TOGETHER
WITH
DIRECTOR LEE
JOON IK
SET TO ATTEND
THE
SPECIAL SCREENING
OF
THE KING
AND
THE CLOWN
AND
FIELD
QUESTIONS
FROM
GUESTS
AT
THE BUSAN
INTERNATIONAL
FILM
FESTIVAL
5 OCTOBER 2024
|
|
 THE SPECIAL SCREENING OF THE KING AND THE CLOWN BUSAN INTERNATIONAL FILM FESTIVAL DATE 5 OCTOBER 2024
DAY SATURDAY
TIME 13:00 (1 PM)
VENUE MEGABOX BUSAN THEATRE 1             |
|
LEE JOON
GI
FESTIVAL
ASIA TOUR
KUALA
LUMPUR
22
SEPTEMBER 2024
CONCERT
AGENDA
|
|
 CONCERT AGENDA
1:00 PM REDEMPTION COUNTER OPENS (CUT-OFF TIME: 6:00 PM SHARP)
REDEMPTION COUNTER MEGASTAR ARENA LEVEL 1 ENTRANCE A
WRISTBAND
FOR
SOUND CHECK INDIVIDUAL PHOTO GROUP PHOTO SIGNED POSTER
3:30 PM DOORS OPEN FOR SOUNDCHECK MUST SHOW WRISTBAND TO SECURITY GUARDS
4:00 PM SOUND CHECK EVENT STARTS
5:00 PM DOORS OPEN FOR ALL CATEGORIES ENTRANCE A (BLUE ZONE)
6:00 PM SHOW BEGINS 9:00 PM SHOW ENDS
AFTER THE SHOW FANS WITH WRISTBANDS
PLEASE STAY BACK IN THE HALL
NO WRISTBAND = NO FAN BENEFITS
        |
|
9 SEPTEMBER
2024
THE SWORD
OF
ARAMUN
THROUGH
THE EYES
OF
THE CRITICS
THE MEDIA
AND
THE GLOBAL AUDIENCE
|
|
 The Sword of Aramun is a 2023
groundbreaking masterpiece; it is the first South Korean Epic-High Fantasy-Mythological-War
television series, an amalgam of genres that stuns. The trial-blazing TVN television series speaks of a warring mythical god, Aramun, portrayed by Lee Joon Gi, who walks and lives among humans, mythical races and half-breeds in a continent rife with war and fear, and divided by religion, race, and cultural practices, many of which are strange to the world that we live in. Lee Joon Gi portrays two roles, Aramun and Saya, his identical twin brother whose behaviour and character are antithetical to the younger twin. The twins and Tanya played by Shin Se kyeong, feature in the ancient prophecy that the trio would destroy the old world and create a new world order. The jobs of performing, directing and filming the twins are challenging. But Lee has powerfully portrayed them with layers of varied emotions, and the efforts of the director and cinematographer have seen them in the forefront of filmmaking.   In The Sword of Aramun, Eun Seom’s stature as the top
leader of the Ago union cannot be disputed. He has risen to the top of the Ago hierachy
on the Inaishingi ticket and he would soon rise to be the King of Arthdal on
the Aramun ticket.
Professor Ha Jae Geun of International Cyber University, emphasizes that The Sword of Aramun is a trialblazer. It is ‘taking the path
no one has taken’.
Professor Moon Hyun Seon of
Sejong University Is of the opinion
that The Sword of Aramun is ‘a world dreamed of by heroes’. The series
is a HEROIC fantasy.
According to Namuwiki, The Sword of Aramun is evaluated ‘as a
masterpiece in terms of story and directing …… pioneered a new genre as a
Korean-style mythological fantasy.’
What sets it apart from the
prequel or predecessor, Arthdal Chronicles, is that The Sword of Aramun is a Epic-High Fantasy-Mythological-War television series. It is an action-based WAR television series.
         The Sword of Aramun has
changed direction from Arthdal Chronicles, the prequel, because of some of the
drastic changes made to the cast and crew which made up the Dream Team. The
television series has transformed not only into an HEROIC-MYTHOLOGICAL-EPIC, it
has turned into a HIGH FANTASY-WAR series. Arthdal Chronicles is just a Mythical-Fantasy series.
