Pachinko (2017)

5 Stars · Linda’s Rating
Page Count
496 pages
Release Date
2017-02-07

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⚠ Full Spoilers Ahead. This page contains complete plot summaries, the ending, and all major reveals. Turn back if you don’t want to be spoiled.
  • Suicide
  • Youth suicide
  • Self-harm
  • Gun violence
  • Racism and xenophobia
  • Racial slurs and hate speech
  • Racially motivated bullying
  • Systemic discrimination
  • Sexual harassment
  • Sexual assault
  • Sexual assault of a minor
  • Sex work and sexual exploitation
  • Human trafficking
  • Military sexual slavery / “comfort women”
  • War and wartime violence
  • Atomic bombing and radiation trauma
  • Aerial bombing and civilian casualties
  • Political executions and mass graves
  • Prison abuse and torture
  • Police and state violence
  • Physical assault and severe violence
  • Domestic violence
  • Graphic injuries, burns, and disfigurement
  • Death and grief
  • Death of a child
  • Fatal pedestrian accident
  • Terminal illness
  • Tuberculosis
  • HIV/AIDS
  • Cancer
  • Epidemics and infectious disease
  • Infant mortality
  • Miscarriage
  • Stillbirth
  • Pregnancy-related stigma and discrimination

Pachinko follows four generations of a Korean family from 1910 to 1989, beginning in Japanese-occupied Korea and continuing through decades of life in Japan, where ethnic Koreans face discrimination even after generations of living there.

The story begins with Sunja, the daughter of Hoonie and Yangjin, who run a boardinghouse near Busan, Korea. At sixteen, Sunja falls in love with Koh Hansu, a wealthy Korean businessman based in Japan. When she becomes pregnant, she discovers that Hansu already has a Japanese wife and three daughters. He offers to support her as his mistress, but she refuses. Instead, Baek Isak, a kind Protestant minister recovering from tuberculosis, offers to marry Sunja and raise her unborn child as his own.

Sunja moves to Osaka with Isak, where they live with his brother Yoseb and sister-in-law Kyunghee in an impoverished Korean neighborhood. She gives birth to Noa, Hansu’s biological son, and later has a second son, Mozasu, with Isak. When Japanese authorities imprison Isak because of a church worker’s refusal to honor the Emperor, Sunja and Kyunghee begin selling kimchi to support the family. Isak is eventually released after more than two years, but he is so weakened by imprisonment that he dies shortly afterward.

During World War II, Hansu reappears and reveals that he has secretly been financing the restaurant where Sunja works. He evacuates her family before Osaka is bombed and reunites her with Yangjin. After the war, Noa becomes an outstanding student, while Mozasu struggles academically and eventually finds success working for Goro, a Korean pachinko parlor owner.

Hansu pays for Noa to attend Waseda University in Tokyo. But in 1962, Noa discovers that Hansu, whom he suspects of having yakuza connections, is actually his biological father. Devastated, he abandons university and disappears. He moves to Nagano, changes his name to Nobuo Ban, and passes as Japanese. He marries a Japanese woman, Risa, and has four children, never revealing his Korean heritage.

In 1978, Hansu finally locates Noa and takes Sunja to see him. Noa explains that exposing his Korean identity would destroy the life he has built. He promises to visit her, but shoots himself minutes after she leaves. Hansu tells Sunja the following morning. She deliberately stays away from Noa’s funeral to protect his secret from his wife and children.

Mozasu, meanwhile, becomes a wealthy pachinko businessman and marries Yumi, a Korean seamstress. They have a son, Solomon, but Yumi is killed by a taxi after pushing their three-year-old boy to safety. Sunja helps raise Solomon, who eventually attends Columbia University and becomes an international investment banker.

As a teenager, Solomon has a relationship with Hana, the daughter of Mozasu’s Japanese girlfriend, Etsuko. Hana later runs away and enters Tokyo’s sex trade, where she contracts HIV from a Japanese customer. By 1989, she is dying of AIDS.

That same year, Solomon works for an investment bank in Tokyo. When a major property deal collapses after an elderly Korean landowner dies, his boss Kazu blames him and fires him. During her final days, Hana urges Solomon to stop seeking acceptance from a Japanese corporate world that will always treat him as an outsider. After Hana dies, Solomon’s Korean-American girlfriend, Phoebe, also leaves him and returns to America. Solomon ultimately joins Mozasu in the family’s pachinko business.

The novel ends with Sunja visiting Isak’s grave in Osaka. The cemetery groundskeeper reveals that Noa secretly visited Isak’s grave every month for fifteen years, right up until his death. Sunja realizes that despite abandoning his family, Noa never stopped loving the man who raised him. She buries a small photograph of Noa beside Isak’s tombstone, leaving her son beside his father.

Sunja’s Childhood and Her Affair with Hansu

Pachinko begins in 1910 in Yeongdo, a small fishing village near Busan, Korea, around the time Japan annexes the country. Hoonie, a gentle, hardworking man born with a cleft palate and twisted foot, helps run his family’s modest boardinghouse. He marries Yangjin, a young woman from a poor farming family. After losing three babies in infancy, they finally have a surviving daughter, Sunja, who becomes the center of Hoonie’s life.

When Sunja is thirteen, Hoonie dies of tuberculosis. Yangjin continues running the boardinghouse with Sunja’s help, assisted by two orphaned sisters, Bokhee and Dokhee.

In 1932, sixteen-year-old Sunja regularly shops at the Busan fish market. There she attracts the attention of Koh Hansu, a wealthy Korean seafood broker who lives in Osaka, Japan. Hansu first gains her trust by intervening when three Japanese schoolboys harass her. He begins courting her, giving her expensive gifts, including an imported silver pocket watch, and meeting her secretly along the coast.

Sunja falls in love with Hansu and becomes pregnant. Only then does he reveal that he already has a Japanese wife, Mieko, and three daughters in Osaka. He refuses to marry Sunja but offers to provide a house and financial support if she becomes his mistress. Deeply hurt, Sunja rejects his offer and cuts off contact with him.

Around this time, Baek Isak, a young Protestant minister traveling from Pyongyang to Osaka, arrives at the boardinghouse gravely ill with tuberculosis. Sunja and Yangjin nurse him back to health. When Isak learns about Sunja’s pregnancy, he offers to marry her and raise her unborn child as his own. Grateful for his kindness, Sunja accepts.

They marry quietly and leave for Japan. Before their departure, Yangjin uses her savings to buy white rice for their final meal together and gives Sunja two family gold rings. Sunja also secretly packs Hansu’s pocket watch in case she needs money.

