55 pages • 1 hour read
Mai CorlandA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Monsoon season is a recurring setting motif that emphasizes the plot’s development and twists. For most of the narrative, the monsoon season is used as a temporal point that determines what the main characters believe to be the “before” and “after” periods of Joon’s reign. An example of this dynamic occurs when Royo remarks, “The monsoon moon is coming, and with it, downpour rains, but that shouldn’t be until after the millennial celebration. And who knows what Yusan will look like at that point” (310). For Euyn, monsoon season also signifies his reinstatement in the royal family as well as the moment he expects to become Yusan’s new monarch after having committed both regicide and fratricide in one fell swoop. By the end of the novel, however, the meaning of monsoon season changes to represent the deadline by which Euyn, Mikail, Aeri, Sora, and Royo must acquire the Ring of the Dragon Lord from Quilimar in Khitan. Monsoon season therefore exchanges its original connotation of national change for a more nebulous one of danger, desperation, personal risk, and potential loss, given that all of the main characters’ loved ones hang in the balance. Likewise, monsoon season may also signal a change in the characters’ personal circumstances, as Joon has promised them great rewards should they succeed; however, whether he will uphold his end of the bargain remains to be determined.
Weapons are a recurring symbol of identity that signify key aspects of certain character’s personality and history. In the case of Euyn, his preference for a crossbow indicates his problematic passion for hunting while also conveying his personality as a prince of Yusan. Unlike Mikail or Royo, who prefer combat-melee weapons like axes and swords, Euyn betrays a noticeable lack of connection to the people that he kills, for the crossbow allows him to put maintain physical and emotional distance from his victims. Using the crossbow therefore highlights Euyn’s ability to dehumanize the people he kills—especially the people he hunted in Westward Forest—and he uses this approach to stave off any moralistic sense of guilt that would force him to condemn his own his actions. Likewise, Mikail’s choice of a flaming sword is also indicative of his personality. Given that the “flaming swords are only bestowed by the king of Yusan” (63), Mikail’s choice of weapon reveals his connections and his favored position in Joon’s court. Yet since his sword is only a copy of the real Flaming Sword of the Dragon Lord, his weapon of choice also hints at the disingenuity of his connection to Joon. The presence of the sword—a royal weapon—also implies that he and his group have a rival claim against Joon. Additionally, because Mikail is a Gayan, his use of the fake Flaming Sword demonstrates the conflict and tension that drive his ambitions; on the one hand, Mikail is using the king’s own bestowed weapon to dethrone him, and this holds a certain level of poetic justice. On the other hand, however, using Joon’s exclusive weapons and working as his spymaster limit Mikail to lurking in Joon’s shadow as one of his agents of oppression. This form of subterfuge clashes with his latent Gayan identity.
In addition to providing several good, old-fashioned adventure scenes, the samrocs act as a symbol of Euyn’s stunted emotional growth and personal development. Essentially, the samrocs function as a parallel of Euyn’s fundamental ruthlessness. As monstruous mythical creatures, the samrocs initially signal the supernatural elements in the author’s world-building, contributing to the fantastical undertones of novel. In relation to Euyn, however, the samrocs represent his bloody past as the Butcher of Westward Forest, and when they begin to hunt him, they essentially turn the tables on him, rendering predator into prey. Although he was once the mythical hunter of the forest, striking down political prisoners for his own amusement, the samrocs now force Euyn to take on the role of the powerless as he seeks only to escape their claws and survive the night. However, although he recognizes his kinship with the beasts, Euyn entertains only fleeting doubts and soon banishes the thought that his actions were reprehensible. Thus, despite the parallels between himself and the samrocs, he ultimately fails to recognize the immorality of his past murders.
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