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 Hidden Predators (part 1) and The Hidden 🐺 Predators (Part 2)
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The Importance of Knowledge
Many classic thrillers have explored the dangerous consequences of knowing the wrong thing at the wrong time. Alfred Hitchcock once built an entire film around this very idea: someone who accidentally discovers too much becomes a threat. In The Man Who Knew Too Much, knowledge is not merely information—it is a liability.

The moment someone understands how the hidden mechanism works, that knowledge becomes dangerous. Insight is inseparable from the plot itself, because it exposes the existence of a conspiracy. To know too much therefore means to become a threat to those who depend on secrecy. Information stops being neutral; it transforms into a risk that must be contained, silenced, or eliminated. The moment a hidden truth surfaces, those who possess it risk becoming targets themselves. Episode 93 of Jinx seems to echo this logic.
(chapter 93) Beneath the apparent calm of the chapter lies a growing tension: secrets circulate quietly, alliances remain uncertain, and certain characters may already know more than they should.
(chapter 93)
At first glance, the chapter appears to focus on the evolution of the relationship between Joo Jaekyung and Kim Dan.
(chapter 93) linked to their previous night together. During the night they shared, the invisible wall that once separated them seemed to disappear completely. Their intimacy was no longer defined by domination or obligation. Instead, the encounter suggested equality (position of 69)
(chapter 92) and reciprocity—an exchange, as Joo Jaekyung himself described it, of “give and take.”
(chapter 92) In a striking reversal, Kim Dan took the initiative
(chapter 92), after being asked about his own desires.
(chapter 92) He was no longer driven by shame, debt or obligation.
(chapter 92) For the champion, the moment carried the weight of something deeper than physical pleasure
(chapter 92), for he was able to give pleasure to his partner. Thus his self-esteem could only be boosted. For Kim Dan, however, it remained simply sex.
(chapter 92) The imbalance between their interpretations already foreshadowed the tension that would emerge the following morning.
That tension becomes visible when Kim Dan calmly refuses Joo Jaekyung’s attempt to continue taking care of him.
(chapter 93) For the first time, he establishes a clear boundary. The gesture signals a new stage in his personal development: for the first time, Doc Dan speaks as a professional, as a physical therapist
(chapter 93) who knows his role and his responsibilities. He refuses the help with the meals not out of pride, but because he clearly frames it as part of his job. In the past, he would have simply listened, letting others decide or speak in their name
(chapter 42); now he asserts his own authority and expertise. But just as this moment seems to mark a quiet step forward in their dynamic
(chapter 93), the narrative abruptly widens its focus, drawing the reader away from this personal shift toward a far more ominous development unfolding elsewhere.
(chapter 93)
Far from the intimacy of the penthouse, Baek Junmin appears surrounded by an invisible barrier
(chapter 93) separating him from Choi Gilseok and Heo Manwook. The atmosphere of that scene is strangely detached. Junmin seems unconcerned with the financial urgency discussed around him; his attention is fixed instead on the cellphone. Yet the readers cannot see what he is watching
(chapter 93), while he casually blows a bubble of gum, creating a small moment of distraction that contrasts with the tension of the conversation around him. Only when he eventually reaches for the calendar on the desk,
(chapter 93) does the focus of his attention become clear: the approaching match. What matters to him is not money, but time. What seems to occupy his mind is not the money being discussed, but the ticking clock before the fight—suggesting he may be searching for a way to reclaim his standing, restore his reputation, and probably settle an old score. But if this is indeed his objective, one question inevitably arises: what kind of weapon does he intend to use?
The cover illustration accompanying this essay
proposes one possible answer. Rather than depicting a single event, it visualizes the network of hidden connections surrounding Baek Junmin: the underworld figures who support him, the organizations that benefit from his actions, and the champion who stands at the center of these intersecting interests. In such a configuration, information itself may become the most dangerous tool. If certain characters possess fragments of the past — memories, secrets, or assumptions about who Joo Jaekyung once was or about the physical therapist — then exposing or manipulating that knowledge could prove far more destructive than any physical confrontation.
This leads to the central question of this essay: who, in this story, truly knows too much—or believes that they do—and what happens when that knowledge is finally brought to light?
The Office – Where the Readers Begin to Know Too Much 😮
Episode 93 opens in a location that immediately signals danger: the office of Heo Manwook
(chapter 93). The place is recognizable because the interior furniture
(chapter 93) matches the office previously shown in episode 46.
(chapter 46) Yet even before examining the room itself, the exterior sign already introduces an intriguing ambiguity. The building is labeled
(chapter 93) “Errand Center – Repo – Demo.” At first glance, the name suggests a mundane service business. An errand center typically performs small tasks for clients—delivering packages, transporting items, or running administrative errands. Thus shortly after, Jinx-philes discover that a package has been successfully delivered.
(chapter 93) The additional terms reinforce this impression: “repo” evokes repossession services that recover unpaid property, while “demo” suggests demonstrations or promotional tasks. Taken together, the sign appears to advertise a collection of ordinary logistical services.
However, within the narrative context the meaning becomes far more unsettling. Each of these activities revolves around the same principle: carrying out tasks on behalf of someone else.
(chapter 93) The vocabulary is deliberately neutral, but the logic easily translates into criminal practice. Errands can become intimidation missions, repossession can turn into violent debt collection, and demonstrations can serve as distractions or staged incidents. The apparently harmless name therefore functions as a façade, masking a network that organizes coercion, surveillance, and illegal gambling operations. Even the office furniture contributes to this illusion.
(chapter 46) The couch and armchairs resemble the kind of seating commonly found in legitimate businesses—familiar from many office settings in K-dramas—suggesting a place where clients might calmly sit down to discuss matters. Yet the scene reveals a striking contrast: no one actually uses this furniture except Baek Junmin.
(chapter 93) The debtor is instead beaten near the entrance, deliberately kept far away from the seating area. In this way, the loan shark and his men ensure that the couch and chairs remain untouched, almost as if they were props.
(chapter 93) The furniture thus reinforces the same strategy as the office name itself: it maintains the appearance of a respectable business while the violence of the operation is carefully kept out of sight.
This principle of delegated action
(chapter 93) reveals something deeper about the structure of the organization itself.
(chapter 46) At first glance, the office appears to belong to Heo Manwook
(chapter 93), who confronts victims and manages the loan shark operation. Yet the scene gradually reveals that he is less a true mastermind than a frontman—a visible intermediary who handles the dirty work.
(chapter 46) Hence he calls Choi Gilseok “boss” and asks about the current situation.
(chapter 93) Behind him stands Choi Gilseok, the director of King of MMA, who clearly exerts greater influence over the situation. He coordinates financial decisions, negotiates with outside contacts, and attempts to contain the consequences of the recent scandal. And yet even Choi Gilseok is not the ultimate authority.
(chapter 48) In episode 48, he revealed that his actions were connected to a parent pharmaceutical company (F Pharmaceuticals), suggesting that the criminal activities surrounding the fights, betting, and intimidation may ultimately serve a larger financial structure. In that sense, the Errand Center name becomes almost literal: every actor in this network appears to be running errands for someone higher in the hierarchy, forming a chain of delegated power in which responsibility constantly shifts upward.
This ambiguity becomes even more striking when one considers Kim Dan’s own situation in season 1. In order to offer an expensive gift to Joo Jaekyung, he took a job as a courier
(chapter 42), delivering food or packages across the city during the night. His work is built on the same basic principle: completing tasks and transporting items for others which exposed him to dangers and shame.
(chapter 42) The parallel is subtle but revealing. While Kim Dan runs legitimate errands for the athlete’s sake, the criminals in the Errand Center perform their own “services” within the shadow economy. Both operate within a system of delivery and obligation—yet one side does so out of feelings, while the other exploits the structure for predatory purposes. Gratitude versus Greed.
Thanks to my friend @Rin_de_eegana, I discovered that the Japanese translation

even labeled the place as a “detective agency,” a term that evokes investigation, surveillance, and the gathering of information. At first glance, the presence of such an office might suggest a professional organization specialized in surveillance and intelligence gathering. Earlier in the story, this is precisely the impression the narrative created. Kim Dan’s background was carefully investigated: photographs were secretly taken, a dossier was assembled, and details about his personal life were documented
(chapter 46). The operation looked methodical, almost professional, as if a genuine investigative agency had been hired to monitor the champion’s environment.
Yet, the office scene in chapter 93 quietly dismantles that illusion.
(chapter 93) Choi Gilseok, Heo Manwook and his minions are not behaving like investigators at all. No one is collecting new information. No one is analyzing evidence. Instead, the conversation revolves around debts, payments, and damage control. The supposed detective agency suddenly looks much closer to what it truly is: a loan shark operation that had previously hidden behind the façade of investigation.
(chapter 93)
This shift becomes particularly visible in the dialogue between the director of King of MMA and Heo Manwook. The latter asks whether the situation has been “sorted.”
(chapter 93) The reply reveals the underlying problem: they have already spent a considerable amount of money cleaning up the mess connected to Joo Jaekyung. The champion’s televised revelation has created waves. People had to be silenced, favors had to be paid, and the organization now finds itself under financial pressure. Choi Gilseok even admits bluntly that money is tight.
The financial tension visible in the office scene becomes even more revealing when one recalls an earlier accusation made by Heo Manwook in front of Kim Dan.
(chapter 11) At that moment, the loan shark explicitly raised the possibility of money laundering. This detail suddenly casts the entire network in a different light. The illegal gambling operations visible on Heo Manwook’s computer are therefore not merely a source of profit; they may also serve as a mechanism through which larger sums of money circulate and are quietly reintegrated into the legal economy.
(chapter 46) In this structure, Choi Gilseok himself appears less like the true mastermind than another intermediary in a much larger financial chain.
In episode 48, Gilseok revealed that his activities were connected to a parent pharmaceutical company
(chapter 48), suggesting that the underground fights and betting operations might ultimately serve broader corporate interests. Yet the director of King of MMA does not behave as a purely obedient subordinate either.
(chapter 46) In chapter 46, he was already acting behind the back of that parent company, manipulating events to influence the outcome of the fight. Later developments—such as the conversation at the café with Kim Dan and the suspicious use of the spray—suggest that he may eventually have received support from that higher structure.
(chapter 49) At the same time, however, the director of the gym clearly took personal risks. By secretly betting on the “underdog”
(chapter 52) and manipulating the situation through the switched spray, he appears to have pursued his own strategy within the system.
This double game helps explain why the organization now finds itself under financial strain. The fake director of the gym was not simply executing orders; he was gambling within the laundering mechanism itself. When Joo Jaekyung publicly exposed the situation on television, the carefully balanced financial structure began to wobble. Joo Jaekyung’s public provocation therefore did more than damage reputations—it interfered with the flow of money itself, forcing the network to spend resources on bribes and damage control while threatening the laundering pipeline that sustained it. Yet earlier in the story, the logic had been very different. As Park Namwook once remarked, Jaekyung’s fame made him the fighter who would “rake in the most cash.”
(chapter 46) In other words, the champion was originally the system’s most valuable asset. His visibility and reputation attracted attention, betting activity, and therefore profit. However, once he disrupted the carefully orchestrated mechanisms behind the fights, that same visibility became dangerous. The athlete who once generated the most revenue suddenly turned into the network’s greatest liability. From that moment onward, the logic of profit shifted into the logic of elimination.
The sequence of panels reveals another layer of the network. Choi Gilseok is first shown speaking with a person
(chapter 93) who may be connected to the police in a surprisingly casual tone, thanking him and even suggesting they play golf together. The expression “I’m glad it arrived safely” implies that the unknown person must have received some hush money. Rather than a confrontation between criminals and investigators, the conversation suggests familiarity and mutual benefit. Only later does he mention that they need to “wrap this up before the fuzz makes a move.” On the surface, this sounds like fear of law enforcement, but placed after the friendly phone call, the line reads less like genuine concern and more like a reminder to settle matters quickly before any official attention becomes inconvenient. In other words, they are attempting to buy some time, to interfere in the investigation so that they don’t get caught.
This moment becomes even more intriguing when one remembers an earlier scene involving Yosep.
(chapter 52) After the dressing-room incident, Yosep reported the situation to both the MFC and the police, turning this incident into an official and legal issue. Yet the investigation immediately encountered a convenient obstacle: there were no cameras in the dressing room, meaning the case would take time to resolve. If the officer Choi Gilseok is speaking with belongs to the same network (police or MFC), the investigation itself may already be entangled in the system it is supposed to expose. But the revelation in the media made it impossible to bury it for good, as it was exposed to the “world”.
