Bringing Japanese Entertainment to the World: Nelke Planning and BABEL LABEL Presidents Discuss Global Strategy and a Vision for the Future
CyberAgent is committed to creating world-class products. We recently hosted a discussion with Shoko Nogami, President of Nelke Planning, a leader in the global expansion of 2.5D musicals, and Hisato Yamada, President of BABEL LABEL, a creator of new trends in filmmaking. We explored their global strategies and the potential for Japanese entertainment to captivate the world, focusing on long-term growth and innovation.
What future do these two pioneers see for entertainment born in Japan?
Contents
From Asia to the World: Our Global Strategies
The Universal Appeal of Japanese Content
From Asia to the World: Our Global Strategies
─ First, could you tell us about the catalyst for Nelke Planning’s overseas expansion and the progress you have made?
Nogami：It all started with a simple, powerful desire: to share Japan's 2.5D musicals with the world. Our first overseas show was back in 2008—the musical The Prince of Tennis in Taipei and Seoul.
It was an unprecedented challenge at the time, and we embarked on it with both great expectations and uncertainty. But the initial experience only strengthened our resolve. In 2014, we took the next major step by establishing a local subsidiary in Shanghai to fully scale up our international productions.
Through it all, one belief has guided us: we want audiences to feel the energy of Japanese manga and anime firsthand, live on stage. That's the core belief that keeps us pushing forward and taking on new challenges.
Recently, we’ve pushed beyond Asia. In October 2024, we staged -Attack on Titan- the Musical in New York with its Japanese cast. Fans of the original work flew in from all over the world. The energy in that theater was electric; it’s something I’ll never forget.
―The success of Pretty Guardian Sailor Moon The Super Live in North America and the UK has also been remarkable.
Nogami: Yes, it was incredible. We had so many parents and children coming to the theater together. It was a powerful reminder that Japanese content has this amazing ability to connect with people across generations.
Especially after the pandemic, when theaters were dark, the simple act of the curtain rising feels more profound than ever. It’s a symbol of normalcy, of peace. The idea that those Japanese works can be a part of the symbol is incredibly meaningful. It speaks to the deep-seated joy that entertainment provides.
It makes me feel an even greater sense of responsibility to share these Japanese stories with the world.
—At BABEL LABEL, you are also actively expanding globally, with initiatives like the "BABEL ASIA" international project and strategic partnerships.
Yamada: "BABEL ASIA" is our strategic project to disseminate Japanese content throughout Asia and ultimately to the world. Our first project, the Japan-Taiwan co-production 18×2 Beyond Youthful Days, drawing over 2.8 million people across Asia. That response gave us the confidence that we're on the right track for what’s next.
Our partnership with Netflix is also a powerful tailwind, enabling us to bring our stories to a global audience. We’re already seeing that our work can go further. For example, the film FACELESS, directed by BABEL LABEL's Michihito Fujii, reached the Top 10 on Netflix in the week of January 27, 2025, in three different countries.
More recently, through the partnership with Kakao Entertainment in South Korea, our talented creators are actively developing film projects for the global market.
And when we see producers like MEGUMI hosting a "JAPAN NIGHT" at the Cannes Film Festival, the "world," which once seemed distant, is getting closer with many opportunities.
—The partnership with Kakao Entertainment was also major news.
Yamada: Yes, they are a comprehensive entertainment company with capabilities spanning from original IP development and talent management to drama and film production.
Since joining the CyberAgent Group, our guiding principle has been clear: to take Japanese content to Korea, Asia, and the world. Partnering with a company like Kakao Entertainment, with its incredible scale and reach, is a massive opportunity to make that vision a reality.
Nogami: I’ve always felt that the fresh perspective and energy that a company like BABEL LABEL brings is indispensable for the global expansion of Japanese content.
I’m a huge fan of their work, and I also love Korean dramas—I’m always blown away by their production quality and storytelling. So I’m thrilled to be able to share my excitement for this partnership with you directly.
In fact, we are quietly developing an idea to adapt a Korean webtoon into a 2.5D musical. The day when we see a hybrid production that merges Japanese and Korean expertise, might be closer than you think.
Nogami began her career in theater production while in college and joined Nelke Planning in 1998. She handled casting for the company's stage productions, TV anime, and events before being appointed President in 2016. She produces a wide range of works, primarily 2.5D musicals, and continues to take on new challenges, such as debuting as a radio DJ this April. She is a mother of one.Her works include the musical “The Prince of Tennis,” the live spectacle “NARUTO,” the stage play “Jujutsu Kaisen,” and the animated film “Beyond the Clouds, the Promised Place,” directed by Makoto Shinkai.
The Universal Appeal of Japanese Content
—What do you consider to be the core strength of Japanese content in the global market?
Nogami: The strength of 2.5D musicals based on Japanese manga and anime lies in our deep respect for the source material and our meticulous approach to staging it. I believe that this sincerity enhances the value of the IP and helps it endure for years.
The detailed expressiveness of Japanese creators holds the potential to resonate with people worldwide. At Nelke Planning, we aim to capture the core emotion of the original story and fuse it with the magic of live theater to create a new kind of emotional experience.
Yamada: Japanese content attracts international interest, and high-quality works are widely accepted across borders and generations. But when I see the incredible rise of Korean content, it reinforces my belief that we need to double down on what makes Japanese storytelling unique and amplify that originality.