Marriage, Poverty, and Isak’s Imprisonment

In 1933, Sunja and Isak arrive in Osaka, where they move in with Isak’s older brother, Yoseb, and his wife, Kyunghee. The couple lives in Ikaino, an impoverished Korean neighborhood where immigrants face discrimination and limited opportunities.

Isak begins working at a Korean church, while Yoseb supports the household through his factory job. Sunja soon discovers that Yoseb borrowed money from loan sharks to pay for their journey to Japan. To repay the debt, Sunja and Kyunghee secretly sell Hansu’s pocket watch to a pawnbroker. Yoseb is furious and humiliated when he discovers what they have done.

That same day, Sunja gives birth to Noa, Hansu’s biological son, whom Isak lovingly accepts as his own. Several years later, Sunja and Isak have another son, Mozasu.

In 1939, their lives are shattered when Hu, a young Chinese worker at Isak’s church, refuses to recite a pledge honoring the Japanese Emperor during a mandatory Shinto ceremony. Japanese authorities arrest Hu, the church’s senior pastor, and Isak. Isak spends more than two years imprisoned without trial.

With Isak gone, the family struggles financially. Sunja begins selling homemade kimchi at the train station, eventually joined by Kyunghee. Their food attracts the attention of Kim Changho, who manages a Korean barbecue restaurant. He offers both women jobs preparing kimchi and candy for the restaurant.

In 1942, Isak is finally released from prison, but he is terribly weak and dying. He spends his remaining days with his family, blessing his sons and urging Noa to study diligently, remain humble, and show compassion even toward his enemies. He dies shortly afterward, leaving Sunja a widow with two young children.

Hansu’s Secret Protection During World War II

As World War II intensifies, Hansu unexpectedly reappears in 1944. He reveals that he secretly owns the restaurant where Sunja and Kyunghee work, along with the moneylending business connected to it. Hansu explains that he tracked Sunja down eleven years earlier after she sold his silver pocket watch. Without her knowledge, he has been financing the business that supports her family.

Warning that American bombers will soon attack Osaka, Hansu arranges for Sunja, her children, Kyunghee, and Yoseb to evacuate to a sweet-potato farm operated by Tamaguchi-san. He also brings Yangjin from Korea so she can reunite with Sunja.

Yoseb, however, has taken a better-paying job supervising Korean workers at a factory in Nagasaki. When the atomic bomb strikes the city, he suffers devastating burns and injuries. Hansu’s men eventually locate him and bring him to the farm, where he remains severely disfigured and bedridden.

During a visit, Yoseb notices how closely Noa resembles Hansu. When confronted, Hansu admits that he is Noa’s biological father. Hansu also tells Yoseb that communist forces in North Korea have executed landowners, falsely claiming that Yoseb and Kyunghee’s parents are dead. He wants to discourage the family from attempting to return to Korea.

After Japan’s surrender, the family returns to Osaka and rebuilds their lives with Hansu’s financial assistance. Changho becomes part of the household and secretly falls in love with Kyunghee, although she remains devoted to her injured husband. Eventually, Changho joins a repatriation program to North Korea. Yoseb even offers to let Kyunghee leave with him, but she refuses.

Noa’s Education and Mozasu’s Pachinko Career

As the boys grow older, their personalities become increasingly different. Noa is quiet, intelligent, and academically gifted. He wants to succeed through education and become a respectable member of Japanese society. Mozasu, on the other hand, dislikes school, fights with boys who insult his Korean heritage, and struggles academically.

Mozasu befriends Haruki Totoyama, a Japanese boy whose mother runs a uniform-making workshop. In 1955, after Mozasu gets into trouble for defending a girl selling socks at the market, Goro, a successful Korean pachinko parlor owner, intervenes and offers him a job.

Mozasu leaves school and discovers that he has a talent for the pachinko business. He works hard and gradually becomes a successful manager.

Noa takes a different path. In 1956, he earns admission to prestigious Waseda University in Tokyo. Sunja cannot afford the tuition, so she visits Hansu, who agrees to pay for Noa’s education and living expenses. Sunja insists on treating the money as a loan, but Hansu privately refuses because he considers it his responsibility to provide for his son.

At university, Noa studies English literature and successfully passes as Japanese. He begins dating Akiko Fumeki, a wealthy Japanese student who takes an intense interest in his Korean background.

In 1962, Akiko unexpectedly joins Noa for one of his regular lunches with Hansu. Afterward, she suggests that Hansu is connected to the yakuza and may actually be Noa’s father.

Shocked, Noa travels to Osaka and confronts Sunja. She finally admits that Hansu is his biological father and that Isak knowingly married her while she was pregnant.

The revelation devastates Noa. He believes Hansu’s criminal associations have permanently tainted him and accuses Sunja of ruining his life. Unable to reconcile his identity with the truth about his parentage, he drops out of university and disappears, cutting off contact with everyone he knows.

Noa Disappears and Builds a Secret Japanese Life

Unknown to his family, Noa moves to Nagano and assumes the Japanese name Nobuo Ban. He claims his parents are dead and takes a bookkeeping job at a pachinko business called Cosmos Pachinko.

In 1969, he marries Risa Iwamura, a Japanese woman whose father, a doctor, committed suicide following a medical scandal. They eventually have four children. Neither Risa nor their children know that Noa is Korean.

Back in Osaka, Sunja desperately searches for her missing son. Even Hansu cannot initially locate him. Although Noa secretly sends Sunja money each month, he never reveals where he lives.

Meanwhile, Mozasu marries Yumi, a Korean seamstress who works for Haruki’s mother. In 1968, they have a son named Solomon.

Three years later, tragedy strikes when a taxi swerves onto a sidewalk. Yumi pushes three-year-old Solomon out of its path but is struck and killed herself.

Devastated, Mozasu asks Sunja to help raise Solomon. The family moves to Yokohama as Mozasu continues expanding his pachinko business.

Sunja Finds Noa, but Their Reunion Ends in Suicide

In 1978, Hansu’s private investigators finally locate Noa in Nagano. Hansu drives Sunja there so she can see the son she has spent sixteen years searching for.

Sunja approaches Noa at his workplace. He speaks politely but explains that he has built an entirely new life. He is now legally Japanese, and his wife, children, and employer believe he is Japanese by birth. If his Korean background becomes known, he fears losing everything.

Noa promises to call Sunja that evening and visit her in Yokohama the following week. She leaves hoping that they might finally reconnect.

