Anime Industry Report 2016
Summary
Authors
Hiromichi Masuda

Anime Industry Researcher
Auditor, Video Market Corporation

Ryusuke Hikawa

Animation SFX Researcher
Guest Professor, Graduate School of Meiji University

Tadashi Sudo

Journalist

Kazuo Rikukawa

President, Character Design Databank, Ltd.
Director/Secretary-General, Character Brand Licensing Association

Yuji Mori

Senior Director, Dentsu Consulting Inc.
Specially Appointed Professor, Graduate School of Asia University

Masahiro Hasegawa

Producer, HUMANMEDIA Inc.

Editor
Hiromichi Masuda(editor in chief)

Anime Industry Researcher
Auditor, Video Market Corporation

Masahiro Hasegawa

Producer, HUMANMEDIA Inc.

Cooperation in Material Research
Yasuo Kameyama

Ph.D. Student, Graduate School of Media Design, Keio University

Mitsuru Soda

JuGeMu Co., Ltd.

Cooperation in Editing
Naofumi Ito

Department Director, Content Strategic Planning Office Content Division,
ASATSU-DK INC.

Hiroko Uehara

Part-time Lecturer , Japan Electronics College
Part-time Lecturer , Shobi University Graduate School

Megumi Onouchi

President, HUMANMEDIA Inc.

Wenfang Guo

Master of Graduate School in Cultural Studies on Corporeal and Visual
Representation, Gakushuin University

March, 2016
The Association of Japanese Animations

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)〈2002 – 2015〉■ ① ＴＶ■ ② Movie■ ③ Video■ ④ Internet Distribution■ ⑤ Merchandising■ ⑥ Music■ ⑦ Overseas■ ⑧ The Pachinko and the like■ ⑨ Live Entertainment
1,826billion

1,800billion yen

52.3

1,630billion
1,471billion

1,400billion yen

1,303billion

1,350billion

1,314billion

1,380billion
152.8

1,221billion
1,200billion yen

1,095billion

521.5

9.1

23.5

12.0

600billion yen
435.0

433.7

461.7

0.2
129.4

1.0
117.6

1.8
103.1

19.6

38.0

124.1

116.5

2002

2003

400billion yen

19.8

billion
0 yen

520.4

439.0

122.6

504.9

26.1

530.5

26.3

536.4

559.7

127.8

10.2
111.3

597.4

4.1

8.4

138.8

135.8

110.0

17.8
104.1

28.4
100.3

21.2
92.4

33.8
94.6

2004

2005

2006

2007

2008

9.8

24.5

298.1

242.7
227.2

583.3

282.3
266.9

29.7
30.7

1,333billion

326.5

254.4

27.0

1,330billion
202.6

286.7

413.7

421.2

800billion yen
13.8

1,313billion

166.5

482.7
372.5

1,254billion

1,119billion

1,000billion yen

200billion yen

294.1

31.1

1,600billion yen

24.5

240.8
23.0

23.7

24.6

25.8

655.2

598.5

579.4

627.4

594.3

573.2

12.3
105.2

14.9
108.5

27.2
105.9

34.0

40.8

115.3

102.1

92.8

29.9
95.5

16.0
106.7

33.8
89.5

28.5
90.0

40.9

47.0

41.7

46.9

95.1

102.0

110.7

107.2

2009

2010

2011

2012

2013

2014

2015

43.7

Definition of each item(end‐user basis)
1) TV: domestic TV animation revenues2) Movie: domestic theatrical animation box office revenues3) Video: domestic videogram animation revenues (DVD, etc.
media)
4) Internet Distribution: domestic online animation revenues5) Merchandising: domestic animation‐related merchandise
revenues
6) Music: domestic animation‐related music revenues7) 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)
Note 1: Domestic TV animation revenues were calculated basedon the following formula: (the sum of commercial TV broadcast
stations’ revenues and NHK’s broadcast revenues) x (the ratio ofanimation 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 wererecalculated in 2014.