 The casting coups include Lee
Joon Gi, the highly-acclaimed leading male actor who has received many
international acting awards. He portrays Aramun and Saya, the identical twins,
and Shin Se Kyeong, the leading female actor who has received many acting awards,
plays Tanya, the High Priest. The ensemble cast of great
actors include veteran actor, Jang Dong Gun (Tagon) and Kim Ok Vin (Taealha)
who have been retained. They have added strength to the cast. Some main supporting
characters, have been added or replaced their previous counterparts.  The other award-winners of
the Dream Team comprises Scriptwriters Kim Young Hyun and Park Sang Yeon (who
have also been retained), Director Kim Kwang Sik, Cinematographer, Chan Choi
Min, Music Composer Kim Tae Seong and costume designer Choi Sang Kyung. The
production boasts of a lavish set with lavish costumes, great artistic
direction, an innovative script, beautiful and grand storytelling with amazing
photography, a sweeping musical score, impactful OSTS and great costumes.
The important and significant
changes, which make a great difference to the production, make the cast and
crew an enviable team.
Lee Joon Gi’s acting
performance and jaw-dropping action stunts in the war series have left an
indelible mark in the minds of the auduence. No other actor could deliver nor
perform such action stunts like him. The previous leading male actor from
Arthdal Chronicles cannot be compared to the multi-talented and dynamic Lee
Joon Gi, who is a CASTING COUP for the production team. The drastic
change of actors is necessary.
 Lee Joon Gi impresses and
dazzles in electrifying acting performance as the twin brothers are like chalk
and cheese. Lee disappears into the heroric but complex Inaishingi as well as
the jealous, mean-spirited, dark and love-obssessed Saya. As Inaishingi, with
strong impressive eye expressions, he is heroic, strong, masculine, courageous,
upright and sexy while Saya is weak, malevolent and Machiavelian. One should also mention the
guilty pleasures of watching Inaishingi raising his powerful lightning-struck,
Lichtenberg Figures-covered hand holding his special sword. Or, Aramun sexily
mounts Kanmoreu, his divine horse in the battlefield. All these are powerful and electrifying images that are irresistible.   
Lee’s acting performance and
action-martial arts skills are legendary. The series capitalise on Lee Joon
Gi’s amazing acting talents, spectacular martial arts and athletic skills,
vibrant energies and unforgettable charisma. Lee, the Hero of The Sword of
Aramun who has many global acting awards under his belt, is matchless as his
list of Martial Arts skills is impressive. He has black belts in Taekwondo (4th
Dan), Taekkyeon and Hapkido, Brazilian
Jiu Jitsu, Muai Thai or Thai Boxing, Chinese Wing Chun, Sytema, a Russian
martial art, and athletic skills like Parkour. Lee even does his own stunts.
  He, together with leading
lady, Shin Se Kyeong, whose calm, noble and regal demeanour as the High Priest,
has won international acclaim. As the religious head of the Arthdal, her poise,
decorum, ability to express scorn and disdain with her eyes for the powerful
Tagon, played by Jan Dong Gun, and his queen Taealha, played by Kim Ok Vin make
her a suitable candidate to star opposte the legendary Lee Joon Gi. Shin and
Lee, who plays the future Arthdal King, have beautiful chemistry. Her graceful
composure is befitting that of a high priest and future queen.  One is amused when Inaishingi, masquerading as Saya in Arthdal, he mischievously banters with Taealha or when Saya, impersonating Inaishingi, reduces Ipsaeng, the poor, doubtful fool, to a shivering mess. Or, the twins arguing about the negative impact of wars in the forest. The fascinating juxtaposition of differing characters and personalities proves to be irresistable and mesmerising.  The excitement of the
audience is also spurred by Lee Joon Gi’s
stunning action scenes. It is impossible to give up the pleasures of
watching Lee Joon Gi leaping, jumping, somersaulting, etc. in the air and
swooping down like an eagle. Or running ahead of the Ago foot soldiers with a
savage face in the war between Ago and Arthdal. Or, Inaishingi falls off the
dark abyss and then, crawling maniacally up to declare he is Aramun.
 Many greatly are impressed but
it is impossible to quote the innumerable accolades heaped on Lee Joon Gi and
The Sword of Aramun.
Yeo Hwi Seon of Osen
exclaims, ‘Sword of Aramun’ Lee Joon Gi, I knew he was good at using his body, but I never thought it would
be to this extent.’ ‘TO THIS EXTENT’ is a great compliment.
     https://www.lguplus.com/pogg/magazine/10027 Critic Jeong Deok Hyeong praises Lee Joon Gi as an AMAZING
ACTOR. He also states that Lee Joon Gi is a casting coup by the production
team. ‘Lee Joon Gi who erased Song Joong Ki after the first episode, was a smart
choice by the production team of The Sword of Aramun.’  StellarSisters, drama critics from France extol The Sword of
Aramun as a fantastic epic and praises Lee Joon Gi’s performance, who ‘…….
