OF
ARAMUN
PART 4
DESERVES
THE
DAESANG
AND
INTERNATIONAL
AWARDS
FOR
HIS
TOUR DE
FORCE
ACTING
PERFORMANCE
|
|
 One
cannot but rhapsodize about the pleasure of watching the phenomenal Lee Joon
Gi, a movie and television legend, in The Sword of Aramun, a groundbreaking world-class
High Fantasy television series. Ranked as one of the world’s most formidable
and captivating actors, the mystically fascinating Lee Joon Gi plays dual
roles, Inaishingi, the hero and Saya, his twin brother, the anti-hero. Lee’s stellar
acting performance and jaw-droppingly
stunning action stunts in the war television series have won him many
accolades.
The
charismatic global actor, Lee Joon Gi, is the casting coup of the production
team. If a television production company ever makes a mistake in their
casting, it is irreparable. But Lee has been perfectly cast. His brilliant, versatile and inspiring acting and action performance has firmly engraved Inaishingi
and Saya in the global viewers’ hearts and imagination.
Nobody
can interpret and play the characters of the twins like Lee Joon Gi could,
and none can fill his shoes. Having deftly interpreted his roles, he has
perfectly slipped into both characters who are the very heart and soul of
this High Fantasy television series. The actor has never looked more
stunning, nor played the twins with so much distinction, authority, versatility
or charm. He has impressively expressed the vast range and layers of emotions
that differentiate the identical twins who are polar opposites. One is
heroic, the other, Machiavellian. The actor has provided the spice that the
television series needs. With the subtle nuances in his acting
performance as Inaishingi and Saya and his spectacular action
scenes, he is credited for shaping the romamce-war-action narrative and
driving it forward. Lee Joon Gi’s level of dedication and
passion to his craft is astounding. It was reported that he even rented
lodgings near the filming set and did not go home so as to soak up or be
immersed in the atmosphere of the drama. Lee Joon Gi deserves the Daesang and international awards. So do the other members of the Dream Team who have produced the
groundbreaking television series. Deok-Hyeon
Jeong
Drama
Critic Deok-Hyeon Jeong, calls Lee Joon Gi, ‘an amazing actor’ and The
Sword of Aramun, ‘a work that has sufficient meaning and value in that it
is a work that walks a path that no one has taken .....’
The
critics and media are unstinting in their praise for Lee Joon Gi and the masterpiece drama, The
Sword of Aramun. It can be said that the masterpiece offers a masterclass for
the production of a High Fantasy war television series.
The
Dream Team who has brought the series to life not only includes Lee Joon Gi
but also Shin Sae Kyeong, Jang Dong Gun, Kim Ok Vin; the screenwriters, Kim
Young Hyun and Park Sang Yeon; Director Kim Kwang Sik; Assistant Director, Bae Tae Jong;
Cinematographer and Director of Photography, Choi Chan Ming; the Action
Director, the Wardrobe & Makeup Departments, the Music Department and the
other members of the cast and crew.
   The magic in The
Sword of Aramun begins after the collaboration talks between the Ago Alliance
and the Bato tribe had broken down. There is an explosion of spectacular action in
which the twins meet each other. When Inaishingi was unmasked, Saya was
shocked to confront the mirror image of himself.
After Saya lost the Battle of Hanchoa against Inaishingi, his younger twin brother, the devious Arthdal general called his commander, Mubeck to tell him he had a change of mind and he wanted a secret meeting to be arranged with his brother, the leader of the Ago Alliance. He was full of pretense, when he stressed, ‘Inaishingi isn’t my enemy but Tagon’s. And he is my brother. We should work together.'
When Mubeck met
with Inaishingi, he confirmed the latter’s suspicions that the Arthdal
general he saw from afar was indeed Saya, his identical twin brother. A
meeting was then agreed upon.
The expression Saya
wore told of guile and treachery; evil festered in his mind like a sore; he
secretly arranged to have his brother, the Reincarnation of the god,
Inaishingi, to be killed by one of his men during the arranged meeting. Meanwhile, the
Children of Shahati, White Mountain Tribe’s secret assassin group, were sent
by Queen Taealha to kill Saya.
When Inaishingi
and Saya met face to face, they sized each other up, while walking in a
circle. They were a spitting image of each other. It was as if they were
looking at a mirror. Trying to feel
each other out, they stared intently at the different version of themselves. The reunion is an
amazing scene, not easy to stage and perform. Lee Joon Gi had to act two
roles but he was able to perform the feat effectively and movingly. One is struck
instantly by their differences in facial expressions and body language. Though apprehensive, Inaishingi was sincere in his motives; he had come to resolve their differences in order to work out a collaboration with his twin brother. Inaishingi’s gaze was curious but calm. He was genuinely interested in his long lost brother and he had let his guad down whilst Saya, who having descended into his dark side, was tense and on his guard. He wore a dark, grim and antagonistic expression. Jealous. Resentful. Embittered. Enraged. Imagine, he was going for the jugular. Saya’s mane of
hair, which was straight and long, was allowed to fall alluringly past his
shoulders whilst Inaishingi’s hair was tied up in a captivating
ponytail, similar to the tail of his divine horse, Kanmoreu. Their DNA bound
them together, but separated at birth, their environment tore them apart. Their
characters and personalities differed. A discussion of Nature versus Nurture
would be interesting.
Distant memories
were surfacing; they talked about their past dreams of each other and their
childhood years. They seemed to gradually lose the strangeness of meeting for
the first time. The walls that separated them seemed to melt. Warming up to
each other, they were able to smile and laugh.
Saya, who was
embittered by his life, had been trapped like a bird in a cage in a small
room, with tiny windows which were high up in the Fortress of Fire. Only
access to the library, where he broadened his knowledge, freed him from the
bitter constraints of his walled existence. He had wept silent tears.   
Shackled by his
entrenched prejudice and naïve beliefs, he assumed Inaishingi had lived happily
with unlimited freedom. He was overwhelmed by the thought of his brother’s
wild and carefree life communing with nature every day. Contrary to his
beliefs, his brother’s life was not all rainbows and unicorns. He was fully
unaware of his younger brother’s trials and tribulations while rising to
become the leader of the Ago Alliance of 30 disparate warring tribes. When they shared
their intimate thoughts on Saya’s trapped life, the twins seemed to be enjoying
their brotherly bonding and Saya seemed to have lost his antagonism. 
Inaishingi then
encouraged Saya to join the Ago Union to fight against Tagon. He touched on
the sensitive issue of Saya’s defeat in the war. Despite bristling at the
insult, Saya laughed uproariously.
Then, amid the
discord, Inaishingi broke the tension by mentioning that their mother cried
copious tears for him and had given him a name. The realization that he was
loved, made the cold, detached and hard-hearted Saya vulnerable. He was
missed by his mother.
  Tears welled up in
his eyes. Although Inaishingi did not manage to tell him his name, the
audience knows that it is ‘Geumha’. Eun Seom (Inaishingi) and Geumha. It was perhaps this
moment that Saya’s inner real self comes to the fore. It is more important
than the outer self, a shell that masked the unconscious, the real self.
  The audience blink in sympathy, or even empathy at the moving scene.
The scene was
disrupted when members of The Children of Shahati tried to kill Saya.
Saya, filled with
dread, knew that the mind-controlled and zombie-like secret assassins were
extremely dangerous. As the killer charged at them, a crescent knife was
whipped out. Saya, who didn’t
want his brother to be harmed, urged him to flee. ‘Eun Seom, run!’ The
older brother was not hollow of heart and soul after all. The lines of
heroism and villainy were blurred at that moment. Saya, the villainous
sibling, had turned hero. Inaishingi also urged his twin to escape. One member of the Children of
Sahati had set fire to the place and unfortunately, the twins were rendered unconscious by the heavy smoke.
 
The fire spread.
The locked doors prevented the siblings from escaping from the clouds of
toxic fumes. Mubeck saw the fire in the nick of time. Despite being badly
injured by the assassins, Mubeck managed to save the twins but the lives of
the twins were changed by the incident.
Lee Joon Gi has deftly crafted an admirable hero, and also a sympathetic villian-turned-hero with a flawed character, one with a heart and soul that have stolen the viewers’ hearts. Inaishingi and Saya have captivated and moved the audience.
