“Alchemy of Souls” synopsis by sets of episodes (Part 1, Eps. 1-20, no spoilers) with in-depth analysis of its cinematography

Jump to synopsis of Episode/s 1-2; 3-4; 5-6; 7-8; 9-10; 11-12; 13-14; 15-16; 17-18; 19; 20 (Finale); How I wrote these episode summaries with no spoilers; Historical / cultural backgrounders and other information; Lessons in photography from ”Alchemy of Souls” with in-depth analysis of its visuals, cinematography, and editing

Notes: Although “Alchemy of Souls” was a blockbuster hit among Korean viewers and the international audience, it has been criticized for its plot holes and the seemingly rushed, controversial ending of Part 1; perhaps, these plot holes will be addressed in Part 2 which will be aired this December.

Despite the plot holes and the seemingly rushed, controversial ending, you’ll enjoy watching this drama because of:

(1) the brilliant acting of Jung So-min as the FL “Naksu”/“Mu-deok”;

(2) the chemistry between Jung So-min as “Naksu”/“Mu-deok” and Lee Jae-wook as the ML “Jang Uk”; their bickering is so funny and lovable, as you can see in this Ep. 16 clip;

(3) the bromance between the characters Jang Uk, Dang-gu, and Yul; the bromance between Jang Uk and (spoiler);

(4) the five love triangles;

(5) the humorous scenes that liven up each episode of this drama.

Because of the chemistry between Jung So-min as “Naksu”/“Mu-deok” and Lee Jae-wook as “Jang Uk,” this drama’s fans on reddit have nicknamed their pairing as “Ukideoki” (which sounds similar to the English expression “Okey dokey” or “okie-dokie”).

My advice on how to watch this drama: Because of the seemingly rushed and controversial ending of Part 1 of “Alchemy of Souls,” I suggest that you watch only up to the end of Ep. 19.

From Wikipedia: “Alchemy of Souls” is a South Korean television series starring Lee Jae-wook, Jung So-min, and Hwang Min-hyun. Written by the Hong sisters [who wrote “Hotel Del Luna,” “A Korean Odyssey,” and “Master’s Sun”] it depicts the stories of young mages dealing with heaven and earth. It premiered on tvN on June 18, 2022, and aired every Saturday and Sunday at 21:10 (KST). It is also available for streaming on TVING and Netflix in selected regions.

Genre: fantasy, romance, comedy, period drama, action.

The series is divided into two parts: Part 1 aired from June 18 to August 28, 2022 for 20 episodes, while Part 2 (“Alchemy of Souls: Light and Shadow”) is currently in production for 10 episodes and is set to premiere in December 2022.

The drama ranked first in its time slot from Ep. 1 to Ep. 20. It had an average viewership of 1.696 million, with Ep. 18 at 2.359 million and Ep. 20 at 2.410 million.

How I wrote these episode summaries with no spoilers

1. I assumed that you will be reading these summaries and watching the videos chronologically.

2. I narrated some of the main actions in each episode or set of episodes without revealing the plot’s twists and turns.

3. At the beginning of each summary starting with Episode 3, I placed in a table a recap of the major twists and turns of the previous episode/s. But because you have already watched the video of the previous episode/s, they aren’t spoilers anymore.

4. I followed this structure all throughout, except for Ep. 20 (Finale) where I included spoilers. Reason — most people want to know if the drama has a good/happy ending or a sad ending before they invest the time in watching it.

Episodes 1-2

“The energy of the sky rules the wind, clouds, and rain. This energy reached the ground and created a huge form of energy. A country was formed around Lake Gyeoncheondaeho, a lake that embodied that energy. The name of that country was Daeho due to the enormous lake it had. Humans who had the power to control this great energy were called mages. This story is about the mages of Daeho, a place which does not exist in both history books and maps.”

The King pleads with Master Jang Gang (the Gwanju or head of the Cheonbugwan astronomers) to use the forbidden ritual known as the “Alchemy of Souls” so that they can shift their souls into each other’s body for at least seven days; he wants to have the chance to sire an heir to the throne before he dies. But after they have shifted bodies, the King impregnates Lady Do-hwa (Master Jang Gang’s wife, who’s the most beautiful woman in Daeho).

Twenty years later ... Naksu is the Shadow Assassin who has been killing the mages in the city. Overwhelmed and gravely wounded on an icy lake by Park Jin (the head of Songrim) and his mage-warriors, she escapes into the city and takes a young woman from a tavern into a room so that she can shift her soul into the woman’s body. But something goes wrong, and her soul is shifted into the body of a blind and physically weak young woman named Mu-deok.

Park Jin finds Naksu’s dead body in the tavern; he sees just above her heart the blue spot, which is the mark of a body that has been soul shifted. He takes Naksu’s body into a secret room in Songrim, unsure if Naksu successfully shifted her soul into another body. Later, upon his grandfather Master Heo Yeom’s instructions, Seo Yul arrives to look at Naksu’s body; he finds on her body a bird-shaped whistle.

Dang-gu (Park Jin’s nephew and heir to Songrim) also arrives, excited to see a soul shifter. When Park Jin berates him for neglecting his studies and for his eagerness to start a rumor about a soul shifter, he says that the rumors have already spread in Chwiseonru, a popular gisaeng house.

Jang Uk grew up with the gossip swirling about him that he’s the son of an adulterous affair between his mother Lady Do-hwa and an unknown man. Bearing this shame, he goes from one master to another, who all refuse to teach him spells because his father, Master Jang Gang, has placed a curse on him by closing his gate of energy. Before leaving his latest master, he vows that he will find his own master, who’s skilled and extremely powerful to break his father’s curse.

Mu-deok gets sold to Chwiseonru, the gisaeng house. As Ju-wol, the head gisaeng, tells her that she should behave herself because Chwiseonru serves the most important people in Daeho, she remembers, as a young child, seeing her father murdered by the leaders of the Jin, Park, Seo, and Jang families of mages; she also remembers her master, Danju, ordering her to kill Park Jin.

Mu-deok tries to escape from Chwiseonru. Jang Uk sees her hiding in a room, and when the ribbon that covers her eyes falls, he tells her that she has beautiful eyes. Mu-deok parries Jang Uk’s attempts to grab her and then threatens to slash his neck.

Using Jang Uk’s Spirit Plaque, Mu-deok enters Songrim. But, as she looks for her sword which she thinks will bring back her powers as Naksu, the Shadow Assassin, she sees assassins-warriors sent by her master Danju as they attack Songrim’s study hall by setting it on fire. A fierce fight erupts between the assassins-warriors and the Songrim mage-warriors led by Yul and Dang-gu.

Mu-deok runs from where she’s been hiding during the fight, but Yul chases her. Just as Yul is about to catch up with her, someone grabs her hand and leads her into an empty room.

Thinking that an insider betrayed Songrim by giving access to the assassins-warriors, Park Jin orders his right hand man to ask Lady Jin Ho-gyeong to lend the Jin family’s sacred heirloom to Songrim. The heirloom — a “ghost Sapsali” — turns into “Gwigu,” a ferocious spirit in the form of a dog that can detect sorcery and thus identify soul shifters.

Note: The video clips below from “The Swoon“ might contain some spoilers that could ruin your viewing of the full episodes.

Episodes 3-4

Eps. 1-2 recap: Seo Yul wonders if the bird-shaped whistle which he found on Naksu’s body is the same whistle that he gave to a girl when they were just teenagers. But Mu-deok (Naksu) recognizes him as the teenaged boy who gave her the whistle. The assassins-warriors create a diversion that allows Danju’s right hand man to take Naksu’s body and sword away from the secret room. While hiding with Mu-deok, Jang Uk tells her that the soul shifter’s blue spot has bloomed in her eyes. In the secret room, he pressures her (as Naksu) to open his gate of energy and become his master. Mu-deok buys some time for herself by saying that she needs her sword to open his gate of energy. The “Gwigu” attacks one of the mage- warriors, who escapes but is pursued and stabbed by Yul. Jang Uk and Cho-yeon were engaged to be married, but Jang Uk called off the engagement. Together with Yul and Dang-gu, they are known as the “Four Seasons,” the heirs of the most prominent mage families. Jang Uk saves Mu-deok from being attacked and killed by the “Gwigu” by smashing the sacred heirloom into pieces. Park Jin punishes him not only for smashing the heirloom but also for damaging the secret room. Mu-deok tells Ju-wol that Jang Uk needs the fireworks and wants to sell the Spirit Plaque. But one of the gisaengs overhears them and later steals the plaque. Naksu’s master Danju is none other than Jin Mu (the Assistant Gwanju of Cheonbugwan); he kills all of the assassins-warriors who raided Songrim. When the King and the Crown Prince want to promote him to Gwanju as a reward, Park Jin, Master Heo Yeom, and Lady Jin Ho-gyeong of Jinyowon oppose his promotion. When Danju’s men kill the gisaeng who stole the Spirit Plaque, Mu-deok (aka Naksu) realizes that she has been abandoned. As she witnesses her body being burned in front of Cheonbugwan, she also realizes that her master Danju is Jin Mu of Cheonbugwan. After Mu-deok fails to unsheathe her sword, Jang Uk says that both of them are helpless; he tells Mu-deok to just go and live an ordinary life. Mu-deok jumps into Lake Gyeoncheondaeho to take her own life. But deep inside the lake, she receives the power from the soul shifters who were buried there and finally unsheathes her sword. At Sejukwon (Master Heo Yeom’s pharmacy in Songrim), Mu-deok poisons Jang Uk. When Park Jin and Master Heo Yeom arrive, she tells them that the only way for Jang Uk to survive is for them to open his gate of energy. Park Jin orders his men to torture Mu-deok until she reveals what kind of poison she gave to Jang Uk. When Mu-deok refuses to answer, Master Heo Yeom, in desperation, unlocks Jang Uk’s gate of energy.

In Sejukwon, Mu-deok lays down with Jang Uk the conditions that he will not reveal their master-teacher relationship and that she will leave once Jang Uk becomes the best that he can be and restores her strength.

In Cheonbugwan, Jin Mu keeps a soul shifter who works in the royal palace from running wild by feeding on humans. His right hand man, who had just returned, lies to him that the gisaeng who tried to sell the Spirit Plaque had the blue spot on her left chest. He then remembers how he found out about the soul shifting between Master Jang Gang and the previous King and how the Alchemy of Souls works through the Soul Ejector.

Mu-deok begins teaching Jang Uk the steps through which he can become the best mage: Jipsu, the ability to gather the energy of water; Ryusu, the ability to gain energy from the flow of water; and Chisu, the ability to control the energy in the atmosphere.

Mu-deok finds out that, upon opening Jang Uk’s gate of energy, Master Heo Yeom gave him a decade’s worth of his torrent of energy. Realizing that Jang Uk has to learn Master Heo Yeom’s breathing technique in order to harness this torrent of energy, she decides to get close to Yul. Jang Uk, meanwhile, tries to distract Master Heo Yeom from asking him to return the torrent of energy.

Cho-yeon asks her mother Lady Jin Ho-gyeong if she and Jang Uk can now get married because his gate of energy has been opened. But Lady Jin Ho-gyeong refuses, saying that Jang Uk used her and that she must replace her sister as the leader and protector of Jinyowon.

Park Jin becomes concerned that with the opening of Jang Uk’s gate of energy, he’s now qualified to become a mage in Songrim. Having found out from Master Jang Gang 20 years ago that Jang Uk is actually the previous King’s son, he worries that Jang Uk could be accused of treason. After refusing to accept Naksu’s sword and giving Jang Uk his father’s sword, he banishes him from Songrim. He also orders that Jang Uk be flogged 100 times for losing the Spirit Plaque.

At home, Jang Uk suffers through alternating bouts of extreme cold and extreme heat. While Mu-deok tries to warm his body up, he tells her that if he dies, she must take his torrent of energy for herself.

While they’re viewing the petrified body of the mage-warrior in Songrim’s secret room, Master Heo Yeom tells Dang-gu and Yul that the Alchemy of Souls can only be performed by someone who has gone beyond Jipsu, Ryusu, and Chisu to Hwansu, the ability to turn fire into water or water into fire; he says that besides Master Seo Gyeong (founder of Songrim), there’s only one other man who has mastered Hwansu.

In Jinyowon, a mysterious man overcomes the guards and commands “Gwigu” to transfer itself from the “ghost Sapsali” heirloom into a dog that’s lying on a roadside.

Having been manipulated by Jin Mu to be wary of the Four Seasons, Crown Prince Go Won goes to Master Jang Gang’s residence and demands that Jang Uk give to him not only Naksu’s sword but also Master Jang Gang’s sword. When Jang Uk refuses to give up his father’s sword, Crown Prince Won challenges him to a duel.

Note: The video clips below from “The Swoon“ might contain some spoilers that could ruin your viewing of the full episodes.

