THE SHORT VERSION
- The Association of Japanese Animations reported record worldwide anime spending of JPY4.45 trillion ($28.2 billion) for 2025, up 15.8% on the previous year.日本动画协会公布的初步数据显示，2025年全球日本动画消费额达4.45万亿日元（约282亿美元），同比增长15.8%，创历史纪录。
- Overseas revenue reached JPY2.54 trillion ($16.1 billion) and domestic revenue JPY1.91 trillion ($12.1 billion), so both sides of the business grew, which Variety reports broke a pattern of flat home sales.海外收入2.54万亿日元（约161亿美元），本土收入1.91万亿日元（约121亿美元），两边同时增长；Variety 称这打破了本土市场长期停滞的局面。
- Variety dates the moment overseas sales overtook domestic sales to 2023; Deadline dates it to 2020. Both agree the overseas share has widened since.海外收入何时超过本土收入，Variety 写的是2023年，Deadline 写的是2020年；两篇都同意此后海外占比逐年扩大。
The report puts worldwide spending at a record JPY4.45 trillion报告把全球消费额定在创纪录的4.45万亿日元
Worldwide spending on Japanese anime reached a record JPY4.45 trillion, or about $28.2 billion, in 2025, according to preliminary figures from the Association of Japanese Animations. Variety and Deadline both report a 15.8% increase on the previous year. Hasegawa Masahiro, editor-in-chief of the association's annual Anime Industry Report, presented the numbers on Friday at TIFFCOM, the market attached to the Tokyo International Film Festival. The final figures will appear in the 2026 edition of the report, due in December.据日本动画协会（AJA）的初步数据，2025年全球日本动画消费额达4.45万亿日元，约合282亿美元，创历史纪录。Variety与Deadline都报道同比增长15.8%。协会年度《动画产业报告》主编长谷川雅宏周五在 TIFFCOM 发布了这组数字；TIFFCOM 是附设于东京国际电影节的交易市场。最终数字将在12月出版的2026年版报告中公布。
Variety reports that the growth rate set a record too, edging past the 15.7% posted in 2024. The association measures the business two ways. The broad figure estimates what consumers spend on everything connected to anime, from television, film and streaming to merchandise, music and live events. A narrower measure tracks revenue that reaches animation studios. The $28.2 billion total is the broad one, and the studio figure sits inside it at roughly a ninth of the size.Variety 报道，增速本身也创下纪录，略微超过2024年的15.7%。协会用两种口径统计这个产业：宽口径估算消费者在一切与动画相关事物上的支出，从电视、电影、流媒体到周边商品、音乐与线下活动；窄口径只统计真正回到动画制作公司的收入。282亿美元是宽口径数字，制作公司那一项包含在其中，规模约为其九分之一。
Home sales grew almost as fast as overseas sales本土增长几乎追上海外
Overseas revenue climbed 17.2% to JPY2.54 trillion, or $16.1 billion, Variety reports. The domestic market grew 14.1% to JPY1.91 trillion, about $12.1 billion. Deadline rounds the same totals to $16.1 billion abroad and $12 billion at home, and puts domestic growth at just over 14%. Overseas buyers supplied 57.1% of the total, up from 56.5% a year earlier.Variety 报道，海外收入增长17.2%，达2.54万亿日元，约161亿美元；本土市场增长14.1%，达1.91万亿日元，约121亿美元。Deadline 把同一组数字写作海外161亿美元、本土120亿美元，本土增速写作“略高于14%”。海外买家贡献了总额的57.1%，高于一年前的56.5%。
The domestic number is the one that changed shape. Variety reports local growth of 4.6% in 2024, based on revised figures for 2023, while overseas growth slowed from 26% that year. Deadline puts the same year more bluntly: overseas sales grew by 26% while domestic income remained mostly flat. Hasegawa said 2025 broke the pattern of a sluggish home market sitting beside rapid growth abroad, with both sides growing strongly. He cautioned that exchange rates and global conditions affect any comparison between yen totals and dollar conversions, and that the overseas figure reflects a range of market factors rather than how well individual titles travel.变化最明显的是本土那一项。Variety 报道，按2023年修订后的数据，2024年本土增长4.6%，同年海外增速从26%回落。Deadline 对这一年的说法更直白：海外销售增长26%，本土收入基本持平。长谷川说，2025年打破了“本土疲软、海外猛增”的旧格局，两边都增长强劲。他同时提醒，汇率与全球环境会影响日元总额与美元换算之间的可比性，海外那一项反映的是多重市场因素，而不只是单部作品在海外表现如何。
