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

When Protection changes Hands

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

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

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

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

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

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

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

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

The First Protection: Kim Dan Must Protect Himself

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

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

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

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

The Joker Card and the Cellphone

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

When the Queen Protects the Champion

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

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

Speech Over Force

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Book and the Question of Time

The Gift as Emotional Infrastructure

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

Linguistic Shadows: Love, Stay, and Rest

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

The Portable Home: Love as a Protective Sanctuary

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

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

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

Temporal Sabotage: Choosing Care Over Spectacle

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

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

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

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

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

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

The Damaged Poster, the Interview and the Wrong Audience

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

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

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

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

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

The message then becomes sharper.

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

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

And this is where an important reversal emerges.

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

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

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

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

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

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

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

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

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

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

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

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

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

Exit Scene: Stay and Leave

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

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

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

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

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

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

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

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

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

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

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

Conclusion: Mutual Protection

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

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

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

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

In the final part, I wrote:

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

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

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

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

Repetition without revision

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The False Brotherhood and Its Collapse

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

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

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

The Institutional Guise of Care

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

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

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

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

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

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

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

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

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

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

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

The Dissonance of Misrecognition

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

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

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

The Collapse of Mediation

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

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

Conclusion: Presence as Choice

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

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

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

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

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

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

The Champion: A Giant?

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

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

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

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

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

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

The Making of the Giant of Paper

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Laughter That Rewrites a Life

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

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

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

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

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

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

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

The past becomes its primary terrain.

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

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

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

And yet, this reconstruction is unstable.

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

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

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

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

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

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

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

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

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

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

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

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

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

The Echo of Laughter: When Others Begin to See

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

The Bad Coach and his Dump Gym

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

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

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

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

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

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

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

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

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

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

The Grandmother’s Hero

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

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

The Collapse of the “Best Effort” Myth

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

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

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

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

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

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

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

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

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

Taking Strength for Granted

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

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

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

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

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

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

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

It displays her own shortcomings as well.

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

The Hesitation of the Heart

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

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

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

The Hamster, The Stone and The Giant

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

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

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

The Two Triangles: A Structure That Must Be Chosen

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

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

The injured hand alters this balance. (chapter 96)

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

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

Now, this role shifts.

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

David Against the Giant

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

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

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

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

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

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

From Laughter to Meaning

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

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

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

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

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

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

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

The End of the Circle, The Beginning of Another

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

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

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

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

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

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

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

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

SMACK

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

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

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

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

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

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

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

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

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

Absence Before Intrusion

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Presence As A Barrier

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

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

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

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

But is that what the scene actually shows?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Conductors of Dissonance

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

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

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

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

From Buffers to Conduits

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

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

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

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

The scene, therefore, operates on two levels.

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

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

Resistance and Distortion

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

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

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

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

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

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

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

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

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

The Architecture of Friction

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

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

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

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

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

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

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

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

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

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

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

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

Speech, Gaze, and the Burden Shift

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Static Presence

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Functional Distance

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

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

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

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

The Walk As Deferred Synchrony

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This is what intensifies the tension.

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

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

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

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

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

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

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

Jinx: The Unseen 🖼️ Game of Life 🛝

In my previous essay, I ended with the observation that the photograph with the dogs (chapter 94) was not simply a charming childhood image. It already contained the traces of loss, even if Joo Jaekyung did not recognize it as such. What appeared to him as innocence and warmth concealed a reality that remained invisible to him. This is where I want to begin.

If we look more closely at these images, we realize that they do not merely show fragments of Kim Dan’s childhood. (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.

In Jinx, there is one game that immediately comes to mind: Monopoly. (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.

And what makes this dynamic even more revealing is the way each of them reacted to that loss. One responds with anger, denouncing “highway robbery,” refusing to accept defeat. The other remains seated and resigned: (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.

If we keep this in mind, we can sense the same logic in episode 94 again. It is already suggested by the way Kim Dan compliments the champion and views himself. When he admits, (chapter 94), he positions himself outside the logic of confrontation. He recognizes his lack of determination in the conventional sense. And yet, this does not place him outside the game. On the contrary, it reveals another mode of participation. His strength lies not in resistance, but in endurance, patience, and continuity.

This is where the structure becomes more complex. Because the same logic persists — only in a different form. This time, the game no longer takes place on a board. Instead of properties and rent, we are given photographs of a childhood (chapter 94). At first glance, they seem harmless. There is no visible competition, no immediate conflict, no explicit rules. What we see are moments of play: a child with a dog, a child offering a daisy, a child moving freely within his environment. These gestures suggest connection, spontaneity, and joy. They belong to a childhood experienced as something open and shared.

And yet, this is precisely what makes the scene deceptive. (chapter 94) Because if Monopoly makes loss visible, these images conceal it. What appears as play is already embedded in time, transformation, and conditions that remain outside the frame. The child is not competing, but he is not outside the system either. The game has not disappeared. It has become less visible.

This is why the photographs cannot be read as simple memories. (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.

And this immediately raises a question. How many pictures are actually shown in this scene? Most readers would answer: four. (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.

The images are not arranged randomly. They suggest a sequence. If we pay attention to clothing, landscape, and atmosphere, a pattern begins to emerge: spring, summer, autumn, winter. Childhood is not presented as a fixed and single moment, but as a cycle unfolding over time. This is where The Unseen Game of Life becomes visible.

The game is no longer limited to possession or victory. It unfolds through time, through what is shown and what is hidden, through what is remembered and what is ignored. It shapes not only outcomes, but experiences. It determines what kind of childhood is lived — and what remains invisible, even when it is right in front of us.

And this is where Joo Jaekyung’s position becomes revealing. He understands perfectly how to play Monopoly — not only within the game (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.

This is why the game remains unseen.

Reconstructing a Childhood

If the photographs in episode 94 function like pieces of a puzzle, then the first step is not to interpret them immediately, but to examine them carefully. What do they show, and in what order should they be read? A closer look reveals that these are not static portraits, but carefully selected glimpses of Kim Dan’s childhood, each marked by a distinct posture, season, and emotional tone.

A closer look reveals that these are not static portraits, but carefully selected glimpses of Kim Dan’s childhood, each marked by a distinct posture, season, and emotional tone. (chapter 94) At first glance, these images appear simple. They are structured around play, companionship, and small gestures of joy: a child holding a puppy, offering a daisy, moving freely through his environment. In this sense, they seem to confirm what we might expect from childhood. Life appears light, open, and shared.

It is precisely this impression that makes Kim Dan’s confession on the beach so revealing. When he tells Joo Jaekyung that he has been working diligently since childhood (chapter 94), he constructs a clear contrast between them. The champion appears as someone shaped by effort from an early age, while he implicitly presents himself as someone who did not follow the same path. The statement suggests that determination belongs to one, and not to the other. This formulation echoes the logic we have already seen in Monopoly (chapter 80) In that game, positions are unequal from the very beginning. One player accumulates, the other is gradually dispossessed. What matters is not only the outcome, but the way each player responds to it. One resists, protests, and refuses defeat. The other accepts the loss and remains seated. Over time, this difference becomes internalized. The rules of the game are no longer questioned. They are absorbed.

This is precisely what happens in Kim Dan’s confession. He does not simply describe a difference. He accepts it as natural. He interprets Joo Jaekyung’s strength as something inherent, while reducing his own past to a lack. In doing so, he unknowingly adopts the logic of the game itself: one rises, the other yields.

And yet, this is where the photographs introduce a rupture. Because the child they show is not yet playing by these rules. One detail emerges with striking consistency: Kim Dan is always at the center of the image. (chapter 94) The photographs are not landscapes, nor are they focused on objects or environments. They are structured around him. He is the one being held, the one running, the one interacting, the one offering the flower. The gaze that frames these images is directed toward him. This has concrete implications. The child we see is not neglected. He is well dressed. His clothes are clean, varied, and appropriate to the seasons. He is also well fed. As his grandmother later remarks, he had a “hearty appetite as a kid” (chapter 94). These are not insignificant details. They indicate that, at this stage, his basic needs were met. He was cared for.

This stands in sharp contrast to his present situation. When Joo Jaekyung observes Kim Dan’s living conditions, he notices the absence of clothing (chapter 80). The wardrobe is nearly empty. The implication is immediate: Kim Dan does not spend money on himself. This observation is confirmed by his own behavior. He uses his savings for others. He pays for his grandmother’s needs (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.

The contrast is therefore unmistakable. In the photographs, Kim Dan is the center of care. In the present, he has become the one who provides it. This inversion is crucial for understanding the structure of his life. The child who was once supported, fed, and dressed by others now assumes that role himself. Care has not disappeared. It has been reversed. This is what Kim Dan’s confession fails to recognize. (chapter 94) His statement on the beach creates the illusion that Joo Jaekyung alone was shaped by discipline and hardship, while he himself remained outside that logic. But the photographs reveal a different truth. They do not show a child who lacked strength. They show a child who had not yet been forced to transform strength into sacrifice. He was not yet responsible. He was not yet the one who gave. He was the one who received.

That is why these images matter so much. They do not simply preserve moments of happiness. They document a time before the rules of the game fully took hold of him. They reveal that Kim Dan’s later endurance did not emerge from a lack of determination, but from the reversal of a position he once occupied. What he now mistakes for weakness is, in fact, the trace of a childhood that was interrupted.

And yet, this is only one part of the story. If we read these images more carefully, a different structure begins to emerge.

The bodily positions already tell us something important. In one image, Kim Dan is held in his grandmother’s arms. (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 field, he stands on his own two feet and extends a daisy toward the person behind the camera. (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) And in the photograph mentioned by Joo Jaekyung, he is seated on his grandmother’s lap among hydrangeas. (chapter 94) These positions are not accidental. They show a child who is allowed to inhabit many different states: dependence, stillness, affection, upright autonomy, movement. He is not fixed in one role. He is carried, he holds, he stands, he runs, he rests. Before we even interpret the backgrounds, the body already suggests a childhood marked by freedom.

This impression is reinforced by the objects that accompany him. In the image with the daisy, the flower is not simply part of the setting. It is held out toward the photographer. (chapter 94) The daisy, a simple wildflower, is traditionally associated with innocence, sincerity, and unfiltered joy. Unlike cultivated flowers, it grows freely, without constraint. By offering it, Kim Dan does not only interact with the person behind the camera, he shares something that belongs to his world. The gesture suggests trust, openness, and a spontaneous desire to connect.

A similar dynamic can be observed in the photograph with the puppy and the dog. (chapter 94) Animals, especially young ones, are often used to symbolize vulnerability, affection, and instinctive attachment. The puppy in his arms mirrors the child himself: small, fragile, and in need of care. At the same time, the presence of the adult dog introduces a second layer, that of protection and loyalty. Kim Dan is not alone in this image. He is part of a small relational world built on closeness and mutual dependence.

These elements are not incidental. They reinforce the impression that this is a childhood shaped not only by movement and freedom, but also by affection. The daisy, the puppy, and even the way these moments are framed suggest that the child is seen through a gentle and attentive gaze. They let transpire that he was loved. In other words, they actually prove my theory about his parents: he was raised by loving and caring parents. Hence he is placed in the center of the photography. But there exists another evidence for this interpretation: Joo Jaekyung’s lack of photos suggests he was never “beheld” with that same gentle gaze. If Dan was raised in a “natural cycle” (seasons, animals), Jaekyung was raised in an “industrial cycle” (results, training, utility). (chapter 94) Hence his only picture in his childhood is linked to a tournament and boxing.

This freedom becomes even clearer once the photographs are arranged in seasonal order. (chapter 94) The baby picture most likely belongs to early spring. The adults around him wear light jackets and scarves, which suggests cold but transitional weather rather than deep winter. Since Kim Dan was born on December 26th, this scene can plausibly be placed only a few months later. The woman on the far left wears a floral sleeve beneath a dark cardigan, a detail that subtly reinforces the idea of seasonal transition. Spring, then, is not only the season of beginnings. It is also the season in which Kim Dan first appears within a circle of adults, still dependent, still held, and still emotionally tied to others.

The image with the daisy comes later. (chapter 94) Here Kim Dan is dressed lightly, standing in an open field and offering the flower toward the photographer. The flower itself matters. Daisies belong to late spring or early summer, but they also symbolize simplicity, innocence, and spontaneous joy. Unlike a cultivated bouquet, a daisy is modest and wild. Kim Dan does not merely hold it for himself. He presents it. This gesture suggests trust, openness, and delight in shared attention. It is an image of a child for whom the world is still something to be explored and offered, not defended against.

The hydrangea photograph mentioned by Joo Jaekyung provides the clearest seasonal anchor. Kim Dan is wearing shorts and a short-sleeved T-shirt, and the hydrangeas behind him are in full bloom. (chapter 94) This places the image firmly in summer. Yet what matters here is not only the season, but the atmosphere. In contrast to the daisy picture, where he stands independently and reaches outward, he is now seated on his grandmother’s lap. Summer here does not simply symbolize expansion, but also fullness and protection. It is a moment of warmth, abundance, and secure intimacy. If spring marks origin and the daisy image marks early openness, the hydrangea scene represents the height of childhood ease but also its imminent ending.

The dog picture introduces a different mood. (chapter 94) Kim Dan is no longer in an open field, but in a structured outdoor hallway. Around him we can identify a trolley, a watering can, large containers, and in the background a large chimney. There is also a patterned door with birds and flowers, which echoes the decorative logic of the later cabinet without being the same object. These details suggest a hybrid environment where living and working coexist. His clothes are warmer than in the summer pictures, which indicates a drop in temperature. This does not allow us to assign the season with total certainty, but the heavier clothing, the functional setting, and the disappearance of open flowering landscapes point more convincingly toward late summer or early autumn. Symbolically, this matters. Autumn is the season of transition, upkeep, and preparation. The carefree openness of earlier pictures begins to recede. At the same time, this image introduces class more clearly than the others. The child still appears affectionate and gentle, but the world around him is already marked by labor, maintenance, and material necessity.

Finally, the hidden image completes the cycle. (chapter 94) Only fragments are visible: one foot in motion, a fence, a pale surface that resembles snow, and what looks like a hill in the background. Since only one foot is shown, the child must be running. This is not a posed portrait but a captured instant. The suggestion of snow or frost, together with the more closed landscape, points toward winter or perhaps late fall. The symbolism here is different from the others. Winter is not simply the season of hardship. In this sequence, it is the season of movement, exposure, and unfolding time. The child is no longer merely being shown. He is already in motion. This is not without significance. Kim Dan was born on December 26th, at the very beginning of winter. In this context, winter does not represent an end, but a point of origin. It marks a beginning that unfolds under conditions of cold and vulnerability, but also one that requires inner warmth and resilience. Rather than opposing warmth, winter redefines it. Since winter is his birth season and his “running” season, it suggests that Dan’s natural state is one of internal resilience. He is a “winter child”—he doesn’t need the sun to thrive; he generates his own warmth. This explains why he could survive next to Jaekyung’s distance. It is no longer given by the environment, but must be created and preserved. In this sense, winter becomes the season in which growth takes place in a less visible, more internal way.

Taken together, these images form a full cycle: spring with the baby in arms, late spring or early summer with the daisy, summer with the hydrangeas, late summer or early autumn with the puppy, and winter with the running child. The author does not show only growth, but a childhood unfolding through the seasons. This is not insignificant. Seasons imply rhythm, continuity, and immersion in a living world. Kim Dan’s childhood is therefore associated not with institutional milestones, but with natural time. That already tells us something about the kind of child he was and the kind of life he came from.

The symbolism of the clothes strengthens this reading. As a baby, he wears clothes patterned with little sweets (chapter 94), an image of softness and indulgence, as if childhood were still associated with comfort and delight. Later, he appears in a shirt with a duck, another gentle and playful motif. (chapter 94) These patterns are not random. They connect him to a childlike world of animals, tenderness, and whimsy. They suggest that he was once seen and dressed as a child who could be cute, soft, and playful. This matters all the more because, later in life, that softness will be reinterpreted as weakness.

Another recurring feature deserves attention. What matters is not whether Kim Dan’s eyes are open or closed, but how he relates to the presence behind the camera (chapter 94). In several photographs, he appears visibly aware of that presence. (chapter 94) In the image with the daisy, for instance, his eyes are closed, yet his gesture and expression clearly indicate engagement. He is blushing, smiling, and extending the flower outward. This is not withdrawal, but a form of shy openness. The gesture only makes sense if someone is there to receive it. The photograph captures an interaction. The child responds to the observer, and the observer is implicitly included in the scene.

A similar attentiveness can be sensed in other images, where his gaze is directed outward, alert and receptive. In these moments, Kim Dan appears fully present to the world and to the person who is looking at him. The photographs do not merely record him. They suggest a relationship with the photographer.

By contrast, the hydrangea photograph introduces a shift. (chapter 94) Here, Kim Dan is seated on his grandmother’s lap, and the composition is entirely centered on the two figures. There is no outward gesture, no attempt to reach beyond the frame. The scene is closed. The person behind the camera is no longer included in the same way, but remains outside, observing. The child is no longer interacting with that presence, but contained within a relationship that is already defined.

This does not diminish the warmth of the image, but it alters its structure. What was previously a shared moment becomes a framed intimacy. The child is no longer primarily engaged with the world around him, but situated within it. The difference is subtle, yet decisive. The closing of the frame mirrors the closing of his world; the open fields of the daisy photo (chapter 94) are replaced by the protective, yet narrow, lap of his grandmother. This picture announces Kim Dan’s imminent loss of innocence due to his parents’ vanishing.

This is what the photographs finally show about Kim Dan. He is presented as a child of openness rather than control, of movement rather than discipline, of relation rather than domination. He belongs to fields, flowers, animals, changing seasons, and spaces where work and life overlap. In other words, he embodies nature. He can be held, he can hold, he can stand, he can run. He is not yet trapped in one function. At the same time, the backgrounds complicate the apparent innocence of these scenes. The dog picture in particular reveals that this freedom existed within a modest environment already touched by labor and transformation. Kim Dan’s childhood, then, cannot be reduced either to pure happiness or to pure suffering. It appears instead as a life suspended between warmth and fragility, between natural abundance and quiet precarity.

This is precisely why these images matter so much. They do not simply preserve a past. They reveal a child who was still able to inhabit the world freely, even though the conditions of that freedom were already beginning to change. And that is where the unseen game starts to take shape.

A Changing Landscape

If the photographs (chapter 94) are read not only as personal memories, but as traces of a lived environment, they begin to reveal something more than childhood itself. They point toward the world in which that childhood was embedded.

The image with the dog and the puppy is particularly revealing (chapter 94). The setting is neither purely domestic nor entirely natural. It is a transitional space. The presence of a trolley, a watering can, and large containers suggests a place where living and working coexist. This is not a leisure environment. It is a space of small-scale labor.

At the same time, the child is not working. He is sitting, holding the puppy, fully absorbed in play. This contrast is decisive. It shows that his childhood unfolds within a world already shaped by work, but in which he himself is not yet subjected to it. This allows us to situate the family within a specific social context.

The environment suggests a modest, possibly semi-rural or peri-urban setting, where economic activity is directly tied to nature. The recurring presence of flowers, plants, and open spaces supports the idea that the family may have been involved in a form of small-scale production, such as flower cultivation or local trade. (chapter 94) The fact that Shin Okja later mentions taking him to the market reinforces this connection. The child is not isolated. He is part of a network of everyday economic life. This also explains why he is entrusted to her.

If the parents were working, possibly outside the immediate household or within demanding conditions, the grandmother’s role as caretaker becomes necessary. (chapter 47) Her presence does not replace the parents. It supplements a structure already under pressure.

This pressure becomes more visible when we contrast these images with the later urban landscape. (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.

To understand the “Unseen Game,” we must look beyond the frame of the photographs and into the historical shadow of the 1997 South Korean financial crisis. This was the moment the “Monopoly board” of the nation was violently reset. Triggered by a toxic cocktail of corporate debt, speculative volatility, and the sudden flight of foreign capital, the crisis forced the country into a brutal era of IMF-supervised restructuring.

For families like Kim Dan’s, this wasn’t just a headline—it was an earthquake. Property values didn’t just “fluctuate”; they collapsed. Debts became predatory. The “small-scale livelihoods” we see in the photographs—the gardening tools, the modest outdoor hallway, the flowers—were the exact type of “informal” or “traditional” economies that were liquidated to satisfy the demands of global capital. (chapter 94)

This is where the connection to Monopoly becomes more than metaphorical. The logic of the game — acquisition, accumulation, rising costs, and eventual dispossession — reflects the mechanisms at work in such transformations. Small-scale environments are gradually replaced by larger structures. (chapter 27) Those who cannot keep up with increasing economic pressure are displaced. Seen from this perspective, Kim Dan’s childhood does not only precede a personal rupture. It is situated within a world that is already undergoing structural change.

This also sheds light on his later relationship to money. And what did the physical therapist suggest back then, when the star was on the verge of bankruptcy? He could take a loan… that’s how the parents’ misery started. But there’s more to it. (chapter 42) As an adult, Kim Dan does not accumulate. He spends what he has on others. He supports his grandmother, pays for her needs, and later repeats this pattern with Joo Jaekyung. He does not invest in himself. He does not secure his own position. This behavior is not simply a matter of personality. It reflects a life shaped by instability, where resources are used for survival rather than growth. In this sense, his position within the “game” is already determined before he becomes aware of it. He does not enter it as an equal player. He enters it from a position marked by loss, adaptation, and necessity.

And this is what the photographs ultimately reveal.

They do not show a world that was stable and later broken. They show a world that was already fragile, already exposed to forces that would eventually transform it. What appears as a peaceful childhood is, in reality, a moment suspended between continuity and disappearance.

This context also allows us to comprehend the gap between the two main leads.

Kim Dan, who is three years older and approaching thirty, experienced the immediate impact of the 1997 financial crisis during his early childhood. He lived through a period of instability, displacement, and economic pressure without fully understanding its causes. The transformation of his environment, the loss of his family structure, and the increasing precarity of everyday life formed the background of his development.

Joo Jaekyung, by contrast, belongs to a slightly later moment. When he was a child, the crisis had already reshaped the social landscape. Its consequences were no longer unfolding, but had become part of a normalized reality. This is reflected in Hwang Byungchul’s description of his neighborhood
Joo Jaekyung grows up in its aftermath.(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.

The Same Image, a Different Truth — Memory, Loss, and Reinterpretation

If the first set of photographs suggests a childhood shaped by freedom and affection, the images (chapter 94) involving the grandmother (chapter 94) introduce a more complex and unsettling dimension. At first glance, they appear similar. In both cases, Kim Dan is held close, framed within a moment of intimacy. The composition seems almost identical. And yet, a closer reading reveals a fundamental divergence.

In the image of Kim Dan as a baby, one detail cannot be ignored: his expression. (chapter 94) His eyes are wide, his gaze tense with tears, his mouth covered with his hand. He is not calm. He is not smiling. He has been crying. This raises an unavoidable question. Why?

If we take the image seriously, the tears cannot be dismissed as a trivial detail. They contradict the idea of a peaceful, happy moment. Instead, they suggest distress, discomfort, or even rupture. Such a reaction is not unusual. Infants often display what developmental psychology describes as stranger anxiety, a phase in which unfamiliar environments or faces provoke fear or distress. But in this context, the reaction points toward something more specific. Because this form of distress is not neutral. It implies the absence of a familiar figure. The child does not simply react to strangers; he reacts because the person to whom he is attached is no longer present.

In this sense, the image does not only show fear. It outlines a strong connection to the mother — a bond that is being disrupted at the very moment the photograph is taken. The child is no longer with his mother. He has been handed over, entrusted to Shin Okja. The presence of other women reinforces this reading. This is not an intimate, private scene. It is social, almost public. In this sense, the photograph does not simply show affection. It records a transition.

This reading becomes even more significant when we consider that Shin Okja refers to the “good old days” while looking at this very image. (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.

This is where the contrast with the later hydrangea image (chapter 19) becomes particularly revealing. In the first photograph, the women from the market are visibly present. (chapter 94) The moment is shared, exposed, embedded in a social environment. By contrast, in the hydrangea image, these figures have disappeared. They are replaced by flowers. What was once a public scene becomes a private one. At first glance, this shift may appear to enhance intimacy. The child is now alone with his grandmother, surrounded by blooming hydrangeas. The composition is softer, more harmonious, more contained. And yet, this transformation raises a question. What has been removed, and why?

What disappears is not only the social environment, but the structure that defined the earlier image. In the first photograph, the presence of the women from the market situates the scene within a moment of transition that is witnessed and shared. (chapter 94) The child’s tears unfold within this exposed space, and his reaction is oriented toward a presence beyond the frame.

In the hydrangea image, this structure has changed entirely. The scene is no longer oriented outward. The composition is closed, centered, and self-contained. The gaze that once participated in the moment is no longer included. This is not a simple shift toward intimacy. It is the consequence of a rupture. (chapter 94)

The hydrangeas do not merely decorate the scene. They occupy the space left by what has disappeared. Traditionally associated with apology, regret, and a desire for forgiveness, they introduce the idea that something unresolved persists beneath the surface. But they also carry another implication. Blooming fully, they mark a moment of completion — and, at the same time, of transition. They announce departure. Within this context, the image no longer represents a stable present. It captures a threshold. The child remains, but the relational structure that once connected him to the outside — and to the one behind the camera — has already begun to dissolve. (chapter 94)

Striking is that the image that most closely corresponds to a moment of calm, rest, and emotional balance is not part of the album at all. It is the photograph with the hydrangeas — the one Kim Dan himself has kept and framed. (chapter 94) In that image, he is older, composed, and seated on his grandmother’s lap, surrounded by blooming flowers. The scene is quiet, contained, and visually harmonious. According to my past interpretation, the last photography most likely represents the last moment before he lost his parents, a moment in which his world had not yet fully collapsed. And yet, this is not the image preserved in the album.

This difference is crucial. It reveals that the album does not simply gather memories. It reflects a specific point of view. (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.

By contrast, the framed photograph belongs to Kim Dan. It is the only image he has chosen to keep. Unlike the album, which organizes memory collectively and retrospectively, the frame isolates a single moment. It suggests a different attachment, a different understanding of what should be preserved.

This divergence exposes two distinct relationships to the past. For Shin Okja, memory moves backward, reconstructing earlier moments and integrating them into a narrative of care and responsibility. For Kim Dan, memory condenses into a single image, one that he does not reinterpret verbally, but silently preserves.

The absence of the hydrangea photograph from the album, and its presence in his possession, therefore marks more than a simple difference in taste. It reveals a gap between two memories that do not fully coincide. Because if we follow the internal logic of the photographs, the moment that could most plausibly correspond to the “good old days” is not this one, but the later image with the hydrangeas. (chapter 94) In that scene, Kim Dan is older, calm, and seated on his grandmother’s lap, surrounded by blooming flowers. His clothing and the vegetation clearly situate the image in summer, a season associated with fullness and continuity. If your interpretation is correct, this photograph would mark the last period before he lost his parents — a moment when his family was still intact.

This creates a striking contradiction. (chapter 94) What we see is a child in distress. What is remembered and narrated is happiness.The gap between these two levels is crucial. It reveals that the photographs are not interpreted neutrally. They are reinterpreted through memory, filtered by emotion, and reshaped by nostalgia. Shin Okja does not lie consciously. Rather, she projects her own feelings onto the images. For her, these moments represent closeness, responsibility, and perhaps even purpose. The child’s tears disappear behind her own perception of care.

This becomes even clearer when we consider how she moves through the album. (chapter 94) Her gaze is not oriented toward the future, but toward the past. She flips through the pages in reverse, moving from the most recent images back to the earliest ones. This movement is not chronological. It is selective and directional. It functions as a form of regression.

In this sense, her gesture stands in direct contrast to the logic of a competitive game. A game such as Monopoly advances relentlessly toward an outcome, (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.

This reversal is not abstract. It is material and visible. (chapter 80) Each turn of the page, marked by the tactile flap of the paper, reduces Kim Dan. The sequence narrows. The independent boy who runs, stands, and interacts gradually disappears, replaced by a smaller, more contained figure. The movement through the album functions like a visual funnel: from autonomy to dependence, from mobility to stillness, from openness to enclosure. (chapter 94) At its endpoint stands the image of the infant.

Here, the contradiction becomes explicit. The baby had been crying, yet the grandmother is smiling in front of the photography. The scene contains two opposing emotional registers that are not experienced as such. The child’s distress is immediate, visible, and unresolved within the frame. And yet, for her, it does not signify rupture. It signifies need. This distinction is crucial. (chapter 94) Because a crying infant represents a form of suffering that can still be answered. It is simple, direct, and, above all, solvable. In that moment, she is able to position herself as the source of relief. The child depends on her, and that dependence gives structure and meaning to her role. This is why the contradiction does not appear as one. What we read as distress, she experiences as confirmation. She still views herself as his “source of happiness”.

By moving backward through the album, she does not merely revisit the past. She reconstructs a position in which her role is absolute and uncontested. The adult Kim Dan — the one who provides, who suffers, who exists outside her control — disappears from view. This psychological orientation explains why she continues to treat the professional physical therapist as a helpless infant (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.

The photographs, then, are no longer treated as evidence of Dan’s life, but as emotional anchors for her own identity. This explains why the contradiction between his tears and her “good times” remains unaddressed. For her, the “good times” were a period of perfect dependence. In the space of the album, the 1997 crisis hasn’t arrived, the parents haven’t vanished, and the child’s only problem is a discomfort that a grandmother’s arms—and her “fattening” meals—can still resolve.

(chapter 94) What remains is a simplified structure in which the child’s distress is immediate and her response is sufficient. Not a time without suffering, but a time in which suffering was still manageable.This is what she calls the “good old days.”

Where the childhood images can be transformed into “good old days,” (chapter 94) the later photographs (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.

The Mirror of Erasure: Doc Dan’s Compliance

The discrepancy between the photographs and Shin Okja’s verbal narrative reveals a profound structural shift in Kim Dan’s identity. On the beach, she insists that she (Chapter 65), a statement that appears humble but subtly centers her own effort as the only relevant force in his life. When she speaks of her struggle, she envisions a calm baby. This makes her “failure” purely internal. By remembering him as calm while she felt “not enough,” she frames herself as the tragic martyr who was suffering even when things looked peaceful. It centers the entire era on her emotional state, not the child’s. But the picture from episode 94 displays a certain MO. She is simply ignoring reality. (chapter 94) In the physical photograph, the baby is clearly in distress (crying), but she is smiling. She is literally overlooking the child’s present reality in the photo to preserve her own feeling of “good times.” The child’s actual pain is invisible to her because, in that moment, she was the one holding him—and for her, being the “holder” is the only thing that matters. She frames his childhood through the definitive claim that he (chapter 65). This is not merely a description of loss; it is a transformation. By labeling him an absolute orphan, she erases the specific love and sacrifice documented in the early photographs, stripping him of his right to a specific grief. If he “never knew” them, he never lost them. In her version of the “game,” Dan is a blank slate upon which she has written her own narrative of care. At the same time, she

Strikingly, Kim Dan corroborates this void (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.

From Play to Performance: The Trophy Child

This shift becomes visible when comparing the childhood album shown to Jaekyung (Chapter 94) with the graduation photos Dan recalled at the hospital. (Chapter 47). The early images are structured around spontaneity—movement, animals, and open fields. However, as the timeline progresses toward his youth, the “Natural Cycle” is replaced by a trajectory of performance.