 
Lee Joon Gi's emotional acting and awesome performance in which he displays a vast range of emotions in his dual roles as the identical twins, Inaishingi and Saya who reunited for the second time, has set him apart from other actors. The intensity, passion and beauty of Lee’s performance has communicated itself in the touching scene to the global audience and critics. Those who cannot help but dissect the source of Lee's irresistible allure will find the answers in his sterling acting performance in many scenes and segments of the tale which capture Saya’s complexity as a human being, Inaishingi’s maturity as a leader and the forces that have shaped their personalities and characters.    In another major scene, Lee Joon Gi displays his versatility again in his dual roles with his magnificent portrayal of the twins. He is able to switch from one twin to the other seamlessly. Lee's interpretation of his roles and his sterling performance pull you into the story. With his demeanour, body language, facial expressions and subtle nuances, the audience can immediately distinguish between Inaishingi with his heroic confidence, and Saya, his more complex, emotionally fragile and vulnerable older brother. Lee, an ICON for Korean television dramas, has made the twins, Inashingi and Saya, icons too.
Impersonating Inaishingi, Saya had headed the Ago Alliance expedition to capture the weapons of the Arthdal soldiers. They were compelled to live the life of the other and pretend to be each other after the fire. But unaccustomed to the devious war tactics and strategies, Saya fell prey to the enemy. The two brothers are compared and contrasted. The twins, by a twist of fate, had exchanged their lives. Even though the identical twins wore the military attire of the other and had their hair coiffured differently, the audience can immediately differentiate the two brothers by their eye energy and intensity, facial expressions and body language. Viewers cannot but be impressed and stirred by Lee Joon Gi’s magnificent portrayal of the dual characters. The
interaction between the twins in the pine forest is filmed like a verbal
battle, with shot and counter shot of their faces. Some may see it as a dog
fight. For the most part, Saya proved to be more voluble while Inaishingi’s
response was restrained as he was the listener. The
dialogue is imbued with malice, resentment, sarcasm and animosity on Saya’s
part. Saya, the older twin, with fire in his eyes, is hellbent on criticizing
his younger brother. His censure is not oblique but direct. None can accuse Inaishingi
of being unprepared for the venomous attack in which he was maligned as an
irresponsible leader.  In the sequence, one twin had a commanding presence. Charismatic and imbued with an aura of confidence, Inaishingi was perfectly aware of his mission in life. The other, was a just a whining, clueless vagabond. Saya, despite being a voluble and fierce orator with a spellbinding delivery, proved to be immature, volatile and vulnerable.
Lee
portrays Inaishingi as a calm, confident, dignified and seasoned leader with
intelligence, and a sense of humour and wit.
That
beautiful, awesome scene of the identical twins, which must have been
difficult to film and edit, is wonderfully staged. It is a moving experience
for the audience.
At the beginning of the sequence, the viewers watch in excitement as the tall commanding figure dressed in the suit of armour of the Arthdal army, with his regal back facing the audience, lifted off his helmet and turned slowly and intriguingly to face Saya. He turned out to be Inaishingi, the younger twin. It was a tense and intense moment. There must have been gasps all round. It was a major plot twist in the story. Inaishingi had a slight look of condescension and pity on his face. Saya, the older twin, had tripped and fallen. His face was amazingly telling; it was plastered with a stunned, pathetic, defeated expression. Trapped, he was convinced his world has collapsed like a house of cards. The identical twin brothers were worlds apart. The
triumphant Inaishingi seemed to have sighed. He must have fretted over his
clueless elder brother. But, the seasoned and wise warrior understood the
heart and soul of his misunderstood older brother.  That
moment of the reunion of the twins, the legendary Inaishingi and the
vulnerable Arthdal general, was indeed a deeply touching moment.
 Saya,
defeated again, looked embarrassed, with his eyes simmering with resentment
and insecurity when Inaishingi turned and stared at him. The amazing
music makes the atmosphere even more exciting.
Inaishingi looked tall, straight and
majestic like the pine trees in the forest as he walked towards the fallen Saya who was leaning precariously and
helplessly on the huge boulder for support. It looked as if he might collapse
at any minute. Inashingi stopped a step short of Saya and held out a hand – a hand of reconciliation. Saya glanced at him questioningly. Beset by guilt, Saya was embarrassed. He had planned to have his brother killed before the fire, so he was wary of his twin. The older twin had been plagued by insecurities and loneliness all his life; he had been smothered by the confining walls of The Fortress of Fire. None was friendly towards him and he trusted no one.
There
was a fleeting moment when the duo were differentiated by their white or
black attire. The seemingly ‘light coloured’ war attire of Ago contrasted
with the seemingly ‘dark’ Arthdal suit of armour.
 
One is
startled by the Lichtenberg Figures on the hand of Inaishingi, so was Saya.
 
At the
sight of his lightning-marked hand, Saya instinctively recoiled. Upon looking
up at his brother’s calm face, despite his anger, he grasped the proffered
hand and was pulled up. Meanwhile, Dalsae had removed his helmet to reveal
his face.
Then we
hear the twins speak. It was oratory at its best. Both delivered their lines
eloquently. One was voluble and impressive, the other, though reticent,
delivered his punchlines at the most crucial moments. Inaishingi
rebuked Saya for complicating everything. It would easier for him to kill the
latter there and then, so that the future would not be so messy. It was ironic
that Saya had similar sentiments.
The
younger brother asked for a reason why the older twin shouldn’t be killed.
However,
Inaishingi had never, even in his wildest moments, thought of killing his
twin. His brother figured importantly in the 'divine prophecy' and his grand
plan to defeat Tagon and Arthdal. Inaishingi,
a broad smile crossing his face, mocked, ‘You’re a leader of the
enemy, you took my place while I was gone and fooled us, the Ago Alliance.
You must be feeling proud for winning once.’
It
seemed a verbal warfare was about to begin. Bitter sibling rivalry manifested
itself. At that moment, Inaishingi was in control and had the upper hand. One
would have imagined that Saya would be overwhelmingly congenial but no, he
was not. Saya
sarcastically responded, ‘You get lucky if you take over Molabeol
Castle. Then Arthdal will send more troops, more soldiers and more powerful
weapons.’
Saya was
all fired up and started on his prickly rants. One is
startled by his moralising; he was actually preaching morality. The audience
had no prior impression of him being a moral compass in his life. As he
continued spelling out what the future war would mean, his face became more
animated and his eyes crinkled up.
He was
downright scary and venomous; he was merciless and vicious in his attack on
his younger brother. Snarling like a tiger with his lips curlled, he
screamed: ‘The
blood of thousands of the Ago Union will flow. Only then, you would realise
that you led all of them to their deaths.’ The
audience are thankful they are spared listening to the gory details. They
could see that Inaishingi, who was being belittled, was slightly disconcerted
by his dire prediction. Inaishingi
taunted him. Although he was neither prone to tooting his horns nor touting
his outstanding military records, he declared with pride and confidence in
his voice, ‘We won. We will continue to win.’
Spurred
by Inaishingi’s triumphant tone, Saya quickly cast aspersions on Ago’s
perceived strength, ‘Your bronze swords came from Arthdal. After a
few more fights, half will become useless.’
This Eun
Seom knew too well after being enlightened by Yeolson about the iron swords.
It was nothing new to him. Saya’s
criticisms rained down on his twin. It was a war of attrition. Thrashing out
at him, he addressed the problem of weapons, saying that the Ago warriors
couldn’t even make or fix bronze swords, what more produce iron swords. Saya’s
outburst was a cathartic response; it was the anger and pent-up emotions of
the loser and the loner. Inaishingi
had already understood the eventuality of being the underdog in the future
wars. Even if they were armed with a passionate fighting spirit, it was
impossible to challenge Arthdal’s iron swords. At this point, he did not
offer an opinion. With his
maturity as a seasoned warrior and fighter, he possessed the power to see,
think and analyze clearly. Feigning ignorance, Inaishingi urged his
older twin to spill out his thoughts. It
seemed the belligerent Saya had done his research meticulously. With his
incisive reasoning, he could analyse the events that had shaped the wars in the Arth continent. The knowledge from his reading of a wide range materials in the Great Library in Arthdal came to his aid. He sneered at the Ago soldiers. He did all in his
power to dissect the success of the Ago army in the war against Arthdal. ‘Willpower?
Desperation? The divine power of Inaishingi?’
    Saya
also seized on the issue of the strange horse, Kanmoreu, the legendary horse
of Aramun Haesulla. He pooh-poohed the idea that it could solve
everything. Was it an attempt on his part to undermine Inashingi’s confidence?
