Anime?Industry?Report?2016
Summary?
HiromichiMasuda
AnimeIndustryResearcher
Auditor,VideoMarketCorporation
RyusukeHikawa
AnimationSFXResearcher
GuestProfessor,GraduateSchoolofMeijiUniversity
TadashiSudoJournalist
KazuoRikukawa
President,CharacterDesignDatabank,Ltd.
Director/Secretary-General,CharacterBrandLicensingAssociation
YujiMori
SeniorDirector,DentsuConsultingInc.
SpeciallyAppointedProfessor,GraduateSchoolofAsiaUniversity
MasahiroHasegawaProducer,HUMANMEDIAInc.
HiromichiMasuda
(editorinchief)
AnimeIndustryResearcher
Auditor,VideoMarketCorporation
MasahiroHasegawaProducer,HUMANMEDIAInc.
YasuoKameyamaPh.D.Student,GraduateSchoolofMediaDesign,KeioUniversity
MitsuruSodaJuGeMuCo.,Ltd.
NaofumiIto
DepartmentDirector,ContentStrategicPlanningOfficeContentDivision,
ASATSU-DKINC.
HirokoUehara
Part-timeLecturer,JapanElectronicsCollege
Part-timeLecturer,ShobiUniversityGraduateSchool
MegumiOnouchiPresident,HUMANMEDIAInc.
WenfangGuo
MasterofGraduateSchoolinCulturalStudiesonCorporealandVisual
Representation,GakushuinUniversity
March,?2016
The?Association?of?Japanese?Animations
Authors?
Editor?
Cooperation?in?Material?Research?
Cooperation?in?Editing?
Trends?in?Japanese?Animation?Market?(2016?version)?
The upper part shows Japanese animation market trends in a broad sense (i.e. market size based on estimated revenues in animation and animation‐related product markets). The lower part shows Japanese animation market trends in a more limited sense (i.e.
market size based on the estimated revenues of all domestic commercial animation studios). It’s obvious that the animation market in a broad sense is overwhelmingly larger than in a limited sense. This is because the animation‐related businesses including
character merchandising have significant leverage effects.
Japanese?animation?market?trends?in?a?broad?sense?(i.e.?market?size?based?on?estimated?revenues?in?animation?and?animation‐related?markets)a2002?–?2015??
Based?on?questionnaires?conducted?by?the?Association?of?Japanese?Animations?and?other?publicly?available?statistics?
Trends?in?Japanese?animation?market?in?a?limited?sense?(i.e.?market?size?based?on?the?estimated?revenues?of?all?domestic?commercial?animation?studiosa2002?–?2015?)?
Based?on?questionnaires?conducted?by?the?Association?of?Japanese?Animations?and?statistics?released?to?public.
124.1116.5
110.0104.1100.3
92.494.695.589.590.095.1102.0
110.7107.2
19.8
19.638.0
17.828.4
21.2
33.829.933.8
28.5
40.9
47.041.746.9
129.4
117.6103.1138.8135.8
127.8111.3105.2108.5106.7
105.9
115.3102.192.8
0.2
1.01.8
4.18.4
9.810.2
12.314.916.0
27.2
34.040.8
43.7
435.0
433.7
461.7
504.9
530.5
597.4
536.4559.7
627.4
594.3
573.2
598.5
655.2
579.4
13.8
9.1
23.5
12.0
26.1
26.3
27.0
30.7
29.7
24.523.0
24.6
23.7
25.8
372.5421.2
482.7
521.5
520.4439.0
413.7
254.4
286.7
266.9
240.8
282.3
326.5
583.3
152.8
166.5
122.6
202.6
227.2
242.7
298.1
294.1
24.5
31.1
52.3
1,095billion
1,119billion
1,221billion
1,303billion
1,350billion
1,314billion
1,380billion
1,254billion
1,313billion
1,330billion1,333billion
1,471billion
1,630billion
1,826billion
billionyen
200billionyen
400billionyen
600billionyen
800billionyen
1,000billionyen
1,200billionyen
1,400billionyen
1,600billionyen
1,800billionyen
1)?TV:?domestic?TV?animation?revenues?
