Over the last two decades, Japanese popular culture products have been massively exported, marketed, and consumed throughout East and Southeast Asia. A wide variety of these products are prominently displayed in the region's big cities. Many Hong Kong fashion journals, for example, can be found in either the original Japanese or Cantonese versions. Japanese manga are routinely translated into the local languages of South Korea, Thailand, Indonesia, Taiwan, and China, and they dominate East Asia's comic book market. The Japanese animated characters Hello Kitty, Ampan Man, and Poke'mon are ubiquitous, depicted on licensed and unlicensed toys and stationary items in the markets of every Asian city. Japanese animation, usually dubbed, is the most popular in its field, particularly in South Korea, Taiwan, Hong Kong, and Thailand. Astro Boy, Sailor Moon, and Lupin are animated characters seen in almost every shop that sells anime in Hong Kong, Singapore and elsewhere. In China's big cities, too, Japanese popular culture products fill local stores, opening doors into the country's expanding cultural market, though in some markets they also face stiff competition from Korean and Chinese products. The success of Japanese popular culture in East and Southeast Asia has occasioned a flood of academic writing, notably in the fields of cultural studies, anthropology, and ethnography. The majority of works have focused on particular examples, emphasizing the reaction of audiences to cultural exposure in relation to the global-local discourse (Allison 2006; Craig 2000; Ishii 2001; Iwabuchi 2004; Martinez 1998; Mori 2004; Otake and Hosokawa 1998; Treat 1996). These studies consist of specific case studies with a strong tendency to privilege the text and its representational practices. No single study has yet comprehensively assessed the newly created Japanese cultural markets in East and Southeast Asia, nor framed these issues within a regional paradigm.