- Cygames have recently started a new partnership with the US Breeders Cup
- It’s one of many major collaborations the company has undertaken
- Despite not yet seeing a Western release, Uma Musume has ballooned into a merchandising powerhouse, but how?
As someone who has spent a considerable amount of time immersed in both Western and Japanese gaming cultures, I find this topic particularly intriguing. The collaborative approach to IP creation in Japan, as exemplified by productions like Uma Musume, presents a unique blend of artistry and business savvy that’s truly captivating.
Initially, Uma Musume Pretty Derby was considered an unusual novelty without much potential. The idea of horse-girls racing on a track didn’t seem promising for either a game or anime. However, fast forward to today, nearly a decade since its announcement in 2016, the scenario has dramatically changed.
The Uma Musume mobile game may serve as the main attraction for this series, but it’s clear that the entire IP (Intellectual Property) stands as the foundation. This strength is evident in its anime series, manga, merchandise, spin-offs, and multiple films. Additionally, it’s worth noting that the creators, Cygames, have formed numerous partnerships with actual horse racing organizations. These range from a recent agreement with the Breeders’ Cup in the United States to their longstanding relationship with the Retired Horse Association of Japan.
It might appear puzzling how swiftly this peculiar idea has gained immense popularity. Despite the fact that Uma Musume’s eagerly awaited English debut lacks a concrete release date, it doesn’t seem to deter Cygames from extending their reach to generate excitement.
What led to this outcome, and how does Uma Musume’s swift growth and popularity shed light on the realm of Japanese video games and merchandise industry?
The world of merchandising in Japan
As a passionate gamer, I’ve got to tell you about Japan’s knack for merchandise that left me utterly amazed! Now, this shouldn’t surprise seasoned gamers like us, but for newcomers, let me shed some light. It’s not uncommon in Japan for a single franchise to cover everything from the predictable (figurines, manga, anime) to the downright peculiar (café collaborations, concerts, and drama CDs). At times, it feels like every flat surface is adorned with a character’s face or name!
This kind of kitsch has been something that’s fascinated people around the world about Japan. But I don’t want to make it seem as if it’s solely unique to that nation, in fact, we can see some examples of it across the globe like Funplus’ recently-released Sea of Conquest comic book series, but the most visible I’d argue is in Japan itself.
During my visit to Japan for the Tokyo Game Show, I believed I was well-acclimated following a past trip in 2018. However, viewing it with renewed perspective and attending one of the world’s biggest gaming events made me understand that I barely scratched the surface when it comes to its magnitude.
Discuss the significant impact (pun intended) that games like Arcane or Castlevania had on the industry. While the concept of spin-offs in video games might have seemed revolutionary in the West, it was a common practice in Japan and the East, where exceptional series have emerged even from the most unexpected sources.
However, what’s particularly intriguing is that this form of expansion isn’t entirely natural. Instead, it can be accurately described as being meticulously controlled, with plans for it established long beforehand. So, the question becomes, by what means?
Too many cooks, or just enough?
Interestingly enough, during my stay in Japan, I had a conversation with an individual well-versed in this particular field. This discussion proved quite insightful, particularly when we delved into the aspect of merchandising.
It’s important to note that numerous Japanese games and franchises don’t stem from one company alone. Instead, they create collaboration committees involving various parties who are interested. These can include animation studios, developers, publishers, and merchandise producers. Together, they develop a strategic plan for monetizing an intellectual property over the long term.
From one perspective, numerous franchises struggle with licensing issues because there are multiple independent businesses that have personal investments in the same subject matter. Conversely, this complexity can also shed light on why certain games, like Uma Musume, can rapidly rise to fame within just a few years, seemingly appearing out of nowhere as superstars.
From an artistic perspective, this presents a challenging situation: While mass-market appeal is crucial for many Japanese games and media, it sometimes gives the impression of hegemonic elements to outsiders. However, I believe that many Western companies would adopt similar strategies if they fully understood how to do so effectively.
More current instances can be found within Uma Musume as well, such as the unveiling of a fresh party game titled Uma Musume: Pretty Derby – Party Dash. This game is scheduled to debut at stores before the mobile game that initiated the entire phenomenon!
Putting yourself out there
I share the sentiment that the notion of “quirky Japan” might be a bit antiquated, but the enthusiasm to make games more accessible in public areas is certainly beneficial. Compared to many top AAA console series, they often have limited merchandise such as a few figurines and collaborations with energy drink brands. The mobile gaming scene is even sparser, with only rare exceptions like Angry Birds effectively capitalizing on mainstream exposure.
In my gaming journey, I found myself in Japan where it seemed like every second surface was adorned with something related to a mobile game series, such as Goddess of Victory: Nikke, even the more recent ones. Now, this doesn’t necessarily mean that every Japanese citizen is playing these games during their leisure time, but it does suggest that nearly every potential gamer has at least heard about them.
Thoughts?
It’s intriguing to consider Uma Musume as a case study since its Western release is imminent. This will give us insights into which elements of this multi-platform content will be adapted, if any at all. The anime series has garnered significant popularity, and it’s likely that the upcoming film might also get released, possibly even in cinemas like some other productions.
However, similar to Arcane revitalizing League of Legends, I believe it’s crucial to consider how numerous series, despite their rich worlds and intriguing characters, can become stagnant when they are solely associated with the game. This highlights a common issue where most people’s understanding of these games is limited to superficial, often bothersome advertisements.
While some might dismissively laugh at the trend of waifus/husbandos in Japan, it’s clear that these characters and their associated worlds, which are confined to mobile screens for most of us, offer a vast array of media options for enthusiasts in their homeland, boasting considerable depth.
Is there any significance to this? Should we be promoting such a shift? Could this potentially be a revolutionary business tactic? While it might not necessarily be that, I do believe it’s worth exploring a fresh angle, especially considering the intriguing possibility that Japanese and Eastern media, though seemingly unusual, could provide the innovative content necessary for explosive growth in the gaming industry, particularly mobile games.
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2024-10-11 15:18