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Interview with Jeon, In-Tae Lead at Line Studio Game Biz

The Japanese game market has been rapidly shifting away from RPG-centric experiences toward lighter,

short session genres such as puzzle, strategy, and simulation.

Korean titles like Blue Archive and Goddess of Victory: NIKKE have helped improve perceptions of K-games

through strong subculture aesthetics and collectible RPG design. Nevertheless, relatively heavy monetization

requirements and overly direct storytelling continue to function as entry barriers. 

Japanese players place particular emphasis on IP familiarity, narrative quality, character appeal, and fair

monetization models, with clear genre preferences varying by age and gender.

For K-games to succeed in Japan, localization must extend beyond translation to encompass UI/UX, in game events,

voice-actor casting, and broader cultural codes -- supported by predictable live operations and an integrated

approach combining influencers, IP collaborations, and offline events.

What, then, does it take for K-games to move beyond short term hits and achieve sustained success in Japan?

Jeon, In-Tae, Lead at LINE Studio, is a field proven expert who has launched and operated cross border hits

including LINE POP, LINE Cookie Run, and Destiny Child, building an unusually precise understanding of

Japanese users’ preferences, play patterns, and spending behaviors.

In this interview, he offers concrete, practice driven insights into how K-games can be received and scaled in

Japan -- from genre preferences segmented by age and taste to actionable strategies for localization, marketing,

and partnerships. Covering growth pathways as well as opportunities and risks across platforms, users,

and collaborations, this conversation provides a clear roadmap for long term K-game success in the apanese market.

※ For further details, please refer to the attached PDF file.

※ The content of this post is provided solely for the purpose of enhancing public understanding of

     overseas information related to the content industry. It does not represent the official position of

     the Korea Creative Content Agency and carries no legal effect.