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Anime Market by Genre (Josei, Kodomomuke, Mecha), Format (Movies, Original Video Animations, Series & Episodes), Distribution Platform - Global Forecast 2023-2030

Publisher 360iResearch
Published Oct 05, 2023
Length 185 Pages
SKU # IRE18311742

Description

Anime Market by Genre (Josei, Kodomomuke, Mecha), Format (Movies, Original Video Animations, Series & Episodes), Distribution Platform - Global Forecast 2023-2030


The Anime Market is projected to reach USD 2.65 billion by 2030 from USD 1.29 billion in 2022, at a CAGR of 9.41% during the forecast period.

Market Segmentation & Coverage:

This research report analyzes various sub-markets, forecasts revenues, and examines emerging trends in each category to provide a comprehensive outlook on the Anime Market.
  • Based on Genre, market is studied across Josei, Kodomomuke, Mecha, Seinen, Shojo, Shonen, and Slice of Life. The Seinen is projected to witness significant market share during forecast period.
  • Based on Format, market is studied across Movies, Original Video Animations, and Series & Episodes. The Original Video Animations is projected to witness significant market share during forecast period.
  • Based on Distribution Platform, market is studied across Offline and Online. The Online is projected to witness significant market share during forecast period.
  • Based on Region, market is studied across Americas, Asia-Pacific, and Europe, Middle East & Africa. The Americas is further studied across Argentina, Brazil, Canada, Mexico, and United States. The United States is further studied across California, Florida, Illinois, New York, Ohio, Pennsylvania, and Texas. The Asia-Pacific is further studied across Australia, China, India, Indonesia, Japan, Malaysia, Philippines, Singapore, South Korea, Taiwan, Thailand, and Vietnam. The Europe, Middle East & Africa is further studied across Denmark, Egypt, Finland, France, Germany, Israel, Italy, Netherlands, Nigeria, Norway, Poland, Qatar, Russia, Saudi Arabia, South Africa, Spain, Sweden, Switzerland, Turkey, United Arab Emirates, and United Kingdom. The Asia-Pacific is projected to witness significant market share during forecast period.
Market Statistics:

The report provides market sizing and forecasts across 7 major currencies - USD, EUR, JPY, GBP, AUD, CAD, and CHF; multiple currency support helps organization leaders to make well-informed decisions. In this report, 2018 to 2021 are considered as historical years, 2022 is base year, 2023 is estimated year, and years from 2024 to 2030 are considered as forecast period.

FPNV Positioning Matrix:

The FPNV Positioning Matrix is an indispensable tool for assessing the Anime Market. It comprehensively evaluates vendors, analyzing key metrics related to Business Strategy and Product Satisfaction. This enables users to make informed decisions tailored to their specific needs. Through advanced analysis, vendors are categorized into four distinct quadrants, each representing a different level of success: Forefront (F), Pathfinder (P), Niche (N), or Vital (V). Be assured that this insightful framework empowers decision-makers to navigate the market with confidence.

Market Share Analysis:

The Market Share Analysis offers invaluable insights into the vendor landscape Anime Market. By evaluating their impact on overall revenue, customer base, and other key metrics, we provide companies with a comprehensive understanding of their performance and the competitive environment they confront. This analysis also uncovers the level of competition in terms of market share acquisition, fragmentation, dominance, and industry consolidation during the study period.

Key Company Profiles:

The report delves into recent significant developments in the Anime Market, highlighting leading vendors and their innovative profiles. These include A-1 Pictures, Inc., Ajia-do Animation Works Inc., Arvo Animation Inc., Bandai Namco Holdings, Brain's Base Co., Ltd., Discotek Media, Funimation Global Group, GAINAX Co.,Ltd., IG Port, J.C.Staff Co., Ltd.,, Kinema Citrus Co., Ltd., Kyoto Animation Co., Ltd., MAPPA Co., Ltd., Media Blasters, Nippon Animation Co., Ltd., P.A. Works, Inc., Pierrot Co., Ltd., Production I.G, Inc., SHAFT Animation Studio, Sony Pictures Entertainment, Studio Ghibli, Inc., TOEI Animation Co., Ltd., Trigger Inc., Ufotable, Inc., and White Fox Co., Ltd..

The report offers valuable insights on the following aspects:
  1. Market Penetration: It provides comprehensive information about key players' market dynamics and offerings.
  2. Market Development: In-depth analysis of emerging markets and penetration across mature market segments, highlighting lucrative opportunities.
  3. Market Diversification: Detailed information about new product launches, untapped geographies, recent developments, and investments.
  4. Competitive Assessment & Intelligence: Exhaustive assessment of market shares, strategies, products, certifications, regulatory approvals, patent landscape, and manufacturing capabilities of leading players.
  5. Product Development & Innovation: Intelligent insights on future technologies, R&D activities, and breakthrough product developments.
The report addresses key questions such as:
  1. What is the market size and forecast for the Anime Market?
  2. Which products, segments, applications, and areas hold the highest investment potential in the Anime Market?
  3. What is the competitive strategic window for identifying opportunities in the Anime Market?
  4. What are the latest technology trends and regulatory frameworks in the Anime Market?
  5. What is the market share of the leading vendors in the Anime Market?
  6. Which modes and strategic moves are suitable for entering the Anime Market?


