Anime Snapshots: Mob Psycho #10 Fire Scene

Sometimes an anime struts along that is charismatic from beginning to end, a complete package that is so much more than the some of its parts . And sometimes a more run-of-the-mill series can break form and produce a wondrous episode that you can neatly lift out and up onto a pedestal. But once in a while this glory lasts only a fleeting moment – a shot, a cut or a scene that punches through and reaches a short-lived apex. These posts are dedicated to those honorary instants.

I have already lauded the animation power of Mob Pscyho through my reviews of its standout episodes 1 and 8, but there was a particular beat in episode 10 that stretched my jaw to the floor. I’m talking, of course, about the fire scene. Fire is one of those raw, innate pillars of effect animation that we have all been exposed to many times over our years of service in the anime fandom. Alongside water, lightning and smoke, fire has been the pursuit of many a talented animator and it’s tempting to think it’s been rendered in every possible way already. From the sparse and boldly coloured forms of Yoshinori Kanada and Masahito Yamsahita’s flames to the intense realism of Mitsuo Iso’s carefully crafted billowing fire, this is a field with a rich creative history. Yoshinori Kanada’s fire dragon is one of the most iconic, oft-homaged pieces of animation ever created.

So it’s rare that quality fire animation can jump out and make an impression these days. It certainly did here. This sequence, lasting only a couple of minutes, stole the show! The roaring, intense heat of the fire enveloping the characters, and at times the whole screen, could really be felt. And it’s not just the way the fire looked and moved in any conventional sense – it’s the way it really felt like it was sucking the characters in to this epicenter of unimaginable inferno, whipping around them and blasting them like a furious storm.

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The opening cut, handled by animator Kazuto Arai exemplifies this, with the fire bursting down the hallway and washing over Terada drowning him, and soon the audience, in a sea of heat. The aqueous movement of the fire was very deliberate, with the animator using shots of the crashing waves of the ocean for reference.

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Straight after that we’re into the more sketchy style with more conventional flickering flame motion. After being awash with flames we’re now in the hearth, surrounding by burning flame. This part is more conventional but straddles a good balance between realism and animation abstraction and has a more classically ‘mob psycho’ feel to it with its rough pencil lines.

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The next shot is distinctly digital genga apparently from web-gen animator, Shin Ogasawara. I have always had a soft-spot for web-gen effects animation. The fact that is is digitally drawn means that it is not drawn with lines forming shapes but directly painted with digital brushes. This means that it’s so much easier to create fluid and intricate effects animation such as splashing colours and leaping sparks. This strength of digital animation is used to good effect here creating a layered and fast shot of the fire that helps to convey its intensity.

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And finally the inferno retreats to a fireball as Terada entraps his opponent. This is the best animation of the scene, with fine, detailed linework and a swirling, pulsating movement that’s so reminiscent of Hironori Tanaka that it’s thought to be uncredited work from him. He has a habit of going credit bare on many series, so it would not surprise me for him to turn up here. The tail end of this fireball scene raises the bar again, however, with a segment that is a cut above the rest in terms of intensity.

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Although the movement and linework is similar to the previous gif, can you feel the difference in animation power? There’s just something more visceral and violent about this fire; it burns brighter and with more fury.  Although there’s definitely still clear defined grades of colour, the linework is less crisp, instead the colours flow into each other in an undulating blur of heat. This is probably as close as you can get to actually being burnt watching anime. The depiction of the figure within the flames is also different, less fine lines and more thick, dirty graphite flickering out of form. I sense the magic of Kameda here. Although he’s not credited with genga this episode, there’s something about the scrawled figure and the ashy debri after the fireball dissipates that makes me wonder! Perhaps he just supervised this part of Tanaka’s (or whoever it was) work.

