Get Schooled / True Education — Chapter 7¶
Complete Detailed Panel-by-Panel Transcription¶
Source supplied: Chapter 007.zip
Archive integrity: 66 sequential WebP images plus manifest.json
Manifest status: 66/66 images present; no reported download failures
Reading order: 001.webp through 066.webp
Transcription conventions¶
- Dialogue / narration: Preserved as it appears in the English scanlation, including unusual grammar, capitalization, punctuation, slang, and profanity.
- Visual description: Describes panel composition, body language, facial expression, setting, action, and transitions.
- SFX: Korean sound effects are recorded when visually significant. Their English sense is described cautiously rather than treated as a literal translation.
- Character naming: Chey Kang-Suk is named directly by the chapter. The long-haired black-clad field inspector is referred to as Na, following the identification established in the preceding chapters; this chapter itself does not repeat his name.
- Unclear text: Marked rather than reconstructed.
Opening material¶
Strip 001 — Chapter cover and scanlation credits¶
A square title card is split diagonally. The left half is black with cream-colored horizontal dividers; the right half is a saturated red-orange portrait backdrop.
Na appears from the chest upward on the right. He has long, unruly black hair, narrow greenish eyes, faint facial hair around the chin and upper lip, and a loose black suit over a dark open-collar shirt. He wears a slightly crooked, knowing smile. A long metal baton or rod angles behind his shoulder, visually identifying him with the disciplinary role established in earlier chapters.
Readable text:
- “True Education”
- “CHAPTER 7”
- “Author: Jae Yong Taek”
- “Artist: Han Ga Ram”
- “TRANSLATOR: Bean Soup”
- “PROOF-READER: SwordOfSierra”
- “CLEANER / REDRAWER: Banchou-sama”
- “TYPESETTER: Banchou-sama”
- “ARANG SCANS”
https://discord.gg/jXV85rvhttps://www.patreon.com/ArangScanshttps://paypal.me/ArangScans
The YLAB logo appears near the top.
Strip 002 — Fiction disclaimer and introduction of Chey Kang-Suk¶
The strip opens on a black-to-white vertical gradient.
Disclaimer:
“THE FOLLOWING IS A WORK OF FICTION.
ANY RESEMBLANCE TO REAL-LIFE PEOPLE OR
EVENTS IS ENTIRELY COINCIDENTAL.”
Far below, a bordered narration box introduces a new figure:
“CHEY
KANG-SUK,
AGE 69.”
A low-angle panel shows only the man’s shoes and lower trouser legs as he strides into a formal room. The perspective emphasizes momentum and presence: one sole is lifted toward the reader while the other foot plants ahead.
Scene 1 — Chey Kang-Suk’s press conference¶
Strip 003 — Political résumé¶
The previous walking panel continues at the top edge.
Two bordered narration boxes state:
“FORMER CHAIRMAN OF
THE PREVIOUS RULING
PARTY · CURRENT HEAD
OF THE BUREAU OF
EDUCATION.”“HE STARTED HIS
CAREER AT THE
AGE OF 43.”
Below, an overhead panel follows Chey walking toward the press area. His gray-black hair is combed back, and he wears a dark brown three-piece suit. White starbursts and repeated Korean 찰칵 surround him, representing rapid camera-shutter clicks. He does not turn toward the cameras.
Strip 004 — Public image and aggression¶
A close-up introduces Chey’s face: swept-back gray hair, thick eyebrows, deep under-eye shadows, a mustache, a full jawline beard, and a pointed patch beneath his lower lip. He raises his chin and looks sideways with controlled arrogance while camera flashes explode behind him.
Narration:
“HE PAYS NO MIND
TO HIS IMAGE WHEN IT
COMES TO POLITICS.”“WHILE HE TENDS
TO RESORT TO HARSH AND
DIRECT ATTACKS DIRECTED
TOWARDS HIS OPPONENTS,”
A final narration box begins below:
“HIS DOMINATING STYLE
OF FORCING ATTENTION
ON PROBLEMS IN KOREAN
SOCIETY HAS CAPTURED
THE HEARTS OF MANY.”
The repeated shutter SFX continues around his portrait.
