Mob Psycho 100

  • With Summer swiftly approaching, I thought it might be time to start showing previews of some of the shows that I think will be good ones to watch this upcoming 2016 Summer simulcast season. The first anime is one that looks really awesome and unique, with an interesting art style. Mob Psycho 100 is based on a Japanese webcomic by the creator of One Punch Man that began publication in 2012. This show is one that I really hope Funimation will be able to get licensed for a broadcast dub. Check out the teaser trailer for yourself. The "mystery unit" MOB CHOIR will perform the opening theme song "99," which was written by the webcomic's creator, ONE.

    Teaser Trailer

    Kageyama Shigeo (a.k.a. "Mob") is a 8th grader with psychic abilities. He could bend spoons and lift objects with his mind from a young age, but he slowly began to withhold from using his abilities in public due to the negative attention he kept receiving. Now, the only thing he wants is to become friends with a girl in his class, Tsubomi. With his psychic "mentor" (who has no psychic powers), he continues his daily life, attempting to realize his purpose in life.

    Sources: (, (

  • Another reason to be excited about this show is that it's being animated by BONES, the studio behind such amazing anime as Wolf's Rain, Eureka Seven, both Fullmetal Alchemists, Space Dandy, Bungō Stray Dogs, Blood Blockade Battlefront, Noragami, and My Hero Academia, among many others. With such a strong studio behind it, this anime from the man that brought you One Punch Man is sure to be an exciting, crazy adventure.


    Here is another trailer for the show, this one with subtitles.

    "Yuzuru Tachikawa (Death Parade) is directing the anime at BONES. Hiroshi Seko (Ajin) is overseeing the scripts, Yoshimichi Kameda (One-Punch Man animation director) is the character designer, Kazuhiro Wakabayashi (Eureka Seven, Ghost in the Shell: Stand Alone Complex, Soul Eater) is the sound director, and Kenji Kawai (Ghost in the Shell, Hana Moyu, Patlabor) is composing the music. Rock band ALL OFF (Heavy Object) will perform the ending theme song 'Refrain Boy.' The single CD for MOB CHOIR's opening theme will ship on August 31, and will also include a 'talking song' titled 'Chōnōryokusha ni Arigatō' (Thanks to People With Special Powers), performed by Takahiro Sakurai as his character Arataka Reigen. Original creator ONE wrote the lyrics to the song."

    Source: (

  • A new commercial for Mob Psycho 100 was released debuting "the opening theme song "99" by the "mystery unit" MOB CHOIR."

    Mob Psycho 100 premieres on July 12 and will be simulcast on Crunchyroll.

    Source: (

  • The third PV for Mob Psycho 100 is now streaming, and features the show's "opening theme song '99' by the 'mystery unit' MOB CHOIR."

    PV 3:

    Mob Psycho 100 premieres on Funimation on July 12. A special is set to air on July 4.

    Source: (

  • Mob Psycho 100 premieres on Monday, July 11, at 9:30am PT on Crunchyroll.

    Kageyama Shigeo, a.k.a. "Mob," is a boy who has trouble expressing himself, but who happens to be a powerful esper. Mob is determined to live a normal life and keeps his ESP suppressed, but when his emotions surge to a level of 100%, something terrible happens to him! As he's surrounded by false espers, evil spirits, and mysterious organizations, what will Mob think? What choices will he make? The anime based on the original story by ONE, the idol of the webcomic world and creator of One-Punch Man, is coming your way with animation by leading animation studio Bones!

  • Crunchroll posted character profiles for Mob Psycho 100 as well as a complete interview with show creator ONE and anime director Yuzuru Tachikawa, "as they discuss adapting the important elements, casting decisions, and the expressiveness of the anime."

    Character Profiles:

    Kageyama Shigeo (Nickname: ‘Mob")

    An extremely powerful esper who wants to live a ‘normal" life. Once his bottled up emotions reach their breaking point, his powers cause an explosion!

    Reigen Arataka

    A self-proclaimed psychic who runs the Talk Stuff About Spirits Agency. In reality, he doesn"t have an ounce of spiritual power, so he relies heavily on Mob, whom he employs at a 300 yen hourly rate.


    A high-level spirit who once had the grand ambition of becoming a god.

