Product Code Database
''Gundam Series'' is a Japanese military science fiction [[media franchise]]. Created by [[Yoshiyuki Tomino]] for Sunrise (now a division of Bandai Namco Filmworks), the franchise features giant robots, or [[mecha]], known as "Gundam". The franchise began with the premiere of the [[anime]] series ''Mobile Suit Gundam'' on April 7, 1979, which defined the "[[real robot]]" [[mecha anime]] genre by depicting giant robots (including the original titular mecha) within a militaristic setting.
The popularity of the series and its merchandise spawned a multimedia franchise that includes over 50 Television show, , and original video animations (OVAs), as well as manga, , and , along with a multimillion industry of plastic model known as Gunpla, which accounts for 90 percent of the character plastic model market. Flow of the Japan toy industry (日本の玩具産業の動向), Japan Economics Department, Information section (日本経済情報課) Academics in Japan have also taken interest in the series; in 2008, the virtual Gundam Academy was planned as the first academic institution based on an animated TV series.
As of 2022, the Gundam franchise is fully owned by Bandai Namco Holdings through its production subsidiary Bandai Namco Filmworks. The Gundam franchise had grossed over in retail sales by 2000. In the first quarter of fiscal year 2026 (April–June 2025), the Gundam franchise generated approximately ¥65.4 billion (approximately US$443 million) in IP-related revenue, making it Bandai Namco's highest-earning intellectual property during that period, driven by successes across streaming, model kits, theatrical releases, and experiential tourism initiatives.
The series’ early working title was Freedom Fighter Gunboy, reflecting the robot-centric focus and adolescent target demographic. Conceptual elements like naming the White Base "Freedom's Fortress", the Core Fighter "Freedom Wing", and the Gunperry "Freedom Cruiser" underscored the theme of freedom. The name Gundam was eventually chosen—combining “gun” and “dam”—to evoke imagery of a powerful weapon acting like a dam to hold back enemies.
Gundams are portrayed as prototype or limited-production mobile suits with superior performance compared to mass-produced models. These suits typically feature humanoid designs, cockpit control in the torso, and head units functioning as visual sensors. Across the franchise's numerous series and media formats, each Gundam variant reflects unique aesthetics, capabilities, and pilots.
Mechanical designer Kunio Okawara’s hardware-first approach, Yasuhiko’s grounded characters, and Tomino’s insistence on limited ammunition, maintenance, and mass-production reoriented the show toward what critics and industry later labeled the Real Robot genre: robots as military materiel embedded in logistics and politics rather than functioning as invincible superheroes. In subsequent interviews and retrospectives, creators from the period describe Gundam as the pivot that opened the door to more militarized mecha narratives and to audiences beyond grade-school viewers.
Despite those creative aims, the television run (Nagoya TV, Saturdays 17:30–18:00) struggled to reach its sponsor’s toy-buying demographic, and the series was shortened to 43 episodes. Internal accounts attribute the cutback chiefly to weak toy sell-through in the sponsor’s product line rather than to the absence of a core fanbase. Tomino later spoke candidly about frictions with “the toy-store sponsor,” underscoring the misalignment between the show's war drama ambitions and sponsor expectations.
After first-run disappointment, momentum shifted rapidly in 1980 through reruns and the decision, floated by Tomino as early as a March 1980 Animage interview, to compile the TV material into theatrical features. Anticipation culminated in the highly publicized “Anime New Century Declaration” rally at Shinjuku’s east plaza on February 22, 1981, where an estimated 15,000 fans gathered; the event marked the visible generational handover to an older, self-organizing otaku. The Shochiku-distributed compilation films followed in quick succession: 'Mobile Suit Gundam (March 14, 1981), Soldiers of Sorrow (July 11, 1981), and Encounters in Space (March 13, 1982), each with substantial re-editing and new animation that reframed the narrative targeting an older teen/young adult audience.
