After going global for its second volume, “Star Wars: Visions” Volume 3 brings the anthology series back to its roots with a new slate of shorts all created by Japanese anime studios.
Each season of the Disney+ series, which launched in 2021, has infused fresh creative energy into the galaxy far, far away by giving international animation houses the freedom to explore ideas about the Force, the factions of the Galactic War and brand new planets and cultures outside of the constraints of the long-running franchise’s canon.
And while Volume 3, which premiered last week, revisits some characters that were introduced in Volume 1, it also shows how anime is a medium with range. From the gritty installment that explores the complexity of the dark sides of the Force through a battle between former Sith and Jedi (“The Duel: Payback”) to a more heartwarming story about a pair of resourceful orphans who decide to become family (“Yuko’s Treasure”), there are different types of anime for everyone.
Anée-san in “The Duel: Payback,” one of the shorts in “Star Wars: Visions” Volume 3.
(Lucasfilm Ltd.)
With movies like “Demon Slayer: Kimetsu no Yaiba Infinity Castle” and “Chainsaw Man — The Movie: Reze Arc” making waves at the box office, anime’s growing popularity is undeniable and its availability on major streamers has also made anime series and movies more accessible than ever. So for those whose curiosity about the medium has been piqued by “Star Wars: Visions,” here are some titles to check out based on the themes and stories of the nine shorts that comprise Volume 3.
Let’s be honest: Lightsaber duels are awesome. So it’s no surprise that a number of shorts in “Star Wars: Visions” Volume 3 leaned into stories involving Jedi and/or the Sith, including “The Duel: Payback,” “The Lost Ones” and “The Bird of Paradise.”
For those who are looking for anime featuring stylish and stunning sword-fighting scenes, the ever popular “Demon Slayer” (Netflix, Disney+/Hulu, Crunchyroll), featuring a secret organization fighting to protect humans from demons, is an obvious choice. Another show featuring stylish combat between skilled warriors and supernatural monsters is “Hell’s Paradise” (Netflix, Disney+/Hulu, Crunchyroll). The series follows a ninja who is recruited by an executioner to join a party of death row inmates on a quest to find the elixir of life on a mythical island populated with mysterious deadly threats. The successful convict will be pardoned for all of their past crimes. The premise may remind some of the supervillain team-up “The Suicide Squad,” but the fighting scenes — and the island’s inhabitants — stand alone.
Master and apprentice dynamics
Frieren, left, and Fern from “Frieren: Beyond Journey’s End.”
(Crunchyroll)
Speaking of Jedi, “The Lost Ones” and “The Bird of Paradise” also touch on the relationship between a Jedi master and their padawan apprentice. If a story involving a lineage of student-teacher dynamics that’s about friendship, human connection, memory, mortality and legacy sounds intriguing, consider checking out “Frieren: Beyond Journey’s End” (Netflix, Disney+/Hulu, Crunchyroll). The fantasy series follows an elven mage, her young human apprentice and others they pick up along their years-long journey to visit the spirits of old friends. The show is part travelogue, part adventure quest with monsters, magic battles and dungeon exploration.
Lovable scoundrels
Kazuki, left, Miri and Rei in an episode of “Buddy Daddies.”
The world of “Star Wars” is full of scoundrels that fans can’t help but love for their swagger and independent moral code, and “Visions” installments “The Smuggler” and “The Bounty Hunters” add to that legacy.
Well-known classics like “Cowboy Bebop” (Crunchyroll) and “Lupin the Third” (Tubi, Crunchyroll) and the long-running “One Piece” (Netflix, Disney+/Hulu, Crunchyroll) are good starting points for those first dipping their toes into anime and are interested in the adventures of a ragtag group of bounty hunters, thieves and/or pirates. For those looking for something new, consider “Buddy Daddies” (Crunchyroll), which follows a pair of assassin roommates who form a makeshift family after taking in a 4-year-old they encounter while out on a job. Think of it like “The Mandalorian,” if Mando had a recluse gamer co-parent and Grogu was a picky eater.
Political space wars and mech suits
Suletta Mercury in an episode of “Mobile Suit Gundam: The Witch from Mercury.”
Some film and TV shows set in the galaxy far, far away are more political than others, but aspects of the conflict involving the Galactic Empire, Rebel forces and stray Jedi are touched on in a few of the shorts in “Visions” Volume 3 like “The Lost Ones,” “The Smuggler,” “Black” and “The Song of Four Wings,” with the latter featuring a young protagonist that dons a snazzy flying mech suit.