In these later institutional spaces—classrooms and stages—Dan no longer moves freely; he poses. (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.

This is where the emotional register shifts again. The earlier photographs suggested a gaze directed toward the child — attentive, affectionate, and open. Here, the direction of that gaze becomes more complex. The child is still visible, but he is also being positioned within a narrative that exceeds him. His life is no longer only his own. It becomes intertwined with her need for meaning, recognition, and continuity. This is why these images feel different. They are not only more structured. They are more purposeful. The camera no longer captures a moment. It records a result.

The Crybaby

She looks fondly at this picture (chapter 94), she is able to position herself as the source of relief. The child depends on her, and that dependence gives structure and meaning to her role. This is why the contradiction does not appear as one. What we read as distress, she experiences as confirmation. And yet, her own words introduce a subtle tension within this dynamic.

When she refers to him as a “crybaby” (chapter 94), she does more than describe a child’s behavior. The term carries a judgment. It implies excess, weakness, a deviation from what is expected. Crying is no longer simply a response to pain or separation. It becomes something that must be corrected. This is where another layer emerges.

Because the child she describes is, in fact, behaving in a completely normal way. (chapter 94) He is a baby, or a very young child. If he cries in another one, it could be because he hurt himself, or he is frightened, or overwhelmed. The image of him crying after falling and injuring his knee (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)

The label, then, does not describe the child. It reflects her perception. It reveals a discomfort with vulnerability, and more specifically, with the persistence of that vulnerability over time. The “crybaby” is not only the infant in distress. It is also the figure she does not want him to remain. This is reinforced by her later remark to Joo Jaekyung, where she praises his strength, his physique, and his masculinity (chapter 21) The contrast is implicit but clear. The ideal is no longer the dependent child who cries, but the strong young man who does not. And now, you comprehend why he went to the restroom in order to cry. He is not allowed to express his sadness. (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.

On the one hand, she returns to the image of the infant because it secures her role as caretaker. On the other, she implicitly rejects the qualities associated with that same state. The crying child is both the foundation of her identity and something that must be overcome. This tension is crucial.

Because it helps explain the transformation we observe later. The child who once cried freely gradually becomes someone who suppresses his needs, who endures silently, and who defines himself through resilience rather than expression. In other words, the “crybaby” disappears. But what replaces him is not strength in the sense she admires. It is a form of self-erasure.

Because this transformation does not occur in isolation. It is mediated through her gaze. (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) They are recoded as weakness, something to outgrow, something to suppress.

This is why he cannot recognize his own strength. (chapter 94) What he has developed is not the visible, dominant form of strength embodied by Joo Jaekyung, but something quieter: endurance, patience, and an exceptional capacity for care. His strength lies in his ability to persist, to adapt, and to remain attentive to others even under pressure.

In other words, he stands for genuine empathy. And yet, because he perceives himself through the lenses of his grandmother, this form of strength remains invisible to him. What he sees instead is lack — a failure to meet an ideal that was never his to begin with.

The Production of Worthlessness

The consequences of this transformation are absolute. As Dan becomes the support structure of the relationship, he develops a pathological selflessness. His refusal to invest in himself—his empty wardrobe and skipped meals—is the continuation of a role where his only valid function is to provide. His lack of self-worth is not innate; it is a manufactured condition. (chapter 94) The original “Dan,” who offered daisies without expectation, has been overwritten by a provider who must justify his presence through constant sacrifice.

These later photographs (chapter 47) are excluded from the “happy” album because they resist reinterpretation. They cannot be turned into “good old days” because they document the exact moment care turned into dependence. They reveal a rupture that didn’t just remove his parents, but dismantled his entire environment—home, neighborhood, and unconditional joy. They expose her reliance on him and the doctor’s suffering and growth. By focusing on her role as the sole caretaker, Shin Okja reorganized the past, making the parents’ absence more visible than their existence ever was. Ultimately, Dan adopted this simplified history, losing the memory of the world that was taken from him.

The Glasses: Seeing the Past, Losing the Present

This dynamic becomes even more visible through a small but significant detail: the grandmother’s glasses (chapter 94) When she looks at the photograph, she is wearing them. This is not incidental. The glasses mediate her vision. They frame the way she perceives the image. She does not look at the past directly. She sees it through a lens. And that lens is not neutral.

It allows her to focus on what she wants to preserve: closeness, affection, meaning. At the same time, it filters out what cannot be integrated into that narrative: rupture, loss, contradiction. This is why the photograph can be reinterpreted.

The tears disappear behind the idea of “good old days.” (chapter 94) The moment of separation becomes a moment of connection. What is seen is not what is shown, but what can be emotionally sustained.

But this also implies a form of blindness. Her gaze is turned entirely toward the past. The present, by contrast, is only partially perceived. (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.

When she takes them off, the mediation disappears. The lens through which she has been interpreting the world is no longer in place. (chapter 94) This moment signals a possible rupture in her perception. The constructed coherence of her memory is about to be confronted by a reality that cannot be filtered in the same way. Her vision, quite literally, is about to collapse.

The Birthday: Time, Erasure, and the Illusion of Permanence

This tension between past and present becomes even more striking when we consider the question of the birthday. (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)

And yet, in this scene, the birthday is absent. This absence is revealing.

Jinx-philes already know that Kim Dan’s birthday follows immediately after Joo Jaekyung’s scheduled match on December 25th (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.

Instead, her attention is directed elsewhere. She complains that he does not spend enough time with her and asks him to come earlier next time. (chapter 94) She asks him to come earlier next time. (chapter 94) Her concern is not oriented toward his life as it unfolds, but toward maintaining a certain relational dynamic.

This is where the contradiction emerges. She speaks as if she is connected to the present, yet her perception is anchored in the past. The fact that she only “heard” about his victory suggests distance rather than genuine involvement (chapter 94) Her knowledge is indirect, fragmented, and yet presented as intimacy. This gap is not incidental. It has structural consequences.

By not acknowledging his birthday, she does not acknowledge the passage of time. She does not recognize him as someone who is approaching thirty , as someone whose life extends beyond the role she has assigned to him. In this sense, the absence of the birthday is not a simple omission. It functions as a form of erasure.

Without temporal markers, the individual becomes fixed. He no longer moves forward. He remains suspended in a past that can be revisited, reshaped, and controlled. This is why he appears, in a certain sense, frozen in the end. (chapter 94) This also explains why she continues to treat him as a child. If time is not acknowledged, growth is not recognized. If growth is not recognized, the child never fully becomes an adult. He remains within a structure in which his role is defined by dependency, proximity, and care. This is where the notion of the “Unseen Game” reaches another level.

It is not only about economic structures or social conditions. It also operates through time itself. Through what is remembered, what is omitted, and what is allowed to change. And in this case, what disappears is not only the parents. It is Kim Dan as an individual. (chapter 11) When Jinx-philes encounter the birthday scene, they may assume that this celebration was a recurring ritual. But is that necessarily the case? The narrative does not confirm repetition. On the contrary, the absence of any reference to his birthday in the present suggests discontinuity rather than tradition.

This absence becomes even more striking when we consider the logic of the photographs. If, as suggested, one of the images corresponds to winter (chapter 94) then this season should have triggered her memory. And yet, it does not. The seasonal cycle that structures the photographs no longer structures her perception.

This indicates a deeper divide. She no longer inhabits the same temporal reality as her grandson. While his life continues to move forward, her perception remains anchored in a reconstructed past that she revisits selectively.

What disappears, then, is not only the parents. It is Kim Dan as an individual. He becomes, in a very precise sense, a ghost within his own life: present, functioning, necessary—but not fully recognized as someone who exists independently of the role he has been assigned.

And yet, this structure is not immutable.

Because the absence of the birthday does not mean that time has stopped. It only means that it has not been acknowledged. This is precisely where Joo Jaekyung’s role becomes decisive. By celebrating Kim Dan’s birthday, he does something that has been missing until now: he reintroduces time. He marks a transition. He recognizes not the child of the past, but the adult of the present. This gesture is not symbolic in a superficial sense. 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.

In this sense, Joo Jaekyung does not simply “care” for him. He restores a dimension that had been erased. He gives him back a temporal position. And with it, an identity.

The Function of the Photographs

This allows us to understand the true function of the photographs. (chapter 94) They are not simply memories. They are instruments of perception.

At first, Joo Jaekyung looks at them and sees only what is immediately visible: a child, innocence, warmth. (chapter 94) He recognizes the purity of that image, but not the conditions that surround it. The past appears self-contained, detached from the structures that shaped it. This limitation has consequences.

When he later recalls the encounter between Kim Dan and Choi Gilseok, his interpretation follows the same logic. (chapter 48) He suspects manipulation, imagines betrayal, and attributes agency to the most visible figure, because he knows about the loan and debts. And don’t forget that in his mind, they are the result of gambling and not of an economical crisis. In this framework, Kim Dan appears as someone who could be bought (chapter 51), influenced, or used. Baek Junmin becomes the primary culprit, the one who acts openly, who attacks his wounds, who embodies threat. One might say that he looked at the pictures through the gaze of the photographer. But something remains unexamined.

Choi Gilseok. (chapter 48) He did not notice that these pictures were staged.

Because, unlike Baek Junmin, Choi Gilseok does not hide his position. On the contrary, he reveals it. In the café he owns, he lays out his resources with striking clarity. (chapter 48) He speaks of his parent company, of pharmaceutical connections, of international treatment. He offers to cover medical expenses, to provide accommodation, to double Kim Dan’s salary, even to place a car at his disposal. This is not a conversation. It is a display.

What he presents is not simply help, but a system of possession. If we read this scene through the lens of Monopoly, the structure becomes unmistakable. Choi Gilseok is not a player struggling within the game. He is someone who already owns the board. The café, the company, the network, the capital—these are not isolated elements. They form a coherent system in which value is accumulated, controlled, and redistributed according to strategic interest.

Kim Dan, by contrast, is placed in the position of someone who has landed on another’s property. The offer appears generous. But like in Monopoly, generosity is never neutral. It is tied to incorporation. To accept means to enter the system, to become part of a structure in which the terms are already defined. This is where the illusion operates. Because what is presented as opportunity is, in fact, a form of capture. (chapter 48) And the switched spray was the price to pay for the “visit” at the café. (chapter 49) The meeting with Choi Gilseok is no longer a simple interaction between individuals. It becomes part of a larger configuration — one in which visible actions and invisible structures intersect. Responsibility is no longer attributed only to the one who strikes, but also to the one who orchestrates.

As you can see, the pictures can help Joo Jaekyung to see not only the director, but also his position within the game. This shift is crucial. (chapter 94) Because it allows him to recognize that Kim Dan is not defined by greed, weakness, nor by passivity, but by a history that required endurance, adaptation, and silent resistance. The child he saw in the photographs is not separate from the man he stands beside. It is the foundation of that man.

To conclude, this is where the photographs about Kim Dan’s childhood begin to transform Jaekyung’s perception. Indirectly, he has sensed the care and loving gaze of the parents. Because once he has learned to look beyond the surface — once he understands that what appears as innocence may contain loss, that what appears as simplicity may conceal structure — his way of seeing changes. He no longer looks only at what is shown. He begins to question what is hidden. And it is the same for Kim Dan (chapter 94) who could be forced to remember painful moments (chapter 19) (chapter 59) by rediscovering the photos from his childhood, like the vanishing of the “puppy”. (chapter 94) I don’t think, it is a coincidence that Potato has pictures of the puppies as well. (chapter 60)

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

Jinx: The Piercing 🪬Amber 🪙 Shore 🏖️

The Language of Foreshadowing

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

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

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

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

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

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

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

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

Gold as Silence

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

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

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

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

Gold, in this context, carried a precise meaning.

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

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

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

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

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

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

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

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

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

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

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

The shift from gold to amber starts here.

Between Silence and Honesty

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Shore: Where Two Worlds Meet

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Lighthouse and the Sun: Two Models of Survival

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

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

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

The Pier: The Human Path

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

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

And this is exactly what happens in the dialogue.

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

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

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

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

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

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

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

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

And that is why all these directional symbols matter together.

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

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

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

The Champion Without a Childhood

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Piercing Amber Gaze

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

friendship.

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

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

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

Seeing Each Other

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

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

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

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

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

Not as:

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

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

The Direction of The Gaze

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Criminal Method

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Kim Dan and The Medical Trap

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

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

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

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

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

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

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

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

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

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

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

Baek Junmin and the Shadow of the Police

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Turning the Method Against the Criminals

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

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

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

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

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

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

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

The Man Who Knew Too Much

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

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

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

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

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

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

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

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

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

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

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

The Importance of Knowledge

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Heo Manwook – The Hand of the Machine

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Baek Junmin – The Man Who thinks Who Knows Everything

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Seen together, these elements reveal Junmin’s true modus operandi. Rather than confronting his opponents directly, he operates through a chain of authorities: criminal patrons, gym directors, corporate executives, and medical institutions. Each layer provides protection while simultaneously distancing him from direct responsibility. Violence, manipulation, and reputation damage are carried out by others, while Junmin remains positioned just outside the immediate line of accountability.

Seen in this light, the presence of the disgraced hospital director in the office may represent a new opportunity for the Shotgun. While Heo Manwook and Choi Gilseok focus only on collecting a debt, Junmin may recognize a different potential. The man in front of them is not merely a debtor. He is a doctor — a figure associated with knowledge, prestige, and institutional authority.

If such a figure could be used to shift blame onto Kim Dan, the consequences would be devastating. The young physical therapist already occupies a vulnerable social position: he comes from poverty, lacks institutional protection, and carries the stigma of having been dismissed from the hospital (chapter 1) and even he made a “mistake” at the Light of Hope once. (chapter 59) Finally, because of the perverted hospital warden’s assault, the main lead ended up blacklisted. He could never get hired at another hospital. If the narrative surrounding the injury were manipulated, the responsibility for Joo Jaekyung’s worsening condition and the schedules could easily be redirected toward him.

Several elements would support such a strategy. Though the doctor protested, the champion nevertheless continued to fight and used the report from MFC doctors as justification. In a manipulated narrative, these facts could be rearranged to suggest that the inexperienced therapist had mismanaged the situation.

This possibility becomes even more disturbing when one considers Park Namwook’s role within the system. (chapter 46) Throughout the story, the coach frequently appears wearing glasses—a visual symbol traditionally associated with knowledge and clarity. Yet despite this apparent vision, he repeatedly fails to recognize the dangers surrounding Joo Jaekyung. As the champion’s manager, Park Namwook is responsible for organizing his schedule and protecting his long-term career. In principle, this role should place him in the position of a guardian. But he does not intervene (chapter 41), he just stands by his side.

In practice, however, the opposite often occurs. Earlier in the story, Joo Jaekyung openly questions why he was scheduled for so many events in the first place. (chapter 17) Instead of acting as a protective barrier between the athlete and the pressures of the industry, Park Namwook frequently defers to the logic of the organization. When the CEO of MFC later invites the champion to an important meeting, the coach encourages him to attend, once again placing institutional expectations above caution. (chapter 69) In this sense, Park Namwook’s authority begins to resemble the same pattern visible in Baek Junmin’s behavior: responsibility is repeatedly shifted upward toward the organization MFC or Joo Jaekyung as the owner of Team Black (chapter 88)

The result is a chain of authority in which no single actor fully accepts responsibility. The manager defers to the organization (MFC or the star), the organization relies on medical clearance, and the medical staff produce reports that legitimize risky decisions (chapter 61). Each layer appears authoritative, yet together they create a system in which accountability becomes blurred.

Baek Junmin’s strategy exploits precisely this weakness. By bringing the disgraced hospital director into the situation, he introduces a figure whose authority once belonged to the medical world itself. The newspaper article reveals that the hospital had tolerated the director’s abusive behavior for a considerable time before finally suspending his license under public pressure. (chapter 91) In other words, the institution protected him as long as the scandal remained manageable. Only when external scrutiny became unavoidable did the hospital distance itself from him. Hence his face got almost exposed.

Seen from this perspective, Junmin’s decision to involve the former doctor does not merely introduce a new accomplice. It exposes the deeper corruption already present within the medical system. The “rotten apple” did not emerge from nowhere; he was produced and sheltered by the institution that now claims to reject him.

This development creates a dangerous convergence between two worlds: the criminal network surrounding illegal fights and the institutional structures of sport and medicine. By aligning himself with the disgraced doctor, Junmin believes that he is protecting himself, unaware that he is effectively importing the corruption of the medical sphere into the arena of professional fighting and as such endangering his own position. The boundaries separating criminal manipulation, corporate interests, and medical authority begin to collapse.

In that sense, the situation no longer concerns only a personal rivalry between fighters. It reveals the fragility of the entire system surrounding the champion. The figures who should protect him—the manager, the organization, and the medical staff—are themselves embedded in structures that can be manipulated.

At this point, Baek Junmin’s nickname begins to acquire a deeper symbolic meaning. (chapter 49) A shotgun is not a weapon designed for precision. When fired, it releases multiple pellets that spread across a wide area, striking several targets at once. Junmin’s strategy follows a similar logic. Rather than confronting Joo Jaekyung directly, he destabilizes the structures surrounding him: the media narrative, the medical establishment, the leadership of MFC, and potentially even the champion’s personal relationships. Each move strikes a different layer of the system protecting the fighter. The goal is not a single decisive blow but a gradual weakening of the entire structure around the champion.

Yet this strategy carries an inherent danger. By firing into multiple institutional spheres at once, Junmin risks exposing connections that were previously hidden. The medical world, the fighting organization, and the criminal network surrounding illegal betting are not isolated domains; they intersect. In that sense, Junmin does not merely act like a fighter seeking revenge. At this moment, he becomes “the Shotgun.” The weapon does not only wound a single opponent; it blasts open the structures that conceal corruption. By pulling the trigger, Junmin risks revealing the true nature of MFC, the sport itself and the network of interests surrounding them (the medical world and the pharmaceutical company).

So if this interpretation is correct, the office scene may foreshadow the next stage of the conspiracy. Junmin does not need to attack Joo Jaekyung directly. Instead, he may target the person the champion cares about most.

Kim Dan.

The Disgraced Director – Knowledge as Liability

The appearance of the former hospital director in Heo Manwook’s office introduces another crucial figure into the unfolding conspiracy. (chapter 93) Unlike the other men in the room, this individual already stands at the intersection of several narrative threads. He knows Kim Dan. (chapter 90) He has encountered Joo Jaekyung. And he has personally witnessed the dynamics between them.

Yet this knowledge is fundamentally distorted. Because of the circumstances surrounding their earlier encounters, the disgraced director arrived at a false conclusion: he believed that the physical therapist and the champion were romantically involved. Let’s not forget that he had blacklisted him in his career. From his perspective, the young doctor could only be the athlete’s intimate partner rather than his professional caregiver. (chapter 90) Secondly, he was doing it for the money, hence he called him a slut. (chapter 90) This misunderstanding fundamentally shapes how he interprets the situation. In this sense, the disgraced director resembles Heo Manwook. Both men rely heavily on their past experiences when judging others. The loan shark assumes that Kim Dan must have obtained the money through prostitution or some other illicit activity, while the former hospital director interprets the closeness between the athlete and the therapist as evidence of a romantic relationship. In both cases, what appears to be practical knowledge becomes a source of blindness. Their experience allows them to recognize familiar patterns, but it also prevents them from seeing the complexity of the reality before them. The relationship between Joo Jaekyung and Kim Dan does not fit into a simple category such as business, manipulation, or romance. Their bond evolves gradually and reflects a far more complex emotional dynamic. (chapter 93) Yet characters like the loan shark and the disgraced director attempt to reduce it to a single explanation that matches their own expectations. In doing so, they illustrate another variation of the same paradox: those who believe they know the world best are often the least capable of perceiving its truth.

A Dangerous Instrument

At the same time, his position is extremely precarious. Unlike Baek Junmin or the loan sharks, the disgraced director cannot confront either Joo Jaekyung or Kim Dan directly. Both men already recognize him. His earlier misconduct in the hospital and at the restaurant have exposed his character, and his recent public scandal has destroyed his professional legitimacy. (chapter 91)

This is precisely why indirect strategies are the only solution for him.

If Kim Dan indeed becomes the next target of Baek Junmin’s schemes, the director initially appears to offer a convenient opportunity. As a doctor, he possesses the authority and reputation associated with the medical profession. From Junmin’s perspective, such a figure could provide legitimacy to accusations directed at the young therapist. Yet this calculation overlooks a crucial reality. The man’s reputation has already collapsed. The public scandal surrounding the accusations of sexual harassment has stripped him of his professional credibility and resulted in the suspension of his medical license.

This loss of status drastically changes his position. The disgraced director can no longer act openly within the medical world. Any direct accusation coming from him would immediately be discredited because of his scandal. However, this does not mean that he has become powerless. On the contrary, his former position may still grant him access to personal contacts and informal networks inside the medical system. Instead of acting publicly, he could therefore operate indirectly—reaching out to former colleagues or institutions and encouraging them to question Kim Dan’s competence or responsibility, as this is something he experienced in the past. (chapter 1)

The Vulnerability of an Invisible Doctor

Such a strategy would exploit an existing weakness in Kim Dan’s situation. Earlier in the story, when Joo Jaekyung attempted to locate him after his disappearance (chapter 56), hospitals repeatedly responded that they had never heard of anyone by that name. (chapter 56) This reaction suggests that the young therapist had already been erased from the professional network in Seoul. Far from protecting him, this invisibility places him in an extremely fragile position: without institutional recognition, he has no professional community capable of defending him.

If rumors about Kim Dan suddenly begin circulating within the medical world—or even appear in the media—the contradiction would be striking. Only a few months earlier, no hospital acknowledged his existence. Yet now doctors or the media would suddenly be discussing him as a controversial figure linked to the champion’s injury. Such a sudden shift would inevitably raise questions.

For Joo Jaekyung, this discrepancy could become the first clear sign that something is wrong and lets not forget that in the past, he doubted the doctors. (chapter 5) The athlete might realize that the narrative emerging around Kim Dan does not match the reality he previously encountered while searching for him. What appears at first as professional criticism could therefore reveal the existence of a coordinated attempt to manipulate the story.

Medical Confidentiality as a Weapon

Another possibility makes the situation even more troubling. If Junmin or the disgraced hospital director wished to discredit Kim Dan, they could not necessarily need to rely solely on rumors or professional criticism. A far more effective strategy would involve the selective leaking of medical information.

Kim Dan’s own patient file could become a weapon. (chapter 91)

The young therapist’s history of psychological struggles and emotional distress is part of his medical record. Under normal circumstances, such information would remain strictly protected by medical confidentiality. Yet the story has already demonstrated how easily such boundaries can be violated when institutional interests are at stake. (chapter 36)

Earlier in the narrative, the medical system showed little hesitation in discussing Joo Jaekyung’s injury publicly. Experts speculated on television about the champion’s condition, and reporters openly discussed his worsening shoulder problem despite the obvious ethical implications of revealing medical information without the patient’s consent. (chapter 54) Striking is that no one in the medical world sided with the star because of his law suit against a hospital (chapter 42)

These scenes suggest that medical confidentiality in this world is far from absolute. When money, reputation, or institutional pressure become involved, private information can quickly turn into public material.

If the same logic were applied to Kim Dan, the consequences could be devastating. And don’t forget how the main lead reacted to this situation: he was rather indifferent. A leaked file describing his mental health struggles could easily be used to construct a narrative portraying him as unstable, unreliable, or professionally unfit. Under this light, you comprehend why I placed Choi Heesung in the illustration, as he was the first one bringing up the notion of mental illness. (chapter 89) In such a scenario, the young therapist would not simply be accused of incompetence. His entire credibility could be undermined, before he even had the chance to defend himself.

The strategy would also serve several interests at once. And like mentioned above, the medical institutions involved could shift responsibility for the champion’s worsening injury onto a crazy outsider. MFC could distance itself from the controversy surrounding the fight. And Baek Junmin could exploit the scandal to weaken both Joo Jaekyung and the man closest to him.

What makes this possibility particularly disturbing is that it would rely on a form of violence that leaves no visible wounds. Instead of physical intimidation, the attack would take place through information — through documents, rumors, and carefully constructed narratives.

In other words, the same system that once erased Kim Dan from the medical world could suddenly reintroduce him into public discourse under the worst possible circumstances.

The Man Who Knows Too Much

Yet the plan also contains a dangerous flaw. The disgraced director is far from a reliable ally. His public scandal has already destroyed his credibility, and his own actions in the past reveal a man driven by opportunism and self-preservation. If pressured too far, he may choose to reveal far more than Junmin expects. Instead of stabilizing the situation, his intervention could expose the corruption of the very system Junmin is attempting to manipulate. How so? It is because he was brought to Heo Manwook’s office. (chapter 93) In the past, the loan shark never brought his victims into his own headquarters. Debtors were usually confronted in their homes (chapter 5) or attacked in the street . (chapter 1) His office functioned as a hidden lair, carefully separated from the violence carried out by his subordinates. The presence of the disgraced director inside that office therefore represents a significant rupture in Heo Manwook’s usual methods. (chapter 93) Moreover, this time he is the one beating the victim, while one of his minions is standing. (chapter 16)

The doctor’s presence there represents a source of danger. He is no longer merely a possible instrument; he also becomes a witness. By hearing the conversation about bribes, police pressure, and debt collection, he acquires dangerous knowledge about the criminal network itself. (chapter 93) In that sense, the same man whom Junmin hopes to use as a tool against Kim Dan simultaneously becomes a liability capable of exposing the entire scheme.In other words, the former doctor could end up betraying the schemers, something the Shotgun is not expecting.

The urgency created by recent events has forced the organization to abandon its usual caution. At the same time, the visual composition of the scene creates a revealing illusion. (chapter 93) Seated prominently in the center of the room, Baek Junmin appears almost like the true authority figure — the one silently observing while others handle the negotiations. His posture suggests the role of a mastermind directing the operation from the background. Thus the scared director could misjudge the true position of the “champion”, he is the real mastermind behind this. And this time, he could no longer hide behind his hyungs or organizations.

This creates a striking contrast with Kim Dan himself.

Kim Dan also possesses knowledge about the hidden world surrounding Joo Jaekyung. He has witnessed suspicious medical decisions (chapter 41), manipulations within the fighting organization (chapter 37, the drugged beverage), and the athlete’s deeply personal belief in the so-called “jinx.” Yet despite these insights, Kim Dan remains largely excluded from the decision-making processes that shape the champion’s career. In several crucial moments—such as the incident at the health center—he was deliberately kept in the dark.

The contrast between the two figures could not be sharper. The disgraced director possesses knowledge but uses it as a potential weapon. Kim Dan possesses knowledge but has no idea about his own power. What distinguishes them is that the main couple is starting sharing their thoughts and insight to each other, while at the office, the schemers keep their insight to themselves. Yet, a plot can only work, if intel is exchanged. At the same time, the information has to be accurate as well. But for that, the villains have to expose their “knowledge” and as such “vulnerabilities”.

In the end, the question is no longer simply who knows too much. Baek Junmin believes he understands everything: Kim Dan, Joo Jaekyung, and the system surrounding them—especially the power of money. Yet his confidence rests on misinterpretations and assumptions. Kim Dan, by contrast, never claims such certainty. Still, he has witnessed the hidden mechanisms of that same system—its corruption, its manipulation, and its violence—without fully grasping their meaning. Yet the way he acquires this knowledge is fundamentally different. His insight does not come from intimidation or control, but from the confessions of others. He listens patiently and attentively, without judgment. (chapter 47) (chapter 48) (chapter 74) Joo Jaekyung represents yet another form of knowledge: the knowledge of experiences. Through hardship, defeat, and survival, he has learned to recognize the realities of the world step by step. By living next to doc Dan, he learned to listen and observe so that he is now more aware of the world surrounding him. The true tension of this arc therefore lies not simply between ignorance and knowledge, but between three different ways of understanding reality. One man believes he understands everything, another quietly carries knowledge that could expose it all without realizing it, while the third slowly learns the truth through experience.That is precisely why, in the illustration, they now stand facing each other.

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

Painter Of The Night: Lazy Hand ✌of Justice ⚔ ?

1. Laziness or not?

When the final episode of the main story was released, many Manhwa-philes were laughing about Yoon Seungho’s work attitude as governor. The latter had left his seat in order to return to his lover’s side. (chapter 131) Hence the police officers found the governor’s seat deserted. (chapter 131) By contrasting the statement from the governor and the panel, the readers could easily catch his lie. He was a lazy governor, preferring to keep his lover company rather than attend to his official duties. On the one hand, it exposes the main lead’s true mind-set. He is not longing for power or glory. To conclude, he has no ambition. This implies that he is not determined to gain attention either. One might add that he selected this region on purpose. No one would willingly go to that place. The norm was that officials would go there, because they were demoted. (episode 129) Thus I deduce that Yoon Seungho made the opposite choice to his father. The latter longed for a high position at the government so that the family’s reputation would become famous and powerful again. (chapter 86) It is because Yoon Chang-Hyeon was thinking of getting the attention or support from noble families. What he truly wanted was to get recognition from people among his own social class. But with such a decision (join the painter’s side), Yoon Seungho seems to have turned the former patriarch’s nightmare into a reality. Yoon Seungho is about to ruin the family. The name “Yoon” is destined to become forgotten, right? However, I believe that this interpretation is not correct. How so? Let me ask you this.

Why is this region regarded as “backwater”? It is because there are no powerful families like in the town, where the Yoons used to live. There are no huge store or doctor either. The new governor is surrounded by “peasants”, commoners. In other words, it is not a place you can earn a lot of money or gain power, especially for an official. This signifies that buying the governor, like Yoon Chang-Hyeon did, won’t happen. (chapter 127) No one has such a wealth! That’s the reason why no official would select such a place. Yes, Jung In-Hun’s words from chapter 6 (chapter 6) (chapter 131) are reflected in the final episode. Peasants are poor und uneducated, and this will not change overnight. Hence they represent ignorance and naivety. This raises the following question. Why did the officers bring these two men? What was their crime? One might reply that it is impossible to figure it out. Nevertheless, I think, Byeonduck left clues in her story. Painter Of The Night is composed of reflections. In each season, certain scenes or elements resurface with slight changes.. Thus I developed the following theory concerning these two commoners.

My hypothesis is that these two men were innocent. In season 1, we have a similar scene: (chapter 37). It is about a crime, treason. In season 4, we know that the plot was true and there was an evidence, the paper with the signatures from lord Yoon and lord Song. Since in season 1 the wrongdoing was true and heavy, I deduce that it is not the case in the final chapter. Because there is an evidence of the crime in the past, I can’t help myself thinking that in the final chapter, there was no evidence. Additionally, I feel the need to expose my other interpretation about this man: (chapter 37) I have always stated that this man couldn’t be a servant, for he was smoking a pipe and we saw a glimpse of his memory. No commoner would be allowed to enter the courtyard, when three noblemen are tortured and interrogated. Moreover, notice that in both scenes (37 and 131), the magistrate is absent. That’s how it dawned on me that this nameless man could have been a former “governor” who lost his position.