2)?Movie:?domestic?theatrical?animation?box?office?revenues??
3)?Video:?domestic?videogram?animation?revenues?(DVD,?etc.?
media)?
4)?Internet?Distribution:?domestic?online?animation?revenues??
5)?Merchandising:?domestic?animation‐related?merchandise?
revenues
6)?Music:?domestic?animation‐related?music?revenues?
7)?Overseas:?overseas?Japanese?animation?revenues?(movie,?
TV,?videogram,?MD,?etc.)?
8)?Pachinko?and?Pachinko‐slot?machine:?estimated?shipment?
value?of?animation?character‐themed?Pachinko?and?Pachinko‐
slot?machine?machines.
9)?Live?Entertainment:?animation‐related?live‐performance,?
event,?exhibition,?and?cafe?revenues?(Note?4)?
Definition?of?each?item(end‐user?basis)
Note?1:?Domestic?TV?animation?revenues?were?calculated?based?
on?the?following?formula:?(the?sum?of?commercial?TV?broadcast?
stations’?revenues?and?NHK’s?broadcast?revenues)?x?(the?ratio?of?
animation?program?to?overall?program?broadcast?minutes)?+?
(revenue?of?animation?channels)?
Note?2:?Pachinko?and?Pachinko‐slot?machine?with?animation?
character?values?were?estimated?based?on?their?percentage?of?
total?Pachinko?and?Pachinko‐slot?machine?shipments.??
Note?3:?The?survey?for?Pachinko?and?Pachinko‐slot?machine?
started?from?2008.?
Note?4:?The?survey?for?Live?Entertainment?started?from?2013.?
The?amount?is?the?sum?of?the?revenues?of?the?following:?anime?
song/voice?actor?appearances,?events,?2.5D?musicals,?museums,?
exhibitions,?cafés.?
Note?5:?The?revenues?for?Merchandising?from?2007?to?2013?were?
recalculated?in?2014.?
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0yen
37.236.4
45.947.8
58.4
50
45.9
43.2
47.2
56
61.6
67.4
61.760.5
8.8
6.8
18.4
16.9
22.8
18
31
18.6
25.2
15.3
20.7
24.8
22.623.1
35.8
33.5
27.7
34.9
37.3
30.1
21.8
17.9
16.416.2
15.3
15.5
16.1
14.5
0.1
0.3
0.5
1
2.1
2.52.6
3.1
3.7
4
6.8
8.5
10.2
11
21.6
25.4
29.2
34.5
35.4
30.7
36.3
27.4
26
24.4
26.7
26.5
26.6
25.8
2.4
1.6
4.1
2.1
7.5
3.1
3.3
4
3.4
3.1
2.9
3.1
3
3.3
22.425.3
29
31.3
31.2
26.8
24.8
15.3
17.2
16
14.4
16.9
19.5
34.9
00
0
0
0
03.1
4.5
2.59.7
10.9
11.6
14.2
13.9
1.21.6
2.6
8.3
11.3
53.6
54.7
17.3
2612.4
11.7
7.2
8.5
5
9.1
10.8
11.1
137billion
141billion
208billion
223billion
212billion
187billion
181billion
146billion
149billion
153billion
164billion
185billion
186billion
201billion
billionyen
50billionyen
100billionyen
150billionyen
200billionyen
1)?TV:?revenue?from?TV?animation?production?and?
broadcasting?right?fees?
