#get all those consistent traits in there.. new guy really solidifies that idea

[starshine-selfships]

That being said wehhhhhh he's so cute

[deltaengineering]

Summer Anime 2018 Part 1: Nurupo

I feel bad for calling last season weak now, since that turned out okay, what with Megalobox, Hinamatsuri and Rokuhoudou (the best show you didn’t watch). Maybe this is a lesson to not be so negative, but all the positivity in the world can’t make this season look good. To balance it out, I’ll be bringing along some hot opinions from people getting paid to see the bright side this time.

P.S. Part 2 is here.

Island

What: A very Frontwing version of When They Cry, apparently. Awesome McCooldude wakes up on an island full of pliant girls and/or dark secrets.

✅  looks alright

❌ story is tryhard mystery nonsense based on convenient amnesia, very unlikely to deliver

❌❌ an absolutely terrible cast of generic VN characters, enjoy your common route hijinks with them

❌❌ Frontwing being Frontwing, please see picture.

ANN sez: “This episode accomplishes the two things that it absolutely must for the series to have a chance of succeeding: it makes the main trio of girls endearing enough and layers on some intriguing mysteries.”

Hanebad!

What: Some girls take badminton very seriously. Somewhere between genocide and extinction level event seriously.

✅  well animated and directed

✅  there appears to be more to the characters than nothing at all, so the overbearing presence of the drama llama might actually pay off

❌ has a tendency to wallow in ostentatious KyoAni-style presentational kitsch

❌ speaking of which, making the cast of Euphonium look like a bunch of carefree slackers by comparison is not a good thing

ANN sez: “From the lush colors of their school's flowers to the alienating saturation and long shots of their gym hallways, every mood HANEBADO strives for is captured perfectly through its visual storytelling, and solidified through fundamentally sturdy dialogue and plotting.”

Senjuushi

What: Touken Ranbu with firearms.

❌ This is a cute boys doing cute things anime set against a backdrop of global thermonuclear war and combining the ultra seriousness of ufotable TR with the slice of life tone of Doga Kobo TR makes for a very, let’s say, “uneven” experience. 

❌  Unsurprisingly, it has the production values of neither of the above and looks like crap instead.

❌❌ The localized title is “The Thousand Musketeers” and given the reckless pace in which it introduces pointless characters, it might actually hit that number in 12 episodes.

❌❌ Mobile game character designs must be stopped, for fuck’s sake

ANN sez: “The story itself has some promise, especially if you're a fan of antique guns.“

Shichisei no Subaru

What: VRMMO light novel garbage about MMO newtypes.

❌ High tier light novel tropes like “u die in the game u die 4 real”, grade schooler magical girlfriends and demigod abilities

❌ Yes, the characters start as grade schoolers and then there’s a timeskip where they become high schoolers. They don’t change at all, which is either cutting commentary on arrested development or an indication of how good this show’s writing is.

❌ Ideas like permadeath in an MMO and giving good players a stake in the game company are hilariously stupid even by this genre’s standards.

❌ You’ve seen this exact cast of characters before, likely in better shows.

❌❌ There’s really no single egregiously bad aspect, but the stank of mediocrity is so overwhelming as to deserve a double minus all of its own.

ANN sez: “This episode banks heavily on the appeal of its mysteries, but those mysteries actually are pretty appealing, and I ultimately respect this episode's choice to introduce so much of its world and characters before getting to the real conceit.”

Banana Fish

What: A well regarded classic manga about New York’s seedy gang underbelly of drugs and violence. And BL.

✅ ✅   Looks good. Like actually, legitimately good. Animation, character design, directing, this show is quality.

❌ Updating the setting to contemporary times seems like a not so great idea since everything about this is deeply steeped in the mid-80s gang violence and drugs panic, no matter how many smartphones get used.

♎ The pacing is ultra fast. While I will admit that I’ll take that over a snoozefest (especially in a seasonal rundown), if this wants to be a legitimate high tier anime it needs to let the atmosphere breathe more. 24 episodes isn’t much for a 19-volume manga.

