suspecting her of suffering from genophobia (fear of sex and intimacy) Their behavior exposes closeness and a certain trust. But how is this possible? It is because she knows that Min is a sodomite, and he is not looking for sexual favors. That’s the reason why she trusted Black Heart in my opinion. Moreover, he is smiling like Jung In-Hun. Therefore it is not surprising that she was speaking like the Joker in chapter 97. Here, the man had actually projected his own thoughts onto Yoon Seungho, and due to her own belief, Heena was more than willing to believe Black Heart.
(chapter 52) It is because Black Heart knew Heena! I even believe that he had already met the scholar. Note that the man with the black hanbok was repeating the rumors about the learned sir. And the other questioned the main lead’s action exposing that he had never heard about this grapevine before. Hence I am deducing that the one spreading this rumor could only be MIN!! That’s the reason why he just said this
(chapter 52) That means that the noble knew the teacher in the end. Therefore it is no coincidence that Min was aware where the learned sir lived!!
(chapter 83) And now, if you connect the two scenes
(chapter 52). Why? It is because there was an incident in the gibang!!
(chapter 01) And who had covered up the incident? Heena, for she was the head-kisaeng! She had lied to her brother by blaming the biggest victim, Yoon Seungho, who was the man with the braid! This image is a real memory of Baek Na-Kyum from that night, yet from far away, the painter couldn’t see the face of the sodomite! This is another secret Heena has been hiding from her brother!
(chapter 94)
(chapter 97)
(chapter 97)
(chapter 92) That’s the reason why I believe that in season 4, the visage will play a major role! The couple will recognize people due to the face!! In my eyes, the former head-kisaeng knows the identities of all the persons involved in Yoon Seungho’s suffering.
(chapter 97) her brother is detecting her deception. 
(Chapter 5) Baek Na-Kyum was apologizing for his past behavior. He had insulted the main lead because of the poem. And his words sounded really similar to the butler’s in the library, for they both employed the same expressions: “That day” and “I spoke out of”.
(Chapter 77) Striking is that the painter employed the expression “hand”, while the valet talked about “turn”. Why did they do that? It is because when Kim was caught committing a crime, he turned his head!
(chapter 68) Thus in the library, the butler excused himself in front of the lord by using the following expression: “spoke out of turn”!! On the other hand, the painter had used his hand,
(chapter 4), therefore he described his wrongdoing with the following expression “out of hand”. In my eyes, his words indicate the interference of the butler. Furthermore, the two men had a drop of sweat, a sign that they were not truly honest.
(chapter 77) Both were apologizing, as they had wronged the noble. As you can imagine, the similarity in the excuse is no coincidence. The proof that both incidents are reflections is that they have another point in common. The wrongdoings of the low-borns had taken place in front of a gate. The butler had disobeyed his master
(chapter 68), and the painter had assaulted the lord by trying to retrieve the poetry.
(Chapter 4) Because both characters had violated social norms, showing disrespect towards a noble,
(Chapter 4) In other words, since Yoon Seungho had punished the butler due to the incidents in episode 67/68, I deduce that episodes 67/68 were reflections of episode 4/5 as well!! This corresponds to the rule 2 and 3.
(chapter 4) Let’s not forget that just before the great entrance of Black Heart and the protagonist in chapter 67, this was what the author showed us:
(chapter 67) And now compare the building to this one from chapter 1:
(chapter 1) Under this light, my theory that Yoon Seungho was living with the Lees in the beginning of the story gets reinforced and even validated. In season 1, Yoon Seungho had sex with his friend in the pavilion so that the father and the staff could see the truth: the young master Jihwa was a sodomite. But since we saw Yoon Seungho in that building in episode 1, we jumped to the wrong conclusion that this was his house. But actually, from chapter 12 on, the author was showing us that we had been deceived. This was the lord’s house, and note that there is no building in the big courtyard contrary to the domain from chapter 67 and 1.
(Chapter 12) (For more read the essay “Lee Jihwa’s special relationship with Yoon Seungho”) Then in season 2, the main lead forced the elder Lee to hear what he had been denying all this time
(Chapter 67), while in chapter 3, he could only witness it from the patio. On the other hand, Yoon Seungho had been proactive during their sexual encounter, hence the father could only blame the main lead for his son’s debauchery. The intimacy in the pavilion was in verity hiding Yoon Seungho’s huge traumas. But due to Lee Jihwa’s confession in the inn, the red-haired master’s reputation got ruined in town and this must have definitely reached the father’s ears. Striking is that when Yoon Seungho confronted Lee Jihwa with his crime (abduction of a person from his household), the red-haired master ran away and hid behind the folding shield. Thus he never apologized to his friend. And it was the same with the elder Lee. The latter knew about his son’s wrongdoing, for he accused the intruder immediately.
