Netflix teams up with Ubisoft to expand mobile gaming service with new games

Netflix has announced a partnership with French video game company Ubisoft to boost its games library. (Screenshot)
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Updated 12 September 2022
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Netflix teams up with Ubisoft to expand mobile gaming service with new games

  • The two companies are working on three exclusive titles, including a version of Assassin’s Creed
  • The announcement comes as Netflix aims to ramp up its presence in the gaming industry

LONDON: Netflix has announced a partnership with French video game company Ubisoft to boost its games library, a move designed to bolster the streaming platform’s position in the gaming market.

Ubisoft said it is working on three exclusive titles for Netflix, all of which are built on the former’s existing franchises. One of them is a game in the blockbuster Assassin’s Creed series, which is celebrating its 15th anniversary this year. The game was originally conceived to cross-promote a live-action Netflix TV adaptation that was announced in 2020 and remains in development.

“We’re thrilled to work with Ubisoft, whose track record creating memorable worlds for fans is unmatched,” said Mike Verdu, vice president of games at Netflix.

“This partnership will provide our members with exclusive access to some of the most exciting game franchises as we continue to build a catalog of great mobile games for our members around the world.”

Ubisoft said it is also developing for Netflix a Valiant Hearts game, expected to be a sequel to 2014’s Valiant Hearts: The Great War, and a version of action-role playing game The Mighty Quest. All three games are expected to be released in 2023 on the Netflix mobile app.

Netflix said the games will not feature advertisements or in-app purchases but did not reveal whether it intends to make games accessible to users of its reduced-subscription-rate, ad-supported platform, which is due to launch in November. Experts speculate, however, that the titles will be available exclusively to premium subscribers.

“Netflix doesn’t take a lot of big shots like this but when they do, they back them, and they’re committed to them,” said Verdu. “And they understand that the journey may be a long one, especially with games, where it takes years to make games.”

Netflix entered the gaming sector last year in a move closely monitored by other tech companies that have taken similar steps to enter a potentially lucrative market through investments and targeted acquisitions.

Despite wider industry slowdowns, the gaming sector enjoyed an unprecedented boom over the past few years and is currently valued at $200 billion, according to market intelligence and advisory firm Mordor Intelligence, with the MENA region representing the fastest-growing market.

Over the past few months, Netflix, which aims to have a library of more than 50 games titles available by the end of this year, has ramped up its investment in the gaming industry by buying three game studios: Boss Fight Entertainment, Next Games, and Night School Studio.

However, despite Netflix’s efforts, the new service has received little attention and currently represents a marginal component of the app’s business model.

According to Joost van Dreunen, a professor at the NYU Stern School of Business, the company “only managed to convince 1.7 million people among its 221 million subscribers to play games on its platform daily.” The numbers reveal a “relatively low conversion rate and the reason why Netflix will argue it is playing the long game,” he added.

Leanne Loombe, head of external video games at Netflix, said the streaming company is still “very committed to games,” as demonstrated by the Ubisoft deal, and is in the process of experimenting with genre and style to understand what the audience really wants.

“We’re still very early on right now; we’ve only been doing this for about 10 months,” she added.


To infinity and beyond: Grendizer’s 50 years of inspiring Arabs

Updated 27 December 2025
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To infinity and beyond: Grendizer’s 50 years of inspiring Arabs

  • ⁠ ⁠50 years after its creation, the Grendizer anime series continues to capture Arab imagination
  • ⁠ ⁠⁠Arab News Japan speaks to creator Go Nagai, Middle Eastern fans and retells the story behind the UFO Robot tasked with protecting our planet

LONDON: Few cultural imports have crossed borders as unexpectedly, or as powerfully, as Grendizer, the Japanese giant robot that half a century ago became a childhood hero across the Arab world, nowhere more so than in Saudi Arabia.

Created in Japan in the mid-1970s by manga artist Go Nagai, Grendizer was part of the “mecha” tradition of giant robots. The genre was shaped by Japan’s experience during the Second World War, and explored themes of invasion, resistance and loss through the medium of science fiction.

But while the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East.

By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. (Supplied)

The anime “UFO Robot Grendizer” arrived on television in the region in 1979, dubbed into Arabic and initially broadcast in Lebanon during the Lebanese civil war. The story it told of the heroic Duke Fleed, a displaced prince whose planet had been destroyed by alien invaders, struck a chord with children growing up amid regional conflict and occupation by Israel.

Its themes of defending one’s homeland, standing up to aggression and protecting the innocent were painfully relevant in the region, transforming the series from mere entertainment into a kind of emotional refuge.

Much of the show’s impact came from its successful Arabization. The powerful Arabic dubbing and emotionally charged voice-acting, especially by Lebanese actor Jihad El-Atrash as Duke Fleed, lent the show a moral gravity unmatched by other cartoons of the era.

While the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East. (Supplied)

The theme song for the series, performed by Sami Clark, became an anthem that the Lebanese singer continued to perform at concerts and festivals right up until his death in 2022.

By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. For many, it was not only their first exposure to anime, it also delivered lessons on values such as justice and honor.

Grendizer was so influential in the region that it became the subject of scholarly research, which in addition to recognizing the ways in which the plight of the show’s characters resonated with the audience in the Middle East, also linked the show’s popularity to generational memories of displacement, particularly the Palestinian Nakba.

By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. (Supplied)

Half a century later, “Grendizer” remains culturally alive and relevant in the region. In Saudi Arabia, which embraced the original version of the show wholeheartedly, Manga Productions is now introducing a new generation of fans to a modernized version of the character, through a video game, The Feast of The Wolves, which is available in Arabic and eight other languages on platforms including PlayStation, Xbox and Nintendo Switch, and a new Arabic-language anime series, “Grendizer U,” which was broadcast last year.

Fifty years after the debut of the show, “Grendizer” is back — although to a generation of fans of the original series, their shelves still full of merchandise and memorabilia, it never really went away.

 

Grendizer at 50
The anime that conquered Arab hearts and minds
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