Who Creates The Most Iconic Anime Faces Funny Panels?

2025-08-26 19:17:10 172

3 Answers

Brianna
Brianna
2025-08-27 21:50:26
Oh, this is one of my favorite little debates to get into after a long day with a new manga volume — who draws the funniest, most iconic faces in panels? For me, the first name that honestly jumps out is Akira Toriyama. His work in 'Dr. Slump' and early 'Dragon Ball' is just ridiculous in the best possible way: it’s the way a cheek is drawn, the sudden squint, the goofiness of a jawline turned inside out for comedic timing. I still laugh out loud at some of the dopey expressions that Arale or Goku pull; they read like pure visual punchlines. I have a shelf where these volumes live and every time I’m in a mood to unwind I flip through them and get little hits of that same visual humor — it’s comfort and slapstick wrapped into inked lines.

But I can’t talk about iconic funny panels without shouting out Eiichiro Oda. 'One Piece' has this wild elasticity to its faces; characters morph into rubbery caricatures mid-panel and it supports the joke rather than distracting from it. Oda’s gift is that he can carry a serious emotional sequence and then snap to a perfectly timed, absurd face that punctures tension and makes the cast feel lived-in. Hideaki Sorachi, creator of 'Gintama', deserves a big mention too — his panels often lean full-on parody, lampooning anime and real-world oddities with faces that read like a stand-up comedian’s reaction shot.

I also love the softer, classic gag styles from Rumiko Takahashi in 'Ranma 1/2' or the everyday grotesqueries in 'Crayon Shin-chan' by Yoshito Usui. And recently, ONE’s rough-but-brilliant panels in 'Mob Psycho 100' feel like a fresh take: crude sketches that explode into expressive mania when the joke lands. Each of these artists uses different tools — line weight, timing, panel layout, background simplification — but the connective tissue is sincerity: the face has to mean something and sell the moment. If you asked me on a slower night, I’d probably trace Toriyama’s curves with my finger and Oda’s ridiculous mouths with a grin, because those are the faces that stuck with me and made me want to imitate them in the margins of notebooks back in school.
Jude
Jude
2025-08-29 06:25:18
When I flip open manga looking for a laugh, I tend to think about technique before name-branding: who knows how to stretch a jawline, how to place sweat drops and veins, how to leave a blank background so a single close-up sells the whole gag? That mindset puts Hideaki Sorachi and Eiichiro Oda at the top in my book. Sorachi’s work in 'Gintama' is practically a masterclass in comedic timing drawn on the page — the way he nests small reaction panels beside broad slapstick visuals, or how a face will contort into an almost photorealistic grotesque just for a second, it’s like a drummer hitting a cymbal at precisely the right offbeat.

Oda’s approach is different but equally effective: he uses extreme facial distortion not only for one-off jokes but to build character personalities over years. Luffy’s goofy grins and Sanji’s dramatic expressions become shorthand for who they are, and that shorthand lets Oda punch jokes faster and with higher payoff. I also appreciate Akira Toriyama because his silly faces are elegant; they’re spare and readable, which makes them prime examples when I try to explain comedic expression to friends who draw casually. Then there’s Rumiko Takahashi — her work in 'Ranma 1/2' balances slapstick and romantic misdirection in a way that makes every exaggerated reaction feel earned.

Speaking more technically, Japanese manga tends to favor symbolic exaggeration — eyes turning tiny, noses elongating, mouths flopping — and the creators who do it best are the ones who understand rhythm. The gag lands when the artist times the visual change with a punchline in the dialogue or the music of the scene. That’s why I admire ONE’s sketchy style in 'Mob Psycho 100': it’s raw, it’s quick, and it reads like improvisational comedy on paper. If you’re trying to study funny panels, compare a gag page from 'Dr. Slump' to one from 'Gintama' and you’ll see two different philosophies producing the same effect: you laugh because the artist trusted the face to carry the joke.
Isaac
Isaac
2025-08-31 23:42:38
I was having a beer with a friend the other night and we got into an unapologetic session of “whose face is more ridiculous?” We ended up making a playlist of panels on our phones — that’s when it hit me how personal this really is: what makes a face iconic for you depends on the kind of laughs that hooked you in the first place. For me as someone who grew up on both older TV anime and crunchy manga translations, Akira Toriyama’s goofy, elastic faces are pure nostalgia. The sight gag in 'Dr. Slump' where Arale or a side character suddenly becomes a round, blank-eyed cartoon is deeply satisfying. It’s so straightforward that even a non-manga friend can get the joke instantly.

Then there are creators like Hideaki Sorachi and Eiichiro Oda who are masters of escalation. Sorachi will take a mundane situation — somebody’s awkward confession, a historical gag — and crank the absurdity up by degrees until a face makes the whole panel pop. Oda does that too, but his faces also build character lore; that’s rare because he’s making you laugh while you’re still learning who the person is. On the other end of the spectrum, ONE’s work in 'Mob Psycho 100' reminds me that sometimes rough art hits harder emotionally and comedically because it feels earnest. You can see the creator having fun; that joy translates into faces that are weird, imperfect, and unforgettable.

If I had to give a neat takeaway — not that anything here can be neat — I’d say that the most iconic funny faces come from artists who treat the mouth and eyes like instruments of timing. Whether it’s Toriyama’s streamlined goof, Oda’s rubbery surrealism, or Sorachi’s parody-ready contortions, those faces stick because they’re used with intention. I still find myself screenshotting panels after a long day — it’s like collecting small, portable laughs — and I’ll never stop comparing notes with friends on which one made us snort first.
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