But if the two commoners are rather innocent, why did the officers bring them to Yoon Seungho then? My idea is that they imagined that the new governor wanted to make a statement so that he wouldn’t be looked down by the locals. Or even worse. The guards desired to get protection money from them!! Yes, because this region is not well perceived, the guards thought that the governor would act like his predecessor. Since it is a poor region, it signifies that the officials are not well recognized and well paid. (chapter 131) First evidence that the last image is not symbolizing justice, but corruption, is the behavior from the guards. They are caught by surprise, when they arrive in front of the empty stool. Yet, they are not gesticulating or panicked. If a real crime had taken place, they would be looking for their superior. And this observation leads me to this image. (chapter 131) In this picture, we can detect the governor’s office in the background. It is the yellow building with the multicolor decorations. That’s where the empty stool is!! In other words, if they truly needed him, they just had to go to the other side of the wall. Third evidence for this hypothesis was left in season 3: (chapter 94) Here, the officers went to the mansion before visiting him at the gibang. (chapter 97) Back then, it was about the death of a commoner, a servant. If there’s an urgency, they would look for him. The comparison exposes that the “wrongdoing” from the peasants in the final chapter was no huge deal. Yet, many readers already condemned them due to the guards and the protagonist’s behavior. Funny is that the lord was portrayed as a huge liar, but not “the officers”. (chapter 131) But it could have been the reverse. Officers could have abused their authority. Furthermore, let’s not forget that Min indicated that guards could be bribed easily. (chapter 101) His statement displays another aspect: the governor and the guards are not working together. Jihwa would have been sent to jail without being able to talk to the superior, similar to this scene: (chapter 126) The guards’ own interests are not necessarily aligned with the governor’s. And now, take a closer look at this scene: (chapter 127) The official received the patriarch in his office alone. The reason is simple. That way, he wouldn’t have to share the money with others.

But since the guards never went to the lord’s mansion, they must have realized that this man was not like his predecessor. He was not frustrated or demoted. He was indeed not after power or money. They couldn’t rely on his protection either. In fact, they could get blamed for disturbing his privacy. I would even add that since Yoon Seungho comes from a wealthy family, he doesn’t need to rely on bribe at all. In other words, the guards can only come to the conclusion that treating him well can only benefit them. His wealth was already implied with his arrival: (chapter 129). He was not sitting on a horse with a few musicians contrary to Jung In-Hun. He was carried by four men, and other people were announcing his arrival with flags and music. (chapter 111) Moreover, Yoon Seungho had a inauguration banquet organized, where the local inhabitants could join. (chapter 129) There was no social exclusion at all. This stands in such opposition to the lord’s statement in season 1, where he distinguished between nobles and commoners.

But let’s return our attention to the two suspects. What happened to them then? (chapter 131) In my opinion, they were released. Why? For the simple reason that in this place, Yoon Seungho expected no huge duty! Yes, his words were not just exposing a lie, but also the truth. Nothing was supposed to happen. People are peaceful and helpful to each other. (chapter 129) This signifies that the arrest could lead to trouble to the guards too. So was the lord lazy in the end? (chapter 131) Yes and no… By acting that way, he put an end to the abuse of authority in that place!! Thus I deduce that the governor is destined to gain recognition and admiration from the local inhabitants. He is generous (inauguration banquet where anyone could join), humble, loyal (he is not forgetting his lover) (chapter 131), but also well organized! He had planned to join this place a long time ago. The peach trees were planted about 3 years ago. He is no longer making any distinction between nobles and commoners, and that’s how he will get the respect from the peasants. As a conclusion, we should envision that the lord will become famous. Therefore the son didn’t turn the father’s nightmare into a reality. He didn’t contribute to the family’s ruin at all. Yet, there exists a huge divergence. Yoon Seungho is about to make a name on his own. It is not about the Yoons. On the one hand, the father’s dream was illusory and superficial, especially due to the treason (chapter 86). Since Lord Song had been forced to resign, there’s no doubt that the man would resent the Yoons to become successful again. This explicates why lord Song saw Yoon Seungwon as a problem (chapter 107) and tried to tarnish the younger son’s reputation. But let’s return our attention to the patriarch. His vision was based on Confucianism. However, he had a very narrow-minded perception of it.

He expected not only blind obedience from his son, but also absolute devotion for the family. The individual steps aside for the community, and as such for the Yoons. This explicates why the main lead’s relative has no name in episode 6, he is simply reduced to a grandfather. (chapter 7) This shows that the tradition was to “vanish behind the family name, the Yoons”. Under this new light, my avid readers can grasp why the main lead was destined to suffer immensely (chapter 57). His reputation was already outshining his father’s. Secondly, by being stigmatized as a homosexual, he was endangering this principle. His role was to continue the lineage and as such produce a heir.

As you can see, Yoon Seungho is breaking the tradition and even dropping Confucianism, as the latter rejects homosexuality. The main lead embodies other values: Modernity, Individualism, true Love and Humbleness. Yoon Seungho is no longer judging people based on their social status and relationship. This signifies that at the end of the story, the new governor symbolizes true justice. He put an end to corruption and malpractice. He is not influenced by people’s opinions and prejudices either. He is only listening to his heart and conscious. He makes sure to keep all his promises and not to say any empty words. He is a reformed man through and through.

However, we shouldn’t forget that the protagonist did kill many people before. Hence my other interpretation is that Yoon Seungho as a sinner is not “allowed” to become a judge himself. (chapter 131) How could he condemn others, when his hands had been soiled with blood? Thus I deduce that through her work, Byeonduck exposed the corruption of human justice in Joseon. It was impossible to get true and fair justice from anyone, let alone from the authorities. The latter were ruled by greedy and arrogant nobles who used law enforcements for their own needs. That’s why the patriarch (chapter 116) or even Min could commit crimes in the open. They felt safe, for they knew that the authorities belonged to the same social class than them. However, this could only work, as long as the nobles would cover for each other. Should a yanbang denunciate a noble family, it was a different story. Therefore I assume that lord Lee was the one who reported the treason to the authorities (the painting in the bedroom was the evidence). But such a painting couldn’t represent a proof. However, since human justice was corrupted, the gods decided to give justice to the protagonists. That’s how Yoon Seungho became the hand of justice. Everyone involved in the protagonists’ suffering had to pay for their crimes. (chapter 102) That’s the reason why Baek Na-Kyum’s martyrdom was strongly intertwined with the young master’s. Yoon Seungho only received this power through Baek Na-Kyum, the character embodying fairness, sincerity, hard work, home and equity. This was particularly perceptible in this scene: (chapter 27) The lord couldn’t kill anyone randomly.

Yet, considering the scene in the shrine as a trial from the “gods”, can appear weird, for the main lead attacked Min and his friend under the influence of his unconscious past. (chapter 102) However, I consider it as a first step to the lord’s emancipation and life lesson. The latter is indirectly learning not to pay attention to status and power. That’s why the author portrayed him as blind and deaf to their plea and special status. While his behavior in the shrine was rather impulsive and influenced by deeply rooted fears, we should consider lord Song’s execution as a true act of justice. (chapter 123) (chapter 123) The latter had confessed all his crimes: the ones from the past (the lies in order to fool the father) (chapter 123) and the painter’s murder. Funny is that lord Song didn’t feel threatened by the young master at all despite the sword. (chapter 123) Why? It is because he feels, he is the one with the upper hand. First, he has the petition, hence he is already projecting himself in the future (he can get a high position again). Secondly, he thinks, Yoon Seungho is outnumbered. He is surrounded by 4 guards. But more importantly, he views himself superior to the main character due to his age. He is an elder. That’s the reason why he calls “my dear boy”. This implies that he is underestimating the main figure. The latter would never dare to raise his hand against a senior!! However, true justice is also blind to age. (chapter 123) His smile at the end of the episode should be perceived as a reflection from Min’s vanishing. (chapter 103) One might even add that the lord’s action could have been seen as self-defense. However, don’t forget that we are here in Joseon, where a commoner’s life means nothing. Because of this new association, I came to the following deduction: lord Song was the one behind lord Shin’s death. (chapter 103) The latter couldn’t imagine that an elderly yanbang, an official, would raise the sword against another noble. After this new realization, it dawned on me why Yoon Seungho had to get separated from his loved one. (chapter 126) This humiliation made Yoon Seungho realize that he needed to have his power on his own. He learned through the hard way that he was not just a Yoon, but Seungho. Yes, this helped him to differentiate himself from his father and to become stronger mentally. His religion was now his lover, Baek Na-Kyum, whom he needed to protect. But he could only do it, if he had himself a powerful position. But he needed to witness the corruption of the authorities to realize that in Joseon, there exists no justice. (chapter 127) That’s the reason why I deduce that Yoon Seungho is not destined to become a lazy or unfair governor. He learned through the hard way how important it is to give proper justice. (chapter 131) Should these two men know the artist, the latter could encourage his lover to listen to their testimonies and not judge them based on their status.

Under this new light, it becomes comprehensible why I don’t perceive the main lead as a lazy governor. Just because he appears as one in this scene (chapter 131), we shouldn’t generalize such a behavior. By paying no attention to power and fame, the protagonist learned what true justice is. Moreover, he realized the true source of happiness: love and simplicity. He made sure to keep all his promises to his loved one. Moreover, the artist is there to remind Yoon Seungho of his duties: (chapter 131) Hence I can’t help myself imagining the couple strolling through the village and listening to the people. Thanks to the artist, Yoon Seungho can only get recognition and acceptance from the autochtones. Besides, Baek Na-Kyum is even giving painting lessons to children, so I doubt that he will drop everything for his lover’s sake. We should envision the opposite behavior from the scholar: (chapter 6): neglect and indifference towards the commoners. And this new observation brings me to my other topic, Jung In-Hun.

2. The real sinners: the hidden hustlers and workhorses

In the first part of this essay, I compared the arrival of the lord in his new jurisdiction with the scholar’s Jung In-Hun.

YoOn SeunghoJung In-Hun

Through this comparison. I had a huge revelation. Manhwaphiles can notice not only the absence of flags and the palaquin, but also the absence of uniforms. The two men in black leading the horse were simply wearing black hanboks and not blue and white costumes. Then it dawned on me that after this cortege on the street, there was no banquet after his success. Hence I deduce that he had not really succeeded at the civil service examination. First, he had not finished top place (chapter 129), therefore he couldn’t select one position contrary to the main lead. This means that when he celebrated his “victory” in episode 111, it was not official. He had no post. I would even add, his name had not been announced on the official board, like we could witness it in this scene. (chapter 121) Here, he is informed that he didn’t pass the exam, for his name was not written there. We can detect this, because people are congratulating each other. His name was left out due to the intervention from lord Song. This means that when Yoon Seungho made him this offer (chapter 7), these were not empty words. He did help the learned sir to pass the civil service exam. But the scholar didn’t succeed like anticipated. The absence of his success explicates why Jung In-Hun received such an offer from lord Song later. (chapter 117) He had no post, he couldn’t choose it, for he was not the best. Thus I deduce that the scholar had just proven his mediocrity. He was just an average man. That’s how it dawned on me that the ceremony in the street was more a simulacre! (chapter 111) Yes, it was fake, for there was no banquet, no sedan chair, no flag and just civilians were surrounding the former teacher. The painting from Baek Na-Kyum can even serve as another evidence that a palanquin and flags are attributes to a ceremony of inauguration. (chapter 44) Only one thing was real: Jung In-Hun was wearing an official uniform, that way no one would doubt his “victory”. Moreover, observe that lord Song only approached the learned sir after the parade. So he was not behind the parade. Besides, keep in mind that the main couple was informed about the parade through the tailor (chapter 111) and not from the official board. His reaction shows not only his displeasure, but also his ignorance. If he had known about the cortege, he would have avoided the place in the first place. Thus I suspect that the tailor had been encouraged to leak this information in front of the couple. Let’s not forget, as a tailor, he was definitely involved in the cortege. It is no coincidence that he informed Yoon Seungho about this “sudden parade”. At the same time, I come to the following deduction: someone must have paid for this spectacle, and it was not Yoon Seungho, for he had been kept in the dark until the last moment. I doubt that the learned sir had the connections and money for this. This new perception corroborates my previous interpretation: the show was sponsored by someone, and it was definitely inspired by the drawing (the hat and the green uniform). (chapter 111). Yet this was just a cheap trick, for the person didn’t send a sedan chair with carriers. Under this new light, I realized why Jung In-Hun ended up stigmatized as a criminal. (chapter 127) It was his karma, for he had deceived the painter with his lies. His success was not his own. (chapter 111) He realized that even after passing the exam, he needed the assistance of people, a sponsor for the spectacle, a noble with connections. Besides, when in season 1, the painter was accused of a crime (ruining the picture), the learned sir did nothing at all. He didn’t protect his student, for he desired to keep his sponsor. When the latter was sick, he neglected him as well. He wouldn’t have sent a doctor for him. Hence in season 4, the sponsor Na-Kyum decides to end his “sponsorship” for the learned sir. We could say that the former teacher is confronted with a similar situation. He ends up being abandoned and framed for a crime, which he didn’t commit. Yet, contrary to his pupil, he is not entirely blameless, for he played a huge role in the death of the nobles lord Song, lord Shin, lord Min and others. Because Baek Na-Kyum embodies hard work, justice, equity, love and honesty, I deduce that his surrogate father embodies the negative notions: laziness, corruption, partiality, hierarchy, ambition and hypocrisy. That’s why his face ended up on the official board, while the painter’s accusation just remained rumors. : (chapter 125) versus (chapter 127) His fate reflects Joseon’ society and authorities, especially when the latter are closer to the capitale.

At the same time, the poster of the scholar exposes that the scholar’s dream had always been to see his name on the official board. (chapter 121) However, the notice was not associated with glory and honor, but with the opposite value. He was an immoral and brutal man. (chapter 127) which was actually reflecting his true personality. We should see the parade in episode 111 as an illusion due to the absence of an official document. And who had paid for this charade? One might think lord Song. However, don’t forget that he approached the man much later. I feel like someone else was involved as well. For me, it was Heena. She was seen with the tailor in season 2, and she had seen the painting from her brother. Finally, she had tried in season 2 and 3 to separate the couple. So she should have repeated the same action, because her resent towards nobles runs deeply, just like her admiration for Jung In-Hun is strong. She knew that her donsaeng was no longer listening to her and his new lover. He was determined to remain by his lover’s side. Thus she didn’t intervene here. (chapter 105) IMO, she had to use another mean in order to achieve her goal: the scholar. Let’s not forget that the artist had confided to her this: (chapter 68) He was simply waiting for the learned sir’s return. And she was present during the cortege. (chapter 111)

Naturally, Jung In-Hun ended up being accused of murder, because not only he had lied, but also he had contributed to the death of lord Min and the others. By giving the spectacles, he was also responsible for their death. Finally, by hurting Baek Na-Kyum and giving him to lord Song (chapter 121), he put the painter in a position which led him to take for the fall for his loved one. It was like framing an innocent. Exactly like in season 3 (chapter 99), Yoon Seungho had been forced to take the sword because of the scholar. And the trigger for the massacre (chapter 124) was always Jung In-Hun. And now, you comprehend why Jung In-Hun became the scapegoat for the last incident. But there’s more to it.

The sexual and physical assault, playing a trick on multiple occasions and the lies are the reasons why the learned sir ended being labelled as a dangerous bandit. (chapter 127) The paper reflects the transformation of the former teacher. He is no longer a honest man. He lost everything: his home, his name and even his life, killed by lord Song’s minions. (chapter 121) His final lesson was to learn that he was exactly like the others: he is just a human despite his education. All humans are equal in front of death. In fact, during his confrontation with lord Song, he came to give up on his integrity. His true face came to the surface: he was just an opportunist, a lazy scholar who relied on fate and his arrogance. (chapter 6) This brings me to my next interpretation. Jung In-Hun learned through the hard way that there is nothing like fate (“right time”), but life is the result of decisions. However, because the scholar always regretted all his past choices, he decided to blame others for his wrong choices. That’s the reason why he ends up to take the whole crime. We should see this paper (chapter 127) as a reflection from the poem in episode 4: The author from this sijo was the poet and official Wang Bang-Yeon who is said to have lived in the time of Joseon’s sixth king Danjong (1441-1457) and his successor king Sejo (1417-1468). As the official of the state tribunal, he followed the young king Danjong into his exile and gave him poison to drink by royal command. Yes, both are symbols of power, corruption, partiality and injustice. Yet, there exists one divergence. While Wang Bang-Yeon left a poem revealing his yearning for the king, the learned sir had no deep attachment towards the artist. Hence it is no wonder why the paper “Wanted” is not connected to affection. It really reflects the emotions and thoughts of Baek Na-Kyum. Due to the last incident, the latter no longer cares for this man.

Jung In-Hun should have realized much sooner that happiness is not a synonym for power and admiration. In reality, he was living quite well in the small village. (chapter 6) He had a roof over his head, and he was surrounded by children, who liked him. (chapter 121) But the problem is that he was consumed by entitlement and greed. How so? It is because of his education. He saw himself superior to others morally and mentally. Hence he didn’t feel the genuine admiration from the children. (chapter 6) He couldn’t enjoy it at all. It is no coincidence that the synonyms for ambitious person are “busy person” and “workhorse”. Yes, this mirrors the expression “laziness”. A true ambitious person is actually proactive and not really relying on sponsors and bribes. So when we see the learned sir on the horse (chapter 111), he is acting like a workhorse. The reality is that he is lazy, as he saw himself destined to achieve greatness. He had the impression that no one had recognized his true value. On the horse, he is just waving his hand and smiling. Later, he confesses this to the artist: (chapter 111) As you can see, his success is not the result of his hard work, but rather of his connections!! Though he didn’t kill lord Song himself, Jung In-Hun had to receive his due punishment for all his lies and sins.

3. The brother’s punishment

This brings me to the next interpretation: Yoon Seungwon and his success. (chapter 107) Though he passed the civil service exam too, he is not able to fulfil his father’s wish either. (chapter 86) They lack support now because of the treason. The families close to the Yoons got executed. But there’s more to it. The youngest son had first betrayed his father by giving the petition to Yoon Seungho, (chapter 118) His intention was to protect not only his brother, but also their family. It was to ensure that lord Song would get blackmailed. That’s how this investigation (chapter 37) got stopped in the end, and the Yoons escaped any punishment. However, by doing so, Yoon Seungwon turned his brother into a blackmailer. Thanks to him, Yoon Seungwon could keep his reputation intact. In fact he never lost his father’s trust. However, in season 4, we can witness a change of heart in the brother. (chapter 118) It is because he knows that with the petition in his brother’s hands, lord Song represents a hindrance to his own career. The latter can only see the Yoons as a threat. Besides, he can only resent the family, if they are able to gain reputation and power, while he can not return to Hanyang and occupy a high position. As you can see, the young master’s success can only irritate lord Song. You can sense a rivalry between Seungwon and lord Song Haseon (chapter 116) in this scene: (chapter 116) The latter has already sensed that the traitor is sitting next to them, thus he raised this question. That’s why I come to the following conclusion that the young master must have realized that he also needed his brother’s assistance. First, if Yoon Seungho returns the petition to the father, the investigation about the traitor in the mansion would be no longer necessary. Secondly, Yoon Seungwon needs to create new connections in Hanyang, but he can only achieve it with his elder brother. Under this new light, you comprehend why Seungwon asked his relative to move on from the past and as such “forgive their father”. (chapter 118) In other words, the young man embodies the notion of “fake forgiveness, fake promise, fake understanding”. He is an opportunist, exactly like the scholar. Yet, there exists a huge divergence between them. His affection for Yoon Seungho was not fake. He is feeling sympathy for his brother. But that’s it. This explains why he didn’t help his brother before. In my eyes, Seungwon represents a different notion of family: bloodline. In my eyes, he embodies traditions and Confucianism. His goal is to turn his father’s dream and life motto into a reality: glory and power for the Yoons. Besides, he must have experienced himself the downfall for the family. And this observation leads to my next interpretation. This means that Yoon Seungwon must have lied to his father by omission as well. (chapter 86) In my opinion, he must have promised to fulfil the patriarch’s wish, but reality made him realize that this was not possible. He couldn’t do it alone. However, I doubt that he confronted the elder with reality.

Let’s not forget that he is only the second son. So he can not inherit the family’s properties. Remember that once the main lead succeeded the civil service exam, he received many marriage proposals. (chapter 128) What about Yoon Seungwon then? Though he succeeded too, there is no mention about engagement or marriage proposals. However, it is clear that this achievement is connected with adulthood and marriage, therefore the elder Song Haseon brought up the topic sex! (chapter 107) It is because Yoon Seungho is the first son who will inherit the title and properties. Yoon Seungwon’s success can only work with his brother’s presence. This means that thanks to the last episode, I could finally find the answer from Byeonduck’s question: What was the reason for Yoon Seungwon’s embarrassment? First, it is because his brother selected the backward place, though he had passed the exam with flying colors. Yoon Seungwon imagined that once his brother had passed the exam, he would get married and establish new connections. That way, Seungwon would be able to get married with a properous and famous family. In other words, Yoon Seungho would turn the father’s dream into a reality: the return of the Yoons’ glory and power. And Seungwon would benefit a lot from this. So in the gibang, his advices might have sounded well meant, (chapter 118), in verity he was also motivated by his own desires. He wanted to get the help from his older brother. This means that the moment the main lead lost his father, Seungwon’s words became true. Yoon Seungho followed his advice: he cut off ties with his past and as such with his family. He was no longer obliged to fulfil the family traditions and the father’s dream. This means that Yoon Seungwon is now on his own. I find it funny that he blamed his brother for his debauchery, but what did he do during this time? Nothing… he waited, until he received pressure from his own father. Moreover, since Yoon Seungwon didn’t help the artist and allowed him to take the fall for the massacre (chapter 126), his karma is not only to end up alone, but also not to receive any support from his brother.

To conclude, Yoon Seungwon tried to convince his brother to change his behavior (chapter 117), because his career was still insecure due to lord Song’s influence. He needed his brother’s help in the end. At the same time, Seungwon had already long internalized the values from his father: Yoons’ honor and reputation were top priorities. In other words, the younger brother stands for social norms and fake righteousness. He desires to maintain his perfect image (loyalty, filial piety),

(chapter 118), hence he left the document at the mansion. He wanted his brother to return the papers on his own so that his past action would remain undetected. Returning the paper was like an admission that he had stolen it in the first place. Yet he still barged in his brother’s house twice. (chapter 117) Here, he exposed the existence of the “petition” to Baek Na-Kyum for one reason. The latter should be used as a way to pressure the main lead to give up on the paper. Notice that this topic was brought up in the gibang: (chapter 119) However, the reality is that Seungwon is not just trying to fulfil his father’s dream, but also he has his own ambition. He wants to make a name on his own. That’s why he confessed this to his brother: (chapter 119) He doesn’t associate himself with the father and his sins. In his eyes, he is blameless. The reality is that he is guilty like his father, for he failed to care for Yoon Seungho. He failed to listen to him and his suffering. He didn’t try to understand him. Like mentioned above, he only sympathized with him and that’s it. Thus he condemned him for his debauchery in the gibang, but this was no longer the case.

When the father confronted his own son with reality (he had no power without him), Yoon Seungwon was once again absent!! The latter is the evidence of his “neglect”. It is important, because when the main lead bowed in front of the patriarch, (chapter 127) (chapter 127) the former only made a promise to his father and not to the brother. With his death, Yoon Seungho is no longer bound by a promise. Since the main lead had been living properly for 3 years and even passed the civil service exam, it is clear that for the brother, Yoon Seungho must have forgotten his past lover. He must have judged his brother based on appearances, just like he was behaving himself. However, this was just a subterfuge. He was waiting for the right time too. He had no change of heart, he had just been copying his brother’s behavior.

To conclude, the main lead abandoned Yoon Seungwon in the end for his loved one. It happened, when he not only rejected the marriage proposals, but also moved to that “poor region”. The sibling received his punishment for his lack of loyalty and his dishonesty. Funny is that the main lead actually followed his brother’s advices: 8chapter 118) He cut off ties with the past and the family!! This means that his words in the lord’s bedchamber came true: (chapter 78) Let’s not forget that at the gibang, Yoon Seungwon never revealed his true intentions towards his brother. The latter always said that his advices were for his best interests. He should become involved in the government. But everything was for the Yoons, or better said, for Yoon Seungwon’s sake. And there exists another reason why the sibling must have been embarrassed: This marriage! To conclude, Yoon Seungwon embodies the opposite values of Baek Na-Kyum and Yoon Seungho: ambition, corruption, forgetfulness, hierarchy/social norms, traditions and reality versus understanding, forgiveness, simplicity, closeness, modern family and happiness. Selfishness versus Selflessness. This explicates why the main lead gave up his success for the artist. However, though it looks like an exile, the reality is that he will gain popularity and admiration among the inhabitants. Why? It is because he is no longer making distinctions between nobles and commoners, he doesn’t see this place as a punishment, but as a heaven and as such he has a better perception of humans in general. In my eyes, he is bringing progress and change in the region. Baek Na-Kyum is already teaching the kids how to draw… so it is only a matter of time, until his lover takes care of the education for these children. This means that these words will become a reality: (chapter 6) He will think of the futures of those children because of his lover.

PS: Tell me, if you are interested in another essay. The question would be: how did lord Yoon die? Was he poisoned or not?

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

Painter Of The Night: 🟦⬛Back to square one? ⬜🟥

Because the manhwaphiles are witnessing the downfall of the protagonist, people get the impression that history is repeating itself. It was, as though nothing has ever changed. Besides, in my previous essay, I had already outlined the similarities between the past and present and explained the reasons behind this resemblance. However, as you can imagine, we are not back to square one. Thus in this composition, I will elaborate the changes. And this can only be possible by contrasting the present with the past.

1. Monsters in Joseon society

1. 1. Yoon Seungho and his peers

The Painter Of The Night-philes can certainly recall how in the beginning of the story Yoon Seungho was perceived. He was introduced as a brutal and bloodthirsty monster, for he killed a servant in the open. (chapter 1) He was even called a psychopath, for he resorted to kidnapping (chapter 1) sequestration, threats (chapter 2) and blackmail and he initially showed no remorse. (chapter 7). On the other hand, he never got into trouble for his wrongdoings. Why? It is because he wasn’t violating social norms. (chapter 10) It was his right to punish servants, for they are not considered as humans but as propriety. As a lord, he could treat commoners, like it pleased him. Though murder is prohibited, even against a lowborn, (chapter 43), the reality is that nobles would never get into trouble!! As you can see, there exists a discrepancy between laws on the paper and the reality which was exposed by the rumors in episode 106. (chapter 107) The fathers would use their position and influence in order to cover up their children’s wrongdoings. And we have the perfect illustration, when the elder master bribes the governor. (chapter 127) That’s the reason why the younger generation could do everything! Though the lord appeared as a monster first, he became a “normality”, the more we got to read this story. Under this explication, it becomes comprehensible why lord Min was so sure not to get bothered by the authorities. (Chapter 101) He had bought the officers (“the guards”). This explains why Black Heart could threaten No-Name. (chapter 76) He didn’t need to dirty his own hands, he could simply frame him. Consequently, I deduce that he had learned this misconduct through the elders’ behavior.

1. 2. The old bearded men and their roles

Interesting is that in season 4, Yoon Seungho gets protected from prosecution by his father’s power, however the latter did not do it for his sake, rather to protect the Yoons’ reputation and influence. (chapter 116) This shows that neither Black Heart’s father nor Yoon Chang-Hyeon truly love their children, as according to Erich Fromm, love is knowledge, respect, care and responsibility. However, the elder master Yoon is totally ignorant about his son’s talents and good nature. Thereby, I see lord Seungho from season 1 as the perfect illustration of the corrupted world of the nobility. The monster “Yoon Seungho” was just a reflection from this ruthless and immoral society. Since he committed wrongdoings, his karma was to pay for his sins. It starts with a murder, and the main lead ended up killing people. He might have not broken “traditions” like the disregard of the yangbans against lowborns, but it is considered immoral. He had sinned and now, he is paying for his sins. Therefore his words in the prison resonate differently. (chapter 126) He expresses regret. He confesses his crimes, he killed people! This means that he is now siding with the lowborns. Their life is as precious as the ones from the nobility. Yet, note that in this image, the author didn’t drew his eyes. Why? It is because in the moment he executed people, (chapter 102) he was either not himself or he did it out of reflex to protect himself. He was influenced by his past experiences and as such traumas. In the shrine, it becomes more obvious, for he has a lost gaze. He is not even looking at his target. Finally, when he met lord Song, he did it to “protect” himself. (chapter 123) For me, in episode 1, the execution was triggered by his desire to protect himself and his traumas. And what is the common denominator between these three scenes? The father Yoon Chang-Hyeon! Don’t forget that the petition was the reason for their meeting. And now look at the actions from the patriarch. (chapter 116) He had given the order to eliminate all the servants, for they could represent a threat to his “treason”. This explains why the butler describes himself as the only survivor and witness. (chapter 86) And we see him giving the order to kill the surviving guard (chapter 125) Besides, he had no problem to order the assassination of his own son which was stopped by the intervention of a helping hand. The father had never asked to spare the main lead’s life. (chapter 124). He was his bad role model. But he is not the only one. There is another one…

And if crimes were to take place, then the nobles would find scapegoats in order to avoid punishment. Hence No-Name got so many tattoos in the end. (chapter 51) Once a criminal, always a criminal… therefore it is not surprising that the joker chose assassination as second work. By working for the nobles, he would be able to escape punishment, because if he got arrested, he could denunciate them. To conclude, justice is inexistent in Joseon. Yes, we are witnessing the downfall of Joseon, or precisely the king’s bad ruling. The latter is not capable of providing justice to anyone. And this coincides with the purge! (chapter 37) What is a purge?

The purge is the symbol for injustice, because it is connected to violence and intolerance. As you can see, the “fake servant” was exposing his true nature through his words. He should have said “sentenced” or “punished” or “executed” but not purged for treason! I am more than ever convinced that the old bearded man in episode 37 is the king. Those two words (“purged”; “treason”) are contradicting each other. In the first case, the authority is committing a crime by abusing its power, while in the second case, a group is plotting against the authority and as such is breaking laws. Finally, I would like to outline that Yoon Chang-Hyeon and lord Song got evicted from the government which coincides with the second signification of “purge” (chapter 107) “Stepping down” was actually an euphemism for removal. The officials were chased out, (chapter 80) but their evictions were turned into stepping down. (chapter 122) No wonder why lord Song came to resent the protagonist. Under this new light, it becomes comprehensible why the purge was not noticed by commoners. There was no fire and the staff was sparred. (chapter 37) And if they knew, people didn’t feel concerned… for they were violent, filthy nobles. Remember how the woman came to curse the gentry: (chapter 106) Moreover, we could see how an official came to murder lord Shin. (chapter 103) The boots were the indication that this person was working for the government. And it was an elder, for he was wearing this particular headgear. (chapter 103) (chapter 67) The murder of lord Shin is the evidence of the anarchy in Joseon. But actually, the monsters are actually everywhere, and not just among the nobility. The Chungin with the scholar and the physicians who have no problem to lie, participate in a kidnapping and drugging people… the kisaengs, the maids, the servants. They are all accomplices, for they feigned ignorance or chose to remain passive, for they preferred avoiding trouble. What people failed to realize is that no one is safe from this tyranny. Hence people could get killed and thrown into a well so easily (chapter 97) (chapter 101) and their perpetrators got scot-free. Why? It is because the mastermind and the helping hands are protecting each other, like we could see in the Joker’s case. However, the latter in season 3 had no idea that they would face divine retribution and pay with their life. (chapter 102) In front of gods, humans are all equal. There is no distinction between gentry, Chungin and commoners. That’s the reason why I come to the conclusion that Yoon Seungho is the divine hand of justice, he is bringing the “divine retribution”. This explicates this vision: (chapter 83) Under this new approach, it becomes comprehensible why he is called “the bird of misfortune”. People around him got to suffer, for they received their karma. Funny is that lord Song mocked him by calling him a grim reaper. (chapter 123) He underestimated his opponent, not imagining that the latter would use his sword against him. So he became a grim reaper. Lord Song Haseon must have thought that his minions, just like his age and status, would protect him. But no, someone had planned his death and counted on the main lead’s decision.

