View source for Anime

{{Short description|Japanese animation}}
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{{for|the sap called animé|Hymenaea courbaril}}
{{Distinguish|Amine}}
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{{Use American English|date=April 2020}}
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{{Infobox comics nationality|lang1=Japanese|related articles={{flatlist}}
* [[Manga]]
* [[Manfra]]
* [[Manhua]]
* [[Manhwa]]
* [[La nouvelle manga]]
* [[Hentai]]
* [[Original English-language manga|OEL manga]]
{{endflatlist}}|image=[[File:TVアニメ「ヒロインたるもの！～嫌われヒロインと内緒のお仕事～」第2弾PV - 4月7日（木）放送開始.webm|thumbtime=1:43|alt=A frame from an anime, showing a boy and a girl in track outfits, with the boy playfully pulling her along. The girl looks surprised, while the boy shows excitement.]]|caption=Trailer for the 2022 anime ''[[Heroines Run the Show]]''
|notable publishers=[[List of anime companies]]|notable series=[[Lists of anime]]}}{{Anime and manga|Anime}}
{{Culture of Japan}}
{{Nihongo|'''Anime'''|アニメ||{{IPA|ja|aꜜɲime|IPA|Ja-Anime.oga}}|lead=yes}}, English: {{IPA|en|ænɪmeɪ}} (a term derived from a shortening of the English word ''animation'') is [[Traditional animation|hand-drawn]] and [[computer animation|computer-generated]] [[animation]] originating from [[Japan]]. Outside Japan and in English, ''anime'' refers specifically to animation produced in Japan.<ref>{{Cite web |last=Ashcraft |first=Brian |date=2021-05-18 |title=What "Anime" Means |url=https://kotaku.com/what-anime-means-1689582070 |access-date=2022-03-02 |website=[[Kotaku]] |language=en |archive-date=March 2, 2022 |archive-url=https://web.archive.org/web/20220302020009/https://kotaku.com/what-anime-means-1689582070 |url-status=live }}</ref> However, in Japan and in Japanese, {{lang|ja-latn|anime}} describes all animated works, regardless of style or origin. Many works of animation with a [[Anime-influenced animation|similar style to Japanese animation]] are also produced outside Japan. [[Video games]] sometimes also feature themes and art styles that are sometimes labelled as anime.

The earliest commercial Japanese animation dates to 1917. A characteristic art style emerged in the 1960s with the works of cartoonist [[Osamu Tezuka]] and spread in following decades, developing a large domestic audience. Anime is distributed theatrically, through television broadcasts, [[Original video animation|directly to home media]], and [[Original net animation|over the Internet]]. In addition to original works, anime are often adaptations of Japanese comics ([[manga]]), [[light novels]], or [[video games in Japan|video games]]. It is classified into numerous genres targeting various broad and niche audiences.<ref>{{cite web|author=[[Ministry of Economy, Trade and Industry]]|url=https://artsandculture.google.com/story/0QXxgxls0jJ5Kg|title=Manga and Anime|website=[[Google Arts and Culture]]|date=2020|access-date=October 27, 2023|archive-date=October 27, 2023|archive-url=https://web.archive.org/web/20231027160025/https://artsandculture.google.com/story/0QXxgxls0jJ5Kg|url-status=live}}</ref>

Anime is a diverse medium with distinctive production methods that have adapted in response to emergent technologies. It combines graphic art, characterization, cinematography, and other forms of imaginative and individualistic techniques.{{sfn|Craig|2000|pp=139–140}} Compared to Western animation, anime production generally focuses less on movement, and more on the detail of settings and use of "camera effects", such as panning, zooming, and angle shots.{{sfn|Craig|2000|pp=139–140}} Diverse art styles are used, and character proportions and features can be quite varied, with a common characteristic feature being large and emotive eyes.<ref>{{cite news |last=Ashcraft |first=Brian |date=21 September 2016 |title=A Serious Look at Big Anime Eyes |url=https://kotaku.com/a-serious-look-at-big-anime-eyes-1737751337 |work=[[Kotaku]] |access-date=4 January 2020 |archive-date=February 4, 2021 |archive-url=https://web.archive.org/web/20210204054308/https://kotaku.com/a-serious-look-at-big-anime-eyes-1737751337 |url-status=live }}</ref>

The anime industry consists of [[List of anime companies|over 430 production companies]], including major studios such as [[Studio Ghibli]], [[Kyoto Animation]], [[Bandai Namco Filmworks#Sunrise|Sunrise]], [[Bones (studio)|Bones]], [[Ufotable]], [[MAPPA]], [[Wit Studio]], [[CoMix Wave Films]], [[Madhouse, Inc.]], [[TMS Entertainment]], [[Pierrot (company)|Pierrot]], [[Production I.G]], [[Nippon Animation]] and [[Toei Animation]]. Since the 1980s, the medium has also seen widespread international success with the rise of foreign [[dubbing (filmmaking)|dubbed]], [[Subtitles|subtitled]] programming, and since the 2010s due to the rise of [[streaming services]] and a widening demographic embrace of anime culture, both within Japan and worldwide.<ref>{{cite web |last=Brzeski |first=Patrick |date=16 May 2022 |title=How Japanese Anime Became the World's Most Bankable Genre |url=https://www.hollywoodreporter.com/business/business-news/cannes-japanese-anime-worlds-most-bankable-genre-1235146810/ |url-status=live |archive-url=https://web.archive.org/web/20221206221632/https://www.hollywoodreporter.com/business/business-news/japanese-anime-worlds-most-bankable-genre-1235146810/ |archive-date=Dec 6, 2022 |website=[[The Hollywood Reporter]]}}</ref><ref>{{cite web|url=https://www.vfxvoice.com/decades-of-growth-rise-of-vod-and-streaming-trigger-anime-avalanche/|title=Decades of Growth, Rise of VOD and Streaming Trigger Anime Avalanche|website=[[Visual Effects Society|vfxvoice]]|date=October 3, 2022 }}</ref> {{As of|2016|post=,}} Japanese animation accounted for 60% of the world's [[Animated series|animated television shows]].<ref>{{cite book |last1=Napier |first1=Susan J. |title=Anime from Akira to Howl's Moving Castle: Experiencing Contemporary Japanese Animation |date=2016 |publisher=[[St. Martin's Press]] |isbn=9781250117724 |page=10 |url=https://books.google.com/books?id=UnuLCwAAQBAJ&pg=PR10 |access-date=February 14, 2019 |archive-date=September 24, 2023 |archive-url=https://web.archive.org/web/20230924132817/https://books.google.com/books?id=UnuLCwAAQBAJ&pg=PR10 |url-status=live }}</ref>

== Etymology ==
As a type of [[animation]], anime is an art form that comprises many [[genre]]s found in other mediums; it is sometimes mistakenly classified as a genre itself.{{sfn|Poitras|2000|p=7}} In Japanese, the term ''anime'' is used to refer to all animated works, regardless of style or origin.<ref>{{cite web|year=2007 |title=Tezuka: The Marvel of Manga - Education Kit |url=http://www.artgallery.nsw.gov.au/__data/page/9842/Tezuka_Kit_1.pdf |url-status=dead |archive-url=https://web.archive.org/web/20070830033821/http://artgallery.nsw.gov.au/__data/page/9842/Tezuka_Kit_1.pdf <!--DASHBot--> |archive-date=30 August 2007 |access-date=28 October 2007 |publisher=Art Gallery New South Wales}}</ref> English-language dictionaries typically define ''anime'' ({{IPAc-en|ˈ|æ|n|ɪ|m|eɪ}})<ref>{{cite web |title=Anime - Meaning |url=https://dictionary.cambridge.org/dictionary/english/anime |access-date=4 July 2019 |work=[[Cambridge English Dictionary]] |archive-date=July 2, 2019 |archive-url=https://web.archive.org/web/20190702192632/https://dictionary.cambridge.org/dictionary/english/anime |url-status=live }}</ref> as "a style of Japanese animation"<ref name="lexico">{{cite web |title=Anime |url=https://www.lexico.com/en/definition/anime |archive-url=https://web.archive.org/web/20200303181402/https://www.lexico.com/en/definition/anime |url-status=dead |archive-date=March 3, 2020 |website=[[Lexico]] |publisher=[[Oxford University Press]] |access-date=7 September 2020 |language=en}}</ref> or as "a style of animation originating in Japan".<ref>{{cite web |title=Anime |url=https://www.merriam-webster.com/dictionary/anime |publisher=[[Merriam-Webster]] |access-date=7 September 2020 |language=en |archive-date=February 2, 2013 |archive-url=https://web.archive.org/web/20130202013521/http://www.merriam-webster.com/dictionary/anime |url-status=live }}</ref> Other definitions are based on origin, making production in Japan a requisite for a work to be considered "anime".<ref name="anna">{{cite web |title=Lexicon - Anime |url=https://www.animenewsnetwork.com/encyclopedia/lexicon.php?id=45 |url-status=live |archive-url=https://web.archive.org/web/20200830144913/https://www.animenewsnetwork.com/encyclopedia/lexicon.php?id=45 |archive-date=August 30, 2020 |access-date=12 September 2020 |website=[[Anime News Network]]}}</ref>

The etymology of the term ''anime'' is disputed. The English word "animation" is written in Japanese ''[[katakana]]'' as {{lang|ja|アニメーション}} ({{transliteration|ja|Hepburn|animēshon}}) and as {{lang|ja|アニメ}} ({{transliteration|ja|Hepburn|anime}}, {{IPA|ja|a.ɲi.me|pron|Anime.ogg}}) in its shortened form.<ref name=anna /> Some sources claim that the term is derived from the French term for animation {{lang|fr|dessin animé}} ("cartoon", literally 'animated drawing'),<ref>{{cite book|first=Richard W.|last=Kroon|title=A/V A to Z: An Encyclopedic Dictionary of Media, Entertainment and Other Audiovisual Terms|publisher=[[McFarland & Company|McFarland]]|year=2010|isbn=978-0-7864-5740-3|page=48|url=https://books.google.com/books?id=HjmNAgAAQBAJ&pg=PA48|access-date=May 15, 2023|archive-date=May 15, 2023|archive-url=https://web.archive.org/web/20230515215928/https://books.google.com/books?id=HjmNAgAAQBAJ&pg=PA48|url-status=live}}</ref> but others believe this to be a myth derived from the popularity of anime in France in the late 1970s and 1980s.<ref name=anna/>

In English, ''anime''—when used as a common [[noun]]—normally functions as a [[mass noun]]. (For example: "Do you watch anime?" or "How much anime have you watched?")<ref>{{cite encyclopedia|dictionary=[[American Heritage Dictionary]] |edition=4th |title=Anime}}</ref><ref>{{cite web |title=Anime |url=https://www.dictionary.com/browse/anime |website=[[Dictionary.com]] Unabridged (v 1.1) |access-date=21 March 2023 |archive-date=March 31, 2023 |archive-url=https://web.archive.org/web/20230331214659/https://www.dictionary.com/browse/anime |url-status=live }}</ref> As with a few other Japanese words, such as ''[[saké]]'' and ''[[Pokémon]]'', English texts sometimes spell ''anime'' as ''animé'' (as in French), with an [[acute accent]] over the final ''e'', to cue the reader to pronounce the letter, not to leave it silent as English orthography may suggest. Prior to the widespread use of ''anime'', the term ''Japanimation'', a [[portmanteau]] of [[Japan]] and animation, was prevalent throughout the 1970s and 1980s. In the mid-1980s, the term ''anime'' began to supplant ''Japanimation'';{{sfn|Patten|2004|pp=85–86}} in general, the latter term now only appears in period works where it is used to distinguish and identify Japanese animation.{{sfn|Patten|2004|pp=69–70}}

== History ==
{{Main|History of anime}}

=== Precursors ===
{{Lang|ja-latn|[[Emakimono]]}} and [[shadow play]]s (''kage-e'') are considered precursors of Japanese animation.<ref name=":1">{{cite book|last=Novielli |first=Maria Roberta |url=https://www.worldcat.org/oclc/1020690005 |title=Floating worlds: a short history of Japanese animation |date=2018 |isbn=978-1-351-33482-2 |location=Boca Raton |oclc=1020690005}}</ref> {{Lang|ja-latn|Emakimono}} was common in the eleventh century. Traveling storytellers narrated legends and anecdotes while the {{lang|ja-latn|emakimono}} was unrolled from the right to left in chronological order, as a moving panorama.<ref name=":1" /> ''Kage-e'' was popular during the Edo period and originated from the shadow plays of China.<ref name=":1" /> [[Magic lantern]]s from the Netherlands were also popular in the eighteenth century.<ref name=":1" /> The paper play called ''[[kamishibai]]'' surged in the twelfth century and remained popular in the street theater until the 1930s.<ref name=":1" /> Puppets of the [[Bunraku]] theater and ''[[ukiyo-e]]'' prints are considered ancestors of characters of most Japanese animation.<ref name=":1" /> Finally, manga were a heavy inspiration for anime. Cartoonists [[Kitazawa Rakuten|Kitzawa Rakuten]] and [[Okamoto Ippei]] used film elements in their strips.<ref name=":1" />

=== Pioneers ===
[[File:Kouichi Jun'ichi - Namakura Gatana (1917) - 4-minute restored version.webm|thumb|right|''[[Namakura Gatana]]'' (1917), the oldest surviving Japanese animated short film made for cinemas]]

Animation in Japan began in the early 20th century, when [[Film director|filmmakers]] started to experiment with techniques pioneered in France, Germany, the United States, and Russia.{{sfn|Schodt|1997}} A claim for the earliest Japanese animation is ''[[Katsudō Shashin]]'' ({{circa|1907}}),<ref>{{cite web|last=Litten |first=Frederick S. |title=Japanese color animation from ca.&nbsp;1907 to 1945 |url=http://litten.de/fulltext/color.pdf |date=29 June 2014 |access-date=23 September 2020 |page=14 |archive-url=https://web.archive.org/web/20200918032148/http://litten.de/fulltext/color.pdf |archive-date=18 September 2020}}</ref> a private work by an unknown creator.{{sfn|Clements|McCarthy|2006|p=169}} In 1917, the first professional and publicly displayed works began to appear; animators such as [[Ōten Shimokawa]], [[Seitarō Kitayama]], and [[Jun'ichi Kōuchi]] (considered the "fathers of anime") produced numerous films, the oldest surviving of which is Kōuchi's ''[[Namakura Gatana]]''.<ref>{{cite web |url=http://litten.de/fulltext/ani1917.pdf |title=Some remarks on the first Japanese animation films in 1917 |last=Litten |first=Frederick S. |access-date=11 July 2013 |archive-url=https://web.archive.org/web/20140810001217/http://litten.de/fulltext/ani1917.pdf |archive-date=10 August 2014 |url-status=live |df=mdy-all }}</ref> Many early works were lost with the destruction of Shimokawa's warehouse in the [[1923 Great Kantō earthquake]].{{sfn|Clements|McCarthy|2006|p=170}}

By the mid-1930s, animation was well-established in Japan as an alternative format to the [[Live action|live-action]] industry. It suffered competition from foreign producers, such as [[The Walt Disney Company|Disney]], and many animators, including [[Noburō Ōfuji]] and [[Yasuji Murata]], continued to work with cheaper [[cutout animation]] rather than [[cel animation]].<ref>{{cite web|url=http://www.midnighteye.com/features/pioneers-of-anime.shtml |title=Pioneers of Japanese Animation (Part 1) |last=Sharp |first=Jasper |date=23 September 2004 |publisher=[[Midnight Eye]] |access-date=11 December 2009 |archive-url=https://web.archive.org/web/20100117151328/http://www.midnighteye.com/features/pioneers-of-anime.shtml |archive-date=17 January 2010 |url-status=live}}</ref> Other creators, including [[Kenzō Masaoka]] and [[Mitsuyo Seo]], nevertheless made great strides in technique, benefiting from the patronage of the government, which employed animators to produce educational shorts and [[Japanese propaganda during World War II|propaganda]].<ref>{{cite book|author-last1=Yamaguchi |author-first1=Katsunori |author-first2=Yasushi |author-last2=Watanabe |title=Nihon animēshon eigashi |publisher=Yūbunsha |year=1977 |pages=26–37}}</ref> In 1940, the government dissolved several artists' organizations to form the {{nihongo foot|''Shin Nippon [[Mangaka]] Kyōkai''.|新日本漫画家協会||{{lit}} "New Japan Manga Artist Association"|group=lower-alpha|lead=yes}}{{sfn|Kinsella|2000|p=22}} The first [[talkie]] anime was ''[[Chikara to Onna no Yo no Naka]]'' (1933), a short film produced by Masaoka.{{sfn|Baricordi|2000|page=12}}<ref name="kodanasha1993">{{cite book |title=Japan: An Illustrated Encyclopedia |url=https://archive.org/details/japanillustrated01koda |url-access=registration |year=1993 |publisher=[[Kodansha]] |location=Tokyo, Japan |isbn=978-4-06-206489-7}}</ref> The first feature-length anime film was ''[[Momotaro: Sacred Sailors]]'' (1945), produced by Seo with a sponsorship from the [[Imperial Japanese Navy]].<ref>{{cite AV media |title=Official booklet, ''The Roots of Japanese Anime'' |type=DVD |publisher=Zakka Films |date=2009}}</ref> The 1950s saw a proliferation of short, animated advertisements created for television.<ref>{{cite book |last1=Douglass |first1=Jason Cody |title=Beyond Anime? Rethinking Japanese Animation Through Early Animated Television Commercials |date=2019 |publisher=[[Palgrave MacMillan]] |isbn=9783030279394 |page=213 |url=https://books.google.com/books?id=7_rEDwAAQBAJ&q=animation+and+advertising}}</ref>

===Modern era===
[[File:Astro Boy 1963 opening.jpg|thumb|left|Frame from the opening sequence of Tezuka's 1963 TV series ''[[Astro Boy (1963 TV series)|Astro Boy]]'']]

In the 1960s, [[manga]] artist and animator [[Osamu Tezuka]] adapted and simplified Disney animation techniques to reduce costs and limit frame counts in his productions.{{sfn|Brenner|2007|p=6}} Originally intended as temporary measures to allow him to produce material on a tight schedule with inexperienced staff, many of his [[limited animation]] practices came to define the medium's style.<ref>{{cite web|url=http://novaonline.nvcc.edu/eli/evans/his135/Events/Anime62/Anime62.html |title=The History of Anime & Manga |last=Zagzoug |first=Marwa |date=April 2001 |publisher=[[Northern Virginia Community College]] |access-date=22 November 2012 |archive-url=https://web.archive.org/web/20130519110530/http://novaonline.nvcc.edu/eli/evans/his135/Events/Anime62/Anime62.html |archive-date=19 May 2013 |url-status=live}}</ref> ''[[Three Tales (anime)|Three Tales]]'' (1960) was the first anime film broadcast on television;{{sfn|Patten|2004|p=271}} the first anime television series was ''[[Instant History]]'' (1961–64).{{sfn|Patten|2004|p=219}} An early and influential success was [[Astro Boy (1963 TV series)|''Astro Boy'']] (1963–66), a television series directed by Tezuka based on [[Astro Boy|his manga of the same name]]. Many animators at Tezuka's [[Mushi Production]] later established major anime studios (including [[Madhouse (company)|Madhouse]], [[Sunrise (company)|Sunrise]], and [[Pierrot (company)|Pierrot]]).

