Japanese Animation Dominates Korean Box Office,Reflecting Shifting Fandom Power
SEOUL – A surge in popularity for Japanese animated films – dubbed the “Gwiju Top” consisting of Demon Slayer,Chainsaw Man,and Spellbound: Death Retreat – has dramatically reshaped the Korean box office this year,attracting a dedicated 2030 generation fanbase and prompting a re-evaluation of theatrical distribution strategies. spellbound: Death retreat opened to crowded theaters and topped advance sales, continuing a trend established earlier this year.
The success builds on the momentum of Demon Slayer: Infinity Edge, which drew 540,000 viewers on its opening day and ultimately amassed 5.66 million viewers nationwide. Chainsaw Man: Reze version followed,reaching 3.3 million viewers. This wave of popularity signals a broader acceptance of “otaku” culture, now considered a mainstream force driving theatrical attendance, according to Gu Bon-seung, representative of the import company for Demon Slayer: Infinity Edge.”We have already moved beyond the period when we talked about ‘otaku’ culture very limitedly, and that fandom culture has now become popular and is leading the public…”
The films resonate with a generation born in the 2000s, who grew up with these comics and their animated adaptations. Viewers like Lee Dong-hee explain the appeal: ”I think our age group had a preference for the kind of feeling that only animation can create, and because we were more exposed to the original cartoon…”
Despite similar plot structures – an unknown threat to humanity and a protagonist gaining powers to fight back – the films’ appeal extends beyond narrative. Audiences are drawn to the intense action sequences and morally ambiguous characters. “If you fight mercilessly, dopamine explodes…” noted Kim Byeol, a moviegoer. Kang Yu-sin added, “Rather than encouraging and punishing evil, even bad guys were actually good guys (there are many of them).”
The accessibility of the source material via OTT platforms has lowered the barrier to entry for theatrical viewings, while the desire for a high-quality cinematic experience and repeat viewings – mirroring the practice of rereading favorite manga – are driving attendance. “Because action scenes have a lot of content…” said Kang Yu-sin, while Lee dong-hee cited “the desire to see a spectacular production in a good theater…”
This success suggests a shift in the Korean film market, indicating a need to prioritize catering to dedicated fandoms over relying solely on films intended for broad national appeal, particularly as the number of films reaching 10 million viewers domestically has declined.