‘What’s more,
Arthdal will be armed with iron swords soon!’ Inaishingi
had advance intelligence on that issue. Disparaging their war victory on the
plains of Hanchao, as pure luck, he implied Lady Luck may not be on their
side the next time around.
 Saya
again predicted that Ago was going to lose; he censured his brother for
giving his people hope and making them believe that he would be victorious.
 Jealousy
seemed to have reared its ugly head. Bitterness seeped into Saya’s voice.
Taking insolent pleasure in serving up sweeping statements and slander, he
tried to ruin Inaishingi’s integrity and reputation as a leader by calling him
a ‘gosal’ or vengeful spirit.
‘You
receive endless praise and love from the children of Ago.’ The
children, it seemed, did not know that Inashingi was the gosal or
vengeful spirit that will lead them to their deaths.
This
conjures up the story of The Pied Piper of Hamelin who led children to their deaths.
Inaishingi, likened to The Pied Piper, attracted people through his charisma
or false promises and led them to their deaths. Inashingi may be driven by a sense of divine mission but a violent war would bring
devastation to the continent of Arth. Ago
would reel under the onslaught of the unprecedented ferocity of the Arthdal
army who would soon be armed with iron swords. He could foresee that the Arthdal
soldiers would pour forth like devils to bring terrible devastation. The Arth
world would undergo a metamorphosis; the Ago Alliance will be slaughtered and
disintegrate. And Inashingi would not only be responsible, he would also be
accountable.
The
Arthdal general seemed to be arguing that a combination of outstanding
leadership, exceptional courage, a divine mission and a divine horse would
not win them the war. Saya’s
eyebrows arched in tandem with his rhetorical questions. ‘Is your
life so great?’ Then, the positively garrulous older twin shouted, ‘Is
your life worth so many people’s lives?’
  Saya’s
fiery and mesmerizing speech was so passionate that he lost himself in it.
His oratory was so emotional that it had reduced himself, not Inaishingi, to
tears. There seemed nothing artificial about him at that point. One could see
the tears flowing down his cheeks. Perhaps, it’s a sign of his
sincerity. Inaishingi’s
eyes were smiling. He seemed to have a wicked sense of humour. He could
sense that his brother sympathised with the plight of the Ago people. ‘You really are like Inaishingi!’ Inaishingi praised his brother as he was impressed by his oratory. He was not scorning him. He meant every word he said. In the short time that Saya had impersonated him, he treated the lives of people with great seriousness. His passion could be the wellspring for his transformation.
The
sermon on the weakness of Ago might have thrown the audience off-guard. But
not Inaishingi. The hot-headed Saya was in stark contrast to the cool, calm
and collected Inaishingi. One can imagine
Saya’s agonizing developmental years and the mental anguish as the unloved
adopted son who was isolated in a threatening environment. As an outsider, he
had been struggling to win acceptance and recognition. Inaishingi
suddenly came to life. He moved round Saya in a circular fashion. As he
circled his brother, he analyzed and speculated on what Saya had experienced
as the fake Inaishingi.  
It basically boiled down to the fact that Saya, over a period of time with the Ago people, had grown to love his role. Inaishingi pointed out that Saya was praised by people, was excited by their expectations and touched by the children’s love. He wanted to be cherished and loved; he had received extraordinarily deferential treatment as Inaishingi.
In
Arthdal, Saya was of no consequence. He was a pitiful figure who was unloved
and unappreciated by those around him.
Inaishingi
had a profound psychological understanding of his older brother, as he, in
his switched position, had also
experienced his life in Arthdal. There seemed to be a slight twinkle in his
eye when he spoke of his experiences in arthdal.
Shaken
and humiliated by the stark truth which was pointed out to him, Saya was
enraged. The
tempestuous Saya, a volatile character, raised his sword, so did Dalsae, who
was by the sidelines.
Finally,
with a ghost of a smile, Saya proposed an alliance with Inaishingi so that his
younger brother could win the war against Tagon. It was a tactic to survive but it was a
humiliating one.
Inaishingi
understood Saya wanted something out of their collaboration. He did not want
to begrudge his brother his share of the glory. It was a life defining decision
for Saya; it would make a difference in his life. This
scene ignites a feeling of warmth and sympathy for the brothers.
   In Lee
Joon Gi’s scenes with Shin Sae Kyeong who plays Tanya, Inaishingi is
absolutely romantic and beyond captivating. It puts viewers in a romantic
mood. Those people who have lost or have negligible romance in their lives must be in love with
‘love’ once more after watching the scene.
Inaishingi found himself playing the role of Saya, his twin brother, after the fire that nearly took their lives. When he met Tanya again in Arthdal, Inaishingi and Tanya have been apart for more than 8 years, he, as the leader of the Ago Alliance in the East, and she, as the High Priest in Arthdal in the west. It was a very thrilling surprise to see her face to face with Inaishingi. She, a goddess who was ethereally beautiful with her alabaster skin, all dressed in white. Beautiful. Feminine. Dignified. Demure. Detached. Cold.
His face
expressed what his heart felt; it must have been hammering like a slegehammer;
his eyes show the yearning to hold her in his arms.
 His
disappointment revealed in his eyes when she showed no signs of recognition. She,
even with her special psychic powers, had no inkling of who he was. Probably,
she was saddened by the news of the fire that had endangered the lives of the
twins. ‘Saya’ was saved but what about ‘Inaishingi’, her beloved? Was he
dead? Tanya
was distracted. Detached and passive, she was like a lily in a lily pond. His
raging hormones were telling on him. Hypnotized and mesmerized, he continued
to stare at her. Inaishingi was not often at a loss for words but at that
moment, he couldn’t muster any words to express himself. Time
stood still for a moment. Both stood gazing at each other as if torn apart by
the sword-like monument in the background. Both were the reincarnation of
gods or holy beings. Eun Seom, the reincarnation of the god, Inaishingi and
Tanya, the reincarnation of Asas Sin. They looked regal; their bearing,
noble.
It seemed to him the world around them had disappeared. Only the two of them
existed. A pool of emotions overwhelmed him. He had missed her
badly.
The
feelings which he held restrained now flooded his face.
Throwing
caution to the winds, he held her tight for several moments. To her
astonishment and consternation, he started sobbing unashamedly. The
floodgates were opened and tears coursed down his cheeks.
Inaishingi
wanted nothing more than hold her in his arms. He couldn’t help himself. It is
incredulously moving to watch Lee Joon Gi play a raw version of the
character. He seems to have access to his deep emotions in this scene.  She, ever
the calm, cool and collected High Priest who was never unnerved, looked
speechless for a moment. She advised him softly in her quiet, steady voice,
to gather his composure. Only when she advised, ‘Saya, don’t do this’ did he realise that he had totally lost control of himself. Detaching
himself from her, he stared at her and wondered if he was still
special to her. Why didn’t she recognize him? That particular thought left
him subdued, remote and unhappy. He suddenly turned cold.
 Inaishingi decided to test her. Mischief glittered in his eyes.
He
wanted her to show him - her love and solidarity with him. Stepping up
the wide staircase to the great hall, he smilingly turned to face her. 
Cheekily,
he teased, ‘The world is fun. It must be some kind of an illness.’
When she
gasped, his eyes turned a bit cold. She was utterly confused and wondered if
he had faulted her for not recognizing him. Their conversation ended
abruptly. Catching
up with him, she stared curiously at him. It was his turn to be impassive and
distant. She had a glimpse of his serious demeanour. Staring ahead, he
seemed: Stiff. Remote. Indifferent. Unapproachable. But, none can
deny Lee Joon Gi and Shin Sae Kyeong's obvious chemistry.   
The love
between Inaishingi and Tanya is tested when Tanya becomes Tagon’s sacrificial
lamb in the conflict between Inaishingi and the king of Arthdal in the
penultimate episode. From
Tagon’s perspective, Arthdal had already been defeated by Inaishingi in the
forest fire. The Ago army was on the doorstep of Arthdal which was on the brink of
takeover by the Ago leader. To blackmail Inaishingi into surrendering, the heinous Tagon tied Tanya, the High Priest to a pole on top of the wall of Arthdal. The audience recoil in horror when some Wahan men, including Yeolson, Tanya’s father, were pushed off the wall as a warning to Inaishingi.