But just minutes after Sunja leaves, Noa sits at his office desk and shoots himself.

The following morning, Hansu calls Sunja and tells her that Noa has committed suicide. She is devastated but deliberately stays away from his funeral. Attending would risk exposing his Korean identity to Risa and their children, destroying the secret he had worked so hard to protect.

Sunja continues grieving Noa for the rest of her life, privately speaking to him in her thoughts and prayers whenever she visits Isak’s grave.

More losses follow. Yoseb dies in 1979, and Sunja returns to Osaka to care for her dying mother, Yangjin. During her final days, Yangjin bitterly blames Sunja’s youthful relationship with Hansu for the suffering that followed, particularly Noa’s fate. Sunja tearfully asks her mother’s forgiveness before Yangjin dies.

At Yangjin’s funeral, Hansu approaches Sunja again. He is now widowed, ill, and walking with a cane. He asks Sunja to marry him, but she firmly refuses.

Solomon’s Childhood, Hana, and His Banking Career

While Sunja mourns her family, her grandson Solomon grows up in the relative comfort created by Mozasu’s successful pachinko business.

As a teenager, Solomon becomes sexually involved with Hana, the rebellious daughter of Mozasu’s Japanese girlfriend, Etsuko. Their relationship begins when Solomon is fifteen, but Hana eventually runs away from home and enters Tokyo’s nightlife and sex trade.

During this period, Hana contracts HIV from a Japanese customer who owns an old trading company and later dies. Her life becomes increasingly difficult as her illness progresses.

Solomon, meanwhile, follows a more conventional path toward success. He attends Columbia University in New York and, after graduating in 1985, joins Travis Brothers, an international investment bank. He also begins dating Phoebe, a wealthy Korean-American woman.

While Solomon is in New York, Hana calls him, sounding sick and desperate. Despite their separation, she remains an important part of his life.

By 1989, Solomon has transferred to the bank’s Tokyo office, where he works under Kazu, a Japanese managing director. Solomon hopes that his prestigious education and international banking career will finally allow him to succeed in Japanese society without being judged primarily by his Korean heritage.

Kazu assigns him an important real estate transaction involving a Japanese golf course client. The deal depends on purchasing land owned by Matsuda-san, a ninety-three-year-old Korean woman who refuses to sell to Japanese buyers.

Solomon devises a solution. He asks Goro, his father’s longtime friend and former employer, to act as an intermediary. Matsuda-san agrees to sell the land to Goro, who will then resell it to the bank’s client.

The arrangement initially succeeds, but shortly after signing the contract, Matsuda-san dies of a heart attack. The client becomes nervous about the timing of her death and fears accusations that she was pressured into selling.

The client cancels the transaction, and Kazu fires Solomon to protect the bank. He suggests that Goro or his possible yakuza connections may have been involved in coercing Matsuda-san, even though there is no evidence of wrongdoing.

Solomon loses the career he believed would secure his place in Japanese society.

Hana’s Death and Solomon’s Decision

Around the same time, Hana is dying of AIDS in a Tokyo hospital. Solomon visits her regularly during her final days.

Hana tells Solomon that no matter how successful or educated he becomes, Japanese society will continue treating him as a foreigner, or gaijin. She urges him to stop seeking approval from people who will never fully accept him and instead consider joining Mozasu’s pachinko business.

Hana dies shortly afterward.

Solomon’s relationship with Phoebe also falls apart. She refuses to remain in Japan, where she would face discrimination, and she does not support his decision to enter the pachinko industry. She breaks up with him and returns to America.

Having lost his banking career, Hana, and Phoebe, Solomon decides to join his father in managing the family’s pachinko business. Rather than continuing to pursue acceptance in the corporate world, he chooses to work in the industry that has supported his family for decades.

Sunja’s Final Visit to Isak’s Grave

The novel concludes with Sunja visiting Isak’s grave in Osaka.

At the cemetery, she meets Uchida-san, the groundskeeper, who recognizes her and reveals something astonishing about Noa.

For fifteen years, beginning in 1963 and continuing until his death in 1978, Noa secretly visited Isak’s grave on the last Thursday of every month. During those visits, he befriended Uchida, encouraged him to read, and gave him translated novels by Charles Dickens.

Sunja had believed Noa had completely abandoned his family after discovering the truth about Hansu. Now she learns that he continued visiting and honoring Isak, the man who raised him, throughout his years in hiding.

Overcome with emotion, Sunja takes out a small photograph of Noa attached to her key ring. Using her bare hands, she digs a hole beside Isak’s marble tombstone and buries the photograph there.

After years of separation, secrecy, and loss, Sunja leaves Noa’s photograph beside the grave of the father he never stopped loving.

How Pachinko Ends

In 1989, seventy-three-year-old Sunja Baek travels from Yokohama to Osaka to visit the grave of her late husband, Baek Isak. Her mother, Yangjin, has recently died of stomach cancer, while her grandson Solomon has decided to remain in Japan and join his father, Mozasu, in the family pachinko business.

At the cemetery, Sunja cleans Isak’s white marble tombstone, which bears his name in both Japanese and Korean. There she meets the groundskeeper, Uchida, who recognizes her and mentions that Mozasu still visits the grave every month or two.

Then Uchida tells Sunja something she never knew.

For fifteen years, from 1963 until his death in 1978, Noa secretly visited Isak’s grave on the last Thursday of every month. During those years, Noa was living in Nagano as “Nobuo Ban,” passing as Japanese and keeping his Korean ancestry hidden even from his wife and children. Although he had severed contact with Sunja and the rest of his family, he had never severed his connection to Isak.

Uchida remembers Noa as a kind and thoughtful man. Noa encouraged him to attend adult night school and gave him Japanese translations of Charles Dickens novels, beginning with David Copperfield.

The revelation overwhelms Sunja. Noa had spent years trying to escape the truth of his birth and his biological connection to Koh Hansu, but he had continued returning to the grave of the man he regarded as his real father.

Sunja takes out her house keys, which hold a small acrylic frame containing photographs of Noa and Mozasu. With her bare hands, she digs a hole about a foot deep at the base of Isak’s tombstone. She places the photographs inside, covers them with earth and grass, and presses the ground flat.

Then, with dirt still beneath her fingernails, Sunja gathers her things and returns home, where Kyunghee is waiting for her.

Ending Explained

The final revelation about Noa transforms what initially seems like one of the novel’s greatest tragedies. Noa spent the last fifteen years of his life separated from his mother and living under a Japanese identity, but his monthly pilgrimage to Isak’s grave proves that he never truly abandoned his family or his past.

