Misaeng: Incomplete Life: Difference between revisions

Misaeng: Incomplete Life
Promotional poster
Also known as	An Incomplete Life
Genre	Workplace Drama
Based on	Misaeng by Yoon Tae-ho
Developed by	Choi Jin-hee and Park Ji-young for tvN
Written by	Jung Yoon-jung
Directed by	Kim Won-seok
Starring	Im Si-wan Lee Sung-min Kang So-ra Kang Ha-neul Byun Yo-han Kim Dae-myung Shin Eun-jung Park Hae-joon
Composers	Kim Jun-seok Park Seong-il
Country of origin	South Korea
Original language	Korean
No. of episodes	20
Production
Executive producers	Kim Mi-na Lee Chan-ho
Producers	Lee Jae-moon Ham Seung-hoon Lee Esther
Production locations	Korea, Jordan
Cinematography	Choi Sang-mook
Editor	Kim Na-young
Running time	65 minutes
Production company	Number 3 Pictures
Original release
Network	tvN
Release	October 17 (2014-10-17) – December 20, 2014 (2014-12-20)

Misaeng: Incomplete Life (Korean: 미생 - 아직 살아 있지 못한 자; RR: Misaeng - Ajik Sara Itji Mothan Ja) is a 2014 South Korean television series based on the eponymous webtoon series by Yoon Tae-ho. It aired on tvN from October 17 to December 20, 2014, on Fridays and Saturdays at 20:30 (KST) for 20 episodes.

The title translates to Go terminology meaning "an incomplete life" (literally "not yet" (미) "living/birth" (생), meaning "not yet alive"). Misaeng: Incomplete Life was the first Korean drama to film on location in Jordan, where actors Im Si-wan and Lee Sung-min shot the series's prologue in Amman, Petra, and Wadi Rum. Yim reprised his role as the protagonist, which he played in an earlier film adaptation, Incomplete Life: Prequel (2013).

The series became a cultural phenomenon and recorded high viewership ratings for a cable network program in Korea. tvN is known for its record-breaking dramas.

Synopsis

Since he was a child, the board game baduk has been everything to Jang Geu-rae (Im Si-wan). But when he fails at achieving his dream of becoming a professional baduk player, Geu-rae must leave his isolated existence and enter the real world armed with nothing but a GED high school equivalency diploma on his resume. Through an acquaintance's recommendation, he gets hired as an intern at One International, a large trading company.

There, Geu-rae meets his boss, manager Oh Sang-shik (Lee Sung-min), who's a workaholic and has a warm personality; fellow intern Ahn Young-yi (Kang So-ra), who attracts her colleagues' ire because of her impressive educational credentials and by being extremely competent at any task; and Jang Baek-gi (Kang Ha-neul), a geeky co-worker whose anxious nature masks his inner ambition. Geu-rae learns to navigate and adapt to corporate culture, with baduk as his guide.

Cast

Main

• Im Si-wan as Jang Geu-rae
  • Kim Ye-jun as young Jang Geu-rae

He formerly aspired to be a professional baduk player, to which he had devoted his life since childhood, but, unable to achieve this goal, he joins One International, although he has no formal skills or training. He joins Sales Team 3 as a two-year contract employee at One International.

• Lee Sung-min as Oh Sang-shik
• Kang So-ra as Ahn Young-yi She joins Resource Team as permanent employee at One International.
• Kang Ha-neul as Jang Baek-gi He joins Steel Team as permanent employee at One International.
• Byun Yo-han as Han Seok-yool. He joins Textile Team as permanent employee at One International.

Supporting

One International Sales Teams

Team 3 (to which Geu-rae is assigned)

• Kim Dae-myung as Kim Dong-shik
• Park Hae-joon as Chun Kwan-woong
• Kim Hee-won as Park Jong-shik
• Seo Yoon-ah as Lee Eun-ji (ep. 14)
• Kim Won-hae as Park Young-ho (ep. 20)

Team 1

• Shin Eun-jung as Sun Ji-young
• Kim Sang-won as Mr. Um
• Shin Dong-hoon as Cha Soo-jin

Team 2

• Ryu Tae-ho as Go Dong-ho
• Park Jin-soo as Assistant Manager Hwang
• Kim Ga-young as Jang Mi-ra

