Differences in collaboration styles between Korean and Japanese web novels and comics. and Success factors for Korean web novels platforms & authors entering Japan 韓日のウェブ小説とコミックの協業スタイルの違い

Differences in collaboration styles between Korean and Japanese web novels and comics.
and
Success factors for Korean web novels platforms & authors entering Japan

*However, preferences differ between Japan and Korea,
and ignoring this leads to failure.
https://gendai.media/articles/-/143134?page=2

Transcript

1. 1 Differences in collaboration styles between Korean and Japanese web novels and comics. and Success factors for Korean web novels platforms & authors entering Japan 飯田一史(iida Ichishi)2025.1.21
2. 2 I am a journalist and independent scholar writing about web novel & manga/publishing industries. Currently serializing 'Deep Dive! The World of Korean Comics' with Son Jong-woo and Lee Hyun-seok in a Japanese publishing industry newspaper. https://www.shinbunka.co.jp/c at/rensai/koreamangalog
3. 3 Differences in collaboration styles between Korean and Japanese web novels and comics.
4. WebNovel to comic adaptation is common inKorea&Japan. http://www.red-ice.me/theme/s007/index/works_01.php
5. Differences between K&J WebNovel Businesses 5 Japan: Platforms are separate and diverse Example:'Syosetsuka ni Narou'novels adapted to manga on MangaUP!,distributed on Kindle/Piccoma *Each run by different companies **Some integrated companies exist(KADOKAWA,AlphaPolis) ･Separate business models for Novels&Manga ･Readership spread across platforms
6. Differences between K&J WebNovel Businesses 6 Korea: Few Major Companies control the entire content chain Example: MUNPIA/NAVER SERIES novels become webtoons on NAVER WEBTOON ･Integrated business model for Novels & Webtoons ･Popularity concentrates on fewer works ･Blockbuster-style sales approach
7. K&J WebNovel to Comics Businesses 7 Korea (Web Novel to Webtoon): ･Same platforms & BM for Novels & Webtoons(KakaoPage) ･Limited major sales channels ･CP manage both novel and webtoon rights ･Popular works get MG for original authors ･Webtoons:Focus on high-quality studio artwork →high production cost Heavyinvestment in few IPs for high returns
8. K&J WebNovel to Comics Businesses 8 Japan (Web Novel to Manga): ･Rights not sold but managed by publishers CP manage MANGA/webtoon,but not novels ･No advance/MG for original authors Royalties paid after sales (original author ~2%, illustrator ~1%) ･Manga production costs less than webtoon. ･Often uses rookie manga artists 'Try and see' approach with many titles
9. 43470 10831 18963 10490 0 50000 日本2023 韓国2021 Estimated Size:J-Manga vs K-Comics (Unit:100M KRW,1JPY=9KRW) KOCCA『2022漫画産業白書』,出版科学研究所調べを元に作成 オンライン 出版漫画 Japan-Korea Comics market ratio; 3:1 Note:Japan=Retail Sales(Market),Korea=Total Industry Revenue
10. 10 Opportunities for K-Manga artists in Japan ･High demand for skilled artists to adapt web novels to manga ･Some projects have separate artists for storyboarding and illustration No need to create stories (web novels provide plot), but must understand Japanese manga layout/formatting ･Must understand Japanese language and editorial-driven manga production system. Must maintain close communication with editors.
11. 11 Opportunities for Webtoon Authors & CP Or Korean writers and studios create webtoons based on Korean and Japanese web novels for the Japanese market. However, preferences differ between Japan and Korea, and ignoring this leads to failure. It's like Bordeaux wine made for England and Burgundy wine for France, as tastes differ.
12. 12 Success factors for Korean web novels platforms & authors entering Japan
13. Japan-Korea WebNovel market ratio; 1:10 Note:Japan's figures use'Light Novel-Tankobon'sales data from the Research Institute for Publications (covering web novel book publications). The Impress Research Institute's'2024 E-Book Business Report'estimates Japan's 2023 'text- based e-book' market at 59.3B yen,including all text content,not just novels. 10390 918 日本2023 韓国2022 Web Novel Market Size (Unit: 100M KRW, 1 JPY = 9 KRW) KPIPA｢2022年ウェブ小説分野産業現況実態調査」,出版科学研究所｢出版指標年報2024｣を元に作成 ウェブ小説 ウェブ小説単行本（紙）
14. 0 1000 2000 3000 4000 5000 6000 7000 8000 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 size of the Japanese manga market Unit:100 million yen Source:出版科学研究所 comic book manga magazine digital comic 2010s:The rise of MangaApps & e-books 만화 앱 등장 사상 최대
15. Manga apps have made daily use routine. 15 Print Digital Manga Magazin e Comic Book Manga Apps, Web Magazine E-book Example Sales Methods Bundle Single work, multiple chapters included Individual works, sold one chapter at a time Single work, multiple chapters included Update /Viewing Frequency Weekly or Monthly Every 2-4 Months Serialized Weekly. Read daily for free by waiting Every 2-4 Months Price Fixed Discounted
