Raul Delapena Setiawan
For generations, the term "anime" has served as a rigid industrial and cultural signifier. It was more than a style; it was a geography. To be classified as anime, a work had to be birthed within the Japanese archipelago, a product of specific domestic production committees, labor traditions, and cultural aesthetics. This definition has been the cornerstone of animation scholarship, global distribution strategies, and even the editorial guidelines of publications like Cartoon Brew.
However, as of May 2026, the walls surrounding this definition are beginning to crumble. In a move that has sent shockwaves through the animation industry, Toei Animation—the legendary studio responsible for global juggernauts like Dragon Ball, One Piece, and Sailor Moon—has signaled a paradigm shift that could fundamentally alter how we categorize, produce, and consume animated content.
The Catalyst: A Shifting Global Landscape
The catalyst for this industry-wide conversation is Monkey Quest, an upcoming feature film currently being developed by Toei. As the studio prepares for a highly anticipated "Work in Progress" presentation at the Annecy International Animation Film Festival next month, the global strategy behind the project has come under the microscope.
Speaking to Variety at the Cannes Film Festival, Toei Animation general manager Asama Yosuke provided a statement that serves as a watershed moment for the medium. "The era when anime was something made only by Japanese people is over," Yosuke declared. "From now on, we aim to create entertainment works rooted in local cultures together with creators from around the world."
For a studio as steeped in tradition as Toei, this is not merely a marketing pivot; it is a declaration of intent to decouple the "anime" label from the borders of Japan.
A Chronology of the ‘Anime’ Debate
To understand why Yosuke’s comments are so seismic, one must look at the historical trajectory of the term:
- The Post-War Era (1950s–1970s): Anime solidified as a distinct national industry. Studios like Toei Animation (founded in 1948) established the "limited animation" techniques that defined the look of the medium, creating a visual language that was distinctly Japanese.
- The Global Expansion (1980s–2000s): Through international syndication, anime became a global phenomenon. While Western studios attempted to mimic the style—often resulting in the "anime-inspired" sub-genre—the distinction remained clear: Japan made the "real thing," while Western efforts were considered homages.
- The Hybridization Era (2010s–2025): The rise of streaming platforms like Netflix and Crunchyroll blurred lines. Productions like Blue Eye Samurai, Castlevania, and the upcoming Dragon Striker utilized anime-adjacent visual aesthetics, but were produced by Western creative teams. These projects were consistently categorized as "Western animation" to maintain the sanctity of the anime label.
- The Toei Pivot (2026): By explicitly welcoming international collaboration under the banner of a "new era," Toei is effectively inviting the industry to reconsider whether "anime" is a place of origin or a philosophy of creation.
Supporting Data: Why the Shift is Happening Now
The decision to redefine anime is not driven by idealism alone; it is a calculated response to the realities of the modern global market. Several factors are forcing this hand:
- The Talent Gap: The Japanese animation industry has been facing a chronic labor shortage, exacerbated by a shrinking domestic workforce and the intense, often grueling, production cycles that have historically defined the "anime production committee" system. Partnering with international talent provides access to a wider pool of animators, storyboard artists, and directors who are already fluent in the "anime aesthetic."
- Cultural Fluency: As Western audiences become more sophisticated consumers of animation, there is a growing demand for stories that bridge the gap between Japanese sensibilities and global themes. By integrating international creators, Toei can produce content that feels authentic to broader audiences without losing the "Toei DNA."
- Market Saturation: The "Made in Japan" label, while a hallmark of quality, is also a constraint. By creating "local" works that utilize the stylistic strengths of anime, studios can tap into regional markets—Latin America, Southeast Asia, and Europe—with stories that resonate more deeply than imported Japanese narratives might.
Official Responses and Industry Reaction
The reception to Yosuke’s comments has been polarized. Among younger audiences and digital-native fans, the sentiment is largely one of acceptance. To these viewers, "anime" has always been a stylistic category, not a passport. They view the visual cues—the expressive character designs, the specific approach to cinematography, and the emotional pacing—as the defining features of the medium, regardless of where the ink was laid or the frames rendered.
Conversely, traditionalists and industry veterans have expressed concern. There is a fear that diluting the definition could lead to a loss of the unique "cultural soul" that has made Japanese animation an artistic powerhouse for seventy years.
"If everything is anime, then nothing is," says one industry analyst. "The concern is that the term becomes a hollow marketing buzzword rather than a hallmark of a specific, rigorous, and culturally significant production tradition."
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Implications: Where Do We Go From Here?
The implications of Toei’s stance are profound. If one of the foundational pillars of the industry declares that the "Japanese-only" rule is dead, the ripple effects will be felt across the entire ecosystem:
1. The Editorial Challenge
As Cartoon Brew noted in its coverage, there is a stubborn adherence to the "Japanese-only" definition in professional criticism and journalism. If major studios stop making the distinction, publications will be forced to either adopt a new taxonomy—perhaps differentiating between "Japanese-produced" and "Global-produced anime"—or abandon the label entirely in favor of "Animation."
2. The Production Committee Model
The traditional production committee system is notoriously insular. If Toei and other major players start integrating international partners, the legal and financial structures of anime production will need to evolve. We may see the rise of "Co-production Anime," where the IP is Japanese, but the creative execution is global, necessitating new frameworks for copyright and profit sharing.
3. The Future of ‘Monkey Quest’
Monkey Quest is being viewed as the test case. If the film succeeds both critically and commercially, it will provide the roadmap for the future. If it fails, the industry may retreat back to its traditionalist roots, viewing the attempt at globalization as a failed experiment.
Conclusion
We are standing at a crossroads. For decades, the "Made in Japan" seal was the gold standard for anime. It provided a sense of security and identity for a medium that was once considered a niche interest and is now the dominant global language of animation.
Asama Yosuke’s proclamation from Cannes is a challenge to the status quo. It is an acknowledgment that the world has changed and that the industry must grow to survive. Whether this shift represents the evolution of a medium or the dissolution of an identity remains to be seen. However, one thing is certain: the debate over what constitutes "anime" is no longer a question of geography. It is a question of intent, influence, and the future of global storytelling.
As the industry prepares for Annecy, all eyes will be on Monkey Quest. It is more than just a film; it is the first chapter of an entirely new, potentially borderless, history for anime.
Sagoh
Iffa Jayyana
