Painter Of The Night: Baek Na-Kyum’s foot 👣👣

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/ 

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Announcement: Shocking discoveries has been updated again.

1. The caress on the child’s foot

The author released this picture on Twitter yesterday, and naturally this made many people happy, for Jung In-Hun was stroking Baek Na-Kyum’s foot gently. How could people identify the characters, though we don’t see their faces? Simply by the clothes! The manhwaphiles remember the painter’s grey pants and the learned sir’s favorite color, lavender, (chapter 19) (chapter 68). While many manhwalovers found this image cute , something else came to my mind. A question. Why did Byeonduck create such a panel? One might say that she is showing us the painter’s past. Here, he is a young boy, for his foot is so small. He is carried on the learned sir’s shoulders like a little boy. Due to the presence of the light bubbles, refraction, I deduce that this picture represents a happy memory from the artist. He felt loved and warm in that moment.

2. The strolls

However, what caught my attention is that the young scholar was strolling through the countryside with the boy. In the background, you can see the fields and trees. This means that this scene embodies the positive reflection of this night: (chapter 70) The manhwalovers can immediately detect the contrasts: the visages of the protagonists versus the hand and the foot, day versus night, sun versus moon. That’s the reason why I came to the deduction that this image embodies a happy memory of the painter: sadness versus happiness.

On the other hand, these two situations have something in common: the learned sir is wearing the same clothes (a lavender hanbok) and he is walking through the countryside. But why? In order to get an answer to this, it is important to remember why the painter was forced to follow the learned sir during the night. It is because the artist had witnessed Yoon Seungho’s sequestration and abuse, whereas he thought that his noona had been mistreated. . (chapter 68) This means that Baek Na-Kyum was removed, because he was a witness and could generate a scandal. He is beloved by the kisaengs. However, back then, he got misled due to Heena’s indoctrination and false impressions. When he saw this, he was only looking at his noona, hence he didn’t pay attention to the actions of the black guard. Moreover, he had no idea why Heena and Yoon Seungho were behaving like that. So when the painter recalled Jung In-Hun from that night, he was no longer heartbroken, because the stroll with the scholar came to his mind. (chapter 70). The trigger for this recollection was his farewell to Heena. This time, he could say goodbye to Heena properly by embracing her and giving her a scarf so that she would remember him. In the painter’s mind, after that night, he would never see her again. (chapter 69) In other words, this night represented a closure for Baek Na-Kyum, the end of his abandonment issues. In episode 70, Jung In-Hun had consoled him, he had tried to cheer him up. Thus the learned sir was smiling. Yet, this couldn’t cover the painter’s scar. He felt that he had betrayed Heena, for he had not been able to protect her. It was, as if he had run away. Nevertheless, when this incident occurred, the learned sir had not run away from the gibang, because you could see that Baek Na-Kyum was wearing socks and shoes. (chapter 70) The man had put the shoes on the child, as in the building, the painter only had his socks on. Because of the presence of the socks, (chapter 68), I deduce that this walk must have taken place in a colder season (fall) while in this picture, Jung In-Hun was carrying the painter on his shoulders in the summer. No one would question why the artist had no sock or no shoe, and the manhwalovers can see the shadow of leaves from the trees on the hanbok. One might object to this distinction between fall and summer, because (chapter 70) the trees in the background still have their leaves. This point can be easily refuted, for in South Korea you can find typical evergreen broad-leaved species like camellias and camphor trees. But there exists another reason why I am associating this scene to fall and not spring or winter. It is because this image

represents the reflection from another episode: (chapter 102) In both scenes, the main lead is seen with bare feet. He is also carried by his loved one. But here, it is snowing, hence this signifies that it is winter. On the other hand, the manhwalovers can detect the presence of a purple flower on the right side. This signifies that Spring is on its way. That’s how I came to realize why Baek Na-Kyum is now recalling the learned sir’s gesture from the past.

He felt loved because of the learned sir’s caress, but in my opinion, this affection was superficial, as the warmth was coming more from the sun than from the learned sir.

In reality, this scene was actually exposing the teacher’s fleeting and superficial affection. But how do I come to this conclusion? By simply contrasting this scene with the one from chapter 102. Now imagine the situation in your mind. Both main leads are walking in the mountain (chapter 102) where it is even colder than in the valley, secondly it is snowing and there is no sun, only the moonlight. So the moment Yoon Seungho witnessed that Baek Na-Kyum was alive, he must have recognized the seriousness of the situation. Since Baek Na-Kyum had only a hanbok on, he could die of hypothermia. What he had imagined for himself, death, had terrible consequences. He could be the reason for the painter’s curtains. So in my opinion, he must have warmed the painter’s feet with his hands, a new version of this scene: Through the comparison, the artist can only sense the lord’s selflessness and deep love for Baek Na-Kyum. He will do anything for him. And now, you comprehend why the painter was reminded of the past. Yoon Seungho is slowly taking over the scholar’s role. But this doesn’t end here.

By comparing these two scenes, another contrast come to the surface. Yoon Seungho went to the mountain to bury the painter and to commit his suicide. This means that this stroll is associated to death, while the walk with the learned sir embodies the opposite: life and joy. However, as you can imagine, this is just an illusion. Because the moment the lord realized that his lover was still alive, he made the opposite decision. He is now fighting to remain alive. The painter has become the lord’s source of strength. Without him, Baek Na-Kyum can die and can even become the target of filthy and violent nobles. This means that after this stroll, the lord is forced to give up on his suicidal thoughts for good. Hence I deduce that in this image, the opposite must have happened to the painter. There was a change too: Here, he felt happy and loved… yet at the end, he must have felt guilty. Why? It is related to Heena. According to me, in this scene, she had used the painter as a shield. (chapter 94) His presence was to divert the attention from these men so that she wouldn’t be asked to have sex with them. And since I have already detected that each time, the painter suffered, karma would retaliate, the logical consequence is that Heena got punished for her wrong action. This signifies that while the painter was following the learned sir, his noona was abused in the kisaeng house. This would explicate why later she had no remorse to turn Yoon Seungho into a victim. And don’t forget that the painter was much younger than in this scene. (chapter 68) However, since the painter’s legs are longer than in the image from chapter 94, , I deduce that the scholar went for a walk with the painter, the latter was a little older. And this brings me to the following observation: the scholar’s walks were never random. They had a purpose which stands in opposition to Yoon Seungho’s behavior. (chapter 45) (chapter 75) The latter would let his partner walk through town in order to please him. He would even follow the painter. In other words, it was always for the painter’s sake, and in the mountain, it was the same. But it was not the same for Jung In-Hun, it was for his own benefit. We have the best example in chapter 10: (chapter 10) Here, he desired to separate the couple. Baek Na-Kyum should refuse to paint erotic pictures.

That’s how I come to the deduction that Jung In-Hun had taken away the artist from the gibang on purpose, to separate Baek Na-Kyum from his noona Heena. Hence I am assuming that during that day, something must have happened in the gibang. Like mentioned above, she could have been hurt during the painter’s absence. That’s the reason why the painter developed self-hatred. But there exists another possibility. Since this scene took place during the day, I think that the learned sir didn’t mind of being seen contrary to his attitude in town: (chapter 29) He could definitely meet peasants in the countryside. As you can see, Baek Na-Kyum is wearing clothes for low-borns, hence no one will question why he has no socks and no shoes. The learned sir looks like a generous and humble scholar, who doesn’t care about social status and origins, for he is carrying the painter. This stands in opposition to the stroll during the night: (chapter 70): The artist is dressed with good clothes, he looks more like a young master than a commoner, only the shoes are indicating that he is a commoner. That’s the reason why I believe that during that night, the learned sir was avoiding people. They could have wondered why the young boy was carried in his night clothes outside. From my point of view, this scene is strongly connected to Heena and the suffering in the kisaeng house. The other reason for this theory is that this panel is strongly intertwined with episode 29, where the learned sir had gone on a walk too, but this time without the painter. Here, he had a girl on his laps. (chapter 29) He had already been seen with a girl before who seems to like him either. (chapter 6) Thus I couldn’t help myself wondering if the learned sir was not directly involved in prostitution, bringing girls to the gibang and even covering up for the sexual child abuse. We shouldn’t forget that the pedophile was portrayed as a man consumed by lust who would never pay attention to the time and the hour. (chapter 1) Hence the painter had to leave the gibang during the day as well.

To conclude, though this panel seems to ooze happiness and warmth, I believe in the opposite. It is connected to pain and suffering. That’s the reason why I am convinced that this recollection will help the painter to move on from his self-hatred as well. He won’t feel guilty towards his noona, for she definitely manipulated him, especially at the end of season 3. And this would mirror the lord’s transformation, both are overcoming their traumas: self-loathing and abandonment issues.

3. The learned sir’s hanboks

At the same time, since I realized that the painter embodies memories and is the witness of the lord’s downfall and lord Song’s crimes, I came to the following theory: Jung In-Hun was involved in the torment of people in the gibang, but Heena never realized it. She preferred blaming nobles. Jung In-Hun’s role was to ensure the absence of scandal. Under this new light, it becomes comprehensible why the learned sir’s karma was to die incognito. Since he had contributed to cover up and ensure that there was no witness and ruckus, he should suffer the same way. On the other hand, since he contributed to the painter’s happiness, as he was his only friend, I believe that at some point, his death will cause a huge scandal. And before closing this essay, I would like the readers to remind that the teacher didn’t wear all the time a lavender hanbok!! When he first met the main lead, his clothes were rather light green. (chapter 6) (chapter 7) (chapter 7) This change is not random in my eyes. I had already associated the learned sir to a chameleon. This change of color seems to validate my theory that Jung In-Hun had been sponsored by Min, hence we have the light green. Black Heart is symbolized by green. However, the light pigment reflects that he had been abandoned and betrayed. Nonetheless, when he encountered Yoon Seungho, the latter was wearing a purple hanbok. (chapter 6) That’s how the man got influenced and chose to wear his lavender hanboks again. But he never realized that behind the young noble, there was standing the pedophile, someone he had helped in the past. From my point of view, the change of the learned sir’s hanbok was the indication of his betrayal. According to me, the old bearded man (chapter 37) was not a former servant, but the pedophile. So he could have recognized the learned sir thanks to his hanbok… just like the readers did with this picture:

The purple hanbok is the common denominator between the mysterious lord Song (chapter 83), the topknot incident (chapter 1) and the couple. (chapter 102) At the end of season 3, both are now wearing a purple hanbok, though their pigment is slightly different. And what have all these chapters in common?

4. Love and feet

The main leads are bare feet. (chapter 83) According to me, in the painter’s vision from episode 1, the braided man is Yoon Seungho. The absence of shoes and socks was in truth an indication of neglect and abuse, but the warmth and gentleness from that scene deceived the painter: If the learned sir had been so caring, he should have let him wear shoes or socks. Here he was forced to rely on the learned sir. The latter should have ensured for the painter’s education either. He didn’t read a book with him during that day. In reality, the author let us see what true adoration and affection is: (chapter 73) From my point of view, the intimacy in the bedchamber stands in opposition to the teacher’s gesture in the countryside. His caress was just a casual gesture with no real deep meaning in the end. This explicates why he could betray and abandon the artist on so many occasions in season 1 (chapter 11, 24, 25, 29, 35, 40). The learned sir had always prioritized his own interests.

And if my prediction is correct by contrasting this memory to this scene (chapter 102), the painter should realize the difference. (chapter 68) Yoon Seungho’s love is deep and real, it is never changing. And the embrace in the snow confirmed it. (chapter 102) The lord let the painter cry, (chapter 70) talk and ask questions before apologizing and hugging him. The lord never acted, as if nothing had happened, (chapter 102) This was true love and Baek Na-Kyum’s feet always reflect his emotions: (chapter 58) (chapter 80) So now, imagine how the painter must feel if the lord took his feet in his hands! This is no coincidence that there is this saying:

Your feet will bring you to where your heart is.

And now, you comprehend the importance of the foot prints (chapter 100) (chapter 102) and the zooms on the feet: (chapter 53) The couple was following their heart!! But this was not the case with the scholar. Baek Na-Kyum had no other choice than to follow Jung In-Hun.

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Painter Of The Night: Love and Sex 👨‍❤️‍👨 (second version)

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/

Feel free to 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. It would also cover my expenses for the blog.

When I examined the sex scenes from the first season (see the analysis “Sex or Love?), I realized that each character had different expectations from the sexual encounters. They were either looking for sex or for love, but each time they were not able to express their desire and even to recognize the distinction. Why couldn’t they sense the difference? It is related to the way the characters were raised.

1. Sex and philosophy

On the one hand, Baek Na-Kyum was taught by the learned sir and Heena noona that sex and as such homosexuality was dirty (chapter 34), only spiritual love was allowed (chapter 19) (chapter 68). This signified that in his education, not only sex was prohibited, but also sexual desires were denied. Although love was expressed through hugs (chapter 66) (chapter 68) and caresses (chapter 10) (chapter 68), they were devoid of sexuality. The painter experienced love, but was not allowed to experience sexuality. He was only authorized to paint it for the scholar’s sake. On the other side, Yoon Seungho was raised the opposite: love was not allowed, as it was a sign of submission and weakness. Sex was permitted, because it was considered as a fight in order to defeat his opponent. These were the butler’s doctrines. That way, he could still have a connection to the main lead. If he came to love someone (the pedophile), the lord could definitely abandon the valet and reveal his betrayals. In other words, he used pity as a way to tame the lord. At the same time, sex also served to gain some benefit, as it was an exchange of favors (giving versus receiving), (Chapter 71). I connect this philosophy to the king and indirectly to the butler. With sex, the nobles could exchange some favors. These huge divergences in the mindset explicate why there were so many misunderstandings between Yoon Seungho and Baek Na-Kyum, as their education diverged so much.

2. Sex and prostitution

Yet, despite the contrast, both educations had something in common: prostitution. Heena noona hates sex, because it is related to her work. The scholar rejects it, for it is beneath him. He expects the low-borns (Baek Na-Kyum and Heena noona) to become his prostitutes, if it’s necessary, while he can maintain his image of a proper scholar. Father Yoon used his son as a prostitute, and the main lead realized it after his father’s betrayal and abandonment. This explicates why “prostitution” stands in the center of the second season. For Baek Na-Kyum was brought to the mansion against his will, but he received certain privileges, his status was never clearly defined. Although Yoon Seungho thought, he had won the battle (chapt45), as the painter had accepted him as his sexual partner, he had to realize slowly that he was wrong. He imagined that since the artist had remained by his side and was accepting to have sex with him, he had achieved what he wanted: in his unconscious it was to be loved. Yet, it was just an illusion. The painter saw himself as a whore and the master as a man consumed by lust. As you can see, the noble was forced to judge the nature of the sexual encounters differently. He had associated sex to love due to their Wedding night, therefore he imagined that the moment the painter was accepting him, the problem was solved. He would be able to relive this wonderful moment, but however nothing like that happened. He felt never satisfied, as there were no feelings at all. Hence he even had sex during the day, believing that the artist’s lack of experience was the problem. (Chapter 45) While the lord became Baek Na-Kyum’s sexual emancipator, the painter became the lord’s teacher for love. This explicates why the low-born forced the lord to question his own identity and feelings.