perfectly masters the register of costme dramas’.    Sports Q says, Sword of Aramun is also Lee Joon Gi,
meaning Lee is the face of The Sword of Aramun, a stunning masterpiece.  According to Lee Yoo Min of
Kyung Hyang, Sword of Aramun Lee Joon Gi proves to be ‘WORLD CLASS’.  The Sword of Aramun
spearheads the Epic genre in South Korea – a MYTHICAL EPIC. Professor Moon Hyun
Sun of Sejong University says, ‘The
Sword of Aramun is a mythical epic. He reiterates, ‘This drama is
definitely ….. an epic, a mythical epic.’ Lee portrays the character of
the Aramun and Saya, the twins of polar opposites with incredible sensitivity,
layers of emotion, zeal and energy. His vast range of emotions and exceptional
action stunts remain ingrained in the memory of the audience. Star Today’s Jin Hyang Hee
states, ‘Lee Joon Gi’s Sword of Aramun …..The scale and passionate acting
were outstanding.’….. ‘The grand scale and the magnificient music played a part
in making it fun to watch.’       Tha Sword of Aramun is a WAR
saga of grand proportions, a story of the adventures of Aramun (and Saya and
Tanya) in his journey to fulfil the prophecy of bringing about a new world
order. Aramun, the name of the Arthdal
god, the founder of Arthdal and the special Sword, a symbol of war or conflict,
feature importantly in the television series.  Inaishingi, the leader who
would be Aramun and the future king, fights many battles with Arthdal inculding
those with his own twin brother and Tagon, the tyrannical and devious king. It
is a war series with fantastic action from Lee Joon Gi. His action scenes are
nothing short of spectacular.
It Is a television series, according to Park Jae Hwan of KBS MEDIA, with ‘a feast of action’ and ‘Lee Joon Gi’s splendid action scenes and passionate acting … you cannot take your eyes off’…. ‘Sword of Aramun Lee Joon Gi spectacular action….’.      
The Sword of Aramun is an Epic-High
Fantasy-Mythological-War series.   According to Masterclass, High Fantasy uses ‘a fantasy setting or secondary world to tell an epic story.’
   
The writers, Kim Young Hyun and Park Sang Yeon, have created a
non-earth world setting in great detail. The world-building is fantastic.
The Sword of Aramun opens with the prophecy concerning the three
characters who feature importantly in the story: Eun Seom (Sword), Saya
(Mirror) and Tanya (Bell).   The Sword of Aramun is set in the mythical world of Arth which is a large body of land or a continent. Jeong Deok Hyeon states that the
television series tells ‘how civilizations and nations are born’. There
are many ancient cities including Arthdal and Atturad.       There 3 main mythical ‘races’ in Arth: Saram, Neanthal and Igutu.  The Saram are like humans and are red-blooded.   The Neanthal are blue-blooded savages with superhuman powers and
can fly in the air. Their eyes flash blue when angry. Although they are very
strong, their numbers have been reduced in wars and through the trickery and
machinations of Tagon and Arthdal.
      The Igutu are purple-blooded half-breeds born of a red-blooded Saram and a blue-blooded Neanthal. RED + BLUE = PURPLE.
The eyes of an Igutu flash purple when agitated.
The twins, Inaishingi-Aramun and Saya, and Tagon are Igutu.
The Igutu are very strong. They are stronger than the Saram but
weaker than the Neanthal.
     The Neanthal and Igutu are despised and hated in Arthdal but not
by the people in the Ago Union.
 Other than the three main races, there is another race, the Momo,
who are powerful and strong. The sea-faring people are dominated by Karika, a
female leader known as the Xabara. They, like the Neanthals can also fly in the
air but they have another strength – they are great divers and can remain in the great
depths of water for a long time without reaching out for air.  Inaishingi tries to enlist the help of Karat, the arrogant Momo,
to retrieve the humongous ball of meteorite from the Lake of Stars, but the
disrespectful warrior rejects the request. Proudly showing him the precious
Momo round gold-blue ornament given to him by Xabara Karika, for a debt owed to
him, the great Ago Union leader repeated what Karika had reminded him to say, ‘All
water is connected.’ It was only then did Karat and 3 other Momo warriors
agree to dive deep into the lake to drag the meteorite out of its depths.
The Momo tribe, led by Karika, also lends a helping hand to Aramun to take
over Arthdal.        
In the old days, there were two important gods in Arth, Aramun
and Inaishingi.
But in the reign of Tagon, there are two persons who are the reincarnation of gods. Aramun, the heroic god, and Tanya, who is the High
Priest of Arthdal. The White Mountain faith is the original religion in
Arthdal. Aramun Haesulla was murdered by the believers of the White
Mountain faith.
