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Korea Herald
2 days ago
- Entertainment
- Korea Herald
Korean webtoon showcase kicks off five-nation tour with Egypt debut
K-Comics World puts cult hit 'Hellbound' front and center as organizers test new markets for digital comics A touring exhibition spotlighting Korean webtoons has set up shop in Egypt's capital, as the first of five planned stops through October. The "K-Comics World" exhibition opened July 1 at the Korean Cultural Center in Cairo's Dokki district, the Korea Creative Content Agency said Monday. The Cairo leg centers on "Hellbound," the 2019-20 webtoon by Choi Gyu-seok and filmmaker Yeon Sang-ho. The title shot to global fame with a Netflix adaptation, directed by Yeon, in 2021, vaulting to the streamer's top 10 list in more than 80 regions. Visitors can walk through life-size panels, take selfies in photo zones and collect stamps tied to key chapters from the comic. The Cairo show, open 8 a.m. to 4 p.m. daily, runs until July 31. The exhibition moves to Hungary's capital Budapest, Canada's capital Ottawa, Ontario, and Shanghai in September, before wrapping in Osaka, Japan in October. Each city will spotlight a different webtoon and stage interactive events such as artist workshops and autograph sessions, KOCCA said. The agency sees the tour as a chance to test the appetite for Korean content in the Middle East and Africa and to fine-tune localization strategies for future rollouts. It also pledged continued backing for Korean webtoon creators looking to break into global markets. 'This isn't just about displaying content — it's about striking a chord with readers everywhere and laying groundwork for Korean webtoons to scale worldwide,' said Lee Hyun-joo, head of KOCCA's content and intellectual property division. 'We're committed to helping Korean comics grow their footprint worldwide and making sure our creators have every opportunity to thrive on the global stage.'
Time of India
4 days ago
- Entertainment
- Time of India
Blackpink Fans Go All Out as Anti-Scalping Campaign Takes Over Goyang Stadium
Fans, Stickers, and Slogans - A Weekend Like No Other If you thought Blackpink concerts were just about killer performances and screaming fans, think again. This weekend at Goyang Stadium, the vibe was all about fair play -with a full-blown anti-scalping campaign stealing the spotlight. Tired of too many ads? go ad free now The Music Concert Industry Association of Korea and the Korea Creative Content Agency (Kocca) teamed up to make sure everyone had a shot at seeing their idols, minus the headache of overpriced resale tickets. Here's how it went down: fans could jump into interactive activities, answer quizzes about scalping, and score custom-made stickers. But it didn't stop there-crafting catchy anti-scalping slogans and blasting them on social media meant you could win cool prizes. For a generation that lives for Insta stories and hashtags, this was basically a festival within a festival. Free Legal Advice and Real-Time Reporting - Not Your Average Concert Ever been scammed by a ticket reseller and wished you could do something about it? At Goyang, fans got the chance to chat with attorney Baek Se-hee for free legal advice on scalping issues. Plus, if you spotted something fishy, there was a booth right there to report scalpers in real-time. Imagine if we had this kind of setup at our own music festivals-no more shady WhatsApp groups selling passes at ten times the price! The campaign also called out music chart manipulation, which messes with fair play for new artists. The goal? A transparent, honest music scene where everyone gets a fair shot-something that would hit home for any music lover who's seen their favorite indie artist struggle to break through. Social Media Challenges and the Power of Fandom No modern campaign is complete without a social media angle. Fans who posted proof of their anti-scalping activism with the right hashtags got a shot at a prize draw. It's the kind of thing that turns a regular concert into a movement-because when fans unite for a cause, things actually change. Tired of too many ads? go ad free now The organizers, including the KPA (a big player with over 40 concert organizers under its belt), say this is just the beginning. Their goal? To build a ticketing culture that's fair for everyone, not just those with deep pockets or fast fingers. Beyond Goyang - Blackpink's World Tour and the Bigger Picture After rocking Goyang, Blackpink's taking this energy global-16 cities, 31 stadium shows, from Los Angeles and Paris to Bangkok and Tokyo. It's a reminder that ticket scalping isn't just a Korean problem; it's the same story everywhere, from Mumbai's music festivals to Delhi's cricket matches. What stands out is how fans and organizers are teaming up to fight back. In a world where FOMO is real and tickets vanish in seconds, campaigns like this give everyone a fair shot at the experience-no matter where you're from. There's something super relatable here for anyone who's ever been priced out of a concert or match by scalpers. It's about fairness, community, and making sure the real fans get the front row, not just the richest ones. It's inspiring to see how music brings people together-not just for the beats, but to make things better for everyone. Here's hoping we see more of this energy at our own concerts and festivals soon.
