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 Between A Squeeze And A Crack – part 2 and the Birth of A Flower (part 1)
It would be great if you could make some donations/sponsoring: Ko-fi.com/bebebisous33 That way, you can support me with “coffee” so that I have the energy to keep examining Manhwas. Besides, I need to cover up the expenses for this blog.
Sorry for the delay, but I am getting surged soon, thus I was busy preparing lessons for the time during my absence.
The Beginning of the End
The audience sensed it before it could fully articulate why: Jinx is nearing an irreversible threshold. Not an ending yet, not a climax in the conventional sense, but a point beyond which the story cannot return to its original configuration. 
(chapter 89) Episode 89 does not rely on spectacle, confrontation, or confession. Instead, it performs something far more unsettling. It turns back toward the beginning 
(chapter 89) and begins to unravel what was once deliberately sealed.
What makes this episode feel decisive is not merely a rearrangement of power, but the return of elements that were present from the very first chapter —elements whose meanings were never in doubt, yet whose consequences were never allowed to surface. 
(chapter 1) At the start of Jinx, the readers were not ignorant. We knew that Kim Dan had been sexually harassed. 
(chapter 1) We knew there was a witness. We knew that what happened was not ambiguous in moral terms.
What was ambiguous was power.
A hospital director fired Kim Dan not because the truth was unclear, but precisely because it was clear—and dangerous. Using institutional authority, he covered the scandal, protected himself, and quietly ensured that Kim Dan would never be able to work as physical therapist and even speak again. (chapter 1) The outcome was not accidental, but Kim Dan didn’t experience it as a calculated purge or a conspiracy that must be fought. He accepted the loss of his job almost as a given, even as he recognized the injustice of it. What unsettled him was not the fear that others would disbelieve him, but the realization that responsibility stopped with him. He lost a prestigious hospital position and the professional future attached to it, while the hospital director faced no consequence at all. Kim Dan did not protest or seek redress; instead, he turned his attention inward, wondering what was said about him afterward, in rooms or institutes he was not allowed to enter. The truth was known, yet it changed nothing, because Kim Dan was silenced. No one listened to him or defended him, while the perpetrator alone was given the authority to determine the truth. The witness stayed silent, the institution spoke elsewhere, and Kim Dan was removed from his own story. And that’s how the asymmetry became something he quietly carried as his own burden.
This is why Episode 89 does not feel like escalation—it feels like unsealing.
The return of the perverted hospital director 
(chapter 1) is not a revelation of new information. It is the resurfacing of a figure who once proved that truth alone was insufficient. His reappearance signals that what was buried at the beginning of the story—harassment, witness, cover-up, professional erasure—is no longer content to remain inert. The silence that once protected the hospital director is beginning to fray, unwinding slowly, like a gift ribbon pulled loose thread by thread. What was known but unspeakable is approaching exposure not through confession, but through loss of insulation.
This return is mirrored by another, quieter but equally significant absence: the grandmother.
In Episode 89, she is no longer shown directly. 
(chapter 89) Instead, the narrative offers a bird’s-eye view of the hospice Light of Hope as Joo Jaekyung’s car leaves the parking lot. The implication is unmistakable. Her death is imminent. But just as importantly, she is transitioning from presence to spectral force—no longer intervening, no longer negotiating, but lingering over the narrative as memory and obligation.
This, too, echoes the beginning of Jinx. 
(chapter 1) Readers did not meet the grandmother until Episode 5. 
(chapter 5) Before that, her existence was inferred rather than seen: through debt, through responsibility, through the ruined house Kim Dan inhabited. Absence structured the story before presence ever did. The grandmother was a force long before she was a character.
Now the movement reverses. Presence recedes back into absence. But unlike in the beginning, Kim Dan’s life is no longer centered on her care. That responsibility has been entrusted elsewhere, and her absence no longer governs his choices. In Episode 89, the hospice is no longer framed as a home, but as a stop along the way. 
(chapter 89) When Joo Jaekyung speaks of “the way home,” 
(chapter 89) and Kim Dan repeats the phrase without hesitation, the shift is unmistakable. Home has been reassigned. It is no longer the place where Kim Dan endures obligation or where his grandmother is 
(chapter 56), but the place where he lives in the present: the penthouse. The grandmother’s influence has not vanished; yet it has been reduced to a short visit, while he spends time with his fated partner a long time on the road. Her absence no longer anchors him to a life of quiet survival. He is now enjoying life, hence he is seen smiling and talking informal to the athlete. 
