“Living is Enough”: Studio Ghibli’s ode to personal heroes in political turmoil

By Tara Chareonsilp - Thailand

In the opening moments of Princess Mononoke (1997), a monstrous, writhing boar god—corrupted by an unseen force—charges toward a peaceful village. Covered in a wriggling mass of black tendrils, the beast’s agony is visceral, its destruction inevitable. Ashitaka, the film’s protagonist, kills the creature but is left cursed, bearing a mark that will slowly consume him. This sequence is more than a striking visual; it is a powerful metaphor for the consequences of human greed, unchecked power, and environmental destruction. Studio Ghibli, the legendary Japanese animation studio founded by Hayao Miyazaki and Isao Takahata, has long used its films to explore complex societal and political themes. Beyond their breathtaking animation and compelling characters, Ghibli films serve as profound reflections on governance, environmentalism, power dynamics, gender equality, and the tension between nationalism and globalism (Coppola, 2022). By intertwining these themes with universal human experiences, Studio Ghibli offers valuable insights into the foundational principles of political science and their relevance in modern society (Shea, 2021).

From the bustling, mechanized ironworks of Princess Mononoke to the quiet, rural landscapes of My Neighbor Totoro, Studio Ghibli crafts worlds that feel both distinctly Japanese and universally resonant. The soot-blackened factories of Irontown mirror real-world industrial expansion, while Totoro’s lush countryside evokes nostalgia for a disappearing way of life. This balance between cultural specificity and universal appeal is what defines Ghibli’s storytelling. Established in 1985 with a vision to “blow new wind” into animation, the studio takes inspiration from Japan’s rich traditions and history while addressing global issues such as environmental degradation, societal structures, and personal agency (Abe, 2021). By rooting its stories in tangible, lived experiences, Ghibli transforms abstract political and philosophical ideas into deeply felt narratives that transcend borders.

This emotional and thematic depth has profoundly influenced artists across different media. Steven Universe creator Rebecca Sugar has openly cited Ghibli’s work as an inspiration, particularly in its ability to "bring out the beauty in quiet moments" and create worlds where "every corner feels alive with history and meaning" (Sugar, 2018). Similarly, Guillermo del Toro has praised Ghibli’s "uncynical, deeply humane approach to storytelling," which influenced his own work in films like Pan’s Labyrinth, where fantasy serves as both a refuge and critique of authoritarianism (del Toro, 2015). Even James Cameron, in designing Avatar’s Pandora, drew from the environmental and spiritual themes of Princess Mononoke, calling Miyazaki’s work "a masterclass in world-building that puts nature at the center of the human struggle" (Cameron, 2009). The legacy of Studio Ghibli is thus not confined to animation alone—it continues to shape global storytelling in profound ways.

One of the most striking aspects of Studio Ghibli’s storytelling is its nuanced exploration of power and governance. Consider Nausicaä of the Valley of the Wind, a film that, in many ways, laid the foundation for Ghibli’s entire ethos. Though released in 1984, a year before the studio’s official founding, its critical and commercial success directly led to the creation of Studio Ghibli. The film introduces Nausicaä, a princess who rejects traditional notions of conquest and control, instead forging an empathetic bond with nature, even as warring factions seek to exploit it. In one of its most unforgettable moments, she stands alone against an advancing army, desperately trying to stop the stampede of the colossal, vengeful Ohmu. The scene, visually reminiscent of anti-war protests and environmental catastrophes, encapsulates the film’s message: true leadership is not about domination but about understanding and coexistence.

The film’s themes resonate far beyond its fantasy setting. Written during the Cold War and influenced by Japan’s own post-war anxieties, Nausicaä is a profound meditation on the consequences of environmental destruction, nuclear warfare, and unchecked militarism (Lee, 2020). Its depiction of a toxic, post-apocalyptic landscape, where humanity teeters on the edge of self-inflicted extinction, echoes real-world ecological concerns, from industrial pollution to climate change. Miyazaki himself has described the film as a warning, stating, "The world Nausicaä inhabits is not a far-off fantasy—it’s a vision of what could happen to us if we do not change" (Miyazaki, 1994).

The influence of Nausicaä extends beyond Studio Ghibli’s later works. James Cameron has cited it as a direct inspiration for Avatar, particularly in its portrayal of a symbiotic relationship between humans and nature (Cameron, 2009). Environmental activists, too, have drawn parallels between Nausicaä’s struggles and real-world conservation efforts, with some even crediting the film for sparking an early awareness of ecological issues among younger audiences (Abe, 2021). Moreover, Nausicaä herself has become one of the most celebrated heroines in animation history—a leader defined not by conquest, but by her ability to listen, learn, and mediate. In this way, Nausicaä of the Valley of the Wind is more than just an animated film; it is a political and philosophical statement, one that continues to shape conversations about leadership, environmentalism, and the future of human civilization.

Similarly, Castle in the Sky paints a chilling portrait of imperial ambition through Muska, the ruthless government agent who seeks to control the floating city of Laputa. His cold declaration—"The world will once again tremble before the power of Laputa"—mirrors the rhetoric of historical colonial empires and their pursuit of technological dominance. Ghibli’s films do not merely critique power; they ask viewers to reflect on their own roles in systems of control and resistance (Shea, 2021).

