A Reader asks:

Dear Answerman, with the Crunchyroll Anime Awards hitting their 10th anniversary this May, I keep seeing people call it “the Oscars of anime,” but that never quite rings true to me. The Oscars are voted on by the people who make films. The Anime Awards feel like they’re voted on by whoever can mobilize the biggest fanbase on social media. Does the Japanese industry take this ceremony seriously? And what would it actually take for the Awards to earn the kind of prestige that the Oscars, or even the Annie Awards, have in their fields?

For the record, I think that hosting an annual anime awards celebration event where we recognize the highest achievements across the various creative disciplines in the medium is a good idea. I am glad that the Crunchyroll Anime Awards exist, and it is noteworthy that this event, established in 2016, is celebrating its first decade next month at the Grand Prince Hotel Takanawa in Tokyo on May 23rd at 6 PM local time (JST). I also think it is a good thing that Sony, the new owners of Crunchyroll, moved the ceremony from California to Japan in 2023. After all, if you are celebrating anime, you are also celebrating an almost exclusive array of Japanese talent, and by extension, you are also recognizing and celebrating Japan itself.

Before we get into the weeds of the Anime Awards specifically, I thought it would be wise to zoom out and consider how traditional, live-broadcast entertainment-industry awards ceremonies are performing these days. Are events like the Grammys and the Oscars capable of creating the same global cultural zeitgeist moments of yesteryear, or is the fragmentation of media, communication, and entertainment making these events irrelevant?

The data on this is unambiguous, and it tells a story that should trouble and encourage anyone with a stake in the Anime Awards’ future. According to Nielsen figures, every major traditional broadcast awards ceremony has shed somewhere between 38 and 51 per cent of its US television audience since 2015. The Academy Awards, once capable of pulling 57 million American viewers for Titanic in 1998, has settled into a post-pandemic floor of roughly 18 to 20 million, a figure that network executives are now, with some creative accounting and a first-ever Hulu simulcast, trying to spin as a recovery story. The Grammys peaked at 39 million viewers in 2012 and now hover around 15 million. The Golden Globes, which commanded nearly 20 million viewers as recently as 2020, drew just 9.3 million in 2025. These are not temporary fluctuations, but an expression of a structural shift in how audiences, particularly younger audiences, choose to spend their attention on any given evening. The cultural authority of the traditional broadcast awards ceremony, built over decades of scarcity-era television dominance, is eroding. It is not dead, but it is undeniably diminished, and the demographic data underneath the headline numbers makes that erosion look even steeper: the audiences that remain skew older, and the 18-to-34 cohort, the one every advertiser and IP owner on the planet is chasing, is largely elsewhere.

Where they are, it turns out, is exactly where anime lives. The Game Awards, launched the same year as the Crunchyroll Anime Awards, is built upon a near-identical premise of free, ungated, multi-platform livestreaming aimed at a digitally-native global fanbase. It has grown from 2.3 million global livestreams in 2015 to 171 million in 2025, a figure that represents over 7,300 per cent growth in a decade during which every traditional broadcast awards ceremony was trending in the opposite direction. Approximately 65 per cent of The Game Awards’ audience is estimated to be between the ages of 13 and 34. The Crunchyroll Anime Awards, whose audience demographic skews even younger, with an estimated 8 per cent falling into that same 13-to-34 bracket, is operating in the same “white-hot” territory.

None of the above is a coincidence. Video games and anime are the two entertainment categories that Gen Z and younger millennials have made unambiguously their own, and the awards ceremonies that serve those categories are the ones growing their audiences year on year, while the Oscars debate whether to move to YouTube. The question, then, is not whether the Anime Awards are relevant. The question is whether Sony and Crunchyroll have the strategic will and creative ambition to build the kind of show that a 171-million-stream ceiling actually demands. But will it matter to Japan?

That question deserves a direct answer. So I took it back to my network of buyers, producers, journalists, and licensors in Japan and around the world. What I learned is instructive, not just for me, but for Crunchyroll and Sony themselves.

