(Kim Eo-jun, Kim Young-dae speaks - The expansion of boundaries shown by 'K-Pop Demon Hunters' and localized idols

Intro: K-Pop is hot again, but it looks different.

In 2025, while a new political order is being established, K-pop still stands at the forefront of global popular culture. However, the hottest K-pop content currently is not the idol groups we are accustomed to seeing on stage. It is the animation 'K-pop Demon Hunters' produced by major American capital. This work is gaining explosive popularity through social media, YouTube Shorts, and OTT platforms, and its OST has even entered the Billboard charts. In this way, K-pop is expanding in new forms. It is becoming difficult to define K-pop simply as 'the genre where Korean idols dance and sing on stage.' As the boundaries of genre, platform, and identity blur, we must ask again, 'How far does K-pop go?'

Act 1: 'K-Pop Demon Hunters' - A New Battlefield of Animation

"K-Pop Demon Hunters" is not just an ordinary animation. This work thoroughly embodies the sentiments and cultural codes of Korea, making it a global K-pop subculture content. Set against the backdrop of Seoul, it features content that is meticulously researched, including traditional Korean weapons (such as the Cheongryong Eonwol-do and the Wol-do), traditional foods (like tteokbokki, kimbap, and gukbap), and accurate pronunciation of the Korean language, providing viewers with the assurance that "this is definitely Korea." The plot revolves around a simple hero narrative, where a female three-member idol group battles against the male idol "Lion Voice," who has become a malevolent spirit. However, within that framework lie the complex layers of fandom culture, subculture, and the K-pop idol world. Importantly, this work functions as an accessible introductory content for those who have no background knowledge of K-pop. The original soundtrack is also noteworthy. The songs performed by the virtual characters of this work boast high quality, enough to climb the Billboard charts, proving the new possibilities of virtual idols. This isn't just about expanding fandom it signifies the emergence of another facet of the K-pop industry.

Act 2: Localization of K-Pop - Globalization or Export of Technology

The cultural expansion demonstrated by "K-Pop Demon Hunters" is now leading to the export of the K-pop planning system itself. Hive's "Cat's Eye," JYP's "NiziU" and "VCHA," and SM's UK boy group "Dear Alice" are all localized K-pop projects made up of local talents. These groups were selected through auditions in their respective countries, and planning and training have been handled by Korean entertainment companies. This structure is different from simple "Korean idols' overseas advancement." It is similar to how a car factory is established abroad to produce for local consumers in that the "K-pop system" is completed through the combination of local personnel in foreign markets. These groups may have no Koreans or only one member, yet they are recognized as K-pop groups by fans and markets, and at times, they are perceived as foreign. This phenomenon is evidence of K-pop's growing influence, but it also raises the question, "What is the identity of K-pop?" If the essence of Korean culture and systems is not maintained, one must ponder whether it is truly K-pop or merely "pop in the style of K-pop."

Act 3: The Rise of Pseudo K-Pop — Japan's XG, Thai and European Teams

Furthermore, "similar K-pop" that is not directly produced by Korean entertainment companies is also emerging. The Japanese girl group XG is a representative example. They do not claim to be a K-pop group themselves, but almost all elements, such as music style, choreography, and music video composition, are similar to K-pop. The fact that some of the production team members are from Korea also highlights the strong technical influence of K-pop. These "K-pop imitations" arise as a result of K-pop's techniques and sensibilities spreading worldwide, much like a Taekwondo instructor opening dojos abroad. However, if this phenomenon continues, the boundary between original K-pop and similar K-pop may become blurred, and the latter may be more widely accepted as a conventional form of music. Ultimately, K-pop is also creating competitors through globalization. This is both a matter of pride and a challenge to maintain industrial leadership and cultural authenticity.

Act 4: The Present of BTS and Blackpink — The Light and Shadow of Tradition

This change is compared to the activities of existing representative K-pop groups BTS and BLACKPINK. Currently, both groups have temporarily paused their team activities. BTS has completed military service, but full group activities are in preparation, and the timing is uncertain. BLACKPINK has not disbanded, but the members are pursuing individual paths. In the case of Jennie, her solo activities are showing patterns more similar to American pop stars than the traditional K-pop sensibility. This symbolizes the transition from 'K-pop idol' to 'global solo artist.' While fans may have mixed opinions, what is clear is that K-pop cannot lead the future with traditional models alone. The temporary vacancy of these established groups is opening up space for new types of K-pop content and projects to take the lead in the market.

Conclusion: In the Age of Boundaries, How Far Can K-Pop Go?

Today's K-pop has a much wider spectrum than in the past. Idol groups no longer exist solely on stage they form a vast ecosystem that includes animation, virtual idols, localization projects, and similar K-pop groups. Within this, identity and boundaries are blurred. We have reached a point where we must reconstruct the definition of the term 'K-pop'. We have entered an era where K-pop cannot simply be defined by nationality, language, or members. Instead, we need to contemplate what the essence of K-pop is and what the 'core values' are that we must uphold. True K-pop is not merely a form but an emotional exchange based on continuous innovation and authenticity. As we uphold this essence, technology and content should expand freely. Only through such expansion can K-pop continue to exist as 'K-pop' in a new world.