The White Peak Mountain Heart, a breakaway branch, differs
from the mother religion. Although they share similar ritual
practices, the White Peak Mountain Hearts believe Aramun Haesulla was
an Igutu. The White Peak Mountain Heart worshippers were not legally
allowed to practise their faith in Arthdal for two hundred years; they are a
secret sect which has resorted to conducting secret meetings.
After Tanya was named High Priest, the White Peak Mountain
Hearts becomesthe dominant faith in Arthdal.  Tanya, the High Priest discovers the cave that housed
the tomb of the god, Aramun Haesulla.  When Inaishingi opened the stone tomb, Aramun Haesulla’s skeleton
was still there, so were the stains of his purple blood. It was a miracle that
the blood was still of the original colour. There was even the skull
of a ram with its intact horns.  The ram is a powerful symbol in many ancient cultures, including
Roman, Greek, Egyptian and Indian cultures. It is the most highly valued domestic
animal because of its legendary strength and virility. The ram is a leader and
protector of his flock.    The Sword of Aramun is a war saga. The intriguing title has many meanings. Lee Joon Gi plays the titular role. The prophecy states that Eun Seom is The Sword, Tanya is The Bell
and Saya, Aramun’s twin, is the Mirror to illuminate the world. But, before
that, he will fight against his brother for power.
First, a sword represents war. Tagon, the war monger, embarks on
a relentless war mission to put down rebellions against him. Inaishingi leads
the Ago Union against him. The war spans the whole continent of Arth.
Second, the title could mean that Aramun is the owner of the
special sword.
Third, according to the Prophecy, Aramun is the Sword. It may
suggest that The Reincarnation of Aramun is the Instument / Tool of the god,
Aramun (to create a new world order). In the Sword of Aramun, Inaishingi will
be given the magical Sword to put an end to ‘the decadent world’ of
Tagon. InaishingI finally emerges as Aramun. Eun Seom is a god twice over.
The union of Inaishingi and Aramun Haesulla to bring peace and a meaningful
end to the conflicts in the Arth Continent.
    First, The Sword of Aramun is story about The Clash of
Gods, Aramun and Inaishingi.
INAISHINGI is the god of the waterfalls and the god of justice. Apart
from the original god, Inaishingi or Eunseom is the only one to have survived Ago’s
deadliest waterfall in a thousand years. He is said to be Inaishingi or
the Reincarnation of Inaishingi, the hero of the Ago Union.
The god Inaishingi is the enemy of the God Aramun. ARAMUN
HAESULLA, the god of Harmony and Unification, the god with 2 voices, is the
Founder of Arthdal.
It is difficult for Inaishingi to reconcile with the fact that he
is destined to be Aramun and also the King of Arthdal because Inaishingi is the enemy of Aramun
Haesulla. How can he, Inaishingi, also become Aramun?  The Sword of Aramun is story about The Clash of Gods,
Aramun, the true god, and Tagon, the fake god.
The Sword of Aramun is also the story about The Clash of a
Real God (Aramun) and a fake god (Tagon). Aramun, a barbaric Igutu, a half
Saram-half Neanthdal clashes with Tagon, a civilised Igutu but is an an
imposter who also claims to be the god, Aramun.
Inaishingi, deploring the restless ambition of Tagon and his
needless slaughtering, launches the final war against Arthdal to end the
conflicts: A war to end all wars. A Just War.  Arth is a war-torn continent. Inaishingi’s war cry is, ‘From
the Notsan River to Arthdal, From Arthdal to the White Mountain, From the White
Mountain to Atturad. It means that Inaishingi as The Second Coming of Aramoon
Haesulla, has the intention to unite the whole continent of Arth to
bring about a new dawn. The callous and tyrannical Tagon does not enjoy legitimacy as
king. He, a lawless and belligerant king, wages war after war in the huge
continent of Arthdal in his ambition to acquire territories and expand his
kingdom. Eun Seom-Inaishingi is
prophesied to be the next Aramun but Tagon the tyrannical king desperately
claims to be Aramun. He tries to ride Kanmoreu, the magical divine horse of the
god, Aramun, but the horse refuses to acknowledge him and threw him to the
ground. 
There are many wars between the Ago Union and Arthdal in Arth. One involves a fight between Eun Seom and Saya.           There are many amazing
pictures and images of war, thanks to the brilliant cinematographer.  In one image, Inaishingi pursues Saya. Saya crumbles to the
ground at the tent entrance as the majestic looking Inaishingi stands
threateningly over him. One, in white and the other, in black provides a great
contrast between the sunlight outside and the inside of the tent which was in
shadows.
It is not an accident that we see the confrontation between good
and evil in white and black colours. It is a stunningly beautiful image. There is another amazing
picture in black and white.