2)?Movie:?revenue?from?production?and?profit?distribution?of?
theatrical?animations
3)?Video:?revenue?from?production?and?profit?distribution?of?
animation?videograms
4)?Internet?Distribution:?revenue?from?the?Internet?
distribution?and?profit?distribution?related?to?animation?
content
5)?Merchandising:?revenue?from?character?licensing,?
advertisement,?promotion,?events?etc.?related?to?animation?
content
6)?Music:?revenue?from?music?related?to?animation?content
7)?Overseas:?revenue?from?overseas?markets?including?license?
fees?related?to?animation?content
8)?Pachinko?and?the?like:?revenue?from?animation?production?
and?profit?distribution?for?Pachinko?and?Pachinko‐slot?
machines?
9)?Others:?revenue?from?services/businesses?other?than?above
Definition?of?each?item?
(animation?studio?basis)?
0yen
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include?pachinko?and?the?like
include?pachinko?and?the?like
include?pachinko?and?the?like
include?pachinko?and?the?like
include?pachinko?and?the?like
include?pachinko?and?the?like
The?4th?Anime?Boom?has?arrived??
It can be said that Japanese animation industry is now enjoying the 4th anime boom. The market,
significantly exceeding the peak in the 3rd Anime Boom (mid in 2000’s), recorded positive growth for six
consecutive years and the highest revenues for three consecutive years. However, there are no
representative animation works leading the boom (works such as Astro Boy, Yamato, Eva, Pocket
Monster, and Princes Mononoke which led previous booms). Probably “Your Name” would be
recognized as the leading work in recent years; however, the market itself already recorded record
revenues even before the arrival of this work. As specified in the report, this boom is attributed to
increases in market channels, including Internet distribution, Pachinko and Pachinko‐slot and Live
Entertainment, over the past decade.
Topics?in?Japanese?animation?Industry?from?2015?to?2016?
aLate‐night?anime?overtakes?kids/family?anime??
Late‐night anime era has come. The total production minutes of late‐night animation programs firstly
exceeded those of kid/family animation programs in Japan. Needless to say, this was also the first case in
the world where animation was yet recognized as the entertainment only for kids. Japanese animation
which disproved such accepted myth is indeed a symbolic icon of “Cool Japan”.
Production?minutes?of?TV?animation?(day?time/late?night)?(unit:?min.)?
Calculated?by?the?Association?of?Japanese?Animations?based?on?publicly?available?information/data?(ex:?Perfect?Data)??
This turnover also suggests the direction of global animation in future. Japan holds a prominent position
both in production and marketing in the field of adult animations. As explained in Overseas Trends in
the report, “not only kid’s animation works but also teen’s and family animation works are increasing”
outside Japan. However, Japan has a virtual monopoly in the filed of adult animations produced only in
Japan, which is so‐called “Blue Ocean” situation, and the industry should recognize the potential of such
adult animations in global markets especially with the emergence of new business models in which the
Internet is key. At any rate, it’s time that our recognition for adult animations should be changed. It’s
not a minor market but the business model that Japan leads ahead of others and has the potential to
penetrate global markets.
〈Significant?Revenue?Increases?in?Overseas?Market〉??
In 2015, the number of contracts quadrupled and revenues increased significantly in the category of
Overseas. Indeed, “Japanese animation industry proactively started engaging in overseas markets last
year” as specified in Overseas Trends in the report. The export values which remained hardly changed
for past three years suddenly increased, jumping from 19.5 billion yen to 34.9 billion yen, and recorded
the highest, exceeding 31.3 billion yen in 2005. The major factor of this increase is attributed to
“shopping sprees” by China. Despite revenue increases in North America and Asia countries, the
remarkable increase in Chinese market constitutes more than half of the increase. It seems the trend
Overseas?Revenues?of?Japanese?Animation?Industry?
(bars:?amount?after?exchange?conversion?($?in?million),?lines:?actual?amount?(￥?in?billion))
1
?
Based?on?a?survey?conducted?by?the?Association?of?Japanese?Animations??
