Database Working Group, Association of Japanese Animations

Anime Industry Report 2015
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

Editor in Chief , “Anime! Anime!”, IID, Inc.

Kazuo Rikukawa

President, CHARACTER DESIGN DATABANK, Ltd.
Director/Secretary-General, Character Brand Licensing Association

Yuji Mori

Senior Director, Dentsu Consulting Inc.
Professor, Graduate School of Digital Hollywood University

Editors
Hiromichi Masuda(editor in chief)

Anime Industry Researcher
Auditor, Video Market Corporation

Masahiro Hasegawa

HUMANMEDIA Inc.

Cooperation
Yasuo Kameyama

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

Mitsuru Soda

JuGeMu Co., Ltd.

January, 2016
Database Working Group, Association of Japanese Animations

Trends in Japanese Animation Market（2015 version）

The upper part shows Japanese animation market trends in a broad sense (i.e. market size based on estimated sales in animation and animation‐related product markets). The lower part shows Japanese animation market trends in a limited sense (i.e. market size
based on the estimated sales 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 sales in animation and animation‐related markets) <2002 – 2014>■ ①TV■ ②Movie■ ③ Video■ ④ Internet Distribution■ ⑤ Merchandising■ ⑥ Music■ ⑦ Overseas■ ⑧ The Pachinko and the like■ ⑨ Live Entertainment

1,600billion yen
1,303billion

1,400billion yen

1,380billion

1,350billion

1,314billion
1,254billion

1,221billion
1,200billion yen

1,095billion

122.6

202.6

166.5
439.0

520.4

521.5

254.4

421.2

800billion yen
23.5

9.1

27.0

600billion yen
435.0

433.7

461.7

0.2
129.4

1.0
117.6

1.8
103.1

19.8

19.6

38.0

124.1

116.5

2002

2003

597.4

530.5

504.9

29.7

26.3

26.1

12.0

1,333billion

30.8

29.6

298.1

227.2
326.5

286.7

413.7

482.7

13.8

1,330billion

1,476billion

242.7

152.8

1,119billion

1,000billion yen
372.5

1,313billion

1,630billion

30.7

627.4

536.4

559.7

10.2
111.3

12.3
105.2

108.5

282.3
266.9

240.8

24.5

23.0

594.3

573.2

16.0
106.7

105.9

24.6

598.5

23.7

655.2

Note 1: Domestic TV animation sales were
calculated based on the following formula: (thesum of commercial TV broadcast stations’revenues and NHK’s broadcast revenues) x (theratio of animation program to overall program
broadcast minutes) + (sales revenue ofanimation channels)
Note 2: Pachinko and Pachinko‐slot machinewith animation character values were estimatedbased on their percentage of total Pachinko andPachinko‐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
Note 5: The sales amounts for Merchandisingfrom 2007 to 2013 were recalculated in 2014.

400billion yen
200billion yen
billion
0 yen

34.0

40.8

115.3

102.1

4.1

8.4

138.8

135.8

127.8

28.4

33.8

29.9

33.8

41.7

94.6

95.5

89.5

28.5
90.0

47.0

100.3

21.2
92.4

40.9

110.0

17.8
104.1

95.1

102.0

110.7

2004

2005

2006

2007

2008

2009

2010

2011

2012

2013

2014

9.8

14.9

27.2

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 sales revenues of all domestic commercial animation studios <2002 ‐ 2014> )■ ① ＴＶ■ ② Movie■ ③ Video■ ④ Internet Disribution
223.2billion

17.3
54.7
include pachinko and the likeinclude pachinko and the like

200billion yen

136.6billion

11.3
8.3
pachinko and the like
0include pachinko and theinclude
0
like
22.4

100billion yen

2.4
21.6
0.1

50billion yen

140.6billion

53.6
include pachinko and the like
0
0

25.3
1.6

29.0
4.1
29.2

25.4

0.5

0.3

27.7

35.8

33.5

8.8

6.8

37.2

36.4

2002

2003

0

31.3
2.1

31.2
7.5
35.4

34.5

2.1

1.0

37.3

34.9
16.9

45.9

47.8

2004

2005

■ ⑧ The Pachinko and the like

Note 6: The surveys for Pachinko and Pachinko‐
slot machine started from 2008. Figures for thisindustry were included in “Others” until 2007.