The
gamut of emotions expressed by the sterling actors, Lee Joon Gi and Shin Sae
Kyeong has the viewers in tears. The powerful chemistry between the actors is
unmistakable in the heart-pounding and heartrending romantic scene. In the
grim reality of the situation, Inaishingi is tense, and despondent. The High
Priest is one of the great beauties of her day. It was at that moment that
the viewers realised how beautiful Tanya really is. Her ethereal loveliness
takes everybody’s breath away.
When he
saw Tanya, Inaishingi panicked; he was alarmed and distressed. The bottom
seemed to have dropped out of his world; the look on his face shows that his
heart must have stopped and then started again. When it did, the great fear
that gripped him must have torn him apart. It was a heart-breaking moment
which brings tears to the eyes of the audience. Crippled
by his cold fear; his facial expression shows that his insides must have
lurched.   There is
this unspoken connection between them; they are soulmates. A god with
superhuman powers, she uses her psychic powers to speak to him. Standing
on top of the high city walls, she could see him seated on his stallion on
Arthdal’s doorsteps. Though they were a distance apart from each other, she
gazed lovingly at him. To her,
her beloved Ago leader was an impressive figure. She spoke lovingly and
movingly to the Ago leader, ‘Eun Seom, from here, you look amazing.’ He was
indeed a handsome man. What she meant was: his handsome looks and the striking
demeanour and noble bearing of a king make him stand out even among his
warriors. He looked magnificent. His
emotional turmoil spilled out of him. His eyes looked at her through a mist
of tears which streamed down his cheeks. His raw emotions overwhelmed him; he wasn't able to think
clearly. Her
calmness and courage surprised him. Her flimsy words also startled him, 'Is
that what you're saying right now?' She, a lady
with spirit, finally admitted in no uncertain terms that she is a god. 'Of
course, I’m the great reincarnation of Asa Sin, the god of Arthdal.’ When she firmly stated, ‘Eun Seom, gods have their own paths. Inaishiingi should follow Inaishingi’s path.'
'Do you
understand?’  Her eyes
were bright with unshed tears. She was fighting back without flinching. He must
have shuddered at the thought of her impending death. The light seemed
to have left his eyes.
It is a
tearful scene which makes everyone choke. One can understand why Lee Joon Gi is considered the most romantic hero in many television series. He makes our hearts palpitate. Shin Sae Kyeong’s tears
make her even more beautiful. The
scene shows that they have perfect chemistry. Both make us cry. This is a
great acting performance.
   In a scene in which Tagon pretended to be mad, Lee Joon Gi’s silent acting is juxtaposed with Jang Dong Gun’s loud acting. Lee's facial expression and body language show that he is a master of subtlety and nuance; he is able to use physical expression to great effect. Saya’s silence is eloquent. His wide variety of emotions are communicated by his exquisitely nuanced eye and facial expressions, movements and body language. As the king rants and raves, the camera records Saya’s most intimate nuances of emotion and thought. Saya’s face is a combination of fear, confusion, alarm, dismay, anxiety, distress and concern. What Saya does not understand, he fears. What Saya conceals is more important than what the king reveals. Upon seeing that Tagon is all worked up, Saya finally kneels to the delight of the king. The multiple international-awarded actor, Lee Joon Gi’s sterling acting performance is evidenced by his ability to inscribe his emotions in the silent images he makes. It is no wonder Lee is globally loved and respected as an actor and artiste.
After his second reunion with Inaishingi, his twin brother, Saya returned from Molabeol Castle much to the shock of the king and the consternation of the palace officials.
Tagon, who had been proven wrong about Saya being dead, was unperturbed. Neither was he embarrassed. He was determined to further stain the queen’s reputation.
Tagon had killed traitors or opponents to make examples of them. It was the prerogative of the ruthless king to mete out the Daeyok Punishment or Hell Punishment to Chobal, the minister who had opposed him.
It seemed those who oppose Tagon would only understand if and when the king himself explained something visually. The butchering of rebels right before their very eyes made them understand immediately his ruthlessness. Chobal was killed with a hood or sackcloth thrown over his head and with hands tied to his back. When the command to kill was made, the vicious blade parted Chobal’s body and the old man slumped forward. The burst of blood made everyone, including Saya, pale. The rage might have risen within Saya but he kept his restraint. Those in the audience might have felt faint with fright. It was a brutal display of power.
It was then that the audience realized that real Evil existed. The people of Athdal were terrorized. It was the beginning of The Reign of Terror by the brutal despot. The lesson is clear. You cannot negotiate with evil. The ministers or soldiers had been killed because of opposing views.
The king announced that he had prepared something for Saya. Saya waited in dread and trepidation, fearful of what horror he might have to witness next.
 Those who wouldn’t acknowledge the king’s sacred purple blood given by the god, Airuju would be decimated and torn from limb to limb. The king pointed out that Saya had previously suggested the slaughter of men who didn’t acknowledge their purple blood.   In private, Saya had an opportunity to look Evil in the face, at close quarters. Tagon was not out of touch with reality.
  While Tagon is loquacious, Saya is quiet. Was the wily king crazy or not crazy? At first, it seemed difficult to tell.  
In fact, the king was quite sane and in control of his senses; he even checked Saya’s hand to confirm that he was truly Saya and not his benetbeot brother, Inaishingi, who had been slashed on his left hand when they were pushing up the statue of the god, Mihae during the battle at Ttesarichon.
The
scene is striking; it is a beautiful high contrast of white / grey and black
colours. Good versus Evil. Saya is highlighted and Tagon in the shadows in a
semi-darkened room. The morning sunlight casts shadows onto the floor. The
highlighted areas provide texture and pattern in this picture.
It seemed
that the hypocritical king had realised his mistake of not trusting
Saya. ‘I should have embraced you from the start. I should’ve trusted
you and listened to you.’ He hugged Saya tightly but the other was
full of hatred for him because he had set Taealha on him. 
Tagon
launched into a tirade of sorts; he ranted and raved. Bewildered,
Saya was rendered speechless. Disoriented by the king’s fury, he could not
hazard a guess about the state of mind of Tagon.
Tagon
placed his mouth next to Saya’s ear, ‘On the day the zelkova tree was
revealed, Airuju himself told me, his son and Aramun, to kill everyone who
resists the divine blood.’ His
comments were met with stony silence. The bloodthirsty Tagon was taking punishment
to absurd extremes. He had become, without rival, the most evil person in
Arthdal. Saya was alarmed.
A range
of emotions, like a succession of waves, rippled across Saya's features as
the king raged on and on. Fear. Confusion. Dismay. Anxiety. Distress.
Concern. Lee Joon Gi’s mastery of his craft is amazing. Madness
seemed to be manifesting itself. The power-crazy Tagon would stop at nothing
in his quest for power. He would lay waste to the lives of everyone who
opposed him. ‘Have you heard the rumour I have gone crazy?’
Tagon
shouted, ‘I’m pretending to be crazy because I need to.’ He
had to ferret out those who despised Igutus. But the chaos amidst carnage of
people killed by the king was enough proof that he had gone half mad. Mentally
disturbed people would not admit they are crazy. Tagon
stared at something at the window, seemingly, his dead father.
Saya studied him. Was he pretending to be mad? There was an undercurrent that Saya couldn’t pinpoint. It would be reckless to make the wrong move and so, he shrewdly fell to his knees. ‘Why,
are you surprised? You can’t tell, can you? It is confusing, is it? Am I
really crazy or am I pretending to be crazy?’ Tagon
was not a person to be trifled with.    Lee Joon Gi’s powerful portrayal of Saya's heart-wrenching dying scene is nerve-wracking to watch. It is unforgettable. Saya, a lost soul, would be a hero if and when he overcame his evil inclinations. Tagon and Taealha were courageous but they were certainly not heroic; they were wicked power-hungry villains.  Courage
is an important component of heroism; the heroic
is always courageous, be it physical or moral. The threat of
physical pain or death tests courage. But the courageous is not always
heroic; courage can be bought for money or can be generated by self-interest,
desire for power and reputation. Though
Saya was proud and egoistic, he was not evil. He may have made some wrong
choices due to his lonely upbringing but he was not a bad person. In fact, he was
courageous. In the scene when he was threatened with death, he did not hesitate. Either he
killed Tanya, the High Priestess, or drank the poison offered to him. Saya
was heroic; he courageously chose death. He would not preserve his
life by destroying another life. Tagon,
when ferreting out his enemies, was able to trick traitors into showing their
true colours. Saya, who had plotted to dethrone him, was brought before the
king who had a succulent feast laid out. In one
image in the carefully staged scene, Tagon seemed to have grown 2 truncated
horns on his head.