(chapter 89)
This mirroring is not cosmetic. It is structural. The story returns to the conditions of its origin—sexual violence handled institutionally, professional precarity 
(chapter 1), unseen decisions made about Kim Dan without his consent (chapter 1) — but it does so in a transformed landscape. 
(chapter 89) Debts have been paid. Contracts are finite. A witness exists, though he doesn’t believe in the “angel”. 
(chapter 89) Kim Dan is no longer isolated in his knowledge, nor alone in bearing its consequences. Joo Jaekyung detected the presence of a “predator”. 
(chapter 89)
That is why Episode 89 feels like the beginning of the end. Not because everything is resolved, but because the story has reached the point where truth no longer needs to beg for permission to exist. What was once survivable only through silence can now be named, contested, and reclaimed.
By folding the opening of Jinx back into its present, the author signals that the love story between Kim Dan and Joo Jaekyung is approaching its final test. No longer a story of endurance under constraint, it is becoming a story about emancipation under scrutiny—about what happens when love, guilt, responsibility, and institutional memory are finally forced into the same frame, by those who were once excluded from it.
The Beginning of the End is not an announcement of tragedy. It is the moment when the story turns back on itself and says: now the truth can move.
Seeing Is Not Knowing
Episode 89 does not introduce this logic; it exposes it by repetition. From the very first chapter, Joo Jaekyung’s relationship with his former physical therapist already functioned as a negative prefiguration of Kim Dan’s own trajectory. 
(chapter 1) The readers never saw what caused the unknown therapist’s departure. Instead, the incident is relayed second-hand, through Park Namwook’s narration—an account that reduces the event to temperament, friction, and inevitability. The physical therapist is said to have “rubbed him the wrong way.” An incident occurred and the athlete was exposed as the problem. The job was framed as undesirable. The departure was normalized.
Crucially, Joo Jaekyung accepted this explanation without investigation. He was surprised that the therapist quit 
(chapter 1), but he did not question the narrative offered to him. He never tried to justify his own action either. Park Namwook, as manager, occupied the position of authority: the one who explained, interpreted, and closed the case. He never checked the facts, like for example “rubbing him the wrong way”. He acted as the prosecutor, judge and lawyer at the same time. What happened before remained unseen, and therefore unexamined. The truth did not need to be falsified; it only needed to be summarized.
Crucially, the manager also treated resignation as resolution. Once the physical therapist left, the problem appeared solved. Replacement substituted for accountability, and the consequences of this closure were never considered. The difficulty in filling the position 
(chapter 1), the reluctance of applicants, and the need to recruit Kim Dan through informal channels all suggested that something else had already been circulating: a reputation formed in absence, not through evidence.
Like Kim Dan after him, Joo Jaekyung is first not confronted with accusations 
(chapter 9), explanations, and silence. Only after the “hamster’s arrival”, the athlete is gradually exposed to gossip, badmouthing 
(chapter 47) and exclusion. This reached its peak with the famous slap at the hospital. 
(chapter 52) It shows that like doc Dan, the celebrity bears the effects of a narrative he did not author, one that no longer requires verification and questioning because it has already been administratively settled.
Episode 89 reactivates this same structure—but from another angle.
Heesung believes he knows the truth because he has seen something. 
(chapter 89) He witnessed a kiss between Kim Dan and Joo Jaekyung, and from that single image, he constructs a complete narrative: a kiss is turned into something raw and sexual. For him, intimacy replaces training, desire replaces discipline, and the explanation Kim Dan gives becomes, in his eyes, a lie. (chapter 89)
Yet this is where the episode quietly undermines Heesung’s certainty. Kim Dan is not just fabricating an alibi. He is not inventing a cover story. They were indeed training. 
(chapter 88) The kiss does not erase what preceded it; it merely interrupts it. Kim Dan’s explanation is therefore neither wholly true nor wholly false. It is a partial truth, shaped by shyness, by a desire to protect, and by shame. Hence he is sweating, when he explains his presence to Potato. (chapter 89) To know the “whole truth” would require access not only to events, but to intentions, emotional thresholds, and timing—access no single witness ever has. Only gods have such power.