❌ I’ve praised MAPPA for promising first episodes before, and then I got the likes of Yuri on Ice and Virgin Soul out of it. This is not an anime original so it will be harder to fuck up, but life finds a way - especially given the need for condensing the story as noted above.

❌ Ultimately, just being a classy production with proven writing isn’t the be-all-end-all; quality aside, I still have to like what it does, and I’m not sure what amounts to a homoerotic 80s crime B-thriller is exactly in my wheelhouse.

✅ What else are you gonna watch this season?

ANN sez: “The one negative I can foresee is that one character is portrayed as a fairly stereotypical gay sexual predator, and this story pitches itself consistently as a seedier exploration of its boys' love subject matter, so it's reasonable to expect these kinds of details going forward.”

Yume Oukoku to Nemureru 100-nin no Ouji-sama

What: Girls get their wish-fulfilment isekai nonsense too, it’s just a pretty pointless definition when you can just say “basic otome harem” instead. But sure, nondescript girl wakes up in fantasy dream universe where she has a magical trait that makes a large number of princes desire her. Call it what you like.

♎ Successfully avoids the most obnoxious otome harem and isekai tropes, but that just makes it even more bland

❌ lots of exposition about an universe that is hardly complicated and transparently an excuse anyway

❌ Main character is agreeable but exceptionally boring

❌ The princes are all generically princely and very little else

❌❌ combine that with sluggish pacing and this might be the most boring show so far, which is not an easy feat

ANN sez: “There were also some neat details here and there that I particularly appreciated, like the fact that our heroine is actually a working adult, as well as the idea that rather than being “trapped in a new world” she's in truth been returned to her home.”

Back Street Girls

What: A trio of yakuza thugs get a forced sex change because their boss wants to be an idol producer. It’s funny, laugh.

❌ This is not the warm, fuzzy trans acceptance anime you’ve been looking for, to put it mildly. I am not easily offended, but it would have to be pretty darn good to outrun this premise. Yeah, about that...

❌❌ runs its one joke (idols are not supposed to be thugs, like, at all!) into the ground before it exceeds a 3-minute short runtime; is actually 24 minutes long anyway. Hope you really like that joke.

❌❌ the execution of said joke is the pits of anime comedy, nothing but reaction faces and shouting

❌❌ production values are basically non-existent, at most you can say that they took the time to color in those manga panels

❌ learning that Chiaki Kon is directing this pile is just sad, put THAT in your auteur pipe and smoke it.

ANN sez: Nothing, since western licensors mysteriously chose to skip this one. Really a shame because I was looking forward to the outrage.

Isekai Maou to Shoukan Shoujo no Dorei Majutsu

What: It has “Isekai” and “Maou” in the title so what do you fucking think. What it doesn’t tell you is that it’s also about an MMO, for the full LN shitter nuclear triad.

❌❌ It’s about a loser otaku who gets trapped in his MMO wherein he has the mostest hax, complete with complementary slave pettan catgirl and slave oppai elf

❌❌ This is meant to be funny because he’s too much of a dweeb to put his penis where his mouth is.

❌ Technically better executed than Death March or Isekai Smartphone, so it gets one single minus for effort.

ANN sez: “The idea that Takuma is so insecure about talking to other people that he can only comfortably speak in the voice of his demon lord character is ingenious in a dramatic sense and endearing in a personal one, while Takuma's clear understanding of his personal failings makes him far more sympathetic than the genre's usual snarky protagonists.”

Satsuriku no Tenshi

What: Early teen girl checks herself into Silent Hill General Hospital for grief counselling.

✅  Atmosphere works reasonably well; it’s creepy where it needs to be, which is everywhere and all the time.

❌ The girl is a nonfactor blob and the tough guy she gets paired up with is an annoying chuuni edgelord (it is called 𝔄𝔫𝔤𝔢𝔩𝔰 𝔬𝔣 𝔇𝔢𝔞𝔱𝔥 after all), which is not promising for the long run

❌ So obviously based on a run-of-the-mill spoopy RPGmaker freeware game you can practically see the floor tiles.

❌❌ 24 solid minutes of Getting Cornered By A Rape Metaphor quickly goes from unsettling to incredibly tedious.

