Anime is no longer just a Japanese export for home audiences – it’s become a global phenomenon with stories and creators from around the world. Japanese studios are now weaving multicultural themes, LGBTQ+ characters and underrepresented voices into their series, while international creators are producing anime-style content of their own. Viewers in India, North America and beyond are responding enthusiastically: surveys show Gen Z anime fans in the US are nearly twice as likely to be Black or Asian as the general population, and 39% identify as LGBTQ+. This broad, passionate audience is pushing for more inclusive tales. As one analysis noted, despite anime’s diverse fandom, the genre still “lacks… Black, Indigenous, People of Colour (BIPOC) and LGBTQ2S+ characters” – a gap that new shows are beginning to fill.

Global themes in Japanese AnimeEven Japan’s own anime studios are reaching across borders. Series like Samurai Champloo (Shinichirō Watanabe) deliberately mix cultures – it uses hip-hop influences and even introduces foreign characters in feudal Japan – to tell a uniquely diverse tale. Michiko & Hatchin (2008) is set in a fictional Latin American country and features strong Black protagonists, praised as “some of the best Black representation in all of anime” while immersing viewers in Brazilian-inspired culture. More recently, Mobile Suit Gundam: The Witch From Mercury (2022–23) became the first in that franchise to star a woman of color and a same-sex relationship, marking a historic LGBTQ-inclusive turn. Even traditional samurai tales are getting diverse reboots: Netflix ’s Yasuke (2021) was directed by African-American creator LeSean Thomas and centers on Japan’s only known Black samurai. Thomas notes the “serendipitous nature” of an African-American making an anime about an African in Japan.

Several new Japanese anime explicitly blend global or multicultural settings. For example, Carole & Tuesday (Bones/Netflix) follows two mixed-heritage songwriters on Mars, and Great Pretender (Wit/Netflix) bounces across international con games – moves by studios to tell fresh stories. Netflix’s Japanese arm recently said its mission is to “discover stories that have not yet been told”, signaling a push toward unique, globally flavored narratives. In short, Tokyo’s anime creators are increasingly mindful of international appeal: mixing musical genres, casting diverse characters, and exploring world cultures in ways that resonate with young viewers everywhere.



Anime-inspired creations worldwide
Outside Japan, many studios and creators are making works with anime aesthetics and storytelling. In the US, cartoons like Avatar: The Legend of Korra were directly inspired by anime; Korra famously ended with a queer romance, called “one of the first portrayals of a same-sex relationship in a popular American animated show”. Netflix and other streamers have backed original anime-style series by non-Japanese talent: Castlevania (2017–2021) by American creators drew on East European folklore, and Cannon Busters (2020) by Black American creator LeSean Thomas told a sci-fi adventure with a racially mixed cast. Another example is Onyx Equinox ( Crunchyroll , 2020), created by Mexican-American Sofia Alexander. Alexander explains that Onyx Equinox was born from imagining “a Mexico that was just as magical and epic” as The Lord of the Rings, blending Aztec and Mayan mythology with coming-of-age drama.

In the Philippines, Netflix’s Trese (2021) is an anime series based on local comics that brings Filipino folklore to a global audience. Author Budjette Tan notes Manila’s “interesting mix of embracing first-world technology” while “still cling[ing] to our traditions,” a duality vividly portrayed in the show. Similarly, Western animation anthologies like Star Wars: Visions or Avatar Chronicles incorporate diverse artistic voices. Even manga-style comics are going global: for instance, the U.S.-based publisher Saturday AM features a multiethnic slate of creators and heroes, explicitly putting “diversity first” in its stories. All these efforts point to one trend: anime is no longer a Japan-only language but a worldwide storytelling style.

Fans and the international audienceAudiences have noticed and embraced the new diversity. Studies confirm that anime’s younger viewers are exceptionally varied: in the US, Gen Z anime fans are about 23% Black and 13% Asian (vs. 14% and 7% in the population), and many identify as queer. Anime platforms like Crunchyroll and Netflix report that viewers across continents tune in, and cosplayers at conventions openly celebrate non-Japanese characters.