1
AnnualaveragebyPrincipalGlobalIndicatorswasusedforexchangevalues
2000200120022003200420052006200720082009201020112012201320142015
Daytime66,8468,6276,2375,4267,7565,9977,3270,2262,7258,3455,7853,3362,2861,6962,0954,73
Latenight8,12016,8116,4923,2638,5843,4659,0854,4247,3249,5734,6641,7642,7850,4757,8660,80
0
10,000
20,000
30,000
40,000
50,000
60,000
70,000
80,000
（minute）
178.6218.2268.0284.0268.3227.6239.9163.5211.0205.9166.3160.5161.8288.4
224.0
253.0
290.0
313.0312.0
268.0
248.0
153.0
172.0
160.0144.0
169.0
195.0
349.0
0.0
50.0
100.0
150.0
200.0
250.0
300.0
350.0
20022003200420052006200720082009201020112012201320142015
(milliom$)
Japanese?Animation?industry?expands?continuously,?recording?positive?
growth?for?6?consecutive?years?and?the?highest?revenues?for?3?
consecutive?years?
The Japanese animation industry, which hit bottom in 2009, has expanded since 2010, recording positive growth for six consecutive years, and the highest revenues for three consecutive years. Videogram (90.9%) and Merchandising (88.4%)
revenues shrunk considerably, and TV (96.8%) and Pachinko (98.7%) revenues decreased slightly. On the other hand, Movie (112.0%), Music (108.9%) and Internet distribution (107.1%) enjoyed strong revenues, and Live Entertainment
(168.4%) and Overseas (178.7%) also made important strides.
simmering beneath in the past few years burst to the surface in 2015, which was also seen in the
answers by animation studios for open‐questions as described in “Market Outline” in the report. Of
course, Japanese animation industry welcomes the situation; however, it is undeniable this trend could
be another bubble. Especially in China, all the industries, including cultural industries, are subordinate to
the politics and bombarded with social situation of the moment. Not to mention of the Cultural
Revolution, there have been several events affecting the market so far, such as the demonstration against
Senkaku Islands dispute and retaliation for Korean entertainment industry against THAAD deployment
to Korea. Thus it is hard to consider the market shifts without any political intervention in China. If
the 2006 law that prohibits the broadcast of foreign animation programs during the prime time is
applied to the Internet distribution, the recent prosperity might well collapse.
?
Live anime‐related entertainment continued to make important breakthroughs. The market doubled in
the past three years since 2013 when the survey started, and recorded revenues of 52.3 billion yen in
2015, increasing by 68.4 % over the previous year. This increase, which may partially be attributed to
improved accuracy of surveying methods, was also significantly associated with the rapid growth of
overall domestic live entertainment markets, especially the growth of music market (i.e. revenues of
music concerts, stage performances, plays etc., including live entertainment related to animation). The
market size, which was 333.4 billion yen in 2012, became 503 billion yen, increasing by 51% over the
past three years.
At the same time, non‐staged live entertainment, such as anime museums, anime exhibitions and anime
cafés are also doing well. Although revenues of non‐staged live entertainment fall far short of those of
staged live entertainment, the field still makes constant progress. Animation is shifting from a thing to
be watched to a thing to be experienced, and the non‐staged live entertainment, which offers a feeling of
belonging to consumers, will continue to expand.
The sales amount arising from merchandise sold on‐site (i.e. concerts, events, museums and exhibitions)
is not included in the values in this report. If such revenues are included, and in some cases such they
exceed ticket revenues, the live entertainment market size may reach 10 billion yen or more..
Live?Entertainment?Market?in?2015?(unit:?￥?in?million)?