A decisive commercial turn arrived in parallel: Bandai’s plastic model line (“Gunpla”), launched in July 1980 with the 1/144 and 1/100 Gundam kits, created a new revenue pillar that matched Gundam’s quasi-military aesthetic and scale-model appeal. As Gunpla boomed and a youth–adult fandom consolidated around the films, the original sponsor structure that had supported super robot programming in the 1970s began to unravel: the long-time Nagoya-TV/Sunrise slot sponsor Clover exited the stage amid the industry upheavals of 1983, after which Bandai increasingly assumed lead sponsorship roles for Sunrise’s mecha programming. By the close of the compilation trilogy in 1982, Gundam had thus established both a creative template (the “real robot” grammar balancing tactics, politics, and character psychology) and a new business template where model kits, rather than die-cast toys, underwrote long-tail popularity.
On screen, the sequel cycle first deepened the Real Robot template for an older cohort with Mobile Suit Zeta Gundam (1985–1986), then consciously swung toward a lighter, youth-facing register in early Gundam ZZ (1986–1987), a tonal recalibration that later darkened as the Axis conflict came to the fore. Production staff have described ZZ as an “extension” born of scheduling alongside the next feature, underlining how sponsor and broadcast realities shaped story tone as much as auteur intent. The arc culminated theatrically with (1988), marketed and remembered as the definitive conclusion to the Amuro Ray-Char Aznable rivalry for the filmgoing audience of the day.
In contrast, chibi parody spinoffs evolved into a full sub-brand. SD Gundam began as theatrical shorts paired with marquee releases, first in March 1988 alongside Char’s Counterattack, before proliferating in OVA and video formats with toy-line tie-ins ( SD Sengokuden, Knight Gundam) that broadened the demographic beyond “military sci-fi.” Product-side, Bandai launched the BB Senshi model line in 1987 and sustained it for decades, evidencing how SD crystallized as a merchandising ecosystem in its own right. Outside models, Bandai's Carddass trading cards, where SD designs were prominent contributors, crossed 10 billion cards by 2012, a data point often cited as emblematic of the late-1980s SD boom's long tail.
The broader video market also mattered. Japan's late-1980s OVA surge, enabled by home video and premium unit pricing, created a space for higher-spec, fan-targeted projects outside weekly TV. Industry studies periodize a rapid rise in direct-to-video anime in the mid-1980s, with volume peaking around 1991, and frame OVAs as part of the media-mix economics that let anime recoup costs beyond broadcast. Sunrise and Bandai Visual moved quickly into that direction with (1989), the franchise's first OVA, explicitly aimed at the older audience that had coalesced around models and movies; further OVAs like (1991–1992) followed, consolidating the “premium” side of the brand.
Across the decade, then, Gundam's expansion was a feedback loop: Gunpla revenues and a diversifying SD business underwrote more ambitious screen projects; compilation films and Z cultivated older fans; ZZ tested how far the tone could pivot back toward youth before Char’s Counterattack restored a grand-finale solemnity; and the OVA boom gave Sunrise a high-spec, collector-oriented outlet that matched the maturing fan economy forged by the very model boom that began in 1980.
Against that backdrop, Mobile Suit Gundam F91 (1991) illustrates the uncertainty of the early 1990s. Planned as a new year-long Universal Century TV serial, it was compressed into a single feature with threads left for a hypothetical continuation; staff accounts and trade coverage have long read this pivot as a hedge on whether a full UC run could be sustained at that moment. Two years later, Victory Gundam (1993–94) returned UC to a Friday 5 p.m. slot (now on TV Asahi) under tight conditions. Contemporary and retrospective interviews describe a difficult production climate and unusually stark story tone for that hour, reflecting a franchise searching for a post-boom footing even as it served broadcast and sponsor needs.
In February 1994, Sunrise formally joined the Bandai Group, aligning animation with toys, models, and home video under one corporate roof. The integration catalyzed more regular output and experimentation. Mobile Fighter G Gundam (1994–95) was the first fully non-UC TV entry, reframing Gundam around over-the-top martial-arts duels and national pastiche. Controversial at the proposal stage, it proved a durable template for “alternate universe” projects and broadened the franchise's tonal bandwidth.