The mecha franchise “Gundam” is best known for its giant robots, but it’s a sprawling space opera that touches on political themes including the horrors of corruption, inequity and war. A recent standout is newcomer-friendly “Mobile Suit Gundam: The Witch From Mercury” (Crunchyroll). The show follows a shy new transfer student at a corporate military school where recruits train and settle disputes in giant mech suit combat. The series uses school drama and a budding teen romance as a backdrop to touch on themes such as class strife and prejudice, corporate greed and personal vengeance.
Emotionally resonant robots
Atom in an episode of “Pluto.”
(Netflix)
From the Skywalkers’ fussy protocol droid C-3PO to Hera Syndulla’s cranky astromech Chopper, lovable androids are a “Star Wars” signature. “Visions” Volume 3 installments “The Ninth Jedi: Child of Hope” and “Yuko’s Treasure” each introduce loyal droids that tug viewers’ heartstrings.
The title androids in “Astro Boy” (also known as Atom) and “Doraemon” are kid-friendly household names in Japan akin to Mickey Mouse and Snoopy, but a more mature option is “Pluto” (Netflix). The gritty, sci-fi murder mystery series is based on a reimagining of a story arc from the “Astro Boy” manga, and is set in a world where humans live alongside robots — though the dynamic is a bit different than in “Star Wars.” The story follows a robot detective who is investigating a string of robot and human killings, and, like many sci-fi stories about androids and artificial intelligence, touches on themes like what makes humans human.
A scene from “Yuko’s Treasure,” one of the shorts in “Star Wars: Visions” Volume 3.
(Lucasfilm Ltd.)
Rambunctious kids
Plenty of “Star Wars” media is made with younger audiences in mind, but not many are about the adventures of children in the galaxy far, far away. “Vision” Volume 3’s “Yuko’s Treasure” puts a couple of orphan kids in the forefront — along with an adorable bear-like droid.
There’s no shortage of anime series about the (mis)adventures of rambunctious kids and one of the more heartwarming involves a “fake” family. “Spy x Family” (Disney+/Hulu, Crunchyroll) follows a secret agent working to maintain the fragile peace between neighboring nations and the faux happy family he constructed for his latest undercover mission. Unbeknownst to him, his adopted daughter is secretly a telepath and his fake wife is an assassin. As one might expect, a telepathic first grader with a wild imagination who lives with a spy and an assassin can get caught up in plenty of shenanigans. Bonus: The family also adopts a cute massive dog.
Kotaro in an episode of “Kotaro Lives Alone.”
(Netflix)
On the opposite end of the spectrum is “Kotaro Lives Alone” (Netflix), a more grounded show with just as outlandish a premise. The series follows a 4-year-old who moves into a rundown apartment complex alone — for reasons that are eventually revealed as his neighbors get to know him. The boy is unusually self-reliant and mature but also childish and understandably vulnerable. As viewers might assume, there are not many happy circumstances that could possibly lead to a 4-year-old child living on his own, but there’s more warmth than tragedy.
Musical, visual spectacle
One of the standouts in “Star Wars: Visions” Volume 3 is “Black,” a jazz-fueled, mind-bending fever dream of a Stormtrooper during a battle. The bold, music-driven 13-minute short is a visual spectacle that challenges viewers and there’s not much else out there that compares. Though it has a more structured narrative, the anime film “Inu-Oh” (Netflix) is a psychedelic rock opera that might scratch the same itch. Set in 14th century Japan, the film follows two young artists who forge a friendship because they are both outcasts — the musician is blind, and the dancer was born with monstrous deformities — and their dazzling performances drive the story.
An anime film slayed its Hollywood competition at the box office this weekend.
“Demon Slayer: Kimetsu no Yaiba Infinity Castle,” already a big hit in Japan, was the highest-grossing movie domestically, beating new films “Downton Abbey: The Grand Finale,” “The Long Walk” and “Spinal Tap II: The End Continues.”
The film distributed by Sony Pictures and Crunchyroll opened with a better-than-expected $70 million in ticket sales from the U.S. and Canada, according to studio estimates, making it the biggest anime opening ever. It’s also the highest-grossing domestic debut of the year so far for an animated film.
Its global weekend for Sony, which owns the Crunchyroll anime brand and streaming service, totaled $132.1 million, which includes 49 international markets.
Globally, “Demon Slayer” had already made more than $272 million in box office revenue, with $213 million in Japan alone, according to data from Box Office Mojo.
The success of “Demon Slayer” is a relief to theater owners at a time when other genres are struggling, including superheroes, comedies and original animation. It’s the latest evidence of anime’s growing global clout.
The new “Demon Slayer: Infinity Castle” is part of a larger popular anime franchise.