    Kageyama Ritsu

    A model student and star athlete. A member of the student council and Mob"s younger brother.

    Onigawara Tenga

    Black Vinegar High School"s resident gangster, Tenga the Demon.”

    Kurata Tome

    Head of the Telepathy Club, a senior at Black Vinegar High School.

    Hanazawa Teruki

    The first esper Mob ever met other than himself. His pet name is Teru.

    Mezato Ichi

    Classmate of Mob and member of the Newspaper Club.


    Mob"s childhood friend and the one he has a crush on.

  • Interview:

    Is it alright if I just keep drawing the way I do? (ONE)

    Q: Most of the fan response to the teaser seems to have been positive; I"ve seen a number of comments from fans of the original that read something like It"s pretty much the manga, but animated!” and The mood"s perfect!” What were your impressions, ONE?

    ONE: I was dumbfounded—they put so much life into my drawings. And that made me reconsider my own style. I thought to myself, Is it alright if I just keep drawing the way I do?” (Laughs)

    TACHIKAWA: (Laughs)

    ONE: After watching it, I sort of got the feeling that, ideally, my drawings would look just like they do in the teaser. The art hit all the right angles, and I feel like it"s a huge improvement over the original.

    Q: Director, have you noticed any complaints from the fan-base?

    TACHIKAWA: When manga get adapted, one of the biggest hang-ups amongst fans is atmosphere—or, more precisely, how much of it gets lost in the transition to animation. A problem we had to work out with the Mob Psycho 100 adaptation was whether we wanted to make Mob more handsome or go against the prevailing trend and keep him plain.

    ONE: I"ve always had reservations about my drawings, so when I heard about the adaptation, I was worried about how the staff would handle the character designs. I was actually about to suggest that they could make Mob a bit sexier if they needed to, but…

    TACHIKAWA: …But we came to the conclusion that, at least for Mob Psycho, we"d be making a mistake if we did that. When I read through the manga, I couldn"t shake how eccentric it was, and I wanted to keep that spirit in the adaptation. And judging from how delighted the fan-base was with the teaser, I think we made the right call.

    ONE: And it"s thanks to the hard work of the staff that we could keep the designs we wanted.

    Q: Out of curiosity: did you ever consider the possibility of sexying-up both Mob and Reigen and turning Mob Psycho into a story of male friendship? For the female fans?

    TACHIKAWA: From a production standpoint, having such a clear-cut goal would"ve actually made our job easier. We"d just have to add gloss to their hair, highlights to their eyes, and sparkle to their design. And we have plenty of animators who can do that well, but everyone on our staff actually loves ONE"s art. So we all agreed to keep the designs as close as possible to the spirit of ONE"s designs.

    ONE: Mob"s meant to come off as somewhat standoffish or nerdy. If we made him into a supermodel, that"d force us to change a lot of the story.

    News of the adaptation made me really anxious.” (Tachikawa)

    Q: How did you feel when you heard about the anime adaptation, ONE?

    ONE: Shocked. Well, actually, no: I first learned about it when my chief editor sent me an e-mail. It read: Mob Psycho"s been green-lit for an anime.” At the time, I was coming up on a deadline for my manuscript, so I just replied with a ‘Thank you." The morning after, though, I woke up and remembered something about an email and an adaptation. I was like, Oh. Huh. Yeah, that was something.”

    TACHIKAWA: (Laughs). That was your reaction?

    ONE: Then I grabbed my phone because I wanted to hear someone say it (Laugh). Once I"d confirmed it with my editor, the realization slowly dawned on me—I just couldn"t believe it! It made me so incredibly happy.

    Q: How about you, director?

    TACHIKAWA: I was six volumes into Mob Psycho when I heard about the adaptation, and… well, to be frank, the announcement made me really anxious.

    ONE: (Laughs)

    TACHIKAWA: The big question was: how could I keep the adaptation faithful to the source? I drew a massive blank—honestly, I don"t think anybody had a clear-cut idea of what an adaptation would look like. But, while I was fretting over how I"d approach the adaptation, I came to the realization that the show would be an opportunity to try out a number of new ideas.

    Mob Psycho 100 is very receptive to new ideas.” (Tachikawa)

    Q: What were some of the difficulties you had?