But let’s return our focus on the common denominator: prostitution. As long as the painter chose to stay, because he had a roof over his head and could eat properly, we could definitely say that till 49 his stay at the mansion was indeed closer to prostitution than a master- servant relationship, because the commoner was never treated like a domestic. He only had sex with the lord and had some privileges. (chapter 46) He was never asked to do other work, although the artist tried to change his situation. Since he was behaving like a whore, he felt that he had no right to express any thought and emotion. He couldn’t show any pleasure. That’s why there were no feelings in their sex encounters, and the lord could sense the difference. Consequently, when the lord realized that he was still perceived as a man consumed by sex (chapter 48), he changed his behavior. He acted like a real client at the brothel (chapter 48), but at the same time he cornered the painter to have multiple climaxes in order to let him experience that he liked having sex with him. (chapter 49) As you can observe, the lord linked sensuality to love. If he could provoke ejaculations, then it meant that the artist was definitely feeling something for him. However, the moment the lord liberated the painter from his pejorative perception about himself (he is a prostitute), the painter reacted the exact opposite. Now, he was the one using Yoon Seungho, the latter was his plaything. (Chapter 49), his prostitute, for he was the one procuring pleasure to Yoon Seungho. As you can see, the roles had been switched. This means that now the painter had the upper-hand in their relationship. We could even say that the noble was willing to accept his fate. (Chapter 49) Yet there was a difference from the past. Yoon Seungho would feel pleasure as well. This is not surprising that Kim chose to intervene and separate the couple right after. Without sex, the painter had no power over the master. That’s the reason why the butler revealed his knowledge the morning after. The protagonist had to hear from his butler the real cause for Baek Na-Kyum’s passivity and torpor: (chapter 50). Through this revelation, the lord was indirectly confronted by his own reflection: he was indeed asking from Baek Na-Kyum sexual favors in exchange for his stay at the mansion. That’s the reason why the lord had a “relapse“ and kept his distance from the painter.

3. Abstinence and love

However, because Yoon Seungho was now associating sexual pleasure with the painter, the noble was no longer able to have sex at all. Don’t forget that Baek Na-Kyum symbolizes love. Seungho-Ya 😉 couldn’t even get an erection with a fellatio given by someone else. (chapter 52). This was important, because for the noble, it meant that he could no longer have sex with other partners. Without sex, the lord was forced to question himself and ponder on the true nature of his relationship with Baek Na-Kyum. He felt jealousy during that night, he was very protective as well. (Chapter 52) His sexuality had already become an expression of his love, although the main lead was still unaware of his own feelings. That’s why I come to the conclusion, chapter 52 was actually revealing Yoon Seungho’s monogamy, although it looked the opposite. And this becomes truly visible, when the gangrape was about to occur. He felt no urge, when he was with the guests, yet the moment he brought the artist to the bedchamber, he couldn’t stop himself from kissing his loved one. (chapter 54) He was definitely longing for his warmth. This explicates why the noble got so infuriated, when he was confronted with the consequence of his bad decision: (chapter 54) the artist was on the verge to be no longer monogamous, as he would be tasted by other aristocrats. In this scene, the lord would have indeed become a client and pimp, if he hadn’t chased away his guests. Although the painter was indeed upset afterwards about this incident (chapter 55), deep down he sensed that his master had protected him. This night was important for the main lead: he was forced to admit his own feelings for the painter. Therefore, we could say that the issue with the prostitution was solved after chapter 54. Yoon Seungho thought that the moment he confessed, the painter would get scared and run away, but it didn’t happen. Why? Love among men and especially between a brutal noble and a commoner, was a taboo, like Min had underlined. Secondly, if the lord had indeed feelings for him, he had behaved like a beast during that night. He had mistreated Baek Na-Kyum. In his mind, the artist would never accept him.Besides, the painter had clearly denied the affection from the main lead. In his eyes, the painter’s words were indicating a rejection. (chapter 54) Thus I conclude that Yoon Seungho and Baek Na-Kyum had come to an implicit agreement: they had a master-servant relationship (chapter 56), although Baek Na-Kyum started perceiving himself as a domestic from chapter 51 on again. He kept following the head-maid and Kim (chapter 51) in order to help them. Therefore the readers could witness the return of the white headband in chapter 52: his task was to paint for his master. (Chapter 52)

However, this new situation didn’t last long due to the artist’s abduction. The lord thought that since he had properly confessed to his servant (chapter 62) here, he whispered to Baek Na-Kyum that he adored him), he would bind the artist to himself.

4. The real relapse: sex, the symbol of submission

Nevertheless the commoner disappeared making Yoon Seungho think that the moment he revealed his vulnerability, he got betrayed and abandoned. This explicates why the noble punished the artist, when he was found. Since they had a master-servant relationship and the artist had run away, this meant that Baek Na-Kyum was rejecting the lord’s love. Hence he could only treat him like his sex toy (chapter 63), exactly like he had wished in chapter 49. The only difference is that this time, the painter was here for the lord’s pleasure. The roles had been switched again. As the manhwaphiles can perceive, the noble and painter had a similar reaction: they both tried to deny the existence of love in their relationship. That’s the reason why the noble stopped the artist from confessing: (chapter 63) They just had a sexual relationship which could provoke pleasure, but that was it. But in order to ensure that the artist wouldn’t run away again, he used sex to “tame“ Baek Na-Kyum. If the main lead could procure multiple climaxes to the artist, then the latter was forced to admit that only Yoon Seungho could be his “partner“. This explicates why the noble kept pointing out how the artist would react to his lover’s body. (Chapter 63) (chapter 64) He was moaning and would ejaculate constantly thanks to the main lead. Yet, during this second marathon, the noble was actually deceiving himself. (Chapter 62)

5. Love and servitude

Although he treated the painter like a servant, as the latter was asked to paint, Yoon Seungho couldn’t help himself cleaning Baek Na-Kyum and bringing him to his bedchamber. (Chapter 65) This shows that the painter had gained a new position: he was indeed a favored servant. He was allowed to spend the night in his lover’s bed and he could see the lord getting dressed. (Chapter 65) The slight change was that now the main lead was aware of this. This truly exposes the lord’s affection for the artist. He might have treated him like a plaything in the shed, in reality he had attempted to show “his skills“ as a lover. He had licked him, bit him and the painter had felt pleasure, though he kept saying no! This is not surprising that Yoon Seungho had denied the kiss in the study. (Chapter 64) Because that’s how he had been deceived that night in the study. (Chapter 49) Baek Na-Kyum had silenced him with the kiss, as the main lead was about to protest. (Chapter 49) When he mentioned the kiss, the symbol for love, in his confession, it was connected to sensuality and not affection. Hence he didn‘t kiss him at the end of the second marathon. As a conclusion, by bringing the artist to his bedchamber, the lord never realized that his action was betraying his words from the night before. They were definitely more than 2 naked bodies. The lord trusted the painter so that he could lie down next to him in the bed. (Chapter 65) Striking is that Heena noona’s intervention destroyed their terrible but short-lived master-servant relationship, because the noble was faced with the truth: he had brought back the artist to the mansion against his will. (chapter 65) What caught my attention is that the painter’s disappearance mirrored the lord’s wrongdoing. Lee Jihwa and the main lead had both kidnapped the artist. That’s why I believe that when he heard Heena’s words in the study (chapter 68), the noble could only come to the following conclusion: he could only let the painter choose his destiny. But the moment the artist decided to remain by his side, he needed to change Baek Na-Kyum’s position in the mansion. He was no longer a servant, but a noble guest. Hence the lord tied the scarf like aristocrats did. (chapter 69) Consequently, we could say that the painter had a similar status than Jung In-Hun. Yet, there was a huge difference: the owner of the mansion was now acting like the painter’s servant. Hence Deok-Jae’s words came true: (chapter 46).

6. Nobility and love

From chapter 69 on, there were two masters in the mansion: (chapter 71). Why? It is because the lord made the decision that the painter chose him, then this means that he became his wife, though at the end of season 2, he was not thinking about marriage yet. He was not aware of this perception. By becoming his official partner, the spouse obtains the status of his husband: nobility. This explicates why the lord ate with his lover (chapter 74) and allowed him to smoke. Then in season 3, he gave him ladies-in-waiting in order to give him some company. (Chapter 78) He even gave him the music box, which was mistaken as a dowry. However, the problem is that the painter was still fighting his own feelings for the protagonist due to Heena noona’s words and past experience with the scholar. He feared that this new situation was too beautiful to be true, hence he thought that the lord’s feelings would fade away. But there was another reason for doubting the lord’s affection: there was no sex. (chapter 74) The painter had come to associate sex with love too. Yet, the moment he relived his trauma, he only found comfort and safety in the lord’s embrace. (Chapter 76) The main lead didn’t reject the painter’s urge for a hug in front of commoners. At no moment, Yoon Seungho felt embarrassment. He treated him like a special treasure. That’s how the painter came to realize that Yoon Seungho‘s love for him was true and genuine. Consequently, he decided to rely on him and to trust him. That’s why in this panel, the painter closed his eyes: (chapter 76) We could say that he was reminded of his own past. When he was a child, he sensed love through hugs and caresses. Since the painter could feel the lord’s genuine affection and warmth, he recognized that even when there was no sex, love was present. All his senses made him perceive the lord’s love: (chapter 76) His words showed his care and concern, then he bought him an expensive music box. (Chapter 76)

7. The symbols for the couple‘s love

But by accepting the noble’s affection, the painter was also incited to question his affection for Yoon Seungho. On the other hand till chapter 94, he hadn’t voiced it yet. As you can see, the abstinence at the end of season 2 and the beginning of season 3 had a important function. It helped the painter to admit the existence of love and more precisely the lord’s affection for him, a reflection of the lord’s situation in season 2 (50-54). Simultaneously, it meant that the painter could no longer deny his attachment to Yoon Seungho too. Therefore it is not surprising that in the bedchamber, when the artist tried to initiate a kiss, it could be perceived as the start of a love confession. (Chapter 80) And now, you comprehend why the painter didn‘t confess during that night. He got interrupted. The kiss was the symbol for their love. Thus it is no coincidence that just after his confession,. (Chapter 94) the painter initiated a long and sensual kiss with his “husband“. (Chapter 95) Since the painter had received caresses and embraces in his childhood, he came to view the kiss as the symbol for true love. And note that the kisses exchanged in the gibang were full of passion and love. This was the perfect combination of love and sex. (Chapter 95)

On the other hand, the lord had developed a different preference: the locked gaze, the warm embrace and the joined hands. Thus when he confessed his affection for the painter in the kisaeng house, observe what he did: (Chapter 96) This shows that Yoon Seungho has always longed for a pure and spiritual love in the first place. His sexual preferences were already palpable in the last love session (season 2): (chapter 72) We could say that he discovered all his sexual preferences thanks to the painter.

Thus my prediction in the first version that the painter would express his love through sex later came true. He tried to initiate it with a kiss. He was moved by the lord’s loving gaze and smile. (Chapter 80) But he failed due to the intervention of the butler and other schemers. Besides, the whispering of „Kyumah“ could only make his heart race. Let’s not forget that his painting in the sand (chapter 1) externalized his own philosophy: love and sex can’t be separated. Note that the couple is is hugging and kissing at the same time! 😍 This picture will represent the peak of their love! Striking is that when the couple confirmed their mutual affection, they did in the kisaeng house, the symbol for prostitution. This truly exposed that Yoon Seungho had been treated like a male night servant in the past. .

As you can imagine, I am expecting a new version of this love session. (chapter 72) in the next season, for the painter is still calling his lover “lord Seungho“ (chapter 99) (chapter 102) This means that he is still viewing himself as a low-born. But note that contrary to the past, Baek Na-Kum is now wearing a hanbok and he has no other clothes. Thus I am deducing that the painter’s next lesson is to drop his notion that he is a commoner. He will be taught to view himself as an equal to Yoon Seungho. Only when he has internalized that there is no gap between him and his lover, then he will be able to address him as “Seungho-YA!“ At the same time, both protagonists will come to realize that they can express their love differently. Poetry, painting and more importantly through their desire to protect their loved one. The lord will start protecting Baek Na-Kyum more actively, just like the painter will decide to show more interests in his lover’s skills and past life. Baek Na-Kyum will feel responsible for the bloodshed in the shaman’s house. In my opinion, the lord will confide to him what happened to Min and the other nobles. I am assuming this, for the lord remained silent, when the messenger of his father came to the mansion. He didn’t want to scare his lover because of his brutal outburst. (chapter 84)

8. Sex, passion and confession

What caught my attention is that unlike in the first season, where characters came to find love and had sex or the reverse, the second season presented each sexual encounter as a sex session, but at some point love came to the surface.

  • chapter 45: The trigger for the change is the noble’s words. The latter keeps talking to the painter asking for an reply. Hence in my eyes, there are glimpses of love the moment Baek Na-Kyum said this: It sounded like a confession, hence the seme became more passionate:
  • chapter 48/49: Here the lord acted like a client. Yet, notice that the lord is speaking again forcing to express himself. And the moment the painter cried and started voicing his own opinion, the sexual encounter was affected. (Chapter 49) The lord comforted the artist and hugged him: (chapter 49) An expression of love and affection, but the painter rejected it, as he mistrusted his own judgement. He couldn’t help thinking of the learned sir’s fake embrace. Striking is that despite the rejection, the painter kissed and hugged back his lover (chapter 49), which made the lord believe that he could only get embraced by the painter, if they had sex.
  • This explicates why in chapter 63, the lord forced the painter to hug him: . Although the second sex marathon starts like a pure sex session, the moment the painter calls Yoon Seungho differently, the lord’s attitude changes. The painter is turned around and faces his lover, a sign that they are getting closer. Striking is that again through their conversation, the painter is pressured to think about his own emotions. However, due to his own insecurities and fear, the noble still can’t trust the artist’s words, therefore there’s no confession. As you can see, love was not absent, it is just that both main leads were in denial.