But what is so interesting about this is that this furnace was depicted by so many animators. In your typical anime this whole sequence would be probably be given to an effects animator specialist and that one animator would create the whole feel of the fire. But Mob Psycho’s mantra is to use different anime styles and techniques to keep the audience on their toes, never knowing what the visuals are going to do next. I suspect the choice to split this up and let several animators realise their own creative ideas of how the fire should look was very deliberate.

Arai gave the feeling of suddenly being overwhelmed with his crashing wave of heat, Ogasawara depicted its powerful speed while the animators of the fireball sequence, whoever these nameless heroes may be, really ramped the intensity up to the next level.

 

Episode Spotlight: Mob Psycho 100 #8

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Director: 立川譲 (Toshiyuki Takei)

Storyboard: 立川譲 重原克也 (Yuzuru Tachikawa  Katsuya Shigehara )

Animation Director: 亀田祥倫 (Yoshimichi Kameda)

Yoshimichi Kameda is undoubtedly the pedestal animation force behind this series. Although he was responsible for the character design, he did not take up the credit of chief animation director that usually accompanies this. Generally the chief animation director is the single overruling source of truth for close-ups and facial shots of their character designs so they spend their time furiously correcting and supervising the work of the episode animation supervisors below them throughout the whole show. For a series like New Game, the precise appeal of the beautiful characters is a major selling point, making this role critical. Mob Psycho has no such aspiration, instead Kameda’s drive for the series was to allow it to thrive on chaos and disorder, whipping a cacophony of different animation styles into a charismatic chorus, a heaving, messy swell of excitement. He is best placed to do this closer to the front lines; serving as animation director for an episode allows him to supervise the animation, not just the drawings.

Episode 8 is the only episode since the first that he taken up arms, to orchestrate the animation of a Mob Psycho episode. The results are astounding. Much like the greatest of the great charismatic animators before him, Kameda has again surpassed expectations, blowing to pieces the conventional anime style and making it his toy.

Kameda has proven himself a great animation director because he has been able to weave each of the animator’s individual styles into a cohesive tapestry of animation. In my view, there is no one grand-standing piece of animation – all of the more prominent animators’ styles are celebrated with equal gusto. Usually when you get a charismatic animator on an episode, their segment stands out like a sore thumb. This episode makes it into my list of greats because only a show like Mob Psycho with an animation director like Yoshimichi Kameda could we get an episode so invigoratingly animated that the individuality of the animation doesn’t feel at all idiosyncratic.

Both in terms of his drawings and his movements, Kameda’s animation style is rough, gritty and visceral. In his break-out work on Full Metal Alchemist Brotherhood, that grit, that rawness made the sequence where Roy Mustang incinerated a certain character (spoiler dodge!) unforgettable. It took the glamour out of death and perfectly reflected his vengeful frame of mind. In Mob Psycho, Kameda’s roughness both compliments the playfully dirty design manifesto of the series but also, more importantly, takes the glamour out of his battle sequences. While other shows portray sleek, cool fights, Mob Psycho degrades and brutalises those involved in the skirmishes. This plays nicely into Mob’s stand-point of not wanting to fight and hurt others.

Kameda obtains this roughness in his work through a variety of techniques, including the use of an Ukiyo-e brush and rough pencil work. One thing is for sure, his genga are the anything but clean:

This style has clearly been imparted to the key animators who worked on this episode, who have implemented it in different ways. Bold, brush-like lines, sketchy pencil marks, scraggly linework and dirty smears are pervasive throughout the episode. There are several moments that nail the style so perfectly that you get the sense that Kameda made divine intervention as supervisor and roughed up the genga himself. Such moments are fleeting but very carefully interspersed at impact moments throughout the action so that you feel the force of Kameda without him betraying the style of the key animator.

Probably the tidbit of animation that grabbed me the most this episode was this:

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The way the hackled lines undulate with a kind of electric energy, as if yearning to explode into formless scrawl is a powerful statement of Mob’s wrath. Again, I feel Kameda’s hand in this but I’d love to know how this cut turned out this way! Sakugabooru has it included as part of Yutaka Nakamura’s scene, but I can’t be sure.

