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Susuwatari
Susuwatari
Susuwatari
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Susuwatari
Multiple Susuwatari in Spirited Away
First appearance
Last appearance
  • Zen - Grogu and Dust Bunnies
  • 2022
Created byHayao Miyazaki

Susuwatari (Japanese: ススワタリ, 煤渡り; "wandering soot"), also called Makkuro kurosuke (まっくろくろすけ; "makkuro" meaning "pitch black", "kuro" meaning "black" and "-suke" being a common ending for male names), is the name of a fictitious sprite that was devised by Hayao Miyazaki and Studio Ghibli, known from the famous anime-productions My Neighbor Totoro (1988) and Spirited Away (2001) where, in the former, they are identified as "black soots" in early subtitles, as "soot sprites" or "dust bunnies" in the Streamline Pictures English dub,[1][2] and as "soot gremlins" in the Walt Disney Studios English dubbed version.

In the RSC’s stage version of “My Neighbour Totoro”, they are called “soot sprites” and there is a solo sprite named Geoff.[3]

Description

[edit]

Susuwatari are described and shown as golf ball-sized, pitch-black and fuzzy-haired beings with two large eyes and long, thin limbs. They move by hovering around, but they can extend stick-like limbs from their bodies to do certain tasks, and can lift objects many times their own weight. They make a squeaky murmuring sound when excited, and dissolve into powder (soot) if crushed.

My Neighbor Totoro

[edit]

In My Neighbor Totoro,[4] the house the main characters move into is full of Susuwatari, which are rationalized as Makkuro Kurosuke, an optical illusion caused by moving quickly from light into darkness. Seeing that the family consists of good people, the Susuwatari leave the house to move to another abandoned area.

Spirited Away

[edit]

They later reappeared in Spirited Away as workers in Kamaji's boiler room.[5][6]

The protagonist Sen (Chihiro) befriends a number of them by helping them carry coal. Sen is told that if these Susuwatari are not given a job to do, they turn back into soot. Another character, Lin, feeds the Susuwatari much like farmers feed chickens, throwing handfuls of the Japanese candy konpeitō onto the ground for them to eat.[5] After Sen is accepted among the staff of the bathhouse, chiefly by Kamaji and Lin, the Susuwatari become almost admiring of her,[7] and help her in their small ways.[6]

Zen - Grogu and Dust Bunnies

[edit]

In 2022, Studio Ghibli and Lucasfilm collaborated on a Star Wars short for Disney+ where The Mandalorian character Grogu interacts with a band of dust bunnies that give him a flower as a gift.[8]

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Susuwatari

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Susuwatari (Japanese: ススワタリ, susuwatari), literally meaning "traveling ," are fictional soot sprites created by Japanese animator for productions. These small, spherical creatures resemble fluffy black balls dusted with , featuring large white eyes with black pupils, and they are capable of compressing into even tinier forms to carry heavy loads. They represent the accumulation of and in neglected spaces, embodying a whimsical yet industrious aspect of everyday folklore-inspired fantasy. Susuwatari first appeared in Miyazaki's 1988 film , where a group of them infests an old countryside house newly occupied by the Kusakabe sisters, scattering in fear when exposed to light and noise but returning to their playful, scurrying behavior in the shadows. In the 2001 Academy Award-winning film , they take on a more structured role as diligent workers in the boiler room of a magical bathhouse, transporting coal under the supervision of the spider-like Kamaji; here, they are shown to turn back into soot if not given work to do or if crushed, highlighting themes of labor and transience. They also appear in the 2022 short film Zen - Grogu and Dust Bunnies, where they interact with the Star Wars character . Born from Miyazaki's imagination over three decades ago, these endearing yōkai-like beings have become iconic symbols of Studio Ghibli's blend of childhood wonder and subtle environmental commentary, often evoking the hidden magic in mundane household grime.

