As domestic OTTs (online video services) struggle with deficits and subscriber declines due to competition from global giants like Netflix, 'RAPTEL,' which specializes in Japanese animation, has surpassed 1 million monthly active users (MAU) based on app usage. In a market where large OTTs providing various genres like movies, dramas, and entertainment are underperforming, this is a rare example of stable growth focused on a specific genre.
According to app analysis platform Mobile Index on the 12th, RAPTLE's domestic app MAU in July reached 1,018,889, marking a 15.9% increase from the previous month (878,227). This is the first time MAU has exceeded 1 million since statistics began to be collected. Starting with an MAU in the 600,000 range in March 2021, RAPTLE maintained a steady rise and had stabilized in the high 700,000 range until June. However, last month, MAU increased by more than 140,000 in just one month.
RAPTEL launched as an OTT service in 2016 and currently operates on a paid subscription model at 9,900 won per month (standard version). All works can be viewed without ads, and a deep learning-based recommendation algorithm suggests animations tailored to user preferences. Thanks to this technology, users can easily discover not only 'new releases by season' but also older titles or hidden masterpieces they may enjoy.
RAPTEL's parent company, ANIPLUS, holds distribution networks and rights that bring in 70-80% of new Japanese animations to Korea. In 2023, it acquired competitor ANIMAX, raising its cable channel share to 85%. Consequently, RAPTEL has secured a strong fanbase by receiving exclusive supplies of popular works such as 'Demon Slayer,' 'Attack on Titan,' and 'Haikyuu.' As a result, it has become one of the few domestic OTTs to report a profit.
Recently, it has also begun to expand into original production beyond simple distribution. Based on its experience in producing the BL (boys' love) genre, it introduced the first adult female-targeted romance animation, 'Red Fox,' in May. Based on a Naver webtoon, this work combines Eastern-inspired worldviews with delicate emotional lines, attracting not only Japanese animation fans but also female webtoon fans in their 20s and 30s. In fact, last month, approximately 60% of RAPTEL's users were female, surpassing the male users.
It is also accelerating efforts overseas. RAPTEL entered Southeast Asia (Malaysia, Thailand, Indonesia, Vietnam, the Philippines, Singapore) last year and has secured 300,000 local MAUs within a year. In February, it introduced a paid subscription product, and through webtoon-based animation projects such as 'Tiger Comes,' and 'Pyramid Game,' it is strengthening IP (intellectual property) internalization. This strategy aims to complete a value chain that leads from production to distribution to secondary consumption, broadening its connections with global fandom.
A representative from ANIPLUS noted, 'Unlike drams, animations have a strong loyal fandom, resulting in less platform migration, and even if the same work is available in multiple places, a habit of watching it on RAPTEL has established itself,' adding, 'Due to the tendency of fans to avoid illegal and free viewing, the user base remains stable.' He continued, 'Although the Southeast Asian market has a high proportion of illegal content and a weak paid subscription culture, we maintain a natural influx through a model that allows legal free use after watching ads.'
In contrast, the struggles of other domestic OTTs are deepening. The first-generation OTT Watcha has entered corporate rehabilitation procedures earlier this month, while Tving faced a cumulative deficit of over 100 billion won last year. Tving and Wavve claim they will merge in the second half of this year to compete against Netflix, but the loss of exclusive terrestrial content rights and reduced original investment makes the likelihood of a rebound uncertain. Netflix has dominated the market with a subscription rate of 54% in the first half of this year, simultaneously boosting its user numbers and loyalty through its partnership with Naver Membership. An OTT industry representative commented, 'In a situation where Netflix dominates the market, competition will become increasingly difficult without differentiated content and service strategies.'