 The cloud of white smoke, produced by the fire arrows, rises from
the ground, concealing the approach of enemy riders.
Another stunning war image stands out among the many striking images
of war.  The composition of the artistic image, which has balance and
harmony, is aesthetically pleasing to the eye.
Inaishingi stands gazing intently at Tagon. This impressive image
created by the Director and Cinematographer is a beautiful depiction of the war
between Ago led by Inaishingi and Arthdal headed by Tagpn.
The actors, with the right expressions and body language, as well
as the director and cinematographer with their skills, tell an amazing story
which depicts the realities of the war.
There are many such images but it’s impossible to discuaa all of
them.
   The Sword of Aramun speaks of a new world order under the rule of
the hero Aramun, a god of integrity, harmony and unification.
An example of his new political system includes the new rules
against pillage and collecting the spoils of war. Plunder was not allowed in
Inaishingi’s new world.
 When one of the tribal men contravened his rules on war, those
around the Inaishingi had no illusions about their chief’s mercy. He was cold
and unforgiving. His followers must be incorruptible.
He knelt in front of the child who was robbed and requested
forgiveness. Warriors had to be disciplined. As Inaishingi walked off coldly,
the offender understood Inaishingi was greatly displeased so he committed
suicide. The Ago leader stopped for a moment to digest the situation before he
continued nonchalantly on his way. He was demonstrating the kind of world he
wanted to build.   Inaishingi, the Arth hero, is destined to fight off the forces of
evil, Tagon and his queen, Taealha.
The story of The Sword of Aramun begins 8 years after Tagon
ascends the throne.
 Inaishingi rises to the challenge of conquering Arthdal and the
whole of Arth. As the leader of the Ago Union, he is declared to be The
Second Coming of Inaishingi and The Second Coming of Aramun
Haesulla. He has the power of two gods combined in the battle between Good
and Evil.
Inashingi’s fighting skills are awesome and Lee Joon Gi has
showcased spectacular action skills that defies description.
               Tanya, the High Priest, informs Inaishingi that he is Arumun and
he is the owner of the special sword. He rejects the idea since the two ancient
gods, Inaishingi and Aramun, had been enemies.
   
After a gruelling fight with Yangcha, Inaishingi’s arm was seared
by lightning.. The lightning coursed through the metal sword, a conductor of
electricity; it flowed right through his arm, causing a massive shock. He
grimaced in pain. His face ran the gamut of emotions as the flashes of
electricity left a spidery network of bloody red scars, the Lichtenberg
Figures, running along the length of his rippling muscular arm.
 At that moment, the zelkova tree broke into two, leaving the
stump standing while the branches fell into the deep ravine below.
Yangcha took the moment of distraction to slash at Inaishingi and push him off the cliff. His screams echoed through the stillness of the mountains. Some may have goosebumps; some were instantly horrified.
But no, if you’d ever doubted Inaishingi was a god, then this was
the moment when your doubts vanished. There is no shadow of a doubt about his
divinity.
You might not believe it but Inaishingi impressively fought his
way up the cliff – he scaled the steep incline of the cliff in the fierce
raging storm to reach the summit. His ferocious predator look matched the
thunderous, devastating storm.
The savage and agile Igutu was like a wild animal which had been
stung into a frenzy. He was not unlike a monstrous spider. With his 4 powerful
and muscular limbs spread apart, he moved with appalling speed over the jagged
outcrops and ledges without losing his grip and without falling. He had
furiously crawled up the slippery vertical cliff with such ferocious
determination and shaking with such pent-up fury, that viewers must have been
shocked.
Lee Joon Gi’s acting and action performance is awesome. One can
think of no animal that can hurl itself forward like he did. Inaishingi’s amazing agility and balance shows that he is no
human; he is superhuman. He is a god.      
‘When the zelkova tree cracks and my sword is revealed, Aramun
shall know their mission.’
Yancha asked, ‘Is it Aramun’s sword?’
Gazing at Yangcha, Eun Seom ordered him to inform the
High Priest that Aramun’s sword had been found in the zelkova tree.
      Tanya sent the magical black horse to Inaishingi when he fights
in the battle between the Ago Union and Arthdal.
Kanmoreu, the legendary great horse, can run as fast as the wind
and can leap in the air. Inaishingi, the horse whisperer and listener, can
commune with his equine friend, whom he calls Douri or Helper. Helper can make the Arthdal horses collapse like a house of cards
in the battle and could even command them to follow him back to the Ago camp,
thus increasing the number of horses and calvary in Ago.          Tanya is attracted to the chirping of a strange magical bird
which was flying around the cave in which Aramun Haesulla’s tomb was placed.