Environmentalism is another recurring theme in Ghibli’s work, and perhaps no film embodies this more vividly than Princess Mononoke. In an unforgettable sequence, Lady Eboshi’s rifles tear through the sacred Deer God’s forest, triggering a vengeful, shape-shifting curse that spreads like an oil slick over the land. The film refuses to present simple heroes and villains—Eboshi, after all, provides shelter to lepers and outcasts, complicating the narrative of industry as pure destruction. This moral complexity reflects real-world environmental struggles, where conservation efforts must often be balanced with human needs (Abe, 2021). Contrast this with My Neighbor Totoro, which offers a gentler vision of coexistence with nature. The lush countryside, with its sprawling camphor tree and playful forest spirits, represents a nostalgia for a disappearing rural Japan. The film’s idyllic landscapes, inspired by Miyazaki’s own childhood countryside experiences, remind us of what is at stake in the face of rapid urbanization (Abe, 2021). It’s no wonder that James Cameron credited Ghibli’s works, especially Princess Mononoke, as an inspiration for Avatar's Pandora, calling it "a model for how to create a world where nature is not just a backdrop but a living, breathing character" (Cameron, 2009).

Another common theme is Ghibli Studio’s commitment to strong female protagonists which has made it a beacon for feminist storytelling. In Spirited Away, Chihiro begins as a frightened child, clutching her parents’ arms as they wander into the ghostly realm of the bathhouse. By the film’s end, she has outwitted a sorceress, confronted a river spirit polluted beyond recognition, and reclaimed her name—her identity—from those who sought to strip it away. This transformation resonates with audiences because it reflects the universal struggle for self-determination, a core principle of feminist thought (Sato, 2022). Likewise, Kiki’s Delivery Service is a coming-of-age story that defies the traditional "witch" archetype; rather than being feared, Kiki is a symbol of independence, learning to support herself in a new city through sheer perseverance. The influence of these narratives can be seen in the works of Steven Universe creator Rebecca Sugar, who cited Ghibli’s "radical gentleness" and portrayal of "young girls finding strength in kindness" as central to her own storytelling (Sugar, 2018).

Ghibli’s engagement with nationalism and globalism is perhaps best exemplified in The Wind Rises, a film as breathtaking as it is unsettling. Based on the life of Jiro Horikoshi, the engineer behind Japan’s WWII fighter planes, the film invites audiences into the mind of a dreamer whose creations would ultimately become instruments of war. In one scene, Jiro walks through a nightmarish, fire-ravaged Tokyo, the air thick with smoke—an eerie prelude to the destruction his aircraft would later enable. Miyazaki’s depiction is neither a condemnation nor an endorsement; instead, it embodies the painful contradictions of national pride and the ethical weight of technological progress (Coppola, 2022). The film’s reception in Japan and abroad underscores Ghibli’s ability to spark global dialogue. Guillermo del Toro has praised Miyazaki’s work for its "refusal to simplify history, always portraying war as a failure of imagination and empathy," a perspective that deeply influenced his own film Pan’s Labyrinth (del Toro, 2015).

Moreover, Ghibli’s films advocate for peaceful conflict resolution, a theme that runs through Howl’s Moving Castle. In one of the film’s most striking moments, Sophie, the young protagonist, does not defeat the Witch of the Waste through violence but through compassion, offering her care and kindness despite the witch’s past cruelty. Similarly, Howl himself—a powerful wizard—chooses not to fight in the senseless war unfolding around him, instead using his magic to protect those he loves. These narratives align with political theories that emphasize diplomacy over coercion, reminding us that true strength often lies not in force, but in understanding (Shea, 2021).

The enduring appeal of Studio Ghibli’s films lies in their ability to address complex political themes while remaining accessible to audiences of all ages (Sato, 2022). By weaving these themes into emotionally engaging narratives, the studio has created a body of work that transcends cultural and generational boundaries. Ghibli’s films are not only a testament to the power of storytelling but also a valuable resource for understanding the principles of political science and their application in the real world. As Hayao Miyazaki once said, “Many of my movies have strong female leads—brave, self-sufficient girls that don’t think twice about fighting for what they believe in with all their heart. They need a friend or a supporter, but never a savior. Any woman is just as capable of being a hero as any man.” This philosophy is evident in characters like Nausicaä, San, and Chihiro, whose struggles and triumphs mirror real-world fights for justice, environmental preservation, and self-determination. Their stories remind us that the power to change society does not rest solely in the hands of governments or institutions—it also lies in the choices and courage of individuals. Studio Ghibli’s films offer more than just entertainment; they are an invitation to reflect, to question, and to dream of a better world. Whether through the environmental warnings of Nausicaä of the Valley of the Wind, the feminist empowerment of Kiki’s Delivery Service, or the anti-war sentiment in Howl’s Moving Castle, Ghibli’s works challenge audiences to see beyond the surface and engage with the deeper truths embedded in their narratives. They demonstrate that art, at its most profound, is both political and deeply human. In this way, Studio Ghibli stands as a unique and enduring force in global cinema, bridging the gap between art and political discourse—one beautifully animated frame at a time.

Bibliography

Abe, Takashi. Studio Ghibli and Environmental Politics in Animation. Kyoto University Press, 2021.

Coppola, Francesca. Exploring Power Dynamics in Animated Cinema: A Study of Studio Ghibli Films. Oxford University Press, 2022.

Lee, Henry. Cultural Diplomacy and Storytelling: Studio Ghibli’s Global Impact. Cambridge University Press, 2020.

Sato, Akiko. Feminism in Animation: The Role of Women in Studio Ghibli Films. Tokyo University Press, 2022.

Shea, Jennifer. The Political Science of Studio Ghibli: Governance, Agency, and Conflict Resolution. Harvard University Press, 2021.