International Journal of Art & Design (IJAD), Volume 8 (1), January/2024, Pg.

51-68
Analysing The Sakuga Technique in The Animation of Mob Psycho 100 (2016)

Analysing The Sakuga Technique in The Animation of

Mob Psycho 100 (2016)
Muhammad Hazim Hazmi @ Azmi
College of Creative Arts, Universiti Teknologi MARA, Shah Alam
Selangor, Malaysia
Email: [email protected]

Siti Nur Ain Abd Rahman

College of Creative Arts, Universiti Teknologi MARA, Shah Alam
Selangor, Malaysia
Corresponding Author
Email: [email protected]

Received Date:31.10.2023; Accepted Date: 20.12.2023; Available Online: 20.01.2024

* These authors contributed equally to this study

ABSTRACT

What aspects of an action scenario make it effective? That question has been on the minds of filmmakers,
animators, audiences, and fans for a while, and there are as many responses as possible to it. However,
there might be a few general characteristics that, when applied in one way or another, give a scene its
personality and, perhaps, make it enjoyable for the viewer thanks to the Sakuga technique. In this paper,
the researcher will discuss the topic of Sakuga, one of the branches of the animation method by analysing
the Sakuga technique in the animation Mob Psycho 100 released in 2016. The researcher will also cover
the background research on the term Sakuga used in this study. Sakuga is a type of animation that is
mostly used in the Japanese anime series Mob Psycho 100. The researcher will discuss the relevant use of
this animation technique and how it influences or has an impact on other animation subcultures when
using this method, in addition to the study problem statement and the research objective, both of which
are presented in this paper. A topic that is relevant to the research investigations and its constraints will be
decided together with the objective and its challenges. The study's importance, scope, and limits will all
be addressed along with the Animetism Theory from the book The Anime Machine as the theoretical
framework.

Keywords: Storytelling, 2D Animation, Animetism, Sakuga Technique

INTRODUCTION
Studio Bones was established in October 1998 by Masahiko Minami, Hiroshi Saka, and Toshihiro
Kawamoto, who were employees of Sunrise at the time. The animated series Mob Psycho 100 (2016 was
made by the studio and was broadcasted in the year 2016. The narrative centres around the protagonist,
Shigeo Kageyama, commonly referred to as Mob, a juvenile individual endowed with exceptional psychic
powers, as he endeavours to achieve the state of contentment he desires. The inaugural season was
broadcast throughout July and September in the year 2016. The television series Mob Psycho 100 (2016)
employs the artistic technique known as Sakuga as a distinct medium for conveying its dramatic elements

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 International Journal of Art & Design (IJAD), Volume 8 (1), January/2024, Pg. 51-68
Analysing The Sakuga Technique in The Animation of Mob Psycho 100 (2016)

and narrative. This utilisation of Sakuga exemplifies its versatility as a means of artistic expression across
various forms of media. Hence, the objective of this study is to ascertain the significance of sakuga
animation techniques and to analyse the specific use of the sakuga technique within a particular episode
of Mob Psycho 100 (2016) as a means of acknowledging the diligent efforts invested in the production of
the series. Sakuga refers to a distinct sequence within Japanese animation (anime) that exhibits notably
superior quality and is employed to highlight a moment of great significance. In his research titled
“Exploring Sakuga: Part 1: The Birth of Otaku, the Birth of Sakuga” by Matteowatz (May 8, 2021), it has
been asserted that inquiring about the definition or significance of Sakuga from various individuals will
yield a diverse range of responses. However, most of these comments are expected to revolve around the
subsequent concepts: Sakuga refers to a form of animation characterised by its exceptional quality and
often produced by highly skilled animators. Animation encompasses a broader scope beyond the mere
visual representation of objects and movements displayed on a screen. In alternative terms, animation
refers to the process of imparting movement to an object or entity through the creative efforts of an
individual. While the term "anime" is commonly used to encompass several forms of visual media,
including animation, it is distinct from other Japanese terms that also relate to animation. According to
Tonari Animation (2022) in The Anime Survival Kit, the term Genga in Japanese denotes "key
animation." It pertains to a technique that involves utilising data derived from E-conte to generate
diagrams, instructions, and annotations that delineate the utilisation of layers, character postures, acting,
animation, backdrop components, and effects to establish the framework for the Douga (stage).
Ultimately, this method serves to create the final artwork and animation instructions. It might also be used
to describe the final version of an animated scene. Therefore, the term implies that it is only a minor
component of a larger production process and that it is conceivable to ambiguously attribute its
production to several distinct agents while providing credit to the primary movers. The primary objective
of this research study is to analyse contemporary animated series that prominently exemplify the concept
of "Sakuga," with a specific focus on the animated television series Mob Psycho 100 (2016) produced by
the renowned studio Bones.