Note: PDF & Excel + Online Access - 1 Year

Table of Contents

185 Pages
1. Preface
1.1. Objectives of the Study
1.2. Market Segmentation & Coverage
1.3. Years Considered for the Study
1.4. Currency & Pricing
1.5. Language
1.6. Limitations
1.7. Assumptions
1.8. Stakeholders
2. Research Methodology
2.1. Define: Research Objective
2.2. Determine: Research Design
2.3. Prepare: Research Instrument
2.4. Collect: Data Source
2.5. Analyze: Data Interpretation
2.6. Formulate: Data Verification
2.7. Publish: Research Report
2.8. Repeat: Report Update
3. Executive Summary
4. Market Overview
4.1. Introduction
4.2. Anime Market, by Region
5. Market Insights
5.1. Market Dynamics
5.1.1. Drivers
5.1.1.1. Surging content consumption on OTT platforms
5.1.1.2. Adoption of virtual reality technologies in the making of anime content
5.1.1.3. Availability of a large number of animation studios
5.1.2. Restraints
5.1.2.1. Dearth of skilled and experienced animators
5.1.3. Opportunities
5.1.3.1. Increrased focus towards integrating artificial intelligence and virtual reality in anime
5.1.3.2. Emerging deployment of 3-dimension creations and the Internet of Things (IoT)
5.1.4. Challenges
5.1.4.1. Unauthorized streaming of anime
5.2. Market Segmentation Analysis
5.3. Market Trend Analysis
5.4. Cumulative Impact of COVID-19
5.5. Cumulative Impact of Russia-Ukraine Conflict
5.6. Cumulative Impact of High Inflation
5.7. Porter’s Five Forces Analysis
5.7.1. Threat of New Entrants
5.7.2. Threat of Substitutes
5.7.3. Bargaining Power of Customers
5.7.4. Bargaining Power of Suppliers
5.7.5. Industry Rivalry
5.8. Value Chain & Critical Path Analysis
5.9. Regulatory Framework
5.10. Client Customization
6. Anime Market, by Genre
6.1. Introduction
6.2. Josei
6.3. Kodomomuke
6.4. Mecha
6.5. Seinen
6.6. Shojo
6.7. Shonen
6.8. Slice of Life
7. Anime Market, by Format
7.1. Introduction
7.2. Movies
7.3. Original Video Animations
7.4. Series & Episodes
8. Anime Market, by Distribution Platform
8.1. Introduction
8.2. Offline
8.3. Online
9. Americas Anime Market
9.1. Introduction
9.2. Argentina
9.3. Brazil
9.4. Canada
9.5. Mexico
9.6. United States
10. Asia-Pacific Anime Market
10.1. Introduction
10.2. Australia
10.3. China
10.4. India
10.5. Indonesia
10.6. Japan
10.7. Malaysia
10.8. Philippines
10.9. Singapore
10.10. South Korea
10.11. Taiwan
10.12. Thailand
10.13. Vietnam
11. Europe, Middle East & Africa Anime Market
11.1. Introduction
11.2. Denmark
11.3. Egypt
11.4. Finland
11.5. France
11.6. Germany
11.7. Israel
11.8. Italy
11.9. Netherlands
11.10. Nigeria
11.11. Norway
11.12. Poland
11.13. Qatar
11.14. Russia
11.15. Saudi Arabia
11.16. South Africa
11.17. Spain
11.18. Sweden
11.19. Switzerland
11.20. Turkey
11.21. United Arab Emirates
11.22. United Kingdom
12. Competitive Landscape
12.1. FPNV Positioning Matrix
12.2. Market Share Analysis, By Key Player
12.3. Competitive Scenario Analysis, By Key Player
13. Competitive Portfolio
13.1. Key Company Profiles
13.1.1. A-1 Pictures, Inc.
13.1.2. Ajia-do Animation Works Inc.
13.1.3. Arvo Animation Inc.
13.1.4. Bandai Namco Holdings
13.1.5. Brain's Base Co., Ltd.
13.1.6. Discotek Media
13.1.7. Funimation Global Group
13.1.8. GAINAX Co.,Ltd.
13.1.9. IG Port
13.1.10. J.C.Staff Co., Ltd.,
13.1.11. Kinema Citrus Co., Ltd.
13.1.12. Kyoto Animation Co., Ltd.
13.1.13. MAPPA Co., Ltd.
13.1.14. Media Blasters
13.1.15. Nippon Animation Co., Ltd.
13.1.16. P.A. Works, Inc.
13.1.17. Pierrot Co., Ltd.
13.1.18. Production I.G, Inc.
13.1.19. SHAFT Animation Studio
13.1.20. Sony Pictures Entertainment
13.1.21. Studio Ghibli, Inc.
13.1.22. TOEI Animation Co., Ltd.
13.1.23. Trigger Inc.
13.1.24. Ufotable, Inc.
13.1.25. White Fox Co., Ltd.
13.2. Key Product Portfolio
14. Appendix
14.1. Discussion Guide
14.2. License & Pricing

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