Get Premium"In Korea, fans treat us like K-pop idols. In Europe, we're treated like friends." Kim "Canna
More Idol Than Athlete: Inside the K-pop Logic of Korean Esports Fandom
"In Korea, fans treat us like K-pop idols. In Europe, we're treated like friends." Kim "Canna
K/DA release FIRESTARTER EP, set to perform at Worlds 2026 Opening Ceremony
Tian on 369’s return for Worlds: “You can feel he still has a lot of passion for the game”
T1 Oner : "As Long as You Win in the End, Everything Just Disappears"
Evil Geniuses to shut down all operations on November 2
GIANTX names iTero founder Jack Joseph Williams CTO as its consumer bet pays off
Worlds 2026: inside the LCK’s bootcamp solo queue
Sofm after play-ins exit: “We had absolutely no laning advantage against KC”Worlds 2026 Play-Ins: Our Team of the StageThe match between K-pop fandom and LCK fandom holds at the level of practice. Fan agencies coordinate coffee trucks for LoL Park the way they coordinate them for K-pop recording studios; LED birthday ads for players go up in Seoul subway stations; master fans produce fancams that follow individual players frame by frame; vocabulary from idol communities — 최애 (bias), 악개 (solo stan) — has been carried over without modification; and online platforms host K-pop boards and LCK team boards on the same architecture. That grafting has produced behaviors that Korean journalists, esports organizations, and national lawmakers have begun describing in unusually grave terms.
Korean professional League of Legends began in 2012, in a country that already had a mature competitive gaming culture — built around StarCraft and shaped by a male, PC bang-going audience. That ecosystem had its own rituals, but they were closer to traditional sports fandom. Within a few years of the LCK's formation, the demographic profile of its audience had shifted significantly.
The new LoL fanbase was younger, more urban, and home to a far larger female audience than StarCraft had ever drawn — an audience that overlapped heavily, in age, geography, and cultural habits, with the K-pop fandom that had become Korea's dominant cultural export and one of its most organized civil cultures. Already in 2018, French journalist Paul Arrivé noted the unusually high number of female spectators attending the League of Legends World Championship in Busan, describing a scene that surprised many Western visitors accustomed to viewing esports as an overwhelmingly male space.
On a match day at LoL Park, the venue does not look or sound like a sports arena. The 400-seat hall remains mostly seated, with no drums, no flares, and none of the terrace chants familiar to football audiences. Fans bring plush mascots of their favorite players, handmade banners with nicknames in idol-style typography, and light sticks color-coded by team.
The transition from StarCraft to LoL happened at the same time K-pop fandom was becoming one of Korea's dominant cultural forces. Online fan communities became more organized, and the country's fan economy turned into a major industry. LoL, with its champion-centric design and easily readable individual performances, lent itself naturally to the kind of single-player attachment idol fandom thrives on.
Recent academic research on LCK communities argues that this evolution also reshaped the structure of esports fandom itself, moving it away from decentralized gaming forums toward centralized fan platforms modeled after K-pop services like Weverse, where exclusive content, constant player interaction, and identity-building around individual personalities became central to fan engagement.
The fan culture that grew up around the LCK has the shape of a Korean idol fandom that happens to take a competitive video game as its object. Most of what makes it distinctive — its demographic skew, the parasocial intensity, the volume of fan media it produces, the financial scale of fan-funded activity, and the platforms it lives on — traces back to that origin.
That same structure is part of what made the LCK commercially powerful in the first place. The intensity of idol-style fandom creates levels of engagement few esports leagues can match, from fan-funded events and constant online activity to a merchandise culture that runs at unusual scale and an attachment to individual players that often exceeds attachment to the teams themselves.
Those pathologies came to a head in 2025 around a case the rest of the world followed in confused fragments: the campaign against Lee "Gumayusi" Min-hyeong. It was the most extensively documented chapter of a multi-year cycle of fan harassment at top LCK clubs, not the start of one.
T1Gall (티응갤) is a Korean online community formed in the summer of 2024 on DC Inside, the forum network that also hosts much of Korea's K-pop fan activity. It emerged as a splinter group, expelled from T1's main support community for what other fans considered excessive hostility toward Gumayusi. Its core membership is composed almost entirely of "akgae" (악개) — a K-pop term for fans attached exclusively to one individual, often in conflict with fans of the wider group or team. T1Gall's solo bias is Faker, and its stated goal was to push out anyone seen as competing with him for the role of the club's defining figure. Gumayusi, whom T1 had been positioning as one of the team's future faces once Faker eventually retires, was the obvious target.