The 1970s saw growth in the popularity of manga, many of which were later animated. Tezuka's work—and that of other pioneers in the field—inspired characteristics and genres that remain fundamental elements of anime today. The giant robot genre (also known as "[[mecha]]"), for instance, took shape under Tezuka, developed into the [[Super Robot|super robot]] genre under [[Go Nagai]] and others, and was revolutionized at the end of the decade by [[Yoshiyuki Tomino]], who developed the [[Real Robot|real robot]] genre.{{sfn|Patten|2004|p=264}} Robot anime series such as ''[[Gundam]]'' and ''[[Super Dimension Fortress Macross]]'' became instant classics in the 1980s, and the genre remained one of the most popular in the following decades.{{sfn|Patten|2004|pp=306–307}} The [[Japanese asset price bubble|bubble economy]] of the 1980s spurred a new era of high-budget and experimental anime films, including ''[[Nausicaä of the Valley of the Wind (film)|Nausicaä of the Valley of the Wind]]'' (1984), ''[[Royal Space Force: The Wings of Honnêamise]]'' (1987), and ''[[Akira (1988 film)|Akira]]'' (1988).{{sfn|Le Blanc|Odell|2017|page=56}}

''[[Neon Genesis Evangelion]]'' (1995), a television series produced by [[Gainax]] and directed by [[Hideaki Anno]], began another era of experimental anime titles, such as ''[[Ghost in the Shell (1995 film)|Ghost in the Shell]]'' (1995) and ''[[Cowboy Bebop]]'' (1998). In the 1990s, anime also began attracting greater interest in Western countries; major international successes include ''[[Sailor Moon (TV series)|Sailor Moon]]'' and ''[[Dragon Ball Z]]'', both of which were [[Dubbing (filmmaking)|dubbed]] into more than a dozen languages worldwide. In 2003, ''[[Spirited Away]]'', a [[Studio Ghibli]] feature film directed by [[Hayao Miyazaki]], won the [[Academy Award for Best Animated Feature]] at the [[75th Academy Awards]]. It later became the [[List of highest-grossing anime films|highest-grossing anime film]],{{efn|''Spirited Away'' was later surpassed as the highest-grossing anime film by ''[[Your Name]]'' (2016).}} earning more than $355&nbsp;million. Since the 2000s, an increased number of anime works have been adaptations of [[light novel]]s and [[visual novel]]s; successful examples include ''[[The Melancholy of Haruhi Suzumiya]]'' and ''[[Fate/stay night]]'' (both 2006). ''[[Demon Slayer: Kimetsu no Yaiba the Movie: Mugen Train]]'' became the [[List of highest-grossing films in Japan|highest-grossing Japanese film]] and one of the world's highest-grossing films of 2020.<ref name="bbc1">{{cite web|url=https://www.bbc.com/news/world-asia-54730487 |title=How a demon-slaying film is drawing Japan back to the cinemas |date=31 October 2020 |website=[[BBC]] |archive-url=https://web.archive.org/web/20201103161257/https://www.bbc.com/news/world-asia-54730487 |archive-date=3 November 2020}}</ref><ref name="bbc">{{cite web |date=October 31, 2020 |title=How a demon-slaying film is drawing Japan back to the cinemas |url=https://www.bbc.com/news/world-asia-54730487 |archive-url=https://web.archive.org/web/20201103161257/https://www.bbc.com/news/world-asia-54730487 |archive-date=November 3, 2020 |website=BBC}}</ref> It also became the fastest grossing film in Japanese cinema, because in 10 days it made 10 billion yen ($95.3m; £72m).<ref name="bbc"/> It beat the previous record of ''[[Spirited Away]]'' which took 25 days.<ref name="bbc"/><ref>{{cite web |date=November 14, 2020 |title=The world is watching more anime and streaming services are buying |url=https://www.wsj.com/articles/the-world-is-watching-more-animeand-streaming-services-are-buying-11605365629 |website=[[The Wall Street Journal]] |access-date=November 9, 2021 |archive-date=April 22, 2022 |archive-url=https://web.archive.org/web/20220422222339/https://www.wsj.com/articles/the-world-is-watching-more-animeand-streaming-services-are-buying-11605365629 |url-status=live }}</ref><ref>{{cite news |date=June 5, 2021 |title=Streaming and covid-19 have entrenched anime's global popularity |newspaper=[[The Economist]] |url=https://www.economist.com/business/2021/06/05/streaming-and-covid-19-have-entrenched-animes-global-popularity |access-date=November 9, 2021 |archive-date=November 9, 2021 |archive-url=https://web.archive.org/web/20211109124437/https://www.economist.com/business/2021/06/05/streaming-and-covid-19-have-entrenched-animes-global-popularity |url-status=live }}</ref><ref>{{cite web |date=11 May 2023 |title=Streaming giants battle for anime supremacy |url=https://www.straitstimes.com/life/entertainment/streaming-giants-battle-for-anime-supremacy |website=[[The Straits Times]] |access-date=November 4, 2023 |archive-date=June 7, 2023 |archive-url=https://web.archive.org/web/20230607235146/https://www.straitstimes.com/life/entertainment/streaming-giants-battle-for-anime-supremacy |url-status=live }}</ref><ref>{{cite web |date=12 May 2023 |title=Streaming giants battle to be top platform for Japanese anime |url=https://www.scmp.com/video/asia/3220322/streaming-giants-battle-be-top-platform-japanese-anime |website=[[South China Morning Post]] |access-date=November 4, 2023 |archive-date=May 29, 2023 |archive-url=https://web.archive.org/web/20230529161703/https://www.scmp.com/video/asia/3220322/streaming-giants-battle-be-top-platform-japanese-anime |url-status=live }}</ref>

In 2021, the anime adaptations of ''[[Jujutsu Kaisen]]'', ''[[Demon Slayer: Kimetsu no Yaiba (TV series)|Demon Slayer: Kimetsu no Yaiba]]'' and ''[[Tokyo Revengers]]'' were among the top 10 most discussed TV shows worldwide on Twitter.<ref>{{cite web|url=https://blog.twitter.com/en_us/topics/insights/2021/2021--onlyontwitter|title=2021 #OnlyOnTwitter|date=9 December 2021|website=Twitter|access-date=November 4, 2023|archive-date=December 9, 2021|archive-url=https://web.archive.org/web/20211209171456/https://blog.twitter.com/en_us/topics/insights/2021/2021--onlyontwitter|url-status=live}}</ref><ref name="ktops">{{cite news|url=https://www.cbr.com/jujutsu-kaisen-squid-game-wandavision-twitter-2021/|title=Jujutsu Kaisen Tops Squid Game, Wandavision in Social Media's 2021 Discussions|date=9 December 2021|website=CBR|access-date=December 16, 2021|archive-date=March 10, 2022|archive-url=https://web.archive.org/web/20220310061915/https://www.cbr.com/jujutsu-kaisen-squid-game-wandavision-twitter-2021/|url-status=live}}</ref> In 2022, ''[[Attack on Titan (TV series)|Attack on Titan]]'' won the award of "Most In-Demand TV Series in the World 2021" in the Global TV Demand Awards. ''Attack on Titan'' became the first ever non-English language series to earn the title of World's Most In-Demand TV Show, previously held by only ''[[The Walking Dead (TV series)|The Walking Dead]]'' and ''[[Game of Thrones]]''.<ref name="WFMZ-TV">{{Cite web|title=Anime and Asian series dominate 4th Annual Global TV Demand Awards, highlighting industry and consumer trends towards international content|url=https://www.wfmz.com/news/pr_newswire/pr_newswire_entertainment/anime-and-asian-series-dominate-4th-annual-global-tv-demand-awards-highlighting-industry-and-consumer/article_28591ec0-befe-57c6-99c3-eebe66ad66c5.html|date=January 25, 2022|access-date=January 27, 2022|publisher=[[WFMZ-TV]]|archive-date=March 28, 2022|archive-url=https://web.archive.org/web/20220328045603/https://www.wfmz.com/news/pr_newswire/pr_newswire_entertainment/anime-and-asian-series-dominate-4th-annual-global-tv-demand-awards-highlighting-industry-and-consumer/article_28591ec0-befe-57c6-99c3-eebe66ad66c5.html|url-status=live}}</ref> In 2024, ''Jujutsu Kaisen'' broke the [[Guinness World Record]] for the "Most in-demand animated TV show" with a global demand rating 71.2 times than that of the average TV show, previously held by ''Attack on Titan''.<ref>{{cite web|url=https://www.guinnessworldrecords.com/world-records/566389-most-in-demand-animated-tv-show|title=Most in-demand animated TV show|work=[[Guinness World Records]]|access-date=April 5, 2024|archive-date=April 5, 2024|archive-url=https://web.archive.org/web/20240405002815/https://www.guinnessworldrecords.com/world-records/566389-most-in-demand-animated-tv-show|url-status=live}}</ref><ref>{{cite web|last=Mateo|first=Alex|title=Guinness World Records Names Jujutsu Kaisen 'Most In-Demand Animated TV Show'|url=https://www.animenewsnetwork.com/interest/2024-04-05/guinness-world-records-names-jujutsu-kaisen-most-in-demand-animated-tv-show/.209592|website=[[Anime News Network]]|date=April 5, 2024|access-date=April 5, 2024|archive-date=April 5, 2024|archive-url=https://web.archive.org/web/20240405204400/https://www.animenewsnetwork.com/interest/2024-04-05/guinness-world-records-names-jujutsu-kaisen-most-in-demand-animated-tv-show/.209592|url-status=live}}</ref>

== Attributes ==
[[File:Modernanime.jpg|thumb|upright=1.5|Anime artists employ many distinct visual styles.<br>'''Clockwise from the top left''': ''[[Dead Leaves]]'', ''[[Flag (TV series)|Flag]]'', ''[[Serial Experiments Lain]]'', ''[[Monster (manga)|Monster]]'', ''[[Mind Game (film)|Mind Game]]'', ''[[Lucky Star (manga)|Lucky Star]]'', ''[[Cat Soup]]'', and ''[[Gurren Lagann]]''.]]

Anime differs from other forms of animation by its art styles, methods of animation, its production, and its process. Visually, anime works exhibit a wide variety of art styles, differing between creators, artists, and studios.{{sfn|Brenner|2007|p=231}} While no single art style predominates anime as a whole, they do share some similar attributes in terms of animation technique and character design.

Anime is fundamentally characterized by the use of limited animation, flat expression, the suspension of time, its thematic range, the presence of historical figures, its complex narrative line and, above all, a peculiar drawing style, with characters characterized by large and oval eyes, with very defined lines, bright colors and reduced movement of the lips.<ref>{{Cite journal |last=Horno Lopez |first=Antonio |year=2012 |title=Controversia sobre el origen del anime. Una nueva perspectiva sobre el primer dibujo animado japonés |url=https://polipapers.upv.es/index.php/CAA/article/view/1055 |journal=Con a de animación |location=Spain |publisher=[[Technical University of Valencia]] |issue=2 |pages=106–107 |doi=10.4995/caa.2012.1055 |issn=2173-3511 |doi-access=free |hdl=10251/14879 |hdl-access=free |access-date=March 31, 2022 |archive-date=April 22, 2022 |archive-url=https://web.archive.org/web/20220422112422/https://polipapers.upv.es/index.php/CAA/article/view/1055 |url-status=live }}</ref><ref>{{cite thesis |last=Horno Lopez |first=Antonio |year=2014 |title=Animación japonesa: análisis de series de anime actuales |trans-title=Japanese Animation: Analysis of Current Anime Series" |url=https://digibug.ugr.es/handle/10481/34010 |hdl=10481/34010 |type=Doctoral thesis |publisher=[[University of Granada]] |page=4 |isbn=9788490830222 |access-date=March 29, 2022 |archive-date=March 29, 2022 |archive-url=https://web.archive.org/web/20220329222830/https://digibug.ugr.es/handle/10481/34010 |url-status=live }}</ref>

=== Technique ===
Modern anime follows a typical animation production process, involving [[storyboard]]ing, [[voice acting]], [[Character creation|character design]], and [[cel animation|cel production]]. Since the 1990s, animators have increasingly used [[computer animation]] to improve the efficiency of the production process. Early anime works were experimental, and consisted of images drawn on blackboards, [[stop motion]] animation of paper cutouts, and [[silhouette animation]].<ref name="Jouvanceau2004"/><ref name="Cinémathèque2008">{{cite web|year=2008|title=Tribute to Noburō Ōfuji|url=http://www.cinematheque.qc.ca/animation_japonaise.pdf|url-status=dead|archive-url=https://web.archive.org/web/20080819214736/http://www.cinematheque.qc.ca/animation_japonaise.pdf|archive-date=August 19, 2008|access-date=July 21, 2008|work=To the Source of Anime: Japanese Animation|publisher=Cinémathèque québécoise}}</ref> Cel animation grew in popularity until it came to dominate the medium. In the 21st century, the use of other animation techniques is mostly limited to independent [[Short subject|short films]],<ref name="Sharp2003">{{cite web|last=Sharp|first=Jasper|title=Beyond Anime: A Brief Guide to Experimental Japanese Animation|work=[[Midnight Eye]]|year=2003|url=http://www.midnighteye.com/features/beyond_anime.shtml|access-date=July 21, 2008| archive-url= https://web.archive.org/web/20080725193748/http://www.midnighteye.com/features/beyond_anime.shtml| archive-date= July 25, 2008 | url-status=live}}</ref> including the stop motion puppet animation work produced by [[Tadahito Mochinaga]], [[Kihachirō Kawamoto]] and Tomoyasu Murata.<ref name="Sharp2004">{{cite web|last=Sharp|first=Jasper|title=Interview with Kihachirō Kawamoto|work=[[Midnight Eye]]|year=2004|url=http://www.midnighteye.com/interviews/kihachiro_kawamoto.shtml|access-date=July 21, 2008|archive-url=https://web.archive.org/web/20080919075703/http://www.midnighteye.com/interviews/kihachiro_kawamoto.shtml|archive-date=September 19, 2008|url-status=live}}</ref><ref>{{cite web|last=Munroe Hotes|first=Catherine|title=Tomoyasu Murata and Company|work=[[Midnight Eye]]|year=2008|url=http://www.midnighteye.com/features/tomoyasu-murata-and-company.shtml|access-date=July 21, 2008|archive-url=https://web.archive.org/web/20080527065156/http://www.midnighteye.com/features/tomoyasu-murata-and-company.shtml|archive-date=May 27, 2008|url-status=live}}</ref> Computers were integrated into the animation process in the 1990s, with works such as ''[[Ghost in the Shell (1995 film)|Ghost in the Shell]]'' and ''[[Princess Mononoke]]'' mixing cel animation with computer-generated images.{{sfn|Poitras|2000|p=29}} [[Fujifilm|Fuji Film]], a major cel production company, announced it would stop cel production, producing an industry panic to procure cel imports and hastening the switch to digital processes.{{sfn|Poitras|2000|p=29}}

Prior to the digital era, anime was produced with [[traditional animation]] methods using a pose to pose approach.<ref name="Jouvanceau2004">{{cite book|last=Jouvanceau |first=Pierre |translator=Clare Kitson |title=The Silhouette Film |publisher=Le Mani |year=2004 |location=Genoa |page=103 |url=http://www.heeza.fr/description.php?lang=2&path=64&sort=Article&page=0&id=296 |archive-url=https://web.archive.org/web/20080320051512/http://www.heeza.fr/description.php?lang=2&path=64&sort=Article&page=0&id=296 |url-status=dead |archive-date=March 20, 2008 |isbn=88-8012-299-1 |access-date=August 8, 2009 }}</ref> The majority of mainstream anime uses fewer expressive [[key frame]]s and more [[Inbetweening|in-between]] animation.<ref name=ANNKeyAnimation>{{cite news |url=https://www.animenewsnetwork.com/chicks-on-anime/2008-11-04 |last1=Dong |first1=Bamboo |last2=Brienza |first2=Casey |last3=Pocock |first3=Sara |title=A Look at Key Animation |series=Chicks on Anime |work=[[Anime News Network]] |date=November 4, 2008 |access-date=September 30, 2012 |archive-url=https://web.archive.org/web/20121110054551/http://www.animenewsnetwork.com/chicks-on-anime/2008-11-04 |archive-date=November 10, 2012 |url-status=live }}</ref>

Japanese animation studios were pioneers of many [[limited animation]] techniques, and have given anime a distinct set of conventions. Unlike [[Disney]] animation, where the emphasis is on the movement, anime emphasizes the art quality and let limited animation techniques make up for the lack of time spent on movement. Such techniques are often used not only to meet deadlines but also as artistic devices.<ref name="ChicksOnAnimeSep2008">{{cite news |url=https://www.animenewsnetwork.com/chicks-on-anime/2008-09-16 |last1=Dong |first1=Bamboo |last2=Brienza |first2=Casey |last3=Pocock |first3=Sara |last4=Sevakis |first4=Robin |title=Chicks on Anime - Sep 16th 2008 |series=Chicks on Anime |work=[[Anime News Network]] |date=September 16, 2008 |access-date=September 30, 2012 |archive-url=https://web.archive.org/web/20121108150611/http://www.animenewsnetwork.com/chicks-on-anime/2008-09-16 |archive-date=November 8, 2012 |url-status=live }}</ref> Anime scenes place emphasis on achieving three-dimensional views, and backgrounds are instrumental in creating the atmosphere of the work.{{sfn|Schodt|1997}} The backgrounds are not always invented and are occasionally based on real locations, as exemplified in ''[[Howl's Moving Castle (film)|Howl's Moving Castle]]'' and ''[[The Melancholy of Haruhi Suzumiya (anime)|The Melancholy of Haruhi Suzumiya]]''.<ref>{{cite web| url= http://www.rinku.zaq.ne.jp/p_v/haruhi.html| title= Reference pictures to actual places| access-date= January 25, 2007| archive-url= https://web.archive.org/web/20070126012418/http://www.rinku.zaq.ne.jp/p_v/haruhi.html| archive-date= January 26, 2007| url-status=dead| df= mdy-all}}</ref>{{better source needed|date=June 2024}} Oppliger stated that anime is one of the rare mediums where putting together an all-star cast usually comes out looking "tremendously impressive".<ref>{{cite web|last=Oppliger|first=John|date=October 1, 2012|title=Ask John: What Determines a Show's Animation Quality?|url=http://www.animenation.net/blog/2012/10/01/ask-john-what-determines-a-shows-animation-quality/|url-status=dead|archive-url=https://web.archive.org/web/20121015212153/http://www.animenation.net/blog/2012/10/01/ask-john-what-determines-a-shows-animation-quality/|archive-date=October 15, 2012|access-date=October 28, 2012|publisher=[[AnimeNation]]}}</ref>

The cinematic effects of anime differentiates itself from the stage plays found in American animation. Anime is cinematically shot as if by camera, including panning, zooming, distance and angle shots to more complex dynamic shots that would be difficult to produce in reality.{{sfn|Poitras|2000|p=58}}<ref name="production">{{cite web|url=http://www.huitula.com/productionIG2_page2.htm|title=Anime production process - feature film|year=2000|access-date=August 27, 2007|work=PRODUCTION I.G| archive-url= https://web.archive.org/web/20070815101432/http://www.huitula.com/productionIG2_page2.htm| archive-date= August 15, 2007 | url-status=live}}</ref><ref>{{cite web|url=http://www.understandinganime.com/cinematography.php |archive-url=https://web.archive.org/web/20070122113832/http://www.understandinganime.com/cinematography.php |url-status=dead |archive-date=January 22, 2007 |title=Cinematography: Looping and Animetion Techniques |year=1999 |access-date=August 29, 2007 |work=Understanding Anime}}</ref> In anime, the animation is produced before the voice acting, contrary to American animation which does the voice acting first.{{sfn|Poitras|2000|p=59}}

=== Characters ===
[[File:Anime Art Styles.png|thumb|left|Anime character design is diverse, but often incorporates common elements depending on the target demographic and era. These are representative samples. <br>'''Clockwise from the top left''': ''[[Ashita no Joe]]'' (1970), ''[[Macross: Do You Remember Love?]]'' (1984), ''[[Ghost in the Shell (1995 film)|Ghost in the Shell]]'' (1995), ''[[K-On!]]'' (2009), ''[[Your Name]]'' (2016), ''[[The Hidden Dungeon Only I Can Enter]]'' (2021), ''[[Fruits Basket (2001 TV series)|Fruits Basket]]'' (2001), and ''[[Rurouni Kenshin]]'' (1996). ]]

The body proportions of human anime characters tend to accurately reflect the proportions of the human body in reality. The height of the head is considered by the artist as the base unit of proportion. Head to height ratios vary drastically by art style, with most anime characters falling between 5 and 8 heads tall. Anime artists occasionally make deliberate modifications to body proportions to produce [[Chibi (style)|chibi]] characters that feature a disproportionately small body compared to the head; many chibi characters are two to four heads tall. Some anime works like ''[[Crayon Shin-chan]]'' completely disregard these proportions, in such a way that they resemble [[caricature]]d Western [[cartoon]]s.

