Media scholar Henry Jenkins presented his seven principles of transmediality to the world nearly fifteen years ago, thus expanding the conceptual framework of participatory culture and transmedial studies. The present work focuses on two fundamental principles, specifically “Immersion vs. Extractability” and “Worldbuilding”, with the intention of expanding upon them through an examination of K-Pop. Immersion and extractability, in this research, are seen as opposite ends of a spectrum, with the former leading to the latter, meanwhile, worldbuilding is broadened to include a deeper comprehension of the process of bringing fictional worlds to life. Examining the case of the K-Pop industry and the ongoing expansion of the Korean Wave, one can observe the tangled relationships between the aforementioned principles. The investigation of the revised concept of worldbuilding will lead to an analysis of Seoul as a heterotopia, per Michel Foucault. In this context, the intersemiotic space (as presented in the work of Peeter Torop) of fans becomes tangible and has a direct impact on the city’s physical environment. The (sub)cultural capital and the abundance of material and artifactual markers of the community are examined through the notion of atmosphere by Hermann Schmitz, and the definition of fan culture by Matt Hills. This analysis leads to the recognition that worldbuilding is a type of extraction in itself and the embodiment of the intersemiotic space. This study is a transdisciplinary investigation that focuses on the analysis of cultural and transmedial phenomena using semiotics as its central framework.