Origins and Concept

Etymology and Inspiration

The term Susuwatari (ススワタリ) derives from the Japanese words susu (煤), meaning "," and watari (渡り), meaning "to travel," "to cross," or "to migrate," resulting in a of "traveling soot" or "wandering soot." They are also known as Makkuro Kurosuke (まっくろくろすけ), where "makkuro" means "pitch black" and "kurosuke" combines "kuro" (black) with the common male suffix "-suke." This was coined by director specifically for the small, animated soot creatures introduced in his 1988 film . The conceptual basis for Susuwatari draws from traditional and household beliefs, where accumulated and dust in old homes were occasionally personified as mischievous spirits or entities. Miyazaki adapted these elements to transform mundane household into endearing, animated beings, aiming to instill a of childhood wonder by revealing in the ordinary and promoting awareness of environmental harmony through themes of cleanliness and coexistence with . Historically, played a prominent role in pre-electric Japanese households, where wood-burning stoves and sunken hearths known as irori were central to daily life, generating thick deposits of black residue on walls, ceilings, and roofs. This soot accumulation tied into broader cultural values of impermanence (mujō) and ritual cleaning, as homes required frequent maintenance to ward off both physical dirt and spiritual unease, a motif Miyazaki invoked to connect modern viewers with ancestral domestic realities.

Design and Characteristics

Susuwatari are portrayed as diminutive, spherical entities roughly the size of a , composed of black, fuzzy material with prominent white eyes featuring black pupils, but lacking mouths, noses, or visible limbs. Their design evokes the appearance of dust bunnies or coal sprites, emphasizing a soft, ethereal texture that underscores their otherworldly yet approachable nature. Behaviorally, Susuwatari travel in large swarms, demonstrating remarkable strength by transporting objects disproportionate to their size, such as acorns or lumps, often in a coordinated manner. They emit distinctive high-pitched squeaks to express excitement or fear, adding an auditory layer to their presence. Notably, direct contact with sunlight or water causes them to disintegrate into innocuous soot particles, highlighting their fragile, shadow-dependent existence. In terms of animation, Studio Ghibli employed meticulous hand-drawn 2D techniques to bring Susuwatari to life, utilizing basic circular forms and minimal line work to efficiently animate their swarm dynamics, thereby evoking a blend of endearing whimsy and faint unease through fluid, collective motion. This approach, detailed in production artbooks, allowed for seamless depiction of their mass behaviors without intricate individual detailing. While inspired by everyday dust accumulations, Susuwatari diverge from real dust bunnies by being imbued with intentional vitality and purpose, transforming passive particles into animated, interactive beings within the narrative framework.

Appearances in Film

My Neighbor Totoro

The Susuwatari make their debut in the 1988 animated film , directed by , as the Kusakabe family—father Tatsuo and daughters and Mei—arrives at their new rural home amid ongoing renovations. The sprites, appearing as small fuzzy black creatures, are seen fleeing the house through cracks in the walls and floors, carrying trails of that leave black smudges behind. Satsuki and Mei discover them while exploring the dimly lit interior, initially startled by the horde's sudden movement from dark corners into the light. Key scenes highlight the Susuwatari's role in bridging the film's everyday domestic setting with its emerging magical realism. In one pivotal sequence, a swarm invades the house, scurrying across beams and walls in a chaotic mass, prompting Mei to chase them playfully with laughter and shouts, while watches in amusement mixed with caution. This pursuit inadvertently leads Mei deeper into the property's hidden spaces, setting the stage for her first encounter with Totoro under a nearby camphor tree, thus marking the sprites as harbingers of the story's fantastical elements. The ' collective motion, animated to evoke both a playful and a subtle eeriness, underscores the transition from the sisters' ordinary anxieties about their mother's illness and the move to a world of wonder and spirits. The Susuwatari interact with the characters through non-verbal cues, relying entirely on their scampering and evasive movements to convey a sense of lively, indifferent otherworldliness. When caught or swatted, they dissolve into harmless , only to reform elsewhere, emphasizing their ethereal nature without direct confrontation. The family eventually cleans away the soot deposits, with the local grandmother explaining that the sprites are departing because the house is now occupied by , portraying them as benign inhabitants of vacant spaces whose presence awakens the home's latent spiritual essence. This interaction symbolizes the family's integration into the countryside's hidden , as the sprites' exodus clears the way for more personal encounters with nature's guardians. In production, Miyazaki designed the Susuwatari to merge elements of horror and whimsy, drawing from real-life observations of accumulating in old houses to create these sprite-like entities that initially unsettle but ultimately charm. The team focused on their horde-like behavior, using fluid to depict them as a unified, almost organic mass that shifts from intimidating shadows to endearing fugitives, enhancing the film's blend of childhood fear and delight. Miyazaki noted that such details were grounded in authentic experiences rather than pure invention, allowing the sprites to feel like natural extensions of the rural environment.

Spirited Away

In (2001), the Susuwatari assume a more prominent role as the diligent boiler room workers in Yubaba's sprawling bathhouse, where they tirelessly haul coal and to fuel the operations under the supervision of the multi-armed Kamaji. These soot spirits, sustained by a magical enchantment, form the backbone of the unseen labor force in the spirit economy, performing essential but grueling tasks in exchange for sustenance like star-shaped treats. Chihiro, renamed Sen upon entering the spirit world, first stumbles into their domain in a pivotal scene that initially terrifies her with their shadowy, bustling presence amid the clanging machinery. Overcoming her fear, she aids them by helping transport a heavy load, which garners their immediate respect and secures her a position in the bathhouse. Their unwavering provides a stark contrast to the bathhouse's often greedy and disorderly atmosphere, highlighted in sequences of coordinated effort that underscore themes of perseverance and . Though voiceless, the Susuwatari convey and through subtle gestures and synchronized movements, such as tilting in or huddling in distress, effectively portraying them as a collective entity rather than individuals. They embody the film's exploration of hidden toil in fantastical realms, protected by Kamaji, who treats them with paternal care amid Yubaba's domineering rule. For production, the Susuwatari's designs were adapted from their earlier appearance in (1988), shifting from nomadic household pests to organized workers in a confined, industrial space to fit the bathhouse's hierarchical structure. The challenging animation of their swarming behaviors, involving intricate hand-drawn crowd dynamics, contributed to the film's critical acclaim and its win for Best Animated Feature at the .

Zen - Grogu and Dust Bunnies

"Zen: Grogu and Dust Bunnies" is a 2022 animated directed by Katsuya Kondō and jointly produced by and . The three-minute hand-drawn piece marks a unique crossover outside the traditional Ghibli canon, blending the whimsical style of with elements from the Star Wars universe. It premiered exclusively on Disney+ on November 12, 2022, with music composed by , known for his work on . In the film, the young Force-sensitive character is depicted levitating in a meditative state over a serene . A group of Susuwatari—small, black, soot-like spirits retaining their characteristic wide-eyed, bouncy design from Ghibli's earlier works—suddenly appears, with one playfully bouncing off Grogu's head and disrupting his focus, causing him to tumble into the water below. Startled, Grogu briefly chases the evasive creatures in frustration, but exhaustion soon sets in, leading to a moment of calm where the Susuwatari approach him gently. They then collectively lift and carry Grogu as they float together harmoniously, symbolizing a peaceful encounter without any dialogue. This non-narrative sequence emphasizes themes of balance and coexistence in nature, fusing Ghibli's enchanting portrayal of the with Grogu's contemplative journey. The production represents a collaborative celebration of artistry, showcasing Studio Ghibli's signature fluid, hand-drawn techniques applied to a Star Wars property. Released to coincide with the third anniversary of Disney+, the short highlights the fidelity of traditional 2D in a meditative, minimalist style reminiscent of Japanese ink wash painting. Critics and audiences praised the short for its charming cultural fusion and adorable character interactions, effectively introducing the Susuwatari to a broader global audience through the Star Wars franchise. While some noted its brevity as limiting deeper storytelling, it was lauded for evoking a sense of wonder and tranquility, with an IMDb user rating of 5.5/10 reflecting its lighthearted appeal.