Korea Herald
19-06-2025
- Entertainment
- Korea Herald
K-drama industry stands at crossroads: experts
Symbiotic relationship needed for global streaming services, Korean production bodies The Korean drama industry stands at a critical juncture, as experts and industry leaders call for reforms focused on cultivating balanced partnerships with global streaming platforms and safeguarding Korean production companies' IP rights to preserve the nation's cultural influence. At a forum hosted by the Korea Creative Content Agency, leading experts, including professors of media communications and heads of production studios, gathered to discuss the next phase of Korea's content industry. Hong Seong-chang, the head of Studio S, the drama production subsidiary of SBS, emphasized the need for a symbiotic partnership between Korean studios and international streaming services. Stressing that Korean studios should become more than mere subcontractors, he likened the ideal relationship to that between a crocodile and a plover bird -- mutually beneficial. 'The influence of investors is inevitably strong. (Global streaming services) may have requests, for example, preferring certain genres or wanting dramas to be produced in a particular creative direction," he said, during a forum held in Jung-gu, Seoul, on Thursday. "But in truth, there's only one reason Hallyu (Korean Wave) has grown as it has: because we've consistently created content that resonates with Korean audiences. That's what allowed our shows to gain popularity globally. If we had made dramas tailored to the tastes of global viewers from the start, I don't believe Hallyu would have become what it is today," said Hong. 'This is something even global streaming services can't help but acknowledge. We understand best what makes Korean content compelling, and that's something they recognize as well. Moving forward, the ideal strategy is to establish a mutually respectful relationship -- like that of a crocodile and a plover bird.' Amid skyrocketing production fees and fewer shows being made, partially due to Netflix's foray into the Korean drama landscape, Korea Drama Production Association Secretary-General Bae Dae-sik highlighted the industry's precarious state and the critical importance of intellectual property rights. 'The theme of this forum is the next strategy in the global streaming war, and the reason this topic emerged is because the (Korean) drama industry is on the verge of collapse," said Bae. "When producing Netflix originals, handing over IP ownership to Netflix is not something that should be taken lightly. Without retaining IP, hits like 'Squid Game' or 'When Life Gives You Tangerines' end up benefiting Netflix far more than us," said Bae, stressing that the new administration must develop concrete policies and systems to ensure production companies can retain IP. Bae also proposed the establishment of a dedicated professional institution focused exclusively on broadcasting and video content promotion, separate from the current KOCCA. Pointing out that the Korean drama industry's annual production budget —estimated at around 3 trillion won ($2.1 billion) — far exceeds that of the film sector, which has its own institution, he stressed the urgent need for specialized institutional support to help the crumbling industry.
