Original video animation (Japanese: オリジナル・ビデオ・アニメーション Hepburn: Orijinaru bideo animēshon), abbreviated as OVA (オーブイエー / オーヴィーエー / オヴァ ōbuiē, ōvīē or ova) and sometimes as OAV (original animated video), are Japanese animated films and series made specially for release in home video formats without prior showings on television or in theatres, though the first part of an OVA series may be broadcast for promotional purposes. OVA titles were originally made available on VHS, later becoming more popular on LaserDisc and eventually DVD.[1] Starting in 2008, the term OAD (original animation DVD)[2][3] began to refer to DVD releases published bundled with their source-material manga.
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Dark realism featured in Masami Kurumada's famous manga Saint Seiya. The anime adapted two of the three arcs in Kurumada's manga—the project to adapt the third arc to the anime never started. As Kurumada had completed his manga in 1991, its third act was finally adapted to anime, releasing the episodes as OVAs, starting in 2003 and finishing in 2008, at last adapting Kurumada's manga completely to anime.
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As the Japanese economy worsened in the 1990s, the flood of new OVA titles diminished to a trickle. Production of OVAs continued, but in smaller numbers. Many anime television series ran an economical 13 episodes rather than the traditional 26-episodes per season. New titles were often designed[by whom?] to be released to TV if they approached these lengths. In addition, the rising popularity of cable and satellite TV networks (with their typically less strict censorship rules) allowed the public to see direct broadcasts of many new titles—something that previously would have been impossible. Therefore, many violent, risque, and fan service series became regular TV series, when previously those titles would have been OVAs. During this time period most OVA content was limited to that related to existing and established titles.
“If you ask an agency to produce a video for you, it could cost a fortune. By creating our own animated videos, we can prepare high-quality videos without any extra spend. The biggest reason I’d recommend Vyond is its user-friendliness. It’s so easy to use and so flexible. And if you can’t find the image you want, you can upload it. What is very important is that the company itself is flexible as well. They listen to people, and the responsiveness of their customer care is outstanding.”
Using Adobe Spark as a free video maker simply couldn’t be easier. After selecting the “Video” option from the main menu, you’ll be taken to a title screen — where you can give your video project a title. Enter some text, or skip this stage and head straight to the design interface. Don’t worry if you want to change the title later, as you can make unlimited changes to text. You then get the opportunity to choose a video template or start the design process from scratch.

OVAs originated during the early 1980s. As the VCR became a widespread fixture in Japanese homes, the Japanese anime industry grew to behemoth proportions. Demand for anime became massive, so much so that consumers would willingly go directly to video stores to buy new animation outright. While people in the United States use the phrase "direct-to-video" as a pejorative for works that could not make it onto television or movie screens, in Japan the demand was so great that direct-to-video became a necessity. Many popular and influential series such as Bubblegum Crisis (1987–1991) and Tenchi Muyo! (1992–2005) were released directly to video as OVAs.

OVA titles have a reputation for detailed plots and character-development, which can result from the greater creative freedom offered to writers and directors relative to other formats. This also allows for animated adaptations of manga to reflect their source material more faithfully. Since OVA episodes and series have no fixed conventional length, OVA directors can use however much time they like to tell the story. Time becomes available to expand upon significant background, character, and plot development. This contrasts with television episodes (which must begin and conclude in 22 to 26 minutes) and with films (which rarely last more than two hours). In the same way, no pressure exists to produce "filler content" to extend a short plot into a full television series. The producers of OVA titles generally target a specific audience, rather than the more mass-market audience of films and television series, or may feel less constrained by content-restrictions and censorship (such as for violence, nudity, and language) often placed on television series. For example, the Kissxsis OVA series generally contains more sexual themes than its television counterpart.


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The earliest known attempt to release an OVA involved Osamu Tezuka's The Green Cat (part of the Lion Books series) in 1983, although it cannot count as the first OVA: there is no evidence that the VHS tape became available immediately and the series remained incomplete. Therefore, the first official OVA release to be billed as such was 1983's Dallos, directed by Mamoru Oshii and released by Bandai. Other famous early OVAs, premièring shortly thereafter, were Fight! Iczer One and the original Megazone 23. Other companies were quick to pick up on the idea, and the mid-to-late 1980s saw the market flooded with OVAs. During this time, most OVA series were new, stand-alone titles.
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