Vinland Saga Season 3: Release date speculation, cast and plot details – Everything we know so far
By Aman Shukla Published on May 6, 2025, 19:30 IST Last updated May 6, 2025, 16:37 IST
Vinland Saga , the critically acclaimed anime based on Makoto Yukimura's historical manga, has captivated audiences with its gripping tale of vengeance, redemption, and Viking lore. After the profound success of its first two seasons, fans are eagerly awaiting news about Vinland Saga Season 3 . While official confirmation is still pending, there's plenty of speculation and insight to explore regarding the release date, cast, and plot details. Here's everything we know so far about Vinland Saga Season 3 . Is Vinland Saga Season 3 Confirmed?
As of now, Vinland Saga Season 3 has not been officially confirmed by either Studio MAPPA or Twin Engine. However, considering the popularity of the anime and the remaining source material from the manga, there's strong reason to believe that a third season is in the works. In past interviews, creator Makoto Yukimura and producers have hinted at adapting the full story. Vinland Saga Season 3 Release Date Speculation
Without an official announcement, predicting the release date for Vinland Saga Season 3 involves educated guesswork based on previous release patterns and industry trends. The gap between Season 1 (July 2019) and Season 2 (January 2023) was approximately four years, largely due to production shifts from Wit Studio to MAPPA and the anime's meticulous craftsmanship.
Considering this timeline, many speculate that Vinland Saga Season 3 could arrive in winter 2026 at the earliest, with fall 2026 or early 2027 being more realistic. Vinland Saga Season 3 Expected Cast
While an official cast list has yet to be released, the following voice actors are likely to reprise their roles: Thorfinn Thordarson : Yuto Uemura (Japanese) / Aleks Le (English)
Einar : Shunsuke Takeuchi (Japanese) / Alejandro Saab (English)
Canute : Kensho Ono (Japanese) / Griffin Burns (English)
Thorkell : Akio Otsuka (Japanese) / Patrick Seitz (English)
Leif Erikson: Yoji Ueda (Japanese) / John Swasey (English) What to Expect from the Plot
Vinland Saga Season 3 is expected to adapt the Eastern Expedition Arc, which begins around Chapter 100 of the manga and spans roughly Chapters 100 to 166. This arc marks a significant shift in Thorfinn's journey, moving away from the introspective Slave Arc of Season 2 toward a globe-trotting adventure filled with new challenges and themes of exploration and peace. Where to Watch Vinland Saga Seasons 1 and 2
While waiting for Vinland Saga Season 3 updates, fans can revisit Seasons 1 and 2 on Netflix, Crunchyroll, and Amazon (availability may vary by region). These platforms offer both subbed and dubbed versions, catering to diverse preferences.
Aman Shukla is a post-graduate in mass communication . A media enthusiast who has a strong hold on communication ,content writing and copy writing. Aman is currently working as journalist at BusinessUpturn.com
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
an hour ago
- Yahoo
Fans of Minas club play funeral march and Rocky theme during match 🎥
Fans of Itabirito decided to add a touch of humor to the matches of the Minas Gerais club, which competes in the Série D of the Brasileirão. Using wind instruments and drums, they gave the stadium an unusual soundtrack depending on the situation of the match. Advertisement When the opposing goalkeeper got injured, the group played a funeral march for the athlete. At the moment when players started a fight, it was time for the theme music from the movie Rocky to be played. See the scene below: According to the newspaper O Tempo, the situation happened during the 1-1 draw between Itabirito and Cascavel last Saturday (31). The game took place at the Castor Cifuentes stadium, in the Minas Gerais city of Nova Lima, and was valid for the seventh round of Série D. This article was translated into English by Artificial Intelligence. You can read the original version in 🇧🇷 here.