At events like AnimeNYC or Japan Expo, fans from different races and backgrounds pack the halls – an international crowd united by anime. This diverse fanbase often champions more inclusivity: social media is full of conversations about representation. One fan researcher observed that while anime’s audience is now “diverse from a cultural, racial and gender perspective,” many viewers feel the shows they love still lack characters of color and LGBTQ+ characters. In response, studios are slowly adding more of those voices on screen.

The numbers back up fans’ claims. Nearly two-thirds of young anime fans say anime “does a better job than other forms of media” at telling emotionally resonant stories. As one marketing analysis notes, anime culture has become so mainstream that brands must pay attention to its multicultural audience. Streaming platforms have helped: in India, Crunchyroll launched widely in 2020 and now offers many regional languages, and local studios are collaborating on projects. Overall, the global anime audience is not just watching – it’s influencing content by demanding characters and themes that reflect their lives.

Streaming and co-productions expand reachMajor streaming services are accelerating the trend toward diverse anime. Netflix, for example, now produces dozens of original anime each year. Netflix Japan’s content chief says the company will prioritize programming “that have an impact here” and provide “fresh new encounters”, indicating interest in innovative tales. In 2025, Crunchyroll (Sony’s anime service) and Aniplex (producer of Demon Slayer and Solo Leveling ) announced a new joint venture called Hayate Inc. to create anime for international fans. Crunchyroll explicitly stated Hayate will develop “premium content for anime fans worldwide”, leveraging Aniplex’s production know-how and Crunchyroll’s global marketing. These partnerships promise big-budget anime that mix Japanese craftsmanship with input from overseas partners.

Co-productions across borders are also on the rise. For instance, Blade Runner: Black Lotus (Adult Swim and Crunchyroll) and Netflix’s Ghost in the Shell: SAC_2045 involved studios from Japan and the US or Europe. Disney+ has sought anime productions like Star Wars: Visions. Even China has begun co-investing in anime, seeing its cultural power. The result is more anime with blended sensibilities – whether it’s Chinese wuxia influences in a Japanese-animated show, or a Japanese director working on a story set in medieval Europe. Streaming makes these projects viable: platforms can reach niche and niche-turned-mainstream audiences worldwide, rewarding experimental diversity that might not have been greenlit by old-style broadcasters.

Challenges of authenticity and critiqueHowever, this globalization hasn’t come without debate. Critics warn of cultural appropriation or shallow treatment of sensitive topics. Anime fans sometimes chafe when Western writers tackle Asian stories without nuance. For example, Avatar: The Last Airbender (though American-made) sparked discussions about mixing Inuit, Chinese, Japanese and other traditions, with some calling it a “white fantasy built on cultural appropriation.” In Japan, minority characters have often been rare or portrayed with stereotypes. One scholar cautions that early attempts at BIPOC characters in anime “have been racist and stereotypical”. Similarly, LGBTQ+ fans note that Japanese anime rarely shows overt queer lives (most relationships remain implied), and when foreign characters appear they sometimes reflect Western anxieties.

Even diversity-driven anime can misstep: Yasuke was praised for its Black samurai hero but also critiqued for sidelining Japanese characters, and Onyx Equinox drew some criticism online for its sexualized imagery, despite its cultural ambition. Thus creators are learning to tread carefully: many now hire cultural consultants or diverse writers. Fans expect authenticity, not tokenism. For example, Trese was produced with Filipino-American writers and animators to honor its source material, and Castlevania hired voice actors of color for its diverse cast. Success often depends on sincere storytelling: when done well, these shows earn fan respect and new audiences, but if mishandled they can spark backlash.

Anime’s newfound diversity is undeniable. From Tokyo studios incorporating hip-hop and Africa-inspired samurai tales to Toronto-based fans cheering on Black cosplayers, the medium is expanding. Streaming platforms and international collaborations are fueling that growth by funding projects outside traditional Japanese confines. While challenges remain – questions of cultural sensitivity and authenticity are sure to continue – the overall trend is clear: anime has become a global canvas. And with each new series from South America, Europe, Africa or elsewhere, the industry is being reshaped by stories that reflect our whole world.