Attack on Titan, Jujutsu Kaizen…: Meeting MAPPA Studio President, Manabu Otsuka!

Responsible for such big projects as Jujutsu Kaisen, the last season of Attack on Titan or the highly anticipated Chainsaw Man, in ten years, MAPPA has become one of the essential studios in terms of anime.

Manabu Otsuka began his career in animation at STUDIO 4°C before co-founding MAPPA in 2011 and becoming its president five years later. Due to his experience as a producer and planner, he gave life to several works that became very popular, such as Banana Fish, Yuri!!! On ICE, Terror in Resonance and Kids on the Slope.

For his visit to France with Crunchyroll, we discuss with him the birth of various projects, the creative process, working conditions and the future of the studio.

AlloCiné: Can you tell us about the origins of MAPPA?

Manabu Otsuka: The studio was originally called MAPPA House and was headed by producer Maruyama Masao. He came up with the idea of ​​creating this studio so that he could shoot the movie “Around the World” directed by Sunao Katabuchi, which was released in 2016.

How are different projects selected? Do you have specific criteria?

Everything depends on the drive and passion of our teams, who are sometimes asked to work on specific projects. You should also know that some are chosen based on what they can bring to our factory, the brand image of the studio.

What do you think are the strengths of the studio?

I think it’s the desire and skills of our teams that can work in all possible genres.

MAPPA is mainly recognized for the quality of its graphics. How do you approach the visual design of your projects?

We are ready to hear what the fans want. For this, we select the teams that will work on the anime based on the abilities of each member. We are trying to build a team that can deliver the performance and quality that will best satisfy the audience.

You work with experienced creators but also with young apprentices. How is recruiting this diverse talent going?

What matters to us is not whether they can meet our criteria right away, but whether they are passionate enough to stick around in the studio and potentially achieve the level of animation we want next. And even if it’s not always the case, passion is what matters.

Are there any points you pay particular attention to in the anime production process?

I pay special attention to the composition of work teams so that each project is of the highest quality. I choose each person who can most effectively answer the steps required to create a particular project.

How is your cooperation with foreign studios and designers going?

During production we sometimes rely on backgrounds, CGI (digital special effects) or cut other foreign studios and creators. It’s a collaboration that’s going really well.

How has MAPPA adapted to work during the COVID-19 pandemic?

It was very difficult. That’s why we set up the systems very quickly so that everyone can work at home and with all the necessary equipment.

You picked up Wit Studio Season 4 for Attack on Titan. How did you approach reviving such a popular anime?

Wit Studio’s success was not easy, especially given their level of knowledge. We just told ourselves that we would never match them if we tried to do anything like them. That’s why we chose to build from scratch, with our own graphic touch and our personal touch.

You are responsible for the animation of big manga hits like Jujutsu Kaizen and Chainsaw Man. How do you view projects as expected?

Above all, we try to think about the fans. The idea is to constantly question yourself and doubt everything until the end. (laughs)

Does such success lead to changes in the studio?

Indeed, it always brings a lot of changes, especially on the speed of expansion of the studio, as well as on the profitability and business plan.

What do you think sets MAPPA apart from other studios?

I think it’s our ability to make decisions quickly. (laughs)

Are there any challenges you’d like to take on in the future as studio president?

From a purely entrepreneurial point of view, I want to succeed in the development of MAPPA. But I also wish we were even more at the forefront of animation quality.

Which animated works (series or movies) do you personally prefer?

It’s hard to choose. It’s even harder when you’re working in the middle. But I would say Castle in the Sky by Hayao Miyazaki and Akira Katsuhiro Otomo.

Interview by Manon Marouf at Levallois-Perret on June 30, 2022.

Crunchyroll invites MAPPA studio to Japan Expo in Paris. On Saturday, July 16 at 10:45 a.m., a public studio conference will be held on the Yuzu stage, during which Manabu Otsuka, producer Makoto Kimura, and screenwriter Hiroshi Seko will talk about future MAPPA projects.