A common anime character design convention is exaggerated eye size. The animation of characters with large eyes in anime can be traced back to Osamu Tezuka, who was deeply influenced by such early animation characters as [[Betty Boop]], who was drawn with disproportionately large eyes.{{sfn|Brenner|2007|pp=6–7}} Tezuka is a central figure in anime and manga history, whose iconic art style and character designs allowed for the entire range of human emotions to be depicted solely through the eyes.{{sfn|Poitras|2000|p=60}} The artist adds variable color shading to the eyes and particularly to the cornea to give them greater depth. Generally, a mixture of a light shade, the tone color, and a dark shade is used.<ref>{{cite web |url=http://www.biorust.com/tutorials/detail/141/en/ |title=Basic Anime Eye Tutorial |access-date=August 22, 2007 |work=Centi, Biorust.com |archive-url=https://web.archive.org/web/20070824072700/http://biorust.com/tutorials/detail/141/en/ |archive-date=August 24, 2007 |url-status=dead }}</ref><ref>{{cite web|author=Carlus|date=June 6, 2007|title=How to color anime eye|url=https://www.youtube.com/watch?v=VyJ9yfYl_Fc |archive-url=https://web.archive.org/web/20111211111545/http://www.youtube.com/watch?v=VyJ9yfYl_Fc|archive-date=December 11, 2011|access-date=August 22, 2007|publisher=[[YouTube]]}}</ref> However, not all anime characters have large eyes. For example, the works of [[Hayao Miyazaki]] are known for having realistically proportioned eyes, as well as realistic hair colors on their characters.{{sfn|Poitras|1998}}

Hair in anime is often unnaturally lively and colorful or uniquely styled. The movement of hair in anime is exaggerated and "hair actions" is used to emphasize the action and emotions of characters for added visual effect.{{sfn|Poitras|2000|pp=61–62}} [[Gilles Poitras]] traces hairstyle color to cover illustrations on manga, where eye-catching artwork and colorful tones are attractive for children's manga.{{sfn|Poitras|2000|pp=61–62}} Some anime will depict non-Japanese characters with specific ethnic features, such as a pronounced nose and jutting jaw for European characters.<ref name="do1">{{cite web |title=Do Manga Characters Look 'White'? |last=Thorn |first=Rachel |author-link=Rachel Thorn |url=http://www.matt-thorn.com/mangagaku/faceoftheother.html |access-date=December 11, 2005 |archive-url=https://web.archive.org/web/20110717060459/http://www.matt-thorn.com/mangagaku/faceoftheother.html |archive-date=July 17, 2011 |url-status=dead }}</ref> In other cases, anime feature characters whose race or nationality is not always defined, and this is often a deliberate decision, such as in the ''[[Pokémon (anime)|Pokémon]]'' animated series.{{sfn|Tobin|2004|page=88}}

Anime and manga artists often draw from a common canon of iconic facial expression illustrations to denote particular moods and thoughts.<ref>{{cite web |url=http://www.mangatutorials.com/tut/expressions.php |title=Manga Tutorials: Emotional Expressions |access-date=August 22, 2008 |work=Rio |archive-url=https://web.archive.org/web/20080729175352/http://www.mangatutorials.com/tut/expressions.php |archive-date=July 29, 2008 |url-status=dead }}</ref> These techniques are often different in form than their counterparts in Western animation, and they include a fixed [[manga iconography|iconography]] that is used as shorthand for certain emotions and moods.<ref name="bloody" /> For example, a male character may develop a [[nosebleed]] when aroused.<ref name="bloody">{{cite web |url=http://www.umich.edu/~anime/info_emotions.html |title=Emotional Iconography in Animae |author=University of Michigan Animae Project |access-date=August 8, 2009 |archive-url=https://web.archive.org/web/20090402130601/http://www.umich.edu/~anime/info_emotions.html |archive-date=April 2, 2009 |url-status=live }}</ref> A variety of visual symbols are employed, including sweat drops to depict nervousness, visible blushing for embarrassment, or glowing eyes for an intense glare.{{sfn|Brenner|2007|p=52}} Another recurring sight gag is the use of [[Chibi (slang)|chibi]] (deformed, simplified character designs) figures to comedically punctuate emotions like confusion or embarrassment.<ref name="bloody" />

=== Music ===
{{See also|Anime composer|Anime song}}
[[File:TVアニメ「ヒロインたるもの！～嫌われヒロインと内緒のお仕事～」オープニングムービー.webm|thumb|250px|An example of a 2022 anime video with music]]
The opening and credits sequences of most anime television series are accompanied by [[J-pop]] or [[Japanese rock|J-rock]] songs, often by reputed bands—as written with the series in mind—but are also aimed at the general music market, therefore they often allude only vaguely or not at all, to the thematic settings or plot of the series. Also, they are often used as incidental music ("insert songs") in an episode, in order to highlight particularly important scenes.<ref>{{cite web|title=Original Soundtrack (OST)|url=https://www.animenewsnetwork.com/encyclopedia/lexicon.php?id=74|website=Anime News Network|publisher=ANN|access-date=October 15, 2014|archive-url=https://web.archive.org/web/20141017134333/http://www.animenewsnetwork.com/encyclopedia/lexicon.php?id=74|archive-date=October 17, 2014|url-status=live}}</ref>{{Better source needed|reason=per WP:A&M/RS#Situational, Anime News Network's encyclopedia is not a reliable source|date=February 2022}}

[[Future funk]], a musical [[microgenre]] that evolved in the early 2010s from [[Vaporwave]] with a [[French house]] [[Euro disco]] influence, heavily uses anime visuals and samples along with Japanese [[City pop]] to build an aesthetic.<ref>{{cite web |date=2021-02-24 |title=The Endless Life Cycle of Japanese City Pop |url=https://pitchfork.com/features/article/the-endless-life-cycle-of-japanese-city-pop/ |access-date=2021-11-09 |website=Pitchfork |language=en-US |archive-date=February 24, 2021 |archive-url=https://web.archive.org/web/20210224152747/https://pitchfork.com/features/article/the-endless-life-cycle-of-japanese-city-pop/ |url-status=live }}</ref>

Since the 2020s [[anison|anime songs]] have experienced a rapid growth in global online popularity due to their widened availability on music streaming services like [[Spotify]] and promotion by fans and artists on social media.<ref>{{cite web|title=What are Anisongs? How Music for Anime Became a Growing Global Sensation|url=https://blog.chartmetric.com/anisongs-anime-music-growing-global-sensation/|website=Chartmetric|date=28 June 2023|access-date=August 31, 2023|archive-date=August 31, 2023|archive-url=https://web.archive.org/web/20230831134713/https://blog.chartmetric.com/anisongs-anime-music-growing-global-sensation/|url-status=live}}</ref> In 2023, the opening theme "[[Idol (Yoasobi song)|Idol]]" by [[Yoasobi]] of the anime series ''[[Oshi no Ko]]'' topped the [[Billboard Global 200]] Excl. U.S. charts with 45.7 million streams and 24,000 copies sold outside the U.S. "Idol" has become the first Japanese song and anime song to top the Billboard Global chart as well as taking the first spot on the [[Apple Music]]'s Top 100: Global chart.<ref>{{cite magazine |last1=Trust |first1=Gary |title=YOASOBI's 'Idol' Surges to No. 1 on Billboard Global Excl. U.S. Chart |url=https://www.billboard.com/music/chart-beat/yoasobi-idol-tops-billboard-global-excl-us-chart-1235346245/ |access-date=June 6, 2023 |magazine=[[Billboard (magazine)|Billboard]] |date=June 5, 2023 |archive-date=June 12, 2023 |archive-url=https://web.archive.org/web/20230612151453/https://www.billboard.com/music/chart-beat/yoasobi-idol-tops-billboard-global-excl-us-chart-1235346245/ |url-status=live }}</ref><ref>{{cite web|url=https://www.hindustantimes.com/entertainment/anime/yoasobis-idol-tops-global-charts-creating-a-new-streaming-milestone-for-japanese-music-101687344690614.html|title=YOASOBI's 'Idol' tops global charts, creating a new streaming milestone for Japanese music|website=[[Hindustan Times]]|date=21 June 2023|access-date=August 19, 2023|archive-date=June 30, 2023|archive-url=https://web.archive.org/web/20230630225419/https://www.hindustantimes.com/entertainment/anime/yoasobis-idol-tops-global-charts-creating-a-new-streaming-milestone-for-japanese-music-101687344690614.html|url-status=live}}</ref>

=== Genres ===
Anime are often classified by target demographic, including {{Nihongo|children's|子供|[[Children's anime and manga|kodomo]]}}, {{Nihongo|girls'|少女|[[Shōjo manga|shōjo]]}}, {{Nihongo|boys'|少年|[[Shōnen manga|shōnen]]}}, {{Nihongo|young men|青年|[[Seinen manga|Seinen]]}}, {{Nihongo|young women|女性|[[Josei manga|josei]]}} and a diverse range of genres targeting an adult audience. Shōjo and shōnen anime sometimes contain elements popular with children of all genders in an attempt to gain crossover appeal. Adult anime may feature a slower pace or greater plot complexity that younger audiences may typically find unappealing, as well as adult themes and situations.{{sfn|Poitras|2000|pp=44–48}} A subset of adult anime works featuring pornographic elements are labeled "R18" in Japan, and are internationally known as ''[[hentai]]'' (originating from {{Nihongo|pervert|変態|hentai}}). By contrast, some anime subgenres incorporate ''[[ecchi]]'', sexual themes or undertones without depictions of [[sexual intercourse]], as typified in the comedic or [[Harem (genre)|harem]] genres; due to its popularity among adolescent and adult anime enthusiasts, the inclusion of such elements is considered a form of [[fan service]].<ref name="askjohn">Ask John: [http://www.animenation.net/blog/2005/05/20/ask-john-why-do-americans-hate-harem-anime/ Why Do Americans Hate Harem Anime?] {{webarchive|url=https://web.archive.org/web/20080409032645/http://www.animenation.net/blog/2005/05/20/ask-john-why-do-americans-hate-harem-anime/ |date=April 9, 2008 }}. animenation.net. May 20. 2005. ''Note: fan service and ecchi are often considered the same in wording.''</ref>{{sfn|Brenner|2007|p=89}} Some genres explore homosexual romances, such as ''[[yaoi]]'' (male homosexuality) and ''[[yuri (genre)|yuri]]'' (female homosexuality). While often used in a pornographic context, the terms ''yaoi'' and ''yuri'' can also be used broadly in a wider context to describe or focus on the themes or the development of the relationships themselves.{{sfn|Poitras|2000|p=50}}

Anime's genre classification differs from other types of animation and does not lend itself to simple classification.{{sfn|Poitras|2000|p=34}} [[Gilles Poitras]] compared the labeling of ''[[Gundam 0080]]'' and its complex depiction of war as a "giant robot" anime akin to simply labeling ''[[War and Peace]]'' a "war novel".{{sfn|Poitras|2000|p=34}} [[Science fiction genre|Science fiction]] is a major anime genre and includes important historical works like Tezuka's ''[[Astro Boy]]'' and [[Mitsuteru Yokoyama|Yokoyama]]'s ''[[Tetsujin 28-go]]''. A major subgenre of science fiction is [[mecha]], with the ''Gundam'' [[metaseries]] being iconic.{{sfn|Poitras|2000|p=35}} The diverse [[fantasy genre]] includes works based on Asian and Western traditions and folklore; examples include the Japanese feudal fairytale ''[[InuYasha]]'', and the depiction of Scandinavian goddesses who move to Japan to maintain a computer called [[Yggdrasil]] in ''[[Oh My Goddess!|Ah! My Goddess]]''.{{sfn|Poitras|2000|pp=37–40}} Genre crossing in anime is also prevalent, such as the blend of fantasy and comedy in ''[[Dragon Half]]'', and the incorporation of slapstick humor in the crime anime film ''[[Castle of Cagliostro]]''.{{sfn|Poitras|2000|pp=41–43}} Other subgenres found in anime include [[magical girl]], harem, sports, martial arts, literary adaptations, [[medievalism]],<ref>{{Cite journal|author=E. L. Risden|title=Miyazaki's Medieval World: Japanese Medievalism and the Rise of Anime|journal=The Year's Work in Medievalism|issue=28|year=2013|url=https://ywim.net/wp-content/uploads/2021/09/YWiM-28-2013_07_Risden.pdf|access-date=April 7, 2023|archive-date=April 9, 2023|archive-url=https://web.archive.org/web/20230409150215/https://ywim.net/wp-content/uploads/2021/09/YWiM-28-2013_07_Risden.pdf|url-status=live}}</ref> and war.{{sfn|Poitras|2000|pp=45–49}}

=== Formats ===
Early anime works were made for theatrical viewing, and required played musical components before sound and vocal components were added to the production. In 1958, [[Nippon Television]] aired ''Mogura no Abanchūru'' ("[[Mole's Adventure]]"), both the first televised and first color anime to debut.<ref>{{cite news|url=https://www.animenewsnetwork.com/news/2013-06-19/oldest-tv-anime-color-screenshots-posted|title=Oldest TV Anime's Color Screenshots Posted|work=[[Anime News Network]]|date=June 19, 2013|access-date=July 17, 2013|archive-url=https://web.archive.org/web/20130726055523/http://www.animenewsnetwork.com/news/2013-06-19/oldest-tv-anime-color-screenshots-posted|archive-date=July 26, 2013|url-status=live}}</ref> It was not until the 1960s when the first televised series were broadcast and it has remained a popular medium since.{{sfn|Poitras|2000|p=13}} Works released in a direct-to-video format are called "[[original video animation]]" (OVA) or "original animation video" (OAV); and are typically not released theatrically or televised prior to home media release.{{sfn|Poitras|2000|p=14}}<ref>{{cite news | url=https://www.animenewsnetwork.com/encyclopedia/lexicon.php?id=35 | title=Original Animation Video (OAV/OVA) | work=Anime News Network | access-date=September 5, 2013 | archive-url=https://web.archive.org/web/20080215085311/http://www.animenewsnetwork.com/encyclopedia/lexicon.php?id=35 | archive-date=February 15, 2008 | url-status=live | df=mdy-all }}</ref>{{Better source needed|reason=per WP:A&M/RS#Situational, Anime News Network's encyclopedia is not a reliable source|date=February 2022}} The emergence of the Internet has led some animators to distribute works online in a format called "[[original net animation]]" (ONA).<ref>{{cite news | url=https://www.animenewsnetwork.com/encyclopedia/lexicon.php?id=37 | title=Original Net Anime (ONA) | work=Anime News Network | access-date=September 5, 2013 | archive-url=https://web.archive.org/web/20131002014105/http://www.animenewsnetwork.com/encyclopedia/lexicon.php?id=37 | archive-date=October 2, 2013 | url-status=live | df=mdy-all }}</ref>{{Better source needed|reason=per WP:A&M/RS#Situational, Anime News Network's encyclopedia is not a reliable source|date=February 2022}}

The home distribution of anime releases was popularized in the 1980s with the VHS and [[LaserDisc]] formats.{{sfn|Poitras|2000|p=14}} The VHS [[NTSC]] video format used in both Japan and the United States is credited with aiding the rising popularity of anime in the 1990s.{{sfn|Poitras|2000|p=14}} The LaserDisc and VHS formats were transcended by the DVD format which offered the unique advantages; including multiple subtitling and dubbing tracks on the same disc.{{sfn|Poitras|2000|p=15}} The DVD format also has its drawbacks in its usage of [[DVD region code|region coding]]; adopted by the industry to solve licensing, piracy and export problems and restricted region indicated on the DVD player.{{sfn|Poitras|2000|p=15}} The [[Video CD]] (VCD) format was popular in Hong Kong and Taiwan, but became only a minor format in the United States that was closely associated with [[counterfeit|bootleg]] copies.{{sfn|Poitras|2000|p=15}}

A key characteristic of many anime television shows is serialization, where a continuous [[story arc]] stretches over multiple episodes or seasons. Traditional [[American television]] had an episodic format, with each episode typically consisting of a self-contained story. In contrast, anime shows such as ''[[Dragon Ball Z]]'' had a serialization format, where continuous story arcs stretch over multiple episodes or seasons, which distinguished them from traditional American television shows; serialization has since also become a common characteristic of American [[streaming television]] shows during the "[[Peak TV]]" era.<ref>{{cite book |last1=Ziegler |first1=John R. |last2=Richards |first2=Leah |title=Representation in Steven Universe |date=9 January 2020 |publisher=[[Springer Nature]] |isbn=978-3-030-31881-9 |page=10 |url=https://books.google.com/books?id=1m_JDwAAQBAJ&pg=PA10 |access-date=November 10, 2021 |archive-date=September 28, 2023 |archive-url=https://web.archive.org/web/20230928172717/https://books.google.com/books?id=1m_JDwAAQBAJ&pg=PA10#v=onepage&q&f=false |url-status=live }}</ref>

== Industry ==
{{See also|List of anime companies|List of Japanese animation studios}}
[[File:Akihabara_Night.jpg|upright=1.15|thumb|[[Akihabara]] district of Tokyo is popular with anime and manga fans as well as ''[[otaku]]'' subculture in Japan.]]