Episodes 5-6

Eps. 3-4 recap: Yul allows Mu-deok to touch his core and feel his three breaths in exchange for the bird whistle. At the same time, while giving the drunken Master Heo Yeom a piggyback ride, Jang Uk learns his breathing technique. The flogging caused the torrent of energy to surge faster in Jang Uk’s core. But during his duel with Crown Prince Won using wooden swords, he still loses. Mu-deok splashes Crown Prince with filthy water from the chamber pots, causing him to step over the line he had marked on the ground. When Crown Prince Won moves in anger to kill Mu-deok by slashing her with his sword, Jang Uk finally unsheathes his father’s sword and blocks him. But unable to control his energy, he attacks Crown Prince Won again and again. Yul stops Crown Prince Won from killing Jang Uk while Cho-yeon controls Jang Uk by using the binding bracelet. With Mu-deok, Maidservant Kim Do-Joo, and Dang-gu offering to drink the filthy water from the chamber pots, Crown Prince Won relents from punishing Jang Uk and leaves. Mu-deok runs after him and gives him Naksu’s sword; in return, he gives her the name “Filthy Mu-deok.” In Songrim, Jang Uk unsheathes his father’s sword in front of Park Jin, Master Heo Yeom, Lady Jin Ho-gyeong, and Jin Mu; he asks Park Jin to keep his promise of allowing him to study as a mage in Songrim. But he stabs Park Jin with his sword after taking off the binding bracelet. When Cho-yeon tries to defend Jang Uk by saying that he defeated Crown Prince Won in a duel, Jin Mu becomes outraged. Jang Uk refuses Park Jin’s offer to teach him the business of trading with the Park family or the art of medicine with Master Heo Yeom; he insists that he will train as a mage and then become the next Gwanju. Park Jin thus tells him to his face that he is not Master Jang Gang’s son. While escorting the soul shifter from the royal palace, Jin Mu’s right hand man becomes suspicious that Mu-deok is Naksu. Jang Uk becomes severely depressed and refuses to eat anything or move, despite Mu-deok’s harsh words or threats. Jin Mu demands that Jang Uk must be punished by Cheonbugwan, but Master Heo Yeom refuses. He then accepts Mu-deok’s suggestion that Jang Uk and Crown Prince Won have another duel, saying that if Jang Uk refuses, his right arm must be cut off. Master Heo Yeom assures Dang-gu that since the time of Master Seo Gyeong, Songrim and the royal family have avoided any conflict. But Jin Mu convinces Crown Prince Won to agree to a duel with Jang Uk. Yul and Dang-gu help Jang Uk escape from Songrim. At the river side, Mu-deok tells them that she will bring Jang Uk to Sari village. But along the way, she tells Jang Uk that she will take him to Danhyanggok, the place where she trained as Naksu, the Shadow Assassin.

Flashback ... Naksu’s father was a constellation recorder mage; for some reason, he was killed by the leaders of the Jin, Park, Seo, and Jang families. Under Jin Mu, she became a highly skilled assassin who could easily bound up to the top of a giant tree.

The leaders of the mage families meet with the King and Crown Prince Won to formalize the duel; they agree with the King that if Jang Uk refuses to go through with the duel, he will lose the right to become the next Gwanju. Meanwhile, at Chwiseonru, Yul and Dang-gu find out from Ju-wol that Jang Uk and Mu-deok are probably in Danhyanggok, not in Sari Village.

In Danhyanggok, the mysterious man with the “Gwigu” (Sapsali dog) stands over the sleeping Mu-deok; he begins to harness his energy to kill Mu-deok, but Jang Uk accosts him with his sword. Jang Uk removes the binding bracelet, and they fight even as Mu-deok remains fast asleep.

After studying the constellation chart that was faked in order to hide the truth that Jang Uk was born with the King’s Star, Park Jin orders his mage-warriors to search Cheonbugwan. But Jin Mu’s right hand man is able to take away the corpse from the secret room. As Yul and Dang-gu chase Jin Mu’s right hand man on the streets, they find Jang Uk’s missing Spirit Plaque.

In anger over Jang Uk’s continuing refusal to train for the upcoming duel, Mu-deok calls him a coward and leaves Danhyanggok; in Chwiseonru, however, she’s accosted by Jin Mu’s men. She appeals to Crown Prince Won for help, who gives her his sachet as a sign of his personal protection.

Lady Jin Ho-gyeong tells Maidservant Kim that if Jang Uk marries Cho-yeon, the Jin family will protect him through the plaque granted to them by the Unanimous Assembly that enables their family to countermand any edict of the royal family. With the plaque, they can stop the duel between Jang Uk and Crown Prince Won from taking place and ensure that Jang Uk retains the right to become the next Gwanju.

The mysterious man with the “Gwigu” (Sapsali dog) takes the corpse from Cheonbugwan that was found floating on the river. Using his powers to gain entry into Songrim, he overcomes the mage-warriors and demands to see Master Heo Yeom.

Along with Dang-gu, Yul goes to Danhyanggok; he places the bird-shaped whistle on a rock, thinking that he’s returning it to the young woman he spent time with years ago. Later, Jang Uk becomes insecure when he sees Mu-deok and Yul spending time together.

Cho-yeon takes from Jinyowon’s treasure room a precious yin and yang jade artifact and takes it to Chwiseonru to have it crafted into wedding rings. Meanwhile, after learning about the arranged marriage and on their way to see Maidservant Kim, Mu-deok gives Jang Uk an ultimatum — if he marries Cho-yeon, she’s out as his master. In front of Chwiseonru, several men from Cheonbugwan grab her and drag her away.

Note: The video clips below from “The Swoon“ might contain some spoilers that could ruin your viewing of the full episodes.

Episodes 7-8

Eps. 5-6 recap: Hemp Master Lee recognizes that a great spirit has entered Mu-deok’s body. He offers to train Jang Uk on the condition that he will continue drinking the chaste tea to cut off his libido, but to Mu-deok’s disappointment, Jang Uk refuses. On the river bank, Master Lee tells Jang Uk that soul shifters will not run wild if they have mastered Hwansu; he offers to teach it to Jang Uk, but Jang Uk again refuses to cut off his libido. Later, in Songrim, Master Heo Yeom recognizes Master Lee as his teacher and orders the mage-warriors to stand down. Together with Park Jin, they study the corpse and begin to suspect Jin Mu and Cheonbugwan’s involvement in the cases of soul shifting. Because Jang Uk’s Spirit Plaque was found in the cart where the corpse from Cheonbugwan was placed in, Park Jin and Master Heo Yeom, however, cannot move against Jin Mu. When his right hand man becomes surprised how Park he and Master Heo Yeom treat Master Lee with great respect, Park Jin tells him that Master Lee was the student of Master Seo Gyeong, the founder of Songrim; he also says that Master Lee, despite his youthful looks, is more than 100 years old. Seeing the interaction between Mu-deok and Yul and thinking that they probably met before as teenagers in Danhyanggok, Jang Uk tells her that he will help her climb up to the top of the giant tree. But Mu-deok tells him that to do so, he must master Chisu (the ability to control the energy in the atmosphere). As Yul and Dang-gu leave Danhyanggok, Jang Uk finds out from them how he has become the laughingstock of his past masters during the Unanimous Assembly; Mu-deok also mocks him by saying that Yul and Dang-gu left him in Danhyanggok because they think he’s worthless. In Songrim, Yul tells Park Jin and Master Heo Yeom that he met Naksu when they were just teenagers but lost contact with her after she found out that he’s from the Seo family. Park Jin surmises that Naksu is the daughter of the constellation recorder mage whom he killed many years ago. As Mu-deok teaches Jang Uk the art of “Tansu” (flicking energy with a sword) in order to defeat Crown Prince Won, Master Lee watches them from afar and thinks that Mu-deok is Jang Uk’s master, not his maid. He warns Jang Uk that he could die if the rotten energy in his right hand goes into his body. After being taken to the palace by the men from Cheonbugwan, Mu-deok is dressed up in silk robes and brought to Crown Prince Won’s quarters. After asking Mu-deok to convince Jang Uk not to show up at the duel, Crown Prince Won offers her a place among his attendants. But Mu-deok says that she doesn’t serve just anyone. Jealous of Mu-deok’s closeness with Jang Uk, Cho-yeon manipulates things so that Mu-deok gets blamed for breaking the yin and yang jade artifact. In Jinyowon, Mu-deok somehow enters the storage room for the relics and artifacts and gets sucked into a mirror.

Flashback ... 200 years ago, Lake Gyeoncheondaeho dried up; when Daeho’s grand mages tried to restore its energy, they discovered the “Ice Stone” whose black powder called the “Soul Ejector” powered the Alchemy of Souls. The Soul Ejector could bring the dead back to life, shift souls from one body to another, expel the spirit from the living, and steal their energy. After numerous bloody and chaotic battles that turned Daeho into a living hell, Master Seo Gyeong, founder of Songrim, won control of the Ice Stone.

In Sejukwon, Master Heo Yeom tells Park Jin that Master Lee transferred the “Gwigu” from the Jinyowon relic into the Sapsali dog; on the other hand, Park Jin says that the recent cases of soul shifting mean that someone has found and unsealed the Ice Stone. Meanwhile, in Cheonbugwan, the eunuch from the royal palace delivers to Jin Mu another set of Soul Ejectors.

In Jinyowon, Cho-yeon insists that Mu-deok stole the yin and yang jade artifact. But she keeps silent about seeing Mu-deok enter by herself the Jin family’s storeroom of relics and artifacts (that were created with the power of the Ice Stone).

After Lady Jin Ho-gyeong permits Jang Uk, Yul, and Crown Prince Won to enter the storeroom, the trio search for Mu-deok, careful not to touch any of the dangerous relics and artifacts. Alone, Jang Uk comes face to face with the mysterious mirror where Mu-deok was sucked into.

With the lapse of the one hour period that she gave for the search, Lady Jin Ho-gyeong decides to seal the storeroom gate to prevent the power of the Ice Stone from escaping, despite Cho-yeon’s appeal and Crown Prince Won’s order to take “The Mirror of Longing” out of the storeroom. When Park Jin arrives and Lady Jin Ho-gyeong refuses to let him (a high level mage) enter the storeroom, he orders Yul to reenter it and bring Jang Uk out.

When Jang Uk calls off his arranged marriage to Cho-yeon, Jin Mu suggests to Lady Jin Ho-gyeong that she should arrange Cho-yeon’s marriage to Crown Prince Won. He promises to find her missing daughter Bu-yeon and make her leader of Jinyowon, with Cho-yeon as the Crown Princess.

Jang Uk takes the broken yin and yang jade artifact and has them crafted into bird’s egg jewelry — one for himself, the other one for Mu-deok.

Gil-ju (Jin Mu’s right hand man) confirms that Mu-deok and Naksu are one and the same person; he blackmails Mu-deok into bringing Jang Uk to a remote temple, intending to shift his soul into Jang Uk, instead of into a eunuch.

As Jang Uk gains the upper hand during their sword fight on a dark and rainy night, Gil-ju uses his Soul Ejector to initiate the Alchemy of Souls. With the explosive spell seen as far as Sejuwokwon, Yul, Dang-gu, and other mages rush to the temple.

As he starts to run wild, Gil-ju heads towards the palace where he knows he can seek help from Danju who can stop him from becoming petrified. But Jang Uk follows him into the palace.

Note: The video clips below from “The Swoon“ might contain some spoilers that could ruin your viewing of the full episodes.

Episodes 9-10

Eps. 7-8 recap: After seeing illusions of Mu-deok, Crown Prince Won and Yul look for her in Jinyowon. While trying to escape from Jinyowon, Mu-deok manages to open the storeroom of relics and artifacts. But she gets sucked into “The Mirror of Longing.” Jang Uk mocks Crown Prince Won by saying that Mu-deok hung his sachet in front of the outhouse to scare away the flies. To prevent his reflection on “The Mirror of Longing” from enticing him, Jang Uk covers it with a blanket from the floor. As he touches the mirror, Mu-deok also touches it from the other side. When the mirror starts shaking, the relics and artifacts start babbling that the blind girl, the Ice Stone is here. Cho-yeon confesses that the yin and yang jade broke when she fell inside the storeroom but denies touching “The Mirror of Longing.” But Lady Jin Ho-gyeong can’t believe that Jang Uk, a low level mage, is strong enough to break the mirror; she also can’t believe that Mu-deok opened the storeroom by herself. Yul finally confirms that Mu-deok is Naksu when he sees her playing the bird-shaped whistle on the bridge and remembers what the illusory Mu-deok said to him about Danhyanggok. In Sejukwon, Yul learns from Master Heo Yeom that Naksu’s father was a soul shifter. Meanwhile, in Cheonbugwan, Jin Mu warns Park Jin that he found the missing constellation chart that was recorded on the day Jang Uk was born; he also insinuates that Master Jang Gang used the Alchemy of Souls to turn the constellation recorder mage into a soul shifter. Jang Uk removes the binding bracelet and uses “Tansu” (flicking energy with a sword) to defeat Gil-ju. When Gil-ju uses the Soul Ejector to initiate the Alchemy of Souls, the original blind Mu-deok saves Jang Uk; the Soul Ejector also surged his energy such that he now has full control of his right arm. Gil-ju reveals to Mu-deok that her father was a soul shifter and that Jin Mu isn’t the true Danju; he also says that the true Danju has the Ice Stone and thus the power to prevent her from running wild. Yul uses his energy to heal the poisoned wound that Mu-deok suffered when Gil-ju attacked her. Jang Uk saves Lady Heo Yun-ok when Gil-ju attacks her at the inn. On the streets, Jang Uk disguises himself with a blue cloth as numerous people see him and Gil-ju fight. Later on, Jin Mu’s men bring Gil-ju’s body to Cheonbugwan and report that the mage who killed him used Tansu. After following Gil-ju into the palace, Jang Uk decides that he must become a high ranking mage in order to search the palace for the true Danju and help Mu-deok. The rumors spread among the people that Naksu, the Shadow Assassin, has returned as a soul shifter and killed the Cheonbugwan mage; people, including the gisaengs in Chwiseonru, start a fashion trend of wearing a blue cloth around the neck or shoulder. The true Danju is none other than the Queen herself. Mu-deok asks Master Lee to place crocks of water on the floor above the place where the duel would be held. On the day of the duel, however, Jin Mu sees the crocks and orders his man to break them. Using Tansu with Mu-deok’s blood instead of water, Jang Uk defeats Crown Prince Won. When Jin Mu questions how Jang Uk was able to learn Tansu and who taught him, Master Lee appears and vouches that Jang Uk learned Tansu by himself.

On a cliff overlooking Lake Gyeoncheondaeho, Queen Seo Ha-Sun and Jin Mu remember how they took control of the Ice Stone through Bu-yeon, Lady Jin Ho-gyeong’s lost daughter.

