characters’ vocalization gestures, there is the linguistic and cultural distance. As the series is in Korean and has been translated into major Western languages, extensively spoken in the world, it is a living testimony to the difficulty of translating messages between completely different language families. European languages ​​could not be further from Korean, and therefore the bridges between them when translating are complex. Wherever a prohibition is expressed in Korean with the name of a flower, it is expressed in several Western languages ​​with a traffic light color, but nothing is understood if it is literally put as “English hiding place”; or where a two-syllable concept is crystal clear in Korean, but it requires circumlocution in the languages ​​into which it is translated.

Inevitably, there will be loss of content or some change in it, but those who produce the subtitles or dubbing have to know how to interpret the meaning that they want to communicate and stay as faithful as possible in a delicate trade off that the public does not always welcome. Undoubtedly, it is impossible to satisfy everyone with so much complexity. Some people have criticized the translation of this series, because it moves away from the meaning it is intended to convey since the context of modern Korean culture has not been understood. Others attribute the errors to the practice of post-editing with an interposed language (English) from a translation made by means of algorithms. The problem with the latter is that feelings, context appraisal, the power of language, cultural nuance, adaptation, etc. are lost in that technical-professional international lingua franca issued by algorithms.