More importantly, Noa chose Isak as his father.

Koh Hansu was Noa’s biological father and could provide money, influence, and protection, but those things were never enough to define family for Noa. Isak was the man who accepted Sunja when she was pregnant, gave Noa his name, raised him as his own son, and modeled kindness, faith, dignity, and compassion. Noa may have spent his adult life desperately trying to escape Hansu’s bloodline, but he continued returning to Isak.

That makes Sunja’s final act especially powerful.

Because Noa was cremated by his Japanese wife in Nagano, Sunja has no grave where she can mourn him. By burying his photograph beside Isak’s tombstone, she creates one herself. Symbolically, she returns Noa to the father he chose and reunites the family that history, prejudice, shame, and death had torn apart.

The photographs also connect both of Sunja’s sons to Isak. Noa is dead; Mozasu survives. One tried desperately to assimilate into Japanese society, while the other built a successful life within the marginalized pachinko world. Their lives took radically different paths, but Sunja places them together beneath the earth at their father’s grave.

The dirt beneath Sunja’s fingernails is a fitting final image for her. Her entire life has been defined by physical labor—cooking, selling food, working in markets, raising children, and doing whatever was necessary to keep her family alive. Even her final gesture of love is something she performs with her own hands. She does not merely contemplate Noa’s memory; she physically makes a place for him.

Noa’s gift of Charles Dickens novels to Uchida carries that legacy beyond the Baek family. Noa encourages an ordinary working man to educate himself and shares literature with him, demonstrating the compassion and respect for human dignity that Isak had instilled in him. Isak’s influence therefore survives not only through his family but through people he never even met.

There is also a striking contrast between Isak and Hansu. Hansu possesses enormous wealth and power, yet ends his life sick in a Tokyo hospital surrounded by paid caregivers. Isak died decades earlier with little material wealth, yet his grave remains a place that his family repeatedly returns to. The contrast reinforces the novel’s distinction between possessing power and leaving behind something worth loving.

Solomon’s decision to join Mozasu in the pachinko business extends this idea into the next generation. After trying to succeed within Japanese corporate society and being scapegoated and rejected, Solomon stops treating assimilation as the only path toward legitimacy. Joining Mozasu does not erase the discrimination surrounding pachinko, but it allows Solomon to embrace the complicated inheritance his family has created rather than continually seeking acceptance from institutions that may never fully accept him.

That is why pachinko itself remains such an appropriate metaphor at the end of the novel. The family cannot control the historical circumstances into which they are born any more than a player can completely control where a pachinko ball lands. Colonialism, war, poverty, racism, migration, and chance repeatedly redirect their lives. What they can control is how they respond—working, adapting, loving, surviving, and continuing to play.

The ending is therefore melancholic but deeply consoling. Sunja has endured extraordinary go-saeng—suffering—and has buried or outlived many of the people she loved. Yet she recognizes that her life was never composed solely of suffering. It also contained moments of beauty, love, dignity, and even glory.

Most importantly, the people she lost have not disappeared from her life.

Noa spent fifteen years silently returning to Isak. Sunja carries photographs of her sons on her keys. Mozasu continues visiting his father’s grave. And Sunja finally places Noa beside Isak, creating in death the reunion that could never happen in life.

The novel ultimately suggests that identity cannot be reduced to blood, nationality, paperwork, or the judgment of society. Noa could call himself Nobuo Ban, live as Japanese, and hide his Korean ancestry, but the person he loved as his father remained Isak. Sunja could lose her homeland and nearly everyone from her youth, yet the people she loved remained part of her.

The final image of Sunja leaving the cemetery with earth beneath her fingernails captures the entire novel in miniature: a woman shaped by displacement and suffering continues forward, carrying the dead with her while returning home to the living.

And Kyunghee is there waiting.

🔶 Main Characters

Sunja Baek
Sunja Baek (née Kim) — Matriarch and Central Protagonist
Role: Core protagonist whose life spans colonial Korea, immigration to Japan, and four generations of her family.
Personality: Resilient, hardworking, practical, humble, devoted, courageous.
Significance: Her choices—rejecting Hansu as a married man's mistress, marrying Isak, moving to Osaka, and supporting her family through market work—drive the entire saga.
Koh Hansu
Koh Hansu — Wealthy Broker, Yakuza Patron, and Noa's Biological Father
Role: Powerful Korean businessman and yakuza-connected broker who becomes Sunja's lover and fathers Noa.
Personality: Cunning, pragmatic, possessive, ruthless, protective, devoted.
Significance: His affair with Sunja begins the central family conflict, and he secretly uses his wealth and influence to protect the family and finance Noa's education.
Baek Isak
Baek Isak — Devout Protestant Minister and Sunja's Husband
Role: Young Protestant minister who marries pregnant Sunja, gives Noa his name, and takes her to Osaka.
Personality: Gentle, compassionate, selfless, spiritual, forgiving, frail.
Significance: Becomes the moral father of Noa and Mozasu and provides Sunja with dignity and a new life in Japan.
Baek Noa (Nobuo Ban)
Baek Noa (Nobuo Ban) — Sunja and Hansu's Elder Son
Role: Sunja's brilliant eldest son, raised as Isak's child but biologically fathered by Hansu.
Personality: Intellectual, disciplined, sensitive, perfectionistic, ashamed, idealistic.
Significance: His desperate attempt to assimilate into Japanese society embodies the novel's conflict over Korean identity, prejudice, and belonging.
Baek Mozasu (Moses Baek)
Baek Mozasu (Moses Baek) — Sunja and Isak's Younger Son
Role: Sunja and Isak's street-smart younger son who becomes a wealthy pachinko entrepreneur.
Personality: Tough, outgoing, protective, generous, practical, loyal.
Significance: Represents economic survival and acceptance of a Korean identity that Noa desperately tries to escape.
Baek Yoseb
Baek Yoseb — Isak's Older Brother and Family Patriarch
Role: Isak's older brother and traditional head of the Baek household in Osaka.
Personality: Proud, traditional, protective, anxious, hardworking, stubborn.
Significance: Provides Sunja and Isak with their first home in Japan while struggling with poverty and his belief that men alone should support the family.
Baek Kyunghee
Baek Kyunghee — Yoseb's Wife and Sunja's Sister-in-Law
Role: Yoseb's wife and Sunja's closest friend, business partner, and surrogate sister.
Personality: Elegant, compassionate, faithful, dutiful, gentle, resilient.
Significance: Works alongside Sunja making and selling food, becoming essential to the family's survival during Isak's imprisonment and WWII.
Yangjin
Yangjin — Sunja's Mother
Role: Hoonie's widow, Sunja's mother, and longtime manager of the family's Yeongdo boardinghouse.
Personality: Stoic, frugal, practical, maternal, enduring.
Significance: Raises Sunja with fierce devotion and later becomes an important caregiver to her grandchildren and great-grandson.
Baek Solomon
Baek Solomon — Mozasu and Yumi's Son
Role: Fourth-generation Korean-Japanese heir to the Baek family who is educated in America and works in Tokyo finance.
Personality: Intelligent, cosmopolitan, ambitious, charming, conflicted.
Significance: Represents a younger generation that appears globally assimilated but still encounters the same entrenched prejudice against Koreans in Japan.
Hana
Hana — Etsuko's Daughter and Solomon's Childhood Lover
Role: Etsuko's troubled daughter and Solomon's teenage lover.
Personality: Wild, outspoken, perceptive, self-destructive, cynical, emotionally raw.
Significance: Acts as Solomon's tragic foil and forces him to confront the uglier realities of Japanese society and his own identity.