Others

• Yoon Jong-hoon as Lee Sang-hyun
• Yeo Eui-joo as Jang Ki-seok
• Kim Jong-soo as Kim Boo-ryun
• Shin Eun-jung as Sun Ji-young
• Kim Kyung-ryong as Lee Shin-tae
• Nam Kyung-eup as CEO of One International
• Lee Geung-young as Choi Young-hoo
• Son Jong-hak as Ma Bok-ryul
• Jung Hee-tae as Jung Hee-seok
• -- as Cha Jung-ho
• Jang Hyuk-jin as Moon Sang-pil
• Choi Gwi-hwa as Park Yong-gu
• Shin Jae-hoon as Yoo Hyung-ki
• Jeon Seok-ho as Ha Sung-joon
• Oh Min-suk as Kang Hae-joon
• Tae In-ho as Song Jeon-shik
• Park Jin-seo as Shin Da-in
• Hwang Seok-jeong as Kim Sun-joo
• Jo Hyun-sik as Kim Seok-ho
• Kim Jung-hak as Lee Seok-joong
• Kwak In-joon as Audit team leader
• Han Kap-soo as One International Jordan branch manager
• Choi Jae-woong as One International Jordan branch employee
• Sung Byung-sook as Geu-rae's mother
• Nam Myung-ryul as Geu-rae's baduk teacher
• Lee Si-won as Ha Jung-yeon
• -- as Senior colleague Kim
• Oh Yoon-hong as Oh Sang-shik's wife
• Lee Seung-joon as Shin Woo-hyun

Cameo appearances

• Cho Hun-hyun (cameo)
• Yoo Chang-hyuk (cameo)
• Oh Jung-se as Husband of Chungsol's CEO (cameo, ep. 20)
• Yoo Jae-myung as Factory worker (ep. 16)

Original soundtrack

Part 1

Released on October 24, 2014 (2014-10-24)

No.	Title	Lyrics	Music	Artist	Length
1.	"Roman" (로망)	Taibian	Vladimir Vysotsky	Rose Motel	4:05
2.	"Roman" (Inst.)				4:05
Total length:					8:10

Part 2

Released on October 31, 2014 (2014-10-31)

No.	Title	Lyrics	Music	Artist	Length
1.	"Tomorrow" (내일)	Seo Dong-sung	Park Seong-il	Han Hee-jung	3:34
2.	"Tomorrow" (Inst.)				3:34
Total length:					7:08

Part 3

Released on November 21, 2014 (2014-11-21)

No.	Title	Lyrics	Music	Artist	Length
1.	"Fly" (날아)	Park Asher	Park Asher	Yi Sung-yol	4:46
2.	"Fly" (Inst.)				4:46
Total length:					9:32

Part 4

Released on December 5, 2014 (2014-12-05)

No.	Title	Lyrics	Music	Artist	Length
1.	"Hidden Road" (가리워진 길)	Yoo Jae-ha	Yoo Jae-ha	Bolbbalgan4	4:22
2.	"Hidden Road" (Inst.)				4:22
Total length:					8:44

Part 5

Released on December 12, 2014 (2014-12-12)

No.	Title	Lyrics	Music	Artist	Length
1.	"Be Alright" (그래도.. 그래서)	Im Si-wan Cheongdam Super	Im Si-wan Park Seong-il Cheongdam Super	Im Si-wan	3:26
2.	"Be Alright" (Inst.)				3:26
Total length:					6:52

Ratings

Ep.	Original broadcast date	Average audience share
		Nielsen Korea
		Average rating	Peak rating
1	October 17, 2014	1.7%	2.8%
2	October 18, 2014	2.5%	3.1%
3	October 24, 2014	3.4%	4.6%
4	October 25, 2014	3.6%	4.9%
5	October 31, 2014	4.6%	6.0%
6	November 1, 2014	3.7%	5.4%
7	November 7, 2014	5.2%	6.4%
8	November 8, 2014	5.0%	6.6%
9	November 14, 2014	5.2%	6.7%
10	November 15, 2014	5.9%	7.0%
11	November 21, 2014	6.1%	7.1%
12	November 22, 2014	6.3%	7.8%
13	November 28, 2014		7.9%
14	November 29, 2014	5.8%
15	December 5, 2014	7.2%	9.4%
16	December 6, 2014	7.4%	8.6%
17	December 12, 2014	7.6%	9.7%
18	December 13, 2014	8.0%	9.5%
19	December 19, 2014	7.6%	9.3%
20	December 20, 2014	8.4%	10.3%
Average		5.6%	7.1%
In the table above, the blue numbers represent the lowest ratings and the red numbers represent the highest ratings. This drama airs on a cable channel/pay TV which normally has a relatively smaller audience compared to free-to-air TV/public broadcasters (KBS, SBS, MBC and EBS).

