JAPAN JAPAN Interview with Kim Yoo, License Manager at Bandai Namco Korea exhibitions, and experiential content. As these hybrid formats gain traction, there is a growing need to recognize these signals early and move quickly to develop and execute business initiatives. For Korean companies and institutions looking ahead to 2026, the ability to respond VS요청) Bandai Namco 귀여운 캐릭터가 그려진 컵, 책, 헤드폰, 키링 등 Korea 다양한 굿즈로 가득 찬 방 안에서 30대 여성이 새로 구매한 인형을 사진 찍어 SNS에 업로드하는 모습을 이미지화 해주세요. License Manager Japan’s character industry has developed into a self-contained ecosystem where the purchasing power of the otaku consumer base converges with a highly sophisticated licensing framework. IP contracting, content review, localization, and merchandising are tightly interlinked, enabling character IPs to establish stable and repeatable revenue structures. On this foundation, platforms and distributors expand fan participation and long-term ~~engagement. In cross-platform collaborations involving Japan, China, and Korea, differences in~~ review standards, cultural codes, and distribution policies emerge as critical variables, while the degree of control exercised by IP holders becomes a defining factor in content operations. Otaku audiences respond most strongly to works with distinctive character identities, sustained narrative continuity, and strong links to merchandise consumption—patterns that carry important strategic implications for the expansion of Korean IPs into the Japanese market. The deeper structure of Japan’s character industry has evolved through the close interweaving of otaku culture and licensing-driven business models.

strong links to merchandise consumption—patterns that carry important strategic implications for the expansion of Korean IPs into the Japanese market. The deeper structure of Japan’s character industry has evolved through the close interweaving of otaku culture and licensing-driven business models. Kim Yoo, who has overseen the contracting, distribution, content review, and merchandising of Japanese animation IPs at Bandai Namco Korea, has observed these operational dynamics at close range. Through multiparty collaborations involving Japanese IP holders, Chinese OTT platforms, and Korean services, he has gained first-hand insight into the core mechanisms that translate otaku consumption into purchasing behavior, sustained fandom, and monetization. This interview reframes the Japanese character market not simply as a content sector, but as a fandombased value chain, offering a practical examination of where competitive advantage may lie as K-content expands its global character business. Unauthorized reproduction, modification, or third-party distribution of this content for commercial or other purposes without prior consent is strictly prohibited. When citing or using this content, users must comply with usage guidelines such as *proper source attribution and *no alterationof the original text. Please note that the opinions expressed in this article are those of the author and do not represent the official position ofthe Korea Creative Content Agency. Unauthorized reproducti

, users must comply with usage guidelines such as *proper source attribution and *no alterationof the original text. Please note that the opinions expressed in this article are those of the author and do not represent the official position ofthe Korea Creative Content Agency. Unauthorized reproduction, modification, or third-party distribution of this content for commercial or other purposes without prior consent is strictly prohibited. When citing or using this content, users must comply with usage guidelines such as *proper source attribution and *no alteration of the original text.

JAPAN JAPAN How would you assess the current position of otaku culture within the Japanese character market, and in what ways have the scale and influence of fandom changed compared to the past? exhibitions, and experiential content. As these hybrid formats gain traction, there is a growing In the past, Comics and animation were widely perceived as content consumed primarily by children or a narrow group of enthusiasts. Today, the most significant change is that they are increasingly recognized as mainstream cultural content that can be enjoyed regardless of age or swiftly to these convergence-driven opportunities will be an increasingly important competitive gender. Consumption of Comics and animation has expanded notably among younger audiences, factor in the Japanese character market. particularly those in their teens and twenties, and as fandom culture has become more widespread, the term “otaku,” once viewed negatively, no longer carries a stigmatized connotation. As the strong purchasing power driven by otaku audiences’ loyalty to IPs has been demonstrated through measurable market data, the industry itself has shifted in a more otaku-friendly direction. Otaku consumers are now regarded as a central force in driving demand, positioning them at the core of today’s market. Do you believe otaku culture is now being accepted more broadly within society? If so, what factors do you see as driving this shift in perception and its wider diffusion?

ction. Otaku consumers are now regarded as a central force in driving demand, positioning them at the core of today’s market. Do you believe otaku culture is now being accepted more broadly within society? If so, what factors do you see as driving this shift in perception and its wider diffusion? Otaku culture has gained broader social acceptance largely due to the expansion of K-pop fandom culture, the impact of the COVID-19 pandemic, and the growing influence of content platforms. During the pandemic, increased time spent indoors coincided with a weakening of boycott movements, while the rapid development of OTT services and digital reading platforms made animation and Comics far more accessible. This environment aligned with the emergence of mega-hit IPs such as Demon Slayer: Kimetsu no Yaiba, which significantly accelerated mainstream exposure. Strong audience support for theatrical releases during the pandemic further reinforced this shift. Animated features based on popular IPs—including Demon Slayer: Kimetsu no Yaiba – The Movie: Mugen Train, Suzume, and The First Slam Dunk—achieved major box-office success, helping animation gain recognition as entertainment for the general public rather than a niche audience. As a result, terms such as “fashion otaku,” referring to people who identify as otaku after engaging with only a handful of high-profile hits, have also emerged. Unauthorized reproduction, modification, or third-party distribution of this content for commercia

al public rather than a niche audience. As a result, terms such as “fashion otaku,” referring to people who identify as otaku after engaging with only a handful of high-profile hits, have also emerged. Unauthorized reproduction, modification, or third-party distribution of this content for commercial or other purposes without prior consent is strictly prohibited. When citing or using this content, users must comply with usage guidelines such as *proper source attribution and *no alteration of the original text.