Plot
During the reign of King Sejong the Great, Joseon Korea faces increasing hostility from Ming China. Ming China, without restraint, mounts unrelenting demands against the Korean crown, further entrenching distrust and aversion to subservience. Ming China has especially been provoked by a leaked news that Korea had under way an arms development program that would undermine theirs. Mounting pressure by threat of invasion and sending down Emperor's commands requesting young Korean girls to be sent to China, to reduce Korea's manpower and debilitate its military capacity, the grip around the throat becomes ever tighter. It seems Joseon's fate is dependent on completing an unfinished project - that of making Singijeon or the Divine Weapon a reality.
In the final battle, severely outnumbered Korean forces (less than 100 men) successfully defeat the thousands of Ming Chinese in armed combat with spears, bombs, and several finished Singijeon via several hwachas. Thousands of Ming Chinese footsoldiers are killed as the arrows in the Singijeon are launched. More are killed with the gunpowder packed inside the arrows(Standard Singeijeons). Those in the Ming Chinese army who remained are finished off with the large model Singijeons (대신기전,Grand Singijeon), except one of the nobles who prefers peace over warfare.
Read more about this topic: The Divine Weapon
Famous quotes containing the word plot:
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)