Japan is one of the most valuable markets for mobile gaming in the world and continues to remain a country crucial to any globally-minded growth marketing strategy. Any studio looking to expand their game beyond a launch/primary market should consider Japan and take the time necessary to understand and adapt to Japan’s gaming, cultural & linguistic nuances. Successfully pulling this off can unlock a significant growth area for any game, opening the door to some of the most highly engaged and profitable video game players in the world. Read on for a deep-dive into the Japanese mobile gaming market as it relates to User Acquisition (UA) creative production – including similarities and differences from western markets.
Japan: A Macro-Market View
As a first step in contextualizing the Japanese mobile gaming market, we’ll briefly review some high-level quantitative data. Japan, after China & the US, is the next highest IAP revenue volume mobile gaming market in the world, cementing its place as a top 3 geo for mobile game marketers. This similarity of top market prominence should not be ignored by developers and marketers when considering growth strategies beyond the US, as Japan offers a similarly valuable growth opportunity. While Japan ranked 14th in game downloads in 2023, it ranked 3rd in in-app-purchase (IAP) revenue the same year.[1] This ratio between Japan's IAP revenue rank and its download rank results in highly positive market quality metrics like revenue per user/purchase (ARPU etc.), ROAS & LTV.
Sensor Tower found that after a decrease in downloads & IAP revenue in Japan from Q3 2023 to Q4 2023, downloads and IAP revenue increased in Q1 2024, signaling that Japan’s mobile gaming market recovered from the post-Covid app growth / monetization slump. While many of the top gaming markets experienced similar challenges as Covid restrictions eased, the mobile gaming genres primarily responsible for this recovery in Japan might not be what you’d expect! In the US, the Hypercasual, Simulation and Puzzle genres took the top three spots for download volume, while Match, Social Casino and Strategy took the top three spots for (IAP) revenue (data from 2023)[2]. Compare this to Puzzle, RPG and Arcade genres being the top 3 categories for game downloads in Japan between January - April 2024, while RPG, Strategy and Puzzle were the top 3 categories for (IAP) revenue in Japan during the same period. A deeper look into Japan’s revenue data shows that RPG’s IAP revenue ($1.8B) was significantly higher than the Strategy ($0.5B) and Puzzle ($0.3B) genres, but RPG’s download volume (23M) was lower than the top-download ranked Puzzle (46M) genre in Japan, indicating the extreme value of RPG players in Japan, particularly via IAP-based monetization[3]. It should be noted that the Puzzle genre monetizes a significant amount more than is represented here, but via ads-based monetization, data which wouldn’t be captured via the appstore-indexed sources cited. Additionally note the only genres Japan & USA had in common between their top three spots were the Puzzle/Match genre (regarding downloads) and the Strategy genre (regarding revenue)[4].
IP Licensing for Mobile Games
One shared trend across the US & Japanese mobile gaming markets is the utilization of external intellectual properties (IPs) to boost games’ marketing success. While one might assume this would be higher in the US given the prevalence of Hollywood, professional sports and other media enterprises, Japan’s top mobile games leverage external IPs more often.
Taking this a bit further, much like the USA, console/PC video gaming is extremely popular in Japan, and the overlap of console/PC IPs with mobile games is highly prevalent in both countries[5]. This is perhaps not surprising as these are the two countries largely responsible for the creation and proliferation of video games (Atari & Nintendo home consoles, and arcade machines like Pong, Breakout & Space Invaders). A few examples of originally non-mobile Japanese video game IPs that have successful mobile games are: Pokémon, Dragon Quest, Final Fantasy, Yu-Gi-Oh!, Monster Hunter, while some that originated from the US are: League of Legends, Roblox, Fallout Shelter, Sim City and Age of Empires.
Additional detail regarding the different types of IPs prevalent in the top mobile games between Japan & US provides another level of understanding crucial to localization & creative strategies as well. Console/PC/Arcade video games are understandably the most popular IP type in both countries, but are slightly more common in Japan. Things diverge pretty distinctly after that, with the # 2 IP type in Japan being Anime/Manga (>3x higher than in the USA), while the # 2 IP type in the US is TV/Movie (~9.5x higher than in Japan). The # 3 IP type in Japan is ‘mobile game’(almost 2x higher than in the US), while the # 3 IP type in the US is ‘Consumer Products/Toys’.[6] These metrics clarify the broad appeal and volume of Anime/Manga franchises present in Japan while also highlighting the prevalence of Anime/Manga aesthetics in Japanese marketing (more on this a little later). Similarly, the US’s high rate of TV/Movie IP licensing for mobile games is a sign of the popularity and sheer volume of new/old TV/Movie franchise content being marketed and consumed regularly in the US, also supporting the notion that leveraging these IPs are an effective game marketing strategy in the US.