■ ⑨ Others

187.2billion
181.2billion

26.0
include pachinko and the like
0
26.8
3.1

58.4

12.4
3.1
24.8
3.3

164.3billion
145.7billion
11.7
4.5
15.3
4.0

148.8billion

24.4

6.8

3.7

4.0
16.2

15.3

2.5
30.1

21.8

18.0

31.0

50.0

45.9

43.2

47.2

2007

2008

2009

2010

18.6

5.0
10.9

26.0

2.6

3.1
17.9

8.5
9.7
16.0
3.1

36.3

27.4

153.2billion

7.2
2.5
17.2
3.4

30.7

22.8

18.4

■ ⑥ Music ■ ⑦ Overseas

212.billion

208.4billion

150billion yen■ ⑤Merchandising

16.4
25.2

15.3

14.4
2.9
26.7

20.7

183.4billion

184.7billion

9.1
11.6

14.2

16.9
3.1
26.5
8.5
15.5
24.8

10.8

19.5
3.0
26.6
10.2
16.1
22.6

56

61.6

67.4

61.7

2011

2012

2013

2014

billion0 yen
yen

2006

Based on questionnaires conducted by the Association of Japanese Animations and statistics released to publicFive consecutive years of positive growth, recording thelargest market size
As shown in “Trends in Japanese Animation Market (2015 version)”, the Japanese animation industry recorded its best year in 2014, earning 1 trillion 269.7 billion yen (9.2 % growth from the previous year), and experiencing growth for five years
running. While sales in Movie, Video, and Music categories shrunk, those in TV, Internet Distribution, Merchandising, Overseas, Pachinko and Pachinko‐slot machine, and Live Entertainment categories increased. The market became too big to hold thatshrunk once in 2007 and recovered from 2010, and then achieved historic records two years in a row.

Japanese animation exploited in new medium
The Japanese animation market has been expanding since 2010 thanks to the arrival of new media andother merkets which promote opportunities to exploit animation content. It took 46 years before
animation content, which was screened only theatrically first, came to be broadcast on TV, and another17 years until it was distributed in the form of videograms. After the mid‐2000’s new media and othermarkets including Pachinko, Internet Distribution, and Live Entertainment were established. Those
media promoted dissemination of animation content to all generations, including adults, and expanded
the viability of various genres.

Topics in Japanese animation industry from 2014 to 2015
The following are the major topics covered in Anime Industry Report 2015.
<Arrival of Megahits>
Chart : Top 10 domestic box office hits in 2014 (yen in billion)
Title

Box OfficeDistributor

1

Frozen (Japanese title : ana to yuki no joou)

25.48 billion yen

Disney2

Big Hero 6 (Japanese title : Baymax)

9.00 billion yen

Disney3

STAND BY ME Doraemon

8.38 billion yen

Toho

4

Yo‐Kai Watch: Tanjō no Himitsu da Nyan!

7.40 billion yen

Toho

5

Maleficent

5.22 billion yen

Disney6

Rurouni Kenshin: Kyoto Inferno

5.22 billion yen

WB

7

Thermae Romae II

4.42 billion yen

Toho

8

Rurouni Kenshin: The Legend Ends

4.35 billion yen

WB9

Detective Conan: Ijigen no Sunaipā4.11 billion yen

Toho

10

Doraemon Shin Nobita no Daimakyo ~Peko to 5‐nin no Tankentai~

3.58 billion yen

Toho

Based on the surveys conducted by Motion Picture Producers Association of Japan, The Bunka News and the Database Working of AJA:

2014 was the year for Frozen and Yo‐Kai Watch. Frozen recorded the second largest box‐office revenue
in Japan, and Yo‐Kai Watch became a megahit unrivaled since Pocket Monster. Their theme songs wereplayed everywhere and products with their characters flooded various markets. Both were ubiquitous,
creating phenomenon known to all ages nationwide. Their unanticipated success may be because people
have tended to focus on new character or story developments in existing content, or perhaps its because

this is some form of turning point. Both also made us think of the revival of the age of animations.
Actually six of top ten domestic box office hits in 2014 were animations, and the influence of animationand manga was also seen in live‐action films. Maleficent would have been an animation work if it had
been produced in the time before CG. Ruroni Kenshin, which was firstly turned into TV animation series,
was based on a manga with the same title. Thermae Romae II was also based on a manga with the same
title. Thus all the films ranked in the Japanese top 10 were somehow related to animation or mangacontents, which shows how animation and manga are ingrained in Japanese culture.
(Acceptance and increasing demand for CG )The second topic in the Anime Industry Report 2015 is the advancement of Computer Graphics in two
different aspects. First is consumer acceptance for photorealistic CG animation as typified by Pixar
animation contents, and the other is increasing demand for CG in non‐photorealistic “traditional”
Japanese animation. In Japan it was taken as a truism that Japanese animation was a culture of 2D
expressions with clear outlines, thanks to the historical background of Japanese art, from scroll painting
to Ukiyoe to manga, and that therefore Japanese people were somehow resistant to photorealistic 3DCG
animation works represented by Pixar animation, which are mainstream in Western countries now. In
2014 however, the top 3 domestic box office animation films were all 3D CG animations: Frozen, Big
Hero 6 and STAND BY ME Doraemon. Maybe Japanese audiences finally became accustomed to 3DCG
animations (it’s been 20 years since Toy Story produced with 3DCG was firstly released in Japan) ormaybe the “digital‐native” generation, grown up on video games full of CG animations are now in the
majority of the market.
On the other hand, the demands for CG animation techniques realizing “cell‐look” (solid color withoutlines) but not photorealistic expressions increased among Japanese animation producers who tended
to stick to the taste of traditional animation. Still now most conventional studios, which are not ready for
full 3DCG production yet, are hesitant to shift from hand‐drawn animation to 3DCG; however, animation
production methods or expressions diversified from CG are becoming popular even under suchcircumstances.
In 2014, several 3DCG animation works with “cell‐look” got attention. Among them were KNIGHTS of
SHIDONIA and Ronjya Rovardotter (directed by Goro Miyazaki) produced by CG POLYGON PICTURES(the largest Japanese CG animation studio involved in a variety of projects in the U.S.), and Expelled from
Paradise co‐produced by Toei Animation and Graphinica. On the production site, animators are
exhausted due to the increase of projects and volume, as shown in the chart on the next page. The “2016
Crisis” for Japanese animation industry is that each project requires twice as many animation
supervisors, from 5 to now 10 . Within this, Studio Gibuli, a stronghold of hand‐written animation,