    TACHIKAWA: I mentioned this earlier, but I want to make sure that I preserve the strange, inexplicable atmosphere of the original. I love the way ONE uses panels and plans out his pages, but the way that the adaptation looks in that regard will have to be different. I"ve spent a lot of time thinking about how to best engineer a similar mood. I"ve been thinking especially hard about how to translate some of the most impactful pages into animation, and I"m testing out a bunch of ideas.

    Q: I realize that I"m speaking very abstractly now, but I feel like Mob Psycho 100 is a pretty good show to try out new forms of expression in?

    TACHIKAWA: Absolutely. I think it"s very receptive to new visual ideas. I"m going to have a lot of fun playing around with it.

    ONE: The only thing I asked the staff to do was to keep the anime"s Mob looking as close to the original as possible. But other than that, I"d rather an adaptation have some character to it than be a slave to the source, so I"m looking forward to seeing what kind of material the staff ends up adding to certain scenes, like Mob and Teruki"s fight. Or the sections I abbreviated in the manga.

  • It made me laugh. (ONE)

    Q: In my opinion, one of the manga"s draws is how well-paced the jokes are. I feel like this might be hard to preserve in the anime?

    TACHIKAWA: You wouldn"t be wrong. We"re paying very close attention to tempo and character interaction. But even then, what"s funny varies from person to person, so I can"t really tell if the audience is going to find our versions of the jokes very funny. All I have to work off is reactions to the voice actors" performances.

    ONE: I was there for episode one"s recording session, and I laughed pretty hard at the jokes. I think the material"s actually a lot funnier with voices. Especially with Sakurai Takahiro"s performance as Reigen—it"s interesting how well he fits the material.

    TACHIKAWA: Each actor brings some pizzazz to their character. Combined with the weird surreal humor, their performances have made me laugh quite a bit. I hope the audiences find it funny as well.

    Q: What was your impression of their performances, ONE?

    ONE: It"s great, listening to and seeing the characters with voices. I wrote the manga, but it"s like I"m experiencing Mob Psycho for the first time with the anime. When I started the series, I hadn"t even considered what the characters would sound like—I hadn"t even thought about their ages! So listening to their voices has helped to solidify and flesh out each character for me.

    Ito Setsuo, the voice actor who sounds pretty Mob-y

    Q: I"ve noticed that much of the cast, between Reigen"s Sakurai and Dimple"s Ootsuka, consists of veteran, talented voice actors. However, Ito Setsuo, who voices the main character Mob, is a complete newbie. What informed your casting decisions?

    TACHIKAWA: I wanted Mob to have a voice nobody would recognize; I wanted the voice actor, just like Mob himself, to be someone relatively unremarkable. We had a huge number of candidates for the role, but in the end, Ito"s voice most fit my idea of Mob.

    Q: As of yet, we haven"t heard anything but Reigen"s voice. I"m very much looking forward to hearing Mob"s voice!

    TACHIKAWA: He"s got a very plain voice. In a good way. Funnily enough, Itou wasn"t all that fazed despite being around all that talent in the recording session. I expected him to be nervous and stiff, what with Sakurai, Ootsuka, and a number of other great voice actors around him, but he didn"t even blink. Maybe he"s just an airhead.

    ONE: I had this thought this during the recording session, but he"s pretty Mob-y.

    TACHIKAWA: Yeah. And as for our shady Reigen, Sakurai does have an air of mystery about him, so we thought he"d fit the bill.

    Q: Dimple"s voice actor being Ootsuka seems like a pretty natural casting decision.

    TACHIKAWA: Well, I"ve always been a huge fan of Ootsuka. But besides that, we wanted a voice actor capable of convincingly playing both the role of a cult leader and a pathetic blob; everyone agreed that casting a veteran voice actor would be the best decision.

    I"d like this to be a work that feels kind.” (ONE)

    TACHIKAWA: I think Mob"s interesting in that he"s a character who actively rejects his superpowers, saying, I don"t need them to live.” You see a good number of stories featuring protagonists who eventually get overwhelmed by the power they possess; Mob Psycho is special because it doesn"t do that. Most of the characters either want powers or want to use their powers to push their ambitions, but Mob doesn"t. And I think that it"s going to be an interesting source of conflict that Mob doesn"t want his powers and Reigen doesn"t have any powers. I"m curious as to what your intentions with Mob Psycho are, ONE?