Gundam Wing (1995–96) cemented that strategic turn at home and, crucially, abroad. In the U.S., Cartoon Network’s Toonami block premiered the series in March 2000 and expanded its schedule around incoming mecha anime hits; industry trades noted the programming push, while contemporaneous coverage documented uncut night-time broadcasts and a strong ratings performance that lifted Gundam’s overseas profile and led to an TV event.
The period was not uniformly smooth. After War Gundam X (1996) launched into Friday early-evening and, amid mid-run schedule moves at key stations, was shortened to 39 episodes, an oft-cited case study in how time-slot and merchandising headwinds could whipsaw mid-90s TV anime. Later Japanese media retrospectives detail the shift to a Saturday 6:00 a.m. slot and the curtailed run.
Alongside TV, high-spec OVAs deepened the “real robot” grammar that the franchise helped define. (1996–99) pushed ground-war tactility and small-unit drama. In parallel, model-kit strategy continued to climb the value chain: Bandai's HG (1990) and MG (1995) ranges targeted a maturing base and helped keep Gunpla culturally visible even when weekly ratings fluctuated.
The decade also saw become a second content pillar. Bandai's hardcore strategy sims Giren's Greed (Saturn, 1998) and the crossover-builder SD Gundam G Generation (PlayStation, 1998) inaugurated long-running lines, while Saturn's trilogy (1996–97) introduced original-timeline side stories that bled back into model and manga development.
The 1990s closed with Turn A Gundam (1999–2000), which brought Yoshiyuki Tomino back to TV with a reflective, pastoral tone and an international industrial-design sensibility (with Syd Mead among the credited mecha designers). Within Bandai/Sunrise's “alternate/UC” cadence, Turn A functioned as a capstone statement at the century's end—stylistically apart from mid-90s TV, yet seeded by the decade's experiments and by the corporate ability, post-1994, to greenlight distinct production bets within one brand. In parallel, Sunrise and Bandai mounted a 20th-anniversary live action experiment, G-Saviour, broadcast on TV Asahi on 29 December 2000, which was then issued in a longer “Full Version” on DVD (25 May 2001). A broader multimedia push framed it as an anniversary tent-pole, complete with a PlayStation 2 tie-in released ahead of broadcast and Gunpla timed to year-end shelves, but reception was tepid and the project remained a one-off, underscoring the limits of live action Gundam at the time.
Industry-wide, cel-to-digital paint/post in the animation process accelerated around 2000, with 3DCG integration expanding through the decade; policy and industry reports periodize this shift from finishing/compositing into background/asset pipelines by the mid-2000s. Within Gundam, SEED and DESTINY leaned into digital compositing and selective 3DCG (notably ships and effects), a direction staff later said they intended to push further in feature work; by the end of the decade, Mobile Suit Gundam 00 (2007–2009) arrived as the franchise's first native HD/widescreen TV series, with Blu-ray releases announced during broadcast.
Running in parallel to the TV slate, Sunrise and Bandai Visual launched Gundam's first fully 3DCG screen project with Mobile Suit Gundam MS IGLOO, initially museum-only exhibition films (2004) before OVA releases ( Apocalypse 0079, 2006), and the follow-on series MS IGLOO 2: Gravity Front (2008–2009). Sunrise's work notes and official sites emphasize the “full 3DCG” approach and the use of motion capture at Sunrise D.I.D., marking IGLOO as a pipeline-proving effort that fed into later CG deployment across the brand.
Globally, Sunrise and Bandai also tested child-friendly, comedy-adventure positioning via SD Gundam Force—a tri-party initiative with TV Tokyo and Cartoon Network. Bandai's September 2003 U.S. press release announced a Cartoon Network premiere (with Japan to follow), marking a rare case of a Gundam TV entry debuting in North America before domestic broadcast; the series subsequently aired on TV Tokyo in 2004.
Merchandising and manufacturing also evolved. The Gunpla business expanded on the back of SEED/DESTINY demand, while Bandai centralized model-kit production at the Shizuoka Bandai Hobby Center in March 2006—an investment that underpinned higher-mix, faster-turn kit rollouts for the late 2000s and beyond. Bandai Namco’s annual reporting at the end of the decade describes a strategy to cultivate both youth and adult hobbyists via diversified Gunpla brands and large-scale events, a trajectory that would culminate in new lines at the decade’s turn.