Awards and nominations

Year	Award	Category	Recipient	Result
2015	9th Cable TV Broadcasting Awards	Grand Prize (Daesang)	Misaeng: Incomplete Life	Won
		Star Award - Best Actor	Yim Si-wan	Won
			Kang Ha-neul	Won
	51st Baeksang Arts Awards	Best Drama	Misaeng: Incomplete Life	Nominated
		Best Director (TV)	Kim Won-seok	Won
		Best Actor (TV)	Lee Sung-min	Won
		Best New Actor (TV)	Yim Si-wan	Won
			Kim Dae-myung	Nominated
	10th Seoul International Drama Awards	Best Miniseries	Misaeng: Incomplete Life	Won
		Best Director	Kim Won-seok	Nominated
	8th Korea Drama Awards	Best Drama	Misaeng: Incomplete Life	Won
		Best Production Director	Kim Won-seok	Nominated
		Best Screenplay	Jung Yoon-jung	Nominated
		Top Excellence Award, Actor	Yim Si-wan	Nominated
		Excellence Award, Actor	Kim Dae-myung	Won
		Special Jury Prize	Yim Si-wan	Won
	4th APAN Star Awards	Top Excellence Award, Actor in a Miniseries	Lee Sung-min	Won
		Excellence Award, Actor in a Miniseries	Yim Si-wan	Won
		Excellence Award, Actress in a Miniseries	Kang So-ra	Nominated
		Best Supporting Actor	Kim Dae-myung	Nominated
			Lee Geung-young	Won
		Best New Actor	Byun Yo-han	Won
			Kang Ha-neul	Nominated
2016	tvN10 Awards	Best Actor	Lee Sung-min	Won
		Best Content Award, Drama	Misaeng: Incomplete Life	Won
		Made in tvN, Actor in Drama	Yim Si-wan	Nominated
		Made in tvN, Actress in Drama	Kang So-ra	Nominated
		Scene-Stealer Award, Actor	Byun Yo-han	Nominated
			Kang Ha-neul	Nominated

Source

Main article: Misaeng (manhwa)

With his webtoon, author Yoon Tae-ho drew an analogy between life in modern society and the game of baduk, a chess-like strategy board game. He also wrote vivid descriptions of the everyday life and struggles of Korean corporate culture as his flawed characters deal with the fierce competition for survival, interpersonal work relationships and office politics. Misaeng: Incomplete Life gained immense popularity among Korean white-collar workers in their twenties and thirties largely because its realism resonated with their experiences. It drew 1 billion hits when it was published on online portal Daum from September 2012 to October 2013, and the nine-volume paperback version sold 900,000 copies. It is now considered a must-read comic in the country.

Remake

• HOPE〜期待ゼロの新入社員〜
• Ordinary Glory; starring Bai Jingting, Mark Chao and Qiao Xin.

External links

• Official website (in Korean)
• Misaeng: Incomplete Life at HanCinema
• Misaeng: Incomplete Life at IMDb
• Misaeng webtoon on Daum (in Korean)

'Misaeng': Transmedia Storytelling and Universe Expansion The drama poster for Misaeng.

Based on the webtoon of the same name by author Yoon Tae-ho, Misaeng (Korean: 미생; Hanja: 未生) is a representative success story of South Korean transmedia content. It moved beyond a simple media mix, with each distinct medium organically expanding and deepening the narrative. Beginning with the webtoon's serialization in 2012, it evolved over approximately a decade alongside changes in Korean society and the media landscape, spanning collected volumes, a mobile film, a television drama, parodies, and a theatrical film event.

Surpassing the success of its source material, the drama ignited a societal 'Misaeng Syndrome.' It influenced not only the publishing and broadcasting industries but also shaped public discourse, notably sparking discussions around the 'Jang Geu-rae Act,' a law concerning the protection of contract workers. This is regarded as a case that demonstrates the successful formula of transmedia storytelling, which goes beyond the cross-media approach of repeating 'one story' across multiple platforms. Instead, each medium provides its own independent entertainment while simultaneously assembling the pieces of the greater 'Misaeng Universe.'

Analysis of Transmedia Expansion The world of Misaeng was built three-dimensionally through various media, centered on the source IP of the webtoon. Throughout the adaptation process, diverse attempts were made, such as adding new character settings, shifting narrative perspectives, and varying genres.