It’s the first installment of a planned trilogy that will span the final showdown between the Demon Slayer Corps and the monstrous creatures the secret organization was created to defeat. A previous theatrical film, “Demon Slayer: Kimetsu no Yaiba — The Movie: Mugen Train,” was a box office hit in 2020.
The new “Downton Abbey” film from Focus Features launched with $18.1 million in ticket sales in the U.S. and Canada, which was good enough for third place behind the second weekend of New Line’s “The Conjuring: Last Rites.” Lionsgate’s “The Long Walk,” based on a Stephen King novel, opened in fourth with $11.5 million domestically.
“Spinal Tap II,” a sequel to the 1984 mockumentary comedy classic, opened with a weak $1.7 million.
Asia’s popular culture wave that for two decades has been dominated by two giants. South Korea with its K-Pop wave and dramas, and Japan with its manga and anime, which is now undergoing a fundamental shift. A new force that is tough and colorful has risen from China, not through idol groups or ninjas, but through a small figure with pointed ears and a mysterious smile named Labubu. This figurine by Hong Kong artist Kasing Lung is not just a toy but the spearhead of a huge wave of Chinese popular culture that is ready to challenge and even dictate global tastes. Labubu and his predecessors and companions raise provocative questions about whether we will soon say goodbye to the dominance of K-Pop and manga.
Labubu, as a character from The Monsters line by the Pop Mart brand, is a real example of how China combines the power of storytelling, design, and a brilliant business model. Pop Mart, which was founded in 2010, has transformed into a multi-billion-dollar blind box empire. In 2022, the company reported operating income of 4.62 billion RMB yuan, or around 679 million US dollars, with a net profit of 539 million RMB yuan, equivalent to 79.3 million US dollars. Its global growth is even more astonishing, with revenue in overseas markets soaring 147.1 percent in the same year. As of June 2023, Pop Mart has opened more than 500 stores in 23 countries and regions, including fashion centers such as Paris, London, and New York. Global market research institute Frost & Sullivan explained that Pop Mart successfully leverages consumer psychology through a blind box model that creates a sense of anticipation, collection, and community. This model is more than just a toy; it is a social and cultural experience that changes the way people interact with cultural products.
When compared to Korean and Japanese popular cultural commodities, there are fundamental differences in business models and accessibility. The Japanese industry is based on long and complex narrative stories such as manga and anime, where consumers invest time and emotions to follow a series. The merchandise is often expensive and aimed at serious collectors. While South Korea focuses on idolization through K-Pop, where fans not only buy music but also merchandise, concert tickets, and albums in various versions to support their idols. These ecosystems are built around human stars. On the other hand, Chinese products such as Pop Mart and Labubu are more abstract and decorative. Consumers don’t need knowledge of complicated stories to have them. The price is relatively affordable, around 15 to 30 US dollars per box, so it is impulsive and easily accessible to Generation Z and millennials. This is a lighter and more visual form of cultural consumption.
In terms of global impact and cultural adaptation, K-Pop and Korean dramas have managed to export Korean values, fashion, and language to the rest of the world through the Hallyu wave with cultural ambassadors such as BTS and Squid Game. Japanese manga and anime became the foundation of global subcultures such as cosplay and conventions that influenced artists and filmmakers in the West for decades. Chinese pop culture for now exports less specific Chinese lifestyles and focuses more on aesthetics and business models. People buy Labubu because its designs are unique and funny, not because it represents a specific Chinese mythology, even though some characters are inspired by it. It is a subtle globalization of products with universally accepted Chinese design DNA. The role of the government is also a crucial differentiator. China’s National Bureau for Cultural Exports and Imports actively encourages the export of cultural products as part of the national soft power strategy. Meanwhile, Korean and Japanese industries are driven by private companies with government support that is more facilitative.
Labubu is just a symptom of a larger creative ecosystem that is exploding in China. Donghua, or Chinese animations, such as The King’s Avatar and Mo Dao Zu Shi, have a huge fan base and compete directly with Japanese anime on streaming platforms, with the number of views reaching billions. Novel web platforms such as China Literature have become repositories of intellectual property, with millions of titles adapted into dramas and successful games, creating vertical synergies resembling the Marvel Cinematic Universe. The mobile gaming industry in the hands of Tencent and NetEase is becoming a global giant. Games like Genshin Impact from miHoYo or HoYoverse are not only financially successful, with annual revenues reaching billions of dollars, but also win the hearts of global players through the quality of animation and awesome stories with a distinctively Chinese twist.
