Cultural-crossover content incorporates and exploits the narratives and styles of the emergent regions of the world (Southeast Asian, Chinese, Indian, and the Middle East) and repackages them for mainstream Western audience made up primarily of members of the game generation (age thirty-five and under).
The phenomenon was largely brought about by the explosion of international markets for indigenous and emigrant media audiences; the proliferation of world-wide cable; and global distribution platforms (including the Internet).
Unlike their predecessors, younger media consumers are more likely to digest cross-cultural creative content (for example, Japanese anime) automatically and un-self-consciously as they do their own. For this demographic, international content is viewed as more 'original' than 'foreign', because, as John Beck and Mitchell Wade have written, they takes globalization and the consumption of electronic media and socialization in all its forms for granted.
The younger birth cohort view media as an extension of themselves and their own culture. Electronic experiences are often couched in a verisimilitudinous role-play with foreign counter-parts. In the end, they look at globalization from the viewpoint of the valley rather than the mountain top.
One such example of such a crossover vehicle is 'The 99', the fastest selling comic book in the Arab world. "Its creator, Naif al-Mutawa, is a 36-year-old from Kuwait who was educated in the United States and who, as a boy, devoured Marvel comics and the Hardy Boys mysteries."