Strip 005 — The press room¶
A high, almost surveillance-like establishing shot reveals a government briefing room. Chey approaches a wooden lectern beneath a backdrop repeatedly printed with the Ministry/Bureau of Education emblem. A Korean national flag stands to the side. Journalists sit at paired tables with cameras, notebooks, laptops, phones, and audio equipment. A television camera on a tripod points toward the lectern.
Narration:
“IT HAS GIVEN MUCH-
NEEDED FEELINGS OF
RELIEF TO THOSE WHO
FEEL STEAM-ROLLED BY
OTHER POLITICIANS.”
A smaller box at the bottom reads:
“AT THE
SAME TIME, HE
IS NOTORIOUS
FOR…”
The layout delays the final word for emphasis.
Strip 006 — Chey begins¶
Chey’s hands are clasped in front of the microphone. The frame centers the brown suit vest, tie, and the tension in his interlocked fingers.
Chey:
“NOW~
NOW~ YE
JOURNALISTS
ARE ALREADY
FAMILIAR WITH
MY STYLE,
RIGHT?”
He then leans forward with a broad, sharp-edged grin.
“LET’S GET
THIS OVER WITH,
ALREADY!”
His expression looks less welcoming than combative; he is inviting questions while simultaneously warning the room that he intends to dominate them.
Strip 007 — Punch line to the introduction¶
The camera holds on Chey’s torso and the lectern microphone.
A bordered narration box completes the sentence begun in Strip 005:
“HIS HATRED
FOR NEWS
REPORTERS.”
The stark white space around the box turns the statement into a comedic beat.
Strip 008 — Series title and first question begins¶
A large Korean series logo fills most of the strip, featuring a dark silhouette of Na holding a baton over his shoulder. Two batons cross behind the title, and the YLAB mark sits at the lower right.
Korean credit text beneath the logo identifies the writer and artist.
At the bottom, a speech bubble begins the first question:
“THIS
IS CHEY
SHIN-WOO OF
THE GORYEO
NEWS RE-
PORT…”
The bubble extends into the next strip.
Strip 009 — Reporter Chey Shin-Woo cites the policy¶
The press room reappears. A bespectacled male reporter in a white shirt raises one hand while reading from a notebook. Other reporters hold cameras or watch with guarded expressions.
The question continues:
“THE
‘PROTECTED EDU-
CATION’ AMENDMENT
TO THE ‘ELEMENTARY AND
MIDDLE SCHOOL
EDUCATION
ACT,’”
Chey remains off-panel, making the reporter the visual focus.
Strip 010 — Description of the law¶
A close crop of the reporter’s notebook accompanies the continuation:
“WAS
ESTABLISHED BY
THE SENATORS OF
THE PREVIOUS RULING
PARTY 2 YEARS
AGO.”
The next bubble overlays a close crop of Chey’s hair and brow:
“THE LAW
ALLOWS TEACHERS
UNRESTRICTED ACCESS
TO ANY METHOD THEY
DEEM ACCEPTABLE IN
ORDER TO PROVIDE
GUIDANCE FOR
STUDENTS.”
The wording is extremely broad, intentionally setting up the dispute over whether “guidance” includes physical force.
Strip 011 — The direct question¶
Chey’s face fills the strip in severe close-up. His eyes angle downward and sideways; his mouth remains flat and unreadable.
Reporter Chey Shin-Woo:
“CAN YOU,
AS THE CURRENT
HEAD OF PUBLIC EDU-
CATION, EXPRESS
SUPPORT FOR SUCH
A POLICY?”
Chey bends over the lectern below, his posture suddenly heavier and more hostile.
Chey:
“WHY ARE
YE ASKING ME
THIS NOW, OF
ALL TIMES?”
Strip 012 — Chey turns the question back on the room¶
The reporter is shown from behind, facing the distant lectern.
Reporter:
“PARDON?”
Chey’s face appears beneath an enormous bubble, eyebrows drawn together:
“THE ‘PROTECTED
EDUCATION’ CLAUSE
OF THE ACT PASSED
TWO YEARS AGO.”
His tone suggests the real offense, in his view, is not the policy but the media’s delayed attention.
