Why doesn't Korea have master animator despite high interest, talent?

A photo zone is installed in a Seoul theater for "Inside Out 2," which surpassed 7 million viewers within 28 days of its release. Yonhap

The interest in animation among Korean audiences is intense. With countless fans of Disney and Pixar animations, as well as of directors like Hayao Miyazaki and Makoto Shinkai, it's curious why Korea, despite its globally recognized content in dramas and films and the popularity of its comics, has yet to produce a true master in animation.

Disney and Pixar have long cultivated a large fanbase in Korea. "Inside Out 2" surpassed 7 million viewers within 28 days of its release.

"Elemental" ranked third in the 2023 yearly box office, following "12.12: The Day" and "The Roundup: No Way Out."

Esteemed directors like Hayao Miyazaki and Makoto Shinkai also have a substantial following in Korea. Miyazaki's "The Boy and the Heron" attracted more than 2 million viewers without even holding a press screening last year. Shinkai's "Suzume" ranked fourth in the 2023 yearly box office.

Considering the fervent interest in animation among Korean audiences, it's surprising that a true maestro has yet to emerge from Korea.

This isn't due to a lack of storytelling ability. Korean creators have repeatedly demonstrated their prowess.

Director Hwang Dong-hyuk's "Squid Game" (2021) achieved worldwide popularity, and Bong Joon-ho's "Parasite" (2019) made history with four Oscar wins. Director Park Chan-wook, nicknamed "Director Cannes," is beloved by the Cannes Film Festival.

A scene from Makoto Shinkai's "Suzume," which ranked fourth in the 2023 yearly box office records / Courtesy of Media Castle

Unfavorable environment

Given these successes, the question remains: why hasn't Korea produced a master animation artist despite the growing interest and demonstrated talent in other content forms?

The primary issue lies in the environment.

Hahn Chang-wan, a professor of comics and animation at Sejong University, said, "Adults in Korea don't have many opportunities to watch animation content."

He explained that to watch animation, one must seek out specialized channels like Tooniverse and Animax, but even then, it's difficult to find adult-oriented animations during prime time.

"In Japan, animation is widely screened in theaters, creating a larger market. Their audience base is three times larger than ours. Because animation is watched more than live-action, there is continuous technological innovation and accumulation of professional animators, which allows stars to emerge," Hahn said.

He added, "Even low-budget theatrical animations cost at least 3 billion won ($2.5 million). It requires hundreds of people to draw, and when films fail to recoup even 1 billion won, investors become scarce, and new projects vanish. Consequently, young animators are reluctant to enter this market."

He noted that while there are many animation companies in Korea, most focus only on pre-production.

However, it's not all bleak for the future of Korean animation. Hahn suggested that nurturing the main production workforce and establishing a stable system to support these talents throughout their careers would be beneficial.

A scene from director Hayao Miyazaki's animated film "The Boy and the Heron," released this year / Captured from Studio Ghibli website

Short animation series and OTT impact

The rise of streaming platforms also raises hopes for the growth of Korean animation.

"(Streaming service) users inadvertently create their portfolios by watching a variety of content, including movies, documentaries, dramas and animations. The viewership of animation among the 20s and 30s demographic is increasing," he said.

Hahn also highlighted the emergence of young directors who are innovating in music video and commercial animations.

"I wonder if Korean animation should necessarily focus on feature-length films. Competing with Hollywood and Japanese capital in this area is challenging," he said. "Young directors could produce many short animation series and use popular characters from these shorts to create mid-length or feature films."

Culture critic Kim Heon-sik pointed out that the public's excessive focus on realism in works could also hinder significant changes.

"Korean audiences tend to view content that lies between fantasy and realism with skepticism," Kim said. "It would be challenging to create a work like 'Suzume' in Korea, which oscillates between reality and fantasy. Overly pursuing realism can hinder the development of our content."

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