Emperor of the Sea: Moral complexity and historical foundations in a Shakespearean Tragedy

An exploration of the power struggles of the 9th century through the lens of a monumental television epic

You can find the original article in Hungarian here →

해신

KBS, 2004, 51 episodes

Genres: historical drama

Directed by Kang Byeong-taek 강병택, Kang Il-soo 강일수

Original work: Choi In-ho 최인호

Written by Hwang Joo-ha 황주하, Jeong Jin-ok 정진옥

.   .   .

Warning: This post contains spoilers! 

(Author’s screenshot from Emperor of the Sea.)

If I had to name the most exciting board game for simulating reality, my immediate and firm answer would be: Diplomacy. But not in the simplified form of the boxed game, but as I remember it: with a hand-painted, massive map, and armies of painted lead or plastic soldiers—weapons whose craftsmanship helped immerse one in the game's fairytale-like yet ruthless world. In games that lasted for weeks or even months, the goal was empire-building through the conquest of territories. However, the many strategists involved could only achieve their aims by forming alliances through open or secret negotiations, either keeping their promises or outmaneuvering their partners to serve exclusively their own interests. No one could ever feel truly safe; thus, the game was full of unexpected turns, constant surprises, triumphs, and disappointments—gains and losses. It was this game that came to mind as I watched the ever-shifting power struggles of the series Emperor of the Sea (original Korean title: 해신, meaning God of the Sea). The difference was that instead of empires, there were competing merchant houses, and for some characters, the motivation went beyond gaining dominance to winning the favor of a fair lady—naturally forming a love triangle in the case of the protagonists, as they battled for the same woman.

And speaking of Diplomacy, let us begin here with a map as well, on which we can review just how vast an area the filming of this grandiose series covered.

Wikipedia ©CC

It can be seen that beyond the Korean Peninsula, we find ourselves mostly in China, yet not only along the coastal regions, but penetrating deep into the interior of the country, even reaching all the way to the edge of the Gobi Desert. As the story progresses, we also make a brief excursion into Japan. Naturally, all of this is in accordance with contemporary conditions — meaning within the United Kingdom of Unified Silla, the empire of the Tang Dynasty, and the land of Wa (Nihon/Nippon/Yamato), depending on how one referred to contemporary Japan at the time.

Identifying the modern equivalents of the locations is made easier by the following summary:

• Wando Island (Jeollanamdo Province): This was the site of Jang Bogo’s real naval base, Cheonghaejin, and today it is home to the Wando Filming Location (Cheonghaejin Imgok Set / Shilla Village).

• Mujinju (present-day Gwangju): Silla’s southwestern provincial center on the mainland, directly opposite Wando Island. In the series, the official Silla administrative body governing Wando was seated here; the local governor (the Lord of Mujinju) was a long-time ally of Madam Jami, and it was from here that they attempted to place Jang Bogo’s Wando base under a military or economic blockade.

• Seorabeol (present-day Gyeongju): The contemporary capital of Silla. Much like Tang-era Yangzhou, Seorabeol was one of the most luxurious and largest metropolises of the contemporary world. According to some estimates, its population approached one million people at its peak. In the series, it represented the center of the complacent, corrupt, and intrigue-ridden Silla aristocracy (the jinseol and seongnol noble classes), standing in sharp contrast to the bustling, meritocratic world of coastal ports (such as Cheonghaejin or the Chinese Sillabang), where Jang Bogo rose through his own talent.

• Chuzhou (present-day Lianyungang): When Jang Bogo and his friends crossed the Yellow Sea as slaves (and later as free men and merchants), they arrived in the Tang Empire’s prefecture called Chuzhou (楚州), around the area of present-day Lianyungang (and partly neighboring Huai’an) port city. This region was the primary receiving station for Silla-era sailors and slaves, and it was here that the first autonomous Silla quarters (Sillabang) were established.

• Yangzhou (揚州): The most important, bustling commercial scenes in the series — where Jang Bogo goes from being a gladiator to a bodyguard and then a military commander for Seol Pyeong’s merchant house — take place in the city of Yangzhou. In the Tang era, Yangzhou was one of the world’s most significant economic and cultural metropolises, a melting pot of international trade (Arab, Persian, and Korean merchants). The massive, walled Chinese markets and merchant houses seen in the series all portray this city.

• Qingzhou (Shandong Peninsula): The center of the rebel warlord Yi Sado’s (historically Li Shidao) autonomous military district (the Pinglu-jiyun command) and the warlord’s headquarters were located in the city of Qingzhou (青州), in present-day Shandong Province. From here, Yi Sado controlled the northern coast of the Yellow Sea and the maritime smuggling directed toward Silla, which led to a direct conflict with the governors of Yangzhou and Jang Bogo’s faction.

• Chang’an (present-day Xi’an, 西安): The Tang capital. Although most of the plot takes place in coastal Yangzhou, Chang’an becomes a crucial location multiple times. Madam Jami buys serious political influence for herself in the imperial court (by bribing Tang eunuchs), and Jang Bogo himself, along with Seol Pyeong, travels to Chang’an when they petition the imperial court for official commercial rights and logistical recognition for the campaign against Yi Sado.

• Dunhuang: On one hand, Jang Bogo and Jeong Nyeon are dragged here as slaves, and Yeom Moon travels here to secure their release. When Jang Bogo (still as Seol Pyeong’s commander) wishes to expand the merchant house’s reputation and connections, he leads a massive, dangerous caravan journey to the “Western Regions” (Silk Road). The desert and oasis scenes of this expedition take place around Dunhuang (and along the Chinese section of the Silk Road), where they trade with Central Asian and Arab merchants. [Although it has nothing to do with this drama, it is worth mentioning the Hungarian connection to the region: a part of the Buddha Caves (Mogao Caves) already existed during this period, in one of which Aurel Stein discovered one of the largest collections of Buddhist manuscripts and silk paintings between 1906 and 1908. Since Stein was already a British citizen at the time, the findings ended up in the British Museum.]

• Chisan (Rongcheng / Shidao, Shandong Peninsula): In the drama, it is only mentioned that Jang Bogo also founded Buddhist temples for the Silla people who were dragged to or escaped into Chinese territory. One of these is the historical Chisan Beohwawon (赤山法華院). This location symbolizes Jang Bogo’s humanitarian and religious legacy at the tip of the Shandong Peninsula, where a statue was also erected in his honor.

• Hakata (present-day Fukuoka): The bridgehead of the maritime trade route launched by Jang Bogo toward Japan (Wa / Nihon), where the Silla people established a permanent commercial trading post.

This fifty-one-hour drama is a massive historical tableau that, leaning on the solid pillars of a few authentic facts, carries the colorful and ethereal superstructure of its fictional plot.

