Please support the authors by reading Manhwas on the official websites. This is where you can read the Manhwa: Jinx But be aware that the Manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. Here is the link of the table of contents about Jinx. Here is the link where you can find the table of contents of analyzed Manhwas. Here are the links, if you are interested in the first work from Mingwa, BJ Alex, and the 2 previous essays about Jinx The Words The Fireworks Stole and The Sweetest Downfall Ever
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Introduction — Dream, Magic, or Something Else?
Many Jinx-lovers were genuinely happy watching how the champion interacted with Doc Dan during that night. He was caring 
(chapter 86), gentle, attentive 
(chapter 86) — asking questions instead of imposing answers 
(chapter 64). For Joo Jaekyung’s unconditional stans (and I count myself among them), such an attitude 
(chapter 86) can easily be read as proof that the protagonist’s good heart has always been existent, but it was barely visible. Compared to earlier chapters, the contrast is now undeniable. And yet, I would like to pause you right there.
Because focusing solely on the champion’s behavior risks missing the most decisive movement of this night. Joo Jaekyung’s transformation did not begin in episode 86. Long before that, he had already started changing — sometimes suddenly 
(chapter 61), sometimes awkwardly 
(chapter 80), sometimes inconsistently 
(chapter 79), but unmistakably 
. (chapter 83) Tenderness, concern, even a certain form of devotion had appeared earlier 
(chapter 40), albeit in ways that were often overlooked, 
(chapter 18) misunderstood or poorly timed. This night 
(chapter 86) does not initiate his metamorphosis.
So what, then, makes it feel so different?
When confronted with a night filled with stars 
(chapter 86), sparks 
(chapter 86), and softness, many Jinx-philes might instinctively describe it as magical. The imagery invites such a reading. After all, we have seen similar nights before. The night in the States shimmered with illusion 
(chapter 39); words were spoken, confessions made — only to dissolve with memory. 
(chapter 41) The penthouse night echoed A Midsummer Night’s Dream 
(chapter 44), suspended between intoxication and desire, intense yet fragile. Both nights felt unreal, and both were later reframed as mistakes 
(chapter 41) — moments to be erased rather than carried forward.
(chapter 45). This raises an essential question. Is episode 86 
(chapter 86) a renewal of those nights? Another dream layered over the past? A repetition disguised as healing? Or, on the contrary, is this the first night that resists enchantment altogether?
This question matters because in Jinx, nights are never judged by themselves. Their true meaning is revealed afterward — in the morning 
(chapter 4), in the return of light 
(chapter 66), in what remains once the sparks fade. A dream dissolves with daylight. Reality does not.
This is why it would be misleading to read episode 86 primarily as evidence of the champion’s improved behavior. Such a perspective encloses the night within its warmth and risks mistaking tenderness 
(chapter 86) for final transformation. The real shift occurs elsewhere — more quietly, and perhaps more unsettlingly. To grasp the nature of this night, we must follow more importantly the doctor and his interaction with his fated partner.
What changes here is not only what Joo Jaekyung does, but how Kim Dan perceives 
(chapter 86), processes, and responds to it. How he hesitates 
(chapter 86), reflects, and allows himself to reconsider what this moment can mean — and what it can lead to. (chapter 86) It is through this inner recalibration that we can begin to determine whether this night belongs to the realm of dream, repetition, or reality. Only by tracing the doctor’s perception can we understand what truly starts flowing here.
To approach this question, the analysis will move through several successive angles. It will begin with the symbolic and mythological references that frame episode 86, before turning to earlier nights that echo visually or emotionally within it. From there, attention will shift to forms of communication, considering how speech, silence, and gesture are arranged across these scenes. The analysis will then examine repeated actions and how their placement within the narrative differs from one moment to another. Only with such a progression can the nature of this night be reconsidered.
From Solar Heat to Electric Current
Many Jinx-lovers instinctively read episode 86 as a romantic turning point because the night looks “magical”: stars 
(chapter 86), sparks, that strange shimmer that seems to hang in the air 
(chapter 86). Why? It was, as if their dream had come true. However, is it correct? Is it not wishful thinking? What if this night is not magical at all? What if its true signature is not enchantment, but electricity—a current that interrupts, tests, and resets? 😮
To grasp this, we must first return to the symbolic regime that used to govern the champion’s presence. In earlier chapters (think of the awe and distance around chapters 40–41 and again later), Joo Jaekyung often appears as a solar figure 
(chapter 40) in Kim Dan’s perception: overwhelming, radiant, dominant, a heat-source that does not negotiate. 
(chapter 41) The sun can be admired, feared, and endured—but it cannot be questioned. 
(chapter 58) It simply shines, and the one who stands in its light adapts. This explicates why the physical therapist would choose silence and submission over communication. 
(chapter 48)
The Invisible Energy
Nevertheless, the excursion in episode 83 and 84 begins to dismantle this solar grammar, though at the time, its meaning is easy to miss. 
(chapter 83)
The shift away from solar symbolism does not announce itself loudly. It is embedded in the setting itself, almost too obvious to be noticed. An amusement park functions entirely on electricity. 
(chapter 83) Every ride, every light, every scream suspended in midair depends on current: motors accelerating and braking, circuits opening and closing, energy stored, released, and cut off. 
(chapter 83) Roller coasters do not move by heat, charisma, or sheer physical force; they move because electricity flows through them. The Viking ship swings 
(chapter 83) because current allows it to swing. The Ferris wheel ascends 
(chapter 83) because circuits hold — and descends because they release.
And yet, precisely because this energy is expected, it becomes invisible.
Neither the characters nor most Jinx-philes initially register electricity as a symbol. It is too familiar, too infrastructural. Electricity does all the work, but it remains background noise. This invisibility is not accidental. Unlike the sun — which imposes itself visually, hierarchically, almost tyrannically — electricity operates silently, relationally, conditionally. It does not dominate the scene; it enables it. It exists only as long as connections hold.
When Electricity Fails
This distinction matters, because electricity only becomes perceptible when it fails. 
(chapter 84)
The Ferris wheel breakdown in episode 84 is therefore not a minor technical inconvenience but a crucial narrative rupture. The moment the current cuts out, movement stops. Height becomes dangerous. Time suspends. Panic enters the frame. The announcement that “the earlier technical issues have been resolved” 
(chapter 84) explicitly names what had previously gone unspoken: the rides function only because current flows. When it disappears, the illusion of effortless motion collapses.
And it is precisely at this moment — when artificial motion halts — that Joo Jaekyung becomes active in an unexpected way. 
(chapter 84) The Ferris wheel has stopped. The current is gone. The carefully regulated system that lifted, rotated, and sustained them is no longer in control. Yet movement does not disappear entirely. It mutates. When the champion shifts his weight, grips the structure, reacts instinctively, the cabin begins to shake. Panels emphasize instability: creak, swish, ack. The motion is no longer generated by electricity but by the body itself.
This moment is crucial. The shaking exposes a hierarchy reversal. Human strength now surpasses mechanical control. The ride no longer dictates sensation; the occupant does. And this excess of physical force — uncontrolled, unmediated — becomes unsettling rather than triumphant. Kim Dan immediately responds by asking him to sit down, to stop moving, to restore balance. Stillness, not action, becomes the condition for safety.
From Motion to Speech
What follows is telling. Deprived of the park’s mechanical rhythm, Joo Jaekyung does not compensate by acting more. He compensates by speaking. 
(chapter 84) Stranded above ground, stripped of the park’s mechanical rhythm, he apologizes. 
(chapter 84) Not theatrically, not performatively, but awkwardly, haltingly. His body exposes his discomfort 
(chapter 84) and fears. He avoids the doctor’s gaze, crosses his arms 
(chapter 84) or squeezes his arm 
(chapter 84). The cessation of electrical motion coincides with a shift in his own mode of action. Where the park depended on current to keep things moving, he now moves without it. The absence of electricity forces something else to surface: responsibility, attention, presence. Additionally, this sequence anticipates what will later unfold more fully. Proactivity is no longer expressed through force or motion, but through articulation. Words stand for action and have weight. The champion’s future action is announced here, quietly: he will no longer push forward by shaking the structure. He will move by sharing thought, by naming feeling, by allowing himself to be affected.
The interruption of electricity does not merely stop the ride. It forces a change in how agency is exercised. Under this new light, my avid readers can grasp the true life lesson the athlete received at the amusement park, the importance of communication and attentiveness.
As a first conclusion, the amusement park juxtaposes two forms of energy: mechanical electricity and human vitality. The first is regulated, automated, predictable — until it fails. The second is volatile, embodied, responsive. When the Ferris wheel stops, the mechanical system collapses, and a different kind of current emerges: emotional, relational, biological.
Yet, only in retrospect does this moment reveal its deeper logic. I am quite certain my followers are wondering how I came to pay attention to electricity which led to new observations and interpretations. It is related to the “electrical night” in the hotel!
Electricity and Sex
What strikes immediately in episode 86 is not tenderness, nor explicit care, nor even novelty of behavior — but density. The night is saturated with sparks 
(chapter 86), 
(chapter 86) jolts, sudden contractions of the body 
(chapter 86). Kim Dan is repeatedly shown convulsing, gasping, losing linear thought, and it is the same for the MMA fighter. Panels insist on interruption: jolt, tingle, broken breath, aborted sentences. The doctor’s body behaves as if struck, especially in this image. 
(chapter 86) It is at this point that a phrase surfaced in my mind — instinctively, almost involuntarily. A phrase we use in French when something intangible yet decisive occurs between two people: Le courant passe. Literally, the current passes. Idiomatic meaning: they are on the same wavelength, something connects, communication flows. However, here, the current is not the product of civilization, but of nature. Two people interacting with each other. And it is precisely because of the unusually high frequency of sparks and jolts in the illustrations that a belated realization imposes itself: nature, too, produces electricity — through storms, through thunder.
Joo Jaekyung’s Day and the Thunder
This raises a necessary question: where was the thunder before, as Jinx is working like a kaleidoscope?
One might be tempted to point to episode 69. 
(chapter 69) A storm was announced back then. And yet, upon closer inspection, no thunder was ever shown there. There was tension, there was excess, there were dark clouds 
(chapter 69) — but there was no strike, no discharge, no interruption. The imagery remained continuous, fluid, enclosed within the logic of escalation rather than rupture.
The thunder appears in the amusement park. 😮 One detail initially seems insignificant, almost too mundane to merit attention: the day itself.
The excursion in episodes 83–84 takes place on a Thursday. At first glance, this appears to be nothing more than a scheduling detail. And yet, Thursday is not a neutral day. Linguistically and mythologically, it carries a charge. Thursday is Thor’s day. This latent mythology quietly materializes through two objects, the drakkar (Viking boat) (chapter 83) and the hammer 
(chapter 83). In Roman terms, Thursday corresponds to dies Iovis — Jupiter’s day — the god of thunder. Both gods are strongly connected to thunder and as such current.
The narrative does not underline this fact. It does not name the god, invoke mythology, or frame the excursion as symbolic. The reference remains dormant. But dormancy is not absence. It is latency. This is where the symbolism stops being latent and becomes functional.
The reference to Thor and Jupiter (which was already palpable in earlier episodes 
-chapter 67-; for more read my analysis Star-crossed lovers 🌕) is not decorative mythology; it introduces a dual model of power that the narrative begins to test on Joo Jaekyung himself. Thor (chapter 83) is the son: impulsive, embodied, excessive, a god who discharges energy through impact. Jupiter, by contrast, is the father (chapter 83): regulating, sovereign, stabilizing, the god who governs the sky rather than striking it. Thunder belongs to both, but it manifests differently depending on position in the lineage. What matters is not which god the champion “is,” but that he oscillates between them. This oscillation becomes legible through the hammer.
The hammer game appears after the champion’s moment of physical discomfort and jealousy.
(chapter 83). Before striking anything, he is already unwell: angry overstimulated and complaining, visually reduced to a childlike register. This matters. The hammer does not create excess — it receives it. (chapter 83) It offers a sanctioned outlet for surplus energy that has nowhere else to go. However, contrary to the past, the physical therapist becomes the beneficiary of the athlete’s greed and jealousy. He receives a teddy bear. The hamster doesn’t witness the punching incident, he only sees the result: care and affection. (chapter 83)
Unlike boxing, unlike punching a sandbag 
(chapter 34), the hammer gesture is not confrontational, for the machine is immobile. There is no opponent. (chapter 83) The arm rises and comes down. The movement is vertical, not horizontal. It does not engage another body; it obliterates resistance. This is not combat but discharge.
In that moment, Joo Jaekyung performs Thor. Not metaphorically, but structurally. He channels excess into a single, downward strike. The absurd score — 999 — is not triumph; it is overload. 
(chapter 83) Too much energy released at once. The system registers it, but cannot contain it. This means, the record won’t be registered and as such “remembered”. In fact what mattered here was the prize, the teddy bear, and restored self-esteem of the athlete. He could offer a present to doc Dan which the latter accepted without any resistance. (chapter 83) The pink heart indicates the presence of affection and gratitude. And crucially, this act restores balance. After the hammer, the champion is no longer visibly overwhelmed. He has expelled what needed to leave. This shows that the champion is learning to manage his jealousy differently.
This prepares the next transition. Once the excess is discharged, he can shift position. The childlike Thor-state gives way to something else: regulation, provision, containment. This is where Jupiter enters — not as domination, but as adaptive authority. The same character who was dazed now intervenes calmly, mediates interaction, hands over the teddy bear, anticipates need. Son and father coexist not as contradiction, but as sequence.
This duality is essential for what follows. Because thunder is not continuous like the sun. It interrupts. It breaks a state, resets a system, and allows a new configuration to emerge. That is its narrative function here. This means that the athlete’s attitude can no longer be generalized, as such reproaches or description wouldn’t reflect reality. But let’s return our attention to the thunder causing a short circuit and reset.
The Ferris wheel breakdown completes the logic. When electricity fails, mechanical motion stops. When motion stops, the champion’s bodily excess becomes dangerous. When excess becomes dangerous, restraint is required. And when restraint is required, speech replaces force. The apology does not come despite the breakdown, but because of it. The system has been reset. This is why the amusement park is not merely foreshadowing but training.
The champion learns, physically and symbolically, that energy must circulate differently depending on context. Sometimes it must be discharged. Sometimes it must be restrained. (chapter 86) Sometimes it must be transmitted through words rather than bodies. This is not moral growth; it is adaptive intelligence.
Doc Dan and the Thunder
And this is precisely what reappears in episode 86. (chapter 86)
There, thunder returns — no longer as mechanical failure, but as biological event. The sparks and jolts saturating the panels are not just erotic embellishment. They reproduce the same logic of interruption and reset as well. Kim Dan’s body reacts as if struck by current. Thought fragments. Linear continuity breaks. “I can’t think straight” is not poetic confusion; it is systemic overload. I would even say, we are witnessing a short circuit which can only lead to a reset.
A thunderstorm does not persuade. It forces a reboot. In other words, this night stands under the sign of reality despite the sparks. Electricity is real and even natural.
The crucial difference is that this time, the current does not come from machines, nor from spectacle, nor from a game. It emerges between two bodies. This is why le courant passe becomes more than metaphor. The current does not dominate; it circulates. It requires two terminals. It only exists because both are present and conductive. And now, you comprehend why the champion was attentive (chapter 86) and asked questions to his sex partner. The current stands for communication. 
(chapter 86) Therefore it is not surprising that doc Dan starts looking at his fated lover. Imagine what it means for the athlete, when the “hamster” is staring at him, though he is a little embarrassed. Finally, he is truly looking at him. The champion loves his gaze. And now, you comprehend why the “wolf” listened to the “cute hamster” and stopped leaving marks.
In this sense, the hammer returns one last time — transformed. (chapter 86)
What struck metal in the amusement park now strikes the psyche. Not as violence, not as domination, but as reset. The phallus functions here exactly as the hammer did earlier: a tool of discharge that interrupts an old state and makes a new configuration possible. The result is not surrender, not illusion, but recalibration. Joo Jaekyung is once again releasing his “energy” 
(chapter 85), but this time, its nature has changed. It is no longer jealousy or anger, but love and desire. Hence the current is not colored in red, but white and pink. (chapter 86) It is not a flame like here 
, but a thunder and as such it is still restrained and regulated.
This is why episode 86 does not feel “magical”, once the structure is visible. Magic enchants without consequence. Thunder alters systems. After a strike, nothing resumes exactly as before.
And that is the point.
The champion is no longer a sun that burns from a distance. He has become a figure capable of switching modes — son and father, Thor and Jupiter, discharge and containment. And Kim Dan, having undergone the reset, is no longer operating on inherited assumptions 
(chapter 86) or second-hand data. New information must now be gathered. New meanings must be negotiated. Because Joo Jaekyung acts differently (son-father), the doctor is incited to discuss with his fated lover and not to generalize. He is pushed to become curious about the main lead and even adapt himself in the end.
The system has rebooted. What follows will not be repetition — because the thunder forced a reset. What follows will be movement and reciprocity — because current has begun to pass from one side to the other and the reverse. A new circle has been created.
Dream Nights and Drugged Time: Why Chapters 39 and 44 Could Not Last
If episode 86 confronts us with electricity as reset, then we must return to the earlier nights that failed — not because desire was absent, but because time itself was compromised.
Many Jinx-lovers remember the night in the States 
(chapter 39) and the penthouse night 
(chapter 44) as emotionally charged, intense, even pivotal. Confessions were made. Bodies responded. Vulnerability appeared to surface. And yet, both nights collapsed almost immediately afterward. What was felt (chapter 44) did not endure. What was said did not bind. What was shared did not accumulate into change.
Why?
The simplest answer would be to blame the champion’s behavior. But this explanation is insufficient — and, in fact, misleading. The deeper issue is not ethical failure alone, but structural impossibility. These nights were built on illusion. And illusion, by definition, cannot sustain time.
Let us begin with the night in the States.
In chapter 39, Kim Dan experiences desire 
(chapter 39), arousal, and emotional exposure under the influence of a drugged beverage. His body reacts strongly, almost violently. His speech loosens. He confesses. (chapter 39) He voices feelings that he has never dared to articulate consciously. Many readers interpreted this moment as a breakthrough — the first time the doctor allowed himself to want.
And yet, the morning after reveals the fatal flaw: he does not remember. 
(chapter 40)
Memory loss is not a narrative convenience here. It is the core of the scene’s meaning. Without memory, desire cannot transform into intention. Without intention, intimacy cannot become choice. What remains is sensation without authorship.
In other words, the confession existed — but outside time.
The body spoke, but the self could not claim it. The night produced intensity, not continuity. More importantly, it denied Kim Dan the possibility of return. Because he did not remember, he could not revisit the moment, reinterpret it, or choose it anew. Desire occurred — but never became decision. The night passed through him without granting him authorship. At the same time, Joo Jaekyung made sure with his joke (chapter 41) that doc Dan shouldn’t remember that night. This remark left a deep wound on doc Dan’s soul and mind, thus he hoped not to look like a fool in episode 86. 
(chapter 86) In this panel, we should glimpse a reference to the night in the States as well, and not just to the night in the penthouse.