2. Karma and Baek Na-Kyum

What caught my attention is that Min even expressed the disinterest of the authorities towards peasants. (chapter 99) Thus Min’s karma was to die in the total indifference of others. No one is missing him, for he was turned into a brigand himself. (chapter 113) But wait… Why did Black Heart get killed in the end? One might say that it was his karma, for he had planned the murder of Baek Na-Kyum in the past. In my opinion, the uke serves as a representative of the divine retribution. The artist is the “judge” and his lover is executing the sentence: death. And we can detect this gods’ intervention through the learned sir’s case as well. Jung In-Hun had looked down on the artist for his origins and education. When the generous main lead chose to accept his apology (attempted rape), (chapter 120), the latter reminded him that contrary to Yoon Seungho, he was admired. He had such a good notoriety! Since he betrayed the artist and had almost him killed, the scholar ended up losing everything. (chapter 127) He became the scapegoat for this incident, for he played a huge role in the painter’s suffering (kidnapping, assault, murder and brainwashing). His success at the civil service examination was erased within a few weeks and now he is viewed as a brigand. How could such a person get selected as an official? His fate gives a bad impression of the civil service examination. And what is the common denominator between these two villains? They both belong to different social classes. Their cases is exposing the king’s negligence and arbitrariness. The latter is the perfect personification of this corruption. Not even Confucianism is respected, for fathers are abusing their own children or even killing them. Season 4 is exposing the chaos in Joseon. Therefore it is not surprising that the sacred tree and the shrine got burned. (chapter 106) The gods were using the humans to voice their anger. At the same time, when the woman made this comment, the Manhwa lovers can detect the huge gate in the background, the symbol for royalty. And now, you comprehend why Yoon Seungho was pushed to go to Hanyang. It is his fate to face the king! His task is to clean the palace of these old bearded men. (chapter 44) I had already portrayed him as a black shaman in the essay “Spirits and the lustful shaman“. And since he became a believer in episode 126, this means that he can fulfil his task, giving the king’s divine retribution. (chapter 65) Don’t forget that the monarch is the only one who stands above the laws, though he is controlled by social norms and his officials. In my opinion, this can only take place, when a new scheme takes place. How so? Note that in the scholar’s case, Jung In-Hun received his karma, but not real human justice. For me, he is not dead. Besides, don’t forget that someone took the petition from lord Song, before Yoon Chang-Hyeon came to the bloody place. There is no ambiguity that the accomplices and schemers didn’t get happy with the last outcome. The couple might be separated physically, but they are attached to each other by their strong love. And since the main lead kept wearing hanboks with the phoenix (chapter 34) (chapter 45), it indicates that someone saw him as his bird of fortune. And this can not be Yoon Seungho, for the latter was full of self-hatred. Finally, his own father, Kim and Heena called him as a bird of misfortune. As you can see, the king could no longer see the main lead due to the artist’s presence. He is his bird of fortune, for he could live out all his dreams thanks to him, and at no moment he got into trouble. No one is suspecting his intervention.

3. Though fate parts us once more

As soon as I read this whisper from the main lead (chapter 127) I recognized why the painter and Yoon Seungho had to go separated ways. It is because the schemers wanted him to return to Hanyang. Remember the learned sir’s suggestion before his departure. (chapter 44) Why? It is because now the main lead is an adult. Since my theory is that the pedophile is the ruler, he can no longer approach the protagonist like that. The latter is no longer visiting the gibang. He wants their path to cross again so that they can rekindle. Hence he had to create an opportunity proving that their meeting is not a coincidence. Under this new approach, it becomes comprehensible why Yoon Seungwon encouraged his brother to reconcile with their father. (chapter 37) That way, he would be “following” the tradition and become an official. But since Yoon Seungho developed a fear of “old bearded men”, he had no reason to go there. (chapter 44) This exposes that in his unconscious, the young man was aware that his suffering was related to the officials. But in season 1, their attempts (Jung In-Hun and the brother) failed because of Baek Na-Kyum. The latter had to leave the lord’s side. And this brings me to the following observation. Since the beginning of the story, people were used to make the commoner leave the protagonist’s side:

  • Lee Jihwa with the ruined painting and the murder
  • Min: the party at the kisaeng house, the orgy in episode 33, the kidnapping and murder
  • Heena: (chapter 46) (chapter 68) (chapter 97)
  • Jung In-Hun (chapter 111) (chapter 120)

I could mention Ýoon Seungwon, the staff, butler Kim, Deok-Jae and the kisaengs. And now, it is time to examine the circumstances of their farewell. (chapter 127) As you can see, the painter was feverish. Why? From my perspective, he was drugged. He was not allowed to see his loved one, because they don’t want him to remember their departure. The schemers desire him to feel abandoned like in the gibang (chapter 105). The reason why I am suspecting a drug is that this panel (chapter 127) is similar to the first Wedding Night: (chapter 21) At the same time, this scene is also a reflection from the night after the massacre in the shrine. (chapter 103) Back then, he was also under the influence of an aphrodisiac. They don’t want him to remember his last words. And since he didn’t take care of him during that night, though he was unwell, they hope to create the illusion that Yoon Seungho neglected him. He broke his promise. But their trick can no longer work because of the lord’s visitation in the prison and his words. (chapter 126) (chapter 127) The separation arc is there to prove these plotters wrong. Their affection is not trivial and momentary. He is not a plaything, but his “partner”. In fact, they have absolute trust in each other, and their source of strength will be their short happy moments together. Besides, I am quite certain that the artist will remember the lord’s whisper from that night, since he had problems to recall the First wedding Night and the incident in the shrine. Both are related to his bad conscience. Besides, I have another reason for that, the power of the unconscious knowledge.

Thus I am suspecting that neither the painter nor the lord will be in touch through a correspondence. They have to create the illusion that the main lead is forgetting him. This explicates why Byeonduck created 3 episodes where the silence and miscommunication between the two protagonists played a huge role. (Chapter 108) Though both were close physically, they still allowed others to manipulate them, for their trust was not complete. In other words, the schemers are thinking that time is working for them!! On the other hand, since Kim is by his side, the painter can only consider his presence as the evidence of the lord’s care. (Chapter 127) This coincides with the beginning of the Manhwa, when the lord was seen without his butler. (Chapter 1) The latter only appeared in episode 7, and back then Yoon Seungho had to dress himself. (Chapter 7) Finally, I am expecting schemes again.

4. Yoon Seungho a servant again

I have to admit my surprise, when I saw Yoon Seungho’s bow in front of his father. I really didn’t expect this, yet his decision makes sense. He swears to become his father’s servant. (chapter 127) This means that he is giving up on his status and freedom for Baek Na-Kyum’s sake. (chapter 127) And naturally, this reminded me of this scene with the straw mat beating. (chapter 127) Here Yoon Seungho had been treated like a servant, because he had been submitted to the straw mat beating. Exactly like in the past, there was a promise. Notice how similar the words are: “No matter”. (chapter 77) However, there exists a huge difference. Back then, the vow was made between the butler Kim and Yoon Chang-Hyeon. As you can see, Yoon Seungho is now copying his surrogate father’s behavior. (chapter 127) This shows that the young master is following Kim’s path. On the other hand, the domestic employed the future tense in his pledge (“I will do as he commands”), whereas the “spiritual son” is using the present (“I swear to live as you command”). Moreover, the main lead is talking about his way of life and not “order”. And what does the father desire? (Chapter 86) Making connections so that the Yoons can become influential again!! But how can he do that? By showing his talent? I have my doubts about it. Why? It is because in season 1, the lord was having sex with his peers, and back then they were like battles… for an exchange of favors. I hope, I might be wrong, but I fear that he is about to become a male kisaeng again. Or if not, then this is what the king is expecting from him. And we have the best example in this scene: (chapter 80) Sex against favors. Yoon Seungho has become the symbol of nepotism, though in reality he is the biggest victim of this. According my investigations, Yoon Chang-Hyeon was left in the dark about the pedophile. But now by asking his eldest son to “become his servant”, he is now responsible for his fate. This means that he can no longer “feign ignorance”. What is more important to him, his hatred for sodomy or his dream of power? By using his elder son, Yoon Chang-Hyeon can maintain his reputation and have a clear conscience. However, this makes him a hypocrite. Besides, why would Yoon Seungwon keep pestering his brother to change his life and go to Hanyang, when he “succeeded” with the exam? (chapter 118) Why does he need the protagonist? It is because he needs “connections”. And how can he get these connections? Through his brother. But with the last incident, it looks like Yoon Seungwon jeopardized the remains of his influence, for the noble ignored him. (chapter 127)

But let’s return our attention to the contrast between Kim and his adoptive son. (chapter 127) Another common point between Seungho and Kim is the bow. (Chapter 56) Yet, the domestic is only bowing with his head and not his body. The protagonist is dressed exactly like his father. This comparison exposes that my past interpretation was correct: the butler had awakened his master during the night by lighting the candles. And after receiving this letter, Yoon Seungho dressed himself in order to meet his childhood friend, which reinforces my theory that the valet won’t follow the protagonist.

Interesting is that the butler and his “adoptive son” are acting for someone else’s sake. Yet, the second divergence is that the protagonist’s vow is not affecting the painter’s life (chapter 127), while the butler’s oath was describing Kim as the helping hand to “fix” Yoon Seungho! In other words, at no moment, the valet was risking his life, whereas the main lead is now “sacrificing” his own life (“as a willing servant”) for the painter. And this brings me to the following observation. Why did Yoon Chang-Hyeon order the straw mat beating for his own son in episode 77? It is because the latter had failed the father’s expectations. He had not been able to have sex with a woman. (chapter 86) However, back then, he was considered as the eldest son. One of his duties was to continue the lineage (chapter 82) and because of the stolen kiss, the patriarch became obsessed with sexuality. Observe how lord Song Haseon described the father’s attitude. He knew about the atrocities that the young master was exposed to (chapter 123), but he chose to turn a blind eye, for he believed that the end justifies the means. This explicates why he left the room so quickly and abandoned his son. Yoon Chang-Hyeon’s resent for the eldest son came from his high expectations. This can only reinforce my past interpretation that Yoon Seungho is a new version of Prince Sado. Thus the elder master Yoon’s personality is based on king Yeongjo. Moreover, lord Song alluded to the execution of a prince ordered by the monarch. (chapter 107)

Yoon Seungho has a similar disposition. He also hoped to be recognized and loved, thus he was constantly looking at his father’s eyes. (chapter 55) But what did he see in his father’s gaze? Anger and disappointment, for he was never able to satisfy Yoon Chang-Hyeon’s expectations. (chapter 55) With the release of episode 127, I had this sudden revelation concerning this memory. In the past, I used to think that he had been submitted to the straw mat beating. But now, I think that in this scene, Yoon Seungho was forced to bow to his father by the servants or guards!! Yes, the former version of this scene. (chapter 126) This idea came to my mind, the moment Yoon Seungho emphasized his bowing! (chapter 127) The protagonist’s words imply that he had never done it before!! And now, you know why Yoon Chang-Hyeon agreed to make a deal with his eldest son. (chapter 127) Yoon Seungho’s bow and oath stand for blind obedience and loyalty. This explicates why the author drew him without eyes. (chapter 127) He believes that he has finally been able to tame Yoon Seungho. He has become the perfect “puppet or tool” in order to make his dream come true: POWER! Actually, he is hoping to restore the Yoons’ reputation and glory. (chapter 87) That way, he can act, as if the purge and the humiliation had never happened. So by submitting himself to his father’s will, it looks like Yoon Seungho is put in the same position than in the past. He is “exposed” to the harsh judgement from the patriarch. However, it is just an illusion. How so? First, what caught my attention is the absence of the protagonist’s eye. (chapter 127) The blue color and the absence of the eye are displaying the coldness from Yoon Seungho. He is not looking for recognition and love from his father. He is now totally indifferent towards him. Moreover, if you read my previous essays, you already know that the absence of “eyes” is indicating a lie, like here for example: (chapter 11) (chapter 35) Does it signify that the protagonist has the intention of betraying his own father? I don’t think so, but the manhwaphiles shouldn’t forget the lord’s wish in the kitchen: “I shall remember this moment for as long as I live”. (chapter 118) This shows that when the lord bowed to his father, he was thinking of Baek Na-Kyum in the kitchen. His body might be by his father, but his mind and heart were elsewhere. Thus I couldn’t help myself thinking that Yoon Chang-Hyeon will get betrayed and abandoned by his own son. During the same night, he made 2 vows. It was, as though he had two “lords”! His goal is to meet his loved one again. (Chapter 127) Finally, don’t forget that the main lead is following Kim’s path. He will have to choose between his father and the painter. Yoon Seungho is actually applying the father’s principle: the end justifies the means. So if necessary, he can break his vow to his father.

And now, you are wondering why. It is related to the deal between the father and son. (Chapter 127) It is because Baek Na-Kyum represents a leverage for the father to control his son. He is now replacing the petition. This coincides with Yoon Seungwon’s words: (chapter 116) I still believe that the painter has the original petition. And who is by Baek Na-Kyum’s side? Kim!! (Chapter 127) He is now in charge of the painter so that his pledge to the lord becomes a reality. (Chapter 108) By living by his side, he can lead a quiet life far away from Hanyang. However, this signifies that the artist has become a “prisoner”. As long as he lives in Yoon Chang-Hyeon’s claws, his loved one can not return to his side. Interesting is that a carriage was used to carry away the protagonist. (Chapter 127) Such a transportation was utilized for noblewomen. This can only reinforce the rumor that the protagonist has a fiancee! (Chapter 78) But where is the painter going? To the mansion? Or to another secluded place? In my eyes, the location is important. His existence is still a source of problems for the schemers. I see a future conflict in the lord’s life, for one oath stands in opposition to the other. Moreover, should the patriarch lose Baek Na-Kyum, he can no longer control his son. He can not suddenly blame the painter for the death of lord Song, for Jung In-Hun has been now convicted for the crime. (Chapter 127) The latter is now stigmatized as an arsonist and murderer.

Another reason why I believe that the actual situation diverges from the past is that the patriarch becomes “responsible” for his decisions. (chapter 127) He can no longer blame Yoon Seungho, for he is now just a “servant”. The expectations are also much lower. He just needs to follow his orders. Yoon Seungho is exempted from continuing the lineage. Moreover, Yoon Chang-Hyeon is now as the lord responsible for his son’s protection. Since he is his servant, he has to ensure his safety as well. That’s why he can no longer abuse like in the past. He is his tool to become powerful. This means that he is now dependent on him. Moreover, note that the father and son have a deal. (chapter 127) In other words, there is a certain equity. The painter serves as a leverage which reminds us of the deal between Baek Na-Kyum and his fated companion. (Chapter 7) In exchange for sponsoring the learned sir, Baek Na-Kyum had to go to his bedchamber and paint there. (Chapter 7) Now, the positions are switched. He is the one getting coerced! And this brings me to the following observation. Why did the elder master agree to this deal in the end? First, he refused to assist his son. (chapter 127) He believes that he has the petition, therefore he can no longer be blackmailed by his eldest son. The latter has no longer any leverage over him! However, he changed his mind. (chapter 127) For me, it is related to the bow. I noticed that the patriarch pays a lot of attention to “manners” and etiquette. Therefore the guards apologized on different occasions, yet the elder master always accepted their excuses (chapter 125) (chapter 126) Yet, in reality they were fake excuses. I have already pointed out that the servants would act on their own. But more importantly, their fake apology hid their failure as guards. How could they let the young master barge into the lord’s bedchamber? With a simple apology, this wrongdoing was overlooked. And now, observe what happened during the same night: (chapter 127) Yoon Seungho was followed by the guards! It looked like they were serving him. This scene reminded me of the officers’ appearance in front of the mansion. (chapter 94) This can only reinforce my theory that the main lead will turn against his father in the end. Keep in mind that there is a deal, so should the situation change (the painter’s desertion or the discovery of the second petition for example), the lord is no longer forced to keep his vow towards his father. Moreover, since Baek Na-Kyum got lied, “brainwashed” (chapter 125), “drugged” and slapped by Yoon Chang-Hyeon, he is destined to receive his karma through his son. And what was his dream? (chapter 86) He imagined that his second son would bring him fame and power. But now, the main lead is on his way to become “influential” turning the father’s words into a lie. Yes, the father and son needed to be together again so that the patriarch’s life lie would get exposed and ruined. Since he took the bloody paper (chapter 125) and paid the governor (chapter 127), he could get into trouble for it was, as if he was admitting his responsibility.

In addition, I would like to point out that the protagonist’s mentality is different from Kim’s! The latter advocates immobility and resignation., (chapter 87), whereas Yoon Seungho stands for change and hope. (Chapter 127) The latter is neither nihilist nor defeatist, for the painter has become his “god”, his religion. The hope to meet Baek Na-Kyum again will be his source of strength. He believes that the gods will help him again to have his wish come true. It is their destiny to meet again! (Chapter 127) Like announced in the last analysis, the lord is a changed man due to his new found religion. But this is not visible to the eyes. And the schemers are thinking that they are pulling the strings, while in reality they are themselves utilized as pawns by the spirits. Finally, the painter called himself a “plaything”, hence the schemers can jump to the false conclusion that they have still a chance to achieve their dream, like to punish the Yoons or to win the main lead’s heart. Finally, for me, this story is encouraging people to distinguish between fake heroes and from real saviors. (chapter 127) Where was Heena noona, when her brother was in prison? This rumor can only create the illusion that the painter is still devoted to the learned sir. Yet, after the last incident, the painter came to regret to have trust the learned sir. Both characters are now healed from their traumas (abandonment issues) and they are in full possession of their mind. This makes them less weak to manipulations.

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Painter Of The Night: Terrific Power Of Love 🤍💖💢

Please support the authors by reading the manhwas on the official websites. This is where you can read the manhwa Painter Of The Night. But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents of Painter Of The Night.

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1. Jung In-Hun’s kiss: his intentions

It was really a shock for many readers (including myself), when we saw Jung In-Hun kissing the painter. (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.

The problem is that the villain can no longer enter the protagonist’s property due to Yoon Seungho’s final warning: (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)

This observation leads me to the following conclusion: Jung In-Hun is kissing the painter to order to obtain the painter’s heart and as such his support. He imagines that if he acts like this, the artist will be swayed and will listen to his request. This would mean that the artist would betray the main lead. (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.

2. Betrayal or love?

However, I think that this interpretation (request to act like a spy and retrieve the petition) doesn’t reflect the whole situation. Why? It is because chapter 118 exposed the scholar’s despair. He was so under pressure that he began acting like a sexual assailant which divulgued his hypocrisy and recklessness. (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 118) How is his despair perceptible? First, the wounds on his face are displaying that he got exposed to violence.

The wound on the cheek can not be the result from Yoon Seungho’s punishment, though the readers saw the main lead slapping the scholar. (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 118) Striking is the darkness surrounding the learned sir’s gaze. The dark circles and the absence of light in his eyes is exposing Jung In-Hun’s stress and fear. He reminded me of Yoon Seungho from chapter 57: (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.

This is the reason why Jung In-Hun also kissed Baek Na-Kyum. (chapter 118) The smooching was to persuade the painter that he was in love with the artist. This was the negative version of Baek Na-Kyum’s declaration of love. First, the confession (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) However, like mentioned above, my theory is that he was acting on the order of someone powerful. Consequently, I come to the deduction that he is reflecting Yoon Seungho’s sexual abuser, the pedophile. Thus the author added two mirrors in the room: (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) It reflects the pedophile’s situation, it comes too late. Because for me, the learned sir’s words are reflecting the abuser’s thoughts and emotions, it signifies that studying to his expressions is crucial. (chapter 118) Object of my desires caught my attention. This idiom is exposing that the person wants to possess the painter. That’s how Yoon Seungho was perceived by the pedophile. He only saw the main lead as a possession, as a doll… a male kisaeng. He never treated the protagonist as a person and showed no real respect. Moreover, object of desires made me think of the mirror of erised from Harry Potter once again. Thanks to Yoon Seungho, the man could outlive all his sexual fantasies … which is in reality an illusion. Furthermore, my theory is that they had a fake BDSM relationship. Fake because it was never consensual, hence Yoon Seungho was forced to accept such a sexual habit. And what did the painter reply to his former teacher‘s fake love confession? (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) That’s what the sexual abuser had experienced in the past. Note that even when the painter was crying, the learned sir never wept. Hence these were just crocodile tears, for the learned sir had a goal in his mind: he needed the painter’s heart. Love is not war, hence using strategies can never conquer a heart, Tricks can never serve as a good foundation for a marriage. Trust, sincerity, mutual respect, empathy, selflessness are necessary.

We have another clue that behind the learned sir is standing the lord’s sexual abuser: (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 117) This means that he is already cutting off ties with his fake protector. Yes, the latter was never his savior, because even now, he allowed Yoon Seungho to become wounded! If he had been serious about his promise, then he should have stopped Min and the other from meddling in the main lead’s life. No matter what… he has to keep the main lead by his side.

But I have another reason to suspect that the pedophile must have intervened. The wounds of the teacher reminded me of this scene: (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.

But why did Jung In-Hun wait for so long? It is because the schemers knew that the artist would never leave his lover’s side, as long as the main lead was unconscious. (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.

Additionally, I am suspecting that the schemers needed to wait for the recovery of Yoon Seungho for another reason! The latter had to witness the betrayal from his loved one. Yes, episode 118 gave us another clue for this: Jung In-Hun is ready to drop all his principles out of “love”, whereas in verity it is for his own sake. From my perspective, the schemers were slowly losing their patience. They must have recognized that they were running out of time! Yes, time is on the couple’s side. The longer the painter remained by Yoon Seungho’s side, the more power Baek Na-Kyum would have over the protagonist’s heart. In other words, he is escaping from the claws of the pedophile. The walk through the mountain announced a turning point in the main lead’s life. (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.

For him, the best solution is that Yoon Seungho witnesses the painter’s betrayal and abandonment. However, he needs to be comforted by a close one… so that he doesn’t feel totally alone and abandoned, because he could decide to commit suicide again. That’s the reason why Yoon Seungwon is trying to convince his brother to find a new goal in life, to start a new life. (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) Finally, I would like to outline that by saying “my father” he is actually excluding Yoon Seungho as family member contradicting his own words (brother). (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 118) But the elder brother is no fool, he even starts questioning Yoon Seungwon’s actions: (chapter 118) Who gave Yoon Chang-Hyeon the idea that they could enter the palace again? It can not be the patriarch, for he would have asked for this much sooner. I come to the conclusion that back then, the Yoons got fooled concerning the cause for the treason. They were told that it was because of the petition… hence the younger master chose to hide the document by his brother. (chapter 118) From my point of view, he must have listened to the suggestions of an adult, for he was back then too young to understand what was happening. On the other hand, the monarch condemned the elder master for the fake reeducation (“pretense”). (chapter 37)

Among the indicators of democratic institutions in Korea, the one I want to address in today’s column is that of petitioning. Joseon people could petition the king or the government for all kinds of things. It was acceptable, and oft-seen. It was not a rare or dangerous thing to do ― it was the heart of interaction between the government and the people.” Quoted from https://www.koreatimes.co.kr/www/opinion/2023/05/739_281254.html?utm_source=KK

Thus I come to the conclusion that the petition is in reality the evidence of the Yoons’ innocence, yet the schemers had to maintain this lie alive. Hence Yoon Seungho was portrayed as a blackmailer (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)

As you can see, both protagonists got to hear a confession… (chapter 118) (chapter 118) Both were supposed to ooze concern, affection and regret, as if they wanted to redeem themselves. However, the verity is that their actions were actually exposing their despair, selfishness, greed and their superficiality. Once again, they were betraying their acquaintance for their own interest. The lack of empathy for the main lead can be detected, when Yoon Seungwon portrayed him as a lucky person. (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.

In addition, the confessions from Seungwon and In-Hun have another common denominator: crime! In the final panel, Jung In-Hun appears as a lunatic on the verge of raping Baek Na-Kyum. (chapter 118) It is because he has been rejected!! (chapter 118) This reminded me of the rape at the pavilion. (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.

3. The scholar’s downfall: kiss and prostitution

What caught my attention is the progression of the intimacy between Jung In-Hun and his student. First, he kissed his hands (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).

So it looks like the scholar’s smooching contrasts to the previous scenes. However, this is just an illusion, because Jung In-Hun kissed the artist in the gibang, the symbol of prostitution! Since season 1 I had connected him to prostitution, and I had always predicted that the learned sir would end up selling himself for his own interest. What I had not expected is that he would offer his body to Baek Na-Kyum!! 😮🤮 Thus I interpret that the prostitute is not the painter, but the learned sir. He is giving up on his principles out of fear, greed and hatred! (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 117) At the same time, this signifies that Jung In-Hun is trying to replace Yoon Seungho! This is the negative version of the First Wedding night! (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) The latter is willing to give up on his possessions and comfort for his lover. (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 116) If he dies, the painter will follow him in death. However, the lord doesn’t desire to be the cause for the artist’s death. He seeks to make him happy. Thus he needs to survive in order to protect him.

Under this new light, the manhwaphiles can grasp why I selected “Terrific power of love”. The learned sir is betting his life that this kiss will move the artist and out of his adoration for him, Baek Na-Kyum will betray his lover. He still believes that he has power over the painter’s heart. We could detect his arrogance in their first reunion: (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)

On the other hand, the problem for Jung In-Hun was how to reach the painter. The scholar couldn’t encounter the protagonist by chance in the street either, like in episode 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.

  • chapter 93: – 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: Second separation. Why did Yoon Seungho go to the well back then (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: Heena was supposed to interrupt the couple, but this attempt failed. (chapter 96) She intervened too late, and her brother didn’t notice her presence.
  • Chapter 97: People outside the gibang had to meddle forcing the main lead to leave the painter’s side. We know that it can not be the kisaengs due to this statement. (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: Here the couple was separated again. While Seungho was with Heena, the painter was kept busy with his noonas. They all tricked the couple. Whereas Heena faked her recovery (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.

Consequently, I deduced that this kiss was the result of the involvement of many people (kisaengs, noblemen and the king) and in particular of Yoon Seungho’s staff. We could say that this is the evidence of their betrayal, for they leaked information to an outsider. (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.

Moreover, who is convinced that the painter’s affection for the learned sir is not trivial and fleeting? Heena! (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 99) (chapter 118) In my opinion, her absence has a purpose: Baek Na-Kyum should never suspect her involvement in this meeting. (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.

This image (chapter 117) exposes the complicity of Heena, especially if you consider it as a new version of this scene: (chapter 97) Back then, the noona was also scared, for she was trembling and became quite rough, a sign that she had been threatened as well. But she is not working alone. From my perspective, she is supported by her sisters. The presence of the second mirror is the evidence of their complicity (chapter 118). On the other hand, I don’t think that they are aware of the truth.

The moment I saw the kiss scene from episode 117 (chapter 117), I couldn’t restrain myself connecting it to the one from episode 19, the First wedding night: a stolen kiss. (chapter 19) I had already pointed out the revelance of stolen kisses (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!

First, the smooching between the hypocrite and the low-born occurred in front of a closed door. (chapter 118) And remember that in episode 19, the painter had caught the main lead by surprise, when he entered the room. (chapter 20) Back then, he wanted to discuss about the vanishing of the bottle. Observe the contrast:

chapter 19chapter 118
door opendoor close
the gibang – the studythe gibang – private room of the noona
witnessno witness
nightday
Baek Na-Kyum is aloneBaek Na-Kyum is alone
Baek Na-Kyum drunk – heartbrokenBaek Na-Kyum levelheaded and happy
Baek Na-Kyum got rejected by the scholarJung In-Hun got rejected
Baek Na-Kyum is invited to join Yoon Seungho in order to show the erotic paintingThe painter is not invited to meet Yoon Seungwon
a painting: an important paper (erotic publication – a wrongdoing)a petition: an important paper (crime)
the absence of the noonas – they were not introduced yetthe absence of the noonas

And what had happened in episode 19? Min had tried to play a trick (the expensive wine) in order to approach the artist and even taste him. As you can imagine that I could only come to the conclusion that the encounter from episode 118 had long be planned… even the kiss! This was not done on impulse contrary to episode 19 (chapter 19) And this was the same at the pavilion: (chapter 25) There, the lord imagined that with the kiss, he could reinitiate the first wedding night, but the opposite happened. This led to the painter’s rape. This happened, because the main lead’s anxieties and pain had been triggered. Once he had tasted the tenderness from the painter, he could no longer forget it. And what had said Yoon Seungho back then? (chapter 25) Thus I am deducing that this scene (chapter 118) has an important function in the couple’s life: to trigger their memories! Yoon Seungho has long forgotten that he got raped, He was brainwashed that he led a life of debauchery in order to provoke his father and he still believes this manipulation: (chapter 118) A lie that everyone around the main lead has kept alive… even Yoon Seungwon! But since the main lead has now opened up his heart to Baek Na-Kyum (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!

Besides, don’t forget that the lord’s confession in the very same room is connected to greed and possessiveness: (chapter 96) These notions are all reflected in the confrontation between Baek Na-Kyum and Jung In-Hun: (chapter 118) It was, as if the painter was a prize. Now, he only has eyes for the protagonist, whereas he only felt contempt towards him before.

When I saw this panel, (chapter 118), I couldn’t help myself thinking of the embrace between the two main characters. (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.

Because Jung In-Hun refused to listen to the lord’s warning, (chapter 115) the scholar will be soon confronted with reality: (chapter 115) In my opinion, he will be framed for the incident in the shaman’s house.

Why? It is because Jung In-Hun is behaving like a monster, and he mentioned the incident in the shaman’s house just before. (chapter 118) While the learned sir considered his words as a love confession, they actually appear as an admission of his complicity. He is recognizing that he knows. In addition, the absence of his glasses is the evidence of his wrongdoing. The moment the learned sir gave his spectacles, he knew that Black Heart and his helpers had planned to hurt the main lead. So the scholar was indeed an accomplice. (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 118) Hence the learned sir could get into trouble.

As for Heena, she loves the learned sir, and with this stolen kiss she is actually confronted by her belief. (chapter 68) The learned sir’s feelings for the artist were actually fleeting and trivial! He never had Baek Na-Kyum’s interests in his heart. He used the painter for his own benefit. But will she recognize this in the end? And if she advised the pedophile, then her words could backfire on her, for this trick didn’t work out. If so, she could come to resent her brother, for the latter led to the learned sir’s demise. Remember my prediction: the former scholar’s death.