Let us look at the historical load-bearing elements:

First to be mentioned is the authentic portrayal of the era's regional power dynamics. We are in the late 8th century and the first half of the 9th century. Among the state formations of the Korean Peninsula, the mighty Koguryeo had ended nearly a hundred years prior, with part of its territory taken over by Chinese protectorates. Silla, located in the south, however, annexed the surrounding states, thereby extending its rule over a significant portion of the peninsula. Across the Yellow Sea, the Tang Dynasty held sway, where many Silla refugees had also settled. Most of them engaged in trade, and chronicles reported that their activities were constantly endangered by pirates seeking to plunder their goods. Silla people were considered easy prey for the slave trade conducted by pirates. The latter grew to such proportions that in 823, the Tang Emperor issued a decree banning it and ordering the return of those abducted to Silla. The internal affairs of the Tang Dynasty were also fraught with power rivalries and rebellions, which are likewise documented in historical sources, including the mention of the Yi Sa-do uprising. We also know that during this period, China was a much more open society than in later times; this resulted in a rich system of trade relations with distant Western regions of the world (Arabia, Tibet, etc.), the traces of which can be found in the drama through the depiction of caravans traveling the Silk Road and current market goods within the country.

From this alone, one of the drama’s attractions becomes clear: the portrayal of contemporary life touching upon bustling, colorful, and exotic locations. Besides the two main settings (Silla and the Shandong region of the Tang Empire), the story takes us to Dunhuang, which served as the gateway to the Silk Road, and the desert regions of the border garrisons. We learn about the strategic importance of the Grand Canal, the greatest achievement of Chinese technology at the time.

Directors Kang Il-soo and Kang Byeon-taek managed the series' massive budget of approximately 11 million dollars well, punctuating the drama with lavish spectacles alongside its consistently vivid and expressive imagery. We witness countless duels, minor and major skirmishes, and large-scale battles both on land and at sea. Standing out among them all is the desert clash between Jang Bogo and Yeom Moon, an exceptionally well-composed, long battle scene utilizing every imaginable contemporary and local tactical move, tool, and camouflage. The chosen location—the Dunhuang Yardang National Geopark in the Gobi Desert—creates breathtaking backdrops for all of this.

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

Yet, perhaps the most exquisite aspect is the sight of the merchant, military, and pirate ships crossing the Yellow Sea, along with their battleships, through which the possibilities and difficulties of contemporary seafaring, as well as the methods of local piracy, become clear. For the sake of the series, the KBS television network and the local government of Wando County, South Korea, jointly financed the monumental sets. As part of this, two massive, fully functional, historically accurate wooden warships (Silla-era galleys) were constructed, which were not merely floating props. They were equipped with real engines, enabling them to maneuver and sail independently on the open water during the filming of maritime battle scenes. Throughout the construction, every effort was made to reproduce the archaeologically known forms of Silla and Tang Dynasty merchant and warships (broad, flat bottoms, robust wooden planks, and characteristic mast and sail structures).

The ships and harbor scenes were not filmed in a closed studio but on Wando Island, within the territory of Cheonghaejin, the actual naval base of Jang Bogo. They built a massive, permanent outdoor studio (Cheonghaejin Imgok Set / Shilla Village), which included a complete harbor pier system. The two giant ships built for the show anchored here, and after filming wrapped, the location operated as a tourist attraction for years, where visitors could board the very ships seen in the series.

While scenes involving actors, deck combat, and near-shore maneuvers were filmed using the real vessels, computer-generated imagery (CGI) was utilized to display fleets consisting of multiple ships. Scenes taking place within the enclosed interiors of the vessels were shot on sets constructed inside the studios.

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

Attentive viewers with an interest in seafaring can also learn fascinating details from the drama, such as how the locally used square rigs were suitable only for sailing with a tailwind. This is why the bold solution attributed to Jang Bogo in the race to deliver food supplies — which he learned from foreign sailors while working in the shipwright workshops — was a true nautical feat. However, within the short scene addressing this, yet another layer is hidden: the potential for misunderstandings and misinformation arising from translation errors. The original Korean text clearly states that Jang Bogo utilized the rigging of Arab and Persian vessels frequently visiting the region during his rivalry with Yeom Moon, which meant a triangular sail attached to a curved (presumably bamboo) rod. This enabled him to navigate his ship forward even against a northern (or any other directional) headwind blowing along the maritime route. In some of the various translations, these Arabs became “Western” sailors, which likely conjures images of Europe and white-centered technological superiority in the mind of the modern viewer. The triangular rigging adopted from the Arabs spread primarily in the Mediterranean under the name “lateen sail,” yet in certain translations, this was turned into a “staysail,” which is typically trapezoidal and only appeared in maritime history from the 17th century onward. Naturally, none of this detracts from the fascination of the drama, in which — even if Jang Bogo’s specific race is fictional — the adoption of the nautical innovation remains a historical fact.

(Author’s screenshot from Emperor of the Sea.)

Since the story, fueled by power struggles, is interwoven with romantic threads, there is no shortage of poetic imagery either. A certain painterly quality characterizes the entire drama, evident in the portrayal of landscapes, the scenes of everyday life in the settlements, and the meticulously crafted interiors alike.

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

The protagonist, Jang Bogo, is a real historical figure whose life is documented by several authentic sources, notably originating from three different countries (Korea – Samguk Sagi and Samguk Yusa; China – The New Book of Tang; Japan – Shoku Nihon Koki). From these, we learn his approximate lifespan (787–841), his birthplace (Wando), his original name (Goongbok), and the major events of his life. According to these records, he was born the son of a seafarer and possessed exceptional martial arts skills. Since he had no chance of transcending the limitations of the caste system in Silla, he traveled to China with his companion, Jeong Nyeon, where he joined the army and took the name Jang Bogo. Through rapid promotion, they became high-ranking officers in the Wuning District (present-day Jiangsu). Two years after the Tang decree banning the slave trade, Jang Bogo returned to Silla, where he petitioned for the establishment of a fleet to protect merchants in the southern seas. Thus, in 828, the Cheonghae ("Clear Sea") Garrison was established on Wando Island, for which he also received permission to raise a ten-thousand-strong army. The force was essentially under Jang Bogo's own command, granting him exceptional military and political power; with his massive fleet, he dominated the trade between Tang, Silla, and Japan, and with royal authorization, he could negotiate independently with other countries. He strengthened the community of Silla merchants living in the Tang Empire—as mentioned in the drama—and even had temples built for them. He became so wealthy and powerful that he was able to intervene in Silla's internal conflicts over the throne, thereby drawing the resentment of the nobility, especially because he did so despite his commoner origins. Jang entered the political arena as a "kingmaker," helping his preferred ruler to the throne with the support of a five-thousand-man army, and perhaps even harbored dreams of founding a dynasty by marrying his daughter into the royal family. However, due to the resistance of the nobility, these plans failed. In revenge, Jang plotted a conspiracy which ultimately led to his death, as he was stabbed at his own garrison by a man named Yeom Jang (or Yeom Mun). Following his death, the garrison was dismantled. Consequently, from the perspective of the Silla Kingdom, Jang Bogo ended his life as a traitor despite all his previous merits. His reputation shifted more positively over subsequent periods; even the 13th-century Samguk Yusa, written during the Joseon Dynasty, spoke of him with appreciation, highlighting his intent to purify political life, and later, his activities for the sake of secure and independent maritime trade came to the fore.

