Hayao Miyazaki

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The second book continues the journeys of Nausicaä as she finds her own answers and has to decide how much she is willing to sacrifice for the stupid human race who continue to do stupid things. Did that sound bitter? Let me ask you how many times do you think that some war machine from any number of countries has discovered something potentially dangerous and immediately wondered how they can use it to wipe out everyone that is not them. In this world where humanity had basically wiped out their world in seven days with the help of god warriors it seems history is not one of their strengths as those of power seek to repeat the past. After all it might not have worked the first time but we are smarter now right? Right? Meanwhile, planet churns out the poison that seeped into its very womb, spewing up deadly miasma, secreted from giant forests of fungus. Great hordes of titanic insects move into what seems to be final migration towards lands far away. Signs of once-in-centuries type of catastrophic event start showing up. A tsunami of mold devours everything in its path, almost having a mind of its own. In deeper forests, tribes of humans that either lived shielded from their kin, or in despised grudge of acceptance, get ready to make their moves. The Walkman. Karaoke. Pikachu. Pac-Man. Akira. Emoji. We've all fallen in love with one or another of Japan's pop-culture creations, from the techy to the wild to the super-kawaii. But as Japanese-media… But there are some good anecdotes. For example, learning that Hideaki Anno modeled NERV in Neon Genesis Evangelion as a satirical version of Studio Ghibli, with Miyazaki as the tyrannical and obsessive Ikari. Outside of a few funny anecdotes like that, though, there's not a lot here to open up Miyazaki's life and character.

Being a Moth Keeper is a huge responsibility and a great honor, but what happens when the new Moth Keeper decides to take a break from the moon and see the sun for the first time? From the author of the beloved Tea Dragon Society comes a must-read for fans of the rich fantasies of Hayao Miyazaki and the magical adventures of Witch Hat Atelier. At that point, in a voice as loud as he could possibly get, Copper began to sing the Waseda fight song: What a heady experience. I'm still reeling from taking it all in (I read the second compilation volume all today), but dang girl, what a masterpiece. This somehow had all of my favorite things: fun, adventure, fascinating characters, deep worldbuilding and lore, fantasy/sci-fi vibes, philosophy, ecology, friendships, politics, ANIMALS YAAAAS But rereading it as an adult and having knowledge of Miyazaki's politics and themes, it sort of cast a shade over the experience a little bit? I couldn't just get into the story the way I could if I had known less, I think. Nausicaa is just a little too perfect and a little too right all the time. What I really enjoy is that there really isn't a clear "bad guy" here. It's a pretty complicated political system that Nausicaa finds herself in the middle of. Her intentions are clear - stop the senseless killing and learn to live with the land. At times she comes off pretty anti-human, but I think that's a part of her personality that Miyazaki successfully explores.Ante el desinterés de las editoriales —especialmente de aquella que posee los derechos en España— por reeditar este manga de superlativa calidad, me decidí a comprar la versión inglesa. Y no me arrepiento. Hace justicia por completo a la obra, algo que no es del todo habitual. Está compuesta por dos grandes tomos que reúnen los siete volúmenes originales en algo más de mil páginas. Ambos contienen varias ilustraciones a color, además de un póster que los acompaña. ¡Y hasta cuenta con un apéndice con la traducción de las onomatopeyas! So this is actually a reread. I read the series once before as a young man, and thought it was amazing. Suddenly Copper howled in a strange voice: “OO, OO, OOWOO!” This was meant to be the starting whistle for the game.

Stars earned by the grace of the opening chapters where the reader is intimately introduced to the young Miyazaki-san's formative years, which goes on to inform much of the subtext in the director's imaginative film making, and is the only real nugget of value one can take away from this read. An all-watercolor manga based on the memoirs of Otto Carius, a German tank commander. It was serialized in Model Graphix, under a new series name Mousou Nouto (Fantasy Notes). I feel really bad about not finishing this - it was an ARC, and it's the first ARC I haven't finished prior to reviewing it. I'm not going to rate it because I only made it 30% of the way through. I am a fan of Hayao Miyazaki and for me his films have always inspired a sense of wonder and awe. Every frame communicates a mood or an emotion that lets us get into the characters and immerse ourselves into the world. His movies do not shy away from dealing with darker themes but they have this vitality and they leave me with a sense of hope. Maybe this has partly to do with how Miyazaki works. Rather than starting with a script he always starts with and works through images. This allows the script and the film to grow organically as he draws. It is always the characters will that drives the story and they end with the characters emotional growth as they learn and adapt. This also makes his worldbuilding to be so full of life. We also look at his worlds through the eyes of his protagonists who are more often than not kids who are open minded and "see with eyes unclouded". He is also a master animator who can communicate a lot just through the movement of his characters.Key animation; direction by Masaaki Osumi, Noboru Ishiguro, Satoshi Dezaki, Ryosuke Takahashi and Rintaro Speaking of which, who knew that Miyazaki himself wasn't fond of flying? I suppose on one level this makes perfect sense, because how could real world flying ever compare to flight in Miyazaki's films – which itself may only be an approximation of his own dreams of flying. Consider also his fraught relationship with his family's own history, and the way it intertwines with the story of the Mitsubishi Zero, for which they did very nicely by making parts, a situation which in turn enabled them to escape the worst of the bombing at the war's end – while leaving others in need behind, something about which Miyazaki still seems to feel furiously guilty, despite being only a child at the time. I think I was dimly aware from around the time of The Wind Rises that he had some personal connection to the Zero, and obviously one can sense from most of his films his guilt at the past century or so of Japanese history, but I had no idea it was quite so fraught or personal. And then add to that his fractious relationship with his womanising dad, the respectful but argumentative one with his mum, the difficulties both with his actual son and with Ghibli's other young animators, his surrogate children...it seems to have been a very frustrating life. And that love of the purity of warplanes, married to a fierce disdain for the very fact of war which engenders them, has its mirror in his own work: the master of animation, devoting his life to his art, then insisting he takes no pride in what he's done, and only wishes kids would go play outside instead of watching his films. There's many things to love about these eleven films and Miyasaki's distinctive worldview and aesthetic make it easy to talk about them as a cohesive group. There's the sumptuous visual style, full of lovingly-rendered landscapes (from the gorgeous countryside of Totoro to the lush forest of Princess Mononoke), cityscapes (Kiki's unforgetable city by the sea, The Wind Rises' Tokyo) and dreamscapes (the marvelous Fukai in Nausicaa, Laputa's titular island in the sky, the ethereal ocean-world of Ponyo) . There's that true sense of the fantastic that marries the enchanting to the horrifying: from Spirited Away's No Face and the undulating demons of Princess Mononoke to Nausicaa's Ohmu. Or the moral seriousness of stories unafraid to flirt with ambiguity or delve into the darkness of real-world politics (think of the bittersweet poignancy of The Wind Rises' elegy to a brutal war machine). Ow! That’s rough! Help!” Copper yelled from inside the cloth. “And just now, a hooligan has appeared on the field.” A richly illustrated journey through the extraordinary cinematic worlds of beloved filmmaker Hayao Miyazaki