I love how Hak and Yona have this classic romance moment of physical closeness while teaching/learning a skill but Yona remains unaffected.
It's not a blushy, flustered moment of "omg he's so close to me, I can feel his breath/heartbeat/whatever" (though she will have that later). She doesn't have those feelings yet and she is so focused on the task of learning archery. Hak is surely more affected but we don't even linger on that.
I don't know! It's a nice change of pace. From the outside/our pov we see the romance of it all, but a visual usually used more for the romance aspect is highlighting something else first and foremost. All the while we can still enjoy it as a hakyona moment.
It also showcases their comfort and closeness with each other.
After hearing the prophecy and determining a path forward, we are finally on our way to meeting the dragon warriors(!). We also get the start of this Yoon gag–love it.
There is an air of intensity and mystery around the village of our first dragon warrior, which "has secretly dedicated itself to protecting [the dragon] blood" and is "not aligned with any other tribe and [doesn't] accept outsiders." Right away we learn that the dragon warrior from this tribe will probably have intense faith in the myths and will be another character who has lived in isolation, cut off from the rest of the world. It also seems like this village, and perhaps all the dragon villages, are more dedicated to the figure of the Crimson Dragon King than the country of Kouka.
Each character is charmingly fixated on something different as they leave Ik-Soo with Hak thinking about potential threats (which is accompanied by a nice reminder of the world's geography), Yoon being excited about seeing the dragon village and the world, and Yona basically ignoring the others and declaring "I wonder if soldiers will attack us again. I...need to learn...how to use a sword!"
Thus this chapter is focused on the search for the legendary dragon village and Yona's desire to learn how to use weaponry (get physically stronger). This connects back to King Il and his ambitions of nonviolence, which Hak himself emphasizes when Yona asks him to teach her how to fight.
"King Il never allowed you to touch a weapon. By doing this, I'm defying his orders. Think carefully about...why your father hated weapons."
He also really emphasizes that in order to truly learn to fight effectively, Yona must be willing to kill her opponent. Despite Hak's harsh words of reality, Yona is firm in her dedication to getting stronger and learning to fight. At least for self-defense. Hak agrees to teach her how to use a bow for now.
I appreciate Yona's desire to learn "even if [she's] no match for [their enemies] or can't kill them." Yona is not aiming to be the best, she just simply wants to get stronger and be able to survive (and help the group do so!) It's not the point, but I like how it waves at the value of learning a skill even if you'll never be the best at it.
Hak, and really Kusanagi's, insistence that Yona must be willing to kill is really fascinating to me. Is it true? Hak holding onto King Il's ideals more than Yona is interesting too–yes, he does not put them into practice, but he feels the burden of them when entrusted with King Il's daughter.
I think like with the gods vs. humans, Yona presents a possible path of balance when it comes to violence vs. nonviolence. And this ties into the idea of "does she need to kill to fight?" I think perhaps it's less about being willing to kill and more about having her own ideals. Learning to fight not only provides development in her physical (and mental) strength, but it is part of her journey of self-discovery and identity. Very good!
Yoon seems to support Hak's way of thinking too, which is not totally surprising considering his "kill or be killed" attitude as a poor orphan.
"When you use weapons...you shouldn't be half-hearted about it. We're talking about life-or-death situations. Self-defense is great in theory...but if powerless people like us were thrown onto the battlefield, do you think we could afford to not kill our enemies? In order to survive...we need to be ruthless and try to kill them in one shot...or fight dirty. We...have no choice but to outsmart them."
Though perhaps the idea that only someone as skilled/strong as Hak has the choice to hold back could function as foreshadowing for the options faced by a stronger, more developed Yona.
Speaking of Yona's development, Yoon's thoughts taken with Yona failing to take out a baby boar emphasize how the "you must be willing to kill" idea fits in with Yona's development. She reflects that "drawing your bow means taking a life or letting someone take yours," which I don't think is necessarily true, but she is learning she must be decisive and stand her ground.
Hak offers some praise, noting she almost got it, but Yona can only think: "injuring it seems crueler than killing it for food" to which Hak notes "You're not committing yourself to it." Yona has already shown her willingness to commit herself to her goals, specifically her desire to protect Hak, but that is now being reinforced. I also think Yoon pointing out how the physically "powerless" and weak need to "fight dirty" and "outsmart" their enemies could point to Yona being a strategist in the future.
Hak and Yona's archery practice is also revealing regarding Yona's feelings about Soo-Won and Hak and Yona's relationship. Hak has seen Yona desperately cling to the hairpin from Soo-Won and detach herself from reality after his betrayal–he thinks Yona is still in love with Soo-Won and unable to let go of him and her feelings. This moment shows that Yona's feelings are more complicated than that.
She says "there isn't anyone I want to kill!" but when provoked by Hak bringing up Soo-Won, she just about hits him dead-on with an arrow. She may not want to kill Soo-Won, but she does feel some messier, angrier emotions about him. That and Hak bringing him up in such a way gets to her–he's poking at a sensitive and complicated topic and he knows it. There is anger at Soo-Won and Hak.
And yet, though Yona does not want to kill anyone (which I think is interestingly being set up as perhaps something that will change), she declares she'll "still use any weapon to protect [Hak]! No matter who [she] has to sacrifice," which is very...intense. Maybe it is because Hak feels like all she has left, at least of her past life, but it is as if he has become the center of her life and aims. Part of Hak's dedication to Yona is his (romantic) love for her, but for Yona–at least for now–it's something else.
Yona's declaration makes Hak reassert their difference in status (after allowing himself a little forehead smooch), stating again that Yona should "think of [him] like a tool" and "you don't need to worry about tools." For someone so confident in his abilities, he has pretty low self-esteem. He really views his life as expendable.
And like damn, this is a good chapter to dive into Hak's feelings for Yona and how they impact his behavior, starting with his regrettable man-handling and over-the-line teasing at the beginning. Something to ponder and maybe return to...
Through all of this, it's kind of awesome to watch Yona struggle and dedicate a lot of time and energy to getting better at archery to the point of waking up in the middle of the night to fire arrows. In another, lesser story, she might have shown a natural aptitude or picked it up right away. Having her build the skill over time, and not just in montage fashion, makes things more realistic and also further emphasizes her character and arc. I think it also endears us to her.
Welcome to Yoon's backstory and an elaboration on how he fits with Hak, Yona, and the story as a whole. Also an explanation for his overall behavior and rudeness towards Yona.