The sources also mention Jeong Nyeon, depicted in the drama as Jang Bogo’s friend. They describe how they went to the Tang Empire together. Jeong Nyeon was excellent in martial arts and swimming, yet he is presented as a person close to but competing with Jang Bogo. He followed Jang Bogo to Silla much later, only after resigning from his position in Tang, where he participated in leading Jang Bogo's five-thousand-man army during the first succession struggle. Later, it is said that during his premiership, Jang Bogo entrusted the leadership of Cheonghae to Jeong Nyeon, though this information is not entirely verified.

Yeom Jang (formerly known as Yeom Moon), the drama's antagonist, was also a real person. From the aforementioned sources, we know he hailed from Mujinju, was a general and politician of the late Silla Dynasty, and likely lived until 851 (thus, he probably had little to do with pirates). During the first throne succession conflict in 838, Yeom Jang—described as brave and agile—participated in leading a five-thousand-man army as General Jang Bogo's subordinate, but later sided with the government. The Samguk Yusa, however, gives a detailed account of how Yeom, with the King’s approval and feigning a request for asylum, sought out Jang Bogo, and describes the detailed circumstances of the murder, including the dialogue between them. After the assassination, Yeom Jang was appointed to one of the highest official posts (Agan, the sixth of the seventeen ranks) and subsequently participated in the process of completely dismantling the garrison.

Kungp'a [Jang Bogo] led the general into an inner room, where they sat face to face. When they were alone, Kungp'a asked again:

- What wind brought you here?

- I have offended the King—Yeom Jang repeated—and therefore I have come to seek asylum under your command to escape death.

- You are lucky—said Kungp'a.—Raise your glass! I drink to your health and your successful escape. When Kungp'a had been drinking decently, Yeom Jang suddenly pulled the long sword from the scabbard hanging at the rebel's waist and cut off his head with a single blow. When they heard this, all of Kungp'a's officers and men fell prostrate before Yeom Jang in fear and shock.

Samguk Yusa, Book 2, Chapter 47

Kim Yang is also mentioned in the chronicles, which state he was of royal descent. He indeed served as the governor of Mujinju and then participated in its capture, leading the cavalry in Kim Woo-jing's army. After the victory, he forbade personal retaliation against the losers. Later, he rose to a high military rank. Historical sources praise him for his insight but mention that he took no steps to aid Jang Bogo, perhaps fearing the formidable power Jang Bogo possessed, which rivaled his own.

Governors of Mujinju in the drama: Kim Chang-gyeom (Jung Sung-hwan) – fictional character, Junghwa's brother; Kim Yang (Bae Soo-bin) – real character, royal descendant.
(Author’s screenshot from Emperor of the Sea.)

The Inspector General and the Minister of War.
(Author’s screenshot from Emperor of the Sea.)

Although the succession and history of the constantly changing rulers are quite difficult to follow, the drama generally follows the main turns of real events. We encounter several kings among the characters:

• King Heungdeuk (826–838), who appears as Jang Bogo’s first supporter:

Park Sang-gyu (Author’s screenshot from Emperor of the Sea.)

• Kim Kyung-jung (838), who was never inaugurated, as he was killed immediately following his election:

Shin Gwi-sik (Author’s screenshot from Emperor of the Sea.)

• King Huigang (836–838), whom we know as a puppet king who committed suicide:

Jang Ki-yong (Author’s screenshot from Emperor of the Sea.)

• King Minae (838–839), formerly Kim Myeong (supported by Lady Jami in the drama):

Kim Joo-young (Author’s screenshot from Emperor of the Sea.)

• King Sinmu (839), formerly Kim Woo-jing (supported by Jang Bogo in the drama), who died four months after ascending the throne (the cause of his death is unknown, thus the assassination committed against him is dramatic fiction):

Kil Yong-woo (Author’s screenshot from Emperor of the Sea.)

• King Munseong (839–857), son of King Sinmu, who ascended the throne as a child:

Kim Kyun-ha (Author’s screenshot from Emperor of the Sea.)

Among the characters seen in the story, Yi Sa-do, who serves the Tang but opposes them, is a real historical personality. He is considered a descendant of Koguryeo, although this is not fully proven. The rebellion, however, is a fact, as is the assassination attempt against the Tang Prime Minister, who wanted to break the power of the Yi clan. Since Jang Bogo was serving in the Tang army at the time, he also obstructed the realization of Yi’s plans, and they might have even come into contact. The rebellion was indeed eventually suppressed with the help provided by Silla.

These are roughly the historical cornerstones of the story, the walls of whose colorful plot were first envisioned by novelist Choi In-ho in his three-volume novel God of the Sea (해신), published in 2003. The publisher's description emphasizes that with this documentary novel, he actually did much more: after a thorough study of historical sources, he placed the figure of the protagonist—recorded as a traitor in Korean history—in a different light. He portrays Jang Bogo as a brave man striving to renew Silla's chaotic political life, who did not surrender to his fate even at the beginning. He became who he was through his own strength, rising to greatness as a humanist thinker and religious reformer (supporting Zen Buddhism), a globally-minded man who could look beyond national borders. He was made a loser by his own country's jealous nobility, who could not tolerate him in their ranks.

Despite the fact that most characters and a large part of the plot are products of the imagination, there are enough real elements in it for God of the Sea to approach the greatest historical dramas striving for authenticity; indeed, it could almost imperceptibly be placed among them.

Following the path of the novel, the television drama tracks Jang Bogo's life, whose phases connected to historical circumstances divide the long dramatic flow into several units. The main characters are constant, but their interests, the relationships between them, and the balance of power change from time to time; as their stakes rise, so does the tension of the drama. The power games of the merchant houses influence the fate of the protagonists, whose relationships are also shaped by these interest-based ties. The melodrama unfolds along these lines, turning the story into a powerful drama of love and revenge. In the following, I will not attempt to detail the plot, but rather to illustrate the changes in the prevailing balance of power.

