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The Grammys created an award for Asian pop. BTS said no.

Alibaba

A skincare sale only matters if people come back for the second bottle.

Amorepacific

Anta Sports

Bandai Namco Holdings

Bilibili

Capcom

CJ CheilJedang

Before the first song drops, H//PE Princess already has a global Warner deal.

CJ ENM

Coupang

CyberAgent

Your Uniqlo basics keep you coming back.

Fast Retailing

GoTo Group

Grab

A BTS comeback is not just songs. It’s albums, merch, tickets, and Weverse.

HYBE

iQIYI

Jollibee is turning nostalgia into stores.

Jollibee Foods Corporation

JYP Entertainment

Kadokawa

Kakao

Kikkoman

Konami Group

Krafton

Kuaishou

Li Ning

Miniso

Naver

NCsoft

Your playlist depends on deals you never see.

NetEase

Netmarble

Nexon

If your kid wants Mario Kart, Nintendo still has the advantage.

Nintendo

Nissin Foods

Nongshim

Nykaa

Oriental Land

Pop Mart

PVR Inox

Rakuten Group

Sanrio wants Hello Kitty to be more than merch.

Sanrio

Saregama India

Sea Ltd

Sega Sammy Holdings

Shiseido

SM Entertainment

Sony Group

Square Enix Holdings

Studio Dragon

Tencent

Toei Animation

Toho

Trip.com Group

YG Entertainment

Zee Entertainment

aespa

SM's flagship 4th-gen group turned streaming dominance into arena-scale global touring — the clearest sign K-pop's next tier can headline, not just chart.

DAY6

DAY6 is the anti-idol success story JYP almost overlooked -- a self-composing band that streamed its way to a delayed mid-2020s explosion, proving fandom loyalty can outlast a label's promotional attention and still print million-seller numbers.

EXO's XOXO ended a 12-year drought in Korea's collapsing physical-album market and effectively rebooted the million-seller as a business model -- the single release that proved fandom could resurrect CD sales in the streaming age.

fromis_9

fromis_9 shows what happens when the audition-show pipeline outlives the labels that built it -- assembled from CJ's Idol School, later run by HYBE's Pledis, and ultimately controlling their own fate by moving as a unit to an independent label.

Girls' Generation

Girls' Generation is the group that made 'The Nation's Girl Group' a business category -- SM's flagship that domesticated the girl-group formula at home and made the first serious institutional bet on breaking K-pop into America via Interscope.

ITZY

ITZY was JYP's declaration that it could build a global girl group without JYP micromanaging the sound -- a self-assured 'teen crush' brand that broke US chart-entry records for a rookie act and helped JYP reload after TWICE.

KATSEYE

K-pop's methodology exported into a Western-market act — HYBE x Geffen industrializing idol-making as a global product, not a Korean export.

LE SSERAFIM

HYBE's Source Music engineered LE SSERAFIM to hit the American chart machine before most rookies finish their first album cycle -- the group is a case study in how HYBE's global-first pipeline converts K-pop fandom into US market share.

Haruki Murakami

Japan's most exportable novelist built a global brand on jazz, cats and alienation, showing that a distinctly Japanese sensibility could become a worldwide default aesthetic decades before anime went mainstream.

Hasan Minhaj

The first Indian American to host a weekly comedy show turned second-generation immigrant anxiety into Peabody-winning political satire, then tested how much a comic's 'emotional truth' can bend before it breaks.

Jackson Wang

The GOT7 idol built Team Wang into a nine-figure music-and-fashion empire and put Chinese pop on the Coachella stage — Asian artists architecting their own global platforms, not just guesting on Western ones.

Lang Lang

The pianist who played for a billion-plus at the Beijing Olympics weaponized his celebrity into Rolex-and-Adidas deals — Chinese star power setting the price, not just playing the notes.

Lisa Su

The Taiwan-born engineer who took over a near-bankrupt AMD and grew it ~30x is proof that patient chip strategy, not hype, wins the AI hardware war, and that a woman could run it.