The intensity of that night is why the champion’s later obsession with recreating that night is so telling. (chapter 64) Deep down, he hoped that such a night had been real. That’s why he asked shortly after their return about this particular night. (chapter 41) The event floats, unmoored, like a dream recalled only by one participant. I would even add, the amnesia from the doctor even afflicted a wound on the main lead. This explains why in Paris, he keeps asking doc Dan if the later is well and is not suffering from a fever. (chapter 86) He wants to ensure that his fated lover won’t forget this night. He is doing everything to avoid a repetition from that “dream or fake night”, where the physical therapist acted as the perfect lover, but forgot it. However, observe that here, the champion is touching doc Dan’s forehead, a sign that he is making sure that doc Dan is not “lying” by coercion or submission. At the same time, such a gesture reinforces my interpretation: thanks to the “thunder”, heat is generated. “Le courant passe” (the current passes) through physical contact, that’s how they create intimacy and understanding.
The penthouse night in chapter 44 follows a similar structure, though its emotional register differs.
Here, it is Joo Jaekyung who is intoxicated. 
(chapter 44) The setting is elevated, luxurious, almost theatrical. The doctor is brought into a space of power that is not his own. 
(chapter 44) By acting that way, the athlete created a false impression of himself, as if he was still rational and clear-minded. Again, desire unfolds. 
(chapter 44) 
(chapter 44) Again, closeness occurs. And again, the aftermath reveals the same fracture.
The champion does not remember fully 
(chapter 45) and later wants to even forget it. (chapter 45) Why? It is because contrary to the night in the States, the MMA fighter left traces on doc Dan’s body 
(chapter 45) and he can not deny his own involvement and actions. Hence the doctor is left alone. Only he can recall this “dream”. 
(chapter 44) But memory alone is not power. Remembering without the other’s participation transforms recollection into isolation. Kim Dan cannot confront, confirm, or renegotiate what happened, exactly like the champion did in the past. Meaning freezes instead of evolving. Striking is that he came to associate feelings with addiction. 
(chapter 46) No wonder why later doc Dan had no problem to reject the athlete. And for him, the next morning became a cruel reality, even a nightmare. It wounded doc Dan’s heart and soul so much that he learned the following lesson: to not get deceived by impressions. Hence in Paris, Doc Dan tries to explain the change of the champion’s attitude with drunkenness. (chapter 86)
What matters is not simply abandonment, but asymmetry of consciousness. While Joo Jaekyung remembers the night in the States, the other remembers the night in the penthouse: 
(chapter 44) One participant is altered. The other must carry the weight of meaning alone. The night does not end in shared reflection, but in silence and absence.
In both cases, the problem is not sex. It is not even exploitation or ignorance— though both are present. The problem is that time cannot flow forward from these nights.
Why? Because drugs suspend causality.
Under intoxication, actions do not generate obligation. Words do not demand response. Feelings do not require follow-up. The night becomes sealed — intense within itself, but cut off from before and after. This is why these encounters feel dreamlike in retrospect. Not romantic dreams, but dissociative ones.
And Jinx insists on this reading visually.
In both chapters, speech is unstable. 
(chapter 44) Words blur, vanish, or are forgotten. Even gestures go unnoticed: a kiss, an embrace or a patting. Memory fractures. The morning after is defined not by continuity but by confusion. The body has moved forward, but the narrative has not.
This logic culminates in the fireworks scene of chapter 84 
(chapter 84)
Fireworks are often read as romance. But here, they function as warning. Fireworks illuminate the sky briefly, brilliantly — and then disappear. They leave no trace. And crucially, during this display, words are literally blurred. 
(chapter 84) Speech bubbles lose clarity. Confessions are obscured. The reader is denied access to meaning. Fireworks, like drugs, produce intensity without duration.
This is the crucial distinction that Part I prepared us for: heat versus current. Heat lingers. It can smother. It can burn. But it does not require connection. Current, by contrast, only exists if two points remain linked.
Chapters 39 and 44 are nights of heat. Bodies respond. Desire flares. But no circuit closes. No loop remains intact long enough for time to resume. This is why these nights are doomed — not morally, but structurally.
And this brings us to a crucial observation that many readers overlook.
In both of these earlier nights, questions are absent.
No one asks: “Are you okay?” 
(chapter 39) 
(chapter 44) It was as if these nights could only exist under altered states — as if clarity on either side would have made them impossible.
No one asks: “Do you remember?”
No one asks: “Why are you doing it?” “What does that mean to you?”
Speech exists, but it is not dialogic. It does not seek the other’s subjectivity. It spills, confesses, demands, judges or disappears. But it does not circulate. This is why, despite their intensity, these nights do not move the story forward. They collapse inward.
Episode 86, by contrast, will confront us with something radically different: a night that asks questions. 
(chapter 86)
But before we get there, we must acknowledge what these dream-nights leave behind.
They teach Kim Dan that desire is dangerous when it appears without agency. That closeness can dissolve overnight. That bodily truth does not guarantee recognition or even knowledge. And perhaps most importantly: that remembering alone is a burden. 
(chapter 86) This is why, when electricity returns in episode 86, it does not revive heat. It interrupts it. 
(chapter 86) That’s the reason why the athlete stops for a moment and asks doc Dan, if he needs a break. 
(chapter 86) This question is important because doc Dan admits his confusion and ignorance. He confesses to himself that he “knows nothing” not only about himself, but also about his fated lover. (chapter 86) The night is no longer sealed. It is permeable. Time resumes. (chapter 86) This signifies that thanks to the “champion’s thunder”, doc Dan was able to leave the vicious circle of “depression”. At the same time, such a confession implies that doc Dan’s present is no longer determined by the past and prejudices. And that is precisely why it matters.
From Drugged Time to Embodied Presence
If the earlier nights failed because time itself was compromised, then the question that naturally follows is this: what allows time to resume?
Chapters 39 and 44 taught us that intensity alone is not enough. Desire flared, bodies responded, confessions surfaced — and yet nothing endured. Not because feeling was false, but because consciousness was fractured. Words existed, but they did not circulate. Memory existed, but it was asymmetrical. Each night collapsed into silence the moment it ended.
Episode 86 emerges precisely at this fault line.
At first glance, it might seem quieter. Less dramatic. Less overtly confessional. And yet, this apparent restraint is deceptive. What changes here is not the presence of desire, but the medium through which meaning passes. What circulates between them in this night is not nostalgia, not projection, not even hope — but presence.
The sparks that punctuate episode 86 are not metaphorical excess. 
(chapter 86) They function as temporal markers. A spark exists only now. It has no duration. It cannot be stored, recalled, or anticipated. It appears — and vanishes. In this sense, electricity becomes the perfect visual language for the present moment itself.
Unlike heat, which lingers and can smother, current demands simultaneity. It requires two points to be active at the same time. The moment one withdraws, the circuit breaks. Sparks therefore signify not passion remembered or desired, but attention shared. This is why the night in episode 86 feels radically different from earlier encounters. At the end of episode 86, Kim Dan is no longer trapped in the past — replaying humiliation, abandonment or knowledge (as such arrogance). Nor is he projecting into the future at the end — fearing consequences, punishment, or loss. (chapter 86) For once, his thought does not spiral backward or forward. It halts. He decides to follow his heart again. (chapter 86)
The phrase carpe diem applies here not as romantic indulgence, but as psychological fact. To seize the day is not to ignore reality; it is to suspend temporal distortion. (chapter 86) In this night, neither character is reliving an old wound nor rehearsing a future defense. They are not remembering a dream. They are not trying to recreate one. They are simply there.
Electricity makes this visible. The body jolts. Thought fragments. Linear narration breaks. But unlike the drugged nights, this fragmentation does not produce amnesia. It produces grounding. Kim Dan’s repeated confusion — “I can’t think straight” — is not dissociation. (chapter 86) It is the absence of rumination.
This is what distinguishes presence from illusion. Illusion detaches the body from time. Presence anchors the body in time.
The sparks, then, do not represent chaos, rather emancipation and liberation. (chapter 86) Therefore the “hamster” can not control his voice and body. The sparks represent contact without temporal displacement. Both characters inhabit the same instant, without substitution, without rehearsal, without erasure. The present is no longer something to escape or survive. It becomes something that can be shared. That’s the reason why the two main leads are talking to each other.
And this is precisely why meaning finally begins to circulate.
If the first part (From Solar Heat to Electric Current) and second part ( Dream Nights and drugged time) traced how electricity replaces heat, and how illusion breaks time, then the next part turns to the most unsettling shift of all: the disappearance of words — and the emergence of the kiss as language.
No Words, But a Kiss: When Communication Changes Form
One of the most striking features of my illustration for episode 86 is the near absence of visible speech bubbles — even when Joo Jaekyung is clearly speaking. His mouth is open, his body leans in, his posture is attentive, and yet language is visually de-emphasized. Words are present, but they no longer dominate the frame.
By contrast, the star with the cut-off speech bubble appears elsewhere — suspended, incomplete. Language has not disappeared; it has lost its authority. It exists, but it is no longer imposed, no longer unilateral, no longer protected by distance.
This visual shift matters. (chapter 86) In earlier chapters, words often preceded erasure: confessions spoken under intoxication 
(chapter 10), statements blurred by drugs 
(chapter 43), sentences remembered by only one side. (chapter 39) Language functioned as exposure without continuity. Here, the narrative refuses that pattern. (chapter 86) It withholds verbal dominance so that something else can emerge. Kim Dan’s answer does not come in words. It comes as a kiss. (chapter 86) This gesture must not be misread as avoidance (silencing) or impulsivity. It is neither silence born of fear nor surrender to sensation. It is embodied communication — a mode forged by a history in which words were unsafe, unreliable, or followed by disappearance. The kiss articulates what cannot yet be stabilized in language without being lost again.
It says: I am here. And more importantly: I accept this moment. Not the future. Not the consequences. The present. But this action catches the MMA fighter by surprise, as in the athlete’s mind, Doc Dan has never initiated a kiss before except in the States, but the doctor doesn’t remember it. At the same time, it is clear that the athlete has not been confronted by his own amnesia concerning the night of his birthday: doc Dan had kissed him there too, thus the celebrity had been able to make doc Dan smile 
(chapter 44) and even laugh…. if only he could remember that night…
Crucially, this act in episode 86 (chapter 86) cannot be neutralized by Joo Jaekyung’s habitual reflexes — the “it’s nothing” 
(chapter 79), the “never mind”, 
(chapter 84) or it is a mistake, the easy erasure that once dissolved meaning after the fact. The kiss interrupts that mechanism. It produces a pause that cannot be talked over. It forces reflection. (chapter 86) Joo Jaekyung will have to ponder on the signification of such a kiss.
For the first time, meaning does not vanish once contact is made.
The kiss therefore marks a decisive transformation in how communication functions between them. Words are not rejected; they are postponed. Language is no longer the condition for intimacy, but its consequence. What circulates first is presence.
And this is why the kiss belongs structurally to the logic of current introduced earlier. Current does not explain itself. It passes — or it does not. It requires proximity, consent, and mutual contact. Once established, it cannot be undone by denial. Hence the champion reciprocates the gesture. (chapter 86) He is even kissing with open eyes, as though he desired not forget this wonderful night. In episode 86, communication no longer seeks to protect itself through speech. It risks itself through embodiment. And that risk, precisely because it is accepted rather than anticipated, changes everything.
First Conclusion — When Conditions Change
With the symbolic framework established, the earlier nights revisited, and the forms of communication closely examined, the analysis has already progressed far enough to reconsider the nature of the night in episode 86.
By moving through these successive angles — from mythological and elemental references, to nights compromised by illusion, to the transformation of how meaning is exchanged — one point becomes clear: this night is not just defined by intensity, tenderness, or redemption. It is also defined by changed conditions.
When electricity replaces heat (chapter 86), power ceases to be unilateral and becomes relational (sky and earth). Thunder does not linger or dominate; it strikes, interrupts, and resets. The champion is no longer read as a solar figure imposing force from above, but as a conductor within a circuit that requires reciprocity.
When the earlier nights are reexamined, their failure appears not as emotional insufficiency but as structural impossibility. Desire existed, but time could not flow. Drugs suspended causality, fractured memory, and sealed each encounter inside itself. What remained were dream-nights — vivid, intense, and ultimately unsustainable. Yet, they left wounds. (chapter 86) At the same time, it becomes clear that this moment in Paris embodies the convergence of two memories and two nights which helps them to recreate a new night marked by desires and communication. So this night will generate new memories and push them to redefine their relationship.
Finally, when attention shifts to communication itself, episode 86 reveals a decisive reconfiguration. (chapter 86) Meaning no longer relies on speech that can be blurred, forgotten, or denied. It circulates through presence. The kiss interrupts fear without abolishing clarity. Kim Dan does not forget the future; he accepts the risk of setting it aside. For the first time, current passes while both remain conscious, present, and aware.
One image quietly condenses this transformation. (chapter 86)
Kim Dan almost sits on Joo Jaekyung’s lap. (chapter 86) Earlier in the narrative, this posture belonged to another body. 
(chapter 19) The grandmother’s lap structured Kim Dan’s understanding of safety, endurance, and knowledge. Sitting there meant being held — but also being taught how to survive through sacrifice, silence, and self-effacement. That worldview sustained him, but it also confined him.
In episode 86, the posture is almost repeated — but the figure has changed.
This is not a romantic substitution. It is a symbolic shift. The body that now supports Kim Dan does not transmit inherited rules or fixed certainties. It asks questions. It pauses. It waits for response. He is actually more sitting between his legs or on his arms. In this moment, Kim Dan is no longer receiving knowledge about how to endure the world; he is participating in how to inhabit it.
From this point, a first answer to the guiding question emerges.
Episode 86 is neither illusion nor culmination. It does not redeem the past, nor does it erase it. It alters the framework within which meaning can circulate. Time resumes not because wounds have healed, but because they are no longer governing the present by default.
What remains unresolved — and what now demands further attention — is what follows from this shift.
If communication has changed form, how does unpredictability change meaning? If presence has been established, how does recognition operate without erasing the past? And if two nights once marked by failure now converge within the same moment, what does that convergence produce?
These questions open the next stage of the analysis.
The following sections will therefore turn away from possibility and toward consequence: how agency is reclaimed, how repetition acquires new ethical weight, and how two previously incompatible trajectories finally begin to add rather than cancel each other out.
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(chapter 85) represents the positive reflection of this night 
(chapter 58) 
(chapter 58), when the physical therapist chose to give up on the athlete and stop listening to his heart. Here, I am not only referring to the numerical symmetry but also to the doctor’s shifting vision of Joo Jaekyung.
(chapter 85), Jaekyung appears with a towel around his neck. This simple object evokes water and sweat, but in Jinx, these elements are never neutral. They are tied to one of the champion’s earliest traumas: the humiliation of being called “dirty” 
(chapter 75) and “smelly” as a child. This is why Jaekyung learned to perfuse his body with cologne after every shower 
(chapter 75) and why physical proximity has always carried the risk of shame. Hence he kept people at arms length. In chapter 40, when he rescued Kim Dan from the security guards, he kept his distance 
(chapter 40) — he had not yet showered, for the towel on his shoulders was stained with blood. Mingwa was indirectly referring to the champion’s psychological wounds. 
(chapter 40) It was, as if the fear of smelling “wrong,” of being perceived as contaminated, was still dictating his movements. Hence he could only claim doc Dan as one of his own, but not as his “physical therapist” or even “family”. And interesting is that doc Dan copied his attitude. In the hallway, he maintained a certain distance from the athlete. 
(chapter 40)
(chapter 40) the moment he dried off 
(chapter 85) His hair is unstyled, his scent unmasked — and yet he approaches Dan without hesitation. He even kisses him. The item that once symbolized rejection now signifies trust: without fragrance, he is certain that doc Dan will not call him “dirty,” will not recoil, will not shame him. What once provoked distance becomes an unexpected bridge, revealing that Jaekyung is finally letting someone remain close, when he feels most vulnerable. The night in Paris does not simply suggest a return of desire; it announces the return of hope 
(chapter 85) and trust — and perhaps even the moment when Dan chooses, for the first time, to be honest with his own body and heart. 
(chapter 85) 
(chapter 85) — fulfilling, without knowing it, a secret wish the physical therapist has harbored since childhood 
(chapter 61) [I will elaborate it further later]. And perhaps this is why the moment feels so disarming: because the downfall is not tragic but tender, not humiliating but intimate. Sweet, even.
(chapter 85), when a single careless comment shattered the champion’s composure and revealed just how fragile his newfound hope really was.
(chapter 85) In contrast, both Park Namwook and coach Jeong Yosep wear generic MFC T-shirts. 
(chapter 85) Dan is lost in his thoughts — anticipating the night ahead with the champion — and has barely touched his food. Park Namwook notices this. One might think, such a remark displays the manager’s concern for the main lead’s well-being. However, the manager adds that the other members of the team are all almost finished. With such a remark, it becomes clear that the manager is urging the protagonist to finish his plate. Although Park Namwook addresses Dan as if showing concern, the content of his remark betrays his true priority: not Dan’s well-being, but the team’s schedule. By pointing out that ‘the rest of us are almost finished,’ he urges Dan to keep pace, treating him as staff who had to follow the group rather than someone with personal needs. As you can sense, schedule is essential for the manager. However, because doc Dan couldn’t reveal the true reason behind his behavior, he gives an excuse for his lack of appetite. 
(chapter 53) The manager’s words bring Joo Jaekyung back to reality and its uncomfortable truth that Dan’s presence now is still bound to a contract — temporary, contingent, never fully his. In other words, with his remarks, Park Namwook is reopening old wounds which shows his total blindness and lack of finesse and of empathy. He treats the last match, as if nothing bad had happened. The incident with the switched spray is simply erased.
(chapter 53) leaving without thinking; now, after Dan vanished from his life entirely, that earlier departure feels like a sign he failed to read. Park’s question brushes against this bruise, and Jaekyung’s lips reflect the discomfort.
(chapter 85) The younger fighter suddenly bursts into panic, declaring how nervous he would be in Jaekyung’s place, how his heart would be pounding out of his chest. His outburst is sincere, naïve, and completely focused on the champion — he never once considers Dan’s feelings. Yet these words strike deeper than he intends. At the mention of a pounding heart, Jaekyung’s eyes lift upward in a brief, involuntary movement. It is the smallest gesture, but it exposes everything he wishes to hide. Because his heart is pounding — but not for the match. It is because of doc Dan! 
(chapter 85) “Come to my room at 11.”
(chapter 85) the need for reassurance, the wish to rewrite the pattern of the past, the quiet hope that Dan will not leave him again — not tonight and not afterwards.
(chapter 85) Schedules are his armor, punctuality his hiding place. Whenever something threatens to slip beyond control, he retreats behind procedure. 
(chapter 85), as soon as the athlete stands up right after his recommendation and announces he is now returning to his room. 
(chapter 54) 
(chapter 85) In theory, this is the perfect window to do what he used to do in the States 
(chapter 38) and Korea 
(chapter 48) before a big fight: watch his opponent’s videos, study their habits, rehearse counters. If we only looked at the clock, we might assume he spent the evening thinking about Arnaud Gabriel.
