The Grotesque in Ghibli
It feels like once a month that I see a viral post that circulates social media, romanticizing the aesthetics of Studio Ghibli. This is just of one of many occurrences online that remind me of the internet’s love for the Japanese animation studio. Its catalog of films is highly acclaimed for its visual innovation and thematic universality, and in pop culture generally associated with its more whimsical traits, like the dreamlike landscapes and peculiar spirits. Yet, too often the inventiveness of Studio Ghibli's darker, monstrous side is overlooked.
The more gruesome side of Ghibli seems to find its home in the earlier works of their catalog, particularly in one of its founding works, Nausicaä of the Valley of the Wind. It does resemble Miyazaki’s later work- with its young and eager female protagonist and messages of anti-war and environmentalism. Yet at the same time, it diverges from the typical Ghibli film you would expect, leaning more into the science fiction genre and italicizing on the warped and weird.
No other movie embraces the grotesque quite like Nausicaä of the Valley of the Wind- the post apocalyptic film features a world of blight, filled with monstrous insects and pollution. However, what makes Nausicaä so special is its refusal to demonize the infested environment. Nausicaä, the intelligent, kindhearted protagonist, is first introduced as a curious explorer of the Sea of Decay. Although the Sea of Decay is a toxic, dangerous wasteland that threatens humanity, Nausicaä yearns to understand it, not destroy it. She even has a soft spot for the creatures that inhabit the Sea of Decay, opting to pacify and lead them home instead of fighting them.
There is beauty in the Sea of Decay, both visually and thematically. From an artistic standpoint, the environmental shots are dazzling: blue cavernous expanses of fungal fauna with light streaming from the top, and burgeoning, glowing spores that speckle the scene. As more is revealed about the nature of the Sea of Decay through Nausicaä’s discoveries, it is clear that there was careful thought put into the biology and design of the ecosystem.
Though the insects and Ohms of Nausicaä don’t align with the charming whimsicality typically associated with Studio Ghibli, they are central in strengthening the movie tonally. They are not elegant, but rather quite scary and unsightly- very much grotesque. They are massive and intimidating insects, protected by several layers of crusted green shell and many bulbous eyes that change from light blue to blaring red when alarmed. Despite this, they are portrayed as noble and protective, almost endearing, throughout the film, especially from the perspective of Nausicaä. Though typically docile, they are extremely protective of the creatures in the Sea of Decay and value the living. After Nausicaä rescues one of the infant Ohms and sacrifices herself to calm the herd of rampaging Ohms, they repay her by healing her wounds, saving her life.
While I adore how visually imaginative Nausicaä of the Valley of the Wind is, its bizarre qualities may be the reason why its popularity fails to reach the same level as other Ghibli movies. Nowadays, the commercial success of Ghibli movies seems to rely on icons or aesthetics. An Ohm is not as compelling nor marketable as Totoro or No Face. The Sea of Decay can’t compare to the dazzling waters of Ponyo or the magical, vibrant cities of Howl’s Moving Castle. It is particularly fascinating to compare Nausicaä to Princess Mononoke, a far more popular Ghibli film released 13 years afterwards with equally stunning art direction, clear thematic
parallels and incorporations of the grotesque. Both stories center around, and are praised for, a nuanced, high stakes conflict between humanity and the environment. Princess Mononoke is considered Miyazaki’s most gorey work, and its imagery can get quite grisly: magnificent creatures are overtaken and bloodied by writhing crimson tentacles and thus turned evil. It’s truly a shame the extent that these scenes are overshadowed by the film’s more popular and conventionally appealing aspects, like the iconic designs of San and the wolves.
I find myself drawn to Studio Ghibli’s grotesque that is so rare amongst its catalog. Nausicaä’s refusal to correlate the visually ugly with the morally wicked is pivotal to creating a dimensional and compelling narrative. Especially in the legacy of a studio as beloved as Ghibli, finding beauty in visual dissonance is a valuable message that I treasure. There is undeniable value to be found in monstrosities that I would love to see more of in animation especially, a medium that opens up countless possibilities for the strange and warped.