But why did the scholar make such a move in the gibang? Yoon Seungho is not far away from his loved one! It is because the schemers want him as a witness. All along, betrayal and abandonment play a central role in this story. This came truly to the surface in season 3: (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:

The one with “lord Song”, though for me, there are at least 3 “lord Song” as they look different (beards-hanboks, hair insertion: the ear serves as orientation) (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.

“Of course, therein lies the irony ― that the time of kings, the Joseon dynasty, had democratic institutions. But there were several. I could write a column on each ― for example, student demonstrations. Korea’s student demonstration were hallmarks of Korean political life from April 19, 1960, through the 60s, 70s and 80s, until true democracy evolved in Korea. The “samsa” was the censorate ― the three offices of government that had the duty of criticizing the king and the government (and the censorate had great power in the Joseon court; the three arms of the censorate often, really often, criticized the king and his appointments). The king would sometimes withdraw the offending appointment or decision, and sometimes he would not, but he had to deal with the censors who were obliged to keep him on the straight and narrow of good Confucian, moral government. The king was required to attend lectures on Confucianism, which implied the adherence to ethical government.” Quoted from https://www.koreatimes.co.kr/www/opinion/2023/05/739_281254.html?utm_source=KK

The “samsa” implies 3 representatives of these offices. This would explain why lord Song is asking for the petition from the Yoons. These men could represent the 3 samsa.

And the second plot would be the king.

Another clue for this theory is Min and his friends’s death. They got killed, because they were also left in the dark. And we know that the story is going in circle. In my opinion, all the persons from the past have to make sure that their deceptions and tricks don’t get detected… neither by the victim Yoon Seungho nor by the pedophile. Just like the main lead and his father, there is no ambiguity that the monarch has been deceived as well. (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. (Chapter 118) It is because the main lead had repressed it for a long time, in fact he had been brainwashed that he had become a prostitution out of revenge. Now, he knows that he has been longing for love and acceptance all along.

4. Yoon Seungho and the pavilion

Like the illustration is exposing it , 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.

Interesting is that he selected the pavilion and this for one reason. He needed witnesses for his innocence. As you already know, I had come to the deduction that the learned sir had participated in the prank. Moreover, people from far away couldn’t detect that the learned sir was inciting the artist to sedition and disobedience. He wanted to maintain his image of respectability and selfless and caring man. (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) He wanted to fulfill the artist’s wish, the symbol of his deep and selfless love. Striking is that there was no kiss and sex proving that true love can be expressed in many ways, and not just by physical intimacy. This contradicts the learned sir’s confession. He is just waiting for a signal from him. (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.

None of these yanbang behaved like they should have: hardworking, educated, humble and honest! That’s the reason why I am suspecting that this conversation in the open will backfire on the elder master Yoon. Was the street totally empty during that night? No… because he was drinking in the pavilion. Besides, don’t forget that the tailor was a witness of Min’s wrongdoing. (chapter 101) Finally, a long time ago, I had developed the theory that the pavilion was the place where Yoon Seungho got abused.

In the name of love (for the Yoons, for Yoon Seungwon, for Yoon Seungho, for Baek Na-Kyum, for the scholar), the schemers and accomplices did terrible things. The reality was that love was a synonym for hatred, power, greed, ambition, fanatism, lust, survival, sexual fantasies… And now, take a closer to this panel: 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.

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

Painter Of The Night: A book📖 , a kiss 💋, a confession (second version)

Please support the authors by reading the manhwas on the official websites. This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night 

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

I have to admit that chapter 109 left me wanting more, for the story barely moved on. Technically, only a few minutes elapse between the end of episode 108 and 109. The former begins with the painter’s arrival in the library and the latter ends with Yoon Seungho’s shocked expression: (chapter 109) He discovers that Baek Na-Kyum has already prepared himself, as he is longing for him. (chapter 109) He never expected such a reaction. The reason why the evolution of Painter Of The Night is flowing at a snail’s pace is that season 4 is now focusing more on the past. First, Byeonduck needs to divulge the lord’s suffering and its causes. And this can only happen, if memories are brought up. Hence in episode 109, the painter’s memories stood in the center. Why? It is because he is trying to understand why his loved one is now avoiding him. Thus he is remembering what happened just before. The readers are actually put in the same situation than the artist. On the one hand, the focus on recollection is a method to unveil how the young master was turned into a “sodomite and pariah”, for the painter is going through the same experience than his partner. In episode 109, he is isolated from his “lover” and as such from his family, for he has now maids by his side. The latter are supposed to be his new “family”. On the other hand it helps the manhwaphiles to anticipate the future main events,. as the progression is in slow motion. This means, the Webtoonist left all the elements in the previous seasons in order to decode the past, the present and the future. That way, the manhwalovers are capable to unveil the mystery. Besides, the author has to answer all the questions the beholders had while reading the previous seasons, like this one: (chapter 27) What book was the scholar looking for? Up to now, we have no clue, though I had developed the following theory: Jung In-Hun was a Christian and had a bible.

1. The mystery behind the book

What caught my attention in chapter 109 is the falling book! (chapter 109) How did this happen? One might reply that the book fell from the shelf, when the painter kissed his lover. (chapter 109) This interpretation can be easily refuted, for the noble stood next to the shelf and not in front of it. Besides, the counter stands on the noble’s left, while the ledger was on his right. However, one detail caught my notice, the beholder can not see Yoon Seungho’s hands!! That’s how I realized that the book came from the protagonist! He had carried it hidden in his right sleeve. This explicates why the book stands on the right side. (chapter 109) Besides, contrary to the previous panel, now the lord’s hand is visible! This is no coincidence. But if he was hiding the copy from Baek Na-Kyum, I deduce that it is related to the painter. But there is another person associated to manuscripts in this story, Jung In-Hun!! But what have the low-born and the scholar in common then? The erotic publications! (chapter 34) Note that in the background, there’s a book open on the desk, and it has the exact opposite position than in episode 109! And now, you comprehend why Yoon Seungho rejected the painter’s company next to his table. He didn’t want him to see the publication, for he feared that the painter would be reminded of Jung In-Hun. In the lord’s mind, the young artist still treasures his former teacher. He heard his confession on the bridge next to the pavilion. (chapter 94) However, Yoon Seungho is suspecting that the learned sir was behind the trick in the shaman’s house due to the glasses Min had in his hand before dying. (chapter 102) Hence he doesn’t want to break the main lead’s heart and mind. In other words, the main lead is determined to hide the past from Baek Na-Kyum so that the latter’s memory and agony won’t be triggered. The book could definitely remind the low-born of all the events which led to the massacre in the shaman’s shrine. Besides, I feel that the noble must feel guilty as well. If only he hadn’t admired the erotic publications which led to Baek Na-Kyum’s stay in his mansion. Consequently, I think that the noble is also in agony because of the work.

2. The identification of the volume

So far, I didn’t prove that the copy was an erotic publication. This is just a speculation from my part. But like mentioned in the introduction, the clues are all left in the previous seasons, for the story is constructed like a kaleidoscope. That’s why I included it in the illustration. However, there exist two reasons why I came to this deduction. I detected similarities with the first encounter between Yoon Seungho and his nemesis in the scholar’s home and the painter’s kisses.

2. 1. The scholar’s book in episode 6

First, let’s start with a comparison with episode 6. Here, the lord was holding a book while interrogating the learned sir. (chapter 6) Both were standing in front of the cupboard, while the learned sir suddenly took away the copy and closed it to put it back on the cupboard. This made the protagonist smirk. Due to the characters’ reaction, (chapter 6), I had assumed that the protagonist was making fun of Jung In-Hun. He had played a prank on the host, especially after asking about his occupation. I have always wondered about the content of the volume. Therefore I had developed the idea that this could be the bible. However, it was clear that the book was not for children which is visible due to the writing. (chapter 6) In fact, the learned sir should have the manual Thousand Character Classic (Chinese: 千字文; pinyin: Qiānzì Wén), also known as the Thousand Character Text.

The Thousand Character Classic has been used as a primer for learning Chinese characters for many centuries. It is uncertain when the Thousand Character Classic was introduced to Korea.” Quoted from https://en.wikipedia.org/wiki/Thousand_Character_Classic [I usually avoid wikipedia, but here I was not able to find another source mentioning Joseon and classic book]

The main lead was holding the evidence for Jung In-Hun’s hypocrisy. That’s the reason why the learned sir was forced to admit that he wasn’t dedicated to his job. (chapter 6) In reality, he wasn’t teaching them reading and writing at all. But Yoon Seungho had feigned ignorance with this discovery. With his indifference and praises, the false teacher had the impression that he was supporting his attitude. This scene is relevant, because the learned sir had lied to the protagonist about the painter’s education. (chapter 6) This means that the book represents the evidence of learned sir’s betrayal and abandonment. He is responsible for his illiteracy. To conclude, this scene contains the following elements: a prank, a lie, a confession which was triggered by a book that Yoon Seungho had picked up by chance. But wait… it could be the book from the scholar’s home! (chapter 06) But this image can be used to refute this theory. How so? It is because this book has a title, hence there is a white rectangle!! However, take a closer look at the copy on the floor. (chapter 109) There is no white rectangle and as such no title! Why? It is because the publication is illegal, for sodomy was condemned by Joseon society and traditions. According to me, the tailor was involved in the erotic publications. Besides, compare it to the manuscripts in the learned sir’s bedroom! (chapter 50) Finally, I would like the readers to keep in mind that they could only see the content of the books (chapter 1), but they never got the chance to see the cover.

Now it is time to return to our contrast between chapter 6 and 109. Since the scene in the library from episode 109 represents the positive reflection from chapter 6, this signifies that the characters must have behaved the opposite way. And what did the noble do in the library? He made sure that the painter wouldn’t come close to the table, while in episode 6, the host did the exact opposite. (chapter 6) He proposed him to sit and have a cup of tea to divert his attention from the books on the cupboard. Besides, I would like to outline the huge contrast between these two scenes. The scholar needed the assistance of the prestigious family Yoon, while the protagonist replied this to his loved one: (chapter 109) Needed versus not necessary!

Finally, in the same chapter, the scholar admitted that he had scolded Baek Na-Kyum, but he never revealed what he had truly done and why. (chapter 6) He was here very vague (“bizarre and vulgar”), he spoke of a scolding, but never of rejection and abandonment!! This is important, because Yoon Seungho also experienced something similar in the shed: (chapter 77) Back then, the butler’s words must have wounded him terribly, he must have felt dirty either. Under this new perspective, it becomes comprehensible why I came to this conclusion that the book is related to the learned sir and to the erotic publication. But this doesn’t end here. In my eyes, episode 109 clearly outlined the importance of the library in the protagonists’ life. This is the place where both main leads got betrayed and abandoned. (chapter 40) When the scholar wounded the artist with his words, he implied that the artist was responsible for his lack of education. With the idiom “I thought, you could be educated”, he gave the impression that he had put some effort, but due to the artist’s disposition, he had failed. We had another scene where the learned sir was blaming Baek Na-Kyum. (chapter 70) He would fall asleep instead of studying. And who knows about the learned sir’s hypocrisy? Yoon Seungho!! That’s the reason why the goddess Byeonduck let them meet in the library. It is to heal their wounds. In this room, Yoon Seungho’s suffering started and later, the painter got betrayed by his former teacher, someone whom he viewed as his “family and mentor”.

2. 2. The painting and the kisses

But like mentioned above, I identified the publication thanks to the painter’s kisses as well. That’s the reason why these kisses are in the center of the illustration, where I chose a kaleidoscope in the background. When Yoon Seungho got kissed by the painter (chapter 109), he got surprised, and he had the same gaze and facial expression than the one during the First wedding night , in the gibang and in the study (chapter 42), though here the artist kissed his companion twice! (chapter 49) And what had these scenes in common? Paintings and the artist’s confession. And now, you comprehend how I made the connection between the book and painting.

In episode 19, the artist had been asked to show his latest creation to the guests, and Min was present. (chapter 19) This scene could only break the artist’s heart, because he was reminded of the learned sir’s reaction: his rejection. The latter got angry and jealous that the low-born would be treated as someone special. Furthermore, Jung In-Hun had only got the noble’s sponsorship thanks to Baek Na-Kyum and not thanks to his own talent! In verity, the learned sir had been the tool to submit Baek Na-Kyum. Shortly after the exposition, the protagonist went to the study. There he got confused for Jung In-Hun, hence he received a wonderful confession (chapter 19) before getting kissed and embraced!

In episode 42, the lord noticed the artist’s agony, but he blamed the learned sir. (chapter 42) Yet, the artist was unable to explain the situation, for he had internalized Jung In-Hun’s criticism. (chapter 42) So we could say that the yangban tried to get a confession from the painter, but he failed. Hence they had just sex. The artist’s heartbreak was the reason why he never got to confess the truth! And what had happened in the study after the painter kissed the main lead? The lord saw the inauguration illustration and got jealous of Jung In-Hun (chapter 42)

Then in season 2, the painter had voiced his perception of his sex partner (chapter 48), and the painting had exposed the main lead’s uneasiness and pain. The drawing was not refined, barely finished. (chapter 47) The behavior from the painter and the new painting had not only wounded the main lead, but also pushed the lord to discover why the artist was behaving this way. After the rough sex session, the artist had made a confession: he was dropping the rules he had been raised. (chapter 49) He was admitting his sexual orientation and his own pleasure, but he still kept his distance from Yoon Seungho. Why? It is because he was reminded of the learned sir’s fake embrace and betrayal. (chapter 49)

Finally, in the kisaeng house, the noonas had shown the artist’s paintings (chapter 94) which incited the artist to recall his childhood. That’s how he came to unveil his past and confess his love to the noble! (chapter 94) And what do have all these kissing scenes in common?

  • A painting triggering souvenirs and as such emotions (sadness, jealousy, pain, nostalgia)
  • A confession
  • SEX
  • The direct or indirect meddling of Min: the wine (chapter 19), the parties after the separation (chapter 51), his visit in the gibang and his tricks (chapter 96). In episode 109, the painter confused Yoon Seungho’s shadow with Black Heart’s. In his nightmare, he was brought back to the shaman’s house and the lord’s smile was similar to Min’s. (chapter 109) (chapter 99) Besides, let’s not forget that during that terrible night, Black Heart never touched the artist himself, as if he didn’t want to touch a trinket sullied by another man”. On Twitter, the author revealed that Min would help Yoon Seungho. Through this comparison, the beholder can confirm this. Thanks to Black Heart, the couple got closer in the end.
  • The meddling of the maids, as the latter are responsible for the kitchen! The stolen wine (chapter 19), the spying on the painter – though here it appears like a good thing – (chapter 41), the stones in the rice (chapter 47) and the words from the maid who repeated the noona’s principle (chapter 109). Here, the maid was triggering the painter’s memory and as such fears. That’s the reason why the readers can see the laugh of someone outside the building (chapter 109). She was acting, as if Baek Na-Kyum was not present, but in reality she knew that he could listen to her. How do I know this? The evidence are the sweets on the windowsill. (chapter 109) They never encouraged the tormented boy to eat the sweets!! Besides, this episode confirmed my interpretation about the complicity of the maids. As their role is to comfort Baek Na-Kyum, the readers should question themselves about their absence. (chapter 108) Why is the room dark? Where are the maids during that night, as they are supposed to sleep next to the painter? (chapter 109) The absence of the light is truly noticeable, an indicator that they are not in the bedchamber. Moreover, I had detected that the brown bed cover symbolizes the meddling of Kim. [For more read the essay “The riddle with the bed cover”] Finally, this scene contrasts to the painter’s dream with the noonas: (chapter 87) Sincerity versus fake concern; own choice versus manipulation, happiness versus sadness. Under this perspective, you comprehend why I view the maids as traitors. But since season 1, the women were never punished. Hence they felt free to badmouth Yoon Seungho or Baek Na-Kyum. So while he was preparing himself, where were the ladies-in-waiting? I doubt, the painter would give them orders. The painter was left alone on purpose. Finally, the manhwalovers should question why there is a bottle of oil in the bedchamber. So far, Yoon Seungho utilized it once (chapter 20) and it was during the first Wedding Night. And oil comes from the kitchen, the lord had fetched it from that room!! Naturally, there is an exception, and it is the kiss in the gibang. Yet, here the kisaengs had just replaced the maids. In other words, they had played a role in the confession. And this explains why the noona’s words are superposed with the maids. (chapter 109) This exposes that the couple has enemies not only in the mansion, but also in the kisaeng house, though I don’t think that the noonas have truly ill intentions.

3. The scholar and sodomy

But I have left the most important common denominator, Jung In-Hun!! He was always present, before, during and after the kiss and the sex session! However, the last episode represents the exception. At no moment, the artist thought about the teacher for one moment! All his thoughts were revolving about Yoon Seungho (chapter 109) That’s the reason why I am convinced that the book is strongly connected to the learned sir. In my eyes, it can only be the erotic publication of sodomy!! Why? It is because it represents the painter’s biggest wound. It explains his low self-esteem. Consequently, I am expecting the appearance of this panel: (tweet) The teacher told him “It’s dirty”, and wounded him the most with his gaze full of hatred, the symbol of rejection! Note that in episode 109, the painter always focused on the mouth and not the gaze, (chapter 109) (chapter 109) (chapter 109), because he fears to meet such a resentful gaze. This observation leads me to the following conclusion. In season 1, the painter’s memory got triggered due to the lord’s behavior, as the latter wanted to see a painting of their Wedding Night, but he got something else. (chapter 25) Moreover, during that night, we have the same elements: a painting, a confession, sex, a book that the scholar was looking for. From my point of view, in chapter 34, Baek Na-Kyum only recalled the beating from Jung In-Hun. (chapter 34) Moreover, observe that the artist was covering his eyes, a sign that he was trying to deny the existence of the hateful and cold gaze from the learned sir. As if he wanted to forget it. However, in chapter 34, the artist never realized that this incident had triggered his abandonment issues. And now, in the library, the painter is about to get confronted with his biggest fear: he is not lovable, for he is dirty. Moreover, he is not educated, because he is just a low-born. And this can only be triggered by an image, an erotic painting of sodomy, like in the artist’s nightmare from episode 34: (chapter 34) But like I wrote above, this place is also where Yoon Seungho got betrayed and in my opinion, the schemers are planning to use this place to ruin the protagonist!!

4. Sex or not?

So what is the trick? Naturally, this can only be a conjecture… yet my prediction is based on observations and deductions. My method is to compare the scenes containing parallels. And what have all the scenes mentioned above in common? SEX!! That’s the reason why I am now expecting that the couple won’t have sex, but they will have a painful and long discussion. Yes… this is the true night of revelation. Thus I believe that Yoon Seungho will talk about his own past to Baek Na-Kyum…. as the former also feels guilty and dirty. Remember that he views himself as the bird of misfortune. The couple has been separated for one week on purpose… it is to push the painter to have sex with Yoon Seungho. Why? The purpose is to prove that Yoon Seungho is guilty of sodomy. Yes, it is because in Joseon, it is a crime. Homosexuality had to happen behind closed doors. The father had never reported it to the authorities in order to protect his reputation. In the street, the gossiping women were complaining about the depravity of noblemen who would have sex with women and men. (chapter 106) (chapter 106) And if Yoon Seungho gets caught having sex with the painter and he has an erotic publication of sodomy, he can be framed for the murder of lord Shin and the other nobles. He will be guilty by association. Thus I deduce that the schemers needed the father to report him to the authorities. (chapter 107) That way, he can prove that his son is a depraved lunatic and regain the control of the mansion. (chapter 86) And if they are not caught having sex, the schemers are hoping for an argument between the two main leads because of the separation. This was planned to incite Baek Na-Kyum to resent his lover, to accuse him of „abandonment and betrayal“, a new version of this scene. (Chapter 105) As you can see, the staff had encouraged the lord to keep his distance from his companion on purpose, to create a misunderstanding… they used the painter’s anxieties. Why? That way, the artist would be more inclined to betray his lover, if the latter was in difficulty. He could put the blame on him. In my opinion, the book was planted there on purpose. Remember how the artist denied that he was the author of the erotic publications. (Chapter 1) Besides, there is no doubt that the father refuses to take any responsibility in his son’s suffering. And now, you comprehend why this copy was put on the lord’s desk. He was supposed to be the owner of the erotic book and even the author! I am suspecting that he was accused of the „same crime“ in the past. Then this observation raises the following question. Which erotic publication is it? The original (chapter 1) or the copy (chapter 1)? For me, it can only be the original. I have two reasons to think so. First, the painter had only painted such pictures, because he had no other choice, or better said he was asked by someone close. (chapter 1) This would stand in opposition to the scholar’s rejection (dirty), as the artist was just the helping hand. Besides, there is no ambiguity that Yoon Seungho blames himself due to the erotic book. If he had not brought the painter to his mansion, none of this would have happened. But the painter’s confession would make him realize that his misery started long before he met Yoon Seungho. And how did the puppetmaster come up with such an idea? From my point of view, this plan was inspired by the learned sir. (chapter 27) Notice that he has a drop of sweat on his face, a sign that the book is really important and could be even dangerous. He was diminishing the value. In the past, I had already pointed out that the learned sir had planned to backstab the main lead and denunciate him to the authorities (my first theory was the bible or the the absence of jesa in the mansion). But the erotic publications of sodomy would fit the profile.

Secondly, the schemers believe that with the original, they can ensure Yoon Seungho’s culpability. If they are caught having sex and there is this publication, then both can only be sentenced. They would even kill two birds with one stone, as the painter is in reality the real target of the scheme. That’s the reason why the painter was left alone in the bedchamber. The maids needed to give him space so that he would make a move and seduce his lover. Thus I deduce that during that night, Kim won’t spy on the couple. He has no need to, for he “knows” what is going to happen. He definitely views them as people consumed by lust. However, the gods are on the couple’s side. Hence the book fell on the ground.

And who could have the right to barge in the mansion followed by officers? A family member… and this can only be Yoon Seungwon… who had been a witness of his brother’s sodomy. (chapter 37) Back then, he imagined that the man hidden under the green hanbok was the learned sir, but he was mistaken. Both father and son believes to have seen the relative’s sodomy. Besides, the brother mentioned letters and these usually are written on a desk and as such in the library. Yes, this night should trigger the lord’s memory… his brother’s betrayal and abandonment. I am still waiting for this picture. Yoon Seungwon had definitely tattled on his brother out of jealousy in the past. Don’t forget this flashbulb. (chapter 55) Finally, Heena could serve as a witness, for she did hear their conversation in the annex and saw their intercourse: (chapter 96) She would tell the truth… yet it wouldn’t serve her, because she reported it too late. She could be perceived as pathological liar. Besides, she was not supposed to be in the kisaeng house. Moreover, note that all the erotic paintings the painter created vanished. There is no evidence that the artist is the author of the erotic publications of sodomy, as his notebook contains images of nature. (chapter 84) Finally, the childhood paintings could be used as an evidence. But what about the book in the library? Both could decide to burn it…

  • Chapter 35: the burned letter
  • Chapter 103: the shrine

And now it is time to conclude this essay. I would like to remind the role of the painter’s kiss in this story. It is to emulate his lover, to trigger emotions and thoughts in him, to open up. Hence he is caught by surprise all the time. While in chapter 49, the artist kissed his partner to silence him (chapter 49) so that he wouldn’t argue with him (being his sex toy), I view the kiss in the library as the opposite, it is liberating Yoon Seungho. (chapter 109) Note that there is no rejection from the lord, just surprise and shock. Besides, in the kisaeng house, the artist’s confession had led the main lead to confess as well. (chapter 96) Striking is that he had hidden his gaze from the artist first. As if love was a sin…Hence I am expecting a confession from Yoon Seungho in that very room too, something he has never done before! Why? It is because he was not the owner of his own past. Kim acted, as if he possessed his memories. Finally, the moment the painter divulges this incident to his companion, (tweet), the latter can only come to the conclusion that the scholar would have no problem to hurt Baek Na-Kyum and even get revenge on the artist, for he received the favors from the protagonist. Yoon Seungho would no longer feel obliged to respect Heena’s wish, for her words wouldn’t reflect reality. (chapter 105) And it was Yoon Seungho’s luck, when the book fell from his sleeve! (chapter 27) contrary to the night of the rape. (chapter 27) The goddess Byeonduck is on their side. But the problem is that the readers have the impression that both are followed by misfortune due to their misery. The reality is that they are both victims of manipulations and tricks. That’s their tragedy. But by repeating that the two figures are “birds of misfortune”, the accomplices are trying to deny their own involvement and as such responsibility. The maids are the perfect example. They blame Baek Na-Kyum for his own illness. He eats like a bird and he would hide his illness. (chapter 108) To sum up, he was responsible for his own suffering, for he was in denial and the maids could do nothing to help. But the lord can see the truth, when he touches his lover’s butt. (chapter 109) He lost weight in such a short time. And their presence by Baek Na-Kyum’s side was supposed to help him. They were responsible for his well-being, but the women never realized it.

I have to admit that I am always anticipating the story due to the slow progression of the story. We are all waiting for the time, when Yoon Seungho and Baek Na-Kyum can have a date properly. One thing is sure. The storm is coming during this night… and it will affect the life of many people, the schemers and accomplices! The question is now how long this night will last (how many episodes).

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

Painter Of The Night: Uncatchable 👻 ghosts 👻👻 in town 🌆

Please support the authors by reading the manhwas on the official websites. This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night

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

1. The man with the purple hanbok

When manhwaphiles saw the man with the purple hanbok (chapter 106) strolling through town, they jumped to the conclusion that this must be lord Song! They remembered the recollection from Lee Jihwa. (Chapter 83) However, since I have been examining Painter Of The Night so closely, I learned to pay attention to details. Consequently, I recognized very quickly that Yoon Seungho was not chasing one ghost, but he was running after 3 different people (chapter 106) impersonating „lord Song“ (chapter 106) If you look very attentively at the hanboks, you will realize the slight differences. First, the shade of the cloth diverges, then one cloth has a pattern, the other hanbok none. The form of the gat is also a little different, just like the color of the hair diverges. Besides, the readers should keep in their mind that in season 3, we had at least 3 bodies, though I am suspecting 4 corpses: (chapter 94) (chapter 97) (chapter 97) and (chapter 101) Thus I come to the following conclusion that these 3 persons wearing the purple hanbok are not the “real lord Song”, the one who tormented the protagonist. In my eyes, he was watching the protagonist from the tower! (chapter 106) Let’s not forget that each scene is reflected in each season! And in episode 37, we had this memory from the fake servant: (chapter 37) The empty street was the indication that the monarch was present in the city. And now pay attention to the situation in episode 105: (chapter 105) Why is the street empty, when it was not the case during the night in episode 69? (chapter 69) For me, the pedophile was in the kisaeng house. But let’s return our attention to episode 37. (chapter 37) The view was divulging that the person was watching the town from above… so it had to be from the gate. Such a scene should be repeated, as the story is going in circle. Besides, note that the lord is also wearing a purple hanbok with a design. This means that he can be recognized very easily and this from afar! (chapter 106) To sum up, for me, the 4th “lord Song” was present in this scene, but the protagonist couldn’t detect his presence, for the other “shadows” were there to divert his attention.

2. The purpose of lord Song’s ghosts

But what was the purpose to use these „ghosts“ embodying lord Song? For me, they served two purposes. Since the painter had refused to be separated from his lover, they had to create a subterfuge, to create the illusion that Yoon Seungho was abandoning Baek Na-Kyum. In other words, they wanted the painter to witness how the main lead would break his own promise. (Chapter 106) As you can see, they used a prank to wound the artist. Their goal was to incite the painter to return to the kisaeng house. He should cut ties with the main lead, as the latter is a man with a fickle nature. Yes, episode 106 was the negative version of chapter 75. (chapter 75) That’s the reason why the couple was sent to the same inn. However, I don’t think that they had expected the painter’s fainting. (chapter 106) For me, this is a blessing in disguise.

3. The helping hands in the trick

But how could they plan such a „joke“ so quickly, for the painter was supposed to stay in the gibang? Here, it is important that the manhwalovers remember what the lord did before eating with his companion. He stopped at the tailor’s shop!! (Chapter 106) The latter had to be informed not to send the new clothes to the kisaeng house, but to his own mansion. That’s the reason why Baek Na-Kyum asked this question to the butler. (chapter 106) That’s how the schemer and his accomplices knew for sure that their original plan had not worked out. And if you read my previous analyses, you are aware that I had discovered the existence of two tailors!! (chapter 106) Observe how the tailor in the background is wearing his scarf. It is the same way than Yoon Seungho‘s! But now take a closer look at the tailor from episode 45 (chapter 45) and 74 (chapter 74) This tailor is wearing the scarf the same way than the artist‘s. Finally, in episode 64, the manhwalovers could see the face of the second tailor. : (chapter 64) In the past, I had already outlined the divergences in the body shape and the clothes, but the most visible evidence is the scarf!! Finally, I would like my avid readers to detect that the tailor from chapter 64 has been calling the main lead master Yoon, and not lord Yoon Seungho. This shows that this man is involved not only in the recent prank, but also in the main lead‘s suffering. He is not recognizing Yoon Seungho as a real lord. The usage of different hanboks is the proof that the tailor is an accomplice in the latest trick. But this also explicates why the tricksters had not planned the artist’s fainting. First, he had been able to run after his lover. (chapter 105) Besides, this is how Baek Na-Kyum acted, when he saw his lord looking at him: (chapter 106) The fake smile from Baek Na-Kyum was hiding his true condition, he was still suffering from PTSD. Nonetheless, for the tailor and the other witnesses, it looked like the artist was strong. Nonetheless, since the main lead had learned in the past to fake his smile, he could detect that his lover was far from feeling well. (chapter 106) But there is another reason why they had not predicted such an outcome: the doctor!! They had to ensure that the lord’s path never crosses the physician’s! That’s the reason why the manhwaphiles never saw him in episode 106. He was like a ghost. But there is more to it.

What caught my attention is the couple was first encouraged to eat before meeting the physician. Here, it is implied that they are not at the medicine store. (chapter 106) Yet, in the Spanish version, the butler informs them that it’s soon their turn. This means that they are next to the medicine store. But let’s return to our main observation. Why was the couple pushed to „eat“? For the painter had wounded his hand, the first priority would have been to ask for an immediate treatment. Since the valet mentioned that it was about time to go to the medicine story, the manhwalovers should wonder why it was time. Thanks to the Spanish version, we know that according to the valet, the doctor had been treating other people before indicating that lord Yoon could not receive special treatment.

