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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] Founded in 2011 at Suginami, Tokyo by Madhouse co-founder and producer Masao Maruyama, it has produced anime television series including Terror in Resonance, Yuri!!! on Ice, In This Corner of the World, Kakegurui, Banana Fish, Zombie Land Saga, Dororo (with Tezuka Productions), Dorohedoro, Jujutsu Kaisen, Attack on Titan (season 4), Vinland Saga (season 2), Chainsaw Man, Hell's Paradise: Jigokuraku, and Ranma ½ (2024). MAPPA is an acronym for Maruyama Animation Produce Project Association.[3][4]

Key Information

Business

[edit]

History

[edit]

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.[7]

In April 2016, Maruyama resigned as a CEO of the studio and became a chairman, withdrawing his management position and going on to establish Studio M2 to create Pluto (Japanese TV series). Leaving the studio in hands of animation producer Manabu Otsuka, a founding member of MAPPA and a former employee of Studio 4°C, who became the CEO following Maruyama's official departure.

In September 2019, Otsuka established Animation Studio Contrail to produce director Sunao Katabuchi's next work. Serving as the president for the same.[8]

Production System

[edit]

In addition to the Head Office in Nakano, a studio in Sendai was established in April of 2018 specializing in in-betweening and finishing and a studio in Osaka in March of 2022 that specializes in 3DCGI, To decentralize the excessive concentration of animation production in Tokyo and to bring opportunities for the graduates of the local vocational schools in their own respective region, instead of them having to move to Tokyo.[9]

Tokyo Studio

[edit]

The Tokyo studio consists of production department, CGI department, directing department, animation department, rights division, planning and development department.[10]

Currently, other than every animation related project being primarily handled here, The head office also houses The Rights department which is responsible for copyright, illustrations, merchandises, coordination of events and advertisement of related intellectual property(s). To expand in this area in April 2025, a record label "mappa records" was started Kensuke Ushio's OST for Chainsaw Man – The Movie: Reze Arc being the first publication under that label [11]

Sendai Studio

[edit]

Opened on April 2018, it was established to build a more stable production base, and to increase the percentage of in-house production, is mainly responsible for the processes of in-between animation and digital painting. There are future plans to establish a CGI section for 3DCG, compositing, and backgrounds.

Osaka Studio

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Opened in 2023,in the center of Osaka city acts as a satellite office of the CGI Department. This studio is primarily staffed by the 3DCG section artists. The studio has future plans to establish other departments such as the CGI Department's background art section, the Animation Department, and the Production Department, with the aim of creating a functional production equivalent to that of Tokyo.

Productions

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Anime television series

[edit]
Year Title Director(s) Animation producer(s) Source Eps. Refs.
2012 Kids on the Slope
(co-produced with Tezuka Productions) 		Shinichirō Watanabe Manabu Otsuka
Masao Morosawa
Sumio Udagawa 		Manga 12 [12]
Teekyu Shin Itagaki Masashi Tanaka Manga 12[a] [13]
2013 Teekyu 2 Shin Itagaki Manabu Otsuka Manga 12[b] [14]
Teekyu 3 Shin Itagaki Manabu Otsuka Manga 12[c] [15]
2013–2014 Hajime no Ippo: Rising
(co-produced with Madhouse) 		Jun Shishido Shintarou Hashimoto
Yasuteru Iwase
Masakazu Watanabe 		Manga 25 [16]
2014 Terror in Resonance Shinichirō Watanabe Manabu Otsuka Original work 11 [17]
Rage of Bahamut: Genesis Keiichi Sato Manabu Otsuka Video game 12[d] [19]
2014–2015 Garo: The Carved Seal of Flames Yuichiro Hayashi Manabu Otsuka Original work
Tokusatsu series 		24 [20]
2015 Punch Line Yutaka Uemura Manabu Otsuka
Fuuko Noda 		Original work 12 [21]
Ushio & Tora
(co-produced with Studio VOLN) 		Satoshi Nishimura Manga 26 [22]
2015–2016 Garo: Crimson Moon Atsushi Wakabayashi Original work
Tokusatsu series 		23[e] [23]
2016 Ushio & Tora Part 2 Satoshi Nishimura Manga 13 [24]
Days Kōnosuke Uda Manabu Otsuka Manga 24 [25]
Yuri!!! on Ice Sayo Yamamoto
Jun Shishido[f] 		Takahiro Ogawa
Fuuko Noda 		Original work 12[g] [27]
2017 Idol Incidents
(co-produced with Studio VOLN) 		Daisuke Yoshida Media-mix project 12 [28]
Rage of Bahamut: Virgin Soul Keiichi Sato Katsuhito Masuda Video game 24 [29]
Kakegurui Yuichiro Hayashi Manga 12[h] [30]
Altair: A Record of Battles Kazuhiro Furuhashi Wataru Kawagoe Manga 24 [31]
Inuyashiki Keiichi Sato[i]
Shuhei Yabuta 		Katsuhito Masuda Manga 11 [32]
2017–2018 Garo: Vanishing Line Sunghoo Park Takahiro Ogawa
Manabu Otsuka 		Original work
Tokusatsu series 		24 [33]
2018 Banana Fish Hiroko Utsumi Manabu Otsuka Manga 24 [34]
Zombie Land Saga Munehisa Sakai Manabu Otsuka Original work 12 [35]
2019 Dororo
(co-produced with Tezuka Productions) 		Kazuhiro Furuhashi Masato Matsunaga Manga 24 [36]
Kakegurui ×× Yuichiro Hayashi[i]
Kiyoshi Matsuda 		Takahiro Ogawa Manga 12 [37]
Sarazanmai
(co-produced with Lapin Track) 		Kunihiko Ikuhara
Nobuyuki Takeuchi[j] 		Manabu Otsuka
Masakazu Watanabe 		Original work 11 [38]
To the Abandoned Sacred Beasts Jun Shishido Takahiro Ogawa Manga 12 [39]
Granblue Fantasy The Animation (season 2) Yui Umemoto Masato Matsunaga Video game 12[k] [42]
2020 Uchitama?! Have you seen my Tama?
(co-produced with Lapin Track) 		Kiyoshi Matsuda Tooru Kubo
Masakazu Watanabe 		Character franchise 11 [43]
Dorohedoro Yuichiro Hayashi Fuuko Noda Manga 12[l] [45]
Listeners Hiroaki Ando Takahiro Ogawa Original work 12 [46]
The God of High School Sunghoo Park Tooru Kubo
Wataru Kawagoe 		Manhwa 13 [47]
Mr Love: Queen's Choice Munehisa Sakai Fuuko Noda Mobile game
visual novel 		12 [48]
The Gymnastics Samurai Hisatoshi Shimizu Fuuko Noda Original work 11 [49]
2020–2021 Jujutsu Kaisen Sunghoo Park Keisuke Seshimo Manga 24 [50]
2020–2023 Attack on Titan (season 4) Yuichiro Hayashi
Jun Shishido[f] 		Masato Matsunaga (part 1)
Wataru Kawagoe (parts 2–4) 		Manga 35[m] [n]
2021 Zombie Land Saga Revenge Munehisa Sakai Takahiro Ogawa Original work 12 [56]
Re-Main Masafumi Nishida[i]
Kiyoshi Matsuda 		Manabu Otsuka Original work 12 [57]
The Idaten Deities Know Only Peace Seimei Kidokoro Fuuko Noda Manga 11 [58]
Takt Op. Destiny
(co-produced with Madhouse) 		Yuuki Itoh Wataru Kawagoe
Yuuichirou Fukushi 		Media-mix project 12 [59]
2022 Dance Dance Danseur Munehisa Sakai Takahiro Ogawa Manga 11 [60]
Chainsaw Man Ryū Nakayama
Makoto Nakazono[f] 		Keisuke Seshimo Manga 12 [61]
2023 Vinland Saga (season 2) Shūhei Yabuta Hiroya Hasegawa Manga 24 [62]
Campfire Cooking in Another World with My Absurd Skill Kiyoshi Matsuda Takahiro Ogawa Light novel 12 [63]
Hell's Paradise Kaori Makita Wataru Kawagoe Manga 13 [64]
Jujutsu Kaisen (season 2) Shōta Goshozono Keisuke Seshimo Manga 23 [65]
2024 Bucchigiri?! Hiroko Utsumi Takahiro Ogawa Original work 12 [66]
Oblivion Battery Makoto Nakazono Hiroya Hasegawa
Kouya Okamura 		Manga 12 [67]
Ranma ½ Kōnosuke Uda Kouya Okamura Manga 12 [68]
2025 Zenshu Mitsue Yamazaki Takahiro Ogawa Original work 12 [69]
Lazarus
(co-produced with Sola Entertainment) 		Shinichirō Watanabe Masato Matsunaga Original work 13 [70]
Campfire Cooking in Another World with My Absurd Skill (season 2) Kiyoshi Matsuda Kodai Kato Light novel 12 [71]
Ranma ½ (season 2) Kōnosuke Uda Kouya Okamura Manga 12 [72]
2026 Hell's Paradise (season 2) Kaori Makita Wataru Kawagoe Manga TBA [73]
Jujutsu Kaisen (season 3) Shōta Goshozono TBA Manga TBA [74]
Dorohedoro (season 2) Yuichiro Hayashi TBA Manga TBA [75]