Naturally, the night in chapter 58 and 70, 71, 72 and 73, are different. Although in chapter 58, the noble confessed and made love to the painter, he was also cornering his lover. The latter was not really able to move. He was trapped under his body, the lord was blaming him for turning him into a wreck. (Chapter 58) Thus he should become responsible for him. Yoon Seungho was unconsciously trying to push the painter to reciprocate his feelings, an imitation of Lee Jihwa‘s confession. Nevertheless, the painter remained silent, therefore it meant that his love was still denied. That’s why it stands more under the sign of dream and illusion. Consequently, the night in chapter 70, 71, 72 and 73 contrasts so much to the one from chapter 58. This time, it symbolizes the lord’s pure love. As such, the sex is already a real expression of love. That’s why the lord asked to be called intimately: Seungho-Ya (chapter 72) On the other hand, this love session was strongly intertwined with the notion of forgiveness and punishment as well. This is important, it reveals that Yoon Seungho had internalized that sex was the expression to redeem himself. He had been tasked in the past that if he desired to obtain “forgiveness“, then he should have sex. And by comparing all these sexual encounters, I came to the following conclusion: the lord’s words definitely contributed to change the nature of the sex session, just like the hug.

And observe that the lord started hugging the painter more often outside sex, but the painter could never sense his affection. In chapter 49, he judged the warmth as fake. In chapter 66, he had a flashback, hence he couldn’t witness his lord’s attention and care. But the lord discovered this kind of embrace, when he helped the painter in chapter 53: That’s how the noble experienced the embrace as a source of comfort and affection. Therefore you can comprehend, why I wrote above that the painter was teaching the lord how to love properly, but also why the embrace became the symbol for love in the lord‘s eyes. He had never been embraced before by a man. And Lee Jihwa had recognized the true signification of this gesture, when he spied on the couple (chapter 43). That‘s how he knew the friend‘s biggest desire: and was deeply hurt after this discovery (Chapter 57) However, this shows that Yoon Seungho is a quick learner, because he knew what to do, when the painter was in pain and destress. At the same time, it explains why he could fake the embrace in chapter 62: This hug stands in opposition to the one at the end of season 3: (chapter 102) The artist was forgiving his lover! Love represents selflessness, tolerance, forgiveness, warmth, affection and assistance which is transmitted by the embrace. Now, you understand why Yoon Seungho was still not satisfied after the sex session in the study, he was longing for the hug. (Chapter 84) In his unconscious, he knew that if the artist hugged him, he would have forgiven him. But he had no idea about it, thus he couldn’t suggest this. So far, he had experienced the embrace from the artist while having sex. Deep down, he had already internalized the embrace to forgiveness. So we could say that the absence of the embrace in this scene was the lord‘s punishment for the fake hug in the shed. And the painter let him discover the true nature of a warm embrace: (chapter 88) This is not surprising that this hug was not connected to sex at all. Yet it moved the lord so deeply. As the manhwalovers could sense it, season 3 was focused on love and sensuality. During that season, the couple was able to voice about their sexual desires and their preferences. (chapter 91)

As for the lord’s addiction to grab the artist’s hand, we have to envision that it is related to the lord‘s huge trauma. (Chapter 86) No one close to him had grabbed his hand in order to show their support. This gesture in the picture embodies abandonment. On the other hand, the painter had been the first one to take his hand and to swear “loyalty“. (Chapter 30) The joined hands were repeated in season 3 , the only difference is that this time, Baek Na-Kyum was doing it willingly. (Chapter 88) The symbol for support, company and responsibility.

As a conclusion, the dichotomy between love and sex in the relationship between the protagonists is no longer existing at the end of the third season. Both have come accept their love for each other. But it already started vanishing at the end of season 2. Although the painter had not confessed properly yet, the return of the embrace and his request for help are strong indications that Baek Na-Kyum was now accepting his affection. He was now trusting the noble, hence he revealed an important clue about the abduction.

Consequently, I am predicting that in season 4, we will see a new erotic painting of the couple, the symbol of their affection which will stand in opposition to the ones from season 1. It won’t be about conquests and as a tool to procure an erection for the nightly activities. That’s the reason why I am now expecting only one erotic picture: the document of their official union. (chapter 1) versus chapter 41 (chapter 41) Under this perspective, it becomes understandable why the couple neglected these pictures. They were all devoid of affection, it was more about prostitution and battle! And here is now the question? Where are these drawings?

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

Painter Of The Night: Investigation 🔍🧐 (second version)

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/

It would be great if you could make some donations/sponsoring: Ko-fi.com/bebebisous33  That way, you can support me with “coffee” so that I have the energy to keep examining manhwas. Besides, I need to cover up the expenses for this blog.

Now, you are all wondering why I am using a panel from chapter 59 as illustration, when the story has already moved on, and our beloved couple is actually celebrating their marriage. Everything started with the following panel: (Chapter 71) As you can envision, I am now examining each picture very carefully, hence when I saw this image, I couldn’t help myself associating it to the painter’s abduction. First, the painterofthenight-lovers will certainly remember the scene of the lord’s panic, when he left the room and saw the footprints on the ground misleading him to think that the painter had run away. (Chapter 60) In this picture, the manhwaphiles can even hear Nameless’ explication why the lord would jump to the wrong conclusion. The expression “on his own two feet” was actually visualized by the imprints left on the snow. We know for sure that Nameless knocked out the painter before carrying him away. He carried him the same way than he did with Lee Jihwa: (Chapter 59) What caught my attention is that the space between the footsteps on the wood (Chapter 71) is much bigger compared to the ones left in the snow. (Chapter 60) Why such a difference? It is related to the divergence of height between the lord and the painter. So here is the question? How could Nameless walk with small footsteps, when he is carrying another person? As you can see, the panel from chapter 71 serves as a clue for the presence of an accomplice during this night. I had already elaborated that Kim must have participated in this, but I could never prove it. But one might argue that this proof is not strong enough to validate my theory. That’s why I examined the chapter 59 more closely again.

(Chapter 59) This image caught my attention for two reasons. Thanks to the analysis “The five candles”, I realized the true meaning of the pictures with landscapes. They expose the actual situation, therefore the beholder should study them under the following elements: moon or sun, air, water, earth and fire. So in this picture, you can detect the absence of the moon symbolizing the lord’s illness. He is too weak to look after his lover. Striking is that the earth element is predominant here, as the tree branches standing next to the buildings are almost touching the sky. So since the snow is falling, it indicates the presence of water and note that water is almost everywhere: in the sky, on the trees, on the ground and on the rooftops. The only element missing is fire. Yet if the manhwalovers examine the image more closely, they will detect the presence of a light hanging on the side of the restroom. However, the candle surrounded by glass is not lit. To sum up my observations, this panel exposes the predominance of water and earth and the presence of a lamp with glass. In other words, this image symbolizes butler Kim, the new version of chapter 58 . First, let’s not forget that Kim is often seen carrying a bucket of water (chapter 33) (chapter 56). Secondly, he is also linked to the lantern with a glass (chapter 20) (chapter 36) But more importantly is that in the image from chapter 59, there is no light, (Chapter 59) which can not be a coincidence. In my eyes, the valet is already aware of the future kidnapping, but he is not sharing his knowledge to the protagonists. He wants to keep them in the dark. Moreover, if you add the picture from the chapter 58, you’ll detect the absence of the glass lamp too. (Chapter 58) The presence of light comes from the physician’s room, where both main leads are making love. Hence the fire element is associated to Yoon Seungho and not Kim. All this indicates that the valet will apply his favorite philosophy: feigning ignorance. Both panels are actually exposing the valet’s complicity. Even before I realized Kim’s true personality, I had already explained that he was the one who put the protagonists’ shoes next to each other. Back then, I considered it as a gesture of kindness, whereas now I have a different opinion. As you can imagine, I perceive these two panels as evidences for Kim’s complicity. The butler will be the one creating the painter’s imprints.

But some might say that this is not enough, as they are just interpretations. Therefore I am now bringing up this final evidence: (Chapter 59) Note that the painter is standing in front of the bathroom. He has just cleaned himself and note that the lamp is in the background. How is this a proof? If the painter had run away, he wouldn’t have gone to the restroom… he would have left the room right away, just like the footprints are indicating. (Chapter 60) But since he went to the restroom before, it signifies that imprints should have been left behind. Yet there’s nothing like that. Therefore, this means that someone had to erase the imprints. It can only be Kim!! As for the doctor, I believe that he must have heard the painter visiting the restroom. (Chapter 59) Note, there’s the sound of the door closing. But when the disappearance of the artist was noticed, the physician didn’t realize the significance of this noise, only afterwards hence he hesitated to mention it, as it appeared so anodyne. However, as the readers can envision, if the physician had talked about the painter’s visit to the bathroom, then the lord would have realized that someone had tampered evidence. However, the noble due to the footsteps had sent for his domestics in order to start a research, hence the doctor didn’t think about this right away. But this doesn’t end here. I suddenly realized that the doctor could have heard something else, the sound of No-Name jumping and the painter‘s question: (chapter 59) But since the artist was silent right away, as the Joker knocked him out immediately, the physician could have jumped to the conclusion that Baek Na-Kyum met an acquaintance. So when the vanishing of the painter was discovered, the doctor assumed that the artist had followed the person he met during that night. Honestly, I can’t blame the doctor for his “passivity”, if my assumption is correct. Due to the lord’s agitated state of mind, the doctor could only realize it afterwards. With this new discovery, it becomes more comprehensible why the physician hesitated the next morning. He didn’t know what he should do. (Chapter 63) If he revealed what he had heard, then he imagined that he could bring the person who had „helped“ Baek Na-Kyum to escape into trouble. Observe the presence of the drop of sweat on his face. He was definitely uncomfortable. If he testified, then he could reveal the presence of a conspiracy. Nonetheless, I believe that he had jumped to the wrong conclusion: desertion. And with this new discovery, you can understand why the butler was so worried. He had no idea what the doctor had noticed. Imagine, the valet got caught by his own method (spying behind doors), however in the physician’s case, the latter was not doing out of malevolence. He just happened to become a witness, but he had assumed something else. That’s the reason why Kim was so worried, he had seen no one, yet the doctor had observed something. Kim never imagined that such a small detail (noise) could become a threat for him. This explicates why he chose to visit the doctor during the night. (Chapter 64) He needed to ensure that the doctor remains silent. Many manhwaphiles will certainly recall how Kim threatened the doctor… (chapter 65) Back then, I had assumed that out of cowardice, he had not intervened due to Kim’s harsh words. Nonetheless, I came to a different interpretation. After recognizing how Byeonduck is tricking the readers, she gives the impression of a continuity, I believe that during that night, the butler visited two different physicians. According to my theory, there exist 3 different doctors. For more, please read the analysis “The mysterious doctor“. How did this idea come up? Simply by paying attention to the BEARD!! (Chapter 57) Note that the beard of this physician is covering the cheek and is straight. (Chapter 63) But now compare it to the physician’s beard in episode 65: The cheek is free on the side, and it has the form of a W!! First, he went to the one who treated the painter (Chapter 65) and from my point of view, he used pity to discover what the physician knew. Remember how he had used compassion the night before (chapter 57). Besides, if you contrast both statements, you will detect a contradiction. “This could be a matter of life or death“ implies that it was about saving someone, while in the second image, it is about killing someone: the other doctor! In my eyes, the valet must have begged the physician (chapter 57) to remain silent. If he revealed that he had discovered the presence of someone, then the other could get into trouble. In my opinion, the butler must have suggested that Baek Na-Kyum had tried to escape, because the lord had been abusing him. Don‘t forget that he had been treating the artist for his wrist. Then he must have seen the lord panicking too. (Chapter 60) But now, the manhwaphiles are probably wondering why he went to the other physician then. It was related to the lord’s behavior in the shed. He was acting like a sex-maniac. (Chapter 55) This doctor had reprimanded the butler and had been prescribing a tonic. So he visited the physician and used this opportunity to put the whole blame on the poor doctor. (Chapter 65) Because of him, the painter was now treated like a sex toy. The physician had poisoned the lord. Keep in mind that we always have a reflection within the same season. Baek Na-Kyum got “poisoned“, so it should be the same for the lord! Kim threatened the poor man for one reason. No one should discover that two different physicians had been treating Yoon Seungho!! (Chapter 65) The man never saw anything, Kim just described to him how the main lead had been behaving! Yes, he was acting like Yoon Chang-Hyeon who had gone to the doctor and described the son’s illness. (Chapter 57)

Now, it becomes comprehensible why the valet silenced the two doctors. Both were important witnesses who could reveal the butler’s complicity. The latter had been frequenting two different doctors, and he had made the decision on his own accord. He had acted like a noble, while in reality he was just a servant. Besides, if this doctor (chapter 63) had mentioned the presence of a third person, then Yoon Seungho could have asked the painter and the latter could have revealed the abduction. With such an innocent observation, the noble would start questioning the butler and he could realize that the imprints had been erased and new ones had been created. That’s why Kim had a huge interest for Baek Na-Kyum’s death, and hoped that the noble had killed him in the barn, hence he kept approaching the shed.

(chapter 61) (chapter 62) (chapter 64) He needed to confirm his death. But since the lord was having sex the whole night, the butler had to make sure to bury the truth. If the artist had fainted, then the valet would have fetched the other doctor, the one who imagined that Baek Na-Kyum had escaped. And now, you comprehend why the man hesitated to question the painter after his return: (chapter 74) He was wondering why the artist would look so fine, as he had attempted to escape before. Another evidence for this theory is the following rule: a reflection within the same season. Since the doctor had been puzzled by Yoon Seungho‘s illness, I am deducing that he had the exact opposite disposition concerning the artist. He imagined what the artist had done. He had jumped to the wrong conclusion due to the injured wrist. Besides, he was “aware“ of the lord‘s mood swings.

So after the abduction, everything looked fine again, because Yoon Seungho was more focused on getting the painter’s acceptance. (Chapter 71) Consequently, he was not investigating the real circumstances of the abduction. But he has another reason for neglecting this aspect: he knows the culprit’s identity, unaware that unveiling the mastermind’s identity is far from enough. Real justice is to uncover truth. However, at the end of season 2, the wealthy noble was more like a teenager in love. That’s the reason why he was making a huge mistake.