❌❌ There’s really nowhere for this to go, given how unoriginal everything is; at best it’s going to be “it was all a dream”, at worst “everyone was dead all along, please feel sad now”.

ANN sez: “The design of the facility is one of those fanciful every-level-is-a-different-setting worlds, but the artistic effort strongly pushes the creepiness factor with a design aesthetic that suggests age, decay, and neglect.“

Harukana Receive

What: Girls play beach volleyball in scenic Okinawa, some light sports drama seems to be on the horizon.

✅  Looks just good enough

✅  Girls are just cute and likeable enough

❌ the sports aspect is weak; maybe I’m just spoiled on Emiya-san’s incredible beach volleyball scene right now, but even when not compared to a top tier studio ostentatiously flaunting the budget of their fucking cooking short the match here isn’t very compelling.

♎ where Hanebad has a bad case of the cereals, this may have the opposite problem of being too cotton candy to be worth it

✅  “good enough” is not a ringing endorsement, but counts for something when being just okay will net you a third or possibly second place of the season.

ANN sez: “This is, of course, all just conjecture right now. ”

Chio-chan no Tsuugakuro

What: We took Nichijou and replaced the surrealism with video game references and the production values with donkey dung. Let’s see if delta notices!

❌❌ Production values are not optional when you want to be Nichijou; it being astoundingly over the top and imbued with impeccable timing is a (or even the) main part of Nichijou’s appeal. Without them you’re left with basic reactionface manzai over awkward situations, the king of comedy.

❌❌ Suffice it to say, this show is 100% trying to be funny, while also 100% not succeeding at being funny.

❌Asscreed is a more original tentpole to rotate your first episode around than the usual Dragon Quest, but not by much.

♎ neurotic nerd main character that is little more than a bundle of social anxieties will be #relatable to anime professionals, observe:

ANN sez: “Chio's overthinking in this situation is both hilarious and painfully true-to-life, with her furious strategizing coming across as both absurd and very familiar to anyone who's not comfortable in conversation.”

Planet With

Wat: Appears to be a tokusatsu/crypto-mecha show aimed at the younger set, with the gimmick being that our protagonist is (initially?) on the side of the villains(?).

✅  Pretty wacky, actually. It definitely doesn’t neatly fit in your square notions of what an anime is, man (unless you’ve watched FLCL).

❌ It seems very uncertain whether the wackiness is in service of anything. It might be To Be Heroine, or it might just be Heybot with fewer fart jokes.

♎ Furthermore, it wants to be intriguing and sort of is, but merely being intriguing is not that hard - you just make no sense and hope for the best. This has the not making sense part down, do you feel lucky?

❌ tries to build up characters by immediately going for the sad flashbacks, which I never like, especially if the rest of the show is eIDLIVE-level nonsense.

❌ Looks mostly fiiiiiine, but is also full of subpar CG

ANN sez: “So if the heroes are fighting against someone who just wants peace, then what does that make them? And more importantly, if they find out that the bears aren't evil, will they stop?”

Hataraku Saibou

What: A cutesy educational comedy about the workings of a human body.

✅  Well made, characters are cute, topic is interesting.

❌ Educational aspect can get in the way; I’m not suddenly giving heavy exposition a pass just because it’s trying to teach me something, especially if it’s things I basically already know.

♎ Will have to show if it can keep coming up with good scenarios. The lung infection in episode 1 was alright and so will probably be the skin cut in the preview, but beyond that I’m not sure what’s left for red and white blood cells to do. I’m not expecting a show with this tone to tackle things like retroviruses, if you know what I mean.

♎ An actual storyline seems like too much to expect, which isn’t necessarily a bad thing but not a positive either.

✅  Doesn’t rock my socks off but is an easily watchable show with a fine idea and high production values, which again is hard to say no to right now.

ANN sez: “But since it culminates in one of my favorite scenes from the manga, visualizing sneezing as shooting a torpedo out your nose, I can forgive the random gendering of cells.”

Ongaku Shoujo

What: DEEN are getting in on the idol mobile game anime biz too.

✅  The main character’s gimmick is that apart from being A Honk, she can’t sing for shit; this is moderately funny.