announced it would produce a 3DCG short animation Kemushi no Boro under the direction of Hayao
Miyazaki to be screened at the Ghibli Museum. It is considered a move which suggests the future ofJapanese animation studios. It is only a matter of time before the animation production process inplace since 1963 will undergo significant innovations.
<Video distribution platforms>
Another topic from 2014 to 2015 is video distribution services via the Internet, which received a lot of
attention not only for the remarkable market growth, but also for the expansion of flat‐rate subscription
services, and fierce competition among new comers. 2015 appears to have been be the real start of thevideo distribution era. On video distribution platforms animations are strong content, popular amongusers, and for animation studios, they are essential platforms enabling them direct access to theirconsumers.
As shown in “Trends in Animation Distribution Market” below, a second distribution boom started
around 2010 thanks to the dissemination of smart phones, led by communication companies, especiallyby video distribution services provided by NTT DoCoMo. Nippon Television purchased Hulu in February,
2014, announcing the integration of broadcasting and video distribution, and stimulating otherbroadcasting stations to take sides in this industry realignment.
In 2015, Netflix, the U.S video distribution giant (69 million subscribers as of the 3rd quarter in 2015)
finally entered into Japanese market, as had been rumored since late 2014, reconfiguring video
distribution in Japan. The arrival of Netflix and Hulu provide a substantial challenge to existing Japanesedistribution platforms and TV stations.
In terms of overseas markets, it was obvious videograms were replaced by online distribution, as video
content distributed via the Internet can be seen on any devices, including PC, smartphones, tablets, anddevices with larger monitors, and the service also has the potential to reach to pay TV markets, andother advertising revenue‐driven markets beyond. Indeed, the industry recognized clearly in 2015 that
this service promises to not only take the place of or be integrated with TV, but moreover become a newtransmission medium. .

<Between “Cool Japan” policy and reality>
The Japanese animation industry faces quite a difficult situation in overseas markets despite of thegovernment's “Cool Japan” strategy. The chart below shows so‐called “export values” for the Japanese
animation industry. Though the line chart shows that the sales amount (in JPY) headed for recovery in
2014, the bar chart indicates that the amount in 2014 (after exchange conversion) was almost the sameas that of the previous year, or rather the industry somehow maintained the status quo despite adecreasing trend. In light of the overall figures, the total for 2014 was less than in and after the global
financial crisis, also less than the total in 2002, the year this survey started. It is therefore pre‐mature toannounce the recovery of the export value since 2012. One might further statethat the Japanese
animation industry stepped backward within a growing global market. Some still say Japanese
animation is strong enough in the global market, however, the reality is indeed challenging.
In 2014, it also became clear that theJapanese animation industry was weak in distribution channels,
compared to Hollywood. Actually just one media & entertainment giant in Hollywood earns more than
the total revenue of all Japanese animation studios. On the other hand, Japanese animation would havefurther possibilities if developed globally under Internet distribution channels. In July 2014, KNIGHTS of
SHIDONIA was distributed globally by Netflix, and it made the industry imagine that video distribution
services might be key to changing th Japanese animation industry fundamentally. The fate of contents
holders may be determined by global platform distributors like Amazon, Apple, or Googlebecause thevalue of distributing content directly to tens of millions, or hundreds of millions of end users all over theworld is so attrative. It’s also worth seeing whether DAISUKI, a newborn domestic platform can retain
its strength in the market. In any case, the Japanese animation industry has no choice but to expand its
businesses overseas through the Internet distribution.
Chart : Overseas Sales of Japanese Animation Industry(bars: amount after exchange conversion ($ in million), lines: actual amount (¥ in billion))
350.0

313.0
290.0

300.0

Chart : Trends in Animation Distribution Market (yen in billion)

the beginning[the first distribution
boom]
2006:
TV-asahi douga
niconico douga
videomarket

400

300
250
2003:
Anitele Theater

200

2007:
acTVilaiphone on sale
（Netflix)（Hulu）（Ustream）

2005:
YouTubedai2ntv
fujitv on demand
TBS on demandYahoo！douga
Gyao!
J:COM on demand

350

2002:
BANDAI CHANNEL
150 ShowTime

2009:
2010:
2011:
BeeTV
iTunes douga
D video
iPad on sale Android douga Hulu Japancombination of

149
84

100
50

2008:
hikaritv
NHK on demand
TSUTAYA TV
android on sale

98

102

2

18

2002

2003

2004

2006

2007

2008

with the disseminationof smart phones[the second distribution
2010

2011

195.0

200.0
153.0

172.0

160.0

150.0

169.0
144.0

20.0
15.0

100.0

10.0

50.0

5.0

0.0

123

2009

25.0

272

0
2005

248.0

224.0

340

160

41
10

250.0

30.0

268.0

253.0
with the disseminationof smart phones[the second distribution
2013:
boom]
Amazon2012:
Instant
Video
GooglePlayd animestore408
au videopass
SB UULA