Some other key areas relevant to creative marketing that are quite different between the US and Japan include holiday/seasonal advertising periods, ad creative aesthetics, monetization mechanics and of course, linguistic nuances.
Holidays & Seasonal Events in Japan
Japan has unique holidays and seasonal marketing opportunities that are quite distinct from the US and other western markets. With 16 official holidays (such as Coming of Age day, Children’s day, Health/Sports day etc.) and 13 seasonal/holiday-associated cultural events (like the Doll’s Festival ‘Hina-Matsuri’, Star Festival, Higan Equinox weeks etc.), there are many opportunities to connect with the Japanese market through timely ad creative aesthetics, messaging and in-game live-ops.[7] There are also unique commerce-associated seasonal events like ‘Golden Week’ and ‘White Day’ that are big opportunities for new user acquisition and monetization given the boost in commerce that occurs around these times[8]. Considering that Japan also somewhat acknowledges a few of the same holidays/seasonal events that the US does (like Halloween, Black Friday, Christmas, New Year’s) it is clear that Japan’s total holiday & seasonal event count is more numerous and varied than it is in the US. (Remember, the US has 11 federally recognized holidays, but only federal jobs are required by law to honor all 11 as paid time off. The private sector has no such requirement and often only honors 6 or 7 of the 11 holidays).[9]
Ad Creative Aesthetic Differences
Another key difference between Japan & the US’s mobile gaming UA norms is tied to the aesthetics of Japanese ad creatives. Four key trends of Japanese creatives to keep in mind when localizing are 1: the usage of ‘Pachinko’-style typography & graphic design, 2: the incorporation of Anime / Manga elements/designs into ads, 3: the utilization of cute (aka “Kawaii” / かわいい) characters/themes/designs as well as 4: the prevalence of ‘Gacha’ mechanics and their inclusion in ad creatives.
1: The Pachinko Aesthetic
The ‘Pachinko’ aesthetic comes from the popular slot-machine-pinball-like game found in Japan of the same name.
Real Pachinko machine facades, from modernpachinko.com.
Pachinko parlors in Japan.
Much like casinos with their expansive, decorative interiors filled with slot machines and the gambling/gaming environement this promotes, Pachinko parlors across Japan elicit a very similar vibe. This visual aesthetic is ubiquitous in Pachinko parlors, conveying Pachinko as exciting and fun in a visually and sonically loud, but effective fashion. Bright colors, bold and frequently metallic-styled text, shown via large signs above and built into the Pachinko machines themselves communicate Pachinko's messaging to players. This plus the distinctive noise of the machines all combine to make this aesthetic one of a kind.
Utilization of this aesthetic in ad creative results in a significantly higher amount of text overlaid on ads themselves than is typically considered ‘best practice’ by the ad platforms and app stores. When used, the Pachinko aesthetic is used for almost all adcopy in image ads and for key messaging in video ads. If a Gacha bonus (see section 4 below) or other offering is mentioned in an ad, you can almost guarantee that this text will be presented with some degree of the pachinko aesthetic. This is one key consideration when localizing creatives to Japan, and underscores why it’s important to reset expectations for new markets, adapting your game, marketing strategy and creatives accordingly.[10]
Pachinko-aesthetic ads (Fate/Grand Order, Dragon Quest Walk, Dragon Quest Stars, Professional Baseball Spirits A, Saint Seiya: Legend of Justice).
2: Anime/Manga Aesthetic
As was made clear in the earlier section showing the popularity of Anime/Manga IPs in mobile games, this aesthetic is broadly leveraged in ad creatives. For the few that don’t know: Manga is the unique Japanese comic book / graphic novel media style that innovated many of its own visual and literary devices distinct from western comics. Anime, short for Animation, is the motion-based format of this medium – put another way: cartoons, but cartoons with uniquely particular, yet still quite varied, types of visual/animation/narrative styles distinct from their western counterparts.
