NAVER Careers

I was one of those kids who doodled comics in their notebooks every day, dreaming of becoming a cartoonist. Today, we have academic programs for webtoons and many aspiring artists, but back then, I never considered majoring in comics. Instead, I studied design and joined LINE to create products and design offline stores using LINE Friends IP. This experience led me to NAVER WEBTOON, where I found myself working with comics again. It felt like destiny. Now, as part of the Brand X team, I handle on-and-offline brand designs for global webtoon service, including the US Merchandise Shop, Comic-Con booths, experience booths in Japan and Thailand, and pop-up stores in Korea.

Some say that even your favorite hobby can become a burden when it becomes your job. But for me, work is like indulging in my favorite hobby. I find it immensely fun, and that fun leads to immersion, which then results in great outcomes.
Personally, the essence of comics lies in giving joy to fans. Before starting any project, I ask myself, “How can I deliver the most fun to fans?” To answer this, I read every comment on the work, look up the interviews of webtoon artists, and even join fan cafes. I design merchandise using the expressions of fan-favorite characters or use them as references when designing offline spaces.

While webtoons are based on online services, we also value offline experiences. I think that taking photos with characters in real world, visiting their homes, and buying merchandise that the characters might use can all become unforgettable memories for fans. My job is to craft these complex, multi-dimensional experiences that are challenging to achieve solely through online interactions.
When it comes to offline projects, what matters to me the most is “impact.” At the “Yumi’s Cells” pop-up in 2018, the giant “Hunger Cell (Chulchul)” was perched on top of the Sinchon Station. It was the first time the station placed such a large structure on top. Since the Hunger Cell is the strongest and largest in the webtoon, I thought that visualizing it would have an impact. This larger-than-life display left a lasting impression on visitors, becoming one of the most iconic images associated with the event.

I must tell you about our OFFLINE project in 2021. It was the first urban-style theme park attempted by NAVER WEBTOON. The main concept was to let people experience the most popular works of that time. We had to fill a four-story building in Gangnam with webtoon experience halls, escape rooms, photo zones, and merchandise shops. This was the first of its kind on such a large scale, there were a lot of things to take care of, from naming, logo, and space design to small details like videos and merchandise that would go into the game. I felt much pressure as it would be the starting point of the offline webtoon experience and serve as a milestone.
I thought that for a project of this scale, one person needed to oversee the entire process and set a direction, so I volunteered for the job. As the company assigns roles based on who can best contribute to a project, regardless of their position or domain, when I stepped up, my colleagues were very supportive.
I created and directed the games, videos, and figurines for then-hit webtoons like “Tower of God,” “True Beauty,” and “Tiger Brother – Barkhan.” It was less about the workload and more about how to make everything more interesting. I often check reactions to our projects online. “It was webtoony,” “I had so much fun that I lost track of time,” and “Even the merchandise was high quality” are the ones that stick with me the most.

“The best part of offline projects is that you get to witness user reactions firsthand. The moment you see people fully enjoying something you have poured your heart into is when the adrenaline kicks in.”

I feel lucky to have many thrilling moments at work compared to others. Of course, preparing an offline space is always a race against the clock. In the early hours of the morning on the opening day, as I’m still bleary-eyed and putting the final touches on the venue, I often spot fans roaming around, trying to enter. They want to be the first ones in, wondering what’s inside. Seeing their enthusiasm brings back my senses and makes me determined once again to perfect every last detail, from aligning merchandise to trimming loose threads. Given our webtoons’ popularity, I meet many international users at these events. Witnessing such global appeal firsthand has given me a greater sense of responsibility.
Today’s fans can sense the sincerity and effort put into a project. Even though offline projects are demanding, it’s truly exciting to see the audience’s immediate reaction to your creations. It is the moment when fans fully enjoy the things I have created after much deliberation that gives me an adrenaline rush.

When I start a project, I tend to adapt my lifestyle to it. For example, if a project involves planning physical spaces, I visit other brands’ pop-up stores or places where our target audience would go. I guess that I have been to every place in Seongsu-dong and Dosan Park. It is hard to take direct references from existing spots for webtoon-based spaces, which often feature new and unique content. Nonetheless, I get ideas from these special spaces favored by certain age groups and merchandise prices.
In fact, I don't just look around; I always buy something. If it is a popular or unique product, I make sure to buy and try it myself. I sometimes reach out to the brands I have tried and get inspiration for new merchandise. Unsurprisingly, my house is filled with all sorts of items.

“Thinking hard about what matters most at the end of a project and creating outcomes that are aligned with the company’s direction, I can proudly say I am good at my job.”

As a designer at NAVER WEBTOON, I work with many different people. This includes not only internal colleagues but also external partners such as writers, offline space production companies, and merchandise manufacturers. Not to mention working with colleagues from our overseas branches and companies abroad. I believe that “trust” is the key to collaboration. Your partners feel how sincere you are in your work. Building up experiences gradually over the years is the secret to successful collaboration.
Trust seems to be built through small actions over time. When convincing my counterpart, I prefer to prepare multiple options, if time allows, rather than just explaining with words. As a designer, I find it more convenient and efficient to share ideas while looking at actual designs instead of just talking about them. Many times, a draft that initially seemed unappealing turned out quite well when implemented. In addition, when issues arise during the project, I do not hesitate to ask for help. In a collaborative setting, it seems more efficient to seek help or quickly apologize rather than struggling alone. When I do wrong, I will say, “I’m sorry, but please help me,” even in a group chat with a thousand people. I have never seen anyone say no in such situations. I can ask for help without hesitation because I trust my colleagues, just as they trust me for the performance of tasks.

In my definition of excelling at one’s job, it means you follow it through to the end. It is someone who digs deep into any task and keeps at it until there is no better result. This “end” could be a culmination of details or ideas. Thinking hard about what matters most at the end of a project and creating outcomes that are aligned with the company’s direction, I can proudly say I am good at my job. Many of my colleagues at NAVER WEBTOON and those around me are working in this way. Just looking at them motivates me to keep improving and faring better. We help each other grow.

I have an endless list of what I want to do in NAVER WEBTOON. I would love to create an amazing offline space inspired by my current favorite webtoon “Return of the Blossoming Blade.” I also dream of creating a brand-new, exciting webtoon theme park that goes beyond any conventions.