(Chapter 67) As you can see, the absence of the excuse from the uke and his father outlines that chapter 67 is a reflection of episode 5 and 77. I detect a pattern, chapter 5 contains a superficial apology, chapter 67 no apology and chapter 77 a fake excuse again. Furthermore the manhwalovers can recognize that in the same episode (episode 5), the antagonist Jihwa had indeed wounded the painter with his insult too, a reflection of episode 4.
(Chapter 5) This confirms that chapter 5 is connected not only to episode 77, but also to chapter 67/68. We have the same elements: an incident linked to a door
(chapter 67), a punishment, but also the absence or presence of an apology. But all of these episodes have other similarities: hypocrisy and arrogance. The Lees were looking down on Baek Na-Kyum and Yoon Seungho (chapter 5-67), while in episode 77, it was the butler who yelled and criticized the noble.
(chapter 77) By detecting a reflection between these chapters, I had a new revelation.
(chapter 5), while it was not the case. As you can see, anyone seeing the black guard leaving the owner’s study could have had the impression that the lord had written a letter. This means that this mistake must have taken place later again due to the rule 2! The manhwalovers could discover the deception in chapter 37/38!!
(chapter 38) That’s how Jung In-Hun got misled.
(chapter 38) Yoon Seung-Won had never received a letter, but the ruined painting. The readers only discovered the trick in the final episode, when the father was looking at the picture. And this connection between a letter and a painting was reflected in season 2. While Min stole the painter’s last creation
(chapter 56), Jihwa sent a forged letter
(chapter 56). Striking is that the butler was the one who received the paper before delivering it to his sick master. These two scenes (38-56) indicate that the valet is related to the correspondence. Moreover, he was seen delivering the message to Yoon Seungho in the courtyard.
(chapter 35)
(chapter 5) It was, as if he was not allowed to write any letter. So where did the table go? To the study!! What caught my attention is that after the first painting
(chapter 2), the table had been removed from the study, just like the papers.
(chapter 4) This was no coincidence. It had been sent to the lord’s bedroom, but after the lord had tasked the black guard, it was no longer there. This is the indication that someone was interfering with Yoon Seungho’s habit to take a brush. And this can only be Kim. As you can see, the appearance and the vanishing of the small table is the element which was reflected in chapter 1, 2,
3, 4 and 5. And now, look at the scene where Lee Jihwa met Min.
(chapter 67) The table had also disappeared. And when did it happen?
(chapter 21) The noble had ransacked his own room with his sword. And what did we see in that episode? A paper folded in a book.
(chapter 21) In other words, the First Wedding night is also a reflection from these chapters (4/5, 67/68, 77), for it contains the same elements:
(episode 19) and the importance of the table. According to me, the valet had put the expensive wine on the painter’s table on purpose. To conclude, I see a connection between episode 4/5, 19/20/21, 67/68 and 77.
(chapter 77) He can not trust his words, especially since he views the nobles as violent liars. Why? It is because there was this huge table. This is no coincidence that right after the valet betrayed the main lead and wrote a message to the patriarch. That’s how I had another revelation. The butler is symbolized by the table! Thus he was often seen with this small table
(chapter 11)
(chapter 17) To conclude, when the butler saw the black guard leaving the mansion, he believed that his master had sent words to someone! That’s the reason why he removed the table and returned it to the painter’s study.
(chapter 97) written by Yoon Seungho, but he envisioned that this was the Spring poem!
(chapter 97) We had the same situation. Black Heart had stolen the Spring poem, and the noonas had deceived the protagonists by faking admiration in front of an empty paper.
(chapter 93) Since the paper in episode 93 was empty, I could only come to the deduction that this paper contained words!!
(chapter 92) The latter’s work was a copy of Yoon Seungho’s poetry, the repetition from chapter 4. Hence you comprehend why I deduce that the paper in the annex was different from the Spring poem. So during that night, Yoon Seungho left a note to his lover, and that’s how the butler discovered that the artist could not read Chinese, for he saw his master writing in hangeul. But there exists another evidence for this interpretation. Baek Na-Kyum had wished this:
(chapter 97) The goddess was actually fulfilling his wish, when she reminded him of the Spring poem.
(chapter 97) If the lord had mentioned in the letter that they had found the corpse of Deok-Jae, the painter would have believed him. However, as you can envision it, the butler and Min were determined to generate a misunderstanding, to create the illusion that the scholar had died. Consequently, the servants deceived the main lead by omitting the existence of the paper. They had not delivered the message properly.
