This paper investigates the mythical images found in the novels of Choi In-hun. The specific works studied include “Su,” “Guwunmong” and “Seoyugi,” each of which either shows the mythical images very clearly or hides them away into the context. The key of the narrative development in “Su” is the myth of Pan, who is a demigod. Being incarcerated in a mental institution thanks to his wife, “I” is nothing but a mad man telling about his life at the loony bin. His story contains his criticism of the reality and cold attitude toward his wife. As Pan with such a love for music gradually turns into a man of violent character due to his wife that becomes stone every night, “I” turns into a mad man because of his wife`s change of mind. “Guwunmong” takes the myth of Theseus and his escaping from the labyrinth and alters it to its end. The works reveals the characteristics of a labyrinth text in the repeating plots, montage, the Matryoshka closed space, dream mechanism, and images of the characters, which all also hint at the fact that the main character keeps failing to find an exit out of the closed labyrinth. It is the characters that most of the repeating plots are allocated to. The hero Dok Go-min doesn`t have the Ariadne Thread and even has the images of a mad man and Pharmakos, inevitably failing to find a way out. The repetition of plots and montage are the tools the author used to disclose the irregularities of the reality that`s hard to reproduce with realist techniques from the diversified viewpoints in combination with the fantasy. And finally “Seoyugi” has the Odyssey myth in the center of the narrative development. The journey of Odyssey to his home Ithaca after the Trojan War was adopted and altered to fit the plot of Dok Go-jun`s going back home. His journey to his home W is a fantasy world and delayed by the great people that he encountered in the other world and the stationmaster at the Station Seokwangsa. His Penelope is the women that gave him the “sexual experience at a shelter.” But when he`s back at home, his trauma of “self-criticism” beats down the “woman from the shelter,” which implies how much of an individual`s subjecthood can be damaged by the oppression of ideology.