Video game production scaled up in parallel as a mainstream touchpoint. The arcade/console Gundam vs. entries became gaming fixtures; earned a CESA Game Awards “Future” selection in 2005. Bandai Namco also launched the networked dome-cabinet arcade title (2006), showcased at character hobby expos and later remembered for its long service life and cockpit-immersion concept, emblematic of the company's post-merger arcade ambition. On consoles, collaborations broadened reach into action-game demographics, e.g., ( Gundam Musou) for the PlayStation 3 in late 2006.
Internationally, distribution patterns diversified. Whereas Gundam Wing built a North American audience via Toonami in 2000, the late-2000s 00 release used Syfy’s “Ani-Monday,” reflecting shifts in U.S. TV anime carriage and the franchise's ability to re-enter foreign linear windows at HD quality. As the decade closed, high-spec home-video OVAs found a premium niche audience that Sunrise would fully exploit immediately thereafter with Mobile Suit Gundam Unicorn (2010–2014), which set early Blu-ray benchmarks for original video releases and signaled durable demand for top-end Universal Century stories in the HD era.
In that vein, Sunrise was able to incubate a new audience through the Gundam Build subfranchise. Gundam Build Fighters (2013–2014) returned the brand to TV Tokyo after-school hours, explicitly linking the narrative to contemporary Gunpla culture and kitbashing, and streaming episodes online immediately after broadcast; its sequel Gundam Build Fighters Try (2014–2015) continued the approach with weekly free streaming and BS/BS11 carriage. The “Build” line then pivoted again with Gundam Build Divers (2018), re-imagining battles around a VR-MMO conceit on the TV Tokyo network, and closed the decade by trialing a streaming-first model: (2019–2020) premiered on Sunrise's official YouTube “Gundam Channel” before later TV runs, illustrating a shift toward digital-first rollouts for youth-leaning entries.
At the same time, the franchise expanded late-night auteur and Universal Century prestige avenues. Yoshiyuki Tomino’s Gundam Reconguista in G (2014–2015), a 35th-anniversary original, aired in MBS/TBS’s late-night “Animeism” block with limited theatrical “event” screenings of early episodes and parallel day-and-date streaming on d Anime Store and Bandai Channel, reflecting a broadcast/streaming hybrid strategy for adult-skew originals. UC-side, (2015–2018) established a premium “event OVA + early Blu-ray + paid streaming” pipeline that would become a key revenue pattern for high-spec releases. Mobile Suit Gundam Thunderbolt (2015–2017) further pushed a digital-first ONA model with paid streaming windows and later compilation films, underscoring how Sunrise used online distribution to reach core UC fans between TV cycles. Other short-form experiments, such as the fan-club-led ONA (2017), were explicitly structured around digital platforms (Gundam Fan Club/Gundam.info) before later theatrical compilations.
A major tonal and scheduling shift arrived with (2015–2017), which returned the brand to a domestic Sunday-evening network slot on MBS/TBS with a grittier, serialized human-drama focus; it simultaneously rolled out worldwide via licensed streaming (e.g., Daisuki, Hulu, Crunchyroll), establishing a modern pattern for near-global, near-simulcast exposure.
By the latter half of the decade, Sunrise formalized a slate of UC follow-ups under the banner “UC NexT 0100,” positioning post- works as an ongoing multi-format initiative. Mobile Suit Gundam Narrative (2018) was announced as the project's first screen entry, followed by a film trilogy as the second.
During the 2010s, Gunpla development emphasized both technical innovation and diversification of scales. Bandai's 2010 launch of the Real Grade (RG) line introduced 1/144 kits with Master Grade-level surface detail, extensive markings, and pre-assembled inner frames. Advances in multi-color injection molding and the development of the “Advanced MS Joint” frame system allowed Bandai to engineer high part density and wide articulation even at small scales, reflecting a broader industry trend toward premium realism and accessibility. Alongside RG, the decade also saw continued refinements to the Master Grade and High Grade lines, with more intricate surface detail, expanded articulation, and increasingly efficient build engineering, positioning Gunpla as both an entry-level hobby and a high-precision collector's product.
