Top 20 Most Anticipated Anime of 2026

Anime fans have a packed year ahead, with long-awaited sequels, buzzy first-time adaptations, and several theatrical releases circling the calendar. Production committees have been rolling out key visuals, trailers, and cast confirmations, while studios lock in broadcast blocks and overseas distribution plans.

Below you’ll find twenty titles with 2026 on their slates. For each, you’ll get the essentials—source material, studio or production lineage, planned arc or story focus, format, and how releases are expected to roll out in Japan and internationally.

‘Frieren: Beyond Journey’s End’ (2023–)

The continuation adapts the manga by Kanehito Yamada and Tsukasa Abe, picking up after the first season’s northern journey arc. The TV format remains weekly in Japan, with returning principal cast and staff retained to maintain continuity with earlier episodes.

International distribution follows the established simulcast model used for season one, with home-video and catalog windows planned after broadcast. Music production and theme-song tie-ins are set to be announced closer to air.

‘Jujutsu Kaisen’ (2020–)

The next TV installment covers the ‘Culling Game’ segment of Gege Akutami’s manga. The series continues the post–Shibuya storyline, bringing back the core ensemble and expanding the roster with arc-specific additions.

Japan broadcasts remain on a nationwide network block, with overseas streaming arranged through returning partners. Tie-in campaigns—books, character songs, and collaboration goods—are timed to the premiere window.

‘Fire Force’ (2019–)

The climactic stretch adapts late-manga material from Atsushi Ohkubo’s ‘En’en no Shōbōtai’. David Production continues as the series studio, building on the visual language established across prior seasons.

Domestic TV broadcasts are slated on a late-night anime block used previously, with theatrical “advance screening” events planned for select episodes. Overseas, simulcast and dubbed versions follow the familiar staggered rollout.

‘Oshi no Ko’ (2023–)

The new season adapts the next major performance arc from the manga by Aka Akasaka and Mengo Yokoyari. Doga Kobo returns, keeping the established character designs and art direction that defined the earlier run.

Broadcast remains weekly in Japan with coordinated streaming abroad. Music releases—opening/ending themes and character tracks—are bundled with limited-edition discs following the season.

‘Hell’s Paradise’ (2023–)

The sequel continues Yuji Kaku’s survival-action story, moving beyond the initial island trials into broader conspiracies tied to the Shogunate and Tensen. Core staff carry forward, preserving the show’s action-animation approach and color design.

Simulcast distribution remains in place for North America and Europe, with subtitled and dubbed tracks added in waves. Home-video releases include clean OP/ED, staff commentary, and setting materials.

‘Rascal Does Not Dream of a Dear Friend’ (2026)

This theatrical entry adapts the ‘Dear Friend’ volume from Hajime Kamoshida’s light-novel series. The film continues the arc-per-feature approach introduced by the franchise’s recent movies, with CloverWorks’ design sensibilities intact.

The release model starts with a Japan-first cinema run, followed by limited overseas screenings and, later, streaming and Blu-ray. Advance tickets, theater goods, and novel reprints anchor the pre-opening campaign.

‘Made in Abyss: Mezameru Shinpi’ (2026)

Kinema Citrus returns for a new theatrical chapter in Akihito Tsukushi’s dark-fantasy adventure. The film extends the journey beyond prior layers explored on TV and in earlier features, with returning music and sound teams.

A domestic theatrical debut leads, with premium formats and fan screenings scheduled in major cities. Overseas distribution follows festival showings and limited engagements before wider digital and disc availability.

‘Marriagetoxin’ (2026–)

The TV adaptation of the Jump+ manga by Joumyaku (story) and Mizuki Yoda (art) centers on an assassin raised to continue a family line who searches for genuine love. The production committee has opened official channels with teaser materials and initial staff reveals.

Broadcast is slated for a late-night slot in Japan, while international streaming is planned through mainstream anime platforms. Volume-bundle specials and cast radio programs accompany the rollout.

‘Witch Hat Atelier’ (2026–)

Kamome Shirahama’s award-winning fantasy receives its long-awaited TV debut. The series adapts early training arcs and the world’s rule-based magic system, emphasizing costume design and artisan crafts central to the manga’s identity.

The broadcast runs seasonally in Japan with artbook-style promotion, including exhibitions and collaboration goods. Global streaming is planned day-and-date in multiple subtitle languages, with dubs staggered post-premiere.

‘The Dangers in My Heart: The Movie’ (2026)

Following two TV seasons, the romantic-comedy by Norio Sakurai moves to a theatrical format. The film consolidates a popular manga arc and advances the leads’ relationship dynamics established on television.

