Database Working Group, Association of Japanese Animations 

Anime Industry Report 2015
Summary
Authors 

Anime Industry Researcher

Hiromichi Masuda
Auditor, Video Market Corporation

Animation SFX Researcher

Ryusuke Hikawa
Guest Professor, Graduate School of Meiji University

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

President, CHARACTER DESIGN DATABANK, Ltd.

Kazuo Rikukawa
Director/Secretary-General, Character Brand Licensing Association

Senior Director, Dentsu Consulting Inc.

Yuji Mori
Professor, Graduate School of Digital Hollywood University

Editors 

Hiromichi Masuda Anime Industry Researcher

(editor in chief) Auditor, Video Market Corporation

Masahiro Hasegawa HUMANMEDIA Inc.

Cooperation 

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

Mitsuru Soda JuGeMu Co., Ltd.

January, 2016
Database Working Group, Association of Japanese Animations
 Trends in Japanese Animation Market（2015 version） 
The upper part shows Japanese animation market trends in a broad sense (i.e. market size based on estimated sales in animation and animation‐related product markets). The lower part shows Japanese animation market trends in a limited sense (i.e. market size
based on the estimated sales revenues of all domestic commercial animation studios). It’s obvious that the animation market in a broad sense is overwhelmingly larger than in a limited sense. This is because the animation‐related businesses including character
merchandising have significant leverage effects.

Japanese animation market trends in a broad sense (i.e. market size based on estimated sales in animation and animation‐related markets) <2002 – 2014>
■ ①TV ■ ②Movie ■ ③ Video ■ ④ Internet Distribution ■ ⑤ Merchandising ■ ⑥ Music ■ ⑦ Overseas ■ ⑧ The Pachinko and the like ■ ⑨ Live Entertainment
Note 1: Domestic TV animation sales were 
1,630billion
calculated based on the following formula: (the 
1,600billion yen 1,476billion 30.8 sum of commercial TV broadcast stations’ 
1,380billion revenues and NHK’s broadcast revenues) x (the 
1,350billion 1,314billion 1,330billion 1,333billion 29.6 298.1 ratio of animation program to overall program 
1,303billion 1,313billion
1,400billion yen 1,254billion broadcast minutes) + (sales revenue of 
1,221billion 242.7
152.8 animation channels) 
1,119billion 122.6
1,095billion 202.6 227.2
1,200billion yen 166.5
Note 2: Pachinko and Pachinko‐slot machine 
326.5 with animation character values were estimated 
520.4 439.0
286.7 282.3 based on their percentage of total Pachinko and 
521.5
413.7
1,000billion yen 482.7 266.9 240.8
254.4 23.7 Pachinko‐slot machine shipments . 
372.5 421.2 24.6
29.7 Note 3: The survey for Pachinko and Pachinko‐
26.3 24.5 23.0
800billion yen 26.1 27.0 30.7 slot machine started from 2008. 
12.0
13.8 23.5 Note 4: The survey for Live Entertainment 
9.1
655.2 started from 2013
600billion yen 598.5
530.5 597.4 627.4
594.3 573.2 Note 5: The sales amounts for Merchandising 
504.9 536.4 559.7
435.0 433.7 461.7 from 2007 to 2013 were recalculated in 2014.
400billion yen

0.2 4.1 8.4 34.0 40.8

1.0 1.8 9.8 10.2 12.3 14.9 27.2
16.0
200billion yen 129.4 117.6 103.1 138.8 135.8 127.8 111.3 105.2 108.5 106.7 105.9 115.3 102.1
19.8 19.6 38.0 28.4 40.9 47.0 41.7
17.8 21.2 33.8 29.9 33.8 28.5
124.1 116.5 110.0 104.1 100.3 92.4 94.6 95.5 89.5 90.0 95.1 102.0 110.7
billion
0 yen
2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014

Based on questionnaires conducted by the Association of Japanese Animations and other publicly available statistics 