Episodes 1–4: The Heroes' Childhood

Heo In-beom (Soon-jong), Ahn Jae-hong (Jeon Nyeon), Baek Sung-hyun (Goongbok),

Lee Yeon-hee (Junghwa), Hong Hyun-ki (Yeom Moon) child actors/actress.
(Author’s screenshot from Emperor of the Sea.)

We are in Silla, on the island of Cheonghae (modern-day Wando), where Goongbok, holding slave status, and his friend Nyeon work in a shipbuilding workshop. Goongbok gets into a life-threatening altercation with the cruel son of the local governor, but the governor's daughter takes Goongbok under her protection, and he falls in love with Junghwa. A mysterious boy appears, Yeom Moon, who belongs to Master Lee’s merchant group and possesses exceptional martial arts training. He and Goongbok, who longs to escape the island, become mutual helpers while forming a friendship. Yeom Moon’s eyes also fall upon the pretty Junghwa. Amidst numerous events, the settlement is struck by a pirate attack that seals the youths' fates. Both Goongbok’s father and the governor die; thus, Goongbok, left without parents, is sent as a slave to a horse ranch in Mujinju (modern-day Gwangju), accused along with Nyeon of colluding with the pirates. The orphaned Junghwa is taken in by Lady Jami, a wealthy merchant woman of Mujinju, who, disregarding the girl's noble descent, has her educated only to sell her as a concubine to a wealthy nobleman once she grows up. No one knows that Yeom Moon is the foster son of the pirate leader posing as a merchant—the very man who murdered Junghwa’s father during the attack, even as he saved the lives of Goongbok and Junghwa.

In this phase, the teenage actors take center stage, all flawlessly breathing life into the future adult protagonists. However, Baek Sung-hyun stands out among them with an energetic and natural performance as the young Goongbok, and Hong Hyun-ki must be mentioned as the young Yeom Moon, who manages to evoke the charisma of the adult character.

Episodes 5–7: Mujinju: Lady Jami’s Empire

The merchant house of Lady Jami (Chae Shira)
Jang Seong-pil (Do Ki-suk), Tae-bong (Kim Hyung-beom), Neung-chang (Park Jung-hak), Junghwa (Soo Ae), Dabok (Go Do-young), Mak Bong (Lee Hee-do), Lee Soon-jong (Jo Dal-hwan)
(Author’s screenshot from Emperor of the Sea.)

The first alliance between Master Lee, seeking trade in Silla, and Lady Jami, who dominates it. Here, the pirate leader holds a subordinate position, as he wishes to gain a foothold in Silla and requires the Lady’s assistance. Their agreement is based on facilitating each other’s illicit dealings. It becomes clear to Yeom Moon that Goongbok and Junghwa are in love; consequently, he watches them from the shadows, concealing his own feelings. Goongbok enters Lady Jami’s service but conspires with those seeking her downfall. As punishment for his betrayal, Lady Jami has the pirates send him to the Chinese slave market, thus tearing him away from Junghwa, with whom he had already planned a future. Alongside his hatred for the pirates, a desire for revenge against Lady Jami takes root in Goongbok’s heart.

Episodes 7–18: Mujinju, Hexi Fortress, Dunhuang Desert, Yangzhou: The World of Slavery and Merchant Groups

Strengthened by her political connections in Silla, Lady Jami emerges from the attacks launched against her and, securing the right to trade with China, seeks to establish a foothold in the Tang Empire's commercial hub, Yangzhou. This city is also a gathering place for merchants, primarily of Silla origin, where Master Lee has retreated, ostensibly having given up piracy. Here they forge their second alliance with Lady Jami, aimed at breaking the dominance of the respected and powerful Master Seol, who operates by honest means, to take over his market-leading role. Unscrupulous in their methods, they employ the murderous tactics of pirates to clear those in their path, with Yeom Moon acting as the ruthless executioner.

The merchant house of Master Seol (Park Young-gyu)
Jeong Nyeon (Kim Heung-soo), Goongbok (Choi Soo-jong), Baek Ha-jin (Kim Ah-joong),
Seol Chae-ryeong (Chae Jeong-an), Yoo Ja-sung (Kim Hyo-won), Jang Seong-pil (Do Ki-suk)
(Author’s screenshot from Emperor of the Sea.)

Merchant house of Master Jo (Lee Jae-yong)
Cheon Du-man (Choi Woon-kyo), Choi Mu-chang (Lee Won-jong)
(Author’s screenshot from Emperor of the Sea.)

Merchant house of Master Lee (Kim Kap-soo)
Pansul (Go Myeong-hwan), Dae-chi (Jung Ho-geun), Yeom Moon (Song Il-kook), 
Baek-kyung (Yeo Ho-min), Joong-dal (Kang Seong-pil)
(Author’s screenshot from Emperor of the Sea.)

While still in Mujinju, Yeom Moon kills the man who had set his sights on Junghwa. Subsequently, Junghwa manages to learn commerce as an independent woman, following Lady Jami’s model, and is tutored by Yeom Moon, who is highly skilled in the field. Thus, Yeom Moon can draw close to his love, whose feelings he continues to respect. No one knows that his first act upon returning to China was to set out to rescue Goongbok—who had been sent to the construction of a border fortress—though he did not succeed. Surviving the cruel conditions, Goongbok eventually comes into the possession of Master Jo, a Yangzhou merchant involved in the training and competing of gladiators.

(Author’s screenshot from Emperor of the Sea.)

As an aside, I found the question intriguing: could gladiator matches have been held in China at that time? Theoretically, the Silk Road formed a connection with Ancient Rome, so they could have known of the games there, yet I found no mention of this on the internet. What I did find was the description of the lei tai, which meant a duel taking place on a platform built for that purpose, certainly existing as early as the Qin Dynasty. These could be lethal armed encounters, though they were more often unprotected fights resembling wrestling. Perhaps the author's imagination colored this form of entertainment into gladiatorial combat, and the cinematic execution made it resemble the ancient games known to us in its outward appearance.

After many turns, Goongbok and Nyeon end up in Master Seol’s merchant house as the group’s bodyguards. Due to a rebellion breaking out in Silla, Lady Jami is forced to stay in Yangzhou as Master Lee's guest, creating a new field of conflict for the characters. Initially, the Jami-Lee alliance enjoys unbroken success, but their methods later turn against them, causing their downfall. To save herself, Lady Jami betrays Master Lee, who is forced to flee Yangzhou, while Yeom Moon nearly loses his life in a duel with Goongbok.

Long before this, Yeom Moon saves Goongbok’s life again, a fact known only to Junghwa. The girl—recognizing their irreconcilable situation—seeks to break up with Goongbok and, through a twist of fate, finds herself in a position to marry Yeom Moon, accepting his honorable proposal. It becomes clear to Goongbok that Yeom Moon is among those hated pirates to whom he owes his misfortune; thus, the friendship between the two men ends, and they become mortal enemies. The wounded Yeom Moon is ultimately saved from Goongbok’s lethal blow by Junghwa. Consequently, suffering manifold losses, Yeom Moon is forced to flee alongside Master Lee.