The bird had a turquoise head, white body and black tail. It settled on
Aramun’s tomb. On the spot that it landed was the last message that Aramun had
engraved onto the tomb.   WHEN THE ZELKOVA TREE CRACKS AND MY SWORD IS REVEALED, ARAMUN SHALL KNOW THEIR MISSION
 
Inaishingi, who is skeptical about the sword, mirror and bell, or being the
children of the prophesy, brushed aside her frivolous beliefs. Inaishingi and
Aramun had been bitter enemies since 200 years ago. But, he would soon accept
his mission.    
The Sword of Aramun, is set in the mythical world of Arth 8
years after Tagon had ascended the Arthdal throne. It was a time when the production of iron products features
importanly in Arthdal after bronze proved inferior. War demands that iron
helmets, suits of armour, swords, knives, spears, bow and arrows be made. Yeolson, the father of Tanya, develops a technique that uses iron
to make stronger blades.    Inashinghi obtains the help of the Momo tribe led by Karat to retrieve a humongous ball of meteorite
from the Lake of Stars for the production of iron swords.
        Tanya, who was imbued with magical and psychic powers, could read
the thoughts of others. She could also communicate her thoughts to other people
through telepathy. The High Priest could cast curses on wicked people if
necessary. Having the ability to see visions of the future made her even more
powerful. 
She can also sense whether a
person is dead or alive without looking at the body
 
Asa Sakan, the Mother of the
Asa Priest clan also possess the psychic ability to see things and transfer her
thoughts. When Tagon demands that she
tell him where his kidnapped son was, she transferred her visions to him.
     
After Saya had lived among
the Ago people, he takes on the pacifist position against war or violence
as war causes death and suffering.
He seems to be opposed to war as armies exist to kill human beings. Saya 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 Eun Seom’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. 
Inaishingi 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 were
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 Union will be slaughtered and disintegrate. And Eun Seom
would not only be responsible; he would also be accountable. 
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 mesmerising speech was so passionate that he
lost himself in it. His oratory was so emotional that it had reduced himself,
not Eun Seom, 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.
Eun Seom’s eyes were smiling. He could sense that his brother
sympathised with the plight of the Ago people. 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.
Tanya also sounded Inaishingi out on the perils of war. She tried to
prick his conscience by vehemently condemning the devastating and catastrophic
effects of war - the bloodbath, the dead people and the suffering and pain of
the people. 'Are these right?' she asked. Could he ignore all that?
Tanya wants him to fulfil the prophecy of becoming Aramun. As
Inaishingi-Aramun, he would be able to end the conflicts in Arth.
But, a final battle has to be
fought; it is a war to end all wars. As long as there are powerful armies,
there will be dictatorship. The tyrannical and crazy Tagon has to be defeated.
War is like a fire in which soldiers
and civilians are killed. And in the end, both opposing forces
decide on using fire to destroy each other. War in the form of a
whirlwind fire in the forest burns not only human beings but also the natural
environment, ie., the forest. Tagon and Arthdal are badly defeated.
  The people in Arth, particularly, Arthdal were in conflict and
went to war over the 3 Rs – Race Religion and Royalty. Tagon, the king of
Arthdal, wanted to subdue every tribe in Arth.
The White Mountain Peak religious group and its breakaway branch,
the White Mountain Peak Hearts were in conflict with each other over whether
Aramun was an Igutu or not.
The civilians in Arthdal wanted to wipe out the Igutus and
Neanthals whom they fear and hated.
The people of Arthdal wanted
a king who could end all strife and not favouring one section of the population
over the other. there was also the problem of slaves that only a good king
could free.
After Tagon died and Taealha had fled Arthdal, the Kingmaker, Tanya
wanted to unite the people under Aramun.
She made a stunning speech, ‘We destroyed everything we
were afraid of. We hated everything we were afraid of. We looked down on
everything we were afraid of. And we persecuted everything we were afraid of.
We did so with the Neanthals, the Igutus, the Sarams of Iark, the Ago tribe and
countless strangers. So for many years, tears made up a stream and blood flowed
like a river. Therefore Aramun came
as an Igutu ….. Therefore, Airuju is going to entrust Arthdal to a stranger.' To solve the problems of war,
Aramun rises to the challenge of offering his services as the King of Arthdal.
He promised that he will be the king of all the people and give protection and
look after the welfare of all the people irrespective of race or religion.
   
Nothing could have prepared the viewers for Lee’s monologue in
Episode 9 of The Sword of Aramun. One is pleasantly surprised that the forested
mountain is a character to which Inaishingi delivered an impassioned speech.