Item201320142015
Overthe
Previousyear
Outline
1Stage/Event10,78812,87525,092194.9％Asumofaandb
aAnimesongliveconcert6,8888,56514,784172.6％
Ticketrevenuesforliveconcertsmainlyfeaturing
animesongs
bAnimeevent3,9004,31010,308239.2％
Ticketrevenuesforevents/stageperformances
mainlyfeaturinganimation
22.5DMusicals8,6989,42810,395110.3％
Ticketrevenuesfor2.5Dmusical(i.e.stage
shows,plays,performancesorthelikebasedon
animation,mangaandgames)
3LiveViewings4941,3702,563187.1％
Ticketrevenuesforliveviewingeventsfeaturing
animesongs,animeeventsandmusicals
4AnimeMuseum/Exhibition4,5005,4099,289171.7％SumofCandDbelow
cAnimeMuseum─3,3586,323188.3％Ticketrevenuesforanimemuseums
dAnimeExhibition─2,0512,966144.6％
Ticketrevenuesforexhibitionsrelatedto
animation
6AnimeCafé─2,0005,000250.0％
Revenuesofcafésandrestaurantsfeaturing
animation
Total24,48031,08252,339168.4％
1a?and?2:?based?on?the?survey?by?PIA?Research?Institute??
Others:?based?on?the?survey?by?the?Association?of?Japanese?Associations??
a"SSJWBMPG1PTU(IJCMJ?
In light of the great impact on the animation industry, this report ventures to touch on the topic of “Your
Name” though it should be treated in the next report under ordinary circumstances.
As of October 24, 2016, “Your Name”, addressed as the first animation work which brought a big social
impact since “Spirited Away”, recorded 16.4 billion yen at box office. As of the 9th week from the release,
the work, still maintaining strong momentum, had recorded 10 billion yen at box office. It is the first
animation movie other than the works directed by Hayao Miyazaki, “The Wind Rises” (12.0 billion yen at
box office), and “Ponyo” (15.5 billion yen at box office) to achieve this range. “Your Name” surprised
the market not only as the first non‐Miyazaki movie to exceed 10 billion at box office but also as a
substantial leap from past works directed by Shinkai.
Director Shinkai did not achieve satisfactory results before “Your Name”. In terms of box office,
“Kotonoha no Niwa” recorded 150 million yen, which was the maximum among his past four works, and
other three works failed to merit mention. When “Princess Mononoke” exceeded 10.0 billion yen at the
box office, the industry was not astonished since Miyazaki’s two previous works already topped the box
office lists. In case of “Your Name”, however, people presumably wondered what made it such a great hit.
Furthermore, it’s sure that the impact was amplified since Director Shinkai was unknown among
non‐anime fans and people outside the industry.
The momentum of the box office was also breathtaking. “Your Name” achieved 10.0 billion at box office
only in 28 days while Princess Mononoke took four months to achieve the same result. This difference
can be attributed to the spread of cinema complexes which determine their screening schedule flexibly.
Still, the pace until the 5th week even exceeded that of “Frozen”, which recorded 25.48 billion at the box
office in 2014.
Expectations were that establishment of a post‐Ghibli era would take more time, but this hurdle was
cleared quite easily. The arrival of “Your Name” not only silenced mass media criticism that “the next
generation was not growing” but also showed the depth of the talent pool in the Japanese animation
industry. This hit undoubtedly makes Director Shinkai feel tremendous pressure for his next work, but
we would frankly like to just celebrate his success
Trends?in?Japanese?Animation?Market?(2016?version)?
Strong?earning?in?TV,?Movie,?Merchandising?and?Internet?Distribution?offsetting?decreases?in?Video?package?revenues?
Data?&?Topics?of?Japanese?Animation?Industry?2016????????????????????????
0
50
100
150
200
250
300
350
63
●
65
●●●●
70
●●●●
75
●●●●
80
●●●●
85
●●●●
90
●●●●
95
●●●●
00
●●●●
05
●●●●
10
●●●●
15
Number?of?TV?animation?programs(1963-2015)
The?record‐high?in?2015?while?studios?in?full?production?
