YouTube preview is here!

If you want volume, Spring 2026 is the season for you. Variety, not so sure.

One thing for sure – if you thought the steady bloat in anime production was slowing at all, this season brings it back in full force. No less than 69 series (66 TV, 3 ONA) are premiering this spring. That, folks, is a ridiculous number. While one might argue that’s not a bad thing as more shows mean more potential keepers, it doesn’t really work that way. Production studios continue to be taxed beyond capacity, resulting in problematic working conditions and production values. And the number of really interesting series tends not to go up even in a season this big – once you get much over 50, the difference is mostly made up of LN adaptations and other feed corn.

A look at the schedule pretty much bears that out. No less than 24 LN adaptations, about 35% – both possibly the highest I’ve seen. Of course 69 series might be the highest I’ve seen, too, though I haven’t verified that. I’m previewing 21 shows, which falls below my usual one-third preview rate. Not by a lot, but I consciously went back and added a few when I saw how low my hit rate was on the first pass. With 21 series you’d hope it will wind up being a good season, and the potential exists, but there’s a fair amount of uncertainty here.

A  lot of that stems from the fact that of those 21 series there’s only one sequel (Mairimashita! Iruma-kun), which is another number I’d guess is a record (low). There are also only a couple series adapted from manga I’ve read or are reading. I’ve mentioned hourglass-shaped seasons before (like Spring 2025) but this one is kind of the opposite – most of the preview is concentrated in the middle. There are three shows in the “Highest Expectations” category, which is average. But 8 in “Mid-table” is the standout number this season – that’s quite a few.

Possibly the headline for this season is the presence of some serious directorial talent, always a plus. Watanabe Ayumu is directing two shows (he also did that with Uchuu Kyoudai and Nazo no Kanojo X), and he may be the best in the business. Given all the production nightmares attached to Atelier of Witch Hat one suspects there wasn’t much overlap in production between that and Akane-banashi. I’m not a huge fan of either manga’s writing but with Watanabe attached, they’re contenders. We also have Andou Masahiro directing possibly the season’s top prospect, Yomi no Tsugai, at Bones.

This is my 60th (I think) Season Preview here at LiA. Thanks to everyone who’s joined me for part of that ride. Here’s hoping efforts to make the site financially sustainable bear fruit, and these previews will continue to be free for anyone who finds them useful and entertaining. As you know my costs continue to skyrocket – hosting alone is more than doubling this year – so more than ever I’m going to be dependent on your financial support to keep LiA alive. To everyone who’s pitched in to help that cause – you have my sincere gratitude.

 

Let’s move on to Spring 2026.  As usual, the poll is in the sidebar – please go vote!

 

Highest Expectations:

Yomi no Tsugai – Bones Film: (PV) Why am I ranking a series I haven’t read the source material for as my top pick of the season? Three reasons: Arakawa Hiromu, Andou Masahiro, and Bones. If you want reasons for going out on a limb, in anime terms those are three pretty damn good ones.

None of those entities should need any elaboration at this point. Arakawa is one of the best mangaka out there, with the likes of FMA, Gin no Saji, and the Arslan novel adaptation to her game. She and Bones go way back of course, but that’s just gravy – we know Bones is at the very top of the TV anime pyramid. As for Andou, he’s done outstanding work both for series and theatrical anime, and across an impressive stylistic range too. We even have 24 episodes (whether consecutive or split is unconfirmed), though if the series remains popular we’ll likely get more down the line. So for Demons of the Shadow Realm, all signs point to yes.

Arakawa is solidly in fantasy territory here, with a series following two twins who were separated at birth. There’s an interesting mix of modern and pre-industrial elements in the premise, and a pretty large ensemble cast of humans and youkai. I can’t speak with authority on the manga but it’s generally gotten very good reviews, and with Arakawa behind it that doesn’t constitute a surprise. Big-time manga being adapted by big-name directors is a theme of the season, and Yomi no Tsugai is at the head of the list.

