Japanese Anime’s Potential to Take the World by Storm:
“GACHIAKUTA”’s Unwavering Commitment to Coolness

In early summer 2025, “Gachiakuta” thrilled anime fans around the world even before its release, deliberately embarking on a bold global marketing campaign that defied convention.

Among its many bold moves, the most striking were the large-scale coordinated advertising campaigns across five global cities, as well as advance screenings held in sixteen regions worldwide.

Giant graffiti murals appeared on billboards in Taipei, Hong Kong, Milan, Los Angeles, and Tokyo, each depicting spray-painted characters. When the text from all five cities is connected, a hidden feature reveals the message: “Watch out, world!”

Typically, advance screenings take place in japan and are then shared with overseas audiences, but this time, events were held in sixteen regions around the world. The anime was unveiled ahead of its general release at major events such as “Anime Expo” in Los Angeles and “Japan Expo” in Paris. At “Anime Expo,” the team collaborated with local streaming platform Crunchyroll to launch an ambitious, large-scale exhibition booth.

The TV anime “GACHIAKUTA” began streaming worldwide in July 2025, alongside its nationwide broadcast in japan. Hirotsugu Oogo, main producer at Avex Animation Labels Inc., and Naoko Matsuda, promotion producer at Avex Pictures Inc., reflect on this globally focused project that defied conventional wisdom.

Breaking Company Walls,
Crossing Borders,
and Coming Together as One Team

The popular manga “GACHIAKUTA” is currently serialized in Kodansha's “Weekly Shonen Magazine,” written by Kei Urana with graffiti designed by Hideyoshi Andou. The unique collaboration of manga and graffiti has created a distinctive worldview with stunning visuals, making it an action-packed series with a large fanbase both in Japan and abroad. The artists’ collaboration continues in the anime adaptation, with the world of the series further enriched by Japan’s acclaimed animation studio, bones film.

When asked what makes the anime series appealing, producer Oogo replied:

Oogo "The uniqueness of the original work, its fusion of manga and graffiti art, is a major strength of the anime. In addition, I think bones film, whose presence brings the action of the original manga to life, is another major draw for audiences worldwide."

Matsuda, who works in promotion, recalls, "I was thrilled, but also felt a lot of pressure knowing that bones film would be handling this project." She adds that the intense enthusiasm of the companies participating in the Production Committee is another notable aspect of the project.

Matsuda "Everyone at Kodansha, the rights holder of the original work, was extremely committed to the anime adaptation. I could sense that all parties involved were aiming high. Within that environment, we set out to promote it globally, which is also popular overseas, and I feel we’ve been taking on unprecedented challenges while developing new approaches and structures."

In collaboration with Kodansha’s international business team and Dentsu, which handles overseas promotions, the team developed an overseas strategy and launched ambitious campaigns across multiple countries. Promoting the series globally posed challenges that traditional methods alone could not address, both in terms of cost and execution.

The solution they found was to actively build collaborations with overseas distribution platforms and publishers, a challenge they had never taken on before.

Matsuda "When we, as the Promotion Committee, invited overseas distribution companies to “join us in promoting the series while maintaining close communication with Japan,” they responded very positively."

Crunchyroll, a leading distribution company for Western and European markets, and Medialink for Asia, responded to Japan’s proposals and helped establish a system to actively promote the series worldwide, taking local cultures into account.

Matsuda "Traditionally, relationships with overseas platforms involve them purchasing the license for an anime, after which promotional efforts are often limited to providing footage for advertising. It’s rare for the Japanese Production Committee and promotional team to actively communicate with their overseas contacts, as we did with this project. Materials are usually reused from domestic campaigns, but for “GACHIAKUTA,” we worked closely with each platform to tailor every website and social media post to global standards. We also timed releases to match the hours when overseas anime fans are most active. Our promotional strategy emphasizes international markets so strongly that we aim to make the series popular overseas first, and then re-import that popularity back to Japan."

With the goal of becoming a worldwide hit, the series was released simultaneously around the globe. Each week, when a new episode drops, fans worldwide share the excitement at roughly the same time.

