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NEWS: Labor Group: Animators in Their 20s Earn US$11,600 a Year


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Mr. sickVisionz



Joined: 28 Oct 2007
Posts: 2173
PostPosted: Mon May 25, 2009 10:23 am Reply with quote
TranceLimit174 wrote:
Well this answers the question I've had for years. When you're getting paid like that it's hard not to do just about everything that's become rampant in anime (filler, corner cuts to the extreme, harem re-hashes ect.).


I doubt filler would be the result of this. It's cheaper to make stuff that's just a scene for scene, word for word, shot for shot copy of a comic than it is to have people actually sit down, come up with a story, dialog, scenes and be creative.

Alot of people are saying this as well, but i'm confused: what does moe/harem have to do with any of this? Assuming that these are companies who are trying to make money, which every non-profit company is, they probably just make whatever sells. If more people are buying moe/harem dvds, merchandise, etc... they'll make more of it until the consumers show that they aren't interested anymore.
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edzieba



Joined: 13 Dec 2006
Posts: 704
PostPosted: Mon May 25, 2009 12:55 pm Reply with quote
Mr. sickVisionz wrote:
Alot of people are saying this as well, but i'm confused: what does moe/harem have to do with any of this?
Nothing at all, but it's a convenient scapegoat. As has been mentioned, the actual animation studios make out quite poorly, with the production committee and distributors raking in the vast majority of the profits.
configspace wrote:
The studios don't own the rights to what they work on so they receive no royalties, which is different in the US where all core creative staff receive residuals from those sales even if it's not much.
Essentially means that while R2 (and R1) DVD sales support companies like Kadokawa, the actual studios don't see any of it unless the distributors decide to hire them again.
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jsevakis
Former ANN Editor in Chief


Joined: 28 Jul 2003
Posts: 1684
Location: Los Angeles, CA
PostPosted: Mon May 25, 2009 4:01 pm Reply with quote
PetrifiedJello wrote:
There's no way a person living in New York City can survive on minimum wage but can get by living in a cornfield in Kansas.

The same applies in Japan, which is why most animation studios don't reside in large cities, especially Tokyo, where the lease would put them out of business quickly.


While overall you're not wrong, I do have to call BS here. Almost every single anime studio is headquartered in Tokyo, with the vast majority being in the Nerima/Nakano/Suginami areas of Tokyo. Hardly downtown Shinjuku, but Tokyo nonetheless. I've been told by a few CEOs that they couldn't get hired otherwise. The bigger ones (the ones that produce their own stuff, like Gonzo and Toei) also have management offices in the more built-up areas.

And I do know a few people here in NYC that do get by on minimum wage. They don't live what I would call "comfortable lives", but they get by. They just pray they don't get sick. At least Japan has socialized medicine, though I have no idea if it's any good or not.
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kefkaownsall



Joined: 05 Jul 2008
Posts: 189
PostPosted: Mon May 25, 2009 4:16 pm Reply with quote
There is another problem, reproduction.
Seriously Japan has a very low birth rate and how the hell are they supposed to fix it when people can't afford to have kids.
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Takigan



Joined: 08 Dec 2004
Posts: 16
PostPosted: Mon May 25, 2009 5:44 pm Reply with quote
I wouldn't exactly say that's a problem. It's actually more of a blessing. That country really can't afford to get any bigger considering how overcrowded it is already.

And this "Can't afford to have kids" problem doesn't pervade every caste of society, just animators...but then maybe some DO have kids, I dunno (though I imagine their significant other is the one providing the income to raise them).
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kefkaownsall



Joined: 05 Jul 2008
Posts: 189
PostPosted: Mon May 25, 2009 5:50 pm Reply with quote
Takigan wrote:
I wouldn't exactly say that's a problem. It's actually more of a blessing. That country really can't afford to get any bigger considering how overcrowded it is already.

And this "Can't afford to have kids" problem doesn't pervade every caste of society, just animators...but then maybe some DO have kids, I dunno (though I imagine their significant other is the one providing the income to raise them).

Actually there's a slight problem not from the birth rate but from the aging population resulting in more, 1 kid taking care of 2 parents and 4 grandparents. I'm assuming this based on China.
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Onizuka666



Joined: 15 Sep 2003
Posts: 266
Location: U.K
PostPosted: Mon May 25, 2009 7:07 pm Reply with quote
I guess this news makes us all think a bit, and not take anime for granted.