Trends in Japanese animation market in a limited sense (i.e. market size based on the estimated sales revenues of all domestic commercial animation studios <2002 ‐ 2014> )
■ ① ＴＶ ■ ② Movie ■ ③ Video ■ ④ Internet Disribution ■ ⑤Merchandising ■ ⑥ Music ■ ⑦ Overseas ■ ⑧ The Pachinko and the like ■ ⑨ Others Note 6: The surveys for Pachinko and Pachinko‐
slot machine started from 2008. Figures for this 
223.2billion industry were included in “Others” until 2007. 
208.4billion 212.billion
17.3
187.2billion
200billion yen 54.7 include pachinko and the like 181.2billion 183.4billion 184.7billion
include pachinko and the like
53.6
include pachinko and the like 0 31.2 26.0 164.3billion 9.1 10.8
12.4
0 0 include pachinko and the like
0 3.1 148.8billion 153.2billion 11.6 14.2
140.6billion 7.5 145.7billion 5.0
136.6billion 31.3 24.8 10.9 16.9
150billion yen 26.8 7.2 8.5 19.5
11.3 14.4 3.1
8.3 29.0 35.4 3.3 11.7 2.5 9.7 3.0
2.1 3.1
include pachinko and the like
0include pachinko and the like
0 4.5 17.2 2.9 26.5
4.1 16.0 26.6
2.1 36.3 15.3 3.4
22.4 25.3 34.5 30.7 3.1 26.7
4.0 8.5
2.4 29.2 26.0 10.2
1.6 24.4
100billion yen 1.0 37.3 2.5 2.6 27.4
6.8 15.5
21.6 25.4 0.5 3.7 4.0 16.1
21.8 15.3
0.1 30.1 3.1
0.3 34.9 16.4 16.2 24.8
27.7
22.8 17.9 20.7 22.6
35.8 33.5 31.0 15.3
18.0 25.2
18.4 16.9
50billion yen 18.6
8.8 6.8
61.6 67.4 61.7
58.4 56
45.9 47.8 50.0 45.9 47.2
37.2 36.4 43.2