The technique known as Sakuga can be employed to accentuate specific scenes within an episode.
According to kVIN (2016), describing the battles as merely cool would be an understatement. While they
may not be the central emphasis of the series, they undeniably serve as noteworthy highlights. The gap for
this research is to study and identify which technique has been used in each episode of Mob Psycho 100
(2016. The research will involve the systematic observation and analysis of each episode of the television
series Mob Psycho 100 (2016). The series features a variety of unique Sakuga techniques that need to be
studied so that they can be applied to the researcher's final-year project animation. The acquisition of a
technique must align with the genre that was attended and serve as the focal point of the animation cut.
Consequently, the researcher is compelled to elucidate the importance of studying the Japanese animation
technique referred to as Sakuga within this discourse, as well as endeavour to cultivate an appropriate
Sakuga technique to implement in the researcher's forthcoming final-year animation endeavour. The
researcher has outlined several objectives to fulfil the criteria of this paper. The primary objectives
include the identification of Sakuga techniques employed in the animation series Mob Psycho 100 (2016,
the analysis of various Sakuga techniques utilised in a specific episode of Mob Psycho 100 (2016, and the
development of effective Sakuga techniques for implementation in the researcher's animation projects.
The meaning of research aim pertains to the delineation of the goals of a research attempt through the
formulation of specific research objectives. Each stage of the research process, including data collecting,
argument construction, and conclusion development, should be guided by established principles (Ryan,
2022). Several research questions have been set by the researcher in carrying out the process of studying
the Sakuga technique to demonstrate it in animation. The research question pertains to the utilisation of
Sakuga, a term in animation, inside the Mob Psycho 100 (2016) series. This question intends to ascertain
the semantic significance of the term Sakuga as it pertains to the animated series Mob Psycho 100 (2016).
Another question is to distinguish the Sakuga technique used in the animation of Mob Psycho 100 (2016).
Lastly, what Sakuga technique can be developed for implementation in the researcher's animation project
based on Mob Psycho 100 (2016). Furthermore, this study could potentially provide a significant
contribution to the community, as well as to animators and students engaged in the study of animation, by
offering insights into the effects of Sakuga as observed by professionals within the animation business.

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Analysing The Sakuga Technique in The Animation of Mob Psycho 100 (2016)

Moreover, the present study aims to function as a valuable reference for those within the community who
possess an interest in comprehending the concept of Sakuga, as well as determining the appropriate
animation style or Sakuga technique that ought to be employed to generate captivating animation
sequences for the researcher's animation endeavour. This study focuses only on the outcomes of the
Sakuga method, which is a concept that appears in the anime Mob Psycho 100 (2016). The series
captivates and motivates both viewers and aspiring animators through its numerous unforgettable
sequences and events. Consequently, the limits of the study indicate the possible presence of substantial
deficiencies in the research. The utilisation of the Sakuga technique from Mob Psycho 100 (2016) has
certain limits for animation producers seeking to acquire comprehensive knowledge and employ intricate
and demanding procedures that may prove tough for inexperienced animators in their creative
endeavours.

LITERATURE REVIEW

The researcher will provide an overview and conduct a comprehensive analysis of the Sakuga technique
employed in the Mob Psycho 100 (2016) series. This discourse will encompass various sections,
specifically focusing on the identification of the Sakuga animation technique employed in the anime
series Mob Psycho 100 (2016), the analysis of diverse Sakuga techniques utilised in a specific episode of
Mob Psycho 100 (2016), the formulation of efficient Sakuga techniques for implementation in animation
projects, and further exploration of the Animetism theory as the theoretical framework.

Identifying The Sakuga Animation Technique in Mob Psycho 100 (2016)

Mob Psycho 100 animation is like any other anime production process. The production of an anime
is a complex and multifaceted procedure that encompasses multiple stages and steps. However, the
primary focus of the researcher's investigation centres on the animation process, namely the application of
Sakuga techniques. According to Washi (2011), the creator of the Washi Blog, "Key Animation" is
considered one of the stages in the production of anime. The key animators commence their task of
producing the animation drawings in accordance with the provided storyboard. The quantity of frames
produced by a key animator for a given movement is contingent upon the key animator's aims and the
characteristics of the cut, while also considering limitations imposed by time and budgetary constraints.
As a result, a proficient and committed key animator has the potential to captivate the audience by
surpassing the prescribed elements in the storyboard and incorporating their distinctive artistic style into a
particular sequence. Certain animators are given the opportunity to deviate from conventional storyboards
to create Sakuga animations. According to Washi (2011), the term Sakuga strictly pertains to the drawings
within an anime, however, it is commonly employed to encompass the entirety of the animation.

