The general definition of animation has over again become problematic particularly with the advent of digitally generated moving images. These problems are mostly due to a new character of digital images, which are no longer exclusively associated with the index of their photographic record and their real-time movements, but are extensively generated from digital data. Regardless of profound changes over the last couple of decades in our media environment, animation is still concerned about “how to create motion,” which is inevitably related to both our methods of artistic expression and our perception of the world, i.e., “how to generate emotion” in a fundamental way. This study, therefore, aims to inquire into what “makes senses” of animation in the age of digital image, which provides another state of sentience. In order to further explore the issue of senses in the animation image, I will examine two main epistemological foundations of the sense of animation, which includes the concept of motion and body in the combination of a traditional and digital respect. Considering it is only at the starting point of my research, this paper will present brief epistemological remarks on the subject, “writing e/motion,” which is expected to efficiently reveal the kinetic and corporeal nature of animation image beyond the time.