This chapter always trips me up. Whenever I do a reread and try to articulate my thoughts, it makes me pause. And not in a good way. I'm sorry, Yoon! I love you, truly I do! And I recognize that his backstory is important. It can just really emphasize the pitstop energy of this section. I love a good backstory, I love backstory woven into the story and how it adds context to or re-contextualizes the present, but a pattern has been set here. We saw this in earlier chapters with Hak and Yona too–the ball gets rolling, shit is happening and then: pause, backstory time.
THAT BEING SAID there is good stuff in here. And following Yona's decision to embrace her fate/utilize the path it offers her, we get Yoon embracing what is essentially framed as his fate. So once again: welcome to Yoon's backstory and an elaboration on how he fits with Hak, Yona, and the story as a whole.
Hak is an orphan but was raised by the General of the Wind Tribe and Yona the sheltered princess of Kouka. Hak is positioned below Yona, but he is still from a prestigious family. As a kid, he declared that he hates royalty and the nobility and all the selfish motives and sneaking around they do, but he ends up as Princess Yona's bodyguard and the leader of the Wind Tribe.
His tribe and status as a warrior means he has been exposed to more of the realities of life, but he has still spent most of his time, at least in the past three years, at the castle. Yoon echoes Hak's sentiments towards royalty and nobility, but his exposure to their behavior is different. Hak saw it up close, while Yoon faced its effects as a poor orphan child in the Fire Tribe. Furthermore, the harsh realities Yoon experienced as a child are things Yona only experiences after having to flee the castle.
Previously, Yona's dreams centered on Soo-Won, really only desiring his happiness and being by his side. She never sought anything beyond the palace. Hak likewise dreamed of Yona's happiness, wanting to spend his life dedicated to her and Soo-Won. Their dreams weren't very ambitious and were focused on individual people. Yoon is a different case.
"I want to get out of this town as soon as I can. I want to see the capital and foreign lands!"
He is used to a kill-or-be-killed mindset and the daily struggle of survival, yet he dreams big.
He has a kind heart but has only been exposed to hardship. That is, until he meets Ik-Soo, who responds to his rough behavior and violence with baffling, unaffected kindness (kind of like how Yona will react to his jabs 👀).
More than that, Ik-Soo teaches Yoon skills and brings him knowledge and all of this flips Yoon's world upside-down.
"I learned something from him...'Pay me back by teaching me more things.' That was so much fun. I wanted to keep talking to him. There were questions I wanted to ask him. I'm used to being alone. But ever since we met...I can't shake this lonely feeling."
Through Yoon's backstory, we learn more about the people of Kouka and how they suffer as well as what drives and comprises Yoon. He is in part a result of his circumstances.
He is kind but not always nice. He is sassy. He thirsts for knowledge and picks up skills easily. And he is extremely dedicated to the people he cares about. All of this was clear before this chapter, but Kusanagi loves a good elaboration in the form of a flashback. I think she is very good at establishing character without the flashbacks, but even if they can be frustrating in how they impact story momentum, they show up at appropriate times and are used effectively.
Living one's life for another is something Yona explores over and over again. Hak is our first example and then we get Yona dedicating her life to him in turn, wanting to protect him. And now we get Yoon, who decides to join Ik-Soo even though, as Ik-Soo says: "But...I can't travel much. I can't go to the capital. I-I don't even have any books..."
"So? That's fine! I don't have to go to the capital! I don't need any books! You can teach me. Besides... it's too dangerous to let you wander around on your own!"
It's the idea from Chapter 13 stated again.
"You really know everything, huh?"
"Can't help it. I'm a genius. I automatically memorize everything I read. But there are so many books out there, and I've read so few. There are tons of books I've never even heard of. It's annoying. But...for now...this ratty old book is all I need."
Yoon will take one ratty book over all the books in the world to be with Ik-Soo. He has all this untapped potential but puts Ik-Soo first.
But it's not like he gets nothing out of being with Ik-Soo, Ik-Soo becomes his guardian and gives Yoon perhaps what he really needs–companionship and love. And now with Yona and Hak, Yoon is presented with the opportunity to experience both companionship and a chance at his dreams.
Ik-Soo telling Yoon that he should go with Yona and Hak, in addition to Yoon's reflections on the past, lead him to realize he's been somewhat unfair to Yona:
"I told that princess that she's ignorant about the world. But the truth is, while I have a lot of knowledge...I probably don't know the first thing about the real world."
Though on opposite ends of the spectrum, both Yoon and Yona have been isolated and sheltered. And like the reader, they need to learn more about Kouka and the world (and become our vessels to acquire that knowledge!)
And then again, Yoon overlaps with Hak and the idea of dedicating oneself to another, Yoon tells Ik-Soo "You might not realize this...but I'll always act on what you tell me. So if you...order me to go...I will." This is reminiscent of Mundok's farewell to Hak as well. There are lots of interesting plays on hierarchy and family dynamics and the blurring lines between serving and caring for someone.
Yoon's backstory also adds more to the exploration of religion within Yona. We've got Yona, who will accept the existence of the gods, going as far as using their power and not being against doing so, but embodies Ik-Soo's statement of "heaven can only show you the path. You must choose to walk it," perhaps working as a happy medium in the arena of gods vs. humans. Hak, meanwhile, thinks all this god stuff is a myth. He won't believe it until he sees it. Soo-Won, of course, rejects the gods in favor of the people and Ik-Soo "[trusts] what the gods tell [him]" and uses that information (or did previously use that information) to "help [people who need encouragement] rediscover the courage to live their lives."
Yoon, upon learning about Ik-Soo's occupation, reflects "'But God...doesn't exist.' God isn't real. But...[Ik-Soo] doesn't seem like a liar." He's again more in the Hak camp, but seems to recognize that at the very least, the existence of god functions as a truth in Ik-Soo's eyes. There's also something to be said for how Yoon's life thus far has factored into his lack of belief in a god. And even if he doesn't believe in a god, he believes in Ik-Soo (which overlaps with the Soo-Won religion camp a bit).
Yoon meeting Ik-Soo spotlights priests specifically as well and expands on the exploration of humankind. Ik-Soo traveled and tried to help people, but people were selfish and stole from him. As he tells Yoon, "when I had that gold, it brought out something ugly in the people around me." That, the persecution of priests, and his inability to help everyone he wanted to pushed Ik-Soo into hiding. It harkens back to the story of the Crimson Dragon King and is something of note in the conversation on the morality of gods and humans.
Enter Ik-Soo and (more officially now) Yoon! Previously Soo-Won rejected the gods in favor of the power of the people, establishing an ongoing theme of gods/heavens vs. humans + old ways vs. new.