(chapter 85) From 7:02 onward, the question is no longer “How do I beat Gabriel?” but “How do I win doc Dan’s heart?” The clock from 7:02 to 11:00 p.m. stops being a “training window” and becomes an emotional countdown. He is no longer the champion preparing for an opponent—he is the man hoping not to be abandoned again. This is why the later scene at the door feels so contradictory: when Dan finally arrives, Jaekyung behaves like someone who couldn’t wait. 
(chapter 85) He opens the door and immediately grabs him inside 
(chapter 85), cutting off any possibility of hesitation. The way he drags him over the threshold, presses him against the wall 
(chapter 85) This is not the controlled, casual emperor of old; it is someone who has been holding back for hours and refuses to risk even a second in which Dan might change his mind. 
(chapter 65) and the comment of the champion in front of this movie: 
(chapter 29) Moreover, I consider this scene 
(chapter 85) as a new version of Choi Heesung’s advice: Doc Dan just needs to sit back and enjoy!! 
(chapter 31) Joo Jaekyung is now doing everything, as deep down he wants to become the perfect lover! And how had I described the night in the States? 
Back then, the hamster Dan had become the champion’s perfect lover, especially because he had kissed his face, hugged him and confessed to him. 
(chapter 38) One might reply that the athlete desired to maintain appearances and as such to hide his suffering and anxiety. In other words, he was hiding his emotions behind routine, Jinx-sex would always start at 11 pm. However, this idea is not entirely satisfying because once doc Dan was in his room, the fighter was no longer hiding his emotions and desires. 
(chapter 72), when the latter would return late from his “work” and the death of his father 
(chapter 73). 
(chapter 85) Because doc Dan could have refused. He could have used his queasiness as an excuse, could have stayed in his room, could have claimed exhaustion. Instead, he obeyed the request — a request sent by someone who had hurt him deeply in the past. Doc Dan’s arrival is proof that he is not rejecting him. Proof that the night is real. Proof that the attempt to do better might actually matter. At the same time, doc Dan couldn’t miss the true meaning behind this text sent in front of others: the athlete’s anxiety and suffering. 
(chapter 85) This explains why his worried gaze followed his fated partner. 
(chapter 85) In other words, the text had a different meaning. It was not an order, but rather a wish…and it had nothing to do with his match against Arnaud Gabriel. During that night, Joo Jaekyung is not seeing a surrogate fighter in front of him or a sex toy, but his real partner, his future boyfriend. This means, this night stands in opposition to the one in the penthouse: 
(chapter 85) This is why he touches Dan’s face instead of flipping him over.
(chapter 85) — something he has never done before. This does not come from instinct. It comes from intention. It comes from effort. It comes from learning. He is indeed showering doc Dan with love and tenderness, therefore it is not surprising that the “hamster” is moved sensually and emotionally. Exactly like during the Summer Night’s Dream, he is reaching nirvana, hence Jinx-philes are constantly seeing stars,. 
(chapter 85) 
(chapter 85) — or the emotional slip that comes with resurfacing feelings: the therapist losing distance, falling back into intimacy. All of these readings sound plausible at first glance. 
(chapter 85) Styled up, hardened with gel 
(chapter 30) , perfectly arranged — it is the crown of the Emperor, the symbol of his control, his discipline, and the myth that MFC sells:
(chapter 82) When the hair stands, the image stands.
(chapter 85) — but not the way adults or professionals usually do. 
(chapter 71) So doc Dan could recognize the little boy in the athlete, the more he sees the protagonist with his hair down. Furthermore, I noticed that contrary to season 1, Doc Dan has now more memories of the “wolf” facing him. 
(chapter 85) In the past, he would more look at him from behind: 
(chapter 35) 
(chapter 35) Seeing his face reflects not only the increasing care for each other, but also the improving communication between them. 
(chapter 85) more mature, more “masculine” in the traditional sense. This explicates why the stylists had to dress him up. 
(chapter 82) Yet such an intervention did more than prepare him for the cameras — it tightened the restrictions around his own image, reducing the fighter’s rights over how he appears to the world. With the suit, he appeared older and more powerful. The French fighter leans into age, while the Korean champion leans into youth — a symbolic inversion that reinforces the central tension in the Paris arc: Gabriel performs adulthood; Jaekyung rediscovers the adolescence he never lived. 
(chapter 85) But just as Jaekyung begins to slip into these youthful, softer identities, MFC reasserts control.
(chapter 85) hair up, face polished, a look engineered for posters and rankings. He becomes once again the Emperor — the man who must appear older, sharper, more intimidating, more manufactured.
(chapter 79) This is the boy from the childhood photograph.
In the rain, with his hair heavy and unstyled, his gaze dark and sensual, Jaekyung appears nothing like the commanding emperor. He looks free — freed by weather, freed by desire, freed from roles. It was foreshadowing, not just fanservice. It announces the end of the « jinx » in reality. 
(chapter 85) He is describing himself. His sweetness is the taste of freedom — freedom from performance, freedom from control, freedom from MFC, freedom from fear. He is enjoying this moment. Dan tastes sweet because Jaekyung is finally tasting the life he never allowed himself to want.
(chapter 21) The image of winged rescue and divine protection hangs over the very piece of furniture that, throughout the series, has functioned as Dan’s private sanctuary. This is not incidental. In Jinx, the couch is tied to his deepest memories of care and abandonment, and Mingwa activates this symbolism each time Dan gravitates to it.
(chapter 21) Why does he consistently feel safer on the couch than in a bed? 
(chapter 29) Why, after the second swimming lesson, did he refuse to return to the bed 
(chapter 81), even though he was exhausted? Why does he place the teddy bear 
(chapter 84) —his last substitute for lost parental affection—on the couch and not on the bed? And finally, why has he always harbored the secret wish to be carried to bed, as confessed through his memory in chapter 61? 
(chapter 10) Secondly, at no moment, we ever witness the grandmother carrying the little boy to bed. Either she is rocking him to sleep outside the house 
(chapter 47) or he is already in the bed. We never see her bringing him to bed. 
(chapter 44), 
(chapter 44) traces from parents. And now, you comprehend why the hamster could never truly rest in the bed. The couch is therefore not an adult preference; it is a trauma imprint. Resting there feels safe because beds—large, empty, abandoned spaces—became reminders of whoever no longer carried him. Hence it is no longer surprising that he woke up, when he sensed the vanishing of warmth. 
(chapter 84): the bear stands in for a lost comforting presence. It also represents the main lead, Joo Jaekyung. The latter is gradually reentering in the physical therapist’s heart and life. Therefore it is not surprising that there, he squeezes the hand of the toy. It is also why Doc Dan curls around it like a child who deep down hopes to be chosen, lifted, and held. And it is why, even as an adult, his body still whispers the same yearning: someone, please carry me to bed again.
chapter 40, chapter 65, chapter 68, chapter 79)
(chapter 85) and he was still able to arrive on time in the arena. 
(chapter 40) For me, it is a clue that the manager would always request to meet around 7.00 am, when the match was at noon. But what should do the athlete do during all this time? He can only get nervous and feel pressured. 
(chapter 81) I noticed that in different scenes from season 2, the athlete started waking up later and even after doc Dan. 
(chapter 66) But the manager’s rigid schedule threatens even that. An early morning summons drains the fighter’s cortisol reserves before the match has even begun, creating a long, empty corridor of waiting — a period where tension, anxiety, fatigue, and irritation ferment in the body. Instead of resting, centering, and preparing, the champion would spend hours fighting against the clock imposed on him.
(chapter 54) , he might even jump to the wrong conclusion: that Jaekyung drank again — this time behind his back. 
(chapter 82) The irony is striking. Two days before the match, it was Park Namwook who overindulged with the others, yet he may now project that same carelessness onto the athlete. In his mind, the DND sign does not simply mean “rest”; it becomes a warning signal, a possible confirmation of the irresponsibility he fears but has never actually witnessed. Thus I can already imagine him panicking.
(chapter 82), his look 
(chapter 82), his free time and took care of the champion’s emotional needs. In Paris, the « hamster » became the champion’s manager de facto, the unofficial right-hand. That’s why if they are late and they need a scapegoat, the manager can blame the physical therapist for the « delay », he would always come late to appointments (chapter 17: meeting the doctor) and to the fights (Busan, in the States).
(chapter 84) Readers have replayed the blurred panel again and again, straining to decipher the muffled shapes of his mouth. Some are convinced that this is the confession, the moment the wolf finally says aloud what his body has been whispering for months. One Jinx-phile, 
just enough to match the Korean 좋아해 김단 (jo-a-hae Kim Dan)—“I like you, Kim Dan.”
(chapter 84) —especially Japanese summer festivals where boys and girls, dressed in yukata, confess beneath crackling skies. Fireworks symbolize joy, romance, fleeting courage. It is no wonder many readers assumed that Mingwa was drawing on this cultural grammar: purple night sky, glowing lights, two lonely figures suspended above the world. A confession seems almost inevitable. And if it truly was a love declaration, then the champion’s refusal to repeat himself 
(chapter 62) 
(chapter 77) Why does Joo Jaekyung speak exactly when the fireworks begin, as if choosing the one moment when he is guaranteed to be drowned out? 
(chapter 84) Was he truly confessing love—or was he trying to verbalize something far more raw, far more primitive, far more difficult?
(chapter 76) and 79 
(chapter 79), where he “speaks” only when the other man cannot truly hear him. At the hostel, the mumbling was barely audible: yet according to my observation and deduction, doc Dan seems to have caught something. as later we discover this scene from the champion’s memory: 
(chapter 77) He already knew that the athlete was standing next to him. However, observe that this vision focused on the doctor’s gaze was accompanied with silence. This means, doc Dan acted, as if he had heard nothing. So if he heard, what did the physical therapist catch exactly in the kitchen? “I lost…”, but it was devoid of any context. Doc Dan had no idea what the director Hwang Byungchul had advised to his former student. 
(chapter 75) He could not know that “I lost” referred to something far more intimate: Jaekyung losing control over his own emotional detachment, he was totally vulnerable in front of doc Dan. His heart was stronger than his “mind and fists”. Naturally, if Kim Dan interpreted the phrase at all, he would connect it to the only “loss” he understood: the tie with Baek Junmin. A humiliating defeat. A source of shame. This misinterpretation perfectly explains why in the cabin, the hamster immediately assumes that the champion is once again determined to regain his title: 
(chapter 84) He is taking the champion’s words at face-value. 
(chapter 77) He trusts the explanation Jaekyung himself gave under the tree. And here lies the deeper revelation: Kim Dan’s misunderstanding exposes the true meaning of the tree confession. Why did Jaekyung suddenly accept the match? Why frame it entirely in terms of “I need you for these two fights”?
(chapter 84) A deadline designed to keep Kim Dan close without revealing the depth of the emotional dependency underneath. Finally, before we even analyze posture or timing, we must acknowledge the ghost that is sitting inside the cabin with them — Jaekyung’s own admission of dishonesty. Just minutes earlier, the narrative revealed again a thought he had never dared to voice aloud: 
(chapter 84) This is the language of surrender — not to defeat, but to vulnerability and selflessness. The champion who once insisted on keeping Kim Dan “one way or another” (chapter 84) now articulates the opposite impulse: the willingness to release him, to give him a choice. 
(chapter 84) Thus for me, in the cabin the champion became, for a moment, the boy with no mother’s gaze, no father’s protection, no safe place to rest. He must have said something cheesy, something a young person would say. Purity returns before experience does. Honesty returns before articulation. And in that moment inside the cabin, Mingwa makes a decisive artistic choice: we do not see Jaekyung’s eyes. 
(chapter 84) This pigment stands for innocence, purity, new beginnings and even equity. 
(chapter 84) Because they were not yet meant to be received, only meant to be released. The fireworks allow him to finally attempt a more honest sentence, but in conditions where it cannot reach its target.
(chapter 81) Yet this is also the limit of what he can say.
(chapter 79) Thus he could see the athlete’s mouth moving and hear sound. Nevertheless, observe that the moment the wolf reached to the doctor’s words, he bowed his head and looked down. From this 
(chapter 79) to this 
(chapter 79) However, he doesn’t fear coldness, but ridicule and mockery, the father’s gaze: 
(chapter 73) Under this light, people can grasp why Joo Jaekyung was not facing doc Dan directly in the cabin. To conclude, the mechanism is identical, but amplified. 
(chapter 73) Besides, the head of her position is indicating that she was not looking at her son, the boy was hiding his face from Joo Jaewoong and his mother. Then his father mocked him, degraded him, and used resemblance as an insult: “
(chapter 74) or his mother (a poor but good mother), he was not seen for whom he was: a child, a boy. Jinx consistently links sight with recognition, and recognition with love. 
(chapter 53) Jaekyung has never been granted either. 
(Chapter 45) Thus when he got upset with the present, he indirectly expressed the wish to be « looked at ». Moreover, in his visions or memories, this is what he keeps seeing: 
(chapter 54) 
(chapter 75) Doc Dan’s gaze!
(chapter 51) And for the first time, Jaekyung freezes. 
(chapter 51) His breath catches; his eyes widen. It is the moment he realizes his mistake. He never thought that doc Dan had been trusting him. That moment marks the first rupture in his emotional armor, not only because it hurt, but because it revealed. He realizes with terror that he wants to be seen by Kim Dan, but when he faced such a gaze, he could only feel guilty and bad. Thus it is not surprising that later, his nightmare let transpire his guilty conscience. 
(chapter 82), as the champion has always used his surroundings as a source of inspiration. 
(chapter 84) The gaze under the fireworks triggers emotions in him. Thus he blurted out something. But for me, he does not know how to say “I love you.” He cannot even say “I like you.” Those sentences belong to someone who has matured emotionally — someone who can identify feelings properly, but so far he keeps saying: “to stay by his side” and his « affection declarations » were all linked to negativity.. Thus my idea was that Joo Jaekyung could have said this: “I want to hold you!” (안고 싶어 너). Let’s not forget that so far, the champion had never expressed such a longing before; a warm embrace. He would always follow his instincts: 
(chapter 4) 
(chapter 69) The hug represents a metaphor for “staying by his side, for home and to be seen”. Moreover, in French embrasser can mean kiss and hug. And strangely, I noticed that the protagonists were never looking at each other during an embrace. 
(chapter 65) It is for “babies”. No wonder why he retracted immediately.
(chapter 84) Here, the doctor looks sad and wounded. His eyes are unfocused — he is not seeing the present. The water running down his eyelashes gives the impression of tears, even though he is not crying. His gaze is distant, fixed on something internal. His mouth looks tense, almost trembling. The mouth especially is a clue: Kim Dan’s emotions always gather there when something from the past resurfaces.This is the expression of someone thrown into an involuntary flashback. He is inside a memory. This explicates why this scene is similar to the champion’s shower after the latter had met Baek Junmin: 
(chapter 49) 
(chapter 49) Both scenes show a man pulled violently into a buried memory. Thus, my assumption is simple: the champion said something that pierced straight into Kim Dan’s oldest wound and brought his trauma to the surface. And this brings me to my next observation. Inside the cabin, there are not two people — there are three: the champion, the therapist, and the Teddy Bear. 
(chapter 84) Furthermore, we have a window. We have a phone (dead, but present). We have a childlike toy — symbol of stolen innocence.
(chapter 84) And now, look again at episode 19: 
(chapter 19) A window with no view. Three figures: halmoni, the boy, and the phone placed between them like a knife. And the sound structure is identical, but reversed:
(chapter 56) In other words, wearing black is more than just a change of personality or mourning. It becomes the color of mystery, the beginning of descent into truth. 
(chapter 79) on the night table. 
(chapter 84) Every time innocence is ripped away, a teddy bear disappears from the story.
(chapter 82) will happen linked to the protagonists’ past (recent and childhood). Let’s not forget that doc Dan still has no idea what Joo Jaekyung went through after his departure: the slap, the drinking, the headache and the indifference of Team Black, just like the athlete has no idea about the blacklisting and bullying in the physical therapist’s past. 
(chapter 84) So by wearing black, doc Dan indicates that he is gradually becoming responsible for Team Blackand Joo Jaekyung the athlete. 
(chapter 83) mirroring the contrast of their clothes and their personalities — and the champion even leans in to lick a smear of ice cream from the therapist’s finger, an image so intimate that any passerby would mistake them for lovers. And yet, not quite. The physical therapist approaches the outing as part of his job, a therapeutic break meant to soothe his patient’s nerves 
(chapter 83), while the athlete approaches the day with a far more personal hope. He stages the rides strategically, intending to appear strong and reliable so that his companion might grow frightened and instinctively reach for him 
(chapter 83) — just as he once did in the swimming pool. 
(chapter 80) Beneath the surface, what looks like a date is a carefully orchestrated attempt to recreate closeness without naming it. To conclude, whereas the episode flirts with the aesthetics of a date, the intentions behind it remain mismatched, unspoken, and unresolved. It is not an official date, yet it does not behave like a simple work-related excursion either, and we as readers are left suspended in that tantalizing in-between space — as if the very moment were hanging weightless above the ground, waiting for someone to name what it truly is.
(chapter 83), charged with a warmth that seasoned Jinxphiles will recognize immediately: a tension between joy and tension, duty and desire, wind and water. And then we see him — the usually anxious physical therapist — smiling with his eyes closed, arms raised, as if offering himself to the sky and joining his “companions”, the clouds. In this panel, his hands — so often clenched, overworked, or trembling from exhaustion, fear or anger — are finally resting, suspended in a gesture of pure lightness and ease.
(chapter 45) reality collided with unspoken longing. The tension between dream 
(chapter 83) and waking life, quietly present in the lyrics themselves, resurfaces at the park amusement as well — though its meaning will become clearer as we look deeper. In season 1, the boundaries between the celebrity fighter and his therapist were blurred in ways neither of them understood: professional on the surface, intimate in practice, yet undefined in essence. Physical closeness existed, but emotional clarity did not. Now, in the bright openness of this amusement-park afternoon and evening, we are invited to look again. What exactly is their relationship here? A supervised rest day? A moment of companionship? The first fragile step toward something tenderer that neither man is ready to articulate?
(chapter 83) or a family laughing together 
(chapter 83), something in him shifts so quietly that one might miss it at first glance: he smiles. 
(chapter 83) Not out of politeness, not to reassure someone else, not through exhaustion or habit. He smiles because he witnesses joy — and for once, it does not make him feel smaller. It does not activate the reflexes of deprivation or fear that shaped his life from childhood to early adulthood. On the other hand, the smile he gives in that moment is not radiant, not wide, not unguarded. It is a grin, a restrained upward curve that reveals both warmth and hesitation. His joy is present — unmistakably so — but it is still contained, as if his body has not yet learned how to express happiness without caution. This small, hesitant grin shows us a man who is beginning to open, yet still holds himself back, afraid of wanting too much.
(chapter 1) reminded him of responsibility , every sight 
(chapter 1) pulled him back to duty or scarcity. Happiness belonged to others; he lived on the margins, always working, always surviving. But here, in the brightness of the amusement park 
(chapter 83), his gaze is finally unshackled. He looks outward and takes in the warmth of strangers’ affection without translating it into loss or longing. 
(chapter 83), though an accident could actually occur there. This contrasts so much to his thoughts in episode 1. 
