Portfolio.

Global Go-to-Market — Launch Momentum and P2E User Acquisition

This was the Go-to-Market mission for the simultaneous market entry of MapleStory Universe and MapleStory N.

A nine-month beta season called 'The Genesis' had already built a strong core community.

Since that community would flow in at launch, marketing's job was to reach the segments not yet touched.

I identified P2E users — those drawn to MapleStory N's earning mechanic — as the target, and defined the GTM mission around them.

Front-end / Back-end Marketing Strategy

In Web3 and P2E, regulations restricted even traditional marketing tactics.

New tactics also lose their edge as audiences get used to them.

So I built a new concept.

A website is built from a front-end (what's visible) and a back-end (what isn't). I split the marketing strategy along those same two axes.

Back-end is the work the target doesn't see — the foundation for everything else. Content and viral pipelines seeded across third-party channels (media, research, KOLs, etc.) are the back-end work.

Front-end is the official campaigns the target sees directly. In this GTM, the Meme Short-Form Campaign and Global Stream Clash were the front-end.

When front-end marketing drives engagement on top of a solid back-end, second- and third-wave organic spread grows the effect further.

Meme Short-Form Campaign

I designed meme shorts with aggregator-bait headlines like "MapleStory 3 release?" to spark curiosity and build launch momentum.

Produced everything from low-fi B-tier shorts to fully animated pieces — all carrying MapleStory N's core appeal. I also partnered with MapleStory's flagship creator (Medocbul) for dedicated animation videos.

Posted the shorts through fan-page-style channels so they could serve as viral source material.

Global Stream Clash

I designed an influencer-driven campaign to viralize MapleStory N's gameplay post-launch.

Traditional paid sponsorship was off-limits under regulation, so I structured it as a streaming competition to drive organic streams instead.

I built it as a 10-day prize-tiered structure where streamers complete in-game missions on-stream — concentrating streaming activity over a focused window.

Meme Short-Form — Ad Pivot

Content production went smoothly, but virality wasn't kicking in.

Organic virality takes time, and waiting for it risked missing the launch window.

I pivoted from organic to paid distribution, shifting the plan toward fast targeted reach.

Global Stream Clash — Abuse Management

With prize money on the line, various forms of abuse surfaced.

I reviewed guidelines and judging criteria daily to keep fairness intact.

For the final ranking, I verified abuse through data before deciding on disqualifications.

User Acquisition

Meme Short-Form Campaign

After the organic-virality attempt, I pivoted to paid reach. Deployed $250K across four channels (Facebook · YouTube × Mobile · PC), hitting 110M Impressions in roughly one week to land the awareness target — then pivoted to conversion ads to drive clicks.

Global Stream Clash · 10 Days

Over the 10-day competition, 172 global streamers signed up. The result: 664 livestreams, 4,290 cumulative streaming hours, and 1.1M VOD views. All 172 streamers joined without paid sponsorship fees — participation was driven by the competition structure and the $200K prize pool itself. That put the cost per stream at roughly $300 — about 1/10 the cost of standard industry sponsorship.

Shifting perception from a single game project to an ecosystem project

MapleStory Universe was an ecosystem project, but the market kept reading it as a single game project.

Having MapleStory N as a flagship game was an asset, yet it also boxed the project into a game frame of its own making.

So I set the mission: define the ecosystem's vision and direction, and broadcast it to the market.

Defining the ecosystem vision and unveiling it through a showcase

A vague vision no one could parse wouldn't move the mission — the vision had to be redefined into something immediately understandable.

So I built the concept of Infinite IP Playgrounds.

And shifting perception requires more than a clear vision — it requires a clear inflection point.

So I chose a showcase as the core strategy — a format that could pull attention to the moment.

Showcase planning

Under the Infinite IP Playgrounds concept, the showcase was planned in 7 parts.

