#the devil judge meta

[kdramastrix]

I have. Something to talk about and its very very VERY important.

We know that last scene of TDJ where its just PEAK yearning but can we PLEASE appreciate the micro-expressions that passed over both Yohan & Gaon's faces when they faced each other DIRECTLY after a MONTH (if im not wrong) of that whole blowing up fiasco + Yohan's arrest before that??????? Because my GOD.

So we see Gaon call Yohan by his Full Government Name™ (which wasn't very wise for a declared dead enemy of the state who is ALSO wanted but we'll let it pass for romanticisms' sake) and look at his face. His face is one of a scared man. He's not hesitant but he is afraid of how Yohan views him after what transpired between them.

In turn, Yohan looks back and well.

He is also somewhat apprehensive. They're both testing each other & the waters they're in. Although Yohan doesn't have a revenge vendetta shackling him down anymore, Gaon, on the other hand, has tremendous stuff to unpack. They're carefully, if not gently, evaluating the distance between them.

And then, Yohan gives a clear sign that he holds nothing against Gaon. An open arm, an open invitation. To join him? Maybe. To decide what to do with them? Perhaps. It's vague but it's also clear that Yohan is done manipulating Gaon & that he has left the ball in Gaon's court.

Then come the positive changes. With Yohan's green signal, Gaon is somewhat relieved but also incredibly guilt-ridden. I think these frames speak for themselves.

The wet smile & the eye crinkles. He is so relieved to be in Yohan's good graces but also just looking at Yohan be his ever glowing self after serving his life's purpose.

Yohan. My dearest Yohan. Look at him. He's equally heart-broken to be seeing Gaon like this, to be leaving him behind but that little nod he does???? Like he's made a decision that he needs to stick with for the betterment of Gaon???? That's what truly gets me. It's so clear the distance between them is hurting him but he also knows that it's necessary to give Gaon space & time, to unravel & to explore things on his own. Perhaps another assumption on his part because who truly knows what Gaon wants except Gaon himself?

Then it's a brief look exchanged. As he turns, giving Gaon one last reassuring smile as he turns and leaves behind one of the most important people to him.

And gaon watches. Look at his micro-expressions here. Look at his breathing. His sagging shoulders. His eyes. His wet smile. His balled hands. His tiny nods.

He also thinks this is necessary but you can so clearly see its taking every bit of nerve & fiber in him to stay rooted to his place & not chase after Yohan. He's DELIBERATELY not taking a single step towards Yohan. He thinks he doesn't deserve to chase after him, that hes content to see Yohan: alive, well and so utterly free. That's all that matters.

I would genuinely like to appreciate both jinyoung and jisung for their acting bcs they NAILED the raw emotions needed for this absolutely stunning yet gut wrenching scene. It's so difficult to convey such complex emotions through such little means yet they did it to PERFECTION. They both gave their characters LIFE. And for that i will always be grateful bcs i dont think anyone else could've done Kang Yohan and Kim Gaon the way they did.

[thedeviljudges]

god WHY is the tdj's dialogue and set up so juicy and incredible???

couple of things to talk through here:

the first scene is the professor scolding gaon for thinking that the trial worked out well. gaon then takes it back and says it's 'not a child's game.' so here we have gaon expressing his honest thoughts and being berated about why it's wrong to think someone got justice in the way they did (nevermind that something was a lil fishy but that ain't the point rn lmao).

then, we have yohan who juxtaposes the professor's beliefs in the following scene. and while gaon probably never believed the trial was a game, it's very interesting wordplay.

yohan's dialogue is so important because even after he says 'it's not a fair game to start with,' he also says that it's full of manipulation and lies......

Which is exactly what the professor did during the basketball game in the scene prior with gaon. he cheats gaon by acting hurt to steal the ball and make a dunk but calls it a fakeout rather than admitting what he's done.

i find it so fascinating how they already insert in the differences between yohan and the professor, the start of the friction as to what will ultimately have gaon questioning everything.

but what i'm most intrigued by is how quickly the professor put gaon's thoughts down and gaon immediately backtracking. such good characterization right there and the insane amount of growth he has by ep 16 where he tells a room full of people his own thoughts and beliefs.

[amethystina]

Kang Yo Han is the little spoon

Like, at least 80% of the time. Probably close to 90%.

Because while Yo Han might be bold when he's awake, I'm pretty sure he's a lot more hesitant when it comes to soft, intimate cuddling in the dark. It requires a lot of courage to both offer and ask for that kind of affection. And he's just not used to doing it — too awkward and, in many ways, too scared. What does he know about gentleness? And what would happen if Ga On said no? Or stiffened when Yo Han tried to hold him?

Ga On, though? He's the opposite. He's the kind of man who's more affectionate and confident without an audience, when it's just him and the person he cares for. So he would have a much easier time initiating that kind of intimacy after he and Yo Han get together. And, let's face it, if Ga On wants to cuddle, it's easier for him to just wrap himself around Yo Han than try to manoeuvre that unit of a man into being the big spoon.

And, deep down, I think both of them would revel in it.

Because Ga On is such a caring and nurturing person and he'd treasure the opportunity to be the one to offer that kind of warmth and comfort. Especially in such a simple yet honest way, one that also gives him a chance to bury his face against Yo Han's neck and just hold him. To, for once, be the one to take charge and have the answers to what they both need.

And Yo Han? I mean, imagine the relief he'd feel to have Ga On mould himself against his back and instead of phantom pain from his scar, he feels Ga On's heartbeats. And how much sweeter it would feel, that Ga On is the one holding on to him — tightly, fearlessly, of his own choice, and with so much tenderness. That has got to make Yo Han pretty damn euphoric some nights.

In short: Ga On, please give that touch-starved disaster of a man some hugs — he needs it.

They would never actually talk about it, of course, because Yo Han is a very prideful (and silly) man, but they both know. For all his power, strength, and darkness, when it's time to sleep, Kang Yo Han is the itty bitty spoon.

And they both absolutely love it.