And that’s how Choi Heesung views himself. He considers himself as the “perfect lover”, thus his dream has always been to find his soulmate, another “perfect lover”. 
(chapter 33) That’s the reason why he was attracted to Kim Dan in the first place. He is an angel 
(chapter 30), as the latter is quiet, self-effacing. selfless, attentive, humble and absorbs blame instead of projecting it. Kim Dan initially fits the fantasy of the perfect lover — someone who would not disrupt Heesung’s self-image. Hence he doesn’t need to do anything. 
(chapter 31) By siding with doc Dan and acting as the angel’s advocate 
(chapter 89), the comedian can appear as a saint.
But the reality is that the “fox” is overestimating himself. He is just a human like Joo Jaekyung and as such a sinner. The actor’s error is not merely that he lies, but that he lies by omission 
(chapter 89) and generalization. Because he saw one thing, he believes he knows everything. Because he believes he already knows Joo Jaekyung —his temper, his reputation, his past, his belief 
(chapter 32)— he believes that he can judge the celebrity. However, he does not consider that something else might have happened before the moment he witnessed. The kiss becomes totalizing. Training is retroactively erased.
This is precisely the same epistemic shortcut Park Namwook took in Season 1.
In both cases:
- authority or proximity substitutes for inquiry,
- a partial observation becomes a total explanation,
- and investigation is deemed unnecessary because the observer believes he already understands the subject.
- Crucially, judgment in these moments is driven not by facts, but by emotion. Resentment, jealousy, fear, and wounded pride shape perception long before evidence is considered. What presents itself as moral clarity is, in reality, affective certainty.
Yet justice—whether institutional or interpersonal—cannot emerge from emotion. It requires distance. It requires restraint. It requires a form of deliberate indifference: not apathy, but neutrality. The refusal to let feeling stand in for truth. Therefore a judge will always listen both sides (defendant, plaintiff). Neither Park Namwook 
(chapter 52) nor Heesung exercises this control. Both act from positions of perceived authority, and both mistake emotional coherence for factual accuracy. Their confidence does not only arise from what they know, but also from how strongly they feel. The strength of conviction replaces the labor of verification.
This failure becomes especially visible in Heesung’s interpretation of Kim Dan’s departure. 
(chapter 58) He imagines a simple narrative: Kim Dan must have left because of Joo Jaekyung’s temper, his rudeness, his violence, probably due to the “defeat”. A quarrel, therefore, naturally leads to separation. From this assumption follows a paternalistic conclusion: the “hamster” must be hidden from the athlete for his own good. Protection becomes justification; concealment becomes virtue.
Heesung delivers this judgment 
(chapter 89) while smoking—a detail the episode insists on repeating, and one that should not be aestheticized. The cigarette does not merely accompany his words; it alters the air in which they are spoken. 
(chapter 89) Smoke replaces oxygen. What should be a space for clarification becomes a polluted environment where nothing clean can circulate. His speech is not only corrosive; it is toxic, dispersing blame without responsibility and judgment without accountability.
This is not the violence of a raised fist, but of contamination. Heesung does not attack Joo Jaekyung directly; he saturates the space with inevitability. His words do not argue—they suffocate. By framing Jaekyung as fundamentally unlovable (“after everything you’ve done”), he does not describe a reality; he reinscribes a conviction that already haunts the champion: that love is structurally inaccessible to him, that intimacy is something he can only damage, never deserve.
In this sense, Heesung’s intervention is not corrective but punitive. It does not open a future; it seals one. The smoke signals this closure. There is no fresh air, no possibility of reconfiguration—only the quiet assertion that the past defines the present absolutely. And because Heesung speaks from a posture of apparent control, he mistakes pollution for moral clarity. He leaves believing he has spoken the truth, while what he has done is reinforce the most destructive lie Joo Jaekyung already believes about himself.
What Heesung never questions is whether this narrative is complete—or even accurate. He doesn’t know about the incident with the switched spray, about doc Dan’s mental and emotional suffering, he has no idea about doc Dan’s past as well. It was, as if the young man had no past or no trouble before his interaction with the sportsman. He does not ask why Kim Dan stayed as long as he did, why he returned, or how the relationship itself has transformed. He doesn’t look at the physical therapist at all, thus he can see no change. (chapter 89) The possibility that Kim Dan acted with agency, discernment, or desire is excluded in advance. Kim Dan is reduced to a fragile and innocent object of care rather than a subject capable of choice. He doesn’t know what is good for himself. (chapter 89)
What Jinx exposes here is not dishonesty, but epistemic arrogance: the conviction that seeing grants mastery over meaning.