But there is another visual clue that deepens this interpretation.
(chapter 93) If attentive readers look closely at the surroundings of the office in chapter 93, they will notice the presence of the rival gym King of MMA located next to the loan shark’s headquarters. This small detail quietly reveals the proximity between the world of professional MMA gyms and the underground economy of illegal fights and gambling. The boundary between legitimate sport and criminal activity appears far thinner than it first seemed. The gym known as “King of MMA” stands almost literally beside the loan shark operation, hinting at the structural connections that bind them together.
In this sense, the office scene becomes a place where readers begin to perceive the outlines of a hidden system. Throughout the story, they have witnessed conversations from multiple perspectives: between the protagonists and villains
(chapter 48), between the loan shark and the director
(chapter 46), and within the MMA world
(chapter 69). They know, for instance, that Heo Manwook once misunderstood the name “Team Black,” interpreting it as a brothel rather than a gym
(chapter 16). Jinx-Lovers have seen fragments of the schemes unfolding behind the scenes and can therefore begin to assemble the existence of several overlapping plots.
And yet, despite these clues, the full picture remains incomplete. One crucial element still escapes both the characters and the audience: the identity of the person who secretly took the photographs of Kim Dan and Joo Jaekyung
(chapter 46). If Heo Manwook’s organization—the supposed detective agency—had truly conducted that surveillance, they would already recognize Kim Dan and understand his connection to the gym. Moreover, the earlier phone conversation between the hyung and the loan shark indicates that Choi Gilseok already possessed those photographs while sitting in his own office at the gym. This strongly suggests that the person who gathered that information did not belong to the Errand Center at all.
The office therefore becomes the starting point of a different kind of investigation—not one carried out by the characters inside the story, but by the readers themselves. By piecing together scattered details across multiple chapters, Jinx-lovers gradually uncover the outlines of a conspiracy that none of the individual actors fully control. Somewhere in the shadows,
(chapter 33)
(chapter 46)
(chapter 48) another observer must exist—someone who collected information long before Choi Gilseok revealed his second scheme to his right-hand. While the men in the office rush to repair their collapsing financial operation
(chapter 93), the audience slowly realizes that the true structure behind these events may be far larger than any of them suspect.
Yet in this very moment another development quietly takes place. For once, Baek Junmin does not remain in the shadows behind his hyung, behind Choi Gilseok, or behind the criminal hierarchy.
(chapter 93) He speaks himself. Addressing the disgraced hospital director, he offers to erase the man’s debt—on the condition that he carries out a task for him.
(chapter 93) The threat that accompanies the proposal is unmistakable: failure will be punished with death.
In doing so, Junmin transforms the doctor’s debt into an instrument of coercion.
(chapter 93) The indebted man is no longer merely a victim of the loan-shark system; he is being recruited as an expendable agent within a new scheme. Ironically, this moment also marks the point where Junmin unknowingly pulls another institution into the conspiracy.
(chapter 91) By involving a former medical authority in an illegal act, he brings the corrupted medical world to the surface and connects it directly to the network of underground betting and money laundering.
What Junmin likely perceives as a safe and clever manipulation may therefore function as something far more dangerous. By offering to erase the doctor’s debt in exchange for a task, he believes he can remain safely removed from the action itself. The wrongdoing will be carried out by someone else, allowing him to stay in the shadows as he always has. Yet Junmin underestimates the weight of his own words.
(chapter 93) In both the criminal and the legal worlds, speech itself carries responsibility. A spoken order, a promise, or even the disclosure of information can create liability. The story has already demonstrated this elsewhere: the leaking of Joo Jaekyung’s patient file triggered legal consequences and led the champion to file a lawsuit against the hospital.
(chapter 42)
Junmin’s proposal therefore does more than recruit a desperate man—it transforms him into the author of the scheme. Knowledge and liability become inseparable. Once the doctor accepts the offer, Junmin’s words effectively pull the trigger: the moment the deal is spoken aloud, the hidden system that sustained the illegal fights begins to lose its stability. By drawing the corrupted medical world directly into the operation, the fighter who once thrived in the shadows may in fact become the spark that accelerates the collapse of the entire machine.
Heo Manwook – The Hand of the Machine
Before turning to Baek Junmin’s intervention, it is worth examining the role of Heo Manwook more closely. Throughout the story, the loan shark repeatedly threatens the hands of his victims.
(chapter 16) Doc Dan’s hand got crushed and the former hospital warden is warned that he might lose his fingers; thus he might no longer be able to work.
(chapter 93) The threat is not random. It reveals the symbolic position Heo Manwook occupies within the criminal structure.
Heo Manwook represents the operational hand of the system. While others design schemes or manipulate financial flows, he executes the violence that keeps the network running. His task is not to think strategically but to enforce obedience: take care of the illegal gambling site
(chapter 46), collect debts
(chapter 11), intimidate victims, and ensure that money continues to circulate through the laundering mechanism. In this sense, the repeated focus on hands and fingers becomes meaningful.
The hand is the instrument of action
(chapter 93) —the part of the body that allows people to work and generate the very income he seeks to extract. By threatening to destroy his victims’ hands, however, Heo Manwook undermines that capacity himself. The gesture exposes a certain narrow-mindedness: his violence contradicts the economic logic he is supposed to enforce, revealing not only his cruelty but also him as an enforcer who acts impulsively rather than strategically.
Yet the irony of his position becomes increasingly visible. Although he runs what appears to be a “detective agency,” he repeatedly demonstrates an inability to perform the most basic function of investigation.
(chapter 11) When he confronts Kim Dan about the origin of the money used to repay his debt, he does not rely on financial records or systematic research. Instead, he interrogates the doctor through intimidation and violence. The encounter in episode 16 occurs almost by coincidence, when he meets Kim Dan on the street and hears about his imminent moving
(chapter 16) rather than locating him through documentation or surveillance. This observation corroborates my previous deduction: he is not the one following the physical therapist in secret and taking pictures of him. Secondly, observe his reaction, when he reads the money transfer:
(chapter 16) The loan shark reads the name quickly or without interest, so that he can only remember the most striking word. In this case, “Black” stands out, while “Team”—a generic word—disappears from his memory. So his phrasing suggests he did not pay attention to the full name. This displays his lack of professionalism. He doesn’t investigate carefully.
Even his interpretation of evidence proves unreliable. Upon seeing the name “Team Black,” his minions and Heo Manwook quickly assume that it refers to a brothel.
(chapter 16) Instead of verifying the information, he projects his own criminal assumptions onto the situation.
(chapter 16) The supposed detective agency therefore produces not knowledge but distortion. Rather than gathering reliable intelligence, it generates blind spots that weaken the entire network. In this sense, the situation ironically echoes the logic behind The Man Who Knew Too Much. In Hitchcock’s story, the danger lies in possessing knowledge that exposes a hidden conspiracy. In Heo Manwook’s case, however, the problem emerges from a different form of knowledge: experience. Years of operating in the criminal underworld have convinced him that he already understands how the world works. Hence he misjudged the champion’s skills.
(chapter 17) Instead of investigating carefully, he interprets every new piece of information through the lens of his past encounters and knowledge. His boss is rigging fights, so the others must do the same. When confronted with the name “Team Black,” he immediately assumes it must refer to a bar or brothel. What appears to be practical experience therefore becomes a liability. The man who believes he knows reality best may in fact be the one most vulnerable to misreading it.
This failure becomes particularly significant when one considers his connections to the medical underworld. During his threats, Heo Manwook casually refers to organ trafficking
(chapter 93), suggesting that his operations intersect with the shadow side of the medical system. Such activities require the knowledge and complicity of doctors. The earlier intimidation of Kim Dan and the threats directed toward his grandmother
(chapter 11)
(chapter 16) demonstrate that Heo Manwook was already operating within that gray zone where medicine, crime, and financial exploitation overlap. It is therefore not surprising that the disgraced hospital director later appears within this environment. The medical world has long been entangled with the loan shark’s activities and this through Choi Gilseok who has a connection to a pharmaceutical company.
At the same time, however, Heo Manwook himself occupies a precarious position within the hierarchy. Although he runs the office and commands his subordinates, his authority is ultimately dependent on Choi Gilseok.
(chapter 46) The phone calls between the two reveal a relationship defined by obedience. When Choi Gilseok reprimands him for the failed scheme, Heo Manwook immediately accepts the criticism and follows his orders.
(chapter 46) The “hand” of the organization may execute violence, but it does not decide the strategy.
Visually, the story even reflects his gradual loss of power. Earlier confrontations often depict Heo Manwook towering over his victim
(chapter 16), emphasizing the asymmetry between predator and prey. Yet when he threatens the disgraced hospital director, the composition changes subtly.
(chapter 93) The two men are positioned almost at eye level, confronting one another on the same plane. The shift is striking. The man who once dominated every encounter now appears lowered, forced into a confrontation with someone who mirrors his own corruption. The hierarchy begins to flatten. This visual transformation acquires an additional meaning when one recalls Joo Jaekyung’s realization in episode 91.
(chapter 91) Reflecting on the men who had abused Kim Dan, the champion bitterly admits that he is “no different from the fuckers who took advantage of you.” Although Jaekyung is still unaware that Heo Manwook actually attempted to rape Kim Dan earlier in the story, the scene nevertheless establishes an unsettling parallel between different forms of abuse of power. The disgraced hospital director exploited his authority as a physician, while the loan shark uses violence and intimidation to dominate his victim. Both belong to the same shadow world where institutional positions become instruments of exploitation.
In this sense, Heo Manwook also resembles another figure hinted at by the narrative’s broader thematic references: the “man who knew too much.” As the operator of the supposed detective agency,
(chapter 17) he possesses extensive knowledge about the hidden mechanisms of the criminal network — rigging fights, illegal betting, debt collection, organ trafficking, and even the exploitation of vulnerable individuals. Yet this knowledge does not grant him control; instead, it entangles him more deeply in the system’s corruption. The more he knows about its secrets, the less clearly he perceives reality. Years of operating within the criminal network have isolated him from the logic of the legal world. Surrounded by corruption, intimidation, and bribery, he gradually begins to believe that these mechanisms can shield him from any real consequences. The knowledge that once gave him power therefore becomes a distortion: it convinces him that he can act with impunity, imagining that the system protecting him will always remain intact. What once appeared to be power gradually reveals itself as liability. I would even add. This protection could only function as long as the system itself continued to run smoothly. It depended on the uninterrupted flow of money circulating through the laundering network. The moment that flow is endangered—when bets collapse, scandals emerge, and funds begin to disappear—the shield of protection weakens. Figures such as the director of the gym and the loan shark suddenly become far more exposed than before.
Another recurring element reinforces this tension: the knife. Earlier in the story, Heo Manwook is already associated with the sudden appearance of a blade during his confrontation with Joo Jaekyung.
(chapter 17) The weapon signals impulsive violence rather than calculated strategy.
(chapter 17) The knife belongs to the realm of direct physical force—the crude instrument of someone who acts rather than plans. At the same time, this weapon reveals why Heo Manwook believes that his power and strength are real. The latter stands for ultimate violence, someone can die with such a weapon. However, like exposed in a previous essay, MMA fighters can still die with bare hands. A wrong move or a mistake …
(chapter 25)
Striking is that the attack with the knife did not occur in an open fight.
(chapter 17) Instead, the weapon appeared abruptly from behind, transforming the encounter into an act of treachery rather than a fair confrontation. The knife therefore becomes a symbol of unfairness, backstabbing and betrayal. Rather than representing courage or open combat, the weapon exposes the opposite: deception, hypocrisy, and cowardice. Heo Manwook and his men do not confront their victims openly. Instead, they rely on tools—blades, bats, and intimidation—to frighten and wound those who cannot defend themselves.
This symbolism becomes even more striking when placed next to Baek Junmin’s later threat toward the disgraced hospital director.
(chapter 93) When Junmin swears to “gut him like a fish,” the language itself evokes the imagery of a blade. Even though no weapon appears in the panel, the metaphor unmistakably suggests the act of cutting open a body. The threat therefore carries the same symbolic weight as the earlier knife attack: violence delivered through sudden, treacherous intervention rather than through open confrontation.
At the same time, Baek Junmin’s words unintentionally reveal something about the world he comes from. Earlier conversations among fighters hint that illegal matches often involve hidden weapons and brutal ambushes rather than regulated combat.
(chapter 47) The underground arena operates according to entirely different rules, where knives are not anomalies but part of the environment. In this sense, Junmin’s threat does more than intimidate the former hospital director—it exposes the violent logic of the system that produced him.