'Misaeng Prequel' (Mobile Film): Creating Character Backstories and Three-Dimensionality The Misaeng Prequel is a core example of the transmedia strategy to expand the original universe. It fleshed out the pasts of the characters, which were only implicitly suggested in the source material, into concrete narratives. This method moved the audience beyond mere speculation, allowing them to witness the characters' histories directly, thereby maximizing their understanding and immersion.

Changes in Narrative Expansion:

Original Webtoon: A character's past is presented in fragments, mainly through dialogue with others or brief flashbacks. The audience must piece together these scattered bits of information to infer a character's history. 1. Jang Geu-rae's Past: Repetitive Presentation through the Symbol of 'Baduk' Jang Geu-rae's backstory is defined by his failure to become a professional Baduk (Go) player. However, the webtoon does not directly elaborate on this narrative of failure at length. Instead, every moment he confronts in his corporate life is metaphorically depicted as a strategic move on a Baduk board.

2. Manager Oh Sang-sik's Past: Fragmentary Flashbacks Hinting at Trauma The cause of Manager Oh Sang-sik's cynical attitude and his complex feelings toward his subordinates is suggested to be a past 'trauma.' This trauma seems related to the death or resignation of a former female colleague. In the webtoon, this event is never explicitly explained. It is only presented through fragmented cuts, such as Oh Sang-sik muttering in a drunken stupor or momentarily recalling a specific figure (in silhouette or from behind) when witnessing a present-day situation (e.g., a subordinate facing injustice).

In-depth Character Analysis: Manager Oh Sang-sik

The most significant achievement of the Misaeng Prequel was its ability to perfectly explain Manager Oh's present-day demeanor by giving him a concrete history.

Manager Oh in the Original: He is portrayed as a 'cynical realist' whom readers suspect has endured a major incident in his past. His firm belief in his work, contrasted with his cynical attitude in the face of reality, left readers wondering about the reasons behind it. Manager Oh in the Prequel: The prequel created a new past for him that did not exist in the original: he was a 'hot-blooded detective.' In the prequel, he appears as a man of fiery passion who could not stand injustice. This backstory clearly shows that his current cynicism is not merely a personality trait but the result of his past passion being crushed by reality. In other words, the prequel succeeded in adding depth and three-dimensionality to the character by providing a valid reason for his cynicism. 'I'm Still... Misaeng' (Behind-the-Scenes Documentary): Expanding Perspective into the Real World 'I'm Still... Misaeng' is a program that depicted the hidden stories and production process of the drama Misaeng.

1. The Actor's Character Interpretation: "Jang Geu-rae Was Im Si-wan" The documentary revealed the depth of the actors' understanding and embodiment of their characters, something not fully discernible from the drama alone. In the documentary, actor Im Si-wan (Jang Geu-rae) confesses that in the early stages of filming, he intentionally kept to himself on set to express the loneliness of Jang Geu-rae, who couldn't fit in with the other interns. He stated, "I purposely kept my distance from fellow actors to maintain Jang Geu-rae's emotions," showing that Jang Geu-rae's awkward expressions and actions in the drama were not just acting but a projection of the actor's actual feelings.

2. The Director's Intent: "This Drama Is About Comfort" The documentary allowed audiences to hear directly about the director's philosophy and intentions behind each directorial choice. In an interview, PD Kim Won-seok repeatedly emphasized, "Through this drama, I wanted to offer comfort to the office workers of this era, telling them, 'Your lives are this intense and meaningful.'" He clarified that his reason for minimizing dramatic devices like love lines and focusing on the detailed daily lives of real office workers was precisely this directorial goal of offering 'comfort' (wiro).

3. Behind the Scenes: The Real Hardships of Filming in Jordan The documentary vividly showed how the characters' struggles in the drama were linked to the actual difficulties on set. In the segment covering the location shoot in Jordan, the actors are shown becoming genuinely exhausted in the desert heat and unfamiliar environment. Actor Lee Sung-min (Oh Sang-sik) remarked, "It was so hard I honestly wanted to give up," and explained that this physical hardship actually helped him express the desperation of Manager Oh, who had staked everything on the Jordan project. This allowed viewers to understand that the exhausted expressions and desperation of the characters in the Jordan episode were both acting and a reflection of a real situation.