The animation industry consists of more than 430 production companies with some of the major studios including [[Toei Animation]], [[Gainax]], [[Madhouse (company)|Madhouse]], [[Gonzo (company)|Gonzo]], [[Sunrise (company)|Sunrise]], [[Bones (studio)|Bones]], [[TMS Entertainment]], [[Nippon Animation]], [[P.A.Works]], [[Studio Pierrot]], [[Production I.G]], [[Ufotable]] and [[Studio Ghibli]].{{sfn|Brenner|2007|p=17}} Many of the studios are organized into a [[trade association]], [[The Association of Japanese Animations]]. There is also a labor union for workers in the industry, the [[Japanese Animation Creators Association]]. Studios will often work together to produce more complex and costly projects, as done with Studio Ghibli's ''[[Spirited Away]]''.{{sfn|Brenner|2007|p=17}} An anime episode can cost between US$100,000 and US$300,000 to produce.<ref>{{cite web|url= https://www.animenewsnetwork.com/feature/2012-03-05|title= The Anime Economy - Part 1: Let's Make An Anime!|author= Justin Sevakis|date= March 5, 2012|access-date= January 3, 2014|work= [[Anime News Network]]|archive-url= https://web.archive.org/web/20120929131718/http://www.animenewsnetwork.com/feature/2012-03-05|archive-date= September 29, 2012|url-status=live|df= mdy-all}}</ref> In 2001, animation accounted for 7% of the Japanese film market, above the 4.6% market share for live-action works.{{sfn|Brenner|2007|p=17}} The popularity and success of anime is seen through the profitability of the DVD market, contributing nearly 70% of total sales.{{sfn|Brenner|2007|p=17}} According to a 2016 article on ''Nikkei Asian Review'', Japanese television stations have bought over {{JPY|60 billion}} worth of anime from production companies "over the past few years", compared with under {{JPY|20 billion}} from overseas.<ref name="Kobayashi">{{cite web|url= http://asia.nikkei.com/Business/Trends/Movie-version-of-Osamu-Tezuka-s-Black-Jack-coming-to-China|title= Movie version of Osamu Tezuka's 'Black Jack' coming to China|first= Akira|last= Kobayashi|date= September 5, 2016|access-date= September 10, 2016|work= Nikkei Asian Review|archive-url= https://web.archive.org/web/20160910062313/http://asia.nikkei.com/Business/Trends/Movie-version-of-Osamu-Tezuka-s-Black-Jack-coming-to-China|archive-date= September 10, 2016|url-status=live|df= mdy-all}}</ref> There has been a rise in sales of shows to television stations in Japan, caused by [[late night anime]] with [[adult animation|adults as the target demographic]].<ref name="Kobayashi"/> This type of anime is less popular outside Japan, being considered "more of a [[niche market|niche product]]".<ref name="Kobayashi"/> ''[[Spirited Away]]'' (2001) was the [[List of highest-grossing films in Japan|all-time highest-grossing film in Japan]] until overtaken by ''[[Demon Slayer: Kimetsu no Yaiba – The Movie: Mugen Train]]'' in 2020.<ref name="gross">
;Gross
*{{cite web |title=Spirited Away (2002)&nbsp;– International Box Office Results |work=[[Box Office Mojo]] |url=https://boxofficemojo.com/movies/?page=intl&id=spiritedaway.htm |access-date=July 1, 2014 |archive-url=https://web.archive.org/web/20141129013240/http://boxofficemojo.com/movies/?page=intl&id=spiritedaway.htm |archive-date=November 29, 2014 |url-status=live }}
::North American gross: $10,055,859
::Japanese gross: $229,607,878 (March 31, 2002)
::Other territories: ${{formatnum:{{#expr:215307+154349+241829+292529+6326294+1981457+307200+2958139+804985+749529+106667+103488+27787+11382770+822940+1044866+36860+1383023}}}}

;Japanese gross
*{{cite news |first=Lukas |last=Schwarzacher |title=Japan box office 'Spirited Away' |date=February 17, 2002 |work=[[Variety (magazine)|Variety]] |url=https://variety.com/2002/digital/awards/japan-box-office-spirited-away-1117860800/ |access-date=August 21, 2014 |archive-url=https://web.archive.org/web/20140826123724/http://variety.com/2002/digital/awards/japan-box-office-spirited-away-1117860800/ |archive-date=August 26, 2014 |url-status=live }}
::End of 2001: $227&nbsp;million
*{{cite news |first=Lukas |last=Schwarzacher |title=H'wood eclipses local fare |date=February 16, 2003 |work=[[Variety (magazine)|Variety]] |url=https://variety.com/2003/scene/markets-festivals/h-wood-eclipses-local-fare-1117880584/ |access-date=August 21, 2014 |archive-url=https://web.archive.org/web/20140826123741/http://variety.com/2003/scene/markets-festivals/h-wood-eclipses-local-fare-1117880584/ |archive-date=August 26, 2014 |url-status=live }}
::Across 2001 and 2002: $270&nbsp;million
*{{cite news |first=Mark |last=Schilling |title=Miyazaki's animated pic to open this summer |date=May 16, 2008 |work=[[Variety (magazine)|Variety]] |url=https://variety.com/2008/scene/markets-festivals/ponyo-likely-to-heat-up-japan-1117985910/ |access-date=July 2, 2014 |archive-url=https://web.archive.org/web/20140715010653/http://variety.com/2008/scene/markets-festivals/ponyo-likely-to-heat-up-japan-1117985910/ |archive-date=July 15, 2014 |url-status=live }}
::As of 2008: $290&nbsp;million
</ref><ref>{{cite web |url=http://www.canime.co/ |access-date=November 1, 2015 |title=7 Animes |archive-url=https://web.archive.org/web/20160131004126/http://www.canime.co/ |archive-date=January 31, 2016 |url-status=dead }}</ref><ref>{{Cite web |last=Harding |first=Daryl |date=2020-12-27 |title=Demon Slayer: Mugen Train Dethrones Spirited Away to Become the No. 1 Film in Japan of All Time |url=https://www.crunchyroll.com/anime-news/2020/12/27-1/demon-slayer-mugen-train-dethrones-spirited-away-to-become-the-no-1-film-in-japan-of-all-time |access-date=2023-05-23 |website=Crunchyroll |language=en-us |archive-date=December 29, 2020 |archive-url=https://web.archive.org/web/20201229114208/https://www.crunchyroll.com/anime-news/2020/12/27-1/demon-slayer-mugen-train-dethrones-spirited-away-to-become-the-no-1-film-in-japan-of-all-time |url-status=live }}</ref> It was also the [[List of highest-grossing anime films|highest-grossing anime film worldwide]] until it was overtaken by [[Makoto Shinkai]]'s 2016 film ''[[Your Name]]''.<ref>{{cite web|url= https://www.animenewsnetwork.com/news/2017-01-17/shinkai-your-name-tops-spirited-away-as-highest-grossing-anime-film-worldwide/.111141|title= Shinkai's 'your name.' Tops Spirited Away as Highest Grossing Anime Film Worldwide|date= January 17, 2017|access-date= January 17, 2017|work= [[Anime News Network]]|archive-url= https://web.archive.org/web/20170118030221/http://www.animenewsnetwork.com/news/2017-01-17/shinkai-your-name-tops-spirited-away-as-highest-grossing-anime-film-worldwide/.111141|archive-date= January 18, 2017|url-status=live|df= mdy-all}}</ref> Anime films represent a large part of the highest-grossing Japanese films yearly in Japan, with 6 out of the top 10 in [[List of Japanese films of 2014#Highest-grossing films|2014]], [[List of Japanese films of 2015#Highest-grossing films|2015]] and also in [[List of Japanese films of 2016#Highest-grossing films|2016]].

Anime has to be licensed by companies in other countries in order to be legally released. While anime has been licensed by its Japanese owners for use outside Japan since at least the 1960s, the practice became well-established in the United States in the late 1970s to early 1980s, when such TV series as ''[[Gatchaman]]'' and ''[[Captain Harlock]]'' were licensed from their Japanese parent companies for distribution in the US market. The trend towards American distribution of anime continued into the 1980s with the licensing of titles such as ''[[Voltron (1984 TV series)|Voltron]]'' and the 'creation' of new series such as ''[[Robotech]]'' through the use of source material from several original series.{{sfn|Brenner|2007|p=11}}

In the early 1990s, several companies began to experiment with the licensing of less child-oriented material. Some, such as [[A.D. Vision]], and [[Central Park Media]] and its imprints, achieved fairly substantial commercial success and went on to become major players in the now very lucrative American anime market. Others, such as [[AnimEigo]], achieved limited success. Many companies created directly by Japanese parent companies did not do as well, most releasing only one or two titles before completing their American operations.

Licenses are expensive, often hundreds of thousands of dollars for one series and tens of thousands for one movie.<ref name="ADVcourt">''[https://www.animenewsnetwork.com/news/2012-01-30/adv-court-documents-reveal-amounts-paid-for-29-anime-titles ADV Court Documents Reveal Amounts Paid for 29 Anime Titles] {{Webarchive|url=https://web.archive.org/web/20120423194657/http://www.animenewsnetwork.com/news/2012-01-30/adv-court-documents-reveal-amounts-paid-for-29-anime-titles |date=April 23, 2012 }}''</ref> The prices vary widely; for example, ''[[Jinki: Extend]]'' cost only $91,000 to license while ''[[Kurau Phantom Memory]]'' cost $960,000.<ref name="ADVcourt"/> Simulcast Internet streaming rights can be cheaper, with prices around $1,000–2,000 an episode,<ref>"[https://www.animenewsnetwork.com/feature/2012-03-09 The Anime Economy Part 3: Digital Pennies]" {{Webarchive|url=https://web.archive.org/web/20150502060952/http://www.animenewsnetwork.com/feature/2012-03-09 |date=May 2, 2015 }}</ref> but can also be more expensive, with some series costing more than {{USD|200,000}} per episode.<ref>{{cite web|url= https://www.animenewsnetwork.com/answerman/2016-09-09/.106251|title= Why Are Funimation And Crunchyroll Getting Married?|first= Justin|last= Sevakis|date= September 9, 2016|access-date= September 10, 2016|publisher= [[Anime News Network]]|archive-url= https://web.archive.org/web/20160910033129/http://www.animenewsnetwork.com/answerman/2016-09-09/.106251|archive-date= September 10, 2016|url-status=live|df= mdy-all}}</ref>

The anime market for the United States was worth approximately $2.74&nbsp;billion in 2009.<ref>{{cite web|url= https://www.animenewsnetwork.com/news/2011-04-15/america-2009-anime-market-pegged-at-us%242.741-billion|title= America's 2009 Anime Market Pegged at US$2.741&nbsp;Billion|date= April 15, 2011|access-date= December 29, 2013|work= [[Anime News Network]]|archive-url= https://web.archive.org/web/20131228095646/http://www.animenewsnetwork.com/news/2011-04-15/america-2009-anime-market-pegged-at-us%242.741-billion|archive-date= December 28, 2013|url-status=live|df= mdy-all}}</ref> Dubbed animation began airing in the United States in 2000 on networks like [[The WB]] and [[Cartoon Network]]'s [[Adult Swim]].{{sfn|Brenner|2007|p=18}} In 2005, this resulted in five of the top ten anime titles having previously aired on Cartoon Network.{{sfn|Brenner|2007|p=18}} As a part of localization, some [[Editing of anime in American distribution|editing]] of cultural references may occur to better follow the references of the non-Japanese culture.<ref>{{cite web |url=http://w3.salemstate.edu/~poehlkers/Emerson/Pokemon.html |title=Pokemon Case Study |publisher=W3.salemstate.edu |access-date=November 1, 2010 |archive-url=https://web.archive.org/web/20080820181118/http://w3.salemstate.edu/%7Epoehlkers/Emerson/Pokemon.html |archive-date=August 20, 2008 |url-status=live }}</ref> The cost of English localization averages US$10,000 per episode.<ref>{{cite web|last=Oppliger|first=John|date=February 24, 2012|title=Ask John: Why Does Dubbing Cost So Much?|url=http://www.animenation.net/blog/2012/02/24/ask-john-why-does-dubbing-cost-so-much/|url-status=dead|archive-url=https://web.archive.org/web/20120619020459/http://www.animenation.net/blog/2012/02/24/ask-john-why-does-dubbing-cost-so-much/|archive-date=June 19, 2012|access-date=October 29, 2012|publisher=[[AnimeNation]]}}</ref>

The industry has been subject to both praise and condemnation for [[fansubs]], the addition of unlicensed and unauthorized subtitled translations of anime series or films.{{sfn|Brenner|2007|p=206}} Fansubs, which were originally distributed on VHS bootlegged cassettes in the 1980s, have been freely available and disseminated online since the 1990s.{{sfn|Brenner|2007|p=206}} Since this practice raises concerns for copyright and piracy issues, fansubbers tend to adhere to an unwritten moral code to destroy or no longer distribute an anime once an official translated or subtitled version becomes licensed. They also try to encourage viewers to buy an official copy of the release once it comes out in English, although fansubs typically continue to circulate through file-sharing networks.{{sfn|Brenner|2007|p=207}} Even so, the laid back regulations of the Japanese animation industry tend to overlook these issues, allowing it to grow underground and thus increasing its popularity until there is a demand for official high-quality releases for animation companies. This has led to an increase in global popularity of Japanese animation, reaching $40&nbsp;million in sales in 2004.<ref name=fansubbingimpact>{{cite web|last=Wurm|first=Alicia|title=Anime and the Internet: The Impact of Fansubbing|date=February 18, 2014|url=http://www.reflexivehorizons.com/2014/02/18/anime-and-the-internet-the-impact-of-fansubbing/|access-date=December 12, 2015|archive-url=https://web.archive.org/web/20151222111644/http://www.reflexivehorizons.com/2014/02/18/anime-and-the-internet-the-impact-of-fansubbing/|archive-date=December 22, 2015|url-status=live}}</ref> Fansub practices have rapidly declined since the early-2010s due to the advent of legal streaming services which [[simulcast]] new anime series often within a few hours of their domestic release.<ref>{{Cite web |last=Ho |first=Soleil |date=January 9, 2019 |title=The future of anime fansubs in a simulcast world |url=https://www.polygon.com/2019/1/9/18171014/anime-fansubs-translation-streaming-crunchyroll |access-date=June 2, 2024 |website=Polygon |language=en-US}}</ref>

Since the 2010s, anime has become a global multibillion industry setting a sales record in 2017 of ¥2.15 trillion ($19.8 billion), driven largely by demand from overseas audiences.<ref>{{cite web|url=https://edition.cnn.com/style/article/japan-anime-global-identity-hnk-intl/index.html|title=Japanese anime: From 'Disney of the East' to a global industry worth billions|website=CNN|date=29 July 2019|access-date=January 20, 2022|archive-date=February 7, 2022|archive-url=https://web.archive.org/web/20220207140801/https://edition.cnn.com/style/article/japan-anime-global-identity-hnk-intl/index.html|url-status=live}}</ref> In 2019, Japan's anime industry was valued at $24 billion a year with 48% of that revenue coming from overseas (which is now its largest industry sector).<ref>{{cite web|title=Japan's anime goes global:Sony's new weapon to take on Netflix|url=https://ft.com/content/9b7c1670-89b1-484c-ae25-61a500369dc3|work=Financial times|date=24 January 2021|access-date=November 1, 2021|archive-date=November 1, 2021|archive-url=https://web.archive.org/web/20211101223921/https://ft.com/content/9b7c1670-89b1-484c-ae25-61a500369dc3|url-status=live}}</ref> By 2025 the anime industry is expected to reach a value of $30 billion with over 60% of that revenue coming from
overseas.<ref>{{cite web|title=Is There Anything in the Way of Japanese Anime Becoming a Global $30B Market in the Next 5 Years?|url=https://www.linkedin.com/pulse/anything-way-japanese-anime-market-becoming-global-30b-john-evershed|work=Linkedin|date=21 May 2020|access-date=November 12, 2021|archive-date=November 12, 2021|archive-url=https://web.archive.org/web/20211112182515/https://www.linkedin.com/pulse/anything-way-japanese-anime-market-becoming-global-30b-john-evershed|url-status=live}}</ref>

=== Markets ===
[[Japan External Trade Organization]] (JETRO) valued the domestic anime market in Japan at {{JPY|2.4 trillion}} ({{US$|{{#expr:2400/100}} billion|long=no}}), including {{JPY|2 trillion}} from licensed products, in 2005.<ref name="J-Marketing">{{cite news|title=Scanning the Media|url=http://www.jmrlsi.co.jp/english/inthemedia/scan/2005/01.html|access-date=March 10, 2005|work=J-Marketing|publisher=JMR生活総合研究所|date=February 15, 2005|archive-url=https://web.archive.org/web/20050310035337/http://www.jmrlsi.co.jp/english/inthemedia/scan/2005/01.html|archive-date=March 10, 2005|url-status=dead}}</ref> JETRO reported sales of overseas anime exports in 2004 to be {{JPY|2 trillion}} ({{US$|18 billion|long=no}}).<ref>{{cite book|last=Kearns|first=John|title=Translator and Interpreter Training: Issues, Methods and Debates|date=2008|publisher=[[A & C Black]]|isbn=9781441140579|page=159|url=https://books.google.com/books?id=7ewPDjORphEC&pg=PA159|access-date=May 29, 2018|archive-url=https://web.archive.org/web/20190211015650/https://books.google.com/books?id=7ewPDjORphEC&pg=PA159|archive-date=February 11, 2019|url-status=live}}</ref> JETRO valued the anime market in the United States at {{JPY|520 billion}} ({{US$|{{#expr:520/100}} billion|long=no}}),<ref name="J-Marketing"/> including {{US$|500 million|long=no}} in [[home video]] sales and over {{US$|4 billion|long=no}} from licensed products, in 2005.<ref name="ann-market"/> JETRO projected in 2005 that the worldwide anime market, including sales of licensed products, would grow to {{JPY|10 trillion}} ({{US$|100 billion|long=no}}).<ref name="J-Marketing"/><ref name="ann-market">{{cite news|title=World-wide Anime Market Worth $100 Billion|url=https://www.animenewsnetwork.com/news/2005-02-19/world-wide-anime-market-worth-$100-billion|work=[[Anime News Network]]|date=February 19, 2005|access-date=May 28, 2018|archive-url=https://web.archive.org/web/20180526042937/https://www.animenewsnetwork.com/news/2005-02-19/world-wide-anime-market-worth-$100-billion|archive-date=May 26, 2018|url-status=live}}</ref> The anime market in China was valued at {{US$|21 billion|long=no}} in 2017,<ref>{{cite news|title=Anime a $21bn market {{ndash}} in China|url=https://asia.nikkei.com/Life-Arts/Arts/Anime-a-21bn-market-in-China|work=[[Nikkei Asian Review]]|date=May 2, 2017|access-date=May 28, 2018|archive-url=https://web.archive.org/web/20180529054224/https://asia.nikkei.com/Life-Arts/Arts/Anime-a-21bn-market-in-China|archive-date=May 29, 2018|url-status=live}}</ref> and is projected to reach {{US$|31 billion|long=no}} by 2020.<ref>{{cite news|last1=Chen|first1=Lulu Yilun|title=Tencent taps ninja Naruto to chase China's $31 billion anime market|url=https://www.japantimes.co.jp/news/2016/03/18/business/tencent-taps-ninja-naruto-chase-chinas-31-billion-anime-market/|work=[[The Japan Times]]|date=March 18, 2016|access-date=May 28, 2018|archive-url=https://web.archive.org/web/20180529055350/https://www.japantimes.co.jp/news/2016/03/18/business/tencent-taps-ninja-naruto-chase-chinas-31-billion-anime-market/|archive-date=May 29, 2018|url-status=live}}</ref> In [[Europe]] the anime [[merchandising]] market was valued at about $950 million with the [[model figure|figurine]] segment accounting for most of the share and is expected to reach a value of over $2 billion by 2030.<ref>{{cite web|url=https://finance.yahoo.com/news/europe-anime-merchandising-market-analysis-103300984.html|title=Europe Anime Merchandising Market Analysis Report 2023-2030 - Market Poised for Substantial Growth with Expansion of Figurine and E-commerce Sectors|website=[[Yahoo! Finance]]|date=24 January 2024|access-date=February 28, 2024|archive-date=February 28, 2024|archive-url=https://web.archive.org/web/20240228211620/https://finance.yahoo.com/news/europe-anime-merchandising-market-analysis-103300984.html|url-status=live}}</ref> The global anime market size was valued at $26.055 billion in 2021 with 29% of the revenue coming from [[merchandise]]. It is expected that the global anime market will reach a value of $47.14 billion by 2028.<ref>{{cite web|url=https://finance.yahoo.com/news/global-anime-market-generate-revenue-150900749.html|title=Global Anime Market to Generate Revenue of $47.14 Billion by 2028-Over 29% Anime Market Revenue Came from Selling Merchandise-SkyQuest Technology|website=[[Yahoo! Finance]]|date=20 September 2022|access-date=May 4, 2023|archive-date=May 4, 2023|archive-url=https://web.archive.org/web/20230504195742/https://finance.yahoo.com/news/global-anime-market-generate-revenue-150900749.html|url-status=live}}</ref><ref>{{cite web|url=https://www.skyquestt.com/report/anime-market|title=Global Anime Market Size, Share, Growth Analysis, By Type(Video, T.V.) - Industry Forecast 2022-2028|website=skyquestt.com|date=October 2022|access-date=May 4, 2023|archive-date=May 4, 2023|archive-url=https://web.archive.org/web/20230504195746/https://www.skyquestt.com/report/anime-market|url-status=live}}</ref> In 2023 the anime industry generated a $19.8 billion in total global revenue, including $5.5 billion from streaming and $14.3 billion from merchandising sales. North America and Asia contributed a combined $14.3 billion in total revenue, accounting for over 72% of anime's global impact.<ref>{{cite web|url=https://www.parrotanalytics.com/announcements/japanese-anime-captured-dollar198-billion-in-2023-global-revenue-cementing-japans-role-as-a-global-entertainment-leader/|title=Japanese Anime Captured $19.8 Billion in 2023 Global Revenue, Cementing Japan’s Role as a Global Entertainment Leader|website=Parrot Analytics|date=19 December 2024}}</ref><ref>{{cite web|url=https://japan-forward.com/the-global-rise-of-anime-and-its-untapped-potential/|title=The Global Rise of Anime and Its Untapped Potential|website=[[Japan Forward]]|date=25 December 2024}}</ref> By 2030 the global anime market is expected to reach a value of $48.3 Billion with the largest contributors to this growth being [[North America]], Europe, [[Asia–Pacific]] and [[The Middle East]].<ref>{{cite press release|url=https://www.globenewswire.com/news-release/2021/10/22/2319206/0/en/Anime-Market-Size-to-Worth-Around-US-48-3-Billion-by-2030.html|title=Anime Market Size to Worth Around US$ 48.3 Billion by 2030|website=[[GlobeNewswire]]|date=22 October 2021|access-date=January 20, 2022|archive-date=January 20, 2022|archive-url=https://web.archive.org/web/20220120182202/https://www.globenewswire.com/news-release/2021/10/22/2319206/0/en/Anime-Market-Size-to-Worth-Around-US-48-3-Billion-by-2030.html|url-status=live}}</ref> The global anime market size was valued at $25.8 Billion in 2022 and is expected to have a market size of $62.7 Billion by 2032 with a [[CAGR]] of 9.4%.<ref>{{cite web|url=https://www.marketplace.org/shows/make-me-smart/why-anime-is-everywhere-all-at-once/|title=Why anime is everywhere all at once|website=[[Marketplace (radio program)|Marketplace]]|date=27 February 2024|access-date=February 28, 2024|archive-date=February 28, 2024|archive-url=https://web.archive.org/web/20240228211619/https://www.marketplace.org/shows/make-me-smart/why-anime-is-everywhere-all-at-once/|url-status=live}}</ref><ref>{{cite web|url=https://finance.yahoo.com/news/anime-market-reach-usd-62-120000412.html|title=Anime Market to Reach USD 62.7 Billion by 2032 CAGR: 9.4% DataHorizzon Research|website=[[Yahoo! Finance]]|date=18 September 2023|access-date=February 28, 2024|archive-date=February 28, 2024|archive-url=https://web.archive.org/web/20240228211619/https://finance.yahoo.com/news/anime-market-reach-usd-62-120000412.html|url-status=live}}</ref><ref>{{cite web|url=https://datahorizzonresearch.com/anime-market-2172|title=Anime Market Size, Growth, Share, Statistics Report, By Type (T.V., Movie, Video Games, Internet Distribution, Merchandising, Music, Pachinko, Live Entertainment), By Age Group (Adults and Teens), By Region, and Segment Forecasts, 2023-2032|website=datahorizonresearch.com|access-date=February 28, 2024|archive-date=February 28, 2024|archive-url=https://web.archive.org/web/20240228211619/https://datahorizzonresearch.com/anime-market-2172|url-status=live}}</ref>
In 2019, the annual overseas exports of Japanese animation exceeded $10 billion for the first time in history.<ref>{{cite web|title=The export value of anime has more than quadrupled "under the Abe administration" and reached the first trillion yen scale|url=https://m-dojo.hatenadiary.com/entry/2019/12/16/095922|website=Hatena Blog(In Japanese)|date=15 December 2019|access-date=January 29, 2022|archive-date=January 29, 2022|archive-url=https://web.archive.org/web/20220129174938/https://m-dojo.hatenadiary.com/entry/2019/12/16/095922|url-status=live}}</ref>