This background also helps explain the visual markers associated with the fighter himself.
(chapter 93) The scar crossing his face suggests past encounters with blades, while the demon tattoo carrying a knife in its mouth reinforces the imagery of violence as an ever-present companion. In the world of illegal fights, the blade is not merely a weapon. It is a sign of survival within a system where betrayal, ambush, and hidden violence are part of the rules.
Seen from this perspective, the knife becomes a recurring motif that links several narrative threads: the cowardly intimidation practiced by the loan shark, the brutal culture of underground fights, and the language of threats used by Baek Junmin. Each instance reveals a world where violence is rarely honorable. Hence it is rather fake, though both men believe that they are “real” and as such “strong”. Instead, it appears as something sudden, concealed, and treacherous—an instrument of systems that operate in the shadows rather than in the open.
Ironically, the greatest vulnerability of the loan shark is not a rival fighter, the police, or even the collapsing betting scheme. His true Achilles’ heel lies in a far more mundane object: the cellphone and as such the digital world. From the beginning, Heo Manwook demonstrates a profound distrust of digital evidence. Even after Kim Dan transfers the expected amount of money for the month,
(chapter 11) the loan shark refuses to rely on the transaction itself. Instead of trusting the digital record, he personally visits Kim Dan and continues the physical abuse. In his worldview, confirmation must come through intimidation rather than documentation.
Yet this instinct reveals a crucial blind spot. The system he participates in increasingly operates through precisely the kind of digital traces he refuses to respect.
(chapter 17) When Joo Jaekyung later transfers the money directly to him using his own phone
(chapter 17), the transaction itself becomes a form of evidence. What Heo Manwook perceives merely as a convenient payment leaves behind a record — one that cannot be erased by violence. The phone quietly transforms the power dynamic: intimidation may silence witnesses, but it cannot erase a transaction history.
This weakness becomes even more visible when the narrative contrasts his behavior with Joo Jaekyung’s.
(chapter 91) The champion carefully reads the news article exposing the former hospital director’s crimes.
(chapter 91) Through that article, the audience learns that the man’s medical license has already been suspended.
Heo Manwook, however, never appears to read this information.
(chapter 93) When confronting the disgraced hospital administrator, he still addresses him as “doctor.” He still thinks, he can treat patients.
(chapter 93) The mistake is revealing. It shows that the loan shark operates not through careful verification but through assumptions and second-hand knowledge.
This vulnerability becomes even clearer inside the office itself.
(chapter 46) The computer visible on Heo Manwook’s desk quietly contains a record of the entire operation. The illegal betting site displayed on the screen is not merely a tool for profit; it is also a potential archive of evidence—transactions, accounts, and financial flows that could expose the laundering system. In other words, the machine that allows the network to generate money simultaneously preserves the traces of its crimes.
The question, however, is whether Heo Manwook truly understands this danger. The computer is still on his desk, but this time unused, as he has other things to do.
(chapter 93) Throughout the scene he appears less like an independent decision-maker than an obedient intermediary who follows the instructions of Choi Gilseok.
(chapter 93) Rather than taking initiative himself, he waits for orders from the director of the gym. This dependency raises a crucial uncertainty: if the system begins to collapse, will he even recognize the need to erase these traces? If not, the very tools that enabled the network’s operations—the phone, the betting platform, the office computer—may ultimately become silent witnesses against him.
For this reason, the interaction with the disgraced doctor marks a turning point. As the system begins to destabilize, the “hand” that once enforced obedience now finds itself confronting forces it cannot fully control. The network’s operational executor is gradually being pushed downward, while another figure—Baek Junmin—steps forward with his own plans. The collision between these two trajectories appears increasingly inevitable.
Baek Junmin – The Man Who thinks Who Knows Everything
If the office scene exposes the true nature of Heo Manwook’s organization, the final figure sitting in that room introduces a different kind of mystery: Baek Junmin.
(chapter 93) Unlike the other men present, he appears strangely detached from the conversation unfolding around him. While Heo Manwook and Choi Gilseok discuss debts, payments, and police connections, Junmin shows little interest in the financial urgency dominating the room. Instead, he lounges in the armchair typically reserved for the “CEO” or company owner, casually chewing gum while glancing at his phone.
This posture is revealing. In a room where the others are preoccupied with stabilizing a failing operation, Junmin behaves with the careless ease of someone who feels entitled to the space. The seat he occupies subtly reinforces this impression: he places himself in the position of authority without actually participating in the responsibilities that come with it. The attitude he projects is less that of a strategist and more that of a spoiled child, detached from the consequences of the situation unfolding around him.
(chapter 93)
Only when he reaches toward the calendar, does the focus of his attention become clearer: the approaching match.
(chapter 93) The fight appears to function as a deadline, a moment toward which his thoughts have been quietly moving while the others worry about debts and bribes. At first glance, this might simply indicate that he is counting down to the fight. Yet the gesture suggests something deeper. Unlike the others in the room, Junmin does not seem to experience time as a practical pressure linked to debts, bribery, or police intervention. His notion of time is psychological rather than material. He is not living in the present urgency of the criminal network; he is still trapped in an older temporal logic shaped by humiliation, resentment, and wounded pride.
This is why the televised revelation matters so much.
(chapter 87) Joo Jaekyung’s public exposure of the stunt did not merely create financial problems for the organization. It inflicted a fresh narcissistic wound on Junmin himself. The humiliation was public, visible, and impossible to ignore. In that sense, the upcoming match is not only a sporting deadline but also a symbolic countdown: a chance to reverse the humiliation, reclaim his standing, and restore a damaged image. Time, for Junmin, does not move forward in a stable or mature way. It circles obsessively around injury, revenge and shame; he stores it.
(chapter 93) Seen in this light, the gum becomes more than a casual gesture. It reinforces his childishness. Junmin does not cry, does not openly rage, and does not confess weakness. Notice that he is not even training at the gym, though King of MMA is next door. This contrasts so much to Joo Jaekyung who continues to maintain a disciplined routine despite everything. Thanks to his determination, he was able to leave poverty behind and overcome a brutal childhood. As Kim Dan later remarks on the beach, this perseverance is
(chapter 94)
The juxtaposition between the Shotgun watching the video
(chapter 93) and the quiet conversation on the beach therefore reveals two radically different understandings of strength. For Joo Jaekyung, strength has gradually come to mean endurance: the ability to continue moving forward despite humiliation, hardship, and personal loss.
(chapter 94) For Baek Junmin, by contrast, strength remains tied to wounded pride and the desire for retaliation.
Rather than transforming humiliation into growth, he remains trapped within it. This is precisely why his request to the doctor is immediately accompanied by a threat:
(chapter 93) The sentence reveals the logic governing his actions. Authority, in his world, is not built on discipline, patience, or competence, but on intimidation. Violence becomes the only language through which he can assert control. In this sense, the panel exposes the profound immaturity behind his performance of indifference. While the champion disciplines his body and confronts his past, Junmin simply reproduces the brutality that once humiliated him.
But let us return to Baek Junmin and the bubble gum. His behavior only makes visible how immature his emotional world remains, exposing a lack of professionalism and inner strength. While the champion disciplines his body and confronts his past, Junmin sits idle, replaying an insult and waiting for an opportunity to restore his pride. The others are trying to save a criminal enterprise under pressure; Junmin is still silently thinking of the insult, fixated on the idea of revenge. Thus I deduce that he is watching Joo Jaekyung’s last match.
This deduction raises another possibility. If Junmin is indeed watching footage of Joo Jaekyung’s last match on his phone, the scene may contain a hidden clue. After that fight, the champion briefly turns toward the outside of the cage and asks someone whether he did well.
(chapter 87) The moment appears insignificant to most spectators. Yet for someone who already knew the identity of the person standing there, the gesture could reveal something important.
If Junmin had previously followed Kim Dan and taken photographs of him
(chapter 46) —as suggested by the anonymous surveillance images circulating earlier in the story—he would immediately recognize the pattern of Joo Jaekyung’s behavior. The champion’s glance toward the cage-side observer would no longer appear random. It would identify the person occupying that position: the physical therapist Kim Dan.
In this sense, the scene may quietly suggest that Baek Junmin already knows more than the other characters in the room. While Heo Manwook and Choi Gilseok remain unaware of Kim Dan’s real identity, Junmin might have been the one who first connected the champion to the young therapist. Doc Dan is the champion’s vulnerability, he has feelings for him. If this interpretation is correct, the invisible wall separating him from the others takes on a new meaning: Junmin is not merely detached from their conversation—he may already possess information that they do not.
Yet another detail complicates the situation even further.
(chapter 93) Throughout the entire scene, Baek Junmin remains silent—but silence does not necessarily mean ignorance. While Heo Manwook and Choi Gilseok are focused on collecting money and resolving immediate problems, Junmin is still present in the room, quietly hearing everything that is being said.
One particular detail may therefore become significant: the repeated references to a “doctor.” The man being pressured by the loan sharks is clearly identifiable as the former hospital director who once fired Kim Dan.
(chapter 93) His appearance leaves little doubt—he wears the same clothes and glasses seen in earlier chapters.
(chapter 90) The only difference is the loss of his spectacles. They are not only broken, but also lying next to him. The loss of his glasses mirrors his situation: he is forced to face reality and as such he is discovering the true reasons behind doc Dan’s greed: despair and fear in front of the loan shark.
(chapter 90) One could say, he is now receiving his karma. Like mentioned above, the behavior and words of the men
(chapter 93) confronting him suggests that they are not left in the dark concerning the situation of the perverted hospital director. They are not truly interested in investigating his work place. Choi Gilseok and Heo Manwook appear not only impatient, but they don’t question his social status. Rather than asking questions about the man’s circumstances, he simply pressures him to produce money.
This urgency is revealing. If the loan sharks had taken the time to examine the man’s background carefully, they would almost certainly have discovered the recent scandal surrounding him.
(chapter 91) An article had already exposed the accusations of sexual harassment and the suspension of his medical license. If Heo Manwook and Choi Gilseok had read that report, their reaction would likely have been very different. A disgraced doctor without a license represents a debtor with extremely limited means of repayment. Under normal circumstances, they would immediately question how he intended to pay them back.
The fact that they do not ask such questions suggests that they simply do not know. They are rushing the process, focused on immediate cash rather than information. Their attention is consumed by the financial damage caused by Joo Jaekyung’s televised revelation, leaving them little time to investigate the background of the man sitting in front of them.
But Baek Junmin’s position in the room is different. Unlike the others, he is not distracted by money or debts. While pretending to be uninterested—chewing gum and staring at his phone—he may in fact be absorbing every detail of the conversation. If Junmin has already connected Kim Dan to Joo Jaekyung, hearing the word “doctor” in this context could suddenly activate an entirely new chain of associations.
In that sense, the scene may represent a crucial turning point. The loan sharks believe they are merely collecting a debt. Yet the presence of the former hospital director introduces a piece of information that may be far more valuable than money. The moment Junmin realizes who this man is, a doctor, then he can jump to the conclusion that he represents a good tool against Joo Jaekyung and Kim Dan. The question is: did he read the news and does he know what role he once played in Kim Dan’s life (the sexual harassment)?, especially if he was the one following doc Dan. I have my doubt about it, as he could never forget the humiliation on TV. Moreover, let’s not forget that officially, the main lead got “fired” after the incident leaving a stain on his resume.
(chapter 1) So what did he hear at the office the whole time?
(chapter 93) Doctor, doctor… And why did Joo Jaekyung speak about the prank in the first place? It was for Doc Dan’s sake and to restore his honor.
(chapter 87) Joo Jaekyung came to the conclusion that the prank had destroyed Doc Dan.
(chapter 91) Thus I deduce that the physical therapist has become the real target of the next plot.
Yet Junmin’s behavior reveals another pattern that runs consistently through the narrative: he rarely confronts his enemies directly. Instead, he repeatedly hides behind authority.
Earlier in the story, he invokes the protection of his mysterious “hyung.”
(chapter 74) Later, he relies on Choi Gilseok to approach Joo Jaekyung with an offer
(chapter 48) designed to manipulate the outcome of the fight. When the doctor rejects the offer, the scheme unfolds in a different way. The manipulation involves not only gambling but also medical interference — the suspicious spray used during the match and Choi Gilseok brought it himself and gave it to one of his members.
(chapter 50)
The same logic appears within the institutional framework of the sport. The CEO of the MFC openly praises
(chapter 47) Junmin’s “star quality” and supports his rapid rise within the organization. Such endorsement provides him with a form of institutional legitimacy that shields him from direct scrutiny. His authority does not come from discipline or merit alone but from the structures that elevate and protect him. And observe how the lady in red protected the “champion’s reputation”.