Mairimashita! Iruma-kun 4th Season – Bandai Namco Pictures: (PV) This is really the only sequel I’m closely following this season, which is a highly unusual set of circumstances. At least it’s a good one – only the second season has cracked my top 10 (S1 barely missed), but Mairimashita! Iruma-kun is a steady Eddie of a series. It manages to be really charming pretty much all the time, though I prefer it when it doesn’t get too bogged down in complicated plots and extended story arcs.

It’s been a big year for the Iruma-kun franchise. In addition to the 4th season, the spinoff manga Episode of Ma-fia (co-authored by Nishi Osamu, a very busy lady) also got an anime announcement. The Iruma-kun franchise has always fallen just a bit short of kaijuu status, though it’s certainly the top dog in the Weekly Shounen Champion kennel. But with the impetus the spinoff could provide if it really takes off – not to mention the additional attention it’ll receive if Madan no Ichi explodes to kaijuu status – it might just get there.

Koori no Jouheki – Studio KAI: (PV) Speaking of big years, it’s certainly that for Agasawa Koucha. Her Seihantai na Kimi to Boku premiered in winter to overwhelmingly positive response, and her other series Koori no Jouheki joins it this season. Both series are finished – this is the longer one at 14 volumes – so it’ll be interesting to see if either or both receive complete adaptations. At the time of writing only a single cour has been confirmed for either adaptation.

There are no commonalities between the adaptations apart from Koucha herself – different studios, directors, and staffs. But perhaps the most interesting difference is that Seihantai is a shounen and Koori is a shoujo. It’s certainly not unusual for mangaka to cross over demographically (though this is not the most common one), but to have the anime premiere consecutively is a fascinating opportunity to see how the same writer using the same setting alters their thematic approach and style to reflect that demographic difference.

I’m in the same place with The Ramparts of Ice as You as I Are Polar Opposites – I’ve heard very good things but read none of the manga. This time around we have a story about an introverted high school girl and her three friends – one girl, two guys – forming a mismatched social group. I get the idea that romance is less overtly central here, though with that character dynamic it’s inevitably going to be a factor. I don’t see any obvious reason to be excited about director Manyuu or the studio, but that was more or less true with Seihantai and that’s turned out to be an excellent production.

 

Mid-table:

Kami no Shizuku – Satelight: (PV) Considering how revered Kami no Shizuku is – it’s no exaggeration to call it one of the most lauded seinen of all-time – it’s odd that it lands in this category. Especially given that its focus is wine, a passion of mine that’s rarely thematically important in anime. But from the moment this adaptation was announced the Argentinosaurus in the room has been two words – 44 volumes (or is that three?). And when the adaptation was announced at two cours expectations deflated like a souffle fresh from the oven, with only the most die-hard optimists offering “it could have been worse”.

The Drops of God has already received two live-action adaptations, but an anime for a manga this exalted is still a big deal. It’s the story of two rival half-brothers searching for the “Twelve Apostles” of wine in order to inherit their father’s riches (and wine collection). I’ve never read the manga but it has a laundry list of awards both in Japan and – unsurprisingly – France. But any way you slice it 44 volumes in 24 episodes sounds like a disaster, and the staff at Satelight doesn’t inspire confidence that they can buck those odds. A fascinating prospect with a huge range of potential outcomes, but expectations should be kept in check.

Tongari Boushi no Atelier – BUG FILMS: (PV) Watanabe Ayumu is probably the best director who regularly works in TV anime, so anything he’s in charge of gets my full attention. He has not one but two shows this spring, with Atelier of Witch Hat getting the anticipation nod for me by just a hair. I’ve read some of both series he’s adapting (I’m up to date on the other one), and don’t consider either of them to be exceptionally well-written. But they’re decent enough that with an auteur like Watanabe directing they might level up.

