The ubiquitous nature of digital technology has had globalization and contents sharing promoted by common interest as an aftermath. Nowadays, it seems hard to think about the Internet without a global world, being the “computer” itself by now synonymous of “Web”. However, such was not the case during the last two decades. Within this background, both graphic cultures and cybercultures have been sharing synergies. The World Wide Web has become a centre for sharing, participation, usage and consumption of contents related to their users’ preferences. The same occurs in comics – formerly less available – and in Japanese animation films, both having been wirecast on the Web and, as a result, spread to new audiences. Besides, the current technological frame provides new features that keep changing the production, as well as the consumption of artworks – especially those of animation – as a major part of consumers that possess cell phones, computers and Web access knows at least some videogames and improves their software technical skills.

On a popular level, culture turns out to be a constant innovative environment. Japan is the country that exports anime, an unquestionable industrial might. Across new media, such as portable media platforms, videogames, digital films or the commercials available on-line, the audience participates and consumes Japanese culture. Animation artworks bring consumers to know their predecessor: the comic, which remains a blooming medium. From advertising to videoclips, throughout new digital formats, the audience comes across new forms of narrative presentation that balance between the literary and the cinematic types.