Anime Industry Report 2016

Summary 
Authors 
Anime Industry Researcher
Hiromichi Masuda
Auditor, Video Market Corporation
Animation SFX Researcher
Ryusuke Hikawa
Guest Professor, Graduate School of Meiji University
Tadashi Sudo Journalist
President, Character Design Databank, Ltd.
Kazuo Rikukawa
Director/Secretary-General, Character Brand Licensing Association
Senior Director, Dentsu Consulting Inc.
Yuji Mori
Specially Appointed Professor, Graduate School of Asia University
Masahiro Hasegawa Producer, HUMANMEDIA Inc.

Editor 
Hiromichi Masuda Anime Industry Researcher
(editor in chief) 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 
Department Director, Content Strategic Planning Office Content Division,
Naofumi Ito
ASATSU-DK INC.
Part-time Lecturer , Japan Electronics College
Hiroko Uehara
Part-time Lecturer , Shobi University Graduate School
Megumi Onouchi President, HUMANMEDIA Inc.
Master of Graduate School in Cultural Studies on Corporeal and Visual
Wenfang Guo
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
Definition of each item(end‐user basis)
1,826billion
1,800billion yen 52.3 1) TV: domestic TV animation revenues 
2) Movie: domestic theatrical animation box office revenues  
1,630billion 3) Video: domestic videogram animation revenues (DVD, etc. 
31.1 294.1
1,600billion yen media) 
1,471billion 4) Internet Distribution: domestic online animation revenues  
5) Merchandising: domestic animation‐related merchandise 
1,380billion 24.5 298.1
1,400billion yen 1,350billion 1,330billion 1,333billion revenues
1,303billion 1,314billion 1,313billion 6) Music: domestic animation‐related music revenues 
152.8 1,254billion 242.7
1,221billion 7) Overseas: overseas Japanese animation revenues (movie, 
122.6
202.6 227.2
1,200billion yen 1,119billion 583.3
TV, videogram, MD, etc.) 
1,095billion 166.5
326.5 8) Pachinko and Pachinko‐slot machine: estimated shipment 
520.4 439.0 value of animation character‐themed Pachinko and Pachinko‐
521.5 286.7 282.3
413.7
1,000billion yen 482.7 266.9 240.8
slot machine machines.
254.4 23.7 9) Live Entertainment: animation‐related live‐performance, 
372.5 421.2 29.7 24.6
26.3 25.8 event, exhibition, and cafe revenues (Note 4) 
24.5 23.0
800billion yen 26.1 27.0 30.7
12.0 Note 1: Domestic TV animation revenues were calculated based 
13.8 23.5
9.1 on the following formula: (the sum of commercial TV broadcast 
655.2 stations’ revenues and NHK’s broadcast revenues) x (the ratio of 
600billion yen 598.5 579.4 animation program to overall program broadcast minutes) + 
530.5 597.4 627.4 573.2
504.9 536.4 559.7 594.3 (revenue of animation channels) 
435.0 433.7 461.7
Note 2: Pachinko and Pachinko‐slot machine with animation 
400billion yen character values were estimated based on their percentage of 
total Pachinko and Pachinko‐slot machine shipments.  
0.2 4.1 8.4 34.0 40.8 43.7 Note 3: The survey for Pachinko and Pachinko‐slot machine 
1.0 1.8 9.8 10.2 12.3 14.9 27.2
16.0 started from 2008. 
200billion yen 129.4 117.6 103.1 138.8 135.8 127.8 111.3 105.2 108.5 106.7 105.9 115.3 102.1 92.8
Note 4: The survey for Live Entertainment started from 2013. 
19.8 19.6 38.0 17.8 28.4 40.9 47.0 41.7 46.9
21.2 33.8 29.9 33.8 28.5 The amount is the sum of the revenues of the following: anime 
124.1 116.5 110.0 104.1 100.3 92.4 94.6 95.5 89.5 90.0 95.1 102.0 110.7 107.2 song/voice actor appearances, events, 2.5D musicals, museums, 
billion
0 yen exhibitions, cafés. 
Note 5: The revenues for Merchandising from 2007 to 2013 were 
2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 recalculated 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 ■ ⑤ Merchandising ■ ⑥ Music ■ ⑦ Overseas ■ ⑧ The Pachinko and the like ■ ⑨ Live Entertainment ■ ⑩ Others Definition of each item 
(animation studio basis) 
223billion
208billion 212billion 1) TV: revenue from TV animation production and 
201billion broadcasting right fees 
200billion yen 17.3 2) Movie: revenue from production and profit distribution of 
54.7 include pachinko and the like 187billion 181billion 185billion 186billion 11.1 theatrical animations
include pachinko and the like 2.6
53.6 0 9.1 10.8 3) Video: revenue from production and profit distribution of 
31.2 13.9
include pachinko and the like 26 12.4 164billion 1.2 1.6 animation videograms
0 0 0 3.1 11.6 14.2
7.5
include pachinko and the like
149billion 153billion 5 4) Internet Distribution: revenue from the Internet 
146billion 16.9 34.9
150billion yen 137billion 141billion 31.3
26.8
24.8
7.2 8.5
10.9
19.5
distribution and profit distribution related to animation 
14.4 3.1 content
29 35.4 3.3 11.7 2.5 9.7 3
11.3 2.1 3.1 3.3 5) Merchandising: revenue from character licensing, 
0 8.3 0 4.5 17.2 2.9 26.5
include pachinko and the like
include pachinko and the like 4.1 16 26.6 advertisement, promotion, events etc. related to animation 
2.1 36.3 15.3 3.4 25.8
22.4 25.3 34.5 30.7 3.1 26.7 content
4 8.5
2.4 29.2 26 24.4 10.2 11 6) Music: revenue from music related to animation content
100billion yen 1.6 1 37.3 2.6 6.8 15.5
2.5 27.4 7) Overseas: revenue from overseas markets including license 
21.6 25.4 0.5 3.7 4 16.1
21.8 15.3 14.5 fees related to animation content
0.1 30.1 3.1
0.3 34.9 16.4 16.2 24.8
27.7 22.6
8) Pachinko and the like: revenue from animation production 
22.8 17.9 20.7 23.1
and profit distribution for Pachinko and Pachinko‐slot 
35.8 33.5 31 15.3
16.9 18 25.2 machines 
18.4 18.6
50billion yen 9) Others: revenue from services/businesses other than above
8.8 6.8
61.6 67.4 61.7 60.5
58.4 56
45.9 47.8 50 45.9 43.2 47.2 Note 6: The survey for Pachinko and Pachinko-slot
37.2 36.4
machine started from 2008. Figures for this industry were
billion
0 yen included in Others until 2007.