[clawbehavior]

doing some light background reading for TDJ and came across this gem on its wiki page. jinyoung collecting ahjussi's like Pokemons left and right

[kingkangyohan]

TDJ Meet Joe Black AU

It's Christmas and I would really love to make that post about Yo Han and Ga On being eachother Jesus I keep thinking about, but you will have my headcanons for the Meet Joe Black AU instead. Both Yo Ha as Death and Ga On as Death.

I can't give up either of both options. Yo Han and Ga On have such a different relationship with death.

Yo Han should have died so many times, and always refused.

He was abandoned as a kid, literally left to die by his own mother (and father), growing up abused and beaten, he even survived the fire. He has fought tooth and nail against death. But then death comes for a visit.

And Death is beautiful. Death has the face of someone that used to love him. Death has the face of someone he loves.

Yo Han is on the brick of completing his long plan, where he thought he would defy death once more, but now he has Death by his side. And oh, he is so tempting.

On the other end, Ga On has tried to die several times. He seeks death since he was in high school, always feeling it as something close, something reachable - although, always refusing him. Death in Ga On's eyes is justice, the ultimate atonement for his simple crime of still be alive.

The day Death finally visits him, Ga On despise it. Despite him.

Death is corrupted and violent.

Death is no longer a light at the end of a tunnel. Death is the Abyss.

[technitango]

the weight and implications of This Scene in episode five.

"don't act tough. are you saying that being a monster is better than being a victim? monster? you're not even brave enough to face your own pain."

let's talk about how much these words from gaon throw yohan off his game. because he can maintain confidence and bravado in the face of being looked at like he's a monster, he uses that as his shield, to keep his walls up and others out. but then gaon is here and with just a few sentences breaks all that down, gets straight to the core of it.

and that is almost too much for yohan isn't it? to be seen like that. as much as he craves someone seeing him for who he really is, yohan also loathes it, fears it.

at first, in the start of this episode, yohan makes the comment to k that gaon related to him so much that he was a bit flustered. i don't think yohan is quite ready to face the weight of the implications of that. and at this point in the show i don't think yohan is ready for gaon to be that person that sees him. yohan is curious, deep down he does want it, but he is also terrified of it, doesn't think he deserves it, perhaps?

but it's the start something. it kindles a fire that will eventually lead to yohan knowing that he does (desperately) want for gaon to be that person that sees him for who he truly is.

[gillianthecat]

After watching The Devil Judge I did some very brief research on the South Korean judicial system, to try and understand which parts were dystopian theatricality and which had some basis in actual South Korean legal practices, which are pretty different than what I'm familiar with (the US American legal system as interpreted by the US media).

These are just two sources, they could be wrong! If you know more, and like talking about it, I'd love to hear it.

Links and quotes on the South Korean judicial system and judge training below the cut:

The context from this Asia Society article does help me make sense of some of the legal stuff, although a lot of it I think is still theatrical inventions for the show: 

https://asiasociety.org/education/korean-judge

"in Korea the judge alone is responsible for the realization of justice. His part in the trial is consistent with the traditional role of magistrate; he acts as a mediator, the natural ally of honest people. Since the style of the Korean judge lends itself to mediation, what starts as a Western style trial easily shifts to encourage reconciliation. The judge is supported in his efforts toward compromise by the lawyers, and the compromise agreement is considered an official court document with the same legal force as a judge's verdict."

"often a Korean trial does not result in a verdict. Actually, the courtroom in Korea is less a setting for lawsuits than a forum where people air grievances before an objective third person. The judge, really a mediator, helps them reach an amicable solution."

"the Korean judge serves as chief questioner of all witnesses. He offers suggestions, expresses opinions and controls the hearings even when lawyers are present. He determines right and wrong and acts as a truth-seeking specialist empowered to get to the bottom of the trouble. The lying witness should be exposed, the cunning plaintiff thwarted and the ignorant defendant allowed a fair hearing."

" Lawyers begin their careers as judges and then retire into private legal practice... Lawyers are often decades older than judges and see themselves as colleagues who advise and help the judge. The judge discovers the truth; the lawyers advise him and help their clients through the bureaucratic maze. Since most lawyers began as judges, they identify more with the judges than with their clients." 

Here are the requirements for judges in real S. Korea, from the Supreme Court's english language website.  Not sure if it's also true for The Devil Judge's dystopian version. 

https://www.scourt.go.kr/eng/judiciary/organization/members.jsp

Here is more about requirements for judges from this interview with a South Korean judge I found at

https://law.unimelb.edu.au/centres/alc/engagement/newsletters/alc-newsletter-december-2018/interview-with-judge-yunkyung-bae

"judges like myself who were appointed before the reforms in 2009 did not need to have a law degree and legal experience. Everyone needed to pass the National Korean Bar Examination and to be trained in JRTI for two years. The National Bar Examination was very difficult and only about three percent of candidates passed at that time. We are expected to build our judicial careers whilst working in the courts after graduating from the Judicial Research and Training Institute.  Since 2009, however, only graduates who have completed a three-year postgraduate law degree are eligible to sit the National Korean Bar Examination. According to recent press, the pass rate of the Examination is now around 50 percent. Also the Supreme Court now requires judicial applicants to have at least five years of experience working as an attorney before being eligible for a judicial appointment. The length of this practical experience requirement will gradually increase to ten years before a person will become eligible for judicial appointment."

Her path to becoming a judge was: (is this similar to what Kim Ga On would have done?)

"I completed my bachelor’s degree in Economics at Seoul National University. During my degree, I took a law subject which sparked my interest in law and ultimately led me to decide to pursue a legal career. At the time, you did not need a law degree to enter the legal profession, but you did need to pass the National Korean Bar Examination. After passing, I was admitted to study in the Judicial Research and Training Institute for a period of two years. Becoming a judge was greatly appealing to me, because judges can resolve disputes impartially and independently according to law and conscience. I was appointed as a Judge in the Seoul Central District Court upon graduation in 2007."

[maystea]

So I have a question for you (and by extension the rest of the TDJ fandom):

Would Gaon have offered to die with Yohan if SuHyun were still alive?

Hi!!

