Anime
Webtoon ‘The Remarried Empress’ Gets TV Anime in 2027
The Crunchyroll Showcase at New York Comic-con 2026 announced a television anime adaptation of Alphatart and Sumpul‘s The Remarried Princess webtoon on Thursday and revealed the main cast, staff, a fourth character visual (pictured), and special promotional video. The anime series will premiere in 2027.
Cast
Navier: Youko Hikasa (High School DxD)
Heinrey: Ryouhei Kimura (Grand Blue)
Sovieshu: Tomoaki Maeno (Akatsuki no Yona)
Rashta: Reina Ueda (Chainsaw Man)
Staff
Director: Tetsuya Yanagisawa (Boushoku no Berserk)
Series Composition, Script: Akiko Inoue (Jishou Akuyaku Reijou na Konyakusha no Kansatsu Kiroku.)
Character Design: Jun Nakai (NieR:Automata Ver1.1a)
Music: Yuuki Fukazawa
Studio: TROYCA
Producer: Hayate
Alphatart originally published the fantasy romance web novel on the Naver Web Novel platform from November 2018 to March 2020. Happy Books to You published the eighth and final volume in December 2022.
HereLee adapted the novel into a webtoon illustrated by Sumpul. The webtoon began serialization on the Naver Webtoon platform in October 2019 and concluded with 251 chapters on January 1. Young Com released the 11th volume on August 31.
Line Webtoon began publishing the webtoon digitally in English in September 2020. Yen Press licensed the webtoon for English print under its Ize Press imprint in July 2022. The tenth volume went on sale on June 16, with the 11th volume scheduled for an October 20 release. The series boasts over 630 million cumulative views in Japan and over 2.97 billion cumulative views globally.
A live-action television series adaptation of the webtoon was announced in April 2025. The series is produced by Studio N and is scheduled to premiere on Disney+ on November 4.
Synopsis
Empress of the Eastern Nation Navier Ellie Trovi stands at the pinnacle of noblewomen with dignity and grace. Although she and her husband, Emperor Sovieshu, are not as intimate as other couples, their trust in each other has been built over years of friendship. But then, wanting something more, he brings in a concubine—a former slave named Rashta—and that is when everything begins to fall apart.
Months later, the fateful day arrives; Sovieshu declares his intentions to divorce Navier and give her throne to Rashta. However, against all expectations, Navier is not backed against a wall, and she declares her intention to marry another man—Heinrey—whose noble appearance shocks all in the room.
Just who is Heinrey, and how did Navier come to this new marriage arrangement? The Eastern Nation stands at a precipice, being torn apart by conspiracies, lies, and—above all—love. [Written by MAL Rewrite]
Special PV
Official site: https://saikon-anime.com/
Official X: @Saikon_Anime
Source: PR Times
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© Naoki Urasawa / N Wood Studio, Takashi Nagasaki, 2009
The Harvey Awards, which honor outstanding work in comics and sequential art, announced the winners for this year’s awards on Friday at New York Comic Con. Naoki Urasawa and Takashi Nagasaki‘s Billy Bat manga, released by Abrams ComicArts‘ Kana imprint, won the award for Best Manga. Kristi Iwashiro translates the manga.
The other nominees in the category included:
Chainsaw Man – The Movie: Reze Arc, Demon Slayer: Kimetsu no Yaiba Infinity Castle – Akaza Sairai, My Hero Academia — Final Season, the One Piece: Into the Grand Line live-action season, and the Korean animated film Your Letter were nominated for Best Adaptation from Comic Book/Graphic Novel category. However, Spider-Noir won the award.
Kamome Shirahama‘s Witch Hat Atelier won the Best Manga award last year.
The Harvey Awards added the Best Manga category in 2018. Kabi Nagata‘s My Lesbian Experience with Loneliness manga won the first award in this category. Kōhei Horikoshi‘s My Hero Academia won the award in 2019, and Kamome Shirahama‘s Witch Hat Atelier won the award in 2020. Tatsuki Fujimoto‘s Chainsaw Man won the award in 2021, 2022, and 2023. Ryōko Kui‘s Delicious in Dungeon won the award in 2024.
In previous years, manga were nominated alongside other comics in the “Best American Edition of Foreign Material” category. The last manga to win the category was Hajime Isayama‘s Attack on Titan in 2014. One-Punch Man and Showa: A History of Japan (1953-1989) were nominated in 2016 but did not win. “Best American Edition of Foreign Material” is no longer a category.
Unlike the Eisner Awards and other awards in the North American comic book industry, the Harvey Awards are nominated and selected by the comic book professionals themselves.
Source: Harvey Awards’ X/Twitter account
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At the U.S. premiere of GROTESQQQUE at New York’s Japan Society, director Atsushi Nishigori warned the audience it might be hard to connect the different segments of this anthology feature. The one overriding theme, he explained, is “things I like” — whether that’s cute girls, monsters, mecha, any sort of otaku interest, or The Author’s Barely-Disguised Fetish he can fit into one of the shorts. He likened it to a three-course meal, guaranteeing we’d feel “full” when it finished. After two thrillingly overstimulating, action-packed segments and a calmer, more thoughtful closer, I left stuffed.
The first segment, “A(E)liens,” is the most colorful and entertaining of the three, and is narrowly my personal favorite. I loved the main character, Eli: she’s cute, funny, a little creepy with some of her body-horror transformations, but so good-natured you have to cheer her on as she makes friends and proves herself on Earth. The distinctive, appealing art style, plus the different alien characters and their abilities, gives the animators room to indulge in delightfully ridiculous action and creative transformations. The commentary on discrimination and being an outsider might not be the deepest exploration of these themes, but it’s enough substance to give all the candy-colored hyperpop silliness a cohesive, satisfying narrative.
“Yoroshiku Girl,” also written as “4649 Girl” in some graphics, is the one segment without Nishigori as the “episode director” (Takahiro Miura fills that role), and my least favorite. There is a story here, and it turns out to be fairly interesting, but it’s buried beneath a relentless, non-stop orgy of video game violence. To be clear, that violence is really cool! The animation’s incredible, the character designs are stylish, and it’s coherent enough to follow despite the relentless pace, but the reasons to care don’t develop enough until it’s too late. If this were the final act of a full-length movie with more proper character introductions (think Redline), it might be something really special.
The closing segment, “Nocturne: Nuit Grotesque,” marks a major shift in pace, easing concerns that GROTESQQQUE might get too overwhelming. The animation’s just as beautiful as in the other segments, but it loses the hyperactivity; the soundtrack switches gears from J-pop to classical. This is a serious post-apocalyptic vampire yuri drama with intriguing reflections on mortality — imagine Girls’ Last Tour meets the Marceline the Vampire Queen backstory episodes of Adventure Time, if Marceline had a polycule. In this short’s world, vampires can see the residue of death that humans can’t. Vampire souls are immortal even if their body gets killed — and rather than taken as a source of comfort, this idea of an everlasting soul beyond the body is treated as a source of pain. Thought-provoking and emotional, it’s the one part of GROTESQQQUE I can safely recommend to viewers not fully accustomed to Imaishi-esque, extreme, hyperactive anime nonsense.
GROTESQQQUE contains two great segments in very different styles, and its weakest segment is still a stunning piece of animation with enough potential that I can see how it could have been great. Since inconsistency is expected in anthology films, this is one of the better ones. It’s a weird and wild experience, and one can fairly question how the different parts cohere together (the disjointedness feels pronounced seeing the “Nocturne” cast drawn in the cutesy “A(E)liens” style during the peppy closing credits), but if you like any of the stuff Nishigori likes, it’s an experience you’ll want to see for yourself.
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