"But it was really tough, though," the two laugh together.

One of the most challenging tasks was creating a system to ensure that the series’ unique world was conveyed appropriately in each country. With no precedent to follow, every step was a process of trial and error.

Oogo "We had domestic and international promotional teams, as well as each platform, and we needed to align on the basics, how each team should issue instructions and communicate. It took months of discussion to coordinate everything and reach a point where operations could run smoothly…"

Matsuda "We also had to establish detailed rules. We realized that giving platforms a degree of freedom in promotion helps motivate them, so fostering a positive, proactive attitude was essential. Even something as simple as copyright notices for events and promotional materials required pre-defined guidelines so each country could design them freely. We also provided a large volume of scene clips and versatile promotional materials. At the same time, we needed to clarify how many posts could be made each week and exactly what modifications were acceptable. These rules had to be carefully defined because so many stakeholders, both domestic and international, were involved."

Through the series “GACHIAKUTA,” people from diverse roles around the world have been connected. It all began as a process of trial and error, an effort to unite everyone involved into a single team.

Let’s Be Audacious –
A Bold Promotional Campaign Only Possible
with “GACHIAKUTA”

From there, “GACHIAKUTA”’s daring promotional strategy pressed forward.

Even before the series’ release, the team traveled to events around the world, vividly presenting the world of “GACHIAKUTA” at each location. Oogo reflects on the feedback from “Anime Expo” in Los Angeles.

Oogo "Kodansha and Crunchyroll each set up their own booths, and we were able to give “GACHIAKUTA” a strong presence, so much so that even local industry insiders remarked that it “really stood out this year.”"

He adds that collaborating closely with the streaming platforms and sharing in the campaign’s success was a major achievement.

The giant graffiti advertisements that appeared in five cities—Taipei, Hong Kong, Milan, Los Angeles, and Tokyo—also made a striking impact on viewers.

Oogo "All of this was hand-drawn… These types of advertisements are usually printed, but from a street-culture perspective, that wouldn’t feel authentic. I think it was precisely because it was hand-drawn that it had such an impact."

Matsuda reflects, "This was a campaign on a scale that would be impossible with a typical anime promotion, and I really struggled, wondering if it was the right thing to do and whether the timing was right. After extensive discussions within the Production Committee about investing so much at a point when no one had seen “GACHIAKUTA” yet, we made up our minds and moved forward."

Despite their struggles, they boldly embraced these challenging initiatives. What fuels “GACHIAKUTA”’s daring and resolute approach?

Oogo "The Production Committee for this series has the spirit to “try things” that have never been done before. Because we’re actively promoting it both domestically and internationally, we are willing to take risks, share ideas freely and go all in. If we do something, we want to leave a lasting mark, since half-hearted efforts just won’t be remembered."

This daring, forward-thinking attitude is clearly reflected in the finished promotional materials.

Matsuda "The promotional visuals are packed with attention to detail you rarely see in other works. It’s like we’re able to pursue levels of detail that normally wouldn’t be possible but because it’s “GACHIAKUTA.” Rather than creating the same type of promotional materials we’ve often seen in Japan, we thought that since we’re going global, let’s be audacious and push the visuals even further."

Oogo "Normally, the standard approach is to create visuals that immediately show who the main character is, who the enemy boss is, and that it’s an action series. While the usual goal is to clearly convey the key points of the anime, the promotion for this series takes a different approach, focusing on impact and style above all. That’s what makes this campaign unique."

Matsuda "It’s true that if we were only trying to sell “GACHIAKUTA” domestically, we probably wouldn’t have created these kinds of promotional materials. Normally, the visuals would face forward to make the characters easily recognizable, but in the teaser character visuals, all of the characters are shown in profile. This was the idea of Mr. Kei Urana, the original author, and it reflects a pure pursuit of style. The teaser movie also conveys the coolness and uniqueness of the world, yet the story itself isn’t clearly revealed."