🔷 Supporting Characters

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Hoonie (Kim Hoonie) — Sunja's Father
Role: Sunja's loving father, born with a cleft palate and twisted foot.
Personality: Gentle, loving, diligent, honest, devoted.
Significance: Gives Sunja unconditional love, teaches her basic arithmetic, and shapes her sense of dignity and self-worth.
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Bokhee — Yeongdo Boardinghouse Servant
Role: Older of two orphaned sisters who work at Yangjin's boardinghouse.
Personality: Hardworking, protective, practical, sisterly.
Significance: Helps raise and care for Sunja and assists Yangjin with the boardinghouse.
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Dokhee — Yeongdo Boardinghouse Servant
Role: Bokhee's younger sister and another servant at Yangjin's boardinghouse.
Personality: Playful, expressive, dreamy, romantic.
Significance: Helps run the boardinghouse and provides companionship and warmth during Sunja's youth.
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The Chung Brothers (Gombo, Fatso, and Middle Brother) — Yeongdo Lodgers
Role: Three poor fisherman brothers who board with Sunja's family in Korea.
Personality: Boisterous, opinionated, hardworking, loud, warmhearted.
Significance: Provide political commentary and community around Sunja's childhood home and contribute money for her wedding.
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Pharmacist Chu — Busan Apothecary
Role: Busan pharmacist who treats the gravely ill Isak.
Personality: Friendly, attentive, cautious, wise.
Significance: Helps nurse Isak back to sufficient health to continue his journey and ultimately meet and marry Sunja.
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Pastor Shin — Senior Pastor in Busan
Role: Senior minister who counsels Isak and Sunja before their marriage.
Personality: Stern, solemn, theological, protective, grieving.
Significance: Questions Sunja about repentance and ultimately performs her marriage to Isak, allowing her to begin a respectable new life.
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Cho — Busan Rice Grocer
Role: Local grocer who sells food to Yangjin's household.
Personality: Pragmatic, gruff, sympathetic.
Significance: Provides Yangjin with precious white Korean rice so Sunja and Isak can eat it before departing for Japan.
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Jun — Yeongdo Coal Man
Role: Local coal deliveryman who encounters Isak upon his arrival in Busan.
Personality: Talkative, blunt, opinionated, helpful.
Significance: Directs the sick Isak to Yangjin's boardinghouse, indirectly bringing Isak and Sunja together.
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Pastor Yoo — Senior Pastor in Osaka
Role: Elderly head pastor of Hanguk Presbyterian Church and Isak's superior.
Personality: Wise, compassionate, serene, realistic, devoted.
Significance: Employs Isak and ministers to Osaka's impoverished Korean Christian community.
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Hu — Church Sexton in Osaka
Role: Young Chinese orphan raised by Pastor Yoo who works as the church sexton.
Personality: Devout, earnest, quiet, unyielding.
Significance: His refusal to recite the pledge to the Japanese Emperor triggers the arrests of himself, Pastor Yoo, and Isak.
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Sister Okja — Ikaino Midwife
Role: Experienced Korean midwife who assists Sunja during childbirth.
Personality: Pragmatic, experienced, no-nonsense.
Significance: Safely delivers Noa at Yoseb's home in Osaka.
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Kim Changho — Yakiniku Manager and Family Friend
Role: Manager of Hansu's yakiniku restaurant who employs Sunja and Kyunghee.
Personality: Polite, orderly, loyal, quiet, devoted.
Significance: Provides the family with work and supplies and develops a deep, largely unspoken love for Kyunghee.
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Tamaguchi — Sweet Potato Farmer
Role: Japanese farmer who shelters Sunja's family in the countryside during WWII.
Personality: Hardworking, practical, fair-minded, appreciative.
Significance: Provides housing and food in exchange for labor, helping the family survive wartime bombing and shortages.
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Kyoko — Tamaguchi's Wife
Role: Tamaguchi's wife and manager of the farmhouse household.
Personality: Thrifty, stern, practical, hardworking.
Significance: Works alongside Kyunghee in the kitchen while the Baek family shelters on the farm.
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Ume & Tako — Kyoko's Sisters
Role: Kyoko's fashionable city-bred sisters who stay at the farm during wartime.
Personality: Vain, lazy, frivolous, fashion-obsessed.
Significance: Contrast sharply with the hardworking Korean women and their struggle for survival.
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Haruki Totoyama — Police Detective and Mozasu's Friend
Role: Mozasu's Japanese childhood friend who later becomes a police detective.
Personality: Gentle, reflective, loyal, discreet, closeted.
Significance: Provides one of the novel's strongest Japanese-Korean friendships and becomes a beloved uncle-like figure to Solomon.
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Totoyama-san — Haruki's Mother and Uniform Workshop Owner
Role: Haruki's hardworking mother and owner of a uniform-making business.
Personality: Diligent, resilient, fair-minded, grateful.
Significance: Employs Yumi and builds a successful business partly through orders connected to Goro's pachinko parlors.
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Daisuke — Haruki's Younger Brother
Role: Haruki's younger brother, born with a severe developmental disability.
Personality: Innocent, gentle, dependent, affectionate.
Significance: His disability contributes to his father's abandonment of the family and reveals Haruki, Ayame, and his mother's capacity for devoted caregiving.
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Chiyaki — Sock Seller at Ikaino Market
Role: Young Japanese market worker defended by teenage Mozasu.
Personality: Flirtatious, lively, charming.
Significance: Mozasu's fight with a customer who grabs her leads directly to his life-changing introduction to Goro.
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Goro (Goro-san) — Pachinko Mogul and Mozasu's Mentor
Role: Wealthy Korean pachinko owner who becomes Mozasu's mentor and employer.
Personality: Flamboyant, shrewd, generous, humorous, paternal.
Significance: Introduces Mozasu to pachinko, launches his career, and later helps Solomon with the Matsuda land deal.
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Akiko Fumeki — Waseda Student and Noa's Ex-Girlfriend
Role: Wealthy Japanese Waseda student who dates Noa.
Personality: Brilliant, provocative, arrogant, insensitive, fetishizing.
Significance: Her fascination with Noa's Korean identity culminates in her calling Hansu his "yakuza papa," accelerating Noa's devastating discovery about his parentage.
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Mieko Morimoto — Koh Hansu's Japanese Wife
Role: Wealthy Japanese heiress whom Hansu marries while maintaining his attachment to Sunja.
Personality: Cold, aristocratic, distant, privileged.
Significance: Embodies Hansu's legitimate Japanese family and the social world from which Sunja is permanently excluded.
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Takano (Takano-san) — Cosmos Pachinko Manager
Role: Manager who gives the newly arrived Noa work under his assumed identity, Nobuo Ban.
Personality: Pragmatic, observant, polished, fair-minded.
Significance: Allows Noa to begin his secret Japanese life without questioning his mysterious family background.
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Bingo — Nagano Café Owner
Role: Friendly café owner who befriends Noa after his arrival in Nagano.
Personality: Talkative, gossipy, jovial, generous.
Significance: Helps the isolated Noa establish his new identity by recommending him for a bookkeeping job at Cosmos Pachinko.
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Risa Iwamura — Noa's Japanese Wife
Role: Cosmos Pachinko file clerk who marries Noa while believing he is Japanese.
Personality: Quiet, reserved, competent, devoted, practical.
Significance: Builds a family with Noa and bears his four children without ever learning his true Korean identity during their marriage.
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Iwamura-san — Risa's Mother
Role: Widowed mother who lives with Risa, Noa, and their children.
Personality: Childlike, class-conscious, dependent, suspicious.
Significance: Never entirely trusts Noa because of his mysterious lack of relatives or family history.
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Yumi — Mozasu's First Wife and Solomon's Mother
Role: Former seamstress who marries Mozasu and becomes Solomon's mother.
Personality: Quiet, ambitious, stubborn, dreamy, determined.
Significance: Her dream of escaping Japan for America influences the international future Mozasu later creates for Solomon.
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Etsuko Nagatomi — Mozasu's Girlfriend and Hana's Mother
Role: Restaurant owner, Hana's mother, and Mozasu's longtime partner.
Personality: Elegant, practical, loving, guilt-ridden, devoted.
Significance: Provides stability and maternal affection to Mozasu and Solomon while carrying deep guilt over her failures with Hana.
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Phoebe — Solomon's Korean-American Ex-Girlfriend
Role: Solomon's American girlfriend who moves with him to Tokyo.
Personality: Outspoken, confident, proud, independent, anti-racist.
Significance: Challenges both Japanese discrimination and Solomon's willingness to tolerate compromises she finds unacceptable.
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Kazu — Managing Director at Travis Brothers
Role: American-educated Japanese banker who supervises and initially mentors Solomon.
Personality: Charismatic, ambitious, pragmatic, charming, self-serving.
Significance: Draws Solomon into the Matsuda land deal but ultimately demonstrates that corporate acceptance will not protect Solomon from discrimination.
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Sonoko Matsuda (Matsuda-san) — Elderly Korean Landowner
Role: Ninety-three-year-old Korean woman whose valuable Yokohama property is sought by developers.
Personality: Stubborn, proud, traditional, uncompromising.
Significance: Refuses to sell to Japanese buyers but eventually agrees to sell through Goro, creating the deal on which Solomon's banking career depends.
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Uchida (Uchida-san) — Cemetery Groundskeeper in Osaka
Role: Groundskeeper responsible for the cemetery where Isak is buried.
Personality: Polite, humble, observant, thoughtful.
Significance: Provides Sunja with the novel's final revelation: Noa never truly abandoned Isak and secretly visited his grave every month for fifteen years.
Yoseb’s Remarkably Convenient Loan Connection

