W two worlds Season 2 sc

Every step of the way, it gives me this parodic impression.
The screenwriter put up little signs along the heroine's path.
On them, it says:
"I want you to die!"
And then there's an arrow, and then:
"This way."
(≧艸≦*)

If so, I gladly accept that I'm wrong. ^^
I can only rely on the impression I had when I saw the drama, and unfortunately, I forgot most of the drama, except for the beginning, and the emotionally strong scene of the drama. The general lack of emotion often causes this kind of forgetfulness. Maybe other spectators felt that way too? I haven't read reviews of the drama, I don't know.
I hope you enjoy season 2. As far as I'm concerned, I plan to watch it ;-)

It all depends on how people write scripts, but my method is the following (I suspect Song Jae-Jung writes like that too): writing is not linear. For example, if you read fan fiction, the writing is almost always linear. Even when the author has a general outline of the story. Once they have published their episodes, they don't go back.

In a drama script, the whole story is structured in advance very strongly. Often, you can have incredible ideas about what will happen at different points in the story. You see the scene perfectly and how good it would be. But sometimes that scene doesn't connect strongly enough with the rest of the ideas. You are convinced that this must absolutely take place, even if you have to modify this scene a little bit. At that moment, you have to make choices. Sustainable choices, or deeper choices that involve revisiting the chronology of previous events. For the key scene to take place, there must be a good reason for it, and the spectator must be able to believe in the scene, to believe that the sequence of events could only lead to that and nothing else. Often the changes to the previous structure will produce something unexpected, both for the author and for the spectator. The story becomes more logical, because what happens after is planned before, more logical and more surprising at the same time. By changing the anteriority, new correlations and new sources of support for what happens next are created. New future scenes. From a certain point on, the whole scenario acquires a very strong internal cohesion from beginning to end. It's a bit like an alchemical reaction, a kind of immense catalysis.
All this preparation phase is enough to drive you crazy. It's easier when you're already lucky enough to have a concept and faces that already exist, but starting from absolutely nothing to arrive at something like W leaves me totally amazed. The whole screenplay of W speaks a lot about this, the miracle with which a story comes to life almost autonomously, as if the author was little in front of this miracle.

I can imagine what W's script looked like at an early stage: an accumulation of ideas, and a very vague chronology.
For example, an idea such as:
"There's a scene where there's writing appearing in the open air, as if it were the text of a character in a comic book."
It's too good an idea not to be included in the script. Whatever happens, the screenwriter has to make it happen at all costs! Find the right moment, or favour the chronology that would lead to that moment. After multiple clusters with hundreds of other ideas, resulting in dozens of changes to the sequel, the moment and its conditions are found. End of episode 7, another of the emblematic scenes of this drama which is packed to the brim. Taking into account the complexity of the whole, it couldn't have been easy, especially since it is the same for everything else. Here, for example, it forces the scenario to make a kind of big gap, a bit of extreme gymnastics. The faceless killer is in the real world right now. How does he communicate this way from one world to another, by phone? No explanation will be given. Maybe there doesn't need an explanation because it's a basic phenomenon? Or maybe I wasn't smart enough to understand how he does it and the script provides clues on the subject? Is that part of his superpowers? On an idea like that, I would have hung a green lantern, at the very least. Let the viewer know that this has been considered. Sometimes a screenwriter doesn't use the green light method, and it goes under the carpet. As a last resort, it is possible to do so, but it is better to avoid doing so. I had to do it in one of my scenes (and maybe two or three others), despite my fanaticism for consistency. I could have found a more logical way to solve the scene, but it made the episode too heavy, and the replacement scene had no interest in terms of dramatic impact and punch to the viewer. Maybe there is a way to bring the situation more into line? I don't know. On my own, I don't have the ability to figure out what or how.

This dialectic of chronological interaction continues while the full script is being written as well! The writing brings a new stream of correlations and sometimes, it is necessary to modify again some previous scenes, in a more limited way this time, because changing the whole script is impossible. Sometimes you see what needs to be changed, even details, sometimes there are details that go out of the window.