The decade thus broadened tie-ins beyond TV and disc: Sunrise leaned into streaming windows (e.g., Thunderbolt paid online releases), YouTube premieres ( Re:RISE), and recurring event screenings ( THE ORIGIN), while Bandai Namco continued to cultivate hobbyists via Gunpla-driven exhibits and product cycles connected to on-air beats. Taken together, the decade's output reflected a calibrated portfolio: child-oriented “Build” cycles, late-night originals, digitally led UC projects, and a high-visibility Sunday-evening drama in IBO, that extended Gundam's reach globally via streaming while repeatedly attempting to onboard younger generations without abandoning longtime fans.
On the corporate side, the 2010s and early 2020s also saw structural changes in the stewardship of the Gundam franchise. Sunrise, long the animation studio responsible for Gundam, was reorganized within Bandai Namco Holdings in 2021 as Bandai Namco Filmworks, reflecting the group's push toward an “IP axis” strategy that more tightly integrated animation, live action, and event production. Separately, Gundam's licensing agent Sotsu—which had co-owned the rights to the property since the late 1970s—was merged into Bandai Namco Holdings in 2020, ending decades of dual-rights management and consolidating control of the franchise within the group. These reorganizations allowed Bandai Namco to centralize production and licensing under a unified corporate structure, aligning the Gundam IP more closely with the company's global multimedia and merchandising strategies.
On television, (2022–23) reactivated MBS/TBS's national “Nichigo” slot after a five-year hiatus and broadened Gundam's reach among school-age and young-adult viewers with a contemporary school setting, social-media traction, and a two-cour format tailored to modern broadcast cadence.
In cinemas, momentum carried into Mobile Suit Gundam SEED Freedom (2024), which set the franchise's all-time box office record and confirmed the SEED sub-brand's long-tail appeal in the streaming era. Bandai Namco's IR feature in 2024 explicitly framed the film as a driver of IP value expansion, and one-year anniversary tallies reported more than ¥5.3–6.2 billion in receipts (depending on cutoff), the highest for a Gundam theatrical release.
Global streaming platforms, particularly Netflix, became central to Gundam's international reach in the 2020s. (2021) followed its Japanese theatrical release with a worldwide Netflix launch, offering same-week access across many territories and establishing a distribution model Sunrise would revisit for UC-branded projects. This was followed by (2024), an Unreal Engine 5 production co-created with SAFEHOUSE and released globally as a Netflix exclusive, serving both as a technical showcase and as an experiment in simultaneous worldwide distribution within the Universal Century.
Outside traditional screens, Bandai Namco Filmworks and Atlas V launched the Virtual reality film for Meta Quest in October 2024; the project was later selected for Annecy’s VR program, emblematic of Gundam’s willingness to trial immersive formats tied to UC lore.
By 2025, Sunrise (Bandai Namco Filmworks) pivoted back to a major “gateway” television push with Mobile Suit Gundam GQuuuuuuX, a high-profile co-production with Studio Khara. A theatrical compilation of the opening episodes ( GQuuuuuuX Beginning) premiered in Japan on January 17, 2025, with a limited global run ahead of the TV broadcast. The rollout included IMAX, 4DX/MX4D, and re-release screenings, and by late July, box office receipts had surpassed ¥35.8 billion—second only to SEED Freedom among Gundam films—underscoring the strategy's goal of re-energizing lapsed fans before the series’ TV debut. The series itself was notable for presenting an alternate Universal Century timeline, reimagining the events of the original Mobile Suit Gundam with Char Aznable as its central protagonist—positioning it as both a bold narrative experiment and a cross-generational entry point for the franchise.
Looking ahead, after early development with Netflix, the long-gestating Hollywood live-action Gundam feature is now positioned as a Legendary Pictures theatrical project with Jim Mickle set to write and direct; corporate and trade reports through late 2024–mid-2025 describe the shift to theaters and a production start target within 2025.