Episodes 19–25: The Yi Sa-do Rebellion

Yi Sa-do (Han Sang-hyuk) (Author’s screenshot from Emperor of the Sea.)

The center of the rebel warlord Yi Sado’s (Li Shidao) autonomous military district (the Pinglu-jiyun command) and the warlord’s headquarters were located in the city of Qingzhou (青州), in present-day Shandong Province. From here, Yi Sado controlled the northern coast of the Yellow Sea and the maritime smuggling directed toward Silla, which led to a direct conflict with the governors of Yangzhou and Jang Bogo’s faction.

At this point in the story, casual mention is made of a structure that perhaps even surpasses the Great Wall of China: the Grand Canal, which was undoubtedly the greatest achievement in design and execution of the era. Since the country’s rivers ran parallel from west to east toward the sea, there was no connection between them through which food from the southern agricultural regions could be delivered to the mountain-sheltered capital and the northern borderlands. To solve this problem, a multi-section canal system was conceived and constructed. However, Yi Sado seized the main branch of the canal, paralyzing navigation upon it. Perhaps by examining the map below — and recalling what was written in the seafaring section about the rigging — it becomes easier to understand the bold and clever solution Jang Bogo used to outsmart the power of the rebel warlord. The blue line indicates the path of Jang Bogo’s ship, which, by bypassing the land and maritime territories controlled by Yi Sado (bordered by the red line), sailed to the mouth of the Yellow River, where the cargo was transferred to river galleys and navigated upstream to reach its destination for the imperial capital (orange circle).

Wikipedia ©CC

Junghwa is finally willing to oppose Lady Jami and embrace her love for Goongbok, just as a rebellion breaking out within the Tang Empire—evolving into war—assigns our heroes once more to opposing camps. For Master Lee to rebuild his forces, his only option is to seize the opportunity recognized by Yeom Moon: they must become military suppliers for the rebels. They succeed in this, but Yi Sa-do, seeing Yeom Moon’s combat prowess, elevates him to military rank and entrusts him with the leadership of a significant force. Simultaneously, the Tang sentences the bodyguards of the merchant houses to forced conscription; thus, Goongbok and Nyeon also find themselves in the Tang army, where they begin to rise through the ranks. In the clashes of the war, Goongbok and Yeom Moon deal each other mutual defeats. Lady Jami, stranded in Yangzhou, also seeks to profit from the war, but realizes she will have no opportunity alongside Master Seol; therefore, she soon begins to look toward the rebels, once again exploiting Master Lee and Yeom Moon. Junghwa arrives as an advance guard at Yi Sa-do’s camp, where events turn such that the captured Goongbok faces execution. Junghwa makes a desperate offer to Yeom Moon: in exchange for saving Goongbok, she offers to remain by the man's side as his wife. Although Yeom Moon is seething with humiliation, he cannot resist Junghwa’s request and sets the man free. The time spent together in the camp is the cruelest experience for the lovelorn Yeom Moon, as it confronts him with the fact that he can expect no emotional reciprocity from Junghwa—who stubbornly wishes to fulfill her promise—only service and the constant feeling that, compared to Goongbok, he has no chance of winning the woman’s heart.

However, the war ends with Yi Sa-do’s defeat. Master Lee must flee again, leaving everything behind, as must Lady Jami, who sneaks back to Silla. Yeom Moon rescues Junghwa from the attacked camp, dragging her away before Goongbok’s eyes. During the escape, however, he becomes separated from the woman, who simply vanishes.

This part concludes with an extremely interesting finale: Yi Sa-do gives a thought-provoking piece of advice to Jang Bogo, who is at the peak of his military success and considers himself a person of elevated thinking.

"I am a descendant of Koguryeo. Why do you think we speak the same language? Because we share the same blood. Yet, you still point your sword at your own blood? Blinded by the insignificant matter of the safety of Silla people living in China, you have lost sight of a greater goal. The Tang government will brand me a traitor, though I am not. This land belonged to Koguryeo; I merely tried to reclaim our land. Why did you become a Tang soldier and obstruct my great cause?! Listen to me well! No matter what purpose you fight for, you are just a Tang dog. Think carefully about who you are barking at!"

The author's distortion is obvious, through which we see the figure of Yi Sa-do as more noble than in reality. At the same time, the double message is important: a retrospective jab fueled by patriotism at China, a constant threat throughout history, and the planting of a life-altering thought in Jang Bogo’s mind. There is also a piquant edge to this, as in the light of this thought, the good and bad sides seem to swap places: was Yeom Moon instinctively on the right side then? And Lady Jami as well?

Episodes 26–33: Silla: Warfare Against the Pirates – Part 1

The story resumes two years later when Lady Jami, having quickly recovered, arrives in Yangzhou once more as Silla’s envoy. Goongbok, who has since taken the name Jang Bogo and left his military career, has learned the trade and thwarts Lady Jami’s plans with his bold moves. By this time, every faction has leveled up in their ambitions. With Master Seol's support, Jang Bogo's goal is to build a bridgehead in Silla, defeat the pirates, and then establish secure shipping routes toward China and Japan.

Wikipedia ©CC

Master Lee, having retreated to an island, has shifted his focus to piracy, dominating the region's waters and even defeating naval fleets. He seeks to bring the southwestern waters under his control to expand further toward Japan and China, and even aims to gain a foothold in political life. Lady Jami exerts increasing power over the appointment of state officials servile to her. After the fiasco in Yangzhou, she realizes that under Master Lee's protection, she could secure a safe sea transport route toward the Silla capital; therefore, she reconnects and allies with the pirate leader once again. These ambitions naturally guarantee further conflictual situations among the characters. New characters appear on the scene: an unknown merchant group, which is soon revealed to be led by Junghwa, and her supporter, Kim Woo-jing, the former regent.

Merchant house of Junghwa, bottom left: Mujin (Seo Do-yeong)
(Author’s screenshot from Emperor of the Sea.)

Both endanger Lady Jami’s plans, thus becoming targets of the Lady’s attacks, with Yeom Moon usually serving as the instrument. But not everything goes according to plan. Junghwa rejects the advances of both Jang Bogo and Yeom Moon, and the successive manhunt between the two men turns into an increasingly fierce struggle, into which external forces intervene in the worst possible way. Although they managed to establish the garrison in Cheonghae, Master Seol’s group, suffering significant losses, is forced to retreat to Yangzhou. Lady Jami is cornered by events and, in response, commits herself to desperate measures.