I could understand the lord’s attitude, although this doesn’t signify that I couldn’t criticize him. He has always hoped for a home and as such acceptance, and the artist did fulfil his wish: he definitely selected him and chose to remain by his side. On the other hand, Yoon Seungho was no longer hoping for the painter’s confession. And this perception was confirmed in season 3: (chapter 85) He was already content if the artist would look at him, the moment you recall his first confession: (chapter 55). Hence in chapter 71, he’s blushing and happy, for Baek Na-Kyum is definitely starring at him with such a curiosity and desire. Moreover, the painter talks to him, has even accepted his advances. That’s why he is no longer paying attention to the circumstances that led him to think that the painter had run away on his own feet. As for Kim, he was running out of time, because at any moment, Baek Na-Kyum could mention his visit to the restroom or meeting the Jester. Consequently, the former had to use any trick to remove the artist. Hence he encouraged the kisaeng Heena to take away her brother. (Chapter 67)

However, Byeonduck drew such a panel in chapter 71: Why? In my first version, I had expressed the following expectation: the imprints would play another important role again and this theory was confirmed in season 3. (chapter 100) Here, they revealed that the main lead had gone down on his knees, the moment he had seen the traces of fresh blood. Then note that in the shaman’s house, the lord had left a bloody foot print (chapter 102), yet in the snow it was no longer visible. (Chapter 102) Someone had erased the traces by putting mattresses on the soil. However, while the lord was walking through the mountain, he was definitely leaving a bloody trail behind (chapter 102), a sign that someone had been helping him. And this can only be KIM!! And the last chapter from season 3 seems to confirm my initial investigation: The butler had erased the traces from the abduction. He knew about the kidnapping and helped Lee Jihwa and the Joker.

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

Painter Of The night: The Joker’s plan

This is where you can read the manhwa. https://www.lezhin.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes.

What caught my attention is the huge influence Min has over Jihwa. The moment The Joker starts talking to the host, the red-haired aristocrat is not willing to listen to him. Due to his suggestion, he suffered a lot in the past, therefore he doesn’t want to make the same experience again: anxiety and remorse. Yet, at the end of the chapter 67, Jihwa is sitting like an obedient monkey and paying attention to Black Heart’s words. It was, as if the red-haired noble had given up on his “humanity” in the sense, he is no longer using his brain. How could this happen? The readers will blame Yoon Seungho for this. The moment he barged in his bedchamber, Jihwa ran away from his childhood friend and hid behind the windscreen. He was too scared and didn’t want to face Yoon Seungho’s wrath. But this attitude exposed simultaneously that he was not willing to assume his responsibilities. Remember that he relied on Nameless so much. Since the latter had become his hands, it signified that the criminal was accountable for the crime. Note this panel outlines Jihwa’s escapism. “I know, he couldn’t have seen me”, the scared man imagined, because Baek Na-Kyum had his eyes covered, then he wouldn’t get caught. What he failed to realize is that first, he spoke so that the servant could have recognized his voice, Nameless was well aware of this. Then, he counted on Nameless’ promise. For me, this panel embodies Jihwa’s habit: avoiding any responsibility for a wrongdoing, which could be seen in the three wise monkeys: In reality, a perverted version, as for Jihwa, if no one sees, speaks or hears his misdeed, then it means, he has nothing to fear. He has the impression that nothing happened. Getting caught triggers his anxieties, as it is connected to the incident with the door and Yoon Seungho’s suffering. And now you understand why Jihwa was so scared after the scene Yoon Seungho made: he had been caught for the third time!! Chapter 18 , chapter 57 and chapter 67 And each time, Yoon Seungho’s anger increased. However, each time, the aristocrat with black eyes never expressed remorse and offered an apology. I would even add that he never saw these as misdeeds, as he always justified his misdeeds. In chapter 10/17, Baek Na-Kyum represented a source of temptation for his friend and he had even seduced him. Then when he sent lord Song’s fake letter to his friend, he justified his action by putting the blame on his friend for changing and cutting ties with him. Finally, the painter was the reason why he got rejected. In all three cases, he never questioned, how his actions affected his victims. That’s why even when he got caught, he never changed his behavior. This explicates why Jihwa didn’t learn his lesson, as he didn’t see the wrongdoings and its impact on others.

Hence one might think that Jihwa changed his mind because of the main lead’s behavior and menace. But it only looks like that on the surface, as from my point of view, the trigger for this switch are Min’s words. First he offered help. Then he predicted Yoon Seungho’s arrival, so that Jihwa was deceived. Black Heart had already prepared his move. He created the illusion that “To Help you” was genuine, as his prediction had become true. For me, “to help you” played a huge role, as Min is well aware of the red-haired noble’s personality. He knows that the neglected child has never been willing to take any responsibility, letting others take the blame. There’s a reason for that: Min was his teacher, The Joker who never got caught himself. For Jihwa, the idiom “to help you” is a synonym for reliability. Therefore he has the impression that thanks to Black Heart, he can keep avoiding any accountability. But Min, as The Joker, will be the one teaching him a lesson. The latter has already planned for Jihwa to take the fall, making him believe that the commoners (Heena, Kim and eventually Nameless) will be blamed for the painter’s second kidnapping. What Jihwa fails to realize is that since Black Heart revealed his secret twice, the latter needs to put a neat, clean ending, so that no one will realize the existence of a mastermind behind the second kidnapping. My prediction is that Min has already calculated Jihwa’s death. This is the devil talking, when he voices those words: He is tempting Jihwa. The Joker was there, when Yoon Seungho warned the former friend and used his sword against him. That’s why the Joker could only laugh, when he saw Jihwa trembling after seeing the weapon so closely. He had to contain his laugh and smile behind his hand. He saw it as a confirmation that the noble would retaliate, if Baek Na-Kyum got abducted a second time. The lord wouldn’t even question his childhood friend. That way, Min would be able to get away, while Yoon Seungho would have to face infuriated aristocrats who would despise him for killing one of their fellows for a low-born. Imagine the destruction he is preparing, just to taste the painter.

That’s how strong his desire and needs are. The devastation he is plotting mirrors the power of his feelings or better said obsession. There’s no doubt that the kiss worsened his condition. That’s why he waited at Jihwa’s door the next morning. He could barely contain his impatience and his jealousy. The lord was far from being in a good mood. His smile is actually an expression of his anger and resent. As time passed on, his desire for the artist got so strong that at the end, he felt the need to approach Yoon Seungho’s mansion. But there, he had to see the painter’s smooth legs in the main lead’s arms. And now, imagine Min’s face, when he saw this: even the merchant, who never had sex with a man before was already bewitched by them. And now, you comprehend why Min has the sensation that he has been bewitched and can’t escape from this attraction. Therefore, it becomes comprehensible why Min wishes to have Jihwa killed in the end. He resents him for putting him in a misery. He had ordered his red-haired servant to bring him the painter, but the childish man had not only disobeyed him twice, but he had made it more difficult for Min to obtain the painter. Yoon Seungho would be on his guard now. That’s the other reason why Black Heart has already projected Jihwa’s death.

But why doesn’t Jihwa realize that? Why doesn’t he use his brain or his ears? I mean, Yoon Seungho warned him, but in reality he was asking Jihwa to stop meddling in his life. In other words, Yoon Seungho was still lenient, as he didn’t ask for a punishment. The only thing the noble needed to do was to avoid his friend’s path. But the problem is that Jihwa got so anxious, as he had been caught that he could no longer think straight. His anxiety was so strong that he wasn’t even able to walk. Observe the presence of The Joker on the windscreen. Since the aristocrat is so paralyzed by his anxiety, his weakened condition explains why he falls for Black Heart’s manipulation so easily. At the same time, this drawing illustrates that Jihwa’s fear is more linked to getting caught than to Yoon Seungho’s wrath. Let’s not forget that in chapter 59, the readers heard about the protagonist’s rage shocking the noble with the mole. Yet, Jihwa didn’t seem to upset and traumatized after that, which the friend noted. He was even surprised that the red-haired noble was able to maintain his relationship with his childhood friend. I see it as a proof that his angst is linked to apprehension and arrest. That’s why I believe that the advice given by Min before the appearance of the main lead played a huge role. Since Jihwa has internalized avoidance and escapism, assistance sounds like avoidance of responsibility. And now, you understand, Jihwa has been following his “teacher”‘s rules so faithfully: This explicates why The Joker knows how to manipulate the young man. Note that in this scene, he is actually contradicting his own doctrine. While the red-haired aristocrat decided to run away (escapism), the devil convinced him otherwise. Yet, the childish protagonist was not able to notice the hypocrisy and the lies. Yoon Seungho had indeed proposed a neat and clean ending: Never to cross his path. Nothing was clearer and neater than the sword swayed next to his face. He never expressed the desire to get revenge or to have him punished. However, Jihwa couldn’t think properly, too emotionally upset. Besides, the manhwaworms can perceive in the panel above that the red-haired noble is is hiding his face and covering his ears, unable to face reality and truth. Consequently, he is blind and deaf so that he is not able to perceive evil standing right in front of him.

As a first conclusion, Min is seducing Jihwa for the second time, asking his disciple to follow his rules: Baek Na-Kyum’s abduction, rape and murder. The irony is that The Joker presents himself as savior to his terrified servant, making him believe that he just needs to follow his instructions. Like I mentioned above, there’s no doubt that Min is planning to use Heena noona and even Kim. First, he heard from the guardian that people believed that the sister was involved in the artist’s disappearance. Secondly, he saw the uproar she caused at the entrance of the propriety. Moreover, the Joker must have noticed how Kim was standing at the door, yet the latter never stopped him and allowed him to be pushed away. This gesture signalized that the valet was a pushover. Besides, I have to admit that I am suspecting Kim to have met Min during that night in chapter 52/53/54. Back then, I was wondering where the man was, when the door of Baek Na-Kyum’s study was destroyed and when Deok-Jae fled. Furthermore, between the time Yoon Seungho brought Baek Na-Kyum to his room and Black Heart’s return, minutes elapsed… yet Kim never intervened. I have the impression, he played a similar role than during the night of the rape. He acted in the shadow, following his favorite philosophy: He is very similar to Jihwa, he is avoiding any responsibility by faking ignorance, whereas Jihwa has not learned to recognize evil and wrongdoings. Therefore I believe that The Joker must have recognized the butler’s true personality. Besides, because the valet doesn’t want to get into trouble with a noble, he can only accept any request from them. To sum up, in my opinion, the Joker’s plan is to involve Nameless, Heena noona and Kim, but he will make Jihwa the scapegoat. In Black Heart’s plot, his disciple killed the artist due to his fiery jealousy, whereas he tells the “monkey” that commoners like Heena noona will be blamed for this. However, Min already talked to Kim and asked him to let Heena noona to meet her brother. Min is expecting that the gisaeng will try to convince her brother to escape from the mansion. She just needs to get the opportunity to speak with Baek Na-Kyum. These words are important, as it shows that Kim has already envisaged what she will say to him. Hence Kim said this: he doesn’t need to say anything, while at the same time, he is putting the whole blame on her. He will say that he had no idea that she entered the mansion, therefore he justified his intervention: Kim has many reasons to act like this. First, the lord noticed his lack of competence (chapter 65) , secondly the painter caused him so many worries that he can only consider the low-born as a source of trouble now. Min must have convinced him that he won’t get caught due to the gisaeng’s intervention and scream. Besides Jihwa will get suspected, if a second kidnapping occurs. Therefore, he can always feign ignorance.

And now, you will ask the role played by the second Joker, Nameless. Where does he intervene? In order to answer that question, it is important to examine the circumstances which led to the first abduction. The reason is simple. Since this story is based on the principle, “history is repeating itself”, this signifies that the second crime will be similar, yet the chronology and the roles will be switched.

  1. Min as instigator at his friend’s house
  2. First, the crime was postponed, for Nameless hoped that Jihwa would change his mind: DELAY. This signifies that time passed on leading to the second lead’s agony: IMPATIENCE
  3. Nameless hired Deok-Jae as spy: SPY
  4. Deok-Jae was asked to push Baek Na-Kyum to leave the mansion which ended up in a failure: FIRST ATTEMPT FAILED
  5. Min saw the incident with Deok-Jae, the latter could escape: BRUTAL BEATING, ESCAPE
  6. Kim brought the painter to the doctor without his lord’s permission: VISIT TO THE DOCTOR
  7. The doctor saw something but out of fear, he remained silent: WITNESS
  8. In Nameless’ opinion, Jihwa’s fake letter contributed to organize the crime: JIHWA’S ROLE
  9. Deok-Jae’s death due to blackmail: SERVANT’S DEATH
  10. Nameless told him that Jihwa would have to make the choice and take his responsibility: RESPONSIBILITY
  11. The consequence: an uproar in town due to the behavior of Yoon Seungho’s servants.

If you look at the summary, you’ll notice that we have 4 persons involved in the first kidnapping: Min, Jihwa, Nameless and Deok-Jae. Yet, Kim and the physician helped them indirectly, as Kim allowed the artist to leave the mansion without his lord’s permission and the physician acted, as though he saw nothing. In other words, we have 6 participants. Therefore, I believe that there will be another person involved in the second abduction beside Nameless, Min, Jihwa, Heena and Kim. This seems to corroborate my theory that Nameless has already planted a spy at Yoon Seungho’s mansion. But there’s another person who could play an important role in the second kidnapping: the head-maid of the kitchen. Don’t get me wrong: I am not saying that she will help them, but she will be involved, because she will help the noble and the painter.

Now, I will explain my prediction. The numbers at the beginning of each paragraph are referring to the list of the elements for the first kidnapping.

1./2. What caught my attention is the importance of time and how the first crime got delayed. Since I portrayed Min as extremely impatient due to his strong desire to taste the painter, I believe that he will be the one suffering the most!! (DELAY, IMPATIENCE) The Joker is fell into his own trap! Why?

4. His plan to use Heena noona will fail (1. ATTEMPT FAILED). From my point of view, Baek Na-Kyum will reject her offer and explain that he prefers staying at the mansion. Let’s not forget that the painter dreamed of Yoon Seungho while resting. His dream was a mixture of dream and reality, yet as you know, the artist’s dream has always come true. Besides, when he woke up, he imagined that he was seeing his lord, exposing his desire to have him by his side. That’s why I believe that Baek Na-Kyum won’t follow her suggestion. Besides, the manhwaphiles shouldn’t forget that the head-maid was heading to the painter’s chamber. Consequently, I am expecting a new version from chapter 46. From my point of view, her words will have an influence on the low-born and his sister. Another evidence for this theory is the incident in Baek Na-Kyum’s study in chapter 53. The artist refused to leave the propriety, although he was hurt by Deok-Jae. In my opinion, the commoner will reject her offer so that Min is forced to wait. Imagine Min’s torments!! They will be so different from Jihwa’s. I have the feeling that unlike his disciple who drank to hide his anxieties, the lord Min will resort to opium. Min’s new hanbok in chapter 56 exposes his transformation: the pattern reminds the readers of the opium smoke. Furthermore, his return was announced with this picture: There’s no doubt for me that Min will get caught and will suffer the consequences of his manipulations. Since The Joker’s return, I have always predicted his death: he gets suffocated due to strangulation. First, Yoon Seungho broke the pheasant’s neck during the hunt with Min (chapter 41). The blood on his hands comes from the wounds caused by the arrows. But I also noticed a progression, how the lord used his hands during the second season: from this (chapter 61) to this (chapter 67). His hands are getting closer to the throat, for me a clue that Yoon Seungho will eliminate his rival personally.