Tongari Boushi no Atelier is exceptional visually, no denying that. Shirahama Kamome is a fantastic artist – backgrounds, panelling, everything is pretty stunning. How much of that survives the transition to anime, even with this director, is a fair question. BUG FILMS is not an elite studio, and the production here has reportedly been a monumental clusterfrick (the premiere has already been delayed, originally scheduled for last year). It will take every drop of Watanabe’s genius to make this one special, though if anyone can do it he can.

To be honest, my take on Witch Hat Atelier is that it’s pretty much a stock CGDCT/magic academy manga. I know the manga has many fans but hey, Medalist gets great aggregator scores too. This one is better than that but I found the character dynamics pretty shallow and Shirahama is not above moe pandering by any stretch of the imagination. But I haven’t read all that much of it, so the possibility that it improves late in its run is one I can’t dismiss out of hand. Another fascinating mystery of a show, with a pretty uncertain range of outcomes.

Akane-banashi – Zexcs: (PV) Mid-table is pretty much the “Samu Category” this season – it’s crammed with adaptations of manga he loves. Foremost among them is Akane-banashi, Watanabe Ayumu’s other spring series. Unlike Witch Hat there’s no indication this one has had any production issues, which as a WSJ adaptation not at MAPPA is more or less to be expected. Akane-banashi is a pretty successful manga and at Jump, those always get adapted. It’s not a massive commercial hit, though, so getting Watanabe is something of a coup.

As noted, I’m up to date on the manga so my views on it are pretty much hard-wired at this point. In short, I like it but don’t love it. The artwork is nice, and rakugo is a very interesting canvas on which to paint a story. I’m not that nuts for many of the characters though, and the titular protagonist, while likable enough, is something of a snooze for me. She’s a bit of a Mary Sue and one does get tired of the constant raving by other characters about how wonderful she is. There are very interesting characters and subplots here, but writer Suenaga Yuki rarely gives them center stage for long. I’m confident that whatever there is to be gotten out of Akane-banashi, Watanabe-sensei will get. But I don’t see greatness in there even so.

Ganbare! Nakamura-kun!! – Drive: (PV) Another Samu fave that was delayed after a planned 2025 debut. Ganbare! Nakamura-kun!! is a male-male romance series, but by reputation (which is all I have to go on as I haven’t read the manga) largely free of the tropes which dominate most BL manga. This one is even sometimes classed as shounen-ai, which is a term you hardly ever hear these days but was once a major genre in popular manga. It’s the story of the titular student’s secret love for a classmate, and his clumsy efforts to advance it.

This seems to be one of those romcoms with a focus as much on the “com” side of the ledger. Drive is a studio with a pretty good track record production-wise and the staff looks fairly solid. Another positive indicator is that the manga is not only finished, but quite short (two volumes, eleven chapters) so this adaptation should have no difficulties in telling the story in its entirety.

Mao – Sunrise: (PV) Big-time mangaka (especially women) are another theme of this season. And they don’t get much bigger than Takahashi Rumiko, who’s reunited with Sunrise for the first time since Inuyasha. Incredibly this adaptation was first announced in 2020, which has to be one of the longest gaps I can remember (I assumed for a good while that the anime was cancelled altogether). The series has been announced as two consecutive cours, but the manga is 27 volumes and counting so what happens after that is anyone’s guess.

Mao is not one of Rumiko’s biggest series either critically or commercially, but any anime from her is a significant deal. I kind of see it as her Mix (both are even saddled with Kaji Yuuki as the lead) – a later-career series from a huge legend past their commercial prime which has strong echoes of their biggest (arguably, in her case) hit. That would be Inuyasha, and there’s a certain irony in Sunrise doing Mao too, because the premise certainly calls Inuyasha to mind.