Strip 013 — Attack on the press¶
A partial close-up of Chey’s grin leads into:
“Y’ALL
HAVE THE GALL
TO SIT AROUND TILL IT’S
CONVENIENT TO
BRING IT UP?!”
He continues while the photographers stare back:
“AH, THAT’S
RIGHT! BACK THEN,
Y’ALL WERE TOO BUSY
FOLLOWING THE SCAN-
DAL WITH THAT
FLOWER BOY OF A
PRINCE!”
A reporter mutters:
“THE
GEEZER’S
GOING OFF
ON US
AGAIN!”
The photographers’ stiff shoulders and unimpressed faces suggest that this kind of abuse is familiar.
Strip 014 — Sarcastic sympathy¶
Chey is viewed from behind at the lectern, filling most of the frame with his broad back. The reporters blur into a mass beyond him.
Chey:
“DON’T
WORRY, I UNDER-
STAND COMPLETELY. AFTER
ALL, A MEDIA OUTLET WITH
SUCH POOR VIEWERSHIP MUST
FOCUS ON SOMETHING
MORE INTERESTING THAN
EDUCATION!”
The insult is delivered as mock reassurance.
Strip 015 — Chey states his official position¶
The top bubble finishes his response:
“I DON’T
CONCUR WITH
‘CORPORAL
PUNISHMENT’.”
Chey braces both hands on the lectern and leans toward the microphones.
“WE AT THE
BUREAU MADE
THE DECISION TO FIGHT
AGAINST CORRUPT
SCHOOL SYS-
TEMS,”
His formal denial of corporal punishment is immediately followed by a defense of restoring teachers’ power.
Strip 016 — Distinguishing punishment from authority¶
Chey continues:
“TO ASSIST
TEACHERS IN GUIDING
THEIR STUDENTS, AS FAC-
ULTY HAVE BEEN STRIPPED
OF THE METHODS THAT
ALLOW THEM TO
DO JUST THAT.”
A female reporter stands and gestures with one hand while holding a phone or recorder in the other.
Female reporter:
“YOU CAN’T
COMPARE SUCH
A POLICY TO ‘COR-
PORAL PUNISH-
MENT’!”
A Korean 스윽 accompanies her movement, indicating a smooth rise or shift.
Strip 017 — Park Chan-Ung challenges Chey’s rhetoric¶
A short-haired reporter in a white button-up shirt faces the lectern with wide, focused eyes.
Reporter:
“THIS IS PARK
CHAN-UNG OF
ROOFTOP
NEWS…”“WAS IT
NOT YOUR OWN
RHETORIC THROUGH-
OUT YOUR POLITICAL
CAREER THAT
GENERATED…”
The sentence continues into the following strip.
Strip 018 — “Kids learned by being hit”¶
Chey leans over the lectern, glaring down as the reporter’s question finishes:
“THE PHILOSOPHY
OF ‘KIDS LEARN BY
BEING SPANKED’ THAT
SPREAD ACROSS
THE NATION?”
Chey repeats the underlying claim with obvious contempt:
“‘KIDS
LEARNED BY
BEING HIT’…
HUH?”
His fingers press into the lectern; the panel composition makes him look ready to lunge verbally.
Strip 019 — The politically safe reply¶
An extreme close-up isolates Chey’s beard, lowered eyes, and half-smile.
Chey:
“OF
COURSE NOT.
THAT’S ABSURD AND
COMPLETELY
REPREHENSIBLE.”
He immediately undercuts the polished answer:
“…WELL, THAT’S
THE ‘POLITICALLY
CORRECT’ WAY
TO REPLY…”
The smile reveals that the first answer was deliberately performative.
Strip 020 — He abandons the safe answer¶
Rows of reporters tense and exchange looks.
Chey:
“BUT
WHAT THE HELL?
CORRECT ME IF I’M
WRONG, BUT SINCE THE
REINTRODUCTION OF
FACULTY AUTHORITY,
HAVEN’T SCHOOLS
IMPROVED?”“INSTEAD
OF PLAYING A
YER’ GAME O’ ‘FUCK
THE POLITICIAN’S
CAREER’,”
The scanlation preserves the unusual “yer’ game o’” wording. His point is that he refuses to give the answer most useful for protecting a politician’s career.