Episodes 34–37: Yangzhou, Silla: Warfare Against the Pirates – Part 2

In Yangzhou, the leadership of Master Seol’s group and the title of Grand Master are bequeathed to Jang Bogo. In the succession struggle raging within the Silla royal court, Lady Jami and Master Lee side with the Inspector General, while Jang Bogo and Junghwa support the Regent. Suddenly recognizing the strategic importance of the location, everyone seeks to gain a foothold in Cheonghae; Master Lee launches an attack to seize the area. The Regent—successfully evading the trap set by Lady Jami—recommends Jang Bogo to the King’s confidence, who then receives authorization to suppress the pirates. A new governor is appointed to Mujinju, representing a new, independent force. Jang Bogo’s growing power disintegrates the unity of the pirates; left to his own devices, Master Lee finally loses his life. Yeom Moon wages a desperate struggle for revenge, but his fight is hopeless, and he eventually falls into Jang Bogo’s captivity, who imposes a cruel punishment upon him.

Episodes 38–47: Yangzhou, Cheonghae, Seorabeol (Capital of Silla, modern-day Gyeongju): Succession Struggles

The story continues after a two-year hiatus. The King places Jang Bogo in a privileged position, granting him permission to establish a private army of ten thousand men. In the capital, the balance of power among those vying for the throne shifts rapidly; first the death of the Chancellor, then that of the King, rearranges the political landscape. Naturally, Lady Jami and Jang Bogo stand on opposing sides. Kim Yang appears as a new power player, alongside whom Yeom Moon also returns, now under the name Yeom Jang. Finally, the front lines are drawn between Lady Jami—who has temporarily placed a puppet king, Huigang, on the throne and is allied with Chancellor Kim Myung in the capital—and those at the Cheonghae base harboring the rightful heir to the throne, Kim Woo-jing (and with him, Junghwa). Jang Bogo, now married to Master Seol’s daughter, has taken in Kim Yang, who ostensibly submits to him but harbors secret plans of his own, with Yeom Jang in his service.

After the removal of the puppet king, Lady Jami seeks to have Kim Myung recognized as ruler by winning over Silla-born officials within the Tang administration. she exerts all her influence to paralyze Cheonghae's trade, but Jang Bogo and Yeom Jang thwart her plans, making an attack on the base seem inevitable. Changing their previous stance, Kim Woo-jing and Jang Bogo decide to intervene in the power dynamics. Yeom Jang is granted the rank of General within Jang Bogo's army.

Episodes 47–49: The War

According to Lady Jami’s plans, the Empire’s armies set out to attack Cheonghae. Meanwhile, Jang Bogo’s army captures Mujinju. Lady Jami attempts to use the captured Junghwa to achieve her goals, but she fails, as does her decisive battle, since Jang Bogo proves to be the superior strategist. Kim Yang and Yeom Jang play a major role in the victory; Lady Jami loses everything.

Episodes 49–51: Power Vacuum, The Fall of Cheonghae

Kim Woo-jing ascends the throne as King Sinmu, but since this is solely due to Jang Bogo’s merit, the power ambitions of Kim Yang—appointed as Inspector General—remain unfulfilled. Within Yeom Jang, elevated to the post of Commander of the Royal Guard, newly acquired experiences clash with old vows, causing him to waver in his resolve. Consequently, he loses the trust of both his old and new allies. However, the King, who intends to appoint Jang Bogo to a court office, unexpectedly passes away, and his successor is his young son. Kim Yang grows increasingly brazen in his pursuit of power, threatening Jang Bogo with war against Cheonghae. As Junghwa also falls into danger, Yeom Jang volunteers to persuade Jang Bogo in order to avoid war. However, Kim Yang promises this only in exchange for Jang Bogo’s assassination—a promise he has no intention of keeping. Although Yeom Jang fulfills the task, Kim Yang attacks and dismantles the Cheonghae base regardless. Yeom Jang is left with no choice but to protect his love at the cost of his own life.

As can be seen from the foregoing, in one respect, the drama is indeed a massive strategic game board. In the first half of the story, the merchant houses maneuver; in the second half, the members of the royal court do the same, in constant opposition to Jang Bogo. Given the nature of the story, moral questions regarding personal and political responsibility naturally arise, to which we sometimes receive contradictory answers in the great effort to idealize the protagonist. I shall address these through the individual characters, as well as their roles in the love triangle that forms the other main thread of the drama.

On the Main Characters and Acting Performances

Jang Bogo, formerly Goongbok (Choi Soo-jong) 

From the very beginning, we come to know him as a restless character, unable to accept his preordained fate, refusing to surrender to the hardships life places before him. Initially, he is driven only by the desire to escape his past; however, the way Yi Sa-do confronts him with his actions simultaneously shames him, makes him reflect, and defines the future direction of his endeavors.

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

Yet, his political principles do not fit into the reality of his time, which ultimately turns him into a tragic hero. At one point, Yeom Jang says something profoundly thought-provoking to him: "Excessive humility is a form of pride"—and in my opinion, this is precisely where Jang Bogo outmaneuvers himself. By citing his adherence to principles, he comes into conflict with his own most important conviction: that he must not participate in the political rivalries of the court. In the drama, we receive a slightly skewed version of historical accounts, as if all of Jang Bogo’s ambitions for power appear so only because of the requests of others. However, this contradiction does not disappear even through this, nor does the "double standard" applied to certain smaller issues. For instance, he respects Master Jo while turning a blind eye to Jo’s past activities—gladiatorial games that caused the deaths of countless fellow slaves. Furthermore, while constantly preaching the principle of "embracing your enemy," he takes uncharacteristically cruel revenge on Yeom Moon. He holds it against Yeom for not breaking the emotional bond with his pirate foster father, while he himself clung to Master Seol with the same devoted loyalty (even if the moral standing of the two "father figures" is opposite, there is no difference in the emotions arising from the "child/disciple" position). There is no mention of how much of his actions were driven by romantic revenge, but later, his inexplicable trust toward Yeom seems tinged with a certain remorse.

Although endowed with a lifelong love in the spirit of romance, he appears moderate in this as well, actually doing little to change his beloved’s stance. He accepts the circumstances; thus, it is no wonder he ends up beside another woman, where the urge to conform to the expectations of his environment proves stronger than true love.

In Choi Soo-jong’s portrayal, Jang Bogo is a man of winning appearance and excellent fighting spirit, capable of maturing into a charismatic leader through much learning. However, excessive heroization and idealization do not serve the character well. Although he is capable of expressing a wide variety of emotions, he somehow seems distant, frozen in his own greatness. Nevertheless, everything would be in place to count Choi’s performance among the most memorable drama heroes, if his antagonist were not Yeom Moon/Yeom Jang, brought to life by none other than Song Il-kook.

