In the animation space, there aren’t too many names that are very well known. Most of the work doesn’t get attached to a specific name, regardless of how powerfully an animated film might make you feel.

In Western animation, Walt Disney is probably the only household name when it comes to animation, and for good reason. However, if you cast your gaze over to the east and settle on Japan, the foremost name is likely going to be Hayao Miyazaki, of Studio Ghibli fame. As an animator, Miyazaki’s approach to animation can certainly teach you a lot, so let’s talk about it.

Embracing a Human-Centric Approach

As an animator, you must find yourself personally offended when people allude to animation being for children. Sure, that applies to a lot of animated films, series, and shorts out there, but it is far from an appropriate general consensus. A lot of animation is perfectly suitable for adults and Miyazaki’s animation falls into that category.

Why? Well, it all comes down to his human-centric approach. One of the strongest things about Studio Ghibli films is how relatable and complex the characters can be. There’s no lazy writing involved, and the emotional depth that is explored in these films makes it so much easier for the audience, whether children or adults, to feel moved. Chihiro in Spirited Away is an excellent example of this.

Nature and Environmental Consciousness

Another aspect that makes Miyazaki’s animations extremely compelling is the central role that nature tends to play in them. Besides being able to make younger viewers rather environmentally conscious early on in life, it lends a fantastical feel to his films. Whether you’re looking at Princess Mononoke, Ponyo, or Nausicaa of the Valley of the Wind, there’s a clear affection for nature, almost as a character in itself.

The Complexity of Characters

Miyazaki’s films aren’t built to be enjoyed exclusively by children. The complexity of the characters is part of what makes Studio Ghibli productions a great watch for the adults in the audience too. It’s hard to find a two-dimensional character in Studio Ghibli’s storytelling. Many times, it is hard to say that a character is explicitly bad or good.

One of the most explicit examples of how multidimensional Miyazaki’s characters can be is with Lady Eboshi in Princess Mononoke. Sure, she serves as the story’s antagonist, but it is hard to say that she is a complete villain with her actions. As a viewer, she may make you ask yourself whether she might be right in her own way.

Childhood Innocence and Empowerment

Naturally, it is very easy for younger viewers to enjoy Miyazaki’s films, since in almost all cases, the protagonist is a child. That’s part of what makes the films so poignant though. When relatively innocent characters are faced with such major conflicts, it is so much easier for us, as the audience, to be by their sides and wish them victory in the very end.

It also makes it so much more impactful when these child characters attain a moment of great success. It feels a lot more empowering than if it was an adult protagonist with the same achievement! Obviously, Chihiro is a fantastic example, but a character like Kiki from Kiki’s Delivery Service also stands out.

Anti-War Themes and Pacifism

Another aspect of the Hayao Miyazaki philosophy of animation is how there’s a subtle anti-war stance portrayed through his films even when the films themselves are not overtly about war. I personally believe that it is great for the anti-war message to be instilled in younger audiences, and the best part is that it is very tastefully done at the same time.

Grave of the Fireflies, a staunch anti-war film, is a Studio Ghibli creation, though Miyazaki wasn’t directly credited with its production. However, films like Howl’s Moving Castle, Princess Mononoke, and Nausicaa have strong anti-war undertones to them.

Simplicity and the Traditional Animation Style

If you’re active on the internet (especially platforms like TikTok), at some point, you must have seen a lot of Studio Ghibli-style art and filters. There’s just something rather magical about that style that Miyazaki has cultivated for the animation studio that he co-founded. 

It’s simplistic, but not in a bad way. Hand-drawn art and keyframe animation is his style of choice and I think most animation purists (and even regular folk like me and you) will agree that there’s something more “feeling” about it. Consider a hand-drawn panel and a 3D model. I’m not trying to denigrate what 3D animation brings to the table, but most will agree that hand-drawn art possesses more emotional impact. 

That’s why I think it is beautiful that Miyazaki sticks to it with what he creates. Most of us will agree that a 3D-animated Studio Ghibli won’t exactly have the same “oomph” to it.

The Influence of Japanese Culture and Mythology

Finally, while we get inspiration from Miyazaki, it is clear that he gets inspiration for certain story elements from the mythology and culture of his home country, Japan. There’s a richness that regional mythology brings to any kind of story that is very difficult to replicate, so for those of us who aren’t too familiar with Japan, it adds a level of exoticness to what are already fantastical tales.

Spirited Away has very clear inspiration from Japanese mythology and folktales with kami (divine spirits) and yokai (supernatural creatures). Princess Mononoke also has Kodama, which are tree spirits inspired by Shinto beliefs and culture.

Conclusion

Miyazaki is arguably one of the greatest minds in animation that has ever existed. Despite starting his trade in Japan, his fame has extended far beyond that region and his name and Studio Ghibli have become more widely known than any other studio out of Japan. It’s one of the best animation studios in the world! His philosophy can’t exactly be painted broadly as Japanese animation philosophy, but it is a great place to start with it.

If you’ve never seen a Miyazaki film before, it is never too late. They’re timeless and I suggest putting one on as soon as you can to partake of the man’s animation excellence.