Please support us by disabling your ad blocker on our site. Dire working conditions are sustaining weekly episode releases of your favorite animes. If you're not an avid anime watcher, you would most likely be dissatisfied with a 20-minute episode for a drama series. However, when taking into account that mainstream anime is almost entirely hand-drawn and consists of approximately 3000 frames/drawings per 20-minute episode, with each drawing taking more than an hour to create, one's perspective may shift ever so slightly. One particular anime that fans deemed worthy of hype was Attack on Titan (Shingeki no Kyojin), which was adapted from a Japanese manga series by Hajime Isayama. A dystopian action series revolving around the impending destruction of the human race by flesh-eating Titans, Attack on Titan has garnered a lot of support from Western viewers-stealing the crown for the most popular show in the US during the week of Jan. MAPPA, a renowned Japanese animation studio, took over from WIT STUDIO for the final season of Attack on Titan. This move was met with indignant outcries from fans and anti-fans alike, who criticized the increased use of CGI (computer-generated imagery), new soundtracks, and overall animation quality. A despicable group of "fans" launched vitriolic attacks on MAPPA staff via Twitter upon the release of each week's episode, forcing an anonymous staff member to issue a statement (which they later deleted) regarding the tight production schedule for Attack on Titan.
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Attack on Titan S4 director, Yuichiro Hayashi has locked his Twitter after being harassed on twitter by the so-called "fans" for not playing the music of thier choice at the reveal moment. They wanted Youseebiggirl (Season 2 betrayal) OST to be played. While it may be instinctive to blame anime studios and animators for mediocre filler episodes and so on, they are actually relatively powerless-it is the production committee that makes the executive decisions about the number of episodes a manga is adapted into, which animes are produced, and the size of the budget for the anime studio. According to a 2016 article, WIT STUDIO had merely 34 employees, explaining their decision to step down after the production committee imposed severe time constraints for Season 4 of Attack on Titan. The animation industry in Japan generated over $10 billion USD in revenue from overseas sales in 2019 alone. However, anime studios often can't afford to be on production committees, which hold IP licenses and merchandising and distribution rights-meaning profits from anime productions seldom reach the pockets of anime studios. What's more distressing is the disparities in income between key animators ("ganga-man") and in-between animators ("douga-man"). The former is responsible for pivotal frames, whereas the latter is in charge of transition frames and refining the work of key animators.
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The position of key animators is highly coveted due to the artistic autonomy granted to the individual, whereas in-between animators are frequently disparaged due to the grunt work the position entails. The average annual income for in-between animators-a position typically reserved for freelancers or entry-level animators-is only $12,000 USD, according to a 2019 report by the Japan Animation Creators Association (JAniCA). This issue has been acknowledged by those directly affected, but anime labor practices have yet to change. This hashtag is about the entry level jobs (in-betweeners) in the anime industry, and how poorly these employees are treated. Combined with the fact that MAPPA took on several projects simultaneously-Chainsaw Man, Jujutsu Kaisen, Yasuke, and Dorohedoro, to name a few-it's unprising that its animators were severely overworked and underpaid.️ ❤
Others pay the price in the form of prolonged periods of fatigue that culminate in hospitalizations.
Another animator compared MAPPA to a factory and spoke up about the terrible working conditions there, such as having to work until dawn in a filthy space. MAPPA was forced to outsource many of its projects in order to meet the tight deadlines they'd set for themselves, indicating a disconnect between their ambitions and the reality of anime production. Not only do animators have to deal with backlash, which takes an unrelenting toll on their mental health, their physical health is also neglected in favor of increasing productivity. Additionally, entry-level staff don't receive adequate animation training, which means key animators are tasked with fixing mistakes. In fact, karōshi-"death from overwork"-is a notorious phenomenon among Japanese workers as the industry is lauded to a toxic extent in Japan, and there is an expectation to do overtime. Others pay the price in the form of prolonged periods of fatigue that culminate in hospitalizations. This begs the question: Why work in the animation industry at all? Becoming an animator is the dream job for "sakuga" fans who consume the media on a regular basis and have a deep appreciation for the drawings in anime. Many strive to make a name for themselves, hoping to be recognized for their talent and share their work with the world, and are willing to endure atrocious working conditions. The low wages and forced overtime are perceived as necessary sacrifices for their artistic endeavors, and it is exactly this mindset that perpetuates the unforgiving work culture in Japan. For those of us enjoying anime from a safe distance, ignorant of the industry's exploitative labor practices, it's important to remember that while anime often presents us with idealized interpretations of the world, their production process is less than ideal. Rather than condemning the underpaid and overworked animators, we should hold production committees accountable. As much passion as animators may have for their craft, it's no substitute for financial and mental stability.
This is a huge turning point in his life and the beginning of our story.
It's almost Halloween, and what better way to spend October than watching psychological thrillers? If you're looking for an anime filled with suspense, amazing storytelling, and dynamic characters, Naoki Urasawa's 2004 anime series Monster gives us all of these things and more. It focuses on the life of Dr. Tenma, a brilliant Japanese brain surgeon working at Eisler Memorial Hospital in West Germany, 1986. He's the hospital's rising star and engaged to the daughter of the hospital's director when he's suddenly faced with a moral dilemma that shakes his core, forcing him to make life -changing decisions. An innocent man dies because Dr. Tenma followed orders to treat a patient of higher social and political status. He is devastated and horrified as the widow confronts him, realizing what following these orders had entailed. This is a huge turning point in his life and the beginning of our story. This moment leads him to make a decision that alters his life in ways he couldn't even begin to imagine. The dilemma Dr. Tenma had to face is one that is brought up throughout the entire series: is every life equal? Obviously, the answer is "yes," and Dr. Tenma tries to convey this time and time again.