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

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.

This turnover also suggests the direction of global animation in future. Japan holds a prominent position
The 4th Anime Boom has arrived?  both in production and marketing in the field of adult animations. As explained in Overseas Trends in
It can be said that Japanese animation industry is now enjoying the 4th anime boom. The market, the report, “not only kid’s animation works but also teen’s and family animation works are increasing”
significantly exceeding the peak in the 3rd Anime Boom (mid in 2000’s), recorded positive growth for six outside Japan. However, Japan has a virtual monopoly in the filed of adult animations produced only in
consecutive years and the highest revenues for three consecutive years. However, there are no Japan, which is so‐called “Blue Ocean” situation, and the industry should recognize the potential of such
representative animation works leading the boom (works such as Astro Boy, Yamato, Eva, Pocket adult animations in global markets especially with the emergence of new business models in which the
Monster, and Princes Mononoke which led previous booms). Probably “Your Name” would be Internet is key. At any rate, it’s time that our recognition for adult animations should be changed. It’s
recognized as the leading work in recent years; however, the market itself already recorded record not a minor market but the business model that Japan leads ahead of others and has the potential to
revenues even before the arrival of this work. As specified in the report, this boom is attributed to penetrate global markets.
increases in market channels, including Internet distribution, Pachinko and Pachinko‐slot and Live 〈Significant Revenue Increases in Overseas Market〉   
Entertainment, over the past decade. 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
Topics in Japanese animation Industry from 2015 to 2016  year” as specified in Overseas Trends in the report. The export values which remained hardly changed
〈Late‐night anime overtakes kids/family anime〉  for past three years suddenly increased, jumping from 19.5 billion yen to 34.9 billion yen, and recorded
Late‐night anime era has come. The total production minutes of late‐night animation programs firstly the highest, exceeding 31.3 billion yen in 2005. The major factor of this increase is attributed to
exceeded those of kid/family animation programs in Japan. Needless to say, this was also the first case in “shopping sprees” by China. Despite revenue increases in North America and Asia countries, the
the world where animation was yet recognized as the entertainment only for kids. Japanese animation remarkable increase in Chinese market constitutes more than half of the increase. It seems the trend
which disproved such accepted myth is indeed a symbolic icon of “Cool Japan”.
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.) 
80,000 350.0 313.0 312.0 349.0
（minute） 290.0
70,000 300.0 268.0
253.0 248.0
60,000 250.0 224.0
195.0
50,000 200.0 169.0
153.0 172.0
40,000 160.0 144.0
150.0
30,000
100.0
20,000
50.0
10,000 178.6 218.2 268.0 284.0 268.3 227.6 239.9 163.5 211.0 205.9 166.3 160.5 161.8 288.4
0.0
0
2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 (milliom$) 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015
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
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)    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 the 〈Arrival of Post Ghibli〉
answers by animation studios for open‐questions as described in “Market Outline” in the report. Of In light of the great impact on the animation industry, this report ventures to touch on the topic of “Your
course, Japanese animation industry welcomes the situation; however, it is undeniable this trend could Name” though it should be treated in the next report under ordinary circumstances.
be another bubble. Especially in China, all the industries, including cultural industries, are subordinate to As of October 24, 2016, “Your Name”, addressed as the first animation work which brought a big social