35.0

312.0

2012

2013

2014

Based on the survey conducted by Association of Japanese Animations(million$)

17.86

21.82

26.8

28.4

26.83

22.76

23.99

16.35

21.1

20.59

16.63

16.05

16.18

2002

2003

2004

2005

2006

2007

2008

2009

2010

2011

2012

2013

2014

0.0
(billion¥)

Calculated by Mr. Yuji Mori based on the survey conducted Association of Japanese Animations

Trends in Japanese Animation Market (2015 version)
Strong earning in TV, Movie, Merchandising, and Internet Distribution while downturn in Video package sales
Production minutes of TV animation (2000-2014)

Box office revenue of theatrical animations (2000-2014)* Figures for 2011 have been recalculated, increasing from the figures in the 2014 report.

Record production minutes of late‐night animation programs approach
the production minutes of day‐time animation programs

60,00075,89085,43992,724

98,687

136,407
124,648
110,046107,919
106,335109,459
90,445 95,098

Increase of theatrical animations due to digitalization

The number of theatrical animation works increased remarkably since 2012, and the annual
production minutes exceeded 4700 production minutes for three years running. This trend
indicates that the animation industry became more theatrical animations‐based which, thoughrisky, considering the stagnation of videogram businesses as its secondary revenue stream stillbrings ancillary profits. Another contributing factor was the digitalization of production andscreening, which served to spur theatrical animation.

The total box office revenue of theatrical animations was 4.17 billion yen in 2014 supported bysome big hits, including STAND BY ME DORAEMON, and Yo‐kai Watch, though Studio Ghibli
released just one movie, When Marnie Was There. Annual box office revenue from non‐Ghibli
theatrical animations was 38.2 billion yen, which indicates that theatrical animations have beenstrong since 2012. However, only 8 theatrical animations earned over 1 billion yen in 2014,
compared to records set in previous years (9 works in 2010, 10 works in 2011, 8 works in 2012,
and 14 works in 2013) .

production minuets(title)119,962
112,169
105,070

6,000

40.0

5,000

30.0

4,000
50.5

20.0

40.2

10.0

28.9

21.8

19.2

19.1

18.8

34.8

33.7

31.1

47.0

40.9

41.7

01

02

03

04

05

06

07

08

09

10

11

12

13

33

70
60

31

40

25

1,000

2,730

1,900 2,035

1,728

2,249 2,257

3,041

3,739 4,000 3,581

3,728

4,713 4,782 4,814

00

01

02

03

04

05

06

07

08

09

10

11

12

13

30
20

2,586

10

0

14

0

14

00

01

02

03

04

05

Edited based on the data provided by Motion Picture Producers Association of Japan, Inc., Kinema‐Junpo, and Bunkatsushin(edited by Mindbase, Inc. from 2000 to 2008 and by The Association of Japanese Animations from 2009 to 2014).

Based on the survey conducted by The Association of Japanese Animations.

54

80

63

50

36

31

59

46

45

2,000

28.5

21.6

31

55

51

46

3,000

0.0

0

74

(minute)50.0

30,00000

number of works

Box office revenue(billion yen)

Production minutes of TV animations

90,000(2000-2014)

Strong theatrical animation thanks to big hits, in spite of a drop inrevenue from Ghibli works

The total production minutes of TV animations have increased for four years running (6.9%
increase over 2014). In 2014, the production minutes of late‐night animation programs were
57,868 minutes, a record‐high in the history, while those of day‐time kids & family animation
programs were 62,094 min., almost unchanged compared to the previous year. The total
production minutes of all animation programs broadcast per year. which had dramaticallyincreased since the mid 90s, set a record in 2006. The minutes decreased, and bottomed out in
2010, but again increased, showing a V‐shape recovery. In 2014, the production minutes werethe 3rd highest in history, next to those of 2007, when the industry still could enjoy leftover fromthe “animation‐bubble” of the previous year.
120,000(minute)Number of theatrical animation works and their production minutes

All theatrical animation movies released not only via ordinary distribution routes but also independently are included in this survey.