Um... I do think that yes, he would. Because, although it may be just my opinion, Ga-On was disappointed in how she was Sun-Ah's person (even though it wasn't truly correct), so I do genuinely think that for him she was just a manipulator who was working with his greatest enemy

Also... it's not like Ga-On got anything to do with his life without Yo-Han. It was already a mess before he started to work in the Court Live Show, and after ep.12 it began to go downfall just after something started to look clear and have sense. So imo he would choose to go with someone he loves rather than having to live through his beloved person's death once again in a spawn of two or three days

[three--rings]

Extended Devil Judge Thoughts (Almost entirely about Soo Hyun.)

Spoilers below cut.  I’m going to make a non-spoilery review post as well.

gillianthecat said:                                                                                                                            I am curius to read your toughts on the whole Su Hyeon thing. I hated it at first, and now i go back and forth on it. I think if i took away the context of tdj being censored by homophobia (plus media’s habit of fridging women) that plotline in and of itself would have worked for me. But its hard to remove that context.    

Yeah so I really dislike them getting together only to make her death hurt more, because it only reinforces the fact that her death is a fridging.

Honestly almost everything I dislike in this show is about Soo Hyun.  First because HER ENTIRE CHARACTER revolves around Ga On.  Her only motivation is to love him and protect him.  It’s explicitly THE ONLY REASON she’s a cop at all, because she thought she’d need to get him out of trouble.  She regularly expresses ambivalence about her profession. 

Now, unrequited love stories can be done alright, but again, BECAUSE her whole life and story revolves around him, to me that means her personal storyline should be learning that you can’t live for other people and that sometimes even when people love you they don’t love you they way you want them to and she needs to prioritize herself. ( I SENSE/would guess that we’re getting into Korean ideas of femininity a little with her character, but can’t really speak to that. )

But that doesn’t happen.  Instead it’s Ga On who is written to change, to admit that he’s always wanted to be with her romantically, I guess?  Which I find unlikely and difficult to believe.  Because like, they’ve known each other THAT long and went through teen years and college and nothing every happened?  Like, we don’t get to know if either of them ever dated anyone else.  But if you go THAT long without getting together, when you supposedly both want to?  IDK I can’t believe it.  At least without having some exterior circumstance keeping you apart, or something like asexuality or sexuality confusion happening. 

Like, I think they make great friends and are BASICALLY siblings.  Which I want to be clear on, like, I’m not going EW INCEST like an anti, lots of people end up with people they know since childhood.   But I mean they can be the most important people in each other’s lives WITHOUT it having to be romantic. 

About the fridging.  I have a complicated history with the concept of fridging because I think it can be overused for ANY female death.  (Or even any minority character.)    But fridging is when a female character dies for no reason except for the painful effect it will have on the male protagonist.  Not anything to do with HER story, but when it’s done to motivate HIM.   It’s even originally when women are killed off IN TEXT to cause pain to their significant others.  So this IS explicitly that.  The reason she is killed is to manipulate Ga On and cause him pain.

Not because she’s a great detective who found out important information, although we sorta think maybe that’s the case.  No her death is USED to plant false evidence, but she didn’t actually uncover it.  She’s not a threat to anyone.  She’s just tied to Ga On and so she dies.  The fact that they have them hook up less than 24 hours before (ish...it’s not clear) is just insult to injury.  It’s like a female character having sex and then immediately being murdered.  (And it’s implied that’s exactly what happened since he wakes up in the bed when he WAS on the floor...)

So yeah, it gets a big fail from me.  Like, there are ways she could have died and it not felt so cheap and insulting.  But overall I think her character needed MUCH better handling.

Which is a SHAME because the other female characters in the show are awesome, so it’s not like the creator can’t write female characters.  Just female romantic characters, I guess.  (Which is sorta an industry problem, and one reason I am VERY wary of het romance dramas.)

Sigh. 

My other faults with the show are that there are a few plot points that...aren’t exactly holes but they don’t really end up making sense.  Things, especially lines of dialog that are clearly there to plant false suspicions but don’t make ultimate sense.  Like, in ep 15, Yo Han says that Ga On will regret it if he murders him and that he knows because he lives with that regret.  And like...for what?  I totally thought this was going to lead up to him having killed his brother because we kept hearing about his guilt.  And the only guilt there could be is like...not saving them, I guess.  Not exactly the same as stabbing someone for false cause. 

But overall, no, I really really like the show and am very satisfied and happy with the ending.  I mean I’m 2000 words into a fic set immediately after the last ep ends, but yanno, that’s cool.  That’s what fic is for. 

Anyway, that’s MOSTLY what I wanted to talk about, that I didn’t get around to initially.

[fourth-quartet]

I think it's time we talk about Sunah sexually assaulting Yohan in episodes 5-6 because I feel like we kinda skip over that.

Sunah knows Yohan will underestimate her and uses that to her advantage to kidnap him. 

He wakes up in a replica of the home he hates. We (the audience) know he hates it. But Sunah is blinded by her own attraction to the house to notice how much Yohan’s hatred of it. 

She’s offended that he doesn’t recognize her right away. While he has spent 30 years with many more things on his mind, for whatever reason, Kang Yohan has stuck on Sunah’s mind in that time. 

Off topic entirely but she has a replica of both his basement room and his room upstairs, implying either she has been to the house and knows where he sleeps now, or that she knew that room was important to him for another reason—potentially that the room was Isaac’s, perhaps? 

Additionally, in looking at the two flashbacks we see—one from Sunah’s perspective, one from Yohan’s—Sunah does not see the correlation between her thievery and Yohan’s asking her to jump out of the window. She doesn’t understand that he was upset at her having taken Isaac’s mother’s cross necklace. 

One of the first things Sunah does upon Yohan’s realization of who she is, is sexually assault him. That kiss is very much sexual assault—it is one-sided, Yohan has no choice in his participation in it, and he very much does not want to be participating in it. 

Jess (@miss_highflyer) had said that Sunah was a textbook misandrist. She hates men, and for good reason when the men in her life previous to that point are considered, as well as what can be inferred from things she’s said in the show until this point. 

She tells Heo Joongse that “there wasn’t anything [Sunah] didn’t do before [Sunah] met Director Seo.” Many things can be inferred from that sentence alone, but when considered in tandem with the fact that she has broken into his rooms to take over giving him a massage so she can talk to him privately, it has very heavy implications. 