Secondly, Byeonduck drew such a panel where you could see the kitchen outdoors: (chapter 106) As you already know, each picture contains important information. Why did the artist create such an image? That’s how the mortar and the grinder caught my attention. I had seen these tools before. (chapter 57) Yes in the kitchen of the physician! Then in a different image, you can the kitchen with the stool and the circle with the shamanism drawing right behind the lord’s back. (chapter 106) We assumed that the couple was eating in an inn, but it is true? Finally, in the shelves, the manhwalovers can see small packages hanging around, (chapter 106), they look exactly like the medicine Kim fetched in episode 55. (chapter 55) Because of these parallels, I started wondering if the couple and the readers had not been fooled in the end. They were actually sitting in the medicine store, but due to the butler’s words and episode 75, the manhwalovers had the impression that the couple was in an inn. And the Spanish version seems to confirm my suspicion. I had already outlined that the furniture and shelves in the library had been switched. So it could be the same with the doctor’s office. Besides, the form of the building reminded me a lot of the house from the physician’s. (chapter 106) (chapter 74) Once you remove the cupboard from the side, you have a patio where you can eat. Under this new light, it explains why Yoon Seungho would say this to the butler: (chapter 106) It is because they were already there! And this would explain why the painter went to the restroom! (chapter 106) This coincides to the night of the abduction executed by No-Name! (chapter 59) To conclude, there was another ghost in episode 106, the invisible doctor. No matter what, the couple was not supposed to see the physician. Why? It is because he would have noticed the existence of two different doctors. That’s the reason why Kim acted as a mediator! (chapter 106) This was not to help his master and the painter at all. Quite the opposite. He had to cover up his own wrongdoings and help the schemer. Therefore it is not surprising that the valet was confronted with the artist’s fainting! (chapter 106) The latter had played a mean prank on Baek Na-Kyum!! Yes, you are reading it correctly. Now, you are wondering when the valet fooled the pure painter. Observe that Kim had joined his master (chapter 106), while the latter was waiting for his lover. He was standing next to him. (chapter 106) But look where he was standing, when Baek Na-Kyum saw him: (chapter 106) He had barely moved… maybe run for 4 meters! How could he be out of breath? Besides, why would he scream like that, when the lord was standing next to him? (chapter 106) It is because he needed Baek Na-Kyum to hear his lover’s departure!! Because we see this panel, we assume that the valet was left in the dark, especially after witnessing such a scene. (chapter 106) Our brain is trying to fill the blanks. But the moment you realize that Kim didn’t run such a long distance to be out of breath, you will realize that this “abandonment” was staged. This was the reflection of chapter 85, another fake run! (chapter 85)

In episode 106, Yoon Seungho just had to ask Kim to wait for him there with Baek Na-Kyum, similar to this scene! (chapter 86) Thus the butler got punished for his acting. He has now to take care of an unconscious painter. (chapter 106) And now, Kim is put in front of a choice. What should he do with the fragile artist? In my eyes, no matter what he chooses, he will get into trouble. Why? If he brings him to the doctor, the young noble will question the identity of the physician. Why is he not the same doctor than in the past? If he decides to bring him to the gibang, the lord will never believe that this was the artist’s choice. Besides, according to me, the noble asked his servant to wait for him there. Finally, if he brings him to the mansion, the lord will question his choice, for the artist needed the presence of a doctor. So the moment Yoon Seungho returns to the place where he left the butler and the painter, he could get scared, for they are no longer there. Thus the main lead could jump to the conclusion that his companion has been “kidnapped” again, especially after seeing the purple man circulating around them and hearing such grapevines. (chapter 106) Besides, I have another evidence that the painter got fooled by the valet. According to my observation, there is always a reflection within the same episode. Since the lord got fooled and was incited to follow the man with the purple hanbok, the artist had to experience the same. However, while the one got scared out of abandonment issues, the other got worried because of “lord Song”‘s obsession! Besides, because neither the butler nor the physician got punished for their crimes (passivity, silence, lies and disobedience), both need to receive their “punishment”. Let’s not forget what Yoon Seungho had said to the artist back then: (chapter 58) Kim had usurped his authority, he had made a decision without his master’s permission.

Moreover, I would like to outline that the place where the artist fainted is actually very close to the place when Jung In-Hun had dragged him. (chapter 24) The gate serves as the indication. (chapter 24) And in that episode, the artist got dragged twice. (chapter 24) First, it was the scholar, then the butler. However, in that scene, the butler had lied to the artist, for the noble had never requested to meet the artist in the pavilion. From my point of view, he was still hunting in the woods. As you can see, episode 24 contained all the elements of an abduction, though it was not perceptible. That’s the reason why I am suspecting that Yoon Seungho might think that his lover has been kidnapped again, especially after hearing such horrible gossips. Nonetheless, since the painter fainted, the valet will be forced to take care of Baek Na-Kyum. In addition, observe that the butler brought back the unconscious painter to the mansion, though the doctor was right next to them! This shows that Kim and the physician had not the artist‘s best interests in heart. He should have been treated right away.

4. The purple hanbok

But why did they utilize a purple hanbok in order to attract Yoon Seungho‘s attention? We have to envision that this mean prank is the negative version of the incident in chapter 76!! (Chapter 76) Coincidence versus trick! They wished to scare Yoon Seungho, to let him think that „lord Song“ knew about his crime and was about to denunciate him. Yes, in my eyes, the man with the purple hanbok embodies treason and was the reason why Yoon Seungho got arrested and tortured in the past!! Under this new light, it becomes comprehensible why the lord would get so mad at his childhood friend. (Chapter 59) But the moment Yoon Seungho’s mother killed herself, it became clear that her son had been unfairly arrested and tormented. So someone had to take the fall for the injustice, the real lord Song. the (chapter 82) Nonetheless, there is no ambiguity that in reality the one behind the denunciation was father Lee. But the purple hanbok is connected not only to the arrest and torture, but also to the sexual abuse. Thus the painter had such a memory in the gibang: (chapter 1) The latter is the witness of Yoon Seungho’s sexual abuse. And what did the women say in the street? (chapter 106) The nobles would lust after men and women. Thus I am suspecting that Yoon Seungho won’t act like the schemers had planned. He will get the impression that the nobles might be still lusting after his lover, and the man with the purple hanbok is behind this. Yoon Seungho could remember Min’s words (chapter 102), Lee Jihwa was behind the scheme… and what had Lee Jihwa done in the past? He had sent a letter in his name. (chapter 59) Back then, Yoon Seungho assumed that his childhood friend knew nothing… but now, he is seeing the ghost lord Song circulating in town. So he could jump to the conclusion that the Lees have been helping lord Song. Finally, the manhwaworms will certainly recall the red-haired master’s confession, he knew everything!!. (chapter 57)

In my eyes, the women were spreading rumors on purpose!! They could recognize the main lead with his hanbok. (chapter 106) And this scene is a reflection of episode 64, where the two women were ignorant about the incident of the previous night. (chapter 64) Once again, this proves that the tailor is involved in the scheme.

The person behind this hoped to scare the noble, believing that Yoon Seungho was a superstitious man. Why? It is because he has the poem composed by Yoon Seungho. (chapter 106) The Spring Poem is actually reflected in this scenery: (chapter 106) This explicates why there is the refraction. During that day, both main leads are making important discoveries which indicates their relationship will only get reinforced.

When the lord wrote the poem in episode 92, what did the readers see there? A man in the shadow observing the couple, but the main lead had not detected his presence! (chapter 92) Yet this doesn’t end here. Episode 92 (chapter 92) is the positive reflection of episode 106: (chapter 106) This is no coincidence that there is the tower and gate in the background. From my point of view, the schemers are trying to manipulate the lord through rumors. But the puppet master is overlooking one important aspect, the gossips can be interpreted very differently. Besides, while the woman pointed out the existence of a manhunt against nobles (chapter 106), she contradicted her statement right after. (chapter 106) If nobles were involved in this, why did they kill the son of lord Shin? Besides, let’s not forget that Yoon Seungho never ordered the fire in the shrine and he never killed lord Shin! This means that he is innocent. That’s the reason why I come to the conclusion that contrary to their expectation, the lord won’t decide to leave the painter behind because of the imminent misfortune! From my point of view, Yoon Seungho could ask his lover to paint a lucky charm on their house, the tiger! (chapter 105) That way, the artist would feel that his master needs his help and talent. Moreover, I have the feeling that the main lead will go to the authorities and ask for their assistance. (chapter 101) Why did the shaman’s house get burned? How come that the son of lord Shin got killed? But we know for sure that the murderer had staged his death, he died because of a tiger. (chapter 103) Why are such rumors circulating in town and who are the witnesses? (chapter 106) Moreover, it is not random that the woman gossiping is similarly dressed than the maid in the kitchen. (chapter 103) As you can see, the schemers are no longer able to control Yoon Seungho and his lover, for both are supported by the gods. Chance stands on their side!

And this prediction leads me to the following observation. In town, there exists another ghost, the captain of the guards and his officers! (chapter 100) (chapter 101) (chapter 104) Though there is a manhunt, where is he? (chapter 106) As you can see, his absence is contradicting their statement. On the other hand, Yoon Seungho heard from the women this. (chapter 106) (chapter 106) So he could ask about the identity of the culprits and the witnesses, the new version of this scene. (chapter 98) To conclude, while the schemers thought that due to his crime, Yoon Seungho would lie low and cut ties with his lover, due to their meddling, they achieved the opposite. The lord will request an investigation… something he has never done before. He could even denunciate Lee Jihwa (chapter 67), that way he can escape punishment. This means that Black Heart’s last confession (and lie) could help the lord to protect himself and his lover. Finally, if Yoon Seungho were to mention the purple hanbok to his lover, the latter’s memory could get triggered and he could remember this night: (chapter 01) To conclude, the mysterious man with the purple hanbok is bringing the couple closer than before, whereas he hoped to achieve the opposite.

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

Painter Of The Night: «Thank god 🙏 he didn’t see nor hear a thing about that awful matter »

Please support the authors by reading the manhwas on the official websites. This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night

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

The title of this essay comes from the following picture: (chapter 105) „Thank god, he didn’t see nor hear a thing about that awful matter“. This is what Heena said in the original version. [Here I would like to thank my follower @katamins again for her help]

1. Heena’s words

What caught my attention is that in the Korean version, the kisaeng employed the expression „Thank god“, displaying not only her relief but also her religiousness. In my eyes, Byeonduck‘s intention was to expose Heena‘s religion one more time, she is a Christian. Another important aspect is that her statement implies that Baek Na-Kyum can not testify about „that awful matter“, for he saw and heard nothing. The problem is the idiom „that awful matter“ is really ambiguous. Which incident is she referring to? Yoon Seungho‘s crime in the shaman’s house or her „murder“? While many readers only thought about Black heart’s execution, I believe that the noona was referring to her own “execution” as well. Why? It is because the lord refused Baek Na-Kyum to see his own sister. (chapter 105) He desired to spare his heart. To conclude, “that awful matter” is referring to the whole prank and its consequences.

On the other hand, in the English version the kisaeng‘s declaration is more precise. Because of the expression „that terrible day“, it becomes obvious that Heena is referring to her lies and manipulations in the gibang. (Chapter 97) At the same time, the idiom includes the staff‘s tricks as well: the corpse in front of the gate and the maids‘ badmouthing (Chapter 97) (chapter 98), because it happened during the day and at downfall. Due to this expression, the readers can detect the presence of Yoon Seungho’s white lie. The painter had clearly mentioned what he had heard before. (Chapter 104) However, he had been silenced by his lover, when the latter suggested to him to view everything as a nightmare. The lord made the mistake not to listen to the victim and witness.

On the other hand, if we take the noona‘s original testimony into consideration, we get the impression that the artist can not testify about the night of his „abduction“ and the murders . It is because he didn‘t see or hear anything. Since the painter was unconscious, when the lord arrived, the latter truly believes that his companion saw and heard nothing. Thus Baek Na-Kyum has no memory. He knows nothing, hence he can not remember a thing: (chapter 105) With such a contrast, the manhwalovers can detect the link between ignorance and absence of memories. To conclude, in both versions, the main lead is “lying” out of ignorance. This is the positive version of “ignorance is a blessing”. Hence the noona thinks herself safe.

But like I have already pointed out in the previous analysis, the painter was present, when she revealed her complicity. (Chapter 99) It was clear that her brother would meet the noble, as their meeting didn’t surprise her. She was more upset that Baek Na-Kyum was unconscious. (chapter 99) However, her question „What’s wrong with Na-Kyum?“ divulges her hypocrisy and acting. How could she not realize that her sibling had been beaten? (Chapter 99) His head was bleeding, and the black guards were carrying sticks. It was clear that his state was not caused by an illness. To conclude, the calling “lord Jihwa” is the proof of her complicity, though in front of Yoon Seungho it serves as an excuse to portray herself as a victim. (chapter 105) Thus I deduce that Heena thinks, the painter could not witness her acting in front of the scholar’s house, for his head was turned around and he was not moving. She feels secure concerning that night, while I am expecting the opposite. Nonetheless, her past behavior in the kisaeng house represents a source of danger for her. That’s the reason why she has to hide the “attempted murder” from her brother. The moment Heena mentions that she has been hurt, the painter won’t believe her. Why? It is because in the kisaeng house, he has not forgotten her words: (chapter 97) Even if she was “fooled”, the artist can only reproach her stupidity. Remember her harsh words, she had called him stupid: (chapter 97) She had helped Min, and she can not claim ignorance. As you can see, Yoon Seungho was encouraged to hide the “attempted murder” from Baek Na-Kyum for selfish reasons. Therefore it is no coincidence that when the lord visited Heena, he made sure that his lover wouldn‘t see Heena in bed. (Chapter 105) The painter was kept in the dark about her “failed assassination”. It was, as if this had never happened. Yoon Seungho was convinced that if Baek Na-Kyum heard about this, he would feel guilty. Indirectly, he was blamed for her injuries. On the other hand, this decision has huge repercussions. It was, as if Yoon Seungho was erasing the traces of the attempted murder against Heena. It was, as if it had never taken place, which is correct, for it had been a subterfuge. Hence later she can not claim that she has been a victim of the nobles’ brutality.

Finally, I would like to point out that the head-kisaeng was acting as a poor victim in front of Yoon Seungho. Imagine that a month has already passed, but she is still in bed, (chapter 105) though she was not beaten, slapped and punched like her brother. Don’t you find it weird that she remains in bed, though she can still walk? (chapter 105) She has now the perfect excuse to avoid nobles. She has been hurt, hence she can not work. The lord never questioned her attitude, for he wished himself that the painter would take a rest and remain in bed. (Chapter 104) This explicates why later the lord was hugging his lover under the cover. (Chapter 104) Hence I conclude that Heena must have thought the same way about Yoon Seungho. „Thank god, he didn’t see or hear a thing about that awful matter“. He has no idea about her altercations with her brother in the kisaeng house. It is important, because our beloved seme has the impression that the noona has her brother’s best interests at heart, but actually he is wrong. In my opinion, the relationship between Heena and his lover serves as a mirror to his relationship with Yoon Seungwon. So far, the young noble doesn’t suspect his brother to have betrayed him. Note that he blames his father more than his younger sibling.

2. Memory illusions

While reading episode 105, we discovered how Heena was saved. (chapter 105) Yet, this incident was presented as Yoon Seungho’s memory. This panel could be used as an evidence that my theory, Heena was present next to the shaman’s shrine during the bloodbath, was wrong. Nonetheless, this image didn’t make me change my mind. Why? I paid attention to details and judged this rescue as “fake” again. The servants had a drop of sweat on their face, the symbol for deception. Secondly, the kisaeng was wet, while the staff’s clothes weren’t damp. How did they save her then? Besides, where are the foot prints? Moreover, where was the head cover? (chapter 99) Finally, her hands and feet were not tied. So where did the items go? Since we saw her “execution”, we are the witnesses, and as such we know the truth about that “awful matter”, but it is not the case for the lord. This image contains so many errors, hence it can not reflect reality.

This observation led me to the following question: when did the rescue happen exactly? Besides, how could the lord have seen her, when he could barely leave the painter’s side? He spent the whole night with the painter. (chapter 103) Hence he could have never been outside the mansion. That’s how I realized that the author was presenting us a false memory. This means that the manhwalovers are facing an implanted memory. But how could this happen? First, false memory is quite normal and is often of no consequence. But a false memory relayed during criminal testimony might lead to the conviction of an innocent person. As the manhwalovers can detect, it represents a serious problem.

In fact, everyone is prone to false memory distortions, but people with mental illness are more susceptible to “memory illusion”. It is the same for persons who have issues to differentiate between reality and fiction. Since Yoon Seungho is suffering from PTSD and often questions his sense of reality, (chapter 58), it makes him particularly vulnerable to false memories.

But how is it possible to implant fake memories? Let’s not forget that memory is working with associations, as the former is a network of cells. Thus the connections between these cells can been severed. And the moment the cells are reconnected, the brain is trying to fill the blanks. And that’s how false memories can arise. But there exist more factors.

First, it is related to inaccurate perception.

“Sometimes we see things that aren’t there and miss obvious things that are right in front of us.” Quoted from https://www.verywellmind.com/how-do-false-memories-form-2795349

We have the perfect example in episode 105. Because of the butler’s following testimony (chapter 104), the lord and even the readers imagined to see medicine in the white bowl! (chapter 105) Besides, the author had always connected the drug with the tray. (chapter 23) As you can see, the readers interpreted this scene due to associations. Nonetheless, like mentioned in the previous analysis, the different color and the traces on the edge were the evidences that it was ink. (chapter 36) Besides, Heena was in bed indicating that she was still weak. The circumstances led people to have a different perception of “verity”!! Only through the mind’s eye, the manhwalovers can detect that this scene was staged.

Then the other cause is interference. This signifies that as soon as new information appears, it can affect old memories or the reverse. Experience, prejudice and knowledge have an influence on memories.

“Our minds try to fill in the missing spaces, often using current knowledge as well as beliefs or expectations.” Quoted from https://www.verywellmind.com/how-do-false-memories-form-2795349

And this aspect is visible in the lord’s memory either. (chapter 105) Observe that the servant on the right is acting like Yoon Seungho: (chapter 103) The protagonist projected his own thoughts and emotions onto one servant: shock! (chapter 105) Secondly, the kisaeng has the same body posture than the painter after the first abduction. (chapter 61) This was interference by excellence. Besides, emotions can affect your memories. Since the lord was so under shock after witnessing the painter’s unconsciousness, it is not surprising that he imagined to have witnessed this scene. At the same time, when he left the shrine in trance, he could have overlooked the presence of a third person… similar to Lee Jihwa next to the shed. That’s how he doesn’t recall anything from that night except his crime. He didn’t see and hear the person by his side. Where is the sword? Where did he get the hanbok from?

“Researchers have found that people tend to be more likely to remember events connected to strong emotions, but that the details of such memories are often suspect. Retelling important events can also lead to a false belief in the accuracy of the memory.” Quoted from https://www.verywellmind.com/how-do-false-memories-form-2795349

And now, you have the explanation why the lord is blaming his father the entire time and no one else. Finally, I would like to remind the readers that the main lead had tried to commit suicide during that night. Thus he went to the pound. (chapter 102) Therefore it is not astonishing that he imagined a similar scenery.

Another cause for false memory is misinformation. And we have the perfect illustration in chapter 1: (chapter 1) Baek Na-Kyum thought to have seen “Yoon Seungho” as huge sodomite, yet he only connected the name to the face after meeting the lord for the first time. (chapter 1) This shows that the artist had only heard his name without seeing his face before. This explicates why the main lead’s gaze and facial expressions were similar (chapter 1) (chapter 1)

As you can see, Byeonduck left many clues for this interpretation: the noona’s rescue was fake, for it was a false memory. Finally, since the lord was present, when the servants had “discovered” Baek Na-Kyum, the negative reflection would be that he was not gone himself there. Finally, we have the confession from Yoon Seungho, he never saved her. Indirectly, he was admitting that he had not assisted them. (chapter 105)

As you can see, this image was the result of a combination of different events the lord had experienced himself. Hence I deduce that this memory was implanted through suggestions by the servant standing on the left side of the picture. The staff had never searched for the painter, hence one of the domestics had asked his master: (chapter 103)

On the other hand, he only narrated the main aspects, and let the lord fill the blanks. That’s how the lord created a false memory which feels so vivid that it seems real. But I have another proof for this theory. In the previous episode, the lord had tried to implant a false memory into the painter: (chapter 104) My avid readers can certainly recall the rule I had detected: each chapter will be reflected in the next!

But since Yoon Seungho was implanted a false memory, this signifies that it is the same for Baek Na-Kyum too! 😲 One detail caught my attention, the noona’s comment. She had detected that the painter used to feel anxious around Jung In-Hun. (chapter 105) How is it possible? Especially, when the painter said this: (chapter 94) Furthermore, the painter is associating the learned sir to the moon and as such the night. (chapter 94) Thus I am now suspecting that this image is a false memory. But I have another reason to think that the painter’s idolization was more the result of “brainwashing” and as such “false memories”.

The same noona had observed that she had not seen her donsaeng weep like that, since he was 5 years old! (chapter 105) How can she date this incident so precisely? The moment I read her testimony, I discovered that in episode 94 the author had never shown us the painter crying! (chapter 94) (chapter 94) (chapter 94) It was, as if the noonas had never been informed about the painter’s suffering and tears. This shows that Heena has been hiding many things from her colleagues. But there is more to it! The manhwaphiles saw the artist’s tears in his childhood. (chapter 68) But here he was much older!! Under this new perspective, I realized that the following image could have been a false memory: (chapter 68) Heena was misremembering that night, and she was misattributing the painter’s tears. In other words, she was confusing two incidents.

Misattribution: Have you ever mixed up the details of one story with the details of another? For example, while telling a friend about your last vacation you might mistakenly relate an incident that happened on a vacation you took several years ago.” Quoted from https://www.verywellmind.com/how-do-false-memories-form-2795349

And now, take a closer look to the painter’s tears in episode 105: (chapter 105) It is the same facial expression, though the redness around the eyes is more pronounced. This observation confirms that the noona’s memories in the kisaeng (chapter 68) were not reflecting reality. She idolized the scholar’s attitude, while she was portraying herself as the real victim. Thus I started wondering why the painter must have felt anxious around the learned sir. (chapter 105) One might question the veracity of the kisaeng’s testimony, but so far, I judge her as “innocent”, though she definitely helps Heena to fool the couple. In her mind, it is for her brother’s best interests. But let’s not forget that the teenager Yoon Seungho was exposed to sex in a brutal way (chapter 86), so the painter must have made a similar experience. In my analysis “Baek Na-Kyum’s foot“, I had already doubted the “warmth and happiness” of the scene. For me, the zoom on the painter’s foot was the clue for the painter’s suffering. And this interpretation was confirmed in episode 105. (chapter 105) He had run after his lover in socks. While in “Baek Na-Kyum’s foot”, I thought that this memory was true, I come now to a different signification. It was a false memory in order to hide a crime related to Heena. I would like to outline that in the kisaeng’s comment, we have the notion of “shame” and as such “guilt”. First, I thought of rape, but then it could be much simpler. The painter could have witnessed his noona having sex with the learned sir. But because he was too young, he misjudged the situation… as a virgin, she had to bleed. Because he saw blood, he imagined that the learned sir had hurt Heena. This would explain why the artist was afterwards anxious around the teacher. One might think that this is not terrible. But let’s not forget that as a kisaeng, she can not have sex like that. (chapter 105)

“After 1650 some kisaeng were assigned to a specific government office; these were called gwan-gi, and though officeholders were strictly forbidden from having sex with them, in practice they were usually expected and often forced to provide sex to these bureaucrats” Quoted from https://maggiemcneill.com/2013/09/12/the-kisaeng/

Besides, I doubt that the learned sir paid her for her services, hence according to regulations, the couple had committed a wrongdoing. Under this new perspective, it becomes comprehensible why Byeonduck let Heena witness their love session. (chapter 96) A similar situation had happened in the past.But because of her brother’s reaction, his huge tears, she got scared. (chapter 68) Hence my theory is that this image comes from that day, but she repressed it. Due to her guilty conscience and fears, she developed genophobia. Under this new light, it becomes comprehensible why later Heena caused trouble to Yoon Seungho in the kisaeng house. Her loss of virginity could have been detected. Finally, it explains why the kisaeng spoke about “fleeting and trivial emotions” (chapter 68) Through suggestions, she had been able to convince her brother that the learned sir was a nice person. This explicates why the caresses and hugs were used to silence the artist. By repeating to her brother, he liked Jung In-Hun, he came to develop such feelings. The kisaeng’s statement implies that the admiration for the teacher was not constant. (chapter 105) Her words represent a contradiction to Heena’s statement. (chapter 46) A change of heart versus “eternity”. This shows that the painter’s decision to go to the learned sir’s house was never his choice. He had simply followed Heena’s suggestion. She was definitely distorting his past. Furthermore I detected a strong connection between love and memory. (chapter 94) If it is a loved one, then it can only be a good memory. Therefore it is not surprising that by saying constantly saying that the painter likes the scholar, he is repressing the bad memories with the scholar (the beating in episode 34, the betrayal in chapter 29, his words in the library and his reproach about his job). So far, he only mentioned one negative incident.

But why did Byeonduck use false memories in her story? It is to make Yoon Seungho remember his true memories, which were repressed. However, in psychology, repressed memories are controversial. This explains why the author from „Memory illusions“, Julia Shaw, rejects this idea.

Research showed that the created memories often had the same theme as whatever the clinician was suggesting. So if the clinician suggested sexual abuse, the client would have memories of sexual abuse. If the clinician suggested alien abduction, the client would remember an alien abduction. And if the clinician suggested satanic ritual abuse, then the client would remember satanic ritual abuse. So this was a huge problem. This has led many psychologists and researchers to adamantly oppose any type of therapy that seeks to recover repressed memories, and they also would testify against any recovered memory in court.” Quoted from https://therapyinanutshell.com/repressed-memories-dissociative-amnesia-ptsd-and-the-memory-wars/

Through Baek Na-Kyum’s suffering, the lord is slowly reminded of his own tragedy. This means, his sexual abuse will come to the surface. At the same time, I believe that the painter is the witness of Yoon Seungho’s past suffering, but he has not discovered Yoon Seungho’s connection to the gibang. For me, the painter Baek Na-Kyum embodies true memories, especially since he is no longer under the influence of Heena.

3. The painter’s ignorance

The irony is that though the painter was kept in the dark about the lord’s intentions, he was capable to detect the verity!! How so? He was using his heart and his mind’s eye. First, though the lord’s sudden embrace had caught him by surprise, he had been able to interpret the true meaning: a goodbye (chapter 105) In the original version, this is what the artist thought:

“Earlier..why did it feel like the LAST…”

The last embrace! He had sensed the lord’s despair and heartache. They would no longer see each other. How do I know that the artist was caught by surprise? It is because he never reciprocated the hug. We have to envision a new version of this scene: (chapter 76) So while the painter was following his lover, the latter turned around and hugged him. Afterwards, he asked him to go to his noonas, for he needed to talk to Heena. Moreover, contrary to Yoon Seungho, Baek Na-Kyum paid attention to time. He was not lost in thoughts or had lost the sense of time (chapter 105) Despite being busy and talking to the kisaengs, the artist couldn’t forget his lover. All his attention was still focused on his lover. That’s the reason why he could catch the lord’s departure right on time. This means that Heena’s words didn’t become a reality. He could grasp the situation correctly, though he has no idea about the lord’s intentions. This has nothing to do with chance! It is thanks to the artist’s intelligence and sensibility.

But while he rushed to the lord’s side, he tripped and fell on his hand. (chapter 105) But the latter acted, as if his hand was not wounded. (chapter 105) He ignored his physical pain and heartache. (chapter 105) This is important, because the stumbling symbolizes the intervention of the gods… We have the perfect example at the end of season 3. The lord fell on his knees in front of the scholar’s house, hence there is a hand print on the snow. (chapter 100) That’s how he refused to view Lee Jihwa as the murderer of his lover, Baek Na-Kyum”. YES, the falling is the real manifestation of CHANCE! How so? I would like the manhwaphiles to keep in mind that chance is the antonym of trick and scheme! The latter are connected to plan and organization. Thus I come to the conclusion that the noble will decide to go to the doctor’s office in order to treat his lover’s hand. (chapter 105) Let’s not forget that Yoon Seungho treasures the artist’s hands so much. Besides, they are wearing the same scarfs than in episode 74. But this is something that the schemers are not expecting. After the start of season 4, I got aware that Yoon Seungho never saw the doctor clearly. When the main lead was brought there, (chapter 57) he was feverish so that he couldn’t pay attention to the physician. Besides, the man never remained by his side. Finally, in episode 74, the man never left the office!! (chapter 74) I conclude that Yoon Seungho never saw the physician for commoners! Besides, I doubt that he remembers him from his childhood. But this is not the same, when Baek Na-Kyum was ill. He met the other doctor twice. (chapter 33) (chapter 103) On the other hand, the artist assumes that the man in the office is Yoon Seungho’s doctor!! He heard his confession: (chapter 57) There exist two physicians in the city at least. That’s how a part of the truth will come to the surface! And who had fetched the doctor? (chapter 103) The staff… I would like to outline that in this panel, Kim was no longer seen next to the couple. (chapter 105), though he was still present here. (chapter 105) So where did he vanish? Probably to the mansion, for he had to warn the domestics that the artist would be returning! But if he left the couple behind, this means that he can’t witness what Yoon Seungho and Baek Na-Kyum will do next. And if they don’t go to the doctor, there is no ambiguity that the main lead will send for the doctor again. But according to me, the man disappeared. (chapter 103) To conclude, I am expecting that Yoon Seungho will make a huge discovery in the next episode… just like the painter did in the gibang.

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

Painter Of The Night: 📣Breaking news! 📣The painter vanished again! 😨 (second version)

Please support the authors by reading the manhwas on the official websites. This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night

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As the illustration of this analysis is indicating it, the title of the essay is referring to the painter’s departure from the mansion in season 3. For you can anticipate it, I would like to expose my new discoveries before the release of chapter 103. Why? It is because that way, the readers can perceive the new chapter under a different perspective.

1. “All the World’s a Stage”

Since I recognized the importance of clothes in Painter Of The Night, I started paying more attention to the appearances. Striking is that in season 3, the schemers utilized hanboks and shirts to forge an identity. By wearing a yellow hanbok, Min attempted to impersonate Lee Jihwa (chapter 101) so that he could put the blame on his “friend”. But the problem is that he was caught red-handed. Hence he ended up executed. On the other side, the corpse in the well was supposed to be Deok-Jae (chapter 98), although he was wearing clothes similar to the learned sir’s. What caught my attention is the expression Yoon Seungho employed: “pretending”. With such an idiom, he was implying that the servant had not only violated social norms, but also he had been acting. As you can sense, these two situations have one common denominator: playing a role and the clothes served as a disguise. It was, as if both victims of a murder had been playing in a theater play. This explicates why in the fanart, the author is portraying Baek Na-Kyum and Yoon Seungho as actors who are working in a sageuk. And this made me think of the famous poem from Shakespeare who describes life as a stage, where a person plays different roles all along his life: an infant, a school boy, a lover, a soldier, etc., until he dies, which is symbolized by an eternal sleep. https://youtu.be/_jaSFtcDEiE

I had also detected another parallel between the manhwa and Shakespeare’s other theater piece “Hamlet”, thus I had composed the essay “To be or not to be”. This particular drama was focusing on the question about the meaning of life. Through his character Hamlet, the writer incites the public to question his personality. All along the theater piece, the beholder is never certain if Hamlet’s madness is fake or genuine. Once again, we had the reference to this idea that “life is like a stage” and humans show different sides of themselves. Since the publication of chapter 87, I had already pointed out the presence of theater, with the twist of fate or called “Coup de Théâtre”. To conclude, we should view Painter Of The Night as an application of Shakespeare’s poem and principle. Everything is a stage… and all the characters are playing a role. Nonetheless, this “theater piece” shouldn’t be viewed lightly, for Black Heart, his friends and Deok-Jae paid a huge price for their acting: they made their exit by losing their life. They had played their role, determined by the goddess Byeonduck.