R.F. Kuang

A Chinese American novelist who weaponized publishing's own diversity anxieties into No. 1 bestsellers, R.F. Kuang turned the industry's discomfort about who gets to tell whose story into commercial fuel.

Takashi Murakami

The 'Superflat' theorist who put smiling flowers on Louis Vuitton bags and Kanye covers, Murakami erased the line between gallery and gift shop and monetized it better than almost any artist alive.

Yayoi Kusama

At 90-plus, Kusama became both the world's most expensive living female artist and the internet's favorite selfie backdrop, collapsing the wall between blue-chip art market and mass-attendance spectacle.

&TEAM

&TEAM is HYBE's first homegrown Japanese boy group -- a localization play that plants the HYBE system directly inside the world's second-biggest music market rather than exporting Korean acts into it.

2PM invented the 'beast idol' -- JYP's masculine, acrobatic counter-brand that opened the Japanese arena market for K-pop boy groups and made Thai member Nichkhun one of the first non-Korean idols engineered as a pan-Asian sales asset.

Ace Attorney

Capcom's courtroom visual-novel series proves a text-heavy, dialogue-driven Japanese genre can find a global audience — a slow-burn IP that finally hit eight figures on the back of remaster collections.

Aggretsuko

Aggretsuko is Sanrio going grown-up: a death-metal red panda venting office rage, engineered as a Netflix property to extend the kawaii brand to adult millennial audiences.

AKMU

AKMU are the sibling duo who won K-Pop Star and picked YG on their own terms -- 'The Nation's Siblings' whose songwriting-first model gave YG a rare non-idol prestige asset that outlasted a full 12-year label run.

Animal Crossing

A cozy island sim became a pandemic-era cultural phenomenon and one of Nintendo's biggest hits ever, showing how a slow, social, low-stakes game can outsell blockbusters when the world locks down.

Aniplex

Aniplex is the Sony-owned production house that quietly bankrolls the anime you think you discovered, monetizing hits like Demon Slayer and Fate not through streaming but through the far richer worlds of gacha games and merch.

Arc'teryx

Arc'teryx became the uniform of Asia's 'gorpcore' elite — a Canadian mountaineering brand now majority-owned by China's Anta, where Greater China grew over 50% and helped push the label past $2 billion in its first year as a public company.

BABYMONSTER

YG built BABYMONSTER as its designated BLACKPINK successor, and the pressure is the point -- the label bet its next decade of revenue on a seven-member group that had to shatter rookie sales records just to justify the comparison.

Badtz-Maru

Badtz-Maru is Sanrio's original bad-boy IP, a mischievous penguin whose 1990s attitude prefigured the Kuromi edge-cute playbook that now moves so much merch.

Bibigo

CJ CheilJedang bet that the dumpling — not kimchi — was K-food's most exportable Trojan horse, and it worked: Bibigo mandu dethroned a Chinese brand that had ruled US freezers for 25 years, making Korean dumplings the default American frozen dumpling.

BIGBANG

BigBang were the original architects of K-pop as a global export business -- the first mainstream Korean hip-hop idols whose stadium tours and merch empire proved a Korean act could out-earn Western pop stars and became the template YG monetized for a decade.

BLACKPINK

The genre's biggest girl group returned as a group after years of solo dominance — testing whether K-pop's Western peak was a moment or a plateau. 'GO' answered.

BOYNEXTDOOR

BOYNEXTDOOR is rapper Zico's KOZ Entertainment absorbed into the HYBE machine -- an artist-founded label that HYBE bought and turned into a hit factory, showing how HYBE grows by acquiring creative shops, not just building them.

BTS didn't just come back — they re-coronated K-pop's top tier. 'Arirang' fuses Korean folk roots with global pop, and the tour proved the machine HYBE built scales to stadiums worldwide.

Chapagetti

For decades a domestic black-bean-noodle favorite, Chapagetti went global the moment Bong Joon-ho's Oscar-winning Parasite put 'jjapaguri' (ram-don) on screen — proof that a single film scene can turn a 1984 grocery-aisle product into an internationally searched recipe.