the politics and bombarded with social situation of the moment. Not to mention of the Cultural impact since “Spirited Away”, recorded 16.4 billion yen at box office. As of the 9th week from the release,
Revolution, there have been several events affecting the market so far, such as the demonstration against the work, still maintaining strong momentum, had recorded 10 billion yen at box office. It is the first
Senkaku Islands dispute and retaliation for Korean entertainment industry against THAAD deployment animation movie other than the works directed by Hayao Miyazaki, “The Wind Rises” (12.0 billion yen at
to Korea. Thus it is hard to consider the market shifts without any political intervention in China. If box office), and “Ponyo” (15.5 billion yen at box office) to achieve this range. “Your Name” surprised
the 2006 law that prohibits the broadcast of foreign animation programs during the prime time is the market not only as the first non‐Miyazaki movie to exceed 10 billion at box office but also as a
applied to the Internet distribution, the recent prosperity might well collapse. substantial leap from past works directed by Shinkai.
<Major Breakthrough of Live Entertainment>  Director Shinkai did not achieve satisfactory results before “Your Name”. In terms of box office,
Live anime‐related entertainment continued to make important breakthroughs. The market doubled in “Kotonoha no Niwa” recorded 150 million yen, which was the maximum among his past four works, and
the past three years since 2013 when the survey started, and recorded revenues of 52.3 billion yen in other three works failed to merit mention. When “Princess Mononoke” exceeded 10.0 billion yen at the
2015, increasing by 68.4 % over the previous year. This increase, which may partially be attributed to box office, the industry was not astonished since Miyazaki’s two previous works already topped the box
improved accuracy of surveying methods, was also significantly associated with the rapid growth of office lists. In case of “Your Name”, however, people presumably wondered what made it such a great hit.
overall domestic live entertainment markets, especially the growth of music market (i.e. revenues of Furthermore, it’s sure that the impact was amplified since Director Shinkai was unknown among
music concerts, stage performances, plays etc., including live entertainment related to animation). The non‐anime fans and people outside the industry.
market size, which was 333.4 billion yen in 2012, became 503 billion yen, increasing by 51% over the The momentum of the box office was also breathtaking. “Your Name” achieved 10.0 billion at box office
past three years. only in 28 days while Princess Mononoke took four months to achieve the same result. This difference
At the same time, non‐staged live entertainment, such as anime museums, anime exhibitions and anime can be attributed to the spread of cinema complexes which determine their screening schedule flexibly.
cafés are also doing well. Although revenues of non‐staged live entertainment fall far short of those of Still, the pace until the 5th week even exceeded that of “Frozen”, which recorded 25.48 billion at the box
staged live entertainment, the field still makes constant progress. Animation is shifting from a thing to office in 2014.
be watched to a thing to be experienced, and the non‐staged live entertainment, which offers a feeling of Expectations were that establishment of a post‐Ghibli era would take more time, but this hurdle was
belonging to consumers, will continue to expand. cleared quite easily. The arrival of “Your Name” not only silenced mass media criticism that “the next
The sales amount arising from merchandise sold on‐site (i.e. concerts, events, museums and exhibitions) generation was not growing” but also showed the depth of the talent pool in the Japanese animation
is not included in the values in this report. If such revenues are included, and in some cases such they industry. This hit undoubtedly makes Director Shinkai feel tremendous pressure for his next work, but
exceed ticket revenues, the live entertainment market size may reach 10 billion yen or more.. we would frankly like to just celebrate his success

Live Entertainment Market in 2015 (unit: ¥ in million) 
Over the
Item 2013 2014 2015 Previous year Outline

