Anime Market Size, Share & Trends Analysis Report By Type (T.V., Movie, Video, Internet Distribution, Merchandising, Music)- Global Industry Analysis, Share, Growth, Regional Outlook and Forecasts, 2022-2030

The global Anime market gathered revenue around USD 25.16 billion in 2021 and market is set to grow USD 51.03 billion by the end of 2030 and is estimated to expand at a modest CAGR of 9.20% during the prediction period 2022 to 2030.

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Growth Factors:

The growing popularity and the rising sales of Japanese anime content worldwide are anticipated to drive the growth of the market over the forecast period. As such, foreign sales are expected to contribute to substantial revenue generation in the market. The growing preference for internet distribution and application games, which account for the majority of overseas sales in Japan, is projected to play a decisive role in propelling the market growth. The outbreak of the COVID-19 pandemic has had a significant impact on the market.

The month of April is usually considered the busiest of the year because of the start of new shows. However, several animated television programs, including those already in production, were either postponed or canceled in the wake of the outbreak of the pandemic. At the same time, theatre releases and live performances were also impacted as a result of the lockdowns and restrictions imposed on the movement of people as part of the efforts to arrest the spread of the coronavirus. On the other hand, streaming services, such as Netflix, have gained immense popularity. For instance, in Japan alone, the platform witnessed a sudden rise in the number of subscribers as individuals preferred spending most of the time watching animated series and movies.

Advances in the latest technologies, including Artificial Intelligence (AI), Virtual Reality (VR), Augmented reality (AR), and Internet of Things (IoT) among others coupled with the increasing levels of disposable income are expected to play a vital role in driving the market growth. The latest, most up-to-date, and technologically advanced gadgets, smartphones, and other mobile devices are increasingly being introduced in the market as technologies continue to advance. The rising levels of disposable income are allowing the young generation to invest in the latest smartphones and other gadgets. This is encouraging the consumption of anime content across the globe through various gaming applications, websites, and other sources.

Advances in cutting-edge technologies, such as VR, and the continued development of new, innovative VR gaming equipment are driving the popularity of anime games with virtual surround sound and in-game communication, which also bodes well for the market growth. The growing preference for the distribution of anime content over multiple platforms, including television, comics, Over the Top (OTT) streaming platforms, games, and social media among others, is equally expected to contribute to the market growth. At this juncture, animators, artists, publishers, developers, and other creative agencies are all working aggressively towards the development of new content.

Report Scope of the Anime Market

Report Coverage Details
Market Size USD 60.39 Billion by 2030
Growth Rate CAGR of 9.20% From 2022 to 2030
Base Year 2021
Forecast Period 2022 to 2030
Largest Market Asia Pacific
Fastest Growing Market Middle East
Segments Covered Anime type , Region Type
Companies Mentioned

ManglobeInc., Kyoto Animation Co. Ltd, P.A.Works, Inc., Bones Inc., Production I.G., Toei Animation Co. Ltd., Pierrot Co. Ltd, Madhouse Inc., Studio Ghibli, Inc., Sunrise, Inc.

For instance, in March 2021, Netflix Inc. announced its plan to introduce new anime shows at the AnimeJapan 2021 Expo in Tokyo. The company announced to launch  of40 anime shows at the event. The company announced its plans to launch double the number of anime shows and series in 2020. Furthermore, during the forecast period, the global market is expected to be driven by the rising popularity of media shows and rising consumer expenditure on online shows. The market growth is further aided by the increasing number of anime production firms and film artists. In Japan, the animation industry has made a substantial contribution to the country’s economic growth.

As a result, the government in the country is pursuing several supportive initiatives to fund the production of such films, serials, and games. In response to the growing popularity and the increasing demand for animated games and animation films, a number of animation companies are also emerging in other countries, such as the U.S., China, and France. In addition, these animation companies are collaborating with marketing and advertising agencies to realize their branding and marketing goals. All these factors will bode well for the growth of the global market over the forecast period.

Anime Type Insights

Based on anime type, the market has been further segmented into video, T.V., merchandising, pachinko, movie, internet distribution, music, and live entertainment. The merchandising segment accounted for the highest share of more than 29.02% of the global revenue in 2021 and is anticipated to continue dominating the market during the forecast period. The popularity of anime merchandise including t-shirts, keychains, posters, and figurines is growing significantly among the young population. Moreover, this merchandise is available for sale through a variety of online and offline channels, thereby allowing easy access to consumers. As such, collecting figurines, keychains, t-shirts, and other anime character merchandise is emerging as a trend, thereby driving the segment growth.

The internet distribution segment is anticipated to grow at the fastest CAGR over the forecast period. The growing sales of anime content via application games and internet streaming platforms, particularly in overseas markets, are expected to drive the segment growth. Online streaming services, such as Netflix and AbemaTV, are producing original animation content and shows as part of their efforts to gain a competitive edge in the market. For instance, in February 2020, Netflix partnered with six Japanese anime developers, namely Shin Kibayashi, Otsuichi, Mari Yamazaki, CLAMP, Yasuo Ohtagaki, and Tow Ubukata, to deliver original anime content.

