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MAPPA Co., Ltd. (Japanese: 株式会社MAPPA, Hepburn: Kabushiki-gaisha MAPPA) is a Japanese animation studio headquartered in Nakano, Tokyo^[2] (formerly in Suginami, Tokyo). Founded in 2011 by Madhouse co-founder and producer Masao Maruyama, it has produced anime works including Terror in Resonance, Yuri!!! on Ice, In This Corner of the World, Kakegurui, Banana Fish, Zombie Land Saga, Dororo (in co-production with Tezuka Productions), Dorohedoro, The God of High School, Jujutsu Kaisen, Attack on Titan (season 4), Vinland Saga (season 2), Chainsaw Man, Hell's Paradise: Jigokuraku, and the 2024 adaptation of Ranma ½. MAPPA is an acronym for Maruyama Animation Produce Project Association.^[3]^[4]

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Quick Facts Native name, Romanized name ...

MAPPA Co., Ltd.

Headquarters in Nakano, Tokyo
Native name	株式会社MAPPA
Romanized name	Kabushiki-gaisha MAPPA
Company type	Kabushiki gaisha
Industry	Japanese animation
Founded	June 14, 2011; 13 years ago (2011-06-14)
Founder	Masao Maruyama
Headquarters	Nakano, Nakano, Tokyo , Japan
Key people	MAPPA: Manabu Otsuka (CEO) Masao Maruyama (board chairman) Hiroya Hasegawa (executive vice president) Yasuaki Iwase (board member) Yusuke Tannawa (board member) Shuhei Yabuta (board member) Kosuke Hosokai (board member) Yuuichi Fukushima (external director) Keisuke Seshimo (executive officer) Motoi Okunou (executive officer) Eiji Matsuo (chief rights officer) MAPPA Sendai: Wataru Kawagoe
Products	Animation planning and production
Number of employees	467 (as of April 2025)^[1]
Divisions	MAPPA Tokyo Nakano Studio MAPPA Sendai Studio MAPPA Osaka Studio
Subsidiaries	Contrail
Website	mappa.co.jp/en/

Business

Summarize

Perspective

History

The studio was established on June 14, 2011, by Masao Maruyama, a co-founder and former producer of Madhouse, at the age of 70.^[5] Maruyama served as the company's first representative director, and the studio's initial goal was to produce Sunao Katabuchi's In This Corner of the World. Due to financial difficulties at Madhouse, Maruyama and Katabuchi established MAPPA in the hopes of producing the film; however, despite moving studios, the film had a lot of production troubles, and wasn't released until 5 years later.^[6] Maruyama first started working with Katabuchi for the film in 2010 during Madhouse era, but it took three years to start the production due to difficulties to raising funds. Mappa is overworked and cannot meet demand. ^[7]

In April 2016, Maruyama resigned as a CEO of the studio and became a chairman. Studio animation producer Manabu Otsuka, a founding member and a former employee of Studio 4°C, became the CEO following Maruyama's official departure.

Controversies

Many describe the studio as perfectionist, the studio's scheduling, work, and culture have been the subject of intense scrutiny.^[8] Veteran animator Hisashi Eguchi criticized the studio's low pay.^[9] Mushiyo, another animator at MAPPA, also criticized the company for not properly training its animators and the studio's culture of overwork, which led to them eventually quitting their job at the studio.^[10] Besides the animator's individual output within the studio, they also criticized the company's decision to produce four series concurrently.^[10] Kevin Cirugeda from Sakugablog suggested the problems were due to the studio's incredibly fast-paced growth and "recklessness".^[11]

Cirugeda also noted that in the 20 televised animes MAPPA produced from the beginning of 2015 to the beginning of 2020, the company had only been on the production committee for four of them, all of which listed MAPPA near the bottom or at the very bottom of the list, indicating that they served to a capacity almost as if they were being specifically contracted for work even on "original" series.^[11]

MAPPA denied offering "unreasonable compensation" to "creators" in a response to claims that the studio underpaid workers;^[12] however, animator Ippei Ichii claimed that an anime produced by MAPPA under Netflix was suggesting a pay of ¥3,800 per cut,^[12] to which Ichii claimed that ¥15,000 is the minimum cost that animators should negotiate for.^[12]