 Although
in pretty bad shape, the dishevelled Saya was proud and steady in his
footsteps as he stepped forward to face Tagon. The weary and gaunt Saya
seemed to have lost some sleep; he looked haggard and dejected. Failing to overthrow and depose of the evil king, a
feeling of gloom had shadowed him.
 Seated
in front of the king, a bottle of poison was delivered to him to drink. The
king had previously snatched the precious poison from the queen. A sword was
placed in front of him.
The
bloodthirsty king assumed that the poison was Bichwisan. He coldly
presented two options to Saya: Death or Kill Tanya, the High Priest. The
choice was his to make. If he consented to kill Tanya with the sword, the
king would allow him to escape to a faraway place. Tagon would not dirty his
hands with the murder of the High Priest who had endorsed him as king. Saya
chose without hesitation.
   ‘If you
thought that was difficult for me, you really don’t know me.’ With a
face full of suppressed anger, he stabbed the sword into the table and drank
the poison not aware that it was the Mahasin poison, not
the Bichwisan poison.
Mahasin had
the effect of making the victim look dead but the victim would recover from
the effects not long after. Bichwisan caused immediate death.
The
insides of the audience must have lurched. It was a dreadful, wretched,
gloomy scene too horrible to watch. Disheartening. The excruciating pain
twisted Saya's face. He blamed the king for having brought him back to
Arthdal as a baby. The
viewers’ hearts must have sunk to watch tears springing from his eyes. ‘If you
didn’t bring me here …. You’re a fake. No, we’re all fakes. You are Aramun
Haesulla and I wanted to be your heir. We are both fake.’
The
ruthless Tagon agreed that they were all fake. They were all ‘legends’. Tagon
was detached, callous and heartless. He seemed to to have no feelings. He
made no move to stop Saya as he watched him drink the poison.
 ‘No,
it’s not a legend.’ Saya
remembered the Lichtenberg Figures on his brother’s hand. ‘The real one is
coming. .. the Real Aramun.’ As he
struggled to speak, black liquid poured forth from his mouth. Collapsing on
the floor, he warned, ‘You must have heard of Inashingi riding
Kanmoreu.’ Tagon interjected that it was not Kanmoreu.
‘I might
die here like this but you will die at my hands.’ He stared at Tagon with
hatred in his eyes. ‘Remember my face.’ He
choked on the poison with his last breath.
The
viewers are aghast and sad at the dying scene; their stomachs must have
twisted with nerves that Saya had to die so pitifully at the hands of Tagon,
the vengeful gosal.
It was
fortunate that Tagon was vengeful and merciless in forbidding a funeral for
Saya. 'His corpse was to be openly discarded so that wild rats could
eat his eyes and crows could peck at his heart. His body would rot away
slowly.' Saya would soon be saved from Tagon's cruelty and ruthlessness.   In one battle scene Tagon had surrounded Achi Hill, and the Ago Alliance army had been trapped. It was almost impossible
to extricate themselves unless they found a way to win the war.
The Ago warriors knew that they were
completely surrounded. Prolonged warfare could be disastrous for them. The
master stategist, Sun Tzu wrote 2,500 years in The Art of War, ‘Victory
is the main object in war …….. History has shown there has never been a
country benefiting from prolonged warfare.’ Tagon sent Yeonbal, the Arthdal commander,
to be his messenger. Yeonbal’s message was Tagon had cut off all
waterways to Achi Hill. The Ago warriors might not have noticed it now but this
vital piece of information was a diplomatic gesture. The Ago Alliance were the masters of
the forests but could they live without water? Tagon wished to meet Inaishingi the next day at
sunset. Inaishingi knew Tagon wanted something from them.
 
A negotiation table had been set up under an
open tent. It was psychological warfare right from the
start. It was obvious that Tagon’s seat was set up to be slightly higher so that
he could look down and dominate Inaishingi in the negotiations. It was aimed to put him at a disadvantage. Tagon would be using paychology to
demoralise the younger leader and to wear him down. Intent on toying with Inaishingi’s emotions,
Tagon’s first words were, ‘There is no doubt that you look so alike.’ Inaishingi had wrongly thought Tagon was
comparing him with Saya. Instead, the king was comparing him with Ragaz, their
father.
What Tagon was about to say would be
crushing to Inaishingi. He narrated the story of Ragaz, the Neanthal, who had
died at his hands during The Great Hunt. Tagon had nearly annihilated the
whole race of the Neanthals. Ragaz, a great hunter and hero, fought and
terrorized the Daekan soldiers until the day he died. Countless soldiers
under Tagon’s command died at his hands.
The crunch came at the right moment. Tagon revealed that the Neanthal was his father. It was a great tactic to weaken the Ago leader psychologically. Psychological warfare at close quarters had been launched against Inaishingi.
The confident Inaishingi can be seen
faltering; he was emotionally affected. The piece of personal information had
impacted him; his mouth trembled and his eyes teared up. Tagon intensified the blow. To make him feel
small, he stressed that Ragaz, a great warrior, was way much better than him,
Inaishingi.
Ignoring his barbed insult, Inaishingi
wanted to know what had happened to his father. Tagon couldn’t suppress his
mirth and mockery. The other man looked confused. Tagon dramatically drew a graphic picture of
Ragaz’s last moments. Then, he added the ultimate pulverizing revelation in
full measure. The slick and overconfident Tagon
triumphantly boasted, ‘I shot his neck with an arrow. Dozens of
Daekan warriors rushed to him immediately and hacked at him with all their
might. Clear blue blood spewed out like waterfall. It’s vivid although it
happened a long time ago.’
Tagon held the ace card in his hand. He was
exploiting a weakness in human nature with his gruesome details. Emotions and
feelings were vulnerable to suggestions.
https://www.youtube.com/watch?v=tFS-4QZC54w&ab_channel=Leejoongi_globalfans It seemed for a moment Inaishingi’s
confidence was swayed and his emotions had gripped him so tight that he
almost suffocated. He was devastated and motified at the horror of his
father’s last moments. The graphic details of his father’s death made him sick.
He seemed to be falling apart. A sadness
that was pervasive hung around him; he sobbed quietly as the full impact of
the slaughter of his father sunk in. One heroic and super strong Neanthal
warrior against so many of Arthdal’s elite Daekan soldiers. Smiling maliciously, the cruel Tagon sighed
with a tinge of cruelty in his voice, ‘It was unspeakably miserable.’
What would the great Sun Tzu say? He would
admonished him for being boastful. Humility was important. True cleverness or
bravery should be concealed lest his enemy get to know of his capability. When Inaishingi lifted his head, the viewers
knew that his momentary mourning was over. He could have been sucked into an
abyss of despair but he had a grip on his emotions showing how emotionally
intelligent he was. From Tagon’s words, Inaishingi could ascertain the king’s own vulnerability. The IQ of the Ago chief was intact. Though
he was emotionally beaten up and pain filled his eyes, the knowledgeable Ago
leader had his wits about him. His defiant and nasty rejoinder stung Tagon
like a swarm of angry bees. His defiant and nasty rejoinder stung Tagon
like a swarm of angry bees, ‘I’m sure it wasn’t as miserable a death
as your father, Sanung, who was killed by his own son. Since you witnessed
both, think about it. Whose death was more miserable?’ Shaken by the bitter truth, Tagon’s facial expression
changed. Inaishingi’s words have trumped his strong ego. Tagon realised that
Inaishingi had the upperhand. Inaishingi continued stabbing at Tagon's
conscience, ‘At the moment of their deaths, who do you think felt
more terrible? Ragaz’s death was heroic while Sanung’s death was
savage and unnatural. Sanung must have writhed in agony at his son’s inhuman
betrayal. The truth hit Tagon like a ton of bricks.
Tagon was guilty of not only regicide but
also patricide. His life story was a story about royal patricide, the killing
of his father, a king, and its consequences. Showing a defiant face, Inaishingi lifted
his eyebrows triumphantly to show that he had won this round of talks. To distract him, Tagon asked Inaishingi
whether he was trying to be Aramun Haesulla. The latter told him that he was
not, but he will become the great god. Their philosophical talk changed direction
to reveal character and ambition. ‘You want to become something
but I want to do something. You do something to become Aramun but I want to
be Aramun to do something.’ It was a huge revelation. It was
illuminating to all when Inaishingi stressed that he wanted to create ‘a
world where being weak isn’t a sin, a world where being powerless isn’t a
sin.’ Tagon laughed at his unattainable ambition.