(chapter 1) The amusement park becomes a place in which love exists openly, visibly, harmlessly. The lyrics capture this awakening beautifully: “And I don’t know if I’m being foolish… but it’s something that I must believe in.” 
(chapter 83) — the man who seems invincible and superior in every domain — has never been to an amusement park, a spark ignites inside him. 
(chapter 83) His heart, which moments earlier beat quietly in observation, begins to race with excitement. For the first time, he is equal to the athlete. At the same time, for the first time, he is the one with experience or power. 😲 How so? For the first time, age becomes real 
(chapter 83): the physical therapist is twenty-nine, the athlete twenty-six.
(chapter 83) He suddenly steps into a role he has never been allowed to inhabit before: that of the knowledgeable one, the guide, the hyung. 
(chapter 78) Dan’s lifetime of passivity did not come from lack of intelligence or lack of will; it came from conditioning. He was raised by a guardian who loved him, yes, but who also unintentionally infantilized him. He was not allowed to question her words and decisions. His grandmother, who was not just older but twice his senior in authority, experience, and certainty, occupied every position of knowledge in his life. She decided what was dangerous, what was sensible, what was allowed, and what was forbidden. Her worldview dominated so completely that Dan’s own judgment never had room to form. His grandmother’s authority was absolute — not malicious, but unquestioned — and Dan learned very early that his role in the household was not to decide but to obey.
(chapter 7) As if a twenty-nine-year-old man — a working professional — were incapable of making a responsible financial decision. Dan’s “Of course not!” is instinctive, defensive, almost childlike, exposing the emotional hierarchy between them. In her eyes, he is not an adult with agency, but a boy who must be corrected, cautioned, overridden.
(chapter 65) However, observe that here, she feigns ignorance, she doesn’t know the origins of this metamorphosis. On the other hand, it is clear that she is well aware of the cause. He worked to support them both. He paid the hospital bills. He negotiated the debts. He shouldered the responsibility of survival.
(chapter 17) Legally, financially, the burden is his. But emotionally, symbolically, he was never allowed to own that responsibility; it was neither recognized nor validated. Instead, his grandmother continued to treat him as a child incapable of navigating the world on his own — even though he was the one saving them both.
(chapter 77) and asking for his opinion
(chapter 83), Joo Jaekyung is liberating his fated partner. 
(chapter 83) He accepts the fighter’s generosity without guilt 
(chapter 83), yet offers his own in return — buying the drinks, fetching the ice cream, participating in the flow of giving rather than shrinking from it. 
(chapter 83) No one questions cost; no one frames affection as financial burden. This reciprocity is gentle, natural, unspoken. It stands in stark contrast to Heesung 
(chapter 32), who immediately reduced generosity to calculation. He implied that doc Dan couldn’t afford it. His smile was a lure; his kindness, a transaction. 
(chapter 83) Someone who can choose.
(chapter 83) That’s the reason why Mingwa placed a boy with his father between the couple in this image. At the same time, she also insinuated that Joo Jaekyung was acting not only as a father, but also as a “boy”. That’s why love is in the air… they come to accept their true self. The two protagonists are both adults and kids!
(chapter 83) The second half of the verse — “in the thunder of the sea” — finds its embodiment not in waves or ocean spray, but in a wooden flying boat swinging high above an amusement park. 
(chapter 83) It is here, of all places, that the façade of the undefeated champion bends, flickers, and reveals the frightened boy hiding beneath the man. 
(chapter 83)
(chapter 83), although the knowledge is borrowed, second-hand, quoted from “the guys at the gym.” He buys cute headbands 
(chapter 83), selects a giant teddy bear as a prize. He tries to perform adulthood, to appear experienced, reliable, worldly — the one who leads. That’s why his reaction after the ride on the boat resembles a lot to the father: scared of rides 
(chapter 83) Because the truth is that Jaekyung, too, is both an adult and a child. Thus the author used many “chibi” in this chapter: 
(chapter 83) He is the warrior who never loses, but also the boy who becomes jealous of a rollercoaster because it made Dan smile. 
(chapter 83) When he sees Dan laughing with the wind in his hair, he is first moved. 
(chapter 83) For the first time, he truly notices the doctor’s joy and happiness. However, later his thoughts tighten into a childish pout: 
(chapter 72)— even those that fall short of a diagnosable concussion — accumulate inside the inner ear like invisible fractures. The system responsible for balance, spatial orientation, and visual stabilization becomes worn, over-calibrated to impact but under-prepared for fluctuation. A man can be conditioned to withstand punches that would floor an ordinary person, yet still falter when the world tilts beneath him.
(chapter 72) The body he trained into steel was built upon a nervous system shaped by violence. Let’s not forget that before his father died, the latter hit his head with a bottle once again. 
(chapter 73) Finally, he started fighting at such a young age, 
(chapter 72), actually boxing at such a young age is limited to non-contact activities like footwork drills, shadowboxing, jump rope, basic strength & coordination, bag work with very light gloves. So there is no sparring, no head contact. 
(chapter 72) 
(chapter 83), thus they try other rides. It is important, because it implies that Joo Jaekyung is gradually leaving the water! This explicates why later something extraordinary happens. 
(chapter 83) Instead of retreat, there is reaching — a quiet but unmistakable reaching toward the man beside him. The problem is that he is still too scared to voice his thoughts in front of the physical therapist. 
, (chapter 29) a swarm of predators waiting for him to slow down. His career was an ocean of teeth and waves — constant motion, constant danger. Thus I detected a progression. In episode 69, he jumped onto the boat 
(chapter 69), then at the amusement park, the boat was in the air 
(chapter 83), he rises into air — the first air he has breathed without fear.
(chapter 44) followed by a false dawn. Chapter 44 unfolds in artificial night — neon 
(chapter 44) and night lamp 
(chapter 45) Morning light becomes a scalpel. There is no magic left, no gentleness, no room for misunderstanding. Jaekyung’s bluntness 
(chapter 45) annihilates the illusion Dan had constructed the night before. This is not heartbreak; it is disenchantment, the almost physical pain of realizing a moment meant nothing to the other person involved. Chapter 44 was the dream, and Chapter 45 was its punishment. Together they show a relationship out of sync, two people whose desires never touch at the same time. One wishes for home and attention, while the other has no idea that he is loved. So far, he has never heard this: “I love you”. One tries to reach out emotionally, while the other remains absent. However, when they are both lucid, none of them are totally honest, as they are self confused. Thus they are in two different worlds.
(chapter 83) This scene confirmed my previous interpretation about the symbolism of the blue/golden hour. 
(chapter 45) Neither can pretend not to feel. Neither can avoid the other’s gaze. They must see each other as they are, in that moment. And miraculously, neither flinches. There is no denial, no deflection, no cruelty. Only two men who finally dare to look. Whereas Chapter 44 let them hide behind darkness and drunkenness, and Chapter 45 forced them into cold exposure, Chapter 83 holds them in a gentle, suspended in-between: the space where dream and reality finally meet.
(chapter 84) and holding the bear’s hand. 
(chapter 84) The bear contains the view, the sunset, the air, the honesty — everything that neither of them can run away from now.
(chapter 84) 
(chapter 84), but wise enough to regret immediately. 
(chapter 45) 
(chapter 46) 
(chapter 46) The champion also played “dumb”. Thus the pillow got punched later. 
(chapter 126) to another 
(chapter 126). He allowed his father to humiliate and abuse him 
(Chapter 126) once again. It was, as if the story was back to square one and the protagonist had learned nothing at all. Under this perception, my avid readers can comprehend why I selected such a title. However, instead of thinking that the author was a bad writer, I decided to ponder on the following question. Why did the author choose such an evolution? 
(chapter 7) Like Baek Na-Kyum, he rushed to his loved one’s side. However, he was first stopped 
(chapter 126), because it was not the right time. How so? Notice that his brother had fetched him at the port
(chapter 125), but he never followed him to the bureau of investigation. And the same happened later. Why didn’t he go to his shed, when he was trapped there? Where was he, when the eldest son visited the father? 
(chapter 126) His absence exposed his passivity and betrayal. However, at no moment, Yoon Seungho noticed this. To conclude, Yoon Seungho was so worried for the painter that he didn’t pay attention to his surroundings, just like the painter didn’t see the learned sir’s disdain expressed through the cold gaze. 
(chapter 07) Therefore Yoon Seungho didn’t notice the presence of a civilian next to the governor. 
(chapter 126). Striking is that the governor knew about Yoon Seungho’s whereabouts before his arrival: the coast. As you can see, I am detecting a link between the governor and the younger master Seungwon. Yet, it was disguised as a rumor behind the expression “I had heard”. My assumption is that Seungwon came from the bureau of investigation in order to inform his brother. Therefore it is not surprising that Seungho was invited by his brother to visit the prison during the night. 
(chapter 126) And the moment I perceived the protagonist as a fool in love, I realized that chapter 126 is a reflection of episode 7, 29 
(chapter 29) and 40 
(chapter 40). Here, the painter was trying his best to protect Jung In-Hun’s interests (life, high position). Moreover, in episode 40, the painter had a dream, when he saw the announcement for the civil service examination. He smiled, for he was looking forward for the future. 
(chapter 40) And what have these episodes more in common? A betrayal, abandonment from a loved one and a paper (painting, poem). Hence I am more than ever convinced that the petition will resurface very soon and play a huge role in the downfall of the schemers and haters. Besides, chapter 40 represents the negative reflection of the conversation in the prison. 
(chapter 126) Though they are in a tough situation, Yoon Seungho is not leaving his side contrary to episode 40. 
(chapter 40) There is neither disdain nor mockery. The mentioned scenes are similar, for the present resembles the past. And this brings me to the second reason for the Webtoonist’s decision.
(chapter 123), Yoon Chang-Hyeon considered Yoon Seungho as a human, for he employed the personal pronoun “he”. He was still his son. Then in episode 77, he judged him as a slave 
(chapter 77), hence he was submitted to the straw mat beating and was held captive. He even refused to send for a physician. 
(chapter 83) Here, the father is denying his humanity, he is just an animal. In their next confrontation, he describes him as a monster, hence he wished that he had never been born.
(chapter 86) However, his words exposed that he was still viewing him as a living being. Therefore it is not surprising that he accepted lord Song’s request to order the murder of his son! In the gibang, he decided to no longer acknowledge Yoon Seungho as his son. 
(chapter 107) The tragedy is that the protagonist still viewed the Yoons as his family because of Yoon Seungwon, who keeps calling him “brother”. This explicates why Yoon Seungho sponsored his brother to have an official position. 
(chapter 115) Therefore it is not surprising that he followed Yoon Seungwon’s advice again. 
(chapter 120). He would bring the petition to his own father. This means that he is acting like the painter who listened to his noona Heena so well. 
(chapter 46) But now, Yoon Chang-Hyeon believes to have the petition. 
(chapter 125) This explicates why the patriarch is now calling the main lead “nothing”. 
(chapter 126) He is not even a thing. This means that he is actually discarding him. This explicates why he sent him to the shed. 
(chapter 126) It was, as if he had become a merchandise. Or we could say that the elder master had been using him as a tool, which he can now abandon. 
(chapter 126) Interesting is that the idiom “plaything” has for antonyms tool, implement, instrument and utensil. And this brings me to the following remark. The father’s words are reflecting the last scheme. Yoon Seungho was used as the sword to get rid of an enemy, lord Song. It was, as if someone had decided to get rid of lord Song, for he represented a danger or threat. It also mirrors the trick in the shrine. Min and the others got killed, because Lee Jihwa went to his childhood friend. And who had seen the main lead using this sword, when he was enraged? Father Lee! 
(chapter 67) But let’s return our attention to the patriarch and his son. Yoon Seungho is no longer recognized as a Yoon member. Therefore I come to the conclusion that Yoon Seungho will make the following decision: to become an orphan. And this is symbolized by the loss of hair. I am expecting him to cut off his hair, something the painter has been doing for a long time. That’s why Byeonduck showed us the lord without a topknot. 
(chapter 126) This would coincide with my previous statement. The lord is going through the same experience than his loved one. However, people will come to the conclusion that this was done by the father. How so? Remember how each rumor became a reality. 
(chapter 1) I had already demonstrated that Yoon Seungho was not a fiend for sodomy with no regard for time and place, until he met Baek Na-Kyum. But once a deed is done, it can never be repeated. 
(chapter 101) So should Father Lee claim that he has long disowned Jihwa by cutting off his topknot, no one will believe him, for the young master was still seen with a topknot after confessing his feelings in public. 
(chapter 57) In other words, the topknot incident at the kisaeng would be brought up. It is impossible for 2 fathers to act the same way. Besides, the loss of the topknot has another signification: Yoon Seungho would cut off ties with valet Kim, for the latter was the one who gave him the topknot. And episode 126 reflected one more time his position: 
(chapter 126) He is the one dressing him. It was, as if he was the pope.
(chapter 116) It is because someone had reported to him the conversation between lord Song and the painter. 
(chapter 122) There was a spy listening to their conversation. Since all the guards died 
(chapter 124) 
(chapter 125: I am assuming that the survivor got executed), I am suspecting the scholar. Moreover, why would Yoon Chang-Hyeon accuse his son to have abandoned Baek Na-Kyum? It is related to this departure of the staff and Yoon Seungho. 
(chapter 120) And who was present there? Jung In-Hun! But there is more to it. Since leaving Baek Na-Kyum behind is considered as an abandonment, it means that the patriarch abandoned his son too. 
(chapter 27) By speaking to Yoon Seungho, the elder master Yoon didn’t realize that he was admitting his own wrongdoings. Actually, he had abandoned him many times… like here for example 
(chapter 87) Therefore his words will come back to bite him. But these words are also exposing the valet’s betrayal and abandonment towards Yoon Seungho!! How so?
(chapter 122), then he should have been at the patriarch’s house. The absence of the valet is the evidence of his treason. For me, he is now working for Jung In-Hun which explains why he never mentioned his presence in the mansion, only lord Song. Besides, keep in mind that once deed done can not be repeated. In episode 27, the lord was too angry and busy to notice the learned sir’s spying activities. 
(Chapter 27) Moreover, Kim didn’t report the interrogation to his master. This means that the butler covered up for the teacher’s wrongdoing. But here is the deal: 
(chapter 120) The library was ransacked, hence this crime is bound to be discovered. Finally, his intervention in the shed is exposing his deception. 
(chapter 83) That’s why I am convinced that these words 
(chapter 126) He is no longer suicidal, in fact he is full of hope! Though he was sent back to hell for a short moment, he came out of this as a winner. My evidence is that the lord has now become a believer. 
(chapter 126) Yes, episode 126 exposes the return of his faith! And where could we see the atheism of Yoon Seungho in the story? In chapter 92! 
(chapter 92) He didn’t believe in the spring poetry to ward off bad luck! That’s why he was sent back to the past. He needed to lose everything in order to find hope! In his darkest moment, he expressed a wish: to meet his loved one! And where did he pray to the gods? In the shed! 
(chapter 126) Observe how he is kneeling in direction of the bars. He is hoping to meet Baek Na-Kyum again. As you can see, though this scene 
(chapter 126) He was showing resistance and anger towards his father. Moreover, he was no longer shaking in front of the patriarch or the guards. 
(chapter 86) Thus I deduce that though he was mistreated and insulted like in the past, he was no longer suffering from his traumas. He is healed. His will is now really strong, supported by his new found faith. 
(chapter 62) Even if they were hugging, they were not close emotionally and mentally. This stands in opposition to the scene in the jail. They might be separated by the bars, but they are touching each other tenderly. 
(chapter 126) They are able to see each other. 
(chapter 126) Try Meditation 
(chapter 126) or Prayer 
(chapter 126) 
(chapter 126) Quoted from 
(chapter 126) It is relevant, because light represents knowledge and truth. He is now the bearer of the truth. And he got his blessing from Baek Na-Kyum, when he touched his hands. 
(chapter 120) Yes, chapter 126 mirrors 92! This somehow confirms my theory that the butler was the one hiding under the purple hanbok. 
(chapter 92) Moreover, we have another reference to this episode, the pouring of alcohol! 
(chapter 92) 
(chapter 126) It was, as if someone wanted the lord to pay for Min’s insult! That’s the reason why I come to the following conclusion: Yoon Seungho is now opening up to Baek Na-Kyum. He is confessing to the painter about his wishes. 
(chapter 85) The manhwaphiles should keep in mind that the request from the artist in the study was strongly connected to forgiveness. And Baek Na-Kyum could also confess what happened in the past: his guilt and regret asking for the lord’s forgiveness. Right now, both are blaming themselves for the incidents, although they got fooled by many schemers. Because the lord proved his loyalty and blinded trust in the painter, I see the scene in the jail as a new version of this confession: 
(chapter 75) Thus I consider the prison cell as a sacred place, where both characters are about to be freed from their guilt! 
(chapter 11) thus he could escape justice! 
(Chapter 11) Simultaneously, the first definition of life lie corresponds to Yoon Chang-Hyeon. The latter blames his eldest son for the downfall of the Yoons. 
! (Chapter 86) Secondly, he still thinks that he is powerful. But it is just an illusion. 
(chapter 125). They fail their duty, for they allowed the main lead to barge in the room. 
(Chapter 126) Finally, observe how they keep apologizing without giving any explication. 
(Chapter 125) Their apology is fake. As you can see, the patriarch is living in an allusion. He is powerless, and the best evidence is that he doesn’t have the petition. 
(Chapter 126) He is actually encouraging his son to hate himself and indirectly his own father! However, the son made the exact opposite decision: love!! Hence I am more than certain that the elder master is about to experience a harsh awakening. 
(chapter 101) Thus they got punished. And now, the two main leads are about to face human justice. 
(chapter 65) But strangely, the painter is showing no fear at all. 
(chapter 126) He is ready to sacrifice himself. So why was Yoon Seungho dressed up in the end? One might say that with the topknot and the hanbok, the abuse from the patriarch got covered up. That way, Baek Na-Kyum wouldn’t detect Yoon Chang-Hyeon’s lies and abandonment! 
(chapter 125) The latter brainwashed him to take the fall for everything, implying that way, his loved one would be protected! However, I am suspecting that if the lord were to leave the prison, he could meet someone in the office. That way, this person is not confronted with the reality: the main lead was “abused”. According to the butler, he was supposed to meet his brother at the office. 
(Chapter 92) In episode 92, we have a mysterious man in the background dressed in black, but he is not wearing his gat. Besides, I would like my avid readers to remember this image from the trailer: 
which reminds us of the office: 
(chapter 98) This place symbolizes power and strength. And because episode 126 is a reflection of chapter 7, 11, 29 and 40, I think, Yoon Seungho is about to receive a deal, for these episodes are focusing on the deal between the painter and the protagonist: protection from the father and punishment in exchange for entertainment. He would appear as a fake savior in the end. Remember what in episode 11 the artist said in front of his fated partner:
(chapter 11) He would do anything except painting!! He was not willing to give up on this principle, which reminds us of faith. So when Yoon Seungho faced his father, he experienced powerlessness for one reason. 
(Chapter 105) Then in episode 122, 
we discover that lord Song employed the pipe to beat the painter. Moreover, I detected a progression. In season 2, Yoon Seungho was still smoking. 