(chapter 69)
Even the medical system itself appears to participate in these manipulations. In episode 41, the medics clear Joo Jaekyung to fight
(chapter 41), though it was clear that the champion’s shoulder condition had worsened.
(chapter 41) The official report contradicts the observations of the physical therapist. Moreover, they had allowed the fight, though the athlete’s foot had been injured.
(chapter 50) Later, after the match, the examination of the fighters at the health center takes place in conditions that clearly lack privacy
(chapter 52) : there are no curtains separating the athletes during their medical checks and treatment. This unusual setup allows information to circulate freely between competitors. Authority, rather than truth, determines the outcome.
This pattern repeats again in the media narrative that follows the fight.
(chapter 54) Experts criticize the champion’s decision to fight despite his condition, and news reports emphasize the financial damage caused by his brawl and declining brand value.
(chapter 54) Responsibility is gradually shifted away from the structures that enabled the situation and toward the fighter himself.
Seen together, these elements reveal Junmin’s true modus operandi. Rather than confronting his opponents directly, he operates through a chain of authorities: criminal patrons, gym directors, corporate executives, and medical institutions. Each layer provides protection while simultaneously distancing him from direct responsibility. Violence, manipulation, and reputation damage are carried out by others, while Junmin remains positioned just outside the immediate line of accountability.
Seen in this light, the presence of the disgraced hospital director in the office may represent a new opportunity for the Shotgun. While Heo Manwook and Choi Gilseok focus only on collecting a debt, Junmin may recognize a different potential. The man in front of them is not merely a debtor. He is a doctor — a figure associated with knowledge, prestige, and institutional authority.
If such a figure could be used to shift blame onto Kim Dan, the consequences would be devastating. The young physical therapist already occupies a vulnerable social position: he comes from poverty, lacks institutional protection, and carries the stigma of having been dismissed from the hospital
(chapter 1) and even he made a “mistake” at the Light of Hope once.
(chapter 59) Finally, because of the perverted hospital warden’s assault, the main lead ended up blacklisted. He could never get hired at another hospital. If the narrative surrounding the injury were manipulated, the responsibility for Joo Jaekyung’s worsening condition and the schedules could easily be redirected toward him.
Several elements would support such a strategy. Though the doctor protested, the champion nevertheless continued to fight and used the report from MFC doctors as justification. In a manipulated narrative, these facts could be rearranged to suggest that the inexperienced therapist had mismanaged the situation.
This possibility becomes even more disturbing when one considers Park Namwook’s role within the system.
(chapter 46) Throughout the story, the coach frequently appears wearing glasses—a visual symbol traditionally associated with knowledge and clarity. Yet despite this apparent vision, he repeatedly fails to recognize the dangers surrounding Joo Jaekyung. As the champion’s manager, Park Namwook is responsible for organizing his schedule and protecting his long-term career. In principle, this role should place him in the position of a guardian. But he does not intervene
(chapter 41), he just stands by his side.
In practice, however, the opposite often occurs. Earlier in the story, Joo Jaekyung openly questions why he was scheduled for so many events in the first place.
(chapter 17) Instead of acting as a protective barrier between the athlete and the pressures of the industry, Park Namwook frequently defers to the logic of the organization. When the CEO of MFC later invites the champion to an important meeting, the coach encourages him to attend, once again placing institutional expectations above caution.
(chapter 69) In this sense, Park Namwook’s authority begins to resemble the same pattern visible in Baek Junmin’s behavior: responsibility is repeatedly shifted upward toward the organization MFC or Joo Jaekyung as the owner of Team Black
(chapter 88)
The result is a chain of authority in which no single actor fully accepts responsibility. The manager defers to the organization (MFC or the star), the organization relies on medical clearance, and the medical staff produce reports that legitimize risky decisions
(chapter 61). Each layer appears authoritative, yet together they create a system in which accountability becomes blurred.
Baek Junmin’s strategy exploits precisely this weakness. By bringing the disgraced hospital director into the situation, he introduces a figure whose authority once belonged to the medical world itself. The newspaper article reveals that the hospital had tolerated the director’s abusive behavior for a considerable time before finally suspending his license under public pressure.
(chapter 91) In other words, the institution protected him as long as the scandal remained manageable. Only when external scrutiny became unavoidable did the hospital distance itself from him. Hence his face got almost exposed.
Seen from this perspective, Junmin’s decision to involve the former doctor does not merely introduce a new accomplice. It exposes the deeper corruption already present within the medical system. The “rotten apple” did not emerge from nowhere; he was produced and sheltered by the institution that now claims to reject him.
This development creates a dangerous convergence between two worlds: the criminal network surrounding illegal fights and the institutional structures of sport and medicine. By aligning himself with the disgraced doctor, Junmin believes that he is protecting himself, unaware that he is effectively importing the corruption of the medical sphere into the arena of professional fighting and as such endangering his own position. The boundaries separating criminal manipulation, corporate interests, and medical authority begin to collapse.
In that sense, the situation no longer concerns only a personal rivalry between fighters. It reveals the fragility of the entire system surrounding the champion. The figures who should protect him—the manager, the organization, and the medical staff—are themselves embedded in structures that can be manipulated.
At this point, Baek Junmin’s nickname begins to acquire a deeper symbolic meaning.
(chapter 49) A shotgun is not a weapon designed for precision. When fired, it releases multiple pellets that spread across a wide area, striking several targets at once. Junmin’s strategy follows a similar logic. Rather than confronting Joo Jaekyung directly, he destabilizes the structures surrounding him: the media narrative, the medical establishment, the leadership of MFC, and potentially even the champion’s personal relationships. Each move strikes a different layer of the system protecting the fighter. The goal is not a single decisive blow but a gradual weakening of the entire structure around the champion.
Yet this strategy carries an inherent danger. By firing into multiple institutional spheres at once, Junmin risks exposing connections that were previously hidden. The medical world, the fighting organization, and the criminal network surrounding illegal betting are not isolated domains; they intersect. In that sense, Junmin does not merely act like a fighter seeking revenge. At this moment, he becomes “the Shotgun.” The weapon does not only wound a single opponent; it blasts open the structures that conceal corruption. By pulling the trigger, Junmin risks revealing the true nature of MFC, the sport itself and the network of interests surrounding them (the medical world and the pharmaceutical company).
So if this interpretation is correct, the office scene may foreshadow the next stage of the conspiracy. Junmin does not need to attack Joo Jaekyung directly. Instead, he may target the person the champion cares about most.
Kim Dan.
The Disgraced Director – Knowledge as Liability
The appearance of the former hospital director in Heo Manwook’s office introduces another crucial figure into the unfolding conspiracy.
(chapter 93) Unlike the other men in the room, this individual already stands at the intersection of several narrative threads. He knows Kim Dan.
(chapter 90) He has encountered Joo Jaekyung. And he has personally witnessed the dynamics between them.
Yet this knowledge is fundamentally distorted. Because of the circumstances surrounding their earlier encounters, the disgraced director arrived at a false conclusion: he believed that the physical therapist and the champion were romantically involved. Let’s not forget that he had blacklisted him in his career. From his perspective, the young doctor could only be the athlete’s intimate partner rather than his professional caregiver.
(chapter 90) Secondly, he was doing it for the money, hence he called him a slut.
(chapter 90) This misunderstanding fundamentally shapes how he interprets the situation. In this sense, the disgraced director resembles Heo Manwook. Both men rely heavily on their past experiences when judging others. The loan shark assumes that Kim Dan must have obtained the money through prostitution or some other illicit activity, while the former hospital director interprets the closeness between the athlete and the therapist as evidence of a romantic relationship. In both cases, what appears to be practical knowledge becomes a source of blindness. Their experience allows them to recognize familiar patterns, but it also prevents them from seeing the complexity of the reality before them. The relationship between Joo Jaekyung and Kim Dan does not fit into a simple category such as business, manipulation, or romance. Their bond evolves gradually and reflects a far more complex emotional dynamic.
(chapter 93) Yet characters like the loan shark and the disgraced director attempt to reduce it to a single explanation that matches their own expectations. In doing so, they illustrate another variation of the same paradox: those who believe they know the world best are often the least capable of perceiving its truth.
A Dangerous Instrument
At the same time, his position is extremely precarious. Unlike Baek Junmin or the loan sharks, the disgraced director cannot confront either Joo Jaekyung or Kim Dan directly. Both men already recognize him. His earlier misconduct in the hospital and at the restaurant have exposed his character, and his recent public scandal has destroyed his professional legitimacy.
(chapter 91)
This is precisely why indirect strategies are the only solution for him.
If Kim Dan indeed becomes the next target of Baek Junmin’s schemes, the director initially appears to offer a convenient opportunity. As a doctor, he possesses the authority and reputation associated with the medical profession. From Junmin’s perspective, such a figure could provide legitimacy to accusations directed at the young therapist. Yet this calculation overlooks a crucial reality. The man’s reputation has already collapsed. The public scandal surrounding the accusations of sexual harassment has stripped him of his professional credibility and resulted in the suspension of his medical license.
This loss of status drastically changes his position. The disgraced director can no longer act openly within the medical world. Any direct accusation coming from him would immediately be discredited because of his scandal. However, this does not mean that he has become powerless. On the contrary, his former position may still grant him access to personal contacts and informal networks inside the medical system. Instead of acting publicly, he could therefore operate indirectly—reaching out to former colleagues or institutions and encouraging them to question Kim Dan’s competence or responsibility, as this is something he experienced in the past.
(chapter 1)
The Vulnerability of an Invisible Doctor
Such a strategy would exploit an existing weakness in Kim Dan’s situation. Earlier in the story, when Joo Jaekyung attempted to locate him after his disappearance
(chapter 56), hospitals repeatedly responded that they had never heard of anyone by that name.
(chapter 56) This reaction suggests that the young therapist had already been erased from the professional network in Seoul. Far from protecting him, this invisibility places him in an extremely fragile position: without institutional recognition, he has no professional community capable of defending him.
If rumors about Kim Dan suddenly begin circulating within the medical world—or even appear in the media—the contradiction would be striking. Only a few months earlier, no hospital acknowledged his existence. Yet now doctors or the media would suddenly be discussing him as a controversial figure linked to the champion’s injury. Such a sudden shift would inevitably raise questions.
For Joo Jaekyung, this discrepancy could become the first clear sign that something is wrong and lets not forget that in the past, he doubted the doctors.
(chapter 5) The athlete might realize that the narrative emerging around Kim Dan does not match the reality he previously encountered while searching for him. What appears at first as professional criticism could therefore reveal the existence of a coordinated attempt to manipulate the story.
Medical Confidentiality as a Weapon
Another possibility makes the situation even more troubling. If Junmin or the disgraced hospital director wished to discredit Kim Dan, they could not necessarily need to rely solely on rumors or professional criticism. A far more effective strategy would involve the selective leaking of medical information.
Kim Dan’s own patient file could become a weapon.
(chapter 91)
The young therapist’s history of psychological struggles and emotional distress is part of his medical record. Under normal circumstances, such information would remain strictly protected by medical confidentiality. Yet the story has already demonstrated how easily such boundaries can be violated when institutional interests are at stake.
(chapter 36)
Earlier in the narrative, the medical system showed little hesitation in discussing Joo Jaekyung’s injury publicly. Experts speculated on television about the champion’s condition, and reporters openly discussed his worsening shoulder problem despite the obvious ethical implications of revealing medical information without the patient’s consent.
(chapter 54) Striking is that no one in the medical world sided with the star because of his law suit against a hospital
(chapter 42)
These scenes suggest that medical confidentiality in this world is far from absolute. When money, reputation, or institutional pressure become involved, private information can quickly turn into public material.
If the same logic were applied to Kim Dan, the consequences could be devastating. And don’t forget how the main lead reacted to this situation: he was rather indifferent. A leaked file describing his mental health struggles could easily be used to construct a narrative portraying him as unstable, unreliable, or professionally unfit. Under this light, you comprehend why I placed Choi Heesung in the illustration, as he was the first one bringing up the notion of mental illness.
(chapter 89) In such a scenario, the young therapist would not simply be accused of incompetence. His entire credibility could be undermined, before he even had the chance to defend himself.
The strategy would also serve several interests at once. And like mentioned above, the medical institutions involved could shift responsibility for the champion’s worsening injury onto a crazy outsider. MFC could distance itself from the controversy surrounding the fight. And Baek Junmin could exploit the scandal to weaken both Joo Jaekyung and the man closest to him.