billion0 yen
yen
2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014

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

this is some form of turning point. Both also made us think of the revival of the age of animations.
Japanese animation exploited in new medium  Actually six of top ten domestic box office hits in 2014 were animations, and the influence of animation
The Japanese animation market has been expanding since 2010 thanks to the arrival of new media and and manga was also seen in live‐action films. Maleficent would have been an animation work if it had
other merkets which promote opportunities to exploit animation content. It took 46 years before been produced in the time before CG. Ruroni Kenshin, which was firstly turned into TV animation series,
animation content, which was screened only theatrically first, came to be broadcast on TV, and another was based on a manga with the same title. Thermae Romae II was also based on a manga with the same
17 years until it was distributed in the form of videograms. After the mid‐2000’s new media and other title. Thus all the films ranked in the Japanese top 10 were somehow related to animation or manga
markets including Pachinko, Internet Distribution, and Live Entertainment were established. Those contents, which shows how animation and manga are ingrained in Japanese culture.
media promoted dissemination of animation content to all generations, including adults, and expanded (Acceptance and increasing demand for CG ) 
the viability of various genres. The second topic in the Anime Industry Report 2015 is the advancement of Computer Graphics in two
different aspects. First is consumer acceptance for photorealistic CG animation as typified by Pixar
Topics in Japanese animation industry from 2014 to 2015  animation contents, and the other is increasing demand for CG in non‐photorealistic “traditional”
The following are the major topics covered in Anime Industry Report 2015. Japanese animation. In Japan it was taken as a truism that Japanese animation was a culture of 2D
<Arrival of Megahits>  expressions with clear outlines, thanks to the historical background of Japanese art, from scroll painting
Chart : Top 10 domestic box office hits in 2014    (yen in billion)  to Ukiyoe to manga, and that therefore Japanese people were somehow resistant to photorealistic 3DCG
Title  Box Office  Distributor  animation works represented by Pixar animation, which are mainstream in Western countries now. In
1 Frozen (Japanese title : ana to yuki no joou)  25.48 billion yen Disney  2014 however, the top 3 domestic box office animation films were all 3D CG animations: Frozen, Big
2 Big Hero 6 (Japanese title : Baymax)  9.00 billion yen Disney  Hero 6 and STAND BY ME Doraemon. Maybe Japanese audiences finally became accustomed to 3DCG
3 STAND BY ME Doraemon  8.38 billion yen Toho  animations (it’s been 20 years since Toy Story produced with 3DCG was firstly released in Japan) or
4 Yo‐Kai Watch: Tanjō no Himitsu da Nyan!  7.40 billion yen Toho  maybe the “digital‐native” generation, grown up on video games full of CG animations are now in the
5 Maleficent  5.22 billion yen Disney  majority of the market.
On the other hand, the demands for CG animation techniques realizing “cell‐look” (solid color with
6 Rurouni Kenshin: Kyoto Inferno  5.22 billion yen WB 
outlines) but not photorealistic expressions increased among Japanese animation producers who tended
7 Thermae Romae II    4.42 billion yen Toho 
to stick to the taste of traditional animation. Still now most conventional studios, which are not ready for
8 Rurouni Kenshin: The Legend Ends  4.35 billion yen WB 
full 3DCG production yet, are hesitant to shift from hand‐drawn animation to 3DCG; however, animation
9 Detective Conan: Ijigen no Sunaipā  4.11 billion yen Toho  production methods or expressions diversified from CG are becoming popular even under such
10 Doraemon Shin Nobita no Daimakyo ~Peko to 5‐nin no Tankentai~  3.58 billion yen Toho  circumstances.
Based on the surveys conducted by Motion Picture Producers Association of Japan, The Bunka News and the Database Working of AJA:  In 2014, several 3DCG animation works with “cell‐look” got attention. Among them were KNIGHTS of
SHIDONIA and Ronjya Rovardotter (directed by Goro Miyazaki) produced by CG POLYGON PICTURES
2014 was the year for Frozen and Yo‐Kai Watch. Frozen recorded the second largest box‐office revenue (the largest Japanese CG animation studio involved in a variety of projects in the U.S.), and Expelled from
in Japan, and Yo‐Kai Watch became a megahit unrivaled since Pocket Monster. Their theme songs were Paradise co‐produced by Toei Animation and Graphinica. On the production site, animators are
played everywhere and products with their characters flooded various markets. Both were ubiquitous, exhausted due to the increase of projects and volume, as shown in the chart on the next page. The “2016
creating phenomenon known to all ages nationwide. Their unanticipated success may be because people Crisis” for Japanese animation industry is that each project requires twice as many animation
have tended to focus on new character or story developments in existing content, or perhaps its because supervisors, from 5 to now 10 . Within this, Studio Gibuli, a stronghold of hand‐written animation,
