“In the face of corporate greed and reprehensible actions, a bond of respect has formed between young executive Yi Su-in and union activist Gu Go-sin. Seeing what his employers are capable of, Yi joins Gu in trying to establish a union for the company’s employees. But despite the unacceptable working conditions, the workers are reluctant to go through with it…until they witness a shocking situation involving one of their fellow employees.” (Ablaze Publishing)
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Out of all the subjects in the comic format, South Korean labor laws seem like an unlikely source of inspiration outside its native country to make its way to the West. However, Ablaze Publishing may have released one of the year’s best manhwa/manga/comics in Choi Gyu-seok‘s The AWL.
There is a surprising curiosity in learning about the history of labor laws in South Korea, but how the subject matter is approached makes “The AWL” deeply engrossing. This is partly due to the polarizing view of Unions, with some seeing them as a corrupt system that favors those at the top. Conversely, their existence has led to the elimination of such concepts as the 7-day workweek and child labor in many countries. “The AWL” addresses this conflict perfectly through ‘Director Gu,’ a man pushing for labor rights in the county who is presented as both a hero and an opportunist. His introduction, getting a man’s unpaid salary under threat, may seem admirable, but as the story progresses, the complexity of his role becomes more apparent. Struggling manager Yi Su-in offers conflicting views on unions to the general public. His interactions with Director Gu have much deeper implications in exploring labor laws than the single issue that brought the two together.
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Broadening the scope past its native South Korea, the manhwa touches on the global perspective of unions by incorporating a French-owned business. Causing the conflict that sparked Yi Su-in’s interest in labor laws, the leader learns of the differences between the two cultures through the European business choosing South Korea for its exploitable workforce. Combining this with a natural desire for ‘fairness’ among the common man, “The AWL” is vastly more encompassing in appeal beyond South Korean labor law. Essentially, anyone who has ever felt jilted in the workforce will find a reason to empathize with the plights of the various characters.
One potential limiting factor is that “The AWL” is skewed towards a male readership; it is important to understand that the charm rests in being comfortable with this fact. Romanticizing the working class and jobs often held by men appeals to the sentiments of protecting male interests in certain fields. The morals that push the characters are also heavily rooted in a sense of duty to both country and family, emphasizing the army and fatherhood as the background to Yi Su-in’s and Director Gu’s fight for equality. These institutions are not seen as perfect, but both men are idealized male archetypes shaped by these systems; admiration or understanding of this is key to appreciating the story Gyu-seok Choi presents. Another element that may not land for readers is if they are expecting an exploration of the precarious relationship/history of unions and communism. “The AWL “appeals to the base sense of justice and the need to protect fellow workers from exploitative practices.
Gyu-seok Choi’s artwork is not overly impressive visually but stays grounded in refined realism. This is partly because the subject matter does not lean to much sensationalism, and most of the story is explored through conversations, union meetings, and general daily activities. It won’t impress, but it is perfectly suitable for the story and has a charming rawness lacking from the more polished digital style that has come to define much of the Korean comic space. Those drawn to Japanese ‘Gekiga’ manga, particularly, will find “The AWL” aptly capturing the realism of everyday life in a charming fashion.
Gyu-seok Choi’s “The AWL” is unlikely to garner broad appeal, as the subject and approach are inherently niche. However, it is undeniably worth experiencing for oneself to see if the work clicks; it is a contender for release of the year, as long as Gyu-seok Choi consistently delivers on what he built in the inaugural volume. Smartly written, engaging from a humanitarian perspective, and deeply insightful on issues facing the working class, “The AWL” is a masterpiece for the right audience.