In 2015, a total of 341 TV animation programs were broadcast (108 continuing, 233 new). New
programs increased by eighteen while continuing programs increased by one from the previous
year. Animation production shifted in a high level; however, the increase seemed not much
compared with tightness animation studios felt due to labor shortages. Even if new animation
projects are offered, animation studios now in full production have no extra capacity. It’s also
impossible to increase the number of experienced staff at once to meet the needs. Accordingly
there is little space to increase the number of TV animation programs. Another factor is an
increase of animation works other than TV animation programs. More original animation works
than ever were produced for screening at small theaters and for Internet distribution platforms,
which diversified the first distribution channels for animation. It is becoming harder to assess
the situation for animation production solely from the trend of TV animations.
(title)
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Based?on?the?survey?by?the?Association?of?Japanese?Animations?
570.0
435.0433.7
461.7
504.9
530.5
597.4
536.4
559.7
627.4
594.3
573.2
598.5
655.2
579.4
0
200
400
600
010203040506070809101112131415
Merchandising?related?to?animations?(2000-2015)
MD?market?shrunk?due?to?push‐back?of?YO‐KAI?WATCH?while?women’s?market?got?activated.
Japanese merchandising market related to animation characters shrunk to 579.4 billion yen,
which was 88.4 % of the amount previously. This attributes to loss of YO‐KAI WATCH boom in
2014 and slow recovery of some other standard animation characters, though such characters
showed a sign of rebound. On the other hand, the market featuring characters targeting adult
women such as Osomatsu‐san and Sailor Moon did well. MD market where both classic and new
characters compete against each other will have room for further growth.
Calculated?by?the?Association?of?Japanese?Animations?based?on?the?data?from?“CharaBiz?DATA”?published?by?DHARACTER?DATA?BANK?Ltd.(2001-2015)
Animation?distribution?via?the?Internet(2002-2015)
Growth?of?distribution?slowed?down?while?investment?from?overseas?distribution?
increased?sharply
In 2015, Japanese animation distribution market via the Internet was 43.7 billion yen,
increasing by 7.1% over the previous year. Although the market rapidly expanded since 2012
thanks to full‐scale dissemination of smart phones, it slowed down last year due to voluntary
restraint of services and solicitation for paid contents by mobile carriers. On the other hand,
investment by overseas platforms such as Netflix, Amazon and Chinese Internet distributors
increased. It is likely the investments from overseas will exceed investment by domestic
platforms in the near future. Probably the outline of the next business model will be revealed
from 2015 to 2016.
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QSPNPUJPOTBOE1BDIJOLPBOE1BDIJOLPTMPUNBDIJOFTXFSFOPUJODMVEFEJOUIJTTVSWFZ
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#BTFEPOUIFTVSWFZCZUIF"TTPDJBUJPOPG+BQBOFTF"OJNBUJPOT
(billion?yen)
(billion??yen)
0.21.0
1.8
4.1
8.4
9.810.2
12.3
14.916.0
27.2
34.040.843.7
0
10
20
30
40
0203040506070809101112131415
0
30,000
60,000
90,000
120,000
150,000
00010203040506070809101112131415
Production?minutes?of
TV?animation
Production?minutes?of?TV?animation?(2000-2015)
Production?minutes?declined?slightly?from?the?previous?year.?Capacity?
of?TV?animation?production?approaches?its?limit?
The total production minutes of TV animations in 2015 were 115,533 minutes, decreasing by
3.7% (4,429 min decrease) from the previous year when it recorded its 3rd highest. This
indicates present TV animation production capacity in Japan (i.e. the capacity limit of
animation drawing) is around 120,000 min. at maximum. Also the total production minutes
of late‐night animation programs firstly exceeded those of kid/family animation programs in
day‐time (i.e. 5:00 a.m. –23:00 p.m.). This phenomenon reflected production minutes of new
kids/family animations during day‐time decreased by half from 22,278 min. to 11, 248 min.
Based?on?the?survey?by?the?Association?of?Japanese?Animations
?Production?minutes?in?2011?have?been?recalculated,?increasing?from?the?minutes?in?the?2014?
