- List of Tables and Figures*
- Preface
- Acknowledgments
- List of Abbreviations
- Introduction
- 1. Evolution of Webtoons in the Digital Platform Era
- 2. Platformization of Korean Webtoons
- 3. Webtoons’ Digital Sphere: Snack Culture and Binge-Reading
- 4. Transmedia Storytelling of Webtoons in Big-Screen Culture
- 5. Webtoons’ Transnational Transmediality
- 6. Sociocultural Perspectives on Webtoonists
- 7. Webtoons’ New Perspectives
- Notes
- References
- Index
- * Tables and Figures
- Tables
- 2.1. Top 15 Dream Jobs among Elementary Students in Korea, 2009 and 2020
- 2.2. Naver Webtoon’s Estimated Annual Earnings in Billions of Won, 2018–2021
- 2.3. KakaoPage’s Estimated Annual Earnings in Billions of Won, 2017–2021
- 2.4. Types of Webtoon Platforms
- 4.1. Selected Webtoon-Based Dramas Aired on Korean Television, 2014–2021
- 4.2. Selected Webtoon-Based Films Released in 2006–2021
- 5.1. Exports of Korean Cultural Products, 2010–2020, in Millions of Dollars
- 5.2. Webtoons in Global Markets in December 2018, by Selected Platforms
- Figures
- 1.1. A manhwabang of the 1970s
- 1.2. Number of webtoons, 2014–2019
- 1.3. Number of webtoons by platform
- 1.4. Webtoon genres in the early 2000s and 2013, by percentage of all webtoons
- 1.5. Kang Full’s Sunjeong manhwa: “Part I. Elevator”
- 1.6. Art from the second episode of the webtoon Misaeng: Incomplete Life
- 2.1. Webtoonists’ annual income in 2018 in 10,000s of won and with percentages of webtoonists by income level
- 2.2. Kakao: Vertical integration in content production as of 2020
- 2.3. Art from the webtoon They Say I Was Born a King’s Daughter
- 4.1. Art from the webtoon Navillera: Like a Butterfly
- 4.2. Art from the webtoon Itaewon Class
- 4.3. The movie and webtoon versions of Along with the Gods
- 6.1. Yoon Tae-ho working on a new webtoon
- 6.2. Art from Yoon Tae-ho’s Moss
- Tables