Anime films

[edit]
Year Title Director(s) Animation producer(s) Source Refs.
2016 Garo: Divine Flame Yuichiro Hayashi Manabu Otsuka
Takahiro Ogawa 		Original work
Tokusatsu series 		[76]
In This Corner of the World Sunao Katabuchi Ryoichiro Matsuo Manga [77]
2019 In This Corner (and Other Corners) of the World[o] Sunao Katabuchi Ryoichiro Matsuo Manga [78]
2021 Jujutsu Kaisen 0 Sunghoo Park Keisuke Seshimo Manga [79]
2022 A Girl Meets a Boy and a Robot Shinichiro Watanabe Original work[p] [80]
2023 Maboroshi Mari Okada
Seimei Kidokoro[f] 		Fuuko Noda
Ryouta Kitsunai 		Original work [81]
2024 Attack on Titan The Movie: The Last Attack Yuichiro Hayashi Wataru Kawagoe Manga [82]
Gekijōban Inazuma Eleven: Aratanaru Eiyū-tachi no Joshō Akihiro Hino[i]
Shuhei Yabuta 		Yuriko Waki Video game [83]
2025 The Rose of Versailles Ai Yoshimura Wataru Kawagoe
Fuuko Noda 		Manga [84]
Jujutsu Kaisen: Hidden Inventory / Premature Death – The Movie Shōta Goshozono Keisuke Seshimo Manga [85]
Chainsaw Man – The Movie: Reze Arc Tatsuya Yoshihara Manga [86]
Zombie Land Saga: Yumeginga Paradise Kōnosuke Uda[i]
Takeru Sato
Takafumi Ishida 		Yuriko Waki Original work [87]

Original video animations (OVAs)

[edit]
Year Title Director(s) Animation producer(s) Source Eps. Refs.
2017 Days: OVA Kōnosuke Uda Manga 2 [88]
Onihei: Sono Otoko, Hasegawa Heizou Shigeyuki Miya Manga 1
2018 Days: Touin Gakuen-sen! Kōnosuke Uda Manga 3 [89]

Original net animations (ONAs)

[edit]
Year Title Director(s) Animation producer(s) Source Eps. Refs.
2012–2015 Komachi and Dangorō Hisashi Abe Original work 4 [90]
2020 Oblivion Battery Parako Shinohara Ayako Sekine Manga 1 [91]
2021 Yasuke LeSean Thomas
Takeru Sato[f] 		Takahiro Ogawa Original work 6 [92]
2022 Kakegurui Twin Yuichiro Hayashi[i]
Kaori Makita 		Takahiro Ogawa Manga 6 [93]
2026 Dorohedoro (season 2) Yuichiro Hayashi TBA Manga TBA [94]

Music videos (MVs)

[edit]
Year Title Director(s) Animation producer(s) Artist(s) Notes Refs.
2013 Hana wa Saku Sunao Katabuchi Manabu Otsuka Yoko Kanno The theme for NHK's Great Eastern Japan Earthquake Project [95]
2015 Korekarasaki, Nando Anata to. Sunao Katabuchi Ryoichiro Matsuo Mishmash
Aimee Isobe 		[96]
2018 Nanatsuiro REALiZE Munehisa Sakai Katsuhito Masuda IDOLiSH7 [96]
2021 Oretachi Maji-kō Destroy [97]
2023 Seventeen Parako Shinohara Ayako Sekine YOASOBI Produced by Contrail [98]
2024 Like the Flatwoods Monster Satomi Maiya Ryo Oikawa Eve
Deu 		[99]
Lucky Kyohei Ishiguro Nulbarich
Sunny
UMI 		Co-produced with Contrail