(chapter 4) His own poetry got stolen. But let’s return our attention to episode 5. Since the lord had given the poem to the black guard, this signifies that the lord no longer had the sijo. Therefore he had to write the poem again in order to mask the disappearance. In my opinion, he must have copied the original poetry for the artist in order to prove that he had not been lying. Hence the paper looked different. And this brings me back to the painter’s apology in the patio.
(chapter 04) That’s the reason why he had taken it in the first place.
(chapter 7) But where is the sijo now?
(chapter 65) Moreover, I believe that in chapter 65, he had collaborated with the noona. He had shown her the painting of Baek Na-Kyum, while in the study there was a blank paper. As you can see, in season 2, we had again this connection between a painting and blank paper. But let’s return our attention to chapter 5. The black guard was acting on the order of someone else, Yoon Seungho was not the one hiring him. The butler hates ruckus, his MO is to lie low and act in the shadow. If he had retrieved the paper, the man could report it to the master of the black guard. On the other hand, he could have asked the warden about his master’s request. He just needed to say that he desired to assist him, similar to this situation.
(chapter 82) Thus I conclude that when the lord returned the paper to Baek Na-Kyum
(chapter 7), Kim must have realized his error. He had mistaken the poem for a letter!! This explains why he repeated the trick with the younger master Seung-Won. But unfortunately for him, he was caught by the teacher who asked the painter about the letter the next morning.
(chapter 38) Baek Na-Kyum could have realized that the butler had acted behind his master’s back. The problem is that during that evening, the lord had indeed written a letter to his brother
(chapter 36), but the moment the latter interrupted the couple
(chapter 37), Yoon Seungho chose to hide it. But why is it important? It is because if the painter had mentioned the paper given to the younger master to Yoon Seungho, the latter could have noticed the valet’s meddling and wrongdoing. On the surface, it looked like Kim had written himself a letter to the younger master. In other words, in episode 37/38, the butler gave the impression that he was a spy, for he was acting without his master’s permission. He had even left the propriety, as he was standing outside in front of the gate. Don’t forget that during the meeting, the brother had mentioned that he had sent him many letters
(chapter 37), and there is no ambiguity that Kim had intervened. Here, the lord had said nothing, for he imagined that Kim had done it to protect him from his family.
(Chapter 4) But on his way out, he met Yoon Seungho who had just missed the painter’s departure. But there, he discovered that the main lead had stolen his poetry.
(chapter 5) He was looking at the gate and as such making sure that the artist’s departure would be noticed. By sending the low-born to the Lees’ mansion, Kim was encouraging the painter to commit a crime: trespassing! But the artist was fortunate, for he was not caught by the lord of the mansion, who preferred hiding due to the ruckus caused by his own son. 😉 As for Yoon Seungho, he came back to the mansion and saw the empty study. Kim just needed to say that the low-born had left to the Lees’ mansion. This is important, because this indicates that in chapter 4, the couple missed each other first! And this situation was repeated in season 3, precisely in chapter 98, when the lord returned from the bureau of investigation
(chapter 98)! The lord arrived just after the painter’s departure. And who was with the main lead? Kim. As you can see, the lord’s luck seems not to be on his side, for Baek Na-Kyum had just left the propriety. Once again… the lord was standing in front of the gate!! As for season 2, this time, it was Kim’s fate to miss his master. 
(chapter 56) The reason for this punishment is simple. He had sent away the artist to the study just before Yoon Seungho regained consciousness. The latter didn’t see that the artist had taken care of him during that night. Thus the butler’s karma was not to notice his master’s departure which stands in opposition to chapter 4 and 98. And note that all these chapters have the paper as common denominator. So imagine the butler’s surprise in episode 4, when he witnessed the artist’s return to the mansion followed by his master. He had sent away Baek Na-Kyum with the hope that the artist would desert the town for good, but no…
(chapter 23) The first similarity is the allusion to his bag. The butler was actually thinking that during the hunt, the painter would decide to run away. That’s the reason why he asked about his belonging, for in the past, he only wished to vanish after retrieving his tools. Naturally, the artist saw no harm in the butler’s question and answered truthfully. He must have narrated the argument in the courtyard about the poem. Yoon Seungho had kept the sijo, consequently the painter had used his hand to take it back and had by mistake removed the lord’s hat. Thus Kim must have told him that he just needed to apologize. But one might say that this is just a story imagined by me. The manhwaphiles never saw such a scene. But don’t forget the existence of the reflections. I have definitely an evidence for this theory. Since the butler had manipulated the painter in chapter 4 in order to get rid of this uninvited guest, his karma was to receive a new guest!!
