How Thai Gen Z turned anime from a stigma into a mainstream identity and cultural force

What is it about?

Anime — Japanese animated content — was once seen as strange or childish in Thailand. This study explored how that perception has completely flipped among Generation Z (those born 1997–2012). We interviewed 23 people across different roles in the Thai anime world: event organizers, influencers, casual viewers, and dedicated fan community members. We found that anime is now so mainstream that not knowing popular titles can leave young Thais out of everyday conversations. More interestingly, we discovered that despite TikTok being great at introducing people to new anime, the real push to actually watch something comes from a trusted friend's personal recommendation — not from algorithms or big influencers. We also found that fan communities and anime events act as safe spaces where young people can experiment with their identity, express themselves through cosplay, and find a sense of belonging. Finally, we challenge the outdated "broke otaku" stereotype: dedicated fans are actually strategic, high-spending consumers who budget carefully for merchandise, events, and subscriptions.

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Photo by waa towaw on Unsplash

Photo by waa towaw on Unsplash

Why is it important?

This study is timely because it captures a cultural shift happening right now among the most economically and socially influential young generation. Three original frameworks emerge from this work. First, "Organic Globalization" explains how digital-native communities — not governments or corporations — are driving the spread and normalization of foreign culture at viral speed through peer-to-peer trust networks. This goes beyond existing theories of glocalization. Second, the "Trust-Network Model" reveals a critical gap between algorithmic reach and actual behavioral conversion, with direct implications for how marketers, creators, and brands should rethink engagement strategies for Gen Z. Third, the "Identity Laboratories" framework reframes fan communities as developmental spaces that support psychosocial growth — not just entertainment venues. Together, these contributions speak to scholars in cultural studies, communication, and fan studies, while offering practical guidance for content creators, event organizers, marketers, and policymakers working in creative and cultural industries across Southeast Asia and beyond.

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