On a boat bound for the capital, a young woman named So-i deceives two women by pretending to be blind; the ribbon she wears around her eyes belonged to her friend Mu-deok, whom she’s searching for.

At Chwiseonreu, while the party for celebrating Jang Uk’s acceptance into Songrim goes on full blast, Mu-deok guides a tipsy Yul, who reminds her of her confessions of love for him; meanwhile, after fighting with Park Jin, Maidservant Kim Do-joo meets Master Lee. Later, when Park Jin reminds him of the severe penalty for a mage who practices sorcery, Jang Uk says that he’s open to using sorcery if it means saving another person’s life. Park Jin and Master Heo Yeom become angry with Jang Uk, and the tension rises further when Crown Prince Won arrives.

To her disappointment, Mu-deok’s not allowed to go into Songrim, and Jang Uk can’t leave Songrim until he finishes his training. As she mopes near Songrim’s gate under the rain, Yul gives her his umbrella and says that she should go or Jang Uk might be tempted to break the rules and get out of Songrim just to see her.

Lady Jin Ho-gyeong broods in her daughter Bu-yeon’s room after the latest blind young woman her husband brought failed to open Jinyowon’s storeroom of relics and artifacts. She examines the silk ribbon that she made for Bu-yeon as covering for her eyes; the ribbon has the same flower insignia in Mu-deok’s ribbon.

After returning from Songrim where she briefly meets Lady Heo Yun-ok, Maidservant Kim Do-joo gushes to Mu-deok about how Jang Uk is doing well in Songrim and is in love with a woman who’s like a bird’s egg on top of a tree.

Park Jin orders Jang Uk to read and transcribe the book “Words of the Heart” written by Songrim’s founder, Master Seo Gyeong. But when Jang Uk opens the book, its pages are blank. Park Jin confides in Master Heo Yeom that he doesn’t really intend to teach spells to Jang Uk; he’s just buying time, waiting for Master Jang Gang to return.

At Chwiseonru, Mu-deok finds out from Ju-wol that she can get into Songrim by passing the exam for servants. She refuses at first to come down to the level of an ordinary servant but later changes her mind. She applies to take the exam; she’s applicant number 125, with only five applicants to be chosen after several written and practical exams.

In the market, So-i is accosted by the two women she deceived on the boat. As she runs away from the women, she comes across Mu-deok. When some thugs recognize her, they corner her and rough her up. But Yul comes to her rescue.

When Queen Seo Ha-Sun becomes concerned that Crown Prince Won has become friendly with the Songrim mages, Jin Mu assures her that, because they have Jang Uk’s constellation plate, Crown Prince Won has no choice but to kill him.

Note: The video clips below from “The Swoon“ might contain some spoilers that could ruin your viewing of the full episodes.

Episodes 11-12

Eps. 9-10 recap: Jang Uk pleads with Lady Heo Yun-ok not to tell anyone about his fight with the soul shifter. After rescuing So-i from the thugs, Yul gives her the green umbrella that Mu-deok bought for him. Jin Mu kidnaps So-i, intending to present her as Bu-yeon to Lady Jin Ho-gyeong. Lady Heo Yun-ok covers for Jang Uk as he sneaks out of Songrim to come home and meet Mu-deok. Maidservant Kim Do-joo bribes the Songrim official in charge of the exams for the new servants with a pink silk scarf. But the official reports the bribery to Park Jin, who gives the silk scarf back to Maidservant Kim Do-joo. In turn, she gives the scarf to the flustered Master Lee. With the help of Yul, Dang-gu, and Crown Prince Won, Mu-deok passes the first two exams; in the final exam, she outsprints her opponent to qualify for the last of the five spots for the servants. Master Lee tells Jang Uk that Master Seo Gyeong’s book is actually a love letter dedicated to a blind woman named Jin Seol-ran, the future first leader of Jinyowon. Jang Uk realizes that a love letter begins with the loved one’s name; as he speaks Jin Seol-ran’s name, the text blooms on the book’s pages. That night, at Sejukwon, Jang Uk confesses to Mu-deok that he misses her.

Mu-deok is shocked when she realizes that she has fallen in love with Jang Uk. On the other hand, when Dang-gu tells him about Yul’s bird-shaped whistle that he found in Mu-deok’s bag, Jang Uk becomes depressed, thinking that his love for Mu-deok is unrequited.

In Danhyanggok, Master Lee tells Master Heo Yeom that Park Jin must take “Words of the Heart” and lock it up in Jinyowon. He also remembers learning from Park Jin that someone in Songrim used the Ice Stone to perform the Alchemy of Souls that led to the birth of Jang Uk.

Flashback ... Lady Jin Ho-gyeong begs Master Jang Gang to use the Ice Stone to save the baby (Bu-yeon) in her womb.

In Cheonbugwan, Jin Mu studies So-i and four other blind young women as to who resembles Bu-yeon most. When he finds out that So-i isn’t really blind, he orders his new right hand man to kill her. But So-i begs for her life, saying that she can convincingly and consistently act like she’s blind.

To shock Jang Uk out of his depression, Mu-deok challenges Crown Prince Won — if Jang Uk wins at least one duel against ten Jeongjingak mage-warriors, she will give him her most precious possession, which is the blue bird’s egg jade ornament that Jang Uk gave to her. Thus, as soon as he returns to Songrim after visiting Maidservant Kim Do-joo, Jang Uk is attacked by one of the mage-warriors. With golden toads from Crown Prince Won as rewards, the mage-warriors step up to challenge Jang Uk.

Dang-gu professes his love for Cho-yeon, who responds to him positively. But Park Jin immediately finds out about their relationship and disapproves of it; he also finds out that Jin Mu is helping Lady Jin Ho-gyeong to find Bu-yeon.

With his allies assembled in the secret room, Jin Mu presides over the soul shifting between the old and sickly Master Kang and his young, robust student. To conceal the soul shifting, the soul-shifted student (now with the body of Master Kang) is assassinated in public.

Mu-deok tends to Jang Uk after his latest defeat; meanwhile, after having learned from Jin Mu that the blue bird’s egg jade ornament is part of a pair, Crown Prince Won fills it with energy. The jade glows and leads him onto the capital’s streets.

Park Jin wants the body of Master Kang preserved and investigated for any sign of soul shifting. But Jin Mu and Lady Jin Ho-gyeong overrule him, saying that the body must be cremated after the funeral. Later, Park Jin orders Yul to find out if if Master Kang’s body has a blue spot.

Jang Uk overhears Park Jin and Master Lee talking about how Jin Mu enticed Naksu to seek revenge for her father’s death by disposing of soul-shifted bodies and then going after the Jeongjingak mage-warriors. Seeking out Mu-deok, he hugs her and promises to win his next duel and give back to her the blue bird’s egg jade ornament.

In the palace, Eunuch Kim demands that Queen Seo Ha-Sun either use the Ice Stone to heal him or to shift his soul into another body; if she refuses, he will reveal her true identity.

Note: The video clips below from “The Swoon“ might contain some spoilers that could ruin your viewing of the full episodes.

Episodes 13-14

Eps. 11-12 recap: After So-i passes the test of not flinching even with shards of pottery flying at her and cutting her, Jin Mu plans to use her to control Lady Jin Ho-gyeong and to take over Jinyowon. During the soul shifting for Master Kang in Cheonbugwan’s secret room, one of Jin Mu’s allies turns out to be Lady Jin Ho-gyeong’s husband. The energy-filled blue and red bird’s egg jade ornaments lead Jang Uk and Crown Prince Won to meet each other at the bridge. Jang Uk loses his first eight duels. But as Mu-deok told him, he’s getting stronger and learning new spells from each mage-warrior that he fights against. During the funeral, Yul energizes Master Kang’s body. After the cremation, everyone sees that the body is petrified, proving that Master Kang was soul shifted. Park Jin orders Yul to chase and capture the student (who has Master Kang’s soul), but at the bridge, Jin Mu’s right hand man slashes the student, who falls into the dry ditch below. Yul secretly signals to Park Jin that the student is still alive, and they bring him to Sejukwon. With Master Heo Yeom’s medicinal arts, Park Jin wants to revive the student and make him talk. When Jin Mu’s right hand man says that the student could still be alive, Jin Mu doubts that Park Jin and Master Heo Yeom could revive him without the power of the Ice Stone. Yul becomes concerned that someday Mu-deok would run wild and become a monster whom he would have to kill. But Jang Uk says that for himself, he would follow his heart and protect the monsters from the world. Eunuch Kim threatens to expose that Queen Seo Ha-Sun is actually Shaman Choi and that the real Queen is still alive. While arguing over the honey biscuits brought by Maidservant Kim Do-joo, Jin Mu subtly threatens Park Jin that he will reveal to Jang Uk who his real father is. In Cheonbugwan, Jin Mu imprisons Jang Uk on top of a narrow, towering rock formation surrounded by blackness; he then tells Eunuch Kim that he can feed off Mu-deok’s energy. When Mu-deok weakly calls out for help, Jang Uk jumps off from the rock formation, shattering the illusion. But then he sees Mu-deok clutching Eunuch Kim’s head and feeding off his energy. Mu-deok becomes alarmed that she’s starting to run wild and tells Jang Uk to stay away from her. But Jang Uk embraces her.

Flashback ... Bu-yeon tries to destroy the Ice Stone by summoning the sky, but Jin Mu pushes her into the river.

Just like in Lake Gyeoncheondaeho where she received energy and thus unsheathed her sword, Mu-deok unknowingly opens the ceiling above the constellation basin with her hand touching the water in it. Jang Uk grabs her, and they fall to the floor just as a lightning bolt damages the constellation basin; he recognizes it as the power of the Soul Ejector. Alerted by his right hand man, Jin Mu rushes to the Constellation Recording Room.

After Crown Prince Won arrives in Cheonbugwan, Jin Mu sees Mu-deok’s eyes covered by a piece of cloth, and he’s struck by her resemblance to Bu-yeon.

When Park Jin also arrives in Cheonbugwan, Jang Uk repeats his claim that he and Mu-deok saw how Jin Mu engaged in soul shifting. But Eunuch Kim’s body has disappeared.

Park Jin’s suspicion that Cheonbugwan has the Ice Stone grows stronger. Since Jin Mu demanded that Jang Uk be punished, he orders Jang Uk to lie low for a while. Jang Uk suggests to Mu-deok that they go to Danhyanggok to train, but she refuses. When Master Lee tells him that they should go fishing in Lake Gyeoncheondaeho, Jang Uk says that after losing in nine duels, he needs to train and doesn’t have time to go fishing. But curiously, Mu-deok pushes him to go fishing with Master Lee.

In Cheonbugwan, Jin U-tak (the husband of Lady Jin Ho-gyeong) prepares So-i to resemble Bu-yeon with her distinctive marks — the red mole behind her ear and the scar on her forearm.

As Yul and Dang-gu supervise the Songrim workers in repairing the damaged constellation basin, So-i sees Yul. When Jin Mu’s right hand man orders her to keep out of sight and reminds her that Yul is way out of her league, she thinks that as the future leader of Jinyowon, she might have a chance.

While Jang Uk continues to go fishing with Master Lee, Maidservant Kim Do-joo asks Mu-deok to help her with a memorial service. After the service, Yul arrives and sees Mu-deok crying. He tells Jang Uk that having mastered Chisu, he will be going back to Seoho Fortress and wants to take someone with him.

Outraged that Mu-deok has deceived him by using the duels to train Jang Uk and about the value of her blue bird’s egg jade ornament, Crown Prince Won throws the jade ornament into the nearby pond. He orders Mu-deok that, instead of the golden toad, she herself must be the reward as to whoever wins in Jang Uk’s last duel. Later on, he meets Beom, the mage-warrior who’s supposed to fight in the last duel and asks him if he can guarantee Jang Uk’s defeat.

Jang Uk walks into Jeongjingak for his last duel.

After meeting Crown Prince Won and being mocked by Beom and his friends, Mu-deok comes upon Jang Uk talking with Lady Heo Yun-ok.

Jin Mu orders his men to capture everyone in the capital who might know So-i; he brings them to Cheonbugwan where he forces So-i to watch how Queen Seo Ha-Sun drains their energy.

Park Jin becomes suspicious of Mu-deok and how she doesn’t act like a typical servant. After finding out who originally sold Mu-deok to Chwiseonru, he orders that the man be brought to him in Songrim. Later on, Mu-deok finds out from Ju-wol that a young woman named So-i came to Chwiseonru, looking for her.

Note: The video clips below from “The Swoon“ might contain some spoilers that could ruin your viewing of the full episodes.

Episodes 15-16

Eps. 13-14 recap: Jang Uk energizes his red bird’s egg jade ornament to alert Crown Prince Won and bring him to Cheonbugwan. Using the power of the Ice Stone, Queen Seo Ha-Sun briefly revives Eunuch Kim so as to save Jin Mu from being accused of engaging in the forbidden Alchemy of Souls. Cornered, Jang Uk and Mu-deok say that they lied about the soul shifter because they were afraid of being blamed for damaging the constellation basin. Seeing Eunuch Kim alive, Jang Uk thinks that with the power of the Ice Stone, he can prevent Mu-deok from running wild. (Earlier, Yul also thought about using the Ice Stone to help the soul shifters from running wild, but Park Jin said that humans must never have that kind of power.) Catching the golden fish in Lake Gyeoncheondaeho requires the mastery of Chisu, the ability to control the energy in the atmosphere. While it took Park Jin and Master Lee more than a decade to master Chisu, it takes only several days for Jang Uk to catch the golden fish and master Chisu. The memorial service that Maidservant Kim Do-joo prepared is for Cho Yeong (Naksu) and her father, who got involved in sorcery because of Master Jang Gang. During his duel with Yul, Jang Uk uses Tansu, but this time, with Chisu, he gathers energy from the air. But Yul eventually wins the duel and gains Mu-deok as his servant. U-tak pricks Cho-yeon’s neck (at the spot where Mu-deok has her mole) and extracts a mysterious red string from it. Mu-deok finds her blue bird’s egg jade ornament in the pond and refuses to give it back when Crown Prince Won asks for it. When Mu-deok becomes jealous of Lady Heo Yun-ok, Jang Uk kisses her. Jang Uk bribed the man who sold Mu-deok to Chwiseonru and told him to say that she’s just an ordinary village girl. At the ferry inn, Mu-deok finds the dead body of the man who sold her to Chwiseonru. But as she lingers over the body, Park Jin appears and accuses her of murder. Jang Uk eagerly goes to the palace for the chance to confirm if Queen Seo Ha-Sun is actually Shaman Choi. But he, the King, Queen Seo Ha-Sun, Crown Prince Won, Dang-gu, and Yul are shocked when Master Lee boldly says that he is a soul shifter; he adds that he can detect if there are soul shifters in the palace.