Strip 021 — Yun Jhin-Sook raises evidence of injuries¶
A woman with long black hair tied in a low ponytail stands with one hand lifted.
Reporter:
“THIS IS THE
WEEKEND REPORT’S
YUN JHIN-SOOK…”“LOOKING AT
OUR INVESTIGATION
REGARDING THE RECENT
INCREASE IN FACULTY
AUTHORITY,”
Chey is small and distant behind her, emphasizing that the reporters are now pressing him from multiple directions.
Strip 022 — Bruises on students¶
Yun Jhin-Sook holds up a printed report containing photographs of bruised skin and blocks of text.
Reporter:
“BRUISES HAVE
APPEARED ON VARIOUS
STUDENTS, CLEARLY A
RESULT OF PHYSICAL
DISCIPLINE.”
Her fingers frame the injury photographs, making the physical evidence difficult to dismiss as abstraction.
Strip 023 — The phrase “child abuse”¶
A close-up of Chey’s eye shows the pupil narrow beneath heavy shading.
Reporter:
“IS SUCH
OLD SCHOOL
CHILD ABUSE IN
SCHOOLS,”
A much larger bubble finishes the accusation:
“CHILD
ABUSE?”
A wide panel shows the reporters facing Chey, several gripping cameras or recorders and waiting for his reaction.
Strip 024 — Political framing¶
The shaded close-up of Chey’s eye continues.
Reporter:
“LOOKING AT
OUR INVESTIGATION
REGARDING THE RECENT
INCREASE IN FACULTY
AUTHORITY,”
The scanlation then presents the continuation:
“MEANT TO
BE COMING UNDER
THE CURRENT
RULING PARTY!”
The exact sentence construction is awkward, but the accusation is that the newly empowered discipline system is politically connected to the current ruling party.
Strip 025 — Chey invokes the student suicide¶
Chey bends over the lectern, eyes shadowed and smile thin.
Chey:
“BEFORE,
OUR EFFORTS
TO PROTECT STU-
DENTS ONLY RESULTED
IN FACULTY TREATING
THEM LIKE
KINGS.”“PERHAPS
YOU FORGOT, BUT
IT ENDED UP CAUSING A
STUDENT TO COMMIT
SUICIDE?”
His counterargument equates excessive deference to students with the institutional collapse that preceded the suicide from the earlier arc.
Strip 026 — Policy philosophy in caption-like boxes¶
Three beveled text boxes float beside images of a school and students watching Chey on a classroom television.
“STUDENTS
DESERVE A SAFE
LEARNING
ENVIRONMENT.”“OUR EXPERIMENT
ALLOWED US TO DEAL
WITH THE TUMORS HIDING
AMONGST THE STU-
DENTS AND STAFF.”“IN LIGHT OF
THAT, ARE A FEW
BRUISES REALLY
THAT BAD?”
The phrase “tumors” dehumanizes the people Chey believes are corrupting schools. The juxtaposition of “safe learning environment” with the dismissal of bruises exposes the policy’s harsh moral calculus.
Strip 027 — Protection for “upstanding students”¶
A bespectacled student watches the broadcast on a handheld device, sweating slightly.
Beveled text boxes continue Chey’s statement:
“OUR PRIORITY
SHOULD BE ENSURING
THE PROTECTION OF
UPSTANDING
STUDENTS.”“WHO EARN RESPECT
AND EDUCATION THROUGH
HARD WORK, NO?
DO YOU DISAGREE?”
The student’s uneasy expression complicates Chey’s certainty; the supposed beneficiaries do not look reassured.
Strip 028 — Chey attacks repeated questioning¶
Chey turns his shoulder toward the room.
Chey:
“AND YOU LOT!
YOU’VE BEEN GETTING
ON MY NERVES, ASKING
THE SAME DAMN QUES-
TION, OVER AND
OVER AGAIN…”“IF YOU’RE
A JOURNALIST, FOCUS
ON THE TRUTH! ISN’T THAT
YOUR JOB, PROTECTED
BY THE RIGHTS OF
FREEDOM OF
PRESS?!”
He invokes press freedom while berating the press for exercising it, a deliberate contradiction that he treats as blunt honesty.