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 studios〈2002 – 2015〉)■① ＴＶ■ ② Movie■ ③ Video■ ④ Internet Distribution
223billion

208billion■ ⑤ Merchandising■ ⑥ Music■ ⑦ Overseas■ ⑧ The Pachinko and the like

17.3
54.7
include pachinko and the like 187billion
181billion
include pachinko and the like
53.6
0
31.2
12.4
include pachinko and the like
26
00 pachinko and the like
3.1
0include
7.5
24.8
31.3
141billion
150billion yen
26.8
137billion
29
3.3
35.4
2.1
11.3
3.1
8.3
0
0
include pachinko and theinclude
like pachinko and the like
4.1
2.1
36.3
34.5
22.4
25.3
30.7
29.2
2.4
1.6
37.3
1
2.6
100billion yen
2.5
21.6
0.5
25.4
21.8
30.1
0.1
34.9
0.3
27.7
22.8
35.8
31
33.5
18
16.9
18.4
8.8

6.8

37.2

36.4

2002

2003

45.9

47.8

2004

2005

■ ⑩ Others

212billion

201billion

200billion yen

50billion yen■ ⑨ Live Entertainment

58.4

146billion
11.7
4.5
15.3
4
27.4
3.1
17.9
18.6

149billion

153billion
8.5
9.7

164billion
5
10.9

7.2
2.5
17.2
3.4

16
3.1

26.7

26

24.4

6.8

3.7
16.4

4
16.2

15.3

25.2

50

45.9

43.2

47.2

2007

2008

2009

2010

15.3

14.4
2.9

20.7

185billion

186billion

9.1
1.2
11.6

10.8
1.6
14.2

16.9
3.1

19.5

26.5
8.5
15.5
24.8

11.1
2.6
13.9
34.9

3

3.3

26.6

25.8

10.2

11

16.1

14.5

22.6

23.1

56

61.6

67.4

61.7

60.5

2011

2012

2013

2014

2015

billion
0 yen

2006

Definition of each item
(animation studio basis)
1) TV: revenue from TV animation production andbroadcasting right fees2) Movie: revenue from production and profit distribution oftheatrical animations3) Video: revenue from production and profit distribution ofanimation 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
content6) 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
Note 6: The survey for Pachinko and Pachinko-slot
machine started from 2008. Figures for this industry were
included in “Others” until 2007.

Based on questionnaires conducted by the Association of Japanese Animations and statistics released to public.

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.

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 berecognized 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 toincreases in market channels, including Internet distribution, Pachinko and Pachinko‐slot and LiveEntertainment, over the past decade.

Topics in Japanese animation Industry from 2015 to 2016
〈Late‐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”.

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 inthe 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 inJapan, 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 theInternet 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 topenetrate global markets.

〈Significant Revenue Increases in Overseas Market〉
In 2015, the number of contracts quadrupled and revenues increased significantly in the category ofOverseas. Indeed, “Japanese animation industry proactively started engaging in overseas markets lastyear” 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, theremarkable increase in Chinese market constitutes more than half of the increase. It seems the trend
Overseas Revenues of Japanese Animation Industry
1(bars: amount after exchange conversion ($ in million), lines: actual amount (¥ in billion))

Production minutes of TV animation (day time/late night) (unit: min.)350.0

80,000（minute）

70,000300.0

60,000250.0

50,000200.0

40,000150.0

30,000100.0

20,00050.0

10,0000

0.02000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015

(milliom$)

Day time 66,84 68,62 76,23 75,42 67,75 65,99 77,32 70,22 62,72 58,34 55,78 53,33 62,28 61,69 62,09 54,73

224.0

349.0

313.0 312.0
268.0

253.0

248.0
153.0

172.0

160.0 144.0

169.0

195.0

178.6 218.2 268.0 284.0 268.3 227.6 239.9 163.5 211.0 205.9 166.3 160.5 161.8 288.4
2002