Flashback ... Master Lee reaches “Hwansu” and successfully ejects his soul from his body into the body of a young, homeless boy. But his student (Master Heo Yeom) finds his body and thinks that he’s dead.

Flashback ... Mu-deok and Cho-yeon meet at the ferry inn. As Mu-deok goes up to the second floor to see the man who sold her to Chwiseonru, Cho-yeon hides when she sees Park Jin arrive.

Mu-deok runs away from Park Jin and goes to Chwiseonru; meanwhile, accompanied by So-i, Jin Mu’s new right hand man continues looking for people she met in the capital and killing them. After learning from one of Chwiseonru’s guards that Mu-deok was sold to the Jang household, So-i goes there.

On Master Lee’s instructions, Jang Uk brings “Gwigu” (the Sapsali dog) into the palace to identify the soul shifters. But at the courtyard, he’s stopped and surrounded by Jin Mu and his men from Cheonbugwan. Meanwhile, Queen Seo Ha-Sun becomes outraged that Master Lee is bringing a wild beast into the palace, insisting that Cheonbugwan will protect the royal family. After warning the King that some parties have taken hold of the Ice Stone that makes the Alchemy of Souls possible, Master Lee reassures him that, just like Master Seo Gyeong, somebody who was born with the energy of the King’s Star will save Daeho from the chaos.

In the Jang residence, Mu-deok pleads for Maidservant Kim Do-joo’s help in bringing her to Jinyowon so that she could ask Cho-yeon to clear her name. On the street on a rainy night, she bumps into So-i. Meanwhile, in the palace, Master Lee asks Crown Prince Won to give him Naksu’s sword.

As Mu-deok pleads with Cho-yeon to help her, Lady Jin Ho-gyeong arrives; Cho-yeon hides her in Bu-yeon’s room.

Park Jin locks up Mu-deok and Jang Uk in separate places in Songrim; he then interrogates them separately about what secret they share.

Conflict arises between Songrim and Jinyowon as to who should have custody of “Gwigu” (the Sapsali dog). But as Park Jin and Lady Jin Ho-gyeong are arguing, “Gwigu” attacks Cho-yeon.

Having become suspicious of Queen Seo Ha-Sun because of her reactions to Master Lee bringing “Gwigu” into the palace, Crown Prince Won goes to Gaema Village to look for Eunuch Kim, who has been absent from the Queen’s entourage. Meanwhile, U-tak finally brings So-i to Jinyowon to meet Lady Jin Ho-gyeong.

Note: The video clips below from “The Swoon“ might contain some spoilers that could ruin your viewing of the full episodes.

Episodes 17-18

Eps. 15-16 recap: Flashback ... Thinking that Master Lee is dead (after he ejected his soul), his student (Master Heo Yeom) cremates his body. Jin Mu’s right hand man killed the thugs from Sari Village, the man who sold Mu-deok, and the guards of Chwiseonru. As Jang Uk brings “Gwigu” (the Sapsali dog) into the palace, it barks at the Queen’s attendants and eunuchs. But Queen Seo Ha-Sun pressures the King not to allow a wild beast into the palace. After getting dizzy inside Bu-yeon’s room, Mu-deok covers her eyes with an embroidered piece of cloth lying in front of Bu-yeon’s portrait. But Lady Jin Ho-gyeong becomes outraged and slaps her. Jin Mu places on So-i’s hand the worm that U-tak used to extract blood from Cho-yeon. So-i convulses in pain and fear as the worm enters her body. Without Jin Mu’s sorcery, she will die because of that worm. Cho-yeon confirms with Park Jin that she and Mu-deok met at the inn; on the other hand, Yul says that he fought with the dead thugs over a girl named So-i. Despite Park Jin’s schemes, both Jang Uk and Mu-deok separately come up with the “secret” that prevents him from finding out Mu-deok is actually Naksu. Presenting their red and blue jade ornaments, Jang Uk and Mu-deok confess their love for each other. Park Jin reluctantly orders that they be released. Lady Jin Ho-gyeong uses a spell to destroy “Gwigu” as it tries to attack Cho-yeon. After refusing to separate from each other, Dang-gu and Cho-yeon elope; with no place to go, they plead with Maidservant Kim Do-joo to allow them to stay in the Jang residence. Through Master Heo Yeom, Master Lee gives Naksu’s sword to Jang Uk, with the warning that if Mudeok ever uses the sword, he must kill her. Jang Uk promises Mu-deok that he will find the Ice Stone so that she won’t run wild. Lady Heo Yun-ok tells Park Jin and Master Heo Yeom that even if Queen Heo Yeom is a soul shifter, the real Queen’s spirit still exists because her Lantern of Life in Seoho Fortress has not been extinguished. Meanwhile, in Cheonbugwan’s secret room, Jin Mu tells Queen Seo Ha-Sun that once So-i is accepted as Jinyowon’s heiress, he will soul shift her into So-i’s body. So-i becomes confused as to why the piece of cloth that Mu-deok used to cover her eyes is embroidered with Jinyowon’s crest. As Mu-deok watches from a short distance away, So-i manages to open the door to Jinyowon’s storeroom of relics and artifacts. Lady Jin Ho-gyeong exclaims that she has finally found her long-lost daughter Buyeon. In Gaema Village, Jang Uk and Crown Prince Won find out that Shaman Choi threw herself into the fire when she was about to be captured by Cheonbugwan mages under Master Jang Gang. They also find out that Shaman Choi’s brother married into one of Daeho’s noble families. On the street, Jang Uk turns around to confront a hooded man who has been following him — it’s his father, Master Jang Gang.

Because of the sword, Master Jang Gang recognizes who Jang Uk is. He warns Jang Uk that if he continues to investigate the sorcery in Gaema Village, the darkness will consume his soul.

In the palace, Jin Mu tries to convince Crown Prince Won that, contrary to what Songrim teaches, the Ice Stone can benefit humans; a new order that controls the Ice Stone will have eternal life through the Alchemy of Souls. He also reveals that Bu-yeon, the long-lost daughter of Lady Jin Ho-gyeong, has powers equal to that of the woman who helped Master Seo Gyeong find the Ice Stone 200 years ago.

Mu-deok remembers that So-i uses a green umbrella as a walking stick; after she and Jang Uk question Yul about the umbrella, they conclude that So-i, the swindler from Mari Village, is the newly returned Jin Bu-yeon of Jinyowon.

So-i realizes the connection between Mu-deok and the real Bu-yeon of Jinyowon; thinking of how she can survive, she warns Cho-yeon to stay away from Mudeok because she sensed bad and unpleasant energy from her. Later on, in Cheonbugwan’s secret room, she’s stunned when Jin Mu introduces her to his allies as their Danju.

Without Songrim’s permission, Lady Jin Ho-gyeong calls for a Unanimous Assembly and invites the royal family to attend. In the presence of all the leaders of the mage families (including Jang Uk’s former masters), she accuses Songrim of committing various offenses. When she presents Bu-yeon (So-i) as her successor in Jinyowon, she shocks the assembly by revealing what’s inside the box carried by Buyeon — it’s the Ice Stone.

In the Jang residence, Master Lee entrusts to Maidservant Kim Do-joo a letter for Master Jang Gang, who he says will be forced to reappear because of the turmoil.

Chaos breaks out in the assembly over what Master Seo Gyeong wanted to do with the Ice Stone — destroy it or preserve it? The leaders of the mage families also begin fighting over which family should have custody of the Ice Stone. But Jang Uk silences everyone when he declares that the book “Words of the Heart” contains Master Seo Gyeong’s instructions; Park Jin thus orders Dang-gu to escort Cho-yeon in getting the book from Jinyowon.

Jang Uk reveals to Crown Prince Won that Eunuch Kim called the person he served as “Shaman Choi” and that his mother, the real Queen, is probably being held captive in Gaema Village.

While waiting for the book, the King becomes curious about the power of the Ice Stone — could it bring someone back from the dead? Despite Park Jin’s objection, he randomly chooses Mu-deok as the experiment’s subject.

The royal family and the Unanimous Assembly gather at the courtyard to witness how, after killing Mu-deok, Lady Jin Ho-gyeong will bring her back to life through the Ice Stone. Queen Seo Ha-Sun and Jin Mu conspire to use that moment to shift her body into Bu-yeon (So-i).

In Jeongjingak, Crown Prince Won, Jang Uk, Dang-gu, Yul, and the other young mages become trapped by a barrier created by the Ice Stone.

In Sejukwon, the once petrified Master Kang replenishes his energy and begins attacking the mages in Jeongjingak, his main target being Yul.

Note: The video clip below from “The Swoon“ might contain some spoilers that could ruin your viewing of the full episode.

Episode 19

Eps. 17-18 recap: Jin Mu entices Lady Jin Ho-gyeong that once she designates Bu-yeon (So-i) as Jinyowon’s new leader, he will work on Cho-yeon becoming the Crown Princess. When Lady Jin Ho-gyeong refuses, he reminds her that she unsealed the Ice Stone so that Master Jang Gang could save her unborn child. He promises to return to her the Ice Stone that Master Jang Gang refused to give back to Jinyowon. In Jinyowon, Dang-gu stuns Cho-yeon by saying that the young woman she thinks is her long-lost sister Bu-yeon is actually a swindler named So-i. Lady Jin Ho-gyeong hesitates in killing Mu-deok when Mu-deok looks at her and utters the word “Mother!” Inside the Ice Stone, Mu-deok meets the real Bu-yeon, who tells her that the Ice Stone’s power is governed by balance — “Earn one, lose the other.” Later on, she realizes that the barrier renders the mages helpless while empowering soul shifters like her and Master Kang. She also realizes that if she shifts souls through the power of the Ice Stone, she will kill everyone inside the barrier, including Jang Uk, by draining their energy. Master Kang orders the terrified So-i to entice Yul into the mages’ room where he will kill him. But So-i decides to trick Mu-deok into going into the room. In Cheonbugwan, Master Jang Gang goes to the secret room where he remembers seeing the dead body of the constellation recorder (Naksu’s father). He also remembers how Jin Mu kneeled before him, promising to never use the Alchemy of Souls; he wonders how Jin Mu retrieved the Ice Stone from Lake Gyeoncheondaeho. Lady Heo Yun-ok saves Yul by setting Master Kang’s clothes on fire. Finding out that Jang Uk lured Master Kang into the secret room, Mu-deok unsheathes her sword and kills Master Kang with Naksu’s “Tansu” technique. Jang Uk turns up alive; when Mu-deok lowers her sword and expresses her conflicting emotions about him dying, he kisses her.

Flashback ... In Lake Gyeoncheondaeho, Jin Mu and U-tak are led by Bu-yeon to the spot where the Ice Stone can be found. U-tak says Bu-yeon has immense divine powers because she’s the child of Master Jang Gang, but Jin Mu thinks that the combination of the powers of the Jin family and of Shaman Choi’s family gave Bu-yeon her divine powers — Shaman Choi and U-tak are descendants of Mage Choi, the first to perform the Alchemy of Souls.

After being shoved into the river by Jin Mu as he grabs the Ice Stone from her, Bu-yeon washes up on a river bank. A grandmother who finds her and takes care of her names her “Mu-deok.”

Present times ...

After all the leaders of the mage families read “Words of the Heart,” Jin Mu tells the King that Songrim lied about what Master Seo Gyeong supposedly wrote about what to do with Ice Stone. But, remembering what Jang Uk told him about “Words of the Heart” being a love letter, Park Jin tells the King that he can read it by saying in his mind the name “Jin Seol-ran.”

Mu-deok remembers what Bu-yeon said about choosing not to use the power of the Ice Stone. Meanwhile, on the banks of Lake Gyeoncheondaeho, Master Lee explains to two young kids that people who can use the heaven’s energy sometimes must do things that they do not wish to, “which can be very distressing and lonely.”

Park Jin offers Lady Jin Ho-gyeong an alliance between Songrim and Jinyowon to save those trapped by the Ice Stone in Jeongjingak.

U-tak goes to Gaema Village to see the real Queen (who was soul shifted in the burned body of Shaman Choi). But Dang-gu and Cho-yeon see him. After Dang-gu overpowers U-tak, Park Jin orders him to bring the real Queen before the King and Queen Seo Ha-Sun.

After reuniting with Maidservant Kim Do-joo, Master Jang Gang goes to see the King and the Unanimous Assembly.

With Yul’s life in the balance and fearful that Queen Seo Ha-Sun might gather the power of the Ice Stone and kill all of them, Jang Uk decides to use Tansu to turn the fog that covers Jeongjingak into rain. But Mu-deok forbids him because he could lose all his energy. Later on, when he asks Crown Prince Won to clean up the mess among the mage families if he succeeds in breaking the barrier, Crown Prince Won orders him to stop being foolish. But he says that “it’s better to die than to do nothing.”

Jang Uk finds himself in a mystical plane where he can longer cast spells. He picks up the Ice Stone, and its power creates around him the King’s Star, which Master Lee and the leaders of the mage families see in the sky.