Strip 029 — Recorded declaration¶
A profile close-up shows Chey shouting hard enough to expose his teeth.
Chey:
“PUT THIS
ON THE RECORD! AS
LONG AS I, CHEY KANG-
SUK, OF THE BUREAU
OF EDUCATION, RE-
MAIN IN OFFICE,”“WE WILL
OVERCOME
ANY OPPOSITION
TO OUR
PLANS!”
He then points straight toward the reporters, eyes wide and veins/shading prominent.
“PARENTS
OF STUDENTS:
FUCK OFF! STOP
CALLING MY
OFFICE!”
The gesture makes the statement feel like a personal order directed through the cameras at every protesting parent.
Strip 030 — End of the conference¶
Chey continues pointing with an enraged, open-mouthed expression.
“ANY
FURTHER
REQUESTS FOR
AN INTERVIEW
REGARDING THIS
POLICY WILL BE
IGNORED!”
The press conference ends not with clarification but with a refusal to answer further questions.
Scene 2 — Livestream reaction and Ga-Yun’s grave¶
Strip 031 — Watching the conference on a phone¶
A hand holds a smartphone showing a live broadcast headline:
“CHEY KANG-SUK RANTS IN LATEST PRESS CONFERENCE”
The stream indicates approximately 21,000 viewers.
Na reacts:
“WOAH~
THIS CRAZY
GEEZER IS
JUST…”
Several tiny comments are visible in the livestream chat. Legible or mostly legible examples include:
- “WhereAmIWhoAmI: ???”
- “BernicedMan: kekw”
- “PinkStone: Lmfao this old guy’s nuts”
- “LikeNow: Chey Kang-Suk-ed the reporters lol”
- “Ruisimp123: Please make me do good on my test”
- “FiveYearsDieting: Lolololololololololol”
One username/comment between these is too small to confirm confidently.
Strip 032 — Na at the cemetery¶
The setting changes to a bright cemetery with trimmed grass, pale stone paths, flowers, and low modern grave structures.
Na sits beside a grave in an all-black suit, holding the phone.
Na:
“HE TOLD
ME HE’LL TAKE
CARE OF IT, BUT HE’S
JUST STARTING
A WAR!”“HOW DID HE
GET TO BE THE
NUMBER SIX
SENATOR?”
A small plate of colorful macarons or sandwich cookies and a white cup rest on the grave’s offering table.
Strip 033 — Chey arrives behind him¶
Na jerks upright in surprise as Chey appears directly behind him, now wearing a dark open-collar shirt beneath his suit rather than the formal press-conference tie.
A large Korean startle SFX accompanies Na’s sudden movement.
Chey:
“AHAHA…
YOU’RE HERE,
ALREADY?”
Na:
“IS HE EVEN
HUMAN?”
Na’s wide eyes and sweat drop indicate that the “crazy geezer” he was criticizing has silently approached close enough to hear him.
Strip 034 — “Dad”¶
Na looks upward and says:
“DAD.”
Chey’s eyes widen sharply in response. The one-word address confirms an intimate family relationship, though the chapter does not explain its precise legal or biological form here.
A narrow close-up of Chey’s mouth shows a brief smile before the mood snaps.
Strip 035 — Immediate kick¶
Chey drives a forceful kick into Na’s upper body/head area, flinging him sideways through the frame.
Chey:
“THE HELL
DO YOU MEAN,
‘DAD?!’ YOU
BASTARD!”
A large Korean impact SFX emphasizes the strike. Na’s limbs and coat trail behind him, and the speed lines exaggerate the force.
Strip 036 — Comedic pause¶
A clean panel of blue sky and drifting white clouds creates a long visual pause after the sudden kick. The silence functions as deadpan comedy.
Strip 037 — Offerings¶
A close-up shows a white plate with several brightly colored macarons—yellow, pink, tan, green, and cream—and a plain white paper cup containing a brown drink.
No dialogue appears. The still-life presentation makes the offerings feel personal and carefully chosen.
Strip 038 — Paying respects¶
In a wide cemetery shot, Chey stands with one hand near his mouth, apparently smoking or touching his lips. Na kneels deeply before the grave, upper body bowed toward the stone.