6. Because of his impatience and his increasing urges, I sense that Min will decide to put Kim under pressure, either directly or through Jihwa. Since the domestic is a pushover, he will be forced to follow the order. That’s why Kim will have to lie to the painter. I have the impression that he will use the sister as excuse. She desires to meet him outside the mansion. It is also possible that a visit to the doctor could be the cause for the artist to believe the hypocrite valet. (BAEK NA-KYUM’s VISIT AS CAUSE FOR HIS DISAPPEARANCE) Kim will lead Baek Na-Kyum to the trap. Honestly, I am expecting a new version of chapter 29, when Jung In-Hun led the painter back to the mansion. Yet, this time it will be the other way around.

9. This time, valet Kim won’t be able to escape his fate. He will be executed by his own master in the end (SERVANT’S DEATH). I doubt that Yoon Seungho will believe his words:

7./ 11. In my perspective, his departure will be noticed. Since Kim can’t ask the low-born to leave during the night, the second attempt will happen during the day. Because Kim and Baek Na-Kyum will walk through town, inhabitants will notice their move. Remember how Jung In-Hun felt uncomfortable, when Baek Na-Kyum met him on the street. He was annoyed, as he feared people’s gaze and asked the painter to follow him to an isolated place. Since I am imagining a new version of chapter 29, I am expecting that Baek Na-Kyum’s walk through town will attract people’s attention. Let’s not forget that in chapter 64, his escape caused a huge uproar, and I doubt that people will have already forgotten the artist. Since the low-born was seen many times in that town and no one paid attention to him before, Kim will imagine that no one will notice the artist. Remember that no one observed them, when they went to the doctor for the first time. And in the mean time, Baek Na-Kyum won’t leave the propriety for the time being. However, Kim is not expecting that people will witness him.

10./8/ 3 As for Nameless, I believe that he will play a similar role: he will ask Jihwa to become responsible and no longer avoid his wrongdoings, as Jihwa played a role in the second crime. I also think, the criminal will force him to witness the consequences of his choices and will refuse to take the fall. I am still expecting that Jihwa will be punished for Deok-Jae’s death. It is still possible that the red-haired noble changes his mind, and tries to stop the second abduction. There’s no doubt that Min’s plan will affect the second lead’s relationship with the criminal. I have the feeling that Nameless will play a key role in Min’s demise. First, the Joker has truly perceived Nameless’ true role: Do you remember that a buffoon is a synonym for “joker”? From my point of view, Nameless has already placed a spy at Yoon Seungho’s mansion. I am still convinced that the new guardian is giving info to the criminal due to his explanations to Min. His words reflected the butcher’s plan so well, besides he was so sure for the desertion without feeling angry and hurt. Sure, I made a mistake and mistook the man at Jihwa’s mansion as the same person due to the color of the shirt. However, this doesn’t mean that Nameless abandoned the idea of planting a spy. He warned the painter not to talk. From my point of view, the butcher never expected the lord’s reaction. Imagine, his servants caused such an uproar so that Nameless should have realized that his attempt to transform the disappearance into a normal escape failed. And if my assumption about the guardian as spy is correct, Nameless will realize that there’s a mastermind behind the abduction… especially if Jihwa argues with him about the discovery and reproaches him his bad work. I have to admit that I am uncertain about the criminal’s role. It is definitely possible that Jihwa is asked to contact Nameless again. Let’s not forget, Min believes that Nameless is someone who will do anything for money. He can’t imagine that the criminal was the one who convinced the red-haired noble not to commit the murder. However, this time the butcher will refuse. Even if Jihwa’s involvement has been revealed, I doubt that the criminal is not aware of Yoon Seungho’s visit to the family Lee. Since Yoon Seungho didn’t retaliate against Jihwa and only warned him, Nameless has no reason to intervene first. From my point of view, it looks like Yoon Seungho is still not looking too closely to the circumstances of the abduction and Deok-Jae’s servant. But it could change, forcing Nameless to intervene. Due to my previous analyses about Nameless, I came to the conclusion that he represents Jihwa’s conscience, hence he is his liberator. Consequently Nameless can eventually become Jihwa’s hands again, yet this time, Jihwa will never be able to escape his fate: he will be caught and be forced to become responsible. As you can sense, I am still unsure about Nameless’ actions. My instinct is to say that he will refuse to help the red-haired noble first, but could change his mind. One thing is sure: Nameless will confront Jihwa and let him see the consequences of his decisions. I am still hoping that he plays a huge role in the discovery of the mastermind, but there’s nothing sure, as Byeonduck prefers characters with flaws. In her story, there’s no hero, except the artist, if we overlook his lies in the beginning.

My prediction is that Baek Na-Kyum’s second abduction won’t be successful due to Nameless, the presence of witnesses and Min’s miscalculations. The latter will become impatient. Secondly, he doesn’t pay attention to commoners and is underestimating the butcher’s influence on Jihwa. Finally, he is underestimating his opponent Yoon Seungho and his own obsession for the painter. In this scene, Min is not only lying to Jihwa, but also to himself. I doubt, that his thirst for the artist will be satisfied with a single sex session. Like I mentioned it before, Min became fascinated by the artist’s gaze oozing desire and purity. Furthermore, I believe that the artist will resist this time due to the scene at the pavilion in chapter 25, it is still possible that he is able to escape too. Finally, the lord will know for sure that the artist didn’t run away from him this time. That’s why he will use other means to find his lover: that’s how the purge will take place. As you can anticipate it, my predictions are based on observations, therefore it can definitely turn out differently. Yet, I think the list I made could be helpful to envision the evolution of the story. In other words, you are more than welcome to imagine a different story about the second kidnapping.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My tumblr-twitter account is: @bebebisous33. Thanks for reading and the support.

Painter Of The Night: Painting and desires – part 2 (fourth version)

This is where you can read the manhwa. https://www.lezhin.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/

Thanks to my reader @nakyuhm, I could definitely improve this version.

I guess, you are surprised by the choice of the picture for the illustration, but as you can guess, there’s reason for this. While reading the second episode from Alternative Universe, two elements caught my attention: the role played by the servant Jung In-Hun and the words said by the main lead Yoon Seungho to the noble Baek Na-Kyum.

First, the domestic shows kindness and care to his young master reminding me of the butler Kim in the original, implying that we have a fake affection. But if Jung In-Hun replaces Kim, it signifies that Baek Na-Kyum is now living the life of the noble Yoon Seungho in the original story. From that moment, I tried to verify this theory: We have an older sister who seems to be jealous of her younger brother, because she mocks him by calling him a baby. The source of her resent is simple: since Baek Na-Kyum is the only son of their family, he always gets the attention and admiration from the father, while she, as an older sister, is overlooked due to her gender. Hence I connected her to Yoon Seung-Won, the younger brother, for I had already pointed out in one of my former analyses that there existed a certain jealousy between them due to their father. This was truly palpable in this incident. Back then, I had imagined that it was related to the topknot incident. However, I think now that what we are witnessing is a straw mat beating. The younger master, who betrayed his older brother out of jealousy, never imagined that his father would retaliate like that. He had envisioned that his brother would get into trouble and loses the father’s admiration, yet not to this extent. Another allusion to jealousy was the words expressed by the main lead, when he confessed to his lover: (chapter 55) From my point of view, he was reliving his past, when he saw his brother getting the father’s attention. Let’s not forget that this story is based on the principle: history keeps repeating itself, therefore the jealousy resented towards the low noble was the present, while in the past, Yoon Seungho resented his brother in the past, it was the moment where jealousy reached his peak. That’s why I saw the roles played by the sister and Jung In-Hun as a confirmation that Byeonduck had chosen to reveal the protagonist’s past in the Alternative Universe by switching their places. Yet, this means that the readers will always see the uke suffering. She desires the readers to imagine the main lead’s traumatic past. While many readers are liking the Alternative Universe because of the humor and the lightness, I am convinced that we are actually headed to a huge tragedy, a repetition of the original story… as it represents Yoon Seungho’s past. On the other hand, it is important to remember that although this is just a repetition of the story, we shouldn’t forget that the story is not simply a pure repetition, as the elements and the chronology are changed. As a conclusion, Baek Na-Kyum will suffer a similar tragedy than the protagonist in the main story, yet it will also be a little different, maybe less painful.

But if Baek Na-Kyum represents the powerful noble Yoon Seungho from the original story, this means that the latter was a painter too. What caught my attention is the following panel: He showed the picture, while saying that it was signed Na-Min. However, if the readers pay attention to the painting, there’s no signature on it. Besides, I doubt that as a commoner, he is able to read, remember that the artist in the original story can’t read either. One might argue that the shopkeeper told him the name of the creator, when he showed him the painting. Yet, this argument is incorrect for three reasons. First, the merchant had no reason to mention him, because the former knows that Baek Na-Kyum is selling his pictures directly in order to keep his hobby a secret. Moreover, imagine, Baek Na-Kyum portrayed the famous sodomite Yoon Seungho who is a commoner. The merchant would have questioned him about the circumstances, how he got a painting from the noble. How could the innocent noble have painted the commoner as model? This would have shocked the merchant. From my point of view, the shopkeeper didn’t recognize the artist’s work at all, but he proposed him 5 coins due to his greed. He must have repeated the following remarks: In my perspective, the trader was just repeating the criticisms heard from someone else. Compare the two reviews, you will notice that the commoner is much more accurate in his review. And he is able to discern the origin of the flaws for such a drawing. That’s why I came to the conclusion that Yoon Seungho was a painter himself. In order to become an arts critic, you need to understand the subject, therefore many painting critics are artists themselves. My explanation is that he discovered the noble’s work by sleeping with nobles. His clients would buy the pictures, which the commoner couldn’t afford himself. What caught my attention is the following panel: Baek Na-Kyum questions his competence with his rhetorical question. In the main lead’s eyes, Yoon Seungho doesn’t have the eye to know… and to judge his paintings. But this question made me think the exact opposite. From my point of view, Yoon Seungho recognized the artist’s style, hence he could name it. And there’s no doubt that he is familiar with his paintings. But unlike Baek Na-Kyum, the commoner is not famous due to his social status. And you understand why I came to this idea that the powerful noble Yoon Seungho in the original story could have been an artist in his youth, a painter and even a poet. From that moment, I started to search for clues in order to corroborate my theory.

First, I remembered this scene in chapter 36: Yoon Seungho used to punish his servants with paint. Note that he doesn’t say “write” but paint on their skin. This showed that the noble used to like painting. When I read chapter 36, I made the following mistake: Yoon Seungho was writing, hence I didn’t pay too much attention to his drawing on the painter’s body. However, I changed my mind, the moment I viewed his lines on Baek Na-Kyum’s body: It definitely looks like a plant and his lines show a certain confidence. Don’t forget that the artist was shivering due to the stroke of the brush, yet there’s no mishap or zigzag on his body. If I include the following panel from the Alternative Universe, then you’ll realize that it is a painting on Yoon Seungho’s body and the author is a painter. This could be judged as another evidence for my theory. A painter drew lines on the body of another artist. Therefore I come to the deduction that in chapter 36, Yoon Seungho started showing his passion to Baek Na-Kyum: he used to paint. The manhwaphiles should remember that in the previous chapter, the lord asked the commoner about his likes and dislikes. Such a conversation implies that the counterpart will also ask about the likes and dislikes of the partner. What does Yoon Seungho like in reality? My answer would be: he liked painting, but exactly like the low-born, he was forced to abandon his passion due to his father.

But this was not the first time that Yoon Seungho painted. First, in chapter 8, we have the following panel: someone attempted to draw a scene of men copulating. Since my hypothesis is Yoon Seungho was a painter in his youth, then it looks like he was the creator of his drawing. Then in chapter 23, the manhwaphiles certainly remember the book he showed to Baek Na-Kyum in order to revive his memory: Therefore Yoon Seungho could have been the author of this picture. Note the progression between the picture from chapter 8 and 23. This time, the artist included colors and the design is more precise, just like the lines are more firm. Then this would explain why Yoon Seungho knew what it meant, when an artist doesn’t practice for a long time. (chapter 2). In that same chapter, the artist noticed how well furnished his study was. He had such an expensive paper, and so many brushes revealing the aristocrat’s knowledge. And now it becomes comprehensible, why the lord could only laugh at the fake excuse given by Jung In-Hun in chapter 30: The low noble had brought the artist to the shop in order to buy him ink and brushes. The lord knew that the painter had everything he needed. In my opinion, Yoon Seungho was the one who took care of that room. That’s why the study is next to his bedchamber.

Another evidence for this theory is the picture Byeonduck chose as illustration for the first season of Painter Of The Night: Note that the drawing behind the noble is not only torn, but it was made on an expensive paper indicating that this work was made by someone rich. Secondly, Baek Na-Kyum never created such a painting in the first season for the protagonist, yet the main lead painted a similar picture in his youth: . However, there exist small divergences: the uke in the purple drawing is embracing his lover exposing such a passion and strong love. And since I explained that Baek Na-Kyum was making the same experiences than the main lead, it looks like the author of this painting in this picture could have been Yoon Seungho who saw two nobles making love and reproduced the scene. Furthermore, observe that the color of the drawing is purple, exactly like the color of the main lead’s robe. We know that Yoon Seungho likes purple very much, he put on a purple hanbok in order to impress the painter in chapter 23. So in my opinion, Yoon Seungho used to paint in secret, exactly like the noble Baek Na-Kyum, as he knew that his father would never allow such a hobby. He had many reasons for that. First, since Father Yoon is portrayed as a controlling father, it means that he was paying attention to the main lead’s every move. While the father might have described painting or poetry as too feminine, the real reason for this interdiction was different. Father Yoon couldn’t allow that Yoon Seungho’s reputation outshines his own. Note that no one remembers the protagonist’s previous reputation. He was intelligent and talented, until father Yoon started spreading the rumor that his son was ill. He needed to get treated. Then later he portrayed him as unruly and difficult in front of people, like the former servant explained in chapter 37. Yoon Seungho liked paintings and even poetry, a thorn in the eye for Father Yoon, as it represented a source of threat for father Yoon. There’s no ambiguity that such an ambitious and greedy man would reject arts. Why? According to my theory, the main lead is the illegitimate son of a kisaeng and the grandfather, so seeing his half-brother getting more famous would definitely infuriate him. Moreover, it would be a constant reminder of Yoon Seungho’s true origins. Finally, if Yoon Seungho became famous as an artist, he could get close to power, like for example he becomes the personal painter of the king. However, when father Yoon discovered that his son had caught the king’s attention, he realized that he could use the protagonist differently. As the king’s courtesan or prostitute, Yoon Seungho would lose all his rights. He would never get recognition and power as well, while father Yoon as his pimp would benefit from it. That’s why when the father mentions “illness”, he could definitely be referring to painting. Yoon Seungho learnt that he had to paint during the night to outlive his passion, and now you understand why I saw the combination of this illustration with the title Painter Of The Night as another possible evidence for my theory: Yoon Seungho was also a painter of the night, just like the noble Baek Na-Kyum in the Alternative Universe.