(chapter 7) This is not what the valet truly desired at all. He wanted to live in peace. But now, he had three new people he had to serve: Jung In-Hun, the painter and his own master Yoon Seungho who had lived for quite some time in the Lees’ mansion. He had to work!! And note that in this episode 7, we have the following elements:



(chapter 93) It was a futile dream. When I had analyzed episode 93, I had explained that the speech from the main lead was influenced by the butler. As you can see, the lord’s narration
(chapter 6) There was a switch. That’s how I had this revelation. Heena is the missing link between the learned sir and the protagonist. And observe that in episode 93, we have the same elements again:
(chapter 93) This time, Heena is the one standing behind closed doors, while it was Yoon Seungho in chapter 77


(chapter 93) In chapter 99, the noonas still lied to him.
(chapter 93), which was also present in chapter 4/5, 7 and 67
/68 and finally 77
(chapter 55) Who was lord Song’s contact person then? In the past, I used to think that he was the one receiving the letters. But now, I have a different opinion. I believe, it is Heena! Why? It is because Kim couldn’t identify lord Song’s writing. According to me, Yoon Seungho was sent to the gibang in order to entertain the mysterious “lord Song”. Thereby I am assuming that the kisaeng would receive a word from lord Song and have the main lead fetched from the mansion by the black guards. Heena and Yoon Chang-Hyeon are the only ones seen with black guards, I am excluding the main lead, as he was always more or less their prisoner. As you can see, there is a connection between the noona and the Yoons.
(chapter 68)
(chapter 69) and in season 3, the noona sent messages to her brother herself. In two different chapters
(chapter 91), she is related to papers.
(chapter 97) Logically, the noona in connection with the letter should be present in season 1. Secondly, when the woman appeared for the first time
(chapter 64), she was accompanied with 2 guards, which is quite similar to the lord’s situation in chapter 1. That’s the reason why I believe that she didn’t keep the learned sir’s poem. Her betrayal could have been noticed and this was the first time that Yoon Seungho was making such a request.
(chapter 56) This would follow rule 3. Then according to rule 2 of the kaleidoscope, elements from one episode will be constantly mirrored in the next chapters. And what did we have in episode 19? A larceny… the bottle of wine vanished. Then in episode 20, the lord stole the scholar’s identity, while he stole the painter’s virginity. Hence the lord apologized to the painter for his wrongdoings.
(chapter 21) And above I had already demonstrated the connection between the First Wedding Night and chapter 5 and 77! Here the lord was imitating the pedophile’s behavior, hence you comprehend why I think that lord Song was the recipient of the poem. I would like my readers to keep in their mind that the learned sir’s sijo was referring to a painful departure, the loss of a loved one and despair! The beholder could have the impression that the author was suicidal due to the mention of the well and the torment of the mind. Thus I am now assuming that the “mysterious lord Song” will consider the sijo as a farewell, the lord chose to commit suicide and his death was related to Jung In-Hun’s curtains. Why? It is because Heena wrote letters to her brother where she accused the main lead of killing the learned sir. Moreover, Yoon Seung-Won had definitely mistaken the painter for the learned sir.
(chapter 37) His position revealed that the main lead trusted the artist. It was, as if he was treating him like his wife.
(chapter 34), and shortly after the painter was sent to the tailor. But during that night, the pedophile and Yoon Seungho had missed each other due to Baek Na-Kyum. He was not dead. So when the painter received new clothes, it was the same for Yoon Seungho. Yet, the pedophile was gravely mistaken. Why? The sijo had been stolen, and as such it was never addressed to the pedophile. Furthermore, it is because the lord was suffering from memory loss. Moreover, I believe that the main lead is not aware of the true identity of his sexual abuser. In his mind, it is just lord Song. But this doesn’t end here.
(chapter 57) And who was behind this? Black Heart’s friend. But then it came to my mind that Black Heart had stolen the Spring poem… so he could have sent the paper to lord Song and the latter would have mistaken it as a letter from Yoon Seungho, the latter was reaching out to him. He was wishing him luck!! So imagine that when the man arrives in Jemulpo, he imagines that the main lead is waiting for him only to discover that Yoon Seungho vanished. He wished to die because of the loss of a loved one. And that’s how he will recall the poetry of the learned sir… the reflection of this night!!
, and why she had planned to leave the gibang that night!! She was aware of the arrival of “lord Song”. She knows how cruel and ruthless he can be.
(chapter 82)
(chapter 82) It is because he didn’t want to leave any evidence of his intervention. No one should notice that he had paid a visit to the patriarch either. His visit should remain a secret. He was actually afraid of getting detected. The reason is simple. He was fearing the person standing behind Yoon Seungho, lord Song. He had two reasons for this. First, he could see that Yoon Seungho was no longer treated like an animal or male kisaeng.
