THE EXPLOSIVE response to All of Us Are Dead, a Netflix drama released on January 28 that ranked number one in 59 countries[1], is a reminder of not only the recent global craze for Korean media but also the steady success of webtoon adapted dramas. Webtoons have been a staple form of entertainment for South Koreans, but the worldwide appreciation for it and its adapted drama form is relatively newfound. The webtoons’ intricate, chock-full narratives and loyal following are all factors that enable this increasingly prevalent trend of adapting them into K-dramas.

The webtoon boom

   Webtoons are digital comics originally created in South Korea that were designed to be viewed through mobile phones. As a result, they differ greatly from traditional comics or graphic novels. Webtoons are drawn in long, continuous panels that accommodate both the size of the screen and the scrolling fashion in which they are read. These digital comics are also sectioned into episodes and released on a weekly basis. While a majority of webtoons are free to read, a select few need to be purchased—episodes can also be accessed at an earlier date through in-app purchases. This weekly routine of waiting to read your favorite webtoons has garnered an avid following.  

   With our increasing day-to-day reliance on electronic devices, webtoons have quickly become an accessible form of entertainment that fits the modern lifestyle. In 2021, the webtoon industry sales increased by 64.6% from 2020, equating to approximately ₩1.538 trillion, marking an all-time high in sales since the Korea Creative Content Agency (KOCCA) began its analysis in 2017[2]. Moreover, the release of apps that provide translated versions of initially Korean webtoons has boosted the spread of webtoons internationally. 

Why are webtoons adapted into dramas?

   The webtoons’ solid popularity makes them a favorable source material for drama production companies. The success of a Korean drama is measured through its viewership ratings[3]—the higher the rating the more successful it is considered. Webtoons that have already been successful can, to a certain extent, guarantee a considerable number of people who would show an interest in its drama adaptation, consequently securing baseline viewership ratings. Directors and producers can avert the great financial risk they would normally take when deciding to produce an original script by adapting a webtoon into a series. Furthermore, as there is no requirement for the adaptation to completely replicate the original plot line, readers are incentivized to watch the drama rendition of their favorite webtoons as it may provide additional content or end differently.

   The webtoons’ unique storylines and characters is another one of their marked advantages. Webtoons provide significantly greater creative freedom for their respective creators than other platforms since they do not require the traditional process of finding an agent or have to address concerns about production cost[4]. Anyone can create a webtoon and publish it on an online platform of their choice. This freedom fosters the creation of distinctive narratives and characterization, which serves as a fresh delight for readers. And thankfully the advancement of technology for visual effects such as computer-generated imagery (CGI) allows these ideas to be seamlessly executed in dramas. 

   Successful webtoons also have well-thought-out plots and character development which enables them to be adapted into dramas easily, as it saves time for scriptwriters. In an interview with Forbes, the Naver web team stated that “if you produce an original story, there is a lot of time that goes into developing a storyline. Webtoons reduce those steps, which is why they are welcomed.”

The future of webtoon adaptations

   The unparalleled success of Korean media products and popularity of webtoons sets up the foundation for the emergence of various opportunities for unconventional narratives featuring fictitious elements to be adopted in mainstream media. In an interview with The Yonsei Annals, Joan MacDonald, an expert journalist on K-media, explained that budget plays a key role in the production of dramas. The consecutive home runs hit by webtoon-based Korean content with sci-fi, paranormal elements have garnered “more budget to do fantastical dramas, special effects, have bigger sets, etc.” Combined with the sufficient budget, advancement of CGI, and the growing number of conceptual narratives demonstrated in webtoons, MacDonald anticipates an increasing trend of dramas with supernatural aspects. Citing Yumi Cells, a webtoon adapted drama surrounding a girl called Yumi and the human-like cells in her body, as an example, MacDonald stated: “I don’t think a drama like Yumi Cells might have been made if it wasn’t a webtoon first. It required a whole different approach.” To preserve the original depiction of her cells and flow of the narrative, a mixture of animations and CGI were utilized—a feat that would not have been possible without a considerable budget. The budding trend of fantastical dramas is evident in the seven Netflix original Korean dramas released from 2021 to the present-day, four being webtoon-adapted, with three of them surrounding a fictitious situation. The rise in global popularity of Korean media has opened up the capacity to garner more foreign investment than ever before, further allowing for a larger budget to create dramas with never-before-seen story lines. Just last year, Netflix announced that they would invest $500 million into producing Korean media content with Disney+ and Apple TV also launching their first Korean productions[5]. 

   The availability and considerable popularity of webtoons has also enabled innovative interactions among different platforms. Webtoon adapted dramas have popularized their respective webtoons, such as the release of internationally acclaimed Hellbound which resulted in a 22-fold increase in the average number of readers of the original webtoon[6]. Conversely, dramas have started to become adapted into webtoons to sustain an interest in the narrative, such as Happiness and Our Beloved Summer[5]. Their webtoon adaptations were unveiled just days after their drama release. Besides dramas, webtoons are increasingly being used as promotional devices to lure readers and fans to other platforms. For example, the creation of the webtoon 7FATES: CHAKHO was a marketing strategy constructed by HYBE Corp. to lure BTS fans to enthusiastically consume the group’s dramatized fantasy universe loosely based on the seven members. This symbiotic relationship between media platforms has further enabled the spread of webtoons, dramas, and other projects.

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   Webtoons are not only a great way to convey a story but also a lucrative platform to generate niche stories that are not commonly found in other media types. The adaptation of webtoons into dramas and other media forms will continue if they can successfully preserve their versatility and originality despite having entered the mainstream realm. With multiple webtoon adapted dramas featuring supernatural aspects lined up for 2022, such as Tomorrow, Island, The Sound of Magic and Moving, we can expect bolder ventures in Korean media.

[1] The Straits Times

[2] Maeil Gyeongje

[3] Viewership ratings: A prediction of the percentage of individuals watching the program

[4] Forbes

[5] Korea Times

[6] HanKook Ilbo