(Chapter 74) But once the painter showed that he didn’t like smoking, Yoon Seungho stopped taking the drug. This explicates why in season 3, he was no longer seen with the item in his hand. Even under stress, he chose to hunt instead of smoking in front of the window. We have two scenes where the pipe is present. One is when the lord is throwing it out of anger,:
(chapter 86) which reminded me of the incident with the music box.
(Chapter 85) This shows that this item had no value to the protagonist. Then the pipe appeared in the gibang on the table. 
(Chapter 96) However, here the lord had only eyes for the painter or Heena. Hence I have the impression that the pipe could resurface and serve as an tool to identify the perpetrator, just like the glasses were used to recognize the scholar. 
(Chapter 102) Finally, since the pipe appeared in the gibang twice, it indicates that this hobby is linked to the kisaeng house!! And this brings me to my final observation: the pipe is connected to paper
(Chapter 1) 
(chapter 1) However, there exists two books!! And one has no PIPE! This coincides with the decision of the painter to stop drawing erotic pictures! Yes… dropped amusement! At the same time, Yoon Seungho has long lost his interest for erotic publications. He also dropped this hobby. On the other hand, the books were dropped in front of the painter. 
(Chapter 1) Finally, the petition was dropped in front of lord Song 
(chapter 123) which announced his death sentence. To conclude, the papers have a strong connection to punishment and death. 
(Chapter 126) Yoon Seungho went to the father’s mansion, and it didn’t take him that long! As you can see, I consider this trip with Yoon Seungwon as a diversion. 
(Chapter 121) So why didn’t the elder master return to his old home? It is to drive the Yoons out of their propriety. In other words, the lies from the past are becoming a reality exposing the liars in the end. Their life lies will be ruined.
(chapter 119), they got worried and nervous, as they considered the expression „as long as I live“ as a clue for a sad ending. Why? It is because the lord was referring to his own death. Under this light, it becomes comprehensible why I selected „heavenly“ in the title. I was naturally alluding to the afterlife. However, I perceived his words in a positive light. He expressed his desire to live. He is no longer suicidal, he wishes to live a long life next to the painter and treasure his moments with him. That’s the reason why the author included the refraction in the scene. A dream had come true, the lord was finally able to escape the darkness. 
(Chapter 119) He is now truly alive. This explicates either why he smiled and laughed at the end. But why was he so happy? It is because Baek Na-Kyum had just confessed that he loved him not for his wealth or power, but for himself. 
(Chapter 119) He even described him as a treasure. Yoon Seungho had finally achieved his goal: to win the painter’s heart. His presence and love bring happiness to Baek Na-Kyum which stands in opposition to his reputation as bird of misfortune. Moreover, this description contrasts so much to Jung In-Hun 
(Chapter 119) and Yoon Seungwon’s. 
(Chapter 118) where both portrayed the main lead as a man consumed by lust and revenge. In other words, he was presented as a huge sinner. This implies that he stands so far away from heaven. But all these words were erased the moment the painter confessed his love for Yoon Seungho once again. What Baek Na-Kyum didn’t realize is that his love confession is pushing the protagonist to fight for the painter.
(chapter 102) In episode 102, he was renouncing on everything (life, mansion, wealth and connection), because he imagined that the artist had died. Consequently, I deduce that in episode 119, the painter’s life is attached to the lord’s for good. If the artist got into trouble, Yoon Seungho would side with him and the reverse. Thereby, I come to the conclusion that this moment in the kitchen represents their union, as they are no longer tied to the mansion. They are now a family no matter where they are. Let’s not forget that the painter expressed his wish to run away with his lover. 
(Chapter 119) It is important, because such a departure symbolizes that the bird “Yoon Seungho” is leaving the nest. He is now starting a family on his own. 
(chapter 85) and put a glass and that was it. This exposes the father’s hypocrisy, ignorance and greed. By acting on his own, he was exposing his true mindset. He views himself as the family. The sons are just the extension of himself, for they are his reflections. 
(Chapter 45) On the other hand, Yoon Seungwon is his golden child, for he represents his positive reflection. 
(chapter 86), whereas he put the other on a pedestal
Under this new light, it becomes comprehensible why the father could only reject the offer from lord Song in the gibang. Doubting Yoon Seungwon’s sexuality meant to question about the father’s sexual orientation. At the same time, it is not surprising why the elder master would blame Yoon Seungho for everything, for he couldn’t admit his responsibility for the purge. Consequently, the Manhwaphiles can grasp why Yoon Chang-Hyeon came alone to the shrine. If he had brought Yoon Seungwon, the father would have been reminded of the elder son, as both can not be separated. This explicates why the younger master asked his elder brother to submit to his father.
(Chapter 119) I couldn’t help myself smirking when the brother attempted to make him believe that.
(Chapter 119) the protagonist could ever gain the father’s favor. Yoon Seungwon was definitely playing with his brother’s feelings, as if he could hope that their father would change. 
(Chapter 118) It is because as a golden child, he is also suffering, but it is naturally nothing compared to Yoon Seungho’s position who could have died. 
(Chapter 77)
(Chapter 119) First, by returning the petition to the father, Yoon Seungho would become the culprit. He was not only a traitor, but also a blackmailer of the Yoons and lord Song.
(Chapter 107), for he had stolen the petition. Yoon Seungwon would hide his wrongdoing, he betrayed their father. 
(Chapter 118) There is no doubt that Kim played a role in this as well. In other words, the brother and the valet would bury the truth by diverting the attention of the patriarch towards the main lead, if Yoon Seungho followed this suggestion. 
(Chapter 116) The elder master would no longer seek the truth, similar to the kidnapping in season 2 which was turned into a desertion and later Lee Jihwa’s abduction occulting the instigator and the helping hands. Simultaneously, Yoon Seungwon needs his brother as scapegoat, because the pressure coming from the patriarch and lord Song must have definitely increased. 
(Chapter 37) He is even implying that he needs to sacrifice himself in order to protect Baek Na-Kyum!! Moreover, he is distorting the reality, because he implies that his father is still powerful. 
(chapter 37) like the memories from episode 37 are exposing it. It becomes clear that if Yoon Seungho returned the petition, he would die. 
(Chapter 116) Thus I come to the conclusion that the meeting between the brothers in the gibang represents an offering. For the Yoons’ sake, Yoon Seungho should admit his wrongdoings 
(Chapter 55) People had played with his hopes and longing for acceptance and recognition. Interesting is that offerings is a synonym for atonement and sacrifice. But why is Yoon Seungwon so sure that he can repeat the same action from the past? It is because Kim and Yoon Seungwon have known for a long time that Yoon Seungho was longing for acceptance and love from his family, just like the scholar knew about the painter’s love for him. 
(Chapter 119) But everything changed, when the painter met the lord. So who is worse here? Jung In-Hun who tried to rape the painter or Yoon Seungwon who is sentencing his elder brother to death? Let’s say that the valet convinced the younger master to suggest this solution, this doesn’t diminish Seungwon’s responsibility at all. He knows that his father abused his elder brother. In my opinion, he is copying his father, like the former tried to diminish the responsibility of the patriarch. 
(Chapter 119) Yoon Seungho got hurt because of lord Song and not because of Yoon Chang-Hyeon. This means that the younger master was denying the existence of the patriarch’s choice and the helping hands. And if the brother listened to his advise and the father hurt or killed the main lead afterwards, the younger master could put the blame on the elder master, for the decision and responsibility belonged to the patriarch. Moreover, he heard from lord Song that killing Yoon Seungho was just a matter of time. 
(Chapter 119) So technically, this situation could have triggered the protagonist’s insecurities like in season 1 
(chapter 28), 2
(chapter 60) and 3 
(chapter 98). However, through these constant exposures, Yoon Seungho came to learn not to jump to conclusions and to have faith in Baek Na-Kyum. He knew that he would return to the mansion. Hence he ran to the bedchamber first. 
(Chapter 119) Another important detail is that we don’t see any staff in the courtyard or in the kitchen. It was, as if the propriety had been deserted. 
(Chapter 119) This implies that at no moment, he relied on the domestics’ testimonies which contrasts to the following scenes: 
(chapter 104) 
(chapter 107) and 
(chapter 116) However, observe that in episode 116, Yoon Seungho had witnessed how his lover had taken care of him, while he was unconscious. Furthermore, the petition had been handed over to the painter and not Kim, a sign that the artist had become the protagonist‘s confident. As you can see, as time passed on, the main protagonist learned the following lessons: he should stop relying on servants, he should only trust his partner. I would even add that he was taught the following principle: “If you want something done right, you have to do it yourself”. In my eyes, 
(Chapter 103) Here, they never expected the return of Yoon Seungho and the painter. The staff ‘s absence in episode 119 is the evidence of their desertion! Moreover, I consider Yoon Seungho’s search for his lover as a new version from episode 28/29/30: 
(chapter 28) Back then, they feigned ignorance, but they never anticipated a punishment from Yoon Seungho.
(chapter 115) And now you are wondering how the painter’s gesture can be considered as an offering. It is because the kitchen hearth is considered as sacred due to the fire. First, in shamanism, there exists the god of fire named Jowangshin. 
(Chapter 115)
(Chapter 59)
(Chapter 98)
(Chapter 115) 
(Chapter 47)
(chapter 102) who was a traitor, for he had tattled on Black Heart and his friends to Yoon Seungho. And now, you comprehend why I connected the shrine to the kitchen hearth. Both places are considered as sacred, for they are connected to gods and spirits. 
(Chapter 85) The absence of his sons and of food as offerings reveals that he was not showing true respect to his ancestors. He used religion and social norms to hide his true intentions. He wanted to take over the mansion. Hence the black guards were standing at the entrance of the sacred house. Their presence symbolizes violence. Therefore it is not surprising that the gods chose to punish the elder master through Yoon Seungho. The former was not received properly 
(chapter 86): no bow, no food and no seat. 
(Chapter 86) Let’s not forget that the elder master had entered the lord’s chambers without the permission of his owner. No wonder why he was left speechless. And now, you are wondering if I am not drifting away from the topic, as these chapters from season 3 don’t seem to be connected to episode 119. However, it is important to realize that these chapters have many common denominators
Here, we could detect the suicidal tendencies of the protagonist. He wouldn’t fight back.
The seat looks like a throne.
Baek Na-Kyum freed himself. 
(Chapter 85) The study is even close to the gate. 
(Chapter 51) He could have reached the study before the father entered the shrine. Finally, observe that the patriarch even arrived to the bedchamber before Yoon Seungho, 
(Chapter 117) The painter wants to leave everything behind too. 
(Chapter 119) Thus I am deducing that the authorities will be involved very soon. 
(chapter 119) They are not expecting the lord‘s resistance, for he remained passive all this time (season 2 and 3). The scholar has now the means to do so, and the necessary motivation. Imagine that he got wounded and humiliated by the couple! Besides, we have this broken promise due to Yoon Seungwon 
(Chapter 94) The gibang is connected to money, power, pleasure, artificiality, sensuality and lack of privacy. 
(Chapter 96) I am sure that you can detect all the contrasts (night, door close, spies, confession outside and inside, no fire, only light). Thus I am deducing that the painter’s words in the kitchen were not heard by others. As you can see, this scene in the kitchen is full of symbolism. In my previous essay “The true face of family”, I had already pointed out that sharing meals represented a criteria to define a real family. Therefore I had demonstrated that Yoon Seungho and Baek Na-Kyum were excluded from the mansion, for they wouldn’t eat their meals in the kitchen like the staff. 
(Chapter 17) Moreover, the hearth doesn’t just provide warmth, but also light! The latter embodies knowledge and as such Enlightenment. 
(Chapter 119) Hence they were clueless about the wrongdoings from the staff. Only in the kitchen, the lord could finally grasp the depth of Baek Na-Kyum’s love for him. It is an unconditional love contrary to Yoon Seungwon’s. The latter would only recognize him, if he listened to him. And he only seeks his assistance, when he needs him. It shows that Yoon Seungho is only approached, when he has power. 
(Chapter 118)
(Chapter 119) I would like to outline that during their conversation, Yoon Seungwon remained calm and indifferent, when he talked about the assassination attempt from Yoon Chang-Hyeon.
(Chapter 116) But the biggest difference is the absence of fire in the kisaeng house. 
(chapter 78) Furthermore, he tried to leave before 
(Chapter 104) 
(chapter 105) Finally, we saw him in the courtyard standing next to a horse and a servant indicating that he had given him a task, and the latter needed to leave. 
(Chapter 108) Hence you comprehend why I am full of optimism in the end. Yoon Seungho has already made some preparations in my opinion. On the other hand, I am quite certain that their love will be tested. Can they face together trouble? Yes, because through their pain, they learned their lessons and changed. 
(Chapter 119) It is because in the past, he was never allowed to join the kitchen hearth. This place was either beneath him or he was not worthy of entering the place. Thus he employed the expression scullery boy to Yoon Seungho. 
(Chapter 47) Here, I would like to outline that when the protagonist was held in the shed, someone brought him food . 
The maid had just brought water to the couple.
During that night, Baek Na-Kyum had been held captive in a shed. 
(chapter 38) Yoon Seungho remained outside on the door step. Consequently, I started comparing scenes where the kitchen hearth appeared and that’s how I discovered a pattern:
(Chapter 46) 
(chapter 47) 
(Chapter 110) 
(Chapter 77) 
(chapter 38) 
(chapter 59) 
(chapter 119)
(chapter 38) 
(chapter 47)
(chapter 77) 
( Chapter 110) 
(chapter 119) 
(chapter 47) 
(Chapter 77) For me, Kim must have looked down on the other domestics. I consider this scene as the best example what Kim should have done in the past. 
(Chapter 119) 
(Chapter 98) One door leads to the backyard and the other to the smaller courtyard. And this scene confirms my previous assumption
(Chapter 87) Baek Na-Kyum is there to prove him wrong. He had other opportunities, like giving him a good meal. 
(Chapter 63) He should have sided with his master and even remained by his side. This signifies that this scene 
(chapter 7) the artist is not only cleansing the kitchen, but also cutting off ties with the scholar. The latter is no longer protected. The spirits will intervene through chance. As a conclusion, the hearth has a spiritual and healing power, for it is connected to „Heaven“. Yoon Seungho‘s paradise is to have a family.
(chapter 103) The shoes were revealing that he was an official! However, the moment Jung In-Hun resurfaced, I suspected him for a moment, because he had been wearing the boots. 
(chapter 111) Nonetheless, episode 115 exposed his true role in the conspiracy. He was just an accomplice, for he had entrusted his glasses to the author of the letter. 
(chapter 115) 
(chapter 103) The ghost is wearing the hat of an elder, a patriarch. 
(chapter 67) 
(chapter 103) This had been truly a manhunt! Because both people are wearing items belonging to the upper class, I come to the deduction that the perpetrators were elders, both officials.
(chapter 82) and Father Lee wearing one. But I am excluding the patriarch Yoon, as the testimony from the masked guard represents the elder’s innocence. 
(chapter 107) Besides, he doesn’t have any high position and the form of his hat is a little different (3 peaks on the side) 
(chapter 88) Remember what I had written in the essay “The shadow behind the shrine”. This picture exposes betrayal, something lord Shin was not expecting at all. And what is the worst betrayal? The son backstabbed by his own father! And we would have two elders involved! Naturally, this signifies that they were working together during that night.
(chapter 107) If the king executed his own son, the patriarch Yoon Chang-Hyeon could do the same. It was actually justifying the violation of Confucianism. For me, this topic was brought up, because a father had been put in the very same situation! He had to sacrifice his own son. And note what the gossiping woman criticized on the street: 
(chapter 106) The young nobles would always be protected by their fathers. Therefore it is not surprising why the schemers desired Yoon Chang-Hyeon to experience the same, the abandonment and the loss of a heir! Hence the second young master got targeted first. Thus lord Song only proposed the main lead’s assassination after making this first suggestion: 
(chapter 107) He was initially trying to repeat the same action from the past, but he failed. Therefore he targeted Yoon Seungho, and this time, the elder master gave in: 
(chapter 116) In other words, both brothers were protecting each other in a certain sense. But by entrusting the petition to Baek Na-Kyum, Yoon Seungwon turned the painter into a target! 
(chapter 116) 
(chapter 88) In the bedchamber next to Baek Na-Kyum, Yoon Seungho was recalling a memory, but he couldn’t just identify the face, for his memory had been long repressed. The latter had refused to listen to him exactly like with lord Shin in the woods: 
(chapter 88), I come to the conclusion that this shadow was Kim’s. 
(chapter 107) stated that he was no longer an official, we could exclude him as a suspect, unless he is lying. For me, he is not telling the truth. Honestly, he is wearing a purple hanbok which is actually reserved to people close to the royal family. Moreover, the hanbok has a design indicating that he is not poor, living in seclusion. Besides, let’s not forget the comment from the kisaeng welcoming him. He hadn’t come to the gibang for a while. 
(chapter 107) Why? There exist 2 possibilities. Either he lived in exile or he was living in Hanyang and working as an official. I am more tending more towards the second possibility. Why? It is because he spent a lot of money for that night in episode 107: 
(chapter 107) Hence the kisaengs were asked to welcome the important guest at the gate. He was definitely a rich influential nobleman. 
(chapter 76) or he could save Yoon Seungho, even when the latter had assassinated lord Jang 
(chapter 102) Why was he so sure? It is because his father had a high position. He was definitely relying on his father’s influence! And now, observe the evolution of the story. Black Heart is now framed for everything, he has become the scapegoat! 
(chapter 113) This explicates why Min was accused of lord Shin’s murder. 
(Chapter 107) The purpose was to hide the intervention of a third party! Note that Yoon Seungho suspected his father immediately after visiting the burned shrine. He is not envisioning the involvement of other elders. Anyway, the blame on Black Heart signifies that the reputation of Min’s family has been tarnished, unless this gossip was created for the learned sir’s ears. If this gossip is circulating around, not only Min’s father lost his heir, but also he failed in his duty to keep the lineage 
(chapter 82) Another interesting aspect is that Byeonduck revealed the names of the perpetrators in the shrine: “Lee Jihwa”, lord Jang, lord Shin, lord Park and Min. Finally, according to my theory, the Webtoonist created different people who looked like “lord Song” from episode 83 
(chapter 83), for the latter had been seen wearing a purple hanbok with a design. However, the hair color, the shape of the beard and the design of the hanbok indicate that we are dealing with different people. 
(chapter 118) They needed him to betray Yoon Seungho. 
(chapter 83) How did Lee Jihwa know his name? 
(chapter 83) And observe what the learned sir said after burning the letter: 
(chapter 115) Min has also been investigating Yoon Seungho’s past in order to find his weaknesses. However, he couldn’t find the person lord Song! As you can see, this name oozes mystery and danger. And this reinforces my theory that people have been impersonating “lord Song” and the latter’s name has become a taboo! And that would fit to No-Name’s situation. 
(chapter 76) He doesn’t possess a name, and as such he has no identity. Moreover, he is wearing a mask indicating that he is playing different roles. Moreover, he often vanishes. He is like a ghost! Exactly like lord Song… Yoon Seungho only knows his name, but he has not been able to identify his face! 
