What is the new creator economy championed by JP UNIVERSE's game UGC platform "Ryūgukuni"? Pixiv and NicoNico collaboration project also announced [TGS2025]
Note: the original Japanese article can be found at:
https://www.4gamer.net/games/926/G092674/20250927001/
Writer: New Continental Order | 2025/09/27 23:00 (UTC)
On the second day of Tokyo Game Show 2025, September 26, 2025, a stage event titled “Japan Version of Roblox Finally Arrives: Creator Economy 2.0 – Cross-Over Between Illustrations, Videos, and Games” was held at the 4Gamer booth.
The event featured Tomoo Shimizu, Executive Officer and CPO of Pixiv, Takashi Watanabe, Head of the Nico Nico Business Division at Dwango and Director of the President’s Communications Promotion Office, and Eri Kadota, General Manager of JP UNIVERSE and Producer of “Ryūgūkuni.” Through a talk format, they shared insights into each company’s initiatives in creator economy, while introducing an overview of JP UNIVERSE’s upcoming RPG-style game UGC (User Generated Content) platform, “Ryūgūkuni,” scheduled for release in summer 2026.
Later in the event, Hajime Tanabata, CEO of JP UNIVERSE, took the stage to present the company’s initiatives centered around “Ryūgūkuni.”
Current State of Creator Economy
The three panelists represent companies engaged in businesses related to creator economy—the economic ecosystem primarily formed online where individual creators produce and disseminate original content or products for income.
The first topic discussed was “Current State of Creator Economy.” Pixiv’s user communication service, pixiv, currently has over 100 million users worldwide, with approximately 150 million total works—adding around 20,000 new pieces daily. These creations include illustrations, manga, and novels requiring considerable effort; Shimizu described this as proof of a vibrant creative community actively producing content.
Tomoo Shimizu Thumbnail image No.002 / What is the new creator economy championed by JP UNIVERSE’s game UGC platform “Ryūgūkuni”? Collaboration projects with Pixiv and NicoNico also announced [TGS2025]
Among these works, the most illustrative example of creator economy highlighted was the sales volume for 3D models used in VR worlds on Pixiv’s marketplace BOOTH, which nearly doubled from 2023 to 2024 and is expected to grow further in 2025. Shimizu noted that “the emergence of new creative spaces where creators develop entirely new avatars, paired with users enjoying them, has created actual financial flows—this is a highly significant point.”
Moreover, the ease of creating images and videos on smartphones has drastically lowered the barrier to becoming a creator. The panelist observed that since the pandemic, this trend has accelerated—making it possible for anyone to claim the title of “creator”—and this shift is fueling today’s thriving creator economy.
Next, Watanabe from Dwango discussed their video platform Nico Nico, emphasizing not only its role as a space for creators’ self-expression but also how users and fans actively participate via the comment feature. This interaction fosters mutual resonance: viewers feel understood by comments they read, while creators experience validation when others connect with their work. Such emotional overlap eventually leads to co-creation—forming what Dwango calls “common delight” (a coined term for this synergy of empathy and collaboration).
Takashi Watanabe Thumbnail image No.005 / What is the new creator economy championed by JP UNIVERSE’s game UGC platform “Ryūgūkuni”? Collaboration projects with Pixiv and NicoNico also announced [TGS2025]
Kadota explained that at JP UNIVERSE, games are no longer seen merely as consumable products. Instead, they view users evolving into creators who generate in-game content—and sometimes even earn income from it. Platforms enabling UGC have proven highly popular: for instance, Fortnite distributed ¥5.5 billion to its users in 2024, and Minecraft’s marketplace has seen approximately 170 million downloads of user-generated content. Furthermore, Roblox sees over half its users under the age of 20—suggesting a growing mindset where games are not just consumed but actively created by younger generations.