16. 16 K-WebNovel market exploded after monetization. 2008 Joara｢Noblesse｣ Subscription Model BookCube 1episode:100W Single-Chapter Sales 2013 NaverWebNovel(SERIES) Fast Pass 2014 KakaoPage Wait for free 2015 KakaoPage Novel-Comics ･WebNovel industry Size; 2018:4000Billion Won 2020:6000Billion Won 2022:10000Billion Won
17. 17 J-WebNovel market never embraced the paid model." 2015 Comico-Novel launched,closed in 2021 2017 AlphaPolis pay-per-chapter 2018 Piccoma(Novel) Wait for free 2019 LINE Novel launched,closed in 2020 MAGNET Contracted Authors&Tipping → withdrew Peep,TELLER Chat Novel(freemium model) 2020 Novelism ¥5/1000words → withdrew 2022 Kakuyomu Supporter’s Pass But Free-to-read Remains the Industry standard. Since the top service doesn't adopt a paid model, nothing changes no matter what the others do.
18. 18 J-Print Literature market down 60% over past decade+. Unlike Manga, Novels declined as new business models failed to catch on. 97.7 103.2103.0 96.5 95.8 96.4 91.7 86.6 78.4 78.5 83.3 109.6102.7 85.1 78.1 86.2 79.8 76.8 64.1 63.9 54.1 54.8 51.0 52.1 52.2 47.0 46.4 46.7 40.7 40.7 0 50 100 150 2009年2010年2011年2012年2013年2014年2015年2016年2017年2018年2019年2020年2021年2022年2023年 Print Book Sales Index (2008=100) 日販 マーケティング推進部 ストアソリューション課編『出版物販売額の実態』各年から作成 コミック 文芸
19. Challenges for Japanese Web Novel PF 19 ･Authors can't earn from web novels directly. Income comes from book/manga adaptations ･Authors focus on revising book versions, reducing web updates.Leads to reader loss →a Paid model would benefit both: ･Authors get paid faster ･Readers get instant access ･Frequent updates maintain IP longevity
20. A paid model alone is not enough in Japan 20 ･Foreign PF managers often misunderstand: “If writers aren't earning enough, we can pay them and use a paid model to attract great works and authors, beating 'Narou.” ･All attempts have failed or stuck so far
21. Japanese Web Novel Authors(amateur) 21 ･Book publication is their main goal. ･Book/Manga/anime adaptations are status symbols. Many amateur writers want trophies, not money first. Platform incentives don't work well.
22. Japanese Web Novel Authors(pros) 22 ･PF's rewards are too low. Securing 1 professional writer costs ¥3–5 million(₩30–50m)per year each, but most platforms focus on cheaply recruiting amateurs. However, platforms with only amateurs appeal to neither pros, amateurs, nor readers
23. How K-Platforms can succeed in Japan 23 ･Combine publishing+some paid models. A manga adaptation system would be better. ･Partner with Japanese publishers/pro authors. Publishers avoid new PF without track record. Must either;Build trust (needs money/time) ･Invest heavily in marketing/author acquisition ･Wait to build credible results
24. Introduction year s The Product Life Cycle of Web Novels IP Growth Maturity Decline Media Web Novels To Print Books Comic Anime,Drama, GAME,theater 2nd,3rd season Years 1-2 2-3 3-7 5-11 Revenue Small Moderate Huge Substantial Cost Inexpensive Pricey Expensive Costly Revenue Generated By the IP production cost Anime adaptations define a work & PF's success.
25. Japan has a well-developed IP value chain 25 In Japan's web novel industry, having hit works adapted into anime is a key sign of success. Writers don't trust a platform's potential until it produces an anime. It takes 10 years to create multiple anime hits, which is why web novel businesses struggle to survive in Japan.
26. Challenges for K-web novel authors enteringJapan 26 ･Translation costs are high compared to Comics, and the market is small. If a webtoon version is popular, it's enough to sell that, with no benefit in translating novels. ･Few platforms allow selling web novels, and potential revenue is low.
27. Challenges for K-web novel authors enteringJapan 27 ･While "Korean literature" is popular, web novel books don't sell well on Korean literature shelves or web novel shelves in bookstores due to different audiences and lack of recognition. •There are no platforms for commercial use or corporate accounts for web novels, so methods like posting only the beginning for promotion are not possible.
28. Challenges for K-web novel authors enteringJapan 28 Gaining popularity on new web novel sites requires matching the trends of each PF. For overseas authors, understanding Japanese trends and writing naturally in Japanese is difficult.
29. Challenges for K-web novel authors enteringJapan 29 Foreign writers using AI translation often say, "Japanese web novel works are low-quality, we can create better ones." However, no foreign work has succeeded in Japanese services. •AI translation doesn’t fully capture a novel’s appeal. •Free sites(Japan) and paid services(Korea) serve different reader preferences. Those used to paid services don’t understand free-site enjoyment.
30. Summary: 30 ･Korean comic artists and businesses have chances in adapting web novels into manga or webtoons. ･Success in Japan's web novel market is difficult and time-consuming. Japan Is not a 빨리빨리 country. ･Understanding cultural, business, and IP differences is key to success.