Building global IP through comic production at Rakuten Content Central
The comic content market has been continuously growing in recent years. Digital distribution has made comics accessible to readers everywhere, while adaptations into animation and live-action drama have turned popular series into global phenomena. Amidst this trend, Rakuten Content Central, a content label at Rakuten that handles everything from IP (Intellectual Property) development to comprehensive content production, has been making a name for itself in the comic production business.
Since its entry into the market in January 2024, Rakuten’s content division has released over 70 titles and achieved numerous hits. What is fueling the rapid rise of Rakuten Content Central? We spoke with Gil Kim, who is in charge of the comic production business to find out.
The comic content market has been thriving lately. Can you share insights on the current state and emerging trends?
Kim: In recent years, the comic content market has seen the global establishment of new formats, centered around vertical-scroll comics, in addition to print and digital formats. South Korea, has been at the forefront of this innovation, serving as the birthplace and largest supplier of vertical-scroll comics. and it has continuously developed over the past 20 years as an export industry alongside its domestic market.
We have also seen a growing emphasis on IP-centric development, where secondary applications like animation, games, and live-action adaptations are considered from the initial stages. A great example is “Itaewon Class.” This Korean vertical-scroll comic was adapted into a drama and multiple other formats, ultimately becoming a hit in Japan and around the world. The vertical-scroll comic market is expected to continue expanding, with forecasts predicting growth from approximately 10.85 billion USD in 2025 to about 48.31 billion USD in 2030.
What was the motivation for Rakuten Content Central to enter the comic content market, and what is its position in the market?
Kim: Originally, Rakuten Content Central focused on secondary development, such as dramas and anime, by leveraging licensed IP from other companies. However, to secure our own IP as a source of mid- to long-term competitive advantage, and strengthen the sustainability of the business, we shifted toward developing original works with future adaptations in mind. This strategic pivot led us to enter the comic market.
Our core focus is on producing works that maximize the strengths of individual titles. We foster the long-term value of each work by considering the country, language, target readership, and characteristics of each platform to create an optimal distribution strategy. In addition, our uniqueness lies in the IP development that leverages the Rakuten Group’s ecosystem, including digital touchpoints, big data, e-commerce, and more.
Both in Japan and globally, fewer companies have the organized infrastructure required for secondary developments. We believe that by combining the Rakuten Ecosystem with comics, there is significant room to pioneer new markets and drive endless expansion.
How do you, as a producer, get involved?
Kim: There are two patterns for handling content. One is acquiring distribution rights for existing comics, translating them, and developing them in Japan- this is what we call procurement. I mainly handle overseas content, focusing on Korean content, and read every episode from beginning to end for selection. Vertical-scroll comics, read from top to bottom like a web page, are well-received by younger generations and are easier to view for international readers, including those in North America. This accessible format is a major advantage for global expansion. Also, compared to Japan’s stricter publishing industry, Korea offers more flexibility for secondary adaptations. This enables the creation of diverse formats like animation, games, and live-action that can appeal to a wider audience.
The other pattern is creating original content from scratch. I’m involved in the project from the planning stage, handling content selection, production, terms negotiation, and even arranging for illustrators. Recently, we launched the North American distribution of our original work, “Isekai Single Papa.” This work was produced in collaboration with an animation studio, and the story elements are also close to animation. During the production process, we carefully selected illustrators whose art style best suited the story and visuals. This project is close to my heart and we’re hoping to develop an animation adaptation in the future.
What are your criteria for content selection?
Kim: The major premise is, “Can I, as a producer, find it interesting?” Although it’s a sensory aspect, it’s also the most crucial point. I have always loved Japanese animation and came to Japan with the aim of becoming an animator.
At the same time, I also consider how the work will sell and its post-release development. I look at the readership and competitive situation, decide which e-book platforms and bookstores to distribute to, and select works that fit these channels. What’s important is localizing works with “universal appeal” that transcend language and cultural differences, tailored to each market, and delivering them in the optimal format.
If a work isn’t suitable for e-books, I sometimes propose it to publishers if I think it would be a good fit for print. We also strategically pick up works that might be more popular overseas than in Japan and distribute them globally. In fact, we select content likely to be in demand across regions such as the Middle East, Taiwan, and Ukraine, and distribute it on a per-work basis.
Could you share some of your proudest achievements in the comic content market?
Kim: Among the works we have handled so far, there are several instances where they achieved top rankings on major domestic and international platforms. One such example is “The Fake Saintess Awaits Her Exit.” We selected it because we believed its coloring and art style were a good match for vertical-scroll comics. When localizing it for the Japanese version, we changed all the dialogue to horizontal writing to suit the web environment. Traditionally, Japanese manga dialogue is written vertically, but younger generations prefer horizontal reading for improved readability. Since the original Korean work was written horizontally, we avoided costly redesigns of speech bubbles and panels.
We also conducted promotions for certain works through collaborations with various industries. The pro-wrestling manga “Call Center ~Yes, Sunohara is in Charge” is an example. For this work, we partnered with a women’s pro-wrestling organization and conducted promotional activities at pro-wrestling venues.
Vertical-scroll comics often end with just reading them, so the challenge is how to maintain continuous engagement with readers. Our emphasis in collaborations is creating experiential value at real-world touchpoints. We prioritize creating a pathway that provides opportunities to encounter the work through collaboration, builds a fandom, and ultimately leads to long-term subscriptions.
We are also focusing on collaborations with global IPs. This year, we started producing and distributing “Disney Twisted-Tale: A What-If Story” as the first vertical digital comic in Japan. This series, based on the “Disney Twisted Tales” novel series, depicts “what if” stories where something is distorted in Disney’s classic masterpieces, and it has been well received by readers.
What does the future of comic content look like for Rakuten Content Central?
Kim: I want to create works that remain in people’s memories. I strive to create timeless works that remain loved long after completion, rather than chasing short-term buzz.
Our goal is to make content that goes beyond everyday consumption and becomes something that will live on for our readers. To that end, we want to strengthen secondary developments beyond just comics, including anime, games, and merchandise. Among these, we focus particularly on anime adaptations. While drama and film adaptations are also appealing, when considering long-term development, anime is ultimately the most suitable. Especially in Japan, it’s not uncommon for a single anime to be broadcast for an extended period. Furthermore, unlike Japan, where manga culture is deeply rooted, audience overseas often discover manga through anime. So we believe anime adaptations are indispensable for spreading works globally.
However, we cannot do this alone. We need to build trusting relationships with excellent partners, such as authors and production companies, to create a system that allows content to continue to grow. We aim to create IPs that transcend borders and languages, reaching readers around the world.