1 Stage/Event 10,788 12,875 25,092 194.9％ A sum of a and b

Ticket revenues for live concerts mainly featuring
a Anime song live concert 6,888 8,565 14,784 172.6％
anime songs
Ticket revenues for events/stage performances
b Anime event 3,900 4,310 10,308 239.2％
mainly featuring animation
Ticket revenues for 2.5D musical (i.e. stage
2 2.5D Musicals 8,698 9,428 10,395 110.3％ shows, plays, performances or the like based on
animation, manga and games)
Ticket revenues for live viewing events featuring
3 Live Viewings 494 1,370 2,563 187.1％
anime songs, anime events and musicals
4 Anime Museum/Exhibition 4,500 5,409 9,289 171.7％ Sum of C and D below
c Anime Museum ─ 3,358 6,323 188.3％ Ticket revenues for anime museums
Ticket revenues for exhibitions related to
d Anime Exhibition ─ 2,051 2,966 144.6％
animation
Revenues of cafés and restaurants featuring
6 Anime Café ─ 2,000 5,000 250.0％
animation
Total 24,480 31,082 52,339 168.4％
1a and 2: based on the survey by PIA Research Institute   
Others: based on the survey by the Association of Japanese Associations   
 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
* All theatrical animation movies released not only via ordinary distribution routes but also independently are included in this survey.
(2000-2015)
Production minutes declined slightly from the previous year. Capacity  Steady shift thanks to the hit of Mamoru Hosoda’s new film The Boy and  Theatrical animation works increasing due to digitalization
of TV animation production approaches its limit? the Beast and YO‐KAI WATCH theatrical version  The The number of theatrical animation works increased significantly from 73 to 85 (a 16% increase
The total production minutes of TV animations in 2015 were 115,533 minutes, decreasing by Since 2000, the total box office revenues have been greatly affected by Ghibli works which make from 2014). Also the number of production minutes increased from 4764 min. to 6046 min. (a 27%
3.7% (4,429 min decrease) from the previous year when it recorded its 3rd highest. This exceptional box office revenues. The year 2015 was the first year Ghibli had no plan to release a increase from 2014). This trend indicates that the animation industry became more theatrical
indicates present TV animation production capacity in Japan (i.e. the capacity limit of new movie for some time to come, nevertheless, the total box office showed a steady growth, animations‐based which, though risky, is in consideration of the stagnation of videogram businesses as
animation drawing) is around 120,000 min. at maximum. Also the total production minutes recording 46.7 billion yen. The main factor was the success of “The Boy and the Beast”, the first secondary revenue. Another contributing factor was the digitalization of production and screening,
of late‐night animation programs firstly exceeded those of kid/family animation programs in film directed by Mamoru Hosoda in three years, and “The Movie: YO‐KAI WATCH”. Also some which served to spur theatrical animation.
day‐time (i.e. 5:00 a.m. – 23:00 p.m.). This phenomenon reflected production minutes of new regular series such as “Detective Conan: Sunflower of Inferno” did well. In addition, “Love Live!
kids/family animations during day‐time decreased by half from 22,278 min. to 11, 248 min. The School Idol Movie” and “Girls and Panzer”, both based on late‐night animations, earned more
Production minutes of than 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  Production minuets Number of works 77 (title)
TV animation 73
150,000 (billion yen) (minute) 80
136,407 50.5 Box office revenue 47.0 46.9 63
(minute) 124,648 119,962 50 6,000 59
112,169 40.2 40.9 41.7 55 70
109,459 110,046 115,533 54
120,000 5,000 51
106,335 107,919 105,070 40 34.8 33.7 46 45 46 60
98,687 95,098 31.1
92,724 90,445 28.9 28.5 4,000 50
90,000 85,439 36
33
75,890 30 21.8 21.6 31 31 31
40
19.2 19.1 18.8 3,000 25 5,931
60,000 30
20 4,713 4,782 4,764
2,000 3,728 3,739 4,000 3,581
3,041 20
30,000 10 2,730 2,586
1,000 1,900 2,035 2,249 2,254
1,728 10
0 0 0 0
00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 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 Edited based on the data produced by Motion Picture Association of Japan, Ind., Kinema‐Jumpo, and Bunkatsushin Based on the survey by the Association of Japanese Animations 
(edited by Mindbase, Inc. from 2000 to 2008 and by the Association of Japanese Animations from 2009 to 2015),

Data & Topics of Japanese Animation Industry 2016 ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●
Number of TV animation programs (1963-2015) Animation videograms (2000-2015) Merchandising related to animations (2000-2015)
350 ※ 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.
■ TV animation programs newly broadcast in the year Revenues of Animation Videograms ※ Totals from 2007 to 2013 were recalculated in 2014.