❌ It might have counted for more if that hadn’t come out seconds before the episode ended. Even if it isn’t a momentous twist, it was more of a point of interest than the incredibly bland leadup to it had.

❌  Yeah, “Ongaku Shoujo” is an entirely indicative name of how generic this show is: Music + girls, indeed. I assume “Idols” was taken.

❌ I’m still not sure what the ideal cast size of a show like this is, but 12 idols is Idolmaster turf and as such too many. They have personalities? I think?

❌ a very small handful of cuts aside, woeful production quality; I know picking on DEEN is 2ez but this is not their finest work. Animation snobs can feel proud that there’s no CG dancing here, for the rest of us it’s an object lesson on why CG is the lesser of two evils.

✅  Tumbling SR cards in the ED (which is probably actually the OP) made me laugh; this show can’t even afford URs.

❌❌ Overall, just another idol show. Large cast plus presence of a P-san marks it as Im@s-type – but if you're in the market for an Idolmaster clone with bad looks, I would recommend Wake Up Girls instead because that’s at least pretty real at points.

ANN sez: They’re out for the weekend, ask again later. I suspect it’s nothing funny.

[isabellestillman]

Strong (In)Dependent Woman

From an evolutionary perspective, humans are not meant to be alone. Darwin and our seventh-grade science teachers would have us recall that the foremost objective of any living thing is to procreate. Our species requires the meeting of two distinct individuals to do so: we need a second human to survive.

From the perspective of my elite, liberal, feminist upbringing, a young woman ought to survive on her own. In my world, engagements before age 25 are met with shock if not opprobrium, breaking up with him is encouraged in favor of “doing you,” career-based choices are lauded over those that prioritize relationships. ‘Survival,’ in my case, often seems synonymous with ‘self-reliance.’

Run fast, be smart, get dirty, eat what you want—and don’t ever think you need a man to make you whole: it’s a crucial set of tips, an education in womanhood of which too many girls and women are deprived. It’s one that I’ve taken seriously throughout my adolescence. But having internalized its expectations of autonomy, I’ve begun to scold myself for longing, for loneliness, for the slightest whiff of dependence.

It is this capacity to scold that I now question.

Will was my blind date to a wine-and-cheese dorm party my junior year of college: an unfamiliar face with mountain-man hair, his gangly frame swimming in a sport coat, paired perfectly with beat-up trail running shoes. It was a first sight thing. That night we didn’t leave our corner of the room once. We traded thoughts on the Green Mountains and Antoine de Saint-Exupéry, privilege and justice, the scenes at the tables where we’d grown up eating dinner.

The next week, we went for burgers and beers in town. Four days later, I wrote in my journal, “Something I know for sure: I am falling in love.” From then on, we saw each other every day. We’d drive down dirt roads to catch sunsets and eat pancakes in bed and try to figure out how to be good in the world.

We were so different; that was what drew me in. I craved something other, something to shatter the carefully sculpted perspectives I’d held for the first two decades of my life. Will challenged me, his mind full of questions I’d never wondered and convictions I’d never entertained. I was spellbound by his way of seeing the world, hungry for the way he made me eat away at my own beliefs. For a while, I thought that was what it meant to find a partner.  

But over time, our differences began to wear, revealing themselves not just as day-to-day misunderstandings but as existential crises. Little things at first: Will was a minimalist, the owner of roughly five shirts, a couple pairs of shorts, and a laptop from 2007. I like clothes (whatever!), enjoy dinner out, spent $30 on Amazon for a poster to hang in my dorm. The first winter of our relationship, I bought a new sweater. I wore it to his house and waited in his bathroom, talking to him through the curtain as he finished showering with his simple bar of soap. I caught my reflection in the mirror—the sweater suddenly egregiously bright—and felt immediately sick to my stomach: You don’t need this sweater, or any of the countless things you have. You’re wasteful and spoiled. Your priorities are all off. What is wrong with you?

Maybe you know the feeling–when minor lifestyle choices bear the weight of character traits, criteria for judgment. Will managed to keep his world view consistent down to the last detail—living only on bread and peanut butter, listening only to music with ‘real’ messages, keeping as much distance from his phone as possible. And, in contrast, I was shallow, asinine, silly, out of touch with the systems and structures of the world.