Sakuga (Japanese for "drawing images") is a term used in anime to describe scenes in a show or
movie where the animation quality is greatly improved, either to make a dramatic point or to make the
action more interesting. Its pronunciation is "sa-ku-ga." For those who are unfamiliar, the term "anime"
refers to all Japanese animation. The word "animation" was shortened to create the phrase. Anime
exhibits a discernible aesthetic and narrative style, as well as thematic and conceptual elements, owing to
its longstanding production within Japan over several decades. In the last four decades, anime has
emerged as a widespread cultural phenomenon, garnering a substantial international following and
undergoing translation into other linguistic contexts. Cirugeda (2015) is identified as an author affiliated
with the website animenewsnetwork.com. The author describes the meaning of sakuga in his discourse
titled "The Joy of Sakuga." The term "anime" is derived from the Japanese language and refers to the art
of animation. It has been adopted by enthusiasts beyond the borders of Japan to denote exceptional
movement and visual storytelling. Anyone who possesses a sufficient level of familiarity with anime is
undoubtedly cognizant of the cost-effective technique frequently utilised by studios, wherein they employ
impactful editing techniques during dramatic sequences. The topic of scenes characterised by rapid and
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Analysing The Sakuga Technique in The Animation of Mob Psycho 100 (2016)

significant gains in animation quality is a recurring theme in discussions. Whether it involves a scene with
subtle yet significant character performances or a gratifying sequence showcasing stunning animation.

Based on the researcher's observations, the series sakuga or animation technique incorporates
various visual elements, including squashes and stretches, which result in a loosely defined depiction of
characters. Additionally, this technique involves the intentional distortion of certain limbs to create a
striking impact on the characters' focus, particularly evident in combat sequences. A reduced number of
frames is used to create a sense of rapidity and disarray within the image. In the video titled "Breaking
Down Mob Psycho 100's Incredible Animation [Episode 1] | Animator Spotlight" by The Canipa Effect
(2016), it was observed that the focus of the animation production did not prioritise the incorporation of
computationally generated (CG) backgrounds, as no credited CG artists were identified. The keyframes of
the cart in the anime series Mob Psycho 100 (2016) were exclusively illustrated by the same artist
responsible for One Punch Man and Space Dandy. The camera spirals in the tunnel sections were created
by Keiichiro Watanabe only via the use of drawings. Additionally, there exists an impact frame sequence
depicting a blast attack, accompanied by a visually striking manoeuvre that showcases the emergence of a
blinding light onto the screen, effectively transitioning into another scene. Sakuga refers to the artistic
renderings of animations, and the researcher has observed that the impact and excitement experienced by
the audience are dependent upon the specific techniques applied by the animator.

Analysing Different Sakuga Techniques That Were Used in A Certain Episode of Mob Psycho 100
(2016)

To gain a comprehensive understanding of sakuga, it is important to educate oneself on the artistic

techniques employed in the production of animation and the equipment utilised in its creation. In their
publication titled "The Illusion of Life," Disney animators Frank Thomas and Ollie Johnson delineated
many techniques, as cited by Matteowatz (2020) in his scholarly essay entitled "Exploring sakuga: A
Sakuga Starter Pack." Moreover, the primary objective of this discussion is to examine the production
process behind the Sakuga animation in the series Mob Psycho 100 (2016). According to an article titled
"Mob Psycho 100: Introduction and Episode 1" on Sakugabooru.com, it is stated that Mob Psycho 100
(2016), along with Flip Flappers by Kiyotaka Oshiyama, has been widely anticipated by Japanese
animation enthusiasts as one of the most highly anticipated TV anime of the year (Liborek, 2016). Before
delving into Episode 1, it is crucial to discuss the origins of these elevated expectations, notwithstanding
the exceptional quality of the advertising material. Consequently, Yuzuru Tachikawa, the director of the
film, and Yoshimichi Kameda, the character designer, exhibit significant potential. According to kVin
(2016), the action in Mob Psycho 100 has recently left a strong impression, however not in the manner
one might initially expect. Characterising the fights as merely cool would be an inadequate description;
while they may not be the primary emphasis of the series, they undeniably serve as notable highlights.

Based on The Canipa Effect (2016), the video highlights a distinctive artistic style, resembling
brushwork, used in a particular scene within the series. A camera cut that is characterised by its
roughness, unpredictability, sketchiness, and loudness does not implore the viewer to direct their attention
towards it; rather, it forcefully confronts the viewer with its artistic and visually overwhelming impact.
The phenomenon of a sketchy effect is observable in specific episodes inside the scene known as "Mob
Explosion," wherein ink lines are present, encircling the character. The series also incorporates the
technique of dynamic glass painting, which centres around spirits and the representation of emotional
states through colour. The application of glass paint was also observed during the denouement of the first
season of the animated television series Mob Psycho 100 (2016). To enhance the dramatic depth of the
scene, the series regularly utilises a spinning camera technique that has been executed by proficient
animation experts. The cinematography in the film is quite impressive, and the transition into the Val
creature's unconventional graphics effectively maintains our engagement with the narrative. Rather than
causing confusion, these visual transitions serve as a powerful means of portraying the antagonist through
animation.