=== Awards ===
The anime industry has several annual awards that honor the year's best works. Major annual awards in Japan include the [[Ōfuji Noburō Award]], the [[Mainichi Film Award for Best Animation Film]], the [[Animation Kobe]] Awards, the [[Japan Media Arts Festival]] animation awards, the [[Seiyu Awards]] for voice actors, the [[Tokyo Anime Award]] and the [[Japan Academy Prize for Animation of the Year]]. In the United States, anime films compete in the [[Crunchyroll Anime Awards]]. There were also the [[American Anime Awards]], which were designed to recognize excellence in anime titles nominated by the industry, and were held only once in 2006.{{sfn|Brenner|2007|pp=257–258}} Anime productions have also been nominated and won awards not exclusively for anime, like the [[Academy Award for Best Animated Feature]] or the [[Golden Bear]].

=== Working conditions ===
In recent years, the anime industry has been accused by both Japanese and foreign media of underpaying and overworking its animators.<ref>{{cite web|title=The dark side of Japan's anime industry|url=https://www.vox.com/culture/2019/7/2/20677237/anime-industry-japan-artists-pay-labor-abuse-neon-genesis-evangelion-netflix|website=Vox|date=2 July 2019|access-date=January 20, 2022|archive-date=July 2, 2019|archive-url=https://web.archive.org/web/20190702142722/https://www.vox.com/culture/2019/7/2/20677237/anime-industry-japan-artists-pay-labor-abuse-neon-genesis-evangelion-netflix|url-status=live}}</ref><ref>{{cite news|title= Anime is Booming. So Why Are Animators Living in Poverty?|url=https://www.nytimes.com/2021/02/24/business/japan-anime.html |archive-url=https://ghostarchive.org/archive/20211228/https://www.nytimes.com/2021/02/24/business/japan-anime.html |archive-date=2021-12-28 |url-access=limited|work=The New York Times|date=24 February 2021}}{{cbignore}}</ref><ref>{{cite news|title=Despite global anime market's explosive growth, Japan's animators continue to live in poverty|url=https://www.firstpost.com/entertainment/despite-global-anime-markets-explosive-growth-japans-animators-continue-to-live-in-poverty-9365001.html|work=Firstpost|date=2 March 2021|access-date=November 27, 2021|archive-date=November 27, 2021|archive-url=https://web.archive.org/web/20211127132118/https://www.firstpost.com/entertainment/despite-global-anime-markets-explosive-growth-japans-animators-continue-to-live-in-poverty-9365001.html|url-status=live}}</ref> In response the Japanese Prime Minister [[Fumio Kishida]] promised to improve the working conditions and salary of all animators and creators working in the industry.<ref>{{cite web |last1=Liu |first1=Narayan |title=Japan's New Prime Minister Is a Demon Slayer Fan, Plans to Support Manga and Anime |url=https://www.cbr.com/japan-prime-minister-demon-slayer-fan-support-manga-anime/ |publisher=[[Comic Book Resources]] |access-date=6 October 2021 |date=3 October 2021 |archive-date=October 5, 2021 |archive-url=https://web.archive.org/web/20211005233923/https://www.cbr.com/japan-prime-minister-demon-slayer-fan-support-manga-anime/ |url-status=live }}</ref> A few anime studios such as [[MAPPA]] have taken actions to improve the working conditions of their employees.<ref>{{cite web|url=https://www.cbr.com/chainsaw-man-animators-mappa-pay/|title=MAPPA Offers Chainsaw Man Animators Higher Pay, Better Benefits|website=CBR|date=19 August 2021|access-date=January 20, 2022|archive-date=January 20, 2022|archive-url=https://web.archive.org/web/20220120185545/https://www.cbr.com/chainsaw-man-animators-mappa-pay/|url-status=live}}</ref> There has also been a slight increase in production costs and animator pays during the COVID-19 pandemic.<ref>{{Cite web |title=Anime Industry Report 2020 Summary |url=https://aja.gr.jp/download/anime-industry-report-2020-summary |access-date=2022-03-17 |website=日本動画協会 |language=ja |archive-date=March 28, 2022 |archive-url=https://web.archive.org/web/20220328045557/https://aja.gr.jp/download/anime-industry-report-2020-summary |url-status=live }}</ref> Throughout 2020 and 2021 the American streaming service [[Netflix]] announced that it will greatly invest and fund the anime industry as well as support training programs for new animators.<ref>{{cite web|url=https://about.netflix.com/en/news/netflix-animeslate|title=Netflix Bets Big on Aspirational and Diverse Anime Adding Five Major Projects|date=28 October 2020|website=Netflix}}</ref><ref>{{cite web|url=https://about.netflix.com/en/news/teaming-with-wit-studio-to-support-the-craftsmanship-of-anime|title=Teaming With WIT Studio to Support the Craftsmanship of Anime|date=12 February 2021|website=Netflix}}</ref><ref>{{cite web|url=https://about.netflix.com/en/news/netflix-festival-japan-2021|title=Netflix Bets Big On Japanese Content And Creators With Growing Slate Across Both Anime & Live Action|website= Netflix|date=9 November 2021}}</ref> On April 27, 2023, [[Nippon Anime Film Culture Association]] (NAFCA) was officially founded. The association aims to solve problems in the industry, including the improvement of conditions of the workers.<ref>{{Cite web |last=Kuroda |first=Kenro |date=2023-06-17 |title=Group founded to improve work conditions in anime industry |url=https://www.asahi.com/ajw/articles/14919481 |website=[[The Asahi Shimbun]] |access-date=June 30, 2023 |archive-date=June 28, 2023 |archive-url=https://web.archive.org/web/20230628055218/https://www.asahi.com/ajw/articles/14919481 |url-status=live }}</ref><ref>{{cite web|url=https://www.crunchyroll.com/news/latest/2023/5/18/nippon-anime-film-culture-association-established-to-solve-problems-in-anime-industry|title=Nippon Anime & Film Culture Association Established to Solve Problems in Anime Industry|date=18 May 2023|website=[[Crunchyroll]]|access-date=June 30, 2023|archive-date=June 30, 2023|archive-url=https://web.archive.org/web/20230630171359/https://www.crunchyroll.com/news/latest/2023/5/18/nippon-anime-film-culture-association-established-to-solve-problems-in-anime-industry|url-status=live}}</ref>

== Global popularity and cultural impact ==
{{see also|Japanese pop culture in the United States|History of anime in the United States|List of anime theatrically released in the United States|List of anime distributed in India|Japanese influence on Chinese culture|Japanese influence on Korean culture|Anime in hip hop|List of highest-grossing anime films}}
[[File:Anime expo 2022 Convention Opening.jpg|thumb|300x300px|[[Anime Expo]] in [[Los Angeles]], [[California]], United States – one of the largest [[fan conventions]] in the Western world<ref>{{cite web|url=https://overmental.com/content/22-biggest-geek-culture-conventions-in-the-world-170/2|title=The 25 Biggest Geek Culture Conventions in the World|website=overmental.com|date=14 August 2015|access-date=September 19, 2022|archive-date=September 20, 2022|archive-url=https://web.archive.org/web/20220920173205/https://overmental.com/content/22-biggest-geek-culture-conventions-in-the-world-170/2|url-status=live}}</ref>]]
Anime has become commercially profitable in [[Western world|Western countries]],<ref>{{cite web|url=https://www.bbc.com/news/entertainment-arts-60865649|title=Anime: How Japanese animation has taken the West by storm|website=[[British Broadcasting Corporation|BBC]]|date=26 March 2022|access-date=May 4, 2023|archive-date=May 4, 2023|archive-url=https://web.archive.org/web/20230504114115/https://www.bbc.com/news/entertainment-arts-60865649|url-status=live}}</ref><ref>{{cite web|url=https://pro.morningconsult.com/trend-setters/anime-rise-dragonball-z-crunchyroll|title=Inside Anime's Rise to the Top of American Pop Culture|date=11 October 2022|website=[[Morning Consult]]|access-date=June 30, 2023|archive-date=June 30, 2023|archive-url=https://web.archive.org/web/20230630232437/https://pro.morningconsult.com/trend-setters/anime-rise-dragonball-z-crunchyroll|url-status=live}}</ref> as demonstrated by early commercially successful Western adaptations of anime, such as ''[[Astro Boy (1963 TV series)|Astro Boy]]'' and ''[[Speed Racer]]''. Early American adaptions in the 1960s made Japan expand into the continental European market, first with productions aimed at European and Japanese children, such as [[Heidi, Girl of the Alps|''Heidi'']], ''[[Vicky the Viking]]'' and ''[[Barbapapa]]'', which aired in various countries. [[Italy]], [[Spain]], and [[France]]<ref>{{cite journal |title=Neojaponism and pop culture. New Japanese exoticism in France |journal=Regioninės Studijos. 2012, &#91;No.&#93; 6, the Development of 'Japan' in the West: Comparative Analysis, P. 67-88 |url=https://www.vdu.lt/cris/handle/20.500.12259/32357 |publisher=[[Vytautas Magnus University]] |date=2012 |last1=Clothilde |first1=Sabre |volume=6 |pages=67–88 |access-date=June 30, 2023 |archive-date=December 27, 2021 |archive-url=https://web.archive.org/web/20211227203626/https://www.vdu.lt/cris/handle/20.500.12259/32357 |url-status=live }}</ref><ref>{{cite web|title=France's love affair with Japanese culture|url=https://www.euronews.com/culture/2021/12/07/europe-s-biggest-manga-launch-france-prints-250-000-copies-of-one-piece-s-100th-edition|website=[[Euronews]]|date=7 December 2021|access-date=June 30, 2023|archive-date=December 9, 2021|archive-url=https://web.archive.org/web/20211209221014/https://www.euronews.com/culture/2021/12/07/europe-s-biggest-manga-launch-france-prints-250-000-copies-of-one-piece-s-100th-edition|url-status=live}}</ref> grew a particular interest in Japan's output, due to its cheap selling price and productive output. As of 2014, Italy imported the most anime outside Japan.<ref>{{Cite journal|title = The Italian anime boom: The outstanding success of Japanese animation in Italy, 1978–1984|url = https://www.researchgate.net/publication/264089012|journal = Journal of Italian Cinema & Media Studies|pages = 363–381|volume = 2|issue = 3|doi = 10.1386/jicms.2.3.363_1|first = Marco|last = Pellitteri|date = 2014|access-date = February 22, 2016|archive-url = https://web.archive.org/web/20160126192751/https://www.researchgate.net/publication/264089012_The_Italian_anime_boom_The_outstanding_success_of_Japanese_animation_in_Italy_1978-1984|archive-date = January 26, 2016|url-status=live|df = mdy-all| issn=2047-7368 }}</ref> Anime and manga were introduced to France in the late 1970s and became massively popular in spite of a [[moral panic]] led by French politicians in the 1980s and 1990s.<ref>{{Cite web |last=Hoad |first=Phil |date=March 29, 2023 |title=Manga-nifique! How France became obsessed with Japanese anime |url=https://www.theguardian.com/film/2023/mar/29/france-manga-anime-murakami-macron |access-date=July 11, 2023 |website=[[The Guardian]] |archive-date=July 11, 2023 |archive-url=https://web.archive.org/web/20230711033110/https://www.theguardian.com/film/2023/mar/29/france-manga-anime-murakami-macron |url-status=live }}</ref> These mass imports influenced anime popularity in [[Latin America|Latin American]], [[Arab World|Arabic]] and [[Germany|German]] markets.{{sfn|Bendazzi|2015|p=363}}