For example, W episode 11. Yeon-Joo has to take the bus to the village where Kang Chul took refuge. Finding Kang Chul is the objective of this phase of the scenario. The screenwriter has the purpose, and to make it happen, she has to write what happens before. The problem : Yeon-Joo takes the bus when she had no money before. Little plot-hole? Not even that. At the beginning of Episode 11, we see Yeon-joo picking up her purse. Except she doesn't have her purse when she goes back to W. We can assume that she got back some money that she put in her pocket. Here, it's a small writing flaw, but not easy to detect for the writer, who is alone with her script, even when she reads it again. It was necessary to include a short line of description in the scene at the beginning of episode 11, to show a short shot in which Yeon Joo takes money from her bag and puts it in her pocket. In my opinion, it really didn't cost anything to do and didn't make the scene heavy. Here, I'm pretty sure that the writer didn't think to come back to that scene to correct it. It's very possible that she had the idea in mind about its structure. Yeon-joo's in W, she's out of money. But then she comes back to the real world, so it's logical that when she goes back to W afterwards, she has money again. That's typically the kind of idea that a screenwriter can have in her head, but there's an imperfection in the way it's shown.

Even though Song Jae-Jung is writing alone, she manages to produce the most unpredictable scripts. If I were talking about that, and since you're asking me what my favorite dramas are, I'll avoid giving an endless list, because my commentary is already very long.
I'll take Empress Ki, because there are two writers. It's a married couple who write a lot of very good dramas. And Empress Ki is in my opinion their best. It's the kind of drama that produces this effect of unbridled enthusiasm when you see it.
Being two writers helps a lot of the problems I talked about. With two people, it's easier to correct what might be flawed. I don't know the exact method they have for writing. I guess there is a structure to the whole drama, but maybe less elaborate than W's. They need freedom because a lot of the script is produced by their interaction.
Where you can see perfectly well that there are two screenwriters is in the richness of the scenes, the suspense, the emotional strength and the completely unexpected side of the situations or their resolution.
As I have already imagined scenarios with a friend, I can recognize what is happening.
Scriptwriter 1: Proposes a situation, the sequence of events.
Scriptwriter 2: Yah, that's too predictable your thing!
Or...
Scriptwriter 2: That's good, but you have to push it further, or add something funny.
Scriptwriter 1: Let's do this, and this!
Scriptwriter 2: That's great, but we can go even further, we add this!
So their scripts are incredibly rich and yet they are in the classic storytelling genre. No artificial or aesthetic effects, everything focuses on the events. No filler effects, useless scenes that drag the drama out to complete an episode, or that just serve to embellish it or give clues in scenes that are rather boring. It becomes a fast-paced drama! 51 episodes that have a crazy rhythm.

In their drama "History of the salaryman", for example, there is a succulent scene where the villain of the drama carries away the president's corpse on a wheelchair (she put glasses, a coat and a scarf on him). It could end there. The goal is for the villain (and screenwriters too) to run away with the corpse without any particular problem. But the scenario describes the moment when the villain takes the elevator, and makes the second female lead enter the elevator! Suspens... The villain has to come up with a bogus excuse that the president is tired and cold (when in reality he's dead). It could stop there, but the writers will push this scene as far as possible with a great sadism, to make the bad girl sweat, and make the spectator believe that she will be caught! The hand of the president falls on the side of the wheelchair! The villain has to spit something out. Then, best of all, the second female lead just gets a phone call from someone asking to talk to the president !!!

This sample scene gives an idea of the fun and richness that these two writers can produce instead of one. It's possible to do it alone (I have such a scene in my episode 4), but I'm sure that when writing together, it happens much more often. There is a constant analysis and improvement of the scenes being written. What one writer forgets, the other thinks to notice. Add to that, two professionnals, well aware of what questions screenwriters should always have in mind.

