Overworked and underappreciated: the exploitation of animators in Japan
Anime as a storytelling medium has continued to gain popularity in recent times. The mainstream success of titles like Jujutsu Kaisen, Attack on Titan, and Demon Slayer has cemented the art form as a platform capable of portraying larger-than-life characters that are at once interesting and unique. And yet, as industry standards have risen to the point where choreographed action sequences and movie-like production value are the norm, animators have had to confront increasingly harsh working conditions.
Preceding the release of Attack on Titan’s final season earlier last year, studio MAPPA (responsible for adapting the hit manga series) became the subject of heated criticism for its alleged overworking of animators. A tweet made by one of its employees, Teruyuki Omine, noting that he had remained at work for three days straight, spurred both sympathy and anger, as renewed attention was brought upon the exploitation of animators in Japan. This has not been the first time that MAPPA, or other well-known animation studios, have faced criticism over such issues. Part of the problem has been the willingness of studios to undertake numerous concurrent projects: large-scale adaptations set to release on a strict schedule, leaving animators worn out and unmotivated. Many have felt that working overtime has become a requirement—a stark consequence of the burgeoning anime industry and its expectations.
While the anime industry has expanded to account for increasing demand and profitability, a report released by The New York Times shines further light on issues prevalent behind the scenes. Beyond strenuous working hours, many animators are forced to get by on less than sustainable wages, which at times can drop to $200 a month—far lower than the average pay in other countries such as the US, where animators are able to earn upwards of $65,000 per year.
The anime industry’s lack of commensurate pay has been a practice reinforced by the perception that animators are expendable. So long as freelancers continue to enter the job market, large studios are able to divert their costs to maximize profit.
But how long can the anime industry flourish while disregarding the needs of its core workforce? As Jun Sugawara, an advocate for the proper treatment of animators in Japan, states, new talent is likely to grow increasingly scarce as individuals turn to jobs outside of the industry in search of better working conditions. It is important to acknowledge that, in more ways than one, the success that the anime industry has enjoyed has come at the cost of animators’ livelihood and well-being. And although long working hours and tight deadlines have allowed for the frequent release of successful shows, there is a need for animation studios to dial back their expectations. Animators should be given leeway to work at a comfortable pace, rather than feel burdened to churn out results. For their own sake, as much as that of the animators, studios should strive to create an environment wherein employees feel happy and satisfied about the work they are producing—an environment that is both welcoming and conducive to long-term creativity, that allows animators to create their best work possible. If anime is to continue thriving as a medium while upholding current industry standards, we must ensure that those responsible for its production—the animators—see a future for themselves in the profession.