Then I would like to point out that at no moment, the main lead saw the body himself. He was simply confronted with the clothes which resembled a lot to the scholar’s. (chapter 98) Why? From my point of view, they were trying to scare the main lead, to remind him that he could never replace Jung In-Hun in the painter’s heart, to shake his belief. But the problem is that the schemers had missed the right timing, for the artist had already confessed his love for Yoon Seungho and this twice. Therefore the latter couldn’t doubt his lover’s words, and mistake it for an illusion. As a conclusion, the clothes were used tools to trick the couple, they had become costumes!! However, because the author is using karma as poetic justice, this signifies that the hanboks and shirts can serve as a clue to perceive the truth too. The ones who tried to deceive the protagonists with clothes and words, should be fooled by their own manipulations.

2. A new perception of chapter 98

My avid readers will certainly recall the detected principles Byeonduck utilized to develop her story.

  1. The story is going in circle, it works like a kaleidoscope.
  2. There is a reflection within the same chapter: the positive and negative reflection.
  3. Each episode will be reflected in the next chapter.
  4. All seasons are reflected in each other.
  5. The painter and Yoon Seungho share the same fate, hence their actions are similar.
  6. The clothes and shoes are tools to identify a character.

Naturally, you might be wondering how these rules are relevant to the clothes. But note that in episode 98, the lord wondered himself why the hanboks would look so similar to the learned sir’s! (chapter 98) This shows that the lord was able distinguish the real clothes from the imitation. He had not only a good memory, but his eyes were sensitive enough to detect the difference. But how is it about the readers? Did they notice that these maids were different from the head-maid and her colleague? (chapter 94) Their clothes were almost identical, yet their body shapes and the cut of the shirts diverged. That’s the reason why I deduced that in episode 98, the author had the intention to manipulate the manhwaphiles. But in order to escape the trap, the readers needed to look carefully at the characters’ clothes. This was the clue that Byeonduck had left for the readers to discern the truth. And now, look at this: (chapter 98) What was the painter wearing on his way to the bedchamber? White pants with his Mountbatten pink jacket. But how did he show up at the learned sir’s home? (chapter 98) He was dressed differently. 😮 He had changed his pants, put on his scarf and hat. But when he went to the lord’s study, he was not carrying them!! How do we explain the difference? The answer is quite simple. He had returned to his room in order to fetch his clothes. And since Baek Na-Kyum took the lord’s clothes, this signifies that he had the intention to return to the domain. The readers will certainly recall the artist’s behavior, when he had threatened the main lead to leave Yoon Seungho. He had switched his clothes, and put on his old clothes. (chapter 98) Thus if the lord had gone to the study, he would had realized that the painter had not deserted the propriety, for he had not taken his belongings with him. The hat and scarf were signalizing that Baek Na-Kyum considered himself as a member of the Yoons‘ household.

Moreover, because in chapter 98, the artist had tried to hide his presence from the maids at the door of the kitchen (chapter 98), I assume that later he did the opposite (rule 2). He met the maids on purpose. Why? He let them know about his intentions. He was going out in order to visit the learned sir’s home. Finally, remember what he had thought on his way to the mansion. (rule 3) If only Yoon Seungho had left a word… The servants served as his messenger. Hence I am convinced that Baek Na-Kyum must have talked to the maids and told them where he was going!! He copied his lover, yet contrary to him, he must have given a precise information. (Rule 5) This means that he had informed the staff about his departure!! Moreover, in chapter 98, the maids acted, as if they had not detected the painter’s presence while badmouthing Yoon Seungho. (chapter 98) Hence they were portrayed without eyes and with a drop of sweat on their face, a sign for deception. So the negative reflection would be that Baek Na-Kyum had informed the maids, and he had gone to the kitchen for that reason. From my point of view, when he met them, he was already wearing his hat and scarf. To sum up, the artist had never left the maids in the dark. And the clothes are the evidence of the staff’s lie.

Under this new perspective, it becomes comprehensible why the painter lost all his clothes during that night!! If the lord had seen them there, he would have realized that the painter had never deserted the mansion, for he would have taken his own clothes!! It was important that they vanished. First, he lost his hat (chapter 99) Then the scarf was no longer present, when the painter woke up. Then the nobles removed his shirt, socks and pants in the shrine. (chapter 100) And now observe that after Lee Jihwa’s departure, the artist’s clothes except the white shirt vanished too. (chapter 102) Where did they go? The readers saw Black Heart leaving the building, but we should question this: WHY? He never went there to fetch lord Shin, since he abandoned him outside. We all imagined that he left the room empty-handed. But it is true? Now, I don‘t think so. He had to get rid of the clothes in order to mislead the main lead!! A new version of chapter 61 and 97! Furthermore, was Min talking to himself, when he said this? (chapter 101) Because the readers could detect the presence of a shadow in episode 102 , I am now envisioning that Min was not alone outside during that night. In fact, someone had misled Black Heart telling him that lord Jihwa had ran away. However, the unconscious lord Shin should have made him think that Lee Jihwa had fought back… Hence he had not fled, rather betrayed them. Moreover, he was not looking at the direction of the entrance and gate. In fact, he was turning his gaze in the direction to the shrine. (Chapter 101) The tree serves as an orientation for the beholder. But why was someone waiting outside? It was to cover up all the traces of his meddling. Baek Na-Kyum was supposed to vanish during that night, and they had planned to employ his pants and shirt to mislead people… even Black Heart. In my opinion, the invisible hand had already envisioned the nobles’ death. To conclude, the clothes proved my previous theory. The staff had staged the desertion by faking ignorance. (chapter 98) They were waiting for his return to fake their anger and search. And now, you comprehend why the servants mentioned the kisaeng in front of Yoon Seungho. It was to stop him from going to the study… to divert his attention. Under this new approach, the artist’s last words get a new meaning. (chapter 102) Since he had informed Yoon Seungho through the maids about his whereabouts, Baek Na-Kyum was expecting that he would come to his side. I would like the manhwalovers to keep in their mind that the artist was not conscious, when he moved to the shaman’s house. So in his mind, he was not far away from the learned sir’s house. Finally, since he had informed the maids, he could anticipate that the lord wouldn’t get mad at him, and wouldn‘t imagine that he had abandoned him (chapter 101) He trusted his lover’s heart in the end. That’s the reason why Black Heart’s superficial promise had no effect on Baek Na-Kyum. The latter truly believed that Yoon Seungho had been informed. But how could they play such a trick on the couple?

2. The director of the stage

Only one person could expect from the painter that he would switch clothes: Kim! (chapter 86) He had witnessed the argument between the couple by hiding behind the door. Thus in chapter 103, Kim will get the shock of his life… and it is the same for the maids. Yoon Seungho is returning with the painter. And the new trailer reveals that when the lord opened the door, adomestic was standing next to a maid. This is an indication of their involvement, though we need to discern the head-maid from the women in chapter 98. That’s the reason why the moment the maid appears, observe her clothes and try to discern her identity. Is this the head-maid or one maid from season 3? The preview displayed the arrival of the doctor.

The author reveals the butler’s surprise and shock. He never expected his entrance. This shows that the valet is just an actor too, he is not a deity, hence he gets fooled too. But why is Kim reacting this way? IT is because he never asked for the doctor’s request. So who sent the doctor? On the other hand, if the maids are involved and they witness the artist’s return, they have every reason to get worried. Their deception (lying by omission) could come to the light, for Baek Na-Kyum had given his lover an important task. He had to investigate why he had taken so much time before joining the artist’s side. By sending the doctor, they can fake their concern and even divert attention from themselves. Suddenly the connection between the maids and the doctor reminded me of episode 33.

3. The maids, Black Heart and the physician

If you read my previous analyses about the physicians, you are aware about my theory. Byeonduck introduced three different doctors, as their clothes and hat diverge. For me, it is the physician from season 1, for he is dressed similarly. (chapter 103) The form of the beard is also similar. But now, I have another evidence that this doctor from season 4 is not the physician from season 2!!! (chapter 63) The shoes are also different! That’s the reason why in the trailer, the beholders are seeing the physician’s shoes!! He doesn’t possess mituri like the other. Moreover, he is wearing a hanbok under his apron , while the other is dressed more like a commoner, a shirt with pants. And note that in chapter 33, we had the following combination: Min’s party, the visit of the doctor, Baek Na-Kyum’s illness, the maids and Yoon Seungho who “ran away” after his mistake. (rule 1 and 4) (chapter 33) And what had Kim done during his examination? He had not only threatened the physician (chapter 33), afterwards he had even badmouthed him, for he had not given the correct diagnosis. (chapter 33) However, here the butler had simply lied to hide his own wrongdoings: his passivity and silence. And note the doctor’s words addressed to the “beholder”: (chapter 103)

He is lying. The drop of sweat is the evidence. First, he has already seen the painter in a terrible state before. But since he is referring to Yoon Seungho, it signifies that he has already seen Yoon Seungho flustered. Why? Because the doctor from chapter 57 only met the young master, when he was a teenager. (chapter 57) The latter was introduced to Yoon Chang-Hyeon through the butler. The protagonist must have had a doctor in the past. Can you imagine a life without a doctor for 13 years? And this assumption was proven correct after the release. But let’s return our attention to the physician from season 4. What caught my attention is the white bag. Why is he wearing it? It is because he is on the verge of vanishing, he plans to run away. But why? From my point of view, he is the one who provided the aphrodisiac and opium to Lee Jihwa. Besides, in season 1, he had already given the “replenishing medicine” to the valet. (chapter 33) (rule 1-2-3) But why would he do such a thing? Simply, because he had been helping Min. He needed the protection of a powerful lord, since Kim had abused his position by threatening him. After seeing the new pictures from chapter 103, I had this sudden revelation. What did Min do after getting beaten by Yoon Seungho? (chapter 54) He certainly didn’t let his wounds untreated. Thus the next morning his face (chapter 56) looked much better. He had no swelling and the redness was already vanishing. From my point of view, he asked for the doctor’s assistance and that’s how the both came to an understanding. But since Min is now dead, the physician could get into trouble, for he helped the lord and now he is dead. But why am I so sure that the physician is about to run away? Look at all these images: (chapter 44) (chapter 44) (chapter 45) (chapter 100) They are all carrying the white bag on their back… and they are about to depart! Kim wished to leave the propriety with his master under the pretense that he was bringing misfortune to the painter. All this proves that the doctor is far from being innocent. Hence he wishes to run away. However, if he does this, this means that he exits the “play”. So he could die. Moreover, how did he know that the lord would return to the mansion with the wounded painter? I can not answer to this question with certainty. However, I would like to point out that since Min talked to someone in the shadow, it is very likely that this person had long planned Black Heart and his friend’s demise. Nonetheless, the schemers had not foreseen two three elements:

  • the survival of lord Shin (chapter 102)
  • the survival of Baek Na-Kyum, once again…. in season 2, he also almost died (chapter 61) [For more read the essay “No matter what… Baek Na-Kyum must vanish”]
  • the absence of Min’s friend who has always been by his side! (chapter 59) Lord Jang had disguised himself as Black Heart’s friend, the hanboks looked very similar. (chapter 99) (chapter 59) The schemers mistook him for the noble with the mole.

They are trying to repeat the same actions from the past, but the schemers are doomed to fail, for they didn’t listen to The Joker’s advice: (chapter 76) And this observation leads me to present the following theory: father Lee is definitely involved in this new trick! The drama has not ended yet. Why? According to my theory, these domestics didn’t belong to Yoon Seungho’s staff (chapter 61), for the colors grey-white off are only seen at the Lee’s. (chapter 9) (chapter 18, Lee Jihwa’s spy) (chapter 41) (chapter 50) (chapter 100) And now compare these servants to the staff from chapter 97: Their colors are all different reflecting that Yoon Seungho has no control over his staff. But what did the staff do in episode 61, when they manipulated the lord by saying that the painter had run away? One of the domestics offered the scarf and headgear to the lord: (chapter 61) Once again the clothes… All these details are exposing the involvement of elder Lee. He had many reasons to have Min and the painter eliminated. However, there is no ambiguity that he is not working on his own. That’s the reason why I am now wondering if “father Lee” or the shadow sent the doctor to Yoon Seungho in order to witness the painter’s death. Note that the doctor from season 1 came and not season 2. And what had the maids said in episode 33? (chapter 33) Yet, the painter survived, hence the doctor has every reason to run away. His complicity could come to light… on the other hand, the moment he leaves Yoon Seungho’s side, he is no longer protected. The reason is simple. He owns a part of the truth, and what the schemers are attempting to do is the exact opposite: burying the truth so that their act is not discovered. And now who participated in this huge “drama”? The list of the suspects is quite long… Father Lee (chapter 82), lord Yoon Chang-Hyeon (chapter 86), the other physician (chapter 74), “lord Song” (chapter 83), the “fake servant” alias the king (for me) (chapter 37) There is no doubt that a tailor was involved, for he had to create similar clothes, the costumes … (chapter 64) All have one common denominator: the BEARD. They are OLD BEARDED MEN!

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Painter Of The Night: The shadow 👤 behind the shrine ⛩️

Please support the authors by reading the manhwas on the official websites. This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night

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Lezhin Korea released a few panels from season 4, thus we could discover that lord Shin got into trouble. He is on the ground, his face bruised and bloody, while he is asking an anonymous man for help. He is mentioning the shrine. As he is wearing the same hanbok, we can definitely assume that this scene takes place during the same night. The irony is that each time Byeonduck offers a new piece of a puzzle, she also creates a new riddle or mystery. How did the young master get wounded in the first place? And who is the person facing lord Shin?

1. The shoes and the weapon

First of all, I would like to point out that this image confirmed my results from my ongoing investigation. The author is using the shoes and clothes to give clues about a person‘s identity. Thus I was definitely right to say that during the abduction in season 2, there were two perpetrators. (Chapter 59) (chapter 66) The size and length of the protections and the cords around the pants were different. Besides, the masks were also different due to the form of the mouth.. (Chapter 61) (chapter 61) Finally, I had also detected his presence next to the barn because of a time jump. First, the manhwaphiles saw Lee Jihwa sitting on the floor, (Chapter 60), then shortly after he was standing at the entrance of the storage room holding a fireplace poker! (chapter 60) His position indicated that the young master had shortly left the building. However, the readers had not witnessed his move, for the author had diverted their attention by exposing the character‘s inner thoughts. He was recollecting the past, while talking to himself. (chapter 60) However, how did the fire poker end up in his own hand? The last time this tool was seen, it was in the kitchen. (chapter 60) As you can see, each image has its importance! However, I doubt that the upset aristocrat had this sudden idea and returned to the kitchen and take the fire iron. His mind and heart were definitely elsewhere, while such an action exposes the intention of hurting someone. Jihwa was acting, as if he was in trance, the moment he saw the hickey and heard the painter’s scream. His long lasting stupor was visible in this image. (chapter 60) That’s the reason why I had developed the theory that someone was hiding in the shadow, next to the barn and observing the evolution of the event. [For more read the essay “No matter what… Baek Na-Kyum must vanish“] For me, it could only be Kim. The latter had put the fire iron in the young man’s hand with the hope that he would strike Baek Na-Kyum. My conclusion was that he was not just involved in the painter’s abduction. However, all these were minor circumstantial evidences. Now, I found more concrete proofs for this hypothesis. Thanks to the new release, I can corroborate my assumption! 😱 The fireplace is the evidence of his involvement during that night! Why would Byeonduck zoom on the furnaces? (chapter 57) It is because they serve as a clue for unveiling the truth. (chapter 60) And now take a closer look at the stove in the storage room! (chapter 62) It is the same furnace! 😨We all assume that the lord prepared the fireplace, because he put his clothes on his lover. But is it true? We were all jumping to this conclusion, but actually we never saw it. Our brain was led to fill the blanks. (chapter 61) Finally, the readers were all assuming that the butler had never entered the storage room due to this image and his action before. (chapter 61) But is it true? He could have opened the door before, and go to the lord in order to explain his intervention. Faking his concerns for the painter. Why would he place the fireplace there? He wished that the warmth from the fire would wake up the painter. Hence he remained close to the gate of the storage room. That way, he had a reason to visit his master. Moreover, the author exposed that the valet had been keeping an eye on his master for a while too. (chapter 62) Because the valet went to his master, we got the impression that the valet had followed his master’s instructions. (chapter 61) In fact, this request could be perceived differently. The lord had seen the butler’s intervention, hence he expressed this wish. From my point of view, the butler must have brought the fireplace to the barn, and he left the poker there on purpose. I am quite certain that some people will think that I am again exaggerating. But why did the butler put a fireplace with a fire iron in the lord’s room, when the coal was not properly lit? (chapter 86) Compare the fire to this one: (chapter 62) But note that in the furnace, there was a fire iron too. (chapter 88) Consequently, I am suspecting that Kim had expected an outburst from Yoon Seungho. The latter could hurt his father with the fire iron. But none of this happened, for the lord preferred playing a comedy.

But let’s return our attention to the fireplace in the storage room. My theory would explain why Kim encouraged his master to go to the barn. (chapter 61) He hoped that Yoon Seungho would become so enraged due to the betrayal that in his violent outburst, he would grab the tool and wound the artist!! Thus he said this the next morning: (chapter 65) He had expected that the lord would hurt the main lead. But how was he supposed to harm Baek Na-Kyum in the end? With the fire iron… This signifies that he had been present in the barn during the abduction, and even knew the place of the sequestration. Thus he took the furnace and the fire iron to the shed.

And now, you have the explanation how lord Shin was wounded. He got beaten with a fire iron! This explicates the cut on his nose. Compare his face to the painter’s who got wounded by wooden sticks. (chapter 99) The painter’s head was bleeding, but his face and nose remained intact. (chapter 99) Besides, this theory also explains why the shrine is set on fire. (chapter 103) The fire iron is connected to a stove. Finally, I would like to outline the absence of the furnace in the shrine, though it was very cold outside. (chapter 99) So when the lord said this to his lover (chapter 88), we could interpret it the following way. It was once again a vision from the future, he was seeing from lord Shin’s perspective the betrayal. To conclude, I am sensing many parallels between the noble’s death and the night of chapter 86/87/88.

But I have another evidence that the butler had been spying on Jihwa and No-Name. How is it possible that Lee Jihwa had such a vision? (chapter 60) (chapter 60) At no moment, he was told that his childhood friend had been brought to the physician’s. He just heard him leaving. Moreover, the joker never mentioned the place where the couple was fooling around. (chapter 60) He didn’t even admit that he had seen them himself. These were memories from someone else! One might assume that these could represent the criminal’s recollection, but I don’t think so. He arrived much later to the physician’s house. If he had been present right from the start, he could have kidnapped Baek Na-Kyum on his way to the restroom. (chapter 59) To conclude, the person with such memories (chapter 62) had been at the doctor’s office before. This stands in opposition to the false memory the red-haired master had in the study. (chapter 43) Here, he had visited the place, hence he could imagine what had happened, though he never saw their encounter according to me. [For more read the essay “The liars in front of the mirror of truth: Lee Jihwa and Yoon Chang-Hyeon”] This explains why he created a false memory. However, in chapter 60, it is simply impossible for him to have such a vision, for he was not there. And in the propriety, only two people could know about their love session, the doctor and naturally the valet. For the latter is constantly seen with the bucket of water, I conclude that this can only be the butler. (chapter 58) He had left the bucket of water in the patio! But note that when the painter left the room, the item had simply vanished. (chapter 59) The painter was not supposed to detect his presence.

2. Identifying the shadows

Since I recognized the presence of a third person involved in the kidnapping from season 2, I come to the deduction that we have in this scene 3 people. And if the release is not changing, and these panels are still framed in black, this signifies that the readers are dealing with remembrance again. So we could say that we are seeing the event from the perpetrator’s perspective. But we will see. On the other hand, why am I so sure about the presence of 3 people? First, don’t forget that the story is going in circle, thus the author is working with reflections. The manhwaphiles will certainly recall that lord Shin had been made unconscious by No-Name, when he had approached Lee Jihwa. (chapter 100) The manhwaworms can grasp the similarities. Back then, the lord had refused to help Baek Na-Kyum, thus he was even encouraging Lee Jihwa to return to the shrine. Hence he had acted as a willing accomplice and perpetrator. Thus his karma is to be denied any assistance, he is punished the same way than his friends, Min and the other nobles. Finally, observe that the red-haired master (chapter 100) was lowering himself in front of No-Name which reminds me a lot to lord Shin’s situation. However, the naïve yangban is not suspecting the person facing him. He has the impression that the latter will listen to him and assist him. Thus I deduce that he was assaulted by someone else, the third person… I am excluding 2 people with the beating, for the noble was not unconscious in contrast to the scene in front of the scholar’s house. Besides, this person was not strong enough to kill the noble and had not tied him up either. (chapter 66) (chapter 99) Lord Shin was still conscious, and he could still run away, until he met this mysterious person. Why do I think so? It is because lord Shin is not suspecting the one standing in front of him. If they were together, he would have recognized the betrayal. From my point of view, he didn’t see them together. And I have another evidence for this interpretation. This picture is a reflection from this one due to the presence of the shadow. (chapter 88) Abandonment and rejection versus embrace and acceptance. And what had Yoon Seungho said during that fateful night? (chapter 88) (chapter 88) But while the painter was exposed to sexual abuse, lord Shin had indeed left his friend’s side. In my eyes, lord Shin embodies treason. As you can see, I conclude that lord Shin is about to get assassinated and from the person he expected the least. Why? It is because no one has to realize that lord Shin ran away from the shaman’s shrine. (chapter 102) He was a survivor. The opposite from this scene. They faked the painter’s desertion, (chapter 60) hence in episode 102 they had to mask his escape, for this would have exposed the involvement of other people, like Lee Jihwa, the doctor with the drugs and Heena. And now, you have the explanation why the shadow hidden behind the tree had put mattresses on the soil. The desertion and survival from lord Shin should not be detected. But who is this person facing the weak lord? And who is the third person who hit the young man? First, I would like to answer the second question.

3. Identifying the helping hand

We have to suspect a rather frail person who can be reckless and even stupid. As you can envision it, I am now suspecting the kisaeng Heena. Not only her philosophy allows her to be blinded by hatred, but also she witnessed herself her brother’s terrible condition. (chapter 99) Secondly, the moment she hears from someone that she got betrayed, for her brother died, she could definitely resent Min and his friends. But one might argue that she was killed by the two guards, or if she is alive, she was held captive by them. However, it is important to recall the following rules: the clothes and shoes are revealing the character’s identity. Both men are not wearing robes. Besides, they are not wearing black shoes like the other black guards! Yet, note all the black guards from chapter 7, 64/65 and 86 were wearing black shoes (chapter 7), (chapter 65) or boots (chapter 86), a sign for a high position. They even had all a sword. Why would the guards from chapter 99 use a wooden stick? In my eyes, it is because they are no real black guards. Besides, I detected that one man had a scarf similar to the butler’s, from lower quality. Thus I am suspecting that these two men are more servants than trained black guards. In other words, they are commoners. This would explicate why they didn’t know how to tie Heena properly. Her mouth was not covered, her feet were not tied. Thus they covered their face. That way, Baek Na-Kyum wouldn’t recognize them. And if he were to survive, then he could blame it on Yoon Chang-Hyeon, as their uniform was similar. During the assault, he couldn’t pay attention to such details and question their true origins. Besides, don’t forget that so far, the beating was tasked to the staff: (chapter 13) (chapter 77) As you can see, the wooden stocks were present during the first straw mat beating.

Under this new light, the manhwalovers can grasp why their face was masked. If they had to be identified, then by the clothes… that way they could mislead the investigation and frame innocents. We could detect their involvement in this scene, (chapter 101), but here Min thought that he was capable to frame the Lees. The other evidence for this interpretation is the presence of two servants during the main lead’s hunt, while he was wearing the suspicious boots. (chapter 83) As you can detect, I see a strong connection between the new panel and the hunt from chapter 83. And here we have 3 people again.

But let’s return our attention to the kisaeng who I am suspecting to be behind the noble’s wounds. What caught my attention is that the woman has always been involved in kidnapping and immobility (being tied up). She was present, when the lord was dragged and tied up. (chapter 68) She was again a witness, when her brother was tied up in the bedchamber. (chapter 66) Finally, when her brother was on the verge of getting abducted, she saw him lying unconscious with a bloody face. However, she never considered it as an abduction, for his hands and feet were not tied up. (chapter 99) That’s the reason why she blamed him with her questions. She implied that he shouldn’t have fought back. As you can see, I detect a common thread between Heena and her presence in different scenes: sequestration and a bloody face. But this doesn’t end here. When the young painter got beaten in the gibang, there was a furnace on the left side. (chapter 94) For me, this incident was to push the painter to leave the gibang and as such to listen to Heena’s suggestion. Furthermore, the man on the left side was wearing a white headband, though he was dressed like a noble in a hunting outfit! The hair dress and his moustache [for more read the analysis “Painful departures”] led me to the following assumption: He was just a commoner in the end, impersonating a noble.

The other clue for Heena’s involvement in lord Shin’s demise is her presence in chapter 88. (chapter 88) She was supposed to discover a crime scene. But what did she do? She didn’t report it to the authorities. Why? It is because the schemers implied that she would never get justice. As a kisaeng, she was totally powerless.

Thus the moment someone tells her that her brother died by the hands of nobles, the young woman’s hatred for yangbans can only increase. At the end of season 3, Yoon Seungho and even the shadow behind the shrine believed that the painter had died too. Consequently, the painter was just given a purple hanbok, and the main lead went to the mountain. Since the protagonist was under such a shock and pain, he never pondered why there was a person helping him. He was behaving like Lee Jihwa during the night of the abduction, the hanbok was put in his hand. The sword, the scholar’s glasses and even the painter’s clothes vanished from the shrine. (chapter 102) This is the evidence that someone had manipulated the crime scene. The clothes from the painter could serve as evidence of her brother’s curtains. Heena could come to the conclusion that Min had gone back on his words, and her fake death, which had definitely shocked (chapter 99) and bothered her, could only be perceived as real at the end. But this means that while Yoon Seungho had murdered the nobles, there was someone hiding in the shadow , exactly like in season 2. He had not stopped the execution either. He could have faked his late arrival and the shocked lord would have even believed him. This time, the man in the shadow had covered the bloody traces and had thought that the noble outside had died from cold. (chapter 61) And according to me (chapter 61) the second Joker (Kim) had tried to murder the painter, but he had failed, for he had covered the painter’s head. (chapter 66) However, his new attempt to have the painter vanished failed again.

4. The “trustworthy” disguised man

What caught my attention are the pants. The form and color remind me a lot of the painter’s. (chapter 97) It could be the same, though I have my doubts. Secondly, I suddenly got aware that the painter had 3 different grey pants at least. (chapter 4) This one had a cut just below the knees, though the color is much brighter. (chapter 84) This is the third one I detected, as the shape of the pants diverge once again. This explicates why Baek Na-Kyum chose to change his clothes before leaving the mansion. (chapter 85) And because his pants are very similar to the painter’s, I deduce that he must be close to Baek Na-Kyum or at least he has a spy informing him about the artist’s clothes. Compare his pants to other servants: (chapter 97) (chapter 61) (chapter 67) (chapter 67) Their pants have either a different pigment (white, black, khaki, or light grey) or the shape is different. That’s the reason why I am assuming that the person was wearing these trousers on purpose. A new version of this scene: (chapter 98) The only difference is that the disguised person is alive contrary to the corpses in the wells. But the problem is that the shoes are betraying him. The boots resemble a lot to Yoon Seungho’s which the latter utilized during the hunt. (chapter 83) What did the lord see back then? Three shadows, two men wearing a gat and one caught in the middle with a topknot. Since I consider Yoon Seungho as a shaman, I believe that this vision was not only referring to the past and the incident in the shrine. It exposes the immutable truth, the involvement of three people, either. This is no coincidence. Thus imagine one moment that this illusion was referring to lord Shin’s murder. He is about to get murdered because of a new conspiracy. From my point of view, the man is disguising himself. However, I doubt that he is wearing the lord’s boots. The latter could be “couple boots”, just like the lord and the painter had couple hats. (chapter 91) And note during that day, Baek Na-Kyum was called sir due to his hat and clothes. (chapter 91) However, if the woman had paid attention to his shoes (mituri), she would have realized that our beloved painter is just a low-born. One might think that I view Kim as the one facing lord Shin. Strangely, I am suspecting the involvement of someone else. One thing is sure. The person in front of lord Shin is disguising himself, and the latter trusted the man in front of him. But his misfortune was not to identify correctly the person, for he didn’t detect the contrast between the clothes and the shoes. And the author left us another clue that disguise plays a huge role in our protagonists’ suffering. Why is Kim wearing a gat with a headband for nobles, when he is dressed like a servant? But there is another detail what caught my attention. He is wearing a bag. It was, as if he had packed his belongings before leaving the mansion. This means, he is taking his brown hanbok, but he is not wearing it. He reminded me of Deok-Jae. (chapter 44) (chapter 54) But the readers should question themselves this: why did Kim dress like this in the first place? From my point of view, the schemers have already planned to frame Baek Na-Kyum for the murder of the nobles and even of Jung In-Hun. Kim is trying to separate the couple so that the artist can be arrested easily and sentenced immediately. By burning the place, the evidence that Baek Na-Kyum was a victim vanished. That’s how they can manage to turn a victim into a perpetrator. They wanted to erase every trace of the crimes, but then the return of the painter will force them to change their plan. The fire can help them to turn Baek Na-Kyum into a scapegoat. That’s the reason why the anonymous shadow is wearing clothes similar to the painter’s. No one should recognize him. Later, Baek Na-Kyum can be “identified” as the culprit. And any blood trace on his clothes could serve to incriminate the painter. They could use the resemblance of the clothes as a proof for his crime. That’s the reason why lord Shin had to die in the end. And if lord Shin never doubted this person, I am suspecting that the latter is working with the authorities. Kim is not the only suspect, for according to me, there always exist a conspiracy of 3 and even 5 people. This observation leads me to create a list of suspects. First of all, Yoon Seungho’s confession to the learned sir should help us to determine the schemers and culprits. (chapter 44). A synonym for old bearded men is “elders”. The latter are supposed to serve as role models. That’s the reason why the young man didn’t suspect the man. With his beard, he must have oozed “responsibility” and even “selflessness”. But who are the suspects?