It was a ridiculous idea; that kind of world wouldn’t become a reality even
after 10,000 years. It was just a dream and Inaishingi was being delusional.
Unperturbed, Inaishingi, with a face full of
determination, he insisted that what was important was the step towards that
direction. Tagon’s goal would surely end with his death. He just wanted fame
and glory.
But the path Inaishingi was taking would be
his legacy for posterity. He would create a legacy that would be immortalised
in the history of the Arth continent. His legacy would outlive him and
continue for generations to come after his death. He wish was that his life
would make a difference to the world they were living in. Inaishingi’s eloquence left Tagon speechless
for a moment. He viewed it as grand rhetoric but he finally conceded that, ‘fighting
with you even after your death sounds horrible.’ He offered a truce – he would open a path
for him and the Ago warriors to survive. He would clear the troops ahead of
him in the Pine Tree forest at the North of Achi Hill so that they could pass
through safely. They were to emerge from the forest to Molabeol Castle. But knowing the treacherous Tagon too well,
Inaishingi smirked. His incredulous expression spoke volumes of his inner
thoughts.
Tagon hoped Inaishingi would be different
from Saya. Since he raised Saya differently, he presumed that he would be
different from Inaishingi and Ragaz, their father.
He had offered Saya a lifeline if he would
kill Tanya, the High Priest but he declined. It was no choice at all; it was
between the devil and the deep blue sea. Saya chose the lesser evil and drank
the poison without any hesitation. Inaishingi was aghast with the revelation.
It was a double blow for him. But in the end, it showed that even when
they were separated at birth, they were still the same in those ways which
were important. Blood was thicker than water. It was Nature that bound them
together. The twins may be different at surface level but deep down they were
made of the same iron will. The difference in environment made no difference
to their real character. They were not breeds apart. The Nature or Nurture
question was settled.
Tagon demanded that Inaishingi surrender Kanmoreu and Suhana to him in exchange for Tachukan and Dachi.
 Before Inaishingi surrendered Kanmoreu to Tagon, there was a touching scene between man and beast, the leader of the Ago Alliance and the divine horse. Kanmoreu, a character in the television series, is Inaishingi's friend. The scene depicts the friendship between man and beast. Inaishingi fed and petted Kanmoreu; he and his equine friend were going to part ways. Overcome with sadness, he spoke lovingly and tenderly to the stallion, ‘Wherever you are, wherever you go, come back to me, Helper.’ It was a moving moment. Inaishingi had bonded with Kanmoreu. In real life, Lee Joon Gi loves horses and is an excellent horseman. He bonds easily with horses. He has even had a photoshoot with horses.
 
The time had arrived for the exchange of the prisoners and Kamoureu. The Ago warriors also knew war was at their doorstep. 
 
Inaishingi
together with Mirusol moved towards the exchange point with Suhana and the
divine horse.
Tagon led the way
while Yeonbal brought Tachukan and Dachi forward.  Tagon smiled at
Suhana and she responded in kind. Inaishingi stabbed his sword into the forest floor, so did Tagon. Tagon wanted
Kanmoreu first. He would send Tachukan at the same time. Tachukan objected
loudly; he forbade sacrificing the horse. 'Does it make you
happy to have subordinates dying for you?' Inaishingi asked Tagon. Tagon said it was
excruciatingly painful but showing his pain was cowardly. He would be
ruthlessly no matter what pain he felt.
 
A SENSELESS DEATH   The horse was in Tagon’s hands. And,
Tachukan had already been released.
Tagon revealed his true colours.
What he had said about being obsessed with the title Aramun and Kanmoreu
didn’t ring true all along.
It was all an elaborate ruse and pretence.
He reminded Inaishingi when they met in Arthdal that that everyone was
putting on an act in front of them and he should not trust anyone. He
emphasized that everyone, including himself, should not to be trusted. He had
even put on an act of madness in the palace, deceiving and fooling everyone,
even his queen and Saya.
Pulling out a sword, he slashed
Kanmoreu and blood gushed out from its wound. It was inhuman act, an act of
animal cruelty. Callous to the extreme, he would not allow the real Aramun to
own the divine horse. He was the classic dog in a manger. What he could not
have, would not also belong to others. He couldn’t be the real Aramun since
the divine horse had rejected him.
He had been the fake Aramun for a
long time but since he could not be Aramun, he didn’t want anyone to have
Kanmoreu.
Inaishingi was clearly distraught.
The anguish and pain on Inaishinghi’s face was heart-breaking. In that
poignant moment, Tagon's face was a blur. The tragic death of his beloved
horse was a harrowing experience for Inaishingi.
The callous Tagon shouted that Inaishingi
was naive. ‘Do I look like I was crazy over Aramun? I don’t need
stuff ike that.’
Mirusol threatened to kill Suhana if
Tagon did not release Dachi but he killed Dachi anyway.
In response, Mirusol stabbed Suhana
to death. The female warrior was raging mad; she stabbed Suhana multiple
times. She was vicious.
Inaishingi swiftly retrieved his sword and lurched forward to attack Tagon. They fought but Yeonbal urged the king to retreat.
   Tagon had to be prudent since he had important war strategies to attend to.
   Lee Joon
Gi’s performance with Kim Ok Vin in the television series hammers home the
point that his sterling acting performance isn’t something you will
forget.
In one
tantalising scene with the queen, Lee unleashes his wicked charm, naughty
gazes, dazzling wit and delightful humour as the audience smile widely at his
antics. One is amused by his wicked sense of humour Inaishingi’s seductive
banter with Queen Taealha played by Kim Ok Vin shows their obvious chemistry.
Together, Lee Joon Gi and Kim Ok Vin make the screen sizzle.
What
good would it be if Eun Seom could not adapt in a strange world that he was
thrust into after the fire that nearly killed Saya and him. He was
deep in enemy or alien territory. Survival in such a volatile situation is
only guaranteed to the fittest, smartest, the most wily and adaptable.
Inashingi
had the X-factor to undergo the trial of impersonating Saya. Since he had
been in Arthdal previously when he was younger, he knew quite a bit about the
politics in the palace. His judgement of the situation was unerring and his
wit unrivalled. Inaishingi
was visited by the queen who suspected that he had impersonated Saya. She
caught him unawares while he was seated at the table. Holding a dagger at his
throat, she seemed to want some quick answers and explanations.
 
Lee Joon
Gi’ interpretation of his role is perfect; he plays the role with relish and
panache. He clearly brings a lot of energy to the screen.
Gazing
at the queen, Inashingi realized that she was testing him. Her directness was
amusing; her gaze, penetrating. She lacked awareness about his panache at
twisting the truth. He parried her questions and bantered with her.
‘Just
who are you?’ She wanted to know. ‘And why are you pretending to be
Saya.' Revealing his true identity was out of question.
His eye energy matched hers. The seduction of the queen had begun.   The mysterious
smile that he plastered on his face as he threatened to recall what happened
on the day of the fire that killed Mubeck unnerved her.
When Taealha insisted on knowing his identity, he gave her a tantalising
smile and teased that he didn’t know either.
Eun Seom
lied that he didn’t know about his parents. He may not have known his father
but he knew who his mother was.
According
to him, Mubeck, the head of the elite Daekan troops invited him to meet his
twin, so he followed the commander. Someone attacked them. Now that Mubeck
was dead, insatiable curiosity was aroused about the suspicious circumstances
surrounding his death and the fire that nearly killed the heir to the throne.
Looking directly into her eyes, he implied that she was implicated in the assassination attempt. The Children of Shahati were the ones involved in the murder. The queen was the only one who had control over the Shahati, the assassination arm of the White Mountain tribe.
Hamming it up to confuse the queen, Inaishingi teased her fearlessly. After all, he was a seasoned warrior.  Obviously,
he had enjoyed the charade until being exposed by the queen. Having been
given the V.I.P. treatment, he had been enjoying himself being called Saya
and a general.
Smiling
broadly, he explained that Fortune had been shining brightly on him and he had
decided to have some fun before fleeing the place. Suspicious people had
asked if she, the queen, had sent the Shahati to kill him, and it was
apparent that they wanted an affirmation.
‘The
once-in-a-lifetme opportunity has come to me’. The wily Ago leader
promised that he would handle her connection with the murder with consummate
tact, discretion and restraint.