Before Sunja even arrives in Japan, Yoseb borrows 120 yen from an Osaka moneylender to cover Isak and Sunja’s travel expenses. That lender happens to be connected to the Morimoto syndicate run by Koh Hansu’s father-in-law—the same Hansu who impregnated Sunja in Korea. This coincidence ultimately allows Hansu to discover that Sunja is living in Osaka after Yoseb uses Hansu’s distinctive watch to repay the debt. It is possible that Hansu’s organization controlled a substantial portion of the local lending business, making the connection less random than it initially appears, but the novel never establishes that clearly. As written, Yoseb choosing precisely the lender connected to Hansu is an unusually convenient coincidence that brings Hansu back into Sunja’s life.

Noa’s Japanese Identity and Naturalization

After leaving Waseda, Noa moves to Nagano, adopts the name Nobuo Ban, conceals his Korean background, marries a Japanese woman, and eventually becomes a naturalized Japanese citizen. His ability to pass socially as Japanese is believable, but formally becoming a citizen would have required government documentation and scrutiny of his background. Noa could not simply invent an entirely new legal history with deceased Japanese parents. The novel never explains what documents he supplied, whether officials knew he was Korean despite his secrecy toward everyone else, or how his legal identity was reconciled with the fictional history he presented to his wife and employer. This does not make his naturalization impossible—he could have naturalized under his real Korean records while adopting a Japanese legal name—but the book glosses over a bureaucratic process that would have complicated his carefully constructed identity.