"I want the power of people, not god"
"I will restore the Kingdom of Kouka to the strength and glory it possessed...anything that stands in my way...even the heavens...will be crushed"
Now–through Ik-Soo, the subject of priests, and the prophecy–we get more about these topics. Ik-Soo presents himself as someone who shares the voice of god–who knows all that is happening and will happen in the world–with the people. In learning more about why the priests were kicked out of the palace temple and arrested or executed, Yona is told that the priests were once deeply involved in political matters with "an authority even the king couldn't overrule," meaning they could pretty much do anything and justify it as "the wrath of god." Is this a good thing or a bad thing?
We’re told Soo-Won's father was focused on expanding Kouka and perceived the priests as a threat to that goal and the crown's power in general, so he got rid of them. Is the expansion of Kouka by annexing other countries' territory a good thing or a bad thing?
As with the once authority of the priests, this information is presented somewhat neutrally rather than ascribed a moral position. Interesting! As it is, Ik-Soo is seen as "good" while Soo-Won and his father are more aligned with "bad," but they are also clear individuals not representative of entire groups. Arguments both in favor and against their point of views and actions are easily understood. Right now this feels more like an exploration of an idea instead of a definitive stance, but we shall see where it all goes.
Expansion of Kouka's territory and power seems like a good thing for Kouka but that does not necessarily mean it is morally good. And the tangled history of priests and war (and what we haven't learned yet) has led to a country in which "the towns are packed with poor people" and "a few folks in the capital are the only ones who're well-off." Things are not good.
This history lesson comes from Yoon, whose resentment of royalty and nobility is something he takes out on Yona. But though ashamed of her ignorance and saddened by the state of Kouka, Yona takes Yoon's criticisms in stride and actively seeks out the knowledge she lacks.
Ik-Soo and Yoon's personalities and characters are made very clear to the reader through their words and actions–this is a very good introduction to them–and likewise, Yona's character and growth are made clear through hers. After her symbolic death, she is like a small child learning about the world for the first time. Her tiny world was shattered and now she's learning about the larger world that her father and her status kept from her.
Along with death/rebirth, the hair symbolism also continues for Yona. Cutting her hair was like a rebirth and an establishment of distance from Soo-Won and her past. But as Hak notes, she is still holding on tightly to the hairpin–she is surely growing but hasn't fully let go. She also can't completely shed how her past and upbringing shaped her. She crossed over to a new world but is bringing some baggage!
And speaking of Hak, their dynamic continues, but with their near-death experience and all that has happened, that dynamic comes with an increased closeness and care. Yona's expression of that closeness and care gets to Hak, but she remains oblivious to his feelings. But even if she doesn't get things on the romantic end, Hak is intensely important to her and part of her goals.
"I need you right here with me"
"I wanted to live. I wasn't going to let anyone take away my life, or Hak's. That's all I wish for right now"
(they are also just adorable here)
Seeds of a larger goal to help Kouka and its people have been planted, but for now, Yona has shifted from barely surviving to wanting to live and her focus is on preventing the death of another loved one. Like Soo-Won, she rejects god in this moment. As she has decided what she wants, she does "not see much point in asking god" what her path should be.
However, as Ik-Soo states–for Yona, "living means calling up a storm that will shake Kouka to its very foundation." Her "burning blood...can't be controlled"–if she is to live, she cannot live a normal life. There is something inherent to her that makes it impossible; her very existence will cause change. So along with Yona's personal goals, there is a larger fate being established for her.
And so the larger fate and more of the world's backstory is revealed.
Darkness falls upon the Great Earth
Through the Blood of the Dragons,
a Revival comes again
Bound by the covenant of old
when the Four Dragons assemble
the Sword and Shield that
Protect the Monarch shall awaken
and the Red Dragon shall return
at Dawn
Post prophecy, Yona and Ik-Soo provide a little bit of an unnatural exposition dump in their telling of the legend of the Crimson Dragon God and the Four Dragon Warriors. But the exposition is not boring or overwhelming, and it does more than just provide background information.
With the history of the priests, Yona was the stand-in for the reader, her ignorance serving as a vehicle for us to learn alongside her while also serving her character and growth. Here–interestingly, though Yona was ignorant of her nation's history, she knows and instantly recognizes the legend of the Crimson Dragon God because her father used to tell it to her. He sheltered her from knowledge of most things, producing her ignorance, but he instilled myths in her. One has to wonder why!
The language used to tell the tale also has a clear bias–the Crimson Dragon King had to go against humans because "evil filled people's hearts. [And they] turned away from the gods" forgetting "faith, love, and [the Crimson Dragon's] teachings" causing "the nation [to fall] into ruin." Whoever taught Yona and Ik-Soo the legend thought highly of the gods and less highly of humans. Kusanagi is utilizing exposition effectively, even if it can be a little heavy-handed and info-dump-y.
The legend of the Crimson Dragon also uncovers more about the world's religion. The Crimson Dragon was a god. The other four dragons are presented differently but are also gods? It is a little confusing whether or not the mythology involves one or multiple gods, but it seems the Crimson Dragon was positioned higher than the others. With the prophecy and everything, the "legend" is positioned not as myth but as historical fact, and the contents of the legend itself feed into the themes of gods vs. humans and fate vs. free will. Not to mention, it introduces the main plot and the concept of the dragon warriors.
"You must serve the Crimson Dragon. You must protect and love him all the days of your lives and never betray him"
I think the legend also provides some direction for where the exploration of the established themes will go. With the story itself involving a god becoming human and others giving their powers to humans, there is a union of gods and humans, perhaps suggesting a need for the balance of both. When the Crimson Dragon dies, this question is posed: "Did [the dragon warriors] weep for the loss of someone so dear to them? Or was the blood of the dragon gods within them grieving the death...?" There is a blurring of the lines here, a challenge of a dichotomy.
Ik-Soo challenges that dichotomy further. (And provides what I think is a satisfactory in-universe explanation for how the hell Yona (and Hak) have survived up until this point, especially with the fall off the cliff–it's fate with a dash of dragon god magic!)
"You miraculously evaded death on that horrible night. You miraculously escaped from the palace. You fell off a cliff...and miraculously survived. 'Miraculous' is no longer the right word. It was fate that led you here. That's what I truly believe. If you find the four legendary dragons...it won't be because of your personal difficulties...but because it is fate. But heaven can only show you the path. You must choose to walk it."