 Bending
conspiratorially over her shoulders, as if he was very intimately familiar
with her, the charming young man whispered into her ears, ‘Whoever I
am, you need me right now, don’t you?’ He knew that she had played
right into his hands.
The scene is hilariously funny and amusing. Only Lee Joon Gi could have made
a scene that entertaining. Lee and Kim Ok Vin make such an interesting pair.
    One of
the most hilarious (though tense) scenes in The Sword of Aramun must be the
one between Saya, the Arthdal general and Ipsaeng, Inaishingi’s adviser and
righthand man.
Saya, the impersonator or imposter, portrayed by the tall, athletic and masculine Lee Joon Gi looks gorgeous and sensuous in his Inaishingi's military clothes. For most viewers, Inaishingi, the confident and commanding Ago leader, is a sexy and alluring figure. The knees of the female viewers would have very much weakened after seeing the handsome and athletic man clothed in battle gear ever since Episode 1. But for some, the older twin with a dark side, is more
sexy and intriguing. Lee, as the Machiavellian Saya, is awesome. The audience are drawn to the ‘verbal boxing ring’ scene with its clever and witty dialogue between between Saya and the country bumpkin, Ipsaeng, played admirably by Lee Hae Woon.
After
the fire, Chaeeun was worried that Saya’s attempt to replace Inaishingi, his identical
twin brother, would risk exposure. It might invite suspicion and someone
would surely ferret him out. Sure enough, Ipsaeng, who had suddenly returned
from his Arthdal trip, was shocked to be told by Badoru that Inaishingi had
already returned. Inaishingi, to his knowledge, was still in Arthdal. Machiavelli
comes to mind in the confrontation between Saya and Ipsaeng. The entertaining
scene gives the beguiling illusion that the Machiavellian Arthdal general was
a puppeteer who was holding the naïve Ago country bumpkin on a string. It was
an impressive spectacle to behold. When
Saya returned to Inaishingi’s shack, the courageous Ipsaeng was already
waiting for him. There was a moment of surprise on Ipsaeng’s face. Saya, who
could sense his antagonism, didn’t have to deny his real identity.
Studying
the unknown man as he walked slowly towards him, Saya’s expression was
cautious. He knew instinctively that the man could differentiate him from Inaishingi.
Saya’s face, unlike that of Inaishingi’s, was aloof and cold; his eyes lacked the genuine warmth of his twin brother’s eyes.
Inaishingi, who was venerated and loved, was an inspiration to all the Ago Alliance leaders. During his whole life, he neglected no opportunity of protecting those he loved and those around him; he subordinated his personal interests to those of the alliance. Neither did he shrink from responsibility nor danger.
Ipsaeng
was incensed. His leader had now been blatantly replaced by a self-interested
usurper who was deliberately misleading the Ago Alliance. Inaishingi, the
name of a god, was not a title or name indiscriminately bestowed on someone.
It was a unique title blessed by the gods. Inaishingi’s great image of
political wisdom, great influence and war ability was now being tainted by
the likes of a doppleganger or benetbot. A war of
words ensued. The intelligent Saya, showed his true colours, his inner dark
side. Cunning. Scheming. Unscrupulous. Calculating. Manipulative. Someone to
be feared. A Machiavellian.
Ipsaeng’s
face was an open exhibition of his thoughts; he knew straightaway the
imposter was not Inaishingi. Smoke was coming out of his ears. He was
ignorant of the dangers of challenging a man well versed in the strategies of
war. It was ill-advised to lock horns with the Arthdal general whose
intensive and extensive knowledge of war and conflicts derived from Arthdal’s
Pilgyeonggwan or Great Library greatly
surpassed his own. Most would avoid a direct confrontation with Saya.
Despite
knowing his cover was exposed, Saya’s body language demonstrated that he was
at ease in the threatening and tense situation. Rearing his head like a
cobra, he hoped to hypnotise his nemesis. He
stated playfully, ‘You know.’ Before spitting verbal venom into Ipsaeng’s face, he leaned his head to one side, trying to size up and fathom the other man. One can imagine that Ipsaeng would have rolled his eyes around his head in circles, if he could
Having a high level of agility, Saya seemed to dance around the other man, intending to attack him from different angles. It was just the preliminaries before he pounced on him like a cobra. He played on the other man’s frayed emotions ‘How did you know?’ he smiled slyly as if goading the other man to show his weakness. ‘No one else did.’  The
harassed man immediately whipped out his sword and pointed it at him.
‘Those
who didn’t know Eun Seom had a benetbeot would be deceived’, Ipsaeng
barked, indicating that he already knew about the twins. He seemed like a
tough customer for Saya to handle.
‘How
interesting! That could be true.’
Lowering his head to stare unflinching at Ipsaeng who was no match for his wiliness, he teased, ‘Did you meet him?’ His eyes were full of mirth.
Saya,
who had the upperhand, amused himself by toying with the emotions of Ipsaeng,
a country bumpkin who was simple and naïve compared to his slick and
sophisticated ways. Ipsaeng
was shocked that the audacious imposter was not shivering in his boots but the
aggressive warrior was not about to back off. He stood his ground. ‘The
General of Arthdal dares to come here – you’ll be torn into three pieces, and
your head will be mounted!’ Saya’s
body twisted like a cobra as he swayed from side to side; he was showing
signs that he was about to cannibalise his victim. Moving in for the kill, he suddenly straightened up, moved forwards, and spat out, ‘Then the Ago Union will be torn to pieces! The Inaishingi who returned is fake!’
Saya, a
manipulative and cunning general had hit bullseye. His intense stare pierced
into Ipsaeng’s eyes as he continued to move his body. There is liitle room
for error in the wording of his speech so he rephrased his threatening and
terrifying words, ‘No. the real Inaishingi is missing!’ The
Arthdal general sneeringly asked whether they would believe him, if he were
to shout, ‘He is a fake, he is the benetbeot of Inaishingi. He is the
general of Arthdal.’ Then, do it.  
By now,
Ipsaeng was reduced to a terror-stricken victim but his trembling hand was
still pointing his sword at Saya. Saya knew exactly what his next move would be. A Machiavellian, Saya was a master at deceit and manipulation. He was ruthless. Grabbing
hold of Ipsaeng’s sword, he held it against his neck and made a cut. Blood
flowed in rivulets down his neck. A devilish expression crept up his face
before he screamed for Tachukan.
 
When Tachukan rushed in, Saya, wrapping his hand on his self-inflicted wound, pretended to back away.
Ipsaeng
was immediately subdued and tied up but he continued to spout his accusations
that Saya was a fake. His friends thought he had gone mad. It was staggering
to Ipsaeng that everyone believed he was spouting nonsense.
Saya cleverly
interjected, ‘Are you Arthdal’s yeomari?’ Was he the spy for
Arthdal?
The
dejected man wasn’t inventive. The only curse word he could think of was
‘bastard’. He had used it many times in the course of the conflict - one
too many.
‘You
bastard!’ He
might be right, he could be wrong. Did Saya’s father marry his mother? It was
difficult to tell since marriage ceremonies were non-existent then.
Saya
pointedly accused Ipsaeng of attacking him. Discredited, Ipsaeng couldn’t
defend himself except to shout wildly that Dalsae was with the real
Inaishingi in Arthdal. When
Saya challenged him, he became a little more creative, ‘You lunatic!’
The way
Ipsaeng tried to persuade his compatriots to believe him was hilarious. ‘He is
Inaishingi’s benetbeot!’ He,
wailing and howling helplessly, admonished them for being so foolish as to be
so easily deceived. Angered, Tachukan slammed the poor fellow’s face.
The image of a cool, calm and collected Saya and a frustrated, waspish and edgy Ipsaeng held down by his angry friends is an interesting artistic composition. And yes, it does also look like a painting.
Ipsaeng’s
face suddenly lit up; he thought of an idea to trap Saya. If Saya was
Inaishingi, he would know who was their friend who died in Gitbadak,
Doldambul.
All eyes
were on Saya. Fortune must have smiled on him. His conversation with Eun Seom
about Sateunik came to mind. Sateunik. Badoru confimed that the
fact was correct.
Ipsaeng’s
face was full of incredulity; he was outsmarted by the stranger in their
midst. He was soundly defeated. Saya
made no attempt to conceal his pity for the helpless victim. The incident had
almost spiralled out of control.
The brute’s pity soon turned into a smirk of triumph; his quick wit and inventiveness had saved the day, his day.