announced it would produce a 3DCG short animation Kemushi no Boro under the direction of Hayao <Between Cool Japan policy and reality>
Miyazaki to be screened at the Ghibli Museum. It is considered a move which suggests the future of The Japanese animation industry faces quite a difficult situation in overseas markets despite of the
Japanese animation studios. It is only a matter of time before the animation production process in government's “Cool Japan” strategy. The chart below shows so‐called “export values” for the Japanese
place since 1963 will undergo significant innovations. animation industry. Though the line chart shows that the sales amount (in JPY) headed for recovery in
<Video distribution platforms>  2014, the bar chart indicates that the amount in 2014 (after exchange conversion) was almost the same
Another topic from 2014 to 2015 is video distribution services via the Internet, which received a lot of as that of the previous year, or rather the industry somehow maintained the status quo despite a
attention not only for the remarkable market growth, but also for the expansion of flat‐rate subscription decreasing trend. In light of the overall figures, the total for 2014 was less than in and after the global
services, and fierce competition among new comers. 2015 appears to have been be the real start of the financial crisis, also less than the total in 2002, the year this survey started. It is therefore pre‐mature to
video distribution era. On video distribution platforms animations are strong content, popular among announce the recovery of the export value since 2012. One might further statethat the Japanese
users, and for animation studios, they are essential platforms enabling them direct access to their animation industry stepped backward within a growing global market. Some still say Japanese
consumers. animation is strong enough in the global market, however, the reality is indeed challenging.
As shown in “Trends in Animation Distribution Market” below, a second distribution boom started In 2014, it also became clear that theJapanese animation industry was weak in distribution channels,
around 2010 thanks to the dissemination of smart phones, led by communication companies, especially compared to Hollywood. Actually just one media & entertainment giant in Hollywood earns more than
by video distribution services provided by NTT DoCoMo. Nippon Television purchased Hulu in February, the total revenue of all Japanese animation studios. On the other hand, Japanese animation would have
2014, announcing the integration of broadcasting and video distribution, and stimulating other further possibilities if developed globally under Internet distribution channels. In July 2014, KNIGHTS of
broadcasting stations to take sides in this industry realignment. SHIDONIA was distributed globally by Netflix, and it made the industry imagine that video distribution
In 2015, Netflix, the U.S video distribution giant (69 million subscribers as of the 3rd quarter in 2015) services might be key to changing th Japanese animation industry fundamentally. The fate of contents
finally entered into Japanese market, as had been rumored since late 2014, reconfiguring video holders may be determined by global platform distributors like Amazon, Apple, or Googlebecause the
distribution in Japan. The arrival of Netflix and Hulu provide a substantial challenge to existing Japanese value of distributing content directly to tens of millions, or hundreds of millions of end users all over the
distribution platforms and TV stations. world is so attrative. It’s also worth seeing whether DAISUKI, a newborn domestic platform can retain
In terms of overseas markets, it was obvious videograms were replaced by online distribution, as video its strength in the market. In any case, the Japanese animation industry has no choice but to expand its
content distributed via the Internet can be seen on any devices, including PC, smartphones, tablets, and businesses overseas through the Internet distribution.
devices with larger monitors, and the service also has the potential to reach to pay TV markets, and Chart : Overseas Sales of Japanese Animation Industry   
other advertising revenue‐driven markets beyond. Indeed, the industry recognized clearly in 2015 that (bars: amount after exchange conversion ($ in million), lines: actual amount (¥ in billion))   
this service promises to not only take the place of or be integrated with TV, but moreover become a new
350.0 35.0
transmission medium. . 313.0 312.0
290.0
Chart : Trends in Animation Distribution Market (yen in billion)  300.0 30.0
268.0
253.0 248.0
with the dissemination 250.0 224.0 25.0
of smart phones
the beginning [the second distribution
2013: 195.0
[the first distribution 2012: Amazon
boom]
200.0 20.0
2008:
boom] Instant Video 169.0
hikaritv
GooglePlay 172.0 160.0
d animestore 153.0
NHK on demand
au videopass 408 144.0
2006: TSUTAYA TV
SB UULA 150.0 15.0
400 TV-asahi douga android on sale
niconico douga
videomarket 2007: 2009: 2010: 2011:
340
350 2005:
YouTube acTVila BeeTV iTunes douga D video 100.0 10.0
dai2ntv iphone on sale iPad on sale Android douga Hulu Japan
300 （Netflix) combination of
272
fujitv on demand

