With one week left until the opening of Japan's largest game show, Tokyo Game Show (TGS) 2026, major Korean game companies will participate in force to target the global market. As in last year, a large number of new subculture titles are expected to be exhibited this year. The strategy is seen as gauging the box-office potential of new titles in Japan, the home of subculture, and securing a local fan base before launch.
According to the game industry on the 10th, major Korean game companies will take part in Tokyo Game Show, to be held at Makuhari Messe in Chiba Prefecture from the 17th to the 21st. Nexon, Netmarble, and NC, as well as Smilegate and small and indie studios, will head to Tokyo. The number of Korean participants increased from about 30 in 2024 to more than 40 last year, and is expected to surpass that this year. As the status of G-Star, Korea's largest game show, is not what it used to be, more companies have chosen Tokyo Game Show as the first stage for their new titles.
Following last year, Korean companies will again roll out new subculture titles in Tokyo this year. "Pareidolia," which Nexon has flagged for exhibition, is a new title from NEXON Games, the studio behind "Blue Archive." It tells the story of a protagonist who lives with girls called "Mates," each with special abilities, and solves various problems. It features everyday 3D graphics realized with Unreal Engine 5 and dynamic combat. A variety of life-content features that let players bond with distinctive characters will also be offered.
NC will unveil the first playable build of the new title "Astrae Oratio," in development by Dynamis One, at TGS. It touts itself as a "new-chronicles subculture role-playing game (RPG)" set in a fantasy world where magic exists. After taking part in Japan's Comic Market in Aug., it broadened contact with local users, and it will accept applications for closed beta participation until noon on the 21st.
Netmarble will exhibit the subculture collectible RPG "Pearl in Blue." Centered on a story that connects hearts with girls who each carry their own scars, it is a game about fostering a knighthood that acts as both heroes and influencers. Players can also enjoy character-bonding content infused with romantic comedy sensibilities.
Smilegate will showcase "Mirye-si" at TGS again this year following last year. "Mirye-si" is a new title from Control9, founded by key developers of "Goddess of Victory: Nikke" and "Seven Knights 2." It depicts a story in which the protagonist saves an era on the brink of doom together with girls in a world where time and space intersect. Real-time turn-based combat designed around the theme of time and space is the core content.
The choice by major Korean game companies to debut new subculture titles in Japan is seen as a strategy that weighs both marketability and symbolism. If a title is well received in Japan, the home of subculture, it is easier to draw attention from fans in Korea and other countries. According to Sensor Tower, from June 21, 2020, to June 20, 2025, 54% of global subculture mobile game revenue occurred in Japan.
In fact, "Blue Archive" from NEXON Games rebounded in popularity in Japan and then established itself as a global hit, with 73.1% of its cumulative revenue coming from Japan. SHIFT UP's "Goddess of Victory: Nikke" likewise recorded 50.3% of its revenue in Japan from its Nov. 2022 launch through June 2025.
The reason major Korean game companies have designated subculture games as a new growth engine beyond their mainstay genres is the market's 15%–16% compound annual growth rate and highly loyal fan base. Subculture games, built on solid fandoms, generate stable revenue and are relatively resilient even in market downturns. With higher revenue per user than other genres and advantages in additional revenue through character goods and intellectual property (IP) expansion products, they serve as a "cash cow" for game companies.
An industry official said, "Japan not only has a large game market but also a deep subculture user base, so directly checking local reactions at TGS helps improve a game's completeness before launch and secure an early fan base," adding, "If the box-office potential is proven in Japan, it can draw interest from subculture fans globally, including in Korea, making it highly strategic as the first stage to unveil a new title."