[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-133384-en":3,"doc-seo-133384-105":31,"detail-sidebar-cat-0-en-105":92},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":21,"is_downloadable":21,"audit_status":21,"page_count":22,"language":23,"language_code":24,"site_id":25,"html_lang":24,"table_of_contents":26,"faqs":27,"seo_title":28,"seo_description":14,"update_tm":29,"read_time":30},133384,13056703019404,"Miles","https://ap-avatar.wpscdn.com/davatar_29158cc5080c5b710cf443261637dec0",8,"Research & Report","Asian takeaways - Harajuku Crêpe - Marketing Communication","Harajuku Crêpe analyzes Japan’s market setup for professional investors, linking weak TOPIX performance to US tariff-related disruptions while highlighting where capital is shifting into comparatively defensive sectors. It focuses on Japanese IP—especially character-led and anime-driven ecosystems—as a driver of global demand and monetisation. The discussion explains how Japanese publishing, studios, and partners support global distribution and revenue growth, and illustrates this through anime market sizing and collaboration examples.","Asian takeaways  \nHarajuku Crêpe  \nFor Professional Investors Only | Marketing Communication  \nMaya Funaki  \nPortfolio Manager, Asian Equities  \nPublished June 2025  \n“Since the new US president’s tariff talks have disrupted the market, the Tokyo Stock Exchange (TOPIX) has been weak, creating an attractive entry point for investors.”  \nDuring my time in Tokyo recently, I noted that I did not see other Japanese guests at my hotel. Rather, I saw many tourists from all over the world enjoying their holidays in my home country. My anecdotal observation has since been backed by data.  \nRecently, most of the tourists arriving in Japan have come from Korea, Taiwan, China, America and Australia, and notably, there has been a 70% year-on-year increase from Russia, the Middle East and China specifically. This is despite the yen’s appreciation from 160 to 150 per USD since last December. Japanese people, who have noticed how cheap Japan is compared to the rest of the world, have begun to begrudgingly accept the price hike. The 2025 Shunto number showed that the average wage hike was 5.37%(versus 5.91% in the previous year)1, which was in line with market expectations. Major firms have the resources to boost wages, at present supported by anticipated strong earnings for the current fiscal year.  \nHowever, since the new US president’s tariff talks have disrupted the market, the Tokyo Stock Exchange (TOPIX) has been weak, creating an attractive entry point for investors. Fears are still present, so money is flowing into relatively defensive sectors. These have included names with strong domestic demand across the consumer discretionary, banking, construction, defence, and IT services segments. Among them, the most popular single space was that of intellectual property (IP) and gaming.  \nGlobalisation of Japanese IP  \nJapan is a known powerhouse in relation to character and IP generation. For years, colourful characters from various companies have been exported allover the world and are recognisable in an instant – Pokémon (Pikachu is still my favourite), Hello Kitty, Anpanman, Ultraman and Godzilla to name a few. The trend continues with the strength of Chiikawa being the most recent ina storied history. This space, however, is also expanding. During Covid, anime – a distinct form of animation that originated in Japan, characterised by colorful artwork, vibrant characters, fantastical themes, and emotional narratives – took off globally as a major streaming offering, aided by platforms such as Netflix and Crunchyroll (anime-specific streaming, acquired by Sony in 2021) .  \n1 Japan union group says gained hefty average 2025 pay hike, albeit less than last year | Reuters.  \nAsian takeaways: Harajuku Crêpe| 1  \nChart 1: Anime market  \nSize by type (USD billion)  \n\n| | | | | USD34.2 bln\u003Cbr>| | | | | | |\n| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |\n\n2020 2021 2022 2023 2024 2025 2026 2027 2028 2029 2030  \n Merchandising  Internet distribution  Pachinko  TV  Live entertainment  Video  Movie  Music  \n\n| Source: Anime market size, share & growth | Industry report, 2030. |  |\n| --- | --- |\n| This aided the growth of what had first started as a niche Otaku hobby into a burgeoning market. In US dollar terms the market size grew from 21 billion in 2021 to 34 billion in 20242 (Chart 1). Streaming appears to be the optimal distribution platform for anime, with platforms receiving fresh and timely content, and it is less likely to feel outdated compared to other kinds of TV series due to its style.\u003Cbr>Why has Japan been the birthplace for such popular animation? History plays some part. Worldwide hit titles such as Dragon Ball Z and One Piece were cultivated from Shonen Jump, a weekly manga magazine produced by published Shueisha. This Japanese publishing company collects 10 individual mangas into one magazine, which are then selectively consumed by sophisticated manga readers. Shueisha focused on its publishing businesses decades a","cbCaipkJFmOQt4Rm","https://ap.wps.com/l/cbCaipkJFmOQt4Rm","pdf",621713,3,1,7,"English","en",105,"# Globalisation of Japanese IP\n## Anime market growth and distribution\n## Why Japanese anime is accepted globally\n# Monetisation of IPs","[{\"question\":\"What market condition is presented as creating an entry point for investors?\",\"answer\":\"Disruptions from US president tariff talks have weakened the Tokyo Stock Exchange (TOPIX), which the document frames as an attractive entry point despite ongoing fears.\"},{\"question\":\"Which international tourist trends are highlighted as supporting the Japan demand narrative?\",\"answer\":\"Tourist arrivals are said to be coming mainly from Korea, Taiwan, China, America, and Australia, with a notable 70% year-on-year increase attributed to Russia, the Middle East, and China.\"},{\"question\":\"How does the document explain the global monetisation of Japanese IP and anime?\",\"answer\":\"It attributes growth to character and IP strength, anime’s global streaming distribution, and long-term partnerships among publishers, animation studios, and merchandising holders, supported by collaborations with major international platforms and companies.\"}]","Asian takeaways - 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