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Analysing The Sakuga Technique in The Animation of Mob Psycho 100 (2016)

Aside from that, it is worth noting the presence of a distinctive painting style in specific episodes,
characterised by the utilisation of the Reigen technique scene. This particular scene showcases the
character Reigen employing his unique skill in a manner that elicits hilarious effects. In another example,
the animation used a shaky sketch effect to convey the emotional state of the character Mob in Episode 2.
Additionally, a painted glass method was employed to introduce a surreal element to the scene. Regarding
the subject of painted glass, the underlying concept of the animation entails the utilisation of a glass sheet
as a medium for manipulating slow-drying oil paints to generate images and frames inside the animation.
The aforementioned genre of animation is widely regarded as one of the most demanding and infrequently
seen genres of animation. Nevertheless, upon the completion of her studies at Tokyo University of the
Arts in 2015, animator Miyo Sato secured employment for the project by showcasing similar work in her
portfolio. The user was involved in the production of several spirits and contributed to the development of
the concluding sequence. Yuzuru Tachikawa, the director, aimed to create a distinctive and original
production. The objective of his work was to present non-traditional visual notions within the realm of
anime. Additionally, he issued a call for individuals proficient in paint-on-glass animation as a component
of the project, to which Miyo Sato promptly replied. Sato undertook the task of animating the opening
sequence, along with various additional sequences. Notably, one of the more exceptional moments
involved the portrayal of Mob consuming rotten milk. The forceful manipulation of paint observed in the
animation technique known as paint-on-glass, along with Sato's artistic ingenuity, facilitated the creation
of extraordinary transitions that effectively distinctively conveyed a sense of hopelessness.

There was also a technique in which a still frame or scene from Episode 4 of the series was
transformed into sakuga. The animation was executed by Sara Moroyuki. In the video titled Breaking
Down Mob Psycho 100's Incredible Animation [Episodes 2–12] | Animator Spotlight, The Canipa Effect
(2016) examines the animation of Mob Psycho 100 (2016). In the context of animation production,
Moroyuki, an individual key animator, undertakes the responsibility of executing the key animation for a
certain episode independently. Undertaking solo key animation projects presents a formidable challenge
since it necessitates the completion of a whole 20-minute animation within a specified timeframe, with
sole responsibility for all aspects of the episode. Hence, it is inevitable that static frames would be used to
interrupt the flow of action. Nevertheless, Moroyuki compensates for this deficiency with the
implementation of innovative shot design, physical contortion, and editing techniques. In episode 4, the
portrayal of Teruki's shadows exhibits a hazy and indistinct quality, strategically used to evoke a sense of
unease and psychological unrest within the character. The tasks that were typically assigned to the
finishing team are now imbued with animation. This demonstrates the potential for time efficiency and
enhanced distinctiveness in animation. Episodes 3 and 10 of the animated series Mob Psycho 100 (2016
were executed by animators Kazuto Arai and Miso. Two persons who demonstrated their ability to
produce complex effects animation have made the deliberate decision to collaborate on two scenarios that
undeniably demanded the expertise of seasoned pros. In the third episode, Arai endeavoured to facilitate
Dimple's ability to emit a beam from his mouth. This development suggests that the beam possesses
considerable strength and potency. However, it is important to note that the depiction of the blast is not
limited to a singular manner. In addition, there exists a remarkable period of frames preceding the blast,
when sets of lines are strategically positioned around the character Dimple. This particular arrangement
effectively contributes to the gradual intensification and anticipation of the impending event.
Subsequently, Miso executed an aerial counteroffensive manoeuvre, which was aesthetically documented
by the camera. In Episode 10, the team shows a resurgence by confronting a situation in which Teruki
confronts the formidable fire strike unleashed by Miyagawa. Arai regains dominance, perceiving the fire
as a rapid flow of fluid, accompanied by sparks and a forceful intensity that necessitates additional
delineation and meticulous attention to particulars. The style of the flames also changes, this time
focusing on the shape of the fire and how it flickers wildly, and you can clearly see where it switches from
Arai to Miso.

As a result, the animators' team may animate more freely and creatively because they aren't
concerned with the character models, making the show the most anticipated of all. The show possesses
numerous qualities that render it highly compelling and deserving of viewership. In 2016, Mob Psycho
emerged as a notable anime production, characterised by its sakuga, or high-quality animation. The series

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Analysing The Sakuga Technique in The Animation of Mob Psycho 100 (2016)

explored the topics of individuality and self-perception, employing innovative animation methods and
conceptual approaches to effectively convey these ideas. It's a show that won't be forgotten in a year, and
the researcher may use it to display some of the best works by some of his favourite animators.

