Vigloo unveils YA microdrama made in just two months by tiny team using AI

Microdrama platform Vigloo has released its first English-language vertical drama fully produced using artificial intelligence (AI), which was made in just eight weeks by a team of fewer than 10 people.

Fantasy microdrama Bloodbound Luna

Made for mobile viewing, Bloodbound Luna forms part of Vigloo’s strategy to produce roughly 30% of its annual slate using AI-driven studio workflows, including animation.

The 22-episode young-adult series tells the story of a young woman caught between warring species after discovering she is a rare wolf-vampire hybrid.

Vigloo said the series marks a significant evolution from its earlier AI-assisted productions, moving towards fully generative storytelling, from visuals to voice performances.

The South Korean company said its previous in-house AI title, Met a Savior in Hell, surpassed four million views, which the platform claimed signalled “real audience appetite for high-quality, AI-enabled storytelling.”

It added the production reflects a broader shift in entertainment where smaller studios can operate in traditionally high-cost genres like fantasy.

The company also plans to develop AI-driven content through IP partnerships across web comics, serialised web fiction and games.

“AI is not replacing the human creativity behind storytelling; it’s expanding what creators can achieve,” said Neil Choi, CEO of Vigloo. “With Bloodbound Luna, we’ve shown how small teams can scale their creative vision and produce ambitious genre stories.”

Vigloo develops original IP for the US, Korean and Japanese markets, sourcing scripts directly from local creators, and releases content worldwide in nine languages.

It is operated by SpoonLabs, a content platform company backed by investments from leading venture capital firms and Korean video game company Krafton.

Earlier this year, Han Choi, Vigloo’s US content lead, told C21 it is looking to diversify beyond the traditional “Cinderella” stories of the vertical content industry to attract new audiences as it expands its US and global footprint.

Vertical dramas, typically designed for mobile viewing and often structured in short episodes, have surged in popularity in recent years through apps such as ReelShort, Candyjar and DramaBox.

However, the rapid growth of the vertical drama sector is being accompanied by increasingly extreme storylines, with a leading industry voice warning that social media-driven marketing strategies risk turning the format into a “race to the bottom.”

Jen Cooper, a vertical drama industry expert who runs the @verticaldramalove social media account, recently said the way vertical dramas are being promoted in clip form on social media is leading to the creation of toxic and potentially harmful content.