Although he started with great expectations, the episode of The Asdal Chronicle, which aired until Part 2, had to suffer from serious criticism.

There are many reasons. The unfamiliarity of the prehistoric era that we have not yet dealt with, the similarities of costumes, backgrounds, settings, etc., created by referring to various contents to fill the unfamiliarity, and the excessive explanations created by the pressure to create a new world above all, The reasons were.

But anyway, part 2, the Asdal Chronicle, which made sense of the structure of the world, became much more immersive by entering a full-fledged confrontation rather than explaining the situation. Tanya (Kim Ji-won), who came to the high priest’s seat by finding the sacred drop, tried to save the enslaved Wahan and even the silver island (Song Joong-gi) that was dragged into the stone wall. The high-ranked Targon (Jang Dong-gun) is trying to establish his own kingdom with Tae-al-ha (Kim Ok-bin).

On the other hand, Eunseom, who successfully escaped from the stone wall, went to Zubinol following the death of Saninik (Jo Byung-kyu), who was followed by the Momo who repaid grace by saving Shamoline Karika (Karata Erika) and son of Momo. Most of all, the island was found to have power in order to save the Wahan and to destroy Asdal, and to do so with its men.

Like this, part 3 of <The Chronicles of Asdal> clearly reveals the desires of each character, and the confrontation structure created by the conflict between desires and desires became clear. Targon’s ambitions to take control of Asdal without seeing blood return to his blisters as Asarron’s plan revealed him to be Igtra, and he finally started to runaway, saying, “I will kill everybody.” In the coming journey, he began to attract his supporters little by little. After gaining the Momo, they are curious about the behavior of the silver islands that entered the Ago region.

The confrontation between Targon, who seeks to establish a kingdom and become a king, and Silver Island, which destroys the kingdom, is also a confrontation between the birth of a nation and the life of nature. The question of why, in cultural anthropology, which races became nations and which races remained as races is in the confrontation.

However, part 3 of the Chronicles of Asdal Chronicles is much more comfortable because of this cultural anthropological weight and obsession with our prehistoric like Dangun mythology. It takes away the heaviness and instead goes into the story where the desires of the characters collide, drawing a clear confrontational structure like a fantasy game.

In fact, the topical consciousness is attached to itself by drawing an interesting confrontation like the game. So immersing yourself in the fun of the drama itself, as Part 3 of the Asdal Chronicle is doing now, is a way for viewers to get deeper into the world. Thus, as a result, it seems that the pauses that we had for a while became a meaningful time for a certain phase in the Asdal Chronicles.

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