In April, the Japan Association of Corporate Executives (also known as Keizai Doyukai) pitched the idea of adapting canceled manga into anime in recommendations aimed at bolstering the sustainable growth of the country’s content industry (PDF). On page 4, the Keizai Doyukai outlines how the odds of anime success can be increased through a tiered promotion strategy.
The first stage entails gathering domestic and international anime fans on social media to evaluate pre-productions (a creative work that builds on a concept) and manga that weren’t a hit in Japan. Second, the works that receive the most approval on social media will receive short films. Third, the short films that receive the most praise will receive nominations and awards.
Anime project proposals for these award winners and nominees would then be created, a fund would be established, and a production committee would be formed to produce the anime. The fund would source investment from anime fans and business producers. An image of the plan is below (Japanese):
The proposal adds that the government could provide support for educational institutions, award events, localization efforts, and exhibitions at international trade fairs. It could also support with creating pre-production material, and the production and post-production of highly praised original works by small and medium enterprises.
The press conference announcing the Keizai Doyukai’s policy measures was recorded and posted online, as seen below. Jupiter Telecommunications (J-COM) chairman Bin Haga (pictured left) proposes at around 12:14 that manga put forward for evaluation also include canceled titles and titles that didn’t make it to serialization. He suggests a possible weekly ranking for evaluation.
The Keizai Doyukai’s recommendations highlighted several other issues in the anime industry, such as stagnant wages, staff shortages, and inefficiencies within the current production committee system, leading to a lack of business producers who can monetize anime globally. Production committees usually limit the role of members to single areas, such as overseas sales to licensees, merchandising, advertising for the TV broadcast, and so on. The Keizai Doyukai argues that this makes it difficult to develop producers.
It also proposes policies:
- A review of contractual practices, and the promotion of surveys & public awareness activities to ensure compliance with laws and guidelines
- Japan’s FTC is currently investigating contract dealings between anime creators and production companies.
- A review of unit prices for animators and fairer revenue distribution for freelancers.
- 47.3% of animators in Japan responded to a survey as freelance/self-employed (JAniCA, 2023).
- Check out our interview with anime studio Buta Productions (ButaPro), where it touches on the staff transition from freelancing to becoming employed in-house.
- Digital transformation to manage and improve the efficiency of anime production processes:
- The First Slam Dunk‘s Dandelion Animation Studio CEO described the success of introducing Sansan Inc.’s Contract One contract management database into their workflow. He says that contracts have “plagued” anime studios in the past and present (link, Feb. 2024).
- Kadokawa Chief Studio Officer Takeshi Kikuchi says the company aims to build a centralized contracts system by 2025 (link, Oct. 2024).
- Toho introduces Sansan Inc.’s Contract One to manage its film and animation business (link, May 2025).
- Government support in introducing productivity tools for lower tier production companies
- Legislation and further technological advances with a view to future use of AI
- Animator training
- Promoting overseas anti-piracy efforts, e.g. by supporting the training of foreign animators and providing opportunities for them to be matched with Japanese companies
The Keizai Doyukai adds that original productions (no source material) are expensive, require long development periods, and aren’t attracting investment. Seeking online fan evaluation of prototypes/pre-productions could be a way to lower risks for investors. Meanwhile, while titles with source materials attract a certain level of investment from production committees, the Keizai Doyukai says there’s a high barrier to entry for businesses outside these circles, which is what many companies pushing for anime funds argue.
Producing Anime From Canceled Manga Could Prove Very Popular With Overseas Fans
Producing anime adaptations of canceled works could provide new income for creators and publishers, as well as a lower-cost opportunity for producers. It may allow also creators to tell the stories in the way they always want to tell, eliciting buy-in from fans who can root for these creators. While Bleach‘s Tite Kubo isn’t the most representative example, as Bleach‘s return was likely always tipped for success anyways, many fans have particularly bought into the support and empowerment he’s getting from Pierrot and his direct involvement in Thousand-Year Blood War.
VIZ announced an anime adaptation of Black Torch in March, which was rushed to completion after only 19 chapters following low success in Japan. Shueisha, which published the series, has gained a reputation for canceling series quickly, which almost always happens before overseas licenses are announced. This naturally leads to an underrepresentation of foreign fans in decisions for what titles are successful. If Black Torch proves successful, it could lead to more adaptations of canceled titles; VIZ’s recent Spring 2026 licensing announcement includes many short-lived titles, such as Two on Ice, Green Green Greens, Shadow Eliminators, and Super Psychic Policeman Chojo.
The Japan Association of Corporate Executives/Keizai Doyukai is one of Japan’s biggest business lobbies, founded in 1946 as a private, nonprofit, nonpartisan organization, per its website. It currently comprises around 1,600 executives from 1,000 corporations. It aims to shape public and industry policies on political, economic, and social issues.
Source: Japan Association of Corporate Executives (Keizai Doyukai)
Featured image RED HOOD © 2021 by Yuki Kawaguchi/SHUEISHA Inc.
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