250
TBS on demand （Hulu） 50.0 5.0
Yahoo！douga （Ustream）
2003:
Gyao!
200 Anitele Theater
J:COM on demand 17.86 21.82 26.8 28.4 26.83 22.76 23.99 16.35 21.1 20.59 16.63 16.05 16.18
2002: 160
BANDAI CHANNEL 149 0.0 0.0
150 ShowTime 123 (million$) 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 (billion¥)
98 102 with the dissemination
84
100 of smart phones
41
[the second distribution Calculated by Mr. Yuji Mori based on the survey conducted Association of Japanese Animations   
50 18
2 10
0
2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014

Based on the survey conducted by Association of Japanese Animations 
 Trends in Japanese Animation Market (2015 version)
Strong earning in TV, Movie, Merchandising, and Internet Distribution while downturn in Video package sales 
Production minutes of TV animation (2000-2014) Box office revenue of theatrical animations (2000-2014) Number of theatrical animation works and their production minutes
* Figures for 2011 have been recalculated, increasing from the figures in the 2014 report. All theatrical animation movies released not only via ordinary distribution routes but also independently are included in this survey. (2000-2014)
Record production minutes of late‐night animation programs approach  Strong theatrical animation thanks to big hits, in spite of a drop in  Increase of theatrical animations due to digitalization 
the production minutes of day‐time animation programs revenue from Ghibli works The number of theatrical animation works increased remarkably since 2012, and the annual
The total production minutes of TV animations have increased for four years running (6.9% The total box office revenue of theatrical animations was 4.17 billion yen in 2014 supported by production minutes exceeded 4700 production minutes for three years running. This trend
increase over 2014). In 2014, the production minutes of late‐night animation programs were some big hits, including STAND BY ME DORAEMON, and Yo‐kai Watch, though Studio Ghibli indicates that the animation industry became more theatrical animations‐based which, though
57,868 minutes, a record‐high in the history, while those of day‐time kids & family animation released just one movie, When Marnie Was There. Annual box office revenue from non‐Ghibli risky, considering the stagnation of videogram businesses as its secondary revenue stream still
programs were 62,094 min., almost unchanged compared to the previous year. The total theatrical animations was 38.2 billion yen, which indicates that theatrical animations have been brings ancillary profits. Another contributing factor was the digitalization of production and
production minutes of all animation programs broadcast per year. which had dramatically strong since 2012. However, only 8 theatrical animations earned over 1 billion yen in 2014, screening, which served to spur theatrical animation.
increased since the mid 90s, set a record in 2006. The minutes decreased, and bottomed out in compared to records set in previous years (9 works in 2010, 10 works in 2011, 8 works in 2012,
2010, but again increased, showing a V‐shape recovery. In 2014, the production minutes were and 14 works in 2013) . production minuets number of works
the 3rd highest in history, next to those of 2007, when the industry still could enjoy leftover from (title)
the “animation‐bubble” of the previous year. (billion yen)
Box office revenue
(minute) 74
50.0 80
Production minutes of TV animations 6,000 63
120,000 59 70
136,407 55 54
(minute) 40.0 5,000 51
124,648 46 46 60
119,962 45
90,000 110,046107,919 112,169
106,335109,459 105,070 30.0 4,000 36 50
98,687 31 33 31 31
92,724 90,445 95,098 50.5 25
40
60,000 85,439 47.0 3,000
75,890 20.0 40.2 40.9 41.7 30
34.8 33.7 4,713 4,782 4,814
2,000
28.9 31.1 28.5 3,728 3,739 4,000 3,581 20
30,000 10.0 21.8 21.6 2,730 3,041
19.2 19.1 18.8 1,000 2,249 2,257 2,586
1,900 2,035 1,728 10
0 0.0 0 0
00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14
Edited based on the data provided by Motion Picture Producers Association of Japan, Inc., Kinema‐Junpo, and Bunkatsushin 
Based on the survey conducted by The Association of Japanese Animations. (edited by Mindbase, Inc. from 2000 to 2008 and by The Association of Japanese Animations from 2009 to 2014). Based on the survey conducted by The Association of Japanese Animations.

