Asian entertainment has changed a lot. Japanese dramas used to lead, but now Korean pop culture dominates worldwide. Japan focuses on its huge home market with quieter, niche appeal, while Korea goes big with flashy, high-budget global campaigns. Let’s dive into Japanese versus Korean entertainment industry. We will look at how these two industries work differently, direct the global entertainment trends, and compete for fans around the world.
Zooming into Global Entertainment Trends with Taiga Kunii
To better understand these industry shifts, I sat down for a conversation via ZOOM with Taiga Kunii, an expert in the field. Kunii, who is currently publishing a book titled “Fandom First,” provides a unique perspective shaped by his international background and his work consulting for Japanese artists and virtual agencies. Our discussion delved into how the Japanese drama/movie industry can learn from Korea’s global success while maintaining its unique storytelling “juice.”
The Global Category Battle: Why Japan is Catching Up
Discussing the Japanese versus Korean entertainment, let’s start by looking at its primary difference between: their initial market positioning. Korea has successfully established “K-drama” and “K-movie” as a unified global category, whereas Japan missed its early opportunity to scale its “J-category” worldwide.
“Korea already made that status of, like, K-drama, K-movie, as one category… Japan missed that opportunity of growing that more globally.”
While Japan is now seeing a revival in cinema and global interest through titles like “Shogun” and “Godzilla,” it remains more focused on niche marketing compared to Korea’s aggressive global distribution through platforms like Netflix.
Storytelling vs. Flash: The Godzilla Case Study
When comparing the creative output of a Japanese drama/movie to its Korean or Western counterparts, the focus often shifts from high-budget spectacle to internal narrative.
Kunii highlighted the recent Japanese Godzilla film, which was produced with a budget significantly lower than the US version but yielded higher profit through its focus on the “why” of the monster.
“Japan always thinks of the niche and minor markets… Nothing fancy, nothing flashy, but what we think of is the daily small things of life, or the mission, or the storytelling.”
While Korean content provides an “instant boost” of excitement, Japanese content aims for a “long-term effect” that stays with the viewer years later.
The Loyalty Factor: Why Japanese Fandoms Outlast Trends
As we all know, Korean entertainment is built on fandom loyalty. However Japan has had it long before the Korean wave attacks. The structure of fandom in Japanese Entertainment is built on decades of loyalty rather than the pursuit of what is currently “fresh.”
In Japan, fan clubs are massive, paid businesses where members might stay subscribed for 20 to 30 years, treating the fee like a monthly utility bill.
“Japanese fans last longer than Korean fans… Japan has a group, called Arashi. The fans that are mothers are still under the fan club for, like, 20 years or 30 years.”
This loyalty is maintained through a unique “fear of missing out” (FOMO), where stopping payment means losing one’s “rank” and the chance for front-row tickets in the future. Here’s another difference. Japanese versus Korean entertainment fans have different standard of being FOMO. In Korean entertainment industry, fans fear to be left out if they don’t follow trends.
Breaking the “Island Mindset”: Strategic Priorities for Japan
For Japan to compete more effectively on the international stage, it must overcome its “domestic-first” approach and “island way of thinking.”
Kunii pointed out that Japanese artists often rely on agencies that lack global strategy or “Global Business” divisions that have no real authority. He suggested three priorities:
- reforming company structures to give global teams decision-making power,
- taking a more hands-on approach to international live business,
- and moving away from a reliance on external agencies.
As he puts it, “the leaders or executive needs to be hands-on with the global, plus Japan” to bridge the gap in speed and understanding.
Agility Over the “Big Boss” System: Lessons from HYBE
Taiga Kunii expresses a strong preference for the operational model used by Korean entertainment giant HYBE. He particularly points out its use of sub-labels for different groups. This structure is highly effective for risk management. If one label or artist faces challenges, the parent company remains stable because the groups are categorized independently.
For example, a situation involving a group like NewJeans doesn’t necessarily derail the plans for a BTS comeback. This setup isn’t just a safety net. These smaller, dedicated teams are much faster at making decisions and have more room to be creative.
In contrast, the traditional Japanese industry often relies on a “big boss” system, where a single executive handles every artist under a label. Kunii notes that this centralized approach often lacks speed and creativity because the leader cannot possibly know the intimate details of every artist’s day-to-day needs or market trends.
A critical part of this structural reform involves redefining the role of a manager. In Japan, the mindset has historically treated a manager as a “roadie” or “babysitter”—a 24/7 job that involves staying with the artist at all times. Kunii suggests that the industry must shift toward the Western model, where the manager is viewed as a business partner. By separating day-to-day care from strategic business development, companies can bridge the gap in global competitiveness.
“Introvert Marketing” and the Art of the Detail
A fascinating aspect of Japanese marketing is its meticulous attention to detail. Kunii explores this in his upcoming book, “Fandom First.” This book mashes up 50 different case studies to illustrate Japanese marketing strategies and ideas that Kunii describes as uniquely “introvert-oriented.”
Unlike the American or Korean styles, which might focus on broad appeal, Japanese marketers may spend months researching the exact length and light reflection of a keychain to ensure it swings perfectly on a fan’s backpack.
Kunii noted that this “introvert-oriented otaku geeks coming up with marketing idea” is a unique strength that allows Japanese content to resonate deeply with specific subcultures globally.
Key Takeaways: Japanese versus Korean Entertainment Global Trends
- Global Categorisation: Korea has successfully established “K-drama” and “K-movie” as a global category, whereas Japan missed a similar opportunity years ago and is now in a position where it must catch up.
- Domestic Market vs. Global Competitiveness: Japan’s massive domestic market—which is roughly double the size of Korea’s—allows its entertainment industry to be self-sufficient without going global, but this has slowed its international competitiveness.
- Storytelling vs. Spectacle: While Korean content is often described as flashier and more immediate, Japanese content tends to focus on niche storytelling and the “small things in life,” aiming for a “long-term effect” rather than an instant boost.
- Fandom Loyalty and Business Models: Japanese fans exhibit intense long-term loyalty, often staying in paid fan clubs for 20 to 30 years, whereas Korean fans are perceived as more likely to move toward whatever is “fresh” or trending.
- “Introvert-Oriented” Marketing: Kunii describes Japanese marketing as uniquely “introvert-oriented” and meticulously detailed—for example, spending months researching the exact length of a keychain to ensure it reflects light correctly. This concept is a central theme in his upcoming book, Fandom First.
- Need for Structural Reform: To win internationally, Kunii argues that Japanese companies must move away from the “big boss” system and instead adopt agile sub-label structures like those used by HYBE.
- Redefining Management: There is a need to shift the role of a Japanese manager from a “roadie” or “babysitter” to a strategic business partner to better facilitate global business development.
- Revenue Streams: In Japan, significant revenue is often generated through merchandise and transmedia (fan clubs, VR experiences, tours) rather than just streaming and distribution
Join us on Kpoppost’s Instagram, Threads, Facebook, X, Telegram channel, WhatsApp Channel and Discord server for discussions. And follow Kpoppost’s Google News for more Korean entertainment news and updates.
Interesting point of view!