The new era: Webtoons

Independent Autoethnographies is something that I have experienced in another class – Communication across Cultures (ELL230). Although I have completed an autoethnography before, the Digital Asia approach seems much different as I have learned that there are analytical and creative approaches to writing an autoethnography. Previously, I have written an analytical autoethnography which relied heavily on other research and the reflection of my experiences in a standard essay format. With different ways to approach the Digital Asia autoethnography, I will be able to explore more options and platforms to share my research and experiences.

Sitting in my Global Media Interventions class, Monday morning of week 6 and our lecture is on Webtoons, transformation into the global space and the new era of platformisation. Webtoons history was introduced and I learnt that they were created in South Korea in the 2000’s where comics became digital and online (Yecies, B 2018). It’s the practice of using a mobile scrolling device with the flow of imagery to make a story. The lecturer Brian Yecies (2018), has completed studies on the popularity of Webtoons across countries. Statistics show that Webtoons has a large fan base in Japan and China and it is increasingly growing in Indonesia, Malaysia and even in the United States (Yecies, B 2018).

In my own research time, I googled “Webtoons” and I clicked on the first link. It was in another language and before clicking translate, I had a quick look around to see what I could discover without the English language at the forefront. I didn’t get very far until I was rummaging around in a rabbit hole with like Alice in Wonderland. I translated the page and found that what I was looking at was a gold mine for comic lovers – so many genres, types, and artists! With multiple genres in the Webtoons comic series, it made choosing a comic series hard. There are so many different types of comics within each genre all with a large number of likes and views making my decision difficult. Normally, I am a sucker for romance, action and drama but considering autoethnographies are about experiencing “new and abundant opportunities” (Ellis, C et al. 2011) exploring a new genre was on the cards. I decided to have a quick browse through the Fantasy genre to see what I could find.

With my brief research and viewing of Webtoons and the Fantasy genre, I can see that translation is not always correct which highlights the significance of the imagery used. This was a major epiphany as translations and meaning of words may have a different significance in different cultures and you can often get lost in translation without the images. Thus, making sure that I fully immerse myself into the Webtoons culture to have a better understanding of the comics that are produced. I will have to make sure that I read the text bubbles as well as taking in the imagery of the comics as images are a crucial part of Webtoons and comics. Translation can be defined as “a message that is transferred from one language to another and the tropes of border and bridge work powerfully” (Gambier, Y 2016). Translators for Webtoons, do not need a degree in translation nor do they get paid for their efforts. They are all volunteer which is a crowdsourcing initiative to create a more socially inclusive platform for all.

This initial experience of exploring the Webtoons online community has gotten me excited to explore Webtoons and for further research that I will be conducting throughout the process of this autoethnography.

 

References:

Gambier, Y 2016, Rapid and Radical Changes in Translation and Translation Studies, International Journal of Communication, vol. 10, pp. 887 – 906.

Jenkins, H 2008, Convergent Culture: Where Old and New Media Collide, New York University Press, Chapter 3: Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling, pp. 93 – 130.

Johnston, R 2016, 42% of LINE Webtoon Comics Creators are female and half are read by women, Bleeding Cool, last viewed 28 August 2018, <https://www.bleedingcool.com/2016/02/29/42-of-line-webtoons-comic-creators-are-female-and-half-are-read-by-women/>.

Shin, M 2013, How Webtoons are Democratizing the Korean Contents Industry, Atelier, last viewed 28 August 2018, <https://atelier.bnpparibas/en/prospective/article/webtoons-democratizing-korean-contents-industry>.

Sui, 2014, Tower of God: Season 2, Ep. 108, Webtoons, last viewed 28 August 2018, <https://www.webtoons.com/en/fantasy/tower-of-god/season-2-ep-108/viewer?title_no=95&episode_no=188>.

Wass, J 2009, Manga Guide to Statistics: Statistics with heart-pounding excitement (well maybe), R&D Mag, last viewed 28 August 2018, <https://www.rdmag.com/article/2009/05/manga-guide-statistics-statistics-heart-pounding-excitement-well-maybe>.

Yecies, B 2018, Transcreation Intermediaries in South Korea’s Digital Webtoon Platform Ecosystem, BCM322 Global Media Interventions, University of Wollongong.

 

Advertisements

4 thoughts on “The new era: Webtoons

  1. As an avid Webtoon [Manhwa] reader I applaud you on choosing a killer field site for your individual DA. There are countless online sources and communities that you will be able to engage with and immerse yourself in to become a little more acquainted with the Korean style comic. As you mentioned in your post there are an inexhaustible number of genres and manhwa writers to choose from and I would definitely recommend trying out a couple different genres and writers – especially those you might not normally go for – so that you get the chance to experience a vast array of genres as well as writing and drawing styles. A lot of webtoons are easy to read through and often don’t have too many chapters so I would definitely recommend looking into a couple.

    As you mentioned before again, the webtoon field site is definitely a growing industry as it has been attracting a larger number of international audiences over the last couple of years. There are already a number of online providers that specialise or include ‘English/Western’ translated copies of famous or contracted manhwa – which could be something to look into.
    It may also be interesting to look into the parallels between Korean manhwa and other Asian comics such as Japanese manga or Chinese manhua – which have all been largely successful or much like Korean webtoons are becoming so in recent years.

    I’m looking forward to the project >> will need to be kept posted^^

    Like

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s