Dynamics Between Agents in the New Webtoon Ecosystem in Korea - Responses to Waves of Transmedia and Transnationalism

Aug 21, 2026

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Korean webtoon ecosystem dynamics are shaped by evolving popularity, increasing numbers of production agents, and structural forces linked to transmedia and transnationalism. The article examines agents’ lived experiences within the broader production field by identifying webtoon creators, producers, and platform companies as core agents. Drawing on Giddens’ structuration theory and Hesmondhalgh’s cultural industry framework, it analyzes the interplay between agency and structure. From nine in-depth interviews, it explores how agents negotiate power while responding to two waves driving transnational and transmedia change.

LanguageEnglish

CategoryResearch & Report

FormatPDF

Pages18

Reading Time45 min

AccessFree to download

What is a webtoon?

Definitions and key differences

Transmedia and Transnational Waves of Webtoon

Hybrid and convergence culture context

Dynamics Between Agents in the New Webtoon Ecosystem in Korea: Responses to Waves of Transmedia and Transnationalism JANE YEAHIN PYO 1 University of Illinois at Urbana-Champaign, USA MINJI JANG Korea Creative Contents Agency, Republic of Korea TAE-JIN YOON Yonsei University, Republic of Korea Many forces have shaped the webtoon ecosystem into what it is today. The structure constantly evolves as webtoons gain popularity in and outside Korea and the number of agents entering the production field grows . Transmedia and transnationalism are also important factors that affect the structure of the webtoon ecosystem . This article portrays the lives of agents residing in the larger structure of the webtoon ecosystem . Using Giddens’structuration and Hesmond halgh’s cultural industry as a theoretical framework, this article identifies webtoon creators, producers, and platform companies as three core agents constituting the production field. From nine in-depth interviews with agents, we aim to capture their vivid experiences based on identity and power relations . Following Giddens’duality, an interplay of agency and structure is evident. Moreover, as agents interact with one another, they also struggle for power. Because the webtoon ecosystem is greatly influenced by transmedia and transnationalism, we explore how agents are responding to structural changes created by these two waves . Keywords: Korean webtoon, transmedia, transnationalism, agents and structure, duality, media ecosystem, cultural industry, spreadable media, webtoon production field What is a webtoon? The word is a combination of the words Web and cartoon . These two terms separately are quite familiar and are encountered often in everyday life . Together they denote a series of Jane Yeahin Pyo: [ypyo2@illinois.edu](ypyo2@illinois.edu) Minji Jang: [mingi.jang@gmail.com](mingi.jang@gmail.com) Tae-Jin Yoon (Corresponding author): [gopher@yonsei.ac.kr](gopher@yonsei.ac.kr) [Date submitted: 2019](Date submitted: 2019)‒[01](01)‒[28](28) 1 This article was supported by the Academy of Korean Studies Grant (AKS-2018-C01), and was partly supported by the Yonsei University Future-Leading Research Initiative of 2018 (2016–22– 0069) . Copyright © 2019 (Jane Yeahin Pyo, Minji Jang, and Tae-Jin Yoon) . Licensed under the Creative Commons Attribution Non-commercial No Derivatives (by-nc-nd). Available at [http://ijoc.org](http://ijoc.org). 2162 Jane Yeahin Pyo, Minji Jang, and Tae-Jin Yoon International Journal of Communication 13(2019) cartoons or comics that is published on the Internet ( Korea Creative Contents Agency, 2016a) . Why is this simple combination of two mundane words so unique, or even unfamiliar? Moreover, how do webtoons differ from other cartoons? First, webtoons are different from digital comics . Whereas a digital comic is a scanned and digitally web-uploaded version of a printed comic, a webtoon is digitally produced from its very origin and is intended to be uploaded, circulated, and consumed online . It follows the traits of television dramas and newspaper comic strips in that it is uploaded regularly (usually weekly), but interactions between authors and readers are much more spontaneous and direct in the online environment. In addition, a webtoon is distinguishable from a webcomic in terms of content. Although webcomics similarly aim to be published on the Web, awebtoon is essentially different in that the targeted period of serial publication is usually longer and thus requires a longer narrative . Tailored to the size of the digital screen, webtoon episodes take advantage of readers’vertical scroll activity. The industry is primarily centered on the mobile mediascape as Internet access via smartphones becomes increasingly prominent and prevalent. The webtoon is a uniquely Korean phenomenon as a cultural product that stemmed from Korea’s Internet culture on native Korean platforms . Indeed, the unique service model of p

FAQs

本文用什么理论框架分析韩国网络漫画生态中的主体互动？

文章采用Giddens的结构化理论（structuration）与Hesmondhalgh的文化产业理论作为分析框架，以刻画能动性与结构之间的关系。

文章认为网络漫画生产领域的核心主体有哪些？

作者将网络漫画创作者、制作方以及平台公司视为构成生产领域的三个核心主体，并据此讨论他们在生态结构中的角色与互动。

网络漫画生态如何受到跨媒介（transmedia）与跨民族/跨国（transnationalism）两股浪潮的影响？

由于生态受到跨媒介与跨国传播趋势的显著影响，文章重点探讨主体如何回应由这两股浪潮带来的结构性变化，并在互动中竞争与争取权力。

Aug 21, 2026

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