Cinnamoroll

Cinnamoroll dethroned Hello Kitty and won't give it back: five straight No. 1 finishes make the flying puppy Sanrio's real modern flagship and its most bankable licensing engine.

Crunchyroll

Sony turned a fan-run fansub site into the West's anime monopoly, and now treats Crunchyroll as the toll booth every global otaku has to pay to reach Japanese IP.

Ctrip

Ctrip's flagship Chinese brand rode the post-pandemic revenge-travel wave into record numbers, with outbound bookings surging over 100% year-over-year as Chinese tourists rediscovered the world.

Cup Noodles

Momofuku Ando's 1971 gambit — dropping the noodle brick into a foam cup so it could be eaten anywhere with just hot water — turned instant ramen from a Japanese pantry staple into a portable global format that colonized dorm rooms, offices, and disaster kits on every continent.

Devil May Cry

Capcom's stylish-action series turned combos into a brand, and its recent Netflix anime shows how a Japanese game IP now feeds a cross-media pipeline that keeps decades-old catalog titles selling.

Digimon

Forever branded Pokemon's rival, Digimon quietly built a $6B+ multimedia franchise for Bandai — a reminder that even the 'runner-up' Japanese monster IP is a serious global business in its own right.

Donkey Kong

Donkey Kong is Nintendo's 1981 arcade cornerstone that launched both the company's console fortunes and Mario himself, and its Rare-built SNES revival showed how a dormant mascot can be re-engineered into a blockbuster.

Dragon Ball

Akira Toriyama's shonen classic is Bandai Namco's cash engine, proving that a decades-old anime IP can out-earn most Hollywood studios once you stack games, merch and mobile gacha on top of it.

Dragon Quest

Japan's original national RPG obsession — launches once caused reported school-skipping panics — remains a Square Enix pillar, even as it trails Final Fantasy on the global stage it never fully cracked.

Dungeon & Fighter

Barely known in the West, Dungeon & Fighter is a giant in Asia — its beat-em-up MMO grosses at a scale few games ever reach, and Nexon's 2024 mobile launch with Tencent in China turned the aging PC IP into the year's most lucrative new mobile release.

Elden Ring

FromSoftware turned punishing difficulty into a mainstream mega-seller, and Bandai Namco's backing shows how a Japanese studio's auteur vision can beat Western open-world giants at their own game.

ENHYPEN

Spun out of HYBE's I-LAND survival show, ENHYPEN turned superfan album-buying into a shipment machine -- proof that HYBE's real product isn't songs but a monetized fandom funnel that moves millions of physical units per release.

Etude

Etude was Amorepacific's candy-colored gateway drug for teen makeup, scaling to hundreds of Asian storefronts before the roadshop model cratered and forced a pivot to digital and wholesale.

Final Fantasy

Square Enix's flagship RPG is the company's crown jewel and second-biggest RPG franchise on earth, but its console-exclusive gambles keep colliding with a modern reality that demands day-one multiplatform sales.

Fire Emblem

A niche Japanese strategy-RPG for decades, Fire Emblem's real inflection came from mobile: its gacha spin-off out-earns the entire console series, showing how a legacy IP monetizes fandom far beyond boxed copies.

Free Fire

Garena's mobile battle royale is Southeast Asia's answer to Fortnite, engineered for low-end phones and emerging markets — the crown jewel of Sea Limited's digital-entertainment arm and a case study in monetizing the Global South.

Godzilla

A 70-year-old kaiju became a Best-VFX Oscar winner and a global franchise engine — Toho's clearest proof Japanese IP can beat Hollywood at its own craft, at a fraction of the budget.

Granblue Fantasy

Cygames turned a browser-based JRPG into a decade-long IP flywheel — the gacha original bankrolls console spin-offs like Relink, showing how a Japanese mobile hit converts into a full transmedia franchise for parent CyberAgent.