It was more than just wardrobe choices. It was Big Ideas About How To Live: my drive to change the world and his fear of unbridled ambition; my need for light-hearted frivolity, his reading of my laid-backness as a failure to scrutinize my surroundings; my trusting of certain ideas, his only constant being skepticism.

As these chasms grew, my strength depleted. And the same person who made me question my worth was the one I turned to for affirmation. If Will couldn’t spend the afternoon with me, I wondered what it meant and begged him to assure me it was nothing. When I felt unseen or inferior, I would escape to his dorm room to feel his hands in my hair, the band-aid of physical touch. I could never hear the words “I love you” enough. I needed him to say I was smart, insightful, vibrant: that he loved me even with my flaws. I needed him to tell me I was good.

It ended almost as suddenly as it started. A phone call three months after graduation. And soon, I began to wonder if my ‘flaws’ had really been flaws at all.

That summer, I moved to Boston to get my Masters in Education, knowing that what I needed to work on was being good enough for myself.

And it worked.

I became the strong independent woman my upbringing had enshrined. I got a 4.0 GPA at Harvard, took on double the required teaching load, created a new social circle, read and wrote more than I had in years. I got drinks and kissed by the Charles and met people’s friends and sometimes stayed the night. I dated around.

In the midst of all this, my best friend broke up with her long-term boyfriend. It was a long time coming, but nonetheless sad, difficult and dark. It was also, as our group of girlfriends agreed, a great time for Zoey to “work on herself.” “Time to do you,” we said. “Time to become the strong independent woman you envisioned when you made this decision.” Plant a garden, we suggested. Make a scrapbook, join a soccer league, play poker, paint. Make yourself happy. Be independent.

It was funny, hearing myself counsel Zooey. So convinced that I knew what she needed—to do things that ‘made her independent’—advising her with ostensible confidence, but never quite sure how, exactly, I’d arrived at my own self-discovery. I’d certainly tried to learn to cook, to train for a half marathon, to finish the Sunday crossword, to skateboard. But deep down, I knew it wasn’t these things that had gotten me where I was.

I was afraid, when Daniel came along that February, that I hadn’t yet solidified my independence, that I was still vulnerable to other people’s ideas of what would make me ‘good.’ But as we spent more time together, that fear sort of dropped away. Eventually it stopped occurring to me at all, because with Daniel I never felt like there were expectations. I felt like my own self, at my very best. The most perceptive observer, eagerest listener, funniest banterer, caringest ally, cleverest referencer, insightfulest reflector, outgoingest adventurer, sweetest lover: peak Isabeller. Not because I was trying. Because Daniel somehow brought it out.

In the spring of 2017, I got a job teaching at a school I believed in, in Denver, which I knew would suit me better than Boston. I didn’t want to leave Daniel, but in my strong independent heart I knew better than to base a career choice on some guy I’d been dating a few months. Even if I did suspect, as I still do, that he might be the guy. As my friends, family, and culture had taught me, I sided with my strong independent woman self.

It was a tearful (sobful, really) sunrise parting, imbued with the understanding that staying together would be essentially impossible. He was a third-year medical student, I a first-year teacher, the number of three-day weekends sub-three, the distance a seven-hour, two-thousand-mile journey.

I pushed. I said, “Let’s leave the option open,” and, “It might be worth a try.” He smiled noncommittally, saying it didn’t make sense, that it would be more pain-inducing than joyful. The rational side of me saw his reasoning as legitimate. The strong independent side of me saw single life as ‘the right thing’ for me. But the feeling side of me still believed that it was possible. That when something makes you feel like the best you, holding on makes the most sense.

Now, lying on the floor of my new, empty apartment, my mind rings, “I need you.” And in some ways, I do. I need people in my life who inspire me. I need to laugh often, which we did. I need places where I know my best self comes standard. Just like I need these things from my friends. Why is it that different to need from a partner? Why is it that different to need from a man, a lover?

-

If you have a minute, Google “strong independent woman”: the how-to’s are endless, not to mention simple, degrading, sexist, and frankly absurd. (My personal favorite: lovepanky.com’s “How to be a Strong Independent Woman that Men Love.”)

