Get Schooled — Chapter 176¶
Complete Detailed Transcription¶
Scope¶
This transcription follows all 9 ordered story strips embedded in the supplied Chapter 176 MHT, excluding non-story reader chrome. Readable dialogue, major flashbacks, and the chapter’s central reveal are preserved where legible. Where wording is partially obscured by image quality or scan limitations, the visible meaning is described conservatively rather than overclaimed.
Content note¶
The chapter contains child abuse in an orphanage, financial exploitation of children, coercion, threats, cult-like manipulation, and references to abandonment and missing children.
Strip 001 — The records around Yeesung’s arrival are suspicious¶
The chapter opens with Na’s side gathering background on Yeesung.
A character explains that Yeesung entered the orphanage when he was around five years old.
He is said to be especially close to Minho, who is around the same age.
The scene then shifts into Yeesung’s own memory.
He is shown looking at basic orphanage records and asking questions about his identity.
One paper gives him an assigned birthday:
AUGUST 7, 2008
Yeesung reacts with uncertainty.
WAS THAT MY BIRTHDAY...?
An adult tells him that the orphanage does not actually know his real birthday, so the director simply chose one for him.
Another dated scene shows Yeesung asking a more direct question:
IS THERE NO RECORD AT ALL OF ME COMING HERE?
The answer is evasive.
NONE. YOU’D BETTER NOT ASK FURTHER.
He is then shown being given or confirming the name:
YEESUNG. HAN.
The sequence establishes that the orphanage did not merely raise him. It effectively rewrote his identity.
Strip 002 — Abuse hides behind obedience and usefulness¶
The flashback continues with Yeesung as a child.
At first, another child or staff figure speaks to him in a deceptively gentle way, offering to help him with something difficult and asking whether he will be “nice” in return.
That tone quickly turns into coercion.
A threat follows:
YOU KNOW? IF I DO THIS, YOU’LL DIE.
Yeesung is forced into humiliating behavior.
At one point he is ordered:
IF YOU WANT TO LIVE, START BARKING.
He complies:
WOOF WOOF...
The abuser then coldly remarks:
YOU KNOW? I HATE DOGS.
The point is not discipline. It is degradation.
The strip ends with more fear imagery—children begging adults not to come in, calling for their mother, and cowering in terror—making it clear that the orphanage’s violence is routine rather than exceptional.
Strip 003 — Children are punished for failing to remain profitable¶
Another flashback reveals how the orphanage rationalized brutality.
A child says:
BUT MY RIBS ARE BROKEN...
The response is heartless.
TRY YOUR BEST.
WE DIDN’T EVEN ASK YOU TO DIE.
The child is told not to become a burden to the others and is reminded how bad things become when the authority figure is disappointed.
The chapter also includes a line emphasizing the children’s economic role:
[THEY] ARE THE SOURCE OF OUR INCOME, AFTER ALL.
The children are not being treated as wards in need of care. They are being managed as assets.
Yeesung is singled out as unusually intelligent:
YOU’RE SMART. YOU’RE UNLIKE THE OTHERS.
That supposed compliment becomes another warning.
Because he is smart, he also understands the trap:
YOU KNOW NO ONE WILL BELIEVE ANYTHING YOU SAY.
He is then ordered to perform degrading labor, including cleaning a pigpen or being treated like livestock.
The orphanage’s entire operating logic is exposed here: children are valuable only so long as they remain obedient, pitiable, and marketable.
Strip 004 — The current investigation reaches the orphanage director¶
The chapter cuts back to the present.
Na and the others have tracked down the institution they were investigating.
A line references:
THAT PLACE IN GANGBUK... THE ORPHANAGE RUN BY THOSE CULT NUTS.
At first there is uncertainty about whether they have found the right location.
Then the truth lands.
A man connected to the place identifies himself in a dramatic reveal:
I HAVE BECOME... THE DIRECTOR OF THIS ORPHANAGE.
This is not simply a benevolent administrator running a troubled home.
The atmosphere and dialogue strongly imply that the man now heading the facility is the same type of manipulative predator who helped sustain the abuse in Yeesung’s past.
Strip 005 — The director explains the business model openly¶
This strip lays out the structure of the orphanage’s exploitation with disturbing clarity.
The director orders a child to get to work because:
WE’VE GOT A CUSTOMER.
He then explains why this orphanage is “special.”
THE CHILDREN OF THIS ORPHANAGE... ARE THE SOURCE OF OUR INCOME, AFTER ALL.
He describes the children as perfect tools for manipulating donors:
- they can deceive sponsors,
- draw pity through their circumstances,
- and beg for money as “orphans.”
He also admits to operating:
UNDER-THE-TABLE ADOPTIONS.
The children are effectively a dual revenue stream:
- fundraising props for public sympathy, and
- commodities for illegal private arrangements.