2003

2004

2005

2006

2007

2008

2009

2010

2011

2012

2013

2014

2015

Based on a survey conducted by the Association of Japanese Animations

Late night 8,120 16,81 16,49 23,26 38,58 43,46 59,08 54,42 47,32 49,57 34,66 41,76 42,78 50,47 57,86 60,80
Calculated by the Association of Japanese Animations based on publicly available information/data (ex: Perfect Data)

290.0

1

Annual average by Principal Global Indicators was used for exchange valuessimmering beneath in the past few years burst to the surface in 2015, which was also seen in theanswers 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 isapplied to the Internet distribution, the recent prosperity might well collapse.
<Major Breakthrough of Live Entertainment>
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 in2015, 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 ofoverall domestic live entertainment markets, especially the growth of music market (i.e. revenues ofmusic 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 ofstaged 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 theyexceed ticket revenues, the live entertainment market size may reach 10 billion yen or more..
Live Entertainment Market in 2015 (unit: ¥ in million)
Item

Over thePrevious year

2013

2014

2015

10,78812,87525,092194.9％ A sum of a and ba Anime song live concert

6,888

8,565

14,784172.6％b Anime event

3,900

4,310

10,3082 2.5D Musicals

8,698

9,428

10,395

3 Live Viewings

494

1,370

2,563

Ticket revenues for live concerts mainly featuring
anime songs
Ticket revenues for events/stage performances
239.2％
mainly featuring animation
Ticket revenues for 2.5D musical (i.e. stage
110.3％ shows, plays, performances or the like based onanimation, manga and games)
Ticket revenues for live viewing events featuring
187.1％
anime songs, anime events and musicals

1 Stage/Event

OutlineSum of C and D below

4,500

5,409

9,289

171.7％c Anime Museum

─

3,358

6,323

188.3％ Ticket revenues for anime museumsd Anime Exhibition

─

2,051

2,966

144.6％

─

2,000

5,000

250.0％

24,48031,082

52,339168.4％

4 Anime Museum/Exhibition

6 Anime Café
Total

Ticket revenues for exhibitions related toanimation
Revenues of cafés and restaurants featuring
animation

1a and 2: based on the survey by PIA Research Institute
Others: based on the survey by the Association of Japanese Associations〈Arrival of Post Ghibli〉
In light of the great impact on the animation industry, this report ventures to touch on the topic of “YourName” 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 firstanimation movie other than the works directed by Hayao Miyazaki, “The Wind Rises” (12.0 billion yen atbox 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, andother three works failed to merit mention. When “Princess Mononoke” exceeded 10.0 billion yen at thebox 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 wascleared 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 animationindustry. 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
Production minutes of TV animation (2000-2015)

Box office revenue of theatrical animations (2000-2015)

Number of theatrical animation works and their production minutes(2000-2015)* All theatrical animation movies released not only via ordinary distribution routes but also independently are included in this survey.

Production minutes declined slightly from the previous year. Capacityof TV animation production approaches its limit?

Steady shift thanks to the hit of Mamoru Hosoda’s new film The Boy andthe Beast and YO‐KAI WATCH theatrical version

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 ofanimation drawing) is around 120,000 min. at maximum. Also the total production minutesof 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.
Production minutes ofTV animation
150,000(minute)120,000
90,000Since 2000, the total box office revenues have been greatly affected by Ghibli works which makeexceptional 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 someregular 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 morethan 2 billion yen at box office respectively by attracting fanatic fans visiting theaters repeatedly.

* Production minutes in 2011 have been recalculated, increasing from the minutes in the 2014

136,407
119,962
124,648
112,169
109,459
115,533
110,046
105,070
106,335
107,919
95,09898,68792,72490,44585,43975,890(billion yen)

50.5

50

40.9

40.2
34.8

40

31.1

28.9

30

60,00047.0

Box office revenue

21.8

19.2

19.1

46.9
41.7

33.7
28.5

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 theatricalanimations‐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.