[100]

Video games

[edit]
Year Title Director(s) Animation producer(s) Publisher Notes Refs.
2019 Persona 5 Royal Yuichiro Hayashi Atlus Opening animation
2022 Jujutsu Kaisen: Phantom Parade Takuji Miyamoto Keisuke Seshimo Toho Games Opening animation
2024 Emio – The Smiling Man: Famicom Detective Club Kyohei Ishiguro Ayako Sekine Nintendo Cutscene in Minoru: Famicom Detective Club, co-produced with Contrail [101]
2025 Xenoblade Chronicles X: Definitive Edition Masaki Tamano Nintendo 3DCG Animation
2025 (Upcoming) Ark: Survival Ascended Studio Wildcard Upcoming Lost Colony DLC
Inazuma Eleven: Victory Road Yuriko Waki Level-5 Cutscenes [102]

Other productions

[edit]
  • Sex: Prologue (OVA, 2018) – promotional video for the 30th anniversary of manga Sex by Atsushi Kamijo; directed by Sayo Yamamoto[103]
  • Kick-Flight Promotional Video; Kick-Flight × KANA-BOON (ONA, 2019) – promotional video for the mobile game Kick-Flight, featuring the song "Flyers" by Kana-Boon; directed by Munehisa Sakai[104]
  • Mechronicle (unknown, TBA) – directed by Shinji Kimura[105][106]

Cancelled projects

[edit]

Notable staff

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Representative staff

[edit]
  • Masao Maruyama (founder, first president (2011~2016), board chairman since 2016)
  • Manabu Otsuka (second president since 2016)
  • Wataru Kawagoe (animation producer; MAPPA Sendai representative)
  • Makoto Kimura (board member, 2018~2024)[110]
  • Hiroya Hasegawa (animation producer; executive vice president since 2024)[111]
  • Yasuteru Iwase (board member since 2024; former animation producer)[111]
  • Yuusuke Tannawa (board member since 2024)[111]
  • Shuuhei Yabuta (board member since 2024)[111]
  • Kousuke Hosokai (board member since 2024)[111]
  • Yuuichi Fukushima (executive vice president at CloverWorks; external board member since 2025)
  • Keisuke Seshimo (animation producer; executive officer since 2024)[111]
  • Motoi Okunou (executive officer since 2025)
  • Eiji Matsuo (chief rights officer since 2024)[111]

Animation producers

[edit]
  • Masato Matsunaga (2012~present)
  • Masakazu Watanabe (2012~2014; co-founder of Lapin Track)
  • Fuuko Noda (2014~2024)
  • Takahiro Ogawa (2014~present)
  • Kouya Okamura (2015~present)
  • Tooru Kubo (2015~2021)
  • Katsuhito Masuda (2017~2018)
  • Ryouta Kitsunai (2023~present)
  • Ryou Ooigawa (2024~present)
  • Yuriko Waki (2024~present)
  • Koudai Katou (2025~present)
  • Makoto Arakawa (2025~present)

Directors

[edit]

Animators

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Controversies

[edit]

The studio's scheduling, work, and culture have been the subject of scrutiny by industry creators and critics.[113] Veteran animator Hisashi Eguchi criticized the studio's low pay.[114] 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.[115] Besides the animator's individual output within the studio, they also criticized the company's decision to produce four series concurrently.[115] Kevin Cirugeda from Sakugablog suggested the problems were due to the studio's incredibly fast-paced growth and "recklessness".[116]

MAPPA denied offering "unreasonable compensation" to "creators" in a response to claims that the studio underpaid workers;[117] however, animator Ippei Ichii claimed that an anime produced by MAPPA under Netflix was suggesting a pay of ¥3,800 per cut,[117] to which Ichii claimed that ¥15,000 is the minimum cost that animators should negotiate for.[117]

See also

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Notes

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References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

MAPPA

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from Grokipedia
MAPPA Co., Ltd. (株式会社MAPPA, Kabushiki-gaisha MAPPA) is a Japanese animation studio founded on June 14, 2011, by Masao Maruyama, a veteran producer and co-founder of the studio , with headquarters initially in , . The studio, whose name derives from "Maruyama Animation Produce Project Association," has rapidly ascended to prominence in the industry by undertaking ambitious adaptations of popular and original projects, producing over 50 titles including standout series such as , , , and the final seasons of . MAPPA's productions are frequently lauded for their fluid action sequences, distinctive visual flair, and contributions to global popularity, with works like In This Corner of the World earning the Japan Academy Prize for Animation of the Year in 2017. However, the studio's aggressive expansion and simultaneous handling of multiple high-stakes projects have drawn persistent scrutiny for fostering severe among animators, including reports of all-nighters, insufficient and pay, and even hospitalizations due to exhaustion, highlighting broader structural issues in Japan's animation sector where tight deadlines prioritize output over employee welfare.

Company Background

Founding and Initial Operations

MAPPA Co., Ltd. was established on June 14, 2011, in , by Masao Maruyama, a veteran anime and co-founder of the studio . Maruyama, then aged 70, departed after growing dissatisfied with its increasingly corporate structure and limited creative freedom, seeking to pursue independent projects aligned with his vision. The studio's name derives from "Maruyama Animation Produce Project Association," reflecting its origins as a producer-driven entity focused on . In its initial phase, MAPPA operated as an studio emphasizing series and feature films, with Maruyama serving as president and creative overseer. The company began with a small team recruited from Maruyama's prior , prioritizing high-quality, artist-centric workflows over volume production, in contrast to the assembly-line approaches prevalent in the industry. Early operations centered on securing collaborations with established directors and composers to build reputation, while maintaining lean resources typical of a startup studio. MAPPA's debut production was the 12-episode television series (Sakamichi no Apollon), co-produced with and aired from April 12 to June 28, 2012. Directed by with music by , the adaptation of Yuki Kodama's showcased the studio's capacity for visually dynamic jazz-infused storytelling, marking a deliberate entry into prestige projects rather than filler content. This launch established MAPPA's early operational model: selective project intake emphasizing directorial autonomy and stylistic innovation, which attracted talent and laid groundwork for subsequent works like in 2014.