What makes this possibility particularly disturbing is that it would rely on a form of violence that leaves no visible wounds. Instead of physical intimidation, the attack would take place through information — through documents, rumors, and carefully constructed narratives.
In other words, the same system that once erased Kim Dan from the medical world could suddenly reintroduce him into public discourse under the worst possible circumstances.
The Man Who Knows Too Much
Yet the plan also contains a dangerous flaw. The disgraced director is far from a reliable ally. His public scandal has already destroyed his credibility, and his own actions in the past reveal a man driven by opportunism and self-preservation. If pressured too far, he may choose to reveal far more than Junmin expects. Instead of stabilizing the situation, his intervention could expose the corruption of the very system Junmin is attempting to manipulate. How so? It is because he was brought to Heo Manwook’s office.
(chapter 93) In the past, the loan shark never brought his victims into his own headquarters. Debtors were usually confronted in their homes
(chapter 5) or attacked in the street
. (chapter 1) His office functioned as a hidden lair, carefully separated from the violence carried out by his subordinates. The presence of the disgraced director inside that office therefore represents a significant rupture in Heo Manwook’s usual methods.
(chapter 93) Moreover, this time he is the one beating the victim, while one of his minions is standing.
(chapter 16)
The doctor’s presence there represents a source of danger. He is no longer merely a possible instrument; he also becomes a witness. By hearing the conversation about bribes, police pressure, and debt collection, he acquires dangerous knowledge about the criminal network itself.
(chapter 93) In that sense, the same man whom Junmin hopes to use as a tool against Kim Dan simultaneously becomes a liability capable of exposing the entire scheme.In other words, the former doctor could end up betraying the schemers, something the Shotgun is not expecting.
The urgency created by recent events has forced the organization to abandon its usual caution. At the same time, the visual composition of the scene creates a revealing illusion.
(chapter 93) Seated prominently in the center of the room, Baek Junmin appears almost like the true authority figure — the one silently observing while others handle the negotiations. His posture suggests the role of a mastermind directing the operation from the background. Thus the scared director could misjudge the true position of the “champion”, he is the real mastermind behind this. And this time, he could no longer hide behind his hyungs or organizations.
This creates a striking contrast with Kim Dan himself.
Kim Dan also possesses knowledge about the hidden world surrounding Joo Jaekyung. He has witnessed suspicious medical decisions
(chapter 41), manipulations within the fighting organization
(chapter 37, the drugged beverage), and the athlete’s deeply personal belief in the so-called “jinx.” Yet despite these insights, Kim Dan remains largely excluded from the decision-making processes that shape the champion’s career. In several crucial moments—such as the incident at the health center—he was deliberately kept in the dark.
The contrast between the two figures could not be sharper. The disgraced director possesses knowledge but uses it as a potential weapon. Kim Dan possesses knowledge but has no idea about his own power. What distinguishes them is that the main couple is starting sharing their thoughts and insight to each other, while at the office, the schemers keep their insight to themselves. Yet, a plot can only work, if intel is exchanged. At the same time, the information has to be accurate as well. But for that, the villains have to expose their “knowledge” and as such “vulnerabilities”.
In the end, the question is no longer simply who knows too much. Baek Junmin believes he understands everything: Kim Dan, Joo Jaekyung, and the system surrounding them—especially the power of money. Yet his confidence rests on misinterpretations and assumptions. Kim Dan, by contrast, never claims such certainty. Still, he has witnessed the hidden mechanisms of that same system—its corruption, its manipulation, and its violence—without fully grasping their meaning. Yet the way he acquires this knowledge is fundamentally different. His insight does not come from intimidation or control, but from the confessions of others. He listens patiently and attentively, without judgment.
(chapter 47)
(chapter 48)
(chapter 74) Joo Jaekyung represents yet another form of knowledge: the knowledge of experiences. Through hardship, defeat, and survival, he has learned to recognize the realities of the world step by step. By living next to doc Dan, he learned to listen and observe so that he is now more aware of the world surrounding him. The true tension of this arc therefore lies not simply between ignorance and knowledge, but between three different ways of understanding reality. One man believes he understands everything, another quietly carries knowledge that could expose it all without realizing it, while the third slowly learns the truth through experience.That is precisely why, in the illustration, they now stand facing each other.

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(chapter 3) The latter became responsible for the hamster’s sexual education.
(chapter 90) He is not impulsive. He is not openly violent. He operates within institutions, within offices, within controlled environments. He isolates rather than attacks. He frames rather than forces. Like Compère le loup, he is not a stranger; he is part of the social order. He belongs to the system. That belonging is precisely what grants him access.
(chapter 90) His threat is not confession; it is defensive strategy. It reveals what he fears most: exposure. Not moral reckoning, but visibility. The predator who once operated in sealed rooms now imagines himself dragged into the open. And that possibility terrifies him.
(chapter 90) prioritizes its “output” (reputation, profit, or clinical operations) over the safety of its staff, it adopts the woodcutter’s axe. By focusing only on the work at hand, the institution effectively grants the predator a “sealed room.” The wolf doesn’t need to hide from the woodcutters; he only needs them to keep their heads down. What makes him powerful is not brute force but the absence of eyes. The director functioned the same way. His authority depended on institutional insulation — doors closed, hierarchy unquestioned, narratives controlled. As long as no one looked too closely, he remained Compère — familiar, respectable, legitimate.
(chapter 90) It resembles the wolf’s preferred setting: intimacy that appears voluntary. What caught my attention is that he complained about his partners.
(chapter 33), but at the restaurant. If he had known such a club, he could have met the green haired-guy or the “uke” from episode 55. Thus I deduce that the sexual predator is actually hiding his “homosexuality”, he had been living a double life in the end, like the wolf in Perrault. That’s why he targets “virgins”. Since he used the expression “pandering… get by”, Mingwa implies that this man must have told the men (“all kinds of people”) he met, he was looking for a boyfriend to justify his action.
(chapter 90) That surprise matters. It suggests expectation of compliance, of silent agreement, of recognition of coded signals. The man likely does not belong to the director’s ecosystem; he does not recognize the invitation as opportunity but as lack of respect. Thus he exits.
(chapter 90) The fact that the wolf tried to talk him out of it indicates that their relationship was not only superficial, but also more equal. Humiliation is crucial. Predators who rely on social camouflage depend on territory. When territory collapses, strategy must change.
(chapter 90) This is where Grimm enters. His true nature got exposed, he is socially identified as predator.
(chapter 90) He devours.
(chapter 90) There is no sustained camouflage. Violence becomes explicit.
(chapter 90) Hence he ran away. The exposure destroyed his credibility. The public article marked him. His ecosystem collapses. He is no longer hidden wolf. He is identified predator.
(chapter 16)
(chapter 30), but also as selfless.
(chapter 30) Yet, he is a libertine, though he claims to be pure by stating that he is looking for his soulmate.
(chapter 33) Hence no one is suspecting the darkness in his heart. Even the champion believed in his words, when he claimed that he had some feelings for doc Dan.
(chapter 58) The resemblance is deliberate. He is discreet. He avoids public scrutiny. He hides his intimacy with Potato.
(chapter 43) Therefore the latter was not present at the champion’s birthday party. The actor operates in private spaces
(special episode 2) and prefers silence over visibility. Like Perrault’s Compère le loup, he does not appear monstrous. He appears socially legible — even charming. He navigates controlled environments. He is careful about who sees what.
(chapter 35) He proposes a “race”to the little girl, in Jinx it’s a meal (ramen in Korean, an allusion to sex)
(chapter 35) He softens his voice. He invites the girl into bed.
(special episode 1) He constructs intimacy before violence. He depends on civility as camouflage.
(special episode 1)
(special episode 1) It is not about power display, but fun. He hides not to isolate his partner, but to shield himself from exposure. His discretion protects his own public image, not his access to another’s body. The imbalance exists — it cannot be denied — but it is not systematically mobilized to erode consent. The latter comes from their initial contract: Potato is at his beck and call.
(special episode 1) He has been avoiding “virgins” for one reason. He knows how a “virgin” would react to his dream ” to find his soulmate”. They would take his “words” seriously and imagine him as someone serious and reliable. But by selecting partners with sexual experience, he can claim that he made a mistake, they were no soulmate.
(special episode 1) But this panel exposes even better why the actor is so different from Perrault’s wolf. Youth symbolizes “vulnerability and innocence” and that’s something he has been avoiding. The reason is simple. That way, he can avoid accountability. That’s why he panics, when he hears the age. He realizes his mistake! This reveals that though Heesung is a libertine, he is different from the hospital warden. He is not seeking pleasure in asymmetry, fear, shame and power. He is not targeting “virgins” to exploit their vulnerability. He has been avoiding “virgins”, as he knew that he would have to take responsibility. In reality, he has always feared attachment. Where the wolf eroticizes vulnerability, Heesung is destabilized by it.
(chapter 34) the predator by accident
(chapter 89) — clever, adaptable, socially fluid. The fox does not devour. It maneuvers and as such plays tricks.
(chapter 32) He first approaches Kim Dan through professional contact. Later, he suggests a gig to Potato
(chapter 88) Even in the gym, he casually asks Yoo-Gu to hold mitts — reorganizing the work structure in ways that subtly serve his private interest. Work becomes the bridge. The boundary blurs.
(chapter 89) The accusation implies that Jaekyung contaminates professional space with sex. Yet Heesung himself collapses that boundary. He initiates intimacy with Potato after drinking.
(chapter 90) It is when one makes a clear decision and accepts the consequences. Yet, Heesung violated this rule, for he knew Potato was drunk. He did not stop. He did not insist on postponement. He allowed desire to override clarity. That choice introduces asymmetry. Alcohol clouds agency. Youth complicates balance. Professional proximity blurs roles. Secondly, he is rejecting accountability. Finally, he never tried to correct Potato’s error and false belief. He took advantage of his ignorance. So his behavior could be perceived as manipulative and coercive.
(special episode 1) He hides it, though he tried to reveal it to doc Dan
(chapter 58). If the truth were exposed — an actor secretly sleeping with a younger, inexperienced partner whom he approached through work — the narrative could easily frame him as exploitative. He could be accused of sexual harassment.
(chapter 91) the emotion is internalized. He experiences remorse not because he was exposed, but because he crossed a boundary. He separates work from intimacy afterward. He becomes rigid about consent, alcohol, and clarity. Therefore imagine his reaction, when he discovers the true nature of the relationship between Choi Heesung and Potato. He can only be shocked and angry.
(chapter 33) Or would attention shift to the structure that allowed blurred boundaries to exist in the first place?
(chapter 40) The sports reporters who repeated the official version? The referees? The moderators? The corrupted director of the gym Choi Gilseok? Or the institution itself?
(chapter 52), does the structure remain untouched?

(chapter 90) — and then he pulls his hand back.
(chapter 90) No words are spoken to stop him. His hand is not even pushed away, like doc Dan did it before.
(chapter 21) Everything happens in silence. The interruption comes entirely from within.
(chapter 90) In his mind, everything that followed the hiring — the money, the contract, the protection, the conflicts — converges back onto him. Faced with this conclusion, he rewrites the past. The good moments lose their weight.
(chapter 26)
(chapter 27)
(chapter 88)
(chapter 89) The help he provided becomes irrelevant. What remains is a single narrative: meeting him caused harm.
(chapter 61) the clenched fist, when he expressed determination to achieve his goal (bringing back doc Dan or winning a fight).
(chapter 81)
(chapter 74), or converting conflict into challenge.
(chapter 73) Fighting was not only his profession; it was his primary mode of being in the world. Here, however, the impulse to fight dissolves.
(chapter 16) The grasp that follows is not an invitation, but a reaction to damage already inflicted. Resistance has been broken through the body before appeal becomes possible. It symbolizes submission, exactly like in the penthouse.
(chapter 89), unlovability, moral contamination
(chapter 84) Deep down, he thinks that he can not be forgiven and even loved. This is precisely why they take hold. Spoken aloud, they acquire the authority of truth. Once internalized, they no longer need to be repeated.
(chapter 89) The panel does not show Heesung speaking again; it shows Joo Jaekyung’s clenched fist, isolated, rigid, suspended in recollection. This is not the fist of imminent action. It does not precede a strike. It does not convert pain into confrontation. Instead, it freezes.
(chapter 65), and Heesung who dismissed his agency
(chapter 89) under the guise of concern.
(chapter 65), but denied in structure.
