Subscribers of K-Webtoons, in not only Korea but also all over the world, add up to around 200 million as of December 2023. Major Korean Webtoon platform companies such as Naver and Kakao have introduced K-Webtoon to the global market, and it has now positioned itself as part of the major flow of Hallyu along with K-pop and K-film.  The reason we are more interested in K-Webtoon these days is because it can be remade into diverse content by being grafted on movies, drama, games, and music (videos). Especially, unlike short films, drama is divided into multiple episodes, which suits the characteristics of webtoons. Starting with <Marrry Me, Mary!> (2010), many webtoon works such as <Misaeng> and <Itaewon Class> have succeeded as webtoon-based drama, leading to the most recently popular work, <Moving>. Webtoons have found a firm position in the success of K-drama. There surely was a significant influence of OTT platforms on this phenomenon. Meanwhile, unlike Japan where manga and animation are the strongest cultural assets, Korea’s webtoon has grown fast with its unique narrative styles, usage of digital technologies and platforms, and the systemization of webtoon content.

SNUAC Center for Hallyu Studies has organized a discussion table with producers and planners of K-webtoon content, casting a light on K-Webtoon as a major element of the sustainable development of Hallyu.