Jia Lissa
The landscape of global entertainment is undergoing a seismic shift, moving away from traditional broadcast television toward agile, mobile-first digital content. At the forefront of this revolution are South Korean webtoons—digitally native comics characterized by their immersive, vertical-scrolling format. Capitalizing on this momentum, Lezhin Entertainment has announced a groundbreaking digital drama adaptation of one of its most acclaimed properties, Big See. Produced in collaboration with Kakao M, this project represents more than just another comic-to-screen translation; it is a bold experiment in hybrid storytelling that blends live-action performance with the limitless possibilities of animation.
The Core Narrative: A Poignant Exploration of Mortality
Big See, the celebrated work of creator Kim Botong, has carved out a unique space in the crowded webtoon market. Holding the distinction of being the first title to win the prestigious "Manhwa of the Day" award in South Korea, the series has resonated with over 20 million readers worldwide.
The story is a deeply human, often harrowing, and ultimately transformative look at the end of life. It centers on a young man navigating the terminal stages of cancer, chronicling his final journey through both the physical deterioration of his body and the vibrant, surreal landscapes of his consciousness. It is this duality—the harsh reality of terminal illness against the internal, dreamlike state of the protagonist—that serves as the foundation for the series’ unique visual language.
Chronology: From Digital Panels to Mobile Screens
The journey of Big See from a scrollable digital comic to a ten-episode television event has been a meticulous process of artistic translation.
- Initial Reception: Following its debut on Lezhin Comics, Big See quickly became a critical and commercial success, noted for its emotional depth and Kim Botong’s distinctive storytelling.
- The Adaptation Announcement: On August 4th, Lezhin Entertainment, led by CEO Lee Sung Eob, officially confirmed that the project was entering production under the stewardship of Kakao M.
- Pre-Production and Creative Synergy: Throughout 2020, Lezhin Studio coordinated with director Kim Dong-ha for the live-action sequences, while renowned animator Han Ji-won was tapped to lead the production of the project’s animated segments.
- Targeted Release: The series was scheduled for a debut in the latter half of 2020, specifically designed for the KakaoTalk platform to ensure seamless access for its mobile-native audience.
Supporting Data: The Power of the Webtoon Phenomenon
To understand why Big See is being adapted, one must look at the meteoric rise of the webtoon industry. South Korean digital comics have become a global powerhouse, largely due to their optimization for smartphone consumption. By utilizing a vertical-scrolling interface, these comics create a sense of continuous flow that traditional, page-based comics cannot replicate.
Current data suggests that webtoons command tens of millions of active readers, with a demographic that spans the globe. Lezhin Entertainment, recognizing this, acquired Lezhin Studio in 2018 to act as a bridge between the printed (or rather, "pixelated") page and the screen. This strategic move was designed to leverage the existing fanbases of their webtoons to widen the medium’s user base, turning casual readers into dedicated viewers. Big See follows the path of Kim Botong’s other major success, D.P. Dog’s Day, which is currently being adapted into a Netflix original series, highlighting the creator’s growing influence in the streaming space.
Lezhin Studio’s Strategic Vision
Lezhin Studio is not a newcomer to the demands of high-quality television production. With credits including TVN’s Method and Chomi’s Interest, the studio has already demonstrated an ability to navigate the complexities of adaptation. Currently, the studio is heavily involved in high-profile projects, including Method: A Second Attempt and the much-anticipated Netflix original series Hell.
The decision to produce Big See as a hybrid of live-action and animation is a calculated risk. By separating the "real world" and "dream world" through different mediums, the production team aims to provide a sensory experience that is unavailable in standard drama series.
Official Responses and Creative Direction
The production team behind Big See has been vocal about the artistic intent behind the hybrid format. A representative from Lezhin Studio noted that the collaboration between actors Lee Seol and Ji Soo (known for his role in My First First Love) will provide the anchor for the human element of the story.
"We’re excited to see the performances by Lee Seol and Ji Soo combined by the fantastic atmospheres and environments only possible through animation," the representative stated. "Our goal is to create a new reality that dives deep into the horizon between the real world and dreams."
This creative direction reflects a growing trend in South Korean entertainment to experiment with form. By utilizing animation to depict the protagonist’s interiority, the showrunners are able to externalize the psychological trauma and beauty of the character’s final months, something that live-action alone might struggle to capture with the same emotional fidelity.
Implications for the Future of Digital Drama
The adaptation of Big See serves as a case study for the future of mobile content. With each of the ten episodes clocking in at under 15 minutes, the series is optimized for the "snackable" content consumption habits of modern mobile users.
1. The Death of the "Standard" Episode Length
By prioritizing 15-minute segments, Kakao M is signaling that the traditional 60-minute broadcast hour is no longer the gold standard. For digital platforms, the focus has shifted to maintaining engagement during commutes, breaks, and other short windows of time.
2. The Normalization of Hybrid Media
If Big See proves successful, it could pave the way for more experimental dramas that blur the lines between genres. The use of animation to enhance emotional beats in a live-action narrative is a technique that could be applied to various genres, from psychological thrillers to high-concept sci-fi.
3. Webtoons as the New IP Goldmine
Hollywood and major streaming giants have long relied on novels and comic books for intellectual property. The shift toward webtoons is a natural evolution. With built-in, pre-validated audiences and a visual language that is already "storyboarded" by the original artist, webtoons represent a lower-risk, higher-reward investment for production houses looking to capture younger, digitally savvy demographics.
Conclusion: A New Frontier
Big See represents a crossroads where technology, emotion, and artistic ambition meet. By taking a story as intimate as the final stages of a terminal illness and presenting it through a dual-medium lens, Lezhin Studio and Kakao M are pushing the boundaries of what a television series can be.
Whether this hybrid approach will become a new standard or remain a stylistic experiment, one thing is certain: the webtoon industry has firmly established itself as a cornerstone of modern global media. As audiences continue to shift their attention toward mobile-first, high-quality, and emotionally resonant storytelling, properties like Big See will likely lead the way into the next decade of digital entertainment. For fans of Kim Botong’s work, the wait for the release is not just a wait for a new show, but an anticipation of a new way to experience the stories they have grown to love.
Layla Zulfa
Dwi Wanna
