NEW DELHI — As Japan and India commemorate the 75th anniversary of their diplomatic relations, a shared enthusiasm for Japanese pop culture is emerging as a powerful diplomatic tool, complementing traditional geopolitical alliances.

During the 16th India-Japan Annual Summit held recently in New Delhi, Japanese Prime Minister Sanae Takaichi and Indian Prime Minister Narendra Modi signed customary agreements addressing defense, technology, economic cooperation, and supply chains. However, the leaders also underscored a cultural milestone, formally acknowledging “the important role played by creative industries, such as anime, manga, gaming, and films, especially among the youth.”

This high-level recognition highlights a booming entertainment market. Today, India ranks as the world’s second-largest consumer of anime, trailing only China, with a massive audience of approximately 180 million viewers. According to industry projections, India’s appetite for Japanese animated entertainment is anticipated to reach a valuation of US $5 billion by 2032.

The surging demand has prompted immediate business maneuvers. Kodansha, a prominent Japanese publisher, has expressed alarm over the rampant sales of pirated comic books across India. In response, the company will soon establish a printing house in Mumbai, marking the first time a major Japanese comic publisher has set up local printing operations in the country. Educational infrastructure is also adapting; last year, India inaugurated its first manga and anime academy in Hyderabad through a joint venture between Kyoto Seika University and IACG Multimedia College.

To understand this cultural bridge, Ved Shinde—an incoming doctoral candidate at the University of Cambridge with prior ties to the American Enterprise Institute and the Asia Society Policy Institute—points to the distinct aesthetic and diverse genres of Japanese media. Shinde notes that Indian audiences are drawn to everything from science fiction and fantasy to romance and punchy dark humor.

Teenagers flock to series like *One Piece*, while young men are captivated by *shonen* (fighting stories) such as *Attack on Titan* and *Death Note*. Many of these narratives serve as classic *bildungsroman* tales of personal growth featuring vivid, complex characters. As one of Shinde’s manga-obsessed school friends remarked: “One grows up with the lead characters. They are funny, sad, heroic, and tragic. At times, light-hearted yet dark. With a lot of superhero antics. Oh, I love that.”

Immaculate character design and visual details further cement this popularity. For instance, Goku from the blockbuster series *Dragon Ball Z* is depicted as a celestial martial artist who battles galactic evil. Known for being naive, noble-hearted, and fiercely loyal, Goku resonates deeply with both children and adults.

This modern cultural exchange traces its roots back to the early 19th century, when Japanese woodblock artist Katsushika Hokusai first coined the term “manga” to describe his sketches of both the banal and the supernatural. These visuals eventually evolved into broadsheet cartoon strips. Following the Second World War, animation gained traction. Studios like Toei Animation sought to become the “Disney of the East,” testing manga concepts in print before green-lighting animated films for Western audiences.

Global fascination solidified in the 1980s as Japan emerged as an economic powerhouse. Corporations like Toyota, Nintendo, and Sony evolved into global leviathans. While political figures like Donald Trump took out a full-page advertisement in American newspapers to criticize allies like Japan for generating trade surpluses behind U.S. protection, global consumers were actively becoming hooked on Japanese visual culture.

By the late 1990s, the video game *Pokémon* triggered a global craze, spawning spinoffs and dedicated cult followings. Recognizing this lucrative asset in 1997, Japan’s Agency of Cultural Affairs began officially promoting video game, anime, and manga exhibitions, leveraging what became known as the country’s “Gross National Cool.”

Simultaneously, India was stepping out of its “socialist closet” in the late 1990s, with citizens increasingly seeking international entertainment. By the early 2000s, localized television broadcasts of *Dragon Ball Z* and *Naruto*—complete with regional soundtracks—had become household staples.

Today, the reach of Japanese media extends far beyond South Asia. Shinde highlights the story of a conservative Italian friend and historian who sought his first internship in faraway Tokyo, illustrating how deeply Japanese visual culture has saturated the modern era.

Ultimately, for every traditional cinematic master like Akira Kurosawa, there is a visionary like anime creator Akira Toriyama. Through these uniquely gifted artists, sturdy cultural bridges are formed, prompting India and the wider world to view Japan through fresh, vibrant eyes.