On the evening of the 23rd, Ma Dong-seok made his long-awaited return to the small screen after a decade away. This comeback did not take place on OTT platforms or in cinemas, but on terrestrial broadcaster KBS, which has recently found itself in crisis due to a protracted slump in its drama lineup. ‘Twelve’ immediately responded with a commanding 8.1% nationwide viewership rating (Nielsen Korea), prompting the question: can Ma Dong-seok’s trademark “fist power” not only break box office records, but also rescue a struggling broadcaster? With both high hopes and nagging concerns, all eyes are now on this high-stakes gamble.

‘Twelve’ represents a make-or-break project for KBS. As the first drama to air in the newly established ‘Saturday-Sunday miniseries’ slot—a bold scheduling strategy following the weekend drama format—the show carries the heavy responsibility of ending a years-long streak of KBS dramas failing to surpass even 5% ratings. At the tip of this ambitious spear is Ma Dong-seok. His return to television comes nine years after ‘Squad 38’, and as one of Korea’s few “10 million ticket” film stars, his very presence serves as an indisputable stamp of commercial potential for KBS.

Korean Zodiac Superheroes: The Most Local, the Most Global?  

Ma Dong-seok’s chosen card is the “Korean-style superhero” angle—eschewing Marvel tropes in favor of a uniquely local twist, using the 12 animals of the Korean zodiac as the central motif. “I wanted to create a hero with a distinctly Eastern flavor,” Ma has stated, noting his direct involvement from conception to script development in building the show’s universe. From Taesan, the Tiger Angel (played by Ma Dong-seok) to Wonsung, the Monkey (Seo In-guk), and Mir, the Dragon (Lee Joo-bin), each character reflects their animal’s attributes through inventive action and abilities, offering a fresh take that is both novel and entertaining.

Releasing simultaneously on KBS (for Korea) and Disney+ (for a global audience), this platform strategy is a bold attempt to demonstrate that “the most Korean can be the most global.” In the wake of Netflix’s ‘K-Pop Demon Hunters’ and the rising expectations for new K-fantasy, the world is watching closely to see if ‘Twelve’ can rise to the challenge.

Anticipation and Doubt: The Dilemma of Ma Dong-seok Action  

The show’s impressive debut ratings clearly reflect the public’s long-standing appetite for “Ma Dong-seok action”—his iconic, one-punch knockouts remain a major draw. However, as seen in the underwhelming reception to ‘Men of the Sacred Night: Demon Hunters’, there are mounting criticisms about repetitiveness and audience fatigue with his established persona.

Even Ma Dong-seok himself acknowledged at the production press conference that, while the action sequences may seem similar, “the context is different”—underscoring that his toughest obstacle may be overcoming expectations set by his own signature style. The fate of ‘Twelve’ depends on just how much innovation he can deliver within the familiar ‘Ma Dong-seok genre.’

KBS’s Future Tied to Ma Dong-seok’s Signature Genre  

The stakes for ‘Twelve’ go far beyond the success of any single drama show. For Ma Dong-seok, it is a critical test to prove the sustained box office appeal of his action formula, as well as his mettle as a producer. For KBS, it’s the chance to revive the reputation of its once-legendary drama department and to validate a bold new programming direction. For the global K-content industry, ‘Twelve’ is a key litmus test for whether a story rooted in Eastern mythology—the 12 zodiac animals—can find resonance with audiences worldwide.

With mounting anticipation and uncertainty, ‘Twelve’ has made its debut. Will Ma Dong-seok be able to shoulder the immense pressure, bringing glory days back to both himself and KBS? Much is riding on his shoulders—perhaps even the future of K-drama itself.

Note: “This article was translated from the original Korean version using AI assistance, and subsequently edited by a native-speaking journalist.”

Photo=MHN DB, STUDIO X+U