On March 19th, about two months ago, noted anime series director and animator Kazunori Mizuno died of overwork and chronic sleep deprivation. He took a nap and never woke up. While inhuman hours are common in all creative industries, it’s worth reflecting on what “inhuman” really means in this context. There is an environmental and biological aspect to this tragedy, one that intersects with the social and monetary pressures that drive professionals to accept these working conditions and even normalize them. At this point, unpaid overtime and other forms of anti-body (and blatantly anti-worker) labour practices are the status quo, entrenched over decades of repetition and reinforcement.
Let’s look at another example of a situation where workers were passionate about their work despite its detrimental effects on their health and general wellbeing–the asbestos mine in Asbestos, Québec. As recalled in Jessica Van Horssen’s excellent recent book on the subject, workers’ livelihoods there depended on a single industry for decades, which created a toxic and parasitic bond between workers and the company. Workers, even long after the substance they risked life and limb to get out of the ground was shown to be a risk not just to their health but to those who consumed it as well, often clung to the belief that the company and the substance were not as bad as they were portrayed. It didn’t help that the mining company, and later the Québec government, obscured evidence of the precise cancer risk for even limited long-term exposure to the fibrous mineral.
In both cases there are unusual rates of mortality–with young animators committing suicide or dying of overwork in the anime industry and an entire town afflicted by the very air they breathe and the work they do in the asbestos industry. In both cases there is an anti-body labour practice and certain material and ideological motivations for people to stay in these toxic positions. Even when workers in Asbestos mobilized and struck against the company in the 1950s, their essential dependence on the company as workers and their vulnerability as human bodies did not change. They were well-paid, but it was hazard pay. In the case of anime workers, wages are usually below minimum wage and below the poverty line.
Capitalism as a system, regardless of what is being produced, equivocates all labour as homogeneous and evaluates output in terms of financial return–an abstract indicator completely separate from the quality of the product and the workers’ health–which leads to this kind of destruction. In many ways, we as workers are stuck on the other side of the coin. For those of us who want to pursue jobs in a creative industry or in mining, we will be subjected to hierarchical, profit-driven workplaces where we are replaceable and valued only insofar as we produce more than we are paid.
To make matters more complicated still, in creative fields workers are often trapped between their material needs and the sense that they are not workers but creators who (yes) have more autonomy over their output than auto workers or miners–at least in some cases. Artists often aspire to produce great work, and are encouraged to think that demanding better wages and benefits is ill-befitting artists. Those who work in anime are often passionate fans and want to be doing what they are doing. They are taking the opportunities that the marketplace presents them, and as we can see, even those who are very successful can be driven to excesses where their bodies simply give out.
Only an end to capitalism and its inhumane, purely quantitative evaluation of productivity can ultimately ensure that we all live full and productive lives. I do think, however, that videos and articles like the ones I’ve linked to are important in simply recognizing the problem and honouring the lives of those who have been killed (murdered) by these violent labour practices. Whatever we think of Mizuno’s work, we have to recognize that his was a life early and unjustly taken, and we need to contemplate and create a better world.