SK8 The Infinity and Wonder Egg Priority are two original passion projects, both also being high-profile productions that have been in the works for a long time. Despite being exactly what anime needs on paper, they have crashed to the point where only extreme crunch might allow them to make it to the goal by the intended date. Understanding their distinct issues will help you grasp the nuance of TV anime’s structural problems.
Last week, anime creators with diverse backgrounds and standings in and outside the industry joined their voices to illustrate the hellish experience that is in-betweening. This is how the delegitimization of an essential job is ruining lives and putting anime’s present and future at risk.
Today we’re here to talk about a phenomenon that’s gradually been eroding anime’s very identity, while at the same time souring the experience for its animation: the extreme fragmentation of the anime production process. Let’s see what the model that reinforced anime’s visual cohesion was all about, how these changes were introduced and later corrupted, and what to the animators who suffer the issues the most think about it.
In light of the recent news that a studio Madhouse employee was overworked to the point of risking their health, we contacted 25 anime production assistants to detail their experiences and how their problems manifest in very different ways than the animator struggles we often hear about. Despite being integral to any anime project, their working conditions are in some ways the worst anyone has to bear.
Reiko Okuyama’s a legend in the anime industry for her artistic achievements and as an icon at the forefront of the fight for women’s rights in this industry. Now that her name’s entering the public discourse again, though, we have to address an uncomfortable topic: gender discrimination within the anime industry is far from over.
Shingo Yamashita was one of the pioneers of the digital animation movement in anime. He made a name for himself drawing stunning, emotionally loaded sequences, and then moved on to become a creative leader as he experimented with directorial duties and the possibilities enabled by new toolsets. Despite being quite busy, he kindly lent us his time to talk about the changing landscape of this industry and its professionals, the world of digital animation, his evolving creative philosophy, and even…
We often highlight interesting animators and directors who just irrupted into anime and are finding success at a young age, but some times we have to focus on the struggle of less fortunate individuals instead. At a time where anime needs the help of new creators more than ever, the working conditions for youngsters who want to join the industry have grown to be so poor that we’re stuck with very high attrition rates and miserable standards. It’s important that…
Much has been speculated about the effect of new mainstream platforms storming this industry, with Netflix in particular being sold as a potential game-changer for anime productions. And yet, despite some obvious changes when it comes to content restrictions, the people who make anime have unequivocally explained that they appreciate no improvement in their poor situation. Let’s try to pay attention to them for once.
Just yesterday it was announced that the third season of Attack on Titan would be broadcast on NHK’s general channel, on paper getting the most mainstream platform TV anime can aspire to. That’s a good opportunity to give some context to the whole situation: what does it mean, NHK’s plans for anime, and how those are affecting titles like the aforementioned titans, Cardcaptor Sakura, March Comes in Like a Lion, and the rest of their very packed 2018 schedule.
With a bit of delay, here’s our seasonal feature looking into the numbers of TV anime: how many key animators and animation directors the new Spring 2017 TV series required, as well as the degree of outsourcing involved. Complete with commentary to contextualize the data as usual, which this time focuses some nasty recent industry trends.