The plot was adored.

In classic sageuk form, the drama begins with a fanciful
narrative of three gods who used to be one: Samshin, the goddess of Life (Moon
Sook), Mawang, the devil, and the god who balanced both. The animation above is
fantastic, showing how the balance was eaten by the devil, causing this
harmonic equilibrium to fall apart. This is a clever foundation myth for the
show, positing that every conflict from now on would be a war between life and
death, rather than between good and evil.

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The subtlety here is important since King Yeongjeong (Jeon
Kuk Hwang) is the one who brings about this entire state of affairs by using
the devil’s power to slaughter his opponents and ascend to power. Once his
dominion is secure, however, he has no use for the devil. As a result, it is
hidden in a picture of the King on a night when everything for two families
changes. This appears to imply that evil is nearly essential at times, but that
it must be restrained before it can become uncontrollable. One can only hope
that the programme continues along this path of thought.

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The tight childhood storyline was loved

As long as the primary pair is supposed to be together,
the programme must explain to the viewer why it’s them and no one else. When
there’s a childhood connection involved, this job becomes much more difficult
because the weight of selling chemistry and fate rests on the shoulders of the
young performers. Fans of the Red Sky achieve this through crisp narrative and
metaphor of sight and sightlessness.

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The connection of the events and scenes was very logical
and flowy. While the young actors are adorable together, and the drama wisely
chooses to hint at a kiss rather than pushing the kids to do so, it is the
script that casts them as destined to be together.