The grave is flanked by white flower vases. The bright green lawn and blue sky contrast with the subdued black clothing.
Strip 039 — Ga-Yun’s favorite¶
Na rises into a crouch near the grave, face tense and slightly sweaty. Chey stands behind him with one hand in his pocket.
Chey:
“IT’S
GA-YUN’S
FAVORITE. YOU
SHOULD KNOW
THIS, AS HER
FATHER…”
Na’s hand grips or crushes the grass near the grave. Korean 부욱 visually accompanies the pulling/crushing motion.
This line establishes that the deceased Ga-Yun is Na’s daughter.
Strip 040 — The conference discussion begins¶
Na fusses with the grave area or the offerings, his arm moving in short repeated motions marked by Korean SFX.
Chey asks:
“HOW WAS THE
CONFERENCE?”
A close-up of Na’s hair and cheek shows him still bent forward, listening.
Strip 041 — Na’s assessment and Chey’s ego¶
Na answers with a slight smile:
“I WATCHED A
STREAM OF IT AND IT
SEEMS AS THOUGH BOTH
REPORTERS AND PARENTS
ALIKE WILL BE UP IN
ARMS OVER
THIS…”
Chey touches his beard and reacts defensively:
“WHAT?! I’M
CHEY KANG-SUK!
CHEY KANG-
SUK!”
A Korean lip-smack/tongue-click SFX appears near his mouth.
Strip 042 — Confidence after political defeat¶
Chey declares:
“THERE’S
NOTHING I CAN’T
DO WHEN I PUT MY
MIND TO
IT!”
Na begins to stand, marked by Korean 스윽.
Na:
“I MEAN,
GIVEN THE FACT
THAT THE RUNNER-UP
IN THE PRESIDEN-
TIAL RACE,”“RESIGNED,
IT CERTAINLY
SEEMS LIKE THIS IS
GOING SOME-
WHERE.”
His delivery is dry and ambiguous: it can be read as acknowledging Chey’s political force or teasing him about the circumstances that benefited him.
Strip 043 — Silent overlap at the grave¶
Na and Chey stand side by side before the headstone. The image uses a faint double exposure of the grave and offerings over their backs.
Only the center of the name is fully visible due to their bodies, but the next strip confirms the grave belongs to Ga-Yun.
No dialogue is present; the pause shifts the tone from political banter back to grief.
Strip 044 — What would Ga-Yun think?¶
A side profile shows Na staring forward, long black hair moving lightly against the bright sky. Chey’s lower face is blurred in the foreground.
Chey:
“…WHAT
WOULD GA-YUN
THINK OF ALL
THIS?”
Na does not visibly answer in this strip. His face is calm but distant.
Strip 045 — Chey’s answer about the dead¶
Chey’s face appears in profile, the earlier arrogance replaced by restrained sadness.
“THE DEAD
CAN’T HOLD A
GRUDGE.”“THAT’S A
MISERY RESERVED
FOR THE LIVING!”
The second line is larger and bolder. It frames resentment and grief as burdens borne by survivors rather than the deceased.
Strip 046 — Ga-Yun’s grave¶
A full view of the grave shows the name:
“Ga-Yun”
The mound is green and carefully maintained. Two white vases hold pink and red flowers. The macarons and cup remain on the central stone offering platform.
At the bottom, the top of Chey’s head enters the frame as he turns away.
Strip 047 — Chey breaks the solemn mood¶
Chey lowers his face, then tilts it toward the sky with his eyes almost completely shaded by his heavy brows.
Chey:
“GODDAMMIT!
WHY’S IT SO DAMN
BRIGHT OUT?”“CAN’T SEE A
THING, SQUINTING
EVERYWHERE.”
His complaint abruptly punctures the emotional silence, returning the scene to abrasive humor.
Strip 048 — Leaving the cemetery¶
Chey walks away with his hands in his pockets.
Chey:
“LET’S GO!”
Na follows several steps behind.
At the bottom, Na’s response begins:
“GO
ON AHEAD.”
The rest continues into the next strip.
Scene 3 — The next assignment¶
Strip 049 — A personal request¶
Na finishes:
“GO
ON AHEAD.