The two reports disagree on when overseas sales overtook home sales两篇报道对“海外何时超过本土”说法不一
Variety reports that overseas revenue first overtook local revenue in 2023. Deadline dates the same milestone to 2020. Neither article explains the difference, and each reviewed text gives only its own year, so the crossing point cannot be settled from these two reports. Both agree that the gap has widened every year since the crossover.Variety 报道，海外收入首次超过本土收入是在2023年。Deadline 把同一个节点定在2020年。两篇都没有解释差异，各自正文也只给出自己那一年，因此仅凭这两篇报道无法确定交叉点。两篇一致之处是：自交叉之后，两者差距每年都在扩大。
The disagreement changes how the record reads. A 2020 crossover would place it in the pandemic years, when cinema attendance at home was disrupted and streaming spread quickly. A 2023 crossover would make the shift more recent and less tied to closed theatres. Variety's account of 2024 growth, with overseas revenue up 26% and local revenue up 4.6%, fits either timeline. What the two reports support together is the direction: overseas buyers now provide well over half the money and their share keeps rising.这个分歧会影响对纪录的解读。若交叉发生在2020年，那正处在疫情年份，本土影院上座受扰、流媒体快速扩张；若发生在2023年，这一转变就更近，与影院关闭的关联也更弱。Variety 给出的2024年增速（海外增26%、本土增4.6%）与两种时间线都能相容。两篇报道共同支撑的是方向：海外买家现在提供了远超过一半的收入，占比还在上升。
Studio revenue grew more slowly than the wider market制作公司收入的增速慢于整体市场
The narrower measure covers money that reaches animation studios rather than the production committees that finance projects and hold rights across several companies. Variety reports studio revenue rose 8.4% to a record JPY505.5 billion, about $3.2 billion, slower than the 9.1% growth of 2024. Deadline puts the figure at $3.2 billion, up 8% from $2.95 billion, or JPY466 billion, the year before.窄口径统计的是回到动画制作公司的钱，而不是那些由多家公司共同出资、持有版权的制作委员会。Variety 报道，制作公司收入增长8.4%，达创纪录的5055亿日元，约32亿美元，慢于2024年的9.1%。Deadline 把这一项写作32亿美元，同比增长8%，上一年的数字是29.5亿美元，即4660亿日元。
Overseas business made up 27.9% of studio revenue, up from 25.5%, according to Variety. Hasegawa said studios do not always deal directly with international partners, which keeps that share below the overseas share of total spending. Deadline reports that more production companies are taking an equity position in their works and holding on to the intellectual property, which lets them share in overseas revenue. Hasegawa told Variety that the practice of studios holding and managing rights to their own works is growing year by year.据 Variety，海外业务占制作公司收入的27.9%，高于此前的25.5%。长谷川说，制作公司并不总是直接与海外合作方交易，这让该占比低于海外在整体支出中的占比。Deadline 报道，越来越多制作公司在作品中持有股份、留住知识产权，从而能分到海外收入。长谷川对 Variety 说，由制作公司自己持有并经营作品版权这种做法一年比一年普遍。
Anime's share of viewing, a hit film and a government target观看份额、一部爆款与政府目标