Many top performing ad creatives in Japan – even for non-gaming apps – utilize anime/manga characters/setups to convey crucial marketing components like value propositions, endorsements, social proofs, and calls-to-action. Opting whether to use a highly-polished full-color anime character in a creative vs. the black & white pages of a Manga book are just two of many unique approaches to ad creative design utilizing the anime/manga aesthetic. An ideally localized game would test a variety of different concepts specifically for the Japanese market, some completely new and some recycled from top performers in the US or other geos. Trialing the delivery of ad messaging via standard subtitles vs. via Manga characters would make for a great A/B concept test.
(Jujustu Kaisen Phantom Parade, Tokyo Revenger, Metal Storm, Saint Seiya: Legend of Justice, New Romance of the Three Kingdoms).
3: Kawaii Aesthetic
Another major aesthetic norm in Japanese mobile gaming ad creative is the utilization of ‘cute’ characters/themes. This is also known as “Kawaii” (かわいい), and you’ve seen this reflected in some of the ad creative examples thus far. When in reference to cute or adorable characters, “kawaii” is a description of the simplistic, innocent style in which the character is designed, often with soft colors, and emotive yet very simple facial features & expressions[11]. An exaggerated version of this aesthetic is known as “Chibi”, where kawaii characters have oversized heads, undersized limbs, along with other simplifications of design like focusing on a single distinguishing element for the character.
Kawaii characters (Puzzles & Dragons, Nikke (chibi style), Tree of Savior).
Many Japanese mobile games use kawaii in a very specific way in their ads – with “Bishōjo” (美少女) aka cute girl characters as a focal point. Aix has a great analysis of this dynamic, highlighting how often “Bishōjo” characters are prioritized in Japanese ad creatives. The example below from Aix’s presentation shows differences in Genshin Impact’s appstore screens when comparing Japan vs. USA & South Korea, with Bishōjo-style characters seemingly created specifically for their Japanese creatives.[12]
(from aix's virtual coffee break May 2024 webinar)
The kawaii aesthetic extends to animals, anthropomorphized objects and beyond – with a history of broad appeal going back to Astro Boy (1952) and Hello Kitty (1974).[13] Given kawaii’s utilization in different contexts (fashion, food and speech can be considered kawaii too) it is fair to say it’s a huge cultural phenomenon! This is in stark contrast to the US, other western geos, and even countries nearby Japan like Korea and China, where realistic graphics, character visualizations and/or serious themes are more common in ad creative designs (for mobile games especially).[14] Japanese ad creatives will often mix and match kawaii aesthetics (as you’ve seen in some of the ad creative examples), or will over-index on kawaii themes for a particular character, or event or setting. There are even entire kawaii-themed versions of popular IPs that are premised on the use of this aesthetic (see Gundam Senshi)!
(Tokyo Debunker (chibi style), Medabots - Robot Battle, Capybara Go!)
4. ‘Gacha’ Mechanics & Monetization
Some analysts point to the prevalence and popularity of the ‘Gacha’ system in Japan as a reason why the average revenue per user (ARPU) is so high, and why it is such an effective monetization mechanic (particularly so in Japan). ‘Gacha’ actually predates mobile games – gaining popularity in the 1960s “...where consumers could insert coins into…machines to receive a random toy sealed in a capsule.”[15] The full history of Gacha is a topic for another time, but the main thing to keep in mind is the ‘collect-them-all’ and ‘random loot’ functionality this monetization strategy brings to a game, and the impact this can have on players' in-app-purchasing behaviors when there is an expectation to engage with a game in such a way.
Gacha mechanics/odds being included in ad creatives (Monster Strike, Dragon Quest Tactics).
While this monetization strategy was refined alongside other monetization strategies popular in mobile (ads, rewarded, subscription), Gacha’s unique popularity in Japan is unparalleled around the world, considering its historical precedent predated smartphones. As a result, you’ll more often than not see mobile game ad creatives highlighting Gacha elements of their games. Though this monetization mechanic is typically found in mid-core or hard-core genres like RPG, Action and Strategy, some creative game designers have brought the mechanic to other more casual genres too. Regardless, this is a key nuance to monetization and ad creative in Japan, and is important to consider when adapting both your game’s mechanics and creative strategy for a Japanese audience. Gacha culture in Japan creates many market-specific opportunities for limited-time messaging, unique creative elements, impactful value propositions and calls-to-action.
