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Last Month's Books
I always enjoy the Animation World book reviews, but your three June
book reviews were terrific. Bob Miller with "Hollywood Cartoons: American
Animation in Its Golden Age" (Miller,
4.3), and Fred Patten with "Understanding Animation: Huh?"
(Patten, 4.3),
were their usual expert selves. In "Saturday Morning Fever: The Worst
Gen X Has to Offer" (Maiko,
4.3), Scott Maiko was not only informative and incisive -- he was entertaining.
Keep up the excellent work.
Regards,
Patrick Duquette
ANiMATO!
A Letter from Japan
While studying film and mass media in university, somehow I got it in
my head that I should go study animation in Japan. I guess I was all excited
about what the Japanese were doing with animation. As I saw it, they were
able to use animation to tell serious, epic stories using characters designed
in some semi-realistic style. I was also fascinated with those zippy mechanical
designs just full of detail and enough layers of shadow and highlight to
make any animator scream. This is what I wanted to draw.
But I didn't just want to imitate Japanese style. I wanted to study it as
one would study any craft, from the masters. So after graduation, I made
my way to Japan. I spent the first few years in a small seaside village
studying the language, working, and saving money to go to this expensive
animation school in Tokyo. Finally, I made the move to Tokyo and started
the animation school.
When the two year course was nearing the end, the school counsellor met
with each student to discuss their future career prospects. When I told
him that I wanted to work in a Japanese studio, he tilted his head, sucked
in through his teeth as Japanese do when presented with some overwhelming
request, then he uttered, "Muzukashii des ne." ("Muzukashi
des ne," means something like "Oh, that's way too difficult"
or simply, "Forgetaboutit.") He was saying that working in a studio
would be difficult, if not impossible, for me. There was the obstacle of
getting a work visa as well as the problem of low pay and long hours. But
of course like any good American, hearing the word "impossible"
infuriated me and made me even more resolved to prove that it could be done.
In spite of those warnings, I did find work. A veteran animator who had
gotten his start on the old Mazinga series offered me the chance
to work at his small studio where most of the animation work came from Nippon
Sunrise mecha shows. I was pretty happy because those were just the kind
of shows on which I wanted to work.
At the studio, my real education began. The school had only taught the very
basics, so the more experienced key animators trained all of us "new
kids." Their instruction was invaluable even though at times they seemed
like samurai drill instructors, yelling about perspective and proportion
and basically making us do everything over.
We were working on a lot of shows including Gundam Wing, Silent
Service, Gaogaiga and many others. Insane deadlines had everyone
under a lot of pressure. There were a lot of all-nighters because the in-betweening
on the mecha scenes with all that detail and shadow meant that one page
could take three hours or more. But I couldn't complain, that's what I had
signed up for.
Our salaries were based on our monthly page count and each page was worth
about 160 yen on average (US $1 = about 140 yen). At this rate, even the
faster animators averaged about 50,000 yen a month (50,000 yen = about $360),
poverty level for a city like Tokyo. It was no suprise when almost all of
the new guys quit after the first few months. This is a typical situation.
I worked another job to pay my rent and living expenses and maintain a working
visa. Even at the larger studios, the animators' prospects don't fare much
better. The Japanese consider the ability to 'gaman' (endure hardship) a
great virtue. In this light, the experienced animator, though he has no
worldy possessions, commands a great deal of respect. Even our boss has
no car, no house. All he has are some overgrown goldfish and a futon under
his desk.
I believe Japanese animators regard their craft like other traditional crafts
and martial arts. The novice is trained by the master in 'the way' whether
it be kendo, judo, or even tea ceremony or flower arrangement. The student
is allowed some creative input only after completely mastering the form,
if even then.
All this was what I wanted, right? The long hours and low pay didn't really
get me down, but reading about the American industry's boom did. Years back
American animation was nothing more than Saturday morning silliness and
commercials for He-man and G.I. Joe in the afternoons. When
I left the States the seeds of the animation industry's resurrection had
begun to sprout with The Simpsons and MTV's Liquid Television..
I believe that it was these shows aimed at mature audiences that gave American
animation back its respectability. Animation had become cool and anyone
could feel good about watching it. Perhaps this kind of redirection is what
the Japanese industry needs. Sure they have lots of animation for adults,
but most of it is sexual and violent. That has its place, but I want to
see something that would have an appeal beyond the otaku fans to a more
international audience.
I want the individual Japanese animators to see the marketing potentials,
and cash in, even a little, on all their efforts. That's why last year,
in an effort to bring some of that prosperity to our studio (and of course,
to myself), I talked to a few American companies who were looking to have
some anime-style animation done. After getting an offer to do a short promotion
video, I presented the idea to the folks at my studio. They tilted their
heads and sucked their teeth and said, "Muzukashii desu ne."
These days, although I still work at the studio, I've hooked up with someone
who shares my visions of the international market and we now have a couple
of projects in the works. We also have access to a few studios who are interested
in doing the work, but I still hope that the animators at my own studio
might decide to give it a try.
Sincerely,
David R. Son
Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to editor@awn.com.