Another point supporting this theory would the appearance of designs on the main lead’s hanboks. This clearly reveals his passion for drawings and he has such a fine eye for designs: (chapter 45) (chapter 50) (chapter 53) and (chapter 67) Even when he died in a figurative sense, the last hanbok indicates that his liking for drawings has not died yet. Nevertheless, all the pattern have something in common: the presence of nature. There are always animals or plants. And this observation led me to the next conclusion, Yoon Seungho was a painter, but unlike his lover, he loved painting nature. This explains why the main lead painted a plant on the low-born’s body in chapter 36. And we have a clue that Yoon Seungho loves plants and animals, if we use the story from Alternative Universe: Remember how the cat caught the noble’s attention and the latter used a plant to play with the animal.

But how come that he created an erotic painting, if according to my hypothesis, the main lead was preferring nature and animals? In my opinion, Jihwa was responsible for this. Since no one in his mansion paid attention to his whereabouts, he witnessed sodomy and that’s how he discovered his sexual orientation. Then one night, he led his childhood friend to the place where the couple was having sex and Jihwa begged his friend to paint for him what they had seen. The drawing in the illustration for the first season was discovered by the father who destroyed it, because someone tattled on Yoon Seungho. Let’s not forget that in the Alternative Universe we have a lord peeping tom: Moreover, the painter’s sexuality resurfaces the moment he witnesses sex between Jihwa and Yoon Seungho, a new version of voyeurism. Why do I think that Jihwa was the one who led the innocent noble to become a voyeur? Note that in the Alternative Universe, the cat is the one leading Baek Na-Kyum to the cabin and even strokes the artist’s butt, while the latter is beholding the scene: So the main lead was not alone, when he saw the commoner having a fellatio. Besides, the manhwalovers should recall how Baek Na-Kyum saw two nobles having sex at the gisaeng house. The aristocrats hid their sexual orientation behind the gisaengs. On the surface, they would behave like normal men, while in reality they loved another man. I doubt that Yoon Seungho could leave his mansion like that, especially if he was monitored by the staff and especially by his butler and his brother. From my point of view, Jihwa and his friend must have witnessed it at the pavilion. Note that the pavilion played a huge role in the first season: emancipation for Yoon Seungho in chapter 3 and the same for Baek Na-Kyum, as the latter was forced to admit that he loved his teacher in chapter 25. Furthermore, I would like to outline that each scene at the pavilion was linked to painting. After witnessing how two nobles made love, Jihwa begged his friend to paint for him (new version of chapter 8). Simultaneously, the red-haired friend decided to make some advances, as he had always felt attracted to him: That’s why Jihwa decided to visit him during the night, since no one noticed his absence from home. So while the innocent man, Yoon Seungho, was focused on the drawing requested by his friend, Jihwa said this: This interpretation would explain why Yoon Seungho couldn’t perceive Baek Na-Kyum’s preference and why Jihwa was an expert for recognizing virgins. However, during that night, the door opened and Jihwa, too scared to get caught, left his friend behind. What followed, you can imagine: Father Yoon believed to see in his son a homosexual due to the painting and punished him. He beat him and asked for some medication from the doctor. Since there was an erotic painting in his son’s room, the father went to father Lee and told him about the painting. However, father Yoon blamed his son for the incident. That’s how Jihwa was separated from his friend, yet the latter chose to remain silent and let Yoon Seungho suffer the consequences from his request. Then he must have heard from the staff that a teacher was hired for a conversion therapy. This would explain why Yoon Seungho relived his second abandonment during that night of revelations: first, the friend who ran away because he had been able to escape and later the rape with Kim at the door: Besides, the manhwaphiles will certainly recall how worried Baek Na-Kyum was in chapter 16 and 17, after leaving the lord’s bedchamber in a hurry. He couldn’t eat and kept wondering if someone had seen him or not, a new version of what the red-haired noble had experienced. In my opinion, there were two incidents occurring with the painting:

  1. The first one was Yoon Seung-Won who gave a painting to his father, so that his admired brother would lose all his credibility by his father… and I believe that Kim played a role in it, as he could be the one who gave the painting (chapter 37) to the younger master. This led to the straw mat beating. The scholar Jung In-Hun told his future sponsor this: We have to envision that the powerful main lead experienced a similar incident.
  2. The incident with the door: my idea is that his father was tipped off by Kim so that the latter wouldn’t be blamed for this. Remember what I wrote once: in chapter 16, Kim was the one who opened the door, yet he had been manipulated by the vicious and envious Deok-Jae.

I have to admit that I have no idea about the identity of the persons involved in the love session at the pavilion. One thing is sure: One of the fathers was caught making love to another man. And now, you can comprehend why I got more and more convinced that Yoon Seungho was a painter.

I sense that Jihwa’s spirit and love for nature inspired Yoon Seungho in his drawings. Note that the windscreens in Jihwa and Yoon Seungho’s chamber have a pattern containing trees and plants. I believe, Yoon Seungho could sense free spirit in his childhood friend, reminding him of nature and freedom. That’s why I believe that the cat in Alternative Universe represents Jihwa. First, we have the presence of red . Moreover, Jihwa is represented by an animal in the original story, the monkey. Furthermore, the behavior of Baek Na-Kyum in Alternative Universe reminds us of a cat’s… Furthermore, like my reader @Peperon21428670 pointed out, I had already associated the painter to nature. This explicates why Yoon Seungho chose to paint a plant on the artist’s body that night. He sensed the connection between nature and the artist. And since Jihwa and Baek Na-Kyum are similar, then the cat embodying free spirit and longing for affection can only represent the second lead. This would stand in opposition to Yoon Seungho’s mansion, which the eldest son felt like a cage and prison. This explicates why Yoon Seungho was painting nature and liked his childhood friend so much. He embodied everything what the main lead couldn’t have. Furthermore, with this new approach, it would confirm that there were two people watching the nobles making love at the pavilion, as Baek Na-Kyum peeped at Yoon Seungho with the cat by his side. With this new interpretation, the manhwalovers can better grasp why Jihwa was waiting for Yoon Seungho’s love, as he hoped that he would see the same gaze than in the past. However, from my point of view, Yoon Seungho could never feel like before due to the abandonment he experienced, when Jihwa left him. Furthermore, since Yoon Seungho’s passion for painting was killed by the coercive persuasion and sexual assaults, he could never gaze at his childhood friend the same way. This would explicate why Jihwa is so convinced that he knows Yoon Seungho’s true past (chapter 57), whereas he is only aware of the peak of the iceberg.

So if Yoon Seungho was a painter forced to vow to never paint, it becomes understandable why Baek Na-Kyum’s paintings affected the main lead so much. They healed his eyes which had been ruined by his traumatic experiences. (chapter 57) His keen eyes were revived and the light in them returned. Slowly the lord rediscovered his love for arts and paintings… inciting him to draw again.

Arts therapy is nowadays used as a method to heal people suffering from mental illnesses due to huge traumas. That’s why Yoon Seungho could only fall in love with the painter’s work. They were kindred spirits, and when the lord saw the painter for the first time, he fell in love at first sight, unaware of his emotions. Just like in the first special episode… Yoon Seungho’s face inspired the noble so much that he drew a threesome.

Therefore, with this new perception, the manhwaworms comprehend why Yoon Seungho wanted to scratch Jihwa’s face in the chapter 67. Since in the past his face was a source of inspiration, the symbol for innocence, youth, freedom, carefree, naturality, honesty, happiness for the painter Yoon Seungho, the latter can only associate his face to dishonesty, deception, pain and suffering now. Although Jihwa didn’t get scolded or caught with his lie, he felt guilty, but he never felt the courage to correct the truth. That’s how Jihwa started behaving like a coward and playing tricks. With this incident, he learnt a terrible lesson: he learnt how someone else could take responsibility for his actions and decisions. Since it was never revealed, the young aristocrat faked his smile and cheerfulness due to his guilt. However, with the separation from his friend, he got lost and found himself a new “friend”: The Joker who perverted his innocence and naturality in the end. That’s why when they reunited, Yoon Seungho sensed the transformation in his childhood friend. And once Jihwa discovered that his friend was interested again in painting, he looked for pictures hoping to catch Yoon Seungho’s interest. However, he was rather bored, when he looked at the picture (chapter 9). Then in chapter 12, he proposed to hire a painter from the Royal Academy , because he knew how much his friend liked painting. Yet he couldn’t encourage him to paint himself, for he would have been confronted with the past. The red-haired aristocrat thought, he could manage to get rid of the artist without reminding Yoon Seungho of the incident with the door. And if my theory is correct, this scene implies that the noble never apologized for his friend’s suffering.

Now, the noble is able to perceive his friend’s corrupted nature, hence he describes his friend’s face as vile. (chapter 67) The face is no longer a source of inspiration, rather of suffocation, and this picture contrasts so much to the main lead’s reaction, when he looked at the artist’s face in the following drawing. (chapter 25) He noticed the absence of facial expressions. Therefore he recommended him to use a mirror (chapter 28). As you can see, the muse’s face and facial expressions are very important for the powerful aristocrat. I believe that at some point, he will destroy the painting made with Jihwa so that there are no picture left with him, a new version of chapter 2. For me, the chapter 67 marks the beginning of Baek Na-Kyum’s influence as the lord’s muse. With him, he is learning what love and courage are and he will inspire the master to paint again. Finally, he will be able to discern between fake and genuine affection and concern leading Kim to lose his master’s trust.

And now it is important to remember the painting sent to father Yoon: Imagine how he must have felt. He tried so desperately to stop his son from being linked to arts and painting, and here he receives an erotic painting. He can only be reminded of the past incident. At the same time, he is also criticized for his hypocrisy. He forced his son to prostitution for his own goal, but acted as if he was proper and righteous. No wonder that he was so enraged and could barely contain his fury. He was confronted with his lies and wrongdoings, one could say that he was finally seeing his failure as father. Because of this new approach, I come to the conclusion that Kim was the one sending the painting, hoping that the eldest master would intervene, as he prefers father Yoon to his actual master who is always linked to scandal and uproar, which contrasts to Kim’s philosophy. The butler hoped for an intervention, but since father Yoon hates himself to be connected to sodomy and would like to keep his reputation intact, he chose not to intervene.

With this new theory, I believe that Baek Na-Kyum will become the lord’s muse, just like the main lead will become Baek Na-Kyum’s source of inspiration. At the same time, I imagine that Yoon Seungho becomes the painter’s teacher as well, in the sense that the aristocrat teaches him how to paint other topics: nature for example.

So the painter of the night is not only referring to Baek Na-Kyum, but also to Yoon Seungho. That’s why Byeonduck chose this illustration for the first season: the past and the present are visible in this panel.

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

Painter Of The Night: “HAA…” Flashbacks

This is where you can read the manhwa. https://www.lezhin.com/en/comic/painter   But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes.

If I asked the manhwalovers about the number of flashbacks used in chapter 66, they would certainly reply that there were 2 flashbacks. The first one is, when Baek Na-Kyum remembers that night where he had a near-death experience and the second one would be, when he is lying in his study with Yoon Seungho next to his bed. They would give such an answer, because they would use the black frame as reference. The latter represents a memory or a dream in Painter Of The Night. In other words, the manhwaphiles would invoke a literary phenomenon:

“Flashback is a device that moves an audience from the present moment in a chronological narrative to a scene in the past. Often, flashbacks are abrupt interjections that further explain a story or character with background information and memories. […] Flashback can occur as a sudden thought sequence, a hazy dream, or a vivid memory. It can be announced or unannounced in the line of narrative.” https://literaryterms.net/flashback/

However, we have more than 2 in reality, as Byeonduck used a different type of flashback too: the psychological flashback linked to PTSD.

“Flashbacks are psychological phenomena during which a person relives a past event or fragments of a past experience. […] Conversely, some flashbacks may be devoid of visual and auditory memory and may lead a person to experience feelings of panichelplessness, numbness, or entrapment. Many individuals report the onset of flashbacks after surviving a near-death experience or another traumatic situation.” https://www.goodtherapy.org/blog/psychpedia/flashbacks#:~:text=Flashbacks%20are%20psychological%20phenomena%20during,fragments%20of%20a%20past%20experience.

Striking is that the author linked both phenomena together in order to explain the reason for Baek Na-Kyum’s behavior. He was having a panic attack in form of a flashback, which terrified him so much that he left the bed in his distress and walked randomly in the room. His survival instinct had kicked in. Because of the flashback, the protagonist had lost his sense of orientation and couldn’t see where he was going, as all his thoughts and emotions were revolving around the trauma. He had the feeling that he was reliving his past experience. This explains why the chapter 65 ended with the following panels:

The readers had here to fill the blank and explain, why the painter was first lying under the cover to finally end up in the room next to the cupboard on the floor. Yet, Byeonduck never showed us this. She just offered us the result requesting from the readers to imagine the whole scene. By doing so, she forced the manhwaphiles to put themselves into the artist’s shoes. That way, she let them feel what Baek Na-Kyum was experiencing.

But let’s return our attention to the flashbacks. When the episode 66 starts, the time of the narration has actually changed. We are already reading a flashback, although this time Byeonduck didn’t use the black frame. There’s a reason for that. She employed a time jump, but not in the future, like k-dramas often utilize it, but a time jump in the past. The first scene of chapter 66 happens right after Yoon Seungho says those words in chapter 65. And if you read the chapter again, you’ll notice a huge white space between the next following panel. Yoon Seungho is opening the door leaving the painter in his bedchamber (chapter 65). As a conclusion, the beginning of the episode 66 has to placed between the last words and the opening door. Hence we have a fourth flashback in episode 66.