I HAVE MY NEXT
ASSIGN-
MENT…”
Chey glances back.
Chey:
“OH, REALLY?
WHAT’S THE NEXT
SCHOOL?”
The pair continue along the cemetery path, their posture now casual again.
Strip 050 — The headmaster requested help¶
Chey explains:
“THE
HEADMASTER
PUT IN A PER-
SONAL RE-
QUEST.”
Na scratches or rubs behind his ear.
“REALLY?”
The gesture suggests mild surprise rather than alarm.
Strip 051 — Destination named¶
Chey looks to the side with a more serious expression.
“SANMAE’S
SCHOOL FOR ADVANCED
EDUCATION.”
The school name is presented as the entire answer, giving it ominous weight.
Strip 052 — Why the request matters¶
Chey continues:
“NORMALLY,
ISSUES AT SCHOOL
ARE RATHER SIMPLE
TO REPAIR…”
Na’s close profile shows his attention sharpening.
“THE FACT THAT
THE HEADMASTER
ASKED FOR US
HIMSELF,”
The sentence continues over the transition.
Strip 053 — Establishing shot of the school¶
A large multi-story brick school appears under a bright blue sky. It has long rows of windows, a central raised roof section, a covered entrance walkway, and a broad empty road in front.
The previous sentence concludes:
“MEANS
THIS WILL BE QUITE
THE SHITSHOW.”
The quiet exterior is deliberately misleading given the warning.
Strip 054 — Na enters¶
Na walks up an indoor stairwell while students in blue uniforms move around him. Repeated Korean 저벅 marks heavy footsteps.
He smiles with anticipation:
“WHAT
KIND OF
HORSE SHIT
SCHOOL
AWAITS
ME?”
A second line begins at the bottom:
“LET’S SEE,
NOW~”
Before he can investigate formally, violence erupts directly in front of him.
Scene 4 — The school’s gang conflict¶
Strip 055 — A fight on the stairs¶
A student in a black-and-orange jacket drives a fist into another boy’s face at extremely close range. The victim’s cheek compresses around the impact; black speed lines cut across the panel.
Na stands in the stairwell background with one hand in his pocket. His eyes are wide, but his posture remains relaxed, indicating observation rather than fear.
Student:
“YOU
MOTHER-
FUCKER!”
A large Korean impact effect occupies the panel edge.
Strip 056 — Counterattack and insult¶
The brawl continues in close-up. Another punch lands against the orange-accented jacketed student, twisting his upper body.
Student:
“WHAT’D
YOU SAY?
YOU SISTER-
FIDDLER?”
The Korean impact lettering stretches vertically through the action. The fighters are not exchanging warnings or posturing; they are already striking at full force.
Strip 057 — Students flee¶
Two uniformed boys turn and run down the corridor.
First student:
“RUN!
YOU’LL GET
CAUGHT UP
IN IT!”
Second student:
“AH, SHIT~
HERE WE GO
AGAIN!”
Their reaction establishes that this is a routine occurrence rather than a shocking one-time fight.
Strip 058 — One faction advances¶
A red-haired teenage boy walks at the head of a large group. He wears a navy jacket with orange panels over a white shirt, one hand in his pocket. His eyes are lowered and his expression is bored, as though the confrontation is scheduled business.
Repeated Korean 저벅 marks the synchronized steps of the crowd behind him.
Strip 059 — The opposing faction¶
A broad, buzz-cut boy in a black jacket with reflective gray stripes and a yellow shirt leads another group from the opposite side. Several students behind him wear dark jackets, hoodies, or school clothing.
The same repeated 저벅 continues, visually matching the two factions and building toward collision.
Strip 060 — The red-haired leader’s electrical insults¶
The red-haired leader tilts his head and smirks.
“HEY,
ELECTRICIANS?
HOW WAS YOUR DATE
WITH PIKACHU?
SHOCKING?”
A typesetter/editor joke appears beside the bubble:
“ED/NOTE: ESTATIC.
PR/NOTE: I HATE YOU.”
The red-haired leader then adds:
“WHO ARE
YOU LOOKING
AT, YOU STUPID
FUCKER?”
