On June 30, 2026, Taiwanese media outlet 'Hougen' published an article titled 'Japanese anime boasts such global popularity, so why can't Japan be called an "entertainment superpower"?'

The article posed the question: 'Japanese anime and manga are no longer just entertainment for Japanese people but have become a part of global pop culture. However, a question arises here: Despite Japanese anime gathering such global popularity, why hasn't Japan cultivated its entire entertainment industry into a strong export industry like South Korea has?'

It then explained: 'Japan's soft power is extremely strong, and among it, anime and manga are one of the most important pillars. The characters, stories, worldviews, and artistic expressions all possess a unique individuality that makes them recognizable as Japanese works at a glance. For many people overseas, the trigger for their interest in Japan is not politics, economy, or tourism, but rather a single anime, a character, or a theme song.'

Furthermore, it mentioned: 'However, just because someone likes Japanese anime and manga does not necessarily mean they will actively purchase Japanese entertainment-related products. Herein lies a challenge for Japan's content exports. For example, South Korea's content industry excels at integrating and developing music, dramas, variety shows, fashion, cosmetics, food, and tourism as a unified whole.'

It also pointed out: 'If someone becomes a fan of an idol group, a natural progression emerges: learning Korean, buying albums, watching Korean dramas, using Korean-branded products, and even visiting Seoul. On the other hand, while Japanese anime has significant global influence, its popularity is often not sufficiently linked to the export capacity of the industry as a whole.'

The article stated: 'Both the works and characters are highly popular. However, profit distribution, overseas marketing, development of related products, distribution platform strategies, and even the treatment of creators are hard to say are adequately responding to global demand. This is precisely the contradiction faced by Japan's entertainment industry.'

It further added: 'While possessing world-class content, the ability to integrate and expand it into a global business is insufficient. Anime production companies are skilled at creating excellent works, but they are not adept at building mechanisms to develop them into a massive cross-border business ecosystem. Even if viewers love Japanese anime, it doesn't necessarily lead to an interest in Japanese entertainment or lifestyle as a whole, unlike the Korean Wave.'

It concluded: 'Therefore, the next challenge required of Japanese anime is not merely to continue creating excellent works. It is crucial to consider how to connect the support of fans worldwide to a more long-term, comprehensive, and fair industrial cycle. Japanese anime has already proven its power to move the hearts of people around the world. What will be questioned next is whether that emotional impact can be transformed into the true international competitiveness of Japan's entertainment industry as a whole.' (Translation/Editing: Iwata)