Ultimately, the rise of Chinese pop culture is not a sign to say goodbye to K-Pop and manga. This wave is precisely a powerful new challenger that is diversifying and democratizing global tastes. The market now has more options where a fan can love Korean dramas, collect Labbubu figurines, and play Genshin Impact and still look forward to the latest manga chapters at the same time. The dominance of popular culture is no longer held by just one or two countries. Labubu and its ecosystem are symbols of a new era where China is no longer a follower of pop culture trends but rather a trendsetter. They have learned the recipe for success from Japan and Korea in terms of content quality, merchandising, and fan community and added manufacturing strength, innovative business models, and strong state support. This is not a war to be won, but rather an evolution in which the global pop culture stage is expanded with new players full of confidence. The right greeting is not goodbye, but welcome to competition. For fans around the world, this is good news because there will always be more interesting things to love.
The trailer has had well over a million views in a matter of hours
10:55, 20 Aug 2025Updated 10:55, 20 Aug 2025
The anime is an adaptation of FromSoftware game Sekiro: Shadows Die Twice(Image: KA/SNDP/Crunchyroll)
An official adaptation of a ‘masterpiece’ FromSoftware game will soon be available to stream and fans have just been given their first glimpse at it.
The first trailer for upcoming anime miniseries, Sekiro: No Defeat, dropped on Crunchyroll’s YouTube channel last night and amassed well over a million views in a matter of hours. It is an adaptation of FromSoft’s revered video game, Sekiro: Shadows Die Twice.
Set to release sometime in 2026 (an official release date is yet to be announced), the anime will be fully hand-drawn, with streaming service Crunchyroll teasing a “tale of loyalty and blood, set in a fantastical reimagining of Sengoku-era Japan.”
The synopsis reads: “Japan is fractured into many independent nations entangled in ceaseless war. At the center lies Ashina, a land of sacred earth and ancient mystery. Two decades after Sword Saint Isshin Ashina reclaimed the region in a brutal coup, a new threat emerges from within: The Interior Ministry.
The mini series will release in 2026(Image: KA/SNDP/Crunchyroll)
“Desperate to protect his homeland, Isshin’s grandson Genichiro turns to forbidden powers. The only hope lies in a kidnapped boy — the Divine Heir — and his silent protector: a loyal shinobi known only as Sekiro. This is the story of a lord and his retainer — and their quest to restore balance to a nation on the edge.”
One Punch Man animator Kenichi Kutsuna is at the helm as director, while the voice cast includes Daisuke Namikawa as Wolf, Miyuki Satou as Kuro/The Divine Heir and Kenjiro Tsuda as Genichiro Ashina.
“We are taking on the monumental task of animating the breathtakingly beautiful Sekiro: Shadows Die Twice. In doing so, we are pouring every ounce of our artistic vision and passion for beauty into its production,” director Kenichi said.
Sekiro: No Defeat trailer
“The final product is being crafted to be a truly memorable experience, one that will leave a lasting impression on both dedicated fans of the game and those who are discovering the world of Sekiro for the very first time. Please look forward to it.”
The upcoming show was announced during Gamescom 2025, and fans flocked to the trailer to offer-up their first thoughts.
“The giant ape episode is gonna be one for the books,” one FromSoft fan predicted, as a second shared: “A million views in a day is a sign for the game makers that a sequel Sekiro 2 is badly wanted.”
Meanwhile a third penned: “There isn’t enough budget in this world to animate the mist noble fight and do it justice,” while a fourth shared: “I just hope that the Mist Noble battle gets a whole episode dedicated to it. Such an insane fight.”
Sekiro: No Defeat is coming exclusively to Crunchyroll in 2026
Medan, Indonesia – Indonesia is celebrating 80 years of independence from Dutch colonial rule, but not everyone is in a celebratory mood, and an unusual protest movement has rallied around a cartoon pirate flag.
The flag, which features a skull and crossbones wearing a straw hat, has been spotted adorning homes, cars, trucks, motorcycles and boats across Indonesia.
Popularised by the hit Japanese anime One Piece, the flag has even been flown beneath the Indonesian flag – known as the merah-putih (red and white) – which is widely raised throughout the month of August in the lead-up to Independence Day on Sunday.
In the anime series, which was adapted by Netflix in 2023, the hatted skull and crossbones flag is used by adventurer Monkey D Luffy – who one day hopes to become a pirate king – and is seen as a sign of hope, freedom and a pushback against authoritarianism.
In Indonesia, the flag has been raised as a sign of protest amid increasing public frustration with the government.
“Rising prices, difficulties in getting a job and the incompetencies of the government have prompted the people to use satire and sarcasm,” Radityo Dharmaputra, a lecturer in international relations at Airlangga University in Surabaya, told Al Jazeera.