(chapter 67) Here, the lord had just insinuated that if something like that happened again, he would go to the authorities. However, since this threat was rather ambiguous, the patriarch Lee could only interpret it that way. The main lead would report the incident to the “mysterious lord Song”, alias the king. And father Lee knew that he could get into trouble. Furthermore, since these elders are all hypocrites and liars, there is no doubt that father Lee feared that the protagonist wouldn’t keep his words. That’s the reason why he approached the father. He hoped that Yoon Chang-Hyeon would intervene and impose his will onto his son. He would tame the main character. In other words, episode 82 is a reflection of chapter 4/5, 19/20/21, 67/68 and 77. The first common denominator is the allusion to letters. The messenger’s words revealed that Kim had contacted the elder Yoon, for he already knew his name, though the latter had never met the domestic. Secondly, the “letters” were delivered orally:
(chapter 82), and even in person: Father Lee and the emissary. Third, the elder Lee badmouthed Yoon Seungho by mentioning the incident from chapter 67, and refused the invitation of his host
(chapter 82). Finally, he called Baek Na-Kyum a peasant exactly like the main lead in front of the gate:
(chapter 82). But more important, the old bearded man expressed this fear: the loss of his family home!
(chapter 82) And remember that I had detected the presence of the Lees’ mansion in episode 4 and it was also present in chapter 21 and 67! And what had the butler done during these chapters? He had tried to chase away the painter and as such Yoon Seungho. The latter was not supposed to live in the Yoons’ domain. And this will be the Lees’ karma to be driven out of their own house!
(chapter 83) It vanished, and as such it was stolen. Did the mysterious lord Song take it away in order to force Yoon Seungho to paint? The older version of this scene:
(chapter 1) The paintings were illustrating that the pedophile was having sex with a minor.
(chapter 94) Yoon Seungho had two reasons to expect such an outcome. First, it was related to Yoon Seungho’s offer to Baek Na-Kyum.
(chapter 44) Secondly, Baek Na-Kyum had already showed to the main lead that he could leave him at any moment.
(chapter 85) Finally, what mattered to the artist the most was the lord’s love and trust.
(chapter 85) He believed in his affection while thinking that Yoon Seungho would keep his promises. But if there was a slight doubt about him, in Yoon Seungho’s mind, the painter would choose his noona over him, like he had experienced it in the study. To sum up, in the gibang, the lord was fearing the artist’s departure. Moreover, when the painter confessed his love to the noble, he was also leaving the scholar’s side. His path was no longer following the teacher’s. Thus when he said this
(chapter 94), he was actually biding farewell to Jung In-Hun. He was moving on. Finally, if you include these panels from chapter 94,
(chapter 99) In these two scenes, the painter got so hurt that he was bleeding. In addition, the painter’s hair was free. In front of Jung In-Hun’s house, the perpetrators had removed his headgear, while in the gibang, the white head-band was on the ground. To conclude, the painter’s short hair was visible. Don’t forget that the short hair was indicating that the artist was an orphan. So by removing the headgear for noblewomen, Min and the black guards made sure to expose that the victim was just a low-born without any family. But let’s return to our comparison. Min was wearing a similar hanbok than the noble in the gibang. Furthermore, the black guard resembles a lot to the aristocrat with the hunting outfit in the kisaeng house house. The painter’s white headband is now serving as a cover for masking the black guards’ identity. As you can see, due to these similarities, I came to the conclusion that this scene
(chapter 68). She let her brother hear the laughs from the younger masters. It looks like she is consoling her brother, yet she is not, for she is not embracing him. She is grabbing him by the shirt which reminded me of this gesture:
(chapter 65). Thus she gave more the impression of being righteous and truly concerned.
(chapter 44) However, there exists a difference between the painter and the lord’s association for beards in my opinion. The latter suffered due to old men wearing a long moustache beard with whiskers.
(chapter 82)
(chapter 83)
But there exists another style of moustache beard. 
Striking is that Kim is also wearing such a moustache beard.
(chapter 87) However, so far in the story, this type of moustache beard was only present among commoners and not nobles!!
(chapter 39)
(chapter 45)
(chapter 45)
(chapter 64)
(chapter 78) Hence I started suspecting if these two persons were truly nobles in the end.
(chapter 99) so that he had been mistaken for a young master.
(chapter 91). Therefore I came to the conclusion that the painter has repressed the link between the moustache beard and nobles. Since the noona kept saying nobles, what made Baek Na-Kyum shudder in the past were nobles. But the connection between the beard and nobility is existent in the painter’s subconscious. This explicates why Baek Na-Kyum would show such a respect to valet Kim, he would call him sir and listen to him.
