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Written by Raphael Cardenas and Haram Kim | Edited by Raphael Cardenas Within the past few years, there has been a notable shift in Asian representation in Western film and TV productions. In particular, animation has enabled creators to tell nuanced stories of multifaceted characters from the Asian American community. Here are five recent animated works that offer fresh, dynamic takes on Asian American representation. From intimate family gatherings and neighborhood store vibes to broader themes of prejudice and grief, these stories capture the many angles of the diaspora’s experience. HIDDEN HISTORY BEHIND PAPER LIVESPaper’s Daughter (2026)  Directed by Cami Kwan, Paper’s Daughter is an independent stop-motion short following a tale of a young Chinese woman who puts on a ‘paper-mask’ to enter the United States through Angel Island. In the trailer, a hazy shot of San Francisco’s Golden Gate Bridge fades from black, following a tense interrogation with the question: “Why did you want to come to America?" In the early 1900s, many Chinese immigrants had to hide behind a forged identity in order to bypass the discriminatory Chinese Exclusion Act. The animation brings light to their stories, using the materiality of paper as a recurring motif to portray the main character’s ‘paper-life’ INSIDE A BRONX BODEGAAlma’s Way (2021 - Cont.)  Alma’s Way is a PBS Kids TV series that shines for its fun lessons from everyday experiences, featuring unique, diverse perspectives inspired by the real South Bronx. For example, many bodegas from the area are owned by Bengali immigrants, and the show pays tribute to this fact by showcasing Rafia’s family and their store in Season 2, Episode 24. Viewers that come from a South Asian immigrant background can feel familiar to Rafia’s Dad’s accent and recognize the hefty bags of lentils and rice inside the family bodega. And it wouldn’t be a New York bodega if there isn’t a bodega cat inside their store! The visible representation of Bengali flags decorated inside the store verifies and brings attention to their heritage, which is important as Bengali representation is seldom to be found in American media. In addition, Alma’s Way depicts the characters as larger-than-life, rather than a caricature based on their background. We see this when Alma and Rafia play ‘deliver-day games’ with Rafia’s family, capturing the bodega as a place of warmth, play, and community rather than a stereotypical backdrop. A MEMOIR OF EMOTIONSIn Waves (2026)  Adapted from the 2019 graphic novel by Filipino-American artist AJ Dungo and helmed by director Phuong Mai Nguyen, In Waves is a modern story of love and loss, tied together through the art of surfing. Much of the narrative shows AJ himself recounting not just the final years spent with his partner, Kristen, but all the emotions he experienced through them—laughs, tears, and all. AJ’s openness in retelling the story is a welcome contrast from the practice of keeping face, a common aspect in various Asian cultures. In particular, Filipino culture has the concept of “hiya” (shame), which values modesty and discourages potentially dishonourable behaviour—including the expression of sadness and anger. Yet overall, the story shows AJ recognize how he feels and openly conveys them through the narrative. Viewers see a shy high school kid who—in director Nguyen’s words—learns how to live, thanks to his relationship with Kristen. The result is a character arc about coming to terms with emotions—which, in a story centered on an Asian protagonist, is important to showcase. A SUPERHERO’S DINNERInvincible (2021- Cont.)  In Season 4, Episode 5 of Invincible, Debbie (Mark’s mother) hosts a family dinner that features a classic Korean meal. In the scene, you can see small plates of banchan, such as kimchi and braised lotus roots, served with rice. This meal is a subtle nod to Mark and Debbie’s heritage. Other cultural hints placed in the show are composed through props in the house, such as the wooden Mandarin ducks symbolizing Mark’s parents’ marital status. Although the characters’ backgrounds have not been explicitly confirmed in the show, their race is further reinforced through their voice actors, Steven Yeun and Sandra Oh, who are of Korean descent. Furthermore, by not having Mark’s superpowers be tied to his Asian ancestry, Invincible normalizes Asian-American representation in the superhero genre. Mark’s Asian heritage is not played up in the show, and certainly not treated as having the same plot relevance as his Viltrumite side. PART OF SOMETHING BIGHoppers (2026)  Hoppers follows Mabel Tanaka, a spunky, outspoken Japanese-American girl with a deep care for animals—so much so that she’s willing to put herself in trouble for them. In the beginning, when Mabel's brash attempt to rescue her school’s classroom pets doesn’t go well, the adults in her life focus on criticizing her actions. However, Grandma Tanaka takes time to guide her to a special sit-down place outside in the woods. Here, the portrayal of their close relationship is a refreshing sight. Story-wise, Grandma Tanaka’s presence is the dose of empathy that Mabel needs. No shaming. No passed-down generational trauma. The depiction of their relationship lowers the barrier of how Asian parental-figure and child relationships can be seen in film. In addition, the film’s understated approach to Asian-American representation is continually reflected when Mabel inherits her grandma’s Forest Ranger jacket, with its name badge displaying their surname ‘Tanaka’. This small detail is significant as it connects their name to a field that’s not considered a traditional career pathway for many Asian households, such as engineering or medicine.
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