In developing promotions that resonate deeply both in Japan and abroad, it seems that the unique world of “GACHIAKUTA” and the audacious nature of its characters have even influenced the very approach to advertising. This also reflects the publisher, studio, production team, and distribution partners’ belief in the strength of the work and their commitment to honoring it. At first glance, the advertising measures may appear unconventional, but in reality, they are driven by a passion to convey the work’s appeal directly to the heart rather than through logic, supported by a strong conviction that if the message reaches the audience, it will resonate.

Matsuda adds, "The reason we were able to do this is definitely because of the special characteristics of “GACHIAKUTA.” It’s precisely because of this work that we could fully embrace the challenge of pursuing style and coolness to the utmost."

Closely Connecting to the World,
a Future Illuminated by Shared Experience

At the time of this interview, “GACHIAKUTA” is being broadcasted and streamed, but looking back on their journey, what lessons have the two taken away?

Oogo "I realized that when you work closely with overseas partners and move forward with a strong determination to promote your work, the results and responses you get reflect that effort. It might seem obvious, but for me, it was a major learning experience. Of course, this isn’t something Avex could do alone; with the cooperation of studios, Production Committees, and rights holders, everyone comes together as one team to make progress internationally. Experiencing firsthand the scale of response that collaboration can generate is something I believe will benefit future projects as well."

Matsuda "I also feel that the know-how we developed here can be applied in many other areas. Equally important was the opportunity to communicate with overseas distribution partners at a depth we’d never experienced before. These days, it’s common for content that goes viral in Japan to be taken overseas afterward to create buzz, but we flipped that approach. By reaching out from the start with “Let’s work together,” we realized that this was exactly what they had been looking for. Understanding that and being able to build these relationships has become a valuable asset for us."

With the tremendous learning and experience gained from Gachiakuta, what lies ahead for them? When we asked the two about the challenges they are now considering…

Matsuda "I think Avex’s PR team is made up of incredibly passionate and talented people. My superiors and I often talk about how, if we could do more of this kind of work overseas, we could become a truly one-of-a-kind PR group. That’s why I’d love to see an Avex PR branch established abroad!"

Not limited to traditional promotional methods, she plans to actively engage with overseas productions and collaborate closely to achieve results. Matsuda’s vision for the future reflects the confidence and sense of potential she gained from building such a system.

Oogo also sees further possibilities in cultivating close relationships with overseas partners.

Oogo "It would be a waste if our relationships with overseas contacts were limited to simply exchanging promotional materials. For future projects I’ll be involved in, I want to establish more proactive collaborations with overseas partners and create content that becomes popular worldwide. And since Avex also handles the music for these projects, I’d like to actively explore music events abroad as well."

Finally, as they reflected on “GACHIAKUTA”’s journey so far, the two let slip a few heartfelt words.

Matsuda "I’m truly grateful to the Production Committee and everyone handling overseas business and promotion. They’re the best team, and I don’t think I could have had this experience with anyone else. When we all toasted after the event in Germany, I even told them, “I love you all!” (laughs)"

Oogo "And because we care so much about these people, there’s the pressure of not wanting to disappoint them! (laughs)"

What comes through in their words is a sincere, heartfelt commitment to both the work and their partners. Through “GACHIAKUTA,” collaborators from around the world have connected and gained shared experience. That experience could very well become a driving force to brighten the future of the anime industry.

The second season of the “GACHIAKUTA” TV anime begins on October 12.

It would be exciting to see how the series continues to captivate audiences worldwide.

【Work information】
Anime Series Gachiakuta
Now streaming for 24 consecutive episodes!
28 CBC/TBS stations throughout Japan in the "Agaru Anime" timeslot (Sundays from 11:30pm)
Advanced streaming on Prime Video on Mondays at midnight, other streaming services on Tuesdays at midnight
(Broadcast and streaming dates and times are subject to change)　

■What is Gachiakuta?
Crawl back from the abyss of Hell to change this lousy world!