Japan opens the movie first, with overseas screenings in select territories. A soundtrack album, bonus manga booklets, and theater-exclusive merchandise anchor the campaign, before the film joins streaming and home-video catalogs.

‘Puella Magi Madoka Magica the Movie -Walpurgisnacht: Rising-‘ (2026)

The next ‘Madoka Magica’ feature continues the storyline developed by Magica Quartet, with studio Shaft’s visual direction and motif-driven design returning. Narrative elements tie directly to prior film entries, preserving continuity for series followers.

Theatrical distribution begins domestically with premium screenings, followed by overseas bookings. Limited-edition pamphlets, exhibition displays, and music tie-ins accompany the release cycle.

‘THE GHOST IN THE SHELL’ (2026–)

A new TV project expands the cyber-punk franchise rooted in Masamune Shirow’s original manga. The series continues to explore Section 9’s investigations into network crime and public-security threats in a near-future setting.

Production builds on the property’s established design language—tactical gear, cybernetic interfaces, and urban networks. Worldwide streaming is planned with multi-language subtitle support and subsequent dubbed tracks.

‘Fate/strange Fake’ (2024–)

Ryohgo Narita’s ‘Fate’ spinoff transitions to a full TV series following earlier special programming. The story centers on a False Holy Grail War in the U.S., featuring an unconventional lineup of Masters and Servants and a setting distinct from Fuyuki.

The broadcast follows seasonal cour scheduling in Japan. Music releases, visual books, and collaboration cafes are timed around the premiere to highlight the extended cast.

‘Ronin Warriors: Gaiden’ (1989–)

The classic armored-hero property returns to television with a new project under the ‘Yoroiden Samurai Troopers’ banner. The production positions legacy elements—armor themes and team formation—alongside refreshed designs.

Broadcast is planned for a mainstream late-night slot. Anniversary goods, catalog box sets, and crossover events with mecha/action brands support the relaunch.

‘Go for It, Nakamura-kun!!’ (2026–)

Syundei’s BL slice-of-life manga makes its television debut, following a shy high-schooler’s attempts to get closer to his crush. The adaptation emphasizes comedic timing and classroom-set character beats true to the source.

Weekly broadcasts in Japan pair with rapid overseas subtitling. Drama CDs, mini-events, and bookstore collaborations roll out alongside the airing to reach the series’ established readership.

‘Diary of a Strange Land’ (2026–)

Tomoko Yamashita’s award-winning manga is slated for TV, focusing on the everyday life of a novelist and her niece under one roof. The adaptation highlights quiet, character-driven storytelling and domestic settings.

The series follows a single-cour structure to start, with potential continuation based on coverage pace. International streaming is planned with multiple subtitle tracks and a later physical release including booklet essays.

‘Reincarnated as a Dragon Hatchling’ (2026–)

The isekai series based on the novels by Nekoko and Naji Yanagida moves to television, following a protagonist reborn as a dragon evolving through a game-like ecosystem. Creature design and level-up mechanics mirror the books’ progression systems.

Production targets a fantasy-action presentation suited to weekly broadcasting. Overseas licensing includes simulcast availability and a dubbed release window after initial episodes air.

‘Suikoden: The Anime’ (2026–)

The beloved RPG receives a TV adaptation that retells the Dunan Unification War, spotlighting the 108 Stars of Destiny, runes, and political alliances. The project condenses the game’s branching narrative into cour-based arcs.

Music and ornamented UI motifs pay homage to the original’s themes and menu design. Overseas releases include multilingual subs and later collector’s editions bundling soundtrack selections and art cards.

‘ That Time I Got Reincarnated as a Slime: Tears of the Azure Sea’ (2026)

This theatrical entry extends the ‘Slime’ franchise’s film slate, introducing an original story coordinated with the series’ overall timeline by the production committee. Character designs remain consistent with the TV seasons produced by 8bit.

The film opens in Japan before moving to limited overseas theatrical runs. Tie-ins include light-novel extras, theater goods, and an OST release timed to the cinema window.

‘Liberated from Paradise: Resonance of the Heart’ (2026)

A new feature returns to the universe introduced by the original ‘Expelled from Paradise’, continuing its blend of sci-fi action and cyber-society themes. The project reunites key creative roles to preserve the look and feel of the prior film.

The rollout begins with a domestic theatrical release, followed by international festival screenings and general engagements. Home-video editions include making-of content and interviews focused on digital production workflows.

Share your own must-watch picks for 2026 in the comments—what titles are you most excited to see?