NJOVUF
0
10
20
30
40
50
00010203040506070809101112131415
#PYPGGJDFSFWFOVF
Box?office?revenue?of?theatrical?animations?(2000-2015)
Steady?shift?thanks?to?the?hit?of?Mamoru?Hosoda’s?new?film?The?Boy?and?
the?Beast?and?YO‐KAI?WATCH?theatrical?version?
Since 2000, the total box office revenues have been greatly affected by Ghibli works which make
exceptional box office revenues. The year 2015 was the first year Ghibli had no plan to release a
new movie for some time to come, nevertheless, the total box office showed a steady growth,
recording 46.7 billion yen. The main factor was the success of “The Boy and the Beast”, the first
film directed by Mamoru Hosoda in three years, and “The Movie: YO‐KAI WATCH”. Also some
regular series such as “Detective Conan: Sunflower of Inferno” did well. In addition, “Love Live!
The School Idol Movie” and “Girls and Panzer”, both based on late‐night animations, earned more
than 2 billion yen at box office respectively by attracting fanatic fans visiting theaters repeatedly.
Edited?based?on?the?data?produced?by?Motion?Picture?Association?of?Japan,?Ind.,?Kinema‐Jumpo,?and?Bunkatsushin
(edited?by?Mindbase,?Inc.?from?2000?to?2008?and?by?the?Association?of?Japanese?Animations?from2009to?2015),
"MMUIFBUSJDBMBOJNBUJPONPWJFTSFMFBTFEOPUPOMZWJBPSEJOBSZEJTUSJCVUJPOSPVUFTCVUBMTPJOEFQFOEFOUMZBSFJODMVEFEJOUIJTTVSWFZ
(billionyen)
1,9002,035
2,730
1,728
2,2492,254
3,041
3,728
2,586
3,739
4,000
3,581
4,7134,7824,764
5,931
0
10
20
30
40
50
60
70
80
0
1,000
2,000
3,000
4,000
5,000
6,000
00010203040506070809101112131415
1SPEVDUJPONJOVFUT/VNCFSPGXPSLT
Number?of?theatrical?animation?works?and?their?production?minutes
(2000-2015)
Theatrical?animation?works?increasing?due?to?digitalization
The The number of theatrical animation works increased significantly from 73 to 85 (a 16% increase
from 2014). Also the number of production minutes increased from 4764 min. to 6046 min. (a 27%
increase from 2014). This trend indicates that the animation industry became more theatrical
animations‐based which, though risky, is in consideration of the stagnation of videogram businesses as
secondary revenue. Another contributing factor was the digitalization of production and screening,
which served to spur theatrical animation.
Based?on?the?survey?by?the?Association?of?Japanese?Animations?
(minute)
(title)
77.3
93.3
129.4
117.6
103.1
138.8
135.8
127.8
111.3
105.2
108.5
107.6
105.9
115.3
102.1
92.8
0
30
60
90
120
150
00010203040506070809101112131415
3FWFOVFTPG"OJNBUJPO7JEFPHSBNT
Animation?videograms(2000-2015)
Animation?videogram?market?shrunk?due?to?
popularization?and?digital?consumption?
The size of animation videogram market in 2015 was 92.8 billion
yen, decreasing by 9.1 % from the previous year. So far the
animation videogram market was stable thanks to anime fans
purchasing video packages as collectables. However, anime users
who thought the Internet distribution was fine enough or hoped
to watch anime without spending much money increased while
animation was popularized mainly among young people. Under
today’s social trend of digital consumption, the market shrinkage
was unavoidable.
Based?on?the?report?published?by?the?Japan?Video?Software?Association.?
T3FWFOVFTPGBOJNBUJPOWJEFPHSBNTJODMVEJOHGSPN+BQBOFTFBOJNBUJPOXPSLTCPUIGPSBEVMUTBOEDIJMESFO
CBTFEPOUIFSFQPSUJTTVFECZ+BQBO7JEFP4PGUXBSF"TTPDJBUJPO
(million)
?