Episode 20, Finale (with spoilers)

Ep. 19 recap: So-i slashes her forearm and lets her blood drip into Yul’s wound; the worm that sucked Cho-yeon’s blood goes into Yul’s body. Through fake ashes of “Gwigu” (the Sapsali dog), Park Jin exposes that Queen Seo Ha-Sun is actually Shaman Choi; after embarrassing Lady Jin Ho-gyeong by saying that her husband U-tak is Shaman Choi’s brother, he also reveals that the young woman introduced to the Unanimous Assembly as Bu-yeon is fake. After Jin Mu turns against Queen Seo Ha-Sun, U-tak tells her to use the remaining Soul Ejector to escape; he then stabs and disembowels himself. Cornered, Queen Seo Ha-Sun uses the Soul Ejector to initiate the Alchemy of Souls (which will kill everyone trapped inside the Ice Stone barrier). As Park Jin uses a spell to strike her, in Jeongjingak, Jang Uk uses Tansu to try and turn the fog into rain. Meanwhile, in the courtyard, Master Jang Gang absorbs into himself the tremendous energy released by the Soul Ejector. Based on Master Lee’s order contained in the letter entrusted to Maidservant Kim Do-joo, Master Jang Gang confesses to the King and makes amends for all the chaos and havoc that he created by involving himself with sorcery and the Alchemy of Souls. To protect Jang Uk from recriminations for his actions, he also denies being Jang Uk’s father. The leaders of the mage families mistakenly believe that Crown Prince Won was born with the King’s Star just like Master Seo Gyeong. While recuperating and preparing to go back to Seoho Fortress, Yul says goodbye to Mu-deok. After receiving from Dang-gu the portrait of Master Jang Gang, Jang Uk remembers the hooded man whom he met in Gaema Village. In Cheonbugwan’s secret room, Jin Mu assures Crown Prince Won that he can get rid of Jang Uk, the real owner of the King’s Star. In Chwiseonru, Jang Uk chances upon Mu-deok, who’s wearing a wedding dress on Ju-wol’s request. After Mu-deok terminates their master-pupil relationship, he proposes to her.

Notes: As I said at the introduction of this post, although “Alchemy of Souls” was a hit among Korean viewers and the international audience, it has been criticized for its plot holes and the seemingly rushed and controversial ending of Part 1 (Eps. 1-20). Perhaps, these plot holes will be addressed in Part 2 (10 episodes) which will be aired this December.

If you want to have good memories of Part 1 of “Alchemy of Souls,” then do not watch the full Ep. 20; just watch the clips below from The Swoon. The first two clips are from Ep. 20, while the last clip is a compilation of this drama’s funny moments.

What about Part 2? I suggest that you don’t watch Part 2 while it’s being aired. After its full broadcast, then read the discussions and comments in reddit or Dramabeans. If the discussions and comments still say that the Part 1 plotholes were not satisfactorily explained, then you can skip watching Part 2.

Also, fans of Part 1 have become deeply and emotionally invested in the chemistry between Jung So-min (“Mu-deok”/“Naksu”) and Lee Jae-wook (“Jang Uk”); whoever takes the place of Jung So-min in Part 2 might have an impossible task of winning over the fans.

Historical / cultural backgrounders and other information

Although “Alchemy of Souls” is a fantasy drama set in a fictional time and place, it uses elements of traditional Korean culture for its narrative and characters.

The Sapsali (aka Sapsaree) nearly became extinct, with around 100K-plus dogs slaughtered by the Japanese military every year during WW1 and WW2. By 1985, there were only eight Sapasali remaining in Korea. Please read “Korean Sapsaree dogs bounce back from the brink” (Reuters).

1. “Sapsali” (native Korean dog)

In Ep. 3 and in other episodes, Master Lee is shown with a dog beside him; he transferred the spirit of the “Gwigu” heirloom from Jinyowon into the dog’s body. This enabled the dog to detect sorcery and soul shifters.

In the Korean dialogue and in the subtitles, the dog is called “Sapsali,” which is a breed of dog native to Korea. Although Korea has other native breeds (such as Jindo and Pungsan), the drama specifically used the Sapsali breed because in traditional Korean culture, the Sapsali dog is supposed to chase or repel evil spirits and ghosts.

From Wikipedia:

The “Sapsali” is a shaggy South Korean breed of dog. The word is followed in Korean by either gae (meaning “dog”) or the suffix ee / i, but is also romanized as “Sapsaree.” Traditionally, these dogs were believed to dispel ghosts and evil spirits.

The Sapsali, just like the Jindo, was designated as a National Treasure (No.368) in 1992 by the South Korean government. The Sapsali has been identified and recognized by both leading Korean dog societies, the Korean Canine Club (FCI affiliate) and the Korean Kennel Club.

The Sapsali has been called as a “lion dog” for its bulky and strong upper body and its large and imposing paws. Most of the Sapsali is medium-sized and slightly tall. Its adult coat is long and abundant, and comes in various colors, including solid and/or mixed shades of black, golden yellowish-blonde, reddish-orange, browns, and saltand-pepper greys. Its hair falls over the eyes in the same manner as that of the Old English Sheepdog.

The Sapsali’s friendly outer appearance is matched by its innate patience and congeniality towards other animals and human beings. They are known to be playful in a group setting and have long been acknowledged and valued for their loyalty.

Related resources:

• “7 Korean Dog Breeds: The Complete Guide to Native Korean Dogs”
• “All Korean Dog Breed - Jindo, Sapsali, Pungsan and Others”
• “Sapsali Everything Dog Breeds”
• “Giant Sapsali Dog Still Needs That Piggyback From His Mom LOL”
• “The surprising reaction of the stray Sapsali dog as soon as it found its owner”
• “Sapsali Dog Breed - Facts and Information”

2. “Zelkova” tree in Danhyanggok

In these pictures from Eps. 5-6, we see (a) Jang Uk and Mu-deok, and (b) Jang Uk, Mu-deok, Dang-gu, and Yul stand in front of an enormous tree. That tree is the 400-year old zelkova tree known as Sarang Namu or the “Mt. Seongheungsan Love Tree.” This tree is found in Mt. Seongheungsan and is part of the Garimseong Fortress.

Other dramas that have used this zelkova tree and its environs as a filming location are “Hotel Del Luna”; “The Iron Empress” (2009, Ep. 1); and “Six Flying Dragons” (2015, Ep. 4); “The Crowned Clown” (2019); “I’m Not A Robot” (2017-2018); “My Sassy Girl” (2017); and “Iljimae” (2008).

3. “Words of the Heart” and “sijo” (Korean poetry)

In Ep. 10, Park Jin orders Jang Uk to read the book “Words of the Heart” written by Master Seo Gyeong, founder of Songrim. (The book is mentioned several other times in the drama, the last of which is in Ep. 19.) The problem is, when Jang Uk opens the book, all of its pages are blank.

At around the 43:29 mark of Ep. 10, Master Lee tells Jang Uk that the book with blank pages contains Master Seo Gyeong’s poem. When Jang Uk asks, “Poem?” (in the subtitles), you can hear him say “sijo” (in the Korean dialogue).

I first came across “sijo” when I watched Ep. 36 of "Six Flying Dragons” six years ago. In this episode, Bang Won confronts Confucian scholar Jung Mong-joo on Seonduk Bridge. As far as I know, the poems that they recite to each other are so famous that Korean students are required to memorize them. For more information about the “sijo” of Bang Won and Jung Mung-joo, please read the backgrounders from Bodashiri.

“The Glossary of Poetic Terms” (Poetry Foundation) defines "sijo" as:

“A Korean verse form related to haiku and tanka and comprised of three lines of 14-16 syllables each, for a total of 44-46 syllables. Each line contains a pause near the middle, similar to a caesura, though the break need not be metrical. The first half of the line contains six to nine syllables; the second half should contain no fewer than five. Originally intended as songs, sijo can treat romantic, metaphysical, or spiritual themes. Whatever the subject, the first line introduces an idea or story, the second supplies a “turn,” and the third provides closure. Modern sijo are sometimes printed in six lines.”

Based on my research six years ago, some of the most famous “sijo” were written by Hwang Jin-yi, the Joseon Dynasty’s most famous gisaeng. Her sijo (in reply to a scholar) goes like this in English:

‘What cause did I give you / To expect me to appear? / I never meant for you to believe / That I would disturb the fallen leaves at midnight. / Why blame me?/ It is the autumn wind that influences your delusion.’

Another of Hwang Jin-yi’s sijo goes like this:

I will break the back of this long, midwinter night,

Folding it double, cold beneath my spring quilt,

That I may draw out the night, should my love return.

Relevant resource: “Short & Sweet Lessons on Korean History & Culture: Ep.2 Poetry of Korea: All About Sijo”

4. Korean honorifics

In Ep. 1, Ju-wol pinches Mu-deok’s cheek and orders her to speak to her in “honorifics” because she’s older (and because she’s the head of the gisaeng house).

Relevant resources on Korean honorifics:

• “Learn Korean Ep. 93: Korean Honorifics (Part 1 of 2)”
• “Learn Korean Ep. 94: Korean Honorifics (Part 2 of 2)”
• “How 반말 Works - Casual/Informal Language in Korean [TalkToMeInKorean]”

5. “Satoori” (Korean regional dialect)

In Ep. 20, the drunk Maidservant Kim Do-joo tells Jang Uk that when Mu-deok is drunk, she doesn’t speak in “satoori.”

From “Satoori – Talk like a local with these South Korean dialects”:

What is satoori?

사투리 (satoori) is the Korean word for “regional dialect.” It’s a set of words, phrases, grammar, and pronunciation patterns unique to a specific region of Korea. This is a useful Korean word to learn, especially when you travel throughout the country.

What is a Korean satoori accent?

A satoori accent is a particular way a person speaks Korean. For example, some satoori accents are slower and more drawn out. Other satoori accents may have different intonations from the standard dialect.

Korean Standard Dialect vs. Korean satoori

Regional Korean 사투리 (satoori) is very different from regular Korean (표준어 | pyojuneo) as satoori is often spoken and used between people who are intimate with each other.

6. “Jesa” (memorial service)

In Ep. 13 (from around the 54:42 mark up to 55:40 and from 1:02:38 up to 1:04:27), you can hear Mu-deok say “jesa” (translated as “memorial table” in the subtitles).

From “Life after death – The beguiling world of the Korean jesa ceremony”: “The action centers on a low table, a sort of makeshift altar. A large portrait photograph of the deceased is usually placed at the center of this table, flanked by memorial candles. Assorted fruit, meat, fish and rice cakes are also placed on the altar, alongside a piece of paper with the deceased’s name written upon it in ornate Chinese characters.”

From “What Happens During a Korean Jesa Ceremony?”: “In Korean culture, the memorial ceremony for the dead is called Jesa. This is a general term that refers to different types of memorial ceremonies, some of which occur on major holidays like the Lunar New Year. However, the most common type of Jesa takes place on the anniversary of the deceased person’s death.”

Relevant resource: “Hansik of The Day _ Korean traditional memorial ritual, Jesa” (Arirang Culture)

7. “Eunjangdo” (small silver knife)

In Ep. 20, Mu-deok attacks U-tak in Sejukwon and kills his guards. Dang-gu and Cho-yeon pick up the guards’ swords and in turn attack Mu-deok. When Mu-deok repels their attacks, Cho-yeon takes out a small silver knife from her wedding dress and hurls it at Mu-deok. (In an earlier episode, the Queen also takes a knife from her dress to threaten everyone.)

You might be wondering why Cho-yeon has a knife within her wedding dress. In traditional Korean culture, that small silver knife is called a "eunjangdo."

From “A weapon to test fidelity and soup” (Korean JoongAng Daily, March 2006):

Where the Swiss had traditional red pocket knives, Koreans from the Joseon dynasty had eunjangdo, a silver knife, which developed into another form of norigae.

They are about 10 centimeters (four inches) long, covered in a fancy silver sheath. Records say both men and women carried them as a means of self-defense, although, towards the end of the dynasty they were used more frequently as a fashion statement for the upper class.

Men fastened them on their waists, while women used them as large pendants with handmade trinketry.

But due to its delicate features and small size, the eunjangdo was considered to be a female accessory. Eventually it became a symbol of chastity for unmarried women while married women carried it as a symbol of fidelity. Eunjangdo were kept underneath the hanbok top to be drawn if a woman felt that her life was threatened. They became a necessary accessory for all refined ladies to carry, along with a comb and a mirror.

Some folklore experts say eunjangdo were not designed for self-defense. They say a woman would use her eunjangdo to stab herself rather than submit to an attacker.

From “Eunjangdo, Symbol of Unwavering Fidelity” (November 2019):

“Dramas and movies show that the knife was the exclusive property of women, but it was also a necessity for both sexes. Jangdo was utilized both indoors and outdoors for such uses as cutting paper, carving a top, trimming twigs or using for self-defense. As the knife grew more prevalent during the Joseon Dynasty and its decorative nature and symbolism were emphasized as well as its practicality, a woman about to get married received a jangdo from her parents so that she could fulfill her proper role in married life; a man also got the knife from his parents upon reaching adulthood so that he could be loyal to the country and fulfill his duty to his friends. The word “ilpyeondansim” (unwavering devotion) engraved on every jangdo clearly expresses what the knife symbolizes.”