Business Upturn
2 hours ago
- Business Upturn
Is Beastars season 3 part 2 releasing in June 2025 on Netflix? Everything we know so far
By Aman Shukla Published on June 5, 2025, 20:21 IST Beastars fans are eagerly awaiting the conclusion of the anime's final season. With Season 3 Part 1 already streaming on Netflix since December 5, 2024, all eyes are on the release of Beastars Season 3 Part 2. But is June 2025 the confirmed release month? Here's everything we know so far about. Beastars Season 3 Part 2 Release Date: Is June 2025 Happening? As of now, Netflix has not officially confirmed a specific release date for Beastars Season 3 Part 2. However, sources indicate that the second part is expected to arrive in early 2025, with a potential window between January and June 2025. Some speculation points to a release as early as June 2025 as possible dates, depending on Netflix's scheduling. What to Expect from Beastars Season 3 Part 2 Beastars Season 3 Part 2 will mark the final chapter of the anime, adapting the remaining chapters of Paru Itagaki's manga, specifically the Revenge of the Love Failure arc. This arc focuses on Legoshi, the grey wolf, as he navigates a world of anthropomorphic animals divided by predator-prey dynamics. Under the guidance of Yahya, the current Beastar, Legoshi takes on the challenge of confronting Melon, a dangerous hybrid crime lord. The arc promises an emotional climax, with Legoshi confessing his love for Haru, the dwarf rabbit, and facing his final battle against Melon. Expect intense themes of identity, morality, and love, culminating in a satisfying conclusion to Legoshi's journey. Will There Be a Beastars Season 4? No, Beastars Season 3 Part 2 will be the final chapter, as confirmed by Studio Orange and Netflix. The manga concluded in 2020, and Season 3 will cover all remaining chapters, leaving no material for a fourth season. However, fans may explore Beast Complex, a spin-off manga by Paru Itagaki, which could inspire future anime projects, though none are currently planned. Aman Shukla is a post-graduate in mass communication . A media enthusiast who has a strong hold on communication ,content writing and copy writing. Aman is currently working as journalist at
Yahoo
2 hours ago
- Yahoo
3 things Ngũgĩ wa Thiong'o taught me: language matters, stories are universal, Africa can thrive
Celebrated Kenyan writer and decolonial scholar Ngũgĩ wa Thiong'o passed away on 28 May at the age of 87. Many tributes and obituaries have appeared across the world, but we wanted to know more about Thiong'o the man and his thought processes. So we asked Charles Cantalupo, a leading scholar of his work, to tell us more. When I heard that Ngũgĩ had died, one of my first thoughts was about how far he had come in his life. No African writer has as many major, lasting creative achievements in such a wide range of genres as Ngũgĩ wa Thiong'o. His books include novels, plays, short stories, essays and scholarship, criticism, poetry, memoirs and children's books. Read more: His fiction, nonfiction and plays from the early 1960s until today are frequently reprinted. Furthermore, Ngũgĩ's monumental oeuvre is in two languages, English and Gĩkũyũ, and his works have been translated into many other languages. From a large family in rural Kenya and a son of his father's third wife, he was saved by his mother's pushing him to be educated. This included a British high school in Kenya and Makerere University in Uganda. When the brilliant young writer had his first big breakthrough at a 1962 meeting in Kampala, the Conference of African Writers of English Expression, he called himself 'James Ngũgi'. This was also the name on the cover his first three novels. He had achieved fame already as an African writer but, as is often said, the best was yet to come. Not until he co-wrote the play I Will Marry When I Want with Ngũgĩ wa Mirii was the name 'Ngũgĩ wa Thiong'o' on the cover of his books, including on the first modern novel written in Gĩkũyũ, Devil on the Cross (Caitaani Mũtharaba-inĩ). I Will Marry When I Want was performed in 1977 in Gĩkũyũ in a local community centre. It was banned and Ngũgĩ was imprisoned for a year. And still so much more was to come: exile from Kenya, professorships in the UK and US, book after book, fiction and nonfiction, myriad invited lectures and conferences all over the world, a stunning collection of literary awards (with the notable exception of the Nobel Prize for Literature), honorary degrees, and the most distinguished academic appointments in the US, from the east coast to the west. Yet besides his mother's influence and no doubt his own aptitude and determination, if one factor could be said to have fuelled his intellectual and literary evolution – from the red clay of Kenya into the firmament of world literary history – it was the language of his birth: Gĩkũyũ. From the stories his mother told him as a child to his own writing in Gĩkũyũ for a local, pan-African and international readership. He provided every reason why he should choose this path in his books of criticism and theory. Ngũgĩ was also my friend for over three decades – through his US professorships, to Eritrea, to South Africa, to his finally moving to the US to live with his children. We had an ongoing conversation – in person, during many literary projects, over the phone and the internet. Our friendship started in 1993, when I first interviewed him. He was living in exile from Kenya in Orange, New Jersey, where I was born. We both felt at home at the start of our working together. We felt the same way together through the conferences, books, translations, interviews and the many more literary projects that followed. Since Ngũgĩ was such a voluminous and highly varied writer, he has many different important works. His earliest and historical novels like A Grain of Wheat and The River Between. His regime-shaking plays. His critical and controversial novels like Devil on the Cross and Petals of Blood. His more experimental and absolutely modern novels like Matigari and Wizard of the Crow. His epoch-making literary criticism like Decolonising the Mind. His informal and captivating three volumes of memoirs written later in life. His retelling in poetry of a Gĩkũyũ epic, The Perfect Nine, his last great book. A reader of Ngũgĩ can have many a heart's desire. My book, Ngũgĩ wa Thiong'o: Texts and Contexts, was based on the three-day conference of the same name that I organised in the US. At the time, it was the largest conference ever held on an African writer anywhere in the world. What I learned back then applies now more than ever. There are no limits to the interest that Ngũgĩ's work can generate anytime anywhere and in any form. I saw it happen in 1994 in Reading, Pennsylvania, and I see it now 30 years later in the outpouring of interest and recognition all over the world at Ngũgĩ's death. In 1993, he had published a book of essays titled Moving the Centre: The Struggle for Cultural Freedoms. Focusing on Ngũgĩ's work, the conference and the book were 'moving the centre' in Ngũgĩ's words, 'to real creative centres among the working people in conditions of gender, racial, and religious equality'. First, African languages are the key to African development, including African literature. Ngũgĩ comprehensively explored and advocated this fundamental premise in over 40 years of teaching, lectures, interviews, conversations and throughout his many books of literary criticism and theory. Also, he epitomised it, writing his later novels in Gĩkũyũ, including his magnum opus, Wizard of the Crow. Moreover, he codified his declaration of African language independence in co-writing The Asmara Declaration, which has been widely translated. It advocates for the importance and recognition of African languages and literatures. Second, literature and writing are a world and not a country. Every single place and language can be omnicentric: translation can overcome any border, boundary, or geography and make understanding universal. Be it Shakespeare's English, Dante's Italian, Ngugi's Gĩkũyũ, the Bible's Hebrew and Aramaic, or anything else, big or small. Third, on a more personal level, when I first met Ngũgĩ, I was a European American literary scholar and a poet with little knowledge of Africa and its literature and languages, much less of Ngũgĩ himself. He was its favourite son. But this didn't stop him from giving me the idea and making me understand how African languages contained the seeds of an African Renaissance if only they were allowed to grow. I knew that the historical European Renaissance rooted, grew, flourished and blossomed through its writers in European vernacular languages. English, French, German, Italian, Spanish and more took the place of Latin in expressing the best that was being thought and said in their countries. Yet translation between and among these languages as well as from classical Latin and Greek culture, plus biblical texts and cultures, made them ever more widely shared and understood. Read more: From Ngũgĩ discussing African languages I took away a sense that African writers, storytellers, people, arts, and cultures could create a similar paradigm and overcome colonialism, colonial languages, neocolonialism and anything else that might prevent greatness. This article is republished from The Conversation, a nonprofit, independent news organization bringing you facts and trustworthy analysis to help you make sense of our complex world. It was written by: Charles Cantalupo, Penn State Read more: Why auction of Buddha relics was called off and why it matters – an expert in Asian art explains Mbare Art Space: a colonial beer hall in Zimbabwe has become a vibrant arts centre Waiting for Godot has been translated into Afrikaans: what took so long Charles Cantalupo does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