On the merchandising front, Gunpla remained the merchandising backbone, with cumulative shipments surpassing 700 million by early 2022 and Bandai Namco reporting record-high group sales in FY 2024–25 as it leaned into “IP-axis” rollouts.
Smartphone gacha game titles became a third pillar for the Gundam IP in the 2020s. Mobile Suit Gundam U.C. Engage (2021, JP; global Oct 17, 2023) paired monthly, anime-quality story drops with 6-on-6 play in the Universal Century, crossing 3 million Japanese downloads by October 2023 and posting ~US$0.54 million on ~433k downloads in its first two weeks after the global launch. Sunrise/BNE foregrounded the production values through the official “Engage Documents” making-of series and promotional copy emphasizing animated story presentation. The pipeline broadened further with SD Gundam G Generation ETERNAL (launched April 16, 2025), which surpassed US$100 million in its first two months, underscoring the genre's scale for the brand.
Gundam also evolved into a global tourism draw, building on the life-size statue projects first established in the late 2000s and 2010s. In Japan, installations such as the RX-93ff ν Gundam at LaLaport Fukuoka (2022) and the moving RX-78F00 at Gundam Factory Yokohama (2020–2024)—extended due to worldwide demand and concluded with a large-scale finale event—functioned as anchor attractions, with a new RX-78F00/E announced for the “Gundam Next Future Pavilion” at Expo 2025 Osaka. Overseas, Bandai Namco introduced the first full-scale statue outside Japan with the Freedom Gundam in Shanghai (2021), and expanded global engagement through “Gundam Docks” exhibitions and touring retail-experience formats, including “The Gundam Base Mobile/Pop-Up World Tour” and the U.S. Mobile Tour (2024–2025). Collectively, these deployments positioned Gundam as a “pilgrimage” brand for inbound visitors and overseas fans, complementing screen releases with destination-style attractions and large-scale experiential events.
Taken together, the 2020s have been characterized by two countervailing forces: structural strain in Japan's anime production capacity and Gundam's simultaneous broad-spectrum growth via television hits ( Witch from Mercury), record-setting films ( SEED Freedom), global streaming originals ( Requiem for Vengeance), new-format experiments ( Silver Phantom VR), and large-scale pre-broadcast theatrical plays ( GQuuuuuuX). Bandai Namco's disclosures frame the franchise around an “IP-axis” model designed to reach multiple audiences—Universal Century projects sustaining legacy fans, alternate universe series recruiting new cohorts, and Gunpla and live events converting screen engagement into durable revenue. In this framework, large-scale attractions such as the RX-93ff ν Gundam in Fukuoka, the moving RX-78F00 at Gundam Factory Yokohama, and overseas deployments like the Freedom Gundam in Shanghai or the U.S. Mobile Tour function as tourism pillars, reinforcing Gundam's status as both a screen property and a destination brand within Bandai Namco's global multimedia strategy.