I don’t think it’s a stretch to say that Sunah is very conflicted about how she feels about Yohan. She is obsessed with him, and I think she hates everything about that obsession. 

Yohan makes her feel vulnerable and weak and she hates feeling that, but she can’t help but return to him. She asks him to be nice to her, and comments even when he first realizes who she is that he was always “mean” to her. 

At this point, I don’t think she’s quite reached the point of developing the thought of a one-sided relationship with him. It’s only once he starts to really play with her that I think that develops fully. 

But I also think that she thinks he likes her back. In both flashbacks, we see that moment when Yohan asks, “Do you really like me?” Even then, he played with her emotions in order to punish her for taking what was something in his eyes that needed to be protected. 

Sexual assault is about control and power, and Sunah is lacking in both of those things when she’s younger. She is a poor girl and then a woman, with no formal education. She worked her way up to director at the SRF and she finally has power. 

And in this moment, she can both control and power. Yohan is chained to the chair (and it must be pointed out that he is specifically handcuffed to the chair, and the sexual implications that itself could have, given how easily she could likely find rope or something to tie him with), and he can’t go anywhere. 

And more than that, Sunah is forced to confront the fact that she is still attracted to him. 

Yohan had just closed the Nam Seok Hoon case, a case specifically about sexual assault. 

And we know Sunah attended that trial. Likely to see what Yohan would do, given that he had been presented with only two options. That is to say, she wanted to see what Yohan would do when cornered. And Yohan managed to find the hole in the wall with which to escape. 

And that pissed Sunah off. Look at her face as the trial wraps, and look at the way the camera slows on them. In that moment, we see Sunah’s perspective, as she thinks that Yohan meets her eyes, that he recognizes her. 

And then she flips their dynamics. She calls him a student, and herself a teacher, and places herself in a position of power over him that he is not aware of. 

As a trial about a man who used his position of power to force sexual favors closes, Sunah creates that dynamic between herself and Yohan in her mind, and then proceeds to kidnap him and assault him.

[kdramastrix]

One thing we know about TDJ is that it's INCREDIBLE when it comes to foreshadowing and parallels and while i was rewatching this scene i noticed this:

Interestingly, the professor literally quotes Yohan's mindset when it comes to the corrupt justice system here. Yohan LITERALLY says later on "There's no justice in real. It is all just a wicked unfair game."

Which tells me that he DOES agree with Yohan, he just doesn't agree with his ways. But then he goes on about how Yohan has illogical rulings & stances and has passed weird impractical laws. Which has no substance, only Bias and i really like that Gaon is witty enough to recognize that little undercurrent of dislike & tinted passive aggressiveness the professor has for Yohan.

Onto Gaon's intuition and his ability to understand the subtext here. I like that he recognizes that MJH not only despises Yohan, he also harbors injustifiable abbhorence for his ways which further leads to him suggesting that Gaon infiltrate Yohan's space, that too, not just by playing spy but by being Yohan's JUDAS.

Judas who was one of the most important people to Jesus, a companion, a devotee, a lover, a lifeline. and because he was so much, his betrayal wounded all the deeper, fatal even.

Gaon is aware that his professor is not only asking him to dig dirt on Yohan but to actually INDULGE & blend into Yohan's life to find his ultimate weakness (that is so fucking gay OMFG im trying to stay sane, wise and political here but jfc, pun intended). For him to actually UNDERSTAND and USE the word of Judas for his role is so. Yeah. Okay. Let me take a moment here.

Additionally, i would also like to point out THIS foreshadowing.

Even as Gaon & the Professor essentially stand on the same side rn, they are still standing at odds with each other IN Yohan's court, faces away, eyes set at different points, different goals.

While the professor is looking at the Balance (symbol of justice), Gaon is gazing into the darkness, a void unbeknownst to him, a field he is not certain of, unbiased yet unafraid.

Which basically translates to how they will oppose each other & that force which will compel them to disagree with each other is going to be none other than Kang Yohan.

I just really. Love this bit. And i was so gagged when i watched it so i had to come and talk about it hehe.

[thedeviljudges]

for my own peace of mind, here's a collection of articles that have more background on the devil judge.

https://m.news.nate.com/view/20210913n12309?mid=e01

https://www.chosun.com/entertainments/entertain_photo/2021/07/01/JZCCJ6MGATO2BKWL2ONRQ6GAUI/

https://entertain.naver.com/now/read?oid=477&aid=0000307562

https://www.koreatimes.co.kr/www/art/2022/08/688_315543.html

http://stoo.com/article.php?aid=74516177452

https://www.newsis.com/view/?id=NISX20210624_0001488012

https://enews.imbc.com/News/RetrieveNewsInfo/314551

https://www.wired.it/play/televisione/2021/07/21/the-devil-judge-unocchiata-al-futuro-distopico-dellera-post-covid/

https://www.entermedia.co.kr/news/articleView.html?idxno=27139

https://www.koreatimes.co.kr/www/art/2022/08/688_311636.html

https://entertain.naver.com/read?oid=076&aid=0003747300

https://entertain.naver.com/read?oid=241&aid=0003029713

https://entertain.naver.com/now/read?oid=009&aid=0004811918

https://sg.style.yahoo.com/ji-sung-showcases-different-side-061800608.html?guccounter=1

https://www.hankookilbo.com/News/Read/A2021070114510003489?t=20220817183244 https://entertain.naver.com/read?oid=076&aid=0003745746

https://www.topstarnews.net/news/articleView.html?idxno=14615023

https://m.thesingle.co.kr/article/712670/THESINGLE

https://www.youtube.com/watch?v=hVnUTrcD7Hk

https://www.slist.kr/news/articleView.html?idxno=272596

https://entertain.naver.com/now/read?oid=468&aid=0000779246

https://n.news.naver.com/entertain/article/609/0000478409

https://n.news.naver.com/entertain/article/112/0003463162

https://n.news.naver.com/entertain/article/469/0000625175

[amethystina]

The Devil Judge Meta: Introducing Kang Yo Han and Kim Ga On

Hello. I'm sick with a fever and you all know what that means — another needlessly long and detailed meta about The Devil Judge. Because sometimes I like to be predictable.