    ONE: I wanted it to be something that feels kind. When I came up with the concept, I was thinking something along the lines of ‘kindness" or ‘the connections between people". It ended up being an action manga, but my original idea was a slice-of-life that happened to include superpowers.

    TACHIKAWA: Now that you mention it, I think I get a bit of that kindness. We"ll do our best to realize your vision… That being said, a question: did you model Mob on yourself?

    ONE: That… uh, no. I didn"t. (Laughs)

    TACHIKAWA: Oh! Well, when the staff was reading through the Mob Psycho together, the topic repeatedly came up. You give off a very rustic, simple air. A good-natured vibe. As for me, well, I"m a bit of the opposite. I think it was Kameda (Yoshimichi), our character designer, who said it, but… uh, he called me real shady” (Laughs). And then he immediately went on to talk about how much of a good person you are. And you honestly do come off as a decent person, so we were wondering whether Mob was based on you.

    ONE: I"m just pretending.

    TACHIKAWA: (Laughs)

    ONE: Really! I"m just trying my best to come off as a good person (Laughs). But I think Mob"s not pretending; he"s a bona fide good person. He"s almost an ideal protagonist. In situations I"d run away from, I want my hero to stay and face the threat; in times I"d throw in the towel, I want my hero to persevere. And I feel like I gave Mob those heroic traits.

    Full of lovable idiots.” (Tachikawa)

    TACHIKAWA: There"re a lot of characters in Mob Psycho 100, but strangely enough, I don"t get a bad vibe from any of them. You"d expect to dislike at least one character out of such a large cast; I don"t, though, and that"s weird.

    ONE: Well, Dimple starts off as a pretty nasty dude, but… Well, I wanted to give Mob an otherworldly partner, so I came up with a pretty weird one in Dimple and his fireball design. And I guess, yeah, he ends up becoming a better person over time.

    TACHIKAWA: He"s not too bad, yeah. (Laughs)

    ONE: But even with Dimple"s concept, I wanted to build on the idea of a protagonist who changes people"s lives. Dimple softens up as a result of spending more time with Mob. I wanted to make this theme very clear through the character relationships, whether those are the relationships between Mob and Reigen, Mob and Ritsu, or Mob and Teru. The pairs all interact very differently, but I think they"re thematically very similar.

    Q: I noticed that, in the credits, there"s a mention of Fullmetal Alchemist"s Yoshimichi Kameda doing the character designs. Will he have a hand in the animation as well?

    TACHIKAWA: Absolutely. We"re also having him supervise the animation.

    **Q: I believe there are a good number of anime fans who are looking forward to the action scenes for his involvement?[/B}

    TACHIKAWA: Thanks to him, a good number of scenes turned very distinctly Kameda-esque. Episode one will feature a Reigen scene with very lively comic colors.

    ONE: The facial expressions are pretty incredible as well—they"re a joy to watch. I didn"t know Reigen could make those faces.

    TACHIKAWA: 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.

    Q: I thought I caught a lot of Kameda-isms in the teaser.

    TACHIKAWA: That makes sense. He did all of that himself, after all.

    Q: What about the music?

    TACHIKAWA: Oh, that"s just something we"re using for the teaser—we had our composer, Kenji Kawai, whip something up. The soundtrack for the actual show is going to be pretty amazing as well. We"ve got a wonderfully themed piece for our con man, Reigen, and we"ve got some nicely Showa-influenced tracks. The soundtrack canvases a large range of musical genres, so it"ll be something to look forward to.

    ONE: I haven"t had the chance to listen to the soundtrack yet, so I"m excited.

    Q: Do you listen to anything while you draw, ONE? When you draw action scenes, do you listen to livelier songs?

    ONE: Nope. I pretty much only listen to bands like Spitz.

    Q: (Laughs)

    TACHIKAWA: Even the music he listens to is pretty good-natured (Laughs). Come to think of it, volume 2"s cover art reminds me of a Spitz album cover.