| Mobile Suit Gundam | TV series: 43 episodes | 1979–1980 | Universal Century (UC) 0079 |
| Compilation movies: 3 | 1981–1982 | ||
| Mobile Suit Zeta Gundam | TV series: 50 episodes | 1985–1986 | Universal Century (UC) 0087 |
| Compilation movies: 3 | 2005–2006 | ||
| Mobile Suit Gundam ZZ | TV series: 47 episodes | 1986–1987 | Universal Century (UC) 0088 |
| OVA: 2 episodes | 2009 | ||
| Movie | 1988 | Universal Century (UC) 0093 | |
| Mobile Suit SD Gundam | Movies: 5 | 1988, 1989, 1991, 1993 | |
| OVA: 9 episodes | 1989–1991 | ||
| Compilation TV series: 8 episodes | 1993 | ||
| OVA: 6 episodes | 1989 | Universal Century (UC) 0079–80 | |
| Mobile Suit Gundam F91 | Movie | 1991 | Universal Century (UC) 0123 |
| OVA: 13 episodes | 1991–1992 | Universal Century (UC) 0083 | |
| Compilation movie | 1992 | ||
| Mobile Suit Victory Gundam | TV series: 51 episodes | 1993–1994 | Universal Century (UC) 0153 |
| Mobile Fighter G Gundam | TV series: 49 episodes | 1994–1995 | Future Century (FC) 60 |
| Mobile Suit Gundam Wing | TV series: 49 episodes | 1995–1996 | After Colony (AC) 195 |
| Compilation specials: 4 episodes | 1996 | ||
| OVA: 12 episodes | 1996–1999 | Universal Century (UC) 0079 | |
| Compilation movie | 1998 | ||
| Special | 2013 | ||
| After War Gundam X | TV series: 39 episodes | 1996 | After War (AW) 15 |
| OVA: 3 episodes | 1997 | After Colony (AC) 196 | |
| Compilation movie | 1998 | ||
| Gundam: Mission to the Rise | Short film | 1998 | |
| Turn A Gundam | TV series: 50 episodes | 1999–2000 | Correct Century (CC) 2343–45 |
| Compilation movies: 2 | 2002 | ||
| G-Saviour | Live-action TV movie | 2000 | Universal Century (UC) 0223 |
| Gundam Neo Experience 0087: Green Diver | Specialty format movie | 2001 | Universal Century (UC) 0087 |
| Gundam Evolve | OVA: 15 episodes | 2001–2007 | |
| Mobile Suit Gundam SEED | TV series: 50 episodes | 2002–2003 | Cosmic Era (CE) 71 |
| Epilogue OVA short | 2004 | ||
| Compilation specials: 3 episodes | 2004 | ||
| Superior Defender Gundam Force | TV series: 52 episodes | 2003–2004 | |
| Mobile Suit Gundam SEED MSV Astray | Promo OVA shorts: 2 episodes | 2004 | Cosmic Era (CE) 71 |
| OVA: 3 episodes | 2004 | Universal Century (UC) 0079 | |
| Mobile Suit Gundam SEED Destiny | TV series: 50 episodes | 2004–2005 | Cosmic Era (CE) 73–74 |
| TV special | 2005 | ||
| Compilation specials: 4 episodes | 2006 | ||
| OVA: 3 episodes | 2006 | Universal Century (UC) 0079 | |
| ONA: 3 episodes | 2006 | Cosmic Era (CE) 73 | |
| Compilation OVA: 1 | 2006 | ||
| Mobile Suit Gundam 00 | TV series: 50 episodes | 2007–2009 | Anno Domini (AD) 2307–08, 2312 |
| Compilation OVA: 3 episodes | 2009 | ||
| OVA: 3 episodes | 2008 | Universal Century (UC) 0079 | |
| Mobile Suit Gundam Battlefield Record: Avant-Title | OVA | 2009 | Universal Century (UC) 0079 |
| Ring of Gundam | Short film | 2009 | |
| Mobile Suit Gundam Unicorn | OVA: 7 episodes, 1 special episode | 2010–2014 | Universal Century (UC) 0096 |
| Compilation TV series: 22 episodes | 2016 | ||
| SD Gundam Sangokuden Brave Battle Warriors | Movie | 2010 | |
| TV series: 51 episodes | |||
| Movie | 2010 | Anno Domini (AD) 2314 | |
| Model Suit Gunpla Builders Beginning G | Specials: 3 episodes | 2010 | Our Century |
| Mobile Suit Gundam AGE | TV series: 49 episodes | 2011–2012 | Advanced Generation (AG) 115–164 |
| Compilation OVA: 2 episodes | 2013 | ||
| Gundam Build Fighters | TV series: 25 episodes | 2013–2014 | Our Century |
| Specials: 3 episodes | 2014 | ||
| Mobile Suit Gundam-san | TV series: 13 episodes | 2014 | |
| Gundam Reconguista in G | TV series: 26 episodes | 2014–2015 | Regild Century (RG) 1014 |