Raising the pirate flag is a sign of “growing dissatisfaction in society, even with all the so-called progress that the government has claimed”, Dharmaputra said.
Prabowo Subianto was sworn in as the new president of Indonesia in October, promising fast economic growth and social change in this country of almost 286 million people.
But Southeast Asia’s largest economy and most populous democracy is faltering.
A graffiti of the pirate flag from Japanese anime One Piece, adopted by some Indonesians as a symbol of frustration with their government, is seen on a street in Sukoharjo, Central Java, on August 6, 2025 [Dika/AFP]
‘A symbol of my disappointment and resistance’
Indonesia has one of the highest youth unemployment rates in Southeast Asia, with an estimated 16 percent of the 44 million Indonesians aged 15-24 unemployed, while foreign investors are pulling capital out of the country and the government is cutting the budget.
In a survey published by the ISEAS-Yusof Ishak Institute in Singapore in January, about 58 percent of young Indonesians said they were optimistic about the government’s economic plans, compared with an average of 75 percent across five other countries in the region – Thailand, Malaysia, Singapore, the Philippines and Vietnam.
Before the flag protest, in February, the “Indonesia Gelap” or “Dark Indonesia” movement gained momentum, with citizens using the #IndonesiaGelap hashtag on social media to vent their frustrations about the future of the country following widespread budget cuts and proposed changes in legislation allowing the military to have a greater role in the government.
The online protest was followed by student demonstrations, which erupted across a number of cities.
President Prabowo accused the Dark Indonesia movement of being backed by “corruptors” bent on creating pessimism in the country.
“This is fabricated, paid for, by whom?” Prabowo said, according to Indonesian news outlet Tempo.
“By those who want Indonesia to always be chaotic, Indonesia to always be poor. Yes, those corruptors are the ones financing the demonstrations. Indonesia is dark, Indonesia is dark. Sorry, Indonesia is bright, Indonesia’s future is bright,” the president said.
A graffiti artist paints a mural depicting a Jolly Roger from the popular Japanese anime and manga series One Piece in Bekasi, West Java province, Indonesia, on August 7 , 2025 [Ajeng Dinar Ulfiana/Reuters]
Adi*, a truck driver in the city of Malang in East Java, told Al Jazeera that he has been flying the anime pirate flag on the side of his truck for the past three weeks.
“Many, many people have been flying it in East Java. To me, it is a symbol of my disappointment and resistance against the government,” he said.
Adi said that he had long been frustrated, but that the flag had provided him with a new way of displaying this frustration.
This tear gas led to panic and a crowd crush at locked exit gates that killed 135 people.
Three police officers and two match officials were prosecuted for their roles in the tragedy, one of the worst in international footballing history.
“I am disappointed by the lack of justice for the victims of Kanjuruhan. Until now, we have received none of the restitution we were promised. I am also disappointed by other problems in Indonesia, including rising prices,” he said.
‘An attempt to divide unity’
The One Piece pirate flag has caught the attention of the government, with Budi Gunawan, the coordinating minister for political and security affairs, warning that authorities would take “firm action” if the flag was flown on Sunday’s Independence Day.
“There will be criminal consequences for actions that violate the honour of the red and white flag,” he said.
Indonesia’s Deputy House Speaker Sufmi Dasco Ahmad branded the hoisting of the pirate flag an attempt to deliberately sow dissent.
“We have detected and received input from security agencies that there is indeed an attempt to divide unity. My appeal to all the nation’s children is to unite and fight against such things,” he said.
Yohanes Sulaiman, a lecturer in international relations at Jenderal Achmad Yani University, told Al Jazeera that the government’s warnings were likely an attempt to clamp down on the show of symbolic dissent.
“I suspect they didn’t know how Prabowo would react and thus thought it better to show their loyalty and take the extreme position than be sorry later,” Sulaiman said.
The government threats had “backfired spectacularly”, he said, adding that it was left looking like a “laughing stock”.
“Saying that the flag has the potential of breaking apart the nation is too much. It is hyperbolic and nobody takes it seriously,” he said.
A worker holds a replica of the pirate flag from Japanese anime One Piece, made for sale as some Indonesians adopt the symbol from a story about resisting a corrupt world government to express frustration with their own, at a T-shirt workshop in Karanganyar, Central Java, on August 6, 2025 [Dika/AFP]
Sulaiman said the origins of the flag’s use in Indonesia could be traced back to truck drivers.
“Truckers were the ones first flying it to protest a recent regulation that forbade overweight trucks from hitting the road. If the government had just ignored it, the flag would have ended up on the back of trucks and nobody would have taken it seriously,” Sulaiman said.
