The issue, she says, was the workload: “This yr, Science Saru took on Inu-Oh (a function), two single-season productions, in addition to Star Wars: Visions — I don’t consider this was a manageable variety of productions. Its core staff vary 40–50 in quantity, and although they liaise with many freelancers, the burden on the core workforce was heavier than it ought to have been.”
The strain resulted in some “horror tales,” says Chung, including, “a studio shouldn’t have its twenty-something ladies crying within the lavatory, doing all-nighters.” These circumstances ultimately satisfied her, in addition to a number of colleagues, to depart.
Chung makes it clear that there are worse offenders than Science Saru. She hyperlinks its woes to systemic issues with the Japanese trade, the place the pay acquired by studios and their employees stays chronically low. With demand for anime rising, significantly from main firms, she thinks there may be scope for studios to collectively negotiate for more cash and higher schedules from financiers.
Her feedback be a part of a rising refrain of criticism in opposition to pay and employment phrases in anime. Earlier this month, an animator accused the studio Mappa of paying its artists rock-bottom fee on a Netflix manufacturing; Mappa later defended itself in an announcement.
Science Saru was based in 2013 by director Masaaki Yuasa and producer Eunyoung Choi, who’s now CEO. Yuasa stepped down as president in 2020, stating that he had been working continuous for seven years and would now take a relaxation.
Picture at prime: “Preserve Your Arms Off Eizouken!”