Korea Herald
08-06-2025
- Entertainment
- Korea Herald
World Webtoon Festival to return with global push
Korea's premier web comic event expands to major shopping complex as industry eyes international growth South Korea's flagship web comic showcase is returning for a second year — this time, on a larger scale. As with last year, the Ministry of Culture, Sports and Tourism will host the event, with the Korea Creative Content Agency overseeing operations. The 2025 World Webtoon Festival will take place Oct. 19–22 at the sprawling Lotte World Mall complex in Songpa-gu, Seoul, a 244,000-square-meter mixed-use development. The new venue marks a shift from last year's boutique setup in Seongsu-dong to one of Asia's largest shopping destinations, allowing for greater international participation and expanded commercial programming. Pop-up stores will occupy 11 spaces ranging from 10 to 100 square meters throughout the mall. These retail spaces will operate beyond the four-day festival window, staying open Oct. 16-26 to capitalize on visitor traffic and commercial momentum. The complex's ice rink will house content exhibitions, while its multiplex cinema will host conferences and presentations featuring industry professionals and creators in a 300-seat theater. This year's festival doubles down on cross-platform storytelling — showcasing how webtoons branch into games, animation and other multimedia formats. Separately, a job fair will connect aspiring creators with production houses to help expand career pathways in the rapidly growing sector. The culture ministry plans broader international participation following criticism that last year's event fell short of its global branding. This year's programming will feature creators and professionals from around the world to bring diverse industry perspectives. The second World Webtoon Awards ceremony will cap the festival's final day by recognizing outstanding domestic and international works across multiple categories. Last year's inaugural festival drew packed crowds to venues across Seongsu-dong. Popular series like "Solo Leveling" and "Omniscient Reader" drove merchandise pavilions, while tech giants Naver and Kakao demonstrated platform innovations, including AI-powered features and interactive viewing technologies. Korea's web comic industry recorded 2.19 trillion won ($1.5 billion) in sales in 2023, marking nearly 20 percent growth year-over-year, according to government data released earlier this year.
Korea Herald
26-04-2025
- Entertainment
- Korea Herald
Reinventing life after K-pop trainee days
Dropped from cutthroat race at young age, former idol wannabes redefine failure in their own ways Beneath the glitz and glamour of K-pop, countless trainees, many still in their teens, spend years perfecting their vocals and choreography, clinging to the hope of one day stepping into the spotlight. A 2022 survey by the Korea Creative Content Agency put their numbers at 1,170. But this figure leaves out K-pop star wannabes outside entertainment agencies -- those training at independent dance studios or trying their luck on platforms like YouTube. For many, the pursuit consumes their entire adolescence. But what happens to those who don't make it? What becomes of the lives shaped around a dream that never came true? We interviewed three former K-pop trainees to find out. 'The things that didn't work out helped shape who I am today' Park Hae-wan, a 31-year-old merchandiser at a food company in Gyeonggi Province, came close to making it. He was part of a 'debut team' consisting only of debut-ready trainees at one of Korea's top three entertainment agencies. During his trainee years from ages 14 through 18, he traded schoolwork for daily vocal and dance practice -- at least eight hours per day. 'Each year, not just the company but the industry itself seems to favor a certain 'type' of idol. Talent matters, of course, but I realized that other factors played a much bigger role,' he told The Korea Herald. 'Though it was disappointing, I decided it was time to move on before it got too late.' Once he left the agency, he turned to studying and was admitted to a university in Daegu. He later worked for two to three years as a vocal coach for idol trainees before securing a more stable role at his current company. According to Park, many trainees who drop out around the ages of 18 or 19 either resume their studies or take on part-time jobs to make a living. Having spent their formative years around celebrities and chasing idealized self-images, the young trainees, he explained, can lose touch with reality, leading to self-doubt and anxiety about life beyond K-pop. "When I was young, not debuting felt like the end of everything. But even the things that didn't work out helped shape who I am today. My experience interacting with adults during training gave me valuable skills for the workplace,' he said. 