The plot of Monster is imaginative, with a well executed story.
Starting because of the innocent man dying because he wasn't deemed as a priority by the hospital, Tenma performs surgery on a boy with a gun shot wound despite receiving orders to treat the major first. When Dr. Tenma decides to help this boy, he's completely unaware that he's reviving a "monster" and the antagonist of this story. Almost immediately, Dr. Tenma is faced with tragedies and mystery at the hands of this ten-year-old boy. Most of Monster takes place 10-12 years after this point, following a string of murders occurring around Germany. It doesn't take long before Dr. Tenma is standing face to face with the murderer, who then reveals that he was the young boy Tenma brought back to life ten years prior: Johan Liebert. He shoots Dr. Tenma's patient right before his eyes and walks away like a true psychopath: cool, calm, and menacingly slow. Thus begins Dr. Tenma's journey to take Johan down, pulling him out of the shadows and into broad daylight to prevent any more murders from happening. This proves to be no easy task, though, and Dr. Tenma soon discovers there is far more than meets the eye in his journey of rectitude. The plot of Monster is imaginative, with a well executed story. The mysteries, plot, and characters are all woven together so seamlessly, and everything made perfect sense as the story progressed, while also managing to surprise at every turn. The plot is beyond compelling and riddled with depth and intrigue.
Every episode brings something new and enthralling.
Urasawa did a great job making the characters three-dimensional and real. These characters weren't good or bad, or cookie-cutter images of other characters. They were each their own person and brought something unique to the story. They made us reflect, they made us cry, and they made us feel. Every episode brings something new and enthralling. The characters are carefully developed along the way-heroes, villains, and everyone in between. There are a lot of different types of villains in Monster (with the big bad boss being Johan Liebert), which is a big part of what makes this series so great. There's not just one bad guy and a bunch of lackeys, but multiple villains of all calibers, with various levels of evil versus humanity, none of which are the same. Even Johan's followers have their own individuality as villains. Each one brings something different to the table, and we tend to hate each of these villains (or love to hate them) for different reasons.
First and foremost, there's Johan. If you like incredibly eerie, disturbing villains-the calm and collected ones that are secretly serial killers-you've come to the right place. Johan's the main antagonist of this story and Dr. Tenma's worst nightmare come to life. He constantly taunts the doctor and murders anyone in his way-sometimes for no reason at all other than he simply can. As the show progresses, secrets are revealed and more tragedies occur. We realize just how bad Johan really is and how much he seems to hustle as a villain (seriously, where does he find the time)? He is easily one of the creepiest villains in all of anime. Everything he does is meticulous, and he can't interact with anyone without ruining their lives or convincing them they're useless and unworthy of love, or even life itself. He's calculated, intelligent, and has no remorse; he knows exactly what he wants to do and will accomplish it at all costs. He isn't predictable either, which gives the story all the twists and turns it needs to be made even more interesting. While Johan is the calm, creepy evil mastermind, there are others walking adjacent paths, such as the recurring villain Roberto. This man is so easy to hate, which makes him a good villain in its own way. In contrast to Johan's insidiousness, Roberto's more of a brute force/macho man villain that you know can beat the life out of you without breaking a sweat. While Johan uses mind games to win his wars, Roberto uses his inhuman strength and size to barrel through obstacles and demolish his enemies.
He's seditious and lacks no remorse for his actions, much like Johan. However, he still bows down to Johan and does what he's ordered to. He also thinks of his own self-indulging antics as well, as seen through his multiple affairs and his toying with people. Part of what makes Johan more evil than Roberto is that Johan seems detached from being human altogether and doesn't care about following anyone's plans or desires other than his own. There are many other villains in this series with their own twists on evil as well. Some prove to be more human than what first appears, making their stories even more interesting. This series shows us we're all human and that there are blurred lines between good and evil. We are then begged to ask the question, "can truly evil people become good in the end?" Questions like these are threaded into the entire show and addressed in ways that make us stop and think. Where there are mighty villains, there are mightier heroes. No one can watch Monster and not root for Dr.
Tenma. He's the true MVP of the show. He starts out as an up-and-coming doctor paving his way into a bright future and then quickly ends up as an outlaw pursuing a phantom-type serial killer who some people, including Dr. Lunge at the BKA, refuse to believe is a real person. We find ourselves shouting "JOHAN IS NOT IN TENMA'S HEAD!" and rooting breathlessly for the doctor as he runs from the law and those wishing to cause him harm or kill him altogether. It's hard to not be on edge as the doctor pursues Johan and debates whether or not he should take away the life he gave to Liebert a decade prior. Something ending about Dr. Tenma is that no matter how much trouble he's in, he always stops to help someone in need, even if it's someone who actively fights against him. This is one of the ways he shows that he truly does believe all lives are equal. He doesn't pick and choose who he will save or give any type of medical attention to. He gives it to anyone who needs it, even if it gets him in trouble. Parallel to Dr. Tenma on the quest to take down Johan is Johan's twin sister, Nina Fortner (aka She and Johan grew up together until shortly after they were sent to the hospital the night Dr. Tenma treated Johan for his gunshot wound. After that, Anna became Nina and grew up in a nice home with adoptive parents who loved her, along with a memory problem blocking out any recollection of her childhood.