  • The officer from the bureau investigation is definitely involved. Thus he misled Yoon Seungho. Besides, observe that the officers are connected to fire! (chapter 94) Secondly, his explanation implied the involvement of a physician. (chapter 98) Though he had been found in a well, the lord’s comment insinuates that “Deok-Jae” had been stabbed. Striking is that the lord didn’t show any interest in the violation of clothes and the servant’s death. This reaction surprised the yangban which left him speechless. It is important, because this shows that the schemers were trying to direct the lord’s attention to a certain person: Lee Jihwa. They were trying to instill the thought that Lee Jihwa had planted a professional spy in his household. And after his betrayal, Deok-Jae had run away with the money earned from his work.
  • The physician: What caught my attention is that the author focused on the fire place at his office. (chapter 57) Why? There has to be a reason. I don’t believe in coincidence in Painter Of The Night. Furthermore, observe that both men, Kim and the doctor, were sitting in the kitchen, similar to Jihwa and No-Name. (chapter 57) Finally, the painter met the Joker again on the same day he visited the physician. (chapter 75) Finally, why was the doctor never brought to the mansion again after his last visit in chapter 57? And it looks like he was not there to treat Baek Na-Kyum. The latter is suffering from PTSD. Thus the painter had a nightmare. Hence I have the impression that the butler’s intervention and suggestion to Yoon Seungho will fail. The lord won’t be able to leave his side. Moreover, I would like the readers to recall that when Baek Na-Kyum got sick, a different physician was fetched. (chapter 33) Different clothes displays a different identity. From my point of view, the doctor doesn‘t want to be connected to Yoon Seungho. Finally, don‘t you find it weird that he was not by his side in chapter 57? He literally abandoned the young master in the room with the painter (chapter 57), though the latter was a patient too. He had a wounded wrist. The physician should have controlled Yoon Seungho’s fever, brought him water and even an infusion. His absence and passivity caught my attention. So what was he doing in the kitchen? Finally, the doctor is also connected to the shaman. Not only he mentioned him, but also there is the symbol of shamanism in his kitchen. Why did the gods want our couple to have their first “true” love session at the physician’s office? Somehow, it was to confront him with the truth. Finally, don’t you find it weird how Kim reacted (chapter 82), when the new version of Deok-Jae made the following suggestion to Kim: (chapter 82) Hence the doctor is not off the hook, quite the opposite.
  • Father Lee: he has a huge motivation to eliminate not only the painter, but also Min. The latter had denunciated Lee Jihwa’s crime to Yoon Seungho. Since I judge father Lee as someone suffering from Machiavellianism, he certainly plotted something behind Yoon Seungho, and not only once, but at least twice. Moreover, someone could have divulged to the patriarch that Black Heart had been responsible for the loss of his son’s topknot and his manipulations. Besides, Black Heart had witnessed the altercation between the Lees and Yoon Seungho (chapter 67), and discovered Lee Jihwa’s sodomy which was supposed to be a secret. The father is well aware that the main lead’s suffering is linked to the young master’s sexual orientation, which the father had always denied. His involvement could be detected, when he allowed one of his servants to be dragged to the gibang. (chapter 99) Finally, The Joker also heard father Lee’s humiliation and powerlessness. (chapter 67) He never asked for the authorities’ assistance, for his son’s crime could have come to the surface. And since there was a ruckus in the gibang, where his name was mentioned, he had another reason to kill lord Shin. With his disappearance, his son’s “crimes” would be buried. Moreover, his son never went to the bureau of investigation to clear his name. (chapter 101) Thus the fire could be seen as a desperate measure to cover the Lees’ culpability.
  • Because people are violating code dress, and they are wearing similar clothes to deceive people, I think that we should include the tailor in the list of suspects, but the one I am referring to is the one from chapter 64. (chapter 64) He can play a huge role by making a false testimony, as he can recognize the clothes ordered by the clients.
  • Finally, I would like to include these two men. (chapter 37) The latter had already disguised himself in season 1, and due to his age, no one would suspect his real nature or power. Then we have this faceless man from chapter 83: (chapter 83) I am not including Yoon Chang-Hyeon in this list, for he is not intelligent and cunning enough to develop such a plan. For me, he is just a pawn. Thus he never intervened on his own. He was always pushed by others’ suggestions. Yet, there is no ambiguity that the elder Yoon will be involved in a new plot.

To conclude, I am suspecting many people involved in lord Shin’s struggle and curtains. Thus expect in season 4 new plots again. Finally, I would like to underline the butler’s hypocrisy one more time. While he keeps saying to his master that he is a bird of misfortune, why is he remaining by his side? Dedication or love? I have my doubt, for he keeps badmouthing him. If this “curse” was true, how come that he did not suffer like the painter? And note that he has a drop of sweat on his face, the symbol for manipulations and lies. In my eyes, the words from the publication are reflecting the butler and Heena’s philosophy. Why? Both are trying to hide their own wrongdoings and bad choices. They are still in denial to admit their responsibility.

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

Painter Of The Night: The shadowy plot(s) 👀 from the past 🙊

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night

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

There is a reason why I selected the illustration of season 4 for this essay, though my focus is the past, and more precisely Yoon Seungho’s suffering. It is because the darkness surrounding the protagonist not only refers to his tragic youth, but also it reflects the situation of the manhwalovers. The latter are still in the dark concerning his torment. His terrible secrets have not been totally unveiled. So far, the author allowed the readers to see glimpses of his past, like f. ex. the gangrape or the suicide of his mother. But these were just small pieces of the puzzle, thus it is still impossible to have a complete picture of his martyrdom. There are many reasons for this. The main victim never testified about his suffering, he refused to open up to Baek Na-Kyum. (chapter 84) Then many witnesses vanished (chapter 86) or the ones alive preferred telling lies in order to hide their own wrongdoings or are simply in denial about their own culpability. Finally, the victim, the perpetrators and accomplices had no idea about the whole truth. They only know or knew certain facts, because many of them were deceived as well. What exactly happened to Yoon Seungho? How could this take place, though he belonged to one of the most powerful noble families? Now, you are probably expecting that I will give you answers to all these questions, and recreate the past. But I have to admit that it is not possible, for I don’t know the whole chronology. Consequently, I added “shadowy” in the title. To conclude, my real intention is more to offer new pieces from the riddle than create a whole new “story”. The main source for this new insight is the painter’s fate which is a reflection from the noble’s past and torment. This means that Byeonduck left traces in season 1, 2 and 3! That’s how I discovered that he had been abandoned and betrayed by everyone, kidnapped, treated as a male kisaeng, robbed, abused, raped and even gangraped at least twice, tortured and finally drugged! But like mentioned above, it is difficult to give the proper order and the persons truly involved in the crimes. On the other hand, what I can guarantee is that Yoon Seungho’s nightmare is linked to conspiracies. I came to this conclusion, because if you compare all the seasons, you will detect the presence of plots. There exists at least 3 main plots in each season, though there definitely exist more. The conspiracies are all connected to incidents.

1. The conspiracies

To validate my theory, I will use the first season as an example. The incident with the ruined drawing was actually initiated by Min and his friend with the mole. Black Heart had slapped his friend (chapter 9), so that the latter visited Lee Jihwa to arouse his jealousy. It was to push him to commit a crime so that Baek Na-Kyum would be removed from the main lead’s side. As you can see, there were 3 people involved, though the readers only saw the result. (chapter 12) They had the impression that the red-haired master had acted on his own. However, he had been manipulated, incited to commit a crime. But my point is not to diminish his wrongdoing, rather to expose the involvement of the schemers. Hence at the end of season 1, the author unveiled their true role and as such their identities. (chapter 43) However, observe that when Lee Jihwa went to the pavilion, the noble with the mole had other guests. 2 nobles left the place, as they refused to participate in a murder. (chapter 43) Funny is that they are now witnesses of Min’s crime. This can have repercussions in season 4. Black Heart had been the one who had suggested the assassination to Lee Jihwa. And the aristocrats were still there, when he had made this proposition. (chapter 43) But the two empty seats also serve as a metaphor for the existence of other helping hands: Kim and No-Name! The latter was about to get hired by the young master. Hence I deduce that this scene was to display the existence of accomplices who had always been acting in the shadow. Or we could say that the number of conspirators increased! However, I would like to point out the existence of a second conspiracy: the stolen wine. (chapter 19) And this is related to Kim and the gibang. Yet, the butler ruined Black Heart’s plan. To conclude, we have two main plotters in season 1, but the butler’s bad intentions were not detected, for Yoon Seungho’s bad actions were more eye-catching. People had the impression that the valet was defending the artist’s best interest. From my point of view, the number of persons involved in the plot kept increasing, as they needed more and more accomplices. The reason is that their plans didn’t work out like expected. At the end of season 3, Min involved the kisaengs in the gibang, while Kim asked the assistance of the staff, the maids (chapter 91) and the servants (chapter 97). Thus I deduce that in the past, the same must have happened. Many people were involved in the downfall of Yoon Seungho and his family. But who was the real target in the end? It is difficult to say with 100% certainty.

While Min serves as a reflection from the main mastermind in the past, his actions are not entirely clear. Note that he kept changing his mind and heart. On the one hand, he wished to have the painter killed, then later to have the young artist by his side as a source of entertainment. Yet, there is no doubt that he wished to have sex with Baek Na-Kyum right from the start. (chapter 8) Thus in season 2, he came to this resolution: (chapter 56) He had planned to rape him before having him eliminated. This shows his inner conflict. From my point of view, the painter’s death is connected to the incident in the gibang. (chapter 1) Baek Na-Kyum was a witness of Min’s wrongdoing, just like the painter was a witness and victim of his crimes in the shrine. (chapter 99) One thing is sure: Min was full of greed and jealousy. He was determined to harm and ruin Yoon Seungho. Hence I come to the deduction that the real target of the conspiracy in the past was Yoon Chang-Hyeon. And his son was used against him.

Interesting is that in the first season, the plots were not obvious, except one: the painter’s murder! The conspiracies only came to light, when the readers paid attention to details. The best example is the incident with the open door: (chapter 16) This doesn’t look like a crime. However, it is one! It was done on purpose, to separate the couple. Someone had intervened in order to interrupt this session, and as such someone had been spying on them. Deok-Jae only revealed his spying activity from chapter 16 in season 2: (chapter 53) Yet, the one opening the door had been Kim. This gesture can be considered as trespassing and invasion of privacy, the new version of this scene. (chapter 16) But instead of revealing the truth, the butler sided with Lee Jihwa, and allowed him to trespass the propriety again. In my eyes, the butler thought (chapter 17) that Yoon Seungho would come to perceive the painter as a man consumed by lust. He imagined that he would caught them fooling around. As you can see, this ruckus was also a plot, though it doesn’t look like one. Why would the maids gossip in the courtyard? (chapter 18) From my point of view, the valet expected that the lord would fear people’s gaze and a scandal. Thus he would send away the painter to protect his “reputation”, but the opposite happened. Under this perspective, the manhwalovers can grasp why it is difficult to calculate accurately the number of plots and accomplices. Besides, some were naïve pawns, others not. And since I examined the first season more closely, it is necessary to analyze the vanishing of Jung In-Hun. His disappearance is strongly intertwined with Yoon Seungho’s secret. How so? The learned sir was determined to find the lord’s vulnerability and as such secret.

2. The scholar’s disappearance

Many readers have the impression that the learned sir is still alive, for they never saw his corpse or his execution. Since they had somehow witnessed Jung In-Hun’s departure, they knew that the learned sir could not have been killed in his humble home. I had already detected very early on, like other manhwaphiles, that the murder scene had been staged. (chapter 88) Thus many readers jumped to the conclusion that the learned sir had already switched sides and was plotting against the main lead. They had his following words in their mind: (chapter 29) Thus many concluded that he had participated in the prank, faking his death. On the other hand, the manhwalovers believed to have seen Heena’s death! (chapter 99) However, observe that we never saw her corpse. She was still alive in this panel. I had already pointed out that her murder was actually faked. Her mouth was not covered, hence she could have screamed, but she remained silent (blank speech bubble). Secondly, she never moved her legs… contrary to Yoon Seungho’s behavior in the gibang. (chapter 68) That’s the reason why I came to the conclusion that Heena’s curtains didn’t take place. Hence I deduced that in the past, someone’s death must have been “faked” too and this vanishing must have affected the main lead’s fate. The other deduction is that the learned sir must be “dead”, as the author is working with positive and negative reflections. I had already presented this theory in two different compositions (“That day” and “The secret behind the library“) However, for each murder, the culprit must have a strong motive. For me, the mastermind behind his death is the pedophile himself. This man, (chapter 37) who is the king in my eyes. [For more read the essay “The face of lord Song“]

3. The reasons for the assassination

Why would he eliminate the learned sir? In the past, I had said that he had ordered it out of jealousy. He believed that Jung In-Hun had become Yoon Seungho’s lover, for his brother had mistaken his identity. (chapter 37) Since Baek Na-Kyum was wearing a hanbok, Yoon Seung-Won thought that the person hidden under the hanbok was no commoner! Thus he called him a fellow. However, this motive is quite thin! Yet, two new details caught my attention. His visit to the “fake shaman” and his request. Notice what he told the man:(chapter 29) He was announcing to the dark haired man his true intention. He desired to abandon and betray Yoon Seungho the moment he reached the first place in the civil service examination. He saw him as a burden. This is important, because his words represent a confession of his “sin”!! The scholar was admitting to the commoner that once he reached the first place, he would cut off his ties with the protagonist. But actually, the latter is connected to the pedophile. It was, as if he was saying that he would betray the king, for the young main lead is close to the king. On the other hand, he needed to reach the first place for this. And now, you have the explanation why he got killed. He needed to vanish, before he participated in the next round! The mysterious lord Song needed to remove him, before Jung reached the first place and betrayed his “lover”. In a certain way, the man could justify his action that he has been protecting Yoon Seungho from a future betrayal. However, there is no ambiguity that the true motive was jealousy. But he had naturally another motivation. It was important that the lord’s past never came to light either, as his secret was strongly intertwined with the ruler’s past actions. To conclude, the pedophile had every reason to order his assassination. But he was not the only one behind his death. Other people had an interest in this crime as well.

Jung In-Hun’s ”dream” stands in opposition to Yoon Seungwon‘s statement who somehow promised his father that he would reach first place. That’s the reason why the father boasted in the bedchamber. (chapter 86) However, in reality, he was relying on the king’s help and intervention. And this confession to the “fake shaman” represents the learned sir’s karma. He had asked the painter to act like a spy (chapter 24), not realizing that he could be spied himself! He didn’t grasp that he exposed his weakness to the commoner: the civil service examination. Thus the man had constantly drops of sweat on his face and interrogated Jung In-Hun. (chapter 29) The girl was there to create a certain closeness. He was acting like Kim, asking why! But the stupid and arrogant learned sir thought that because the man was a commoner, he was ignorant and could be manipulated like the painter! (chapter 29) He thought that the low-born would buy his lie here… but in my eyes, it was the opposite. He had already perceived the learned sir’s true nature. But he acted, as if he was agreeing. In other words, the scholar fell into his own trap. He envisioned that the man was “powerless”, but he overlooked his connections. The manhwalovers can see the contradiction, for he had approached the man due to his connections! .As you can see, I am more than ever convinced that the scholar has long been murdered. He was betrayed, exactly like he had planned to abandon Yoon Seungho! The pedophile must have heard from the servant about Jung’s plan, as he had confided it to the worker!!

Thus the man decided to meet Jung In-Hun himself, and give him a warning. He described the Yoons as powerless due to the purge. (chapter 37) But this doesn’t end here. (chapter 37) Yoon Chang-Hyeon was portrayed as a traitor! The “fake servant” implied with his statement that there was a conspiracy, and the patriarch was involved. But in exchange to save his own skin, he had tattled on the others! He was trying to insinuate that if Jung In-Hun interacted more with the Yoons, his reputation could get tainted. He could get suspected of “treason” too, or he could get betrayed too. While the man met the learned sir during the day, the brother went to the villa in a hurry during the night. (chapter 37) So it looked like the “scholar” had not grasped the warning. And if Yoon Seungwon had been informed about the content of the conversation between the learned sir and the “fake shaman”, it is not surprising that he rushed to his brother’s side. He could use this opportunity to warn him about a betrayal. However, he couldn’t do it so, because he imagined that the learned sir was present. This would explain this image: (chapter 36) Hence he chose a different approach: filial duty. And the brother’s observation could only corroborate the pedophile’s perception. The scholar was Yoon Seungho’s lover, but he was also a backstabber. But let’s return our attention to the “mysterious lord Song”‘s statement: Yoon Chang-Hyeon is a denunciator, not a man of honor. (chapter 37) Due to his denunciation and crime, he had to leave the mansion so suddenly leaving the protagonist behind. That’s what the old bearded man implied here. However, I believe that this declaration is a mixture of truth and lie! That’s how I could make the sudden connection: (Chapter 67) Lee Jihwa had not only been denunciated, but he had been confronted by his friend! And the traitor was right by his side. As you can see, chapter 67 was a reflection from episode 37!! These two episodes have another common denominator: the betrayer had made the following suggestion. (chapter 67) In exchange for his “survival”, he should help Black Heart and allow him to act on his behalf. This was the new plan. That’s how he started impersonating Lee Jihwa. That’s the reason why I come to the conclusion that in the past, the impersonation must have happened, but it took place in the beginning. Secondly, I am assuming that a traitor must have suggested to Yoon Chang-Hyeon to leave the mansion and abandon his son behind! (chapter 27) And who is it? For me, it is Kim acting on the pedophile’s behalf. Striking is that in episode 27, the learned sir escaped death thanks to the intervention of the old bearded domestic and Baek Na-Kyum. Thus it came to my mind that the pedophile could even claim that he had eliminated the learned sir, because Yoon Seungho had attempted himself to kill him in the past. He had acted on his behalf. And what do have all these chapters have in common? SPYING and tattling! In episode 27, the servant unveiled a part of the past, (chapter 27) Someone had tattled on the Yoons in the past, but the patriarch was turned into the traitor himself which the young main lead came to believe. Thus Yoon Seungho could say this to his father: (chapter 86) However, I am suspecting that this is not true, someone else tattled on the powerful family and made a false accusation! As you can imagine, I am inclined to think that father Lee must have been behind this! Why? It is because he can no longer do it! Thus in season 3, he approached the patriarch Yoon. (chapter 82) If the lord Seungho had truly committed a crime, he should have reported it to the authorities. The stupid Yoon Chang-Hyeon never wondered why the elder Lee visited him during the night and asked for his assistance. Furthermore, the elder Lee had been allowed to enter the bedchamber and see the huge drawing which could have been perceived as a sign of treason. He was eyeing at the throne. (chapter 82) Note that the aristocrat mentioned “punishment” in this context. So maybe, he denunciated the patriarch so that the whole family would get punished. Father Lee was definitely played in this scene, hence I believe that someone had already anticipated his reactions. He would seek revenge. But this doesn’t end here. I had connected “rash departure” to “treason and spying”. And now, observe what Yoon Seungho said to his butler (chapter 50) He had sent Jung In-Hun away in order to get rid of him! However, because of the expression “I thought”, I am quite certain that this idea had been suggested to him by the valet! I would like to underline that in this episode, the valet was acting as a tattler! (chapter 50) But in order to hide his own crime, he portrayed it as a rumor (It may not be accurate”). This truly underlines the butler’s MO. He used information and turned it as gossips to hide his spying activities. The shadow… Simultaneously, he turned gossips into a verity!! This is no coincidence that in season 3, the same method was employed. Yoon Seungho was supposed to have murdered the scholar and Deok-Jae! My avid readers can sense the leitmotiv in all these episodes. RUMORS are turned into a reality, and as such a CRIME! Even here… (chapter 37) (chapter 37) But Kim is not the only spy and traitor! The younger brother Seungwon is also one! Thus he was introduced in the same chapter. And I have an irrefutable evidence that the old bearded man was in contact with the younger master. Only recently, I realized that the man never mentioned the protagonist’s name, he just said “this one”. This idiom implies that there is another one!!! This is the evidence that he was in contact with Yoon Seungwon. Finally, why would the man talk about the elder master Yoon the entire time? It is, because technically Yoon Seungho is just the elder son. This means that the pedophile never officially gave the title to the protagonist. These were empty words. (chapter 86) But since our beloved man started living in the bedchamber, this became a reality. That’s the other reason why Yoon Seungho was encouraged to live in debauchery and not to take the civil service examination. But this only occurred, the moment the lord returned living in the mansion and not before!! Secondly, I realized that this statement about Yoon Chang-Hyeon will become a reality for the “fake servant” himself. (chapter 37) Not only he justified his return to the familial domain with the main lead’s lunacy (“under the pretense of some problem with this one”), but also he accused his own son of a crime. (chapter 94) This means that he acted as a traitor, tattling on his own relative. Finally, observe that once confronted with brutal reality, the father did run away. (chapter 87) The white bearded man’s words became a reality. However, since the fake servant, the mysterious lord Song, judges the elder master Yoon as a troublemaker and hypocrite, there is no ambiguity that the elder master Yoon will get into trouble. Since he did it in the past, he can only get suspected in the present.

Besides, because the scholar is now dead, the pedophile can only put the whole blame on someone else refusing to become responsible for this. He has always acted in the shadow. We have three possibilities: he puts the blame on Yoon Seungwon, and say that he had done it out of jealousy. Or Yoon Chang-Hyeon had intervened, because Jung represented an hindrance to the Yoons’ dream. Besides, he was supposed to stay in the mansion in Hanyang, and that’s where the rest of the family is living. (chapter 86) But the worst would be that the painter is blamed for his assassination. He did it out of resent! But this would expose the true thoughts of the schemers, the pedophile and Kim. That’s how they act, when they feel offended and bothered.

Striking is that the protagonist has no idea, that the banishment was staged, for he was told the same lie. In his mind, the father lives in exile.: (chapter 37) One thing is sure: the father’s dream will turn out to be an illusion. For me, the younger brother’s biggest wrongdoings are spying, tattling and badmouthing. And the best evidence for this interpretation is this situation: (chapter 44) He had given the ruined painting to his father, putting the blame on his brother, well aware that the latter would get angry. He was observing his father’s reaction. (chapter 44) Yet, there is a difference to the past. Here, he had been fooled! He truly believed that this was his brother’s doing, whereas in truth the butler had been the one who had fooled him. (chapter 38) And this is important, because when the letter was given to the brother, Jung In-Hun witnessed the wrongdoing from the butler!! (chapter 38) And now, you know why the learned sir had to die!! He had caught the valet in the act. He had betrayed Yoon Seungho, though he didn’t realize it. The learned sir tried to discover the content of the letter, and as such was prying on his sponsor’s weakness.(chapter 38) Hence I come to the conclusion that KIM played a huge role in the learned sir’s death as well. I would even say that he was the one who pushed the others to have the scholar and the painter killed. Both knew about the butler’s tricks without realizing his significance. (chapter 37) Hence I deduce that as the story progressed, the role of the butler started changing. Now, I see him as a the main plotter, while all the others are now his pawns. We could say that the valet has gradually followed the pedophile’s path. However, there is no ambiguity that it was not the same in the past!

4. A new plot

I am quite certain that many manhwalovers are doubting my theory that the fake servant is the king and the main culprit in Yoon Seungho’s nightmare. Why? It is because in chapter 83, we saw a dark haired man, and according to Lee Jihwa, this was the mysterious lord Song. (chapter 83) How can he be the same than the one from episode 37? The change of his hair color could be explained by a huge shock. But this is rather thin as a justification. Besides, now I am more inclined to think that these are two different persons, and that the main culprit is the one from episode 37. Why? It is because he smoked and utilized the same expression: “strange”. (chapter 37) An idiom that Yoon Seungho constantly utilized: chapter 16, chapter 21, chapter 50, chapter 71 (chapter 71). This means that he couldn’t understand, for he has a different way of thinking. This outlines his narrow-mindedness and his tendency to plan everything. He doesn’t like surprises.

Since the readers saw the hanbok and the beard, they imagine that he is the main culprit. But I would like the readers to keep in mind that Baek Na-Kyum’s fate is the clue about the main lead’s suffering. And how many people desired to have him by their side? TWO! Yoon Seungho and Min…. and we could say that both kidnapped the artist! The main lead did it in episode 1, and the other in episode 99! This means that Yoon Seungho should have two main sexual abusers in the past! However, in difference to the young lord, the painter only had sex with the main lead. Min always failed to taste him! That’s the reason why I am suspecting that the man from chapter 83 could represent the “first sexual abuser”. Besides, observe that he is not smoking! (chapter 83)

Because we saw the purple hanbok, we all imagined that he was representing the king or was connected to the palace. But is it true? Notice that one of the guests only has a moustache beard (chapter 83) which is actually connected to commoners. [For more read the essay “Painful departures“] Remember that Min tried to deceive people by wearing a similar hanbok which Lee Jihwa would often wear. (chapter 69) Hence I started wondering if the mysterious man with the beard was not impersonating someone, for example “lord Song” and in reality he was just a merchant. Why merchant? It is related to the shungas and the hanboks. The king can not be involved in trading directly. However, this is what Yoon Seungho told to the learned sir: (chapter 22) Nevertheless, the main lead could have never been involved in commerce, for he lived as a prisoner for many years. And this is what was said about the ruler: (chapter 76) He is not so wealthy. How come? Yoon Seungho’s fortune must have a different origin.

Besides, I would like to outline that when Min was facing the ghost Yoon Seungho, he denied his responsibility by putting the blame on the childhood friend: (chapter 102) Min had never predicted that the young master would run to his friend and denunciate him to Yoon Seungho. However, since Black Heart had employed the assistance of servants (chapter 101) , the kisaengs (chapter 95) (chapter 96), the officer (chapter 98), No-Name, the doctor with the drugs and butler Kim, this signifies that behind the name Lee Jihwa stand many people! As you can see, the name “lord Song” doesn’t refer to one person, but many… My theory is that No-Name is the true owner of the title, but that’s how he ended up losing his home and his name! That’s the reason why I believe that in this image (chapter 83), we only see one of many persons hiding behind the name “lord Song”. To conclude, I came to the theory that the men from chapter 37 and 83 are both “lord Song”, though the one from episode 37 can only be the king. But if the man in episode 83 was impersonating lord Song, and as such was dressed up as a royal, he was actually violating laws.

I would like to point out that Min had three goals, not only to ruin Yoon Seungho, but also to get rid of Baek Na-Kyum and Lee Jihwa. Why? It is because he had framed them for the incident in the gibang. (chapter 1) Furthermore, Lee Jihwa could testify that Black Heart was the mastermind of the murder. Thus I deduce that in the past, the mastermind must have had three intentions as well:

  • remove Yoon Chang-Hyeon from his son’s side. That way, he could outlive his sexual fantasies. (chapter 50)
  • ruin the Yoons which represented a thorn to his power, hence the young man was incited to hate and blame his father.
  • get rid of all the potential witnesses and accomplices.

We shouldn’t overlook that Min used to be the main lead’s sexual partner too. Hence we could say that he was trying to get rid of a former lover and potential rival! That’s why I can’t help myself thinking that the man in purple could have been fooled himself. (chapter 83) Here, he was smiling… but don’t forget that in this story, karma always retaliates immediately! The best example is the scholar who wished to discover the noble’s secret, but didn’t realize that his vulnerability and intentions were revealed. In episode 83, this smiling man tried to drive an edge between the two childhood friends, and he could definitely witness how the two sons entered the room before the arrival of the elders! Therefore his punishment should have been separation as well. (chapter 83) The main lead was slapped and called animal, hence there is no ambiguity that at some point, the man must have suffered as well, unless he let others take the fall for him. We know for sure that the main lead was tortured, and as such arrested for a crime he didn’t commit! Besides, I would like the manhwaworms to keep in mind the importance of cosplay and “coup de théâtre”. We had the perfect illustration in chapter 37, (chapter 71) chapter 87) and episode 92. The schemers in the past had definitely played with illusions and tricks. Thus I am expecting that it is now the pedophile’s turn to get fooled.

One possibility is that father Lee denunciated the Yoons saying that they were planning a coup d’Etat, and had already selected a new king. And don’t forget that he was wearing clothes that was indicating that he belonged to the royal family!! Thus his identity could have been mistaken. To conclude, for me, the man with the purple hanbok represents the reason why Yoon Seungho suffered. This led to the purge of the noble families close to the Yoons. But since the real “lord Song” had allowed people to use his name, he became the culprit for all the wrongdoings committed by others. Hence he lost everything. (chapter 82)

5. The poisoning

Another possibility is that the man with the purple hanbok got poisoned, and Yoon Seungho was framed for the man’s death or injury. I am suspecting a poisoning incident in the past. If it didn’t take place during that fateful night/day (chapter 83), then it definitely must have taken place before. But how did I come to this conclusion? According to my observations, karma always retaliates right away, though the “wrongdoer” has no idea, as the person doesn’t see the connection between the “punishment” and the sin. But I would like to point out that in each season, we had poisoning. (chapter 36) Here, the painter was forced to take an aphrodisiac under the pretense of his health. This action was repeated in season 2 (chapter 54) and 3. (chapter 100) The nobles made him smoke opium or drink the aphrodisiac. The purpose of such drugs is to obtain the painter’s submission and control his mind and reactions. Striking is that each time, the perpetrators were “punished”. Kim was insulted and his plan didn’t work out. (chapter 37) As for the young lords, they were evicted like commoners and later the others were even killed. As you can see, each time the poison was employed, there was a retaliation.

But note that in season 2, Deok-Jae had put stones in the painter’s rice. (chapter 47) (chapter 47) If the painter had not eaten with the lord, the latter would have never noticed the incident. However, he believed the maids’ words. (chapter 47) Hence he never investigated the matter. But this prank represented a serious issue. This could have been judged as an attempt against the owner of the mansion. (chapter 47) And now look at this panel: (chapter 83) Yoon Seungho had refused to take the drug! The bowl reminded me of the one from chapter 47! Finally, the butler had tried to give his master the drug in season 3 (chapter 77), but the latter had again rejected it and this twice. (chapter 77) Kim calls the drug “medicinal tea”, truly an euphemism. It is also possible that the real target of the poisoning was Yoon Seungho, but since he was protected by the gods, someone ended up taking the “drug”. Because he was wearing a purple hanbok, the investigator mistook his identity, a royal member. Hence the Yoons were suspected of treason. Don’t forget that during this party, there was a kisaeng by their side. (chapter 83) And the latter are trained to cook dishes for the clients. My avid readers are certainly recalling that since season 2, I have been waiting for a poisoning incident which became a reality at the end of season 3. Thus I come to the conclusion, that such an incident should be shown in season 4, one in the past and the other in the present.

To conclusion, since many people were hiding behind the name “lord Song”, it became a taboo. However, as the king had achieved all his goals thanks to this name, (chapter 56), he came to adopt this title in order to hide his identity and actions. Byeonduck explained in her notes that Baek Na-Kyum had no idea about Min’s name. And this is the same for Yoon Seungho. The pedophile could continue hiding behind “lord Song”, as the latter was blamed for everything. The pedophile could divert attention from his own tricks. That’s the reason why he would never write any letter to Yoon Seungho under this name. This means that at the end, the main culprit, the king, will be perceived as the main responsible for Yoon Seungho’s torment, similar to Min’s situation, just before got killed. Though many other people were involved, Yoon Seungho was able to judge the joker’s actions correctly, he was the main mastermind behind the plots. This explicates why the gods made Yoon Seungho forget the old bearded men’s face. (chapter 44) This was a blessing in disguise. The moment the main lead faces the king, Yoon Seungho will be able perceive the truth. The king was behind his torment, and the butler had been his helping hand all along, the professional spy planted in his family. However, I don’t think that the monarch will admit his crimes and apologize for his wrongdoings. He will need a scapegoat, and this can only be the butler, the only one who knows the truth!

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