Last time we looked at The Bus Scene and this time we'll be focusing on Kang Yo Han and Kim Ga On's character introductions and what we find out about these two characters during them. And, to some degree, how they mirror and differ from each other. Spoilers: it's glorious.

Disclaimer: This is by no means a complete meta. I know next to nothing about filmmaking and all that goes into it, so this focuses mostly on the characters and what an amateur like me can observe during the respective scenes. But I might miss or skip over certain details, especially things related to cinematography and such. I'm a librarian, not a director, and I just want to yell about characters I love and how absolutely SPECTACULAR this drama is at presentation and storytelling. So sue me.

Second Disclaimer: I was, once again, left unsupervised with Photoshop while having a fever. So I, once again, take no responsibility for the resulting screenshots.

Third Disclaimer: This meta will not be entirely chronological but instead focus on one aspect of their introduction at a time, so there will be some jumps back and forth. But, hopefully, it will still be easy to follow.

And so, without further ado, you will find more under the cut!

Now. The first thing the drama wants to establish is that Kang Yo Han and Kim Ga On are very different characters in terms of personality, experience, status etc. And how do they do this, you ask? By putting them in similar situations during their introductions but having several key differences that highlight their respective characterisation. This allows the viewer to more easily compare them and draw the desired conclusion — it might even happen subconsciously for some. Because, yes, their introductions are mirrored in so, so many ways and it's very effective once you put them side by side and actually study them more closely.

The devil's in the details, so to speak — pun ENTIRELY intended.

So! The first time we see them, they're on a mode of transportation, currently travelling through a tunnel. In Yo Han's case, it's a tunnel for cars:

In Ga On's case, we don't get a clear shot of the tunnel itself until later, but one can quickly deduce that he's in one given the details during the first second he's on screen:

Most people recognise this as a subway train and that the lighting must mean that they're either underground or inside a tunnel.

Now, here's where the fun begins since while they're both in dark tunnels, there are already some noticeable and important differences. Yo Han is in an expensive car — a vehicle he drives himself — and not only is he alone inside it, but practically alone on the road as well, with only the distant headlights of an oncoming car in sight. There are no cars (that we can see during this first shot) heading in the same direction as Yo Han.

Ga On, on the other hand? He is, as mentioned, on a subway car, driven by someone else, surrounded by other commuters. People who, in other words, might not be heading to the exact same destination as him, but at least in the same direction. They're all on the same train together.

So, even here, within literal seconds, while they're still both in this dark tunnel — unrevealed to the world, if you will — we are told several important things about these two characters:

Their current level of power over their own destiny (driving themselves vs. a mere passenger)

Their existence in society (solitary vs. one of the people)

Their social economic status (fancy car vs. subway train)

And, finally, the direction their moving (against the tide vs. the same as everyone else)

Beautiful, isn't it?

And this stark contrast continues once they emerge from their respective tunnels as well, with Yo Han driving out into the night:

And Ga On arriving to a burst of morning sunlight:

The consistent theme of Yo Han as darkness and Ga On as light will never not make me go feral, okay? I LIVE for that shit. And I'm still struggling against the impulse to write a meta about it because it would be insanely long and probably devolve into incoherent babbling at some point.

BUT I DIGRESS.

Once leaving the tunnel, they both find themselves on a bridge, crossing a wide expanse of… well, pitch-black darkness in Yo Han's case and water in Ga On's. Crossing a bridge is often meant to symbolise a transition or the start of something new. So, clearly, both Yo Han and Ga On are embarking on a new journey and we, the viewers, are invited to follow along during it. They begin these journeys roughly at the same time and, not so surprisingly, we soon find out that their paths are destined to cross. So while their journeys may have started separately, they'll eventually end up entwining and continuing forward together.

(… because we needed to make this drama sound even more like a star-crossed lovers romance, I guess?)

But where are they going then, you ask?

Well, that's another beauty of this introduction since you, as the viewer, aren't quite sure where Yo Han is heading, are you? Everything is just darkness. He could be going anywhere. We can assume he's heading to the fancy party we see in between the shots of Yo Han, sure, but we can't be certain. He's still very mysterious because, at this point, he's inside a car and we haven't seen how he's dressed or even his full face. His purpose is unknown — as is his final destination.

And that, as we all know, will actually remain more or less hidden from us until the very last episode. So I guess it's good that they establish his unpredictability from the very start? xD

Anyhow. They keep us in suspense for quite some time where Yo Han is concerned, having us watch him drive across Seoul. But one consistent thing is that he remains mostly alone on the road, even if we sometimes see other cars in the background. And, quite often, he's seen driving across or against the other cars, paving his own way, if you will.

(This is, of course, also because it's easier for the viewer to follow a single car as opposed to one in crowded traffic. So there are definitely productional reasons as well, but I do love the extra spice it adds to the reading of Yo Han's character)

We have no idea where Yo Han is headed and he could make a turn at any time, changing the direction of the car if he so chooses.

This is quite different from Ga On since all the context clues surrounding him — his clothes, the practical backpack, the number of other commuters on the train, the dusky morning sunlight — quickly leads to the assumption that he's heading to work. We might not know where he works yet, but there are still a lot fewer questions and uncertainties about his destination. Ga On's journey is, at least at first glance, predictable and mundane, especially compared to Yo Han's.

Ga On is on a train he's not driving, moving on a track with only one way to go. It's so predictable it's almost boring, the outcome set before it even began. If Ga On wants to change his path, his only option is to get off the train — that's how little control and influence he has. He's not without control — there is a choice involved, in getting on the subway in the first place — but it's a far cry from Yo Han who's in complete control, driving himself to wherever he's heading.

(And yes, do take a moment to ponder the beautiful new layer this adds to Yo Han telling Ga On to drive them to the fundraising gala. Made even more intriguing by that stunt Yo Han pulled by suddenly yanking on the wheel, testing Ga On's control over the car. And the significance of Ga On getting inside the car with Yo Han when he's telling Professor Min that he's eloping with his sugar daddy switching sides. Go on. Ponder it. I'll wait.)