?
?
1.825?trillion?yen?market?in?2016?
Latest?Trends?of?Japanese?Animation?Industry?
Anime?Industry?2016?
We,?the?Association?of?Japanese?Animations,?are?engaged?in?research,?survey,?and?analysis?of?markets?in?connection?with?
Japanese?animation?industry.?We?have?also?published?“Anime?Industry?Report”?since?the?year?2009?in?order?to?disseminate?
the?industrial?information?to?the?world.??
In?the?year?2016?edition,?the?market?size?was?1.825?trillion?yen,?increasing?by?12.0?%?year?over?last?year,?reflecting?the?
continued?rise?in?the?sales?of?Internet?distribution?rights?to?China?(up?78.7%?over?last?year)?and?remarkable?growth?of?Live?
Entertainment?market?(up?68.4?%?over?last?year).???
The?book?also?has?“All?Animation?Works?Perfect?Data?in?2015”?as?appendix.?This?proven?and?trusted?data?has?been?adopted?
as?an?official?material?for?various?databases?including?Media?Fine?Arts?Database?by?the?Agency?for?Cultural?Affairs.???
The?Anime?Industry?Report?2015?is?the?book?useful?for?all?people?involved?in?the?animation?industry?including?researchers,?
industrial?figures?and?students?who?hope?to?work?in?the?industry?in?future.??
?
■Outline?
【Title】??Anime?Industry?2016?
【Publisher】?The?Association?of?Japanese?Animations?
【Release?day】?September?30,2016?
【Size/Pages】?A4/74?pages,?inserted?chart?sheets?(report)?+?A4/70?pages?(appendix:?All?Animation?Works?Perfect?
Data?in?2015)?+?A3/4?pages?(inserted?chart?sheets)??
【Price】??6,000?yen?（tax?excluded）?
【Index】?
1.?Overview?of?Japanese?animation?industry?in?2015??
※Overall?market?trends,?domestic?industrial?movements?and?notable?trends?
2.Explanation?of?Media??
※Animation?distribution?market?(TV?animation,?theatrical?animation,?videogram,?the?Internet?distribution),?secondary?use?
(including?merchandising),?music?and?live?entertainment???
3.?Trends?in?Overseas?Markets?
※Japanese?animation?in?global?markets?
4.?Distribution?Map?of?Japanese?Animation?Studios?
Appendix:?All?Animation?Works?Perfect?Data?in?2015?
※TV,?theatrical?animation,?OVA?
Material?
※Trends?of?Japanese?animation?market,?Recent?movement?of?Japanese?animation?industry?and?market,?Development?of?
Japanese?animations?in?overseas?market?and?Distribution?Map?of?Japanese?animation?studios?
?
Available?at?the?following:Order?via?SPI?Information?website??
??【Downloadable?version】?http://www.spi‐information.com/report/13860.html?
【Physical?book】??http://www.spi‐information.com/report/13859.html?
?????Tokyo?Anime?Center?Official?Shop@akiba?info?
Akihabara?UDX?2F,?Sotokanda?4-14-1,?Chiyoda,?Tokyo,?Japan??
?????Kyoto?International?Manga?Museum??
Karasuma‐Oike,?Nagakyo‐ku,?Kyoto?Japan?
※The?back?issues?(2009?version?–?2015?version)?are?also?available?at?the?stores?above.?
SPI?Information’s?web?site：http://www.spi‐information.com/
The?Association?of?Japanese?AnimationsAddress:?Akihabara?UDX?4F,?4-14-1?Sotokanda,?Chiyoda‐ku,?Tokyo?
URL:?http://aja.gr.jp/E‐mail:?office@aja.gr.jpPhone:?+81-3-5298-7501Fax:?+81-3-5298-0041?
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