“But, they had to make it about a national threat, a threat to national unity and disrespect of the national flag,” he said.
He added that the increased visibility of the pirate flag comes at a sensitive time in Indonesia – ahead of Independence Day – which is traditionally a moment for the government and the public to celebrate.
Ian Wilson, a lecturer in politics and security studies at Murdoch University in Perth, Australia, said the flag furore demonstrated “sensitivity around perceptions of popularity” in the current government.
The flag as a symbol of protest appeared to be a more fragmented movement than recent and historical protests in Indonesia, Wilson said, which have traditionally been largely driven by students.
“Students are a more singular group, but this is a more dispersed phenomenon across different groups and parts of the country, which is indicative of widespread dissatisfaction. It touches a nerve due to the diffused representation,” he said.
“We are seeing this phenomenon in places like villages and by regular people in semi-rural areas, which are not conventional sites of dissent in Indonesia,” he added.
‘An expression of creativity’
According to reports by local Indonesian media, anime pirate flags have been seized in raids by authorities in East Java, while citizens found displaying them have been questioned in the Riau Islands.
So far, no one has been criminally charged, as flying the pirate flag is not technically illegal.
Usman Hamid, Amnesty International Indonesia’s executive director, said the raids were “a flagrant violation of the right to freedom of expression”.
“Raising an anime flag is not ‘treason’ or ‘propaganda to disunite the country’, as suggested by government officials,” Hamid said in a statement.
“Authorities, including lawmakers, must stop harassing people by threatening them with jail terms for ‘disrespecting the national flag’ and ‘treason’ if they raise One Piece flags,” he added.
A pirate flag is seen at a house in Solo, Central Java, on August 7, 2025 [Dika/AFP]
Truck driver Adi told Al Jazeera that he had seen no indications that the government’s threats had had any impact on those flying the flag and that they could still be seen prominently on display across East Java – both on trucks and buildings.
“Why would I be scared of any sanctions?” Adi asked.
The president’s office has denied any involvement in the police confiscating flags or questioning civilians.
For his part, Prabowo – a retired army general who oversaw crackdowns on the 1998 student protests that precipitated the fall of the country’s longtime dictator President Soeharto – said that the flag was “an expression of creativity”.
Murdoch University’s Wilson said that the government had perhaps been rattled by the Dark Indonesia protests, which came early on in Prabowo’s presidency.
“No one wants that at the start [of a presidency], as they are trying to generate optimism,” Wilson said.
“But now, further down the track, people have some serious issues with government performance,” he said.
*Adi is a pseudonym as the interviewee did not want his name revealed for personal safety reasons when criticising the government.
Netflix has just dropped a fresh trailer for One Piece season two, teasing new characters featured in the forthcoming instalment. The live-action anime is set to return for its second series in 2026 and has already been renewed for season three.
A new teaser, released on August 9, introduces fans to major characters, including one played by Bridgerton favourite Charithra Chandran. The action-packed trailer kicks off with Luffy (Iñaki Godoy) narrating: “Everything I’ve done, everywhere I go, is for the One Piece,” before viewers catch a glimpse at the villains the crew will face.
According to the synopsis, this season will feature “fiercer adversaries and the most perilous quests yet.”
One Piece season two premieres in 2026(Image: Netflix )
It adds: “Luffy and the Straw Hats set sail for the extraordinary Grand Line — a legendary stretch of sea where danger and wonder await at every turn.
“As they journey through this unpredictable realm in search of the world’s greatest treasure, they’ll encounter bizarre islands and a host of formidable new enemies.”
Chandran is among the show’s newcomers, stepping into the role of Nefertari Vivi, also known as Miss Wednesday. She dons a blue ponytail in the trailer and looks worlds away from her Regency attire as Bridgeton’s Edwina Sharma.
Fans will also spot Brendan Murray (Devil’s Peak) towering over the Straw Hats as Brogy, while Callum Kerr (Hollyoaks) appears as Smoker, and Lera Abova (Honey, Don’t!) steps into the role of Nico Robin, also known as Miss All-Sunday.
Charithra Chandran plays Miss Wednesday in the new season(Image: Netflix )
The YouTube teaser has racked up over two million views in less than 24 hours, with fans expressing their excitement in the comments section.
“I’M SO HYPED,” exclaimed one fan, with another stating: “I’ve never smiled non-stop as I did for this trailer with any other trailer before.”
A third penned: “As a One Piece fan, who is caught up with the anime, this makes me proud and excited for this season.”