Lee Joon
Gi’s awe-inspiring acting performance, an important part of the amazing
versatility of the multihyphenate, is world-class. If it had not been for the
seriousness of the situation, the entertaining scene would seem quite a hilarious
spectacle. The acting of Lee Hae Woon, as the pitiful Ipsaeng, is also
praiseworthy.
 
In the
scene between Saya and Tanya, Lee Joon Gi brilliantly shows the vulnerable
side of the adopted son of the king and queen, whose face and eyes are
awashed with pain and sadness. He has given Saya a human identity. Saya is a character whom viewers sympathize with. He a complex character. An immature and inexperienced general who could not compare with his younger twin brother whose leadership skills and war achievements were not in doubt. Saya lived in his brother’s shadow. But the prince of Arthdal was no fool; the wily Machiavellian could rise to challenges admirably as seen in his confrontation with Ipsaeng. He could be heroic and was even willing to die for the lady he loved. However, he found no luck with the girl his brother also loved. His
unrequited love makes the story even more heart-breaking.
Saya
made a last ditch attempt to win the heart of his beloved Tanya at the Great
Shrine. He gazed at the iron sword which was embedded in the tree stump – the
Sword of Aramun. The pattern etched on the sword matched the Lichtenberg
Figures on Inaishingi’s right hand. There was no question about it.
Inaishingi, his twin brother was the owner of the sword. He was Aramun
Haesulla.
Tanya
was surprised to see him. Thankful that he was alive and well, she caught
hold of his hand. But, he pried his fingers from the vise she had locked him
in and pulled away suddenly. He
accused her of having covered the walls all over Arthdal with graffiti or
drawings about him and Eun Seom. The drawings not only depicted the birth of
the twin brothers but also Eun Seom’s presence in Iark and how he met Asa Sin
and Kanmoreu there.  Saya
demanded to know what she was doing and the purpose of those drawings. Tanya surprised
him with her bold and candid answer. When Tagon lost the war, she, herself,
would take control of Arthdal. Confined to the Great Shrine, Tanya was
unaware that Tagon had lost the war. She had not been updated about the war. Saya had
harboured the nagging suspicion that she wanted to take over Arthdal in order
to pass it to Inaishingi so that his twin brother could be proclaimed as
Aramun Haesulla.
The
horns of jealousy had reared. He was disappointed that all along that she had
been using him. Why did she add him in the drawings?
There
was an element of truth in his accusation; she admitted using him. Saya was
taken aback by her brazen admission.
A wave
of candid confessions followed. The unwelcome facts were unveiled. At first,
she had used him but now, she was also using Eun Seom. She had been using
young slaves who obeyed her like a god. Those poor people would end up
getting hurt or dying in the end.
Was it
such a big deal then for someone like her to use him?
He
questioned her whether her ideal world, a world where people don’t fight or
kill could be realized. She stated clearly that the world she wanted to
create was a world that would have fewer crimes where people would fight,
kill, steal or get robbed less. 
And what
about her choice of a leader to implement her dream of such an ideal world?
Why must it be Eun Seom, and not him? He was Eun Seom’s identical twin and
yet he couldn’t figure out why he didn’t feature prominently in the prophecy.
That puzzle had eluded him for a long time. 
It
seemed he had lost all reason in Tanya’s presence. The god of her stature had
a mesmerizing effect on him. Her thoughts were impossible to infiltrate but
she finally revealed the unpalatable truth. The gospel truth. About his
morality, his psychological and spiritual self. Tanya
dealt him a crippling blow. It was then that she revealed that she had the
psychic power of reading the thoughts of others. A divine power. She had read
his thoughts. His evil
side that he tried to suppress was revealed. He was too jealous of his own
brother, his blood relative, his own twin. She knew about what he wanted to
conceal. If the
rebellion succeeded, Saya was going to kill Eun Seom and replace him.
Imagine, Saya wanted to become Eun Seom. He was too power-hungry.
Confronted
by the naked truth, he easily admitted being cruel; he had killed Danbyeok
without hesitation. He divided Taealha and Tagon and threw Arthdal into
confusion and chaos. That was who he was.
Saya
shamelessly confessed that he wanted to become Eun Seom. He knew that she had
given her heart to Eun Seom but that didn’t make it easy for him. Why did he
pretend that he believed in her ideal world?
And, why
did he drink the Bichwisan without hesitation instead of begging
Tagon for his life? He sacrificed his life for her.
At that
moment, the hearts of the audience must have ached, they sympathised with his
sorrow. He was a pitiful character.
She knew
the reason very well. He loved her. Tanya had filled the empty place in his
soul and kept him sane. He refused tenaciously to let her go.
It was time for her to clear the air. She gazed at him with concern for some time but did not want to accommodate him. His gaze burned holes in her. His heart must have swelled and pounded in his chest as he looked at her.
She was
going to be direct with him; she coldly spurned him. His feelings for her
arose from his decision, ‘You decided you want me. You made that
choice. It was your intention and your will.’
She had emphasized on his ‘decision’; it was his ‘choice’ that he wanted her. What she probably meant was he, unlike Eun Seom, didn’t naturally fall in love with her. He, Saya, just decided he wanted her.
It also meant
that she did not return his love. Listening to her harsh, cruel words must
have made his heart shrink many sizes. He
sucked in his breath but his emotions which he had been holding back spilled
out. He was deeply hurt. Tears filled his eyes when the truth was spoken. He
was devastated; he felt numb and empty. She was his Achille’s Heel. Suddenly,
he snapped back to reality and regained his composure.
Saya
needed a time of sober reflection about what had gone wrong with his life. He sat
in the open air that night reflecting on Tanya’s words and on his life but he
was probably none the wiser. Inaishingi had won Tanya’s heart all along. Tanya
did not return his feelings; she only had eyes for his younger brother. 
In the
Sword of Aramun, Lee Joon Gi, as Inaishingi, delivers a stirring speech to
the forest or forested mountain. Inaishingi speaks to the forest, which he
considers to be alive and listening to him; the forest is his audience and
friend. The many forests that he had fought in had helped him to win wars. He
hoped to win the fast approaching war
against Tagon so he was soliciting the help of the forest. The forest is, surprisingly, a character in this television series and Inaishingi’s soliloquy is deeply moving and heartwarming.
The pine trees stood tall in the quiet
forest. Shafts of the morning light broke through the canopies. Inaishingi
went out for a morning walk. Dalsae reported that Arthdal army had passed
through Chestnut forest. He had spied Tagon face. The king was in the
forefront.
Before the battle, in the stillness
of the air at daybreak, Inaishingi made an impassioned speech; he spoke to
the forested mountain. None could know the sentiments that lurked within him
until he poured out his heart and soul. It seemed to him that everything was connected.
He was one with the environment - the robust forest and the mountain. He
seemed to be marshalling his mind for the moment his Ago forces would meet
with the enemies.
Inaishingi, who was a legend, a god
and a hero and the greatest warrior of all time made a stirring,
emotion-charged speech in the forested mountain in which the Ago Alliance
reigned supreme.  Standing in the middle of the quiet
pine forest, Inaishingi delivered his impressive speech to his audience, the
forested mountain. None were there except he and Dalsae but he was
talking to the trees and the mountain as if they were his warriors, his
friends and his supporters. He used the pronoun ‘We’.
‘Tagon is here. It’s a godsent
opportunity. We can catch Tagon here. We must catch him and we can catch him.
We must hold him accountable for driving a wedge among the Ago Tribe by
planting a yeomari and for making the ago tribe kill and sell each other’s
brothers and sisters, fathers and mothers. This is a forest and a mountain.
Forests and mountains are always on the the side of the Ago tribe.’
Then he raised his hand, ‘In
the name of the waterfall, victory to all!’
With that, Inaishingi, the god who would begin his final battle fighting fire with fire which would lead to disintegration of the Arthdal army and the eventual fall of Arthdal. Inaishigi-Aramun Haesulla would ascend the Arthdal throne after Tagon’s death.
Lee Joon
Gi, revered as The King of Action, The King of Saguek and The King of Fantasy
Dramas, captures the popular imagination with his awe-inspiring nuanced,
emotional and passionate performance, spectacular action stunts
and irresistible appeal. His ability to acccess his emotions in a believeable way and his ability to pull
you into the story puts
him in a league of his own.
 https://www.soompi.com/article/1638933wpp/30-action-thriller-dramas-of-2023-k-drama-masterlist
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