Vampir's Launch Ads Bet Everything on the Avatar

Netmarble's gothic vampire MMORPG spent more than a year opening market by market before a global push at the end of October 2026. In the 30 days to October 30, the account put 2,016 creatives and 3,856 ad plans into delivery across more than 140 markets, and the single biggest move of the window is the global opening itself: 618 new ad plans in one day. The bet inside that push is narrower than the map suggests: all four of the window's largest creatives lead with a face, a character creator or a class roster, and none of them leads with combat.

Data scope

Vampir is a gothic vampire MMORPG credited to Netmarble. Creative, ad plan, market and exposure figures in this piece come from CreativeScope and cover September 30 to October 30, 2026 unless stated otherwise. The staged-release chronology (Korea, then Taiwan and Hong Kong, then Japan, then the October 27 global opening with PC versions) comes from the company's own launch announcements; CreativeScope's release-date field for this record is a placeholder, so this article does not date the game itself from that field. All counts describe one advertiser account, not the MMORPG category.

An ad plan is one buying configuration: a channel, a set of target markets and a language. It is a delivery structure, not a money figure, and none of the counts below measures what the campaign bought or what came back. The practice these numbers describe is user acquisition, often shortened to UA by practitioners, meaning the paid install-driving side of growing a mobile game.

A staged rollout you can see in the plan data

Vampir's launch strategy is unusually legible. Rather than a single worldwide day-one, the company opened regions in sequence and let each one season the product before the next: per its launch announcements, Korea first, then Taiwan and Hong Kong in early 2026, then Japan in mid-2026, and finally a global release on October 27, 2026, the same day PC versions arrived on stores and the Epic Games Store. By the time the world got the game, the account had a year of running ad plans behind it.

The window data shows what that final step looks like from the buying side. Through the first four weeks of the window, daily active ad plans drift down from 1,342 on September 30 toward 1,010 on October 26, a natural fade as older plans finish and retire. Then the board resets: active plans drop to 237 on October 27 and rebound to 712 on October 28, the day the account added 618 new plans, by far the largest single-day addition of the window. Two earlier pulses, 262 new plans on October 2 and 284 on October 14, look like preparation; October 28 is the opening itself.

The plan lane: a Meta family core with a Google second engine

The 3,856 plans of the window spread across a familiar stack with one twist. The Meta surfaces dominate: Facebook, Instagram and Audience Network each cover 2,141 plans (55.52%), Threads covers 2,140, and WhatsApp, an unusual inclusion, covers 1,918 (49.74%). Messenger adds 1,023 (26.53%). This is a family-wide buy: the same plans list the Meta surfaces together, rather than splitting tests across one or two of them.

AdMob is the clear second engine at 1,703 plans (44.16%), and YouTube adds 49 (1.27%). What stands out is the absence: AppLovin covers just 4 plans (0.10%), and the other programmatic networks that carry so much casual-puzzle supply barely register in the top of this account's structure. A mid-core MMORPG buying reach through Meta's social surfaces and Google's inventory, and almost nothing through the mediation stack, is a deliberate route, not a default.

Markets: broad overlap, thin exclusive layers

Coverage across markets is wide and mostly shared. Canada leads with 685 plans (17.76% of the account's plans), followed by Australia with 659 (17.09%), Spain with 640 (16.60%), Singapore with 638 (16.55%), the United States with 627 (16.26%), South Africa with 573 (14.86%), France with 534 (13.85%), Great Britain with 475 (12.32%), Brazil with 446 (11.57%) and Mexico with 444 (11.51%). The top ten sit within a 240-plan band of each other, which is the signature of broad multi-market plans rather than market-by-market budgets.

Exclusive layers stay thin everywhere in that group. Canada keeps the largest block at 80 of 685 plans (11.7%), Australia 57 of 659 (8.7%), Singapore 60 of 638 (9.4%), while Great Britain holds 13 of 475 and Mexico 15 of 444. Outside the top ten, the account does run some deeper single-market blocks, with Thailand holding a few hundred exclusive plans according to the same window pull, but the headline structure is clear: separation is the exception, shared reach is the rule.

The creative lane: an honest hook and a cinematic push

The four spotlight creatives below are drawn from the window's top files by estimated exposure. The exposure side is flatter than most accounts this size: the largest file holds 12.99M estimated lifecycle exposures, about 4.6% of the window total, and the next three sit between 1.2M and 2.6M. Two of the four are launch-window files first seen in October; one is a reused file from September; one is a portrait sibling of the lead video, disclosed below.

What this rollout can and cannot tell you

The reading in one sentence: Vampir ran a staged regional rollout and then flipped the global switch, and its buying structure stayed constant through the flip, a Meta family core with WhatsApp riding along, AdMob as the second engine, and broad shared coverage with thin exclusive layers. For a UA team, the transferable question is whether your own structure is stable enough to absorb a market expansion without being rebuilt; Vampir's data suggests the team built one machine and let the rollout add floors to it.

Alternative explanations deserve their own paragraph. The October 27 dip and October 28 rebound could partly reflect snapshot timing or plan migrations rather than a clean launch step; the direction is unambiguous, but the exact boundary of the wave is not. The Meta-family dominance may reflect inventory pricing at the time as much as strategy, and the thin exclusive layers may simply mean the account has not yet needed market-separated tests.

The boundaries hold regardless. An exclusive plan shows targeting intent, never results; a market appearing in a target list does not imply a dedicated budget; estimated exposure is not a platform-measured impression count; and nothing in plan counts, market coverage or exposure estimates supports conclusions about cost per install, return on ad investment, or how any of these creatives actually performed.

Frequently asked

What counts as an ad plan in this article?

One buying configuration: a channel, a set of target markets and a language. Between September 30 and October 30, 2026, Vampir ran 3,856 of them across more than 140 markets. Plans measure delivery structure, not money.

How does the article know the rollout was staged?

The sequence of regional openings comes from the company's launch announcements. The CreativeScope data contributes the buying-side signature: a stable plan structure through the window, and a single-day addition of 618 new plans on October 28 after a dip in active plans on October 27.

Why does WhatsApp appear in the channel structure?

Because the tracked plans list it: 1,918 plans (49.74%) cover WhatsApp alongside the other Meta surfaces. That is where this account's buying appeared; the data records the coverage, not the reason.

Does 3,856 ad plans in a month mean a large advertising budget?

The data cannot say. Plan counts describe configurations, and nothing in them translates into budgets, cost per install or revenue. A wide plan spread is compatible with both large and small budgets.

Why is AppLovin nearly absent here?

That is what the tracked plans show: 4 of 3,856 plans (0.10%) cover AppLovin. Many casual titles lean on programmatic mediation; this mid-core account concentrated on Meta surfaces and Google inventory instead. The data shows the structure, not the motive.

Where does the data come from?

From CreativeScope, covering September 30 to October 30, 2026, for the single title Vampir. Scene descriptions come from the advertiser's own creative files, and no external numbers are mixed with CreativeScope figures.

Written by Emma Lee for CreativeScope. Creative descriptions come from the advertiser's own video creatives. Creative and ad plan counts are delivery-activity measures, not budgets or performance, and this article makes no claims about conversion, retention or commercial outcome. Cover image AI generated. All trademarks belong to their owners.