In an ironic way, I think that influence from the western fans and side of the industry, is the only thing that could potentially make any impact of change, and make things better for animation workers.

Perhaps there should be a fund set up, so animators get a better cut or something. Especially if there's less new talent coming into the industry, they and we should treasure those who make what we love.

It might be bad to judge from our viewpoint, but perhaps its time to fight for those animators, as well as japanese fans, who still get a raw deal on all their anime, compared to us.
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vedicardi



Joined: 04 Apr 2009
Posts: 30
Location: Wisconsin
PostPosted: Tue May 26, 2009 4:37 am Reply with quote
This is kind of disturbing, but I guess you have to keep the "in their 20s" in mind. These are low-experience artists. I'm sure as the gain experience and age, they go up the company ladder a bit.

despite this, more money for them yeah
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reanimator





PostPosted: Tue May 26, 2009 3:23 pm Reply with quote
Onizuka666 wrote:
I guess this news makes us all think a bit, and not take anime for granted.

In an ironic way, I think that influence from the western fans and side of the industry, is the only thing that could potentially make any impact of change, and make things better for animation workers.

Perhaps there should be a fund set up, so animators get a better cut or something. Especially if there's less new talent coming into the industry, they and we should treasure those who make what we love.

It might be bad to judge from our viewpoint, but perhaps its time to fight for those animators, as well as japanese fans, who still get a raw deal on all their anime, compared to us.


I agree with you in some ways. We have been taking anime for granted. What can we do as fans? The idea of setting funds/charity for these destitute artists sounds noble, but there are thousands of artists need help. We need to gather dedicated fans, not whiny wannabe "fans" to collect funds for proper use. So that labor groups like JANICA to have better chance to fight for better life.

It's better to gather funds for legal expenses that would be used to improve to animation labor system.

One would be industry-wide minimum salary system which allows animation artists to have stable future. I hope this minimizes bare bones cost undercutting among production studios competing for contracts from media corporations. For example, "Queen's Blade" and hundreds of moe/harem manga titles with less than few thousand fan followings don't deserve animation treatment. They shouldn't made into 1 season, 30 minutes each animation title at all.

The other would be copyrights for animation artists to have rights for their artworks related to titles. Instead of publishing it under Dojinshi format with limited circulation, it would be better to publish under normal publication with guaranteed reprints. Also I would love to see production studios get percentage of rights so that they could profit from sale of merchandises.

Once a stable income system is established, it gives animation industry an almost equal platform as video game industry. By doing so, it can attract more talented people to join in. Also it could help them to establish groundwork for better animation training

Here's a heart and soul of Japanese animation industry: Creative Freedom

Since creative freedom is valued over everything else, Japanese studios used to take below average budget to make original shows or shows based from unique original works (comics or novels) that deemed inspirational. Of course, creative freedom allows tasteless genres like Hentai, Moe, and Yaoi, but freedom allows room for diversity. Too much money allows producers to dictates the minute detail on content of animation (very prevalent in Hollywood system) rather than directors. So improved pay is good and all, but it shouldn't upset the creative freedom. Let's give them a fighting chance, but they shouldn't sell their soul.

I strongly believe that it should be the western fans should be the ones active in promoting animator's cause. I think Japanese fans are too passive to do anything. Even though they believe that they support animation industry through buying merchandises, in reality I think they are wasting their money and time supporting wrong people.
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TranceLimit174



Joined: 21 Jul 2004
Posts: 959
PostPosted: Tue May 26, 2009 4:26 pm Reply with quote
Mr. sickVisionz wrote:
TranceLimit174 wrote:
Well this answers the question I've had for years. When you're getting paid like that it's hard not to do just about everything that's become rampant in anime (filler, corner cuts to the extreme, harem re-hashes ect.).


I doubt filler would be the result of this. It's cheaper to make stuff that's just a scene for scene, word for word, shot for shot copy of a comic than it is to have people actually sit down, come up with a story, dialog, scenes and be creative.