1. 01
   Intro — A World Where Infinite IP Playgrounds Are Realized

   A non-fiction drama, AI-generated, depicting what the world looks like once Infinite IP Playgrounds takes shape.
2. 02
   Keynote

   A keynote where the CEO opens the showcase and lays out the vision.
3. 03
   Core Concept — Metaplay

   A guest-led podcast format that unpacks Metaplay — the core concept of Infinite IP Playgrounds — in accessible terms.
4. 04
   Intermission — Quiz Show

   A quiz-show animation that recaps the prior parts — designed to add fun to an otherwise dense showcase and bridge into the next part.
5. 05
   Core Concept — Builder Ecosystem

   Infinite IP Playgrounds needs builders to bring services to life. This part introduced the builders we've onboarded and the support program to argue feasibility.
6. 06
   Road Map

   Revealed the major project plans for H2 2025 — laying out an ecosystem expansion roadmap to show this isn't just vision but action already scheduled.
7. 07
   Cookie

   A teaser inserted at the very end of the showcase — designed to bait follow-up content and post-showcase virality.

Modular production to crack a 3-week timeline

The biggest constraint on this campaign was the 3-week timeline.

To overcome the physical lack of time, I split the parts and ran modular production in parallel.

I distributed leads and agencies across AI, motion, podcast, etc. — then pulled it all back together. Finished in 3 weeks.

Making MapleStory Universe and $NXPC's mechanics understandable to a general audience

In Web3, projects typically disclose their core mechanics in whitepaper form.

The mechanics matter, so the content is complex and dense — and in whitepaper format, only a tiny audience could actually parse it.

But MapleStory Universe and $NXPC's mechanics had innovative parts, so I figured that if everyone could grasp them, we'd have a real edge in the space.

Introducing the core mechanics in a format people can absorb without effort — and actually enjoy

I analyzed what content general audiences consume most.

Short-form video, film, and other options were on the table, but webcomic was both the most actively consumed format and the most fitting for IP-based content.

Since webcomics alone can't carry structured content like mathematical formulas, I chose a hybrid format — webcomic plus embedded video.

Premises

• Carrying MapleStory Universe and $NXPC's mechanics was the top priority.
• The webcomic had to stand on its own — a story strong enough to be worth reading.

Core Mechanics to Convey

• Decentralization — item issuance, once a game studio's exclusive right, can now be done by anyone via NXPC. Needed to explain how the actual issuance structure works.
• NFT Interoperability — how NFTs in MapleStory Universe interoperate and stay compatible across multiple services. The structural mechanics had to be explained.
• Core Value of Contribution and Reward — participating as an ecosystem builder leads to meaningful rewards, and this is the core value of MapleStory Universe.

Story Structure

• Protagonist — a developer whose work isn't going well
• Guide — a MapleStory NPC narrator
• Core Story — the protagonist tours the planets (services) of MapleStory Universe, finds inspiration, ships their own service, and succeeds. The guide tags along, naturally surfacing the core mechanics of MapleStory Universe and $NXPC along the way.

Read the technical docs 10+ times

To reconstruct the core mechanics into a webcomic story, I needed clear understanding. I read the technical documentation more than 10 times and pinned down the essentials.

Webcomic studio and video studio working in sync

Two studios were producing the work, but for the output to feel seamless, I built a collaboration structure where scenario, direction, characters, design, and even video mood were shared across both teams.

Final Output

Read the full version

Campaign-grade engagement from a single piece of content

Notable Comments

Media Pickup

Rebuild trust after three release delays, flip sentiment, and build cultural momentum

Expectations for the game were high, so three release delays eroded community trust and left players disappointed.

First, we needed to flip that sentiment — and beyond that, build enough cultural momentum to offset the high price-point hurdle and lower the decision threshold.

"Cyberpunk 2077 is everywhere"

Because the game had been hotly anticipated from the start, brand awareness already existed in the gamer community. Three release delays had also imprinted the name through controversy.

I decided the strategy had to lean into this — that sustained exposure across the channels gamers actively use could build momentum.

But multi-channel exposure alone wouldn't generate momentum. So I added an impact-driven hook on top.

Paid Media Campaign

The paid media campaign was the starting point and build-up of the "Cyberpunk 2077 is everywhere" strategy.

From target learning through total media saturation, exposure was progressively expanded across channels in distinct phases.

Budget was deliberately concentrated in the launch-countdown window — so that among PC/console game ads, Cyberpunk 2077 would dominate.