That premise: a modern girl named Nanoka goes through a portal to the Taishou Era, meets the titular exorcist who rescues her from a youkai, and returns with new powers at her disposal. Mao also has a cursed sword which dooms anyone but he who wields it to certain death – a sword Nanoka wields when it’s necessary to save Mao’s life. I’m interested but Kaji doesn’t help. There’s also the fact that director Satou Teruo also directed the truly execrable Inuyasha sequel (also Sunrise) a few years ago, though the blame for that falls more on the writing (not by Rumiko) than him.

Marriagetoxin – Bones Film: (PV) Another Samu special, which is basically why it’s in this tier instead of “Modestly Interested” as I haven’t read any of the manga. That and Bones’ involvement of course. Marriagetoxin chronicles the scion of a centuries-old clan os poison-wileding assassins, who’s come under the umbrella of the yakuza in the modern era. He has no interest in romance or marriage, and his sister is ordered to bear an heir in order to keep the bloodline alive. To spare his sister he proposes to a “marriage swindler” – who also happens to be his current assassination target.

I’m not sure quite what to make of that premise, but it’s just weird enough to have potential. It’s pretty rare (though not unheard of) for Bones to pick up projects that are just flat-out dogs, so between that and my podcast co-hosts affection for the story (and opinion that it’s a breakout candidate) this one has enough going for it to spark some initial interest.

Kujima Utaeba Ie Hororo – Studio Hibari: (PV) One of the real old-school anime studios, Hibari, brings us the shounen manga adaptation Kujima Utaeba Ie Hororo. I haven’t read it but I’ve seen a lot of it in bookstores, and it seems to be very well-regarded by people in that industry (whose tastes are important when it comes to new manga gaining a foothold). It’s a completed five-volume series, so a single cour ought to do quite nicely in terms of adapting the story. To call director Kimura Shinichirou experienced would be an understatement, so the production side is in good hands.

Kujima Utaeba Ie Hororo is the chronicle of Arata, a first-year middle schooler who meets the titular bird-like creature who decides to move in and help out Arata’s big brother, who’s just failed his entrance exams. Strictly going on intuition, this series has potential to fill a couple of slots here – “sleeper”, “that niche”. I just have a feeling I’m going to click with it.

Kirio Fanclub – Satelight: (PV) Finally we have Kirio Fanclub, a show whose placement in this tier I can’t really justify by any hard evidence. I haven’t read the manga, and it doesn’t get explosively great reviews. It wasn’t a huge seller, and the staff and studio don’t proclaim themselves to be exceptional in any way.

But for whatever reason, I get kind of a sleeper vibe from Kirio Fanclub. This is not a schedule rich in romcom for me so there may be some wishful thinking involved in that. The titular character is a high school boy who has admirers in two female rivals who also happen to be good friends with each other. Again, my optimism is solely based on intuition but I’ve learned to listen to it – if I’m wrong the solution is obvious enough.

 

Modestly Interested:

Awajima Hyakkei – Madhouse: (PV): It’s jousei and it’s Shimura Takako to boot – Awajima Hyakkei really should be ranked higher. But the truth is as much as I love her character designs and think Hourou Musuko was a seminal work, I haven’t liked anything else she’s written all that much. This one is about girls attending a music school on Awajima Island (just across the bridge from where I lived in Kobe). It’s kind of a trifle but it’s also nice and short, and can easily be adapted in a cour (unlike Hourou Musuko, for example).

Liar Game – Madhouse: (PV)  Two Madhouse shows in a row in the third tier? I haven’t read Kaitani Shinobu’s Liar Game, which is regarded by a lot of people as an outstanding seinen. But I did watch the adaptation of his One Outs (which was also directed by Satou Yuuzou) and I pretty much hated it. As that’s my only experience with Kaitani’s work I have robust skepticism heading into this one, but its reputation means I’m at least going to give it a chance. Even the premise – a bunch of people play the titular game with a mountain of cash or lifelong destitution on the line – sounds like a dumb reality show more than anything.