I was fascinated to see Yuuto Kaneko at the top of the genga list for the episode (meaning he contributed the most). Kaneko is one of the most ascendant young animators associated with studio Trigger who came onboard as part of the Little Witch Academia training project after jumping ship from GAINAX. He proved himself by becoming a core animator on Kill la Kill, and reaching the status of a stand-out animator on Kiznaiver and Luluco. He also contributed to episode 3, but this is in my view his best work to date. In particular, this sequence was astounding.

Although much noise has been made about Yutaka Nakamura’s piece at the climax of the fight, this segment was perhaps more interesting animation wise, the rough deformation and sketchiness of it being classically Mob Psycho. Kaneko has adopted a strength from his Trigger brethren Akira Amemiya and Imaishi that plays neatly into Kameda’s aesthetic – the crayon-like thick lines, chalky effect dashes and pencil scrawled smears are incorporated into his animation to spectacular effect this episode.

Another segment that caught my eye was likely by Akira Yamashita (presumed so because he tweeted about drawing the delinquents with a picture of a particular pose). If this is is indeed his work, it’s also very impressive and revels well in the dirty feel of the episode. The crass contortions of the faces is so fun to watch in motion and his drawings feature a lot of rough line detail and charcoal style.

Of course, I can’t forget to mention the climactic finish to the sequence, handled by none other than Bones resident star animator Yutaka Nakamura. Nakamura rarely fails to produce exhilarating animation, and this is far from an exception, with some smooth background animation, an explosion of effects and weighty, realistic kinetics as Mob throws his opponent down. To top it off there’s a fade to formless sketch as  mob’s fury hits its pinnacle.

Topping the web-generation episode 5, this takes the cake for being the best animated episode of Mob Psycho and even managed to squeeze in our first taste of legitimate plot with the introduction of the evil organisation, Claw. I am not expecting that crown to be passed on until the final episode, which will almost certainly be spearheaded by Kameda again and sit in BONES’ all-out sakuga finale hall of fame.
Key Animation

金子雄人 篠田知宏 宇佐美萌 宗圓祐輔 武藤信宏
増田伸孝 前田義宏 鈴木優太郎 島田佳 舛田裕美
宮島直樹 加藤滉介 五十嵐祐貴 石橋翔祐

光田史亮 わしお 山下滉 長坂慶太 工藤糸織
佐藤由貴 阿部尚人 高山朋浩 佐藤利幸 中村豊

ボンズ作画部
橋本治奈 平田有加

 

Episode Spotlight: Mob Pycho 100 #1

Staff:

Director & Storyboard: 立川譲 (Yuzuru Tachikawa) [Series Director]

Writer: 瀬古浩司 (Hiroshi Seko) [Series Composition]

Animation Director: 亀田祥倫 (Yoshimichi Kameda) [Series Chief Animation Director]

If you have an appreciation of animation, Mob Psycho will grab your attention and mercilessly pound it into absolute submission. I’m still in intensive care, but they’re letting me write this post under heavy sedation and monitoring. If you don’t appreciate animation you might see it as an anime with a ‘weird art style’ that’s still somehow awesome. But whatever your background, I think we can all agree that Mob Psycho 100 has a certain kick to it that perhaps no other anime does, and the force behind that kick comes from its animation production.

As intended, the writing is dry, the characters unpalatable and the story, at least in this early stage, no more than a premise for shounen gags. Don’t expect to be deeply moved or intellectually engaged by this series; it knows exactly what genre it is and throws everything at being the very beast shounen comedy it can be. Being descendant from the same original creator, Mob Psycho definitely has a likeness to the previously successful One Punch Man. The shounen topic, the style of comedy and the comic faces are closely aligned. Both series also have great animation, but Mob Psycho is a very different beast in this arena.

