Naver Webtoon's 'Wind Breaker' joins growing list of plagiarism cancellations
A decadelong franchise came to an abrupt end last week when Naver Webtoon pulled one of its most popular series from the platform after plagiarism allegations were confirmed.
"Wind Breaker," a sports webtoon about a high schooler who discovers his passion for competitive cycling, had amassed over 600 million views since its 2013 debut. Created by Jo Yong-seok, the series followed protagonist Jo "Jay" Ja-Hyun as he broke into amateur racing circuits and built friendships through a cycling team.
Controversy erupted on June 30 when readers noticed similarities between episode 176 and panels from the Japanese manga "Tokyo Ghoul." Side-by-side comparisons of the illustrations that show nearly identical compositions and character poses spread rapidly online.
The artist made changes to the disputed artwork without any public acknowledgment.
Throughout early July, users uncovered more instances of apparent copying from various Japanese manga and fan art. Each discovery prompted silent edits to the webtoon, which drew further criticism from fans who saw the unannounced changes as dishonest.
On Friday, both Jo and Naver Webtoon issued statements acknowledging the allegations. "Among the reference materials I used during production, some scenes ended up being very similar to — or nearly identical in expression to — those from other works," Jo wrote in Korean. "This is clearly my fault."
Jo posted the story's draft ending on his blog before the work was permanently removed from Naver's platform Saturday.
A pattern in the industry
Tracing represents one of the most blatant forms of plagiarism in the comics industry. It involves copying the exact composition, poses and angles from existing work — often by literally drawing over the original or reproducing it nearly identically.
"Wind Breaker" adds to a growing list of webtoons canceled mid-publication over plagiarism. In 2018, veteran artist Kim Sung-mo's "High School Chronicle" was pulled after readers discovered traced panels from Takehiko Inoue's basketball manga "Slam Dunk."
The plagiarism problem on the platform extends beyond traced illustrations. "Cat on a Hot Tin Roof" was pulled in 2021 after accusations of imitating character designs and layouts from Naoki Urasawa's "Monster" manga and the "Evangelion" anime series. In 2023, "Desperate to Date" faced cancellation over similarities in scripting and panel layouts to the popular manga "Kaguya-sama: Love is War."
Following the "Wind Breaker" fallout, a Naver Webtoon official said the platform has enforced stricter internal measures since 2023. The company conducts regular monitoring and provides educational guidelines to creators, the official added.
Gray areas
Under South Korean copyright law, tracing constitutes an act of reproduction, defined as fixing or recreating work through any method. The reproduction does not need to be identical; substantial similarity is enough to establish infringement. Unauthorized tracing for commercial purposes can violate both reproduction and transmission rights, according to guidelines published by the Culture Ministry.
What makes these cases tricky is that plagiarism remains a complaint-based offense in South Korea, as is the case in many other countries. Without the original rights holder pressing charges, these cases rarely become legal matters. This means that platforms can move on after terminating contracts and removing content.
Given the absence of legal proceedings, some in the webtoon community have downplayed the gravity of these incidents. In 2021, the artist known as "248," who creates "Iseop's Romance" for Naver Webtoon, posted in the platform's comment section defending colleagues who had faced similar accusations. While acknowledging that tracing was "unethical," the artist argued that the practice should not result in career-ending consequences, particularly given the lack of legal action from original creators.
"Comics artists should be more cautious about this issue," said an industry official who spoke on condition of anonymity. "We're in an era when viewers are paying to view work, and they have very high awareness about these issues. It's up to the artists to raise the standard."