The vote totals deserve more scrutiny than they typically receive, because they are not a vanity metric in the way that a social media impression count is. Casting a vote in the Crunchyroll Anime Awards requires account registration. It has friction built into it. When Crunchyroll reports a staggering 51 million in 2025, what they are actually reporting, whether they frame it this way or not, is the size and engagement level of their registered user base at the moment the voting window opens. That number does not grow at the pace of an organic fandom. It grows at the pace of a platform executing a successful market entry strategy. Crunchyroll introduced Hindi dubbing in 2025. It opened a second Indian office in Hyderabad in 2024. It has offered subscriptions in India at 79 rupees a month (94 cents at the time of writing), one of the cheapest prices in the world. A price designed not to generate margin, for the time being at least, but to generate accounts. India entered the top ten most engaged voting countries for the first time in 2025. These facts are not unrelated.

A registered user who votes is a registered user who has logged in, formed opinions about the content they have consumed, and made an active decision to participate in a community event inside the Crunchyroll ecosystem rather than on a competitor’s platform. Fifty-one million votes is a measurement of a couple of things. It shows how passionately anime fans feel about their favorite shows. It is also fifty-one million instances of a subscriber re-engaging with a platform and confirming, voluntarily, that they are still there. The ceremony is a CRM exercise dressed in a tuxedo. That is not a criticism. It is a description of what it actually is, and what it is genuinely good at.

The ten-year-old ceremony has also quietly built something the licensing industry would recognise and respect: a branded cultural month. Ani-May mobilises retail partners across thousands of physical and digital touchpoints simultaneously. Hot Topic, HMV, Thalia, and retail partners across thirty countries simultaneously. The ceremony on May 23rd is not separate from this activation. It is the tent pole that holds all of it up. Judged by that standard, not the Oscars, not the Game Awards, but as the anchor of a global licensing and retail machine, the Awards is almost certainly earning its keep. It is smart marketing.

Here is where the story gets complicated. The editor-in-chief of a major Japan-based entertainment website was unambiguous when I put the question to him. “The very fact that the event is hosted by Crunchyroll, a service that is completely geoblocked in Japan,” he told me, “tells you that the Anime Awards are not targeted in any way towards a Japanese audience. I doubt anyone here knows it exists.”

When the ceremony moved to Tokyo in 2023, it featured a Japanese-language broadcast that, according to streaming analytics firm StreamCharts, accounted for roughly a third of total watch time that year. By 2024, that Japanese-language broadcast had quietly disappeared. The host country’s language was dropped the year after the ceremony arrived in its backyard. Crunchyroll has never explained the decision publicly. The budget, in all likelihood, moved to where the growth was. In 2024, that meant Hindi, not Japanese.

The international distributor I spoke with was the bluntest of my sources. “I have never heard the Crunchyroll Awards brought up by or with Japanese licensors,” they told me, “and the only buzz about it I hear among industry people is kind of a collective eye-roll. It’s a marketing gimmick to brand anime as an entire medium with the Crunchyroll logo.” They have never been invited to attend. When I asked whether they would go if the invitation came, their answer was immediate. “I very much doubt I would bother flying to Japan for that.” They fly to Japan regularly.

One European industry professional with close knowledge of the ceremony described the atmosphere in terms that deserve to be quoted. The event tries to replicate the Academy Awards vibe: guests glued to their seats at big round tables, dinner served while they are entertained by MCs and celebrities they are unfamiliar with, and to whom they mean little in the context of anime, “unless you are American.” The official photographs from the event, they observed, “almost entirely feature influencers, brand ambassadors, US-American stars and Crunchyroll team members patting each other’s shoulders – all of them bigger than life.”

Before rendering a verdict, it is worth remembering that Japan does not have a functioning prestige awards institution for anime. The Japan Media Arts Festival was discontinued in 2022. Animation Kobe folded in 2015. What remains are popularity polls – the Animage Grand Prix has been running since 1978 – it isn’t structurally dissimilar from what Crunchyroll has built. The vacuum is real, and I would have done the same thing Crunchyroll did ten years ago, had I the resources and inclination. They identified a genuine absence and moved into it. The question is whether they have filled the space or are simply squatting in it.

Your letter describes the Anime Awards as being voted on by whoever can mobilize the biggest fanbase. That is not entirely accurate, but the reality isn’t much more reassuring. Since 2022, winners have been determined by a 70/30 weighting in favour of a jury over public fan votes, introduced after the Yuri!!! on Ice controversy of 2017, when coordinated fan voting swept all seven of its nominations, including Anime of the Year. The jury weighting was designed to prevent popularity from completely overriding merit.

