Seonjae, Dongjae, and Jeongnyeon share a common characteristic: they are “previously introduced characters” that have already made their debut. The main characters from the dramas Lovely Runner, Dongjae, the Good or the Bastard, and Jeongnyeon: The Star is Born are not new to the content market. Seonjae first gained popularity through the original web novel, Jeongnyeon through the webtoon, and Dongjae in the drama Stranger. And they’re not the only ones. In the second half of this year, dramas based on pre-existing works have dominated the local market. While there have been major successes in adapting promising original works, concerns are growing that the industry’s own creative capacity may be waning.
There has been a noticeable surge in TV dramas adapted from web novels and webtoons, alongside the rise of spin-offs and seasonal series on over-the-top (OTT) platforms. Faced with increasing production costs, terrestrial broadcasters are reducing their risk by turning to successful, pre-existing content. For instance, this year KBS aired Perfect Family and Dare to Love Me, both webtoon adaptations. MBC is also preparing to broadcast When the Phone Rings in November and Bunny and Her Oppas in the first half of next year, both derived from webtoons. Meanwhile, SBS has greenlit Season 3 of Taxi Driver, originally based on a webtoon. CJ ENM’s cable channe tvN continues its trend of web novel adaptations, airing Jeongnyeon: The Star is Born, following previous successes like Marry My Husband.
In the OTT landscape, season-based dramas are continuing to build on existing storylines, as seen with novel-based series like What Comes After Love (Coupang Play), and spin-offs such as Dongjae, the Good or the Bastard and Spice Up Our Love (TIVING). Completely original productions are becoming increasingly rare, with the preference shifting toward adaptations of pre-existing content due to their established popularity. Producer Park Sun-tae of Bon Factory, known for producing webtoon-based dramas like True Beauty, explained, “The advantage of using webtoons is that they have already proven their content and originality. It also makes casting easier, as actors are often familiar with the work and eager to take on the roles.”
A representative from Studio Dragon, the production company behind Dongjae, the Good or the Bastard, commented, “There’s a significant marketing advantage in starting with an already established fanbase.” However, the increasing reliance on pre-existing works is leading to a reduced role for screenwriters. Although adapting webtoons into dramas still requires expertise, the original content tends to draw more attention, resulting in a decline in the rise of “star drama writers.” The easy accessibility of webtoon and web novel markets may be driving this shift, as more of these works are being adapted into dramas. Drama critic and professor Yoon Seok-jin of Chungnam National University remarked, “It was predicted that one-act play contests on TV, once a gateway for aspiring drama writers, would diminish due to market demands.” He cautioned, “Without efforts to develop new ‘originals,’ Korean dramas may suffer in the long run.”
Despite these concerns, web novel-based dramas continue to gain immense popularity both domestically and internationally, establishing a new formula for success. An official from Kakao Entertainment, which produces dramas based on its Kakao Page and Kakao Webtoon content, shared, “We don’t simply replicate the original work. We carefully consider how to add unique elements to the drama, whether by altering characters, changing the storyline, or incorporating stylish directing.” A Studio Dragon official echoed this, stating, “If a spin-off drama succeeds, it can pave the way for additional derivative works. As intellectual property (IP) evolves, its value multiplies. We need to continue experimenting with this ‘success formula,’ which has long been a common practice in the U.S.”