    Q: Oh, you"re right! (Laughs). Lastly, is there anything you"d like to say to the viewers at home?

    ONE: We get a lot of positivity from our fans overseas, don"t we?

    TACHIKAWA: There"s so much pressure (Laughs). I"d like to promise that, even though it"ll eat up a chunk of your day, Mob Psycho"s going to be so exciting that it"ll be over before you know it; you"ll be so engrossed that you won"t even want to get up to use the bathroom. The show"s meant to be pure entertainment, something that you can laugh at without thinking very hard. But at the same time, we"re aiming for visual ideas that haven"t yet been seen in anime; Mob Psycho will ideally be like opening a box of very fun surprises.

    ONE: I think that, with the addition of animation, voice acting, and music, the Mob Psycho 100 anime is a fresh take on the manga. I won"t be missing an episode, and I"m looking forward to following the anime with all of you.

    New episodes of Mob Psycho 100 air on Crunchyroll every Monday.

    Source: (**

  • This post is deleted!


    DAT OP THO!!!!!!!!!!!!!!!!!

  • I REALLY liked the first episode for this quite a lot, the animation was smooth and on point, I'm really digging the art-style as well. I also really like the opening / OP theme (can you blame me?), It's soooooo catchy!

    I think it's safe to say this one will be staying in my CR queue this season.

  • Crunchyroll Feature Article: "Mob Psycho 100" and the Power of Animation

    • Animators show their love for anime.

    By Brandon Teteruck
    July 17, 2016 7:30pm PDT (13 hours ago)

    While there"s no shortage of intriguing plotlines and characters in anime, there"s one aspect that undoubtedly distinguishes it from film or literature for me. Surprisingly, the animated component of anime is rarely talked about in many fan circles either due to the lack of exposure Japanese animators receive in the West or a shortage of discourse on the subject. Regardless of the reason, the visceral power of animation is definitely something that we shouldn"t ignore and as a show like Mob Psycho 100 proves, for a good reason as well!

    Within seconds, I was in love with the premiere of Mob Psycho 100. The anime opens with pure, unrestrained spectacle: a barren, grey wasteland erupts in a deluge of green, red and purple energy as colors and emotions fuse together. As the ground ruptures, a shadowy figure emerges and is chased down by enigmatic creatures which are quickly vaporized and transformed into additional colors on the canvas. Explosions, lightning and Lovecraftian horror all mesh into one as the scene becomes a figurative expression of artistic passion; appropriately culminating in a psychedelic explosion.

    While it"s easy to become disoriented by the madness, this is Mob Psycho 100"s greatest asset in my view. The opening scene is devoid of dialogue and may not carry much narrative weight at the moment however, it succeeds at being a display of the extent of what human imagination grants. A scene such as the opening of Mob Psycho 100 is something that we could only experience through a medium like anime it truly surpasses the constraints of reality. In this case, animation director and character designer, Yoshimichi Kameda, and his team show that pictures can speak louder than words.

    Mob Psycho 100"s first episode essentially does what you"d expect of a first episode: it introduces some of the major cast members, basic elements of the setting and throws a couple narrative hooks at the viewer. As a result, it"s a foundation heavy episode. Now what makes Kameda and co."s artistic touches significant are that they convey more about the characters and setting than dialogue alone would be able to accomplish.

    Take the main character Mob, for example. Mob is your average middle school boy that would be forgettable were it not for the fact that he is an Esper possessing strong psychic powers. Although details surrounding Mob"s personality and background are few in number, there"s plenty that can be inferred about Mob through his character design.

    Kameda has adapted ONE"s original design of Mob in such a way that it reinforces his lack of presence. Kameda uses heavy line art to emphasize the imperfections in Mob"s appearance, such as the bags under his eyes and loose threads sticking out of his clothes which by extension reflects the design philosophy of the rest of the human characters in Mob Psycho 100. In contrast to the polish and perfection of modern character designs in anime, Kameda and ONE are not afraid to depict ugly or even grotesque subjects, which suggests a lot about the state of Mob Psycho 100"s world. It"s rather telling when the demons and ghosts are not necessarily the most unsightly individuals in the crowd.