Our society puts so much value on independence: make your own choices, discover your own happiness. Look in the mirror and say, “I look fly in this sweater, and I’m keeping it!” It sounds empowering. But it’s just another “women should ____.” A sexist expectation. A pigeonhole that’s exhausting at best, inhuman at worst. Being human means at least sometimes reveling in relying on others, in the beauty of finding your best self with other people—in a dependence that secures your survival, rather than threatens it.

I’m working on a theory of two kinds of dependence: in type one dependence, we rely on others to make ourselves believe we are good and worthy. In type two dependence, we rely on others because with them, we simply are that way. The fine line between the two gets lost easily in the fog of romantic feelings.  

It’s only a hypothesis, with a mere 23 years of evidence behind it, but it passes the common sense test. A woman’s choice of whether and how to depend should be just that: hers.

[imapplied]

Achieving a healthy work-life balance at a digital agency

The agency world has traditionally been terrible for work-life balance.

From the Mad Men-esque “good old days” to today’s always-on culture there is a widely accepted norm that agency life is one of long working hours, unrealistic deadlines and counting down the days, months and years until that dream in-house role presents itself.

Yes, the odd long lunch here and night out there take the edge off, but even these don’t lighten the workload – quite the opposite in fact – and they can hardly be seen as payoff for consistent 14-hour days.

At best, an organisation failing to proactively manage work-life balance is irresponsible, and at worst it is downright damaging to everyone involved. The Mental Health foundation states that work-related stress costs Britain 10.4 million working days per year. Literally no-one wins.

Achieving a healthy work-life balance is at the heart of how we operate at Builtvisible, and this article serves to outline our approach, inspire other organisations to adopt a similar level of focus, and lift the lid on one of the core factors that makes this agency an incredible choice for our people and our clients alike.

What does work-life balance actually mean?

Before we dive in to how to manage work-life balance it is important to define what we mean by the term work-life balance.

A lazy Wikipedia search produces

“the term used to describe the balance that an individual needs between time allocated for work and other aspects of life.”

While this serves as a starting point, it is very easy to gloss over the most important point in this statement – that of the individual.

For me, the key to beginning to understand work-life balance is to acknowledge the fact that the notion itself is completely different from person to person. There is no one-size-fits-all approach and it takes an investment in time to unearth what it means to everyone individually in your organisation.

Not only is it very personal, but it is fluid. The idea of balance changes as both our careers and personal lives progress. What someone considers balanced at the beginning of their career certainly isn’t the same at the middle or the end, and anything can happen in life to change its definition from one week to the next.

Clearly, to scale this as a management team requires buckets of empathy and complete alignment on priorities. We’ll dig in to what good looks like after we’ve run through a few key benefits.

How does a healthy work-life balance benefit the agency environment?

Living the cultural ideal of a healthy work-life balance begins and ends with the most important asset you have as an agency – your people.

Balance keeps morale high, it means people stick around and it genuinely makes for more rounded individuals – an essential trait in what is usually a fast-paced, diverse and challenging environment. I genuinely believe our focus on delivering this for our staff is one of the key contributors to our low turnover rate and average tenure of ~5 years. The longer people stick around, the better relationships they build and in turn the more balance this provides.

But the benefits extend beyond your team.

Your clients get the best of your people. They work with energised, switched-on individuals that understand that while work is important, it isn’t the be-all and end-all. Not only that, confidence that an account team is going to be consistent over many years is something about which few agencies are able to boast – an area I deem critical in supplier selection.

Finally, the work clients receive is all the better for it – the result of an appropriate investment in time, clear thinking and enthusiasm for the task at hand.

So, what can you do? Here three of the initiatives we have solidified at Builtvisible to buck the trend in agency work-life balance.

Define what you stand for and bake it in

Establishing a clear set of specific, tangible values to which the agency holds itself accountable is an essential part of building the foundations for success. Going through this process in conjunction with our front-line agency staff was one of the most useful exercises we have been through as a business to help guide how we operate.