Unboxing Live Campaign

The unboxing live was designed as the exclamation point of "Cyberpunk 2077 is everywhere."

The merchandise unboxing format typically run with influencers for AAA games was reimagined as a Cyberpunk 2077–specific version.

What I focused on most: this campaign had to land impact on its own — strong enough to shock the market.

To that end, three considerations went into the planning:

• Differentiated unboxing — visualized Cyberpunk 2077's distinctiveness in a way no other game could be compared to
• Two-way interaction — creators and viewers solved missions together, letting the audience experience the game vicariously through participation
• Scale and craft — gave the box itself WOW points through massive scale and emotional details

Mid-campaign release delay

Right after Phase 2 wrapped, the third release delay was announced.

To absorb the shock of another delay on an already-fatigued audience, I immediately rewrote Phase 3's mission from simple audience expansion to "sentiment turnaround" — stabilizing the campaign before Phase 4's critical media saturation began.

Media saturation, run efficiently

I defined the channels the target audience actually moves through, and ensured Cyberpunk 2077 surfaced at least once per day in each of those places.

Not a scatter strategy of "more money across more media" — instead, precise targeting and frequency control to run efficiently.

Simultaneous broadcast by top streamers

I worked through what the most impactful approach would be, and went with a simultaneous broadcast aligned with the launch countdown.

If the top streamers all streamed Cyberpunk 2077 content at the same time, viewers would literally feel "Cyberpunk 2077 is everywhere."

The V-Box is the game itself

Every detail of the V-Box exists inside the game.

V's dog tags and sunglasses, the worn bag V carries, even the memory chip at the center of the entire plot — all reproduced.

The way the V-Box was unboxed also reflected the game's main storyline.

So during the unboxing, viewers got the feeling of going through a tutorial of the game itself.

Paid Media Campaign

The 4-phase media plan was executed across 58 days and 12 channels.

Following "Cyberpunk 2077 is everywhere," we secured high impressions and reach — but with per-user frequency tightly controlled to hit the goals efficiently.

Unboxing Live

The unboxing live generated impact comparable to a mid-to-large-scale offline gaming event.

Award

Red Dot Award 2021 · Brand & Communication Winner — Cyberpunk 2077 Unboxing Live

View on Red Dot

Build a strong community — through an offline space

Supercell believed a strong community is the power of an IP.

When diverse relationships form around the games, the community grows stronger and evolves.

So we set out to give a community already gathered around the games a new shared ground — a physical space — so new relationships could form, and the community could grow stronger as a result.

Deliver Super Fun — the joy of playing together

Supercell games deliver their truest fun when played together.

Until then, that fun only existed online — so I set out to extend it offline through Supercell Lounge.

If players felt Super Fun at Supercell Lounge, relationships would deepen and the community would grow stronger.

Programming

The interior and props of Supercell Lounge mattered, but the core was in the programming.

I believed Super Fun came more from the act of playing together than from the space itself.

So I designed programs where someone could always play with someone — daily tournaments, cosplay tournaments, family days.

Breaking offline limits

Offline delivers powerful experience, but it carries geographic and spatial limits.

I saw that Supercell Lounge gained more value when the experiences created in the space spread online.

So beyond on-site events, I set up a live studio that visitors could use to film and broadcast — so the Super Fun experience could spread online as content.

Two years of operation — from kick-off to closure

From the first site visit to the final teardown, I was hands-on across every part of Supercell Lounge throughout the 2-year run.

Beyond programming, I owned the operations across the board — from hiring lounge staff to managing partner agencies.

Over two years, we ran 72 recurring and one-off events, producing a total of 118 pieces of content.

Overcoming the pandemic crisis

COVID-19 forced us to suspend operations just 4 months after opening.

During the suspension, I recapped 4 months of operating experience and concluded that Super Fun isn't an experience that has to be created only offline.

Super Fun is generated by strong human interaction — so if online could deliver the strong interaction offline provides, it could deliver the Super Fun experience too.

So I rebuilt every existing Supercell Lounge program into an online format.

That pivot became the Super Fun @ Home campaign.

Supercell Lounge operating outcomes

36K people experienced Super Fun firsthand through 72 online and offline events.

Awards — A.N.D Award, two consecutive years