As the editor of Japan Anime News, I’ve tried to publish at least one feature a week on Japanese anime culture or industry insights. But this week, time got away from me. So instead of a full editorial, I’m sharing some loosely organized notes—a memo of sorts.

Anime Expo Is Becoming a Powerhouse

Anime Expo, held this year from July 3–6 in Los Angeles, has clearly grown in both size and influence. Back in 2024, it didn’t seem like the event was quite the platform for breaking news it has now become. This year, however, the number of announcements made there was overwhelming.

During recent meetings with people from the anime industry in Japan, many opened with questions like: “Are you going to Anime Expo?” or “Would you have time for an interview if we met on site?”

Regrettably, Japan Anime News still operates more like an internal startup—run solely by myself and one other editor, juggling everything from writing to publishing. So no, we couldn’t make the trip this year.

Still, the frequency with which people brought up Anime Expo left an impression. Seeing so many stakeholders travel to Los Angeles to be part of it served as a reminder that anime is one of Japan’s most successful cultural exports.

Japan Isn’t the Only One Making Anime Anymore

While Japan remains the global hub of anime production, I’ve recently been struck by how impressive animation from other countries has become. Not only in quality, but also in quantity.

China’s Bilibili, for example, has released To Be Hero X, a project that shows great storytelling and style. Netflix, while often working with Japanese studios, is steadily increasing its slate of anime titles. Director Shinichiro Watanabe’s Lazarus is produced by Cartoon Network—a case of Japanese talent being reimported through Western channels. Korean webtoon adaptations are also gaining traction and producing compelling results.

Some may worry about this globalization of anime, but I believe it’s a positive trend for Japan. More competition could lead to better pay for Japanese animators. And let’s not forget: the global anime market is still in its growth phase. There’s more to say here, and I hope to explore this further in a future article.

Gratitude for the ORICON NEWS Team

At Japan Anime News, we rely heavily on the work of reporters at ORICON NEWS. Many of our articles are translated and adapted from their Japanese coverage, with careful review to ensure accuracy and relevance for English-speaking audiences.

That said, our original content has been growing rapidly. We’re now publishing more of our own reporting than ever before. Still, when it comes to breaking news, the speed and precision of the ORICON NEWS team is unmatched.

During Anime Expo, they published coverage almost simultaneously with official Japanese embargo lift times. For years, a single reporter handled nearly all the anime coverage. It's remarkable. I remember translating around 40 articles over two days during last year’s Jump Festa and AnimeJapan events.

Japan Anime News wouldn't exist without the work of these reporters. I want to take this moment to acknowledge their contributions and express my deep gratitude.