Lessons in photography from “Alchemy of Souls” with in-depth analysis of its visuals, cinematography, and editing

Index: A. Visual motif of fire/flames in the foreground or background with rack focus, or fire/flames in the foreground or background to signify tension, crisis, or danger; “The Secrets Behind Lighting a Shot with Fire” (Premium Beat): “Fire looks great on camera, but capturing it effectively is more difficult than igniting something and pressing record”; B. Central framing with Dutch angle; symmetrical framing with Dutch angle; C. Push in with central framing and Dutch angle; D. Arc shots; E. Breaking the 180-degree rule or crossing the line to depict or reinforce emotional or psychological tension or to signify a change of beat; Park Chan-wook’s “Decision to Leave” and its influence on Ep. 6 of “Alchemy of Souls” and Ep. 11 of “Little Women”?; F. Visual cues; G. Miscellaneous observations: Ep. 7 rack focus shots that are almost like breaking the 180-degree rule or crossing the line; from bilateral symmetry to spherical symmetry in Ep. 9; differences in cinematographic lighting in classic historical dramas (“A Jewel in the Palace” and “Dong Yi”) and modern historical dramas (“Kingdom” series, “River Where The Moon Rises,” and “Alchemy of Souls”)

A. Visual motif of fire/flames (fire pits, candles, lamps, lanterns) in the background or foreground, with or without rack focus, to signify crisis, tension, or danger; “The Secrets Behind Lighting a Shot with Fire” (Premium Beat): “Fire looks great on camera, but capturing it effectively is more difficult than igniting something and pressing record.”

One thing that immediately stands out in “Alchemy of Souls” is that whether daytime scenes or nighttime scenes, whether interior scenes or exterior scenes, there are almost always freestanding fire pits in the scenes. (The drama also ubiquitously uses candles, lamps, and lanterns.) Besides being part of the drama’s visual style, these fire pits, candles, lamps, and lanterns help illuminate the indoor scenes and nightime scenes.

In keeping with the drama’s mythology of the Ice Stone and Hwansu (fire and water) and to signify tension, crisis, or danger, the director and the cinematographer use the visual motif of (1) fire or flames in the background or foreground with rack focus, or (2) shots where fire or flames are in a character’s foreground or background.

A-1. The visual motif of fire or flames in the background or foreground with rack focus is used at least seven times in the drama. I first noticed it in the Ep. 3 scene where Jang Uk is being flogged 100 times as punishment for losing his Spirit Plaque. As the camera trucks (moves parallel) to the left, Jang Uk exits the frame as we see the out of focus fire in the background; in the next shot,there’s a rack focus as the fire becomes out of focus and Jang Uk becomes in focus.

(Besides being a visual motif, the fire foreshadows what will happen to Jang Uk in Ep.4; the flogging may have injured him, but it also surged the torrent of energy within him.)

Ep. 1: The sickly King pressures Master Jang Gang to perform the Alchemy of Souls between their bodies. The shot begins with the freestanding fire pit (frame right) in focus. As the camera trucks (moves parallel) to the left, the fire pit becomes out of focus and eventually exits the screen. Afterwards, we first see a post and then Master Jang Gang, who becomes in focus. The shot ends with Master Jang Gang and the King facing each other.

Ep. 1: In the early dawn, Mu-deok keeps Jang Uk’s room warm by fanning the fire in the brazier. When the shot starts, she and Jang Uk (in the background) are out of focus while the lit candle (in the foreground) is in focus. As the lit candle becomes out of focus, she and Jang Uk become in focus. When she looks to her left, she sees the Spirit Plaque that she was looking for.

Ep. 3: Gil-ju walks into Cheonbugwan after killing the gisaeng who tried to sell Jang Uk’s Spirit Plaque. But he lies to Jin Mu that the gisaeng had the blue spot indicating that she was Naksu. At the start or the shot, everything is out of focus even as Gil-ju enters the frame. After he passes the fire pits in the foreground, everything now becomes in focus.

Ep. 12: The camera trucks (moves parallel) to the left; the fire in the foreground becomes out of focus as Jang Uk and Dang-gu in the background become in focus.

Ep. 15: Based on Master Lee’s order, Jang Uk brings “Gwigu” (the Sapsali dog) into the palace; the dog immediately senses the presence of soul shifters among the palace staff. The fire in the foreground becomes out of focus as Jang Uk and the dog (background) become in focus.

Ep. 17: To test the power of the Ice Stone, the King randomly chooses Mu-deok as the test subject; he wants Lady Jin Ho-gyeong to kill her and then bring her back to life using the Ice Stone. The fire (frame left, foreground) becomes out of focus as Mu-deok becomes in focus.

In scenes that take place within Cheonbugwan’s secret room, the fire or flames are generally bluish-greenish in color. For example, in Ep. 5, the camera pushes in on Jin Mu and then pans to the left to the fire/flames behind him, which become in focus. In the next shot, the fire (frame right) becomes out of focus as the camera pans left and pushes in on the carriage with Eunuch Kim and Gil-ju.

A-2. Visual motif of fire or flames (from fire pits, candles, lamps, or lanterns) in the background or foreground, without rack focus, to signify tension, crisis, or danger

Ep. 1 establishes this visual motif for the whole drama with at least three instances:

(1) First picture on the right: The court attendant tries to help her soul-shifting son by bringing a mother and child for her son to feed on. Notice the overhanging lamp behind her; she’s also shot with Dutch angle.

(2) Second in picture on the right: In the palace, Master Jang Gang is stunned when the ailing King asks him about the Alchemy of Souls. Notice the flames from the fire pit in the foreground.

(3) Mu-deok becomes frantic when Jang Uk asks her to stay and keep his bed warm all throughout the night; she thinks that Jang Uk wants to sleep with her. Notice the candle in the lower left hand corner of the frame.

Other examples:

Ep. 2: Park Jin orders his men to torture Mu-deok after she refuses to say what kind of herb she used in poisoning Jang Uk.

Ep. 3: The gisaeng who stole Jang Uk’s Spirit Plaque and tried to sell it is captured (and later killed) by Jin Mu’s men led by Gil-ju. Notice the prominent out of focus lit candle that’s frame left. (That candle is the one on the table. From the tightly framed shot and the compressed perspective, the cinematographer may have used a lens with a long focal length for this shot.)

Ep. 12: Mu-deok looks on at Yul and Jang Uk, who are debating on how to deal with soul shifters, with Yul saying that the world must be protected against soul shifters.

Ep. 16: In Jinyowon, Mu-deok and Cho-yeon hide as So-i is finally presented to Lady Jin Ho-gyeong as her long-lost daughter Buyeon.

Ep. 18: After an absence of over 20 years, Jang Gang returns to Cheonbugwan after hearing of the turmoil within the Unanimous Assembly.

My favorite instance of this visual motif is in Ep. 3 when Jang Uk brought Mu-deok to Sejukwon after she was tortured by Park Jin and his men for refusing to say what herb she used to poison him. After she wakes up, Jang Uk trolls her by saying that he changed her clothes, applied ointment on her wounds, and gave her massages. As he sits down close to her, she becomes uneasy when he closes the gap between them and seems about to kiss her. In a whisper, he thanks her for understanding his despair and putting her life on the line for him when no one else did. Notice the out of focus candle in the foreground that’s shown several times in the scene.

This scene echoes a scene in Ep. 2 with the roles reversed. Jang Uk is kneeling on the courtyard, awaiting his punishment for breaking the “Gwigu” heirloom from Jinyowon. Mu-deok kneels before him, closes the gap between them, and whispers to him: “The people I have met so far only wanted me dead. You are the first person who tried to save me. Even if we meet again and come this close to each other, I will spare you.” After a smirk and a bow, she leaves. (These scenes from Ep. 2 and Ep. 3 highlight Jung So-min’s awesome acting talent.)

How cinematographers shoot scenes with fire, flames, or candlelight

(1) The first issue we must discuss is whether the drama’s cinematographer and production team used actual fire or flames, flickering LED light bulbs, or visual effects.

In “Lighting for Film: Faking Fire” (YouTube), you can see how specialized lighting sources are used to simulate the lighting from fire or flames as to flickering, intensity, and warmth (color temperature). The video states:

Fire has always been an exciting light source. From the orange color, to the way it flickers randomly on a subject’s face. There are so many great scenes in cinema with characters lit by fires, but a lot of the time, the fires aren’t actually real. In most fire scenes these days, the fire itself is added in post production, and the crew has to fake the look of fire on set to match the lighting. But how do they do that? How can you create lighting that not only has the same color and brightness as fire, but also the same quality and direction? Today on 4 Minute Film School, we’re going to be showing you how to fake the look of fire with your lighting.

In “How To Light With Fire” (Premium Beat), you can see:

(a) how a candle-lit scene can be made brighter by using a multi-wick candle or by hiding a small light bulb behind the candle; the light bulb can be connected to a household dimmer to control its intensity;

(b) the difference between fire or flames with propane or with wood.

(c) how Stanley Kubrick’s 1975 film “Barry Lyndon” revolutionized lighting using only candles through the use of an f/0.7 50 mm lens.

I stand to be corrected, but I think that in this drama, real fire (probably ceramic logs lighted up by propane) was used in scenes with the freestanding fire pits. Why? Well, for one thing, in the 3:32 mark of the BTS video, you can see someone behind Minhyun (“Yul”) warming her hands at the fire pit.

(2) From “Video Tutorial: The Secrets Behind Lighting a Shot with Fire” (Premium Beat):

Fire looks great on camera, but capturing it effectively is more difficult than igniting something and pressing record.

... one of the most surprising aspects of using fire ... is . . . how dim fire actually is.

Fire i very bright to the eye, but it doesn’t project very far because of the unstructured nature of its light rays. As a result, you need fast lenses and a high ISO setting to get a reasonable exposure.

From “Tips and Tricks for Harnessing the Lighting Power of Fire” (Premium Beat):

Fire is beautiful. Fire is dangerous. Fire is a great way to light a scene!

Fire is a beautiful form of light. It’s also wild and unpredictable. The soft incandescent flicker of a burning log fire is incredibly pleasurable to watch. It’s no surprise that many scenes take place around a campfire or under candlelight. It’s the perfect setting for exploring a character’s backstory or an emotional moment.

So, as you would expect, setting a scene around a fire or candlelight isn’t as simple as it seems. Fire, in nature, is sporadic. It can be tricky trying to control flames and the illumination they provide. However, if you have the right tools, it is possible.

Other resources on cinematography and shooting fire or flames:

“How to Light with Fire | Special FX Cinematography”

“How to Light Fantasy/Sci-Fi Environments | Cinematography 101”

“How To Light A Campfire Night Scene | Cinematic Lighting”

“Fire Lighting Effects Video: Creating them with Ease”

“Working with Candlelight || Cinematography ”- Gavin Finney

“How to Light a Scene with Candlelight”

“Flickering LED Light Bulb - Fire Like Flames”

B. Central framing (aka center framing) with Dutch angle; symmetrical framing with Dutch angle

Examples of central framing (either within the middle vertical division of the Rule of Thirds or dead center):

Example of symmetrical framing:

Central framing and symmetrical framing are closely related to each other, as explained in the following resources.

(1) The article “Rule of Thirds and Central Framing” provides two descriptions of what “central framing” is: “Alongside the Rule of Thirds is the idea of Central Framing, where a character or object is placed in the centre of the frame…or where the centre of the frame is used to separate two distinct sides of the shot. These shots often utilise symmetry on either side of the frame.”

(2) The YouTube video titled “Cinematic Framing and Composition in Film | Cinematography and Filmmaking Part 3” by Shawn Dolinski (8:34 mark) explains, among other things, the closely related topics of “symmetry” and “center framing”:

“A frame that is symmetrical is one where both sides of the frame are basically mirror images of the other, either divided into identical halves on opposite sides of the dividing line, called a bilateral symmetry, or positioned around a center axis called radial symmetry, both of which have a common effect on the viewer because there’s an order and a satisfied expectation of something. While the most obvious way of creating symmetry is probably with the equal placement of environmental elements on opposite sides of the frame, i.e. structural features like columns, windows, or staircases, it can also be achieved with carefully positioned subjects as well, like a well organized group shot or simply by placing a subject in the center of the frame as humans and their faces, while not perfectly balanced, are essentially symmetrical.”

“Even though central framing is often an aesthetically motivated and stylized choice, as we are inherently attracted to and enjoy symmetry, it can also be used, among other things, to create drama and tension in thrillers and horrors, to help make sense of the character’s surroundings by immersing him within an environment, to give a subject tremendous power and dominance, particularly in combination with a low angle, or even for comedic effect by means of ’geometric tableaus’ like in these examples from Wes Anderson’s ‘Mr. Fox.’”

The article “3 Different Ways You Can Use Central Framing in Your Films” (No Film School) cites the following directors and film for their use of central framing: Wes Anderson (dead-center framing), Stanley Kubrick (one point perspective), and “Mad Max: Fury Road.”


Wes Anderson // Centered from kogonada on Vimeo.


Kubrick // One-Point Perspective from kogonada on Vimeo.


Mad Max: Center Framed from Vashi Nedomansky ACE on Vimeo.

From “9 Uses for Central Framing“ (Neil Oseman):

1. To show immersion in the environment

2. To create power

3. To suggest formality or rigidity

4. To create order

5. To suggest duality

6. For humour

7. For faster cutting

8. For impact

9. To break the fourth wall

Resources on central framing (center framing):

“The Versatile Use Of Central Framing”

“Centre Frame Your Shot for MORE Impact | The Film Look”

“Improve your cinematography by breaking all the rules”

Examples of center framed shots in “Alchemy of Souls” with Dutch angle (notice that the vertical lines or horizontal lines in the background or foreground are not parallel to the vertical or horizontal edges of the frame)

Examples of symmetrical shots in “Alchemy of Souls” with Dutch angle (the center of the frame is used to separate two distinct sides of the shot)

C. Push in with central framing and Dutch angle

In numerous shots, this drama’s director and cinematographer used a camera movement called “push in” and combined it with center framing and Dutch angle; an example is this shot of Mu-deok (below, right) from Ep. 1 as she vows to take revenge against people in Chwiseonru.

Explanation of the terms “push in” and “pull out”:

The article “Types of Camera Movements in Film Explained: Definitive Guide” (Studio Binder) defines what a push-in shot is: “A push-in moves the camera closer to a subject typically with a dolly camera movement or Steadicam. Push-ins can draw the audience’s attention toward a specific detail. Filmmakers also push-in toward characters to try and infer what is occurring internally. This can be a reaction, thought process, or internal conflict.”