Yeom Moon, later known as Yeom Jang (Song Il-kook)

Perhaps the most contradictory antagonist we have ever seen. Bound by a fatal attachment to the pirate leader who saved his life and raised him, as a child he encountered nothing but a lack of love and teachings burdened with cruel punishments. These seemingly matured him into an emotionless, ruthless killer, but also into an excellent warrior and merchant. If Jang Bogo has a noble appearance, then Yeom Moon radiates a regal aura; his posture and every single movement are so majestic. He is a restrained, taciturn character, from whose eyes sometimes infinite sadness, sometimes infinite cruelty flows. In the first half of the drama, his developing friendship with Goongbok and his love for Junghwa seem to bring the positive half of his being to life; despite his misdeeds, he mostly appears extremely captivating. It is an interesting cinematic solution that, despite being a negative character, he regularly appears dressed in pastel-colored clothes.

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

Since he is never able to break with his affiliations (after all, to whom could he flee?), he inevitably ends up in the service of the wrong side. At the same time, as the drama progresses, his self-discord becomes increasingly palpable. The loss of his master, followed by his ruthless punishment and subsequent trials, finally ignite the desire for revenge in his heart. Although a volatile personality capable of immense passion from the start, he undergoes a total facial transformation in the second half of the drama. He begins to resemble the general and politician described in historical records—the drama achieves this by leading the character through a process of meditation and study in a monastery. However, the greatest trouble with both Yeom Moon and the renewed Yeom Jang is the same: "He has no ambition," says his pirate father; "Power without a goal is empty," he summarizes his own situation while standing at the peak of his political success. Perhaps this is why it is his fate that everyone constantly seeks to use him only as a tool for their own ambitions, and he does not defy these efforts. Yet, the confession torn from him is deeply moving:

"Do you know how I feel right now? The thin thread I was desperately clinging to has snapped. I will fall into a bottomless well if I let go of that thread. Yet I... snapped it with my own hands."

Finally—albeit late—he confronts the fact that he has been exploited, and at least in the moments before his death, he stands on the right side.

One always feels that it would take only a single gesture from Junghwa to save Yeom Moon, who is an infinitely devoted and self-sacrificing lover. Two things make the woman unattainable for him: on one hand, the tragic offense he committed against her (though only he is aware of this), and the tact with which he handles Junghwa’s feelings for Jang Bogo. The phase of the story when Junghwa nevertheless ends up by his side as a "wife" represents the deepest hell for him, because he is only confronted with the fact that the emotional chasm between them is unbridgeable.

Song Il-kook’s performance is so powerful that we can use the turn of phrase: "he steals the show." Perfectly internalizing all the aforementioned traits, he transfigures into Yeom Moon. Precisely during the previously mentioned cohabitation, he shows something stunning: Junghwa’s offer to be his wife in exchange for Jang Bogo’s life shames the proud man to such an extent that his voice chokes with the internal passion of humiliation, and he begins to tremble in every fiber of his being. Compared to the vitality seen in the first half of the drama, it is worth observing how the entire character darkens in the second half—and I am not referring to the colors of the costumes, but to Song Il-kook’s facial expressions, his posture, and his gaze. For many episodes, he has almost no lines, yet we can follow his every thought and emotion precisely through these. Although the killing of Jang Bogo is a villainous act, in Yeom Jang’s eyes, it may have another reading: he is no longer driven by revenge, but truly by the prevention of a conflict that poses a danger to his country and people. This is why we can see it as if the remaining part of his soul dies along with Jang Bogo. Thus, it can even be permissible to view his death as a self-sacrificing, noble act. In summary: an infinitely tragic and lonely hero, who becomes fascinating precisely through the complexity of his character, and an unforgettable figure of the drama.

Incidentally, Yeom Moon was Song Il-kook’s first historical drama role, and he stated afterward that the filming was so strenuous that he seriously considered whether to accept the lead role of Jumong offered to him next. Fortunately, he made the right decision, as he thus gifted us with the greatest royal drama (and later its sequel, The Kingdom of the Winds).

An example of the subtle difference in lighting used in the drama to aid characterization:
Jang Bogo is enveloped in a warm, almost radiant golden light, while a cold blue light
casts a shadow across Yeom Jang’s face.
(Author’s screenshot from Emperor of the Sea.)

Junghwa (Soo Ae)


She is the central (and fictional) figure of the drama’s romantic thread, though her role is much more than that. We witness a unique life path; she is a person linked by many threads to the drama’s key figures. Since we are not yet in the world of the Joseon era, which would later shackle women, Junghwa is capable of shedding her sense of dependency following the ruthless twists that impact her life. She sets out on an independent, albeit arduous, path and battles opponents who seem far stronger than her. Thus, alongside Lady Jami, she becomes one of the two strong female figures in the drama capable of standing on their own feet. Yet her life becomes infinitely sad, as her relationship with her love is such that they can never meet at the right time, bringing only trouble upon one another. This is why Junghwa decides to break off her feelings for Jang Bogo—though for me, this act felt more like a melodramatic plot device than a justified decision. While she cannot love him, she is fascinated by Yeom Moon’s being; she sees the man’s valuable, noble side, his kindness, intelligence, and martial arts skills. At the same time, she regards his cruelty and readiness to kill with a mixture of horror and amazement. Her heart is touched by the man’s steadfast love, which she cannot reciprocate, but it awakens pity and remorse in her. Likely because she is able to step out of all constraints, she becomes the sole survivor of the drama—the trustee of the future.

(Author’s screenshot from Emperor of the Sea.)

Actress Soo Ae is beautiful, capable of being both warmly close and chillingly distant and unattainable. Though she looks fragile, she can mobilize great strength in conflictual situations. Yet her role sets limits to her fulfillment by forcing a kind of resigned presence upon her, where she often has to express her emotions without words. While her most wonderful "performance" is when her wide eyes radiate shock and horror simultaneously, we see this repetition slightly more often than necessary.

Lady Jami (Chae Shi-ra)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

(Author’s screenshot from Emperor of the Sea.)

Although this also fictional character is one of the engines of the plot, it must first be emphasized that Lady Jami is the visual ace of the drama. She is a beautiful, wealthy, and smart woman whose appearance the director also delights in lingering upon; thus, her look is of incredible variety, including her costume creations, jewelry, makeup, and hairstyle designs. She is like a predator, a personality who puts men to shame regarding her vigor and social-climbing power ambitions. She is a self-made character who becomes increasingly bloodthirsty, never satisfied with anything. Though she occasionally refers to emotions, in reality, she is attached to no one; everyone is merely a tool in her eyes. Her lack of scruples drives her to increasingly insane moves, and she is intoxicated by her successes. Her defeat is inevitable precisely because of her loss of proportion, and her final collapse is one of the great scenes of the drama: nothing remains of the magnificent lady but a lonely, unpainted, desperate ordinary woman. Perhaps in the final moment, she realizes where she went wrong, but by then, even the last person to whom she could have had an emotional connection has turned away from her. Actress Chae Shi-ra was a perfect choice for this role: her elegance and the expressive power of her facial acting are marvelous.