Tactics escalated through 2025. Members of the group ran coordinated comment attacks, defamation campaigns, and harassment aimed at Gumayusi and his family. Protest trucks were parked outside T1's offices — first after a defeat to Gen.G in August, then again in November — bearing LED messages that demanded the player's removal. Funeral wreaths were delivered to the club's headquarters, a tactic borrowed from Korean fandom and political protest culture, where funeral wreaths function as a ritualized public expression of contempt.
By autumn, the group's forum had begun hosting posts that crossed into explicit threats, including one that discussed how to engineer a traffic accident that would leave Gumayusi unconscious.
On November 9, 2025, T1 defeated KT Rolster 3–2 at the World Championship Grand Final in Chengdu, sealing the first three-peat in League of Legends history. Gumayusi was named Finals MVP — the first ADC to win the award since 2017. After the game, he spoke about what had been a very difficult year for him:
I always had to prove myself, but this year was different, because finally I feel like I have proven myself to myself. I can say for sure that I am the best AD Carry in the world.
The harassment did not stop. Very recently, Gumayusi got selected on the South Korean Asian Games LoL roster. This appearance got heavily criticized. And T1Gall did not miss that shot to keep harassing Gumayusi with heinous posts and comments.
The institutional response has now extended beyond the club. On November 20, 2025, Democratic Party of Korea representative Jeon Yong-gi — who has worked on anti-cyberbullying legislation since 2020 — published a public statement on Facebook addressing the case directly.
He explicitly named the T1 Support Gallery and called on the Korea eSports Association, Riot Games Korea, and individual clubs to stop acting as "bystanders." "Team cheering cannot be a justification for criticizing a specific player" He also added:
This cyberbullying goes beyond just Gumayusi, every esports player deserves protection.
In April 2026, player agency FANABLE filed civil and criminal charges on behalf of Faker and Gumayusi over defamation, doxxing, protest trucks, and funeral wreaths sent to offices. T1 itself had taken similar legal action against other fan groups in 2024. More recently, online posts targeting Faker and his family resurfaced. T1 publicly confirmed it had resumed coordinated legal action against fans responsible for online harassment and privacy violations of its players.
Korean LCK communities and esports analysts have long had a name for what T1Gall represents: 악성 팬덤 — akseong paendeom, "malignant fandom". The term has circulated for years across Korean fan forums, club discussions, and reference works documenting LCK history, where it is used to describe the polarised, entitled, and player-specific mode of fan behaviour that defines a particular subset of the scene's followers. The diagnosis is not external. It comes from inside Korean fandom itself, which has been naming and arguing about the problem internally for a long time.
The argument has begun to spread beyond League of Legends. When Riot's Valorant Champions Tour announced new content formats and marketing initiatives perceived as borrowing from K-pop and idol presentation, a wave of international fan backlash followed, organized partly around criticism of the "K-popification" of VCT. Riot's head of Valorant esports, Leo Faria, publicly rejected the framing. But the fact that the term itself — "K-popification" — circulated as a recognizable shorthand suggests that the cultural pattern visible in the LCK has become a reference point rather than a curiosity.
None of its defining practices — the birthday cafés, the fancams, the advertisements, the coordinated fan projects, the akgae attachments — is harmful in isolation. Many are expressions of genuine support and community-building, and players themselves often speak positively about the intensity of Korean fandom. Questionned by Korean Prime Minister Kim Min-Seok, Faker has described fan support as one of the central motivations of his career:
In my life, my gratitude toward fans has been huge. Beyond being a gamer, just as a person, receiving so many people’s support is a very meaningful thing.
While players like Deft have openly referred to fans as a “driving force” throughout difficult moments of competition. Taken together and at scale, however, in the absence of the institutional norms older sports cultures spent decades developing, those same structures have also produced forms of attachment the Korean scene is only beginning to define.
The LCK has built something Western esports leagues are still trying to figure out: how to turn competitive video games into a cultural product with the economic depth of K-pop or professional sport. The Korean answer, arrived at through circumstance more than design, was to implant an existing fandom architecture — one of the most developed in the world — onto a new object. It succeeded on its own terms, producing viewership numbers no other region has matched, fan economies on a scale unique to esports, and an industry that now draws attention from the National Assembly.
The rest of the world is now beginning to import elements of the model. The open question — for Korea, and now for the leagues looking to follow — is whether the engagement and the extremes are separable phenomena, or two faces of the same structure.