Opinionated: Miyazaki isn’t Anime

I’m still living down that one time that I admitted to liking Nickelback. But even though I understand the great risks of divulging my personal interests on this blog, I’ve decided that it’s time once again to take my chances. I’d say it’s well worth it to defend my favorite director, Hayao Miyazaki.

With 18 movies, a multi-billion dollar studio and several Academy Award nominations, Miyazaki has a track record that would seem to make him a respectable director to fangirl over. But any time that I try to recommend one of his phenomenal films to a friend, I get laughed at.

Miyazaki makes animated movies. To be more specific, Japanese animated movies. When I show a typical Johnson County kid a trailer for one of his movies, they don’t see what I see — an incredible plot, driven by vivid illustrations. They see anime.

I’m not saying that anime is bad. I’ve actually never read or watched anything anime. But the art form has gotten a bad rap, especially among typical East kids. It’s labeled as “weird,” and that label seems to cover anything and everything that is animated with an Asian twist — Miyazaki included.

That’s just wrong. I’m here to defend Miyazaki, because what he makes goes beyond typical comics and animations. Miyazaki creates true art.

The creepy and the fantastical are Miyazaki’s strong suits. He proved that with his Academy Award winning film Spirited Away, which tells the story of a young girl who is trapped in a theme park whose inhabitants are spirits who only come out at night. Through a series of creepy adventures and constantly stalked by shadows, she befriends a young boy and his dragon in an attempt to save her parents — who have been turned into pigs.

Sounds weird, right? I’m going to be honest. It is.

That’s Miyazaki’s style. It’s quirky and it’s strange and it challenges viewers to think differently. But behind that strangeness is a beauty and an assortment of universal truths that Miyazaki masterfully weaves together.

Most Miyazaki movies have a purpose. My favorite film of his, Grave of the Fireflies, narrates the story of two siblings’ struggles to survive during the brutality of World War II, as they lose their parents, their home and finally each other. The movie was written as an anti-war piece, and if you don’t sob during the final 30 minutes, well, you probably don’t have a scrap of empathy in your body. Similarly, Nausicaa of the Valley of the Wind makes a powerful commentary on industrialization and its destruction of nature.

Miyazaki also defies the patriarchal culture of his home country, creating a slew of strong-willed, independent girls as his main characters. Howl’s Moving Castle features Sophie, who falls in love with Howl, a powerful magician who lives in a castle that (big surprise) moves on its own. Sophie forces Howl to scrub down his castle, re-straighten his priorities and eventually focus on his mistakes.

Even when he isn’t challenging societal norms or making social commentary, Miyazaki finds a way to delight and entertain. Three of his finest films are aimed at children: My Neighbor Totoro, Kiki’s Delivery Service and Ponyo. The movies still feature fantastical casts, but Miyazaki’s whimsical creepiness is toned down, giving the films a Disney-esque feel.

I could go on for years about Miyazaki’s style — the depth and detail and breadth of color that he uses in his artwork; his choice in casting voices for his characters. Honestly, I think his films must be experienced, not described. So take my word for it — don’t judge, keep an open mind and check out one of his masterpieces.

I guarantee that you’ll enjoy them more than Nickelback.