The irony, of course, is that Joo Jaekyung once occupied this very position. (chapter 1) He accepted Park Namwook’s account of the former physical therapist because it aligned with what he believed he knew about himself and others. Now, in Episode 89, he becomes the object of the same logic—reduced, explained, and judged by someone who believes that proximity equals comprehension. This repetition matters.
It shows that truth in Jinx is never neutral. It is filtered through:
- authority (Park Namwook),
- jealousy and wounded pride (Heesung),
- reputation and past violence (Joo Jaekyung),
- and self-effacing silence (Kim Dan).
To know the full truth is impossible—not because the truth is unknowable, but because every character approaches it already shaped by prior experience. What changes in Episode 89 is not the existence of bias, but the story’s willingness to expose it as bias.
Heesung believes he knows the truth because he has seen something. A kiss. A single image, isolated from its sequence, elevated into certainty. From that moment on, everything else becomes irrelevant. And because he saw this before 
(chapter 58), he reinterprets the kiss as “fuck” and not as the expression of love and tenderness. In other words, he is witnessing “true love”, but he rejects it. This exposes that he has no true notion of real love. In his mind, Joo Jaekyung abused his position as “employer”. (chapter 89)
Heesung presents himself as morally superior because he does not resort to physical violence. 
(chapter 89) But this distinction is hollow. Harm does not require raised fists. It can be inflicted through trick, insinuation, through speaking about someone rather than to them, through occupying the role of moral arbiter while denying the other person a voice. (chapter 89) Kim Dan has always disliked this — being spoken for, spoken over, spoken around. Episode 1 and 57 established this clearly. Episode 89 simply mirrors it back.
What makes Heesung especially dangerous is that he uses Kim Dan as a shield. He claims to defend him, but only in his absence. By positioning himself as Kim Dan’s advocate, he grants himself authority while quietly stripping Kim Dan of agency. His concern is not what Kim Dan wants, but what Heesung believes Kim Dan deserves. In doing so, he protects his own wounded pride — the pride of someone who cannot accept that Kim Dan rejected him.
This refusal is key. Heesung cannot bear the idea that Kim Dan would choose Joo Jaekyung, even date him. 
(chapter 89) His comment “You’re not ….” implies the expectation of a confirmation. Both are not dating. What Joo Jaekyung is actually doing exceeds the category Heesung understands. This is not casual dating. It is not secrecy. It is not consumption. It is preparation. Continuity. A future. Symbolically, Joo Jaekyung is already a step beyond “dating”: he is moving toward marriage — toward public, accountable union. He is closer to commitment than the cursed “Romeo”. That’s the reason why the author included such a reference at the store: 
(chapter 89).
And this is where the contrast becomes stark. Heesung, who performs moral responsibility, is not dating Potato openly. He keeps relationships provisional, deniable, suspended in ambiguity. He treats the young fighter more like a puppy or servant than as an equal partner. Joo Jaekyung, who is accused of being reckless and violent, does the opposite. He assumes responsibility. He spends time with doc Dan by teaching him swimming and fighting, he pays debts. He limits contracts. He buys a suit not for himself, but for Kim Dan’s future. He does not erase the past; he integrates it into a shared trajectory.
In this sense, Heesung is not the opposite of institutional power — he is its echo. He speaks confidently, withdraws responsibility, and leaves consequences to others. He does not strike, but he silences. He does not coerce, but he defines reality from a position Kim Dan never consented to.
The tragedy is not that Heesung lies consciously. It is that he is convinced he is telling the truth.
Not Seeing but Knowing
Episode 89 ends not with confrontation, but with a visual verdict. 
(chapter 89)
At one table sits the former hospital director. His presence is quiet, restrained, and deeply uncomfortable. Nothing about him suggests ease. His coat remains on, his tie loosened but not removed — a body prepared to leave rather than settle. He did not come to linger. He did not come to enjoy himself. His posture signals transience, not belonging.
