The landscape of Korean comics, once overshadowed by Japanese manga, has undergone a significant transformation. Since the 2000s, the rise of webtoons — digital platforms for comics — has allowed Korean comics, now widely known by the native term “manhwa,” to establish a distinct identity on the global stage.
Shin Il-sook, the first female president of the Korea Cartoonist Association, is a pivotal figure in this evolving genre. In an era where illustrated storytelling is enjoyed not just in print but also online via mobile devices and PCs, her leadership marks a significant moment in the industry’s transformation.
A seasoned cartoonist renowned for her popular manhwa such as “Four Daughters of Armian” and “Lineage,” Shin expressed profound respect for her fellow Korean cartoonists. She acknowledged the dedicated efforts of both the artists and industry officials who support and promote their work.
“Before the 2000s, Korean manhwa creators faced severe persecution, with comics being labeled as harmful media negatively influencing youth. However, I believe the country’s recent manhwa scene is finding its own path, strongly asserting its presence in the global market through online platforms,” the president told The Korea Times in a recent interview.
The Korean comic market initially suffered due to a negative perception of manhwa, exacerbated when the government permitted the import of Japanese pop culture in 1998, flooding the market with Japanese manga. However, the advent of online comic 스포츠 platforms on portal sites like Naver and Daum in the early 2000s provided a new space for cartoonists to showcase their work, leading to a resurgence in the industry.
“In the late 1990s, when many Japanese comics were officially imported into the Korean market, Korea’s manhwa lost its identity. The Korean comic market, which had been centered around comic magazines, literally collapsed, and many cartoonists became unemployed. It seemed like the era of comics was ending, but it began to revive through digital comics,” Shin said.
Reflecting on the past 20 years of Korea’s comic scene, she observed that cartoonists were compelled to adapt to the online platform market, a transition that, paradoxically, enabled a greater number of artists to establish a presence on the global stage.
“The recent listing of Webtoon Entertainment, which operates Naver Webtoon, on the U.S. Nasdaq stock market (in June), was possible because Korea has uniquely expanded the webtoon market the most,” Shin said.
“Seeing how Korea’s comic scene has grown significantly without much government support or external help, I think it shows how much Koreans love comics. It seems Koreans have great manual dexterity and a strong desire for creation.”