Meanwhile, a fourth said: “Teasing season 3 is in production during a season 2 first look is diabolically wonderful.”
Based on Eiichiro Oda’s beloved manga, One Piece first landed on Netflix in 2023. The series follows Monkey D. Luffy (played by Godoy) and his Straw Hat Pirates crew, as they journey across the seas in search of a legendary treasure known as the One Piece.
Kou Mariya hasn’t shown her work to her family. That’s because Mariya, not her real name, is living a dual identity, and to protect her privacy, only the most sacred of confidants — or business partners — can know her true persona.
Mariya, to her more than 84,000 followers on YouTube, is a friendly, flirtatious vampire singer, as excited to chat about her digitized outfits and accessories as she is to sing a late ’90s pop song. She performs as an animated avatar using motion capture technology, which matches her facial expressions and body movements to the drawn figure.
Mariya spends a significant portion of her days as this cartoon character, at once wholly real while being completely artificial. She is a professional performer, although her stage is virtual. Instead of a glimpse into a room or a home, her surroundings are fully drawn — she could be in a beach setting one day and an ornate office the next.
As a VTuber — that is, virtual YouTuber — Mariya is part of a movement, one led by those weaned on Japanese animation who are now finding ways to make fantasy world-building feel individualized and personal. We connect via video conferencing software, her location in the U.S. a secret, and Mariya appears in her anime form, her silver-white hair occasionally obscuring her welcoming oval eyes, which blink often as she speaks. Her voice is friendly and warm, and it ever-so-slightly dips into an upper register when she laughs or needs to emphasize a point. She nervously chuckles that she’ll be aged “so bad” when she admits the first anime she fell in love with was “Speed Racer.” Whether I’m talking to Mariya the vampire character or Mariya the performer is never quite clear.
Kou Mariya, hosting a Thursday night concert in Hollywood, is a friendly vampire VTuber.
(Kou Mariya)
This weekend Mariya will be hosting a concert in Hollywood with other popular VTubers. There will be live musicians, but the VTubers will be virtual. Mariya says she’ll be performing from an off-site location to protect her identity.
Those in Los Angeles will have multiple opportunities to take part in a VTuber crash course over the Fourth of July holiday. Mariya on Thursday will host the Fantastic Reality concert at the Vermont Hollywood, a performance that makes virtual and real musicians and features Ironmouse, a horned, operatic demon who was briefly the most subscribed streamer on Twitch.
Even more mainstream, a host of VTubers associated with Japanese firm Hololive will invade Dodger Stadium for the second year in a row. Saturday evening’s Hololive Night will feature three of company’s English-speaking talents — Ninomae Ina’nis, IRyS and Koseki Bijou — virtually cheering on the team, singing the seventh-inning stretch and then leading a post-game dance party on the field. A special event ticket will include playing cards of the VTubers.
Hololive, a division of Cover Corp., is one of the largest VTuber talent agencies in the world, with almost 90 active performers across its various divisions. The company’s U.S. office is based in L.A., and its partnership with the Dodgers is to recognize, in part, that the team has a large Japanese fanbase, thanks to megastar Shohei Ohtani. Cover CEO Motoaki Tanigo, however, has a broader goal, and that’s to further bring VTubers to the masses.
“There are two reasons,” Tanigo says, via a translator, for why Cover has targeted L.A. as one of its key markets. The first, he notes, is due to the fact that a large part of the company’s fanbase resides in the L.A. region. The second, he stresses, relates to his business goals, especially the video game firms Cover hopes to partner with. “Doing events in the Los Angeles area is not only important for our user engagement, but it’s a great opportunity to show to our business clients that we have a strong following.”
VTubers have averaged 50 billion YouTube views annually over the past three years, according to a recent YouTube Culture & Trends report. A YouTube sample of 300 virtual creators found that they drove 15 billion views across the site, with 1 billion coming from the U.S. alone. Almost all of these VTubers are steeped deeply in anime lore, culture and tone. And while there are popular male VTubers, a number of the most famous are female-facing. Cover’s roster, for instance, is more than three-quarters female.
Hololive characters on the Dodger Stadium scoreboard at last year’s event. Hololive Night returns on July 5.
(Cover Corp.)
“It’s very exciting,” says Susan Napier, author of “Miyazakiworld: A Life in Art” and professor at Tufts University who specializes in Japanese culture. “It allows for an enormous amount of creativity, and a real sense of ownership over your creation, and a way of playing and melding with your creation. People have been fans and identifying with favorite stories, anime and manga for years. This is, in a way, a very old phenomena. It’s people wanting to participate in a fantasy world that they love.”