Alot of people are saying this as well, but i'm confused: what does moe/harem have to do with any of this? Assuming that these are companies who are trying to make money, which every non-profit company is, they probably just make whatever sells. If more people are buying moe/harem dvds, merchandise, etc... they'll make more of it until the consumers show that they aren't interested anymore.



edzieba wrote:
Nothing at all, but it's a convenient scapegoat. As has been mentioned, the actual animation studios make out quite poorly, with the production committee and distributors raking in the vast majority of the profits.


9/10 of the time studios slack off when they create filler. Animators would much rather screw up a throwaway episode rather than a monumental scene from the source material. Quality just drops overall and when most of your episode is comprised of stills that's very cheap.

And I wasn't trying to scapegoat harem/moe. As has been stated by others I was just pointing out the paradox they present. The vocal fans don't like them and claim they don't purchase because of the pervasiveness of these titles yet it's those same titles which at the end of the day produce the most money for the companies thus they keep getting made.
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plastique



Joined: 17 Dec 2007
Posts: 28
PostPosted: Tue May 26, 2009 6:38 pm Reply with quote
I have a friend who 'animates' for the Simpsons(meaning he does the key poses and they are in-betweened overseas), and he does fairly well, 60K to 80K a year, I think, depending on your position. It is one of the more stable 2D animation jobs in America. He does work way too much overtime and weekends, they lay him off whenever their workload lightens up, and then would rehire him a few weeks or a few months later. He is thinking of going back to school to learn another skill.

I thought he wasn't getting paid enough to work as hard as he does(with the layoffs, he doesn't get 60K a year), and if I thought he was getting the short end of the stick I really feel bad for the Japanese animators. Whatever their situation is, whether they can live comfortably off of it or not, they do the grunt work making some of my favorite entertainment and don't get nearly what they deserve.
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kefkaownsall



Joined: 05 Jul 2008
Posts: 189
PostPosted: Tue May 26, 2009 7:58 pm Reply with quote
plastique wrote:
I have a friend who 'animates' for the Simpsons(meaning he does the key poses and they are in-betweened overseas), and he does fairly well, 60K to 80K a year, I think, depending on your position. It is one of the more stable 2D animation jobs in America. He does work way too much overtime and weekends, they lay him off whenever their workload lightens up, and then would rehire him a few weeks or a few months later. He is thinking of going back to school to learn another skill.

I thought he wasn't getting paid enough to work as hard as he does(with the layoffs, he doesn't get 60K a year), and if I thought he was getting the short end of the stick I really feel bad for the Japanese animators. Whatever their situation is, whether they can live comfortably off of it or not, they do the grunt work making some of my favorite entertainment and don't get nearly what they deserve.

It;s rough even with lifetime employment. I also recommend a trust fund. The thing is that DVD sales clearly aren't going to the animators.
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configspace



Joined: 16 Aug 2008
Posts: 3717
PostPosted: Tue May 26, 2009 9:37 pm Reply with quote
TranceLimit174 wrote:
edzieba wrote:
Nothing at all, but it's a convenient scapegoat. As has been mentioned, the actual animation studios make out quite poorly, with the production committee and distributors raking in the vast majority of the profits.


9/10 of the time studios slack off when they create filler. Animators would much rather screw up a throwaway episode rather than a monumental scene from the source material. Quality just drops overall and when most of your episode is comprised of stills that's very cheap.

If studios had their way, they would not want to create fillers either. It's always due to external pressures. Of course they need to air something as they can't just stop the broadcast for a few weeks at a time while the mangaka creates more source material. You can't really blame them for not wanting to spend much time on filler when they can get them over with quickly and spend more time on the core episodes. After all, there is a fixed budget and a fixed amount of time so you might as well spend it where you need it most.

Quote:
And I wasn't trying to scapegoat harem/moe. As has been stated by others I was just pointing out the paradox they present. The vocal fans don't like them and claim they don't purchase because of the pervasiveness of these titles yet it's those same titles which at the end of the day produce the most money for the companies thus they keep getting made.

It's not a paradox at all. You just need to widen your scope beyond ANN Laughing
You'll find plenty of evidence of its popularity. Even with people who don't buy the mostly R2 DVDs (because frankly they're an absolute ripoff), plenty of the same will buy the merchandise and that's where a lot of money is made.
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