Developing Effective Sakuga Techniques to Be Used in The Researcher’s Animation Projects

Upon conducting a review of the animation techniques used in the animated series Mob Psycho 100
(2016), the researcher has identified some pertinent strategies that have the potential for integration into
the researcher's next animation endeavours. The researcher must select techniques that can capture the
audience's attention while ensuring that the shown animation possesses a profound sense of impact.
Eliciting a sensation of both unease and exhilaration among the spectators. The researcher's animation
project will be developed with an action-themed focus and a comedic element. Hence, the selection to
incorporate Sakuga techniques inside the animation genre to be created, namely within the shonen series,
as stated by Milford Library (2020), pertains to a certain type of anime referred to as "shonen anime,"
which is specifically tailored for a young male audience. In most instances, the central protagonist
embodies a physically robust male figure, possessing proficient expertise in martial arts and the ability to
augment his strength. Characters such as Son Goku from the anime series Dragon Ball and Monkey D.
Luffy from the manga series One Piece exemplify the characteristics commonly associated with this
particular genre. The profound esteem that these characters possess for their companions, together with
their unwavering willingness to defend them, represent two of their most prominent attributes. Mob
Psycho 100 (2016) is categorised as a shonen series as well. The researcher posits that adhering to the
"Tokusatsu" motif, a Japanese type of film and television drama characterised by superheroes and
extraordinary effects, and drawing inspiration from Yoshimichi Kameda's sketchy line style, is a suitable
technique to be employed. The animator's artistic approach is particularly well-suited for imbuing the
action with a sense of impact that is essential for the researcher's animation project. According to The
Canipa Effect (2016), the visual elements that require enhancement and serve to showcase animators'
ingenuity are characterised by their roughness, sketchiness, unpredictable nature, and loudness. In his
interview, Tachikawa affirmed that Yoshimichi Kameda was responsible for animating the entirety of the
series Mob Psycho 100 (2016). Furthermore, Tachikawa expressed his intention to present this work as his
own and to elucidate the profound connection between ONE and Kameda's artistic contributions. Both the
unpredictable nature of the mangaka and the equally dynamic animator consistently exceed expectations,
offering an abundance of creative elements. Tachikawa emphasised the aspiration to generate novel visual
concepts that have not yet been explored. In an ideal scenario, the experience of viewing Mob Psycho 100
(2016) can be likened to the act of unveiling a container filled with exceptionally thrilling revelations, and
the individual expressing this sentiment was not engaging in jest.

In his video, The Canipa Effect (2016) also discussed the glass painting style employed by Miyo
Sato. The technique can be replicated through the utilisation of digital tools designed for the purpose of
time management. The painted glass techniques employed in the researcher animation project were
designed with the purpose of conveying the backstory of the characters. This artistic choice aimed to
evoke a sense of nostalgia, akin to the nostalgic atmosphere seen in Episode 12 of Mob Psycho 100
(2016). The inaugural episode of the introduction to The Canipa Effect (2016) references the character in
question during its concluding video segment. In this proposed scenario, we suggest implementing a
camera rotation technique to capture Mob's performance, which involves the display of a multitude of
impressive visual effects. Prior to encountering the monster, we propose introducing an additional
character that will execute a visually captivating walking sequence, filmed from a low-angle perspective.
Furthermore, to enhance the climactic scene of the episode, it is proposed that the camera and the artist
responsible for spirit-drawing collaborate in orchestrating a visually dynamic sequence including a
combination of fluctuating lighting conditions and the dispersal of explosive liquid fragments. This
sequence will culminate in the depiction of despondent crowds. This resource can serve as a valuable
reference for effectively portraying characters who exhibit heightened displays of authority.

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Analysing The Sakuga Technique in The Animation of Mob Psycho 100 (2016)

The final confrontation in the researcher's animation project can incorporate the impact frame style
developed by Yuki Igarashi and Yutaka Nakamura. The utilisation of a frantic camera approach,
characterised by rapid motions and a loss of focus on the subject, serves as an effective means to depict a
heated fight scene; conveying the character's strong desire to swiftly conclude the fight. The technique
can also serve as the focal point of the animation production. The animation technique used in Arai and
Miso effectively utilises camera angles and framing to enhance the impact of a blast assault, as
exemplified in Episode 3 during Dimple's attempt to execute such an attack. The utilisation of the "before
blast frame" strategy serves as an indicator of an anticipated forceful attack. In addition to this, the
utilisation of the "splash fire" style is intended for integration within the monster transformation sequence
or after the attack scene, thereby enhancing the character's intimidating appearance.

Animetism Theory

As LaMarre (2009) states in his book, The Anime Machine (2009), the rapid movement of a robot,
bullet, or train does not result in a shift of animetism's attention away from the window. It is still focused
on examining the cross-, side-, and lateral effects of speed. Consequently, animetism serves to highlight
the way speed defines the visual field into multiple layers or levels. Moreover, it gives the notion that the
Earth is in a state of motion, as opposed to solely the train. In a YouTube video produced by the
department of Film & Media Studies, in his analysis of the Anime Machine, LaMarre claims that anime
predominantly exhibits a stylistic approach known as animetism. This approach involves the deliberate
acknowledgment and incorporation of the flat layers of transparent celluloid that constitute the image, as
opposed to concealing them. In contrast, cinematism, which aims to create the illusion of traversing a
populated world, often relies on forward motion. The technique of Animetism involves the deliberate
separation of the image into many planes, achieved by arranging translucent celluloid planes vertically on
the animation stand. This method is employed to introduce a diverse range of visual elements within the
image. The major focus of animetism lies in the movement on and between surfaces, as opposed to
movement in the vertical dimension.

