This paper examines the pandemic scenes of Pyongyang, the capital of North Korea, through Rodong Sinmun photographs. Based on the theatricality that citizens want to see and be seen at the same time, scenes are created by developing this tendency in the background of the city. This paper considers that scenes are composed of “place personality,” “groups of people,” and “purpose of actions,” and examines Rodong Sinmun photographs according to the components of these scenes. To this end, this paper compares and analyzes two groups of photos divided by the time when COVID-19 occurred. Next, the content analysis is visualized on the Pyongyang map based on the geographic coordinate system. Pyongyang’s pandemic scenes were visualized in the southeast of the Daedong River. It is a large-scale, new, sanitary city in terms of its appearance, but its actual productivity has faded. On the other hand, amid the changes caused by the epidemic worldwide, it is required to consider whether the situation in North Korea can still be limited to the term “specificity.” The dramatic device of the Rodong Sinmun photographs, which is set in the city, plays a part in the new normal that the pandemic has brought to the world. However, as it intervenes more in daily life than before the pandemic, the Pyongyang pandemic scenes have moved away from the new normal at the individual level.