(chapter 103) Another important detail was the absence of footprints in the snow. The imprint would have revealed the identity of the perpetrators: the boots, the evidence of the involvement of officials. To conclude, the elders are responsible for the young lords’ death: Min, lord Jang, lord Park and lord Shin! By tricking Yoon Seungho and Min, the result was that they were forced to dirty their own hands.
(chapter 83) Besides, don‘t forget that Black Heart got fooled himself and ended up dead. But like I outlined it before, their plan won‘t work because of the butterfly „Baek Na-Kyum“. 
(Chapter 115) The reality was too painful, hence he chose the illusion, thinking that with his new position, he would be able to do anything, especially if he is getting the support from lord Song. In my opinion, he is falling into a trap. He would realize it, if he pondered and didn‘t let his emotions cloud his judgement. Lord Song waited for his suffering and humiliation. By rejecting reality, the learned sir chose the nightmare, a very unpleasant and frightening experience. 
(chapter 108) He blames himself for everything. For me, these women were lying to their master. Why do I think so? The first proof is that the painter’s fate is to go through the same experiences than his lover. And what did the valet admit in the shed? 
(chapter 108) There was not a soul in this household who was standing by his side back then and now! This signifies that there is not a soul in the mansion truly standing on the painter’s side as well!! Back then (before the massacre) and even now… Moreover, while these maids’ attachment was sincere 
(chapter 51)
(chapter 108) Yes, this woman is not the same than the one from chapter 51, for her clothes diverge despite the same pigments. She is wearing a white ribbon around her waist. 
(chapter 108), whereas the other wears the belt more around the hips, hence her skirt has a bump on her butt. 
(chapter 108) First, when the manhwalovers saw him in the kitchen, he was eating to his heart content and enjoying his breakfast. 
(chapter 46) 
(chapter 74) This explicates why the artist returned the table with the porridge to the kitchen himself. 
(chapter 62) The painter had been faking his “submission”, hence the “valet” got fooled. He had trusted the artist blindly. Thus the lord got angry, and resented the butler, for he wished the opposite. He didn’t want to admit that the artist had been acting. Yet, the seed of doubt was implanted in his mind. Consequently, in episode 108, we have the exact same situation, yet contrary to the past, the lord didn’t get angry at his lover. He never condemned the painter for his dishonesty, though he was not truly lying either. To conclude, chapter 108 is a reflection from episode 62. Thus it dawned on me that the valet could have attempted to fool his master once again. The artist was a hypocrite, for he was acting in front of the lord hoping that he wouldn‘t cut ties with him. It was for his best interests to send back to the kisaeng house. Yet, nothing like that happened. 
(chapter 104), a sign that he was recovering. But due to the two incidents during that day, Baek Na-Kyum had been feeling unwell and was hiding his discomfort out of fear of getting abandoned. This means that the deceivers were trying to portray the painter’s actual disposition as something unchanging. Since the painter had trouble with eating now, his eating disorder existed in the past. And this perception got reinforced, for the lord could notice afterwards that the maids’ statement had become a reality. What they had described, truly happened afterwards. Due to worries and anxieties, the artist lost his appetite. He would fake his “happiness”. The manhwalovers could witness how the painter had slimmed down
(chapter 108), just like his “husband”
(chapter 57) A single incident was turned into a generality, implying that it was the same in the past!! To conclude, the noble is put into the same situation than his own father, the only divergence is that Yoon Seungho has indeed the painter’s best interests in his heart. He is determined to provide him with the best!! Thus he blames himself contrary to the elder master Yoon. 
(chapter 104) This statement implies that the painter is responsible for the bloodbath, for he left the propriety. Yet, instead of confronting the painter, he was encouraged not to talk about the past. He was suggested that way, he would protect the artist’s mind and heart. Besides, his choice was influenced by his own anxieties. The lord fears argument, because the last time they had quarreled, the artist had threatened his lover to leave the place. 
(chapter 85) I would like my avid readers to keep in mind that the lord wished to keep the artist by his side, sending the artist back to the kisaeng house was just a temporary measure. 
(chapter 105) That’s how a misunderstanding was created, provoking the painter’s abandonment issues to resurface. The lord had selected secrecy and silence out of love for the artist. Therefore when the lord sensed Baek Na-Kyum’s agony, he could only jump to the conclusion that the painter was acting the same way than him. He was also hiding something from Yoon Seungho. That’s the reason why the lord didn’t argue with Baek Na-Kyum. 
(chapter 107) He imagined that the artist was doing it out of concern for the noble. He was projecting his own thoughts onto the artist. 
(chapter 68) According to this belief, the lord brings bad luck to others. This rule can only incite the main lead to doubt himself, to judge himself in a negative light, to doubt his own judgement. Moreover, the perfidy is that this principle pushes the protagonist to deny the existence of his own misery. It was, as though the lord had never suffered, only the others. This “faith” represents the biggest lie and hypocrisy. However, the main lead questioned this rule in front of Yoon Chang-Hyeon, 
(chapter 59) It was, as if Yoon Seungho feared to taint the painter by sleeping next to him. However, the artist’s biggest wish is to share the same bed than his lover. 
(chapter 97) To conclude, Yoon Seungho’s life is still influenced by a false cult, by propagandism. This faith is is based on Rene Girard’s theories about mimetic desire and scapegoat mechanism.
(chapter 250) Hence the man created the following theory which is inspired by religion. 
(Doctor Frost, chapter 250). Under this new light, it becomes comprehensible why the author from Doctor Frost utilized the image of a black sheep as the future scapegoat. IT was selected, because it stood out. And you comprehend why Yoon Seungho became the target in the end. His good reputation attracted envy and jealousy.
(chapter 57) Why? It is because each noble family aspires to the same: power and wealth! 
(chapter 107) This explicates why Yoon Seungwon was mentioned by the man with the purple hanbok. He implied that the son might have been well educated, yet he must be lacking elsewhere: his sexual education…. as his other task is to have a heir. This means that by standing out, Yoon Seungwon caught the jealousy and envy from other yangbans, though I have my doubts if he truly passed the civil service exam first. In other words, it is better not to stand out. 
(Doctor Frost, chapter 183) Since deprogramming is like brainwashing, it signifies that for the brainwashing, the victim needs to be isolated and even imprisoned too. And in order to be effective, the target of the brainwashing has to be exposed to stress and lack of sleep.
(chapter 187) Fatigue and exhaustion are necessary in order to lower the target’s defense mechanisms. This explicates why it has to take place during the night, for the night is the time for humans to rest. Therefore the place of brainwashing is called “the fox’s hole” in Doctor Frost. 
(Doctor Frost, chapter 187). 
(chapter 187) The Ganzfeld effect happens when you undergo sensory deprivation for some time, and your brain tries to make sense of what is happening. Just 15 minutes of sensory deprivation can induce vivid hallucinations, according to researchers. This process involves muffling the ears and blindfolding, so people are unable to see or hear. And note what had happened to Baek Na-Kyum during the abduction. His head had been covered 
(chapter 66), and according to me, while his head was covered, he got strangled. Hence he had this nightmare. 
(chapter 61) But he lost notion of time and chronology, hence his nightmare is not coherent. One feature of altered states of consciousness during Ganzfeld exposure is an altered sense of time. In general, regardless of the induction method, altered states of consciousness can be characterized by changes in the sense of self and time. But this can only happen, when the brain is deprived of stimulations. 
(chapter 187) I had already outlined that Yoon Seungho had lost not only the notion of time, but also all his senses. And the nightmare is displaying the evidence of the Ganzfeld exposure. Hence the young master viewed himself flying 
(chapter 74), and at the end his eyes and ears got covered by hands and blood. 
(chapter 74) Besides, he was trapped in the dark room which looked like the servants’ quarters. Only thanks to the painter, the lord could recover his own senses, slowly he became the owner of his own body again. In addition, remember what he said to his own father: 
(chapter 62) Under this new light, it becomes comprehensible why the lord didn’t lose his whole sanity and as such didn’t fall completely into despair. The warmth and light served him as a guidance. Consequently, I deduce that in his childhood, he was trapped there in the dark for hours!! Because he was jailed in that room, he was exposed to the Ganzfeld effect. Therefore he relied on the valet’s words. 
(chapter 77) He trusted the butler, even after getting betrayed and abandoned each time. He developed blind faith in the butler. Why? It is because he was the only one “talking to him”. Though he wounded him so many times, he still remained by the lord’s side. That’s the reason why I come to the conclusion that the shed is not just a room for punishment, but also for “faith”, the place where the scapegoat was placed: “
(chapter 77) That’s the reason why he got treated like an animal. This is no coincidence that in the storage room, the butler utilized such a religious vocabulary: “I do not believe” 
(chapter 62); “beg”, “trust” a synonym for faith, 
“soul”, ” 
(chapter 108) Moreover, I would like to outline that the main lead was seen sitting while looking up 
(doctor Frost, chapter 191). This description fits to the shed, the lord was not only cornered mentally, but also physically. 
(chapter 98) Consequently, I deduce that when the valet got punished in season 3, he portrayed the painter as a tattler for that reason. He didn’t want to become the scapegoat in the end. 
(Chapter 77) At the same time, receiving treatment from the physician, Kim could say that the lord regretted his decision. These new discoveries reinforce my prediction that the painter is doomed to become the next scapegoat!! Yet, chance is on the couple’s side. On the other hand, this signifies that someone will have to become sacrificed!
(chapter 108) for his wrong choices, I come to the opposite interpretation. Naturally, if the manhwalovers compare the butler’s apology in the shed to the one in the library, 
(chapter 108) Nevertheless, for me, everything is an illusion, and you can only detect the manipulations, the moment you examine closely Kim’s words. 
(chapter 108) He had not told him about the shaman’s house on purpose. He had hidden the truth by omission. He justified his decision by using the “townsfolk” and their liking of creating gossips. However his real task was to protect his lord’s interest and inform him about everything. He made a decision without his lord’s permission, and as such he usurped his authority. He acted, as if he knew what was the best for Yoon Seungho. But this doesn’t end. What infuriated me the most are these two declarations:
(chapter 61) The red-haired master utilized the present perfect tense, which is a combination of the past and present!! This time reveals that the young man was about to move on. On the other hand, the butler is either referring to the past and to the future, but not to the now! This means, he has no regret right now. He is projecting himself in the future. He implies “regret”, but he is not truly admitting it. Finally, when the childhood friend came to regret his choice, he voiced it outside the barn!! 
(chapter 61) This contrast outlines that the storage room is the place of illusion or false faith. 
(chapter 108): Here, my blood was literally boiling, when I read his second “confession”, because here he was now omitting Yoon Seungho. It was, as if the protagonist was not existing. His words were actually reflecting a new betrayal towards the main lead. Here, he was vowing loyalty to Baek Na-Kyum and not to Yoon Seungho!! He insinuated that if he was taking care of the painter, he was protecting Yoon Seungho’s interests. However, the artist and the noble are two different persons. Imagine the following situation: The main lead gets arrested for “murder”, the butler could justify his vanishing, passivity and silence by saying that he needs to take away the painter from the mansion so that the latter avoids getting into trouble as well. As you can see, he would keep his promise, but he would sacrifice Yoon Seungho. With his words, he was insinuating that he only had two choices: the elder master Yoon or the painter. Besides, once the lord were to be removed, Kim could put the whole blame on the painter afterwards. If he had not left the house… That’s the reason why I viewed the last statement as the biggest treason. In reality, he was not vowing loyalty to the main lead. This scene was a reflection from episode 30, where the artist had pledged loyalty to the main lead 
(chapter 30) and this in front of people. This explicates why the butler got grabbed in the storage room 
(chapter 108) like the painter in the courtyard. 
(chapter 30) We could say that it was the butler’s karma for his past manipulation. He had been the one who had encouraged the painter to flee the mansion (chapter 29/30). But this doesn’t end here. When the artist vowed his loyalty to the protagonist in the courtyard, the latter was present, which is not the case here. The artist is left in the dark. 
(chapter 108) Where is the personal pronoun “I” here? Nowhere. Only the lord cares for the painter, this was the butler’s declaration in the end. But what about the tears? How could he fake the crying? 
(chapter 81) When the lord had wounded his lover, when he was in a dissociative state, he had perspired so much that his sweat was falling like tears!! As you can see, fear could be the reason why drops of water were falling. Let’s not forget that the main lead had treated Kim very harshly and even threatened to have him killed, something he had never done before. 
(chapter 108) Kim had reasons to get scared and to sweat.
, chapter 108, or my lord 
(chapter 108) However, the manhwalover should question this. Why did he regret that day? It is because he had revealed his true thoughts about Yoon Seungho to the painter, and he got reprimanded from the artist. Besides, according to me, he had hoped that the artist would leave the mansion due to the altercation. In addition, when he mentioned this scene, he wanted to appear as honest, because he had no idea if the artist had leaked this conversation to Yoon Seungho. Finally, just because he told the truth here, we shouldn’t judge the butler’s confession as verity. To conclude, for me, the valet was not really remorseful, he was more acting. 
(chapter 108) However, this is another illusion which can be easily refuted. 
(chapter 108) This memory is the same than the painter’s 
(chapter 108) In other words, the butler had acted on his own, and informed his master afterwards, when this information was necessary in order to protect himself. As you already know, for me, the butler had definitely acted on his own. But why does Kim need to deform reality so much? It is because he was present, when the young boy was abused sexually and he did nothing. He needs to erase the “traces” of the rape so that his culpability will not come to the surface. Just like the painter, Yoon Seungho has totally forgotten the sexual abuse. Besides, he never mentioned the incidents about the shed to the painter, only the bedchamber. 
(Chapter 87) Here, he was already hiding his guilt by turning Yoon Chang-HYeon into the main culprit. He is responsible for the lord’s suffering. 
(chapter 68), but he had heard a different story from the painter. 
(chapter 93) However, now I understand why Yoon Seungho was not able to discern the hypocrisy from the assistant. 
(chapter 188) It is related to the long brainwashing he was exposed for so many years and the lord’s low self-esteem. Thus I perceive this argument in the storage room as a new version of episode 40, a confrontation between the painter and the scholar. But who had been defeated in the shed? Yoon Seungho was still the loser, for he kept his distance from his lover afterwards. 
(chapter 108) He was making sure that no one would know that the painter was his weakness. 
(chapter 108) The new version of episode 50-51!! However, this was totally pointless, for the painter was living his bedchamber. His position was the proof that the painter was still favored, though the artist feared to be abandoned by the painter. 
(doctor Frost, chapter 187) This means that the couple has to communicate and the painter will interrogate his lover. 
(chapter 187) But this deprogramming is not pleasant, for the destruction of believes leads the victim to question everything afterwards. What caught my attention is that the painter went to the library, the symbol for “knowledge and education” which stands in opposition to the shed. This is no coincidence. Brainwashing is the antonym for insight. 
(chapter 108) In addition, the lord was dressed like in episode 36, he had the green hanbok. 
(chapter 36) Back then, the painter didn’t talk to the owner of the mansion. Finally, this episode is connected to the lord’s memories: 
(chapter 36) That’s how I had this revelation. The lord’s suffering is also linked to the library. From my perspective, the young master was dragged from the library to the shed at some point. 
(chapter 77) I had already pointed out that in episode 77, the main lead had been dragged on multiple occasions, for he was dressed differently, and the servants would be different. Because I had described that the lord’s mind had been manipulated by indoctrination and the butler had confessed, I deduce that the next episode will contain elements from episode 48/49. 
(chapter 49) That’s the moment the painter dropped the last principle from the scholar and kisaeng. For me, something similar will take place, but such a deprogramming is painful. From my point of view, Jung In-Hun will be mentioned, as in the same place, the scholar had mentioned the painter’s past and future. 
(chapter 40) 
(chapter 40) Since the shed embodies the valet’s betrayal, the lord voiced his abandonment issues there. On the other hand, the library symbolizes the teacher’s abandonment. This is not random. Baek Na-Kyum can not read, the symbol of the learned sir’s negligence. Hence I am expecting a new confession from the artist, like this scene: 
(Tweet) So far, the artist has never spoken ill of the teacher. To conclude, the library is the place where both protagonists will experience a new liberation! For me, episode 108 and 109 are focused on education, responsibility, memories and truth. That’s the reason why I am suspecting that the painter’s words will trigger the lord’s memories so that the verity about his own past will come to the surface. 
(chapter 106) How could he abandon his lover like that? For some readers, he acted like a fool. Nevertheless, his reaction was normal, because the man with the purple hanbok represents the cause for Yoon Seungho’s martyrdom. This means that the ghost with the purple hanbok symbolizes danger for the protagonist. And if he gets targeted, his lover will suffer too. Striking is that during the same day and night, there is another person wearing a purple hanbok: Yoon Seungho! 
(chapter 107) Therefore it is no coincidence that in chapter 107, he was portrayed as a source of danger for the elder master Yoon and the mysterious “lord Song”. 
(chapter 10) Under this new approach, it becomes comprehensible why the artist was wearing a purple hanbok after the bloodbath. 
(chapter 107) They had the impression that he was abandoning the artist one more time. And that’s how the painter felt the situation either! That’s the reason why Baek Na-Kyum was upset. 
(chapter 107) It was, as if the main lead was acting like the patriarch Yoon. This perception got reinforced, because the lord had a poker face and didn’t talk to his lover. 
(chapter 107) Yoon Seungho didn’t side with the old bearded man in front of the painter. He thanked the man and sent away him with respect. 
(chapter 107) He showed no real empathy for Baek Na-Kyum. It was, as if he was showing Schadenfreude. But this doesn’t end here. Kim brought a different doctor. It is not the same physician who assisted Baek Na-Kyum a month ago!! 
(chapter 107) First, the clothes diverge. The belt is blue, his sleeves are covered with some white protections. 
(chapter 107) 
(chapter 103) Finally, the white hanbok is much longer, and his pants are blue, while the other had white trousers. In my essay 
(chapter 107) How could he say that his health had deteriorated since a month ago? This is how the artist looked like a month ago: 
(chapter 103) 
(chapter 103) He was under the influence of the aphrodisiac, and he could have died of an overdose. 
(chapter 103) His face and his body were covered with bruises. How could the doctor say that his condition had worsened? This means that he had not seen the patient a month ago. To sum up, the doctor was impersonating his fellow. Note that he claimed to have prescribed the drug himself. 
(chapter 106) However, this image displays the betrayal from the physician, for I believe that this represents his view The latter had seen the artist in the restroom, but he had not intervened!! Besides, just because the artist had disgorged once, this doesn’t signify that he had done it all the time for one month. This is how the artist looked like, while he was walking through the street: 
(Chapter 107) As you can see, the doctor was exaggerating, as he was generalizing the regurgitation! 
(chapter 107) Yoon Seungho was slowly realizing that his butler has not been telling the truth. He was gritting his teeth exposing his discomfort! This gesture indicates that someone has to endure something unpleasant, has to control himself and persevere. However, he was telling the opposite to his master: he had nothing to worry!! He should do nothing and simply lie low. The authorities had no suspicion about him. That’s the reason why the main lead desired to talk to the valet
(chapter 107), and he got angry, for his servant was talking back and not answering him properly. 