The Crimson Dragon King and the dragon warriors connected humans and gods and now Yona will connect fate and free will. And as the Crimson Dragon and the warriors crossed that line, Yona too will bring together humans and gods. While she first rejected any path the gods set for her in favor of her own goals, she now embraces that path as a means to accomplish those goals.
"I hate the thought of dying from something I could have avoided...but losing you (Hak) would be even worse. I'll do whatever it takes to keep that from happening. Even if I have to acquire a god's power."
This positions Soo-Won and Yona against each other even more, with him completely rejecting the gods in favor of humans. But Yona is not positioned as his complete opposite, but perhaps as someone who will recognize the need for balance and the use of both sides.
This is also clear in her (awesome) declaration of "I want to do whatever it takes to move forward. I want to be stronger! Teach me how to use a sword or a bow. I'll master it." Her dedication to growing and developing skills as an individual is admirable and a continued thread. She wants to learn and improve herself, and in spite of being willing to utilize others, does not want to solely rely on them or be a burden. It's a bit like she wishes not to be above a group of people but a part of it, which also feels like a distinction from Soo-Won and how he values the throne.
(Maybe maybe there's more to say on this when it comes to why people follow Yona vs. why people follow Soo-Won but! that's getting ahead of myself and I don't think it's as simple as following a person vs. position for either of them. There's actually some overlap for both...)
Hak is of course all for everything she says: "If that's your will...then let's gamble on fate." Basically proclaiming that he will follow her to the ends of the earth. (And what does his former/current position as a bodyguard and his obedience say about free will when taken alongside his feelings? How does his path reflect the idea of "You must serve the Crimson Dragon. You must protect and love him all the days of your lives and never betray him"?)
The chapter ends in a way that solidifies the ideas explored. Yoon helps Yona fix her hair into a proper haircut, showcasing Yona taking some control of her destiny, circumstances, and transformation. Ik-Soo wants Yona to take Yoon with her and Hak, but she further emphasizes free will by saying she can't "unless he wants to come." She also doesn't want to "tear a family apart," which shows the continued impact of her father and his death and how it has affected her values.
Her recognition of Yoon's kindness, in spite of how he has talked to her, demonstrates her ability to see the good in people. She is also wonderfully refreshing in how though she acknowledges Yoon's kindness and how Ik-Soo is "easy to love"–she doesn't hesitate to be brutally honest and tell Ik-Soo that Yoon is rude and Ik-Soo is "unreliable, [cries] too easily, and [is] too carefree."
More of Yoon continues to be revealed through his words and actions, including how he fits in with Hak and Yona–how like Hak he pretends not to care about things and like Yona he was cut off from the world and sheltered in his own way and now craves knowledge. What knowledge and abilities he does possess are also clearly skills that would be helpful to Hak and Yona on the road. You could argue Yoon has too many skills, but his reasons for acquiring them make sense and he has his faults as well.
Thoughts from reading Yona of the Dawn Ch. 1 (Part 1)
"I had no idea it could get so cold outside the palace walls"
Yona is sheltered (and smothered), isolated within her life at the palace + ignorant of outside world. But will learn the world can be (literally but also metaphorically) cold and cruel
It may very well be Yona's destiny to succeed her father and rule.
"Father..." the first word Yona says (chronologically in the story)–an important figure to Yona and the story. One of the few people in her isolated life and someone whose presence will hang over everything.
"Do you think there's something wrong with my hair?" Yona's hair too, will be very important and hang over and affect the entire story. It is immediately introduced to the reader.
This moment also shows that Yona cares about her looks–she is self-conscious about her hair but likes her face ("well, my face is pleasing") and tries to look her best for Soo-Won. This preoccupation with looks may seem "girlish" or frivolous, but the meaning of Yona's hair goes deeper. Yona is also a combination of confidence and insecurity.
And, in typical fashion, what makes Yona special and unique is what she is self-conscious about.
Sometimes (usually) introductions and openings to stories can be quite clunky with their exposition. Regardless, here we meet Hak, who: is 18, grew up with Yona, and is her personal guard and a highly skilled general.
We also get an idea about his relationship with Yona. Hak and Yona are comfortable with each other to the point of teasing (in spite of their difference in station). It is interesting to see the popularity of the teasing trope for potential love interests. Though it shows a level of comfort, it also does involve poking at each other's insecurities. Yona is presented as the one more affected by Hak's words but I bet he is just as affected, only he keeps his reactions bottled up inside.
Hak is even the one to change the subject, bringing up Soo-Won. His knowledge of Yona's crush on Soo-Won further demonstrates their closeness and his pivot to that topic is revealing.
In a way, Hak and Yona behave like children with each other. And though 16 (Yona) and 18 (Hak) are presented as being at ages of maturity/relating to adulthood within their society, they are essentially still children. And sometimes the child self can be part of the truest self.
Nevertheless, Yona wants to be taken seriously and viewed as a woman (her care for her appearance, though "girlish," functioning as a way to signal her womanhood), but Soo-Won thinks of her as a child too.
It doesn't seem to be the equal-footing type of childishness seen with Hak and Yona, but more that of an adult looking down on and caring for a child. Yona is perceptive enough to pick up on this.
The head pat is particularly indicative of this relationship dynamic. How will different forms of physical touch function throughout the story? Soo-Won also does a lot of embracing Yona from behind.
I recently finished Fruits Basket, so this makes me giggle a little, but Soo-Won asserts himself as a replacement mother for Yona. They both have a deep care for each other, but there is a sharp contrast in how they each view the context of that care. Soo-Won nurtures and comforts Yona.
And while Yona is so loved and cherished (and pampered) by her father, she is still somewhat neglected by him (he is the King after all) and needed Soo-Won to step in. She's LONELY.
Soo-Won provided Yona with both companionship and care, and there is a repetition of him opposing her loneliness. Over and over we see him assert that he's there for Yona.
And with his "I'm right here" / "I'll always be with you" / "You're not alone," Soo-Won tells her to cry. He lets her cry. But it is always followed by the notion that she should cry so she can smile.
"It's okay. You can cry now" feels like a comfort, like an acknowledgment and acceptance of Yona's negative emotions. But the insistence on smiling feels like the opposite, like a suppression of emotions. There is an acceptance and rejection of Yona's sadness and negative emotions. A desire to see her happy fuels the push to move on from the negative.
The letting out of the tears and return of Yona's smile is sort of becomes predicated on Soo-Won's presence. Everything is okay because he is there. She can smile because he is there.
"You are the center of my world" – truly the fact of the matter. Whether intentional or not, Soo-Won made Yona reliant on him.