And, while the global viewers are treated to the moving speech, they can
imagine the trees, the forest and the mountain, in response, shout his name and
their approval in unison over and over again. The forested mountain, like the magical horse, are characters in The Sword of Aramun.
The pine trees rise tall in the quiet forest. Shafts of the
morning light break through the canopies. Inaishingi went out for a morning
walk. Dalsae reports that the Arthdal army has passed through Chestnut forest. Tagon
is leading his army.
Before the battle, in the stillness of the air at daybreak, Aramun,
who is a legend, a god, a hero and the greatest warrior of all time makes an
impassioned stirring, emotion-charged speech to the forested mountain. 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’.
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.
      It is a bold and courageous step on the part of the writers and director to write about and explore a taboo subject, the male sexual organ, the penis. In literature, phallic
symbols are used to represent male sexuality, virility, and power.
The presence of the phallic symbol in Arthdal must be examined as part of a broader exploration of the director and scriptwriters’ treatment of gender roles and sexual politics within the context of the mythology. The Great Gochiju Rock, a rock monument with fingers carved into it, is an intriguing symbol. The imagination runs wild. There
seems to be people worshipping it.
 
Taealha narrated the history of the Hae tribe to Saya against the
background of the great Gochiju Rock which rose like an ominous pillar from the
sea. But, what is even more stunning is there are finger patterns on the
Gochiju Rock.
What is the message conveyed by those who had created such a
structure? Can we decode the message? Is the crude structure disguised to
eloquently narrate a story?
The finger patterns are also inscribed on the pendant given to
Saya by the Neanthals. The Neanthals are a rough, primitive race so their
communcation skills are, at best, rudimentary.
Near the Great Gochiju Rock is that statue of Aramun Haesulla
seated on a rearing horse which was erected on a much smaller rock.
 
Taealha and Saya discussed their plans to rebel against Tagon
against this backdrop.
Taealha talked about Mihol, her father and Tagon in the same
breath. They were both brutal male chauvinists and domineering tyrants who
oppressed and took advantage of the helpless women in their lives. Mihol, the
ambitious hard-hearted head of the Hae tribe, treated her like his chattel. He
had not only compelled her to spy on King Sanung, Tagon's despotic father, but
also forced her to provide Sanung with sexual favours. The tyrannical and
ruthless Tagon also took advantage of her before he turned against her. While, she hated her father and Tagon’s father who made use of
her, she has a love-hate relationship with the tyrannical Tagon. If she didn’t
destroy Tagon then, victory would stray further from their reach. Taealha
planned to carry out the uprising on the night Gilseon embarked on the war.
She was sad and might end up crying like when she killed her
father. She had not lost the resolve to win this struggle against the king. But surprisingly, she wanted the king captured alive.
Based on the context, it can be said that the Great Gochiju Rock
symbolizes male power and dominance and the subjugation of the females.
         In the talks on collaboration between Inaishingi and Gareutoom, the chief of the Bato tribe, which was deviously planned by Saya, a platoon of masked Ago warriors, led by a bogus Inaishingi, arrived at the meeting place. The discussion to join forces between the Ago Union and the Bato
tribe is arranged to be in a high tent. But, the Bato tribe speak with two
tongues. They speak of cooperation to bring down Arthdal yet, they are ready to
do battle with Inaishingi. This is another test on war intelligence and
strategy for the seasoned and battle-tested Inaishingi.  One must have imagined it but the meeting place is decorated like
a spider’s web or net. The net, appearing as a intricate web of interwoven thread,
symbolizes entrapment or
capture. They represent an impending sense of impending danger, where
individuals find themselves trapped or ensnared in a situation beyond their
control.
Those who know Inaishingi would have recognized him straightaway.
He is slender not stout like the one who represents him in the talks. The Bato
chief is unaware of this fact but Inaishingi had already sharpened his saw.
All the leaders of the Ago Union were irritated with the Momo
brat, Karat, whose life and culture was related to the sea.
In the background of the scene, if one studies it closely, there
seemingly is an image of a fisherman’s net made of reeds. The
understandably dismayed Ago men would be pleased to know that the Talking Fish
would soon be caught by the wily fisherman, Inaishingi.   
Inaishingi requests Karat for a favour to retrieve a humongous
ball of meteorite from the Lake of Stars but Karat brusquely rejects the
request. Karat was asked about his nephew, Hotau, who was their Momo chief,
Karika’s son. It was Inaishingi who had saved the life of the son of Karika,
the Xabara or chief. Karat reminded them that the debt had been repaid when the
Momo tribe saved Inashingi from the deadly waterfall.
Proudly showing him the precious Momo round gold-blue ornament
given to him by Xabara Karika, Inaishingi, the great Ago Union leader ended by
repeating what Karika had reminded him to say, ‘All water is
connected.’ Karat is forced to comply with Inaishingi’s request.    
