Seven Seas Entertainment announced at its Anime Expo industry panel on Saturday that it has licensed seven titles across several imprints for release between 2026 and 2027.

The publisher, known for distributing anime, light novels and graphic novels, manages a range of branded imprints that specialize in different formats.

Under the Siren imprint, the audiobook "Distorted I Love You" by Yoru Sumino will be released in August 2026.

The Ghost Ship imprint will publish the light novel "My Sword Saint Master Is Too Cute to Live With!" by Kennoji with art by R_ringo, scheduled for June 2027.

The Airship imprint will release "The Suspects of Necromancy," a light novel by Daken with art by Enta Shiho, in April 2027.

Seven Seas Webtoons will issue the manhwa "Love is an Illusion! - Superstar" created by Fargo in May 2027.

In the Boys' Love category, "Hate Me, but Let Me Stay - Manager and Otoha" by Hijiki will be published in April 2027.

The Girls' Love category includes "I See You, Aizawa-san!" by Odoroo Dorothy, slated for March 2027.

The Danmei category will see the novel "Legend of Metempsychosis" by Arise Zhang and Fei Tian Ye Xiang in June 2027.

Additional titles include the story "This Time Around, My Lovesick Hero Will Keep Me Alive … If I'm Lucky!" by Kotoko with art by Kei Kumanomi from the Seven Seas imprint, set for March 2027.

Two manga and digital light novel titles, "I Reincarnated as the 'Villain' Commander of an Order of Knights" by Azusa Sakamoto with art by kodamazon and fujy (April 2027) and "That Girl I'm Interested in is a Maid from the Abyss" by Itsumi Narita (May 2027), are also part of the lineup.

The Journey of a Dark Elf with Fading Powers by Daisuke Itabashi, the novel "Miss Forensics: Wo Qinai De Fayi Xiaojie" by Jiu Nuan Chun Shen (April 2027) and "My Wandering Spirit Lady" by Qing Jun Ma Xiao (2027) complete the announced releases.

The announcements expand Seven Seas' catalog ahead of its fiscal year, and release dates remain subject to change.

JAST USA announced the English voice cast for the remastered version of Overflow's School Days visual novel at Anime Expo on Saturday. The original School Days game launched in Japan in 2005 and later inspired a 12‑episode television anime in 2007 and two original video animations in 2008.

The cast includes Katelyn Barr as Kotonoha Katsura, Brittany Lauda as Sekai Saionji, P.M. Seymour as Makoto Itou, Jalitza Delgado as Setsuna Kiyoura, Sara Ragsdale as Otome Katou, Kayli Mills as Hikari Kuroda, Bakusatsuho as Nanami Kanroji, Jesse Inocalla as Taisuke Sawanaga, Phoebe Chan as Kokoro Katsura, Michaela Laws as Youko Saionji, Gina Galore as Manami Katsura, Alexandra Mari as Roka Kitsuregawa, Mint Fantôme as Kumi Mori, Laura Faverty as Minami Obuchi, Tempty as Koizumi Natsumi, Diana Garnet as Itaru, Angel Haven Rey as Futaba/Kazuha Nijou, and Brandon Acosta as Kyouichi Kasannoin. The remastered edition will support English and Chinese language options.

Overflow, the label of Stack, previously stated in 2012 that its Shiny Days title would be its final release. Crunchyroll began streaming the anime in North America in 2009, and JAST USA had announced in 2011 that an English version of School Days HQ would follow, delaying the launch to 2012. A 2007 episode of the anime was replaced after a real‑life axe murder in Japan, leading to the “nice boat” meme that spread among fans. The game’s release date has not been specified.

Kyoto Animation's 'Sparks of Tomorrow' will debut on Netflix on July 5, after the first two episodes were shown at Anime Expo. Director Minoru Ota, producer Satori Senami, and musician Ginger Root participated in a Q&A session.

The series began as a 2018 project that was halted following a fire at the studio in 2019. It is set in an alternate‑history Meiji‑era Kyoto where steam power is central, and follows Inako Momokawa, a girl who believes in everything, and Kihachi Sakamoto, an engineer whose brother vanished in war.

Ota said the show depicts a society lacking technology, which he connects to the story’s setting. He explained that he asked staff to support new visual and narrative concepts during pre‑production and that the team worked to avoid relying on established stereotypes. Senami noted that many artists at Kyoto Animation have traditional training, and that the shift to digital required collaboration with younger team members who brought new skills. He added that the series balances small details of daily life with its steampunk backdrop, allowing viewers to infer how the world functions without extensive exposition. The production team also described a scene in which Inako watches a light‑powered slideshow that transitions into a semi‑realistic vision of a future cinema, illustrating a blend of traditional and futuristic aesthetics.

The series juxtaposes characters embodying belief and doubt, and combines comedy with drama. Ota said his directing style emphasizes this interplay, while Senami described Ota as an interesting individual whose personality is evident in the finished work. The ending theme was recorded by Ginger Root after a single take, following multiple revisions of the opening theme by Luna Goami. The premiere is scheduled for July 5, and the series aims to showcase a new direction for Kyoto Animation following its 2019 recovery.

The review on Ign.com assesses the 1975 horror film The Devil’s Rain, which has been reissued in a 4K UHD/Blu‑ray edition by Severin Films. The film, directed by Robert Fuest and written by Gabe Essoe, stars William Shatner, Ernest Borgnine, Tom Skerritt, and Joan Prather. It follows Dr. Tom Preston and his ESP‑sensitive wife Julie as they investigate the disappearance of family members linked to a satanic cult led by Corbis. Critical observations note strong practical makeup effects by Tom Burman and Ellis Jr., atmospheric cinematography, and notable performances by Borgnine and Shatner. The 4K transfer reveals technical details such as eye plugs on the disciples and a colorful melting sequence. Reviewers point to narrative weaknesses, limited development of the female lead, and pacing issues that hinder its status as a classic. Connections to other titles such as The Haunted Palace, The Touch of Satan, The Beyond, Return of the Jedi and A Nightmare on Elm Street are highlighted. Bonus features on the release include commentaries by director Robert Fuest and film historian Stephen R. Bissette, a discussion with makeup artist Tom Burman, and archival media. The review concludes that the film offers appreciable elements for horror enthusiasts but does not achieve widespread acclaim.