Variety reports that Japanese anime accounts for 100 of the 300 television series with the most user votes on IMDb, including nine of the top 20. Attack on Titan leads the ranking with 726,000 votes, ahead of Rick and Morty, with Death Note third and One Piece ninth. The other Japanese titles in the top 20 include Fullmetal Alchemist: Brotherhood, Demon Slayer, One-Punch Man, Naruto Shippuden, Jujutsu Kaisen and Hunter x Hunter. Hasegawa said he had seen a report the previous week that a Japanese anime was second globally, and that the international breakthrough had been achieved.Variety 报道，在 IMDb 用户投票最多的300部剧集中，日本动画占100部，前20名里占9部。《Attack on Titan》以72.6万票居首，排在《Rick and Morty》之前，《Death Note》第三，《One Piece》第九。前20名中的其他日本作品还包括《Fullmetal Alchemist: Brotherhood》《Demon Slayer》《One-Punch Man》《Naruto Shippuden》《Jujutsu Kaisen》与《Hunter x Hunter》。长谷川说，他上周看到一份报告，某部日本动画排在全球第二，并称“突破确实已经实现”。
Deadline adds the theatrical side. The Demon Slayer movie Infinity Castle grossed around $800 million worldwide in 2025 and became the highest-grossing Japanese film of all time. Chiikawa The Movie: The Secret Of Mermaid Island has taken around $159 million so far in 2026 and sits 31st on Box Office Mojo's global chart for the year. Both reports tie the numbers to a government target of JPY20 trillion, about $126.9 billion, in content exports by 2033, with anime expected to contribute JPY6 trillion, or $38.1 billion. Variety reports that Japanese content earned JPY6.1 trillion abroad in 2024 and that anime was roughly one-third of it.Deadline 补充了院线的一面。《Demon Slayer》剧场版《Infinity Castle》2025年全球票房约8亿美元，成为日本影史票房最高的电影；2026年至今，《Chiikawa The Movie: The Secret Of Mermaid Island》全球票房约1.59亿美元，在 Box Office Mojo 年度全球榜上排第31位。两篇报道都把数字与政府目标联系起来：到2033年内容出口额达20万亿日元（约1269亿美元），其中动画预计贡献6万亿日元（约381亿美元）。Variety 报道，2024年日本内容海外收入为6.1万亿日元，动画约占三分之一。
Localization, piracy and the merchandise gap abroad本地化、盗版与海外周边的缺口
In the report's survey, studios named two priorities for growth markets: localization fitted to local language, culture and law, and anti-piracy measures. Hasegawa said anime has long driven sales of related goods and services in Japan, while abroad it has succeeded mainly as something to watch. The next phase, in his account, is selling merchandise and services to fans worldwide. He singled out family anime, which reaches several generations in Japan, as a category whose domestic reach could support merchandising sales abroad. Deadline quotes him saying that many Japanese business entities are going overseas to pursue revenue opportunities, and that he expects the trend to continue.在报告所做的调查中，制作公司列出开拓增长市场的两项优先事项：贴合当地语言、文化与法律的本地化，以及反盗版措施。长谷川说，动画在日本长期带动相关商品与服务销售，在海外目前主要作为“可观看的内容”取得成功。按他的说法，下一阶段是向全球粉丝销售周边商品与服务。他特别提到家庭向动画：这类作品在日本能跨越几代人，其在本土的广泛覆盖有望支撑海外周边销售。Deadline 引述他的话说，许多日本企业正在走向海外寻找收入机会，他预期这一趋势会延续。
Ishikawa Kazuko, who heads both the association and Nippon Animation, opened the session by saying it is essential to build a better environment so that the creators who make the works and everyone involved in production management can create with peace of mind. Neither report gives studio-level profit, a territory-by-territory breakdown or a forecast for 2026, and the December edition may revise the preliminary numbers. Related coverage on this site includes Redbird Sound Ventures' one-billion-dollar media fund, Netflix's 18-title agreement with Globo and Netflix content chief Peter Rice.同时担任协会与日本动画公司（Nippon Animation）负责人的石川和子为会议开场。她说，最重要的是建立更好的环境，让创作作品的人以及参与制作管理的所有人，都能安心投入创作。两篇报道都没有给出制作公司层面的利润、分地区明细或2026年预测，12月版报告也可能修订这组初步数字。本站相关阅读包括Redbird Sound Ventures 的10亿美元媒体基金、Netflix 与 Globo 的18部作品协议以及Netflix 内容负责人 Peter Rice。
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