Other data related to the Japanese animation industry ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●
Number of TV animation programs (1963-2014) Animation videograms (2000-2014) Merchandising related to animations (2000-2014)
※Sales of animation videograms includes revenue from Japanese animation for adults and  ※ Sales of the top 100 Japanese animation character sales ranking were tallied.  
■ TV animation programs that have been broadcast/serialized continuously children (based on the report issued by Japan Video Software Association). 
※ Sales arising from the use of characters in advertisements, promotions and Pachinko and Pachinko‐slot machines were not subject to the 
survey. 
■ TV animation programs newly broadcast in the year ※ Totals from 2007 to 2013 were recalculated in 2014. 
300
(title)
※TV animation programs, animations inserted in other TV programs, TV animation combined with live action programs are all included  Almost flat for 6 years running 9.5% Market growth from the previous year, led by Yo‐Kai Watch 
※Since 2014 the data has been closely examined in the “Nenkan Perfect Data” In 2014, Japanese merchandising market related to animation characters expanded significantly, recording
Sales of animation videograms in 2014 was 102 billion yen, a 13.2
655.2 billion yen in sales, a 9.5% growth from the previous year. This result reflected the profound impact of
The record‐high in 2014, breaking the record in 2006 billion yen decline, and 88.6 % of the total for 2013. Since 2008, in Yo‐Kai Watch, the big hit of the year, which developed in cross‐media involving games, animations, manga
In 1963, TV animation broadcasting began with only seven animation programs, including Astro which the sales dropped to 111.3 billion yen, a 16.5 billion yen and merchandise. Also, merchandising related to animations targeted for adults and core animation fans
250 Boy. In 2014, a total of 322 TV animation programs were broadcast (232 among them new), forty decline from the previous year, sales had remained almost flat for continued to increase. Thus overall merchandising market related to animation did well.
five times the number in the first year and the largest in history, breaking the record of 279 in 6 years running. In 2014, the 13.2 billion yen decline was seen as
2006 (195 were new among them). While content industries are generally stagnating, as seen in due to a recoil from strong sales in 2013. It seems obvious that the 600
(billion yen)
the music industry, the field of TV animation made a miraculous recovery. Still the total videogram businesses has peaked globally, still, big hits
production minutes in 2014 were less than the peak of 2006. This was because the number of five successfully reaching end users can sell unprecedentedly, as 400
232
shown in the case of Frozen which sold about 2.3 million
671.8
200 to fifteen minuets short animation shows such as Kamiusagi Rope increased in order to avoid the 570.0
504.9 530.5
641.9
565.2 588.1
642.1 604.1 612.0 614.6

financial risk of 30 min. animation shows. It was also because the spread of digitalization made videograms in Japan. 200 435.0 433.7 461.7

the production of such short animations easier. Also, the improved accuracy of the survey thanks 195
193
to the introduction of “Perfect Data” was reflected. 159 Sales amount of animation videograms
0
01 02 03 04 05 06 07 08 09 10 11 12 13 14
155 Edited by HUMAN MEDIA INC. based on the data from “CharaBiz DATA” published by CHARACTER DATA BANK Ltd. (2001-2013).
150 138.8
(million)
152 159
139
136 164 120.0
129.4
135.8
127.8
Animation distribution via the Internet (2002-2014)
123 135 The market expanded along with the dissemination of smartphones, to achieve near 
117.6 115.3 parity with the theatrical animation market 
111.3 108.5106.7
103.1 In 2014, revenue from the animation distribution market via the Internet was 40.8 billion yen, a 20% increase
100 128103 90.0
103 105.2 102.1 from the previous year. This brought it to near parity with the theatrical animation market, meaning that the
93.3 105.9
92 Internet distribution market may surpass that of theatrical animations in 2015. The dramatic growth of the
market since 2012 is due to the dissemination of smart phones as well as the entry of communication
67 77.3
60.0 platform‐capital into the market. It remains to be seen whether the existing videogram businesses now
43 48 50 48 49 declining is taken over by Internet distribution services.
41 53 54
50 42 43 40 50 35 40 34.0 40.8
37 39 45 24 37 33 84
91 90 (billion yen) 27.2
25 76 78 30
30 66 64 72 66 60 63
30.0
56 16.0
20 21 22 51 14.9
15 15 19 16 16 16 18 37 31 42 37 41 35 33 39 36 32 40 46 42
39
20
9.8 10.2
12.3
12
6 3 14 27 26 22 24 32 32 26 28 30 27
8.4
15 13 10 14 14 15 20 10 4.1
0 1 6 5 11 12 13 11 12 0.0
0.2 1.0 1.8