(chapter 52) However, the more time passed on, the more the butler kept pointing out that he was just a servant, so that this moustache beard is losing its meaning, the symbol for power and nobility. At the same time, the painter met more and more people with beards, like for example the tailor
(chapter 74), the physician
(chapter 74), Bongyong
(chapter 78) and finally Yoon Chang-Hyeon
(chapter 87). However, note that when the patriarch left, the main character only paid attention to his gaze and not his beard.
(chapter 87) This explicates why Baek Na-Kyum is not mentioning the beard concerning nobility, while Yoon Seungho never made the connection between the old bearded men and Kim, though the latter has now a moustache beard! To conclude, I don’t think that this physical assault
(chapter 99). That’s the reason why I came to the following theory. These persons wounded the painter on purpose and in my eyes, it was suggested by Heena.
(chapter 13), the maid (though not intended)
(chapter 36, here the painter is drugged against his will), Deok-Jae
, Nameless,
(chapter 60), Kim
(chapter 66) [As you already know, for me Kim was the one who tried to kill the painter during the abduction], Bongyong
(chapter 78), the calligrapher with his insults
(chapter 91), the maids with their reproaches
(chapter 91)
(chapter 98) and the black guards from Min.
(chapter 46) This was the “positive” reflection of this scene:
(chapter 46) Moreover, I am now doubting that Baek Na-Kyum and Heena were seen in front of the gibang.
(chapter 69)
(chapter 64) This would explain why she never looked for her brother afterwards. This shows that unconsciously, the painter had judged her betrayal and abandonment correctly, but he had been deceived by her argumentation and attitude. In other words, he was in denial.
(chapter 87) So in this scene,
(chapter 68), Baek Na-Kyum had the impression that she was telling the truth. It looked like she was a victim of violence, while in reality, Yoon Seungho was the real victim. He got dragged and tied up! Today, I just discovered another evidence for this interpretation!
(chapter 68) The blue skirt is revealing her presence. She is next to the door and observe that there is a table to her right!! Exactly like in chapter 94!
(chapter 95) But there exist two other evidences why Heena is associated to the kitchen. Remember the painter’s thoughts in the inn:
(chapter 75) They let see that he was thinking of Heena, though he spoke of his noonas. However, the presence of religion was introduced with food.
(chapter 75) This truly exposes that Heena preferred working in the kitchen. That way, she could avoid sex with the clients. Another interesting aspect is that when she was sitting at the table with nobles, she was not talking to her neighbors.
. (chapter 93) She was not even serving the noble next to her.
(chapter 93) Once again, she was passive and immobile. Since she was doing nothing, she could hear her brother’s name and turn her head.
(chapter 46) This was reflecting his past relationship with Heena. And now, you comprehend why Heena never paid attention to the painter’s education. She had not the time and the motivation to do so. She was busy in the kitchen during the evening and night, yet keep in mind that the painter was her excuse to keep her distance from the nobles in the beginning. This explicates why Yoon Seungho crashed the table in the gibang:
(chapter 99) This was Heena’s karma. She could no longer use the table as an excuse to betray and abandon a young boy. Moreover, we could see this gesture as a compensation for the past incident.
. (chapter 47). That’s the reason why I am connecting the kisaeng to the food. And I had already demonstrated that there exists a link between the gibang and the lord’s kitchen.
(chapter 60) And now, we know for sure that the chicken blood was used to stage the crime scene in the scholar’s house.
(chapter 101) For me, Nameless was behind this prank. It sounded so harmless, but the reality is totally different. Consequently, Heena can become the prime suspect in the scholar’s disappearance. Remember that according to me, Yoon Seung-Won went to the gibang after leaving his brother’s mansion and discovered that he had been deceived. For me, there is no ambiguity that Yoon Seung-Won and lord Song are behind the learned sir’s murder, for both had a huge interest for his vanishing. But in my eyes, Heena is the link between the nobles, lord Song and No-Name, because the kisaeng house is frequented by all kind of people. I have already mentioned that the learned sir must have gone to the kisaeng house after meeting the fake servant.
(chapter 83) Then I had already demonstrated that the kisaeng had already visited the mansion, for she knew where the painter’s room was.
(chapter 65) So she could have worked in the kitchen… helping the other maids. To conclude, the kisaeng had committed the following wrongdoings. She had manipulated her brother with a mixture of belief and prejudices to cover up her own fears and wrongdoings. While in chapter 94, she stopped the painter from leaving the room unconsciously, it was no longer the case with Yoon Seungho, as she was standing in front of the door.
