🟡 Launching with Cards, Building with Vision
Bushiroad Inc. was founded in May 2007 by Takaaki Kidani. At that time, the history of trading card games was still relatively short, as only 14 years had passed since the release of “Magic: The Gathering” in the United States in 1993.
“I felt there was still great potential in this field,” he recalled.

At its core, Bushiroad maintains trading card games as the foundation of its business—a strategy that continues to fuel growth. In the latest financial results, both revenue and operating profit reached record highs, with annual revenue of approximately US$370 million and operating profit of approximately US$32 million. Under Kidani’s leadership, the company has pursued a distinctive “IP Developer Strategy.” Rather than licensing existing content, Bushiroad focuses on creating original intellectual property in-house, spanning card games, anime, music, live events, and digital applications. “We combine conventional entertainment with IPs and create a second life with live performance,” Kidani explains.

This underscores a deeper purpose—fostering fan loyalty and brand equity that endure across formats.

Kidani, who took the helm in 2007 and holds both President and Chairman roles, brings to Bushiroad a background steeped in media entrepreneurship. His vision, rooted in authentic fandom and innovative licensing, has guided the firm from a niche card-game publisher to a diversified entertainment group capable of delivering immersive and emotionally resonant experiences.

🟡 Expanding Beyond Borders
Bushiroad’s early success in Japan quickly proved it could resonate globally. A pivotal milestone came in 2011 with the launch of Cardfight!! Vanguard. What began as a trading card game rapidly evolved into a full-scale franchise, complete with an anime series, manga tie-ins, and multiple video game adaptations. The game’s accessibility—now published in six languages and sold in more than 60 countries—was critical in cementing Bushiroad’s international credibility.
“It found success and a fan base in America as well as in Asia,” said Kidani. “For that reason we established companies in both Singapore and the U.S.”

The expansion was not confined to Vanguard. Three years before Vanguard’s release, Bushiroad introduced Weiß Schwarz, a crossover card game that leveraged the growing global appetite for Japanese animation. By integrating characters from well-known anime and video games, Bushiroad tapped directly into existing fan communities while creating a new revenue model. “This particular card game introduces characters from famous anime,” Kidani explained. It became both a commercial hit and a strategic tool, serving as an IP platform that Bushiroad could use to collaborate with outside partners. Today, Weiß Schwarz is available in both English and Simplified Chinese editions, extending its cultural reach well beyond Japan.

Bushiroad’s international strategy has always been pragmatic as well as ambitious. Subsidiaries in Singapore and the U.S. were established not only to serve local fan bases but also to create logistical efficiencies. Singapore functions as a regional hub for shipping, while Malaysia houses production facilities for card games. This supply chain integration allows Bushiroad to manage costs and ensure faster delivery to global markets.

The company’s approach underscores its broader philosophy: intellectual property must be cultivated at home but scaled abroad. By balancing domestic dominance with international expansion, Bushiroad has built a diversified revenue base that positions it for sustainable long-term growth.

🟡 From Stage to Ring: Live Entertainment as Strategy
Bushiroad’s diversification has never been about moving away from its trading card game roots—it has always been about amplifying intellectual property across new formats. Few examples illustrate this better than the company’s ventures into professional wrestling and live music.

The 2012 acquisition of New Japan Pro-Wrestling (NJPW) marked a turning point. For Bushiroad, wrestling was not a departure from games and anime but an extension of the same fan-driven model. NJPW, one of the most historic professional wrestling promotions in the world, provided Bushiroad with both content and community. “We actually host competitions in America roughly about three to four times a year,” Kidani noted. A high-water mark came in 2019, when NJPW co-headlined a sold-out event at Madison Square Garden in New York.

The strategy extended further in 2019 with the acquisition of STARDOM, a women’s wrestling promotion. With around 35 wrestlers, it now ranks among the largest women’s wrestling brands worldwide. By investing in professional wrestling, Bushiroad positioned itself as a pioneer in diversifying Japan’s sports entertainment sector. The company’s presence in the U.S. market continues to grow, leveraging both NJPW and STARDOM to reach fans who may never have encountered Bushiroad through trading card games or anime.

Alongside wrestling, Bushiroad built a unique model of live entertainment tied to its multimedia franchises. The BanG Dream! project, for example, showcases seven all-female bands that combine voice acting with live performance. In April this year, about 38,000 fans gathered over two days for the concert in Yokohama, and recently, around 30,000 attended the two-day concert in Shanghai. “Each character has its own feature… everyone gets time to shine,” Kidani explained, contrasting the longevity of Japanese girl bands with the shorter lifespans typical in the West.

By bringing characters to life on stage and in the ring, Bushiroad demonstrates a consistent strategy: intellectual property does not stop at cards or screens. It evolves, expands, and gains new dimensions through live experiences, anchoring fan loyalty and sustaining long-term value.

🟡 Digital Bridges Between Fans and Content
As media consumption habits evolve, Bushiroad has moved decisively into digital channels to ensure its intellectual property remains relevant and accessible. From console games to mobile apps and streaming anime, the company views digitalization not as an add-on but as a natural extension of its core strategy: building IP that thrives across multiple platforms.

BanG Dream! Girls Band Party! remains one of the most successful examples, blending rhythm gameplay with character narratives that already resonate with fans through anime and concerts. Meanwhile, console titles such as Hunter × Hunter: Nen × Impact, released in July 2025, expand Bushiroad’s presence in global gaming, tapping into both existing anime fandom and competitive fighting game communities.

Live broadcasting is another powerful tool. The company has pioneered hybrid experiences, combining animated visuals with live performances. Concerts feature real musicians performing alongside projected characters, allowing fans to experience their favorite franchises in entirely new ways.

Anime streaming has also boosted Bushiroad’s international visibility. With platforms such as Crunchyroll and Netflix expanding Japanese animation worldwide, franchises like Cardfight!! Vanguard and Revue Starlight have gained recognition far beyond their domestic base. This global distribution feeds back into the company’s ecosystem, driving demand for merchandise, card games, and live events.

In Bushiroad’s model, digitalization is not just about expanding reach—it is about deepening engagement. By allowing fans to interact with IP across games, live broadcasts, and streaming, the company creates a 360-degree experience. Each touchpoint reinforces the others, ensuring that fans transition naturally from digital encounters to live participation, merchandise purchases, and long-term brand loyalty.