We avoided buzzwords and vagaries, and instead focused on personal, direct feedback from our team about what working at Builtvisible meant to them. Part of what emerged was demonstrable evidence that balance was an important part of why the guys enjoy their time here so much, so we baked it in to one of the five core company values that relate to our people.

“Builtvisible gives us the balance we need to become better human beings”

This statement allows us to not only make sure we aren’t working all hours under the sun but has inspired new initiatives such as volunteering during working hours and physical and mental wellness support – two brilliant schemes that highlight perfectly the idea that balance doesn’t just mean going home on time.

It also caters to those who want to constantly push themselves, those that don’t, and those that fluctuate between the two as life priorities shift.

As a management team we are completely accountable to the idea of balance, and it is abundantly clear when we have to act, whether that means hiring to increase our resource, redistributing work, or dialling down someone’s allocation.

Invest in a resourcing model that works for everyone

Re-engineering how we resource the agency has been one of the largest and most complex projects we have undertaken in our 10-year history. Simultaneously it is also one of the most effective – with top line delivered revenue rocketing almost overnight and workloads beginning a long decline to more manageable levels.

The former meant we could reinvest more back in to our staff (thus further improving balance) and the latter remains an on-going challenge to find the perfect balance. It still isn’t perfect and we have to iron out a few kinks, but clear guiding principles have kept us focused on what we wanted to achieve.

Obviously, the aim is that we are able to successfully deliver the work we sell to our clients at the quality they have come to expect, but with our own people at the core of our thinking, we were always able to focus our attention on what was really important and look after them before anything else.

As such, the system we built has a couple of key components that facilitate a healthy work-life balance:

Built-in tolerances: We aim to resource the agency at 80% of capacity. This means we have 20% of our time left over for unexpected client priorities, personal development of the team or internal tasks such as marketing. Again, this is an ideal, and it does fluctuate month to month, but this our entry point to ensuring resourcing works for our team.

It also removes the idea of presenteeism as tolerance means the vast majority of people can leave at a reasonable hour – making late nights and weekends the exception, not the norm.

Control through detail: Our resourcing system is complex. It has been built predominantly by our Financial Director in collaboration with Client Services and departmental heads. The business outcome is a hugely nuanced, bespoke system that generates invaluable data on how we are performing as an agency.

The outcome for our staff and their work-life balance is a system that is so much more than human Tetris. It understands individual competencies, provides early warning systems for managers and makes sure we don’t over-promise and under-deliver – one of the most common crimes of agency leadership.

Don’t be greedy

Over-selling is a consistent problem in agency world.

When you think about it, the only winner is the sales team in the form of commission or bonus. Everyone else loses.

Your front-line staff lose on a personal level as their evenings and weekends disappear for six months. The work they are doing gets worse because they are tired, deadlines are impossible and they don’t have the time they need to do a good job.

Morale starts to dip as a consequence, and you start to experience that classic agency churn in terms of both fed up staff and clients that no longer trust you to deliver.

My good friend Luca at Genie Goals always talks his belief that if all agencies were better, there would be more trust in the model and there would be more business to go around – “All ships rise with the tide”. Overselling is a very easy way for clients to lose trust in agencies in general through awful experiences.

If you truly value your staff and your resourcing model tells you that you can’t deliver it, manage the client on timelines or scope. It is as simple as that.

In summary

Genuinely achieving work-life balance in agency world is difficult. It is an idea that needs buy-in across the company – from trust within the front-lines to accountability among the management.

Bake it in to your values and be held accountable. Otherwise you are just paying lip service to an idea that few have cracked over the years. It is difficult, and there is always more that can be done, but it will keep you focused on being better.

Use these values to inspire your operations. Don’t be like everyone else and over-commit to work. Instead create the most accurate view on your resourcing you can and use it to control what comes in and what goes out. Without either of these your commitment is baseless.

We have witnessed first-hand that focusing on these processes has resulted in tangible outcomes for Builtvisible such as better staff retention, more efficient hiring, cultural alignment with the right types of clients and a more enjoyable day-to-day experience for everyone involved.

I could not recommend a similar approach more.

Source

from https://www.imapplied.co.za/uncategorized/achieving-a-healthy-work-life-balance-at-a-digital-agency/