63 ● 65 ● ● ● ● 70 ● ● ● ● 75 ● ● ● ● 80 ● ● ● ● 85 ● ● ● ● 90 ● ● ● ● 95 ● ● ● ● 00 ● ● ● ● 05 ● ● ● ● 10 11 12 13 14 0
00 01 02 03 04 05 06 07 08 09 10 11 12 13 14
02 03 04 05 06 07 08 09 10 11 12 13 14

Based on the survey conducted by The Association of Japanese Animations. Based on the report published by the Japan Video Software Association.  Based on the survey conducted by The Association of Japanese Animations.

  
The summary of latest movements in Japanese animation industry 

Anime Industry 2015 
The  Association  of  Japanese  Animations  is  engaged  in  conducting  research,  maintaining  statistics  and  analyzing  data  in 
connection  with  the  Japanese  animation  industry  and  has  released  annual  reports  since  2009  in  order  to  broadly 
disseminate information at home and abroad.   
Now,  the  2015  report  is  ready.  With  the  increase  of  merchandising  market  and  distribution  rights  business,  in  this  new 
report, the size of Japanese animation industry in 2014 is reported as 1.6296 trillion yen. 
This year, we also published a supplement｢Annual Perfect Data｣of all the anime in 2014. 
The report is for students interested in the animation industry, animation researchers, and people involved in the animation 
industry. We hope the report will be helpful to you. 
 
■Outline 
【Title】    Anime Industry 2015
【language】  Japanese
【Publisher】  The Association of Japanese Animations 
【Release day】  September 18, 2015 
【Size/Pages】  ｢Anime Infustry 2015｣A4 / 66 pages + 4 chart sheets inserted 
    ｢Annual Perfect Data｣A4 / 70 pages 
【Price】   ｢Anime Infustry 2015｣3,000 yen (tax excluded) 
    ｢Anime Infustry 2015｣+｢Annual Perfect Data｣5,000 yen (tax excluded) 
【Contents】 
1. General overview of animation industry 2014 
※Overview  of  the  market  trends/Japanese  animation  industry  –tide  of  business  and  investment  in  animation  related 
entities/”hot topics” in the industry   
2. Explanation of each section 
※TV animation/Theatrical animation/Video animation/Distribution/Secondary exploitation including merchandising/ 
Animation music/ Live entertainment   
3. Overseas trends 
※Japanese animation in the international market   
 
《Point of Sale》 ・Internet     Purchase available at SPI Information’s web site: http://www.spi‐information.com/ 
    【Downloadable version】  http://www.spi‐information.com/report/09621.html 
    【Paper version】    http://www.spi‐information.com/report/09622.html 
《Point of Sale》 ・Bricks‐and‐mortar    Tokyo Anime Center Official Shop@akiba info 
          Address: Akihabara UDX 2F, 4-14-1 Sotokanda, Chiyoda‐ku, Tokyo 
《Back Numbers》  the year 2009, 2010, 2011, 2012, 2013 and 2014 versions are also available at the stores above. 

The Association of Japanese Animations 
Address: Akihabara UDX 4F, 4-14-1 Sotokanda, Chiyoda‐ku, Tokyo 
URL: http//www.aja.gr.jp/ E‐mail: office@aja.gr.jp Phone: +81-3-5298-7501 Fax: +81-3-5298-0041