■ TV animation programs that have been broadcast/serialized continuously ※Revenues of animation videograms including from Japanese animation works both for adults and children MD market shrunk due to push‐back of YO‐KAI WATCH while women’s market got activated.
※TV animation programs, animations inserted in other TV programs, TV animation combined with live action programs are all included (based on the report issued by Japan Video Software Association).
Japanese merchandising market related to animation characters shrunk to 579.4 billion yen,
※Since 2014 the data has been closely examined in the Nenkan Perfect Data which was 88.4 % of the amount previously. This attributes to loss of YO‐KAI WATCH boom in
300 Animation videogram market shrunk due to  2014 and slow recovery of some other standard animation characters, though such characters
(title) showed a sign of rebound. On the other hand, the market featuring characters targeting adult
The record‐high in 2015 while studios in full production  popularization and digital consumption  women such as Osomatsu‐san and Sailor Moon did well. MD market where both classic and new
In 2015, a total of 341 TV animation programs were broadcast (108 continuing, 233 new). New The size of animation videogram market in 2015 was 92.8 billion characters compete against each other will have room for further growth.
programs increased by eighteen while continuing programs increased by one from the previous yen, decreasing by 9.1 % from the previous year. So far the
250 year. Animation production shifted in a high level; however, the increase seemed not much animation videogram market was stable thanks to anime fans 600

compared with tightness animation studios felt due to labor shortages. Even if new animation purchasing video packages as collectables. However, anime users (billion yen)

projects are offered, animation studios now in full production have no extra capacity. It’s also who thought the Internet distribution was fine enough or hoped 400
233 to watch anime without spending much money increased while 627.4 594.3 573.2 598.5 655.2 579.4
impossible to increase the number of experienced staff at once to meet the needs. Accordingly 570.0 597.4
536.4 559.7
animation was popularized mainly among young people. Under 504.9 530.5
there is little space to increase the number of TV animation programs. Another factor is an 232 200 435.0 433.7 461.7
200 increase of animation works other than TV animation programs. More original animation works today’s social trend of digital consumption, the market shrinkage
than ever were produced for screening at small theaters and for Internet distribution platforms, was unavoidable. 0
195
which diversified the first distribution channels for animation. It is becoming harder to assess 193 150 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15
159
the situation for animation production solely from the trend of TV animations. 138.8
135.8
Calculated by the Association of Japanese  Animations  based on the data from “CharaBiz DATA” published by DHARACTER DATA BANK Ltd. (2001-2015)

155 (million) 129.4

150 127.8
136 152
164
159
120 117.6
108.5
115.3
105.9
Animation distribution via the Internet (2002-2015)
139 111.3 Growth of distribution slowed down while investment from overseas distribution 
123 135 105.2 107.6
103.1 102.1 increased sharply
128 93.3 92.8 In 2015, Japanese animation distribution market via the Internet was 43.7 billion yen,
100 90 increasing by 7.1% over the previous year. Although the market rapidly expanded since 2012
103 103
77.3 thanks to full‐scale dissemination of smart phones, it slowed down last year due to voluntary
92
restraint of services and solicitation for paid contents by mobile carriers. On the other hand,
67 investment by overseas platforms such as Netflix, Amazon and Chinese Internet distributors
60
43 48 50 increased. It is likely the investments from overseas will exceed investment by domestic
41 53 48 49 54
50 42 43 40 50 35 108 platforms in the near future. Probably the outline of the next business model will be revealed
37 39 45 24 37 33 84 91 90 from 2015 to 2016.
25 76 78
30 66 64 72 66 60 30
56 63 (billion  yen)
34.0 40.8 43.7
20 21 22 46 42 39 51
15 15 19 16 16 16 18 37 31 42 37 41 35
33 39 36 32 40
40 27.2
6 3 14 12 27 26 22 24 32 32 26 28 30 27
20 30
12.3 14.9 16.0
0 1 6 5 11 12 13 11 12 15 13 10 14 14 15 20 8.4 9.8 10.2
0 1.8 4.1
10 0.2 1.0
63 ● 65 ● ● ● ● 70 ● ● ● ● 75 ● ● ● ● 80 ● ● ● ● 85 ● ● ● ● 90 ● ● ● ● 95 ● ● ● ● 00 ● ● ● ● 05 ● ● ● ● 10 ● ● ● ● 15 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 0
02 03 04 05 06 07 08 09 10 11 12 13 14 15
Based on the survey by the Association of Japanese Animations  Based on the report published by the Japan Video Software Association. 
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 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 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