Q : How did Sunja’s decision to reject Hansu’s offer shape the rest of her life? Do you see her choice as being driven more by morality, pride, independence, or something else?
A : Sunja refuses to accept a comfortable life if it means becoming Hansu’s hidden mistress and remaining dependent on a married man. Her decision reflects both the values she inherited from her parents and her own strong sense of dignity. Choosing Isak and an uncertain future in Japan brings enormous hardship, but it also allows Sunja to live according to her own principles. Throughout the novel, she continues to resist Hansu’s control, even when his money and influence could make her life easier.
Q : How does pachinko work as a metaphor for the experiences of Koreans living in Japan? Do you think the novel suggests that people can truly overcome an unfair system, or only learn how to survive within it?
A : Pachinko is a game that appears to offer chance and opportunity, even though the house ultimately controls the odds. That parallels the lives of the Korean characters, who work hard and make careful choices within a society structured against them. Mozasu succeeds not because the system suddenly becomes fair, but because he learns how to operate within its limitations. The metaphor leaves room for both resilience and pessimism: individuals can succeed, but their success does not necessarily change the system itself.
Q : Isak and Hansu offer two very different ideas about what it means to protect and provide for a family. Which man’s worldview proves more valuable over the course of the novel?
A : Isak offers compassion, faith, dignity, and a moral example, while Hansu offers money, influence, protection, and a willingness to do whatever survival requires. Ironically, the family needs something from both men. Isak shapes the family’s values, particularly Noa’s understanding of goodness, while Hansu’s practical interventions repeatedly help keep them alive. The novel complicates any easy judgment by showing that moral integrity and ruthless pragmatism can each have value when people are living under extreme circumstances.
Q : Why is discovering that Hansu is his biological father so devastating to Noa? Is his tragedy caused more by Hansu’s criminal background, anti-Korean prejudice, Noa’s own personality, or the secrets surrounding his identity?
A : Noa has spent his life believing that education, impeccable behavior, and respectability can protect him from prejudice. Learning that his biological father is a Korean man connected to the yakuza confirms the very stereotypes Noa has desperately tried to distance himself from. His tragedy comes from several forces working together: racism, secrecy, shame, perfectionism, and his inability to separate who he is from how society might judge him. His eventual decision to pass as Japanese gives him a new life, but only by requiring him to hide a fundamental part of himself.
Q : The women in Pachinko repeatedly endure poverty, war, discrimination, difficult marriages, and loss. Does the novel portray their endurance as empowering, unfair, or both?
A : The women’s resilience is admirable, but the novel does not romanticize the suffering that makes that resilience necessary. Yangjin, Sunja, Kyunghee, Yumi, and Etsuko repeatedly carry responsibilities created by circumstances they did not choose. Sunja and Kyunghee, for example, become essential breadwinners when traditional expectations say they should remain dependent on men. Their strength is empowering, but the idea of go-saeng also raises an uncomfortable question: why should women be expected to endure so much simply because suffering has traditionally been considered their lot?
Q : Yoseb initially believes that supporting the household is a man’s responsibility and that the women should not have to work publicly. How does his pride affect the family, and do you think the novel treats him sympathetically despite his traditional views?
A : Yoseb’s beliefs come partly from genuine love and responsibility rather than simply a desire to control the women. He sees their need to pawn possessions and sell food publicly as evidence that he has failed as a husband and provider. But immigrant poverty makes his traditional model increasingly unrealistic, and Sunja and Kyunghee’s labor becomes essential to the family’s survival. His story shows how displacement and economic hardship can force people to reconsider deeply ingrained ideas about gender, pride, and family roles.
Q : Noa and Mozasu grow up in the same family but respond very differently to being Korean in Japan. Why do you think Mozasu is able to accept himself in a way that Noa cannot?
A : Noa tries to overcome prejudice by becoming so educated, refined, and respectable that Japanese society will have to accept him. That makes his self-worth dangerously dependent on the approval of others. Mozasu realizes much earlier that respectability will not necessarily erase discrimination, so he stops trying to prove himself on society’s terms. Pachinko gives him financial independence and a community where being Korean does not have to be hidden. Their contrasting lives suggest that accepting an outsider identity may be psychologically healthier than spending a lifetime trying to convince others that you belong.
Q : When Solomon eventually turns toward the family pachinko business after pursuing an elite international career, does that feel like a defeat, a homecoming, or something more complicated?
A : On the surface, Solomon’s decision can look like a retreat from the prestigious future his family worked so hard to give him. But his experience in corporate Japan teaches him that education, wealth, fluent languages, and international credentials cannot completely protect him from discrimination. Joining Mozasu can therefore be viewed as rejecting someone else’s definition of success. At the same time, there is something bittersweet about it because the family has risen dramatically over several generations, yet Solomon still encounters many of the same barriers his grandfather’s generation faced.
Q : What does “home” mean to the different generations of the family, and does anyone in the novel ever truly find a place where they completely belong?
A : For Sunja and Yangjin, Korea remains the homeland they remember, while Japan begins as a place of necessity rather than belonging. Noa and Mozasu are born in Japan, making the problem more complicated: Korea is largely unfamiliar to them, yet Japan still treats them as outsiders. By Solomon’s generation, Japan is unquestionably home in an everyday sense, even though he continues to encounter exclusion. The novel suggests that home may ultimately be found less in nationality than in family, memory, relationships, and the communities people build for themselves.
Q : Hana is very different from the hardworking, restrained characters who dominate much of the novel. What does her rebelliousness add to the story, particularly in her relationship with Solomon?
A : Hana refuses many of the rules that other characters spend their lives trying to satisfy. Her choices are often destructive, but her refusal to pretend also makes her unusually perceptive about the hypocrisy around her. Solomon believes that education, professional success, and proper behavior can give him a secure place in Japanese society, while Hana is deeply skeptical of that promise. Her illness and eventual death force Solomon to confront mortality, identity, and the possibility that living according to other people’s expectations may not actually provide the security he imagined.
Q : At the end of the novel, Sunja learns that Noa secretly visited Isak’s grave every month for fifteen years. How does that revelation change the way you understand Noa and his decision to disappear from his family?
A : Noa’s visits reveal that disappearing did not mean emotionally abandoning his family or rejecting Isak. Although he constructed an entirely Japanese identity and severed contact with Sunja, he continued privately honoring the man who raised him. That makes his story even more tragic because it shows that he never truly escaped his past; he simply carried it alone. Sunja’s decision to bury Noa’s photograph beside Isak’s grave symbolically reunites them and reinforces one of the novel’s central ideas: identity is shaped not only by blood or nationality, but also by love, memory, and the people we choose as family.
5 / 5 Stars · Linda’s Rating

Pachinko absolutely earned five stars from me. I love historical fiction that teaches me something while still making me completely invested in the characters, and this did exactly that. I knew very little about the discrimination Koreans faced in Japan before reading this, and I found that entire aspect of the novel fascinating—and heartbreaking.

What impressed me most was how readable it was despite covering generations of one family and nearly eighty years of history. Multigenerational sagas can sometimes overwhelm me with characters, but I never felt lost here. I cared deeply about Sunja and became completely invested in what happened to her children and grandchildren.