06

07

08

09

10

11

12

13

14

Based on the survey conducted by The Association of Japanese Animations.

Other data related to the Japanese animation industry ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●Number of TV animation programs (1963-2014)
300(title)■ TV animation programs that have been broadcast/serialized continuously■ TV animation programs newly broadcast in the year

200

Merchandising related to animations (2000-2014)※Sales of animation videograms includes revenue from Japanese animation for adults andchildren (based on the report issued by Japan Video Software Association).

※ Sales of the top 100 Japanese animation character sales ranking were tallied.
※ Sales arising from the use of characters in advertisements, promotions and Pachinko and Pachinko‐slot machines were not subject to thesurvey.
※ Totals from 2007 to 2013 were recalculated in 2014.

Almost flat for 6 years running※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”

The record‐high in 2014, breaking the record in 2006
250

Animation videograms (2000-2014)

In 1963, TV animation broadcasting began with only seven animation programs, including AstroBoy. In 2014, a total of 322 TV animation programs were broadcast (232 among them new), forty
five times the number in the first year and the largest in history, breaking the record of 279 in2006 (195 were new among them). While content industries are generally stagnating, as seen in
the music industry, the field of TV animation made a miraculous recovery. Still the total
production minutes in 2014 were less than the peak of 2006. This was because the number of fiveto fifteen minuets short animation shows such as Kamiusagi Rope increased in order to avoid thefinancial risk of 30 min. animation shows. It was also because the spread of digitalization madethe production of such short animations easier. Also, the improved accuracy of the survey thanks
to the introduction of “Perfect Data” was reflected.

232

9.5% Market growth from the previous year, led by Yo‐Kai Watch

Sales of animation videograms in 2014 was 102 billion yen, a 13.2
billion yen decline, and 88.6 % of the total for 2013. Since 2008, in
which the sales dropped to 111.3 billion yen, a 16.5 billion yen
decline from the previous year, sales had remained almost flat for
6 years running. In 2014, the 13.2 billion yen decline was seen as
due to a recoil from strong sales in 2013. It seems obvious that thevideogram businesses has peaked globally, still, big hits
successfully reaching end users can sell unprecedentedly, as
shown in the case of Frozen which sold about 2.3 million
videograms in Japan.

193

159

Sales amount of animation videograms

155
152

136
139
123

138.8
135.8
127.8

(million)

159
164

120.0

129.4

135

1281035030
15 19 16
12 15

0

16 16

20 21 2225

37 39 4542 43

41
24 37 3318
37 31
27 26 22 24 32 32
26 28 30 27
6 3 1415 13 10 14 14 15 20
1 6 5 11 12 13 11 12

53
35

40 50

42 37 4160.0

108.5106.7

105.2

93.3
67

48 49

641.9

570.0
435.0

200

433.7

565.2

530.5

504.9

461.7

588.1

642.1

604.1

612.0

102.1

105.9

77.3

54

32

671.8

0
01
02
03
04
05
06
07
08
09
10
11
12
13
14
Edited by HUMAN MEDIA INC. based on the data from “CharaBiz DATA” published by CHARACTER DATA BANK Ltd. (2001-2013).