Regional Insights

Japan accounted for the highest market share of almost 46% in 2021. Japan is home to a majority of animation studios. For instance, approximately 622 animation studios engaged in the development of animation content are present in Japan, out of which, 542 anime studios are present in Tokyo alone. Japanese comic books, popularly known as manga, are also gaining immense popularity, thereby encouraging several young and talented individuals to pursue a career in this field.

The Middle East and Africa (MEA) region is expected to exhibit the fastest CAGR of approximately 18.9% from 2022 to 2030. The anime fan base is growing significantly across the MEA region. As a result, consumption of anime content, including video games and comics, and the sale of anime merchandise items are also gaining traction in the region. The region is home to several studios and convention centers catering to the anime fan base. The popularity of anime content is particularly growing in Saudi Arabia. The country is home to one of the largest anime communities among the Arab nations. The country has also emerged as a hub for several anime stores in recent years, and the number of anime stores is growing across larger cities, such as Riyadh and Jeddah, as well as across smaller cities, such as Khobar.

Some of the prominent players in the Anime Market include:

  • Kyoto Animation Co. Ltd
  • P.A.Works, Inc.
  • Production I.G.
  • Toei Animation Co. Ltd.
  • ManglobeInc.
  • Pierrot Co. Ltd
  • Madhouse Inc.
  • Bones Inc.
  • Studio Ghibli, Inc.
  • Sunrise, Inc.

Segments Covered in the Report

This research report offers market revenue, sales volume, production assessment and prognoses by classifying it on the basis of various aspects. Further, this research study investigates market size, production, consumption and its development trends at global, regional, and country level for the period of 2017 to 2030 and covers subsequent region in its scope:

  • Anime Type
    • T.V
    • Movie
    • Video
    • Internet Distribution
    • Merchandising
    • Music
    • Pachinko
    • Live Entertainment

By Geography

North America

  • U.S.
  • Canada

Europe

  • Germany
  • France
  • United Kingdom
  • Rest of Europe

Asia Pacific

  • China
  • Japan
  • India
  • Southeast Asia
  • Rest of Asia Pacific

Latin America

  • Brazil
  • Rest of Latin America

Middle East & Africa (MEA)

  • GCC
  • North Africa
  • South Africa
  • Rest of Middle East & Africa

Research Methodology

In the study, a unique research methodology is utilized to conduct extensive research on the growth of the Anime market, and reach conclusions on the future growth parameters of the market. This research methodology is a combination of primary and secondary research, which helps analysts ensure the accuracy and reliability of the conclusions.

Secondary resources referred to by analysts during the production of the Anime market study are as follows - statistics from government organizations, trade journals, white papers, and internal and external proprietary databases. Analysts have also interviewed senior managers, product portfolio managers, CEOs, VPs, marketing/product managers, and market intelligence managers, all of whom have contributed to the development of this report as a primary resource.

Comprehensive information acquired from primary and secondary resources acts as a validation from companies in the market, and makes the projections on the growth prospects of the Anime markets more accurate and reliable.

Secondary Research

It involves company databases such as Hoover's: This assists us recognize financial information, structure of the market participants and industry competitive landscape.

The secondary research sources referred in the process are as follows:

  • Governmental bodies, and organizations creating economic policies
  • National and international social welfare institutions
  • Company websites, financial reports and SEC filings, broker and investor reports
  • Related patent and regulatory databases
  • Statistical databases and market reports
  • Corporate Presentations, news, press release, and specification sheet of Manufacturers

Primary Research

Primary research includes face-to face interviews, online surveys, and telephonic interviews.

  • Means of primary research: Email interactions, telephonic discussions and Questionnaire based research etc.
  • In order to validate our research findings and analysis we conduct primary interviews of key industry participants. Insights from primary respondents help in validating the secondary research findings. It also develops Research Team’s expertise and market understanding.

Industry participants involved in this research study include:

  • CEOs, VPs, market intelligence managers
  • Procuring and national sales managers technical personnel, distributors and resellers
  • Research analysts and key opinion leaders from various domains

Key Points Covered in Anime Market Study:

  • Growth of Anime in 2022
  • Market Estimates and Forecasts (2017-2030)
  •  Brand Share and Market Share Analysis
  •  Key Drivers and Restraints Shaping Market Growth
  •  Segment-wise, Country-wise, and Region-wise Analysis
  •  Competition Mapping and Benchmarking
  •  Recommendation on Key Winning Strategies
  •  COVID-19 Impact on Demand for Anime and How to Navigate
  •  Key Product Innovations and Regulatory Climate
  •  Anime Consumption Analysis
  •  Anime Production Analysis
  •  Anime and Management