Now, moving on to their faces.

Here we have two very different approaches. With Yo Han, we see glimpses of his face throughout his car ride, like this right here:

We can only barely make out his features with the majority of his face being in shadow. And this theme continues, showing us one piece here, another there, but never his fully lit face. Some parts are always hidden, outside of view, or in shadow. We get fractures of the man rather than the complete picture.

And then, of course, they hit us with this one:

Which (if you can tear your gaze away from, well, The Gaze) you'll find is about four cityscapes, twisted, mirrored, or layered on top of/next to each other. Which is, of course, very cool and pretty, but also an indication of Yo Han's character and the topsy-turvy ride we're about to go on with this man. Especially when you add the fact that we haven't even seen his entire face ONCE so far.

Translation: This bitch be complicated, fam.

Basically, Yo Han has layers upon layers and even if we're shown several parts of the whole and can assume we know what we'll find at the end, it might be a mistake to think we know him.

(I also like this shot because I can't help but wonder if this is what the inside of Yo Han's mind looks like. I mean, how he might look at a situation from different angles, layered on top of each other, flipped and tipped to its side or even upside down. Idk. It's an interesting thought.)

This build-up of not showing Yo Han's face continues for a long time, not just during the car ride but also after he arrives at the venue, where he's seen walking the halls. Again, just like while he was driving, he's often walking alone, past other people — even on the other side of a pane of glass at one point — to once again highlight his solitary and contrary path in life.

All of this makes it almost anti-climactic that the first time we see Yo Han's at least adequately lit face — when it's not being split up by shadows or camera angles — is this:

It's not even a particularly clear shot and he's surrounded by other people to the point where he's still sort of obscured. It's almost a little disorienting after all that build-up, especially since we see him relaxed and smiling, comfortably walking through a crowd of shouting people. It's in no way as flashy as that build-up made us believe. Why all that secrecy if this is how he's finally introduced? Wasn't it supposed to be special?

(Or maybe he's still hiding? Maybe this isn't his real face, either? The plot thickens!)

Ga On, in contrast, has an incredibly short build-up. We see him open the train door, walk a couple of steps, grab a handrail, and BAM.

No cheeky glimpses, fancy shots, or prolonged tension. Just: "Here he is — your boy."

(Thank you — we will treasure him)

Which, when put next to Yo Han's long and layered reveal, is pretty telling. Here's someone straightforward, to-the-point, and, most likely, honest. He doesn't need a long, complex introduction because what you see is what you get. There's something almost comforting in that clarity and it helps make Ga On feel more approachable and relatable, especially in comparison to Yo Han.

(May I also point out the hilarity of this being the first time we see Ga On's face and he's already looking at Yo Han? Better start early, I guess?)

And, obviously, instead of the darkness, artificial lights, and camera flashes of Yo Han's intro, Ga On gets this:

He is soft and warm like mash potato.

That's not to say that Ga On is without depth or layers, however. If we continue on the concept that light is very important in this drama (which we know it is) there are a couple of seconds here during Ga On's intro that are VERY intriguing. Because he, much like Yo Han, does get a moment of foreshadowing as well — of conflicts and reveals to come.

I present: The Three Stages of Kim Ga On

Shown in the order they appear in the drama, mere seconds apart. And, depending on how you choose to view the ending of the drama, could perhaps be said to show the progression of his character.

Anyway. Feel free to interpret this as a cheeky little wink, hinting at Ga On's hidden darkness. If you're into that kind of thing — which I clearly am. Because they didn't have to make the entire subway car go almost completely dark there for a second, but they did. And I, for one, am delighted.

(Yes, I'm having the time of my life, thank you for asking)

Now, perhaps you're tempted to argue that there wasn't much of that infamous mirroring here, with their situations being similar but with important differences in the key details. But that's only because I've been holding out on these two screenshots, showing both Yo Han and Ga On the seconds before their faces are revealed:

Just look at that. Look at the similarities and marvellous, wonderful differences that help establish who these two characters are — and how they contrast each other.

Yo Han arrives in a fancy suit to a red carpet event, people cheering, cameras flashing, and priceless art just on the edge of the shot. It's colourful, it's expensive, and it's important. There are even ropes separating him from the onlookers, signifying that his arrival is expected — he's the main event. The whole shot reeks of money, power, and prestige.

Meanwhile, Ga On is wearing a thick coat and backpack on a drab, dimly lit subway train, with graffiti on the walls, sleepy commuters lounging in their seats, and no one paying attention to him. Ga On is right there, amongst the rest of the people, and it's in no way important. He is in no way significant. He's just a normal guy — one more commuter on the train, heading to work.

Just these two shots alone tell you so much about these characters and what to expect from them. It is, quite frankly, masterful character establishment, especially when you put them one after the other like this.

Because, dear LORD, from a framing perspective? Both having objects on each side, framing them in, and people occupying roughly the same space? (though they're lower on Ga On's and higher on Yo Han's which, of course *chef's kiss*) And how the lines of the red carpet line up with the lights from Ga On's subway, turning them almost into literal mirrors of each other? Except instead of showing a reflection, it shows the rich vs. the poor — the high society vs. the low.

K, take the wheel, I'm going to need a moment.

(*pterodactyl screech*)

MOVING ON.

Even if Ga On's coat looks nice and all, they still make sure to establish that, yes, he's from a poor background. Partly through his mode of transportation but also this shot (which is one of my favourites):

Very often, the use of stairs, escalators, and elevators symbolise a character's status and their climb upwards or fall from grace. In Ga On's case, we see him riding the escalator on this journey he's embarked on, essentially showing us how he's moving up in the world — that he's heading somewhere new, to a place he's not originally from. To a level of influence and power he's not had before. This new job is Important. Which is only further strengthened later during the day, when he has to descend a cracked, dimly lit staircase in a bad neighbourhood on his way home, taking him back to the level where he originally came from.

Yo Han, meanwhile, stays the same almost the entire time, both while driving and walking through the venue. His journey is unchanged in terms of status, fame, and riches. The only exception is a brief moment of him walking up a staircase but it's short enough to have less of an impact than Ga On's ascent.

