Loving Ghibli movies is a symptom of being human. Perhaps because behind the gruff facade of Hayao Miyazaki lies a person steeped in humanity, with all the good and bad that entails. This may explain, in part, his apparent dryness at times. However, what is certain is that his films are a true manifesto of humanism, both in content and in form. Two of my favorite Ghibli films feature princesses: Nausicaä of the Valley of the Wind and Princess Mononoke. Although they are separated by a few decades, both are united by an intelligent, critical look at humanity.
A Shared Spirit
Ecology and nature are central themes in both films, albeit presented in different ways. Nausicaä of the Valley of the Wind offers a more optimistic view of coexistence between humans and nature. The protagonist, Nausicaä, strives to understand and mediate the relationship between humans and the natural world, seeking balance. In contrast, Princess Mononoke delves into a darker, more combative perspective, where conflicts between humans and nature are evident and bloody. In both films, nature shows its defense mechanisms against humanity. In Nausicaä, she may not be fully aware of her role in the great balance and the princess takes a more defensive stance than San, Mononoke’s wolf princess, much more reactive to the havoc created by humanity in the natural world, representing nature’s wrath seeking revenge on humanity.
El viaje de Shuna (Salamandra Graphic)
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Another relevant point is Nausicaä’s pacifist approach, preferring empathy and communication over confrontation. In contrast, Princess Mononoke shifts from defensive actions to attack, demonstrating that the fight for survival leads to open conflict. Many of these ideas also appear in The Journey of Shuna, a manga by Miyazaki that has remained unpublished in Spain until now and is stylistically and thematically between the two films.
Princess Mononoke
Two Atypical Princesses
Princess Mononoke features a set of characters more complex than those in Nausicaä, with multifaceted motivations, perhaps reflecting an evolution of Ghibli’s cinema from a more youthful focus to a much more general one. Nausicaä, with her charisma and compassion, becomes a central figure that transcends the princess archetype. In her journey, she becomes a symbol of hope and reconciliation. The characters in Princess Mononoke, although archetypal in some respects, such as the villain who justifies his actions for the good of his people, present complexity that is much more interesting, moving in a range of grays much less contrasted than Nausicaä’s.
Nausicaä of the Valley of the Wind
Interpersonal relationships in Nausicaä are equally significant. Nausicaä’s connection with insects and her ability to communicate with them emphasize her empathy and desire for understanding. This contrasts with the tension between San and Ashitaka in Princess Mononoke, where interactions are marked by distrust and conflict. The power dynamics between characters in Mononoke are fascinating, but perhaps less positive compared to the relationship building in Nausicaä, where communication and understanding are key.
Princess Mononoke
The Years Do Not Pass in Vain
Visual style and animation are fundamental aspects that differentiate both movies. Nausicaä of the Valley of the Wind presents a more stylized design and a vibrant color palette that reflects the beauty of the natural world. The animation technique, although innovative for its time, sets the stage for the stunning action scenes in Princess Mononoke, which would come more than a decade later, with all the technical implications, featuring animation that becomes visceral and violence that comes to life in a striking way.
Nausicaä sets the stage for the stunning action scenes in Princess Mononoke, which would come more than a decade later
Technical innovation is a crucial point; Nausicaä was a milestone in Japanese animation, influencing not only Ghibli but the entire industry. The way movement and fluidity are presented in the flying scenes anticipated what would be seen in Mononoke, where the action feels even more dynamic and exciting. The rich attention to detail in creating landscapes and characters highlights Miyazaki’s dedication to his art.
The structure and pace of both films offer a different viewing experience, also a consequence of the years that separate their release dates. Nausicaä progresses in a more organic way, allowing the viewer to immerse themselves in its world and understand the complexity of its themes. But it is undeniably slow by today’s standards. The narrative unfolds at a pace that allows for reflection, contrasting with the more intense and fast-paced structure of Princess Mononoke.
A Legacy That Leaves a Profound Cultural Impact
The critical reception and popularity of both films have evolved over time. Nausicaä of the Valley of the Wind, released in 1984, has been recognized as a pioneering work addressing ecological and social issues, earning a special place in pop culture. On the other hand, Princess Mononoke has established itself as one of Ghibli’s most iconic films, a studio that even rivaled Disney in terms of social impact. It also achieved international recognition and considerable success.
In an interesting article published by BBC, Neil Gaiman, the British author, recalls the impact Princess Mononoke had when seeing the scene of raindrops on a stone, stating that it was “authentic cinema” on par with directors like David Lean and Akira Kurosawa. In a film that represents a departure from the friendly tone of Miyazaki’s previous works, Gaiman highlights that “you have to see what is really there”, referring to the moral complexity of the characters and nature. Instead of portraying a clear-cut battle between good and evil, Princess Mononoke presents characters like Lady Eboshi, who, although destroys nature, also improves the lives of the marginalized.
Princess Mononoke
Writer Susan Napier, an expert on Miyazaki’s work, complements this idea, noting that in the Studio Ghibli universe, “humans are not necessarily the dominant creatures in the world,” highlighting the strength of nature itself as a main character in the plot manifested through characters like the insects in Nausicaä’s world or the Shishi Gami in Mononoke’s world, recovering some of the most primitive human symbolism and mythologies.
Regardless of the time that passes, unfortunately, the social and philosophical messages of both films are still relevant. Their warnings and profound reflection on the relationship between humans and nature seem even more urgent today than in 1984 or 1997. Nausicaä advocates for humanism and coexistence, emphasizing the importance of understanding and caring for our environment. In contrast, Princess Mononoke presents a critical analysis of the struggle between humanity and nature, where violence and revenge seem to be the only solution. They are similar, but not the same. Both also advocate for understanding and have a marked pacifist message, which sadly is just as necessary today.
NAUSICAA O/T VALLEY O/T WIND BOX SET (C: 1-0-1) (Nausicaä of the Valley of the Wind Box Set)
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Both Nausicaä of the Valley of the Wind and Princess Mononoke are masterpieces of Ghibli, each with its own voice and message. While Mononoke is undoubtedly Ghibli’s most famous princess, my heart will always belong to Nausicaä. I invite you to discover (or rediscover) these animation cinema gems on Netflix and, of course, I cannot recommend the original Nausicaä manga enough.
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