The moments we spent sitting in front of the television as children, waiting for our favorite animation to begin, become memories that shape not only our childhood but our lives as a whole. When the characters on screen seem to step beyond their fictional worlds and expand the horizons of our own reality, such memories evolve into something more than nostalgia—they become sources of imagination and dreams.

Professor Youngho Kim, who joined the Department of Film, Television and Multimedia at Sungkyunkwan University in March 2026, has long followed that path of imagination and creativity. Over the years, he has participated in a wide range of film projects, including Black Panther and The Garfield Movie, while also contributing to animation production for the game inZOI. Having built a career that crosses screens and platforms, we now take a closer look at the journey that led him from bringing characters to life on screen to the lecture room.

| After many years of experience in the industry, you are beginning a new chapter as a professor. What led you to transition into education?

Since my undergraduate years, I have always hoped to become a professor someday. It was a long-held dream, but more importantly, I believed that education ultimately transforms people—and those people go on to shape the world.

For that reason, rather than entering academia immediately, I wanted first to challenge myself in the industry. Working on various projects in Hollywood allowed me to learn and grow in many ways, and I believed those experiences would eventually enable me to share more practical insights with students.

▲ (Left) During the production of Scoob! / Ghostbusters Wrap Party

Now I feel that the time has come to share those experiences. Having the opportunity to begin a new chapter at Sungkyunkwan University is personally meaningful as well. It feels as though I am finally beginning a goal I have held in my heart for a long time.

| You have worked on a wide range of productions—from live-action films with animation elements such as Ghostbusters and Black Panther to animated films like Scoob! and The Garfield Movie. What similarities or differences did you notice across these production environments?

In the end, they all share the common ground of animation. Whether it is feature animation or VFX-based live-action films, the essence remains the same: characters move and convey emotions. What differs is the method of expression and the creative direction required.

For live-action films such as Black Panther or Ghostbusters, real actors and CG characters must blend seamlessly within the same frame. This requires maintaining physical plausibility and realism so that the characters would integrate seamlessly without feeling out of space.

In contrast, films such as Scoob! or The Garfield Movie center around characters that audiences have loved for many years. In those cases, it is important to respect the characters’ established personalities, rhythms, and movement—their “heritage.” The challenge lies in preserving the essence audiences already recognize while reinterpreting it through a contemporary sensibility.

▲ Black Panther (2018) ©Marvel Studios / The Garfield Movie (2024) ©DNEG

Although these productions may appear quite different on the surface, I believe the key ultimately lies in how strong the fundamentals are. Just as solid drawing skills allow an artist to create both realistic and exaggerated caricatured expressions, strong fundamentals in animation make the choice of style a matter of creative direction.

| Were there particular works that inspired you as an animator, or any personal favorites?

I loved Disney animations and the Looney Tunes series that I watched on television as a child. Among them, Fantasia left an especially powerful impression on me. Seeing how music and imagery could come together in such a powerful way was eye-opening, and it was the first time I thought, “Someday I want to create something like that.”

I was also fascinated by the quirky charm of characters like Bugs Bunny and Daffy Duck in Looney Tunes. Each character had a distinct humor and personality that greatly influenced me.

▲ Looney Tunes ©Warner Bros. Cartoons

A few years ago, while working at DNEG, I contributed to Coyote vs. Acme, a project combining live-action film with Looney Tunes characters. Being able to animate characters I had admired since childhood was personally very meaningful. The film is scheduled for release this year, so I am looking forward to it as well.

▲ Coyote vs Acme (2026) ©DNEG

| After many years working in animation, you joined the game company KRAFTON in 2024. What led you to expand your work into the gaming industry?

At the time, I had spent many years in Canada working on Hollywood films and animation projects. As I gradually achieved the dreams I had envisioned in childhood and saw my name appear in credits, I began to wonder if it might be time to move on to the next stage.