    If anything, the supernatural in Mob Psycho 100 are bright, colorful and distinctive in their appearance from one another which helps to characterize them in my view. One of the first ghosts we see appears as an animated oil painting while another is a repulsive eyeball monster which oozes slime and has mounds of trash lodged in its body. The fact that Bones" animation staff are willing to go to such great lengths to depict a monster that gets exorcized by Mob a few seconds later shows their dedication to their craft. It may seem like wasted effort to some, but there"s something inspiring to be said about an anime in this decade that relies on non-traditional and vintage techniques for expression.

    It"s not often that we see a team of animators" passion exist in such a raw state, especially when it comes to an anime made for mass consumption. Mob Psycho 100"s premiere honestly feels like a playground for Kameda and the various animators at Studio Bones. It"s filled with painted stills, hand-drawn locales and even design aesthetics which echo back to the heta-uma art movement of the 70"s. Mob Psycho 100 brings together a marriage of old styles and new methods of production, but above all it"s a product that conveys an honest desire to rise above the status quo and a love for the animated medium.

    Source: (

  • Crunchyroll Feature Article: Why It Works: Reigen's World

    • A new column opens with a look at Mob Psycho 100's shameless conman!

    By Nick Creamer
    July 23, 2016 9:05am PDT

    Hello, citizens of Crunchyroll! My name"s Nick Creamer, and today I"m kicking off a new column that"s very presumptuously titled Why It Works. We all love when moments in anime really punch us in the gut - when a character pulls off that last-minute victory, or a hero declares their belief in justice in the face of all the forces of the universe. But when we talk about those moments, we can often get caught up in, well, the stuff that actually happens - the big twist itself, the important plot event, the super cool thing that happened.

    This column isn"t going to be about that. I don"t care about that stuff. Plot is boring.

    Instead, here we"re going to talk about all the stuff before that moment, or the way it"s framed, or the exact specific super-important lines that are used. If you reduce an anime to its summary details, you"d have an accurate plot outline, but not the show you love. It"s the details that bring our favorites to life - the careful execution and thousand tiny choices that turn a series of cool ideas into something that can make us cheer, or laugh, or cry.

    And in spite of that confident column title, I want to say right here and now that there"s really no correct” answer when it comes to this stuff. The moments that work for us can work for any number of reasons, and you can unpack their craft in countless directions. There"s no shame in having a strong gut response to something and then trying to explain that response after the fact - we have gut feelings because there is something to explain there. Something that was crafted on a textual level hits us in an emotional sense and bam, magic happens. All I can offer is the stuff that works for me, and hopefully that might either ring true to your own experience or help you articulate why your own favorites work the way they do.

    So let"s start with something that really worked for me in one of this season"s hottest new shows - Mob Psycho 100. Mob Psycho is blessed with an incredibly talented director and one of the best animators in the business, plus it"s a show about psychic detectives from the same mangaka who brought us One Punch Man, so it"s little wonder that people are talking about it. And while Mob himself is the character who prompts Mob Psycho"s phantasmagoric psychic spectacles, today I"m gonna talk about his sham of an employer, Reigen Arataka.

    Reigen"s a con man - he claims he can exorcise ghosts, but he actually doesn"t have any powers, and instead foists all of the actual exorcisms onto his underpaid lackey. He lies to his customers and he lies to Mob, and yet, in spite of all that, I actually find Reigen very charming. And the greater part of why that is comes down to the fact that Reigen gets to occupy his own private world. Reigen is not actually a talented private psychic investigator, but he puts on a very convincing act - and when Reigen is in control, the camera is on his side.

    Reigen"s world is clear in his first scene, as he considers the request of a new client. His office is depicted as the archetypal private detective base: a small rectangular space cluttered by filing cabinets, with a single door leading outside, a desk against the far wall, and a window behind it with shades half-drawn. Reigen"s power is established in one shot through high-contrast lighting ( - his raised finger is wreathed in light as he pontificates on the psychic detective biz, while the contrasting shadow adds an air of menace to his rakish grin. Shortly after that, Reigen moves to the window, and we get one of the most iconic noir shots available as he peers through and then closes the blinds.

