Aniplus Achieves Balanced Growth Across All Affiliates... Operating Profit Soars

[Asia Economy Reporter Hyungsoo Park] Global comprehensive content company Aniplus has achieved its highest operating profit in the first quarter since its establishment.

Aniplus announced on the 17th that it recorded sales of 14 billion KRW and operating profit of 4.83 billion KRW on a consolidated basis in the first quarter of this year. Compared to the same period last year, sales increased by 64% and operating profit by 66%. All subsidiaries achieved operating profit surpluses. Media & Art's sales are rapidly increasing.

With steady growth from Aniplus and its subsidiaries, the outlook is bright. Aniplus improved its performance by leading with the new season of its flagship work "Shingeki no Kyojin (Attack on Titan)" and the TV series "Jujutsu Kaisen," which experienced a resurgence due to the success of its theatrical version. In the Asian region, after Netflix, Aniplus has been supplying works to Disney+ and Amazon Prime, increasing OTT sales.

Subsidiary Media & Art succeeded in the box office with exhibitions including the "Yoshiko Photo Exhibition," which attracted a total of 420,000 visitors. Drama production company WeMade also succeeded in turning operating profit positive as the popularity of "Otsomae Bulgeun Kkeutdong (The Red Sleeve Cuff)" continued.

Seungtaek Jeon, CEO of Aniplus, said, "It is meaningful as the highest quarterly performance ever achieved through increased sales and operating profit surpluses of all subsidiaries," adding, "Considering the lineup prepared across all fields such as animation, exhibitions, and dramas, we expect even better performance in the future."

Aniplus has been receiving high acclaim by simultaneously airing one of this year's most anticipated works, "Spy Family," in Japan and locally since last April. Media & Art showcased exhibitions such as "Red Room: Love Is in the Air" and "Poetic AI."

WeMade is preparing the romantic comedy drama "Gaseumi Ttwinda (My Heart is Beating)" by investing its own budget from the early production stage to hold independent copyrights. It is conducting pre-sale negotiations with major broadcasters and OTT platforms in regions including the Americas, Asia, and Japan, aiming for production within the third quarter of this year.