The drink in front of him reinforces this distance. Whisky on the rocks is not a drink of sharing or unfolding; it is a drink of insulation. Cold, undiluted, contained. It is consumed alone, meant to harden rather than open. Even when accompanied, the director remains isolated. The person across from him seems to be talking to him 
(chapter 89), yet the antagonist does not engage him. Conversation fails to circulate. Responsibility, like dialogue, stops at the rim of the glass.
This matters because the director is not merely observing Kim Dan — he is being corrected by him.
For a long time, the director believed he knew how Kim Dan’s story had ended. Fired, blacklisted, erased — a life quietly ruined by institutional power. That belief allowed him to move on without consequence. Silence had done its work. The trick had succeeded.
What sustained this belief was secrecy. Not ignorance, but managed invisibility. Power, in Jinx, does not primarily operate through open coercion, but through control of circulation 
(chapter 48): who is seen, who is spoken about, and who is allowed to speak at all. By removing Kim Dan from institutional spaces and ensuring that the story of his dismissal was settled elsewhere, the director did not merely punish him — he rendered him socially invisible. Thus no one knew about doc Dan, when the athlete looked for him. 
(chapter 56) As long as Kim Dan remained unseen, power could continue to “know” without ever needing to verify.
The episode makes this collapse of power visible through contrast, not moral correction. In the flashbacks, the hospital director appears with controlled dominance 
(chapter 89) rather than exposed guilt. His posture is upright, leaning in. His hand rests on Kim Dan’s shoulder without hesitation—uninvited yet unchallenged. His face shows satisfaction, not doubt. He smiles while Kim Dan sweats and is attempting to stop him. (chapter 1)
This is not the memory of a man who feared consequences. It is the memory of someone operating comfortably inside a system designed to protect him. (chapter 89) His confidence is instrumental, not emotional: the calm of someone who knows where authority lies and how silence will function afterward. The grayscale of the flashback does not condemn him; it preserves his former certainty. In memory, he is still the predator—not because he is crueler there, but because the environment still belongs to him: the hospital.
What has changed in Episode 89 is not his nature, but the terrain. (chapter 89)
In the restaurant, his stare freezes (chapter 1) not because he feels guilt, but because his old script no longer applies. He is no longer positioned above Kim Dan—neither institutionally, socially, nor visually. He cannot initiate contact without exposing himself. He is no longer buffered by uniforms, corridors, professional hierarchies, or closed rooms where truth can be settled elsewhere. The architecture that once enabled him—white coats, administrative silence, procedural opacity—is gone. And he can not confide to his colleague either, hence he keeps starring the main couple. 
(chapter 89)
Predators rely on asymmetry and enclosure. Here, both have dissolved. This is why his reaction is not anger. Anger presumes leverage. What we see instead is hesitation: the moment a predator realizes the habitat that sustained him no longer exists. His disorientation is not ethical; it is strategic. He is recalculating risk. There is no redemption here, no moral awakening. He does not look ashamed. He looks uncertain—stripped of guarantees, not conscience. (chapter 89)
This makes the contrast with Kim Dan and Joo Jaekyung even sharper. Their interaction is openly intimate, casual, and socially legible. 
(chapter 89) They do not require shadows, isolation, or ambiguity to touch. Their closeness does not depend on secrecy or hierarchy. Where the director’s former power depended on institutional opacity, hierarchical distance, and Kim Dan’s vulnerability, Joo Jaekyung’s present intimacy depends on none of these. And no one seems to pay attention to the “main couple” at all. 
(chapter 89)
That is the true reversal the episode stages. Power has not disappeared; it has migrated. The table of the hamster and wolf is placed higher than the one where the perverted director is seated. (chapter 89) It no longer operates through enclosure and silence, but through visibility and mutual presence. What once required corridors and closed doors now unfolds in the open air of a shared table. And this, finally, is what the director is forced to see. (chapter 89)
What unsettles the director is not confrontation, but visibility: the realization that secrecy can no longer protect the knowledge he once mistook for truth. His wrongdoing can now get exposed, for doc Dan is now standing close to the “spotlight”. Joo Jaekyung is not just a face, but also a voice. Thus the latter could sue a hospital. 
(chapter 42) This raises the following question: was the wolf suing the hospital where doc Dan got his first “gig”,?