'Misaengmul' (Parody Drama): Genre Variation and Deconstruction Riding on the syndromic popularity of the drama Misaeng, tvN aired a two-episode parody drama titled Misaengmul on January 2nd and 9th, 2015. This work was a comedy that intentionally twisted the hyper-realism and serious atmosphere of the original. It reinterpreted the characters' settings and major episodes in an exaggerated and comical way, providing a new form of enjoyment for the fandom.

Caricaturing Characters Through Casting The most prominent example is the variation of the protagonist, 'Jang Geu-rae,' played by Jang Su-won, an actor and former member of the 90s idol group Sechs Kies. At the time, Jang Su-won had become an internet meme for his uniquely emotionless and stiff acting, dubbed 'robot acting.' Misaengmul deliberately leveraged this for its casting.

Specific Scene Description: A touching scene from the original, where Manager Oh affectionately calls Jang Geu-rae "my kid" (uri ae), is recreated identically in Misaengmul. However, the Jang Geu-rae of Misaengmul (Jang Su-won) responds mechanically with a blank face and a toneless voice, "Yes. Understood," destroying the original's emotional impact and creating a comedic situation. Through this, the earnest young man Jang Geu-rae of the original is reborn as a comical character—with the added backstory of being an idol trainee—who is incapable of expressing emotion in a social setting. Parody of Settings and Dialogue Misaengmul actively twisted the symbolic elements of the original to generate laughter. The title itself parodies the original Misaeng (未生, one who is not yet alive) into 'Misaengmul' (微生物, Microorganism), downgrading its meaning to "one who is merely alive." The names of major characters were also parodied—An Young-i (Kang So-ra) became 'An Seong-ma,' and Jang Baek-gi (Kang Ha-neul) became 'Jang Baek-ko'—to lighten the original's seriousness. Jang Geu-rae's famous monologue, "They say the company is a warzone? Outside is hell," was changed to "They say the company is a warzone? Outside is the ice age," transforming the original's poignant lines into realistic comedy.

From a transmedia storytelling perspective, Misaengmul went beyond simple imitation. It served to 'deconstruct the authority' of the original by twisting its most moving and serious scenes. Through this, fans were given a 'playground' where they could break free from the heavy emotions of the original and enjoy it lightly. The Misaeng IP was thus able to expand its spectrum from a source of serious empathy to content that also generated cheerful laughter.

'Misaeng: Nothing More to Add' (Film Screening) 'Misaeng: Nothing More to Add' was the title of a special screening event held in December 2024 to commemorate the 10th anniversary of the drama's broadcast. At this event, Episode 13—hailed by fans as a 'legendary episode'—was screened in a theater, followed by a 'Live Talk' session with director Kim Won-seok and the main actors. This was an event that demonstrated how much meaning the Misaeng content holds for its fans.

The story centers on a high-stakes presentation for a 'Jordanian Used Car Export Project,' which holds the fate of Sales Team 3 and its member Jang Geu-rae, who joined the trading company as a contract worker after failing to become a professional Baduk player. Despite the project not being one of the company's core businesses, Sales Team 3 stakes its reputation on it. They face numerous obstacles and internal resistance, but the team members overcome adversity with their strong camaraderie to prepare the presentation. Finally, in front of all the company executives, the team's youngest member, Jang Geu-rae, steps up as the presenter. While everyone is concerned about his lack of experience, Jang Geu-rae delivers a presentation that shatters the conventional framework, using the unique insight and meticulous effort honed through his Baduk training. In the process, the internal sabotage that had plagued Sales Team 3 is exposed, and he succeeds in proving the true value and potential of the Jordanian business, leading to a dramatic turnaround.

1. Change in Narrative Structure: From Gradual Build-up to 'Event-Focused' Compression In the drama series, the journey of the Jordan project—from its inception to its struggles and eventual success—is detailed over several episodes. For example, Jang Geu-rae's all-night research for the project, the sabotage from the resources team, and Manager Oh's internal conflicts and leadership are all depicted as separate plot points with ample screen time.

The Film's Recomposition Method: Drastic Omission and Montage: The theatrical screening drastically omitted this gradual build-up or compressed it into a fast-paced montage. For instance, Jang Geu-rae's research, help from his seniors, and internal sabotage, which were shown over several episodes in the drama, were processed with tense background music and cross-cutting shots of piling documents and the team pulling all-nighters, creating a sense of speed as the PT deadline approached. Clear Objective: The screening begins with Manager Oh declaring, "This Jordan deal, let's do it," immediately presenting the audience with the clear objective of 'passing the PT' and racing towards it. Completing the Universe Through Fandom Participation One of the key success factors of Misaeng's transmedia strategy was its ability to guide the fandom to act as active participants and creators, rather than just consumers. The voluntary activities of the fandom, especially on social media, played a decisive role in extending the Misaeng universe into reality.