If you read the first episodes of W season 2, don't hesitate to give me your feedback on my blog comments. So far, I have very few reactions (it's not successful, or people are afraid to talk, lol!). I've already spotted a lot of little things that are badly done.

I had the very strong impression that during season 1, the drama writer had already planned a season 2. The character makes no much progress during season 1, and I thought he would find a miraculous healing path, but that doesn't happen.
I'm keeping my fingers crossed that this could happen in season 2. The drama could be very emotional this time. In season 1, the death of the assistant district attorney was particularly shocking.

In season 1, the character is a perfect mirror for the other characters, his allies as well as his enemies. A revealer of emotion, but not for himself, for others. There are some good scenes, in which his enemies get angry when talking to him. But he doesn't feel anything, and is absent from the source of the conflict. All his interlocutor does is get stupidly angry and project all his emotional failings onto the character, and it comes back to interlocutor as it is in the face.
In a normal interaction, the character who receives this reacts, and involves his own personality, his own emotions. He takes for himself and as truth a part of what he is told. For me, the interest of the character was there, there is no control over him. His job as a prosecutor is to seek the truth, but he is also a revealer of the truth about the personality of others.

I think my comment was very embarrassing for the fans of the drama, and very unpopular. But I have to say sincerely what I think of drama. Being unemotional about the drama makes me feel like I've become its main character. And now the fans of the drama are pouring their emotions on me, LOL!!!!! I can't help it on my side. I have no commitment.
I'm curious to see this season 2, and to see the character evolve. I'm curious to see a very strong emotional intensity this time, like we find in healing drama. But maybe the character will stay as he is?

No, it's not! This is precisely the basic principle of drama: no emotion.
Watch the first 3 minutes of the drama, it's all explained there. Partial lobotomy, the guy's missing a piece of his brain. The dialogues insist on that several times : no emotions.
During the drama, you wonder if he could recover from that. We wait for him to progress, but nothing happens, he doesn't heal. The story makes sense in the end, how could you heal from a missing piece of brain?
Rather, he's a character who luckily hasn't developed a disease such as being a psychopath. Someone who chooses truth and justice out of cold logic and intelligence.

The few emotions from the drama didnt come from her. This drama was cold. The director is good at making cold, so it's quite nice. I barely classify Stranger as a korean drama because this. I'm unable to give it a notation also. The main caracter remains the same from beggining to end, or almost. I was excepting some change during season 1, but nothing. So maybe it will come during season 2...

The main problem with Stranger season 1 is that using a emotionless main character also made it an emotionless drama. Except for a famous scene that you all know and that I won't quote to avoid a spoiler. But everyone cried at that moment.
Otherwise, the drama was good in terms of investigation and directing.
Is season 2 going to succeed in unlocking this character who seems doomed to never feel anything for the rest of his life?

That's about it, the train never stops at the station in our world, it goes back to the other world.
The killer doesn't bury the bodies, he dumps them. It's the madman in our world who buries them. That makes me think the killer knows that at this point the train stops in another dimension.
The whole mechanism looks more like a paranormal phenomenon than a scientifically explainable dimensional breach.
- There's the station clock ticking again. (To be checked, I don't remember where this clock is exactly).
- There are the traffic lights that are starting up again. (before the arrival of the train in our world it seems to me, to be checked).

I don't know, I couldnt notice everything, and you noticed additionnal content I didnt focus enough on. What you say make sens. I don't try to guess too much about possibilities. I just rely on what I watch and can be decyphered with enough accuracy. Let's see what happens next with episode 3. ;-)

Here's a review like I've rarely read on this site! Well done.

I couldn't say if all these points were deliberately desired by the writer. But sometimes the analysis shows what has not been formulated, universal themes. Song Jae-jung says about herself that she's not a creative person. I don't know why, in my opinion, she opened her inner spiritual door. So, the contents of the story appear, enriched with meanings that can go beyond the author, and a large number of intuitive correlations. As a professional screenwriter, she certainly has the talent and the method to be aware of some of these contents, and to arrange them, even before writing the first line of the first episode (structure phase). Fascinating thing about her is that she doesn't produce additional content just for that. Everything is integrated into the hectic plot, without slowing down the action. That's what makes her dramas so addictive.