The result is a curious hybrid. Crunchyroll gets to announce 51 million democratic votes, while the jury actually drives the outcomes. When Delicious in Dungeon received 16 nominations and won nothing, the perception of bias against non-Crunchyroll titles circulated immediately and widely. The production committee member I spoke with hadn’t followed the Awards closely enough to know any of these details. Their instinctive response to the basic premise was nonetheless the most precise formulation I received. “Awards should be neutral,” they said. “They shouldn’t be owned, run, and branded by one controlling platform. It’s like having the Netflix Emmys or something.”

The model they should pursue is something like the Grammy model, where fan votes influence certain categories while a credentialed independent jury controls others. But it requires Sony to accept that a more prestigious award might generate less voting engagement, which is a genuine strategic trade-off they would need to consciously make. Fifty-one million votes do not happen if the fan vote is quarantined to Best Opening Sequence. Whether the number matters more than the credibility, or the credibility more than the number, is a decision only Sony can make. But it is a decision, not a dilemma.

The most useful comparison I received came from the Tokyo-based marketing strategist who attended the original Los Angeles ceremony and has watched every edition since. His reference point was the Game Awards. Not perfect, he noted, but earnest, and crucially, an event the games industry has come to take seriously simultaneously as a marketing moment, a news vehicle, and a genuine celebration. Geoff Keighley made his ceremony the place where the industry’s future is announced. Publishers coordinate their most significant reveals around it because something that can only happen there happens there.

The Crunchyroll Anime Awards has not yet found its equivalent of that function. The 2025 ceremony’s inventory of genuinely new content was brief: one promotional reel from ufotable for Witch on the Holy Night, a production whose committee includes Aniplex, a co-owner of Crunchyroll, as part of the Sony joint venture. Sony showed Sitstrailer at its event. The Game Awards is not.

If Sony and Crunchyroll are serious about building something that endures beyond its commercial utility, and I believe the raw materials exist to do exactly that, then the most significant structural move available to them is also the most counterintuitive one. Stop calling it the Crunchyroll Anime Awards. Spin out an independent governing body, funded initially by Sony but operating with genuine editorial autonomy. Call it “The Anime Awards, presented by Crunchyroll.” Restore the Japanese-language broadcast. Reduce the categories from thirty-two to ten hard ones, so that winning actually means something. Invite the Japanese creative community into the jury in a way that gives them genuine ownership over the outcome, rather than photo opportunities on the orange carpet.

The brand association that comes from presenting a genuinely credible institution is worth more, over a long enough time horizon, than the brand control that comes from owning a compromised one. The Oscars are not diminished by the fact that ABC airs them.

Ten years in, the Crunchyroll Anime Awards is the most-watched anime awards ceremony in the history of the medium, voted on by more people than any equivalent event anywhere in the world, held in the city where anime is born – and received, in that city, with what one of my sources described as a polite collective eye-roll. There is an identifiable need for a formal awards event that recognises excellence in what is one of the most globally influential artistic media. The scale is extraordinary, and the relevance is unmistakable. And for the first time in the history of anime, we have the commercial infrastructure to build something that genuinely matters.

The ceremony on May 23rd will feature Rashmika Mandanna and The Weeknd, amongst others, presenting awards in Tokyo to an audience that includes the CEO of Sony Group Corporation and the Tokyo Philharmonic Orchestra. And fifty-flipping-one million people voted! The people who make the anime that generated those numbers mostly didn’t. Several of the ones I spoke to weren’t sure the ceremony existed. One attended the first Los Angeles edition and remembers being told to finish his food before the show started. He didn’t rate the food.

At ten years old, the Crunchyroll Anime Awards has the numbers, the venue, the infrastructure, and the moment. The art form it celebrates managed to conquer the world on a fraction of those resources. That is not nothing. In fact, in the right hands, it is everything.

Do YOU have a question for the Answerman?

We’d love to answer your questions and especially encourage questions inspired by recent news and headlines.
However, READ THIS FIRST:
● CHECK THE ARCHIVES. Over the years, we’ve answered THOUSANDS of questions and might have already answered yours!
● We cannot tell you if or when a show will get another season, nor can we help you get in touch with any producers, artists, creators, actors, or licensors.
● Only submit your question once.
● We take questions by email only. (Tweeted questions get ignored!)
● Please keep your questions within a paragraph length.
●The email address is [email protected].

Thank you!