In the current age of global communication and rapid technological advancement, there is a growing phenomenon of impostors spreading misleading narratives about the Democratic People’s Republic of Korea (DPRK). While their true intention remains unclear, these individuals create fake accounts on social media platforms, such as X (formerly Twitter), Facebook, Instagram and TikTok, claiming to represent ordinary citizens of the DPRK. Many of these accounts rely on reused images and videos from other platforms to construct their stories, which can mislead international audiences curious about the DPRK.
Accounts Recycling Media to Mislead
Examples of such impostors include accounts like Air Koryo Stewardess and 평양여리니. These accounts post stories and visuals purporting to depict daily life in the DPRK. Upon closer examination, much of the content shared by these accounts relies heavily on imagery and videos sourced from other platforms. For instance, the Air Koryo Stewardess (@misskimpyongya1) account features promotional-style graphics and photos that appear to mimic state-created materials but are not verifiable as originating from the DPRK. The design elements in these posts, such as bright, overly polished visuals and Western-style slogans like “Comfort, Style, Efficiency,” do not align with the visual and stylistic conventions typically seen in genuine DPRK-produced materials. One post showcases an image of an Air Koryo aircraft accompanied by marketing-like text, which stands out as inconsistent with the reserved and formal tone of authentic DPRK media.
The account 평양여리니 (@qDic6KNsmzIJwzQ) – Young person from Pyongyang (literal translation) similarly attempts to portray daily life in the DPRK, but much of its content appears curated for effect rather than authenticity. One of its most notable posts features a photograph of An Chang Ok at the Pyongyang Airport, a well-known gymnast, and appears to showcase a moment of pride. Account claimed they made this picture and met her at the airport. However, closer inspection reveals a watermark from a Chinese platform on the image, suggesting the content may not be original. This is a recurring theme in content shared by the account, which frequently uses images bearing marks or characteristics suggesting they were not taken in the DPRK but stolen from the foreign tourists and guests. Such posts create an illusion of daily life in Pyongyang but fail to align with verifiable realities.
Another prominent example is the TikTok account Move to North Korea (@movetonorthkorea). This account often uses videos and photos recycled from Chinese platforms, while the language used in captions frequently incorporates south Korean expressions and dialect, which further undermines its credibility. Moreover, the English language narrative style used by this account does not resemble the linguistic or cultural patterns typically associated with English-speaking individuals from the DPRK. Instead, it reflects an external perspective, crafted to appeal to a curious international audience rather than presenting an authentic DPRK viewpoint. Such accounts capitalise on the global intrigue surrounding the DPRK to gain attention and engagement.
This phenomenon is not new. In the past years even media outlets have mistakenly promoted fake accounts as legitimate sources of information about the DPRK. For instance, claims about an official Korean Central Television (KCTV) Facebook page were widely circulated but later debunked. These incidents highlight the need for careful scrutiny of such content.
Why Is This a Trend?
The global fascination with the DPRK, driven by its unique position in world affairs and independent policies, makes it an easy target for impostors. Many people are eager to learn about life within the country, and this curiosity is exploited by those fabricating content. The accessibility of social media platforms, coupled with limited understanding of the DPRK’s realities, provides fertile ground for such activities. Additionally, the anonymity provided by online platforms allows individuals to create accounts and circulate misleading narratives without accountability. The creators of these accounts often have self-serving motives.
For instance, they may seek monetary gains by generating high engagement through views, likes, and shares, profiting through platform monetization. Others aim to spread propaganda that distorts perceptions of the DPRK, serving broader political agendas. For some, the mystique of the DPRK offers an easy route to gaining online fame and notoriety while maintaining their anonymity. Furthermore, certain accounts may align with external interests seeking to manipulate global opinions about the DPRK. Official DPRK media outlets or accounts seldom engage in addressing or debunking misinformation directly. This absence contributes to a vacuum where false narratives can thrive unchecked which can unintentionally allow fabricated stories to persist and capture the attention of global audiences eager for sensational or unexplored perspectives. This creates a fertile environment for impostors to exploit, perpetuating inaccuracies and misunderstandings about the DPRK.
Identifying Red Flags
Despite impostors efforts to appear credible, these accounts often exhibit telltale signs of inauthenticity. Recognizing these red flags is easy and can help differentiate genuine content from impostor accounts:
- Videos and photos frequently originate from other platforms, particularly Chinese social media, rather than the DPRK itself. These images often carry telltale signs such as watermarks, poor resolution, or metadata that link them to sources entirely unrelated to the DPRK. Watermarks from platforms like Weibo or Douyin are particularly common and serve as clear evidence that the content has been repurposed. Additionally, inconsistencies in image quality, such as mismatched lighting or pixelation that suggests editing, can further expose the inauthenticity of the material.
For instance, an image claimed to be from Pyongyang might reveal metadata showing it was edited with software like Photoshop, with timestamps suggesting it originated in locations far from the DPRK, such as Europe, North or South America. These clues further emphasize the fabricated nature of the content, as the inconsistencies in the metadata point to its creation or modification in regions unrelated to the DPRK. Such evidence undermines the credibility of the narratives presented by impostor accounts, making it clear that the media has been manipulated to mislead audiences.
