Japan Airlines (JAL) is leveraging anime to promote regional travel, as inbound tourism in the country is experiencing a dramatic increase.
The Japanese flag carrier has partnered with Bandai Namco Entertainment, which owns several multi-million game franchises including Pac-Man and Tekken, to use digital technology to draw travelers to explore regional destinations in Japan.
The partnership falls under the “Cool Japan Strategy”, a Japanese government initiative designed to enhance national brand identity through the promotion of Japanese culture, technology, and products internationally. The program aims to stimulate economic growth and strengthen cultural diplomacy.
Building on the JAL Group’s established relationships with regional communities, the initiative provides engaging anime fan experiences at various points along the customer journey.
“It brings fans closer to favorite characters, supports regional revitalization, and encourages more visitors to explore local areas,” JAL said of the partnership.
Some examples of the promotion include a smartphone app where characters from the anime, “Nijigasaki High School Idol Club” will pop up on traveler’s photo screens as they take photographs at various tourist destinations. A branded tour app is also available, where tourists can explore Kyoto, Osaka and Kobe with characters from the anime series.
Original and limited-edition merchandise will also be available for purchase on select flights with J-Air, a regional airline and wholly-owned subsidiary of Japan Airlines.
In 2024, Japan welcomed a record 36.9 million international visitors, a 47% increase from 2023, a 16% increase over the pre-pandemic peak of 2019. The country’s unique culture, landscapes, weak currency and high level of safety are among the factors that draw international tourists.
Meanwhile, the number of global anime fans are rapidly increasing, brought about by streaming services making it easily accessible, and communities formed on social media. According to streaming service Netflix, its anime viewership has tripled since 2019, with 50% of its global users watching the genre, which is no longer considered niche.