Push in shots are used to “create subtle intimacy, tension rising, and importance.” From “The Push-in” (YouTube video): “The Push-In, sometimes called the Character Dolly, is a camera move where the camera dollies forward toward the subject of the shot. A short push-in is like an exclamation mark. A long, slow push-in builds drama and heightens the emotional meaning of the scene. The push-in is a powerful cinematic tool for heightening tension and dramatizing a revelation, and it’s one of the fundamental techniques of the cinematographer and layout artist.”

Some examples of push in with central framing and Dutch angle:

Ep. 2: At the ferry inn, Mu-deok turns aside and tries to make herself inconspicuous as she sees Gil-ju and the Cheonbugwan mages take the dead gisaeng away with them. The camera pushes in on her, and as she becomes centrally framed, she realizes that the Danju has abandoned her and wants her dead.

Ep. 7: Mu-deok is temporarily blinded after Jang Uk rescues her from being trapped inside the Mirror of Longing in Jinyowon.

From “The Effects of a Push in vs. Pull out” (Cinematography): “When the camera pulls out from a character to show empty space around them, it creates a feeling of isolation and loneliness, abandonment, or rejection.”

Resources on push in and pull out:

“The Push - Camera Move”

“The Push-in (character dolly)”

“The Pullback”

D. Arc shots

From Wikipedia: An “arc shot” is a dolly shot where the camera moves in an arc along a circular or elliptical radius in relation to the subject (“arc left” or “arc right”).

The article “Arc Shots and 360-degree Tracking Shots” (Studio Binder) states: The arc shot in film, also called a 360 degrees shot or 360 tracking shot, orbits the camera around a subject in an arc pattern. In an arc shot, the subject is usually stagnant while the camera circles them in at least a semi-circle pattern. The term “arc” derives from mathematics meaning a segment of a complete circumference. This segment in the shot is the orbital path of the camera.

The Studio Binder article enumerates the various uses of arc shots:

Centralize the audience’s focus

Capture different aspects of a setting

Create a dizzying effect in the audience

Add energy to scenes without dynamic blocking

From “Arc Shot, or 360-degree Tracking Shots”:

Arc shots can also be used to mark transitions, create suspense, add intensity or emotionality to a scene and much more.

The use of the arc shot can also be symbolism for shift or a transition, either in the story or within the characters themselves.

The arc shot causes the camera to shift in the physical space and can signal a turning point.

The arc shot can also be used to add suspense to a thrilling scene.

Arc shots can be used to introduce a new character — and thus a new dynamic — into a scene.

An arc shot can be used to establish the scene’s geography and to create a symbolism.

Some arc shots from “Alchemy of Souls”:

Ep. 2: Mu-deok finds out that Jang Uk saved her from the “Gwigu” by shattering the Jinyowon heirloom. The camera arcs counterclockwise around her to show Cho-yeon and her attendants picking up the pieces of the shattered heirloom.

Ep. 3: The camera arcs clockwise around Jang Uk as waits for Park Jin’s judgment on him.

Ep. 3: The camera arcs clockwise around Mu-deok as she replies to Jang Uk’s request that she become his master.

Ep. 3: In Cheonbugwan’s secret room, a man grovels in fear as his energy is about to be sucked by a soul shifter. As the camera arcs counterclockwise around him, the identity of the soul shifter is revealed.

Ep. 3: Yul allows Mu-deok to feel three of his breaths. The first shot is an OTS (over the shoulder) shot of Mu-deok as the camera slightly pushes in on her. In the next shot, with Mu-deok frame left and Yul frame right, the camera arcs counterclockwise such that the viewer’s attention becomes focused on Mu-deok.

Ep. 4: Depressed, Jang Uk sleeps on the table in Songrim’s secret room, facing the wall. As Yul, Dang-gu, and Mu-deok approach him, the camera arcs counterclockwise to show him getting up and speaking to the trio as to why they interrupted his sleep.

Ep. 4 (after Jang Uk’s escape): From a high angle POV, the camera pushes in on the empty table (where Jang Uk slept). As the camera arcs counterclockwise and then moves down, the flustered Park Jin and his right hand man enter the frame.

Ep. 4 (arc shot with rack focus): As Jin Mu leaves Songrim, he passes by Mu-deok. As the camera arcs clockwise, Mu-deok appears in the shot: as Jin Mu becomes out of focus, Mu-deok becomes in focus.

Ep. 4 (arc shot with rack focus): Jang Uk (foreground) is out of focus while Mu-deok (background) is in focus. As the camera arcs clockwise, Jang Uk becomes in focus while Mu-deok becomes out of focus.

Ep. 6: The Cheonbugwan mages forcibly take Mu-deok from Chwiseonru. In the palace, Crown Prince Won’s attendant looks at Mu-deok in disgust after seeing her shabby clothes and finding out that she’s from Chwiseonru. Later, as Crown Prince Won enters his quarters, he sees a woman dressed up in silk clothes and accessories and with coiffed hair. He’s surprised that his attendant has dressed Mu-deok up to make her look presentable before him. At this point, he and us (the viewers) don’t know how Mu-deok looks life after the makeover. The camera then arcs clockwise around Mu-deok to reveal how beautiful she is all made up and in silk clothes.

Ep. 7: Mu-deok is trapped inside the Mirror of Longing. The camera pushes in on her; it then pulls out and arcs around her.

Ep. 8: Mu-deok looks at her reflection in the Mirror of Longing, with her right hand pressed against its surface; the reflection is to her right. The camera pulls out and arcs clockwise around her; after pushing in and continuing to arc clockwise, the camera then shows her reflection, which is now to her left.

Ep. 17: As Jin Mu turns clockwise to address his allies and followers, the camera also arcs around him clockwise.

Ep. 17 (arc shot followed by rack focus): After being introduced by Jin Mu as the Danju, So-i looks around at the people around her as the camera arcs clockwise. In the next shot, she becomes in focus as Queen Seo Ha-Sun and U-tak become out of focus.

E. Breaking the 180-degree rule or crossing the line to depict or reinforce emotional or psychological tension or to signify a change of beat; Park Chan-wook’s “Decision to Leave” and its influence on Ep. 6 of “Alchemy of Souls” and Ep. 11 of “Little Women”?

From “What is the 180 Degree Rule in Film? Crossing the Line with Purpose” by Studio Binder:

“The 180 degree rule is a filmmaking guideline for spatial relations between two characters on screen. The 180 rule sets an imaginary axis, or eye line, between two characters or between a character and an object. By keeping the camera on one side of this imaginary axis, the characters maintain the same left/right relationship to each other, keeping the space of the scene orderly and easy to follow.”

“When the camera jumps over the invisible axis, this is known as crossing the line or breaking the line, and it can produce a disorienting and distracting effect on a viewer.”

The Studio Binder article also discusses the uses of the 180 degree rule:

Following the rule will establish orientation.

Breaking the rule will disorient and signal unease.

Bending the rule signals a gradual change in your scene.

Notice that the Studio Binder article speaks about “bending” the 180-degree rule. Examples of “bending” the 180-degree rule are these shots from “Heat” (blockbuster 1995 action movie starring Al Pacino and Robert De Niro) and from “Parasite” by Bong Joon-ho.

(1) “Heat” Oscar-winning movie by Michael Mann:

The character played by Robert De Niro (a big-time bank robber) is in a bar when a woman starts making small talk with him. He is frame left while the woman is frame right. He becomes suspicious about the woman but lightens up a bit later when the woman explains that she has been seeing him in the bookstore. To signify that change in the scene’s mood (aka “beat”), the camera breaks the 180-degree rule or “crosses the line” such that Robert De Niro’s character becomes frame right while the woman becomes frame left.

(2) “Parasite” Oscar-winning movie by Bong Joon-ho:

Mrs. Park is frame left while Jessica is frame right. Jessica tells (deceives) Mrs. Park that her son has artistic talent. The camera moves to show Mrs. Park’s shocked reaction such that Jessica is now frame left while Mrs. Park is now frame right.

Relevant resource: “Breaking the 180 Degree Rule for BETTER Storytelling – Crossing the 180° Line Examples in Movies” (YouTube)

Whenever the director and cinematographer of a movie or drama break the 180-degree rule, they do so to signify a change in “beat.” The article “How to Develop the Story Beats in Your Screenplay” defines what a “beat” is:

“A beat is a division within a scene in which the action takes a different turn, the momentum shifts, and one or more characters adapt to, or change, because of this shift. The end of one story beat and the beginning of another marks the moment that the actor must reevaluate how to portray the character. It’s a point when the character must choose a different approach, or tactic, on the way towards reaching his or her objective. As the word implies, the beat is the pulse of the film—it’s what drives the story forward.”

The article “What is a beat?” states: “In screenplays, a ‘beat’ is the smallest unit of measurement. If a character sits down at a desk and picks up a pencil, that is two beats.”

For more information about “beat,” please surf to “Story Beats: How to Create the Backbone of Your Screenplay” and “Try Our Screenplay Beat Sheet (Free Template)”

Ep. 1: Park Jin and his mage-warriors catch up with Naksu, the Shadow Assassin, at the inn. After he checks that Naksu’s body has the blue spot, one of his men stops a young woman from rushing out of the room. He’s frame right, and the young woman is frame left; as the camera trucks (moves parallel) to the left, he’s momentarily obscured and then becomes frame left.

Ep. 11: Several young blind women are brought into Cheonbugwan’s secret room, where Jin Mu studies who among them best resembles Bu-yeon. As he looks closely at So-i, he’s frame right. The camera trucks (moves parallel) to the left, he then becomes frame left.

Ep. 13: Jang Uk leaves Master Lee and Mu-deok to get the fishing rods; Mu-deok then asks Master Lee about the Golden Fish. Master Lee is frame right, with Mu-deok frame left. As the camera arcs clockwise around Mu-deok, Master Lee becomes frame left while Mu-deok becomes frame right.

Ep. 14: Park Jin rushes to see Jang Uk after Master Heo Yeom tells him that Master Lee is helping Jang Uk reach the Chisu level.

Jang Uk clarifies that Master Lee hasn’t taken him as a disciple but that there’s a reason for helping him. When Park Jin asks what the reason is, Jang Uk says that it’s a family matter. It’s an OTS (over the shoulder shot) of Park Jin who’s frame left while Jang Uk is frame right. The camera moves to the right such that Jang Uk becomes frame left while Park Jin becomes frame right. Jang Uk then says that Park Jin is already aware of it.

Park Jin thinks that Master Lee has revealed to Jang Uk who his real father is.

Ep. 14: Jang Uk continues that what he learned from Master Lee is something he could not turn away from. He then asks Park Jin what he’s going to do about it.

It’s an OTS (over the shoulder shot) of Jang Uk who’s frame left while Park Jin is frame right. The camera moves to the right such that Jang Uk becomes frame right while Park Jin becomes frame left. Jang Uk then asks Park Jin what he’s going to do about Maidservant Kim Do-joo.

Ep. 14: Park Jin investigates Mu-deok’s background by ordering Broker Kim brought to his office in Songrim. He’s frame left, with Broker Kim frame right; Mu-deok is in between them.

As Mu-deok walks towards Park Jin, the camera arcs clockwise; she becomes frame left while Park Jin becomes frame right, with Broker Kim now in between them.

Ep. 14: After meeting and being disappointed with Beom, Crown Prince Won asks Yul if he’s willing to be Jang Uk’s final opponent. To his surprise, Yul says yes.

Crown Prince Won is (almost) frame left with Yul frame right. As he moves, the camera arcs clockwise around Yul; he then becomes frame right while Yul becomes frame left.

Ep. 15: Master Lee meets the King, Queen Seo Ha-Sun, and Crown Prince Won. As Jin Mu arrives and bows to the king, Master Lee, Dang-gu, and Yul are off frame. As the camera trucks (moves parallel) to the right, Master Lee, Dang-gu, and Yul appear on the frame, with Master Lee now between Queen Seo Ha-Sun and Crown Prince Won. (This shot foreshadows Crown Prince Won’s suspicion of and conflict with Queen Seo Ha-Sun.)

Ep. 15 (earlier scene than above): The King is to Dang-gu’s right; as the camera trucks (moves parallel) to the left, he’s now to Dang-gu’s left.

Ep. 15: After having found out that Jang Uk and Mu-deok are in love with each other, Park Jin meets Maidservant Kim Do-joo. Notice that he is to Maidservant Kim Do-joo’s left. As the camera trucks (moves parallel) to the right, he’s now to Maidservant Kim Do-joo’s right.

Ep. 8: Mu-deok looks at her reflection in the Mirror of Longing, with her right hand pressed against its surface; the reflection is to her right. The camera pulls out and arcs clockwise around her; after pushing in and continuing to arc clockwise, the camera then shows her reflection, which is now to her left.

Park Chan-wook’s “Decision to Leave” and its influence on “Alchemy of Souls” and “Little Women”?

Park Chan-wook is the world-famous Korean director of the “Vengeance” trilogy and “The Handmaiden” (2016; starring Kim Tae-ri of “Mr. Sunshine” and “Twenty-Five Twenty-One”). For his 2022 movie “Decision to Leave,” he won the “Best Director” award from the Cannes Film Festival, and the movie was selected as the South Korean entry for the Best International Feature Film at the 95th Academy Awards.

Near the end of “Decision to Leave,” there’s a shot that’s almost like what is called in cinematography as “breaking the 180-degree rule” or “crossing the line.” Police Detective Jang Hae-jun questions a Chinese thug nicknamed “Slappy” about meeting Seo-rae. In the flashback scene, Slappy is frame left while Seo-rae is frame right. In the present day scene, the camera then trucks (moves parallel) to Slappy’s left. As the camera passes Slappy, we then see Detective Hae-jun (instead of Seo-rae). The two shots were stitched together such that the cinematographer seemed to have broken the 180-degree rule.

