'KiDnap Game,' 'Merry Berry Love' show how Korea-Japan dramas are evolving

Korean and Japanese creators are increasingly joining forces on television dramas, but the latest wave of collaborations is moving beyond the once-novel spectacle of simply putting stars from the two countries together.

Two new series, "KiDnap Game" and "Merry Berry Love," illustrate how Korea-Japan co-productions are evolving as producers combine different production systems and storytelling styles from the development stage while setting their sights on audiences beyond either country.

Channel A's "KiDnap Game," which premiered Tuesday, is a thriller revolving around an unprecedented series of kidnappings that simultaneously occur in seven Asian cities: Seoul, Tokyo, Taipei, Singapore, Bangkok, Manila and Naha.

The global project is a joint production involving Korea, Japan and Hong Kong. Japanese actor Kentaro Sakaguchi takes a leading role alongside Korean star Lee Joon-gi, marking the first time the two actors have worked together.

A day later, CJ ENM-produced "Merry Berry Love" premiered on Japan's Nippon TV and Disney+. The cross-border romance follows Yubin, a Korean spatial designer whose career has collapsed, and Karin, a Japanese female farmer, as their relationship unfolds on a picturesque island.

The near-simultaneous arrival of the two dramas reflects a broader transformation in cross-border productions. Rather than simply assembling Korean and Japanese talent in one project, producers are increasingly attempting to merge different production environments and storytelling conventions while targeting the global market.

In the past, the pairing of Korean and Japanese actors was often itself the main selling point of a joint production.

Producers attracted attention by casting recognizable stars from both countries or combining the emotional style associated with Korean dramas with distinctly Japanese sensibilities.

Cross-border romances starring actors from both countries appeared regularly, as did Korean adaptations of Japanese source material. But in some cases, the "Korea-Japan collaboration" label attracted more attention than the quality or competitiveness of the work itself.

Production structures also tended to be less integrated. Rather than Korean and Japanese creators working within a single system, projects were often led primarily by one side, with the other participating in a supporting role.

That environment has changed significantly with the globalization of the content industry.

As entertainment from around the world has become readily accessible, there is less incentive to develop a series solely for either the Korean or Japanese domestic market. At the same time, the global rise of Korean content and growing international interest in Japanese entertainment have encouraged producers to combine the strengths of both industries.

Streaming platforms have made such collaborations particularly viable.

Unlike terrestrial or cable television, where a show's performance can be heavily tied to a particular country's broadcast schedule and ratings, streaming services allow content to reach viewers across multiple countries after its release. Cross-border collaboration among production crews has also become easier than in the past.

"KiDnap Game" and "Merry Berry Love" therefore represent more than dramas featuring actors of different nationalities. Both involve collaboration among creators from multiple countries and attempt to draw on their respective production experiences.

The key question is whether the strengths often associated with each country's content can coexist naturally: the fast pacing and genre-driven immersion that have helped Korean dramas gain global audiences, and the detailed characterization and emotional subtlety often associated with Japanese productions.

In the streaming era, nationality itself is becoming less of a barrier for viewers.

Korean audiences are increasingly accustomed to Japanese actors and settings, while Japanese viewers regularly consume productions created by Korean filmmakers and studios. With Netflix and other streaming services making Korean and Japanese shows readily available across borders, dismantling those boundaries during the production process is becoming a natural next step.

But a Korea-Japan collaboration does not automatically translate into success.

Differences in production culture and audience preferences can create new challenges. Production methods and decision-making structures must be coordinated, while actors and crew members may have different working practices. Even subtleties such as dialogue and directing styles can require careful adjustment.

Ultimately, the cross-border nature of a project may attract initial curiosity, but the quality of the drama itself determines whether audiences continue watching.

Korea-Japan co-produced dramas are hardly new. What has changed is the industry surrounding them. "KiDnap Game" and "Merry Berry Love" could offer a glimpse of whether a more deeply integrated model of collaboration can resonate with audiences in both cultures — and beyond.

This article from the Hankook Ilbo, the sister publication of The Korea Times, was translated by a generative AI system and edited by The Korea Times.