I paid more attention to J-pop than K-pop about 10-15 years ago, so I'm a bit dated in my impressions, but there's some overlap/similarity, and some other points of contrast. One of the things I noticed was that the bands tend to be much larger than US bands--- there might be 5, 7, 10, or more members. Some bands would even have a large super-group, where everyone's a member of Band A--- and then they'll have smaller sub-groups where members 1, 2, and 3 are part of Sub-Band B, and members 4, 5, 6, 7, and 8 are part of Sub-Band C, and so on. (Shuffle units.) You might look into whether shuffle units are in K-pop, although it's my impression they don't share well.
Visuals are always important. There's so much attention to great hair, amazing costumes, and so on. So if you wanted to really catch the spirit, I'd probably make this kind of project into something illustrated. The sound is all over the place, depending on the type of music they do... ballads vs bubblegum pop vs rap or r&b vs eurodiscopop vs alt vs pop rock vs electronic dance vs whatever.
When listening to people discussing the differences/relative merits of J-pop vs K-pop, one of the things that gets brought up is that the Japanese tend to be shorter than the Koreans, so the Japanese women end up taking more of the cute girl path in general, whereas the K-pop women are more mature. K-pop strives very hard to be international, whereas J-pop is much more rigid/less adventurous in trying to cover new territory--- but still manages to be far more weird. Likewise, the Japanese don't think that idols = artists, and they're okay with watching an idol develop over the course of a few years. On the other hand, there's a tremendously high bar for the K-pop artists--
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There are even idols who sing while preparing noodles at restaurants in Japan. They are entertainers close to the fans, rather than artists with high levels of proficiency. According to their standards, Korean idols are overqualified,” says Lee, adding that South Korea’s lack of a diversified music market gave rise to the K-pop idol trend.
...
“To stand out in this single-function market, idols need to dance as good as professional dancers, sing as good as professional singers, be as good-looking as fashion models and even be able to write songs.”
So, not quite a trope, but a feature of a K-pop group is going to be they're a highly-trained, highly-professional, highly-polished group of achievers. None of them is going to be an ordinary, unmotivated slacker... they're all going to be insanely driven, insanely high achievers.
Later on, from a related article--
Debut is elusive, unlike in Japan where it is easier for idols to get a start and then can hone their skills and work on their appeal with the fans. Miyu Takeuchi said it wasn’t a difficult decision to leave a 10-year career with a top idol band AKB48 back home in Japan to sign with the K-pop agency Mystic Entertainment in March as a trainee.Even with her experience, she has seven hours of vocal training a day and two-hour dance lessons twice a week, plus early morning Korean lessons. She is not allowed to have a boyfriend but she says she has no regrets, despite the fact there is no guarantee she will make it.
“I don’t know how long my training period will be, but it has to reach a point where my coaches and management company say: ‘Miyu, you are a professional!’”
Apart from that-- some MV tropes can be found
here,
here,
here. But it's not really trope-y, in the way that, say, a country music artist needs a belt buckle, a cowboy hat, and a song about their dog and a bad breakup. K-pop artists are more customized, down to the last details, to be a cohesive, super-personalized unit--
From another article--
The stars are entirely manufactured, and their content doubly so. Ryan Jhun, a South Korean music producer with his own production company, walked Quartz through the birth of a K-pop song:
"Usually we get a lead from the company, and based on that, we take about two weeks to a month to write a song, and deliver the record for the specific artist. It’s like making customized clothes for the artist. Creating everything as a package. If you listen to it, as a mathematical formula, it’s very eclectic: there’s pop, EDM, hip-hop. If [the song] is for an idol group, it needs to have tons of different color. There is someone who is the rapper, someone who is the soft vocalist … we put everything together."
South Korean entertainment companies meticulously design the entire culture around K-pop with specific images and aesthetics in mind; idols are singled out by talent-seeking agents when they’re barely teenagers and are put through a factory-like training process in which they learn etiquette and proper idol behavior that can take entire years. BTS, for instance—a seven-member male group that performed at KCON NY this year—is the product not of some haphazard teenage garage band fumbling, as you might initially believe, but a rigid two-year recruitment and establishment process.
Take a look at the individuals comprising K-pop’s girl and boy bands (big group acts like Seventeen, BIGBANG, Girls’ Generation, and EXO are vastly more popular than solo artists in the genre), and you’ll notice each member is a perfect complement to the others in every way: height, hair color, “personality.”
If Western radio’s Top 40 hits are already pretty synthetic, then K-pop is the ultimate distillation of that artificiality—a formulaic, paint-the-numbers approach to music that resembles an assembly line more than a genuine process of music discovery and production. K-pop is just like Max Martin, the Swedish hitmaker responsible for the success of Taylor Swift and Britney Spears—only on an industrialized scale. It’s One Direction, to the extreme.
Soo--- think about insanely talented, attractive people with perfect hair and fabulous outfits who form a perfect, functional group--- and give them an adventure that requires a certain amount of singing and dancing, and you'll be fine.