The “electrician” and “Pikachu” jokes imply that the opposing group has an electrical-themed nickname, specialization, or reputation.
Strip 061 — The buzz-cut leader’s reply¶
The opposing leader looks down his nose with a sneer.
“WHAT’S
THAT, YOU CAR-
WASH EMPLOYEE
LOOKIN’
ASS?!”“WITH HOW
FUCKED UP THAT
CAR IS, YOU SEEM
TO NEED SOME
LESSONS!”
His insults appear to target the red-haired group’s automotive theme or clothing.
Strip 062 — The gang war erupts¶
Both factions crash into each other in the corridor. Bodies overlap in a dense vertical composition: fists rise, students fall backward, and legs kick through the mass.
A jagged shout reads:
“DIE! YOU
FUCKING
ELECTRICI-
ANS!”
Large Korean crowd/roar lettering runs through the melee, representing the collective yell as the fight explodes.
Strip 063 — The automotive counter-shout¶
Students are piled across the floor and against one another. A boy is kicked while others swing downward.
A jagged bubble shouts:
“STEP
ON IT! YOU
RETARDED
CAR
CUNTS!”
The insult confirms the conflict’s two faction identities: one is framed as “electricians,” the other as car/automotive students.
Strip 064 — Na enjoys the spectacle¶
Na watches from outside the center of the pileup. A Korean sound effect accompanies a small movement of his head or foot.
He grins, eyes narrowing with interest:
“A
GANG WAR,
NICE!”
Rather than recoil, he appears delighted to have immediately found the school’s core problem.
Strip 065 — Chapter cliffhanger¶
A close-up shows Na’s shoe planting firmly on the floor, accompanied by Korean 턱, a decisive step/stop.
His smile widens in a shadowed close-up.
“SO,
LOOKS LIKE
MY JOB IS
TO…”
The final large panel shows him from behind, centered in the corridor with both hands spread openly at his sides. The two gangs continue fighting in the blurred background.
“STOP THIS
GANG WAR MYSELF,
IS THAT RIGHT?”
Small production credits and the YLAB logo appear at the lower right.
The chapter ends immediately before Na intervenes.
Strip 066 — Scanlation afterword¶
A black promotional end card reads:
“ARANG SCANS AFTERWORD!”
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We are also looking for Korean Translators!
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Chapter-level narrative and visual notes¶
1. Chey’s public persona is constructed through contradiction¶
The opening narration presents Chey as both a public relief valve and a political aggressor. His press conference reinforces that duality. He officially rejects “corporal punishment,” yet repeatedly minimizes bruises and treats physical discipline as an acceptable cost of restoring authority. He defends freedom of the press while insulting reporters for questioning him. These contradictions are not concealed; he turns them into proof that he is supposedly more honest than conventional politicians.
2. The chapter reframes the earlier school arc as national policy¶
The student suicide and institutional corruption from the previous chapters are no longer treated as one school’s isolated failure. Chey uses them to justify the “Protected Education” policy nationally. The classroom television panels show that students are hearing his rhetoric directly, meaning the intervention program is becoming a public political project rather than a quiet emergency measure.
3. Ga-Yun humanizes both men without softening them¶
At the grave, Chey and Na remain abrasive: Chey kicks Na for calling him “Dad,” Na complains about the conference, and Chey grumbles about sunlight. Yet the carefully chosen macarons, maintained grave, and restrained discussion reveal a shared grief around Ga-Yun. The chapter explicitly identifies Na as her father. Chey’s line—“That’s a misery reserved for the living”—shows that his harsh philosophy is connected to unresolved loss, not merely political ambition.
4. The next school announces its problem visually before any exposition¶
The school exterior is peaceful, but the interior immediately contradicts it. Students do not merely bully one another privately; organized factions march through public corridors and fight in large numbers. Other students instinctively flee and describe the event as something recurring. The lack of visible staff intervention is as important as the violence itself.
5. Na’s final pose establishes his method¶
Na does not ask which gang is right. He sees the existence of the gang war itself as the assignment. His spread hands, relaxed posture, and pleased grin transform the chaotic corridor into a stage he is ready to enter. The cliffhanger promises direct intervention rather than investigation from a distance.