She's gone on holiday to Spain. This has come together with Elon Musk's biography and the game Pokemon Go. It's this mix of technology and historical theme.
Matrix uses a scientific principle, with philosophy, but everything can be explained or made possible. Song Jae-Jung's stories are more metaphysical, because the original mystery has no explanation.
It is also the first time that a TV series uses augmented reality (not to be confused with the virtual reality of The Matrix). There is thus superimposition of reality, and that of the other world. It's different from a full dive into another world.

In MOTA, the lenses, combined with a bug, are responsible for the problems. It should work in one direction only, the player influences the augmented world thanks to his vision capacity. Instead, the augmented world influences the player. The feeling of realism of the augmented world is such that perception is deceived, and ultimately the brain. Subjective perception of the world is at the heart of what reality is. It is in the field of consciousness, not physical reality whose nature is, if not illusory, indeterminable. If we look at quantum physics, we see the relationship between consciousness and the nature of reality. But some philosophies did not need this to understand it long before.

Alas, the last episode is too evasive, and few explanations are given, or too quickly, or in a too vague way. There is a potential plot-hole, or at least an inexplicable phenomenon. How could the character take refuge in an instance dungeon, when the whole game is reformatted? The dungeon is part of it. There's a similar mystery. How does the heroine's brother stay for months in an instance dungeon? How does he survive like that? And why can't other real people see him anymore, when they don't play the game and don't wear lenses that alter their sense of reality? Unless there is some other explanation, I suppose that for the one who wears the lenses, his alteration of the sense of reality may become such that he escapes objective reality. The player makes his own reality, which becomes concrete.

I have seen the drama 3 times, but I would like to see it again. Each time I noticed new things that had escaped me before. It's an exceptional work. As is often the case with Song Jae-Jung's dramas, part of the drama is easily accessible, and conducive to producing good ratings. But also, her dramas have a depth that is not accessible to everyone. However, this depth does not need to be explained, as it acts unbeknownst to the viewer, to invisibly reinforce the power of the drama. It is therefore not an artificial or superficial process, but of real use for the emotional power of the story.

Thank you! You've managed to pinpoint the exact conditions. Maybe it all started on a rainy day at 8:35? For a reason? Or maybe the schedule matches the train's schedule?

Hi, my opinion on your review is sincere, you talk about a lot of things that I didn't mention, maybe for fear of spoiler, or that I wouldn't have had the idea to mention at all. I read interesting opinions and ideas from other people that I hadn't thought of myself. For example, an Internet user said that the whole drama could be seen as a process of mourning for a psychologically unstable girl whose father died. Surely this girl is in a psychiatric hospital or she has hallucinations, lol!
The whole drama can also be perceived, in a more compatible way, as the resolution of an oedipal complex, since Yeon-Joo falls in love with the character of her father, and has to eliminate her father from the equation to live her love story with a man who is not her father.

Now you have some very specific questions.
You've really dug into the subject. ^^
This will allow me to expose some points and potential weakness of the story. To know more about it, you would have to ask the writer, but I never succeeded in contacting her, alas.

Oh Yeon-Joo played a role when she was a child, she created the character of Kang Chul. But she never did anything else and her father was inspired by her character. Because of that, Oh Yeon-joo is connected to the mysterious principle that I explain as follows:
Manhwa is a supernatural phenomenon with a different principle from a dimensional gate or a computer (like in Matrix). There is a part of arbitrariness, like the one in a comic book. For the tablet to work, the manhwa must recognize as author those who draw on it. That's why Soo-Bong couldn't make the tablet work (episode 6) and Yeon-Joo manages to do it.