(New Romance of the Three Kingdoms, Medabots - Robot Battle)
Language
Last but definitely not least is the Japanese language itself, and the often misunderstood difference at the heart of localization: transliteration vs. translation. First off, there is understandable complexity for non-Japanese-speakers when localizing to Japanese, considering Japanese’s 3 writing systems: Kanji, Hiragana & Katakana. Being certain about when to use one over the other is something that requires native-speaker level understanding to get right, and is something that an auto-translation app often can get wrong. Additionally, direct transliterations and some performed via translation apps can often be grammatically correct, but improper in other ways. This necessitates that someone with a native/fluent-level understanding of Japanese be directly involved in proofreading and writing ad copy when localizing creatives for Japan.
While not an exhaustive list, here are several examples of common mistakes that happen when localizing vocabulary and grammar from English to Japanese:
1. Literal translations that lead to unnatural expressions:
Directly translating English phrases into Japanese can result in grammatically correct but unnatural expressions.
English tends to use concise phrases that, when translated literally, can feel heavy or awkward in Japanese.
Example: “Let’s explore new adventures!” → 「新しい冒険を探索しよう！」
(Literal translation sounds unnatural)
Revision: 「新しい冒険を楽しもう！」 (“Let’s enjoy new adventures!“)
2. Ignoring cultural nuances in translations:
What sounds appealing in English might not resonate with Japanese consumers.
Bold, direct phrases common in English advertising may come off as too forceful in Japan.
Example: “The best app you’ll ever use!” → 「あなたが今まで使った中で最高のアプリです！」
(Comes off as too pushy in Japanese)
Revision: 「あなたにぴったりのアプリ！」 (“The perfect app for you!“)
3. Overuse of English terms when translating:
English copy often uses buzzwords that don’t necessarily translate well into Japanese.
Overusing unfamiliar English terms in Japanese can confuse the audience and make the message less accessible.
Example: “Unlock exclusive features!” → 「エクスクルーシブな機能をアンロックしよう！」
(Sounds awkward in Japanese)
Revision: 「限定機能を開放しよう！」 (“Unlock special features!“)
4. Overtly formal translations:
In advertising copy, it’s important to maintain a casual, approachable tone.
When translating casual English expressions into overly formal Japanese, it creates a distance between the brand and the audience.
Example: “Get started now!” → 「今すぐ始めてください！」
(Too formal)
Revision: 「今すぐ始めよう！」 (“Let’s start now!“)
5. Focusing too much on perfect grammar:
While grammatically correct translations are important, advertising copy often benefits from a more conversational and rhythmic tone in Japanese.
Being overly concerned with grammar can result in losing the impact or energy of the original message.
Example: “Save time and get more done!” → 「時間を節約して、もっと多くのことを達成しよう！」
(Feels stiff)
Revision: 「時間を節約して、もっとできる！」 (“Save time, get more done!“)
6. Excessively long translations:
English copy is often compact, but when translated into Japanese, it can become wordy. This can make the message harder to read and less impactful.
Keeping it short and to the point is key.
Example: “A faster, better way to manage your tasks.” → 「タスクを管理するための、より早くて、より優れた方法です。」
(Too long)
Revision: 「タスク管理がもっと早く、もっと簡単に。」 (“Manage tasks faster and easier.“)
In Conclusion
Kaizen Ad is a Japanese company with extensive in-market experience as well as a portfolio of successful UA creative localizations for a wide range of top mobile games & genres. Our localization efforts are always native-speaker translated and proof-read, ensuring your creative’s messaging is spot-on. Kaizen Ad’s creative direction is informed by professional expertise, local best practices, competitive trends, as well as insights from our history of top-performing localized creatives. We have direct access to a unique Japanese UGC talent pool and leverage this for clients’ localization efforts too. Japanese localization is one of Kaizen’s many areas of growth marketing expertise, and we look forward to partnering with you to achieve your localization & growth marketing goals.
If you’re ready to get started with a Japanese localization project, ask about our localization packages! Otherwise we can meet with you for a free consultation and customize something to fit your needs.
C.A. Scotty Roberts
Client Director - Customer Success
Sources:
Examples of ads shown in this post were sourced via MobileAction
[4] Comparisons across two different datasets resulted in a slightly incongruous genre grouping. Data.ai's report separated Match and Hypercasual into their own categories, while Sensor Tower's report used the genres listed in the appstore. These were also over slightly different time periods. Regardless, the overall general trends and insights asserted here are still relevant in conveying the differences in the top ranked genres and their relative scales between the US & Japan.
[10] Photos from https://modernpachinko.com/
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