China is Blocking School Romance Anime
The Mantan Web website recently published an article discussing how the anime industry is “returning to TV”, as streaming services are not generating the expected profits and China is no longer a viable option due to new censorship regulations!
In April, channels like TV Asahi and Fuji TV added new late-night anime slots. The premiere of “Mobile Suit Gundam GQuuuuuuX” also reinforced the genre’s importance on broadcast television. This shift marks a change after a period of decline when DVD sales dropped, and anime struggled to secure space on traditional TV.
The growth of streaming services during the pandemic and the massive success of “Kimetsu no Yaiba” helped solidify anime as a popular genre across different age groups. Social media also boosted its popularity, allowing global discussions and content sharing.
Despite this, anime did not completely transition to streaming as expected. Major platforms like Netflix and Disney+ have released exclusive dramas that became cultural phenomena, but few anime titles have achieved the same level of success solely through streaming. This has led studios to reassess the importance of broadcast TV in anime distribution.
For television networks, anime represents a lucrative opportunity, even with declining advertising revenue. Its international popularity allows for significant profits through licensing and merchandise sales. Additionally, Japan’s weakened currency has made overseas sales even more profitable.
On the other hand, the challenges are significant. Producing an anime episode can cost up to 8 million yen, a much higher amount than variety shows or live-action series. Furthermore, anime production can take years, making it difficult to adapt to rapid changes in TV programming.
China is Blocking School Romance Anime
One of the biggest recent challenges for the anime industry is the increasing censorship in China. For years, the country was one of the most profitable markets for anime, providing a stable revenue stream for studios and distributors. However, new censorship guidelines have made it difficult to commercialize many titles.
Works featuring politically sensitive themes or teenage romances are now being blocked. According to industry sources, stories involving the overthrow of governments or even romantic relationships between high school students are no longer permitted. This new policy has drastically limited the number of anime that can be licensed in China, forcing studios to seek new markets.
Without the financial support of one of the world’s biggest anime consumers, many studios are reevaluating their strategies, investing more in Western markets and exploring new distribution methods. This situation also highlights the need for anime to return to broadcast TV to secure a wider audience and diversify revenue streams.
The return of anime to Japanese broadcast television is good news for both fans and producers. Despite the challenges, new business opportunities and a growing audience suggest a promising future for the industry. With the loss of access to the Chinese market, traditional television could become even more essential for the survival of many studios.
