The global reputation of Japan's animation industry—an animated cartoon industry—has never

been higher, and at first glance it would appear to be in rude health. In the opening weekend of Miyazaki's new film, Howl's Moving Castle, a record 1.1 million Japanese crammed into cinemas nationwide. It has since been seen at home by nearly 10 million people, and has made Japan the only country in which The Incredibles has been kept out of the top slot.

Yet Japan's animators are full of gloom. They fear that the future is bleak and that the success enjoyed by Miyazaki and Studio Ghibli, which makes his films, is actually masking a sad decline. Indus try experts say that not only is there a lack of creative talent on a par with Miyazaki, but the overall standard of animators has fallen over the past decade as low pay and poor working conditions force many to quit. "Miyazaki can't be replaced, he's a one-off," says Jonathan Clements, a British animation expert, "Miyazaki isn't 100 per cent of Ghibli, but when he goes, the party is over."

The creative and commercial success enjoyed by Ghibli has afforded it a unique breathing space. For other studios, however, commercial pressures force work to be done at breakneck speed and on shoestring budgets. Veterans of the industry say quality has been sacrificed as television cartoon episodes are made for as little as ￡10,000.

Many young animators rely on parental support to put them through animation schools and continue to need financial help just to afford to work in Tokyo, the world's most expensive city. Yet, remarkably, animation has little problem attracting recruits. Dozens of students pore over desks painstakingly producing page after page of drawings. Most say they are aware that pay is low but desperately want to work in the industry they fell in love with as children through cartoons such as Doraemon, the blue talking cat, and Battle of the Planets.' But reality often bites as animators reach their thirties, by which time they typically earn around a third of the average pay for Japanese their age and at lower hourly rates than supermarket clerks.

Clements believes that the soul of animation is at stake. "Animation is, by definition, from Japan, but it's only a matter of time before the number of foreign contributors tips the balance, and what used to be animation becomes plain old cartoons," he says. "It may ultimately remove much of what makes animation appeal to its current foreign audience base: its exoticism."

For the time being, Japan's animation industry is

A．in a state of inactivity.

B．somewhat promising.

C．going from bad to worse.

D．seemingly glorious.