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The use of South Korean dialects or phrases, as seen in some accounts, contradicts the linguistic norms of the DPRK. Authentic DPRK English narratives tend to be formal and reserved, whereas these impostor accounts often adopt casual or colloquial tones aimed at foreign audiences. For example, South Korean terms like ‘Hanguk’ (한국) for Korea are commonly misused in contexts meant to represent the DPRK, where the term ‘Choson’ (조선) is used instead. Similarly, phrases like ‘Gomawo’ (고마워) for ‘thank you,’ which are casual and popular in South Korea, are not used in the DPRK, where ‘Kamsa’ (감사) is preferred.
Additionally, many impostor accounts rely on mechanical translations for Korean text, leading to awkward phrasing or AI-generated errors. This includes the use of terms or idioms that hold no cultural or linguistic significance in the DPRK dialect, further exposing these accounts as inauthentic.
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Claims of being located in Pyongyang or other parts of the DPRK often fail to align with metadata or visual evidence. Additionally, timing discrepancies for posting this content can expose these impostors. For instance, posts supposedly made in Pyongyang’s time zone often appear to align with activity patterns from time zones outside of the DPRK, such as North/South America or Europe. These timing inconsistencies, coupled with other mismatches, further discredit the authenticity of such accounts.
- In the DPRK, network usage primarily revolves around Kwangmyong, a domestic network connection system that provides access to educational resources, websites, and virtual spaces designed to support national priorities. This system also includes services such as online VOD streaming through Manbang, e-commerce via platforms like Manmulsang, and variety of other apps and services localized and tailored to needs of Korean People. These offerings ensure that citizens have access to necessary digital tools without relying on global platforms, which are widely criticized globally for their potential to spread misinformation, interfere in local politics matters, and often promote harmful content. The DPRK focus on a self-reliant digital infrastructure reflects an awareness of the negative influence social media can have on society, an issue that has been highlighted worldwide.
Global internet access, when necessary, is typically available in specific public spaces such as universities, research institutions, and libraries, where it is used for academic or professional purposes. The appearance of accounts frequently engaging on platforms like TikTok and X, posting high-quality content, and maintaining consistent activity patterns contradicts this structured and purposeful approach. Such behaviour does not align with the realities of how internet services are utilized in the DPRK, further calling into question the authenticity of these accounts.
- Genuine DPRK-produced media is characterized by traditional aesthetics and reserved designs that emphasize simplicity, cultural heritage, and collective progress. For example, posters and graphics often highlight workers or students in harmonious settings, with slogans promoting unity, progress and self-reliance. In contrast, impostor accounts frequently adopt Western-style branding with minimalist visuals, bright colors, and modern design elements that feel out of place. These accounts may use exaggerated slogans like “Luxury Comfort” or “Cutting-Edge Technology,” which are inconsistent with the understated tone and purpose-driven nature of authentic DPRK media. Such design choices make these accounts easily distinguishable from genuine content.
- Authentic DPRK media focus on a cohesive narrative aligned with state messaging, often centered on themes such as self-reliance, national pride, and societal progress. These narratives are conveyed with formality and consistency, often referencing historical achievements or highlighting community efforts. Impostor accounts, on the other hand, often mix conflicting themes or include elements that do not align with DPRK culture. For example, they may depict exaggerated scenes of modern conveniences, such as high-end shopping malls or luxury living, which do not match the priorities showcased in real DPRK media. Additionally, these accounts frequently combine rural and urban imagery in unrealistic ways, further exposing their lack of authenticity.
The Spread of False Accounts and Its Broader Implications
The proliferation of fake accounts claiming to represent the DPRK has significant implications that extend beyond mere misinformation. By recycling and misrepresenting media, these accounts craft a distorted and often sensationalized depiction of life in the DPRK. Such portrayals can mislead audiences or foreign media, fostering misconceptions that skew perceptions of the country and its people. This misinformation not only affects casual observers but also informs narratives within global media and academic discourse, creating a ripple effect that perpetuates inaccuracies.
Furthermore, the spread of these false narratives can erode trust in genuine accounts and sources, making it more difficult for authentic DPRK voices to be heard and understood. By reinforcing harmful stereotypes, these activities contribute to a caricatured image of the DPRK, which hampers efforts to build mutual respect and understanding on the global stage. The repeated dissemination of such content risks entrenching biases and complicating diplomatic, cultural, and academic interactions.
Lessons for Media and Audiences
Audiences should cultivate a healthy skepticism when encountering content that appears sensational or inconsistent with known realities. This includes examining metadata, analysing linguistic patterns, and considering whether narratives align with culturally accurate depictions of the DPRK. Tools like reverse image searches and metadata analysis can help reveal whether content has been recycled or originates from unrelated sources. Academic and journalistic communities should also establish best practices for reporting on the DPRK, ensuring that stories are grounded in verified information. Collaborative efforts, such as partnerships with DPRK experts or institutions familiar with the country’s media landscape, can further enhance accuracy.