(chapter 2), an external curse that followed his steps. Here, that distinction collapses. He no longer experiences the jinx as an event or condition, but as an identity. He does not fear what might happen because of him; he accepts that he himself is what causes harm. The curse is no longer something he carries. It is something he has become. Once internalized in this way, it no longer requires rituals to contain it.
(chapter 75) Practices that once functioned as talismans—gestures meant to ward off misfortune or secure victory—lose their meaning.
(chapter 75) What collapses is not only belief in luck, but belief in the necessity of striving at all.
8episode 10), Kim Dan wakes up there after drinking excessively, confused why he is sleeping in the penthouse. He doesn’t know that the night before in his drunkenness, his thoughts were turning toward his grandmother. He was mistaking the athlete for his relative.
(chapter 10) He feared getting abandoned. When the doctor realized his whereabouts, he imagined that he had sex with the champion. As you can see, the bedroom is strongly intertwined with longing and sin, where consciousness returns only after collapse. This association deepens in episode 20, when sexual intimacy is immediately followed by a phone call announcing his grandmother’s critical condition.
(chapter 20) Pleasure and threat coexist in the same space, binding the room to the anticipation of loss.
(chapter 29), his body once again giving way under accumulated strain. The room is no longer merely where exhaustion manifests; it is where it becomes undeniable. In episode 61, the association shifts again: Joo Jaekyung comes to the room seeking sex, but Kim Dan is unwell, unable to voice his own thoughts, unable to refuse.
(chapter 61) Illness interrupts desire, and the room marks the moment where agency falters.
(chapter 79). Once more, it is this room that frames the danger.
(chapter 79) The body moves without consciousness, hovering at the edge between presence and disappearance. The room becomes a liminal space where life is not actively threatened by violence, but quietly endangered by exhaustion and dissociation (suicidal thoughts).
(chapter 53) The object becomes a trace of absence, and the room transforms into a container of loss. Standing by the window, Joo Jaekyung is portrayed without eyes.
(chapter 53) The visual choice is crucial: it does not indicate blindness in a literal sense, but an inability to see forward, to orient himself. He is present in the room, but detached from direction and purpose. This scene announces the falling apart of the athlete.
(chapter 55) The space is sealed off, preserved, treated almost as a forbidden zone. The cleaning staff is not allowed to enter. Nothing is moved, corrected, or neutralized. The room becomes a reliquary rather than a dwelling — a place frozen in the moment of loss. Joo Jaekyung does not confront what happened there; he keeps it intact, untouched, and therefore unresolved. At the same time, he imagines that avoiding that place will help him to forget doc Dan’s gaze and face.
(chapter 53)
(chapter 53) In episode 54, wine bottles begin to accumulate beside the couch
(chapter 54) in his own bedroom leaving a huge red wine stain on the carpet.
(chapter 55) And in episode 90, the teddy bear now rests on the couch in Kim Dan’s room
(chapter 90) — occupying the very place toward which the jacket once flew. Across these scenes, the hand and couch emerge as a recurring site of impact, exhaustion, and surrender. It is where bodies fall, where frustration lands, where the weight of what cannot be said is deposited. One detail caught my attention: because they are not sitting on the couch, the main leads are discussing together. They are able to face each other and as such to listen to each other.
(chapter 90) Their respective position in this room reminded me of their previous arguments.
(chapter 45)
(chapter 51)
(chapter 61)
(chapter 64) Only when they would truly face each other, they would be more honest and expose their thoughts and emotions. As soon as there is a table, a bed or a couch, I detected some restrain and silence. In other words, the presence of the teddy bear and the couch in that scene explains why Kim Dan is silent and passive after their conversation. He is definitely remembering the day and conversation at the amusement park.
(chapter 88) On the other hand, it is about time that doc Dan becomes proactive so that they finally become a real team. 
(chapter 79) for everything. He was to blame for everything.
(chapter 37) He endured before being asked. He accepted harm as a condition of acceptance and staying. His silence was not passivity, but a learned ethics: if I ask for less, if I take up less space, if I disappear when necessary, others, in particular his grandmother, might be spared.
(chapter 53) That posture did not originate with Joo Jaekyung. It preceded him. It was shaped by debt, obligation, omission, and by figures who decided on Kim Dan’s behalf what he could endure and what he deserved.
(chapter 90) He does not argue. He does not demand. Instead, he blames himself for everything, thus he withdraws. He refuses to claim a right. He positions himself as the problem that must be removed so that something better might follow.
(chapter 53) This is the same moral calculus Kim Dan once applied to himself: the belief that care becomes ethical only when it is accompanied by sacrifice, and that love, if it exists at all, must be proven through disappearance. The only difference is that he can not apologize as his existence has become the synonym of wrongdoing. Thus Kim Dan can not hear the distress from his “loved one”.
(chapter 74) He remains upright. His posture holds. Yet, he is now voiceless exactly like the physical therapist in the past. From the outside, he still appears powerful, but the loss of cry or sound indicates loss of agency and choice. But structurally, the positions have reversed. The one who once endured now asserts authorship over his choices.
(chapter 89) and the green-haired man
(chapter 42) operate through the same mechanism: they reduce complexity into a single verdict. Like false mirrors, they collapse months into moments, gestures into essence, and relationships into accusations. They speak as if they own the truth — not because they see clearly, but because jealousy and greed demand certainty. Hence they are connected to the color green. Their words are not reflective
(chapter 90) — not because he shares it, but because the mirror he has become reveals it. Yet instead of recognizing this capacity as ethical clarity, he mistakes it for contamination. He equates himself with the very figures whose cruelty is laid bare in his presence. However, he is making a huge mistake, he is accepting this projection forgetting that he had it all wrong for one reason:
(chapter 90) During their first meeting, the “hamster” had grabbed his “anaconda”.
(chapter 1) Such a gesture could be interpreted as a seduction, and don’t forget that the previous physical therapist had rubbed him the wrong way:
(chapter 1) Finally, observe that after this incident, Joo Jaekyung was looking at the embarrassed doc Dan
(chapter 56) and thinking that they could have fun together in bed.
(chapter 56) So doc Dan has his share of responsibility in the champion’s misjudgment.
(chapter 84) This gesture symbolized their reconciliation in the end,
(chapter 84) the return of trust and faith in the “champion”. What Joo Jaekyung mirrors is not who the doctor is now, but who he once had to be in order to survive. The tragedy lies precisely there: the champion adopts a posture the doctor has already outgrown thanks to him.
(chapter 72), the reality was that he longed for a home, which he came to associate with his mother. Thus over the phone, he promised to become strong
(chapter 72) and earn a lot of money so that his mother could return home. As you can see, fighting was strongly intertwined with his mother and his longing for a family.
(chapter 72), as if the boy’s role was to validate the father’s existence. Joo Jaewoong does not ask his son what he wants
(chapter 73); he mocks his ambition
(chapter 73) and reduces his dream to delusion. Yet even in conflict, Joo Jaekyung seeks recognition.
(chapter 73) As you can see, his life is always focused on the future, on one goal and as such one person: the mother, then the father.
(chapter 74) He warns against becoming like the father, to change for the sake of his own mother
(chapter 74), not by encouraging freedom, but by replacing one obligation with another: win, endure, don’t disgrace the dead. Many years later, he encourages him to change his mind-set, because he could end up alone.
(chapter 75) For the first time, it is no longer about winning or enduring.
(chapter 75) However, observe how the main lead reacts to this well-meant advice:
(chapter 75) He starts visualizing Doc Dan as his goal. It is once again focused on one person and future-oriented.
(chapter 65) He suppresses desire, health, and rest for her sake. The moral lesson is identical: if your presence risks harm, reduce yourself; if your absence protects others, endure it.
(chapter 65), because she did the same in the past with doc Dan:
(Chapter 77) This means, the debts bring the terrible mind-set to the surface.
(chapter 74) The latter justifies her betrayal by saying that he is too late, as he is already too old. The promise that sustained him collapses. Winning no longer guarantees return. The future he fought for vanishes. And in the penthouse, we have the same thought again:
(chapter 54) — longstanding, cumulative, and corrosive.
(chapter 90) And these two “friends” return during that night. What inhabits the room in episode 90 is not nostalgia, nor an unprocessed sadness that merely needs to be named. The same shame that has structured his life since childhood resurfaces here, stripped of all justifications. Joo Jaekyung is not suffering because he feels abandoned in the present. He is suffering because he believes himself to be the reason others leave.
(chapter 29) He cannot sleep. He cannot relax. His body remains permanently alert because, in his words, he could “be killed” at any moment.
(chapter 29) For him, this is not a symptom. It is simply part of being a fighter. Insomnia is normalized, rationalized, and dismissed as a professional hazard. Yet his listener immediately senses otherwise.
(chapter 29) He understands that this state is unsustainable — that it is only a matter of time before something gives way. What Joo Jaekyung treats as discipline, Kim Dan recognizes as danger.
(chapter 53) In his mind, he is obeying a command.
(chapter 90) But that explanation is insufficient. What actually begins after is grief and recognition.
(chapter 54) Now the logic sharpens: Kim Dan does not merely embody bad luck. He embodies the champion’s mental state — depression, trauma, and chronic self-devaluation. He becomes the surface onto which Joo Jaekyung’s inner instability is projected.
(chapter 29) And now, in episode 90, Jinx-philes can sense that the athlete is wearing the glasses “depressive realism” once again, where everything seems so true. He recalls all his misdeeds and can only perceive himself as the source of unhappiness for doc Dan. And like mentioned above, during that night, he is just only recalling his wrongdoings. He is overlooking that thanks to him, Doc Dan’s mental and physical conditions
(chapter 89) improved, that he could make doc Dan smile. Meeting the hospital director made him see everything in a bad light. As you can see, he still has a black and white mentality. However, the truth is that right from the start, the champion had not just been a terrible person. He could be generous, help someone in need.
(chapter 17) He saved doc Dan’s life twice.
(chapter 59) He is reducing everything to one single moment and emotion: pain. And his reasoning is resembling a lot to the grandmother‘s:
(chapter 65)
(chapter 19) This image announces the vanishing of the parents.
, when Joo Jaekyung imagines that doc Dan has once again fallen into the ocean and fears to lose him.
(chapter 79) gestures toward falling, both physically and psychologically.
(chapter 89) Secondly, he is the only one referring to mental illness:
(chapter 54)
(chapter 78) Now, he is blaming himself for everything — and the narrative quietly aligns him with the same numbers, the same silences, the same logic of disappearance.
(chapter 80) Secondly, he doesn’t know how the champion was blamed for everything and was treated by the other members of Team Black:
(chapter 52) No one listened to his unwell-being, they rather silenced him. They showed no support and didn’t take care of him. Thus later the athlete started drinking. The physical therapist has no idea what Potato heard either:
(chapter 21) A teddy bear was present in his childhood, until it vanished.
(chapter 87)

(chapter 89) Episode 89 does not rely on spectacle, confrontation, or confession. Instead, it performs something far more unsettling. It turns back toward the beginning
(chapter 89) and begins to unravel what was once deliberately sealed.
(chapter 1) We knew there was a witness. We knew that what happened was not ambiguous in moral terms.
(chapter 1) is not a revelation of new information. It is the resurfacing of a figure who once proved that truth alone was insufficient. His reappearance signals that what was buried at the beginning of the story—harassment, witness, cover-up, professional erasure—is no longer content to remain inert. The silence that once protected the hospital director is beginning to fray, unwinding slowly, like a gift ribbon pulled loose thread by thread. What was known but unspeakable is approaching exposure not through confession, but through loss of insulation.
(chapter 89) Instead, the narrative offers a bird’s-eye view of the hospice Light of Hope as Joo Jaekyung’s car leaves the parking lot. The implication is unmistakable. Her death is imminent. But just as importantly, she is transitioning from presence to spectral force—no longer intervening, no longer negotiating, but lingering over the narrative as memory and obligation.
(chapter 1) Readers did not meet the grandmother until Episode 5.
(chapter 5) Before that, her existence was inferred rather than seen: through debt, through responsibility, through the ruined house Kim Dan inhabited. Absence structured the story before presence ever did. The grandmother was a force long before she was a character.
(chapter 89) When Joo Jaekyung speaks of “the way home,”
(chapter 89) and Kim Dan repeats the phrase without hesitation, the shift is unmistakable. Home has been reassigned. It is no longer the place where Kim Dan endures obligation or where his grandmother is
(chapter 56), but the place where he lives in the present: the penthouse. The grandmother’s influence has not vanished; yet it has been reduced to a short visit, while he spends time with his fated partner a long time on the road. Her absence no longer anchors him to a life of quiet survival. He is now enjoying life, hence he is seen smiling and talking informal to the athlete.