But of course, we can't forget Hak, her literal guard. This scene with the horseback riding has all kinds of symbolism.
"Relax. Hak and I will take care of you" –both Soo-Won and Hak save Yona's life at some point. Soo-Won in their youth, helping her recover from her mother's death and Hak when Soo-Won's plans for King Il come to a head (and after).
Soo-Won specifically acts like an anchor for Yona, in this scene and her life. He promises "Here, I'll hold you steady," and he does, or rather, he did. He will then go on to do the opposite, flipping Yona's world completely upside-down. Notably, Hak is the one who boosts her up in this scene.
The horseback riding also showcases how close Soo-Won and Hak are too and includes a nice nod to Yona's future endeavors with archery.
Though here, amusingly, Yona's desire to practice archery with Soo-Won is caused by a sort of lust for him. I think this moment emphasizes her attraction and that line between woman and girl that Yona is experiencing (her coming-of-age, if you will). While Yona sees Soo-Won as a man, he sees her as a girl (not a woman).
And as Soo-Won is her world, Yona's actions revolve around him. She doesn't really think a lot of herself, or when she does, it is only in terms of being with him. Soo-Won drives her actions and motivations. This emphasizes how small her world is– she is basically living for their interactions and doesn't think beyond that. She can't imagine anything beyond that.
Something I really admire is how open/honest Yona is about her feelings.
"'I do [like horses].' But I like you more." Yona doesn't seem very impressive when it comes to strength or skills, but her honesty is its own kind of bravery and strength.
It isn't exactly done with purpose, and involves some lack of filter when spoken aloud ("Nooo, why did I say that?! Extremely relatable, Yona), but it is endearing. Her thoughts kind of overflow and instinctually pour out.
Ah, the classic "fake relationship to lovers," I see you.
"Servant or not, Hak's the only boy I know close to my age..." Poor Yona, is so isolated and has such a small circle! This is also a funny bit of foreshadowing considering how many boys her age she will soon meet.
It's interesting with how much King Il gives Yona that he insists he will be the one to choose who she weds. And he clearly does not want Soo-Won to become king. Why?
Yona is also presented as a path to the throne rather than someone who herself could rule.
Also: "I've given you all you've ever wanted...everything except weapons" stands out to me as while maybe he hasn't given Yona weapons she can use directly, he has given her Hak, and isn't Hak the greatest weapon of all?
I feel like there has to be more to the story here. With information we learn later, did Soo-Won's father kill Yona's mother?
The emphasis on King Il as a coward makes me think cowardice will be a reoccurring theme.
Ch.9 in summary: Hak and Yona are confronted/attacked by Tae-Jun. In a test of her newfound principles and in desperation to save Hak, Yona chooses to reject helplessness and take more direct action, unlocking a fire inside of her.
"How're we supposed to find someone if we don't know where he is?" – sorry, Hak, I'm afraid you'll be doing a lot of that in the near future XD
"Since ancient times, there have been priests in Kouka who gazed into the kingdom's future...if you're unsure of what you should, you should consult them, your highness." – the introduction of priests (or, I believe as the anime translated it, "oracles," which sounds a little more mystical to me) + the idea of a greater path for Yona. It almost sounds like Mundok has an inkling of what that path contains and like his person beliefs tie to the priests.
"They used to live in the temple in the royal palace. I hear they once were a powerful force in national politics. But when Lord Yu-Hon cracked down on them, they all left. Now, they live in remote areas in secret" – Yu-Hon being responsible for chasing the priests out and removing them from positions of influence feels like it factors into the mysterious history of Il/Yu-Hon/the succession.
"The right path, huh? Right now, I'm just struggling to survive" – Yona has grown a lot already, but she's still a wandering soul (literally and figuratively) just trying to live another day. She doesn't know what the future brings. But she will need to shift from "surviving" to "living." Right now it probably seems impossible, but she needs a purpose. I think she has begun to discover it in her growing care for others and the action she has taken to protect them.
"...can anyone really live here?" "Well, you'd probably fall off a cliff, princess." – famous last words, Hak.
"No one could survive in these cold mountains..." "The land that the Fire Tribe controls is even more desolate." – a fun little link back to the opening flash-forward scene! ("Back then...I had no idea it could get so cold outside the palace walls") Yona is beginning/continuing to discover more about her kingdom's land and its people.
"I used to be the princess of this nation...but Hiryuu Palace was all I knew. 'I don't know.' How foolish I must have sounded." – Yona is ashamed of her lack of knowledge. She was ignorant about both her kingdom's people and the land itself. She never left the palace, being extremely sheltered.
"Sleeping outside? I've started getting used to it" – Already Yona has grown a little tougher and more resilient. She's adapting to her new life. With Soo-Won's betrayal and being on the run, reality hit extremely hard but the changes to her circumstances are changing her in turn and producing that growth.
"This isn't like the mountains behind the palace..." – in fact, Yona's growth was already happening when she was in her worst and weakest state. Hak saved her physical body and now the Wind Tribe has saved her spirit, infusing her with hope, courage, and determination.
"Then I'll sleep in your arms and stay warm" *cue flabbergasted Hak freakout* – This would be such a good line if it has been intentional XD But Yona thinks nothing of it.
She's kind of unaffected by the idea of being close to Hak–essentially, she's "Soo-Won-ing" him aka treating Hak how Soo-Won treated her/not fully viewing him as a "man" or considering him as a romantic prospect. She's not completely clueless because tell me she wouldn't have been affected by the idea of being in the same situation with Soo-Won when she blushed just from holding his hand and sleeping next to him. But also–girl. Hello. She's got some obliviousness and/or a Hak-shaped blindspot.
I think this is somewhat related to how firmly Hak is in her mind as "protector" and her trust in him. There's a little bit of "why would I be embarrassed? It's Hak."
But boooooy do I think that gets to Hak. When he recovers from his initial reaction, he is quick to shift into kind of sleazy-flirty-mode: "Sounds fine to me. But I might get up to something." – He is affected by Yona and how unaffected she seemed at the idea.
Yona's "Something?" does feel like an indication of at least some innocence and ignorance regarding adult relationships. Maybe it challenges the maturity she thought she displayed in how she regarded Soo-Won. Hak's first try at saying "hey, I am a guy. Don't forget" goes over her head, and if it's not just cluelessness, then Yona is in deep with her belief that Hak couldn't mean that so his "up to something" must be referring to something else. She genuinely doesn't realize he likes her.