This shot may have inspired shots from Ep. 6 of “Alchemy of Souls” (Part 1) and Ep. 11 of “Little Women.”

Ep. 6 of “Alchemy of Souls” (Part 1):

Yul and Dang-gu visit Jang Uk and Mu-deok in Danhyanggok. Yul flashes back to one of his happy memories with Naksu. This shot is almost like breaking the 180-degree rule: Naksu is frame right; as the camera trucks (moves parallel) to the left, she becomes obscured, and just when we think that she’ll become frame left, the shot cuts to the adult Yul.

Notice that in the first shot, the teenaged Yul is frame left while the teenaged Naksu is frame right, with both smiling at each other. After the centrally framed shot of the nuts, Yul sweeps away Mu-deok’s hand in anger; he then moves such that he becomes frame left while Mu-deok becomes frame left, and they’re no longer facing each other.

Ep. 11 of “Little Women” with In-kyung and Hwa-young:

A leader of the Bobae Savings Bank scandal victims explains to In-kyung how Hwayoung was different from other victims who merely wanted their money back. In-kyung is frame left and facing the camera, while the leader is frame right. As the camera trucks (moves parallel) to the right, In-kyung disappears from view as she’s obscured by the leader. When the camera completely passes the leader, we see Hwa-young instead of In-kyung and hear her saying that people don’t have free will because they’re controlled by money.

F. “Visual cues” are explained in an excellent series of articles from “My Drama List” by someone with the username “3GGG.”

“Popular Visual Cues found in K-Dramas, Part 1: visual ways to establish a conflict, division, or fight between two or more characters”

“Popular Visual Cues in K-Dramas, Part 2: boxing to establish a character’s vulnerability, solitude, or fear; comfort and respite; change; danger; showdown”

“Popular Visual Cues in K-Dramas, Part 3: Dutch angle”

“Popular Visual Cues in K-Dramas, Part 4 Interpersonal cues (using cues simultaneously or one after another)”

The YT video “The Brilliant Cinematography of Parasite” by Thomas Flight (5:04 mark) shows how director Bong Joon-ho used lines to depict the division between the social classes, between the rich family and the poor family.

Ep. 1: Mudeok watches Jang Uk as he stares at his mother’s portrait. She remembers the rumors that Jang Uk is the result of his mother’s adulterous affair. To depict her doubts about the rumors, she’s boxed in by (1) the window frames, and (2) the tassels of the curtain in the foreground.

Ep. 2: In Sejukwon, Mu-deok schemes to have Park Jin or Master Heo Yeom unblock Jang Uk’s gate of energy by poisoning his tea. Notice that she and Jang Uk are boxed by the wooden posts of the hut; when two or more characters are within the same frame, it could signify either unity or conflict depending on the context.

Ep. 3: In the Jeongjingak library, Jang Uk and Mu-deok bicker over how Mu-deok should approach Yul and get her to know his breathing technique. Notice how the lines of the post depict and reinforce the conflict between them.

Ep: 4: Jang Uk is boxed in by the multiple frames of the arches in the corridor that leads to Jeongjingak’s secret room; Park Jin has just dashed his hopes by saying that he cannot be the next Gwanju because he isn’t Jang Gang's son.

Ep. 5: In Danhyanggok, Mu-deok wakes up the morning after Jang uk tries but fails to fight off Master Lee; she has no memories of the fight whatsoever. Notice that she’s boxed in by the wooden shelf.

Ep. 5: Jin Mu becomes uneasy and feels threatened when Park Jin makes a surprise visit to Cheonbugwan. Notice that he’s boxed in by the posts of the door to the secret room.

Ep. 6: In Danhyanggok, Mu-deok and Jang Uk bicker with each other again, this time over Jang Uk’s refusal to drink the chaste herb tea so that he can train under Master Lee. The wooden post serves as a dividing line that depicts and reinforces their conflict.

Ep. 6: To avoid Jin Mu’s right hand man, Mu-deok agrees to carry for Cho-yeon the box (with the broken yin-and-yang jade) into Jinyowon. Even while they were in Chwiseonru, Mu-deok knew that Cho-yeon will blame her breaking the jade ornament. Notice that she’s boxed in by the door post to depict and reinforce her dilemma.

Ep. 7: Mu-deok stumbles upon the path that leads to Jinyowon’s storage room of sacred relics and artifacts. Notice that she’s shot with a Dutch angle and is boxed in by the frames of the door.

Ep. 8: Yul asks Jang Uk about the binding bracelet that Jang Uk is supposed to be using but which he found on the ground where the soul shifting took place. Notice the bamboo that serves as a dividing line that depicts and reinforces their conflict.

Ep. 12: Yul meets Jang Uk at the courtyard of Jeongjingak and tells him that he has just slashed the soul-shifting Master Kang; as he faced off against Master Kang, he had a vision of Mudeok slowly becoming petrified. He tells Jang Uk that once soul shifters run wild, they will soon be petrified unless they feed off humans; he also says that he, Jang Uk, and the mages have the responsibility to protect the world against soul shifters. But Jang Uk (with Mudeok in mind) contradicts him by saying that they should find ways to help the soul shifters.

As Mudeok arrives, Yul and Jang Uk turn to look at her. The conflict in their views of what to do with soul shifters is depicted and reinforced by the fire pit that’s between them.

Ep. 12: Mu-deok becomes jealous and insecure after meeting Lady Heo Yun-ok, who’s waiting for Jang Uk; she thinks that Lady Heo Yun-ok is the egret that Maidservant Kim Do-joo refered to. Notice that she’s boxed in by the multiple frames and by the lines on the floor to depict and reinforce her emotional and psychological tension.

Ep. 13: On his way to go fishing with Master Lee at Lake Gyeoncheondaeho, Jang Uk sees Mu-deok kneeling and being emotional before the “jesa” (memorial table).

Ep. 14: Crown Prince Won becomes angry with Mu-deok for using him; the duels have enabled Jang Uk to become stronger through learning spells from the mages he has fought against. The pillar of the house behind them serves as a dividing line that depicts and reinforces their conflict.

Ep. 14: Yul wins the duel against Jang Uk, and thus, as Crown Prince Won reminds Mu-deok, she’s now Yul’s servant. The decorative post behind them serves as a dividing line that depicts and reinforces their conflict.

Ep. 14: After her encounter with the three obnoxious mages, Mu-deok chances upon Jang Uk and Lady Heo Yun-ok (who has been subtly pursuing Jang Uk). Notice that the branches form separate frames: Jang Uk and Lady Heo Yun-ok are boxed in within one frame, while Mu-deok is boxed in within another frame.

Ep. 16: In a flashback, the young Jang Uk, Dang-gu, and Yul get into trouble. Their predicament is depicted and reinforced by the frame that boxes them in.

Ep. 19: Dang-gu gives Jang Uk the portrait of his father Jang Gang. He tells Jang Uk that his father sacrificed his life by admitting everything about the Alchemy of Souls and that, to save Jang Uk from any retribution, denied that Jang Uk is his son. The uneasiness in the situation is depicted and reinforced by the wooden posts of the door that box them in.

Ep. 20: Crown Prince Won feels that Mu-deok is mocking him by flattering him about saving her and the others from the barrier caused by the Ice Stone. The wooden post behind them serves as a dividing line that depicts and reinforces their conflict.

Ep. 20: Jin Mu rings the bells to gain control over Mu-deok’s spirit. Notice that Mu-deok is tightly boxed in with the frames created by the wooden posts.

Dutch angle shots as visual cues

In an earlier section, I discussed Dutch angle shots in relation to central framing and symmetrical framing. In those shots, the Dutch angle shots are subtle. But other parts of this drama use dramatic Dutch angle shots as you can see in the GIF below.

In two scenes, this drama also uses 90-degree Dutch angle shots:

Part 1, Ep. 9: Jang Uk regains consciousness after Buyeon rescues him from being soul shifted by Gil-ju.

Part 1, Ep. 17: Master Kang is the soul shifter who took over the body of his young, robust student. He was barely alive when Park Jin, Yul, and their mage-warriors brought him to Sejukwon where he was kept alive by Master Heo Yeom’s medical prowess. He finally regains consciousness as the Ice Stone creates a barrier that traps Jang Uk, Crown Prince Won, Yul, and the others inside Jeongjingak.

To see more examples of Dutch angle shots from movies that are tilted or canted at various degrees, surf to “The Dutch Angle (Vimeo)” by Jacob T. Swinney.

G. Miscellaneous observations: Ep. 7 rack focus shots that are almost like breaking the 180-degree rule or crossing the line; from bilateral symmetry to spherical symmetry in Ep. 9; camera roll; differences in cinematographic lighting in classic historical dramas (“A Jewel in the Palace” and “Dong Yi”) and modern historical dramas (“Kingdom” series, “River Where The Moon Rises,” and “Alchemy of Souls”); some differences between the cinematography of Part 1 and Part 2

1. Ep. 7 rack focus shots that are almost like breaking the 180-degree rule or crossing the line: Mu-deok gets trapped inside the Mirror of Longing in Jinyowon. Jang Uk, Crown Prince Won, Yul, and Dang-gu all arrive in Jinyowon to help her. After Jang Uk brings her out, she meets in succession Dang-gu, Yul, and Crown Prince Won. Notice that each time, the camera trucks (moves parallel) to the right of Mu-deok, and a character approaches and comes into focus. The shot which is almost like breaking the 180-degree rule or crossing the line is that of Crown Prince Won.

2. From bilateral symmetry to spherical symmetry in Ep. 9

Mudeok cries as she sits on the side of the road that leads to Songrim; she has been prohibited from following Jang Uk into Jeongjingak. Her only protection against the pouring rain is Jang Uk’s coat.

In the first bird’s eye view shot, Mu-deok is dead center; the frame can also be subdivided into two equal parts (bilateral symmetry).

From the same bird’s eye view, we can see an umbrella entering the frame and then creating a dead center composition with spherical symmetry.

These shots are simple but stunningly brilliant.

3. Differences in cinematographic lighting in classic historical dramas (“A Jewel in the Palace” and “Dong Yi”) and modern historical dramas (“Kingdom” series, “River Where The Moon Rises,” and “Alchemy of Souls”)

I love the classic historical dramas such as “A Jewel in the Palace” (2003), “Jumong” (2006), “Yi San” (2007), and “Dong Yi“ (2010). But one thing I noticed from these dramas was their unnatural lighting during nighttime scenes. But back in the early 2010s, I didn’t really mind the overlit scenes; in fact, I thought that they were quite normal.

My thinking and appreciation of lighting came about as an adverse reaction to the K-historical movies “Masquerade” (2012; starring Lee Byung-hun and Han Hyo-joo) and “Fatal Encounter” (2014; starring Hyun Bin as King Jeongjo). When I saw some of the nighttime scenes in these movies, I thought that they were too dark. But then I realized that with just candles, lamps, torches, fire pits, or the moon as the source of light during historical times, the scenes looked more natural than the scenes I’ve been used to in the classic historical dramas.

Examples from “A Jewel in the Palace“ and “Dong Yi”:

In this scene from Ep. 3 of “A Jewel in the Palace,” Lady Han and Lady Kim find the young Jang Geum and Yeun-seng locked up inside a room in the Royal Kitchen. The room is dark with no candles, lamps, or torches, with the only light source supposedly being the bright moonlight. When Lady Han and Lady Kim enter the room, Lady Kim carries a small lantern; suddenly the room becomes brightly and evenly lit, with no flickering from the lantern.

In Ep. 11 of “Dong Yi,” King Sukjong (aka Hanseongbu Justice Officer) and his bodyguards rescue Dong Yi from the thugs sent by State Tribunal Officer Oh Yun. The only light source is the moonlight, but as you can see, Dong Yi and King Sukjong are brightly lit; the whole scene looks overlit and unnatural.

After “A Jewel in the Palace,” “Jumong,” and “Dong Yi,” I also watched historical dramas such as “Empress Ki,” “The King’s Doctor” aka “Horse Doctor,” “Jejoongwon,” “Soldier, God of War,” “Chuno, The Slave Hunters,” “Tree With Deep Roots,” and “Six Flying Dragons.” The lighting of the nighttime scenes seems to have improved (more natural, that is) after 2010.

(In one of my earliest posts in the KDRAMA subreddit, I mentioned what is called in cinematography as “day for night.”)

2010 was a pivotal year because that was when digital cameras first begun to be used in Kdramas; “Chuno, The Slave Hunters” was the first K-drama to use a digital camera, that is, the revolutionary Red One camera. (If I remember correctly, “That Winter, the Wind Blows” and “Moon Lovers: Scarlet Heart Ryeo” were the first K-dramas to use the ARRI ALEXA, the topnotch brand of cameras in cinematography.)

With digital cameras, whether for photography or for cinematography, HDR (High Dynamic Range) is an essential feaure. Simply stated, in HDR photography, the camera takes three images and then merges them into one image where the highlights are not blown out and the shadows have details.

(I remember that during my film-based photography days in the late 1980s and early 1990s, I dealt with things such as bracketing exposures, averaging, graduated filters, and dodging/burning during darkroom work. I also remember trying to learn and apply Ansel Adams’s Zone System of photography.)

The pendulum seems to have swung to the other extreme with the “Kingdom” dramas — Seasons 1 and 2 (2019), and “Ashin of the North” (2020). With these dramas, the common complaint of viewers was that they were too dark, making it sometimes almost impossible to see anything. Perhaps, the director and producers of “Kingdom” wanted to have a more natural, uber realistic look for the scenes by minimizing artificial lighting.

The 2021 drama “River Where The Moon Rises” seems to have avoided the objections that were raised against “Kingdom.” But as I remember, RWTMR had a lot of high contrast scenes, especially with backlighted scenes; the lighting setup sometimes still led to some really dark scenes.