Chanoyun (2018), in his 2018 review of The Anime Machine (2009, stated that LaMarre compares
cinematicism and animetism to ballistic motion to show the difference between the two. As he puts it,
cinematicism turns "everywhere in the world into a target, and the eye becomes one with the bomb." He
continues, "The essence of cinematism lies in the use of the mobile apparatuses of perception, which
serve to give the viewer a sense of standing over and above the world and thus controlling it, and to
collapse the distance between viewer and target, in the manner of the ballistic logic of instant strike or
instant hit." Cinema, then, is about giving people power; it enables them "be in control" of their
surroundings and learn more about them. Cinema was able to do this with a multi-plane camera, in which
several planes would move up and down to make it look like the depth of the scene was changing.
Although animetism "is not about movement into depth, but movement on and between surfaces,"
Animatism is when you like how open the spaces between layers feel or when you like how the layers
come together. Cinematism is an aesthetic of movement that replicates forms of cinematic realism through
animation. It’s frequently characterised by realistic movement into depth or a recreation of cinematic
space. Lamarre describes it this way:

“The essence of cinematism lies in the use of mobile apparatuses of perception, which serve
(1) to give the viewer a sense of standing over and above the world and thus of controlling it,
and (2) to collapse the distance between viewer and target, in the manner of the ballistic logic
of instant strike or instant hit.” (Lamarre, 2009, p. 5).

Animetism, by contrast, is an aesthetics of movement that is not necessarily invested in this kind of
reproduction of cinematic space. It is a kind of movement in animation that often favours what Lamarre
terms “open compositing.” Lamarre describes animetism’s use of open compositing this way:
“[Animetism] Favours an “open compositing” in which layers of the image are allowed to
move more independently of one another. While open compositing tends to work against

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Analysing The Sakuga Technique in The Animation of Mob Psycho 100 (2016)

sensations of movement in depth, it makes possible other sensations of movement”

(Lamarre, 2009, p. 37).

Anime lacks concern as much about how the picture is put together or how it hides the gaps
between the different layers as the camera (or watching location) changes. But animetism is not the
opposite of the arrangement. In an "open composing" type of anime, the different parts of the picture are
encouraged to move around without being tied to each other. Open composition lets you have some types
of movement experiences, but it often gets in the way of movement experiences that are based on depth.
He says in the video Speed Racer (2008), Cel Animation, and Animetism" that the elements in different
layers will look like they move apart or closer together as they get smaller or bigger as you move the
camera, which is like how anime simulates camera movements. The appearance of "in" or "out" is like
having the curtains open and closed or being in very close focus. The way the characters are arranged here
makes it clear that they weren't taken by the same camera but were added together as different layers.

The movie incorporates the technique of quick lateral camera movement, a characteristic aspect
commonly found in anime. In the field of animation, a common tendency is observed wherein lateral
camera movement is favoured over full animation, serving as an illustrative instance of animation
reduction. This preference stems from its ability to facilitate workload efficiency for animators. In order
to simulate a rapid lateral camera movement, animators have the ability to use abstract motion lines on a
loop, as opposed to redrawing perspectival shifts for each individual frame. Nevertheless, outcomes might
be regarded as a conceptual representation of pure motion rather than an accurate portrayal of movement
in physical space.

Animetism is a technique that involves the manipulation of the relative movement of several layers.
This is a technique for modifying the multiplanar image. The camera's viewing location no longer retains
its privilege and is relegated to simply becoming another layer. This phenomenon is observable
throughout the animated sequences of the show, namely in the combat scenes, wherein the background
exhibits minimal movement while the characters engage in motion.

RESEARCH METHODOLOGY

To obtain a better understanding of the issue that this research is analysing, a study design must be
conducted. Marek (2019) states that the utilisation of this research design will facilitate the examination
of a previously explored theory, specifically the theory of animetism as initially expounded by Thomas
Lamarre in his seminal work The Anime Machine (2009), widely regarded as one of the most significant
publications dedicated to the study of animation, particularly within the field of anime. The collected
material relating to the issue is largely supportive of this study. However, to ensure the credibility of the
obtained information and ascertain its appropriateness for supporting this study, various comparisons will
be conducted.