Chapter 1.  Introduction

1.1.  Research Objective

1.2.  Scope of the Study

1.3.  Definition

Chapter 2.  Research Methodology

2.1.  Research Approach

2.2.  Data Sources

2.3.  Assumptions & Limitations

Chapter 3.  Executive Summary

3.1.  Market Snapshot

Chapter 4.  Market Variables and Scope

4.1.  Introduction

4.2.  Market Classification and Scope

4.3.  Industry Value Chain Analysis

4.3.1.    Raw Material Procurement Analysis

4.3.2.    Sales and Distribution Channel Analysis

4.3.3.    Downstream Buyer Analysis

Chapter 5.  Market Dynamics Analysis and Trends

5.1.  Market Dynamics

5.1.1.    Market Drivers

5.1.2.    Market Restraints

5.1.3.    Market Opportunities

5.2.  Porter’s Five Forces Analysis

5.2.1.    Bargaining power of suppliers

5.2.2.    Bargaining power of buyers

5.2.3.    Threat of substitute

5.2.4.    Threat of new entrants

5.2.5.    Degree of competition

Chapter 6.  Competitive Landscape

6.1.1.    Company Market Share/Positioning Analysis

6.1.2.    Key Strategies Adopted by Players

6.1.3.    Vendor Landscape

6.1.3.1.        List of Suppliers

6.1.3.2.        List of Buyers

Chapter 7.  Global Anime Market, By Type

7.1.  Anime Market, by Type, 2022-2030

7.1.1.    T.V

7.1.1.1.        Market Revenue and Forecast (2017-2030)

7.1.2.    Movie

7.1.2.1.        Market Revenue and Forecast (2017-2030)

7.1.3.    Video

7.1.3.1.        Market Revenue and Forecast (2017-2030)

7.1.4.    Internet Distribution

7.1.4.1.        Market Revenue and Forecast (2017-2030)

7.1.5.    Merchandising

7.1.5.1.        Market Revenue and Forecast (2017-2030)

7.1.6.    Music

7.1.6.1.        Market Revenue and Forecast (2017-2030)

7.1.7.    Pachinko

7.1.7.1.        Market Revenue and Forecast (2017-2030)

7.1.8.    Live Entertainment

7.1.8.1.        Market Revenue and Forecast (2017-2030)

Chapter 8.  Global Anime Market, Regional Estimates and Trend Forecast

8.1.  North America

8.1.1.    Market Revenue and Forecast, by Type (2017-2030)

8.1.2.    U.S.

8.1.3.    Rest of North America

8.1.3.1.        Market Revenue and Forecast, by Type (2017-2030)

8.2.  Europe

8.2.1.    Market Revenue and Forecast, by Type (2017-2030)

8.2.2.    UK

8.2.2.1.        Market Revenue and Forecast, by Type (2017-2030)

8.2.3.    France

8.2.3.1.        Market Revenue and Forecast, by Type (2017-2030)

8.2.4.    Rest of Europe

8.2.4.1.        Market Revenue and Forecast, by Type (2017-2030)

8.3.  APAC

8.3.1.    Market Revenue and Forecast, by Type (2017-2030)

8.3.2.    India

8.3.2.1.        Market Revenue and Forecast, by Type (2017-2030)

8.3.3.    China

8.3.3.1.        Market Revenue and Forecast, by Type (2017-2030)

8.3.4.    Japan

8.3.4.1.        Market Revenue and Forecast, by Type (2017-2030)

8.3.5.    Rest of APAC

8.3.5.1.        Market Revenue and Forecast, by Type (2017-2030)

8.4.  MEA

8.4.1.    Market Revenue and Forecast, by Type (2017-2030)

8.4.2.    GCC

8.4.2.1.        Market Revenue and Forecast, by Type (2017-2030)

8.4.3.    North Africa

8.4.3.1.        Market Revenue and Forecast, by Type (2017-2030)

8.4.4.    South Africa

8.4.4.1.        Market Revenue and Forecast, by Type (2017-2030)

8.4.5.    Rest of MEA

8.4.5.1.        Market Revenue and Forecast, by Type (2017-2030)

8.5.  Latin America

8.5.1.    Market Revenue and Forecast, by Type (2017-2030)

8.5.2.    Brazil

8.5.2.1.        Market Revenue and Forecast, by Type (2017-2030)

8.5.3.    Rest of LATAM

8.5.3.1.        Market Revenue and Forecast, by Type (2017-2030)

Chapter 9.    Company Profiles

9.1.  Bones Inc.

9.1.1.    Company Overview

9.1.2.    Product Offerings

9.1.3.    Financial Performance

9.1.4.    Recent Initiatives

9.2.  Kyoto Animation Co., Ltd.

9.2.1.    Company Overview

9.2.2.    Product Offerings

9.2.3.    Financial Performance

9.2.4.    Recent Initiatives

9.3.  Madhouse Inc.

9.3.1.    Company Overview

9.3.2.    Product Offerings

9.3.3.    Financial Performance

9.3.4.    Recent Initiatives

9.4.  Production I.G, Inc.

9.4.1.    Company Overview

9.4.2.    Product Offerings

9.4.3.    Financial Performance

9.4.4.    Recent Initiatives

9.5.  Toei Animation Co., Ltd.

9.5.1.    Company Overview

9.5.2.    Product Offerings

9.5.3.    Financial Performance

9.5.4.    Recent Initiatives

Chapter 10.  Research Methodology

10.1.              Primary Research

10.2.              Secondary Research

10.3.              Assumptions

Chapter 11.  Appendix

11.1.              About Us

Glossary of Terms

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