    Reigen"s performance isn"t just sold through the ways it mirrors classic detective fiction. The camera angles are also key here; in order to sell both Reigen"s authority and the menace of the spirits he"s describing, it often cuts below him (, presenting him as a figure of power ( in a broad and dangerous world ( And Reigen"s body language is equally important; in contrast to Mob"s eternally stiff posture, appropriate for an awkward middle schooler, Reigen exhibits a practiced slouch ( that simultaneously expresses confidence and world-weary fatigue. Reigen"s feet and shoulders are consistently emphasized (, steering his body between the stylish poses of a master detective.

    Of course, Reigen isn"t actually that person, and so his framing not only sells the world he"s trying to create, it also acts as a long-form setup for regular punchlines ( It"s a smart form of comedy; because Reigen"s faux-noir aesthetic is compelling for its own sake (elevating both the immediate sense of tension and general genre atmosphere), it doesn"t seem intrusive, but whenever his facade is broken, the end result is funnier for him having been so serious a moment before. Reigen"s performance is entertaining enough that you want to believe in it, but that also makes the moments where his facade fails that much funnier.

    Beyond its inherent stylishness and the way it builds to comedy punchlines, there"s actually one more thing I like about Reigen"s world. At the end of the first episode, we see Reigen and Mob approach an abandoned tunnel, where Mob outright admits that any normal person would be torn apart by what they"re about to face. Reigen jumps at this briefly, and looks away ( - but then he steadies himself (, and confidently tells Mob that that"s why they"re going to take care of it. Reigen may not be strong” in any conventional sense, and he is certainly taking advantage of Mob. But to know you"re weak, and know you"re bluffing, and still spit out that heroic line - that"s a strength too, in its way. There"s something I can really relate to in that.

    Source: (

  • So, who has watched tonight's episode of Mob Psycho 100?

  • Poor Mob! He just wants to be a little popular… He needs supportive friends, I tell you! He was seriously cool this episode though. Wish he would realize it. At least Reigen made him feel a little better when they talked ^ ^

  • @BubblyHunter:

    Poor Mob! He just wants to be a little popular… He needs supportive friends, I tell you! He was seriously cool this episode though. Wish he would realize it. At least Reigen made him feel a little better when they talked ^ ^

    Haha Yeah seriously! I feel bad for the guy. I just hope he can catch a break. I agree though, Mob was displaying his cooler side.

    ! It got super intense when he reached 100. Lol

    Reigen and Mob are so funny together! I enjoy their back and forth banter.

  • Crunchyroll Feature Article: Aniwords "Mob Psycho 100," Apostle of Animation

    By Isaac Akers
    August 02, 2016 5:05pm PDT
    Originally published on Crunchyroll.

    In recent weeks, my colleagues here on the features team have written on the visual strengths of Mob Psycho 100, including its animation and its visual direction. And the show certainly deserves praise in these two areas; it stands out from its peers for the quality of each. However, what I"d like to propose is that Mob Pyscho 100"s most fascinating and laudable characteristic is neither that it has strong animation from a talented group of animators nor that it has creative, diverse, and flexible direction—but rather, that it has both simultaneously.

    I want to make clear that I"m not necessarily arguing Mob Psycho 100 is unique or completely consistent on these terms. Certainly, plenty of other shows have sakuga (more on that here) and lots of anime are well-directed and even a small number are successful in both those categories, as Mob Pyscho 100 is. However, there is are particular traits in Mob"s animation (the sheer quality of craft, and formal experimentation) and direction (a self-consciously cinematographic nature) that make them stand out amongst the crowd—and the combination of them is why I find it worthwhile to discuss Mob Psycho 100 as not just a good sakuga show or well-directed show,” but as an anime that combines both of these in a way that breaks down the barrier between animation and cinematography.

    To further explain what I mean, consider this cut from the final battle of One Punch Man. In particular, pay attention to the way the cut is shot. While there"s plenty of motion going on throughout the duration of the clip, the way the motion is framed is pretty standard for an sequence like this in that the camera only shoots from the point that allows particular moments of action to be highlighted as they occur—thus, the frame becomes nothing more than a container into which the admittedly impressive motion occurs. Note that I don"t mean this as a criticism of the cut, per se. For what it"s doing—an action scene—it"s perfectly appropriate and serviceable.

