- Export of majorly successful pop music (e.g. BTS, Blackpink - those hits are often penned by Western composers however, so a bit murky on what product is flowing there)
- Ditto TV (e.g. Squid Game setting TV records with a lot rooted in Korean schoolyard games)
- Ditto cinema (Parasite, a story about social mobility woes in Korean society, winning all the Oscars)
- Ditto gaming (PUBG, other MMOs)
- Ditto literature (bestellers including "Kim Jiyoung, Born 1982", again on social issues in the country)
- Ditto cosmetics exports, beauty trends ("Korean Week" in malls, say), etc.
- Even some Western productions focussing specifically on Korean diaspora/ethnicity (e.g. most recently the expensive "Pachinko" on Apple TV+ (and the novel it's based on), or stuff like Kim's Convenience)
I think you can definitely make a case that Korea is the Asian-country-du-jour among the Western audience (and that's before you get into, say, Latin America, which is far deeper into Korean TV content, also bleeding over into Latin minorities in the USA).
Also, the trends of Korea seem to very much run in parallel with the trends of Japan - overworked business people tired of working all the time with a lack of meaning.
Pretty informative post, thank you.
I lived and worked in Korea for a German tech company for a few years (since returned to Berlin), working on-site with customers, and since about 2018/19 there's a very significant uptick in other people showing an interest and asking me questions about the experience. This often takes the form of "my teenage daughter is a BTS fan and learning Korean" and things like that.
Korea and Japan have a lot of shared history and have deeply affected one another, and in particular the business culture and the economic structure of Korea are heavily informed by Japanese influence, yes.
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On a completely separate note, re interesting depictions of fantasy-Asia in a Western popculture/punk context: The headlining novel of the biopunk subgenre, Bacigalupi's "The Windup Girl", is set in a future Bangkok. I've never been to Thailand and can't comment on how ham-fisted or not this may be, but it was also an interesting step away from the Japanese culture-dominated vibes of speculative fiction pre-2000.
Bacigalupi falls for japanophilia with the Japanese fetishization of geisha (the windup-girl of the title). His emphasis on mechanical power (i.e. springs and animal labor) was interesting though.
The setting, the Thais, the Contraction, the genetically engineered foodstuffs and plagues, and the story arc of Hock Seng, the Chinese aid of the AgriGen exec, are all more interesting.
I agree the Japanese windup girl is heavily fetishized though. But the Japanese themselves are unimportant in the novel. AgriGen is an American company.
Besides Squid Game and Parasite, I've not heard of most of them and in the case of PUBG, I wasn't aware it was from SK or in any way special in this seemingly endless pool of "the same game with another skin"-genre.
As for gaming, I think another good example is the celebrity of various Korean e-sports athletes. I assure you there's plenty of young kids who can name them.
In the end, my assertion is this: Right now, in terms of attention/popularity in Western pop culture (since we're relating to Neuromancer and fiction here), there's only one Asian country that is gaining at such a rate and is the most comparable to the attention Japan enjoyed in the time Neuromancer was written.
I would also readily say that the Korean Wave isn't nearly at the same levels als Japanmania was in the 80s, though. Actually, not sure - I think it both isn't and is also dwarving it at the same time, due to changes in how media is consumed directly vs. impressions by proxy. Depends on the metric.
Obviously there's also a lot of attention on China, but that's more related to economics and politics - although Liu Cixin's works as a scifi author would be a great and very topical example to the contrary! (There's other interesting comparisons to China to make, e.g. both had successful stretches in arthouse cinema with Wong Kar-Wai for example, but so far it's not really converted over to the mainstream for Chinese film.)
And because a few K-Pop bands are now a bit more famous I wouldn't call this a hype cycle. Then again it's hard to tell, I've not been to a department store for 2 years, but I've not heard of any flash mob thingy in literal years. Maybe you're projecting Berlin's weirdness to the rest of us and it's just not there ;)
But it also raises the question of whether Japanmania was as big in Germany in the 80s as in the US to begin with (the pop song "Big in Japan" notwithstanding!), or if this was a BBS/Usenet discussion 30 years ago and I had written the same post about Japan instead, a hypothetical 80s you would have felt similarly.
I'm surprised you've never heard of the kpop groups BTS or Blackpink in Germany.
Try flying through Minnesota, Wisconsin, the automaker capital states. Airports full of now-yellowed directions in Japanese for the consideration of what was frequent visitations by their competitors.
It was a no-brainer to bet on Japanese tech in next generation...even Gibson's dated "5MB of hot hitachi RAM" was far-sighted when he wrote it...just not far enough.
Blade Runner was based on a Philip K Dick book from 1968. Neuromancer is pretty obviously influenced by these.
Oldboy, which was made in 2003, was a pretty popular South Korean film... though nowhere near as popular as Parasite.