In an interview, the screenwriter gives more importance to Kang Chul's will (but what she said was a bit blurry). When I had my avalanche of ideas for writing season 2, I did a general check-up on all the fuzzy points of the drama. Either the explanation was in the drama, or it was possible to guess. And ultimately, what couldn't be guessed, I had to find an explanation that was compatible with what was seen in the drama. Now, I don't remember if I found something like that, because it's more than 2 years ago and I rewatched many time the drama, looking for any missing clues in it, and found them most of the time. Luckily, everything was consistent, and I had a whole system that I could exploit (something I couldn't have done with TKEM). I rely much more on a coherent system than on things that fluctuate or depend on a character's will, except when the two are compatible. Maybe I don't have the same spirit as the screenwriter at that level, I studied science. It means that I integrate the arbitrary part into a coherent system. A Manhwa tells stories, it can't be governed by science alone. That makes it even more thrilling. It's what wanted to make the screenwriter, anyway.

One funny thing, for example, the script of episode 17 (episode 16 in the drama) contained a plot-hole (in my opinion), but the director never shot the scene! Either he was smart enough to know that there was a problem, or it was useless to show that, or the screenwriter said him at the last moment to not shot that. In any case, sigh of relief for me, because it would have contradicted what I wanted.

Of course, I reuse this principle of "author recognition" by the manhwa in season 2, and I am not stingy in explanations! You've got tons of explanations all over the place, for example in the flashback of my episode 6. What Song Jae-Jung didn't explain sufficiently, I use twice as much to establish the logic of my own system. I'm quite fanatical about the consistency of a story. But in writing such a complicated story, I realized how easy it is to let plot-holes slip out. Today, I am less demanding or angry with screenwriters who make mistakes. It happened to me too, and I corrected everything I could find. A 16h or 22h script is like an ocean liner, incredibly difficult to maneuver.

I'm going back to Yeon-joo. She didn't know she was a author until she tried to draw under Soo-bong's guidance. She had forgotten the character she created as a child, which her father later reused. We see Yeon-Joo drawing that character as early as Episode 3, in a montage where her father is arguing with her mother about alcohol. Since the rest is not shown, we can assume that Yeon-Joo devoted herself to other things afterwards, and that later (a few years later), her father remembered her drawing and used the character. Maybe Yeon-Joo could have remembered that her father's character looked like her drawing when she was younger? Yes, that makes sense, but in that case, it deprives the drama of a good twist. So it's better that she forgot! It's a sustainable arrangement.

The end of the manhwa.
The definitive end implies a choice of the main protagonist. As soon as Kang Chul strongly thinks he's fed up with it, and wants it to end, it triggers the final chapter. This is explicitly said at the beginning of episode 15. Oh Yeon-joo has nothing to do with the end of the manhwa. Before that, Soo-Bong and Oh Sung-Moo wanted to end the manhwa, but obviously that's not the way to end a living manhwa. Kang Chul didn't know that his sincere desire had any influence to end the story, and anyway, even knowing this, he had to save Oh Yeon-Joo first. The only time he could have triggered the final chapter was during Episode 13. Only, at that time, the character hadn't been pushed to the limit, and soon, he had to face new problems. At this point in the story, Kang Chul and Yeon-Joo are going through their love revival, and both characters tend to be a little too optimistic and unaware.

Why does the tablet become a portal?
Or even in general, why does the fantasy principle of W exist?
There are two ways to establish a fantastic story:
- Either everything can be explained. The best example is the Matrix trilogy. It's reassuring for spectators who are very demanding in science. Everything has an explanation!
- Either there is a basic principle that cannot be explained. It's just absurd, but it happens. Refer to the series "Twilight Zone". This principle is just as powerful, if not more so in my opinion, provided of course that the story develops a logical system afterwards. Otherwise, it would be like inventing things out of nowhere all the time.
So the basic principle of W is absurd. I had a lot of fun trying to get a better grasp of the basic absurdity of the principle in season 2. The characters are aware of this, and Kang Chul still manages to make some assumptions about it. There will never be a scientific explanation, since it's a non-scientific principle anyway. But I will be able to use some ideas that the character has (in my episode 5).