There's also the added layer of Ga On not walking up these steps and instead being taken there on an escalator — once again showing us that he's not really picking his destination on his own. He's just following along.

And, finally, of course: the lighting. The gorgeous lighting.

Ga On, as always, symbolises light though here I'd argue it has the additional meaning of rich vs. poor and, considering the advertisement slapped on the wall, influence vs. powerlessness. He's emerging from the dark into the light, the edge almost sharp enough to touch.

Just like stairs and elevators can symbolise status, to draw a line — literal or otherwise — and have a character interact with it says a lot about their personality, actions, and coming journey. An abundance of storytelling can be hidden in these lines, to show differences in status, influence, and opinions. It's also a very good way to build tension and create conflict.

And, in Ga On's case, he's crossing it. This is a step on his journey — one of the bridges he's crossing on the way to the new beginning he's facing. With this, Ga On is heading out into a world on a completely different level than he initially grew up in.

And he looks so hopeful, too! Gazing upward, into the light.

(This screenshot wasn't entirely necessary to prove my point, I just think he's cute)

And this brings us to the last area I want to focus on, which is their position/standing with the people and within society. Since this, too, is made very clear to the viewer during their introductions. Partly through the social-economic differences we've already touched on, but also how they interact with other people.

We see both of these men pass by the signs of unrest in their country and, quite quickly, their respective standings are established. Yo Han, for example, is seen driving through the chaotic, burning streets of Seoul:

But, clearly, he's not really touched by it. First of all, he's got the protection of the car to shield him from the literal blaze and, second, the car itself shows just how far removed he is from this. The contrast between the fancy car and the burning streets is wonderful (or, well, horrible, actually, but you know what I mean). Also, since he's inside the car, we don't get to see his reaction to any of this. Is he horrified? Outraged? Sad? Neutral? We have no idea.

There's even this shot to further hammer home just how distant Yo Han is from the struggle of the everyday people:

Not only are they separated by a wall which, as you can see, creates another line. But, unlike Ga On, neither Yo Han nor the people are crossing it. They're staying on their separate sides for now, within sight of each other but not touching or challenging the status quo.

And, once again, Yo Han's car shows the opulent world he comes from, while the people protesting are walking. You can also see that Yo Han is heading in the completely opposite direction from everyone else. And, of course, you have the added bonus of the people walking into the light — symbolising hope and righteousness — and Yo Han is driving, well, we can't quite see where, but it looks like it's going to be dark.

Absolute goddamn poetry.

And what about Ga On, you ask? Unsurprisingly, his reaction — and relationship — to the protesting people is completely different.

Not only is he walking — just like they were — but he's right there, next to them. He's one of them. He even acknowledges the protest by looking at the man's sign. And, unlike Yo Han, we get to see his reaction which, while subtle, shows quite a lot of discomfort. He keeps walking without pausing, sure, but it's clear that he's uncomfortable. He almost looks ashamed, even, since he tilts his head down as he walks past the protesting people.

That hopeful, bright-eyed optimism is suddenly nowhere to be seen and, very quickly, establishes one of Ga On's main conflicts, i.e. his desire to help the people but lack of power to do so since he is one of the people. He's not rich and famous like Yo Han.

Which is only further proved when Ga On passes yet another line — this one even guarded by men with guns, showing just how few are allowed the privilege:

This line is even clearer than the one when he emerged from the subway and the way he crosses it, without hesitation, says a lot about his bravery and boldness. But we can also see that it takes him past the protests, away from the people, and into the safe, guarded world of the rich and powerful. It doesn't mean he has to stay there, but its shows, once again, that he's going somewhere new, crossing boundaries and expectations.

And, just to emphasise this a little bit more, in case we didn't catch on yet, this happens:

He immediately gets stopped and asked to prove why he should be allowed in this space. Implying that he doesn't belong. But we quickly find out that, despite his origins, this is actually where he's supposed to be — he's just new. He's reached the destination of his journey (for now).

It's also important to note that we don't get to follow Yo Han on his route to work even if they both crossed that bridge at the start. Because while they're both embarking on something new, Yo Han's journey was taking him to the venue where he's named the new chief judge of the Live Court Show, but going in to work at the Supreme Court? Clearly nothing new to Yo Han. He's already there when Ga On arrives, even, showing that Yo Han, unlike Ga On, is comfortably where he belongs. Yo Han has existed in this world for quite some time already.

Ga On's arrival at the Supreme Court also shows just how much of a nobody he is. His face isn't recognised, so he's clearly not famous. Meanwhile, Yo Han showed up at his destination to applause and a red carpet and, before long, got this framing:

He is, quite literally, above the regular people, signifying not only how rich he is, but his status and importance. So while both Yo Han and all the organisers of the Live Court Show keep insisting that it's for the people, this shot here tells you everything you need to know. Because Yo Han is still untouchable to these people, in his fancy suit, broadcast on a huge TV screen. He's not one of them, even if he claims to represent them. His peers — i.e. the only people in the same room as him, who aren't seeing him through a TV broadcast — are other rich people or reporters. Telling, much?

I also love the added detail of how bright the screen is, like a beacon of hope in the dark, but it's artificial light, created by man, so how true is it? This is very different from Ga On who is often bathed in natural sunlight, making his light and the hope he offers seem much more sincere.

Anyhow! Let's also take a (quick) detour to discuss colours because they, too, play a role. While both of them start in more or less the same colour scheme (dark, muted blues, greens, greys, and black) they quickly head in different directions once they emerge from their respective tunnels.

Yo Han gets bright sparks of colours — some of them even fluorescent — though, most notably, glowing oranges and angry reds. There is a lot of colour in Yo Han's introduction, making it very rich, warm, and luxurious, especially once he arrives at the venue. But it's all so bright it almost feels fake. And, perhaps more importantly, you have all the fires and chaos. While both introductions show protests and unrest, Yo Han's portray a much more violent and angry side of it — a much more frightening one. And, perhaps, a bit of foreshadowing as to what kind of person Yo Han is.