The beginning of 1980 saw the introduction of Japanese anime series into the American culture.<ref name="Ruh">{{cite journal |last1=Ruh |first1=Brian |date=2010 |title=Transforming U.S. Anime in the 1980s: Localization and Longevity |url=https://www.academia.edu/1472869 |journal=Mechademia |volume=5 |access-date=March 28, 2020}}</ref> In the 1990s, Japanese animation slowly gained popularity in America. Media companies such as Viz and Mixx began publishing and releasing animation into the American market.<ref>{{cite journal|last=Leonard|first=Sean|title=Progress against the law: Anime and fandom, with the key to the globalization of culture|journal=International Journal of Cultural Studies|date=September 1, 2005|volume=8|issue=3|pages=281–305|doi=10.1177/1367877905055679|s2cid=154124888}}</ref> The 1988 film ''[[Akira (1988 film)|Akira]]'' is largely credited with popularizing anime in the Western world during the early 1990s, before anime was further popularized by television shows such as ''[[Pokémon (anime)|Pokémon]]'' and ''[[Dragon Ball Z]]'' in the late 1990s.<ref name="vice">{{cite web|url=https://www.vice.com/en_uk/article/kwk55w/how-akira-has-influenced-modern-culture|title=How 'Akira' Has Influenced All Your Favourite TV, Film and Music|work=[[Vice (magazine)|VICE]]|date=September 21, 2016|access-date=November 7, 2018|archive-url=https://web.archive.org/web/20170730204751/https://www.vice.com/en_uk/article/kwk55w/how-akira-has-influenced-modern-culture|archive-date=July 30, 2017|url-status=live}}</ref><ref name="filmschoolrejects">{{cite web |title='Akira' Is Frequently Cited as Influential. Why Is That? |url=https://filmschoolrejects.com/akira-influence-12cb6d84c0bc/ |website=[[Film School Rejects]] |date=April 3, 2017 |access-date=November 7, 2018 |archive-url=https://web.archive.org/web/20181107205951/https://filmschoolrejects.com/akira-influence-12cb6d84c0bc/ |archive-date=November 7, 2018 |url-status=live }}</ref> By 1997, Japanese anime was the fastest-growing genre in the American video industry.<ref>{{Cite magazine|last=Phipps|first=Lang|date=6 October 1997|title=Is Amano the Best Artist You've Never Heard Of?|url=https://books.google.com/books?id=QugCAAAAMBAJ&pg=PA47|magazine=[[New York Magazine]]|volume=30|issue=38|pages=45–48 (47)|issn=0028-7369|access-date=26 December 2021}}</ref> The growth of the Internet later provided international audiences with an easy way to access Japanese content.<ref name="fansubbingimpact" /> Early on, online piracy played a major role in this, through over time many legal alternatives appeared which significantly reduced illegal practices. Since the 2010s streaming services have become increasingly involved in the production, licensing and distribution of anime for the international markets.<ref>{{Cite web|url = https://www.forbes.com/sites/olliebarder/2017/10/18/netflix-is-currently-funding-thirty-original-anime-productions/|title = Netflix is Currently Funding 30 Original Anime Productions|website = [[Forbes]]|access-date = January 21, 2022|archive-date = October 18, 2017|archive-url = https://web.archive.org/web/20171018215755/https://www.forbes.com/sites/olliebarder/2017/10/18/netflix-is-currently-funding-thirty-original-anime-productions/|url-status = live}}</ref><ref>{{Cite news|url=https://www.theverge.com/2019/12/23/21003549/anime-streaming-wars-netflix-amazon-att-sony-crunchyroll-funimation|title=Anime is one of the biggest fronts in the streaming wars|website=The Verge|date=23 December 2019|access-date=January 21, 2022|archive-date=March 28, 2022|archive-url=https://web.archive.org/web/20220328045549/https://www.theverge.com/2019/12/23/21003549/anime-streaming-wars-netflix-amazon-att-sony-crunchyroll-funimation|url-status=live}}</ref> This is especially the case with net services such as [[Netflix]] and [[Crunchyroll]] which have large catalogs in Western countries, although until 2020 anime fans in multiple developing countries, such as India<ref>{{cite web|url=https://english.jagran.com/entertainment/the-rise-and-rise-of-anime-culture-in-india-and-it-is-here-to-stay-10083378|title=The Rise and Rise of 'Anime' Culture in India and Why It Is Here To Stay|website=[[Jagran Prakashan]]|date=18 June 2023|access-date=April 21, 2024|archive-date=April 21, 2024|archive-url=https://web.archive.org/web/20240421171218/https://english.jagran.com/entertainment/the-rise-and-rise-of-anime-culture-in-india-and-it-is-here-to-stay-10083378|url-status=live}}</ref> and the [[Philippines]], had fewer options for obtaining access to legal content, and therefore would still turn to online piracy.<ref name=":2">{{Cite web|last=Van der Sar|first=Ernesto|date=15 August 2020|title=Piracy Giants KissAnime and KissManga Shut Down|url=https://torrentfreak.com/piracy-giants-kissanime-and-kissmanga-shut-down-200815/|access-date=2020-08-16|website=TorrentFreak|language=en|archive-date=August 15, 2020|archive-url=https://archive.today/20200815214915/https://torrentfreak.com/piracy-giants-kissanime-and-kissmanga-shut-down-200815/|url-status=live}}</ref><ref name=":0">{{Cite web|last=Morrissy|first=Kim|date=2020-08-19|title=Southeast Asia, India Fans Disproportionately Affected by Pirate Site KissAnime Closure|url=https://www.animenewsnetwork.com/interest/2020-08-19/southeast-asia-india-fans-disproportionately-affected-by-pirate-site-kissanime-closure/.163071|access-date=2020-08-25|website=Anime News Network|language=en|archive-date=August 20, 2020|archive-url=https://web.archive.org/web/20200820195257/https://www.animenewsnetwork.com/interest/2020-08-19/southeast-asia-india-fans-disproportionately-affected-by-pirate-site-kissanime-closure/.163071|url-status=live}}</ref> However beginning with the 2020s anime has been experiencing yet another boom in global popularity and demand due to the [[COVID-19 pandemic]] and streaming services like Netflix, [[Amazon Prime Video]], [[HBO Max]], [[Disney+]], [[Hulu]] and anime-only services like Crunchyroll and [[Hidive]], increasing the international availability of the amount of new licensed anime shows as well as the size of their catalogs.<ref>{{cite web |url= https://www.wsj.com/articles/the-world-is-watching-more-animeand-streaming-services-are-buying-11605365629 |title= The world is watching more anime and streaming services are buying |date= November 14, 2020 |website= [[The Wall Street Journal]] |access-date= November 9, 2021 |archive-date= April 22, 2022 |archive-url= https://web.archive.org/web/20220422222339/https://www.wsj.com/articles/the-world-is-watching-more-animeand-streaming-services-are-buying-11605365629 |url-status= live }}</ref><ref>{{cite news |url= https://www.economist.com/business/2021/06/05/streaming-and-covid-19-have-entrenched-animes-global-popularity |title= Streaming and covid-19 have entrenched anime's global popularity |date= June 5, 2021 |newspaper= [[The Economist]] |access-date= November 9, 2021 |archive-date= November 9, 2021 |archive-url= https://web.archive.org/web/20211109124437/https://www.economist.com/business/2021/06/05/streaming-and-covid-19-have-entrenched-animes-global-popularity |url-status= live }}</ref><ref>{{cite web|url=https://www.brandwatch.com/blog/anime-manga-global-interest/|title=Exploring the Anime and Manga Global Takeover|website=Brandwatch|date=24 August 2021|access-date=December 5, 2021|archive-date=December 5, 2021|archive-url=https://web.archive.org/web/20211205220906/https://www.brandwatch.com/blog/anime-manga-global-interest/|url-status=live}}</ref><ref>{{cite web|url=https://www.animenewsnetwork.com/news/2021-06-19/funimation-expands-streaming-service-to-colombia-chile-peru/.174064|title=Funimation Expands Streaming Service to Colombia, Chile, Peru|website=Anime News Network|date=19 June 2021|access-date=November 9, 2021|archive-date=November 9, 2021|archive-url=https://web.archive.org/web/20211109124437/https://www.animenewsnetwork.com/news/2021-06-19/funimation-expands-streaming-service-to-colombia-chile-peru/.174064|url-status=live}}</ref><ref>{{cite web|url=https://www.crunchyroll.com/anime-news/2020/02/22-1/crunchyroll-expands-one-piece-territories-to-europe-and-mena|title=Crunchyroll announces major One Piece catalog expansion across international regions|website=Crunchyroll|date=22 February 2020|access-date=November 9, 2021|archive-date=November 9, 2021|archive-url=https://web.archive.org/web/20211109125902/https://www.crunchyroll.com/anime-news/2020/02/22-1/crunchyroll-expands-one-piece-territories-to-europe-and-mena|url-status=live}}</ref>
Netflix reported that, between October 2019 and September 2020, more than {{nowrap|100 million}} member households worldwide had watched at least one anime title on the platform. Anime titles appeared on the streaming platform's top-ten lists in almost 100 countries within the one-year period.<ref>{{cite news |last1=Frater |first1=Patrick |title=Japanese Anime Is Growing Success Story for Netflix |url=https://variety.com/2020/streaming/asia/japanese-anime-is-growing-success-netflix-1234816488/ |access-date=13 January 2021 |work=Variety |date=27 October 2020 |archive-date=February 12, 2021 |archive-url=https://web.archive.org/web/20210212045242/https://variety.com/2020/streaming/asia/japanese-anime-is-growing-success-netflix-1234816488/ |url-status=live }}</ref>
As of 2021, anime series are the most demanded foreign-language television shows in the United States accounting for 30.5% of the market share. (In comparison, Spanish-language and Korean-language shows account for 21% and 11% of the market share, respectively.)<ref>{{cite news |title=US audiences can't get enough of Japan's anime action shows |url=https://www.bloomberg.com/news/articles/2021-05-11/u-s-audiences-can-t-get-enough-of-japan-s-anime-action-shows |work=Bloomberg |date=12 May 2021 |access-date=October 21, 2021 |archive-date=November 10, 2021 |archive-url=https://web.archive.org/web/20211110233558/https://www.bloomberg.com/news/articles/2021-05-11/u-s-audiences-can-t-get-enough-of-japan-s-anime-action-shows |url-status=live }}</ref> In 2021 more than half of Netflix's global members watched anime.<ref>{{cite news|title= 'Ghost in the Shell SAC_2045,' 'JoJo's Bizarre Adventure' Return as Netflix Reveals 40 Anime Titles for 2022|url= https://variety.com/2022/tv/asia/ghost-in-the-shell-netflix-anime-1235216752/|website= Variety|date= 28 March 2022|access-date= April 3, 2022|archive-date= April 3, 2022|archive-url= https://web.archive.org/web/20220403175754/https://variety.com/2022/tv/asia/ghost-in-the-shell-netflix-anime-1235216752/|url-status= live}}</ref><ref>{{cite news|title= Netflix: More Than Half of Members Globally Watched 'Anime' Last Year|url= https://www.animenewsnetwork.com/daily-briefs/2022-03-30/netflix-more-than-half-of-members-globally-watched-anime-last-year/.184167|website= Anime News Network|date= 30 March 2022|access-date= April 3, 2022|archive-date= April 3, 2022|archive-url= https://web.archive.org/web/20220403175754/https://www.animenewsnetwork.com/daily-briefs/2022-03-30/netflix-more-than-half-of-members-globally-watched-anime-last-year/.184167|url-status= live}}</ref>
In 2022, the anime series ''[[Attack on Titan (TV series)|Attack on Titan]]'' won the award of "Most In-Demand TV Series in the World 2021" in the Global TV Demand Awards. ''Attack on Titan'' became the first ever non-English language series to earn the title of "World's Most In-Demand TV Show", previously held by only ''[[The Walking Dead (TV series)|The Walking Dead]]'' and ''[[Game of Thrones]]''.<ref name="WFMZ-TV"/><ref>{{cite news|url= https://www.parrotanalytics.com/announcements/anime-and-asian-series-dominate-4th-annual-global-tv-demand-awards/|title= Anime and Asian series dominate 4th Annual Global TV Demand Awards, highlighting industry and consumer trends towards international content|website= Parrot Analytics|date= 25 January 2022|access-date= February 7, 2022|archive-date= February 7, 2022|archive-url= https://web.archive.org/web/20220207160322/https://www.parrotanalytics.com/announcements/anime-and-asian-series-dominate-4th-annual-global-tv-demand-awards/|url-status= live}}</ref> In 2024, the anime series ''[[Jujutsu Kaisen]]'' won the award of "Most In-Demand TV Series in the World 2023" in the Global TV Demand Awards.<ref>{{cite news|url=https://todotvnews.com/en/parrot-analytics-unveils-winners-of-6th-annual-global-demand-awards/|title=Parrot Analytics Unveils Winners of 6th Annual Global Demand Awards|website=todotvnews|date=30 January 2024|access-date=February 1, 2024|archive-date=January 31, 2024|archive-url=https://web.archive.org/web/20240131053114/https://todotvnews.com/en/parrot-analytics-unveils-winners-of-6th-annual-global-demand-awards/|url-status=live}}</ref>

Rising interest in anime as well as [[Video games in Japan|Japanese video games]] has led to an increase of university students in the [[United Kingdom]] wanting to get a degree in the [[Japanese language]].<ref>{{cite news|title=Anime and K-pop fuel language-learning boom|url=https://www.taipeitimes.com/News/feat/archives/2021/12/30/2003770413|website=Taipei Times|date=30 December 2021|access-date=January 2, 2022|archive-date=February 7, 2022|archive-url=https://web.archive.org/web/20220207195813/https://www.taipeitimes.com/News/feat/archives/2021/12/30/2003770413|url-status=live}}</ref> The word ''anime'' alongside other Japanese pop cultural terms like ''shonen'', ''shojo'' and ''[[isekai]]'' have been added to the [[Oxford English Dictionary]].<ref>{{cite web|url=https://public.oed.com/blog/japanese-words-in-the-oed/|title=From anime to zen: Japanese words in the OED|website=Oxford English Dictionary|date=4 August 2021|access-date=June 30, 2023|archive-date=June 9, 2023|archive-url=https://web.archive.org/web/20230609012226/https://public.oed.com/blog/japanese-words-in-the-oed/|url-status=live}}</ref><ref>{{cite web|url=https://www.gamesradar.com/anime-and-manga-strongarm-their-way-into-the-oxford-dictionary-as-isekai-and-mangaka-become-official-english-words/|title=Anime and manga strongarm their way into the Oxford dictionary as 'Isekai' and 'Mangaka' become official English words|website=[[GamesRadar+]]|date=28 March 2024|access-date=April 21, 2024|archive-date=April 21, 2024|archive-url=https://web.archive.org/web/20240421171217/https://www.gamesradar.com/anime-and-manga-strongarm-their-way-into-the-oxford-dictionary-as-isekai-and-mangaka-become-official-english-words/|url-status=live}}</ref>

Various anime and manga series have influenced [[Cinema of the United States|Hollywood]] in the making of numerous famous movies and characters.<ref>{{cite web|url=https://screenrant.com/anime-that-inspired-hollywood-movies/|title=10 Anime That Inspired The Making Of Movies In Hollywood|website=Screenrant|date=20 January 2021|access-date=January 29, 2022|archive-date=January 30, 2022|archive-url=https://web.archive.org/web/20220130002956/https://screenrant.com/anime-that-inspired-hollywood-movies/|url-status=live}}</ref> Hollywood itself has produced [[live-action]] adaptations of various anime series such as ''[[Ghost in the Shell (2017)|Ghost in the Shell]]'', ''[[Death Note (2017 film)|Death Note]]'', ''[[Dragon Ball Evolution]]'' and ''[[Cowboy Bebop (2021 TV series)|Cowboy Bebop]]''. However most of these adaptations have been reviewed negatively by both the critics and the audience and have become [[Box-office bomb|box-office flops]]. The main reasons for the unsuccessfulness of Hollywood's adaptions of anime being the often change of plot and characters from the original source material and the limited capabilities a live-action movie or series can do in comparison to an animated counterpart.<ref>{{cite web|url=https://www.businessinsider.com/anime-movies-hollywood-adaptations-bad-flops-film-studios-2019-1|title=Why Hollywood adaptations of anime movies keep flopping|website=BusinessInsider|date=11 January 2019|access-date=January 29, 2022|archive-date=January 12, 2019|archive-url=https://web.archive.org/web/20190112185538/https://www.businessinsider.com/anime-movies-hollywood-adaptations-bad-flops-film-studios-2019-1|url-status=live}}</ref><ref>{{cite web|url= https://www.cnbc.com/2019/08/10/why-hollywood-should-stay-away-from-live-action-remakes-of-anime.html|title= Why Hollywood should leave anime out of its live-action remake obsession|website= CNBC|date= 10 August 2019|access-date= January 29, 2022|archive-date= January 30, 2022|archive-url= https://web.archive.org/web/20220130023632/https://www.cnbc.com/2019/08/10/why-hollywood-should-stay-away-from-live-action-remakes-of-anime.html|url-status= live}}</ref> One of the few particular exceptions to this includes ''[[Alita: Battle Angel]]'', which has become a moderate commercial success, receiving generally positive reviews from both the critics and the audience for its visual effects and following the source material. The movie grossed $404 million worldwide, making it director [[Robert Rodriguez]]'s highest-grossing film.<ref>{{cite web|url=https://screenrant.com/alita-battle-angel-box-office-success/|title=Alita: Battle Angel Was (Just) A Box Office Success|website=[[Screen Rant]]|date=12 March 2019|access-date=February 1, 2022|archive-date=February 1, 2022|archive-url=https://web.archive.org/web/20220201181747/https://screenrant.com/alita-battle-angel-box-office-success/|url-status=live}}</ref><ref>{{cite web|url=https://movieweb.com/alita-2-battle-angel-box-office-success/|title=Alita Wasn't the Bomb Everyone Expected, a Sequel Is Very Possible|website=[[MovieWeb]]|date=2 April 2019|access-date=February 1, 2022|archive-date=February 1, 2022|archive-url=https://web.archive.org/web/20220201183036/https://movieweb.com/alita-2-battle-angel-box-office-success/|url-status=live}}</ref>

[[Anime and manga]] alongside many other imports of [[Japanese pop culture]] have helped Japan to gain a positive worldwide image and improve its relations with other countries<ref>{{Cite web |last=Nagata |first=Kazuaki |date=7 September 2010 |title=Anime makes Japan a cultural superpower |url=https://www.japantimes.co.jp/news/2010/09/07/reference/anime-makes-japan-superpower/ |via=Japan Times Online |access-date=June 30, 2023 |archive-date=July 7, 2018 |archive-url=https://web.archive.org/web/20180707010033/https://www.japantimes.co.jp/news/2010/09/07/reference/anime-makes-japan-superpower/ |url-status=live }}</ref><ref>{{cite journal|last1=Tamaki|first1=Taku|title=Japan has turned its culture into a powerful political tool|url=http://theconversation.com/japan-has-turned-its-culture-into-a-powerful-political-tool-72821|journal=The Conversation|date=April 26, 2017|language=en|access-date=May 5, 2023|archive-date=November 18, 2021|archive-url=https://web.archive.org/web/20211118214114/https://theconversation.com/japan-has-turned-its-culture-into-a-powerful-political-tool-72821|url-status=live}}</ref><ref>{{Cite news|title=How Japan's global image morphed from military empire to eccentric pop-culture superpower|url=https://qz.com/1806376/japans-image-has-changed-from-fierce-to-lovable-over-the-decades/|publisher=[[Quartz (publication)|Quartz]]|date=2020-05-27|access-date=January 20, 2022|archive-date=October 21, 2021|archive-url=https://web.archive.org/web/20211021121139/https://qz.com/1806376/japans-image-has-changed-from-fierce-to-lovable-over-the-decades/|url-status=live}}</ref> such as its [[East Asian]] neighbours China<ref>{{Cite journal |last=Wu |first=Yuqing |date=2021-08-05 |title=Can Pop Culture Allay Resentment? Japan's Influence in China Today |url=https://www.cogitatiopress.com/mediaandcommunication/article/view/4117 |journal=Media and Communication |language=en |volume=9 |issue=3 |pages=112–122 |doi=10.17645/mac.v9i3.4117 |issn=2183-2439 |doi-access=free |access-date=February 21, 2024 |archive-date=February 26, 2024 |archive-url=https://web.archive.org/web/20240226201450/https://www.cogitatiopress.com/mediaandcommunication/article/view/4117 |url-status=live }}</ref><ref>{{cite web|url=https://www.abc.net.au/news/2024-07-12/japanese-anime-soft-power-pokemon-astro-boy-military-manga/104042324|title=From military empire to pop culture phenomenon: Inside Japan's animation revolution|website=[[Australian Broadcasting Corporation]]|date=11 July 2024}}</ref> and [[South Korea]].<ref>{{cite web|url=https://www.scmp.com/lifestyle/arts-culture/article/3220292/new-phase-anime-j-pop-japanese-culture-grows-popularity-south-korea-new-generation-separates-arts|title='A new phase': from anime to J-pop, Japanese culture grows in popularity in South Korea, as new generation separates arts and politics|website=[[South China Morning Post]]|date=14 May 2023|access-date=February 21, 2024|archive-date=February 21, 2024|archive-url=https://web.archive.org/web/20240221175141/https://www.scmp.com/lifestyle/arts-culture/article/3220292/new-phase-anime-j-pop-japanese-culture-grows-popularity-south-korea-new-generation-separates-arts|url-status=live}}</ref> In 2015, during remarks welcoming Japanese Prime Minister [[Shinzo Abe]] to the White House, President [[Barack Obama]] thanked Japan for its cultural contributions to the United States by saying:

{{blockquote|This visit is a celebration of the ties of friendship and family that bind our peoples. I first felt it when I was 6 years old when my mother took me to Japan. I felt it growing up in Hawaii, like communities across our country, home to so many proud Japanese Americans... Today is also a chance for Americans, especially our young people, to say thank you for all the things we love from Japan. Like [[karate]] and [[karaoke]]. [[Manga]] and anime. And, of course, [[emojis]].<ref>{{cite news|url=https://www.washingtonpost.com/news/post-politics/wp/2015/04/28/president-obama-thanks-japanese-leader-for-karaoke-emojis/|title=President Obama thanks Japanese leader for karaoke, emoji|newspaper=The Washington Post|date=28 April 2015}}</ref>}}