What the nameless director sees now contradicts that certainty. (chapter 89) Kim Dan is not diminished. He is not withdrawn, anxious, or broken. He is smiling. Relaxed. Present. He laughs. He blushes. His body no longer carries the posture of someone living under constant threat. And he is not alone. He is sitting with a famous athlete — not as an accessory or subordinate, but as an equal. But more importantly, he is not pushing away the gentle gesture from the famous MMA fighter, while the “old creep” couldn’t forget doc Dan’s rejection. (chapter 89)
This is the shock. (chapter 89)
The director did not anticipate survival. He did not imagine joy. He certainly did not expect visibility.
Across the restaurant, a different table breathes. (chapter 89)
Kim Dan has removed his jacket. His body is at ease in the space. He is not preparing to leave; he is inhabiting the moment. The drink shared here — red wine — is not incidental. 
(chapter 89) Wine is relational. It opens, breathes, changes with time. It is meant to be shared, discussed, returned to. It presupposes duration. Where whisky seals, wine circulates.
Where the director’s table is suspended in cold certainty, Kim Dan and Joo Jaekyung’s table exists in a shared present. Air moves. Attention moves. When Joo Jaekyung looks at Kim Dan, he does not define him or speak for him. He responds to him. Kim Dan is not summarized. He is addressed. And observe that doc Dan is gradually imposing himself as the senior. He is now the athlete’s hyung. (chapter 89)
The contrast is not moralistic. It is structural.
The director represents a mode of power that knows without seeing. He once decided truth behind closed doors, believing outcomes were sufficient proof. Even now, his presence is shaped by that same logic: observe without engaging, remember without reckoning, drink without sharing. The irony is that he is exactly like Heesung. He thinks, what he sees is the truth. He believes to know. Because he is a hidden homosexual, he can only interpret such a gesture as the expression of love, (chapter 89) but also as commitment. In his eyes, they are dating, they are a couple. The irony is that he is only partially correct. They are not an official couple, but they act like one. Moreover, they are working together. So they are more than just a couple. Finally, this happy moment doesn’t indicate what doc Dan went through in the past, the switched spray, the drugged beverage and a huge depression.
Joo Jaekyung represents something else entirely. Not innocence, not purity, but responsibility. He does not deny the past; he incorporates it. He does not insulate himself from consequence; he assumes it. The space he shares with Kim Dan is not free of history, but it is no longer governed by silence. In fact, now their “history” is full of funny stories. 
(chapter 89) But more importantly, he doesn’t hide his affection and attraction to doc Dan, while the other did it behind closed doors. Finally, thanks to doc Dan, Joo Jaekyung is learning to pay attention to his surrounding. That’s how he sensed the gaze from the perverted hospital director. (chapter 89)
This is why Episode 89 feels decisive without resolving anything.
The director’s return does not promise immediate punishment or exposure. It signals displacement. The world he once controlled through erasure no longer centers him. The person he believed he had reduced to nothing is not only alive, but visible — and no longer alone. He is even happy.
Power that relied on not seeing has lost its authority. What replaces it is not revenge, but relation.
And this is what marks The Beginning of the End, the final emancipation of Doc Dan. The latter does not arrive through confrontation or declaration, but through legibility. In the fitting room, the suit is not a costume of aspiration or disguise; it is a confirmation that he can now be seen without being reduced. He looks back, not down. He asks, 
(chapter 89) not as a plea for permission, but as an invitation into a shared future. The pause of the older man watching him echoes a different kind of professionalism: not predatory authority, not performative control, but quiet recognition. Furthermore the doctor’s suit reminded me of the doctor in episode 13, Cheolmin (pattern, colors). 
(chapter 13) The visual resemblance to Cheolmin is not accidental. It aligns Kim Dan’s future not with power that operates through secrecy, but with practice grounded in fun, care and responsibility. Earlier, suits belonged to those who decided outcomes behind closed doors (chapter 89); here, the suit becomes a sign of re-entry without erasure. 
(chapter 89) Bought by Joo Jaekyung but chosen by Kim Dan, it marks the return of agency. What was once a symbol of exclusion now signals continuity. Kim Dan is no longer preparing to survive. He is preparing to live. Hence his birthday is approaching.
Not because justice has been delivered, but because those who once “knew” without seeing are finally forced to see—
and discover that their knowledge and power were never secure, only temporarily protected by illusion.
Feel free to comment. If you have any suggestion for topics or Manhwa, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Twitter-Tumblr account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.
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)
Bebebisous33s' analyses in K-Dramaland and Manhwas 