By Syed Zulkifli Syed Masir

THE 2023 Bahasa Malaysia adaptation of the immensely popular 2016 Korean series W by Viu, a dominant OTT player in Southeast Asia, has ignited fervent discussions among both viewers and critics.

This adaptation of the psychological thriller, celebrated for its exploration of the blurred boundaries between reality and fiction, has become a focal point for animated exchanges.

As audiences dig into the nuances of this Bahasa Malaysia version, controversial scenes, notably a kissing scene, have sparked discussions regarding the normalization of intimate content in Malaysian film and series.

However, our primary focus remains on the first 10 minutes of the narrative – a critical window providing insights into Viu’s storytelling approach and the choices made in tailoring this narrative for the Malaysian audience.

Setting the Stage: The Intricacies of W
W, both in its Korean and Malaysian iterations, unfolds as a psychological thriller featuring Yeon Jo in the Korean version and Izarra in the Malaysian adaptation.

The storyline revolves around a medical doctor inexplicably drawn into the fictional world of comics, where the national hero, sportsman, and billionaire Kang Chul in the Korean version, or Aliff in the Malaysian adaptation, is accused of killing his family.

Kang Chul vs. Aliff: Diverging Character Portrayals
In the Korean series, the initial 10 minutes meticulously unveil the mental state of Kang Chul, the protagonist. The series creator strategically portrays Kang Chul as a symbol of “Controlled Determination,” a demeanor that serves as the focal point shaping the entire narrative.

Kang Chul’s controlled demeanor is accentuated in every frame, surpassing even that of his father-coach, creating a palpable dichotomy in his character and setting the stage for the unfolding plot.

Contrastingly, in Viu’s Bahasa Malaysia adaptation of W, the first few minutes, while revisiting some original scenes, introduce seemingly irrelevant elements, such as the behavior of television spectators. This diversion dilutes the concentration on the mental condition of the protagonist, Aliff, thereby weakening the crucial dichotomy opposition present in the original narrative.

The Controversial Kissing Scene: Cultural Sensibilities at Play
The controversial kissing scene in the Korean series is intricately tied back to Kang Chul’s mental state, showcasing a meticulous setup of character emotions. In contrast, the Bahasa Malaysia adaptation allows for a dilution of Aliff’s character development, rendering the attempt to rattle his emotions through a kissing scene seemingly out of context.

Roots of Storytelling: Beyond Claims of Creativity
Understanding the development of a story extends beyond mere claims of creativity; it involves delving into the foundational structures present in the earliest known stories.

From the clay tablets of the Babylonian era’s Epic of Gilgamesh to narratives within religious scriptures like Al Quran, Hindu epics, Bible, Genesis, Torah, Psalms, and extending to the works of Socrates and Homers, these stories provide the roots of storytelling. This rich tradition is where the essence of storytelling finds its foundation, resonating across diverse cultures and eras.

Storytelling Techniques: Malay vs. Korean Approach
While there may not be a specific 10 minutes of a written text, as it depends on the speed of a reader, it can be considered as the initial setup of a story. Viu’s Bahasa Malaysia adaptation of W is arguably typical of contemporary Malay storytelling, attempting to incorporate anything related to the scene under the pretext of character development.

In contrast, the Korean W adheres to the dramatic core, resisting the urge to add extraneous elements. This distinction in approach underscores the varied storytelling techniques employed in different cultural adaptations.

Act 1: A Cultural Unifier
Act 1, which serves as the setup of the protagonist and antagonist and is defined as the first 10 minutes in this article, acts as a beacon captivating audiences across cultures and eras. It is not merely a modern phenomenon but an echo of a primordial instinct—a testament to the human predisposition to engage with stories through listening, watching, and reading.

Active Participants in a Grand Storytelling Tradition
We are not mere observers of storytelling; we are active participants in a grand storytelling tradition that has persisted through millennia. As the curtain rises on Act 1, we witness the unfolding of a pattern that transcends time and culture—a pattern etched into the very fabric of human cognition.

Conclusion: Navigating the Crossroads of Culture and Creativity
In conclusion, the adaptation of W by Viu offers a fascinating lens through which to explore the intersection of cultural nuances and storytelling choices.

The divergence in the portrayal of characters, the treatment of controversial scenes, and the distinct storytelling techniques employed in Malay and Korean adaptations highlight the multifaceted nature of storytelling. As we continue to navigate the crossroads of culture and creativity, it becomes evident that Act 1, the crucial first 10 minutes, serves as a unifying force that resonates across diverse audiences, bridging gaps and transcending cultural boundaries.

Viu’s W, with all its intricacies, stands as a testament to the evolving landscape of storytelling, where cultural adaptations weave a rich tapestry of narratives, captivating audiences and fostering a deeper understanding of the human experience.