(chapter 107) It looks like valet Kim and the physician got away with their tricks, for neither the doctor nor the the butler got admonished in the bedchamber. But what caught my attention is that after hearing the words from his lover, he replied that way: 
(chapter 107) This expression (“I see”) is important, because it could be the indication that the noble could discern the truth with his mind’s eye, like this 
(chapter 107) or the opposite, though I am still optimistic. We will see in the next chapter. 
(chapter 106), but we shouldn’t overlook that later the painter had yelled in order to voice his opinion which had caught his companion by surprise. 
(chapter 57) The father was convinced that his son had been ill for a long time. And from the mysterious “lord Song”, the manhwalovers discovered that the main lead was fed with an aphrodisiac: 
(chapter 107) 
(chapter 57) Therefore the doctor’s statement in episode 57 appears in a different light: he knew what he was prescribing! He knew what Yoon Chang-Hyeon desired thanks to the idiom “the wayward yang energies”. It was to provoke an erection. I would like to expose that the physician deceived the painter, 
(chapter 57) for at the end, the physician admitted that he had given the “solution” to the father. The father had received the medicine!! [For more read the essay “
(chapter 106) He was supposed to get a drink from the physician. So the lord could remember the artist’s words and perceive the doctor as a traitor and liar. He could jump to the conclusion that the man had given his lover a drug. Under this new light, it dawned on me that the artist could have been telling the truth to his lover there: 
(chapter 106) That way, the “doctor” would not be suspected of a crime. Besides, according to me, the couple was actually sitting in the courtyard where the medicine store was!! 
(chapter 33) 
(chapter 65) Furthermore, in season 1, the artist had been forced to drink an aphrodisiac. So far, the main lead has never threatened or suspected a doctor. As you can see, there is a strong connection between the doctor and death! To sum up, we are witnessing the start of the storm… and when the painter was recovering, this represented the calm before the storm!! 
(chapter 107) It is related to the rumors he heard in the street. 
(chapter 106) The woman announced that the sacred tree had burned to the ground!! That’s the reason why it was gone… However, her words were just lies, for the tree is still standing there. 
(chapter 107) But note that she connected the incident to misfortune! In other words, she was denying the intervention of humans!! However, the lord had visited the place of his crime before. 
(chapter 104) This is what he had been told: the intervention of ghosts or spirits!! On the other hand, the unknown speaker had never mentioned the tree! Only the house had burned down. Nonetheless, even this statement was a lie, for the house was still standing too. 
(chapter 106) Since the schemers are mixing a lie with the truth, the lord heard that lord Shin had been killed during that night! However, when the lord had assassinated Black Heart and his friends, the young noble had never met lord Shin! Hence the gossips in town made the lord recognize that something huge is about to happen: a manhunt, and he could get into trouble. Besides, the grapevines are revealing the existence of witnesses and the main lead is aware that the noona is an important « witness ». But the problem is that by mixing each time a lie with a fact, the schemers are not realizing that the truth is coming to the surface, as minus and minus make plus. 
(chapter 50) Here, the butler had tattled on the painter so that the noble would distance himself from his sex partner. And in episode 104, we have a similar situation: through suggestions, the main lead was encouraged to send back the painter to the kisaeng house. Secondly, why would the lord think of the butler, when he saw the sacred tree? 
(chapter 88) During that night, he discovered warmth, loyalty and tenderness! In the darkness, the lord could detect the presence of the light: the painter! During that night, they vowed fidelity to each other. And in the garden next to the shrine, Yoon Seungho made the opposite experience: it was dawning on him that people from his own family, Kim and Yoon Chang-Hyeon, 
(chapter 88) are lying to him and even betraying him, especially if his life is threatened. Let’s not forget that this time, the lord did commit a crime and he is aware of this. In the bedchamber, the lord had criticized his own father, nonetheless he still thought that his father had just made a bad decision.
(chapter 62) the main lead chose not to punish his lover
(chapter 63), he even swore that he would never let him go. 
(chapter 63) As the manhwalovers can detect, the main lead was always able not to get swallowed by the darkness, thanks to the artist, he could still see the light. However, his father is making the opposite decision, unaware that he is “doomed” to fail! Karma is already waiting for him. And because the patriarch is now living in the darkness, he can not recognize the manipulations, as he is forced to use others to guide him. 
(chapter 107) the branch on the ground is the evidence that someone set fire to the shaman’s shrine and the tree! Secondly, the black guard deceived the patriarch: 
These two men are different, for their mask is white and not black. Besides, their clothes are black and not brown. Finally, the belt diverges as well: a huge purple strip with a different color in the middle, while the other guard is only wearing a simple ribbon. Thus I am inclined to think that the black guard is not only manipulating Yoon Chang-Hyeon, but he is also in truth working for someone else. Moreover, why would the man cover his face in the room, if he is truly working for the patriarch? 
(chapter 102) From my point of view, it is related to Lee Jihwa. My theory is that the elder Lee can frame the main lead for assassinating his son, because during that night, Black Heart was dressed like Lee Jihwa. They needed the corpses to be decomposed so that father Lee could claim that Yoon Seungho had killed his son!! And the hanbok would serve to identify the corpse. In addition, he would use the incident with the sword as an evidence for his lunacy. 
(Chapter 67) It is important that the red-haired master is not perceived as traitor, rather as a victim. Moreover, since some time passed on, people have already forgotten the friend’s confession in the inn. However, the elder master Lee will never report Yoon Seungho to the authorities, it has to come from the father himself. That way, his involvement will never be detected. From my point of view, the schemers are trying to turn father and son against each other so that the Yoons get destructed. One might reject my theory about the implication of father Lee, but let me ask you this… What are “Lord Song” 
(chapter 107) and Lee Jihwa’s colors?
(chapter 12) Purple and yellow, right? Observe that the lord is wearing the same colors during that night: a purple hanbok with a yellow scarf! 
(chapter 67) Under this new perspective, it becomes comprehensible why I am suspecting that this guard 
(chapter 107) Furthermore, he could be recognized with the purple hanbok. 
(chapter 107) However, if you compare the form of the beard and the nose, the manhwaphiles can quickly recognize that Lee Jihwa saw someone else in the past, although the hanbok seems to have the same pattern than in episode 83. 
(chapter 82) So how can he be wearing a purple hanbok, if he lost his position and home? This color is reserved for important people. In addition, when he entered the kisaeng house, the artist’s noona called him differently: 
(chapter 107) She called him “lord Haseon” and not “lord Song”! Interesting is that neither the Korean nor the Spanish version utilizes such a name! I don’t think that the translator took the liberty to create a fictional name. Hence I am deducing that the author is trying to leave different clues in each version!! Naturally, Haseon could be his first name, yet there is no ambiguity that this man has a bad reputation among the kisaeng house. He was called “lecher” and in the Spanish version, he was described as sexual maniac. 
(chapter 107) Hence I doubt that the noona would feel so close to such a man and address him with his “first name”. On the other hand, the kisaeng has a drop of sweat on her face, which is a sign for a lie and deception.
(chapter 107) Besides, Yoon Chang-Hyeon’s vision of the world is based on the words from lord Song and others. Who informed him about the whereabouts of « lord Song » in the gibang? The man had not come to the kisaeng house for a long time. Because of this information, the patriarch is led to think that he is meeting « lord Song ». His perception of the world and his eldest son is embossed by lord Song. Thus he repeats the same expression from his counterpart: “lowly beast”. 
(Chapter 107) 
(chapter 107) Finally, like outlined above, the main lead imagined that he was meeting the same doctor, while in truth it was not the case. So « old friend » could be deceiving:. 
(Chapter 107) He could be one of the three men! The real « lord Song » who brought pain to Yoon Seungho is someone else. Let’s not forget that Kim fears the man, 
(chapter 56) and his statement implies that Yoon Seungho is usually not allowed to ignore the man’s request: 
(Chapter 56). « At this time » stands in opposition to « always » which means that he can reject the invitation only because he is sick. To conclude, for me, this is not the lord Song Yoon Seungho hates and fears! 
(Chapter 107) Moreover, he didn’t visit the kisaeng house for a long time,
(Chapter 107) Hence they judge him as a pervert. And since the head-kisaeng received him at the gate, this signifies that this man has been in contact with the kisaeng house and in particular with the kisaeng leading him to the room.
(chapter 37) The fake servant NEVER mentioned the retirement of lord Song. As you already know, for me, No-Name is the real lord Song who took the blame for everything, for he let people use his “name”. The most terrible thing is that “lord Song” puts the blame on Yoon Chang-Hyeon, when he explains his failure about the sexual education. 
(Chapter 33) Secondly, how does the lord know about the master’s illness, when his fever was only discovered after the straw mat beating?
(Chapter 77) Besides, no physician had been fetched back then. Finally, how can lord Song remember the lord’s condition so well after 10 years? It is because he is using the diagnosis on the painter from the previous doctor: 
(chapter 103) Here, the man with the purple hanbok was utilizing the painter’s illness to hide his own crime. Under the pretense to help « Yoon Seungho » to become a man, the man abused him not only physically, but also sexually. There is no doubt that this reconversion was fake! 
(chapter 76) But there is another reason why Yoon Chang-Hyeon doesn’t get fooled a second time. 
(Chapter 77) Thus I come to the following deduction: Yoon Seungho was sentenced to the straw mat beating, because after 2 nights, he had not been able to « have an erection ». They mixed a truth with a lie: 
(chapter 52) And what had Black Heart thought during that night? He had wished to taste the artist, while before he had desired his death. This is not random at all. There is a strong connection between death and sex which is also present in the conversation between lord Song and his « old friend ». The former reproached the elder master Yoon to have protected his son for too long. 
(chapter 107) Hence I am now assuming that this night is a reflection from chapter 67 and 69!! Min’s plan! 
(chapter 69) He had gone to the kisaeng house with the hope that the artist would return with his noona, and back then he had impersonated Lee Jihwa for the first time. 
(chapter 69) As the manhwalovers can detect, the sudden return of lord Haseon is intentional. So who is he targeting here? 
(Chapter 82) In fact, both schemers have one goal in common: the couple is the victim and witness of their « crimes ». 
(chapter 106) impersonating „lord Song“ 
(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 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 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.
(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.
(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 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. 
(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 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) 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 86) Thus the butler got punished for his acting. He has now to take care of an unconscious painter. 
(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. 
(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. 
(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. 
(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)
(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. 
(chapter 106) The Spring Poem is actually reflected in this scenery: 
(chapter 106), she contradicted her statement right after. 
(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! 
(chapter 100) 
(chapter 104) Though there is a manhunt, where is he? 
(chapter 106) 
(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 105) Imagine that despite his rush, he was clear-minded enough to take the yellow scarf, a present that the noble had just bought him before. 😢 The item had more value than the mituri (shoes). Thus he was running in socks. His gesture displayed how much the lord means to the painter. He cherishes everything the lord does for him. At the same time, it indicates his heartache. He was so desperate and scared, for he felt that he was about to get abandoned one more time. 
(chapter 105) According to my follower @katamins, in the Korean version, this is what Baek Na-Kyum yells: 
(chapter 105) it works like a spell or a prayer. The artist is clinching onto this phrase hoping that the noble is remembering his promise. The irony is that the low-born was smiling like a fool, 
(chapter 105) masking his anxieties and huge pain… out of fear that Yoon Seungho would still reject him. He acted, as if nothing had happened: he had not hurt his hand, and the lord had done nothing wrong. The smile became the symbol of his agony which reminds us of Yoon Seungho’s. 
(chapter 83)
(chapter 85) This means that Baek Na-Kyum was put in the same situation than his lover who wished to keep the artist by his side, but feared to open up to him out of self-hatred and guilt. The painter could get burdened or horrified by his revelations. Hence the painter’s reaction at the end mirrors the yangban’s in the study. Both were or are pleading the partner to stay by their side,. 
(chapter 85) 
(chapter 105) Nevertheless, their behavior diverges so much. The aristocrat couldn’t raise his voice or become violent by using his hand, because he could scare the artist and as such break his previous promise. Finally, by destroying the music box, he had already witnessed that he had pushed his lover further away. 
(chapter 85) At the same time, since he had been taught that no noble should lower himself in front of commoners, it is normal that he couldn’t beg Baek Na-Kyum on his knees. To sum up, the noble had to restrain himself extremely, his face and words were the only way to show his emotions and despair. And the artist sensed it, though the lord was not weeping. The proof is that when the father appeared, the artist changed his mind. He was no longer willing to leave, in fact he chose to look for his lover. 
(chapter 87) This shows that through communication, the lord had been able to affect the painter‘s mind and heart. On the other hand, we shouldn’t underestimate the lord’s flashback and Na-Kyum’s conversation with the butler which played a huge part in the artist‘s decision to vow loyalty to Yoon Seungho despite the secret.
(chapter 105) Then I noticed that contrary to his lover, the artist asked the reasons for his decision. 
(chapter 105) Why did he change his mind? Is he responsible for this? As you can see, the painter came to voice his guilt and the remains of his deeply rooted self-hatred. 
(chapter 105) He must have committed a wrongdoing, he is responsible for the situation. He feels like a burden, for the lord had to take care of him each night. 
(chapter 104) He wished to help, that way he wouldn’t be seen as a spoiled child. He has to justify his presence in the mansion. Who is he exactly that he is sleeping in the lord’s bed? I am suspecting that there is a rumor circulating within the propriety, a new version of this scene: 
(chapter 38) which I will explain more in details below. Thus the artist is making sure to cause no trouble to Yoon Seungho and the staff, especially the maids. Hence he folds the cover and clean the bedroom. 
(chapter 104) Then he washes clothes. He makes sure that he is no burden to anyone. Yet, my impression is that the staff is taking advantage of the artist’s goodness. That’s how they fuel his guilt and shame. 
(chapter 105) In the Korean version, this is what Heena says: 
(chapter 104) He was told not to question what he had heard… he should simply consider everything like a nightmare. However, this method is actually wrong. 
(chapter 07) 
(chapter 104) Not only he knows about the lord’s traumatic past, but it is the same for the painter. In addition, we have another explanation for Yoon Seungho’s insomnia and dissociative state. 
(chapter 57) Not only the latter was turned into the scapegoat for the downfall of the Yoons, but also he was not allowed to reveal the incident, the so-called treason. Why? It is because if he had spoken, the truth would have come to the surface. He was simply a victim. And now, the schemers and accomplices are repeating the same MO. Who suggested to Yoon Seungho to say this to his lover? 
(chapter 104) Naturally, Kim, because he is now the only one in the mansion who knows his past. Besides, why do you think that the lord’s past is coming to the surface as a nightmare? It is because he was incited to repress everything. But since the painter is going through the same experiences, this is not surprising that the noble’s memory is triggered and the past emerges again.
(chapter 27), when the other domestics left the propriety. This was his memory. Besides, like the servant confessed to Jung In-Hun, a huge part of the staff got replaced. This means that the lord was suddenly surrounded by people he didn’t know. Because my theory is that the young man was treated as a male kisaeng, this signifies that the new staff could never view the main lead as a noble. Besides, despite the betrayal, the elder master and Yoon Seungwon were his real family. Finally, Yoon Seungho had no saying in this, and I can imagine that the reason for this decision was not explained immediately. This must have been a huge blow for him as well. He must have felt lost and homeless. The result was that from that moment on, he became more dependent on the butler. And we have to question ourselves what the butler did with this huge responsibility, when the elder master moved to the second house.
Since this phrase appears in connection with the staff (maids and servants) in the courtyard, I come to the conclusion that the authors of this gossip are in the domain. “Fellows” indicate that they are speaking among themselves. But I have two more clues proving that the traitors are the domestics. First, observe how they call the protagonist: Young Master Yoon. 
So far, people in town only calls the protagonist lord Yoon 
(chapter 45) 
(chapter 45) or lord Yoon Seungho 
(chapter 39) or my lord. 
(chapter 76) Only the staff addresses him as “young master”. 
(chapter 103) 
(chapter 103), and this since season 3. This coincides with the meddling of the Yoons. The servants treat him, as if he was not an adult, no real lord. But they are wrong, because he is wearing the topknot with the gat. Hence he is a lord. Finally, only people close to the couple could know about the painter’s tragedy. 
, because in the village and town, there exists another gossip: 
He is responsible for the lord’s lunacy. Under this new perspective, it explains why the painter is leaving the bed and working. He wishes to prove the words wrong. On the other hand, I think that Yoon Seungho also heard a grapevine in the domain, but a different one: 
(trailer). “He has many enemies”. How did I come to this idea? It is because he is addressed as Yoon Seungho! By underlining the painter as his weakness, the author of this rumor wishes to separate the couple. If he were to place the painter elsewhere, not only the latter would no longer be targeted, but also the lord would have no longer any weakness. Since there is always a reflection within the same chapter, I conclude that a second grapevine was spread in episode 104. This happened, while the lord was away. Thus the painter smiled like a “fool”, when he saw the lord: 
(chapter 104) As you can imagine, for me the maids were the perpetrators, a new version of episode 79
(here, the woman implied that the artist was responsible for Yoon Seungho’s insomnia, thus the painter has a drop of sweat on his face, a sign for shame) and chapter 98 
(chapter 103) Finally, the staff has every reason to get rid of the artist, for he is the witness of their wrongdoings. They definitely played a major role in the “prank”. They didn’t learn their lesson.
(chapter 29) This time, the one smiling like a fool 
(chapter 29) was Jung In-Hun who acted, as if he knew nothing and had seen nothing. 
(chapter 29) However, I have already pointed out that he was present, when the rape took place, for he knew where Yoon Seungho would meet the artist: the pavilion. And what have all these episodes in common? The first thought would be to say: abandonment and betrayal. The painter in front of the gibang felt “betrayed” and abandoned, but what shocked the lord so much was when the artist started blaming himself: 
(chapter 105) We have to imagine that the painter wanted to say that he regretted to have opened his heart to the protagonist. Thus he said this: 
(chapter 105) “I had known, I would have never confessed” Nonetheless, he never finished his phrase, for in reality, he had no regret!! He was sure that he had made the right decision. It is because he had pondered a long time about this. He had observed his lover. That’s the reason why he mentioned their mutual love confession and as such their promise to stay together. And this brings me to the next observation. All these scenes have another common denominator: BAD DECISIONS!! The lord had made the wrong decision to entrust the painter to the kisaengs. Thus he came to regret this. He had made his lover cry, and even wounded him, though he desired to do the opposite. Therefore it is not surprising that he apologized to his lover. 
(chapter 105) This shows that the painter is showing him what true love and loyalty are. Moreover, he is teaching to make good decisions.
(chapter 246), I realized why Yoon Seungho suffered so much. Self-made decision implies a conscious choice. It is made deliberately and thoughtfully, considers and includes all relevant factors, is consistent with the individual’s philosophy and values. As you can see, it implies knowledge. This definition exposes that making a choice for the sake of another person without his consent or knowledge can never be a good decision. One might argue about this, because children are too young to make decisions. In Doctor Frost, this man 
(Doctor Frost 246) decided to support a terror attack, and justified this by saying that this was for his daughter’s sake. But like the counterpart pointed out, he questioned his decision. Was it truly his choice, or was he simply following the leader’s suggestion? As you can see, the daughter was used as an excuse, it was never for her sake. This shows that children are the exception, besides they are often raised by two parents. Thus they are making deliberations together. But like the author revealed in Twitter, Yoon Seungho’s mother hated her husband so much that she neglected her eldest son. The patriarch made decisions on his own, but observe that it was always for the Yoons’ sake. This means that the father never took his son’s well-being into consideration, he never asked him about his opinion. He imposed his will, but he listened to others, like we could see in different occasions. 
