A knowledgeable source within the anime industry has strongly criticized the Japanese anime sector for its discriminatory practices against animators subcontracted from China.
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Unveiling Discrimination: Challenges Faced by Chinese Animators in the Japanese Anime Industry
A figure within the anime community has vehemently condemned the prevailing culture of discrimination in the industry, specifically criticizing Japan’s bias against animators subcontracted from China in a recently deleted X (formerly Twitter) thread.
In the archived posts, the animator criticized an undisclosed anime studio where he had been employed, highlighting that the studio had faced scrutiny for the past two years. Expressing astonishment at the studio’s lack of expertise, he expressed concern over their consistent hiring of inexperienced individuals and lamented the absence of a mentorship system for passing down skills from older to younger animators.
He emphasized that this issue was prevalent at the primary Japanese animation studio and not among the subcontracted companies in China. According to him, foreign studios, particularly those in China, now outperform the main contractors.
He continued, stating that when collaborating with Chinese animators, he senses the industry’s disregard for their contributions. Additionally, he noted a lack of representation for Chinese directors in Japanese animation, despite the significant support the industry receives from China. He concluded by pointing out a pervasive assumption that China is only utilized when cost-effectiveness is a primary consideration.
The animator further explained, “I’ve worked with some incredibly skilled Chinese staff members who possess remarkable abilities, yet they express frustration at not being given opportunities in Japanese productions. Interestingly, it’s not uncommon for individuals to earn more by working on Chinese animation compared to Japanese animation.
Despite this, it’s commendable that they still aspire to contribute to Japanese animation. During my time as a drawing artist, I often heard remarks like ‘Chinese subcontracted studios can’t produce proper animation.’ However, upon reflection, the low subcontracting fees for the productions delivered by such studios seem hardly credible. I believe a fair assessment should involve providing the same amount of time and resources as in Japan and then comparing the quality of the work.”
He emphasized that given the substantial amount of money invested in anime, a single mistake rooted in incompetence could potentially lead to the downfall of an entire studio. This sentiment regarding the lack of skill transfer from older to younger animators was echoed by Terumi Nishii, the chief animation director for “Jujutsu Kaisen 0,” who expressed concerns about the imminent collapse of the anime industry.
Nishii also joined the recent discourse on the treatment of Chinese animators, stating on X, “The younger Chinese generation appears to be more humble and passionate about anime.
As anime fans ascend to managerial roles, there is a genuine eagerness to enhance the industry.” She additionally remarked, “Japan is likely to fall behind. China possesses the ambition to improve, which is lacking in Japan, along with the necessary resources.” While Nishii raised apprehensions about potential government interference, she acknowledged that financial considerations often wield significant influence.
中国アニメ会社的に、日本の予算だと安くてできないという話はよく聞く。
— 西位 輝実 NlSHII Terumi (@NishiiTerumi) January 18, 2024
いずれ、製作委員会に中国企業をガンガン入れて予算を上げてハイクオリティな中国制作の日本原作アニメができる日も近いかもしれない。てか、そうなるだろう。ここ３０年の日本の黄金の負けパターンに乗っかっちゃってる。
RT
The animator concluded his thread by underscoring how foreign studios had already reached the level of expertise seen in Japan, citing the recent Solo Leveling opening video directed by Studio PPURI’s Choi Inseung. Masao Maruyama, the founder of MAPPA and co-founder of Madhouse, had asserted last year that if restrictions on artistic expression were lifted, Chinese donghua would surpass Japanese anime in “no time.”
The sentiment that subcontracted studios often go unnoticed and face condescension resurfaced recently after The Simpson’s Emmy win for “Treehouse of Horror XXXIII,” particularly the infamous Death Note episode. Online commentators pointed out that while Madhouse received the majority of the credit for Death Note, the Korean studio DR Movie played a significant role in animating large parts of the series. DR Movie was subsequently brought back to animate the Death Note spoof in The Simpsons’ episode.
Recent developments in the anime industry have sparked discussions about Japan potentially losing its dominance in the anime world. The rise of Chinese investments and animation capabilities, coupled with the increasing demand for adaptations of Korean manhwa, could result in Japan ceding ground if both countries decide to bring production in-house.
Notable titles such as Link Click, Mo Dao Zu Shi (Grandmaster of Demonic Cultivation), Heaven Official’s Blessing, and Daily Life of the Immortal King have gained significant popularity in recent years as some of the most well-received shows originating from China.
While not addressing every perceived issue within the industry, a recent think tank emphasized that for Japanese animation to thrive, government intervention might be necessary to secure its future.
Frequently Asked Questions (FAQ) – Challenges in the Japanese Anime Industry
Q1: What led to discussions about discrimination against Chinese animators in the Japanese anime industry?
A1: A figure within the anime community criticized the prevailing culture of discrimination in the industry, particularly Japan’s bias against animators subcontracted from China. This critique was part of a now-deleted thread on X (formerly Twitter).
Q2: What issues were highlighted by the animator in the archived posts?
A2: The animator criticized an undisclosed anime studio for lacking expertise, consistently hiring inexperienced individuals, and the absence of a mentorship system for passing down skills from older to younger animators. The issue was noted to be prevalent in the primary Japanese animation studio and not among subcontracted companies in China.
Q3: How did the animator perceive the competence of Chinese animators compared to Japanese animators?
A3: The animator emphasized that foreign studios, particularly in China, were now outperforming the main contractors in Japan. He expressed frustration at the industry’s disregard for the contributions of Chinese animators and highlighted a lack of representation for Chinese directors in Japanese animation.
Q4: What did Terumi Nishii, chief animation director for “Jujutsu Kaisen 0,” contribute to the discussion?
A4: Terumi Nishii echoed concerns about the lack of skill transfer from older to younger animators and the potential collapse of the anime industry. She noted the humility and passion of the younger Chinese generation for anime and expressed worries that Japan might fall behind due to a lack of ambition and resources.
Q5: How did the animator conclude his thread, and what did Masao Maruyama assert about Chinese donghua?
A5: The animator concluded by underscoring that foreign studios, such as Choi Inseung’s Studio PPURI, had already reached Japan’s level of expertise. Masao Maruyama, founder of MAPPA, predicted that if restrictions on artistic expression were lifted, Chinese donghua would surpass Japanese anime.
Q6: What recent developments in the anime industry prompted discussions about Japan potentially losing dominance?
A6: The rise of Chinese investments, increasing animation capabilities, and a growing demand for Korean manhwa adaptations have led to discussions about Japan losing ground in the anime world.
Q7: What titles from China have gained popularity, contributing to the changing dynamics in the anime landscape?
A7: Titles such as Link Click, Mo Dao Zu Shi, Heaven Official’s Blessing, and Daily Life of the Immortal King have gained significant popularity, further indicating the evolving global anime landscape.
Q8: What was the recommendation from the recent think tank regarding the future of Japanese animation?
A8: The think tank emphasized that for Japanese animation to thrive, government intervention might be necessary to address perceived issues and secure its future in the face of changing industry dynamics.