Leadership Transitions and Organizational Growth

MAPPA was established on June 14, 2011, by Masao Maruyama, a veteran producer who previously co-founded and served as the studio's initial president. In April 2016, Maruyama resigned as president to found Studio M2, shifting to the position of chairman while Manabu Otsuka—a former employee who contributed to MAPPA's early projects—took over as president. This transition marked a pivot toward expanded commercial operations under Otsuka, who had participated in MAPPA's formation from its outset. The change in leadership coincided with accelerated organizational growth, as MAPPA scaled from a modest operation—employing about 11 animators and 26 staff in CGI, , and support roles as of 2017—to a larger entity with a dedicated CGI division exceeding 160 members. Post-2016, the studio doubled its annual project intake, establishing a branch alongside its headquarters to handle increased workloads in series and films. This expansion enabled MAPPA to secure high-profile adaptations, though it has drawn scrutiny for straining resources amid rapid scaling. Subsequent refinements to the executive structure supported ongoing development, including Hiroya Hasegawa's appointment as and Shuuhei Yabuta's addition to the board in April 2024, followed by a new external board member and effective April 1, 2025. These moves aimed to bolster strategic oversight as MAPPA pursued diverse productions, reflecting its evolution from a boutique producer to a key industry player.

Financial and Strategic Developments

MAPPA has implemented strategic expansions to enhance its production capacity, including the establishment of a dedicated CGI studio in announced in March 2022, aimed at recruiting additional CGI animators, production staff, and administrative personnel to support growing demands for 3D animation integration in its projects. Earlier, in , the studio actively scaled its in-house teams by expanding production, 3D, and divisions while prioritizing hires for digital animators, background artists, and concept designers to accommodate an increasing slate of high-profile adaptations. These moves reflect a broader emphasis on internal resource development, as stated on MAPPA's official recruitment page, which highlights ongoing training programs for staff to build sustainable growth amid rising global demand for content. In terms of management restructuring, MAPPA announced changes effective April 2024, including the appointment of Hiroya Hasegawa as , the addition of director Shuuhei Yabuta to the board, and the promotion of Keisuke Seshimo to a director role, signaling efforts to professionalize operations and address production challenges. A key strategic decision was the studio's full self-financing of season 1, covering 100% of production costs without relying on external production committees, which CEO Manabu Otsuka described as a "complete financial success" due to retained profits and enhanced creative control. However, Otsuka noted that while profitable, the series fell short of expectations in metrics like Blu-ray sales and overall cultural impact compared to , with revenue primarily driven by streaming and merchandise rather than . In January 2026, MAPPA entered a strategic partnership with Netflix to co-create a world-class animation studio model, collaborating on new original anime projects from story development to merchandise, with Netflix securing exclusive global streaming rights for a slate of MAPPA-produced titles premiering simultaneously worldwide. This partnership builds on the tripling of anime viewership on Netflix over the past five years, during which over half of its members have engaged with anime content. Financial data for MAPPA remains opaque as a private entity, but industry analyses indicate typical thin margins for Japanese anime studios, with reported fiscal year 2022 sales of approximately 2.8 billion yen and zero profit, underscoring reliance on hit projects for reinvestment rather than consistent profitability. Successes like Chainsaw Man – The Movie: Reze Arc, which surpassed 5 billion yen in Japanese earnings by October 16, 2025, demonstrate potential for high returns from theatrical ventures, though such outcomes depend heavily on pre-existing IP popularity and global distribution deals. This approach aligns with MAPPA's risk-taking strategy, prioritizing ambitious adaptations to capture in a competitive industry where overseas licensing increasingly offsets domestic constraints.

Productions

Television Series

MAPPA has produced over 20 television series since 2012, spanning genres including action, fantasy, , and sports, with a focus on high-fidelity adaptations of and light novels that emphasize dynamic sequences and character-driven narratives. Early productions established the studio's reputation for handling complex storytelling, while later works like shonen battle series gained international acclaim for their fluid combat choreography and . The studio often collaborates with experienced directors and has adapted properties from publishers such as and , contributing to its expansion amid industry demands for quality output. Key early television series include (Sakamichi no Apollon), which aired 12 episodes from April 7 to June 30, 2012, adapting Yuki Kodama's set in 1960s and centering on two boys' friendship forged through music and personal growth. In 2014, MAPPA released (Zankyou no Terror), a 11-episode summer series directed by , depicting two enigmatic teenagers executing terrorist acts in while pursued by authorities, drawing from themes of isolation and morality. That same year, premiered as a 12-episode fantasy action series based on a game, featuring humans, gods, and demons in a war over a mythical key, followed by its sequel Rage of Bahamut: Virgin Soul in 2017 with another 24 episodes expanding the conflict. The mid-2010s saw expansions into supernatural and gambling narratives, such as Kakegurui (2017), a 12-episode adaptation of Homura Kawamoto's manga about high-stakes psychological gambling at an elite academy, noted for its intense character animations and mind games, with a second season in 2019 and spin-off Kakegurui ×× (2019). Altair: A Record of Battles (Shoukoku no Altair), airing 24 episodes from July to December 2017, adapted Kotono Katou's manga chronicling a young ruler's diplomatic and military struggles against imperial expansion in a historical fantasy setting. Other 2010s entries include Garo: The Animation (2014, 24 episodes), a dark fantasy about armored knights battling horrors; Ushio and Tora (2015–2016, 26 episodes across two cours), adapting Kazuo Umezu's yokai-hunting tale; Punch Line (2015, 12 episodes), an original sci-fi comedy involving cat transformations and apocalypse prevention; and Inuyashiki: Last Hero (2017, 11 episodes), based on Hiroya Oku's manga exploring mortality through two men gaining cybernetic bodies amid urban violence. In the 2020s, MAPPA's television output shifted toward high-profile shonen adaptations, beginning with The God of High School (July–September 2020, 13 episodes), a martial arts tournament series from Yongje Park's webtoon featuring superhuman fights and conspiracy elements. Jujutsu Kaisen, premiering October 3, 2020, with 24 episodes in its first season adapting Gege Akutami's manga about curse users battling supernatural entities, achieved widespread popularity for its cursed energy battles and received a second season from July to December 2023 covering the Shibuya Incident and later arcs. The studio co-produced Attack on Titan: The Final Season starting December 7, 2020, handling Parts 2 (2022, 12 episodes), 3 (specials in 2023), and the concluding chapters, adapting Hajime Isayama's epic with large-scale titan warfare and political intrigue. Chainsaw Man (October–December 2022, 12 episodes) brought Tatsuki Fujimoto's manga to screen, following a devil hunter merging with a chainsaw devil in gritty, visceral action against demonic threats. Additional recent series encompass Vinland Saga Season 2 (January–June 2023, 24 episodes), continuing the Viking revenge saga with a focus on and historical realism; Hell's Paradise: Jigokuraku (April–July 2023, 13 episodes), adapting Yuji Kaku's ninja executioner tale involving immortality quests on a deadly ; Dance Dance Danseur (April–June 2022, 11 episodes), a ballet drama based on Asuka Kominato's emphasizing rigorous training and rivalry; and Kakegurui Twin (–March 2022, 10 episodes + special), a exploring academy gambling origins. These productions highlight MAPPA's capacity for handling demanding schedules, though the studio has faced criticism from animators regarding working conditions during peaks like the 2020–2023 period.
SeriesPremiere YearEpisodesAdaptation Basis
Kids on the Slope201212Manga (Yuki Kodama)
Rage of Bahamut: Genesis201412Card game IP
Terror in Resonance201411Original ()
Kakegurui201712 ()
Jujutsu Kaisen202024 (S1) ()
Chainsaw Man202212 ()
Attack on Titan: The Final Season (Parts 2–Final)2020–202328 (specials/cour) ()