I find Yona's obliviousness a fun contrast to the denial and suppression we see from a character like Maomao in The Apothecary Diaries. I would love to see Maomao smack some sense into Yona on this topic.
"...something like this" – and Hak resorts to physical demonstration to finally get the point across and I do think when it comes to the two of them, actions from Hak do have the ability to get Yona flustered, she's usually just not expecting them. Hak's got a slight element of unpredictability in this regard.
The line between Hak getting his point across and genuinely protecting Yona is blurry here–I'm not sure where one ends and the other begins. Because Yona is made uncomfortable, Hak is lucky the moment blends into a cool "I can detect how many people are coming" scene or else I might be more frustrated with him.
(We call this whole ramble "trying to explain character behavior I don't love" and I do support flawed characters so...)
Yona's reaction shows how fear is still very real for her and paralyzes her a bit.
Hak getting on my nerves a little, but I think he kind of has to have the last word on the matter and reverts to his usual strategy of making light of things/teasing. It's like his armor as he tries not to be hurt by his unrequited feelings.
I do like the "fwump," putting Yona's hood back up to hide her. Even when he's being an ass, Hak is in Yona protector mode.
Big fan of protector stance Hak and the "slash" panel is gorgeoooous but it's interesting how deadly/violent Hak can be and how he seems to enjoy it. He is a trained general and guard, after all, but his grins really stand out.
"'Hak fights like lightning! If we ever fought seriously, he'd beat me to a pulp.' Even at a moment like this...I still remember your face..." –Even after everything and under threat of danger, Soo-Won is in Yona's thoughts. For her, it's like an "everything reminds me of you" situation and also indicates how she valued his opinion.
At least Yona has some self-awareness about the dominance of Soo-Won in her mind.
And "if we ever fought seriously, he'd beat me to a pulp" – foreshadowing?
I appreciate this moment of Hak being Hak (aka a little sarcastic, teasing shit who pretends to not take things seriously) and ignoring Tae-Jun because 1. lol Tae-Jun's reaction of "No, no, that's fine...WAIT." and 2. it emphasizes how Hak is that way with everyone, not just Yona. It lessens the string of some of his less-than-savory comments to her for me. Or at least re-contextualizes.
It's a good frame of reference for Hak's treatment of Yona (How does he treat her in these teasing moments in comparison to how he treats others– or what is the teasing about? Usually with Yona, his comments are like a deflection "I don't have feelings for you. Nope." + How does he treat her outside of those moments?)
A small moment, but I like how he is sure to say "don't punish the Wind Tribe for my actions" + "hurting me won't impact the Wind Tribe"
I like these panels and they show that yes, Hak can take things seriously, especially when he's in protector mode.
And I know it's heat of the moment, but this is kind of what I was referencing earlier regarding Yona being unaffected by being close to Hak and viewing physical proximity to him as something more practical than anything else.
"I'm scared! Arrows and soldiers are coming at us from every side...even Hak...can't handle all this!"
– so I did a rambling analysis of the weight-related comments from Hak in my goodreads review but basically weight gain for Yona = recovery and an indicator of health so Hak would actually secretly be pleased about it, but there's still a negative connotation considering how he uses it to tease her and I think its inclusion is in poor taste.
But with that out of the way, it is worth noting how Hak (in typical fashion) seems to use his comment to try and make light of the situation/distract Yona as she experiences panic and fear.
"Hak!! Hak?! Are you all right?!" "Stop fussing over me. It's creepy" "You're...you're bleeding" – Hak said "I'd take a bullet (arrow) for you"!!
I think this is a better use of the teasing/making light of the situation method by Hak. He's trying to play it off, but YONA CARES ABOUT HIM. You can clearly see the pain on his face.
"He got injured from protecting me...'If you're with me, I'll have to protect you.' I..." – Yona realizes the truth of Hak's words about having to protect her if they travel together and so soon into their travels.
Tae-Jun even said "I couldn't care less about the Wind Tribe. I'm going to kill you because I have business with the princess here!" to Hak. Before, Yona felt partially responsible for the suffering of the Wind Tribe and the injured merchants, but here the feeling of responsibility is even stronger and more direct. The guilt and sadness eats at her.
"I knew Hak would shield her with his body" – more of everyone knowing Hak's devotion to Yona and an example of how Hak is both a weapon and a shield for Yona ("a tool")
"They're going to kill Hak!"
"No, think about this. I should stay put...and hold my breath. If I go out there, I'll only be in his way. Just like earlier. It'll be all right. Hak is really strong."
"He could dodge that arrow. I'll stay right here and wait for him to come back. Hak...would never die." – Yona has had to face a lot that at one point seemed incomprehensible: her father's death, Soo-Won's betrayal... does the reliability and presence of Hak feel even more unshakable than her father and Soo-Won? And/or does she realize that nothing is written in stone?
"NO. Why did I leave Fuuga in the first place?" –in the last chapter, Yona became determined to take action and not accept that she should be passive and everything will be okay. But in Fuuga, taking action was more theoretical and relatively safe. The action of leaving to protect someone is much easier than being in the heat of battle.
Yona decided what she values/her principles, but this is her first big test in regards to them. Was she just all talk?
A BIG MOMENT for Yona, a sort of culmination of the growth she has been experiencing so far. And it's beautiful.
"Why did I leave Fuuga in the first place? Was it to have Hak protect me while I hide? If so, I should have stayed where I was. I'm just a burden to him. What would I do if he weren't here? Do I plan to admit that I'm weak and keep cowering?"
This reminds me of how I love the questions Yona asks herself back in chapter 1 ("Am I not allowed to be happy?" + "I'm allowed to have these feelings, aren't I?") and her honesty with herself and others. Yona feels and admits that she's weak. She feels powerless and helpless and like a burden, but she doesn't want to hide or keep cowering. She wants to be someone worth protecting and be someone capable of protecting, for Hak and for herself. She rejects the position of damsel she's gotten used to and decides to change.
"Before I ask for any divine answers...there are some questions I need to ask myself" – and I love this part too. There's a re-centering and some introspection happening before she chooses the path forward. This goes back to her journey of self-discovery and who she wants to be, and I think it demonstrates Yona placing value in herself and her thoughts + opinions.
She won't be a doll to be manipulated or just do what others say. She will decide for herself and bring her own thoughts to the table.
I think it's cool that we get all of this here. Maybe survival would be more likely if she stayed hidden, but she's choosing to live, not just survive. It brings things back to her thoughts from the beginning of the chapter: "The right path, huh? Right now, I'm just struggling to survive." In choosing to emerge from hiding and act, she has some direction and purpose.
