Nila Kartika Wati
The global entertainment landscape is undergoing a profound transformation, driven largely by the meteoric rise of the South Korean webtoon industry. Once considered a niche digital medium for mobile readers, webtoons have emerged as the primary source material for the next generation of global streaming hits. At the forefront of this movement is Lezhin Entertainment’s critically acclaimed series, Big See, which is set to receive a highly anticipated digital drama adaptation through a strategic partnership with Kakao M. This project represents a bold experiment in storytelling, blending live-action performances with cutting-edge animation to capture the poignant, dreamlike reality of its source material.
The Core Narrative: A Poignant Journey
Big See, penned by the visionary author Kim Botong, stands as a landmark work in the webtoon canon. It holds the distinction of being the first title to receive South Korea’s prestigious "Manhwa of the Day" award, a testament to its profound emotional resonance. The narrative follows a young man grappling with the harsh realities of terminal cancer. As he enters the final stages of his illness, the story shifts from a conventional drama to a surreal, introspective exploration of the boundary between the physical world and the afterlife.
With over 20 million views worldwide, the comic has cultivated a dedicated international fanbase, drawing readers in with its raw, unflinching look at human mortality. It is the second of Kim Botong’s works to move into the production pipeline, following the high-profile adaptation of his other hit series, D.P. Dog’s Day, which is currently in pre-production for a Netflix release.
A Chronology of Development
The path to screen adaptation for Big See highlights the increasingly rapid development cycles within the Korean media industry.
- Original Publication: Upon its release, Big See quickly became a flagship title for Lezhin Comics, setting a new standard for emotional storytelling in the vertical-scrolling webtoon format.
- 2018 Strategic Shift: Lezhin Entertainment acquired Lezhin Studio, a film and television production house, specifically to leverage its extensive library of intellectual property. This acquisition marked a strategic pivot to transform static web-comics into transmedia franchises.
- August 2020 Announcement: Lezhin Entertainment, led by CEO Lee Sung Eob, officially announced that Big See would be developed into a digital drama series in collaboration with Kakao M.
- Production Phase (2020): The project moved quickly into production, bringing together a team of directors and artists tasked with reconciling the live-action world with animated segments.
- Targeted Release: The series is slated for a release in the latter half of 2020, specifically designed for the KakaoTalk mobile platform.
The Technical Synthesis: Live-Action Meets Animation
One of the most compelling aspects of the Big See adaptation is its hybrid production style. Under the direction of Kim Dong-ha, who is spearheading the live-action sequences, and the visionary animator Han Ji-won, the series aims to transcend the limitations of standard television.
The production team has opted for a ten-episode format, with each installment running under 15 minutes. This "snackable" content structure is intentionally optimized for the KakaoTalk mobile platform, acknowledging the consumption habits of the modern digital audience. By integrating animation, the production aims to visualize the protagonist’s internal state—a dreamlike, surreal landscape that live-action alone might struggle to capture effectively.
Supporting Data: The Webtoon Phenomenon
The success of Big See is not an isolated incident; it is a symptom of a broader shift in global media consumption. Webtoons—a format defined by vertical-scrolling dynamics on smartphones—have become a dominant force in South Korean media.
- Global Reach: These digital comics reach tens of millions of readers daily. The format’s accessibility, combined with the ease of mobile integration, has created a low barrier to entry for international audiences.
- IP Pipeline: Major streaming platforms like Netflix and regional players like Kakao M are increasingly viewing webtoons as "pre-vetted" intellectual property. Because webtoons already have established fanbases and visual storyboards, the risk associated with these adaptations is significantly lower than developing original screenplays from scratch.
- Lezhin Studio’s Portfolio: Lezhin Studio has established itself as a prolific producer, with credits including Method and Chomi’s Interest for TVN. Furthermore, the studio is currently managing the high-stakes production of the Netflix original series Hell, signaling its status as a major player in the international content market.
Official Perspectives: The Vision for the Project
The excitement surrounding the project is palpable among the creative team. A spokesperson for Lezhin Studio highlighted the importance of the casting and the unique creative vision:
"We are incredibly excited to see the performances by Lee Seol and Ji Soo. By combining their work with the fantastic atmospheres and environments made possible only through animation, we are creating a new reality. We want to dive deep into the horizon between the real world and dreams."
The choice of Ji Soo—a star known for his work in My First First Love—brings a high level of prestige to the production. The collaboration between the actors and the technical crew is intended to produce a product that feels less like a traditional TV show and more like an immersive digital experience.
The Implications for the Media Industry
The adaptation of Big See carries significant implications for the future of digital storytelling.
1. The Death of the "Second-Tier" Digital Drama
Previously, mobile-exclusive content was often viewed as inferior to traditional cable or network television. Projects like Big See are dismantling this stigma. With high-production values, top-tier acting talent, and experimental narrative techniques, mobile dramas are increasingly competing for the same audience share as legacy television.
2. The Rise of the Transmedia Production House
Lezhin Entertainment’s model—owning both the source material (the webtoon) and the production studio—provides a blueprint for other media conglomerates. By keeping the IP within a single ecosystem, the company ensures that the "soul" of the original work remains intact while maximizing the efficiency of the adaptation process.
3. Cultural Export and the "Webtoon Effect"
South Korea has successfully exported its pop culture through K-pop and K-dramas. Webtoons are the next frontier. By digitizing the traditional manhwa (Korean comic) format, these companies have bypassed traditional publishing hurdles, allowing them to gain a foothold in international markets with minimal friction. The success of Big See will likely serve as a litmus test for how much audiences are willing to embrace hybrid, short-form storytelling.
Conclusion: A New Frontier
As Big See prepares for its late-2020 debut, the industry will be watching closely. The series represents more than just a translation of a comic book to the screen; it is an exploration of how modern technology can be used to visualize the human experience of trauma and transition.
By prioritizing mobile-first consumption and blurring the lines between animation and live-action, Lezhin Studio and Kakao M are betting that the future of television lies in the palm of our hands. For the fans of Kim Botong’s original work, the series promises a faithful yet innovative expansion of a beloved story. For the broader entertainment industry, it represents the next inevitable step in the maturation of the digital content era. Whether it achieves the massive success of its predecessor projects remains to be seen, but the ambition behind Big See ensures that it will be a focal point for the evolution of digital drama for years to come.
Layla Zulfa
Nana
