The work of Hayao Miyazaki with Studio Ghibli has never affected me in the way it has many others of my generation. For one, I never wholly vibed with anime otaku culture, and whenever I did get around to enjoying that particular kind of media, I always preferred reading the manga over watching their animated adaptations—I find the voice acting annoying, for the most part, whether sub or dub, and not even a studio like MAPPA can out-animate one’s imagination—and the culture itself did not feel like a natural home for me, what with all its quirks and gate-keeping. (This is, to be fair, not unique to otaku culture, but still.)

Miyazaki, however, is often viewed as an exemplar of how Japanese popular art can transcend its niche appeal. His films tend to be critical darlings and have even been given rather favorable ranking in lists such as Sight & Sound’s Greatest Films of All Time. I’ve personally met more than a few people who adore his Ghibli productions but have only, at best, a marginal interest in anime as a whole. Like the work of Satoshi Kon and perhaps Makoto Shinkai, it’s pop anime for art lovers, for cinephiles, not just for nerds who gush over fan edits and cosplay as the hottest character from the hottest new show at A-Kon. (No hate, though: I enjoy stuff like Bleach and One Piece and Jujutsu Kaisen as much as the next guy…) […]