(chapter 68) For her, sex had become a synonym for torture and death. Her wrong choices reinforced her fears about sex in my eyes. Every time, she decided not to face the truth, she preferred being blind. Thus the goddess chose to punish her by letting her deceived by impressions.
(chapter 66) Here, she couldn’t help her brother, though the “sequestration” was nothing compared to what Yoon Seungho had experienced at such a young age. She had deceived her brother in the past, and now she was put in the same position. She was the fool one. In addition, she was forced to be confronted with reality, because she needed to admit her wrongdoings. Since she was behind this assault
. (chapter 96) She even got sequestered herself.
.(chapter 102) She is a Christian, hence she could be accused of sacrilege too. In my eyes, Heena will never be able to bid farewell to her brother again. His words in the mansion will become a reality.
(chapter 69) As you can see, I am detecting a progression in her wrongdoings. She is getting more and more involved, though there is no ambiguity that she was deceived herself in season 3. But this doesn’t excuse her crimes, for she refused to listen to her brother and called him an idiot. At no moment, she pondered on the situation. Her decisions were strongly influenced by her emotions (fear, anger and hatred). That’s the reason why I am convinced that if she is not dead (my theory), her attitude towards her brother will worsen to the point that she will call her brother a bird of misfortune!
(chapter 68) Remember her metaphor concerning the gibang, it was viewed as a nest. She was already comparing her brother to a bird.
(chapter 01)
(chapter 97) Fake concern versus anger and resent 

The painter’s mouth is wide open. This implies that the painter is laughing! In other words, these pictures are showing a happy Baek Na-Kyum. The laughter is not just a symbol for joy, but also an indicator for social bonding, cooperation and as such social acceptance. Note that in all these scenes, the painter is not laughing alone. He is either facing his lover and the “witnesses” of his marriage.
(chapter 87) Naturally, this vision reflected the past due to the presence of the noonas. But if you read my previous analysis, you are aware that the painter’s nocturne visions are always composed of three elements: memory, nightmare and desires which will come true at some point. The readers will certainly recall the painter’s wish in the bedchamber:
(chapter 81) However, here again, this was not real, for he was imagining it. He had restrained himself, for he felt that his actual life was like an illusion. It was too good to be true. Thus I conclude that in both visions, the painter wished to laugh and as such to be happy. And this observation led me to the following deduction. In season 4, the manhwalovers will witness Baek Na-Kyum’s laughter. But this doesn’t end here. All the quoted pictures share another similarity which is the absence of the sound!! There is no HA, HA, HA…. Thus I deduce that in season 4, the readers will even hear Baek Na-Kyum’s laugh!! 🤣
(chapter 1). His mouth was exposing his emotions: happiness. It was, as if he was laughing internally out of joy. Then in the pavilion, the author let us hear Yoon Seungho’s laugh, while we couldn’t see his face.
(chapter 25) As you can see, Yoon Seungho was not truly seen “laughing”. This is what we saw right after:
(chapter 25) Either the sound was missing, or the readers couldn’t see his open mouth. Then in chapter 51, Byeonduck created an ambiguous situation.
(chapter 51) Who was laughing here? The main lead or Min recognizable with his green hanbok? This confusion was deliberate. It was to give the impression that the lord had moved on, he was not missing his partner. This image served to divulge the reality: this happiness was fake. Another interesting aspect is that we couldn’t see the lord’s mouth, for it was too far away. It was more or less drawn from the painter’s perspective who was walking in the courtyard.
(chapter 51) The purpose of this trick was to deceive the painter, Yoon Seungho would no longer care for him. However, this trick didn’t work out like imagined due to the maid’s words. She wished that he would remain in the mansion. But let’s return our attention to the laugher in this panel. I would even add that there was no real social bounding, for Black Heart was enjoying about Yoon Seungho’s misery and loss. He believed that the painter had died. And if it was Yoon Seungho who laughed, then this was to mask his pain. Then in chapter 70, he was caught laughing. And observe that the author separated the sound from the face:
(chapter 70) Yoon Seungho would even hide his face from the painter, as he was looking down. His laugh was barely perceptible, and when the author revealed his face, Yoon Seungho used his hand to mask his smile.
(chapter 70) It was, as if Yoon Seungho was not allowed to smile or to laugh at all. I would even go so far to say that laughers were actually forbidden in the mansion. Striking is that in season 3, for the first time, we could see and hear the lord’s laughter contrary to season 1 and 2..
(chapter 78) This illustrates the progression of the lord’s healing. He was getting happier, and he would interact more and more with people. Yet, in this scene, the lord’s laughter was not loud contrary to the one in the pavilion. Then in the gibang, his laugh was also fake, for he was masking his pain.