1. Virtual Character Accounts: Breathing Life into Characters Coinciding with the drama's broadcast, fans began creating and operating virtual Twitter accounts for the main characters. This was more than just a fan activity; it was a 'derivative creation' that gave the characters a real-world persona.

Case 1: Tweets Reflecting Character Personalities

Jang Geu-rae Account (@jengokokok): Posted tweets capturing the emotions and daily life of a timid but diligent new employee, such as, "I completed a document by myself for the first time today. I think I received a small compliment." An Young-i Account: Showcased her 'brainy' persona by posting tweets with business terminology or in foreign languages, reflecting her sharp character. Jang Baek-gi Account: In line with his cynical and rational character, he posted tweets that seemed to criticize real-world absurdities or the hardships of office life. Case 2: Interaction Based on Relationships These accounts transferred the in-drama relationships directly onto social media. For example, if the Jang Geu-rae account tweeted about having a tough day, the Assistant Manager Kim Dong-sik account (@dongsikkim) would leave a warm, encouraging reply like, "Our kid, Jang Geu-rae! You're doing great. Fighting tomorrow too!" Fans enjoyed these interactions as if they were eavesdropping on real-time conversations among the actual Sales Team 3 members.

2. Interaction Between the Work and the Fandom: Reality Enters the Fiction The most symbolic moment in Misaeng's transmedia journey was when these voluntary fan activities were reflected in the actual drama.

Specific Scene: In Episode 16 of the drama, a scene appears where Jang Geu-rae accesses Twitter on his smartphone. He types 'Kim Dong-sik' into the search bar and is shown following the virtual account that fans had created and were operating. Meaning and Effect: This was a moment where real-world fandom activity directly influenced the fictional world of the drama. Fans had the unique experience of seeing their 'play' officially recognized as part of the canon. Through this, they were able to form a strong sense of belonging and solidarity not as mere viewers, but as 'residents' who were co-completing the Misaeng universe. The 'Misaeng Universe' and the Future of the K-Universe Misaeng's transmedia storytelling is a definitive case that proves how a single, well-crafted source IP can maintain its vitality across an era and interact with its fandom to be completed as one giant 'universe.' It goes beyond quantitative content expansion to build a 'Misaeng Universe' that deepens and widens qualitatively, thereby presenting a blueprint for the future of South Korean content, the 'K-Universe.'

First, it showed that a 'K-Universe' can be built on 'relatable reality' rather than a grand narrative. The 'Misaeng Universe' expanded not around a world of superheroes, but around the extremely realistic space of a 'company' and the emotions of ordinary people living within it. This suggests the possibility of creating a universe with infinite expansion potential without blockbuster-level capital or fantasy settings, simply by deeply exploring the specificities of Korean society and universal human emotions. Misaeng proved that any space connected to our lives—courthouses, hospitals, schools—can become the stage for a 'K-Universe.'

Second, it presented a model for a 'participatory universe' that blurs the line between creator and consumer. The success of Misaeng was possible because it embraced the fandom's voluntary derivative works and communication as part of its official canon. Featuring a fan-made virtual SNS account in the drama was a symbolic event that recognized the fandom not as mere consumers but as 'co-creators' and 'residents' of the universe. This model of organic evolution through active interaction with fans could become the most powerful weapon for K-content as it expands its universe while communicating with a global fandom.

Third, it proved the potential for a successful 'mixed-genre universe' that encompasses everything from serious drama to comedy and documentary. Misaeng maintained the serious narrative of its main story while playfully deconstructing its own authority through the parody Misaengmul and maximizing its realism through the documentary. This shows that a single IP can broaden its spectrum across various genres and tones. The ability to flexibly adapt to the demands of the times and the tastes of the fandom, without being confined to a fixed genre, will be a key condition for the 'K-Universe' to possess sustainable vitality.

In conclusion, over the past decade, Misaeng has built an organic ecosystem, starting from a webtoon and expanding to a drama, film events, and fan culture, with each element building the narrative from its own position. It will be recorded as a successful prototype of a Korean-style transmedia universe—the 'K-Universe'—and a pioneering case that presents its infinite potential for development.