Mariya notes she decided to become a VTuber during the worst days of the global pandemic of 2020. “Everyone was in front of their computers and had a sense of loneliness,” she says. “And VTubers [had] that sense of, ‘I’m not alone. I’m not trapped. There’s a whole world out there for me.’ Being a big fan of that, I wanted to try that myself. I did not expect to be able to make this into a career, but somehow people liked me, and I thought I could keep going with this.”
And how, of course, did she land on her character, a vampire with a bat clip in her hair and an open-chested cocktail server-style outfit? “That one is tricky because technically I was born a vampire,” Mariya says. “We’re not scary. We ask permission before entering doors, which is better than a lot of people. We do bite. That’s the only downside.” Right.
We’re not scary. We ask permission before entering doors, which is better than a lot of people. We do bite. That’s the only downside.
— Kou Mariya, on being a vampire VTuber
The Japan-led VTtuber trend predates the pandemic. The first proper virtual artist to gain fame is widely credited as Kizuna AI in 2016, but VTubers have grown alongside other similar developments. See, for instance, virtual concert artist Hatsune Miku, who performed at Coachella in 2024. VTubers are also closely aligned with video games, often streaming them for their fans. The game medium, of course, has long been associated with virtual avatars, be it Nintendo Mii figures, the personas of “Second Life” or today’s platforms of “Fortnite,” “Roblox” and “Minecraft.” And this summer, in one of the biggest releases of 2025, VTuber Usada Pekora has a role in the PlayStation 5 game “Death Stranding 2,” with famed director and auteur Hideo Kojima admitting he is a fan.
For creator, voice-over actor and Anime Expo attendee AmaLee, the rare VTuber who, while using a stage name, does show her face, anime’s fantastical yet mature storylines reached her as a young teen when she was exploring her creativity. “It’s bridging a gap,” she says of VTubing. “Ever since I was a teenager I loved anime. It’s music, beautiful animation and acting all in one. VTubing brings it into the real world. You can do so much with your VTuber lore story. You’re kind of creating your own anime.”
VTuber Ironmouse will perform at the Fantastic Reality concert on Thursday.
(Ironmouse)
The most appealing VTubers bring a level of real-life authenticity into their work. “If you go back and watch my very first streams, I’m very cemented in this cleanly elegant actor [persona],” AmaLee says. “My voice is different. I dropped it to be cooler. I realized quickly how hard that was to keep, and I didn’t like not being authentically me. I’m a little clumsy, a little blond and I have major tech issues.”
Mariya describes herself as introvert, saying she wouldn’t be streaming — or likely even performing — if it weren’t for VTubing.
“With VTubing, there’s a sense of anonymity that I think is really good for the audience as well,” Mariya says. “Some people don’t want to see a physical person in front of a screen. They want to see anime girls. I think people latch onto the idea that it’s something that is different and bigger than me and bigger than them. It’s a new world.”
Last year’s Hololive Night at Dodger Stadium featured a drone show. Look for an on-field dance party led by the VTubers this year.
(Cover Corp. )
Author and professor Napier says it’s a modern, digitized Renaissance faire, if you will, reflecting basic human desires to dress up and play. As for why it just so happens to be so connected to anime, Napier theorizes the medium fosters the idea of fantasy creation.
“Fantasy and science fiction are very popular culture artistic venues to play and to cosplay,” Napier says. “Anime is really good at presenting you with these — it’s brilliantly expansive. Whatever you’re into, you’ll find it in anime. So if you’re looking to VTube, there’s all this anime material sitting in front of you. You can pick and choose and start playing.”
The dream for the Cover corporation, says Tanigo, is to expand VTubers beyond the world of streaming sites such as YouTube and Twitch — hence, the Dodgers collaboration. In August, Hololive will stage another U.S. concert, this time at Radio City Musical Hall in New York. Music, says Tanigo, is a gateway. “I believe that’s a way of reaching new people,” he says. “It’s an interesting thing to go see. There are also people who may not be interested in VTubing or anime at all, but they can listen to the song that’s released and enjoy it as a piece of music on its own.”
For the performers, with VTubing comes a sense of safety — and even comfort — that isn’t always present in more traditional streaming.
“I did a lot of on-camera streaming in the beginning of my streaming career, but I hated having to get ready, do my makeup, wear something nice,” AmaLee says. “Even after an hour of getting ready to do a stream, someone was still [commenting], ‘You look tired today.’ I hated that. There would be days I would cancel streams because I didn’t want to get ready. Now I have my VTuber model and can be a little gremlin in my pajamas and no one has to know because Monarch is always perfect.”
An anime character, after all, is always ready to go.