Aishiteru Game wo Owarasetai – Felix Film: (PV) Another romcom candidate, this time a story about two childhood friends who played a game of publicly embarrassing each other with lovey-dovey talk. Now entering high school they keep up the pretense, even as (inevitably) their feelings morph into something else. Premise sounds like it might be cute, and the staff is competent and experienced.

Hidarikiki no Eren – Production I.G./Signal.MD: (PV) Hidarikiki no Eren does have a manga but it comes by way of a visual novel. It’s the story of an unhappy ad exec and a genius New York graffiti artist. I don’t know much about it but with I.G. and their sister studio co-producing Eren the Southpaw ought to look good at the very least.

Ponkotsu Fuuki Iin to Skirt-take ga Futekisetsu na JK no Hanashi – Zero-G: (PV) We’re pretty much in wing and a prayer territory from here on down. This one (like hell I’m typing that title out again) is a romcom about a morals committee member and a bad girl. I’m heard some buzz that the manga is actually pretty decent.

Otaku ni Yasashii Gal wa Inai!? – TMS Entertainment: (PV) Since they’re all out of a hat at this point may as well stay in unlikely romcom mode. Otaku ni Yasashii Gal wa Inai!? takes on the otaku x gal theme, with the bond connecting them being that she has the same favorite anime he does. Again, general opinion seems to be that the manga isn’t half-bad.

Dandelion – NAZ: This one is a Netflix dump and all we’ve seen is “April premiere”, so it may even be out by the time this preview is. The main draw here is that this is an original penned by Gintama creator Sorachi Hideaki, the story following two angels as they perform their duties on Earth. I’m honestly not much of a Gintama fan but that does lend Dandelion a certain curiosity factor.

Hyakki Yakoushou – Imagica Infos, Imageworks Studio: (PV) Anime does love adapting decades-old shoujo these days. The twist with Hyakki Yakoushou is that it’s still running – after 31 years in serialization. This series actually has quite a good reputation and mangaka Ima Ichiko is something of a giant of the demographic, but the studio and staff situation doesn’t inspire any confidence in me, and the previews look truly dire. It’s the story of a young man with a sixth sense and his youkai guardian, and seems to be structured as a sort of mystery-of-the-week detective story.

Nippon Sangoku – Studio Kafka: (PV) Web manga adaptation about a military genius who tries to unify Japan in a dystopian future. Pretty good staff here but for whatever reason I’m vibing that this one might be on the nationalistic side. If I’m wrong it might wind up being pretty decent.

Snowball Earth – Studio KAI: (PV) Snowball Earth is a bit of an odd one. Hard sci-fi premise which sounds interesting, I kind of like the art, very solid staff including director Sakai Munehisa. But the manga gets really poor reviews, which is not something you can totally ignore as a leading indicator. I’ll give it a shot, given my track record where the bulk of popular opinion is concerned.

 

Will definitely blog: Yumi no Tsugai, Mairimashita! Iruma-kun 4th Season, Koori no Jouheki, Akane-banashi.  Four is a low number here but with all those shows in the mid-table including some with big-time directors, I’m certain a few more will make the cut.

Sleepers: Kujima Utaeba Ie Hororo, Kirio Fanclub. And I’m bundling Aishiteru Game wo Owarasetai, Ponkotsu Fuuki Iin to Skirt-take ga Futekisetsu na JK no Hanashi, and Otaku ni Yasashii Gal wa Inai!? together as one romcom entry in the “deep sleeper” slot.

 

OVA:

Boku no Hero Academia: More – 05/02/2026: Inevitably, the adaptation of Chapter 431 of Boku no Hero Academia, which came a few months after the series nominally ended in Jump. Let the debate over what the “true” final chapter is (my vote is for this one, for the record) begin. This seems likely to be the final anime entry for HeroAca – the parent series anyway – which is a bittersweet moment to say the least (and a historical one for LiA).

 

Theatrical:

A bunch of franchise entries here but nothing that overlaps with my interests.