Eri Kadota Thumbnail image No.006 / What is the new creator economy championed by JP UNIVERSE’s game UGC platform “Ryūgūkuni”? Collaboration projects with Pixiv and NicoNico also announced [TGS2025]
Challenges in Today’s Creator Economy
The next theme was “Challenges Facing the Current Creator Economy.” Watanabe pointed out that while platforms now allow anyone to become a creator, it has actually become harder than before for creators to earn enough income solely from their creativity. Even if they join large platforms, visibility remains difficult—leading many to ultimately quit.
In this context, sustainability is crucial for current creator economy platforms. Watanabe noted that even without massive earnings, Nico Nico offers creators minimum compensation and helps them find fans who resonate with their work. He emphasized: “If someone must create such a platform, we are ready to do it.”
Shimizu highlighted that the sheer volume of works—thanks to everyone being able to be a creator—makes standing out increasingly difficult. A piece painstakingly drawn over one or two weeks might only receive views for a few seconds before viewers move on. Although this has always been true, competition is now fiercer than ever, with more content types vying for limited free time; thus, creators must actively enhance their work’s value and grow their fanbase.
Under these conditions, the key challenge, according to Shimizu, lies in “How effectively a creator conveys their worldview within their works.” He argued that even if visual art initially draws attention, deeper engagement—through worldviews and characters—is essential across all genres. This is now a fundamental necessity for long-term success.
Indeed, many famous Pixiv creators are skilled at self-promotion—but most others need mechanisms where simply participating or using the platform can expand their worldview or increase visibility.
Thumbnail image No.007 / What is the new creator economy championed by JP UNIVERSE’s game UGC platform “Ryūgūkuni”? Collaboration projects with Pixiv and NicoNico also announced [TGS2025]
Kadota described games as comprehensive entertainment combining illustrations, videos, music—thus presenting high creative barriers. He noted that specialized knowledge such as programming or 3D modeling is required in certain fields, which remains a challenge for the creator economy.
However, he also expressed a desire to support users in sharing their creativity globally using cutting-edge tools and technologies. JP UNIVERSE aims with “Ryūgūkuni” to fuse gameplay and creation within RPGs, enabling users to expand the game world themselves.
Future of Creator Economy: Possibilities
“Ryūgūkuni” is a gaming platform merging RPG mechanics with user-generated content (UGC). According to Kadota, anyone can bring their own creations or ideas into building the game’s universe. For example, 3D models from Pixiv can be imported as avatars, and characters drawn in illustrations can become central figures in stories. Videos uploaded on Nico Nico can be turned into events; Vocaloid tracks can serve as background music. “Ryūgūkuni” is envisioned as a platform where users explore worlds built entirely by their own content—adventuring through these UGC-driven realms and expanding them further. The release date was announced again: summer 2026.
A promotional video was also shown at the venue Thumbnail image No.008 / What is the new creator economy championed by JP UNIVERSE’s game UGC platform “Ryūgūkuni”? Collaboration projects with Pixiv and NicoNico also announced [TGS2025]
Watanabe cited “Niconico Commons,” a service from Nico Nico, as an example of how “Ryūgūkuni” could be used. This platform allows creators to define usage terms for their works, enabling third parties to reuse them—activating fan-made creations. Creators receive compensation, allowing those specializing in limited aspects like background or sound effects to thrive. Watanabe described the synergy between Niconico and “Ryūgūkuni” as a perfect match—“a thrilling collaboration.”
Shimizu revealed that Pixiv’s project VRoid, which enables 3D model creation, is only fun when used somewhere. He stressed: “Even if you just get to use your own avatar on ‘Ryūgūkuni,’ it already holds great value.” This platform allows users to create characters based on their personal interpretations of “Ryūgūkuni,” and such characters might even be officially adopted under the game’s rules. Shimizu emphasized this would provide ample motivation for creators—offering immense value.
Kadota revealed that “Ryūgūkuni” is already in collaboration with Pixiv and Nico Nico. Pixiv has joined as a technical partner, allowing 3D models created via VRoid to be used directly as avatars on “Ryūgūkuni.” Additionally, Pixiv hosts the event “pixiv Fantasia,” where users share settings and worldviews to collaboratively produce illustrations—now set to have its own “Ryūgūkuni” version.