Films and Specials

MAPPA's film productions include feature-length theatrical releases and original video animations (OVAs), often serving as prequels, side stories, or standalone adaptations that complement their television output. These works showcase the studio's capacity for high-stakes action sequences and detailed , though production challenges like tight schedules have been reported in industry accounts. A prominent example is (released December 24, 2021), a adapting Gege Akutami's volume zero, directed by with animation production led by MAPPA. The film depicts Yuta Okkotsu's battle against a cursed spirit tied to his childhood friend, grossing over ¥13.8 billion (approximately $120 million USD) at the Japanese within its initial run, making it one of the highest-grossing films of 2021. Earlier, Garo: Divine Flame (theatrical release May 21, 2016) marked MAPPA's entry into fantasy action cinema, serving as a to the Garo television series with original story elements involving knights battling horrors in a medieval-inspired world; it was directed by and praised for its fluid combat choreography despite a modest budget. In 2023, MAPPA released maboroshi (September 29, 2023), an original film directed by adapting her own novel, featuring surreal elements as a high girl confronts a town frozen in time; the project highlighted the studio's experimental side with detailed environmental animation. For OVAs and specials, MAPPA contributed to Days: Tōin Gakuen-sen!! (January 2018 release), a two-episode adaptation of the soccer side story, handling full animation production and focusing on intense sports action sequences. Additionally, the studio produced promotional specials like Bokyaku Battery (January 2020 event screening), a short baseball-themed OVA tied to Jump Special Anime Festa, emphasizing quick-paced athletics.
TitleTypeRelease YearKey Details
Garo: Divine FlameTheatrical Film2016Fantasy sequel; directed by ; animation production.
Days: Tōin Gakuen-sen!!OVA (2 eps.)2018Soccer side story; full production including CG.
Bokyaku BatteryEvent OVA2020Promotional short; adaptation.
Jujutsu Kaisen 0Theatrical Film2021Prequel; ¥13.8B box office; directed by .
maboroshiTheatrical Film2023Original surreal drama; directed by .
Recent and upcoming releases include : THE LAST ATTACK (November 2024), a compilation film with new scenes concluding the series' animation, and – The Movie: Reze Arc (September 2025), adapting Tatsuki Fujimoto's arc with MAPPA as primary producer. These projects underscore MAPPA's role in extending blockbuster franchises, though reports indicate reliance on subcontractors for volume.

Digital and Other Media

MAPPA has expanded into digital formats through original net animations (ONAs), web-exclusive shorts, and streaming-exclusive series, often distributed via platforms like . A notable example is Kakegurui Twin (2022), an ONA sequel to the Kakegurui franchise, which premiered on on August 4, 2022, consisting of six episodes that delve into the backstory of characters from Hyakkaou Private Academy. Similarly, Boukyaku Battery (2020) was released as a promotional ONA at the Jump Special Anime Festa on October 11, 2020, directed by Parako Shinohara and focusing on baseball themes to hype the upcoming TV adaptation. The studio has also contributed to international digital projects, such as Blade Runner: Black Out 2022 (2017), a U.S.-produced ONA short film released online as part of the Blade Runner anthology, where MAPPA handled additional compositing work. Another Netflix collaboration, Yasuke (2021), featured MAPPA providing digital in-between animation for select episodes in this ONA series about the historical African samurai. These efforts demonstrate MAPPA's role in adapting anime for global streaming audiences, prioritizing fluid digital delivery over traditional broadcast schedules. Beyond ONAs, MAPPA produces music videos, commercials, and promotional content. In 2024, the studio animated music videos for Pokémon Music Collective Nulbarich and Sunny's "Lucky (feat. UMI)" (May 2024) and Like The Flatwoods Monster (May 2024), showcasing vibrant, character-driven sequences. Commercials include the 2023 MARO17 hair care ad featuring "UTAKATA FEAT. TETSU" (July 2023) and a 2025 Citizen Watch spot with B'z's "INTO THE BLUE," emphasizing high-production animation for brand promotion. MAPPA's other media includes in-game animations and web shorts, such as the 2024 in-game animation for Emio - The Smiling Man: Famicom Detective Club (August 2024) and early web movies like Fruit Juice Gummy: Megumi and Taiyo (2012). Original animation DVDs (OADs), such as DAYS OAD (January 2018) bundled with manga volumes, bridge print and digital consumption. These projects, often shorter in duration, allow MAPPA to experiment with styles and collaborate on niche digital platforms, supplementing their core TV and film output.

