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In the end of Japan's colonial period, when the literary investigation of the past disappeared, writers pursued new literary searches in different kinds of ways. They wanted to create the novels in a new pattern. For this, they need to have a new understanding of the three constituents: Joseon's traditional narrative, Japan's Naturalism literature, and European novel patterns, which are said to stimulate the formation of Korean modern novel. In the conclusion of writers' investigation, a historical novel pattern, an autobiographical novel pattern, and a family's chronicle novel pattern appeared. Firstly, the historical novel pattern implied a dual constitution of both the reality and the fiction. It borrowed Joseon's traditional historical narrative in the spread of a series of 'Orient' discourses. Secondly, the autobiographical novel pattern was a kind of roundabout writing strategy which connote the ego's competition with the real world. It resulted from the reperception of Japan's autobiographical novels, which was under the influence of Naturalism. Thirdly, the family's chronicle novel pattern was to elucidate Joseon's particular modernity borrowing the western novel pattern.
Of course, these three novel patterns existed in the former period. But it is important that these became, in this period, the main and powerful stream of the literature on a sudden. We need to emphasize the importance of these novel patterns in the literature history, because they are the consequences of each writer's competitons with the real world. Writers neither imitated nor repeated these three novel patterns. They tried to change the patterns in their own ways to show their critical mind. In brief, the historical novel showed the broken identity between the Nationalism and the Japanophilism, the autobiographical novel was used as an literary strategy competing the fascism in those days, and the family's chronicle novel showed writer's struggles to explain Joseon's extraordinary modernity in the different ways from the 'overcome of the modern' discourse.
New novel patterns like these, which were decolonial changes of the fountainheads, re-appearing in the end of Japan's colonial period functioned as a writing strategy in which writers showed their own critical mind. We can revaluate these new novel patterns as important symptoms to elucidate the writers' critical minds in the end of Japan's colonial period. It is because the critical minds of writers in those days are not captured in dichotomous eyes of form and matter.