Ga On, on the other hand, stays in that more neutral colour space aside from some bright glimpses of warm, natural sunlight. It's calm and unassuming, if also a bit grey and mundane, showing his low status. But it's also less artificial, which makes him feel more like an honest, ordinary person. The red pops up here, too, though, on the protest signs, connecting back to the chaos and anger we saw in Yo Han's colouring. So while we can see that they both exist in the same world that blends together at times, they are kept separate through their colouring during their introduction.

In conclusion: It's often said that how you introduce a character is vital since whatever a viewer sees first will, most likely, colour their understanding of the character for the duration of the story. It can of course evolve as more information is gathered but, in the long run, that first introduction is incredibly important.

And it's clear from what we've seen here that a lot of thought has been put into these introductions. Not only are they meant to tell us who these characters are with all the context clues and details, but also how they mirror each other. And, by extension, their relationship to each other. One on its own would still say much about that character, but it's only when you view them together that you can get the full depth and meaning behind them. Only when you contrast Yo Han's mysterious and flashy intro to Ga On's muted, more natural entrance can you fully grasp the scope of these characters — and how they're meant to be played against and complement each other.

Made even clearer by how both of their introductions involve an initial journey — a new beginning — but it's only once both of them have completed it (Ga On's taking place the morning after Yo Han's) that their introductions are finished and the rest of the story begins. There's a certain kind of beauty in how these scenes show two different journeys — when they took place, how they took place, who embarked on them — but they still reached the same destination in the end. Yo Han and Ga On's journeys both take them to the Supreme Court and, more specifically, the Live Court Show. That is where their paths are destined to cross.

And that, right there, is the core of their story and this entire goddamn drama. And also the one thing I want you all to take with you as you leave this meta.

The introduction of Kang Yo Han and Kim Ga On is ultimately done with one overarching goal in mind.

To bring them together and allow for their shared journey to begin.

*Mic drop*

[clawbehavior]

can anyone who has bg knowledge of TDJ or reading skills in Korean confirm this section of the wiki page where writer moon said yohan is completely evil. the corresponding sources are in Korean and i want to know if something was lost in translation.

[kingkangyohan]

Talking to a friend about The Devil Judge, I placed a bit of emphasis on the setting, be it a post covid world.

Especially in the Pilot, the show takes screen time to tell us about the aftermath of the virus and the fear that still carries. 

And suddenly this moment takes another significance.

Ga On is clearly disoriented by the gesture. 

I always thought it was for the close personal space and Yo Han going for a more western gretting where Ga On was ready to bow to him. 

But maybe it's the same aftermath of the virus we experience, with people being awkward on the all should I shake your hand/give the elbow/can we hug?

I went to the mass the other Sunday and we are still not giving eachother s hands to exchange peace.

In this context, Yo Han's willingness to shake hands with Ga On, it is his invite of taking the risk. He appears bold and firm, asking Ga On to do the same.

It's the pilot we are talking about, it's all about little gestures to let the audience know who the players are. And this moment clearly gives away what kind of man Kang Yo Han is.

He is gonna shake hands, in a pandemic world.

[moongothic]

You think Crocodile's gonna blow his stack when he finds out how shitty Luffy's upbringing was? His baby boy repeatedly got tossed into the jungle to fend for himself against wild animals, as well as off cliffs and left to float into the fucking air on balloons all courtesy of Garp. He got left alone for long periods of time possibly as early as infancy, also cuz of Garp. And oh yeah, he was tortured by pirates, almost burned to death in a giant garbage fire, and went through the trauma of losing a brother.

Like, no matter how stern or distant of a parent Crocodile may be, I don't think he would be content to stand by and let any of that happen to baby Luffy. Also also, Crocodile witnessed firsthand Garp impeding Luffy's attempts to rescue Ace. The Cross Guild wants Garp for his bounty. Crocodile wants Garp for REVENGE.

With Garp I feel like it could go either way because like, let's be real for a second

This is 100% played for laughs.

Like if we're being serious then yes, in the Very Real World this is absolutely child neglect and abuse, Garp's parenting would NEVER fly (🥁) in our Very Real World. But just like Nami can physically abuse Luffy and co for laughts and get away with it, Garp's "training" is very much the same tonally, a Cartoon Slapstick Gag (made even more obvious when Toei animated Baby Luffy flying off into the sky going "UGYAAAAA" (that clip lives in my head rent free it's so funny??)) and a reflection of how this ridiculous old man (who might've been through even more ridiculous training in his childhood) views how a small child can be trained.

And so like. I could imagine Crocodile being like "who the fuck does that to a small child, are you insane" at Garp if he found out how Garp had been raising Luffy, but I think whatever reaction Crocodile might have would be played just as much for laughs as Garp's original comments were

Like IDK if Crocodile and Garp did have a relationship I think it would end up being similar to how Zoro and Sanji interact. Like Crocodile would to some degree be indebted to Garp because Garp did look after his son when he couldn't, and Garp wouldn't have a precious grandson (whom Garp sincerely does love, deeply) without Crocodile, so like. I think there could be like this mutual respect and gratitude for the other. But also it'd be kind of a begrudging gratitude and they would also hate each others guts and what they stand for and probably bicker. Lots. But in a funny way. (Like Zoro and Sanji)

Also I feel like even if Crocodile personally hated Garp's guts I don't think Crocodile would ever try anything to harm Garp. Like he saw how Luffy absolutely shattered after losing Ace, so even if Luffy and Garp's relationship wasn't the strongest, if Luffy loves his grandpappy then I don't think Crocodile would want to take his son's only grandfather, his family, away. Crocodile isn't in any kind of position to "take revenge" on the man who did look after his son for him (even if his methods were questionable at times) (Same for Dadan and the bandits too arguably)

The convenient thing of me letting this ask sit in my ask box for 20 days before actually responding is that I managed to post this thing the other day, and I want to continue an observation from that post; While I do agree Crocodile would probably be horrified to find out about all shit Luffy went through as a child... In the end, what's happened has happened, and I think Crocodile might believe that if he had wanted to ensure his son wouldn't have to go through things like that, then he should've raised the child himself. That Luffy's childhood not being all sunshine and rainbows is kind of his fault.