This chapter situates Chinese animation within the wider East Asian and global landscape by comparing it with the industrial models of Taiwan, South Korea, North Korea, and Japan. The analysis begins with Taiwan, where the animation sector developed both as a service provider for international studios and as a laboratory of hybrid cultural forms, particularly through glove puppetry and the internationally recognized Pili series. South Korea is examined as a dynamic hub where comics and animation converged, supported by state policies that fostered exports and technological modernization, allowing the country to become a major subcontractor for global media corporations. In contrast, North Korea represents a system in which animation is tightly controlled by the state, serving primarily ideological functions and producing content that reflects authoritarian priorities. Japan, finally, is presented as the most influential regional competitor, with anime shaping global cultural imagination and providing a reference point for Chinese producers. By comparing these different geographies, the chapter highlights how regional proximity, cultural exchange, and industrial competition have influenced China’s strategies, reinforcing both the challenges and opportunities of positioning Chinese animation within a highly competitive and interconnected global market.