Saudi Arabia’s long-standing fascination with Japanese anime is rapidly evolving into a full-fledged creative industry, and State-backed Manga Productions is at the center of that transformation.
Led by CEO Essam Bukhary, the studio has gone from licensing beloved titles like “Grendizer” to co-producing original content such as “The Journey” and “Future’s Folktales” with major Japanese partners like Toei Animation.
The company’s ambitious slate of anime films, series, and video games represents more than entertainment, it reflects Saudi Arabia’s broader cultural and economic diversification efforts.
With a new Dragon Ball theme park underway in Qiddiya and Saudi IPs making waves at the box office and on global streaming platforms, Bukhary is not only helping shape a regional industry, he’s positioning it as a serious global contender. As he puts it, “We’re not just participating, we’re designing the future.”
Bukhary is attending the Annecy Animation Festival and its MIFA market for the first time this year. The executive met with Variety ahead of the event to discuss his insights into the Kingdom’s growing role in the global animation market, Manga Productions’ distribution strategy and how homegrown talent is being nurtured through national training programs and international collaborations.
Dr. Essam Bukhary
Credit: Manga Productions
Why is anime so deeply rooted in Saudi culture?
It all began in the early 1980s. My generation grew up watching Japanese anime on television. That exposure created a lifelong connection. Even today, my 14-year-old daughter watched “Haikyuu!!” and was inspired to play volleyball. Anime has had a tangible impact on our lives, and continues to do so. In 2024 alone, Saudi Arabia had around 15 million anime viewers, which was nearly a quarter of all anime viewership in the Arab world.
Manga Productions is producing original content now, but the Kingdom has traditionally been an importer of media. How important is it for you to flip that script?
It’s essential. We’ve been importing stories for decades, but now it’s time to export our own. A Saudi story, told with authenticity, has the power to resonate globally. Our film “The Journey” is a good example. It was the first Arab movie to premiere at the Chinese Theatre in Hollywood and has been distributed in over 50 platforms worldwide. It even won awards at the Septimius Awards. We’re proving that Saudi stories can compete on the world stage.
For new IPs like “The Journey” and “Future’s Folktales,” are they fully Saudi productions, or are you working with international partners?
They’re co-productions. I don’t say “made in Saudi” or “made in Japan.” I say “made with.” These projects reflect collaboration. We’re also working with American companies like Telltale Games on co-developing titles. So yes, we’re very open to international co-productions. That’s where the future of IP creation lies.
How is Saudi Arabia’s animation boom impacting the broader economy?
It’s part of a larger IP economy. Take “Grendizer,” we didn’t just distribute the anime; we licensed it for games and merchandising and even built a 33-meter statue that earned a Guinness World Record. This drove tourism and created a 360-degree revenue model. This is bigger than screens, it’s about creating ecosystems that include entertainment, retail, hospitality and beyond.
Distribution is a major hurdle for many animation studios. How does having in-house distribution change the game for you?
It’s a massive advantage. Many creators finish their work and then struggle to find an audience. At Manga, we start distribution planning early, at the concept stage. It helps with financing and exposure. We’ve built global partnerships and are actively managing IP across multiple platforms, not just producing content.
For a young Saudi artist dreaming of working in animation, what opportunities exist today that didn’t a few years ago?
A lot. We’ve partnered with the Ministry of Education to offer free online manga classes to 3.5 million students. We run national manga contests. We’ve brought in Japanese professionals for in-person training, and we send top students to Japan for internships. It’s about investing in “brainware,” creative thinking and storytelling. Many of our current team members started through these programs.
What’s on the schedule for Manga Productions at Annecy this year?
This is my first time attending the Annecy Festival itself, though I’ve visited the city before. I’m excited to network, explore future trends and showcase Manga Productions’ work. Annecy is the perfect place to listen, learn and build partnerships for the future.
Do you envision Saudi Arabia hosting its own industry-focused animation festival or market one day?
That’s the dream. We’ve already sponsored Anime Japan in Tokyo and are working on bringing Japanese IPs to events like Riyadh Season. We’re not just participating—we’re designing the future. We regularly host anime directors and producers in Saudi to engage with youth. Building an industry event here is a natural next step.
What are you most proud of since launching Manga Productions in 2017?
The team. We started with nothing, no staff, no office, no studio. Today, we have 80 employees across Riyadh and Tokyo, many of whom came through our training programs. One of our interns from 2018 is now directing episodes of “Future’s Folktales.” That’s the real success: empowering the next generation of Saudi creators.
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