'I think preparing for the possibility that your dream might not come true is just as important as chasing it." Lost dream revived on YouTube Jeon Yoon-jeong, 29, a psychology graduate from Sogang University, recently surprised her friends by revealing a little-known chapter of her past: six years of K-pop idol training that began in elementary school. As a young K-pop fan who adored groups like Wonder Girls, Big Bang and TVXQ, Jeon first dreamed of becoming an idol after performing the choreography to Wonder Girls' hit 'Tell Me' at a school talent show. Joining an entertainment agency as a trainee was the first step toward that dream. From the age of 13 through high school, she auditioned over 300 times for agencies of all sizes. At 19, her efforts finally paid off when she passed an audition for Mystic Story, a subsidiary of K-pop powerhouse S.M. Entertainment founded in 2013 by singer-songwriter Yoon Jong-shin. "I poured eight hours a day into vocal and dance training as a trainee. But just before I could even join a debut team, the company abruptly scrapped its plans for a girl group. I had no choice but to walk away," she told The Korea Herald. Letting go of her idol dream for the time being, she enrolled in a nursing program at a local vocational college and later transferred to Sogang University in 2019 to study psychology, a field she had always been curious about. 'I never lost interest in academics, even while preparing to become an idol. I hoped that if I ever became famous, people would say I had worked hard in school,' she said. "I didn't end up becoming an idol, but I think having that dream pushed me to work hard and keep up with my studies." The stage she once chased as a trainee is no longer her goal, but music is still very much a part of her life. She performed as a vocalist for the university's R&B music club Abyss, as well as the intercollegiate band club Youth Planning. A year ago, she launched her own YouTube channel, where she has been uploading covers of others' songs along with videos documenting her everyday life as a college student. "Even if I didn't debut as a professional singer, I believe I can still pursue my passion by sharing music on platforms like Instagram and YouTube. No matter where life takes me, whether it's graduate school for psychology or a corporate job, I want music to always be a part of who I am," she said. 'Through various club activities, I realized I wanted to create and sing my own music. I hope to grow as a singer-songwriter by sharing music-related content on YouTube. Back when I was training to be an idol, I used to sing for auditions and agency staff. But now, I can focus on singing the songs I truly love." She noted that her story of an unrealized dream would resonate not only with teenagers dreaming of becoming idols, but with anyone preparing for a challenge, from university admissions to landing a job, emphasizing the value of having a dream, regardless of the outcome. "Just having that dream kept me on the right track. I worked hard in school and tried to be honest in everything, even something as small as not throwing trash on the street," she said. "While many of my peers were all taking the usual route -- studying hard for college --some of them told me they admired the fact that I had something I was passionate about. I never made it on stage as an idol, but I have no regrets. I picked up life lessons no textbook could ever teach me." From idol trainee to K-pop marketer Though they left their idol dreams behind, some trainees have found their way back into the K-pop industry, building new career paths in marketing and other creative roles. Lee Ye-youn, a 27-year-old office worker, once pursued the path of an idol trainee while in college. She was 23 at the time -- an age many consider too late to start training. Her days followed a strict routine. She went to school in the morning, then rushed to the company by 3 p.m. for vocal lessons, followed by solo practice and hours of group choreography in the evening. Most nights, she didn't get home until 11 p.m. After a year of training, she was accepted by a small entertainment agency, but she left shortly after, discouraged by the slim chances of actually getting her debut. "Before I started training, I thought having talent would be enough to get a chance. But things turned out to be way more competitive and complicated than I expected. Most of the trainees had started when they were in elementary school, and a lot of them were already in their midteens. There were many trainees from overseas,' Lee told The Korea Herald. "A debut felt like a distant and uncertain goal. Also, life as a trainee seemed less about expressing myself on stage and more about being shaped into a marketable product. It wasn't in line with my identity or goals.' Her idol career never took off, but the experience she gained as a trainee played a major role in shaping her professional path. Holding on to her passion for K-pop, she joined one of Korea's top three entertainment agencies in January last year, where she worked on artist-related marketing. Her time as a trainee exposed her -- both directly and indirectly -- to various aspects of the K-pop industry, including trends in music, performance and fashion, all of which gave her a deeper understanding of the industry as a whole, she explained. 'I applied to an entertainment agency hoping to better understand how K-pop operates behind the scenes and to play a small but meaningful role in its growth.' Lee recently transitioned to an artificial intelligence startup, where she now works on issues related to content management. 'I'm interested in protecting the rights of artists and creators in the digital space,' she said. "The most rewarding part of my job is seeing illegal content actually get taken down." cjh@