Around that time, rapid changes in AI technology were transforming the creative environment itself. I wanted to explore new challenges within that evolving environment. In particular, I was interested in working in a setting that actively incorporates AI. When I learned that KRAFTON, with its “AI First” approach, was developing Korea’s first life-simulation game, inZOI. The idea of stepping into the midst of such technological transformation and taking on another new challenge ultimately led me to join the team.

▲ During his time at KRAFTON, after the Early Access launch of inZOI

| What was the biggest difference you felt between producing films and developing games?

Films are essentially a one-directional medium. While internal previews or test screenings may provide some feedback before release, the audience’s final reaction only becomes clear once the film is released. Box office performance and critical reception are revealed afterward. I even remember listening carefully to audience conversations as they left theaters after watching films I worked on—the reactions in those moments tend to be the most honest.

Games, on the other hand, feel much closer to real-time interaction. When a game is released in Early Access, as with inZOI, community feedback can immediately influence development decisions. Developers can actively incorporate user feedback during updates, and when a specific need emerges, the direction of development can be adjusted more flexibly.

▲ inZOI ©Krafton

In that sense, while films aim to present a highly polished final product all at once, games feel more like projects created together with the users. That difference, I believe, is both the defining characteristic and the unique appeal of game development.

| As a professor with extensive industry experience, what abilities do you most want to emphasize to students?

One thing I learned through working on numerous projects in the industry is that producing truly refined work is ultimately the domain of professionals. In real production environments, schedules and responsibilities are clear, and the standards for quality are extremely high.

However, I believe it is different when you are a student. Rather than proving perfection, it is a time to try many things and experience many failures. Throughout my own work across films and games, I encountered countless trials and errors, and those experiences eventually became the foundation of my career.

Industries constantly evolve—technologies change, platforms shift, and audience expectations continue to develop. In such an environment, people who know all the answers do not necessarily last the longest. Those who can try again, who are not afraid of failure, are the ones who endure.

▲ Professor Youngho Kim working in the lab during his years studying abroad

For that reason, the most important quality I want to emphasize to students is the courage to fail. I hope they make full use of the time and freedom they have as students, pursuing their curiosity as far as it will take them. Those experiences ultimately become their greatest assets.

| You joined the Department of Film, Television and Multimedia this March. How does it feel to return to academia after many years in the industry?

In the industry, my focus was always on producing the best possible work with my team. Project quality, schedules, and teamwork were the primary standards by which success was measured.

Since stepping into academia, however, those standards feel different. I find myself thinking not only about the final outcome, but also about what kind of influence I can have on each student and what direction I might help them discover. Being present at a particular moment in a student’s university life could become a small turning point in that person’s future. While this brings both responsibility and pressure, it is also deeply rewarding.

Creating great works is important, but ultimately, I believe what matters even more is the process of becoming a great creator. Rather than simply sharing my experiences from the field, I hope to help students discover their own paths.

| As both a professor and a creator, what goals do you hope to achieve?

Since childhood, I have always hoped to contribute in some way to making the world a slightly better place. During my time in the industry, I wanted to influence people through meaningful work, believing that stories have the power to move emotions and shape thoughts.

Now, as a professor, I feel that this role has expanded. Educating the next generation of creators and exploring new possibilities through research are also ways of shaping the world. Ultimately, I hope that what I do can offer someone a small spark of courage or inspiration—whether that person is another creator or a student—helping them take a step forward in their own path.

| Finally, do you have a message for the students of the Department of Film, Television and Multimedia whom you will meet this semester?

I actually have a personal connection with this department. When I was a high school senior, I remember applying to the Department of Film, Television and Multimedia at Sungkyunkwan University. Now, returning here as a professor after so many years feels especially meaningful.

Each of you who has entered this department already possesses great potential and a unique creative identity. Drawing from my recent experience in the industry, I hope to help bridge what students learn in school with the realities of the professional field.

Build strong fundamentals, remain flexible in the face of change, and above all, create in an environment where you can enjoy the process. I look forward to a time in which we learn from one another and grow together.

Reporter: Jung Suyeon