(chapter 93) Thus the author didn’t let us see his mouth once again. But the painter could see the difference between a sincere laughter and a fake one, as he had already heard and see the lord’s true laugher! Because the lord laughed in all 3 seasons, I could only assume the painter’s laughing in season 4. But I have another proof for this prediction. In season 3, the painter’s laughter was shown in visions (chapter 81, 87) or through the testimony of the maid.
(chapter 91) As a conclusion, expect a picture with Baek Na-Kyum ‘s laughter reflecting his happiness and sincerity. And this is definitely related to his marriage: 
(chapter 102) There is no HAHA, this shows that this situation is not funny. Yet, Black Heart is still smiling, he is even explaining that they were just playing. However, this smile is totally fake, for he is already scared. Hence he is stuttering. Moreover, he is trying to downplay the whole situation, as he describes it as a game. But the closer Yoon Seungho got to him, the more the villain got scared.
(chapter 102) On the other hand, Black Heart’s mouth remained wide open, but it slowly exposed his true emotions. As the manhwalovers can detect, the sound “Haa,” is not expressing joy or happiness, but huge anxieties. Thus I couldn’t help myself thinking that in season 4, the painter’s laughter will be reflected with the heavy breathing from fear and pain. Someone will have a mouth wide open out of fear!! And this connection was already present in chapter 1:
(chapter 1) Baek Na-Kyum and Yoon Seungho had both flashbacks
(chapter 66), while Min was smiling. He was internally laughing, for it found it entertaining. [For more read the essay HAHA Flashbacks”] And this fear was exposed by the sound: HAA
(chapter 99) But this doesn’t end here.
(chapter 84), but in the gibang, he dropped this habit for good:
(chapter 96) This connection between pain, pleasure and laughter appeared in chapter 91, as the story is based on the following rule: there is always a reflection within the same episode. I would like the manhwaphiles to observe this image:
(chapter 91) Here, the lord had changed position provoking pleasure to the artist. Before, the maid had laughed so loudly in order to get the painter’s attention.
(chapter 91) According to my interpretation, she hoped that Baek Na-Kyum would discover the existence of the kisaeng’s letters so that the painter would feel betrayed by Yoon Seungho. He had ordered to hide the correspondence. But for that, she needed to explain the reason for her loud laughter. Hence she revealed the incident with the pervert. The irony is that due to his pleasure and embarrassment, Baek Na-Kyum didn’t pay attention to her words. He already felt ashamed, after the servant had exposed the situation in the bathroom.
(chapter 91) Thus he avoided his lover’s gaze. And note that in chapter 25, the lord laughed, before he raped the painter. 
(chapter 37) and the one from Dong-Yi. The absence of the sound. Moreover, the manhwalovers can not see the mouths from the victims either. The torture was already finished, for they had removed the tools and the „suspects“ were covered with blood. And this leads me to the following observation. The author selected a perspective from far away, and didn’t add the sound on purpose. This shows that the pedophile was not present, when the torture took place. He only arrived afterwards. This exposes his cowardice. Secondly, since I had outlined that the author had separated the sound (HA HA) from the lord’s mouth concerning the laughter, I am quite certain that she will use a similar processes for the torture. Naturally, I am also assuming that torture from the past could be slowly revealed. Consequently, my prediction is that the negative reflection of the painter’s laughter will be the yelling combined with fear and pain. This signifies that people will suffer in season 4 and probably die. Another evidence for this prediction is that the author often focused on the characters’ mouth. And this is what we have:
(chapter 77)
(chapter 86)
(chapter 99) Despite the “torture”, he still claimed that Yoon Seungho was no murderer. Thus I conclude that in the next season, it should be the reverse. Yoon Seungho has to make a new leap of faith believing in the painter’s innocence and purity. Hence I am expecting an arrest in season 4. Finally, we shouldn’t overlook that each word Yoon Seungho said became the truth, so when he stated this
(chapter 65), he was already warning the sister. She could face human justice. However, this idiom suddenly caught my attention: “the wrath of humans”. It can be a reference to the authorities, but also to the inhabitants. The latter could get infuriated by the police work and put the officers under pressure or in the worst case, the inhabitants could decide to do their own justice: lynch mob. According to me, many commoners died in season 3. Hence this could upset the town folks who would ask for real justice. And if Yoon Seungho’s fiancée is acknowledged by them, then it will be impossible for the pedophile to use the authorities to achieve his goal, separate the couple and hide his own crimes. Thus his last puppets will have to take the fall. Another important aspect is that when Yoon Seungho warned the kisaeng, Kim was also present, though he still remained in the background.
(chapter 68)
On the other hand, when these persons got tortured, they closed their eyes out of agony, 