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Korea Herald
3 hours ago
- Korea Herald
Why record numbers flocked to MMCA Seoul for Ron Mueck
Korean audiences moved by exhibition's hyperrealist sculptures When a 29-year-old Seoulite, surnamed Jung, arrived at the National Museum of Modern and Contemporary Art, Seoul at 2 p.m. for a last chance to see the exhibition on Ron Mueck on Sunday, she was surprised to see the crowd waiting to enter the gallery. 'It was quite impressive to see the hyperrealistic details of each figure, such as the wrinkles on their faces. The documentary about the artist's process of creating handcrafted works was even more striking, especially in this age when digital technology makes hyperrealism easier,' she said. 'Ron Mueck' drew more than 530,000 visitors during its three-month run, marking a decade-high attendance of 5,671 people per day. The exhibition ran from April 11 to Sunday, showing Mueck's iconic hyperrealist sculptures such as 'Man in a Boat,' 'In Bed' and 'Mask II,' among others. The popularity of Mueck's works in South Korea is attributed to two elements: hyperrealism and the medium of sculpture. Rarely seen in contemporary art exhibitions here, the combination offers a fresh experience to audiences. These qualities were further amplified by social media: A popular Instagrammable installation of 'Mass,' which comprises 100 giant human skulls, went viral. Created in 2018, the title of the installation can refer either to a heap of something, a crowd of people or a religious ceremony. 'I first came across the exhibition on Instagram, and I found it compelling. I did not know much about the artist before I went to the show last month,' said Kim Sung-hyun, 27, from Seoul. 'I go to exhibitions from time to time, and sculpture exhibitions are sort of rare in Seoul, so I enjoyed it a lot, although it was extremely crowded. It made it hard to focus on the show.' Another Seoul resident surnamed Yoon saw the exhibition twice, in both April and May. 'I find contemporary art a bit difficult, but I found myself more connected to Ron Mueck's works than other conceptual art, as it is expressed realistically,' she said. The exhibition was the artist's first major show in the country. Mueck is known to have created sculptural works by sticking to the time-intensive, traditional sculptural process of clay molding and casting in silicon, according to the museum. 'Ron Mueck's works immediately evoke emotional responses and empathy from viewers, as they depict familiar forms and universal aspects of the human experience. Audiences seem to be drawn to their overwhelming scale and astonishing realism," said Hong Iji, a curator at MMCA Seoul. "Interestingly, the absence of wall text in the exhibition space is thought to have allowed for full immersion for the audiences," she added. Park Young-sin, a Korean-language instructor in her late 30s, said she was curious how hyperrealism could be interpreted in visual art, in comparison to hyperrealism and realism in literature. 'I also really appreciated one particular piece that seemed to depict a couple on a date. I felt the emotional tension and pressure the woman was experiencing. The narrative I found in the sculpture was subtle, yet powerful,' she said.
Korea Herald
4 hours ago
- Korea Herald
KBS to hold free Cho Yong-pil concert
Special event to air on KBS2 over Chuseok holiday Cho Yong-pil, a living legend of the Korean music industry, is set to return to the solo stage with a free concert slated for Sept. 6 at Seoul's Gocheok Sky Dome. Presented by national broadcaster KBS, the special event will air on KBS2 during the Chuseok holiday. This marks Cho's first solo concert broadcast on public television in 17 years. The singer holds the distinction of being the first Korean artist to sell over 1 million copies of a single album, as well as being the first to surpass 10 million in total album sales. KBS described the free solo concert as the culmination of a yearlong effort under its annual Chuseok special concert series, which spotlights iconic artists. Past performers have included Na Hoon-a, Sim Soo-bong, Lim Young-woong and Park Jin-young. Tickets for previous such concerts have been distributed though contests and lotteries, with limited first-come, first-served offerings. Details regarding ticketing for Cho's concert are still under wraps, according to KBS. 'We are delighted to present Cho Yong-pil's special performance to the public and consider it a great honor as a public broadcaster,' KBS said in a statement. Cho made his musical debut in 1968 with the rock band Atkins. He rose to stardom in 1976 with the breakout hit 'Come Back to Busan,' and solidified his place in Korean music history with his 1980 solo debut album, which included chart-toppers like 'Woman Outside the Window' and 'Short Hair.'
Korea Herald
4 hours ago
- Korea Herald
JTBC's 'The Nice Guy' blends first love with gangster grit
Hallyu heartthrob Lee Dong-wook breaks away from fantasy, discusses glamorizing gangsters A fresh yet nostalgic mix of romance and crime is coming to the small screen this summer in the new JTBC series 'The Nice Guy,' starring Hallyu favorites Lee Dong-wook and Lee Sung-kyung. The story follows Seok-cheol (Lee Dong-wook), the eldest son in an organized crime family who dreams of becoming a writer, and his first love Mi-young (Lee Sung-kyung). Together, they navigate a story brimming with youthful longing and harsh realities. Speaking at a press event in Seoul on Monday, Lee Dong-wook — celebrated for his performances in TV drama hits such as 'Guardian: The Lonely and Great God' and 'A Shop for Killers' — explained why he took the role. 'For the past four to five years, I've mostly been doing fantasy-based works, and I was feeling a bit worn out,' he said. 'I wanted to do something more grounded and realistic, where I could portray a realistic character.' Adding that he did not do a lot of special preparation for the role, he said, "You could call it everyday acting. At times, it might even feel like you're seeing the real Lee Dong-wook. I wanted to portray a more relatable, ordinary character — someone you might actually encounter in real life — by staying flexible on set and working closely with the other actors.' Director Song Hae-sung described the show's vibe as a throwback to the 1980s and '90s, with a focus on first love and gangster life. 'We aimed for something subtle, like Pyongyang cold noodles — simple at first but lingering in your mind,' he said. Addressing ongoing concerns about glamorizing gangsters — a frequent challenge in Korean noir storytelling — Lee spoke candidly. 'The role of a gangster might come off as old-fashioned or cliche,' he said. 'But by showing the character as somewhat pitiful and pathetic, it feels more real.' He added, 'When I spoke with the director and writers, we all agreed that there would be no glamorization. I had no intention of making the character look cool at all.' 'The Nice Guy' premieres Friday on JTBC and will stream exclusively on Disney+.