Production minuets

5,000

10

1,000

0

0

0

01

02

03

04

05

06

07

08

09

10

11

12

13

14

46
31

45

33

31
25

00

15

01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
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 from 2009 to 2015),

Based on the survey by the Association of Japanese Animations

1,900 2,035

2,730

2,249 2,254

1,728

55

51
36

2,000

30,000

00

73

6,000

3,000

20

Number of works(minute)

4,000

21.6

18.8

Theatrical animation works increasing due to digitalization(title)
80

63

59

54

77

70
60

46

50

31

3,041

3,728

2,586

3,739 4,000 3,581

4,713 4,782 4,764

40

5,931

30
20
10
0

00

01

02

03

04

05

06

07

08

09

10

11

12

13

14

15

Based on the survey by the Association of Japanese Animations

Data & Topics of Japanese Animation Industry 2016 ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●Number of TV animation programs (1963-2015)

Animation videograms (2000-2015)

350

300

(title)250

200※Revenues of animation videograms including from Japanese animation works both for adults and children(based on the report issued by Japan Video Software Association).

※TV animation programs, animations inserted in other TV programs, TV animation combined with live action programs are all included※Since 2014 the data has been closely examined in the “Nenkan Perfect Data”

Animation videogram market shrunk due topopularization and digital consumption

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 muchcompared 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 anincrease 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.

233
232
195

193

159

(million)
159
164
135

152

136
139
123
100

50
30
20
16 16
18
12 15 15 19 16

025

37 39 45

21 22

32 32
6 3 1420 27 26 22 24
1 6 5 11 12 13 11 12 15 13 10 14 14 15

24 37 33
37 31

40 50

26 28 30 2735

42 37 41 35

115.3
108.5
105.9
111.3
107.6
105.2
102.1
92.8

77.3
60

53 48 49 54

33 39 36 32

93.3

90

67
41

117.6
103.1

92
43 48 50

138.8
135.8
127.8

129.4

120

128
103

103

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 fanspurchasing 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.
150

155

150

42 43

※ Revenues of the top 100 Japanese animation character sake rankings tallied.
※ Revenues arising from the use of characters in advertisements, promotions and Pachinko and Pachinko-slot machines were not included in this survey.
※ Totals from 2007 to 2013 were recalculated in 2014.

Revenues of Animation Videograms■ TV animation programs newly broadcast in the year
■ TV animation programs that have been broadcast/serialized continuously

108

40 46 42 39

51

66 64 72

84 91

76

66 60

78

90

56 63

30

Based on the survey by the Association of Japanese Animations

MD market shrunk due to push‐backof YO‐KAI WATCH whilewomen’smarket 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 in2014 and slow recovery of some other standard animation characters, though such charactersshowed a sign of rebound. On the other hand, the market featuring characters targeting adultwomen 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.
600(billion yen)
400

570.0
200

435.0 433.7 461.7

504.9 530.5

597.4

536.4 559.7

627.4 594.3 573.2 598.5 655.2 579.4

0
01

02

03

04

05

06

07

08

09

10

11

12

00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15
Based on the report published by the Japan Video Software Association.

13

14

15

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.

(billion yen)

0

63 ● 65 ● ● ● ● 70 ● ● ● ● 75 ● ● ● ● 80 ● ● ● ● 85 ● ● ● ● 90 ● ● ● ● 95 ● ● ● ● 00 ● ● ● ● 05 ● ● ● ● 10 ● ● ● ● 15

Merchandising related to animations (2000-2015)

40
30
20
10
0

27.2
0.2

1.0

1.8

4.1

02

03

04

05

8.4

9.8

10.2

12.3

14.9

16.0

06

07

08

09

10

11

12

34.0

40.8

43.7

13

14

15

Based on the survey by the Association of Japanese Animations

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 withJapanese 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 thecontinued rise in the sales of Internet distribution rights to China (up 78.7% over last year) and remarkable growth of LiveEntertainment 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 ofJapanese 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 Animations Address: Akihabara UDX 4F, 4-14-1 Sotokanda, Chiyoda‐ku, Tokyo
URL: http://aja.gr.jp/

E‐mail: office@aja.gr.jp

Phone: +81-3-5298-7501

Fax: +81-3-5298-0041