I was recently struck by a conversation in Korea with local producers and directors discussing how much Japanese dramas from the Showa era had influenced them. It reminded me of Japan’s craftsmanship and the universal power of its stories. We have to lean into that, deliver distinctive work, and find new audiences.
Born in 1986. After working at a major commercial production company, Yamada joined BABEL LABEL. He began by producing commercials and music videos before expanding into producing dramas such as "August Night in the Batting Cage" and "Ryosangata Riko - The Plastic Model Girl's Life Assembly Story" He served as a producer on the film "Hard Days
—What do you prioritize in the production process to create high-quality content?
Nogami: What we value above all is a deep understanding of and respect for the source material. We strive to recreate the heart-pounding excitement of opening the first page right from the opening scene of our stage productions. We strive for the unique immediacy of live theater, imagining the audience's perspective to convey the author's true intention. This respect for the source material has been our unwavering belief since our founding.
Yamada: My priority is whether we can meet society's latent needs and provide universal value, such as inspiration and excitement. Of course, it is also crucial that we, the creators, are passionate and confident about the work we are delivering.
I believe the most powerful content—the kind that resonates globally—is born from a balance: respecting the creator's unique vision while also maintaining an objective view of the times and a deep curiosity about what society is searching for.
The Source of High Creativity and Team Strength
—What experiences and philosophies have shaped the high level of creativity you both have cultivated?
Nogami: For me, the source of my creativity is a simple habit: I constantly ask, "What if?" I try to apply my imagination to everything I encounter in daily life, to see things from multiple perspectives.
At Nelke Planning, we place immense value on thinking from the “customer’s perspective.” Every single person, from the cast to the crew, puts providing the best possible experience first. When the whole team adopts that customer-first mindset, it naturally broadens the scope of our creativity.
Yamada: At BABEL LABEL, we are always digging deep as a team, asking ourselves: Do we truly find this interesting? Are we tapping into a need that hasn't surfaced yet? The company started as a group of friends with a shared ambition, and we’ve grown by holding onto a common belief and dream. Our foundation is an environment where everyone can play to their strengths and where different opinions are respected.
Nogami: What is remarkable about BABEL LABEL is that while it started from friendships, the core vision for growth remains solid. Individual talents converge to steadily strengthen the organization. They respect each other as creators while being friends and trust their president. We feel this high-quality relationship is the driving force behind their excellent value creation.
Yamada: Thank you. I hold great respect for the business model and numerous achievements that Nelke Planning has established in the theater industry.
To succeed as a business in the theater world, which isn’t known for high profitability, while captivating so many people with pure passion—that is a great goal for us to aspire to.
The truth is, I was a fan of Nelke Planning’s energy and creativity long before we joined the group. Expanding live-action content globally has its own unique set of challenges compared to animation, and the fact that you have been succeeding for so long makes you a true pioneer. I believe that direct connection with a live audience is the ultimate form of entertainment, and I would love to learn from your experience.
Nogami: It’s incredibly encouraging to have Yamada-san, who shares our ambition, in the group. I look forward to us pushing each other to create content that can truly stand on the world stage.
—Have you noticed any changes since joining the CyberAgent Group?
Nogami: In our first year, we focused on learning about governance and management system as a member of listed company. Now in our second year, we have moved into a phase of exploring synergistic businesses that excite customers through creativity and innovation.
We're preparing for a new movement—by strengthening the anime division, collaborating with ABEMA, systemizing cross-IP initiatives, and creating joint ventures. I have this sense that all the individual dots are starting to connect into lines, and which will then make up a surface.
Yamada: Joining the group has shown us the potential of developing content within a much larger ecosystem. Our horizons have broadened into areas that were simply out of reach for a traditional production company, like developing and distributing projects through ABEMA or collaborating with the marketing division.
We are also excited about crossovers with other entertainment domains, such as soccer and professional wrestling, and the unknown possibilities arising from new encounters within the group. While these are still in the seeding stage, we feel confident that new content and IP synergies will emerge across the group shortly.
Japanese Content Creates a New Trend in the World
—We’re excited to see what’s next for both companies and the group synergy you're building. To close, what is your vision for your global strategy going forward?
Yamada: Expansion into the global market cannot be achieved overnight. We intend to build trust and a track record, step by step, to pave the way for a future where Japanese dramas and films have much greater reach.
While adhering to Japan's uniquely meticulous and sincere production style, we will also actively incorporate the latest technology. As a content studio constantly evolving, we aim to spread the universal appeal of Japanese visual works worldwide. Through this challenge, we will demonstrate new possibilities and drive innovation in the entertainment industry.
Nogami: At Nelke Planning, we will continue pouring our passion into bringing 2.5D musicals to the world. To do this, we're focused on a two-pronged strategy: "inbound" and "outbound."
For outbound expansion, we will localize productions with local casts and staff. For inbound tourism, we aim to create new destinations where tourists can stop by. We aspire to offer entertainment that becomes a special memory for visitors, providing a place where they can meet favorite characters and enjoy high-quality shows.
To achieve this, building a domestic foundation is essential. We will tackle both domestic and international efforts with the same passion, moving forward one step at a time to ensure sustainability.
Feeling the audience's reaction directly in a live theater setting sparks new ideas and hints for our next challenge.
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