Kim Yang (Bae Soo-bin)

(Author’s screenshot from Emperor of the Sea.)

The most villainous character of the drama, brought to life by Bae Soo-bin. His hunger for power and revenge is justified by a personal story in which his father and grandfather were unworthily killed. He is a cold-headed, emotionless character who manipulates everyone around him. Ultimately, it is this character, painted in the darkest shades, who tramples everyone to remain the victor on the battlefield. Since the intent of the novel—and the drama based upon it—is to highlight Jang Bogo’s greatness and undeserved fall, this ending likely symbolizes the evil court enemies who sought Jang Bogo’s life. It may not have been the author's intention, but this end also carries the moral that on the filthy altar of politics, anything and anyone can be sacrificed at any time. This is a far-reaching conclusion that goes beyond the historical judgment of Jang Bogo.

While they would certainly deserve it, it is impossible to mention every character in the drama, as they are numerous and infinitely diverse. Yet almost all are well-developed characters with their own distinct identities and individualized appearances, possessing unique personality traits thanks to the acting performances.

Still, I would add comments to a few of them:


Jeong Nyeon (Kim Heung-soo)

(Author’s screenshot from Emperor of the Sea.)

Jang Bogo’s childhood friend and later brother-in-arms, played by Kim Heung-soo. As an important character, he almost receives an independent story in the drama. It is a great pity that after his arrival at the Cheonghae base, he is turned into a somewhat foolish, constantly irritable, and actually hysterical figure, creating a contradictory situation with the persona he shows in his love story.

Jang Bogo’s Father (Park In-hwan)

(Author’s screenshot from Emperor of the Sea.)

Park In-hwan needs no introduction; we know he is a great actor. However, it is still outstanding how, playing Jang Bogo’s father—who naturally only appears in the childhood segments—he was able to provide such a memorable performance.

Master Lee, the Pirate Lee Do-hyeong (Kim Kap-soo)

(Author’s screenshot from Emperor of the Sea.)

It is solely thanks to Kim Kap-soo’s astounding acting that Master Lee remains far more memorable than the leaders of the other merchant groups. He was given a perfect look by the mask masters, but what is truly amazing is his posture: with subtle differences, we see him as commandingly authoritative or as suggesting a somewhat mannered servility. His gestures are simultaneously jerky and refined, perfectly expressing the tension between his ambitions and his reality. Master Lee has a charismatic aura with which he can make one believe he wishes to integrate into the world of honest merchants—only as a leader, of course. Yet the opportunity for easy profit does not let him go; thus, he cannot break with piracy, primarily aimed at the slave trade, toward which he has no moral reservations. He articulates an important realization that serves as an explanation for the power ambitions of several characters: being a merchant is like building on quicksand if there is no supporting force with political power behind you. Master Lee’s figure is made particularly exciting by his relationship with Yeom Moon. Taking the boy in as an infant, he raises him with methods more akin to training, showing few signs of emotional attachment. Yeom Moon, however, would do anything for his love and recognition, and only we, as viewers, know that as he grows up, the boy becomes more and more Master Lee’s pride and greatest asset. When Yeom Moon’s life hangs by a thread, we see something from Kim Kap-soo that is an unforgettable moment: he silently takes the unconscious man’s hand, and his eyes fill with tearful concern, from which we can understand that he loves very much, he is just incapable of expressing it. Later, he gives more and more signs that he sees into Yeom Moon’s feelings and thoughts, and is helpless against Yeom’s distancing from him.

The Annoying Characters, or the Presence of Fairground Theater

Lee Soon-jong (Jo Dal-hwan) and Mak Bong (Lee Hee-do)
(Author’s screenshot from Emperor of the Sea.)

Chun-tae (Choi Sang-kil) and Joong-dal (Kang Seong-pil)
(Author’s screenshot from Emperor of the Sea.)

This is not a entirely appropriate comment in that likely only Western viewers feel this way toward the humorous characters who appear as almost mandatory elements in Korean dramas to relieve tension. Or I shall admit that perhaps it is just me. In this drama, we get four such characters: a pair of father (Mak Bong, played by Lee Hee-do) and son (Jo Dal-hwan, playing Jang Bogo’s childhood friend, Lee Soon-jong), and another pair, Joong-dal (Kang Seong-pil), who can best be described as a loitering knight, and his servant, Chun-tae (Choi Sang-kil). All of them work with a loud set of tools characteristic of folk or fairground theater, often bordering on buffoonery. Still—despite the fact that I usually find them very annoying—I must admit that they fulfill their task perfectly. Even with this exaggerated caricature, they draw characters with precise personality traits, ranging from the intimidated little man to the frightening, lowly villain. They also have an important connecting role in the drama, as they are constant messengers between the various camps. If they weren't there, perhaps they would even be missed—though I know I have now contradicted myself.

The music of the drama deserves special mention, as besides several songs of extraordinary beauty, numerous instrumental pieces are heard; among them, the dark-toned music accompanying the battles is particularly exciting. As a foretaste, one of the emblematic songs can be heard here (in my own Hungarian translation)—and it is no coincidence at all that this emotional, intimate prayer expresses the feelings of Yeom Moon:

Perhaps it is clear even from this long piece of writing that we are facing an outstandingly interesting historical drama, which rightfully gained a massive viewership upon its release and subsequently during its broadcast in countless countries. It is a grand-scale story that encompasses the cruelty of history and personal human fates. It is also a massive melodrama that employs every tool capable of causing heartache, yet it does not seem artificial. It speaks of slightly exaggerated yet true emotions, of such whims of fate that turn people worthy of a better life into tragic heroes.

The Emmy-nominated drama is also unique in that it escalates losses to the extreme, as if we were in a Shakespearean tragedy; hardly any survivors remain. For that part of the audience who constantly hopes for a happy ending, this is very taxing; therefore, they have categorized the drama among those not recommended for viewing. Let no one believe them if they do not want to miss out on a long-lasting, unrepeatable experience!

Disclaimer: All images used in this article from Emperor of the Sea are owned by KBS and are used here under Fair Use for the purpose of criticism and scholarly review.


.  .  .

This article was originally written in Hungarian for Ricemegatron Expert Film Blog and subsequently translated into English for Ricemegatron Expert: Korean Screen Insights. The English version was created with the assistance of Gemini AI, focusing on preserving the original tone, structure, and critical style of the author.