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amethystina · 11 months

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Beautiful, isn't it?

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

And Ga On arriving to a burst of morning sunlight:

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

BUT I DIGRESS.

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

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

But where are they going then, you ask?

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

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

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

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

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

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

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

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

Now, moving on to their faces.

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

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

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

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

Translation: This bitch be complicated, fam.

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

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

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

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

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

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

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

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

(Thank you — we will treasure him)

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

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

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

He is soft and warm like mash potato.

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

I present: The Three Stages of Kim Ga On

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

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

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

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

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

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

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

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

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

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

(*pterodactyl screech*)

MOVING ON.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Absolute goddamn poetry.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

*Mic drop*

#The Devil Judge #The Devil Judge Meta #Kang Yo Han #Kim Ga On #Gahan #It's funny how I can't always write fanfics while having a fever #But I can apparently write detailed and complex metas #What even?#Also #Not going to lie #I'm currently cackling at the thought of a crack The Bachelor AU #Like #With Ga On infiltrating the show as a contestant #To figure out what the eligible and morally grey bachelor is up to #On Professor Min's request of course #And Yo Han just having the time of his life leading Ga On on #And shamelessly flirting with the cute guy he knows is a spy #Until he accidentally catches feelings #(as he does when Ga On is involved)#I have absolutely no idea why this would even be a thing #I think I just want to be able to make the joke of:#Ga On I think you've misunderstood the definition of 'under cover'#It doesn't actually involve beds to the degree you seem to think it does #Or alternatively:#Get out from underneath that sugar daddy or so help me god #(my sense of humour is ATROCIOUS I know)#(I blame the fever)

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