(chapter 82) Here, the red-haired bearded man was encouraging the elder master Yoon to return to the mansion and claim his rights. Finally, the young master admitted this to the messenger: 
(chapter 80) If someone stroke his ego, he would follow their advice and never doubt their words. 
(chapter 104) But he simply employed reverse psychology. 
(Chapter 85) Yoon Seungho was coerced to open up. If he did not, he wouldn’t be forgiven. Naturally, the painter meant it well, yet the main lead was pressured to reveal his „bad action“. The main lead feared his negative judgement and rejection. We could say that the artist had made this request for the lord’s sake, however this was not a conscious and long deliberated decision. And now, you comprehend why the main leads suffered both so much!! Yoon Seungho’s mother neglected her eldest son, but she kept her distance from her husband. They never talked to each other, and as such never made decisions together. And it was the same for the painter. The kisaeng Heena was the one who made the decision without the noonas’ consent and her brother‘s opinion. 
(chapter 105) She is still viewing the painter’s decision as a bad choice. But she is simply wrong, for the painter listened to her advice and after deliberations, he chose to open his heart. His confession was not made in the heat of the moment. 
(chapter 62) The lord’s vision 
(chapter 62) became a reality
(chapter 97) And why did she act like that? She justified that it was for the painter’s sake, and she knew more than her brother. The reality was that it was for her own sake. She was definitely cornered, for she feared repercussions. Moreover, she pushed her brother to follow her advice. And now look at what the noona said in front of Yoon Seungho: 
(chapter 99) and her “fake death”, but as you already know, I think, he heard her during that night. Note that the painter didn’t meet his noona Heena during that day. Since Heena and the staff played tricks so that Baek Na-Kyum ended up going to the scholar’s house, it is not surprising why the staff is putting the whole blame on the painter. However, who is responsible for this? Naturally, the staff, Kim and Heena. The latter made bad choices blinded by her arrogance and prejudices. Thus I deduce that Yoon Seungho learned a good lesson in front of the gibang. He should never make a decision without consulting his partner. 
(chapter 105) From my point of view, both need to learn to make decisions TOGETHER!! But in order to do so, the two main leads need to listen to each other and communicate. And this is what truly happened in episode 105. The young noble discovered the painter’s low self-esteem and his guilt. That’s the reason why I believe that Yoon Seungho will decide to talk about the scholar. The lord suspects the learned sir, for he thinks that he is still alive. 
(chapter 105) This signifies that the noble will decide not to follow the noona’s advice: 
(chapter 105) But by learning about the learned sir’s past, the protagonist will realize that he only knew a side about Jung In-Hun. 
(chapter 105) with the noona’s statement, the painter looks happy with Yoon Seungho despite the tears, it looks like the noona is slowly coming to terms with her brother’s relationship. But I have to admit that I believe that her “decision” is just short-lived. First, in season 2, the noona had accepted to let her brother stay at the Yoons’ 
(chapter 69) But then she had changed her mind after hearing the menace from the servant. However, I have three other reasons to expect a change of heart from the head-kisaeng. First, Heena is the younger reflection of the butler. The manhwaphiles shouldn’t forget that the valet had almost come to terms with the painter’s presence
(chapter 65), but the ruckus caused by the kisaeng had provoked a change of heart in the valet. Then, the lord had made the following condition to the kisaeng: 
(chapter 105) The lord is keeping his lover by his side, as long as nothing happens to him. So if he gets into trouble… she could achieve her goal, the painter is returned to her. But the most important clue is for me the bowl! 
(chapter 105) While many jumped to the conclusion that this was the medicine sent by the physician, I had a totally different impression. For me, this bowl was used to write a letter!! First, the color is different from the normal “medicine”. 
(chapter 23) Most of them look dark brown and not black. 
(chapter 36)
(chapter 77) Besides, it never leaves traces on the edge. 
(chapter 36) The points on the border are the traces left by the brush. She wrote a letter. And I have another evidence for this: 
(chapter 36) The painter used white bowls while painting. On the other hand, the lord wrote a letter during that time. As you can see, in episode 36, we have the combination of painting, seduction (touching) and medicine… exactly like in episode 105. The artist tried to paint a lucky charm, a tiger, but he didn’t finish it. He got interrupted… which is very similar than in chapter 36. So the letter should represent another common denominator. 
(chapter 105) onto Yoon Seungho. Will she come to regret her action or not? One thing is sure, the painter accepted the sincere apology from his lover. How could he not forgive him after calling „Nakyumah“ and embracing him! 
(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. 
(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. 
were different from the head-maid and her colleague? 
(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.
(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 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
(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 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?
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. 
(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) 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 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. 
(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: 
(chapter 61) [For more read the essay “No matter what… Baek Na-Kyum must vanish”]
(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.
(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: 
(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 74), “lord Song” 
(chapter 37) There is no doubt that a tailor was involved, for he had to create similar clothes, the costumes …
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? 
(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 “
(chapter 57) It is because they serve as a clue for unveiling the truth. 
(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 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. 
(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. 
Compare his face to the painter’s who got wounded by wooden sticks. 
(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 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 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 “
(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.
(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 66)
(chapter 99) 
(chapter 7), 
(chapter 65) or boots 
(chapter 13) 
(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. 
(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.
(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 
(chapter 61) And according to me 
(chapter 66) However, his new attempt to have the painter vanished failed again.
(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 97) 
(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. 
(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?
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 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.
(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 101) Thus the fire could be seen as a desperate measure to cover the Lees’ culpability. 
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. 
(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 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 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 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. 
(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 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 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!! 
(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 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 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) 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 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 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. 
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! 
(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. 
(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. 
(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 95) 
(chapter 96), the officer 
(chapter 71) 
chapter 87) and 
(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. 
(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 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) 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. 
The manhwalovers could barely see Yoon Seungho’s face, for he was surrounded by darkness. When I saw it, my first thought was to associate the protagonist to “Sleeping beauty”. He had the same expression than in the bedchamber, when he was sleeping totally relaxed. 
(chapter 87) He was not tormented by a nightmare, like the painter discovered it in chapter 38: 
And the darkness reminded me of the forest of thorns and as such of the curse put on the princess. The darkness, the metaphor for the forest of thorns, is the reason why the lord felt trapped and suffocating in his torment. 
(chapter 94) I would like to point out that the artist has always associated this satellite to a source of joy and love, like we can detect it here. 
(chapter 94) Finally, Talia could get liberated from her curse thanks to her children. The splinter of flax got removed from her finger, the moment the babies were sucking on them. This signifies that she got revived thanks to love and life. Moreover, she woke up, the moment the source of her pain was removed. This observation leads me to the following conclusion: the noble can only be completely freed from this darkness, the moment his suffering is removed and as such revealed!! This means that Yoon Seungho will be able to voice his misery and denunciate the crimes he was exposed to. He will be able to identify the persons responsible for his suffering. He might know a name, lord Song, but he has no idea about his true identity. That’s how his burden will be erased. Like mentioned above, the noble’s physical and sexual assault will be brought up to light. That’s the reason why the new image announcing season 4 is so dark. They represent a reflection from Yoon Seungho’s past and torment. 
(chapter 38) I thought that the couple would share the bed, thus the lord could relax. He felt protected by his lover. In other words, I was already envisioning that this scene is a reflection from chapter 97/98, for the couple had not been able to sleep together. 
(chapter 97) However, the moment Lezhin published the second panel
(chapter 83) In Painter Of The Night, the hunts were always used to provoke a quarrel and as such a separation, but it never worked. This is important, because this shows that the couple from the Italian story had to separate. It is now time to reveal the whole quote from Milner: 
(chapter 97) Back then, the lord was scared, for he still doubted the artist’s love confession. It was too beautiful to be true! However, back then, the artist never doubted his own resolution, thus he gave comfort to his lover by giving him his hand. 
(chapter 97) 
(chapter 97) In other words, he desired that the painter would follow his requests and as such he should vow him loyalty and trust one more time. The irony is that the lord was actually the one breaking his vow, for he left his lover without saying goodbye. Thus I conclude that in this scene, 
(chapter 78) This means that the lord is smelling his partner’s hair helping him to remain strong and calm. He is now trying to memorize his lover’s odor so that he can forget this stench, a remain from the past: 
(chapter 86) This can only help him to defeat his “opponents”. Finally, in different analyses, I had already interpreted that Baek Na-Kyum was embodying memory, whereas the lord stands for truth. The image is actually a reference to recollection and as such honesty. There is no ambiguity that both men are trusting each other, but the painter is crying, for he fears for his lover’s life either. Yoon Seungho is leaving him in order to protect him in my eyes. And this leads me to the following deduction. When the lord is about to leave, Baek Na-Kyum is not left in the dark contrary to episode 97. He knows the whole truth, for the lord must have confessed to him. We could say that he is not leaving without a word 
(chapter 23) 
(chapter 24) In other words, this announces the return of Yoon Seungho’s passion for painting! And it is the same for the painter. The erotic picture should reflect their love for each other, created based on memories. At the same time, this can only push the noble to demonstrate his talents to others refuting all the negative rumors about him: he is intelligent and possessing his whole mind. Furthermore, this can help him to reminisce his tragic past, what led him to his downfall and suffering. This signifies that he will be able to confront his past and his memories. He will be able to identify the rape, and Kim already exposed the truth to Yoon Seungho, when the former suggested him to ensure the painter’s consent. This shows that Kim was well aware of the sexual abuse, but he chose to never divulge the verity. On the other hand, the pedophile thought in the past that the young master would never forget him due to his position, thus he had no problem to leave Yoon Seungho behind and make no real promise. Departure was never painful for him… hence this quote (“Promise me you’ll never forget me because if I thought you would, I’d never leave.”) will become a reality for the mysterious lord Song, but it is already too late. In fact, the gods punished him by making Yoon Seungho suffering from amnesia. He is not attached by loyalty to the pervert. 
(chapter 57) That’s the reason why I believe that when an incident occurred during that night 
(chapter 11) However, there is no ambiguity that the painter can only fear for his lover’s life. The closed eye contradicts the haunted gaze in the shaman’s house. 
(chapter 102) Despite his closed eyes, he is now able to discern the truth, and it is the same for the painter. Their Third eye is now fully awakened. 
(chapter 21) This gesture symbolizes the epitome of the noble’s affection and the desire to give “happiness”. Then in the bedchamber, he did it in order to console his partner. 
(chapter 82) With his kiss, he was asking for his forgiveness. This means that the kiss on the eye serves as reassurance and comfort either. Thus we had this scene in the study: 
(chapter 84) The lord had kissed his lover there, because he was voicing his attachment and desire to redeem himself and to comfort the artist. As you can see, it was a combination of all the previous significations. Yet, the lord had not grasped the “gravity” of his “wrongdoing”. Thus the kiss was associated a certain playfulness in the study. As a conclusion, this image 
(chapter 94) 
(chapter 34) 
(chapter 19) He came to feel more safe during the night, until he met Yoon Seungho in season 1. From that moment on, his night life got slowly affected. That’s how he discovered that night could be associated to pain and agony too. Yet, deep down, he still felt safe by the noble’s side. As you can see, the new illustration 
Yes, when people read juicy deeds, they were already imagining that I would describe a love session like this one 
(chapter 96), because of the expression „to do the deed“: 
(chapter 87) However, the deed is not just related to intercourse, like the manhwaphiles could discover it in chapter 51. 
With „deed“, Deok-Jae was referring to murder and assassination. As you can see, deed has other meanings than sex. Thus it has for synonyms action, accomplishment and reality!! So when I selected this name for the essay, I was thinking of the relationship between action and word. And this connection came to my mind, when Byeonduck released the last picture, because the painter’s action symbolizes a conversation and as such words.
(Chapter 88) By reaching his hand, the painter was letting him know that he was no longer alone in this world. He was not only joining his side, but he was willing to try to understand the main lead. 
(Chapter 88) This gesture stands in opposition to the situation with Yoon Chang-Hyeon.
(Chapter 86) During that fateful night, the father neither talked to his son nor looked at him. He even turned his back to him, when the young master attempted to grab his father‘s hanbok. Both scenes from chapter 88 and 86 have two common denominators: an action accompanied with silence!! Yet, what distinguishes them from each other is the nature of the deed, the action. Alliance and empathy versus abandonment and estrangement! This is no coincidence that after reaching his hand, Baek Na-Kyum started confessing his thoughts and emotions to his lover: 
(Chapter 88) As you can sense, the hand gesture delivered a message, but the painter still felt the need to clarify the meaning of his hand. He was willing to remain by his side, but he was still afraid of him. He didn’t want to create a misunderstanding, like for example that he wouldn’t argue with him or that his loyalty was now unconditional or total. That way, Yoon Seungho wouldn’t come to view him as a hypocrite or as dishonest, if an argument would appear. Thus he needed words to explain his position. He would remain by his side and attempt to sympathize with him, but he still felt insecure and had doubts. In other words, his action (his hand gesture) was not truly reflecting his mind and heart. 
(Chapter 88) Later he even asked his lover not to leave his side no matter what. 
(Chapter 88) To conclude, the hand gesture in episode 88 was connected to insecurities and as such fear, yet the painter had shown no hesitation to take his hand. The anxiety was not visible.
(Chapter 30) His fingers barely grabbed his hand, so when he made the following vow, he was not entirely sincere or better said, truly determined to keep his promise. 
(Chapter 30) The words were not truly in unison with the gesture either. Therefore he once tried to leave the mansion in season 2. When he pledged loyalty, his intention was to protect his teacher. To conclude, fear has always been present, when the painter took Yoon Seungho’s hand. Even in chapter 88, but contrary to the scene in the courtyard, his hand was not shaking. 
(Chapter 82) This explicates why the artist chose to remain by his side, though the lord had broken his promise. 
(Chapter 82) On the other hand, in this scene 
(chapter 82), the lord was grabbing his lover’s hand out of fear. He was recognizing his mistake and was trying to beg for his forgiveness, though he couldn’t express it directly. Striking is that during the lord’s flashback, his hand was trembling as well, grabbing onto his partner’s body. 
(Chapter 81) It was, as if Baek Na-Kyum was his rescue buoy, helping him not to be swallowed by the darkness. Thus I came to the conclusion that the protagonists’ hand gestures are all connected to anxiety and pain. 😲 Hence I am deducing that in this scene, Baek Na-Kyum is holding his lover’s hand, 
(Chapter 98) Back then, he had been waiting for his lover‘s return and explanations. He wanted to hear him and get his reassurance and comfort. .
(Chapter 98) The latter couldn’t reassure the painter with his hand contrary to the previous night. 
(chapter 97) Striking is that in the gibang, the lord confessed his biggest fear to his future “spouse”. He feared to lose him, though one of his biggest desires had been finally fulfilled. This means that Yoon Seungho felt even more insecure and frightened than before after receiving the artist’s love confession. That’s the reason why I believe that the new picture is standing in opposition to the scene in the gibang. The lord will feel relief after his admission. As a conclusion, the image is announcing 
(Chapter 89) While the painter was sitting on his partner’s lap
(chapter 89), he was massaging the wounded fingers. It was, as if he was treating his companion’s wound. Note that after his terrible flashback, the painter had avoided to grab his hand out of fear that he might hurt Yoon Seungho even more. 
(Chapter 84) Therefore I conclude that the new panel is an allusion to treatment. While in episode 89, the painter was acting as a doctor, in the new image, the young man is working more like a counselor or psychologist. The aristocrat’s hand might not be wounded in that scene, but this is not the case for his heart and mind. So for me, this scene is connected to mental treatment. 
(Chapter 84) However, the lord had refused to open up. This is no coincidence that the author had not created such a picture during that chapter. As the manhwalovers can detect, I believe that in that scene, 
(chapter 75) And because I detected a discrepancy between words and gestures, I recognized the presence of another trick from Byeonduck.✨
(chapter 91), the latter denied this with the following statement. 
(chapter 91) But when did the painter admit that he liked embracing him? In this panel! 
(chapter 88) That’s the reason why the lord got surprised and moved. As you can see, the author never revealed this whispering to the manhwalovers! The latter had the impression that the lord’s reaction was related to the loving embrace, but it was only partially correct. 
(chapter 62), when the lord had confessed to adore him. 
(chapter 62) This explicates why Yoon Seungho was so pained in season 2. He got embraced, but there were no words. Consequently, when the painter vanished during that night, the lord could only perceive the embrace as hypocrisy and fakeness. That’s how I realized that the story is developed on the contradiction between words and actions. But not only that, there exists a strong link between silence and passivity. Thus after the abduction in season 2, Baek Na-Kyum remained more or less silent
(chapter 62), and as such he was totally passive. He never stood up and begged the lord for his leniency. He stayed there on the bed giving the impression that he was indifferent. That’s the reason why Yoon Seungho got more enraged, for he felt fooled. This means that the absence of words represent inaction… This explains why Yoon Seungho had to corner the main lead in chapter 48 
(chapter 48) to say something, as he had sensed his passivity behind his „submissive attitude“. This is no coincidence that during this night, the painter felt extreme pleasure to the point that he peed. Therefore he could voice his wish to Yoon Seungho during the love session from season 2. 
(chapter 73) That’s how the lord concluded that the painter liked riding him, while in reality such a climax had appeared for the first time, when both were facing each other! 
(chapter 49) 
(chapter 86) Yoon Seungho had acted the opposite, he had tried to speak up, but he had been muted. I am also thinking that the young master must have attempted to converse to his father 
(chapter 77) Silence was considered as an admission. This is no hazard that the butler didn’t take care of his young master. This scene symbolizes the quote “Actions speak louder than words” 
(chapter 77) The butler had betrayed the young master’s trust, for he had not intervened. He should have defended Yoon Seungho, but no in fact he had sided with the elder master Yoon once again. Not only he had not reminded Yoon Chang-Hyeon of his promise, but also he had assisted the ruthless father by giving himself the straw mat beating! 
(chapter 77), but backstabbed him in the shadow. Besides, we shouldn’t forget that a narcissist’s words don’t match their action, because they are pathological liars. And so far, I had portrayed father Yoon (overt), Kim (covert) and even Jung In-Hun (overt) as people suffering from NPD. And I am assuming that the mysterious lord Song is not different from them, though I am suspecting that he must be a covert type. 
(chapter 102) He is no longer following social norms. This could only happen, because the lord had just committed a huge crime. What is the point to respect laws and tradition, when he became a murderer? Any other transgression can only appear as harmless. That’s the reason why I am expecting that Yoon Seungho decides to disregard social norms from that moment on and play a prank on the “villains” of this story. 
(chapter 76) 
(chapter 53) 
(chapter 87), while the same extremity symbolizes the opposite with the villains and antagonists: violence, silence, submission 
(chapter 83), hatred and resent 
(chapter 97) Here, Heena was hurting her brother, because she wanted him to face “reality”. What caught my attention is that we never saw the father’s hand in chapter 86! 
Bebebisous33s' analyses in K-Dramaland and Manhwas 