Unlike One Punch man, the show is relentlessly kinetic. Ever since the early days of TV-anime, most anime have a status quo animation style and all the creative energy and gusto would be thrown into the ‘money shots’. One Punch man was rightly lauded for its animation quality, but it still followed that pattern, that praise almost entirely referring to its frequent but fleeting action sequences. Sure, some of Mob Psycho’s greatest moments of animation come from the scenes where Mob uses his telekenetic powers, but the difference in energy is less clear-cut.

All throughout, this episode of Mob Psycho is stylistically restless, bursting at the seems with new ideas, and raw, unfiltered animation of totally different faculties. There’s some clear strains of Kanada-esque, or even Imaishi-school limited animation, some rich set-piece movement in the vein of Hironori Tanaka, web-gen digitally drawn effect work reminiscent of Shingo Yamashita.

The crumpled, hyper-emotional gag expressions remind me of the drawings from classic comedy anime GTO or, more recently, Azazel-san.

There’s an abundance of ambitious and unfiltered key animation work on display. There’s even some animation done using oil-painting on glass.

So, in this episode at least, there’s no status-quo – it’s a complete piece of animation. But there is a stylistic presence that stitches it all together, and that is of chief animation director Yoshimichi Kameda.

Mob Psycho is yet another break-out career moment for the ascendant Kameda, the man who is the embodiment of the primal ‘charisma animator’. I have been following him intently ever since his arresting action sequences as a young key animator in Full Metal Alchemist Brotherhood, his rough, charcoaly lines, coarse shading and unique effects proving to be the most iconic and memorable animation from the series. False prophets have come and gone, and countless animators have emulated his style, but Kameda is the only one out there that has Yoshinori Kanada’s particular brand of charisma – the drive to push the boundaries, to constantly exceed and upend expectations and with free and flamboyant animation. Like Kanada, his animation has the power to drive the production, not the other way around.

Kameda always goes over the top. He always gives you a bit more than you ask for (Laughs). If you imply that you want him to do his absolute best, to give it 100%, he’ll go away and return with 150%. I think he works best when you ask him to operate at around 80% capacity. –director Tachikawa

That charisma approach is at the beating heart of Mob Psycho, and his pioneering sumi-e brush aesthetic is clearly in play throughout the episode.

Animation aside, director Yuzuru Tachikawa’s storyboard and layout work give this episode a fast-cut pace and rich composition that means the character cels and the background art don’t feel starkly separate. There’s not necessarily anything wrong with having cels stand-out, but it’s refreshing to see an anime that follows a different path.

The dynamic, near-formless animation created under Kameda combined with Tachikawa’s layouts mean that Mob Psycho has few obvious traces of a standard TV animation production. It’s less of an anime and more of a manga that’s come to life.

Yoshimichi Kameda MAD

Sakuga MAD for the key animation of Yoshimichi Kameda (亀田祥倫). Yoshimichi Kameda was born in 1984 and originally worked for AIC. After his impressive work on Full Metal Alchemist: Brotherhood, Kameda has become a star young animator. Most of his substantial animation in TV-anime has been in action animation for BONES. Although his career is relatively young, this MAD still captures a decent amount of striking animation! I look forward to seeing more of him to come (I’m sure he will be involved in the FMA:B movie!).

My favourite work of his is certainly the scene between Lust and Mustang. The detailed drawings and cool effect animation really make that scene very intense.

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Star Driver Episode 6

Ratings


MOE: ⚫⚪⚪⚪⚪
ERO: ⚫⚪⚪⚪⚪
GAR: ⚫⚫⚪⚪⚪
LOL: ⚫⚪⚪⚪⚪


 

I won’t hesitate to call this the best episode of Star Driver yet! It could just be that it’s coming off the bank of last week’s pretty silly offerings, but I found the characterisation and story this week to be much more compelling than it has been. My reaction to Star Driver has generally been a dull bemusement, but, even if the plot backbone is as confusing as ever, I actually found myself compelled this time around. And, of course, BONES added their usual high-grade flavour of great production qualities. Overall, it was great fun.

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