While exact implementation remains unclear, Shimizu described it as a dream-like project: “You can participate using your original characters, and even the stories or characters you imagine could become official.”
On the collaboration with Nico Nico, comments will flow on the “Ryūgūkuni” gameplay screen—some even functioning as RPG commands. Moreover, “Ryūgūkuni General Election” is planned during the annual Niconico Super Conference, where users can help decide in-game rules.
Watanabe expressed hope that users wouldn’t just passively watch or listen—but actively participate and co-create, achieving a sense of real-life play with friends. He also stressed the importance of competition alongside collaboration—where rankings and status create healthy dynamics. This aspect will be an essential design consideration moving forward. Furthermore, as Japan’s gaming population increasingly includes senior citizens, he suggested that “Ryūgūkuni” could become a welcoming space for them.
In response to Shimizu’s request—“We’d love for as many user-created contents as possible to be reflected in the game”—Kadota replied: “We are actively considering a system that will properly suggest such content during gameplay.” He emphasized their commitment to being creator-first, aiming to build a platform enjoyable for all users. The company also plans to initially focus on Japan and Asia before expanding globally.
Talk Session with Game Creator Hajime Tanabata
At the event’s end, Hajime Tanabata, CEO of JP UNIVERSE, took the stage to report on “Ryūgūkuni”’s development progress. He confirmed that a prototype has been completed and is now in alpha-stage development—aiming to launch by summer 2026.
Tanabata explained that his vision for merging RPG with UGC dates back to when he worked at Square Enix on the FINAL FANTASY series. For example, “Final Fantasy XV” allowed players to cook monster materials into toppings for instant noodles from Nissin—but Tanabata imagined a future where users and individual creators could freely expand such creative elements, continuously building new worlds.
Hajime Tanabata Thumbnail image No.012 / What is the new creator economy championed by JP UNIVERSE’s game UGC platform “Ryūgūkuni”? Collaboration projects with Pixiv and NicoNico also announced [TGS2025]
He noted that games, like videos, are now accessible to individual creators. Therefore, the tools used by professional developers must be upgraded so anyone can become a creator in “Ryūgūkuni”—making “users” include both players and professionals. The goal is for “Ryūgūkuni” to become an RPG space where collaboration between amateur and pro creators thrives.
Additionally, Tanabata emphasized that “Ryūgūkuni” aims to serve as “a place to create another Japan.” The world of “Ryūgūkuni” includes all 47 Japanese prefectures, each functioning as an independent nation. Users can join one and contribute to building their own country—linking directly with real-life Japan. For example, companies and organizations are collaborating to provide support so users in “Ryūgūkuni” enjoy rich experiences. Tanabata expressed his vision: many excellent elements exist in Japan that could be brought into “Ryūgūkuni” for global exposure. He also suggested that cultural practices like “pilgrimage to anime locations” could expand through UGC.
JP UNIVERSE’s recent business partnership with Saudi Arabia’s Ministry of Investment on September 24 was re-introduced (see related article) Thumbnail image No.013 / What is the new creator economy championed by JP UNIVERSE’s game UGC platform “Ryūgūkuni”? Collaboration projects with Pixiv and NicoNico also announced [TGS2025]
When asked about the traits of Japanese game creators, Tanabata replied: “They don’t cut corners on later stages—because they create for those who play games all the way to the end.” He added that Japan’s ability to deeply refine and build things is unmatched globally. While other nations may excel at turning zero into one, few can match Japan’s skill in achieving top-tier quality once a solution is found.
Finally, Tanabata urged creators: “Please pay attention to ‘Ryūgūkuni.’” He hopes that together with others, they’ll create new worlds through collaboration and continue making things. For those who simply love games, he invited them to enjoy the gradual rollout of new titles starting in 2026—and to keep an eye on JP UNIVERSE’s efforts shaping the future of gaming.