First, she showed us the protagonist tying the painter on the bed, then covering his mouth and finally putting him under the cover so that he could get rid of noona Heena easily. He recreated the situation Baek Na-Kyum was exposed to, when he had been abducted. And if the beholder pays attention to the way the painter is lying in the bed, they will realize another important aspect: the cover that the painter used as protection and comfort has become a prison or a trap now. The cause for this heartbeat is not excitement or surprise but fear. And this panel is very important for two reasons. First, it is a new version of chapter 34, where the painter was crying that the scholar hadn’t asked for him and used the cover as solace. Besides, in this chapter, his heart started racing with the main lead’s appearance. In both chapters, the main lead was the cause for the heartbeat, yet the reasons for the racing heart are totally different. It is important, because it shows us that the kidnapping left a deep wound on the artist’s psyche. When the main character recreated the condition of the abduction, he triggered a flashback. Because Baek Na-Kyum couldn’t scream for help and his head was held under a bag , he had difficulties to breathe, therefore in Seungho’s room, he starts suffocating too: “HAA, HAA”. Furthermore, during the kidnapping, the threads and the knife in his mouth showed that Nameless knew how to scare the low-born. He triggered all the painter’s senses and aroused them to the maximum so that the artist wouldn’t be able to speak so easily. This explicates why the artist felt the abduction as a near-death experience. This is not surprising that when he woke up the next morning, he was trembling and felt scared. But if the manhwaworms looks at the criminal’s actions, they will conclude that Nameless was indeed ruthless. He knew how to terrify the painter. He tormented the painter psychologically. Nonetheless, since Nameless neither murdered nor atrophied the painter, in his eyes he was actually very kind and even merciful. He even felt pity for him, as he was well aware of the artist’s innocence. The latter was just a plaything caught in the middle of the fight between two nobles. Because of his words, I believe that Nameless stands in opposite to Kim’s philosophy. While the latter chose cowardice and indifference for his self-preservation, the “butcher” made the opposite choice. By becoming the dirty hands of the nobles, he was sure that the nobles would protect him, because if they didn’t, their crimes could threaten their position. He would always stand on the winning side. However, by acting like that, Nameless contributes to perpetuate injustice and reinforce the harsh treatment on commoners. As you can see, the flashbacks (memories of the painter) were used to explain why the low-born had a flashback (panik attack) at the end. By reproducing the condition of the entrapment, Yoon Seungho helped to unveil the truth unconsciously. The painter’s body revealed the terrible secret and the readers got a glimpse of Nameless’ true mindset too.

So when the lord opens the door and sees the artist on the ground, he looks angry, because his lover caused him some trouble. This impression seems to be confirmed, as the moment he removes the cloth from the painter’s mouth, the lord criticizes him. However, from my point of view, we need to differentiate between the actions made by Yoon Seungho’s mouth and hands again. While the latter are under the influence of his unconscious, the mouth represents the mind and as such conscious. Note that he removes the cloth, although he could have ignored it. By liberating Baek Na-Kyum’s mouth, he is actually endangering his situation. Let’s not forget that since that terrible night, the lord has returned to his older self, therefore he has the impression that he is no longer using his heart. But he noticed that the painter was in a terrible condition, therefore he couldn’t ignore his lover. From my point of view, the two panels reveal that Yoon Seungho’s affection for the painter hasn’t changed one bit in the end. He continues saying that he is restraining himself, since he is not even able to refuse Baek Na-Kyum’s resistance: “But you have your ways”. From my point of view, we have here a new version of the lord’s confession: (chapter 58). The irony is that in chapter 66, the painter is a wreck, yet the lord is admitting his defeat displaying Baek Na-Kyum’s real power. The other divergence is that this time, it is a conscious choice. This is not a dream or an illusion. Yoon Seungho states that he can’t win against the low-born’s will. In other words, their relationship is progressing again. Due to the resemblance of the chapter 58, the readers have the feeling to witness another flashback. Nonetheless here, the noble hears a reply to his confession, unlike in the past: The nature of the confession has changed: this is an admission for his silence. He lied and apologized in order to survive. These panels expose how deeply traumatized the painter is. He is still trapped in his flashback, reliving his near-death experience and doesn’t realize his lover’s presence. Therefore his gaze is directed elsewhere. I would even say, his gaze is lost in the flashback. What caught my attention is the protagonist’s reaction, when he hears the painter’s words and heavy breathing. He is not only surprised and shocked, he is also paralyzed. For me, the last panel shows the main lead’s realization. He must have recognized the painter’s real condition: he is traumatized. And in my opinion, the painter’s confession and behavior triggered a flashback in Yoon Seungho too, which we don’t really see, but can sense more or less. Observe his discomfort and his fixe stare. He seems lost as well, very similar to the commoner’s gaze. Besides, the aristocrat doesn’t move one moment, although some time has already passed. The sister has already left the house and Min is now standing at the door. The last picture even shows us Min’s perspective. He senses the lord’s worry and pangs of conscience too. From my point of view, the lord is reminded of his own bad past experience due to the artist’s behavior and words. The other clue for this interpretation is the lord’s phobia of the cover. (chapter 35) Therefore I come to the conclusion that we have another flashback here, but Yoon Seungho’s is not revealed, only through his gaze and the observations I made: the fear of the cover and the commoner’s past as a repetition of the main lead’s tragic past. Let’s not forget that this scene is also a new version of chapter 53: , back then, the main lead was the one who was in a dissociative state and the painter embraced him, when he sensed his fury and pain. However, this time the roles are switched. And this explains why the noble hugs the painter, attempting to give him some comfort. Yet, in my opinion, he has no idea about the real cause of the artist’s trauma in that moment, therefore he feels responsible and terrible. That’s the reason why he remains so passive and silent. He feels the need to console Baek Na-Kyum, but note that he doesn’t even attempt to dress the painter or to put him in a better position. He stays kneeling in an uncomfortable position, using his body and hands to protect Baek Na-Kyum from others. And now, the manhwaphiles can comprehend why I chose such a title. The flashbacks are not just memories, but also psychological phenomena due to PTSD.

And now it is time to focus on the last flashback. I have to admit, it took me some time to fully grasp what it really represents. The first confusion is the chronology of the episode. Before the appearance of the flashback, we have a zoom on Yoon Seungho’s face indicating that he heard Min’s confession: Lee Jihwa is behind the painter’s disappearance. And right after, the flashback starts so that it feels like a caesura. Therefore many readers felt confused. In order to comprehend its true nature, the manhwaphiles should remember the definition of the flashback in fiction. It is either a memory or a hazy dream. That’s why we need to question ourselves about the nature of this scene. Is it a dream or a memory? And who is the person having a flashback?

For me, there’s no doubt that this can’t represent the lord’s memory. First, the chronology shows that the flashback happens during the next night due to the way the lord and Baek Na-Kyum are dressed. The lord is still wearing the hanbok from the morning and this time, the painter has his own expensive clothes on. From my point of view, the lord took care of the artist personally. Unlike in chapter 33, Yoon Seungho took his responsibilities for his wrongdoings and didn’t delegate it to the doctor or his assistant. It was his way to show repentance. Secondly, I believe that the owner of this flashback is Baek Na-Kyum due to the ending and the two following drawings: The images are almost identical, yet in the second picture, there’s no black frame, therefore this means that it represents reality. And now, you can better grasp the nature of Baek Na-Kyum’s flashback. It is a mixture of dream and memory. The lord stayed by his side the whole night (a new version of chapter 55) and at some point, the artist opened his eyes briefly, just like the lord nodded to Baek Na-Kyum’s question unconsciously , as he felt his presence, but never realized it in the end. In other words, the painter also detected the lord’s presence by his side, even opened his eyes for a second, heard him even calling his name . The tragedy is that exactly like during their Wedding Night, the painter won’t be sure, if what he sensed and saw was reality or a dream. Therefore I come to the conclusion that this is a new version of chapter 58, where the roles are reversed. Back then, the lord thought that this night with Baek Na-Kyum was too beautiful to be true and it is the artist’s turn to feel the same way. This flashback shows his wish mixed with a memory. And now, during this night, the lord expressed his regrets and showed his tenderness, just like in chapter 58. He took the hand with delicacy and touched the wrist and the wound with his finger carefully, ,as though he wanted to heal himself the bruise. For me, this scene was so beautiful and moving, as it reflects the noble’s growth. He doesn’t just feel huge pangs of conscience, but he is determined to redeem himself in the end. When he touches the scar, he feel sorry for Baek Na-Kyum’s wounds which he hadn’t seen due to his self-hatred. At the end, he treats Baek Na-Kyum’s hand like a treasure. Yet, note that he is not kissing it. First, I interpret his gesture as a sign of regret. Secondly, a kiss is linked to sensuality and the noble is no longer for such a love, especially after that terrible sex marathon. Moreover, I believe that lord Seungho has the impression that he is not worthy of the painter, hence he puts a finger between his eyes and the low-born’s hand. The absence of his eyes is not necessarily referring to his blindness. For me, it points out that the lord has finally recognized the true value of his hands: the painter’s beautiful spirit and soul. Besides, they helped him to see the truth. Why? I have to confess that this scene made me remember their first meeting in chapter 1. Although the lord called them “talented hands”, he grabbed them in a rather rough way and put them on his loins. He only valued them, as they helped him to have a better libido. And now, his gesture has a different meaning. The hand made him recognize that the drawings had an effect on his heart and soul. At the same time, the artist made him realize his hypersexuality. As you can observe, by contrasting these two scenes, you can detect the noble’s development. But since the painter only opened eyes shortly, the noble decided not to remain by his side, because he had the impression that the artist didn’t wish to see him after what he had put him through. That’s why he sent for noona Heena. He knew the importance of his sister, since the commoner had tried to protect her before. That’s why we see the sister by the painter’s side the next morning. She symbolizes reality. Consequently, I believe that the following picture from the flashback illustrates the artist’s true wish. He desired the lord by his side, but the reality was different. His noona was by his side. This didn’t upset the painter, because he received a warm embrace full of love and compassion, something really important in order to heal his wounds, contrasting to the hug in the barn symbolizing fakeness and coldness.

As you know, Baek Na-Kyum’s dreams were always connected to reality, as they often announced the future events. However, here I feel that the dream is connected to reality differently: it is connected to the past. The lord was indeed present in his study. The flashback is influenced by a memory mixed with a wish. Consequently this flashback stands in opposition to the first one, where the painter relived his trauma due to the memories linked to his terrible near-death experience. Both flashbacks were influenced by memories, yet in the last one, the painter will have the impression that it was too good to be true. There’s no ambiguity that Yoon Seungho will keep his distance from the artist. Just like during the first season after the chapter 35, he won’t ask for sex. The gesture with the hand was pretty clear for me. The aristocrat will be content, if he sees the artist by his side from afar. However, this doesn’t signify that Yoon Seungho will leave his mansion for sex orgies. No, it is impossible. Since he knows that Jihwa hurt his lover, he has to be by his side to ensure Baek Na-Kyum’s safety. Therefore I come to the conclusion that Yoon Seungho will start paying attention to his mansion and staff. He will ask for answers, like for example: How could the guardian let Min walk in the mansion so freely? He will give strict orders. From my point of view, the main lead will start acting like a real lord and pay attention to the behavior of his staff. At the same time, Yoon Seungho will also have a flashback of that night, where he beat Deok-Jae, who had hurt his lover. He will interrogate Kim about his whereabouts and investigate the circumstances of his disappearance.

Although the painter is now unsure, if the lord was by his side or not, it’s only a matter of time, until the painter approaches the noble again. I am expecting a new version of chapter 52. Why? Due to the analysis of the flashback, I think that despite the new sex marathon, the artist is not resenting Yoon Seungho. I explain his reaction the following: In the barn, the aristocrat’s words left a deeper impact than anything else. For the first time, someone was refusing to abandon him (even if it sounded so possessive and obsessive). Furthermore the same person even expressed that his smile and presence could be the source of his happiness , something he had never heard before. Finally, we shouldn’t forget that Baek Na-Kyum’s ears have always been very sensitive to words, explaining why the commoner was so devastated by Jung In-Hun’s last sentence. Finally, the lord’s confession revealed that he never considered him as a whore in the end, as his request was just a smile and not his body. Finally, I believe, noona Heena’s presence will also have an influence in the painter’s thoughts and emotions. Baek Na-Kyum will be able to appreciate that Yoon Seungho allowed her companionship, willing to accept a gisaeng in his house, although the low-born heard him calling her a wench or harlot before. Unlike the past, the artist is no longer blind or deaf to the noble’s gestures. There’s no doubt that they will rekindle, but their relationship will mature. The lord will try to find a different connection and I am already imagining him asking again: Another flashback from the past…

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Painter Of The Night: Silence (fourth version) 🤐

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter   But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/ 

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“The ultimate tragedy is not the oppression and cruelty by the bad people but the silence over that by the good people” from Martin Luther King

With this quote, the famous American Baptist minister denunciated the passive attitude of many Americans, who didn’t feel concerned with racism and segregation in 60’s. Why? (chapter 65) As you can see, the valet Kim is not revealing the truth, not out of fear, but he has the impression, this is not his problem. He chooses indifference. With this single attitude, the readers discover Kim’s true personality and past, confirming my last analysis about him. When he heard the painter’s refusal, (chapter 65), he was brought back to the past. The domestic was a witness of Yoon Seungho’s rape and as such of his sexual abuse. Striking is that in episode 65, he didn’t even open the door, but instead of helping, he let it happened. He didn’t act according to his belief. This means that in the past, he must have acted the opposite. The door was open. This signifies that he abandoned the young Yoon Seungho, when the main lead asked for assistance. (chapter 65) He refused to listen to the young master’s plea. And now, you understand why Yoon Seungho had sex in front of him outside the barn. Unconsciously, he wanted to confront the valet with the consequences of his actions. (chapter 64) The teenager was left behind by the servant, and his hand couldn’t even stop him. But since it is a reflection, I think that the butler was the one who brought the main lead to the predator, naturally his intention was not to have him raped. And now, I grasp why the lord feels the need to hurt people with his hand, like for example strangling the painter (chapter 61) or grabbing the topknot of a noble(chapter 8). His hand expresses not only his rage, but also his powerlessness. With his hand, he wasn’t able to stop the valet from leaving him behind. He had tried to stop his father from leaving his side with his hand too. (chapter 86) Furthermore, Yoon Seungho couldn’t even punish the valet for betraying him, because he had no authority and no strength. Back then, he was just a teenager. In chapter 63 and 64, Yoon Seungho was indeed reliving his traumatic past. Because the butler was recollecting two different memories (the night before and the lord’s sexual abuse), my first impression was that the young boy had been abused in the shed. (chapter 65) Yet, the storage room is the place where the valet betrayed him, as he changed his lord. (chapter 77) My theory is that the main lead was raped by “lord Song”, the king. Therefore I assume that the man was invited by father Yoon. Remember that the kisaeng Heena proposed to her donsaeng to seek the protection of a nobleman, as he is a low-born. (chapter 97) My idea is that the valet thought that by seeking the monarch’s protection, the young master’s suffering would end, for the king stands above the scholars and elders. Anyway, I believe that the valet made a bad choice and regretted it afterwards. Due to his guilt, he developed resent towards Yoon Seungho. And this explains why Kim said this to the painter in order to ease his pain: (chapter 12) He couldn’t tell him details, since he would reveal his complicity to the crime. Furthermore, since the valet led the painter to the pavilion, it is very likely that Kim was the one who offered Yoon Seungho to the pedophile, which makes his crime even worse.