In July 2020, after the approval of a Chilean government project in which citizens of [[Chile]] would be allowed to withdraw up to 10% of their privately held retirement savings, journalist [[Pamela Jiles (journalist)|Pamela Jiles]] celebrated by running through Congress with her arms spread out behind her, imitating the move of many characters of the anime and manga series ''[[Naruto]]''.<ref>{{Cite news|last=Laing|first=Aislinn|date=16 July 2020|title=Pink-caped Chilean deputy brings lawmakers to their feet to celebrate coronavirus bill|language=en|work=[[Reuters]]|url=https://www.reuters.com/article/us-health-coronavirus-chile-pensions-idUSKCN24G3B4|access-date=22 April 2021|archive-date=January 20, 2022|archive-url=https://web.archive.org/web/20220120224917/https://www.reuters.com/article/us-health-coronavirus-chile-pensions-idUSKCN24G3B4|url-status=live}}</ref><ref>{{Cite web|last=Quinteros|first=Paulo|date=15 July 2020|title=Hokage Jiles: La diputada celebró la aprobación del proyecto del 10% corriendo a lo Naruto|url=https://www.latercera.com/mouse/hokage-jiles-la-diputada-celebro-la-aprobacion-del-proyecto-del-10-corriendo-a-lo-naruto/|access-date=22 April 2021|website=[[La Tercera]]|archive-date=January 20, 2022|archive-url=https://web.archive.org/web/20220120224925/https://www.latercera.com/mouse/hokage-jiles-la-diputada-celebro-la-aprobacion-del-proyecto-del-10-corriendo-a-lo-naruto/|url-status=live}}</ref> In April 2021, [[Peru]]vian politicians Jorge Hugo Romero of the [[Christian People's Party (Peru)|PPC]] and Milagros Juárez of the [[Union for Peru|UPP]] cosplayed as anime characters to get the ''[[otaku]]'' vote.<ref>{{cite news|url= https://www.animenewsnetwork.com/interest/2021-04-14/peruvian-politicians-cosplay-anime-characters-to-score-the-otaku-vote/.171709|title= Peruvian Politicians Cosplay Anime Characters to Score the "Otaku" Vote|website= Anime News Network|date= 14 April 2021|access-date= January 20, 2022|archive-date= January 20, 2022|archive-url= https://web.archive.org/web/20220120225847/https://www.animenewsnetwork.com/interest/2021-04-14/peruvian-politicians-cosplay-anime-characters-to-score-the-otaku-vote/.171709|url-status= live}}</ref> On October 28, 2024, [[Vatican City|The Vatican]] unveiled its own anime-styled mascot, "[[Luce (mascot)|Luce]]", in order to connect with Catholic youth through pop culture.<ref>{{Cite web |last=Peters |first=Megan |date=2024-10-28 |title=The Vatican Goes Full Anime With New Catholic Mascot: Watch Now |url=https://comicbook.com/anime/news/anime-character-the-vatican-catholic-japan/ |access-date=2024-10-28 |website=[[ComicBook.com]] |language=en-US}}</ref>

In April 2023, the [[Japan Business Federation]] laid out a proposal aiming to spur the economic growth of [[Economy of Japan|Japan]] by further promoting the contents industry abroad, primarily anime, manga and [[Video games in Japan|video games]], for measures to invite industry experts from abroad to come to Japan to work, and to link with the [[Tourism in Japan|tourism sector]] to help foreign fans of manga and anime visit sites across the country associated with particular manga stories. The federation seeks on quadrupling the sales of Japanese content in overseas markets within the upcoming 10 years.<ref>{{Cite web |last=Nguyen |first=Joana |date=2023-04-10 |title=Japan's leading business lobby group says anime, manga key to economic growth |url=https://www.scmp.com/video/asia/3216598/japans-leading-business-lobby-group-says-anime-manga-key-economic-growth |website=[[South China Morning Post]] |access-date=June 30, 2023 |archive-date=June 29, 2023 |archive-url=https://web.archive.org/web/20230629011447/https://www.scmp.com/video/asia/3216598/japans-leading-business-lobby-group-says-anime-manga-key-economic-growth |url-status=live }}</ref><ref>{{cite web|url=https://www.dw.com/en/japan-manga-to-spearhead-nations-economic-growth/a-65393781|title=Japan: Manga to spearhead nation's economic growth|website=[[Deutsche Welle|DW]]|date=23 April 2023|access-date=June 30, 2023|archive-date=June 30, 2023|archive-url=https://web.archive.org/web/20230630204528/https://www.dw.com/en/japan-manga-to-spearhead-nations-economic-growth/a-65393781|url-status=live}}</ref>

A 2018 survey conducted in 20 countries and territories using a sample consisting of 6,600 respondents held by [[Dentsu]] revealed that 34% of all surveyed people found excellency in [[anime and manga]] more than other Japanese cultural or technological aspects, which makes this mass Japanese media the third most-liked "Japanese thing", below [[Japanese cuisine]] (34.6%) and [[Japanese robotics]] (35.1%). The advertisement company views anime as a profitable tool for marketing campaigns in foreign countries due to its popularity and high reception.<ref>{{cite web|title= Harnessing the Power of Anime as an Outstanding Marketing Solution|url= https://www.dentsu.co.jp/en/showcase/harnessing_the_power_of_anime.html|website= Dentsu|date= 1 March 2019|access-date= January 28, 2022|archive-date= January 28, 2022|archive-url= https://web.archive.org/web/20220128170442/https://www.dentsu.co.jp/en/showcase/harnessing_the_power_of_anime.html|url-status= live}}</ref>

Anime plays a role in driving tourism to Japan. In surveys held by [[Statista]] between 2019 and 2020, 24.2% of tourists from the United States, 7.7% of tourists from China and 6.1% of tourists from South Korea said they were motivated to visit Japan because of [[Japanese popular culture]].<ref>{{cite web|url=https://www.statista.com/topics/7495/anime-industry-in-japan/#dossierKeyfigures|title=Anime industry in Japan - statistics and facts|website=Statista|date=17 January 2022|access-date=December 4, 2021|archive-date=December 4, 2021|archive-url=https://web.archive.org/web/20211204121928/https://www.statista.com/topics/7495/anime-industry-in-japan/#dossierKeyfigures|url-status=live}}</ref> In a 2021 survey held by Crunchyroll market research, 94% of [[Generation Z|Gen-Z's]] and 73% of the general population said that they are familiar with anime.<ref>{{cite web|url=https://www.animenewsnetwork.com/interest/2021-07-09/crunchyroll-market-research-only-6-percent-of-gen-z-dont-know-what-anime-is/.174962|title=Crunchyroll Market Research: Only 6% of Gen Z Don't Know What Anime Is|website=Anime News Network|date=9 July 2021|access-date=January 18, 2022|archive-date=January 18, 2022|archive-url=https://web.archive.org/web/20220118132722/https://www.animenewsnetwork.com/interest/2021-07-09/crunchyroll-market-research-only-6-percent-of-gen-z-dont-know-what-anime-is/.174962|url-status=live}}</ref><ref>{{cite web|url=https://comicbook.com/anime/news/anime-manga-popularity-gen-z-adults/|title=Anime Poll Reveals How Popular It Has Become with Gen Z|website=CBR|date=11 July 2021|access-date=January 18, 2022|archive-date=July 16, 2022|archive-url=https://web.archive.org/web/20220716095932/https://comicbook.com/anime/news/anime-manga-popularity-gen-z-adults/|url-status=live}}</ref>

=== Fan response ===
{{see also|Anime and manga fandom|ACG (subculture)|List of anime conventions}} 
[[File:Tracon 2013 06.jpg|thumb|[[Cosplay]] of [[Madoka Kaname]] and [[Kyubey]] from ''[[Puella Magi Madoka Magica]]'' during Tracon 2013 event at the [[Tampere Hall]] in [[Tampere]], [[Finland]]]]

[[Anime club]]s gave rise to [[anime convention]]s in the 1990s with the "anime boom", a period marked by anime's increased global popularity.{{sfn|Poitras|2000|p=73}} These conventions are dedicated to anime and manga and include elements like [[cosplay]] contests and industry talk panels.{{sfn|Brenner|2007|p=211}} Cosplay, a [[portmanteau]] of "costume play", is not unique to anime and has become popular in contests and masquerades at anime conventions.{{sfn|Brenner|2007|pp=214–215}} Japanese culture and words have entered English usage through the popularity of the medium, including ''[[otaku]]'', an unflattering Japanese term commonly used in English to denote an obsessive fan of anime or manga.{{sfn|Brenner|2007|p=195}} Another word that has arisen describing obsessive fans in the United States is ''wapanese'' meaning 'white individuals who want to be Japanese, or later known as ''[[Japanophilia#21st century|weeaboo]]'' or ''weeb'', individuals who demonstrate an obsession with Japanese anime subculture, a term that originated from abusive content posted on the website [[4chan.org]].<ref>{{cite web|last=Davis|first=Jesse Christian|title=Japanese animation in America and its fans|url=http://ir.library.oregonstate.edu/xmlui/bitstream/handle/1957/8736/thesis.pdf|access-date=December 12, 2015|archive-url=https://web.archive.org/web/20160304113039/http://ir.library.oregonstate.edu/xmlui/bitstream/handle/1957/8736/thesis.pdf|archive-date=March 4, 2016|url-status=live}}</ref> While originally derogatory, the terms "Otaku" and "Weeb" have been [[reappropriated]] by the anime fandom overtime and today are used by some fans to refer to themselves in a comedic and more positive way.<ref>{{cite web|url=https://www.cbr.com/otaku-or-weeb-the-differences-insults/|title=Otaku or Weeb: The Differences Between Anime Fandom's Most Famous Insults|website=CBR|date=31 May 2020|access-date=November 22, 2021|archive-date=November 22, 2021|archive-url=https://web.archive.org/web/20211122193854/https://www.cbr.com/otaku-or-weeb-the-differences-insults/|url-status=live}}</ref>
Anime enthusiasts have produced [[fan fiction]] and [[fan art]], including computer wallpapers, and [[anime music video]]s (AMVs).{{sfn|Brenner|2007|p=201–205}}

Many fans visit sites depicted in anime, games, manga and other forms of otaku culture. This behavior is known as "[[Seichi junrei|Anime pilgrimage]]".<ref>{{Cite journal |last1=Liu |first1=Shang |last2=Lai |first2=Dan |last3=Li |first3=Zhiyong |date=2022-03-01 |title=The identity construction of Chinese anime pilgrims |url=https://www.sciencedirect.com/science/article/pii/S016073832200024X |journal=Annals of Tourism Research |language=en |volume=93 |pages=103373 |doi=10.1016/j.annals.2022.103373 |s2cid=246853441 |issn=0160-7383}}</ref>

As of the 2020s, many anime fans and followers use social media platforms and other sites like [[YouTube]], [[Bilibili]], [[Twitch (service)|Twitch]],<ref>{{cite web|url=https://blog.twitch.tv/en/2017/10/05/anime-returns-to-twitch-with-two-back-to-back-marathons-73f25941fa6b/|title=Anime returns to Twitch with two back-to-back marathons|website=blog.twitch.tv|date=5 October 2017|access-date=October 6, 2023|archive-date=October 14, 2023|archive-url=https://web.archive.org/web/20231014225745/https://blog.twitch.tv/en/2017/10/05/anime-returns-to-twitch-with-two-back-to-back-marathons-73f25941fa6b/|url-status=live}}</ref> [[Fandom (website)|Fandom]],<ref>{{cite book | chapter-url=https://www.taylorfrancis.com/chapters/edit/10.4324/9780203117927-6/wikis-participatory-fandom-jason-mittell | doi=10.4324/9780203117927-6/wikis-participatory-fandom-jason-mittell | doi-broken-date=November 1, 2024 | title=The Participatory Cultures Handbook | chapter=Wikis and Participatory Fandom | year=2012 | publisher=Routledge | isbn=9780203117927 | access-date=April 19, 2023 | archive-date=April 19, 2023 | archive-url=https://web.archive.org/web/20230419173429/https://www.taylorfrancis.com/chapters/edit/10.4324/9780203117927-6/wikis-participatory-fandom-jason-mittell | url-status=live }}</ref> [[Facebook]], [[Reddit]],<ref>{{cite web|url=https://www.reddit.com/r/anime/|title=/r/Anime|website=Reddit|access-date=December 16, 2021|archive-date=December 16, 2021|archive-url=https://web.archive.org/web/20211216162836/https://www.reddit.com/r/anime/|url-status=live}}</ref> [[Discord]],<ref>{{cite book | url=http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20514 | title=KB URN resolver | year=2020 | publisher=Malmö universitet/Teknik och samhälle | access-date=April 19, 2023 | archive-date=April 19, 2023 | archive-url=https://web.archive.org/web/20230419172754/http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20514 | url-status=live }}</ref> [[Tumblr]],<ref>{{cite web |url=https://www.academia.edu/12388417 |title=Attack on Fandom: How Attack on Titan Fans Use Tumblr |first=Mariya |last=Shcherbinina |via=Academia.edu |access-date=5 February 2023 |archive-date=April 7, 2023 |archive-url=https://web.archive.org/web/20230407054740/https://www.academia.edu/12388417 |url-status=live }}</ref> [[4chan]], [[TikTok]] and [[Twitter]]<ref>{{cite web|url=https://sproutsocial.com/insights/twitter-trending-topics/|title=Twitter trending topics: How they work and how to use them|website=Sprout Social|date=15 March 2021|access-date=December 16, 2021|archive-date=December 16, 2021|archive-url=https://web.archive.org/web/20211216162839/https://sproutsocial.com/insights/twitter-trending-topics/|url-status=live}}</ref><ref name="ktops"/> with online communities and databases such as [[IMDb]], [[MyAnimeList]] to discuss anime, manga and track their progress watching respective series as well as using news outlets such as [[Anime News Network]].<ref name="kotakumal">{{Cite web |url=https://www.kotaku.com.au/2018/01/why-some-fans-watch-anime-at-double-speed/ |title=Why Some Fans Watch Anime At Double Speed |date=January 11, 2018 |website=[[Kotaku]] Australia |publisher=[[Gawker Media]] |language=en |access-date=June 4, 2018 |archive-url=https://web.archive.org/web/20180619035944/https://www.kotaku.com.au/2018/01/why-some-fans-watch-anime-at-double-speed/ |archive-date=June 19, 2018 |url-status=dead }}</ref><ref name="forbes">{{Cite web |url=https://www.forbes.com/sites/laurenorsini/2018/05/30/myanimelist-passes-third-day-of-unexpected-downtime/ |title=MyAnimeList Passes Third Day Of Unexpected Downtime |last=Orsini |first=Lauren |website=[[Forbes]] |language=en |access-date=June 4, 2018 |archive-url=https://web.archive.org/web/20180619040817/https://www.forbes.com/sites/laurenorsini/2018/05/30/myanimelist-passes-third-day-of-unexpected-downtime/ |archive-date=June 19, 2018 |url-status=live}}</ref>

According to Crunchyroll's research data from 2023 to 2024 provided by its President Rahul Parini, revealed that there are approximately 800 million people globally (outside of China and Japan) who are either highly aware of anime, show interest in anime or currently watch anime and identify as fans.<ref>{{cite web|url=https://www.theverge.com/2024/2/26/24081180/crunchyroll-president-purini-anime-funimation-shutdown-sony-merger-decoder-interview|title=Crunchyroll president Rahul Purini on how anime took over the world|date=26 February 2024|website=[[The Verge]]|access-date=March 30, 2024|archive-date=March 30, 2024|archive-url=https://web.archive.org/web/20240330200505/https://www.theverge.com/2024/2/26/24081180/crunchyroll-president-purini-anime-funimation-shutdown-sony-merger-decoder-interview|url-status=live}}</ref><ref>{{cite web|url=https://www.smh.com.au/culture/movies/800-million-and-growing-why-everyone-wants-a-piece-of-the-anime-action-20240314-p5fcek.html|title=800 million and growing: Why everyone wants a piece of the anime action|date=16 March 2024|website=[[The Sydney Morning Herald]]|access-date=March 30, 2024|archive-date=March 30, 2024|archive-url=https://web.archive.org/web/20240330200505/https://www.smh.com.au/culture/movies/800-million-and-growing-why-everyone-wants-a-piece-of-the-anime-action-20240314-p5fcek.html|url-status=live}}</ref><ref>{{cite web|url=https://www.japantimes.co.jp/life/2023/07/15/digital/anime-crunchyroll-sony/|title=Former piracy site Crunchyroll cashes in on anime's global appeal|date=15 July 2023|website=[[The Japan Times]]|access-date=March 30, 2024|archive-date=March 30, 2024|archive-url=https://web.archive.org/web/20240330200505/https://www.japantimes.co.jp/life/2023/07/15/digital/anime-crunchyroll-sony/|url-status=live}}</ref>

According to a 2024 survey conducted on anime fans by [[Polygon (website)|Polygon]], 65% of the surveyed anime fans said that they find anime more emotionally compelling than other forms of media and more than 3 in 4 of [[Millennial]] and Gen-Z fans use the medium as a form of [[escapism]]. Almost two-thirds of the anime-watching Gen Z audience said they emotionally connect better with anime than they do with traditional media. Over 50% of surveyed Gen-Z anime fans said that anime influences their identity, fashion and social understanding.<ref>{{cite web|url=https://www.polygon.com/c/2024/1/22/24034466/anime-viewer-survey-research|title=Anime is huge — and here are the numbers to prove it|website=[[Polygon (website)|Polygon]]|date=22 January 2024}}</ref>

Due to anime's increased popularity in recent years, a large number of celebrities such as [[Elon Musk]], [[BTS]] and [[Ariana Grande]] have come out as anime fans.<ref>{{cite web|url=https://www.cbr.com/bts-celebrities-anime-huge-fans/|title=BTS & 9 Other Celebrities Who Are Huge Anime Fans|website=CBR|date=13 March 2021|access-date=December 16, 2021|archive-date=December 16, 2021|archive-url=https://web.archive.org/web/20211216162839/https://www.cbr.com/bts-celebrities-anime-huge-fans/|url-status=live}}</ref>

=== Anime style ===
{{Main|Anime-influenced animation}}
One of the key points that differentiated anime from a handful of Western cartoons is the potential for visceral content. Once the expectation that the aspects of visual intrigue or animation are just for children is put aside, the audience can realize that themes involving violence, suffering, sexuality, pain, and death can all be storytelling elements utilized in anime just as much as other media.{{sfn|MacWilliams|2008|p=307}}

{{Quote box
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However, as anime itself became increasingly popular, its styling has been inevitably the subject of both satire and serious creative productions.<ref name="anna" /> ''[[South Park]]''{{'}}s "[[Chinpokomon]]" and "[[Good Times with Weapons]]" episodes, [[Adult Swim]]'s ''[[Perfect Hair Forever]]'', and [[Nickelodeon]]'s ''[[Kappa Mikey]]'' are examples of Western satirical depictions of Japanese culture and anime, but anime tropes have also been satirized by some anime such as ''[[KonoSuba]].''