Major Adaptations and Original Projects

MAPPA's major adaptations predominantly draw from manga sources, emphasizing high-fidelity action sequences and detailed character animation that have elevated the studio's reputation in shonen and seinen genres. Jujutsu Kaisen, adapted from Gege Akutami's manga serialized in Weekly Shōnen Jump from March 2018 to September 2024, debuted with its first season from October 2020 to March 2021, covering the "Fearsome Womb" and "Kyoto Goodwill Event" arcs; a prequel film, Jujutsu Kaisen 0, released on December 24, 2021, while the second season aired in 2023. Chainsaw Man, based on Tatsuki Fujimoto's manga published from December 2018 to December 2020 in the same magazine, aired from October 12 to December 28, 2022, spanning 12 episodes that adapted the "Public Safety Saga" with distinctive fluid combat choreography. The studio's handling of Attack on Titan: The Final Season, succeeding Wit Studio for Hajime Isayama's manga (serialized September 2009 to April 2021 in Bessatsu Shōnen Magazine), commenced with Part 1 from December 7, 2020, to March 29, 2021 (16 episodes), followed by Part 2 from January 10 to April 4, 2022 (12 episodes), and concluding specials in 2023 that resolved the series' themes of freedom and cyclical violence. Other prominent adaptations include Vinland Saga Season 2 (January to June 2023), adapting Makoto Yukimura's historical Viking manga (ongoing since 2009); Hell's Paradise: Jigokuraku (April to June 2023), from Yuji Kaku's 2018-2021 manga depicting Edo-period ninja quests; and Dororo (January to June 2019), a co-production with Tezuka Productions adapting Osamu Tezuka's 1967-1969 manga about a demon-cursed swordsman. In contrast, MAPPA's original projects, though fewer, have explored diverse themes like psychological thriller and sports drama without preexisting source material. Terror in Resonance (Zankyou no Terror), MAPPA's first original television series premiered July to September 2014 (11 episodes), follows two enigmatic teenagers executing bombings in Tokyo as part of a high-stakes "game," directed by Shinichirō Watanabe with original screenplay by Hiroshi Seko. Yuri!!! on Ice, an original 2016 series (October to December, 12 episodes), centers on competitive figure skater Yuri Katsuki's mentorship under Victor Nikiforov, blending sports realism with interpersonal dynamics under director Sayo Yamamoto. Zombie Land Saga, another original, launched October to December 2018 (12 episodes) with a sequel Revenge in 2021, featuring seven historical Japanese women revived as zombies to form an idol group aimed at revitalizing Saga Prefecture through performances. These originals demonstrate MAPPA's capability for self-contained narratives, often yielding cult followings despite lower production volumes compared to adaptations.

Artistic Approach and Innovations

Animation Techniques and Style

MAPPA's animation techniques prioritize a hybrid approach blending traditional 2D key animation with extensive digital processing and CGI integration to achieve fluid, high-fidelity visuals under tight production schedules. The studio promotes digital in-between animation, particularly at its facility established in 2018, replacing traditional pencil-on-paper methods to ensure uniformity from rough animation through to and . This workflow allows for efficient iteration, with in-house tool development optimizing processes across departments. 2D animators employ both analog and digital drawing methods, focusing on expressive key frames that emphasize drawing quality and subtle details—such as individual droplets or facial wrinkles—over gratuitous motion excess. The studio's CGI division, its largest with over 160 members, handles for backgrounds, props, and complex camera work using tools like 3ds Max and , often redrawn in 2D to preserve stylistic charm while saving time on compositions. This integration is evident in productions like (2022), where 3D elements support dynamic fight sequences without dominating the hand-drawn aesthetic, and (2020–2023), employing CGI for titans and environments amid resource constraints from the . MAPPA avoids a rigid house style to adapt to diverse genres, but its output consistently features energetic, tactile sakuga—highlight animation moments with sketchy linework, realistic proportions, and slender character designs that convey intensity through dark line shading and layered effects like scratches or debris. Innovations include a two-month program for CGI recruits and regional studios in , , and (opened 2023) to distribute workload and foster specialized skills, enabling ambitious sequences that balance emotional resonance with technical precision. Animator Benjamin Faure, who contributed to (2020–present) and , highlights testing multiple rendering approaches to adapt 3D aids to 2D priorities, critiquing over-reliance on CGI for lacking the "charm" of redrawn elements. This method supports MAPPA's reputation for visually striking action, though it has drawn scrutiny for occasional CGI stiffness in high-stakes scenes due to scheduling pressures.

Contributions to Genre and Storytelling

MAPPA has advanced storytelling by adapting source materials with a emphasis on thematic complexity and narrative innovation, particularly in action and genres. In series such as (2022), the studio preserved the manga's erratic tonal shifts—merging visceral horror, absurd humor, and emotional vulnerability—while enhancing pacing to sustain viewer immersion across episodes. This approach, influenced by the production team's enthusiasm for Tatsuki Fujimoto's original work, has been credited with amplifying the story's manic energy for global audiences, setting a benchmark for unconventional shonen adaptations. For : The Final Season (2020–2023), MAPPA tackled the source's labyrinthine plot twists and philosophical undertones, employing tight episode structures to balance large-scale conflicts with intimate character resolutions, thereby delivering a cohesive conclusion to the series' decade-long arc. This handling of moral ambiguity and existential stakes has contributed to the studio's reputation for elevating mature narratives within established franchises. In (2020–present), MAPPA integrated intricate curse mechanics with interpersonal dynamics, fostering storytelling that prioritizes strategic depth over rote action, which has helped propagate darker, psychologically layered shonen tropes across the industry. Overall, the studio's willingness to explore societal critiques and hybridization—evident in diverse outputs from idol dramas to fantasy epics—has broadened anime's narrative scope, prioritizing expressive forms that resonate internationally without diluting original intents.

