Gyeongseong Creature
Also known as K Project[1]
Hangul 경성크리처
Hanja 京城크리처
Revised Romanization Gyeongseongkeuricheo
McCune–Reischauer Kyŏngsŏngk’ŭrich’ŏ
Created by Kakao Entertainment (planning)[5]
Written by Kang Eun-kyung
Directed by Chung Dong-yoon & Roh Young-sub
Starring Park Seo-joon, Han So-hee, Claudia Kim
Music by Kim Tae-seong[6]
Country of origin South Korea
Original languages Korean & Japanese
Production
Executive producers Kim Do-hyuk, Park Hee-seon, Kim Min-ji, So Jae-hyun
Producers Hwang Jee-woo, Jang Se-jung, Park Beom-soo, Park Eun-kyung
Cinematography Song Yo-hun
Editor Jo In-hyung
Production companies Story & Pictures Media, Kakao Entertainment, Studio Dragon
Netflix
It’s early spring, 1945, in Japanese-occupied Korea (Joseon). With the benefit of hindsight, we know the Japanese are in a desperate situation. The allies have been island hopping toward the main archipelago, and it’s only a matter of time before major Japanese cities are facing mass bombardment.
In the Korean capital of Gyeongseong (now Seoul) the Japanese authorities are in a bind. They have been working on secret experiments, using Korean prisoners, to create a super-soldier for use against the expected-shortly invaders. They have created a monster, and in the process left overwhelming evidence of war crimes against their captive population. The Japanese would be considering hiding evidence of those crimes as best they could. (As with Germany at the same time, a bit like a cat trying to cover up an indiscretion on a linoleum floor—futile). But in this case, they have made an immense stride toward creating an unstoppable force on the battlefield—their one remaining hope.
The monster itself is incredibly powerful, but insensate and filled with rage.
In an unlikely alliance, a pawn-shop owner and a bounty hunter who is seeking her missing mother team up and slowly are drawn into the strange events at the now-evacuated Gyeongseong Hospital.
Like most Korean dramas, this one has immaculate production values, fine acting, and there is a depth and humanity to the characters only occasionally seen in western TV fare. It’s easy to suspend disbelief, especially since the Japanese characters, while not exactly good guys, are drawn somewhat sympathetically. (It was originally made in both Korean and Japanese, so the producers clearly thought it would be well-received in Japan.) The plot is complicated, with a large cast, so pay attention.
Given the time frame of the series, I expected it to end with the fall of the Japanese Empire, but that turns out not to be the case. The ending is both moving and authentic, and ensures a second season.
Another example of why I consider K-drama to be generally superior fare.