After Hideaki Anno failed to interview with Ghibli, he found a small suite of 1LDK in Nakano Ward and rented it temporarily.

When he came to Tokyo from Osaka, he brought with him nearly 500,000 yuan of old capital that he had accumulated over the years, and he was still able to live in a few months with a little frugality. I really can't do it, so I have to go to work.

After dropping out of university, Hideaki Anno came to Tokyo with the mentality of breaking the boat, and he would not return to his hometown without making a career.

While there is still plenty of money at hand, Shu Anno will search the official websites of major job search websites and animation companies tomorrow to see if there are any job postings.

Perhaps geniuses, no matter what era they are, are favored by God. Although Hideaki Anno missed the opportunity to go to Ghibli, he soon found out that there was an animation company he liked, and in the past two days, he began to recruit.

"SHAFT actually put a recruitment announcement, and those two Chinese students really didn't lie to me!" Hideaki Anno stared at the computer screen, his mood agitated.

He was mentally prepared to be silent for a few months, but he didn't expect the opportunity to come so quickly.

Hideaki Anno took a closer look at the job description.

Naturally, he will not consider the position of 3D production, and he is aiming for the two positions of animator or concept artist.

"Submit your resume for preliminary review first. After passing, an interview and a written test will be conducted. The content of the written test is also very simple, it is just a drawing......" Hideaki Anno carefully read the recruitment instructions.

"It's a good treatment. Even if you are an animator, you are included in the establishment of regular employees, and there are a lot of benefits. And there is also a guaranteed salary? Hideaki Anno was taken aback.

Due to trade secrets, SHAFT's job advertisement did not specify how many tens of thousands of dollars a month would be in the recruitment advertisement. But just looking at the description, it's still heartwarming.

As the most basic position in the animation industry, animators have the most and most tiring work in hand, but the treatment is the worst, and they don't even have a basic salary.

In the era when Osamu Tezuka's insect production company brought animation to television media, animators were paid 100 yen for drawing a drawing.

Now, the price is 300 yen.

It seems that the unit price has tripled, but the income of animators, instead of tripling, has fallen into stagnation or even regression.

Because the animation production technology at that time was relatively simple, the lines of the sketch were not so complicated, and the animator could draw one in more than half an hour, and according to the ten hours of work a day, he could draw about 600 pictures a month, and the monthly income was 60,000 yen. According to the prices of that era, this level of income was still able to support oneself, and if you accumulated work experience, rose to the rank of original artist, and then obtained high-level positions such as art supervisor and painting supervisor, the salary could also reach a good level. It can not only satisfy hobbies but also support the family, which is really the best choice for many houses.

But now, as animation complexity increases, the time it takes animators to draw a sketch has also increased exponentially. Although the salary of a single manuscript has increased, the monthly income of a new animator is still only about 60,000 or 70,000 yen. Under the current price level in Dongying, this is not enough to support itself no matter what.

In addition, this is not the income obtained by eating, playing, and grinding, but the remuneration that can only be obtained by working for more than ten hours a day and working all day in the middle of the year.

There is a great mismatch between income and labor intensity, and it is absolutely impossible for such a job to be completely supported by love. So in the animation industry, animators have the highest turnover rate, and many people can't hold on for months.

There is less and less fresh blood in the industry, the brain drain is extremely serious, most of the money is taken away by the production committee, and the animation company is reduced to a wage earner who picks up leftovers.

In the previous life of the Qin and Han dynasties, many people of insight saw such a grim reality in the animation industry that they shouted the slogan of "industry pill".

However, in this world, a certain industry boss who shouts the loudest slogan may not have the opportunity to experience the hardships of low-level animation practitioners.

SHAFT's treatment of animators is very good, and this is the first step for Qin Han to slowly change the industry. Hideaki Anno was also deeply attracted.

Although official animators of large companies such as Ghibli, Toei, and Sunrise are treated well, and they will not encounter the dilemma of being tired and half dead from work, but the money they make cannot even support themselves, but SHAFT's conditions are better. Moreover, as the producer of "Madoka Magical Girl", Hideaki Anno is also very yearning for this company.

So, in his small rental house, he made the most important decision of his life: to apply for a job at SHAFT!

Hideaki Anno immediately sent his resume to SHAFT, and the next day, he received an email reply informing him of the interview time.

After the first hurdle, Hideaki Anno was very excited.

On the day of the interview, he learned the lessons of his previous trip to Ghibli and got up at 5 o'clock in the morning to take the first train to Ukaicho in Suginami Ward, where SHAFT is located.

The main part of the SHAFT is not large, but it is a small five-story building with an off-white exterior that is inconspicuous compared to the surrounding buildings. Compared to Toei Animation's shiny all-glass exterior and the conspicuous style of the iconic work "Puss in Boots" logo printed on the building, the animation company is very modest.

Following the instructions to the outside of the conference room for the interview, Hideaki Anno found that there were already many people waiting.

He stood quietly aside. After a while, someone accosted him and said, "Hey, I heard that this interview will be painted on the spot, are you ready?" ”

Hideaki Anno nodded.

He is no stranger to the on-site painting exam. At that time, he imitated Miyazaki's works, passed the painting exam, and was successfully admitted to Osaka University of the Arts.

Seeing that Hideaki Anno was still silent, the man said again: "I really envy you when you seem to be confident." I heard that those who pass the interview this time will become animators. However, if you perform well, you can be hired as an original artist. ”

Hearing these words, Hideaki Anno's heart moved.

"The judges of this interview, including Akiyuki Shinbo, Hiroshi Wakao, Qin Han and others, are all the main creators of "Madoka Magical Girl". So I think if the subject matter of our paintings is related to magical girls, it may be easier to gain favor. ”

The two chatted for a while, and then it was Hideaki Anno's turn.

He walked into the conference room and made it to the chair in the middle for job seekers.

After sitting down, Hideaki Anno noticed that there seemed to be a gaze that had been looking at him.

"It's probably a delusion, it's better to concentrate, don't think nonsense, lest you make mistakes and make jokes." He thought to himself.

Hideaki Anno is not a delusion. As soon as he entered the conference room, Qin Han looked at this famous animation supervisor in his previous life with great interest.