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Analysing The Sakuga Technique in The Animation of Mob Psycho 100 (2016)

Figure 1. Theoretical Framework

(Source: Original, 2023)

In this research paper, the researcher uses qualitative research methodology, as the study only
concentrates on the observation and categorization of non-statistical data derived from the television
animation series Mob Psycho 100 (2016). During the data collection phase, researchers commonly
analyse observations for trends (Savenye & Robinson, 2004). The selection of a qualitative approach,
such as a field study, ethnographic content analysis, oral history, biography, or unobtrusive research,
together with the choice of materials, such as field notes, documents, audiotapes, and videotapes, has an
impact on the structure and methodology of the analysis.

FINDINGS

In the research findings, Sakuga techniques are based on their creator or by a famous key animation
artist. A comment from a Reddit post “Most of the animation staples are named not after their original
users, but after the most famous ones.”- Quartandoff (2020). This pertains to phenomena such as the
"Gainax bounce," which first emerged in 1981, and the "Obari pose," initially popularised by Shin
Matsuo. These techniques encompass various elements, including the Ebata walk, Yutapon Cubes, Obari
Punch, and others.

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 International Journal of Art & Design (IJAD), Volume 8 (1), January/2024, Pg. 51-68
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Figure 2. Ebata Walk technique from One Punch Man OVA 1

(Source: https://www.sakugabooru.com/post/show/63684)

Article from WordPress stated that Ryouma Ebata is well known as the man who animates walking.
Ebata Walk is currently a phrase named after his walking animation. Undoubtedly, there are further facets
to his expertise; he possesses exceptional aptitude as a character animator, effectively harmonising
exaggerated motion with more realistic elements to create highly memorable and charismatic moments.
Yet, it is his approach to animating uncomplicated sequences depicting characters strolling that truly
distinguishes his work. Examples of simple actions that can occur during physical movement include a
character altering their balance, making an accidental error in their step, or executing a movement
involving a rotation of the hip joint (Relyat08, 2016).

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 International Journal of Art & Design (IJAD), Volume 8 (1), January/2024, Pg. 51-68
Analysing The Sakuga Technique in The Animation of Mob Psycho 100 (2016)

Figure 3. Yutapon cube technique from Space Dandy

(Source: https://www.sakugabooru.com/post/show/63684)

In his remark on the website Quora.com, Kevin Z. (n.d.) expressed his viewpoint of Yutapon,
primarily focusing on the creation of aesthetically pleasing fragments. He argued that cubes had a greater
sense of satisfaction and beauty compared to asymmetrical triangles. Furthermore, it should be noted that
the decision to adapt anime from manga is often at the discretion of the director. All the illustrations are
created by a single individual, with the assistance of a small team of editors. Consequently, most of the
combat sequences depicted in manga have a reduced presence of debris compared to their counterparts in
anime.

Figure 4. Obari Punch technique that applies in Pokémon

(Source: https://www.sakugabooru.com/post/show/63684)

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 International Journal of Art & Design (IJAD), Volume 8 (1), January/2024, Pg. 51-68
Analysing The Sakuga Technique in The Animation of Mob Psycho 100 (2016)

Matteowatz (2021) in his writing from animtudes.com elaborates on the sakuga technique “The
Obari punch” is a little more complicated than a straightforward punch to the camera. The defining
characteristic of Obari's animation style is the notable emphasis placed on anticipation during the
execution of punches. As noted by Kraker2k, an expert in Obari's work, the Obari punch can be
deconstructed into three or four distinct postures. Of particular significance are the arm retracting motion
and the forceful protrusion of the chest. In addition to its evident qualities, the Obari punch showcases a
keen understanding of anatomical structures, whether human or mechanical, as well as a discernible sense
of rhythmic coordination. Undoubtedly, animating the frontal position poses a consistent challenge,
whereas the intermediate stances allow fluidity and natural movement.

Figure 5. Animatic from Spider-Man: Across the Spider-Verse used of Kutsuna Lighting
(Source: @SpencerWan/Twitter.com, 2023)

Kutsuna Lighting is a visual phenomenon that encompasses ray animations that emulate the
movement of lightning. This distinctive visual effect is distinguished by the presence of zigzag patterns,
which are skillfully crafted by Kenichi Kutsuna, as stated by BlackSakuga (n.d.) on Sakugabooru.

Figure 6. Showing animation effect in a single from Mob Psycho 100 episode 1
(Source: Sakugaespreso.com, 2021)

The analysis of Sakuga in the context of Mob Psycho 100 (2016) reveals several noteworthy
aspects. These include the presence of unconstrained and dynamic effects animation, the seamless
execution of camera movements, and the incorporation of highly expressive cartoon facial expressions
that evoke humour.

