Korean studios take helm in animating homegrown webtoons
A scene from an upcoming animated feature “Guardians of the Video Game” / Courtesy of Locus, CJ CGV
Korean animation studios are expanding their strategy to adapt homegrown webtoons into feature films, adding full in-house production alongside global partnerships.
When a hit Korean webtoon got the animation treatment in the past, the actual production usually happened overseas.
"Solo Leveling," based on the hit Korean web novel and webtoon, became the most-watched series on record on animation streaming service Crunchyroll.
It was brought to the screen through a multinational effort involving Japanese studio and Korean companies. This model combines Korean intellectual property with Japan's decades of production infrastructure.
At the same time, a broader movement has been building across the industry, with Korean studios producing theatrical animation domestically from start to finish based on local webtoon stories.
"Guardians of the Video Game," based on Gasfard's Naver Webtoon, is one such project. The animated feature, scheduled to hit theaters on Oct. 14, is produced entirely by Seoul-based studio Locus. It follows the studio's previous film "Exorcism Chronicles: The Beginning," an adaptation of a popular 1990s occult novel that performed well with local audiences last year.
Locus has more webtoon projects in its lineup, including "Barkhan" and "Denma," along with an animated version of director Kim Tae-yong's stage play "Kokdu."
A scene from “Your Letter” / Courtesy of Lotte Entertainment
Separately, "Your Letter," based on Cho Hyeon-ah's webtoon and produced by Studio N, was presold to 166 countries. The film won critical acclaim for its breathtaking hand-drawn visuals and warm, emotional storytelling, proving that a gentle Korean story can connect deeply with audiences worldwide.
However, domestic box office numbers still show a tough reality for local animation. "Leafie, A Hen into the Wild” garnered about 2.2 million tickets in 2011 and still remained the best-performing Korean animated films. That figure is small compared to the more than 5 million admissions drawn by imported Japanese titles such as "Suzume" and “Demon Slayer: Kimetsu no Yaiba — The Movie: The Infinity Castle” in Korean theaters. Homegrown animated films remain a niche market at home, even as Korean webtoons reach massive audiences worldwide.
Industry experts view the recent shift as a step toward building domestic capacity rather than competing directly with Japan.
Kim Yun-ji, president of the Korea Creative Content Agency, pointed to intellectual property expansion as a key breakthrough for the struggling domestic animation industry.
"As we have focused heavily on children's content, the declining population and shrinking broadcast market are accelerating these difficulties," Kim said during a press conference on Sept. 17. "It is clear that we must move toward adult-oriented content."
To overcome these challenges, Kim emphasized building new revenue models by linking animation with webtoons and merchandise rather than relying solely on government support.
The goal is not to replace international co-productions like "Solo Leveling," but to give local studios the option to produce films themselves when they have the right story and capabilities.