WEBZINE ACC

It is the era of content consumption. With the rise of the subscription-based economy, people are willingly spending their time and money on the content they like. Over the past three years, the number of users of over-the-top (OTT) services in Korea has increased by an average of over 5%, especially during and after the COVID-19 pandemic. The OTT usage rate among individuals in their 20s is now approaching 96%. Original stories, validated by popularity, including novels or comics, often transcend the boundaries of genres and media and become worldwide phenomena.
As Korean content earned global acclaim, more people are waiting for the next “Squid Game.” Recently, “Mask Girl” and “Moving” have gained attention, showcasing the power of Korean content. While their exceptional special effects and direction are certainly noteworthy, at the core of these successes are stories that reflect Korean sentiment and culture.

<A Time Painter>

A well-made story is addictive. When one story ends, we often long for a new story while keeping the lingering emotions. As the saying, “there is nothing new under the sun” goes, there are limitations to the world of storytelling. Yet, well-made stories introduce new elements while covering universal themes, making the entire narrative seem novel. They deliver the lessons of life that have endured over time through various devices.

There is nothing new under the sun, but it is possible to create new combinations through various materials. These stories become a unique world that is shared by the writer and readers. In a culinary analogy, they are like a signature dish you can only enjoy in a specific restaurant, or a limited edition menu item that can only be found in a particular region.

The freshness of food ingredients is also related to their origin. The same can be said for story materials. The more unfamiliar it is to consumers and the more familiar it is to creators, the more it is perceived as fresh and extraordinary. For example, traditional games like Juldarigi or Dalgona made from sugar may appear fascinating to people in Western countries. In that sense, “local” is a space of opportunity with new possibilities in the global era. While “local” has the meaning of region, it does not necessarily imply the countryside, contrasting it with a city. It rather refers to an entire country or area. Much like the line from the poet Na Tae-joo, “You have to look closely to see that it is pretty,” it emphasizes individuality and reveals a vivid authenticity.

<Dongsanggi>

A story is like a railway track that goes from the material to the theme. It starts with a specific event or situation and reveals universal human desires, leading to conflict. In an era where individuals’ daily lives are transmitted worldwide through social media without filters, “local” is perceived as unique.

Harry Potter, the world’s most famous wizard, primarily portrays a classic hero’s journey. But it distinguishes itself by expressing Hogwarts School of Witchcraft and Wizardry charmingly based on the British traditional school system and culture. The game Quidditch, which seems to blend field hockey and rugby matches with a broom, enhances immersion into the story. Similarly, the success of the 2021 Netflix series “Squid Game,” which became the number one show on Netflix in the United States for the first time, lies in the interpretation of life as a survival game and drawing inspiration from traditional Korean games. This sets a precedent for transcending language and culture to evoke empathy through a reinterpretation of the local.

<Eoduksini>

After all, new stories can be found in familiar surroundings. If you are a creator seeking a new story, it is essential to broaden your perspective from the world map to your living space. By gradually narrowing the range from six continents to Asia, then from Asia to South Korea, and further to Gwangju, you can arrive at the most authentic reflection of the present “you.” Looking deeper into your inner self, you’ll realize that every human comes to the truth that they will die sooner or later. Only then you will understand that the essence of a new story is the one that represents your most authentic self within your limited life. A story created this way crosses borders, transcends ideologies, and touches the hearts of many people.

<I Was Not in Gwangju>

I believe that the future of Korean content lies in glocal stories. Its essence is to find one’s authenticity from the closest place and to talk about life stories through human limitations. How about looking at the familiar surroundings with a new perspective? Your story today might carry the hope that may open the door to a new world for someone on the opposite side of the Earth.