And wow, this book is sad. There is so much loss, sacrifice, prejudice, and heartbreak, but it never felt like misery just for the sake of making the reader cry. There’s also an incredible amount of resilience and love running through the story.

I cried, I learned a lot, and I became completely absorbed in this family’s lives. Pachinko is beautifully written, emotionally devastating, and one of those rare books I know I’ll still be thinking about long after finishing it.

5 out of 5 stars -- A Family Saga That Broke My Heart and Opened My Eyes.

📺 Pachinko — Book vs. TV Adaptation (Season 1)

Min Jin Lee’s 2017 novel Pachinko was adapted into an Apple TV+ drama series created, written, and executive produced by Soo Hugh. Season 1 premiered on March 25, 2022, and consists of eight episodes, directed by Kogonada and Justin Chon. The series is produced by Media Res with Blue Marble Pictures and stars Youn Yuh-jung as older Sunja, Minha Kim as teenage Sunja, Lee Min-ho as Koh Hansu, Jin Ha as Solomon, Steve Sanghyun Noh as Isak, and Anna Sawai as Naomi.

Season 1 does not attempt to adapt the entire novel. Instead, it draws primarily from the earlier portion of Sunja’s story while simultaneously bringing Solomon’s much later storyline forward. The result is a substantially restructured adaptation that tells Sunja and Solomon’s stories in parallel rather than following the novel’s generations chronologically.

🔄 Key Differences

The largest difference is when the stories are told. Lee’s novel progresses chronologically across generations, beginning with Sunja’s parents and gradually moving through Sunja, her children, and eventually her grandson Solomon. The television series immediately places young Sunja’s life under Japanese colonial rule alongside Solomon’s life in 1989 Japan. Apple itself describes the series as juxtaposing Sunja’s story with Solomon’s in the 1980s.

This means characters and conflicts that do not become important until much later in the novel—including Solomon’s professional life—are central to Season 1.

🎭 Tone Changes

The novel uses a relatively restrained, sweeping third-person narrative to chronicle decades of hardship, discrimination, family conflict, and survival.

Season 1 makes the story considerably more immediate, emotional, and cinematic. Music, close-ups, changes in language, visual symbolism, and the constant movement between generations turn individual experiences into echoes of one another.

The series retains the novel’s historical scope but gives the material a more intimate emotional presentation—something reflected in Apple’s own description of the adaptation as both “epic in scope” and “intimate in tone.”

🧩 Structural Changes

The novel is largely chronological, while Season 1 is deliberately nonlinear.

Episodes move between Sunja’s childhood and young adulthood in Korea and Japan and Solomon’s experiences in 1989. Older Sunja also becomes an active presence much earlier than she does within the novel’s chronology.

This structure allows events separated by decades to comment on one another. Sunja experiences colonialism and displacement directly, while Solomon experiences their legacy generations later as a Korean Japanese man navigating Japanese corporate culture.

Season 1 therefore functions less like “the first section of the book put onscreen” and more like a reorganization of material from different parts of the novel around shared themes of identity, belonging, family, and survival.

👥 Character Changes

Solomon Baek receives one of the largest rewrites. He appears much earlier and becomes essentially a co-protagonist alongside Sunja. His corporate storyline and the Korean landowner he is attempting to persuade to sell her property provide Season 1 with one of its major present-day conflicts. His American girlfriend Phoebe, who appears in the novel, is absent, while Naomi, his ambitious Japanese colleague, is a character created for the television adaptation.

Koh Hansu is given substantially more background and interiority. Most notably, Episode 7 leaves the main storyline to explore Hansu’s experiences during the 1923 Great Kantō Earthquake, creating a backstory that is not presented this way in Lee’s novel.

The series also initially presents Sunja and Hansu’s relationship as more conventionally romantic, allowing the imbalance in their relationship and Hansu’s controlling qualities to emerge gradually.

Isak is given a stronger connection to resistance against Japanese colonial rule. By the Season 1 finale, his arrest becomes a major storyline, with Sunja desperately searching for him.

Meanwhile, several members of the younger generations who eventually become extremely important in the novel have not yet reached their major adult storylines by the end of Season 1.

🔍 What the Adaptation Emphasizes

Season 1 places especially strong emphasis on Korean identity in Japan across generations.

By pairing Sunja with Solomon, the series directly connects Japanese colonialism with the discrimination and questions of belonging faced by later generations of Zainichi Koreans. Solomon may be wealthy, internationally educated, and professionally successful, but the series continually demonstrates that assimilation has not erased the history carried by his family.

The adaptation also emphasizes female endurance and domestic labor. Sunja, Yangjin, Kyunghee, and older Sunja are repeatedly shown surviving through work, sacrifice, caregiving, and adaptation. Their seemingly ordinary acts become part of the series’ larger depiction of cultural and familial survival.

Language reinforces this theme. Season 1 is performed across Korean, Japanese, and English, allowing changes in language to communicate identity, power, assimilation, and belonging rather than treating the characters as though they all inhabit a single linguistic world.

✂️ What Season 1 Expands, Removes, or Softens

📈 EXPANDS: Hansu receives an extensive invented backstory centered on his experiences during the 1923 Great Kantō Earthquake. Solomon’s 1989 corporate storyline is also dramatically expanded and elevated into one of the season’s two principal narratives. The series gives considerably more immediate attention to the generational consequences of Japanese colonialism and the Korean experience in Japan.

✂️ REMOVES OR DELAYS: Solomon’s girlfriend Phoebe is removed from Season 1, while Naomi takes on a major role that does not come from the novel. Much of the material involving the adult lives of Sunja’s sons, Noa and Mozasu, is postponed because Season 1 stops well before completing their stories.

🕊️ SOFTENS: Sunja and Hansu’s earliest relationship is presented with more overt romance than in the novel. The series initially allows their connection to resemble a love story before increasingly revealing the disparities in age, experience, wealth, knowledge, and power between them.

➕ ADDS: The adaptation creates scenes and encounters that allow characters and generations to interact thematically—or literally—in ways the novel’s chronological structure does not. These additions help transform the story from a straightforward multigenerational chronology into two interconnected timelines.

Overall, Season 1 of Pachinko preserves the novel’s central story of family, migration, discrimination, survival, and generational identity, but substantially changes how that story is delivered. Rather than moving steadily from one generation to the next, the adaptation places Sunja’s past beside Solomon’s future, using their experiences to show how one family’s history continues to reverberate decades later.

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📖 Reporting for: Pachinko (2017)