The deep-rooted enthusiasm for Japanese animation in Saudi Arabia is rapidly progressing into a thriving creative sector, with Government-supported Manga Productions serving as the hub of this transition.
Under the leadership of CEO Essam Bukhary, the studio has transitioned from simply licensing popular titles like “Grendizer”, to collaborating with prominent Japanese studios such as Toei Animation to co-create original productions like “The Journey” and “Future’s Folktales”.
In this new approach, the studio is no longer just a licensee, but an active partner in creating new content.
I’m utterly captivated by the impressive collection of anime movies, shows, and video games that this company has in store. It’s not just about entertainment; it mirrors Saudi Arabia’s ambitious initiatives towards cultural and economic diversification.
With a Dragon Ball theme park being developed in Qiddiya and Saudi intellectual properties (IPs) gaining popularity at cinemas worldwide and on streaming platforms globally, Bukhary is not only contributing to a regional industry but also positioning it as a strong global competitor. In his words, “We’re not just taking part; we’re shaping the future.
This year, Bukhary is making his debut at the Annecy Animation Festival and its MIFA market. Prior to the event, he held a meeting with EbMaster to share thoughts on the increasing influence of the Kingdom in the global animation market, Manga Productions’ distribution tactics, and how local talent is being cultivated through domestic training programs and international partnerships.
Why is anime so deeply rooted in Saudi culture?
Everything started back in the early ’80s, as my generation found ourselves captivated by Japanese anime on our televisions. This early exposure sparked a lasting bond for many of us. Recently, my 14-year-old daughter watched “Haikyuu!!”, and it motivated her to take up volleyball. To this day, anime remains a significant part of our lives. Intriguingly, in the year 2024, Saudi Arabia accounted for roughly a quarter of all anime viewership across the Arab world – that’s around 15 million viewers!
The anime craze kicked off in the ’80s for my generation, as we were hooked on Japanese anime shows airing on TV. This connection has lasted a lifetime, and even today, it’s still going strong. For instance, my 14-year-old daughter recently watched “Haikyuu!!”, and she’s now playing volleyball. Anime continues to play a tangible role in our lives. Interestingly, as of 2024, Saudi Arabia represented nearly a quarter of all anime viewership across the Arab world – that’s approximately 15 million viewers!
Since Manga Productions is currently creating its own content, while the Kingdom has historically relied on importing media, how significant is it for you to reverse this trend?
It’s crucial now for us to shift from importing stories to sharing our own, particularly tales with genuine Saudi roots that can echo universally. Our film “The Journey” serves as a strong demonstration of this potential. It was the inaugural Arab movie to grace the Chinese Theatre in Hollywood and has since been distributed across more than 50 platforms globally. Notably, it also garnered awards at the Septimius Awards. In essence, our endeavor showcases that Saudi stories can hold their own on a global stage.
As a dedicated fan, I’m curious about the origin of some recent productions such as “The Journey” and “Future’s Folktales.” Are these entirely homegrown Saudi projects, or do they involve collaboration with international partners?
Instead of labeling our productions as “Saudi-made” or “Japanese-made,” we refer to them as “made together.” This approach emphasizes collaboration, which is a key aspect of these projects. Additionally, we’re partnering with American companies such as Telltale Games for co-development of titles. Therefore, we are indeed open to international co-productions, and we believe that the future of intellectual property creation lies in this collaborative approach.
How is Saudi Arabia’s animation boom impacting the broader economy?
The distribution of “Grendizer” wasn’t our only focus; we also licensed the anime for various games, merchandise, and even constructed a 33-meter statue, which broke a Guinness World Record. This not only boosted tourism but also established a multi-faceted revenue stream. It’s more than just screen content, it’s about developing comprehensive ecosystems that encompass entertainment, retail, hospitality, and much more.
What impact does having your own distribution channel have on an animation studio that often faces challenges with distribution?
At Manga, we gain a significant edge by starting our distribution strategy right from the concept phase rather than after creators finish their work. This approach aids in securing funding and increasing visibility. Furthermore, we’ve established international collaborations and diligently manage Intellectual Property (IP) across numerous platforms, not just creating content.
What kind of chances are available now for a budding Saudi animator who dreams big, compared to a few years back?
We’ve collaborated extensively with the Ministry of Education, providing complimentary online manga classes to an impressive 3.5 million students. Additionally, we host nationwide manga competitions. To further enrich the learning experience, we’ve invited renowned Japanese experts for face-to-face training sessions, and we offer internships in Japan to our top performers. This initiative is all about fostering “brainware,” or creative problem-solving and narrative development skills. Many of our current team members are alumni of these very programs.
What’s on the schedule for Manga Productions at Annecy this year?
For the very first time, I’ll be participating in the Annecy Festival itself, although I’ve previously visited this city. I’m thrilled about the opportunity to connect with others, discover emerging trends, and present Manga Productions’ projects. Annecy is an ideal location for absorbing knowledge, broadening horizons, and fostering future collaborations.
Are you thinking that perhaps Saudi Arabia might eventually host an animation festival or market specifically for the industry?
Our ambition is clear: we’ve supported Anime Japan in Tokyo, and we’re currently planning to introduce Japanese intellectual properties at events like Riyadh Season. It’s not just about being involved; we’re shaping the future. Regularly, we invite anime directors and producers from Saudi to interact with the youth. Establishing an industry event here is a logical progression in our journey.
What are you most proud of since launching Manga Productions in 2017?
Originally, we began with nothing – no team members, no workspace, and no studio. Today, we’ve grown to a workforce of 80 individuals spread across Riyadh and Tokyo. Many of our current employees have joined us through our training programs. Remarkably, one of our interns from 2018 is now in charge of directing episodes for “Future’s Folktales.” The true measure of our success lies in nurturing the upcoming generation of creative minds from Saudi Arabia.
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2025-06-09 17:18