Gachiakuta is an action manga written and illustrated by manga artist Kei Urana With graffiti design by Hideyoshi Andou.
It began serialization in Kodansha’s Weekly Shōnen Magazine in February 2022 and won the Global Special Prize in the Comics category of the Next Manga Awards 2022.
While developing the concept for the series,Urana thought that incorporating graffiti design would make it more interesting and enlisted the help of graffiti designer Hideyoshi Andou.

The enemies are conformity, authority and discrimination!
This phenomenal manga will be adapted into an anime in July 2025!
Production will be headed by none other than bones film.

■Original Work
Gachiakuta (currently serialized in Kodansha’s Weekly Shōnen Magazine)
Manga story and illustration by Kei Urana
Graffiti design by Hideyoshi Andou

■Staff
Director: Fumihiko Suganuma
Series Composition: Hiroshi Seko
Character Design & Chief Animation Director: Satoshi Ishino
Sub Character Design & Chief Animation Director: Yoshino Matsumoto
Trash Beast Design: Eiji Yamamori
Vital Instrument Design: Arisa Hoshina
Art Design: Nariyuki Ogi
Art Director: Yusa Ito (Kusanagi)
Color Design: Naomi Nakano (Stella)
In-Between Animation Director: Chiori Haneda
Photography Director: Masataka Ikegami
3DCG Director: Takuma Miyake
Editor: Ayumu Takahashi
Sound Director: Fumiyuki Goh
Sound Effects: Rei Ueno
Music: Taku Iwasaki
Production Supervision: Bones
Animation Production: Bones Film
Production: “GACHIAKUTA” Production Committee

■Cast
Rudo: Aoi Ichikawa
Enjin: Katsuyuki Konishi
Zanka: Yoshitsugu Matsuoka
Riyo: Yumiri Hanamori
Tamsy: Mitsuki Saiga
Delmon: Masami Iwasaki
Bro: Wataru Takagi
Dear: Hana Sato
Guita: Maria Naganawa
Gris: Satoshi Hino
Follo: Kazuki Ura
Tomme: Hisako Tojo
Corvus: Rikiya Koyama
Semiu: Mie Sonozaki
August: Mamoru Miyano
Eishia: Manaka Iwami
Zody: Shunsuke Takeuchi
Jabber: Yuuki Shin
Cthoni: Ayahi Takagaki
Noerde: Mutsumi Tamura
Fu: Hiro Shimono
Bundus: Akio Otsuka
Regto: Toshiyuki Morikawa
Chiwa: Miku Ito
Alice: Ryusei Nakao
Remlin: Yuko Sanpei
Amo: Kana Hanazawa

■Music
▼2nd cour
OP: MoriCalliope – “LET’S JUST CRASH”
ED: karanoah – “BAN”
▼1st cour
OP: Paledusk – "HUGs"
ED: DUSTCELL – "TOMOSHIBI"

■Introduction
Gachiakuta is a battle action series featuring an orphan boy named Rudo, born in a slum where the descendants of criminals live.
People in the slums are looked down upon and discriminated against as “tribesfolk” by those who live beyond its walls.
Rudo lives together with Regto, the man who raised him, and makes ends meet using his extraordinary physical abilities, despite being called a “trash raider.”
Then one day, he’s falsely accused of a crime and dropped into a fearsome abyss known as the Pit.

■Read a sample of the manga
English
https://kodansha.us/series/gachiakuta/
Japanese
https://pocket.shonenmagazine.com/episode/3269754496757736611

■Website
Website: https://gachiakuta-anime.com/en/
World Takeover Website: https://world-takeover.gachiakuta-anime.com/
Graffiti Maker: https://graffiti-maker.gachiakuta-anime.com/

■Japan SNS accounts
X: https://x.com/gachiakuta_PR
Instagram: https://www.instagram.com/gachiakuta_PR
TikTok: https://www.tiktok.com/@gachiakuta_PR
YouTube: https://www.youtube.com/@gachiakuta_PR

■Global X Account
https://x.com/Gachiakuta_News
https://x.com/GACHIAKUTA_O_EN

© Kei Urana, Hideyoshi Andou and KODANSHA/ “GACHIAKUTA” Production Committee