Key Personnel

Founders and Executives

MAPPA was founded on June 14, 2011, by Masao Maruyama, a prominent producer who co-founded in 1972 and oversaw productions including (1993) and (1997). At age 70 upon establishing the studio, Maruyama named it Maruyama Animation Produce Project Association to foster innovative animation projects independent of prior affiliations, drawing on his experience addressing production challenges at . He continues to serve as Chairman of the Board of Directors. Manabu Otsuka has led MAPPA as President and CEO since at least 2019, guiding the studio through expansions in high-profile adaptations like (2020–present) and (2022). Otsuka, previously involved in production management, has emphasized strategic project selection balancing commercial viability with artistic ambition. In April 2024, MAPPA restructured its management, promoting Hiroya Hasegawa to Executive Vice President and adding director Shuuhei Yabuta to the to enhance operational efficiency amid growing workloads. Hasegawa, a on titles like Attack on Titan The Final Season (2020–2023), focuses on production oversight. Further updates in April 2025 appointed Yuichi Fukushima, Vice President of , as an external board member and Motoi Okuno, a 3DCG specialist from Chainsaw Man, as Executive Officer, bolstering expertise in external partnerships and technical animation. Other key roles include Chief Rights Officer Eiji Matsuo and board members such as Yusuke Tannawa and Kosuke Hosokai.

Directors and Lead Animators

served as a chief director for multiple MAPPA projects, including Garo: Vanishing Line (2017), (2020), and the first season of (2020), as well as the film (2021). , a Korean director who gained prominence through his work at MAPPA, departed the studio in 2021 to establish his own animation company, Studio Mirko. Yuichiro Hayashi has directed several high-profile series at MAPPA since joining in 2014, most notably the final season of (2020–2023), where he oversaw the adaptation's shift to MAPPA's production following . Earlier, Hayashi helmed GARO Honō no Kokuin (2014) and contributed to animation direction on various titles before his directorial debut. Other key directors include Shūhei Yabuta, who joined MAPPA's board of directors in April 2024 and directed Vinland Saga Season 2 (2023), emphasizing fluid action sequences and character-driven storytelling. Hiroko Utsumi directed Banana Fish (2018), adapting the manga with a focus on psychological depth and dynamic layouts. Sayo Yamamoto led Yuri!!! on Ice (2016), blending sports animation with narrative innovation. Among lead animators, Benjamin Faure has contributed key animation to MAPPA productions such as and [Chainsaw Man](/page/Chainsaw Man), known for his expressive action sequences and international perspective as a French . MAPPA frequently employs freelance and in-house lead animators for episode-specific sakuga highlights, with production desks like those under Masato Matsunaga ensuring consistency in high-stakes scenes across series.
DirectorNotable MAPPA Works
Sunghoo ParkGaro: Vanishing Line (2017), Jujutsu Kaisen Season 1 (2020)
Yuichiro HayashiAttack on Titan Final Season (2020–2023)
Shūhei YabutaVinland Saga Season 2 (2023)
Hiroko UtsumiBanana Fish (2018)

Reception and Impact

Critical and Commercial Success

MAPPA has achieved significant commercial success through high-profile adaptations of popular manga series, generating substantial revenue from streaming, merchandise, and theatrical releases. The studio's work on Jujutsu Kaisen 0 (2021) amassed $196.2 million at the global box office, contributing to MAPPA's growing revenue streams from international markets. Similarly, Chainsaw Man – The Movie: Reze Arc (2025) exceeded $68 million worldwide shortly after release, with strong performances in Japan and South Korea, marking it as MAPPA's largest box-office hit to date; domestic openings reached $8.5 million on its first day and projections of $15–17 million for the weekend. For television series, MAPPA's handling of Attack on Titan: The Final Season (2020–2023) drove franchise revenue, including the compilation film The Last Attack (2024), which surpassed ¥1 billion (~$6.6 million) in Japan and earned $2.5 million in the U.S. alone. Critically, MAPPA's productions have garnered widespread acclaim for their dynamic animation and fidelity to source material, often ranking among the top anime series. Attack on Titan: The Final Season and Jujutsu Kaisen (2020–present) frequently top lists of MAPPA's best works, praised for intense action sequences and narrative depth. Chainsaw Man (2022) achieved a 100% critics' score on Rotten Tomatoes from initial reviews, alongside a 99% audience score, highlighting its stylistic innovation and appeal. The studio's adaptations have also secured nominations and wins at major awards like the Crunchyroll Anime Awards, with series such as Jujutsu Kaisen earning recognition for animation quality and overall excellence. This dual success has positioned MAPPA as a leading force in the industry, with projects driving global viewership and expanding the medium's commercial viability beyond . For instance, : Reze Arc surpassed 1.4 million viewers in within 15 days of release, underscoring MAPPA's ability to capitalize on international demand. Despite reliance on tight schedules for high-output releases, these achievements reflect effective project selection and execution in competitive markets.

Influence on the Anime Industry

MAPPA has significantly elevated visual standards in anime production, particularly in action-oriented adaptations, by emphasizing fluid choreography, intricate sakuga sequences, and seamless integration of 2D and 3D elements. Productions such as Jujutsu Kaisen (2020–present) demonstrated advanced motion capture and dynamic camera techniques, setting benchmarks for shonen battle animation that competitors have emulated to meet audience expectations for spectacle. Similarly, Chainsaw Man (2022) blended traditional hand-drawn animation with CGI for visceral fight scenes, influencing a trend toward hybrid techniques that enhance realism and pacing in high-stakes narratives. The studio's acquisition of prestigious projects, including Attack on Titan's final season (2020–2023), showcased a shift to grittier, more cinematic aesthetics with enhanced and shading closer to the source , which pressured other studios to refine their adaptation fidelity. This "MAPPA effect"—where involvement guarantees heightened production values and global hype—has attracted top talent, such as director and animator Benjamin Faure, fostering talent migration from established outfits like and accelerating skill-sharing across the industry. Commercially, MAPPA's output has amplified anime's international reach, with series like (2016) pioneering nuanced character portrayals that broadened genre appeal and earned awards, thereby incentivizing investments in diverse, high-budget originals and adaptations. By handling multiple flagship titles simultaneously, the studio has underscored the viability of aggressive project pipelines, though this has also spotlighted the need for sustainable scaling in an industry strained by rising demand. Overall, MAPPA's trajectory from a 2011 startup to a production powerhouse has compelled broader innovation in storytelling visuals and market strategies.