Why the webtoon continued.
This is related to the principle of absurdity, so it has a part that will never be explainable. But it happens like this: at a certain point, the webtoon went off the rails. The exact moment is when Kang Chul hangs on to the bridge instead of jumping off. The character's will is compatible with Oh Sung-Moo's desire to survive. To draw an inner strength from him that he didn't have. When he sees that his character has survived, he doubts. He doesn't remember drawing this. Editing at the beginning of Episode 3. He thinks he was completely drunk and forgot that he drew it. Then he sees that the character's survival is the same as his own survival: his desire to be reborn. Before that he had transferred his morbid desire (suicide) to his character instead of assuming his own suicide (this is related in their conversation of episode 5). The birth of the webtoon as an autonomous principle coincides with this.

The publication of the webtoon.
In the drama, the webtoon is sent to the publisher automatically. As an autonomous principle, the webtoon writes itself, and according to the choices of its characters when they trigger an end of chapter. The fantastic principle has a grip on the real world, since it triggers this sending in electronic form.
But the ultimate choice to publish the webtoon is a publisher's decision, as shown at the end of episode 2, or at the beginning of episode 6.
This principle bothered me, and I obliterated this in season 2, I proceed otherwise, or I take less account of the publication deadline. I chose a system with reduced compatibility with drama. But it's a reasonably sustainable choice.

It's a bit of a story about a train in a tunnel...
Maybe it opened a rift in space-time?
This wasn't supposed to happen in a kdrama. ^^

Fiancée or girlfriend or sexfriend, or platonic oppa, who know ?
But they lived 10 years together. 5 years without sex is the official record from Starway to heavens drama. ^^

That reminds me of another mystery: by chance, there must have been a moment when a passenger tried to contact someone with his/her smartphone. This is not shown, and we don't know if the communication is cut off, or if the passenger can contact someone in the other world because he is on board the train. In this case, the train is even more mysterious, because even in our world, it would stay in contact with the other world.

It's so cool to show a broken clock moving. （⌒▽⌒）

Maybe the passageway only opens on rainy days.
I haven't solved the weird part about the time. It does seem that there is a difference in the time between the two worlds. In the other world, the train often changes dimensions, but in our world, it's a rare phenomenon. We don't have enough information on it to know more about it.

Short explanation, after first viewing.
The train takes the Seoul - Mukyeong route. This is indicated because one of the victims has a train ticket dated 2020 with this route.
As the railway tracks are closed since 2015, we can immediately guess that the victim comes from another world, like the other victims. We quickly learn that they are dooplegangers, since one of the victims is still alive in our world. With the same fingerprints.
Before arriving at Mukyeong station, there's a strange area.
I'll call it the "twilight zone".
At this place, there's a junction between our world and a parallel universe. This junction is only activated when a train arrives from the other dimension. And the only way to get from one universe to the other is to be on the train.
The signal lights become active again. The train appears from nowhere in this place.
Often, the train stops because of the signal lights.
Passengers on the train from the other world have no reason to notice anything. For them, it is just the usual place where the train regularly stops because of the signage.
The criminal takes advantage of this by throwing bodies. We can assume that he knows that in this place he is in another dimension and can easily get rid of his victims. Bad luck, this criminal is the hero's doopleganger... Worse, he kills the hero's ex-fiancée. But we can assume that later on, the hero will meet the doopleganger of his fiancée, and may have the opportunity to succeed in his failed love story.
When the train leaves the twilight zone, of course, it returns to its original dimension. At the end of episode 2, we see the train arriving in a station. I guess it's the Mukyeong station, located just a few kilometers away. But it is of course the station of the other world. One of the shots in the drama quickly shows the state of the two stations, one is rectangular, the other has a rounded ceiling.

Quick explanations.

Obvious. ;-)