Subculture Games in Korea: Successes, Failures, and Future Outlook
Subculture games are titles that target a niche audience or a specific fandom rather than aiming for a broad, mainstream market. These games attract a devoted fanbase that tends to deeply immerse themselves in the game’s characters and world. This immersion often results in a unique spending pattern, where players are willing to invest significantly in the game to enhance their experience.
The genre itself often draws inspiration from Japanese anime, manga, and game culture, making it particularly appealing to younger generations. Recently, this genre has rapidly grown in Korea’s mobile game market and has also garnered attention in the global gaming scene.
SHIFTUP and Nexon’s Bright Future
Among Korean game companies, SHIFTUP and Nexon have notably succeeded in the subculture genre. SHIFTUP’s Goddess of Victory: NIKKE has achieved global success, captivating players worldwide with stunning graphics and compelling storytelling. SHIFTUP has further solidified its global presence through collaborations with Tencent, launching games in a global one-build” strategy where most of its revenue now comes from international markets.
This success has also translated into a rising stock price for SHIFTUP. Mirae Asset Securities recently raised its target price, recognizing the company’s promising growth potential.
Meanwhile, Nexon’s Blue Archive has proven the commercial viability of subculture games. Within just three years of its launch, Blue Archive generated cumulative sales of approximately 670 billion won, showing that subculture games are no longer just niche but have become mainstream. Nexon’s success highlights the potential of subculture games to achieve widespread and commercial success.
Other titles like Nexon’s The First Descendant and SHIFTUP’s Stellar Blade have also gained traction by leveraging the appeal of specific characters. Despite mixed reviews regarding gameplay, these games have attracted a loyal ‘core user base’ willing to spend on characters, ensuring commercial success.
The Shadows of NCSoft and Webzen
On the flip side, NCSoft struggled with its attempt to break into the subculture market with its new title, Hoyeon. While the game incorporated some of the aesthetic elements of subculture titles, NCSoft was quick to assert that Hoyeon wasn’t a true subculture game. This mixed messaging confused fans, ultimately contributing to the game’s failure to capture the market.
Critics argue that NCSoft relied too heavily on the growth systems present in its Lineage series, failing to attract a new audience. Subculture fans prioritize character-driven stories, yet Hoyeon focused excessively on complex systems and growth mechanics, which clashed with the expectations of the subculture audience. As a result, the game failed commercially, and NCSoft’s stock price suffered.
Webzen has also seen setbacks. The company announced that it will terminate its subculture RPG Ragnador: The Vanished Princess of Yasha on September 30. Developed by Japan’s Grams and launched in 2021, the game failed to deliver competitive content or immersion. In subculture games, it’s not just about visuals; players seek compelling characters and stories to invest in emotionally. Failing to meet these expectations led to the game’s downfall.
The Future of Subculture Games
Subculture games are thriving due to the loyalty of their fanbase. Data shows that these games tend to maintain steady revenue long after their launch, as players who immerse themselves in the content are unlikely to abandon it. Fans are also known to enthusiastically spend on character collection and storyline progression.
As a result, subculture games are expected to continue growing, with more developers likely to explore this genre. However, simply adopting a subculture aesthetic won’t guarantee success—developers must offer genuine immersion and experience to capture the hearts of subculture enthusiasts.
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