Yeesung is identified as especially valuable.
YOU’RE ONE OF MY STARS.
The director says he cannot let Yeesung be “ruined over one mistake,” which means that preserving Yeesung’s usefulness matters more to him than the child’s body or mind.
He adds that children cannot be allowed to become too smart, so they must be taught obedience.
After a beating or coercive episode, an adult comforts the crying child with a line often used by abusers:
HE DID IT BECAUSE HE LOVES YOU.
Affection is weaponized to erase violence.
Strip 006 — Yeesung realizes what makes Minho familiar¶
The chapter shifts back into Yeesung’s internal reconstruction of the past.
The earlier records about birthdays and missing intake documents resurface in his mind.
He links together two facts:
- the orphanage had no authentic record of his original identity, and
- Minho has always felt strangely familiar to him.
Yeesung asks about the birthday issue again:
HOW COME... I DIDN’T HAVE A BIRTHDAY BEFORE?
The old answer echoes back:
WE DON’T KNOW YOUR BIRTHDAY, SO THE DIRECTOR PICKED ONE FOR YOU.
That pushes him toward the central realization.
He looks at Minho and says, in effect:
MINHO.
I’M YOUR YOUNGER BROTHER.
Even if the exact family order is emotionally confused in the moment, the essential revelation is clear: the two boys are not unrelated orphans who happened to meet there. They are brothers.
The orphanage had concealed that truth.
Strip 007 — Memories of abandonment and coercion return¶
This strip presents another cluster of traumatic memory fragments.
One child clings aggressively to another and says something like:
SPEND TIME WITH ME.
OR... I’M GONNA HIT MYSELF AND SAY YOU HIT ME.
The exchange shows how abuse inside the orphanage has infected the children’s own relationships. They imitate manipulation because manipulation is the social language they have been taught.
Another memory fragment includes:
MOM SAID NOT TO TALK TO STRANGERS.
The response is vicious:
MOM? WHAT MOM?
THE BITCH WHO THREW YOU AWAY?
This is emotional annihilation—destroying a child’s last belief in being wanted.
The sequence escalates into panic and resistance:
GET AWAY... DON’T TOUCH ME...
BACK OFF...! I SAID GET AWAY!
Then comes a violent threat:
I’LL KILL YOU.
The strip emphasizes that Yeesung’s fractured memories are not vague sadness. They are packed with concrete scenes of fear, coercion, and broken trust.
Strip 008 — The director “rescued” Yeesung only after he was already broken¶
Yeesung keeps following the logic of his own history.
He reflects that, because he had no real birthday and no ordinary intake file, he was not simply admitted through normal channels.
Instead, he remembers that the orphanage director took him in after he woke up in a damaged condition.
The implication is that Yeesung did not cleanly enter the institution as a documented abandoned child.
He was found, or delivered, after some prior incident, and the director then rewrote his life from there.
The narration-like fragments amount to:
- he had no usable identity record,
- the orphanage fabricated one,
- and the director inserted himself as savior after Yeesung regained consciousness.
This leads Yeesung to the next step:
IN THAT CASE, LET’S FIND OUT.
He no longer wants only emotional truth. He wants documentary proof.
Strip 009 — The missing-children database confirms the lead¶
The chapter closes with Yeesung or the investigators using logic rather than searching blindly for a mother.
A voice says:
NOT BY LOOKING FOR OUR MOM.
Instead, they decide to check the missing children database.
The reasoning is precise.
If the “found child” was estimated to be around five years old, then they should search the database for missing children from that age range.
A public-service announcement system echoes through the scene:
ATTENTION, THIS IS THE PUBLIC SERVICE ANNOUNCEMENT SYSTEM.
A CHILD HAS GONE MISSING.
The search yields a match.
At the end, the missing child’s information includes the name:
HAN YEESUNG
This is the confirmation the chapter has been building toward.
Yeesung was not an unidentified orphan with no past. He was a missing child whose identity was buried inside the orphanage system.
The chapter ends on that discovery, turning his personal suspicion into verifiable fact.
Chapter-level continuity notes¶
The orphanage deliberately erased identity¶
Yeesung’s assigned birthday, missing intake record, and vague origin story were tools of control, not administrative accidents.
Abuse and profit are inseparable in this institution¶
The director views children as income-generating objects—through pity-based fundraising, illegal adoptions, and obedience enforced by fear.
Yeesung’s intelligence makes him dangerous to the system¶
The adults value him because he can perform well, but they also fear him because he asks the right questions.
The brotherhood revelation reframes the whole arc¶
Minho is not just Yeesung’s closest companion in the orphanage. He is family, and their separation appears to have been part of a larger concealment.
The final database search converts memory into evidence¶
By the end of the chapter, Yeesung’s past is no longer only a trauma story. It becomes a documented missing-child case.