LOOK AT THOSE EYES. Yona is pissed and I live for it. There's a clear fire lit inside her.
"W–What's going on? I thought being driven from the palace had broken her spirit" – Yona shocks Tae-Jun (who isn't as dumb as he appears as he correctly assumed Yona's state post-Soo-Won betrayal but he didn't account for what her time with the Wind Tribe would do!)
"We must talk" – Yona is using what she has, her words, but this also works as a reflection of her father's nonviolence.
"You poor thing...! Soo-Won has treated you abominably. But if you come with me and tell the truth, we could drag him off the throne. You can avenge your father"
"If you new all that...why did the Fire Tribe put pressure on the Wind Tribe? Why did you attack those merchants? If you know the truth about what happened...you shouldn't have been trying to hurt the Wind Tribe...or trying to kill Hak for no reason! There are more important things you should've been doing!" – Yona sees through Tae-Jun and cracks down on how he + the Fire Tribe hurt innocents, she is continuing to dedicate herself to the people + be outraged on their behalf. And while before her emotions regarding what happened to the merchants and the Wind Tribe skewed more towards sadness, now she is fueled by anger.
Yona is also continuing with her refusal to be manipulated/do what others say and adding onto that, she's refusing to accept being talked down to.
"Her eyes look like they're on fire...I can't take my eyes off her!" – Yona is stepping into her power and others can see it!
"I may be a naive princess...but I'm not foolish enough...to listen to anyone who acts so senselessly!" – jabbing at Tae-Jun's priorities while asserting her own. Yona is again demonstrating self-awareness and honesty ("naive princess") but still doing what she can and acting from the heart. She has a passion to her.
"Her highness is supposed to be young and malleable..." – Yona standing up to Tae-Jun is standing up against what Hak hates about the nobility: people being treated as pawns + dishonesty + selfishness. She will not be a tool (which makes me think of how Hak told her to use him as a tool. He does submit to her will but he isn't malleable and is unshakable in his devotion)
And even Hak is shook by Yona's actions and words here. This is a part of her maybe even he hasn't seen before.
"...her crimson tresses...looked like they were flames about to consume her" – it's almost like Yona's rage and thoughts are too powerful for her body. She has a powerful emotionality and she may continue to show that feelings are not weak but actually the opposite.
Yona's hidden power has been unlocked, but what exactly is it? Here it seems to be determination + emotionality + passion driven by care for others. It's kind of her "Wind Tribe moment" aka doing as they did, moving from inspiration to action.
Ch.11 in summary: Yona, Hak, and Soo-Won all experience symbolic rebirths and enter a new phase. Thinking Hak and Yona are dead, Soo-Won reaffirms his commitment to his goals as he is crowned king and plans to unite the tribes while Hak and Yona are rescued by Yoon and a larger fate begins to reveal itself.
"Dawn is breaking" as Yona endures her symbolic death + rebirth! More Yona = dawn, especially in Soo-Won's mind. As she has been haunted by him/had him hanging over her, now Soo-Won must really feel the same.
And as Yona experiences her symbolic death and rebirth, we get Soo-Won going through his own symbolic rebirth with the bathing and ~water symbolism~
The "confirmed" death of Yona and Hak has him recommitted to his goals.
A new chapter is starting for all.
"Hiryuu Palace–the palace of the red dragon...symbolizes the ruler of Kouka" – the introduction of the red dragon and the larger story...and the conflict of who is the rightful ruler.
"I swore to myself..that I would return to this palace one day" – part of his recommitment, Soo-Won re-centers himself by reminding himself of his promises and goals. It goes to show just how committed he is, that this sounds more like an obligation to something forged in the past.
Soo-Won genuinely does care for Hak + respect him as a guard/general.
"I want you to marry Princess Yona and become king" "Well, whatever the reason...I want you to marry her highness...You're who I want to be king next" – and Hak genuinely trusts and respects Soo-Won (to the point of trusting him with Yona). Seems like maybe Hak is the one who actually planted the idea of Soo-Won marrying Yona in Soo-Won's brain, so why did he act so shocked when Yona presented it to him? Was it that– an act?
"Impossible! I couldn't marry Yona." "Don't want me after all?" – and Soo-Won always insists marrying Yona is impossible. But Hak refuses to leave Yona's side and is loyal to her first and foremost. The only way to get Hak is through Yona, they are a package deal.
"When that day comes, I'll be your right-hand man. I'll stand by both of you until the very end." – Hak is extremely loyal and GAH poor baby Hak, he wants that childhood dream of the trio staying together forever so bad SOB.
Also interesting that Hak loves Yona but can't imagine a future where he marries her or becomes king hmm...thinks of it as an impossibility in part because of Yona's feelings for Soo-Won? Hak's admiration for Soo-Won might tread into jealousy territory a bit too and he probably thinks Soo-Won is better than him. But like Yona with Soo-Won, he just wants to be by the side of the one(s) he loves.
"I want three meals and a nap every day. Make it happen. It's a sweet deal for you. I'm the Thunder Beast of Kouka, after all." – classic Hak teasing + making light of his dreams for the future/a serious topic.
"'That's...a happy future you're dreaming of.' But...when I become king...I don't think...Yona or Hak will be by my side." – Soo-Won desired that future too to some extent. It sounded happy to him. But he is already set in his plans and determined to see them through.
"Hak. Please...protect Yona" – it really seems like Soo-Won didn't want them hurt or dead, just wanted them out of the picture somehow? What did he originally intend for them? In some ways, things played out how Soo-Won wanted– with Hak protecting Yona and them fleeing + surviving (not that he knows that at the moment, but at first that would have probably made him happy deep down).
"On warm days like this...part of me...is reluctant" – Soo-Won's attachment and love for Hak and Yona almost made him change his mind and give up on his plans. Those feelings for them are strong. But not strong enough to sway him. Regardless, it seems he is prioritizing loyalty to his father over his own happiness.
"I no longer have...a right-hand man...or the girl...who was so warm to me. I crushed them underfoot and cut them down...to bring this day about. I have no hesitations anymore!"
And now, without Hak and Yona, Soo-Won seemingly has no weakness. They were a sacrifice he was willing to make (but were they really? He didn't actively kill them and tried to prevent it by ordering them captured, though he accepts responsibility for their "death" and is honest with himself about how he at least played a role) He looks angry and determined as he his is crowned king, as if accepting this is his fate and like he has been drained of his more conflicting emotions with the removal of Hak and Yona. He won't be held back by compassion or love or attachment. Being alone makes Soo-Won more committed.
