With the development of the cultural industry, literary works are made into various content. Regardless of what this content may be, they are looking for effective forms of enabling their active participation and interaction with appreciators. However, as interactive content is prone to constrain the action of its appreciators, appreciators may become passive unless it is effectively created. In Korea, most literary interactive content tends to be produced in the form of theme parks or exhibition halls, which put knowledge before feelings and experiences. As a result, their viewers remain as mere spectators. In order to remedy the problem, we need to plan the content in accordance with the actual circumstances of the viewers. For this reason, this study takes Pak, Kyong-ni’s novel, Toji as an example.
Toji as a telling form, has been adapted for TV dramas and comics in its viewing form, and for literature museums or literature parks as an interactive form. However, Toji, a long historical novel set in Korea, China, Japan and Russia, can produce various content depending on the generation and region of appreciators. For example, if a Toji literature museum or literature park is established in Kando, it should be in a different concept from that of the literature museum in Pyeongsari or the literature park in Wonju. In other words, it should be consistent with the locale of the ethnic Koreans residing in Kando. The story in Kando, which begins with the second part of Toji, consists of two epic tales - one in which Pyeongsari people move to Kando, settle there and return home, and the other in which independence activists living as nomads fight against Japanese colonial rule. If we interpret and reconstruct the novel in terms of the history of ethnic Koreans in Kando. Toji will be an epic tale not only about the formation of ethnic Koreans in Kando but also about the anti-Japanese sacrifice of Korean ancestors.
In this way, the focus and meaning of the narrative vary depending on the actual circumstances of the appreciators. Therefore, when we plan the literary interactive content, the appropriate reinterpretation of literary works will be the key to a successful content creation.