Cultural Significance

Symbolism and Themes

The Susuwatari embody environmental symbolism through their origin as soot-born entities, representing the detritus of human industrialization and the resulting that infiltrates natural and domestic spaces. In Hayao Miyazaki's narratives, they critique the caused by modern activities, such as burning and urban expansion, while illustrating the restorative cycle of decay and cleanliness—emerging in neglected areas and dispersing when harmony is achieved through care. This motif aligns with Studio Ghibli's broader ecological philosophy, where such spirits underscore the need for humans to mitigate their impact on and foster balance. Thematically, the Susuwatari highlight childhood innocence and the enchantment embedded in ordinary existence, serving as gentle guides to the invisible wonders surrounding daily life. In , their initial appearance in the family's new home signals the onset of familial unity and emotional settling, as the sisters' curiosity transforms apprehension into wonder. In , they emphasize humility and the ethics of labor, portraying even the smallest beings as essential contributors to communal effort, teaching the protagonist the value of diligence amid exploitation. From a psychological perspective, the Susuwatari symbolize overlooked or suppressed elements of the psyche and living spaces, manifesting as accumulations of neglect that vanish through attentive renewal, thereby evoking themes of personal growth and purification. Miyazaki's depiction draws from his Shinto-influenced worldview, which embraces animism to imbue inanimate matter—like dust and soot—with vitality, reflecting a belief in the spiritual essence of all objects and the potential for transformation in the overlooked. Scholars interpret the Susuwatari as a means to humanize the prosaic, infusing mundane phenomena with emotional depth and drawing on the Japanese concept of mono no aware—the poignant awareness of impermanence and the gentle sadness of transience—to evoke empathy for ephemeral natural processes. This approach elevates everyday decay and revival into profound reflections on life's fragility, aligning with Miyazaki's intent to cultivate appreciation for the subtle rhythms of existence.

Merchandise and Legacy

Official merchandise featuring Susuwatari has been available since the late 1980s following the release of , with producing plush toys, figurines, and apparel through licensed retailers. These items include vibrating plush figures that mimic the characters' movements from the films, as well as collectible soot sprite dolls sold via official Ghibli stores. Apparel lines, such as T-shirts and sweatshirts with Susuwatari designs, emerged in the 1990s and continue to be produced. Collaborations have expanded the merchandise range, notably with , which launched UT collections in 2023 featuring Susuwatari on T-shirts, hoodies, and mini shoulder bags, available internationally through Uniqlo stores and online. A 2022 collaboration with luxury brand Loewe included Susuwatari-themed bags and apparel, further elevating their presence in high-end fashion. Home goods incorporate Susuwatari themes, including embroidered pouches and eco-friendly reusable shopping bags designed as transformable plush characters to promote . Susuwatari enjoy widespread popularity in fan culture, with frequent appearances in , , and memes on platforms. The characters' legacy includes prominent displays at the in Mitaka, opened in 2001, evoking the worlds of films. Their global recognition grew through streaming, with and —both featuring Susuwatari—available on in over 190 countries since 2020 (excluding the US, Canada, and Japan), as of 2025, introducing the characters to new generations. Susuwatari contribute to Studio Ghibli's brand value by serving as mascots for eco-friendly products, such as reusable bags that align with the studio's themes of environmental , enhancing merchandise sales and cultural footprint. This positioning underscores their role in Ghibli's commercial success, with licensed items bolstering the studio's reputation for whimsical, sustainable designs.

References

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  2. https://www.vulture.com/article/miyazaki-weird-little-guys.html
  3. https://www.quora.com/How-would-you-translate-the-name-of-the-susuwatari-%25E3%2581%25BE%25E3%2581%25A3%25E3%2581%258F%25E3%2582%258D%25E3%2581%258F%25E3%2582%258D%25E3%2581%2599%25E3%2581%2591-into-English-Ive-seen-several-versions-and-none-of-them-seems-right
  4. https://ghibli.fandom.com/wiki/Susuwatari
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  6. https://www.asianstudies.org/publications/eaa/archives/the-films-of-hayao-miyazaki-shinto-nature-and-the-environment/
  7. https://www.ikehikojapan.com/blogs/event/l_20220215-1
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