"The Fire Tribe...they pretend to serve me, but they've been angling to control the capital for a while now. The Earth Tribe only obeys a strong master. The Water Tribe is waiting to see how things unfold. And the Wind Tribe...they've bowed under the pressure put on them, but they still have many powerful warriors. When they learn of Hak's death, they may turn on me." – again, Soo-Won has a good grasp on the political situation and recognizes when people are putting on a front. You can kind of tell this is where his attention has been.
“The Kai Empire to the north and the nations of Xing and Sei to the south will probably be paying close attention to the fact that Kouka has a new king. But first…I must unite these divided tribes” – Soo-Won presents the potential to be a good ruler in spite of how he got here. Though it feels a little contradictory that Soo-Won's good intentions and desire to unite Kouka is being achieved through murder and some division. He seems like he subscribes to the ends justifying the means and is very focused on strategy (I'm seeing him as having some overlap with Lakan in my Apothecary Diaries comparisons in terms of viewing people as pawns, but in contrast, he has to actively squash his compassion and humanity)
I guess you could say Soo-Won has become an embodiment of what Hak hates about nobility + royalty, especially with how he insists his whole persona with Hak and Yona was a lie used to achieve his goals. It's no wonder Hak insists he will never forgive Soo-Won.
"As you know, priests no longer dwell within this palace. But...our god above is still watching" – a slight from Mundok. "As you know" aka "because of your father." And basically "you are being judged." I could use some clarification on the religion here– is there one god or multiple (since aren't the dragons gods?) Either way, Mundok seems attached to the "old ways" and to be more spiritually inclined.
"As for what you plan to achieve...and what you will sacrifice to attain it...Well, I'm an old man. I want to see those things...before I join the late King Il." – Mundok clocks Soo-Won's "the ends justify the means" thinking and basically assumes the worst (like him sacrificing Hak and Yona, which is backed by evidence and something he is poking at here along with the killing of King Il). Mundok is making his allegiances clear.
"But if the heavens only watch...what difference do they make? I want the power of people not god. I will...restore the kingdom of Kouka to the strength and glory it possessed...under past kings! Anything that stands in my way...even the heavens...will be crushed." – Soo-Won rejects the heavens and gods. He presents something I think the story will explore overall: fate vs. personal action, gods vs. people. Interestingly, Yona will kind of become a combination of the two, using the power of the gods but also focusing on the people. Maybe that is what is needed. Her connection to god/fate also naturally opposes Soo-Won's people-based position.
Also just...damn Soo-Won. Intense to declare you won't be intimidated by the heavens/gods. And he returns Mundok's energy/slight, emphasizing "the strength and glory" Kouka possessed under "past" kings (not King Il) and affirming yes, he was willing to sacrifice Hak and Yona and is willing to crush others too. It also works as a threat.
Still conflicted on what makes the "real" Soo-Won, but I suppose he could be speaking this tough "King Soo-Won" into existence. Maybe his words aren't completely honest/reflective of him on the inside, but by putting them out there, he shifts into the person who would do and say those things. I think he presents more confidence than he has, but he did actually kill King Il, so it's not like he is completely incapable of being what he presents.
"When did...that look enter your eyes? Will I ever see...that kind smile again?" – Yona, then Hak, and now Mundok must grapple with the shift they see in Soo-Won and consider who he really is (+ reconsider the Soo-Won they knew and whether or not it was a lie). They all have moments of "Who are you? I don't recognize you."
What look does Mundok see specifically? Hatred? Will there be a Soo-Won = hatred, Yona = love opposition? But Soo-Won is driven by love and loyalty too, and he does want what he thinks is best for Kouka. Complicated, contradictory Soo-Won continues (and I love it)
Yona wakes! The symbolic rebirth begins. But again, even at a time like this, Yona thinks of Soo-Won. A bit instinctual as she is being taken care of, like Soo-Won used to do for her. Goes to show that even in this rebirth/new chapter, Soo-Won will follow her. She's not free of him, yet (if ever).
Poor Yona, constantly coming to being like "Where the fuck am I? What is happening?"
She woke up pretty (understandably) out of it, but when she comes back to herself, Yona's thoughts go instantly to Hak.
Yona's choppy hair, with some long strands remaining, shows a sort of partial transformation. It has not been complete yet. And Hak, wrapped up in bandages, looks like he's in a sort of cocoon, undergoing his own metamorphosis. (or a mummy! Cracking down on the symbolic death part)
All members of the trio get their transformation/rebirth moment.
"'H-Hak...' 'He's alive. Barely. I managed to extract the poison from his body...but there's a stab wound in his chest and he's badly bruised all over. He also has some broken ribs, and there was a lot of blood...He would have died if I hadn't found you when I did." – Yona gets a very clear picture of how far Hak will go for her/how much he will endure and sacrifice himself for her.
"He probably protected you...when you fell. You were on the ground and he was holding you" – it must hurt, or feel like a failure, knowing Yona tried to protect him and he ended up protecting her. Knowing she is partially to blame for his state.
"He's awfully devoted to you. What is he? Your lover?" "No, nothing like that." "Hmm...poor guy, then." – lol @ more people clocking Hak's love for and devotion to Yona. But I think here we see in how affected she is how devoted she is to him in turn. And listen, Yona doesn't owe him romantic feelings, but (seemingly) unrequited love sucks.
Yona presents her obliviousness about Hak's love for her, but again, if their relationship is "nothing like that" then what is it like, Yona? Just your casual "he would die for me and I would die for him" relationship. I think perhaps Yona does not realize or understand the depth of her feelings for Hak, partially because she was too preoccupied by Soo-Won (I'm probably repeating myself. Oh well)
It's funny that she could recognize that Soo-Won wasn't in love with her but can't recognize that Hak is, especially since she came to understand love/love Soo-Won through the concepts of care and protection. "What is love?" might be an idea explored by Yona throughout her journey.
"'I'm...' Maybe I shouldn't say my name. They don't seem like bad people...but we're near Fire Tribe lands" – Yona is learning! And adapting to her on-the-run life
"You've been through...such a difficult time...I'm impressed that you undertook your journey. I mean, you're Princess Yona...it's quite admirable." – Ik-Soo recognizes her bravery and strength and she deserves that!! And despite what Yona has recently endured, she has been feeling and crying for a lot of other people, so it is nice to see someone (even if the overly emotional Ik-Soo) cry for her!
"'Wait...how do you know...about me?' 'A message from god...'" – and so Yona's "true" (and fated) importance begins...