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Analysing The Sakuga Technique in The Animation of Mob Psycho 100 (2016)

Figure 7. A scene where Mob exorcise evil spirit in episode 1

(Source: Sakugaespreso.com, 2021)

The primary aspect that needs emphasis is the exceptional integration of colour design and
compositing, which effectively unifies the entirety of the scene. The purpose behind this cut is to
showcase Mob's psychic capabilities to the viewers, hence it is fitting that Mob's power manifests through
the most luminous and vibrant being within the given space. During the process of exorcism, the spirit
exhibits a rapid sequence of vibrant neon hues, accompanied by the emission of sparks and flashing
electrical arcs, resulting in a luminous display reminiscent of a rainbow. The rapid changes in colour
schemes and compositing effects create a notable phenomenon known as "sub-drawing movement,"
which enhances the intensity of the scene without diminishing the liveliness of any individual keyframe.

Figure 8. Showing Sakuga of Dimple blown away by Mob barrier

(Source: @Yuyucow/Twitter.com, 2016)

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The presence of light and the arrangement of lines in the image are indicative of a sense of gravity
and dominance. The magnitude of the explosion appears relatively unremarkable in comparison to the
protagonist's prior encounters in psychic battles. However, this perception is influenced by the show's
manipulation of our perception. The inclusion of visually striking elements, such as vibrant background
animation and whimsical impact frames reminiscent of ink, makes it challenging for this explosion to
evoke a lasting impression amidst the consistently exceptional artistry displayed throughout the series.

Figure 9. Yutapon technique is used when the characters hit the ground
(Source: https://www.sakugabooru.com/post/show/63684)

Yutaka Nakamura was responsible for animating the action ending, which prominently showcased
his distinctive stylistic characteristics, including impact frames and the renowned "Yutapon cubes." The
utilisation of a transition from backdrop animation to background art is evident throughout his work.

Figure 10. The application of the sakuga technique called Wakame Shadow in the researcher’s final
year project
(Source: Original, 2023)

The animation sequence incorporates lighting effects to visually emphasise a powerful assault.
Additionally, the researcher opted to incorporate the Wakame Shadow sakuga technique, which involves
casting a shadow in the shape of seaweed-like strands around the character, to enhance the desired visual
impression.

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Analysing The Sakuga Technique in The Animation of Mob Psycho 100 (2016)

Figure 11. Punch sequence using sakuga technique in the researcher’s final year project
(Source: Original, 2023)

To deliver a forceful impact in my work, the researcher used Sakuga technique developed by Obari.
This style involves incorporating elements such as subtle movements indicating the buildup of
anticipation before a punch is thrown by a monstrous creature, as well as utilising bold line sketches to
convey the menacing nature of the impending attack.

Figure 12. The use of squash and stretch technique in the researcher’s final year project
(Source: Original, 2023)

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Analysing The Sakuga Technique in The Animation of Mob Psycho 100 (2016)

To enhance the forceful effect of the punch strike, the researcher developed a strategy involving the
use of squash and stretch techniques on the monster's physique. Specifically, the posterior region of the
creature's body would undergo elongation, while the front portion would experience compression as a
result of the forceful hit delivered by the mecha's fist. Additionally, the researcher applied a lighting effect
within a sub-drawing, wherein the lighting changes within a single frame.

CONCLUSION

In conclusion, the term Sakuga has undergone significant evolution since its creation, with its definition
continuously expanding and broadening over time. Initially denoting the entirety of the animation domain,
it has transformed into a recognition and commemoration of the skilled artisans responsible for its
creation. The practice of Sakuga has emerged as a method of acknowledging the skills and dedication of
animators in the creation of exceptional animation, through the systematic preservation and
documentation of their artistic contributions. Sakuga, as a production strategy, is not based upon
accidental circumstances or chance occurrences, but rather is a deliberate and premeditated process that
involves the utilisation of proficient and seasoned animators. The artists demonstrate their creative
abilities, expertise, and passion through their artistic endeavours, thereby producing visually captivating
and intriguing instances that enhance the overall quality of the animation.

Moreover, Sakuga serves as a highly effective instrument for crafting visually captivating and
dynamically animated sequences. These instances not only captivate audiences but also showcase the
exceptional skills of the animators, establishing novel benchmarks for the quality of animation and
advancing the boundaries of this artistic medium. The significance of sakuga persists as an
important element in the ongoing development of the animation industry. Further research and exploration
of this methodology, in conjunction with advancements in technology and animation software, will
undoubtedly provide an array of visually captivating and emotionally resonant artistic creations in the
forthcoming years. Sakuga animations are produced by a diverse range of methods. To enhance the visual
appeal and realism of their sequences, animators employ a variety of approaches, including intricate
character designs, fluid animation, meticulous attention to detail, and the strategic use of dynamic camera
angles. The enhanced level of skill enhances the viewer's experience by immersing them in the narrative
and intensifying the emotional resonance of the animation.

The art form known as Sakuga deserves recognition and appreciation, extending beyond its mere
technical role within the field of animation. As viewers, we are afforded the privilege of witnessing the
tangible outcomes of animators' unwavering commitment and diligent efforts. Through their invaluable
contributions, the field of animation is elevated, hence igniting a profound sense of inspiration within
forthcoming generations of artistic individuals.

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