In China, intellectual property (IP) businesses centered on characters from anime, games, and similar media are now experiencing significant growth. What has long been described in Japan as “otaku culture” is referred to in Chinese as “2D culture,” and it has deeply penetrated younger generations, particularly Generation Z. One notable feature of this trend is that it has been largely unaffected even during periods of political tension in Japan–China relations.
“Oshi Activities” as a Personal Sphere Separate from Politics
A case from Shanghai highlighted in recent reporting serves as a symbolic example. The words of a female college student dressed as the protagonist of the Japanese anime Black Butler—“oshi activities are a source of mental fulfillment”—succinctly illustrate how 2D culture has gone beyond mere entertainment to become something that supports individuals on a psychological level.
What deserves particular attention here is the fact that macro-level tensions such as international politics and diplomacy have had little spillover effect on individual-level cultural consumption. With the widespread availability of video streaming platforms, access to content has been decoupled from national borders and political friction, creating an environment in which people can “enjoy what they like in the way they like.” In this sense, 2D culture functions as a highly private sphere of consumption that is relatively insulated from political positions and nationalism.
What the Numbers Reveal About the Growth of China’s 2D Market
According to data from the research firm iiMedia Research, China’s 2D-related market reached approximately 597.7 billion yuan (around 13 trillion yen) in 2024, nearly doubling in size compared with 2019. It is further projected to expand to 834.4 billion yuan by 2029. This suggests not a temporary boom, but a structurally expanding market.
At the core of this market are characters from Japanese anime such as Haikyu!! and Jujutsu Kaisen. The high level of completeness of their fictional worlds, the depth of character design, and the immersive quality of their storytelling are being embraced across languages and national borders. These factors can be seen as key sources of the competitive strength of Japanese IP.
China’s Strategy to Foster Domestic IP—and the Challenges It Faces
At the same time, the Chinese government has been promoting the goal of becoming a “cultural powerhouse” and is investing considerable effort in nurturing domestic IP. This is not merely an economic policy, but a move to position soft power enhancement as a national strategy. The intention to leverage the massive 2D culture market as a growth engine for domestic content is clear.
However, the IP business is not a field in which success can be achieved quickly through imitation or mass production. It requires intangible assets such as the accumulation of creative work over many years, sustained relationships with fans, and trust in the fictional world of the work. In this regard, Japanese anime IP possesses a cultural depth that has been cultivated over time. As China works to develop its own IP, the challenge will extend beyond financial investment to more fundamental factors such as the creative environment and the degree of freedom in expression.
The “Quiet Soft Power” Demonstrated by Japanese IP
What this news highlights is the fact that Japanese character IP has taken root in Chinese society on a plane distinct from political contexts. The sight of long lines at merchandise shops and young people freely talking about their “favorites” illustrates how Japan’s soft power is functioning beyond confrontation and tension.
This influence is not driven by loud assertions or power exerted through intergovernmental negotiations, but by a force that quietly enters individuals’ emotions and everyday lives. The presence of Japanese IP through 2D culture is likely to continue to carry a certain weight in the Chinese market. At the same time, how uniquely Chinese IP will develop, compete, and coexist within that market will become an important theme in shaping the future of the cultural industries across Asia as a whole.