Gudetama

Gudetama turned burnout into a brand: the lazy egg went from mascot to Emmy-nominated Netflix star, showing how Sanrio scales a mood into a global licensing property.

Gundam

A 1979 mecha anime is now Bandai Namco's single most valuable IP, out-earning Dragon Ball and One Piece combined — proof that plastic model kits (Gunpla) can be a billion-dollar recurring-revenue business.

Hello Kitty

Hello Kitty isn't a cartoon, she's a licensing machine: a mouthless mascot Sanrio rents to 50,000-plus manufacturers, turning cuteness into one of the highest-grossing franchises on Earth.

Hera

Hera is Amorepacific's luxury power play, weaponizing Blackpink's Jennie as global ambassador to sell prestige Korean makeup at a moment when Seoul's beauty houses need margin, not just volume.

Honor of Kings

Honor of Kings is the quiet giant of global gaming — a Chinese-market MOBA so dominant at home that its 139-million-daily-player peak dwarfs most Western franchises, and its post-2024 international rollout is Tencent's bet that mobile esports IP scales past the Great Firewall.

Identity V

NetEase localized asymmetrical horror for mobile and rode a gothic-anime aesthetic to a massive East Asian audience — proof that a niche 1-vs-4 format can scale to hundreds of millions of downloads.

ILLIT

ILLIT is HYBE's clearest proof that the American chart can be gamed on debut -- becoming the fastest K-pop act ever onto the Hot 100 turned a brand-new group into an instant global asset, and later fueled a very public creative-IP feud inside HYBE itself.

Innisfree

Innisfree rode Korea's green-beauty wave to become Amorepacific's mass-market cash cow, then became a cautionary tale of what happens when a K-beauty brand bets too hard on Chinese tourists.

Jollibee

Jollibee has quietly become one of the world's largest Asian restaurant operators by treating Filipino comfort food as an export and buying its way into coffee and dim sum — its near-10,000-store footprint now spans 19 brands, not just the fried chicken and spaghetti that built it.

KakaoTalk

KakaoTalk is the near-monopoly messenger that became Korea's operating system for daily life, giving Kakao a chokehold on how 50M Koreans pay, chat, hail cabs and stream music.

KCON

KCON is CJ ENM's stadium-sized funnel that converts K-pop fandom into a physical marketplace, turning superfans into a captive audience for Korean brands, labels and streaming subscriptions.

Keroppi

Keroppi is proof of Sanrio's back-catalog depth: a 1980s frog still cracking the top 10 of the annual poll, keeping legacy IP profitable decades after debut.

Kikkoman Soy Sauce

Kikkoman's genius was convincing non-Asian kitchens that naturally brewed soy sauce belonged next to salt and pepper — a decades-long American marketing campaign that made a 17th-century Japanese ferment a global condiment rather than an ethnic-aisle specialty.

Kingdom Hearts

The improbable Square Enix x Disney crossover became a multi-generational franchise, a case study in how two IP giants can share characters and split a durable, decades-long revenue stream.

Kirby

Nintendo and HAL Laboratory's pink blob is one of gaming's most bankable evergreen brands — a 30-year-old character that quietly sells tens of millions and anchors a merch empire without ever chasing edginess.

KonoSuba

KonoSuba is Kadokawa's proof that comedy-first isekai has real durability — a parody of the genre it belongs to, it built an eight-figure light-novel base and now sustains itself through spinoffs, games, and anime long after the main series concluded.

Kuromi

Kuromi is Sanrio's bet on edge: a punky anti-cute mascot who became a Gen Z cult icon and merch juggernaut, proving the kawaii empire monetizes rebellion just as well as sweetness.

Labubu (The Monsters)

Labubu is a case study in how a single character can eclipse a company: the The Monsters IP went from niche designer toy to nearly a quarter of Pop Mart's revenue in one year, its 726% surge fueled less by marketing spend than by a Blackpink celebrity photo and blind-box scarcity.

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‘Avatar: The Last Airbender’ fan film by members of Netflix live-action stunt team raises expectations