Controversies and Challenges

Labor Practices and Work Conditions

MAPPA has faced repeated allegations of excessive overtime and inadequate compensation for its animators, contributing to high staff turnover and health issues among employees. In May 2021, a former freelance animator publicly criticized the studio for overworking staff without sufficient training, prompting MAPPA's executives to defend their practices by emphasizing in-house skill development programs. Similar complaints emerged in July 2021 when multiple animators highlighted low per-cut payments, with reports of offers as low as 3,800 yen (approximately US$34) for complex animation segments, exacerbating financial strain amid grueling schedules. These issues reflect broader anime industry norms of subcontracting to underpaid freelancers, but MAPPA's high-volume project slate—often involving simultaneous major productions—has amplified scrutiny. During the production of Jujutsu Kaisen season 2 in 2023, animators reported "catastrophic" working conditions, including 80-100 hour workweeks and physical exhaustion leading to hospitalizations. One animator detailed collapsing from overwork on November 16, 2023, amid rushed deadlines for episode 7, which forced reliance on time-saving tactics like rotoscoping and reduced frame rates, compromising animation quality. Studio executives, including Vice President Mitsuhisa Ishikawa, acknowledged systemic overwork in February 2025 interviews, attributing it to client-imposed timelines and a lack of industry-wide reforms post-2020, though critics argue MAPPA's acceptance of multiple high-profile series (e.g., Chainsaw Man, Attack on Titan final seasons) voluntarily intensifies the crunch. Freelancers, comprising much of the workforce, lack full-time protections under Japanese labor laws, which permit up to 45 overtime hours monthly but are routinely exceeded via waivers or subcontracting. High-profile departures underscore the toll on talent retention. Founder Masao Maruyama exited in 2016 citing dissatisfaction with evolving work culture, later founding a new studio for . In 2024, directors like Makoto Kimura and others resigned to establish independent ventures, with animator testimonials in January 2024 describing MAPPA's environment as deterring top talent due to burnout risks. A reported exodus of experienced staff has raised concerns about long-term quality decline, as junior animators fill gaps under similar pressures, perpetuating a cycle of inexperience and errors. Despite defenses that such conditions are industry-standard, MAPPA's scale and visibility have positioned it as a focal point for calls for reform, including better pay equity and reduced loads.

Project Scheduling and Quality Debates

MAPPA has faced significant criticism for its project scheduling practices, characterized by an aggressive intake of high-profile adaptations that strain production timelines. The studio's simultaneous handling of multiple major titles, such as , , and the final seasons of , has led to reports of compressed schedules where animators work 12-15 hours per day, often five or more days a week, to meet deadlines. This approach, while enabling rapid output of popular series, has been linked to reliance on large numbers of freelancers to fill gaps, as short production cycles limit opportunities for in-house skill development and . These scheduling pressures have sparked debates over animation quality, with some observers arguing that rushed timelines compromise consistency and detail in key sequences. For instance, Attack on Titan Season 4 drew backlash for perceived declines in fluid motion and character designs compared to prior seasons produced by Wit Studio, which reportedly declined to continue due to unsustainable demands. Similarly, Jujutsu Kaisen Season 2's production involved extreme crunch, including overnight revisions and non-disclosure agreements to suppress complaints, contributing to fan discussions on uneven episode quality despite standout sakuga moments. Critics contend that such practices prioritize volume over refinement, though defenders highlight MAPPA's overall above-average output relative to industry norms. Health impacts have intensified the debates, with animators reporting exhaustion severe enough to cause hospitalizations from overwork-related stress. In response, MAPPA executives, including Manabu Otsuka, have acknowledged broader industry challenges like skill shortages and freelancer dependency exacerbated by tight schedules, while attributing some issues to post-2020 disruptions. The studio maintains that its model addresses client demands for timely releases in a competitive market, but ongoing scrutiny questions whether the trade-offs in quality and worker welfare are sustainable.

Broader Industry Context and Responses

The production industry in faces systemic labor challenges characterized by excessive working hours and inadequate compensation, issues that predate and extend beyond MAPPA's operations. A 2024 survey by the Nippon Anime & Film Culture Association (NAFCA) revealed that anime workers average 219 to 225 hours per month, with half exceeding 225 hours and 14% logging over 300 hours, contributing to widespread affecting nearly 70% of staff. Entry-level animators earn under 2 million yen annually (approximately $12,900 as of 2025 exchange rates), often equivalent to hourly rates below of around 1,000 yen, while 37.7% of workers report monthly take-home pay under 200,000 yen. These conditions stem from structural factors, including heavy reliance on underpaid freelancers and subcontractors, stagnant per-project budgets despite streaming-driven revenue growth to $21 billion industry-wide, and a forecasted shortage of 30,000 animators by 2030 due to high attrition. MAPPA's controversies, including animator hospitalizations from overwork during productions like (2023) and (2022), amplify scrutiny on these entrenched problems rather than originating them, as the studio's aggressive scheduling for high-profile adaptations mirrors industry norms under tight television broadcast deadlines. Former MAPPA staff have described conditions akin to a "concentration camp," with unpaid overtime and rushed quality compromises, yet such complaints echo broader exploitation where studios outsource to cut costs amid rising global demand. Despite commercial successes, MAPPA's vice president acknowledged post-2020 industry strains in a 2025 statement, attributing persistent issues to overcommitment rather than isolated mismanagement. Industry responses have included tentative reforms, spurred by a 2024 United Nations report criticizing exploitation, prompting the Japanese government to prohibit unpaid extra work and mandate payments within 60 days, alongside establishing oversight bodies for working conditions. The Animation Japan Association (AJA) countered UN claims by citing NAFCA data showing average annual hours at 2,623—below Japan's legal cap of 2,805—while advocating for unions and studio training programs to address shortages and skill gaps. However, unionization remains weak in anime, with cultural tolerance for endurance (evident in karoshi precedents) and subcontracting models hindering enforcement, though international whistleblowers and fan backlash have intensified calls for sustainable practices over crunch-time reliance. Despite 60% of production companies reporting losses in 2024 amid record revenues, progress lags, as low barriers to entry perpetuate a cycle of underinvestment in labor.

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  85. https://www.youtube.com/watch?v=YbaoRS3Qsy0
  86. https://news.animenomics.com/p/anime-industry-responds-to-un-labor-report
  87. https://comicbook.com/anime/news/anime-industry-2023-japan-government/
  88. https://www.hopeforthefuture.at/en/the-dark-side-of-the-anime-industry/
  89. https://www.reddit.com/r/anime/comments/1mve5y9/60_of_the_companies_actually_producing_anime_saw/
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