In 2014, revenue from the animation distribution market via the Internet was 40.8 billion yen, a 20% increase
from the previous year. This brought it to near parity with the theatrical animation market, meaning that theInternet distribution market may surpass that of theatrical animations in 2015. The dramatic growth of themarket since 2012 is due to the dissemination of smart phones as well as the entry of communication
platform‐capital into the market. It remains to be seen whether the existing videogram businesses now
declining is taken over by Internet distribution services.
40

35 33 39 36

614.6

The market expanded along with the dissemination of smartphones, to achieve nearparity with the theatrical animation market

115.3
111.3

103.1

90.0

92
43 48 50400

Animation distribution via the Internet (2002-2014)

117.6
103

600
(billion yen)

195

150

100

In 2014, Japanese merchandising market related to animation characters expanded significantly, recording
655.2 billion yen in sales, a 9.5% growth from the previous year. This result reflected the profound impact of
Yo‐Kai Watch, the big hit of the year, which developed in cross‐media involving games, animations, mangaand merchandise. Also, merchandising related to animations targeted for adults and core animation fanscontinued to increase. Thus overall merchandising market related to animation did well.

40 46 42 39

51

66 64 72

84

91
76

66 60

78
56

90

63

30.0

20
10

Based on the survey conducted by The Association of Japanese Animations.

40.8

13

14

30

0.0

63 ● 65 ● ● ● ● 70 ● ● ● ● 75 ● ● ● ● 80 ● ● ● ● 85 ● ● ● ● 90 ● ● ● ● 95 ● ● ● ● 00 ● ● ● ● 05 ● ● ● ● 10 11 12 13 14

34.0
27.2

(billion yen)

00

01

02

03

04

05

06

07

08

09

10

11

12

13

14

Based on the report published by the Japan Video Software Association.

0.2

1.0

1.8

02

03

04

8.4

9.8

10.2

06

07

08

12.3

14.9

16.0

10

11

4.1

0
05

09

12

Based on the survey conducted by The Association of Japanese Animations.

The summary of latest movements in Japanese animation industry

Anime Industry 2015

The Association of Japanese Animations is engaged in conducting research, maintaining statistics and analyzing data inconnection with the Japanese animation industry and has released annual reports since 2009 in order to broadly
disseminate information at home and abroad.
Now, the 2015 report is ready. With the increase of merchandising market and distribution rights business, in this newreport, the size of Japanese animation industry in 2014 is reported as 1.6296 trillion yen.
This year, we also published a supplement｢Annual Perfect Data｣of all the anime in 2014.
The report is for students interested in the animation industry, animation researchers, and people involved in the animationindustry. We hope the report will be helpful to you.
■Outline【Title】

Anime Industry 2015

【language】

Japanese【Publisher】

The Association of Japanese Animations【Release day】

September 18, 2015

【Size/Pages】｢Anime Infustry 2015｣A4 / 66 pages + 4 chart sheets inserted｢Annual Perfect Data｣A4 / 70 pages【Price】｢Anime Infustry 2015｣3,000 yen (tax excluded)｢Anime Infustry 2015｣+｢Annual Perfect Data｣5,000 yen (tax excluded)【Contents】
1. General overview of animation industry 2014
※Overview of the market trends/Japanese animation industry –tide of business and investment in animation related
entities/”hot topics” in the industry
2. Explanation of each section※TV animation/Theatrical animation/Video animation/Distribution/Secondary exploitation including merchandising/Animation music/ Live entertainment
3. Overseas trends※Japanese animation in the international market《Point of Sale》《Point of Sale》

・Internet

Purchase available at SPI Information’s web site: http://www.spi‐information.com/【Downloadable version】

http://www.spi‐information.com/report/09621.html【Paper version】

http://www.spi‐information.com/report/09622.html

・Bricks‐and‐mortar

Tokyo Anime Center Official Shop@akiba info
Address: Akihabara UDX 2F, 4-14-1 Sotokanda, Chiyoda‐ku, Tokyo《Back Numbers》 the year 2009, 2010, 2011, 2012, 2013 and 2014 versions are also available at the stores above.

The Association of Japanese Animations

Address: Akihabara UDX 4F, 4-14-1 Sotokanda, Chiyoda‐ku, Tokyo
URL: http//www.aja.gr.jp/ E‐mail: office@aja.gr.jp Phone: +81-3-5298-7501

Fax: +81-3-5298-0041