Arok, the son of Tagon and Taealh, is kidnapped and brought to Ttesarichon. When his identity
is exposed, the criminals, who has a grudge against Tagon demand that Tagon go alone
to claim his son. The criminals are offering Arok as a sacrifice to their god,
Mihaje.
The brave and courageous queen rides like the wind on horseback
to save their son. Tagon is badly in his
fight against the criminals.
A net in the background symbolized that Taealha is trapped. She is
surrounded by the criminals.
Eventually, she fell, and at that exciting moment, Tagon came to
her rescue. Tagon, an Igutu imbued with Neanthal blood, was naturally stronger
than the Sarams.    
When dancing a spiritual dance in the Great Shrine which is
adorned with web-like decorations, Tanya received a premonition that all is not
well with their plans.
They are all trapped. With the failure of their rebellion, Saya
is forced to drink poison, Taealha is imprisoned in the tower and Tanya is
imprisoned in the Great Shrine.
  When Arthdal is attacked, the queen decides to flee with Arok.
Arok could not imagine leaving Arthdal without the king.
The disobedient Arok was running lose all over the place looking
for his father, Tagon.  There is an image of a fishing net in the background. Luck is not
on Arok’s side. The net in the image is a foreshadowing of what would soon
happen; he would be caught by the enemy. Someone who knew him intimately,
abducted him. Saya.  
When Tagon realised that
Arthdal has lost the war to Ago, he decides to destroy rather than let it fall into enemy hands.
He plans to poison the wells
and waterways of Arthdal. The pool into which pots of bishwisan poison would be
poured was in the vicinity of the Great Shrine.
The background of the place
is also adorned with web-like decorations. This indicates Tanya is trapped.
 
If Tanya wants to save the lives of the people, she would have to
dive into the pool filled with bishwisan and tie the locks of the
floodgate to prevent the poison from escaping into the waterways and wells in
the Arthdal.
    Tanya asserts that people are
malleable and vulnerable to manipulation.
People '….. are like water, so they form different shapes
depending on which bowl they’re in.’ One’s environment,
experiences, and decisions mold us. The
environment influences and shapes our core values, moral character and behaviour. Humans are often compared to clay; they are
malleable and vulnerable to manipulation by rulers. People are not
always aware when they are influenced and shaped by influential figures.  When Tagon criticizes the people as being ungratefl and selfish, Tanya forcefully pointed out in an accusatory tone that, ‘Maybe,
they were shaped that way because they were in the world you made. It’s time to
create a new world.’ What she meant was that people were like plasticine and were
pliant and could be made or moulded into civilians of good character. But,
Tagon and his policies did nobody any good. A kingdom’s character comes from
the environment that they live in. The cultures, laws, religions, political
systems and ethical values determined the character of the people. Character
education was important. When the king or ruler was wicked, so were his people.    It’s a certainty that The Sword
of Aramun isn’t a television series you forgot too soon. The amazing script had necessitated
a shift in the casts and the production personnel, including casting a new leading male
actor and leading female actor, hiring a new director, a new cinematogrpher, and
some new supporting actors. Seasoned
actors, Jang Dong Gun and Kim Ok Vin had been retained.
Lee Joon Gi's brilliant acting and action performance, Director Kim’s
signature war scenes, Cinematographer Choi’s bold and splendid visual
compositions show that they have produced television magic and are genuises in their own right. The Sword of Aramun has been called a trialblazer masterpiece which is a befitting homage to such outstanding television cast and crew. They are on their way to join the ranks of Hollywood
royalty.
The supporting actors, whose
acting performance is laudable, should also be mentioned. They include Jung Suk Yong (Yeolson), Lee Hae Woon (Ipsaeng), Shin Joo Hwan
(Dalsae), Kang Shi Hyo (Tachukan), Ju Mung (Mirusol), Lee Woon San (tae Maja)
and Eum Moon Suk (Karat). 
One is in awe of the cinematography. The cinematography, along with the direction, is just spectacular, especially the action and war scenes. The scenes of the battles are expansive, imaginative and first class. Genius. Even without showing the images of the electrifying war and action scenes here (which is impossible), it goes to show how outstanding the television series is. The close-ups that show layers of emotions are awesome.                                                                                                                   
There are innumerable praises and accolades for Lee Joon Gi, the director, the cinematographer, the other members of the Cast and Crew, the television series etc.. These should have translated into awards, but they have yet to materialise. They deserve The GLOBAL DAESANG. Since they are the BEST IN TELEVISION, they deserve the EMMY AWARDS.
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