The Korean cinema landscape is being swept away by Japanese animation.
On September 24, 'Theatrical Version of Chainsaw Man: Reze Arc' (hereafter, Chainsaw Man) opened and as of October 22, it has exceeded a cumulative audience of 2.3 million, ranking 6th among Japanese anime box office hits. This surpasses the 2.21 million ticket sales of the 2020 hit 'Theatrical Version of Demon Slayer: Mugen Train'. Additionally, 'Theatrical Version of Demon Slayer: Infinity Arc' has secured its place as one of the top releases of the year with 5.48 million viewers (as of October 22), marking a continued dominance of Japanese animation in theaters.
The performance of 'Chainsaw Man' has greatly exceeded industry expectations. The atmosphere among industry insiders suggests, "Viewers are flocking at a much faster pace than anticipated before the release," analyzing it as a "public success that goes beyond a simple fandom-driven box office." Notably, 'Chainsaw Man' adopted an unusual strategy by opening in Korea just a week after its Japanese debut. The Japanese animation industry is confident in the expansion of its global fandom and has aimed for overseas success through what is effectively a 'simultaneous release' in Japan and Korea.
In terms of domestic box office competition, the presence of Japanese animation is overwhelming. While 'Chainsaw Man' has approximately 500,000 fewer viewers than Park Chan-wook's release, 'Decision to Leave', which opened the same day, it has maintained the number one position at the daily box office and continues to show long-term success. It has even surpassed the Chuseok season hit 'Boss'. We are witnessing an era where Japanese animation, previously perceived as niche content, is consumed as so-called 'date movies'.
At the center of this trend is the 'Demon Slayer' series. The 'Theatrical Version of Demon Slayer: Infinity Arc', which opened on August 22, had already recorded 790,000 pre-bookings before its release, predicting a storm of interest. It currently boasts 5.48 million viewers and is threatening the record of 'Suzume’s Door Lock' (5.58 million). It has also topped the U.S. box office, surpassing the lifetime record of the foreign film 'Crouching Tiger, Hidden Dragon'.
Another contender for success, 'Theatrical Version of Jujutsu Kaisen: Shokatsu' that opened on October 16, also crossed 150,000 viewers and continues to maintain a strong position in the box office. As of October 22, three out of the top ten films in the box office are Japanese animations. The film industry is remarking on this phenomenon, stating, "Currently, the Korean box office is led by the 'Big Three' – Demon Slayer, Jujutsu Kaisen, and Chainsaw Man."
The reasons for this box office success are clear. Firstly, the solid original IP (Intellectual Property) is essential. The structure in which popular Japanese manga is expanded into TV series and then into theatrical films has already formed a fan base. With the advent of the OTT era, overseas fans can easily access the original animation, which leads to theater attendance.
Secondly, there is a gap in blockbuster films. Since the COVID-19 pandemic, the number of commercial films released in Korea has decreased, leading to empty theaters. As a result, audiences have turned their attention to high-quality Japanese animations. Additionally, marketing strategies such as photo cards and limited edition posters have stimulated fandom, driving the box office success.
Thirdly, the quality of animation and direction is outstanding. The overwhelming action sequences and emotional depth attract not only devoted fans of the original but also general audiences, establishing Japanese animation as a key genre in mainstream cinema.
Ultimately, the consecutive successes of 'Demon Slayer' and 'Chainsaw Man' demonstrate that Japanese animation has firmly established itself as a box office genre in Korean theaters.
Now, Japanese animation is no longer merely a nostalgic memory or a fandom culture for certain generations. This massive 'anime syndrome' may just be the beginning of a new era.