(chapter 89)
(chapter 1), unseen decisions made about Kim Dan without his consent
(chapter 89) Debts have been paid. Contracts are finite. A witness exists, though he doesn’t believe in the “angel”.
(chapter 89) Kim Dan is no longer isolated in his knowledge, nor alone in bearing its consequences. Joo Jaekyung detected the presence of a “predator”.
(chapter 89)
(chapter 1), but he did not question the narrative offered to him. He never tried to justify his own action either. Park Namwook, as manager, occupied the position of authority: the one who explained, interpreted, and closed the case. He never checked the facts, like for example “rubbing him the wrong way”. He acted as the prosecutor, judge and lawyer at the same time. What happened before remained unseen, and therefore unexamined. The truth did not need to be falsified; it only needed to be summarized.
(chapter 1), the reluctance of applicants, and the need to recruit Kim Dan through informal channels all suggested that something else had already been circulating: a reputation formed in absence, not through evidence.
(chapter 9), explanations, and silence. Only after the “hamster’s arrival”, the athlete is gradually exposed to gossip, badmouthing
(chapter 47) and exclusion. This reached its peak with the famous slap at the hospital.
(chapter 88) The kiss does not erase what preceded it; it merely interrupts it. Kim Dan’s explanation is therefore neither wholly true nor wholly false. It is a partial truth, shaped by shyness, by a desire to protect, and by shame. Hence he is sweating, when he explains his presence to Potato.
(chapter 30), as the latter is quiet, self-effacing. selfless, attentive, humble and absorbs blame instead of projecting it. Kim Dan initially fits the fantasy of the perfect lover — someone who would not disrupt Heesung’s self-image. Hence he doesn’t need to do anything.
(chapter 31) By siding with doc Dan and acting as the angel’s advocate
(chapter 89), the comedian can appear as a saint.
(chapter 32)— he believes that he can judge the celebrity. However, he does not consider that something else might have happened before the moment he witnessed. The kiss becomes totalizing. Training is retroactively erased.
(chapter 52) nor Heesung exercises this control. Both act from positions of perceived authority, and both mistake emotional coherence for factual accuracy. Their confidence does not only arise from what they know, but also from how strongly they feel. The strength of conviction replaces the labor of verification.
(chapter 58) He imagines a simple narrative: Kim Dan must have left because of Joo Jaekyung’s temper, his rudeness, his violence, probably due to the “defeat”. A quarrel, therefore, naturally leads to separation. From this assumption follows a paternalistic conclusion: the “hamster” must be hidden from the athlete for his own good. Protection becomes justification; concealment becomes virtue.
(chapter 89) while smoking—a detail the episode insists on repeating, and one that should not be aestheticized. The cigarette does not merely accompany his words; it alters the air in which they are spoken.
(chapter 58), he reinterprets the kiss as “fuck” and not as the expression of love and tenderness. In other words, he is witnessing “true love”, but he rejects it. This exposes that he has no true notion of real love. In his mind, Joo Jaekyung abused his position as “employer”.
(chapter 89) His comment “You’re not ….” implies the expectation of a confirmation. Both are not dating. What Joo Jaekyung is actually doing exceeds the category Heesung understands. This is not casual dating. It is not secrecy. It is not consumption. It is preparation. Continuity. A future. Symbolically, Joo Jaekyung is already a step beyond “dating”: he is moving toward marriage — toward public, accountable union. He is closer to commitment than the cursed “Romeo”. That’s the reason why the author included such a reference at the store:
(chapter 89).
(chapter 89)
(chapter 56) As long as Kim Dan remained unseen, power could continue to “know” without ever needing to verify.
(chapter 89) rather than exposed guilt. His posture is upright, leaning in. His hand rests on Kim Dan’s shoulder without hesitation—uninvited yet unchallenged. His face shows satisfaction, not doubt. He smiles while Kim Dan sweats and is attempting to stop him.
(chapter 89)
(chapter 89)
(chapter 89) Wine is relational. It opens, breathes, changes with time. It is meant to be shared, discussed, returned to. It presupposes duration. Where whisky seals, wine circulates.
(chapter 89) But more importantly, he doesn’t hide his affection and attraction to doc Dan, while the other did it behind closed doors. Finally, thanks to doc Dan, Joo Jaekyung is learning to pay attention to his surrounding. That’s how he sensed the gaze from the perverted hospital director.
(chapter 89) not as a plea for permission, but as an invitation into a shared future. The pause of the older man watching him echoes a different kind of professionalism: not predatory authority, not performative control, but quiet recognition. Furthermore the doctor’s suit reminded me of the doctor in episode 13, Cheolmin (pattern, colors).
(chapter 13) The visual resemblance to Cheolmin is not accidental. It aligns Kim Dan’s future not with power that operates through secrecy, but with practice grounded in fun, care and responsibility. Earlier, suits belonged to those who decided outcomes behind closed doors
(chapter 89) Bought by Joo Jaekyung but chosen by Kim Dan, it marks the return of agency. What was once a symbol of exclusion now signals continuity. Kim Dan is no longer preparing to survive. He is preparing to live. Hence his birthday is approaching. 
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 102). This would have definitely scared Baek Na-Kyum, especially Yoon Seungho’s haunted gaze. On the other hand, since the painter had been himself the victim of physical and sexual abuse, the artist can only grasp why the noble reacted that way: fear, anger, despair and heartache. The artist had also been desperate, in pain and scared in the shrine, though this time, he had not screamed for his help. Since the lord had not returned to the mansion, how could he expect him to come to his rescue?
(Chapter 98) Back then, he had been waiting for his lover‘s return and explanations. He wanted to hear him and get his reassurance and comfort. .
(Chapter 98) The latter couldn’t reassure the painter with his hand contrary to the previous night.
(chapter 97) Exactly like mentioned above, the painter’s hand gesture is connected to fear and conversation.
(chapter 97) Striking is that in the gibang, the lord confessed his biggest fear to his future “spouse”. He feared to lose him, though one of his biggest desires had been finally fulfilled. This means that Yoon Seungho felt even more insecure and frightened than before after receiving the artist’s love confession. That’s the reason why I believe that the new picture is standing in opposition to the scene in the gibang. The lord will feel relief after his admission. As a conclusion, the image is announcing
(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 88), and this, although the lord is indeed a murderer. For Baek Na-Kyum, his gesture will have a different meaning: he saved his life and freed him from his torment. Secondly, if the lord reveals the circumstances of his mother’s death, the artist will definitely deny his responsibility in her death, a new version of this scene.
(chapter 75) And because I detected a discrepancy between words and gestures, I recognized the presence of another trick from Byeonduck.✨
(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 4) than season 2. He was encouraged by his future partner to speak up, yet the moment he got heartbroken, he was left speechless. And note that when the lord played his prank in the bedchamber, he never said anything to his father.
(chapter 83) He didn’t move as well. Why? It is because he knew that talking to his father was pointless. However, Yoon Seungho had hoped that with his prank his father would finally see the truth. He had been fooled by Lee Jihwa and father Lee!! But the stupid father never realized it. As you can see, the lord had in that scene long given up to use words, he hoped that his father would see the truth with the prank. Don’t forget that deed stands for truth and reality. He thought that “actions would speak louder than words”, but he was proven wrong. This signifies that in this scene,
(chapter 86) Yoon Seungho had acted the opposite, he had tried to speak up, but he had been muted. I am also thinking that the young master must have attempted to converse to his father
(chapter 77) here as well, but the lord had not listened to him. Why? It is because Kim had said nothing!!
(chapter 77) Silence was considered as an admission. This is no hazard that the butler didn’t take care of his young master. This scene symbolizes the quote “Actions speak louder than words”
(chapter 77) The butler had betrayed the young master’s trust, for he had not intervened. He should have defended Yoon Seungho, but no in fact he had sided with the elder master Yoon once again. Not only he had not reminded Yoon Chang-Hyeon of his promise, but also he had assisted the ruthless father by giving himself the straw mat beating!
(chapter 98) Here, he examined the robe and questioned the officer. The problem is that he was still relying on his staff and as such Kim. Therefore it is not surprising that he could still be manipulated by the schemers. Hence I am anticipating a total change in season 4. By conversing with the painter, the lord can only become more proactive to the point that he will be able to ruin the next schemes. I am even expecting a prank from the protagonists in season 4!! But this doesn’t end here. I am deducing that in the past, Yoon Seungho suffered because one tormentor would do things and say nothing, while the other would talk a lot, but act the opposite!! For me, these descriptions fit to Kim and the pedophile. I have the impression as well, that both characters came to switch their behavior. In one circle, Kim did many things, but remained mute, but later he did the exact opposite. I would like to point out that in season 3, he acted this way. He would promise loyalty to the lord,
(chapter 77), but backstabbed him in the shadow. Besides, we shouldn’t forget that a narcissist’s words don’t match their action, because they are pathological liars. And so far, I had portrayed father Yoon (overt), Kim (covert) and even Jung In-Hun (overt) as people suffering from NPD. And I am assuming that the mysterious lord Song is not different from them, though I am suspecting that he must be a covert type.
(chapter 77) Besides, it also snowed, when the painter got abducted twice, a sign that actually a promise had been broken.
(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!
(chapter 86) Why? It is because it reveals his powerlessness. And this leads me to the following conclusion: the deed stands for reality and honesty, while the words symbolize emptiness, illusion and deception. And now, you comprehend why this work is composed by the dichotomies: dream, words and mouth versus reality., action and the hand. This means that in season 4, the manhwaphiles should try to analyze the thoughts and emotions of the characters behind the hand gestures. At the same time, they can also verify if my interpretation is correct. Is the zoom of the protagonists’ hand connected to fear, confession, empathy and assistance? 







(chapter 12) The mention of a new toy implied the existence of an old plaything. But we know for sure that Yoon Seungho has never possessed anything. He was treated like a male kisaeng himself, for he was not allowed to refuse advances from anyone.
(chapter 52) Finally, he was forced to share anything he owned to others.
(chapter 52) That’s how I realized that the inner thought from Lee Jihwa was exposing his knowledge. The latter knew about Yoon Seungho’s true conditions. The latter had been treated like a plaything by the pedophile. As the red-haired noble had been raised as an filial son respecting elders, Lee Jihwa saw no reason to change the way Yoon Seungho was “trained”.
(chapter 57) Besides, he could only benefit from it. Now, he could have sex to his heart content. He only started playing tricks, the moment he felt that his childhood friend was escaping from his claws.
(Chapter 37) On the other hand, since the lord went to the authorities in season 3, I deduce that he must have gone there in the past too, yet not as a victim/plaintiff, but as an accused. Because of this new revelation, I made a new connection: sex and torture.
(Chapter 83) In this essay, I will answer to this question. As a first conclusion, the lord was not even treated like a male kisaeng in the past, but more like a dog. Consequently, I deduce that when Baek Na-Kyum met the lord in the inn (chapter 1), his status had already changed. He was slowly experiencing emancipation. He was living like a male kisaeng. Thus I conclude that Lee Jihwa contributed to his recovery to a certain extent.
(chapter 59) However, don’t get me wrong. I believe that the change occurred thanks to Baek Na-Kyum’s intervention, the new version of this scene.
(chapter 68) Their path crossed a second time in the gibang which led to the painter’s expulsion which affected the lord‘s living condition. But let’s return our attention to the lord’s long suffering.
(chapter 57)
(chapter 62) This explicates why after reading episode 62 for the first time, I had suspected the father to have raped his own son. Yet this thought was dropped shortly after. Then when episode 77 was released, I realized that in the shed the lord was also reminded of Kim’s betrayal, for the latter would always drag him to the shed. Observe the way he was “carried away“. It was like an “embrace“.
(Chapter 77) In episode 77, the readers can witness 2 incidents how the lord was brought to the storage house.
(Chapter 77, this is a different situation, for we have different servants except Kim) Therefore in the barn, Yoon Seungho behaved like his surrogate father Kim as well. This explicates why we have the fake embrace and the insincere apology.
(chapter 62)
(chapter 62) As you can see, the hug from the past was the symbol of violence and hypocrisy. It served to drag the lord to the storage room. And this new observation led me to the following conclusion: Yoon Seungho was copying the behavior from all his abusers from the past: his brutal father, the hypocrite butler and naturally the pedophile.