With Kim’s silence came a huge price: fear and guilt. (chapter 65) Since he had not assisted the young master repeatedly (chapter 77), he became more and more burdened by his guilty conscience. He turned into an accomplice, for he never revealed his involvement and mistakes.. He could no longer reveal the truth, because he would have to get punished. He feared father Yoon’s wrath and he had reasons too. He could definitely die. That’s the reason why he reproaches the doctor his passivity and silence, though in my opinion, it was not about the abduction, but about the tonic. Sure, in Joseon, there was no law called “Duty to rescue or Failure to provide assistance”.

“Failure to assist a person in danger is a criminal offence that condemns the failure to assist a person in danger. Contrary to most criminal norms, it is an offence of omission and not of commission, i.e. the perpetrator does not act when he should have done so.

However, from a moral perspective, Kim committed a wrongdoing, and he knew it. That’s why he couldn’t forget and felt guilty. Even nowadays “Duty to rescue law” doesn’t exist everywhere, nonetheless many European countries, like Germany or France or UK possess one and its creation was partially influenced by the experiences made due to Nazism. And now, the manhwalovers can comprehend why my association to dictatorship was correct. Kim and other ordinary people are their willing assistants in the end. They prefer avoiding trouble out of convenience. Consequently, they turn a blind eye to injustice. Yet, though they try to forget (chapter 65), they can’t, because they feel guilty and remorse. Note that right after voicing his wish to forget the incident, he recalls Yoon Seungho’s tragedy indicating his incapacity to forget. This explains why Kim gives the doctor the following advice: (chapter 65) Although Kim’s words in the panel are addressed to the physician, they actually reflect that Kim is speaking out of experience. He knows by experience that “silence is a true friend who never betrays”. Observe that Kim’s complicity was never brought to light, hence he never got punished. This explicates why Yoon Seungho is acting differently from his biological father in reality. Each time there was a crime, the lord let the painter defend himself and asked questions: chapter 11 and 62 , (chapter 62) especially when you think that Baek Na-Kyum is just a commoner. But the problem is that he was biased, just like his father who had the impression that his son was a homosexual due to the testimonies of close people (Kim, Lee Jihwa and probably Yoon Seung-Won). After the rape, Yoon Seungho got punished. And this interpretation was proven correct in season 3 (chapter 77). But here Kim remained silent too. (chapter 77) It was even worse than before, because after the straw mat beating, he was paralyzed. No one spoke for him and believed his words, and Kim wasn’t willing to step in. Moreover, I believe that Kim had another reason for remaining silent. (chapter 65) He disliked the idea of a scandal and trouble. If he had told the truth, he knew that his punishment would be death. Out of convenience, he ran away from responsibility and from the uncomfortable truth. (chapter 65) That’s why I believe that the author is not showing that Kim and the physician chose secrecy and silence, because they feared for their life. They only started fearing for their life, when the truth is about to be revealed, as the painter was not dead yet. As the victim, he was a witness. Because once the lord discovers the butler’s passivity and complicity, it becomes a matter of life or death for him. According to me, there are two doctors. So the chapter 65 unveils that the first doctor didn’t testify, as he wanted to help the artist. (chapter 65) In my opinion, the butler had deceived the commoner, he let him believe that Baek Na-Kyum had run away because of the lord’s violent temper. The painter had come wounded to his office. This negative perception of the young lord Yoon could only make the doctor jump to wrong conclusion. ,Striking is that this scene (chapter 63) revealed that the doctor was hesitating to give his opinion to the butler, he thought that the artist had run away. And what is the common denominator of all these scenes with the doctors. They all chose silence for different reasons. Just like Kim, the doctor had become an accomplice. As for the second, he remained silent out of fear, that he could get into trouble. (chapter 65) My theory is that the valet used the drug as an excuse to silence the physician. Now, the doctor is hoping that the boy says no word about it, so that his “wrongdoing”, the false medication, won’t be discovered. Kim blamed the doctor that after that, his master had behaved like a crazy man. The result was that both physicians chose silence!! Why? It is because the valet had pushed them to make this choice. And note the pattern. Kim used pity and compassion for the first doctor, and fear and brutality for the second! Exactly like in this scene: (chapter 12) In this scene, we have all three elements: pity, fear and silence (“can’t go into details”).

And despite knowing the truth, Kim makes the same decision like in the past. He chooses to sweep the incident under the carpet. He is glossing over the abduction with all fake excuses. (chapter 65) He has the audacity to say that his master won’t hurt the painter, although he even witnessed the roughness the artist was exposed to. Yet, for him harm was flogging or execution. From my perspective, this is no coincidence that the author showed us the valet sweeping. (chapter 65) This represents his attitude in life, therefore he is responsible for Baek Na-Kyum’s loss of innocence. His other leitmotiv is (chapter 23) He acts, as if he knows nothing reminding us of this scene. (chapter 28)That’s why I believe that the butler was lying back then and had even allowed the artist to run away that morning. I see a new version of chapter 29. But let’s go back to chapter 65. Notice that he is the one removing the snowman built by the painter, the last reminder of the low-born’s innocence. In two occasions, he chose cowardice and silence. First, he did nothing to stop his master (chapter 65), as he didn’t desire to feel his master’s wrath. Secondly, he asked the physician to keep silent by making him feel guilty. (chapter 65) But if he had seen this, he could have intervened and reasoned his master. But he chose not. He was too embarrassed, for he had been caught “spying”. (chapter 64)

And the next day, he prefers to forget this incident. (chapter 65) What caught my attention is that he feels nothing for the painter, he doesn’t even express any regret or remorse. Since he knows that the artist won’t be killed, then everything will return to normal. He doesn’t consider the impact of Yoon Seungho’s violence used against the painter, which he witnessed on several occasions. For him what matters the most is silence, the absence of ruckus! And now, I can understand why the lord is not able to distinguish genuine from hypocritical care. When the lord was young, he saw in his valet a surrogate father, but he got betrayed in the worst way. He turned away from the wounded master. He closed his eyes, closed the door and ran away. Therefore, it becomes comprehensible why Yoon Seungho’s unconscious always expresses itself through the hand, the eye and the feet. This was the result of Kim’s abandonment, but not only from him: from his own family and even his best friend. And back then, the butler must have thought exactly the same in order to justify his behavior: (chapter 65). He legitimated his cowardice and passivity by saying that Yoon Seungho wasn’t part of his life and his adoptive son. He was just a noble, with such a statement, Kim was drawing a line. Due to his mistakes, he chose not to intervene any longer. But observe that in season 1 and 2, he meddled in his lord’s life, as he viewed it as his own business. Why? It is because he feared that he could lose his position. However, I think that in season 1, he was more influenced by his unconscious, but not in season 2.

After all these observations, I come to the conclusion that Kim has many common points with Lee Jihwa. He knows the past and feels remorse and repentance. But both are forced to hide their wrongdoings and as such their culpability. That’s why the chapter 65 reinforced my conviction that Lee Jihwa was indeed responsible for Yoon Seungho’s misery and the red-haired noble was aware of it. Yet, exactly like the butler, he denied his responsibility. Sure, many are to blame for the main lead’s tragedy as well: father Yoon, his brother and lord Song/the king. All of them lied and chose to remain silent.

From my point of view, Byeonduck has another reason for making Baek Na-Kyum going through the same experiences than the protagonist’s. This is not just to make Yoon Seungho realize what he has become and sees his own reflection in the end. In my opinion, the author uses the painter’s suffering to reveal the main lead’s tragic past. Since we all suffer for the artist, the manhwaphiles have to imagine that Yoon Seungho experienced it too, but in the worst possible way, as he had really no one by his side. While Yoon Seungho might be rough and hurtful towards the artist, he is still in love with the artist, hence he still cleans (chapter 65) the artist after their intercourse and even gives him his own shirt. He shows a certain sense of responsibility.

So my actual theory about Yoon Seungho’s past is the following: Yoon Chang-Hyeon got deceived by many people, making him believe that his son was an idle young master before being stigmatized as sodomite. The king had to ruin the protagonist’s reputation in order to approach him. The real puppet master was lord Song alias the king. But every culprits had to suffer the consequences of their crimes and deceptions. I don’t think that even the king was spared. He also got punished by the gods, yet he never realized it. Yoon Chang-Hyeon thought, he could benefit from such an alliance, but he got betrayed by father Lee, but the scholar never recognized it. (chapter 82) Why didn’t he ask for a punishment after this humiliation? It is because he couldn’t. However, he must have definitely sought revenge. And the main lead became the sacrificial lamb, as in father Yoon’s eyes, his son was the reason for the purge: desertion, betrayal and probably drugs played a role in the purge. It is definitely possible that I have to change this theory about his traumatic past, but as you can observe, the main elements don’t change:

  1. coercive persuasion: sexual, physical and emotional abuse
  2. a wrongdoing and the innocence of the main lead, yet the father believes that his words are all lies
  3. the abandonment from everyone: Lee Jihwa, the staff, the butler, his brother and his biological father
  4. The responsibility of Jihwa and Kim in his misery due to their behavior (action versus passivity)
  5. sexual abuse committed by a repressed homosexual
  6. “prostitution” and gangrape As the king would share Yoon Seungho to his officials

As a conclusion, silence is as terrible as words. Both can kill in the end.

Silence in the face of evil is itself evil: God will not hold us guiltless. Not to speak is to speak. Not to act is to act.” Dietrich Bonhoeffer

That’s why it is important not to turn away from injustice. This is not just a question of courage. Not helping someone in the need is committing a crime, and it contributes to reinforce injustice. Fear for life can not be an excuse in this story, since the matter of life and death appears afterwards. The silence is related to a misdeed. Besides, this kind of behavior explains why Third Reich could exist. First, while some people were convinced believers, many chose comfort over trouble. Let’s not forget that Hitler could install his dictatorship, because the MP from the Reichstag voted for Enabling Act (1933). That law gave Hitler the power to enact laws without the involvement from the Reichstag. One might argue that Hitler used terror to coerce the MP, but this is not correct, as Otto Wels gave a speech against it and the socialist party (SPD) followed him. This was the only party that voted against it. I have to admit that while reading the last chapter, I couldn’t help myself thinking of the Third Wave.

https://timeline.com/this-1967-classroom-experiment-proved-how-easy-it-was-for-americans-to-become-nazis-ab63cedaf7dd

In our case, it is not about Nazism, but about civil courage. Once one remains passive, the other follows creating a common movement: all become inactive and silent. IT takes courage to admit a mistake and a wrongdoing. And we have to imagine that in the past, the servant Kim remained silent once leading the others to close an eye as well. And the phenomenon is occurring again. The physician was a witness, but did nothing (not even asking for help after the painter’s disappearance). He was convinced that if he shut his mouth, he would help the artist! But this was simply wrong, for with his passivity and false conclusion, the painter could have died. The irony is that Kim is following him after their conversation. (chapter 65) Slowly, he is recognizing that his master won’t hurt the artist. Yet, during his visit, he thought the exact opposite. (chapter 65)

However, this time it is different because of Baek Na-Kyum’s panic attack and his sister’s intervention. (chapter 65) The lord realized that something had happened. Due to the painter’s reaction, he was brought back the past. (chapter 66) Striking is that the painter’s words were the trigger for revealing the truth. (chapter 66) This stands in opposition to silence. Therefore it is no coincidence that Min revealed the truth. (chapter 66) The irony is that Heena suspected the main lead of kidnapping her brother and everything looked like her words were true: the wrist, the wounds around his wrist, his actual position (the mouth covered and his hands tied together…) (chapter 66) (chapter 66) Thus the circumstances were turned against him. (chapter 65) But she was not present, when Min admitted Lee Jihwa’s crime. That’s how I realized that while chapter 65 represents silence, deception, cowardice and passivity, chapter 66 embodies the exact opposite. Min told the truth, Heena tried to save her brother by creating a ruckus! For Yoon Seungho, silence is a sign of culpability which he learnt from Kim. Hence he lied to the kisaeng (chapter 65), and later never spoke to the painter about the incident. If he had done it, he would have been forced to admit his misjudgment and wrongdoing. And now, you understand why Martin Luther King said this:

“The ultimate tragedy is not the oppression and cruelty by the bad people but the silence over that by the good people”

The physician and the butler are no evil men per se, as they don’t find pleasure in death and suffering. However, like the following idiom is revealing, people can change due to their decisions:

The way to hell is paved with good intentions.

That’s why in season 4, the tragedy won’t be repeated and the truth about Yoon Seungho’s martyrdom, strongly intertwined with the artist’s, will come to the surface. You are wondering why now. The reason is quite simple: The doctor revealed his knowledge to Baek Na-Kyum, (chapter 57) It doesn’t matter, if the butler told lies to the physician in the past, as they are now perceived as truth. Remember what Kim confided to the painter: (chapter 86) He believes that he is the only one left who knows the past. But he is wrong, since the doctor also recalls the past. Hence how can Kim prove that he is telling the truth, since he told a different story to the physician? In addition, we have also lord Song. Besides, by giving the drug to Yoon Seungho without his knowledge and consent, Kim committed a wrongdoing. His knowledge won’t serve him in the end. I am deducing that the saying “silence is a true friend who never betrays” will no longer be valid. Therefore we have to expect a betrayal, and that would be from the physician, especially after we recall the butler’s warning in the first season, which was addressed to a different doctor from my point of view: (chapter 33) Let’s not forget that in chapter 65, the servant tried to put the whole responsibility on the physician, making him feel guilty. And since Byeonduck is even using elements from the first and second season, I believe, we will have a reversed situation in season 4, where the doctor will speak up and put the whole blame on someone. Neither the physician nor Kim expected that the painter’s body wouldn’t remain silent (chapter 65), a proof that the truth needed to be unveiled. It was impossible to act, as if nothing had happened, just because the painter had been returned to Yoon Seungho. And it is the same at the end of season 3. The painter gave his husband a task: (chapter 102) He needs to find the answer, which stands in opposition to silence and burying the truth (sweeping it under the carpet). This signifies that this time, Yoon Seungho has to gather information himself, and he can not rely on Kim: (chapter 98) As you can see, slowly people are forced to talk (chapter 99), hence their testimony can be questioned and perceived as lie. (chapter 100). This is important, because by getting confronted with lies, the lord will be able to discern the truth! In other words, silence embodies darkness and as such death. (chapter 74) Thus there was only silence in the lord’s nightmare. And this contradicts this statement: (chapter 65) Because Germans chose silence, the Holocaust could take place.

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