    However, by way of contrast, check out this cut from the third episode of Mob Psycho 100. As you can see in the screencaps above the previous paragraph (all taken from this cut), there"s a decidedly more elaborate cinematographic quality to this cut—that is, it looks as good in stills, in single images as it does in motion. While a substantial portion of the appeal is in the delight of the colors and the abstracted shapes used by the animator to portray motion, a great deal of the still images' quality is derived from the way the motion is framed. In this cut, the cinematography is not just a vessel in which animation happens, but an active partner in creating a particular visual effect. The storyboards and animation complement each other, and the end result is something special.

    This cut, as with many others in Mob Psycho 100, is demonstrative of a joint product between animation and cinematography—as I like to call it: cinematic motion. The individual shots” and the ornate layouts (which appear to me to be self-conciously cinematographic in that they call attention to themselves by way of their obvious flair) that make them visually excellent are linked together not by editing techniques, but by animation. The transitions between shots, rather than being through the static cut, are created via motion. Of course, this doesn"t mean that Mob is one long take—there are plenty of cuts throughout—but it does mean that the cuts, rather than being used to frame individual shots, are used to frame the motion. Cinematography and animation become so intertwined that it becomes difficult to separate them. When we pause the animation and find within it an evocatively frame shot, we have found cinematic motion. Likewise, when we press play and the still shot flows into frame after frame of moving images, we have found cinematic motion.

    I said before that Mob Psycho 100 isn"t necessarily unique on these terms—the unification of still shots and motion has been something Yutaka Nakamura, the famous BONES action animator, has been experimenting with since Blood Blockade Battlefront all the way through Concrete Revolutio. However, I don"t think there"s any aruging that the addition of director Yuzuru Tachikawa"s direction to animation director Yoshimichi Kameda and co."s animation has resulted in a far more polished product. And as Mob Psycho 100 continues to blur the lines between what is cinematography and what is animation, it draws close to the fundamental nature of animation itself. In creating moving pictures notable for their appearance as both still images and moving sequences, the frame itself becomes animation. It"s like having your cake and eating it too, except in this metaphor the cake is a bunch of pictures that you eat with your eyes.

    What do I mean by the fundamental nature of animation? Well, that"s the reason I think all of this stuff in Mob Psycho 100 is worth talking about. This is perhaps an arguable point, but the element of animation as a medium that seems to be most defensible as its distinctive trait is the fact that in any given cut, there"s the potential for a single animator to have complete control of the frame. And this is where we turn our attention to the formal experimentation of Mob"s animation. Here, the best example is unequivocally the paint-on-glass animation of Miyo Sato (from episode one). Sato"s work, including another cut in episode 3 and the entirety of the show"s ending sequence, is a distilled display of animation"s capacity for displaying a single creator"s vision of artistic motion; it doesn"t matter that the animation itself was created by paint on glass as opposed to pencil on paper, it"s still animation. Although the method within the form changes, the form itself remains.

    To return to the point about animation and cinematography working in union, the majority of Mob Psycho 100"s cuts are, in a sense, a deconstruction of the purity of Sato"s animation as animation in its most fundamental form.” Tachikawa may have storyboarded most of the show so far, but he"s not animating the whole thing by himself at the same time—others are working alongside him. But the aesthetic division that normally exists between good direction” and good animation,” to use to the broadest terms, is very nearly erased in Mob"s best cuts because of how tightly the cinematographic shot and the shot-in-motion work together. Even beyond Sato"s additions, there"s plenty of experimentation going on in Mob and Tachikawa"s direction allows that experimentation to be more than just motion, just as the animation under Kameda"s supervision, well… animates Tachikawa"s storyboards fully.

    So, that"s my case for why Mob Psycho 100 is possibly the most exciting anime that I"ve ever seen from a visual/animation perspective. It"s a joy to see a show that pushes the limits of the animation medium and succeeds in as flashy a way as Mob does. Whether or not it"ll be able to keep it up for its whole run and continue to succeed with its experiments remains to be seen, but with the staff of the show reportedly on a quest to show up One Punch Man, I"m hoping for the best!

    So, it"s time for you guys to weigh in! What do you think about Mob Psycho 100"s crazy animation and its overall visual style? Are you a fan? Not a fan? Let your voice be heard in the comments!

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