| Compilation movies: 5 | 2019–2022 | ||
| Gundam Build Fighters Try | TV series: 25 episodes | 2014–2015 | Our Century |
| OVA | 2016 | ||
| OVA: 6 episodes | 2015–2018 | Universal Century (UC) 0068, 0071, 0074, 0077, 0078, 0079 | |
| Compilation TV series: 13 episodes | 2019 | ||
| TV series: 50 episodes | 2015–2017 | Post Disaster (PD) 323, 325 | |
| Mobile Suit Gundam Thunderbolt | ONA: 8 episodes | 2015–2017 | Universal Century (UC) 0079 |
| Compilation movies: 2 | 2016–2017 | ||
| ONA: 6 episodes | 2017 | Universal Century (UC) 0096 | |
| Compilation movie | 2017 | ||
| Gundam Build Fighters Battlogue | ONA: 5 episodes | 2017 | Our Century |
| ONA | 2017 | Our Century | |
| Gundam Build Divers | Prologue ONA | 2018 | Our Century |
| TV series: 25 episodes | |||
| Mobile Suit Gundam Narrative | Movie | 2018 | Universal Century (UC) 0097 |
| SD Gundam World Sangoku Soketsuden | ONA: 10 episodes | 2019–2021 | |
| ONA: 26 episodes | 2019–2020 | Our Century | |
| ONA | 2020 | Our Century | |
| Mobile Suit Gundam G40 | ONA | 2020 | Universal Century (UC) 0079 |
| Gundam Build Real | Live-action net drama: 6 episodes | 2021 | Our Century |
| SD Gundam World Heroes | ONA: 24 episodes | 2021 | |
| Movies: 3 | 2021–TBA | Universal Century (UC) 0105 | |
| Gundam Breaker Battlogue | ONA: 6 episodes | 2021 | Our Century |
| Movie | 2022 | Universal Century (UC) 0079 | |
| Prologue ONA | 2022 | Ad Stella (AS) 101 | |
| TV series: 24 episodes | 2022–2023 | Ad Stella (AS) 122 | |
| Gundam Build Metaverse | ONA: 3 episodes | 2023 | Our Century |
| Mobile Suit Gundam SEED Freedom | Movie | 2024 | Cosmic Era (CE) 75 |
| VR movie | 2024 | Universal Century (UC) 0096 | |
| ONA: 6 episodes | 2024 | Universal Century (UC) 0079 | |
| Mobile Suit Gundam GQuuuuuuX | Compilation movie | 2025 | Alternate version of Universal Century (UC) 0079, 0085 |
| TV series: 12 episodes | |||
| Movie | 2025 | Post Disaster (PD) 323 | |
| Mobile Suit Gundam SEED Freedom Zero | TBA | TBA | Cosmic Era (CE) |
Promotional 1:6 or 1:12 scale models are supplied to retailers and are not commercially available. For Gundam 30th anniversary, a full-size RX-78-2 Gundam model was constructed and displayed at Gundam Front Tokyo in the Odaiba district; it was taken down on March 5, 2017. A new statue of the RX-0 Unicorn Gundam was erected at the same location, now renamed The Gundam Base Tokyo.
In July 2025, Bandai Namco Filmworks announced that the longstanding portal Gundam.info is undergoing a major overhaul, to be rebranded as the Gundam Official Website. This new site, to be hosted at gundam-official.com, is slated to launch in 2025 and will serve as the international hub for series information, news, and product updates, replacing Gundam.info.
In 2005, Gundam.info’s English counterpart hosted the Gundam Official User Forum, which was based on the fan-run Gundam Watch forum and used many of its moderators. After the forum’s closure, Gundam Watch re-emerged independently as Gundam Evolution.
Series-specific promotional websites have also been created to highlight character info, mecha designs, merchandise, and special content like wallpapers or mini-games. For example, the Superior Defender Gundam Force site featured an interactive game where the player takes control of Commander Sazabi in a comedic scenario.
The franchise also maintains an active presence on social media platforms, including Twitter, Instagram, YouTube, and TikTok, where official accounts post trailers, Gunpla showcases, news updates, and livestream content aimed at fans worldwide.
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