On the evening of July 6, 2025, internet broadcaster and virtual idol group producer Oh Young-taek, better known as Woowanggood, publicly announced a temporary suspension of his YouTube activities. This decision followed a series of controversies surrounding his fan game distribution platform, Wangtabus Games, and past remarks about the popular rhythm game DJMAX Respect V. Woowanggood issued a heartfelt apology, acknowledging the hurt and disappointment his words and actions caused among fans and the broader community.
Woowanggood's apology, shared directly on his YouTube channel and in his Naver fan cafe Wangmulwon, began with a sincere expression of regret: "I sincerely apologize to those who were hurt and disappointed by my words." He reflected on his past behavior, admitting that "through the warm criticisms and reproaches of many people, I deeply realized how big a mistake I made." He took responsibility for his "inadequacy and thoughtlessness" that led to discomfort and promised to be more mindful moving forward.
During his announced hiatus, Woowanggood stated he would focus on resolving the complex issues related to Wangtabus, the fan game platform he manages. He emphasized that he would step back from his role as a content creator and broadcaster to concentrate on addressing the outstanding problems responsibly as a manager.
The root of the controversy lies in the fan game Wangjaemax, distributed via Wangtabus Games. Wangjaemax is a PC rhythm game developed using logos, motifs, and naming inspired by Neowiz's DJMAX Respect V, under a conditional permission allowing free distribution. However, the Korea Copyright Association (KOCSA) revealed on July 4, 2025, that Wangjaemax included unauthorized use of multiple copyrighted songs, including cover tracks, without proper contracts. KOCSA confirmed that the game had been downloaded over 480,000 times, a figure that significantly exceeds what is considered private copying under South Korea's Copyright Act Article 30.
Before the public apology, the issue had already surfaced. On June 16, 2025, Woowanggood's fan cafe made Wangjaemax accessible for download by anyone, not just members. This wide availability contributed to the escalating concerns over copyright infringement. A KOCSA official noted, "We will pursue copyright infringement measures to the end. There will be no letting up or half-measures."
Compounding the situation were Woowanggood's past remarks about DJMAX Respect V during a live internet broadcast on April 7, 2023. After finishing the DJMAX content, Woowanggood commented while launching Wangjaemax, "(DJMAX) is too uninspired, hurts my eyes, and the hit feeling is nothing special, it's just efficient." These comments, perceived as dismissive and insensitive, resurfaced amid the current controversies, fueling criticism. The replay of that broadcast has since been removed from his YouTube channel.
Further scrutiny of Woowanggood's attitude toward DJMAX can be traced back to a 2020 Steam Curator review, where he expressed frustration with the game's music, stating, "The game's quality is decent, but the songs are too tiring, it's boring, and new songs are also terrible. The songs are too long, it's real."
The public reaction to Woowanggood's apology was swift and largely critical. Within 30 minutes of posting, the statement received over 2,100 likes but also 1,320 comments, many expressing dissatisfaction. Critics pointed out that the apology did not directly address the serious copyright infringement issues highlighted by KOCSA or the recent decision to make over 1,600 videos on Woowanggood's and the Isekai Idol channels private. Fans voiced confusion and anxiety, with comments like "Please explain" and "Is the channel being reorganized?" reflecting uncertainty about the situation's full scope.
Adding to the tension, in early July 2025, a significant portion of content across Woowanggood's YouTube channels was made private. Although fan cafe management assured the public that this move was "not due to copyright issues," skepticism remained widespread.
Industry experts have weighed in, drawing parallels to similar cases such as Japan's Hololive Live, suggesting that this controversy may serve as a turning point for improving copyright awareness and management in the fan-driven digital creator ecosystem. They emphasize the need for creators and their communities to take greater responsibility for content distribution, copyright compliance, and fan engagement.
The unfolding saga illustrates the complex challenges faced by digital creators in balancing fan service, creative freedom, and legal obligations. Woowanggood's situation underscores the increasing scrutiny on fan games and derivative works, especially when they involve popular intellectual properties like DJMAX Respect V.
As Woowanggood embarks on his hiatus, the community watches closely to see how he will navigate the resolution of these issues. Will his efforts to address the problems as a manager restore trust among fans and the broader gaming and streaming communities? Only time will tell.
For now, the controversy remains a cautionary tale about the responsibilities that come with digital content creation and the importance of respecting intellectual property rights in an era where fan engagement and content creation often intersect.