(chapter 62) Hence the protagonist grabbed the painter by the hair. For me, the “mysterious lord Song“ used to hurt the main lead by the hair, when he got angry. How did I come to this interpretation? Note that at no moment we never saw Yoon Chang-Hyeon taking his son’s hair. First, the lord’s head was covered with a hat.
(Chapter 83)
(Chapter 57) And now, you comprehend why the lord dragged the two nobles by the topknot.
(chapter 8) For a long time, I have demonstrated that this gesture represented one of Yoon Seungho’s biggest traumas. But why would the pedophile do that? One might say that it is because of Yoon Seungho’s resistance and struggling. He needed to punish him for his disobedience. Note that the noble with the mole and Lee Jihwa got humiliated as sanctions.
(Chapter 18) However, in my eyes there exists another explanation which I will elaborate in this analysis either. From my point of view, the shed and the humiliation are strongly intertwined. This was particularly visible, when the lord forced Baek Na-Kyum to have sex in the courtyard.
(Chapter 64) But why would he do that in the end? It was to train him, to make him obedient.
(Chapter 64) Remember how he had declared that the painter was now his sex toy. He should listen to his master or owner. That’s how I came to this deduction. The infamous lord Song is a sadomasochist. In the worse case, he is simply a pure sadist. I am inclined to believe more in the first view. With this, we would have the link between sex and torment. And the picture from the erotic book where you see the bearded man having a braided man on his lap outside indicates that Yoon Seungho was here getting punished. The pedophile loved seeing Yoon Seungho humiliated and in tears.
(chapter 01) And now, we have the explanation why the lord could no longer cry and how he came to hate “fake apology”. This was the result of the exposure to the sexual assaults under the form of BDSM.
(chapter 96) They ended up in the hallway, anyone could see them. Then in another website, I found the following principles:
(chapter 25) He even brought the hanbok himself.
(chapter 26) The lord went so far to take his bath with his lover to clean him.
(chapter 59) He made sure that his partner wouldn’t suffer.
(chapter 89) Yoon Seungho knew by experience that the rest of semen in the stomach would cause him ailing.
(Chapter 101) He blushed, though he could see that Baek Na-Kyum was in pain, the face covered with blood. Remember what the painter did in the pavilion to the main lead: he scratched his face.
(Chapter 25) Thus we have to envision that the lord must have reacted the same way and wounded his abuser. And imagine the consequence if he had wounded the king on the face. This could be seen as a reason for a punishment.
(chapter 102)
(chapter 33) This is an euphemism for aphrodisiac. Thus we had this confession from the physician.
(chapter 57) Why did the butler visit the doctor without Yoon Chang-Hyeon? It is because he had been ordered to fetch the aphrodisiac. By feeding him with the drug, they wanted to force Yoon Seungho to accept the advances from the king, and as such to admit his sexual orientation. He was a sodomite.
(chapter 65) They faked his “pleasure“ making him feel guity and dirty. That’s how he got tricked. This explicates why the main lead still has no idea of the use of the aphrodisiac.
(chapter 71) As a king, he couldn’t bow down to a noble. Observe that the roles of “dominant” and “submissive” are not clearly defined between Yoon Seungho and Baek Na-Kyum. The lord is the dominant sexually speaking, but note the vocabulary:
(chapter 72)
(chapter 89) If you pay attention to their interaction, the lord acts like the servant. The reason is simple. If you take into consideration the second list of recommendations, you will recognize that the roles are switched. Outside a sex session, the submissive becomes the “king“, and the dominant has to act like his servant. That way, a certain balance is created. But this was never the case between the pedophile and the teenager. The latter was always reduced to a plaything and at the end to an animal. The pedophile never called the protagonist by his name.
(Chapter 1) He was just called “my boy“. And that was it. He never created a real bound with the main lead. Therefore trust was totally inexistent. And because the young noble could only fear the man, he came to hate him to the point he could die. The latter made promises which he never kept!!
(Chapter 101) How could he vow to “protect or help“ Yoon Seungho, when the latter was tormented constantly and exposed to violence against his will? And this could only escalate to Yoon Seungho‘s attempt to commit suicide.
(Chapter 55) I had this idea, for the story is going in circle, meaning that the lord must have done it before, just like he did in season 3. The possible death from the main lead and probably his own pain must have brought the mysterious lord Song back to reality. That‘s the reason why he sent for the physician‘s assistance. He was encouraged to keep his distance from the young man, just like the latter was incited to stay away from the painter in season 1 (sickness, Min), in season 2 (the scholar‘s insult) and in season 3 (the rough sex session in chapter 81-82). Thus I deduce that the pedophile has always kept an eye on Yoon Seungho and his recovery. In my opinion, the man has not forgotten the main lead at all. Why do I think so? It is because he kept the painting…
(chapter 82) a souvenir from their time together, just like Min who stole the painting in the study.
(chapter 74) Thus I am deducing that Seungho-Ya will become the safe word between the two protagonists.
(Chapter 72)
The noble with the mole is trapped in a shed, and the color purple, a symbol for royalty, is dominant. From my point of view, the author revealed everything in this tweet. On the other hand, I would like to point out that here the man doesn’t look scared or rejecting the use of the bondage or the dildo.
(Chapter 63) He was reliving his biggest trauma. Yet, he never went overboard in the shed. Note that the moment the painter called his lover “lord Seungho”, there was a switch.
(chapter 63) That’s the reason why the lord changed the painter’s position and faced him.
(chapter 63) The lord communicated his feelings and thoughts, and he even made a promise.
(Chapter 63) This new perception reinforces my impression that there was no rape in the storage room. The painter kept saying “no“, because he was actually scared about his own reactions. Strangely he felt pleasure, thus he kept having climaxes. He was simply in denial. The irony is that the noble attempted himself to be cruel during the night of the revelation (episode 62, 63, 64), but he failed, because the night at the doctor’s house was still fresh in his memory. He couldn‘t forget the tender embrace from the painter.
(Chapter 63) He had internalized the marks left by the bondage. This is no coincidence that the artist‘s wrist was covered by the bandage, the reflection from the torment in his youth. Under this new aspect, the presence of the bed in the shed was like a magical tool, which helped the lord to not turn into his tormentor. He was just a ghost from the past, and the word “lord Seungho“ worked like a magic spell, which stopped Yoon Seungho from becoming as vicious and cruel as lord Song. Moreover Lord Song sounds very similar to lord Seungho. And this new discovery confirms my interpretation that Kim was the helping hand of the king. He had to provide him with the white bands for the bondage, just like he had helped for the young master’s kidnapping in the gibang.
(chapter 86) But don‘t get me wrong. The king sent the main lead to the shed, when he wished to punish him. Yes, he repeated the same actions than Yoon Chang-Hyeon. And what is the common denominator between these two circles? The valet…
Under this new light, I see it as another evidence that the infamous lord Song could only be the king! He is the only person who has absolute power in Joseon, and as such knows no “real boundaries“. Furthermore, as the ruler, he is expecting no rejection from his subjects. Anyone watching sageuks (historical Korean dramas), is aware that the Joseon king was never an absolute monarch, for he was always controlled by the officials, ministers, the Queen dowager and the Queen. There were also protocols which he was forced to follow. And we have an indication about the king‘s lack of power and wealth.
(Chapter 76) Thus I am assuming that the lord Song must have been frustrated about this contradiction. On the one hand, he was supposed to be the most powerful man in Joseon, on the other hand, he had to rely on the aristocracy. Hence I have the impression that the ruler vented his anger and frustration on Yoon Seungho unconsciously. That way, he could outlive his sexual fantasies, where he was powerful. But because of these terrible sexual habits, the young master could never get treated by a physician. Anyone would have recognized the sign of abuse.
(chapter 92)
(Chapter 101) are a proof that they never discovered the importance of kisses, embraces, caresses and words during sex. They never recognized that they were denying the existence of love, too obsessed with their heritage and their reputation. The manhwalovers will remember my previous observation. The pedophile had never kissed the main lead. The king like all the nobles had disconnected sex from love. Why? It is because sex was a duty… to continue the lineage. And now, you have the explanation why the pedophile and all the others reduced sex to penetration.
(Chapter 96) When she heard the noise (PLOP), she was brought back to the past, when she had witnessed a scene of BDSM, though the violence was real. A similar situation to this scene:
(chapter 73) The pictures from the erotic publication are the evidence for this theory. After hearing the description from the butler about the events in the shed, the noona Heena believed to know what had happened in the shed.
(Chapter 68) She could see the traces on the painter’s body, and conclude that the valet was telling the truth. However, the butler had been misled himself, for his perception was biased by his past experience.
(Chapter 64) The butler thought that the “no“ from the painter was truly real, while the latter was just dishonest. It was the result from the “indoctrination“ from Heena and Jung In-Hun. The valet had been deceived in the end. The humiliation and punishment were not real, for the painter did ejaculate, and back then he was not under the influence of the aphrodisiac.
(Chapter 64) This was not like in the past, when the brutality was real. And now, you comprehend why Heena‘s resent towards her brother became more visible after witnessing the love session between the noble and Baek Na-Kyum.
(Chapter 97) From my point of view, she had already internalized that the painter would never change, he was already too “damaged“ to change. However, since he was close to Yoon Seungho, he could become in danger, for she knew the connection between the ruler and the main lead.
(Chapter 72) He was copying the habit from the pedophile in my eyes. The latter would never remove all his clothes on his own. As the king, he was used to get undressed by his own staff. Only the teenager as the uke was undressed, unless the lord was accompanied by the other nobles, like in this scene.
(Chapter 54) And because the ruler was too focused on his own pleasure, he never got to know the young noble. He only realized too late that he had made huge mistakes.
(Chapter 72) Yoon Seungho was his prey.
(Chapter 59) The main lead was supposed to meet his tormentor in a public place. Yet their relationship was based on “humiliation“! The “king“ loved to punish Yoon Seungho through humiliation and violence. This explicates why Yoon Seungho reacted that way.
(Chapter 56)
(chapter 57) This is what he experienced himself in the past. And observe that the childhood friend’s biggest punishment was actually his public humiliation, when he confessed and got rejected.
(Chapter 59) In my eyes, the king sought to obtain Yoon Seungho’s affection, but he never realized this. He definitely confused it with submission. He definitely imagined that once the teenager would become submissive, he would have achieved his goal. But he was doomed to fail. In his mind, as the ruler no one could ever reject him. Besides, as the ruler, he was allowed to use his power and as such his strength to obtain what he desires. Don’t forget that in Joseon, people viewed all the monarchs als representatives of the gods. The latter would support them. However, since his youth Yoon Seungho had a strong opinion and mind. Therefore he had caused trouble to his father, as the latter viewed his critical thinking as a synonym for a lack of respect for traditions and the elders, the so-called illness from his childhood. Besides, I am suspecting that the lord must have had visions as well, which would contradict the father‘s dreams and expectations.
(Chapter 57) Yoon Chang-Hyeon looked down on his son’s critical thinking and came to doubt his words. The author left many clues for this interpretation:
(chapter 101) Lord Jang got aroused, when he saw the bloodied lips from the painter. Moreover, Black Heart had brought a huge dildo.
(Chapter 101) The item was huge, therefore it could only injure the artist’s anus.
(Chapter 100)
(chapter 101) Even the noble said that this must have hurt. The painter disliked being bitten in the neck.
(Chapter 88) Furthermore, the lord said this to the painter in the study:
(chapter 85) These were the words from the pedophile. He was repeating his sexual abuser‘s words. And this proves to me again that the lord was abused in the study, but if he rejected the man, he would be sent to the shed where he would receive his punishment. In other words, Yoon Seungho was punished with sex and violence. And now, you have the explanation why he got gangraped in the end. But the readers should keep in their mind that this was no real BDSM, for the brutality was real. The king couldn’t distinguish between reality and illusion. And this coincides with all my previous interpretations.
(Chapter 65) Kim had brought him to the barn, because Yoon Seungho was punished there. This could only be suggested by the butler, as I don’t think that the king would ask for the owner of the mansion for permission. This room was definitely taboo, no one was allowed to approach the study or the shed. Yoon Seungho was exposed to rough sex, and Kim knew this, like mentioned above. But he never witnessed it himself, he only discovered the aftermath. From my point of view, this scene occurred after the lord’s loss of virginity.
(chapter 94). Notice that violence was used against the painter to mask attraction. The “girly features“ were definitely perceived as something tantalizing. Thus I perceive this incident as a reflection from the BDSM. It was to push the artist away, to incite him to leave the gibang. Heena feared that he might catch the attention of the pedophile, and it is very likely that she was manipulated by the scholar, her idol.
(chapter 18)