Traditionally only Japanese works have been considered anime, but some works have sparked debate about blurring the lines between anime and cartoons, such as the American anime-style productions ''[[Avatar: The Last Airbender]]'' and ''[[Avatar: The Legend of Korra]]''.<ref name="escapist">{{cite web|last=O'Brien|first=Chris|title=Can Americans Make Anime?|url=http://www.escapistmagazine.com/articles/view/features/9829-Can-Americans-Make-Anime|work=The Escapist|access-date=July 17, 2013|date=July 30, 2012|archive-url=https://web.archive.org/web/20121018071546/http://www.escapistmagazine.com/articles/view/features/9829-Can-Americans-Make-Anime|archive-date=October 18, 2012|url-status=live}}</ref> These anime-styled works have become defined as [[anime-influenced animation]], in an attempt to classify all anime styled works of non-Japanese origin.<ref name="whatisanime">{{cite web |url=https://www.animenewsnetwork.com/editorial/2002-07-26 |title=What is anime? |date=July 26, 2002 |access-date=August 18, 2007 |work=ANN| archive-url= https://web.archive.org/web/20070820052800/http://www.animenewsnetwork.com/editorial/2002-07-26| archive-date= August 20, 2007 | url-status=live}}</ref> Some creators of these works cite anime as a source of inspiration, for example the French production team for ''[[Ōban Star-Racers]]'' that moved to Tokyo to collaborate with a Japanese production team.<ref>{{cite web|title=Aaron McGruder - The Boondocks Interview|url=http://www.ugo.com/ugo/html/article/?id=17924|url-status=dead|archive-url=https://web.archive.org/web/20071030033247/http://www.ugo.com/ugo/html/article/?id=17924|archive-date=October 30, 2007|access-date=October 14, 2007|work=Troy Rogers|publisher=UnderGroundOnline|quote=We looked at Samurai Champloo and Cowboy Bebop to make this work for black comedy and it would be a remarkable thing.}}</ref><ref>{{cite web |url=http://www.g4tv.com/screensavers/features/49962/Ten_Minutes_with_Megas_XLR.html |title=Ten Minutes with "Megas XLR" |date=October 13, 2004 |access-date=November 27, 2007 |archive-url=https://web.archive.org/web/20070929123347/http://www.g4tv.com/screensavers/features/49962/Ten_Minutes_with_Megas_XLR.html |archive-date=September 29, 2007 |url-status=live }}</ref><ref name="company">{{cite web |url=http://www.savtheworld.com/eng/company.php |archive-url=https://web.archive.org/web/20070813141936/http://www.savtheworld.com/eng/company.php |url-status=dead |archive-date=August 13, 2007 |title=STW company background summary }}</ref> When anime is defined as a "style" rather than as a national product, it leaves open the possibility of anime being produced in other countries,<ref name="escapist" /> but this has been contentious amongst fans, with John Oppliger stating, "The insistence on referring to original American art as Japanese "anime" or "manga" robs the work of its cultural identity."<ref name="anna" /><ref>{{cite web|date=May 15, 2006|title=How should the word ''Anime'' be defined?|url=http://www.animenation.net/blog/2006/05/15/ask-john-how-should-the-word-anime-be-defined/|url-status=dead|archive-url=https://web.archive.org/web/20081217143953/http://www.animenation.net/blog/2006/05/15/ask-john-how-should-the-word-anime-be-defined/|archive-date=December 17, 2008|access-date=September 26, 2008|work=AnimeNation}}</ref>

While some anime will depict non-Japanese characters with specific ethnic features, such as a pronounced nose and jutting jaw for European characters,<ref name="do1"/> there are some styles that deliberately forgo any identification of its characters with real-world ethnicities or nationalities, termed in criticism as ''[[mukokuseki]]'' (statelessness). ''Mukokuseki'' characters can significantly impact the reception of a property outside of Japan.<ref name=CuteCult>Bîrlea, Oana-Maria. “Soft Power: ’Cute Culture’, a Persuasive Strategy in Japanese Advertising.” TRAMES: A Journal of the Humanities & Social Sciences, vol. 27, no. 3, July 2023, pp. 311–24. EBSCOhost via [[WP:The Wikipedia Library|Wikipedia Library]], https://doi.org/10.3176/tr.2023.3.07.</ref><ref name=CBRnation>Altiok, Revna. "[https://www.cbr.com/mukokuseki-no-nationality-importance-in-anime/ What Is Mukokuseki in Anime – And Why Is It Important?] {{Webarchive|url=https://web.archive.org/web/20240119143318/https://www.cbr.com/mukokuseki-no-nationality-importance-in-anime/ |date=January 19, 2024 }}" from ''[[Comic Book Resources]]'', 24 June 2022.</ref>

A [[United Arab Emirates|U.A.E.]]-[[Philippines|Filipino]] produced TV series called ''Torkaizer'' is dubbed as the "Middle East's First Anime Show", and is currently in production<ref name="Torkaizer">{{cite web|last=Fakhruddin|first=Mufaddal|title='Torkaizer', Middle East's First Anime Show|url=http://me.ign.com/en/news/9594/-torkaizer-middle-east-s-first-anime-show|website=IGN|access-date=June 12, 2013|archive-url=https://web.archive.org/web/20130630133627/http://me.ign.com/en/news/9594/-torkaizer-middle-east-s-first-anime-show|archive-date=June 30, 2013|url-status=live|date=April 9, 2013}}</ref> and looking for funding.<ref>{{cite web|last1=Green|first1=Scott|title=VIDEO: An Updated Look at "Middle East's First Anime"|url=http://www.crunchyroll.com/anime-news/2013/12/26/video-an-updated-look-at-middle-easts-first-anime|website=Crunchyroll|access-date=August 20, 2014|date=December 26, 2013|archive-url=https://web.archive.org/web/20141103233248/http://www.crunchyroll.com/anime-news/2013/12/26/video-an-updated-look-at-middle-easts-first-anime|archive-date=November 3, 2014|url-status=live}}</ref>{{Update inline|date=July 2024|reason=These citations are over 10 years old. Did Torkaizer gets its funding or not? What exactly happened here?}} Netflix has produced multiple anime series in collaboration with Japanese animation studios,<ref>{{cite web|last1=Schley|first1=Matt|title=Netflix May Produce Anime|url=http://www.otakuusamagazine.com/LatestNews/News1/Netflix-May-Produce-Anime-7035.aspx|website=OtakuUSA|date=November 5, 2015|access-date=November 17, 2015|archive-url=https://web.archive.org/web/20151107204830/http://otakuusamagazine.com/LatestNews/News1/Netflix-May-Produce-Anime-7035.aspx|archive-date=November 7, 2015|url-status=live}}</ref> and in doing so, has offered a more accessible channel for distribution to Western markets.<ref>{{cite web|last1=Barder|first1=Ollie|title=Netflix Is Interested In Producing Its Own Anime|url=https://www.forbes.com/sites/olliebarder/2015/11/04/netflix-is-interested-in-producing-its-own-anime/|work=Forbes|access-date=November 17, 2015|archive-url=https://web.archive.org/web/20170729115913/https://www.forbes.com/sites/olliebarder/2015/11/04/netflix-is-interested-in-producing-its-own-anime/|archive-date=July 29, 2017|url-status=live}}</ref> Similar initiatives have been enacted by the US-based streaming service Crunchyroll,<ref name=CrunchyOriginals>{{cite web|url=https://www.animenewsnetwork.com/news/2020-02-25/crunchyroll-unveils-7-crunchyroll-originals-works-including-tower-of-god-noblesse-god-of-high-school/.156748|title=Crunchyroll Unveils 7 'Crunchyroll Originals' Works Including Tower of God, Noblesse, God of High School|publisher=[[Anime News Network]]|date=February 25, 2020|access-date=July 25, 2020|archive-date=February 25, 2020|archive-url=https://web.archive.org/web/20200225153220/https://www.animenewsnetwork.com/news/2020-02-25/crunchyroll-unveils-7-crunchyroll-originals-works-including-tower-of-god-noblesse-god-of-high-school/.156748|url-status=live}}</ref> producing titles such as ''[[High Guardian Spice]]'' and an adaptation of ''[[Tower of God]]''.

The web-based series ''[[RWBY]]'', produced by [[Texas]]-based company [[Rooster Teeth]], is produced using an anime art style, and the series has been described as "anime" by multiple sources. For example, ''[[Adweek]]'', in the headline to one of its articles, described the series as "American-made anime",<ref name = "AdweekRWBY">{{cite web|last1=Castillo|first1=Michelle|title=American-Made Anime From Rooster Teeth Gets Licensed In Japan|url=http://www.adweek.com/news/technology/american-made-anime-rooster-teeth-gets-licensed-japan-159528|website=AdWeek|access-date=August 20, 2014|date=August 15, 2014|archive-url=https://web.archive.org/web/20140819090314/http://www.adweek.com/news/technology/american-made-anime-rooster-teeth-gets-licensed-japan-159528|archive-date=August 19, 2014|url-status=live}}</ref> and in another headline, ''[[HuffPost|The Huffington Post]]'' described it as simply "anime", without referencing its country of origin.<ref>{{cite web|last=Lazar|first=Shira|title=Roosterteeth Adds Anime RWBY To YouTube Slate (WATCH)|url=https://www.huffingtonpost.com/shira-lazar/roosterteeth-adds-anime-r_b_3720316.html|publisher=Huffingtonpost|access-date=August 15, 2013|date=August 7, 2013|archive-url=https://web.archive.org/web/20131029134907/http://www.huffingtonpost.com/shira-lazar/roosterteeth-adds-anime-r_b_3720316.html|archive-date=October 29, 2013|url-status=live}}</ref> In 2013, [[Monty Oum]], the creator of ''RWBY'', said "Some believe just like Scotch needs to be made in Scotland, an American company can't make anime. I think that's a narrow way of seeing it. Anime is an art form, and to say only one country can make this art is wrong."<ref name="rwby">{{cite web|last=Rush|first=Amanda|title=FEATURE: Inside Rooster Teeth's "RWBY"|url=http://www.crunchyroll.com/anime-news/2013/07/12/feature-inside-rooster-teeths-rwby|publisher=Crunchyroll|access-date=July 18, 2013|date=July 12, 2013|archive-url=https://web.archive.org/web/20130716153934/http://www.crunchyroll.com/anime-news/2013/07/12/feature-inside-rooster-teeths-rwby|archive-date=July 16, 2013|url-status=live}}</ref> ''RWBY'' has been released in Japan with a Japanese language dub;<ref>{{cite web|title=海外3DCGアニメ『RWBY』吹き替え版BD・DVD販売決定！ コミケで発表|url=http://kai-you.net/article/7931|website=KAI-YOU|access-date=August 19, 2014|date=August 16, 2014|archive-url=https://web.archive.org/web/20140819232942/http://kai-you.net/article/7931|archive-date=August 19, 2014|url-status=live}}</ref> the CEO of [[Rooster Teeth]], [[Matt Hullum]], commented "This is the first time any American-made anime has been marketed to Japan. It definitely usually works the other way around, and we're really pleased about that."<ref name = "AdweekRWBY" />

=== Media franchises ===
{{Further|Media mix|List of highest-grossing media franchises}}
[[File:Pokemon Center Singapore.jpg|thumb|[[Pokémon Center]] in Singapore at the [[Jewel Changi Airport]]]]

In [[Japanese culture]] and entertainment, media mix is a strategy to disperse content across multiple representations: different [[broadcast media]], gaming technologies, cell phones, toys, [[amusement park]]s, and other methods.<ref name=jen>[[Henry Jenkins]], ''Convergence Culture: Where Old and New Media Collide'', [https://archive.org/details/isbn_9780814742815/page/110 p. 110]</ref> It is the Japanese term for a [[Media franchise#Transmedia franchise|transmedia franchise]].<ref name="Steinberg">Marc Steinberg, ''Anime's Media Mix: Franchising Toys and Characters in Japan''</ref><ref>{{cite journal|last=Denison|first=Rayna|url=https://www.academia.edu/3693690|title=Manga Movies Project Report 1 - Transmedia Japanese Franchising|journal=Academia.edu|access-date=July 31, 2015|archive-date=March 18, 2022|archive-url=https://web.archive.org/web/20220318040903/https://www.academia.edu/3693690|url-status=live}}</ref> The term gained its circulation in late 1980s, but the origins of the strategy can be traced back to the 1960s with the proliferation of anime, with its interconnection of media and commodity goods.<ref name=amm>Steinberg, [https://books.google.com/books?id=rzGqyHaUGYkC&q=%22media+mix%22 p. vi] {{Webarchive|url=https://web.archive.org/web/20221031111347/https://books.google.com/books?id=rzGqyHaUGYkC&printsec=frontcover#v=onepage&q=%22media%20mix%22 |date=October 31, 2022 }}</ref>

A number of anime and manga [[media franchise]]s such as ''[[Demon Slayer: Kimetsu no Yaiba]]'', ''[[Dragon Ball]]'' and ''[[Gundam]]'' have gained considerable global popularity, and are among the world's [[List of highest-grossing media franchises|highest-grossing media franchises]]. ''[[Pokémon]]'' in particular is estimated to be the highest-grossing media franchise of all time.<ref name="licensing">{{cite news |last=Hutchins |first=Robert |title='Anime will only get stronger,' as Pokémon beats Marvel as highest grossing franchise |url=https://www.licensing.biz/entertainment/anime-will-only-get-stronger-as-pok%C3%A9mon-beats-marvel-as-highest-grossing-franchise |work=[[Licensing.biz]] |date=June 26, 2018 |access-date=September 5, 2018 |archive-url=https://web.archive.org/web/20181106145711/https://www.licensing.biz/entertainment/anime-will-only-get-stronger-as-pok%C3%A9mon-beats-marvel-as-highest-grossing-franchise |archive-date=November 6, 2018 |url-status=dead }}</ref>

== See also ==
<!--{DEAD: {Wikipedia books|Anime and Manga|position=right}}-->
<!-- Please keep entries in alphabetical order & add a short description [[WP:SEEALSO]]. -->
{{div col|colwidth=20em}}
* [[Korean animation|Aeni]]
* [[Animation director]] 
* [[Chinese animation]]
* [[Cinema of Japan]]
* [[Cool Japan]]
* [[Culture of Japan]]
* [[History of anime]]
* [[Japanese language]]
* [[Japanese popular culture]] 
* [[Japanophilia]]
* [[Lists of anime]] 
* [[Manga]]
* [[Mass media in Japan]]
* ''[[Mechademia]]''
* [[Otaku]] 
* [[Soft power#Japan|Soft power § Japan]]
* [[Television in Japan]]
* [[Video games in Japan]]
* [[Voice acting in Japan]]
* [[Vtuber]] 
{{div col end}}
<!-- Please keep entries in alphabetical order. -->

== Notes ==
{{notelist}}

== References ==
{{Reflist}}

=== Sources ===
{{refbegin|30em}}
* {{cite book |title=Anime: A Guide to Japanese Animation (1958–1988) |last=Baricordi |first=Andrea |author2=de Giovanni, Massimiliano |author3=Pietroni, Andrea |author4=Rossi, Barbara |author5=Tunesi, Sabrina |date=December 2000 |publisher=[[Protoculture Inc.]] |location=[[Montreal]], [[Quebec]], Canada |isbn=2-9805759-0-9 |ref={{SfnRef|Baricordi|2000}}}}
* {{Cite book |title=Animation: A World History: Volume II: The Birth of a Style - The Three Markets |url=https://books.google.com/books?id=0azMCgAAQBAJ |publisher=CRC Press |date=October 23, 2015 |isbn=978-1-3175-1991-1 |language=en |first=Giannalberto |last=Bendazzi }}
* {{cite book |title=Understanding Manga and Anime |publisher=Libraries Unlimited |last=Brenner |first=Robin |year=2007 |isbn=978-1-59158-332-5}}
* {{cite book |last1=Clements |first1=Jonathan |author-link1=Jonathan Clements |last2=McCarthy |first2=Helen |author-link2=Helen McCarthy |title=The Anime Encyclopedia: A Guide to Japanese Animation Since 1917 |publisher=Stone Bridge Press |location=Berkeley, Calif |isbn=978-1-933330-10-5 |year=2006}}
* {{cite book |last1=Craig |first1=Timothy J. |title=Japan Pop!: Inside the World of Japanese Popular Culture |date=2000 |publisher=Sharpe |location=Armonk, NY [u.a.] |isbn=978-0-7656-0561-0 |url-access=registration |url=https://archive.org/details/japanpopinsidew00crai }}
* {{cite book |last=Drazen |first=Patrick |title=Anime Explosion!: The What? Why? & Wow! of Japanese Animation |date=2003 |publisher=Stone Bridge Press |location=Berkeley, California |isbn=978-1611720136}}
* {{cite book |last=Kinsella |first=Sharon |title=Adult Manga: Culture and Power in Contemporary Japanese Society |date=2000 |publisher=University of Hawaii Press |location=Honolulu, Hawaii |isbn=978-0824823184}}
* {{cite book |last1=Le Blanc |first1=Michelle |last2=Odell |first2=Colin |title=Akira |date=2017 |publisher=Bloomsbury Publishing |location=London |isbn=978-1844578108}}
* {{cite book |last=MacWilliams |first=Mark W. |title=Japanese Visual Culture: Explorations in the World of Manga and Anime |date=2008 |publisher=M. E. Sharpe |location=Armonk |isbn=978-0-7656-1602-9 |url-access=registration |url=https://archive.org/details/japanesevisualcu0000unse }}
* {{cite book |last=Napier |first=Susan J. |title=Anime from Akira to Howl's Moving Castle: Experiencing Contemporary Japanese Animation |date=2005 |publisher=St. Martin's Press |location=New York |isbn=1-4039-7051-3}}
* {{cite book |title=Watching Anime, Reading Manga: 25 Years of Essays and Reviews |publisher=Stone Bridge Press |last=Patten |first=Fred |year=2004 |isbn=1-880656-92-2}}
* {{cite book |last=Poitras |first=Gilles |title=Anime Companion |url=https://archive.org/details/animecompanionwh0000poit |url-access=registration |publisher=Stone Bridge Press |year=1998 |location=Berkeley, California |isbn=1-880656-32-9 }}
* {{cite book |title=Anime Essentials: Every Thing a Fan Needs to Know |publisher=Stone Bridge Press |last=Poitras |first=Gilles |year=2000 |isbn=978-1-880656-53-2}}
* {{cite book |last=Ruh |first=Brian |year=2014 |title=Stray Dog of Anime |location=New York, NY |publisher=Palgrave Macmillan |isbn=978-1-137-35567-6}}
* {{cite book |last=Schodt |first=Frederik L. |title=Manga! Manga!: The World of Japanese Comics |publisher=[[Kodansha]] International |date=August 18, 1997 |edition=Reprint |location=Tokyo, Japan |isbn=0-87011-752-1 |url-access=registration |url=https://archive.org/details/mangamanga00fred }}
* {{cite book |last=Tobin |first=Joseph Jay |year=2004 |title=Pikachu's Global Adventure: The Rise and Fall of Pokémon |publisher=Duke University Press |isbn=0-8223-3287-6}}
* {{Cite news |last1=Green |first1=Ronald S. |last2=Beregeron |first2=Susan J. |date=2021 |title=Teaching Cultural, Historical, and Religious Landscapes with the Anime |pages=48–53 |work=Education About ASIA}}
* {{Cite news |last1=Chan |first1=Yee-Han |last2=wong |first2=Ngan-Ling |last3=Ng |first3=Lee-Luan |date=2017 |title=Japanese Language Student's Perception of Using Anime as a Teaching Tool |pages=93–104 |work=Indonesian Journal of Applied Linguistics 7.1 |url=https://ejournal.upi.edu/index.php/IJAL/article/view/6862 |access-date=April 29, 2022 |archive-date=August 15, 2022 |archive-url=https://web.archive.org/web/20220815031924/https://ejournal.upi.edu/index.php/IJAL/article/view/6862 |url-status=live }}
* {{Cite news |last1=Han |first1=Chan Yee |last2=Ling |first2=Wong Ngan |date=2017 |title=The Use of Anime in Teaching Japanese as a Foreign Language |pages=66–78 |work=Malaysian Online Journal of Educational Technology 5.2 |url=https://eric.ed.gov/?id=EJ1142396 |access-date=April 29, 2022 |archive-date=April 7, 2023 |archive-url=https://web.archive.org/web/20230407054740/https://eric.ed.gov/?id=EJ1142396 |url-status=live }}
* {{Cite news |last1=Junjie |first1=Shan |last2=Nishihara |first2=Yoko |last3=Yamanishi |first3=Ryosuke |date=2018 |title=A System for Japanese Listening Training Support With Watching Japanese Anime Scenes |pages=947–956 |work=Procedia Computer Science 126 |series=Knowledge-Based and Intelligent Information & Engineering Systems: Proceedings of the 22nd International Conference, KES-2018, Belgrade, Serbia |volume=126 |doi=10.1016/j.procs.2018.08.029 |url=https://www.sciencedirect.com/science/article/pii/S1877050918313073 |access-date= |archive-date=April 29, 2022 |archive-url=https://web.archive.org/web/20220429034955/https://www.sciencedirect.com/science/article/pii/S1877050918313073 |url-status=live }}
{{refend}}


{{Animation industry in Japan}}
{{Animation}}
{{Japan topics}}
{{Film genres}}
{{Media franchises}}
{{Subject bar|Anime and manga|Animation|Cartoon|Film|Television|Japan
 |commons        = Category:Anime
 |d              = Q1107
 |n              = Category:Anime
 |v              = Anime
 |voy            = Anime and manga in Japan
 |wikt           = anime
}}
{{Authority control}}

[[Category:Anime| ]]
[[Category:1917 introductions]]
[[Category:Anime and manga terminology]]
[[Category:Japanese inventions]]