Capturing the magic of our world — real or imaginary — is the ultimate challenge for animators. Studio Ghibli, an award-winning Japanese animation studio, has done just that for almost 40 years.
In the confines of every hand-drawn frame, anything is possible, and I was reminded of that when IMAX re-released Studio Ghibli’s “Princess Mononoke” this March. Originally released in 1997, director and writer Hayao Miyazaki tests the limits of storytelling in a period of Japanese history with a fantastical twist.
A classic tale of good and evil, “Princess Mononoke” follows a cursed prince seeking a cure, but along the way, he is engulfed in a duel between forest gods and an industrial powerhouse. Meanwhile, the titular character distrusts the prince and his pure heart.
“Princess Mononoke” comes with a wealth of creative storytelling: The film’s protagonist, Prince Ashitaka, is arguably neither good nor evil. Ashitaka is wise and kind, protecting his enemies and those who treat him poorly throughout the film. This includes Lady Eboshi, the leader of Irontown, known for mining the earth for riches despite destroying the forest. At the same time, a hatred-fueled demon inflicts a curse on Ashitaka, and he finds himself trying to attack Lady Eboshi for turning her back on the forest gods.
When Ashitaka first meets the titular character of the film, Princess Mononoke threatens to kill him for sparing such a powerful enemy. Should Irontown be condemned for wanting to get by? And do the gods of the forest seek peace for Irontown’s impact on the earth, or do they seek war?
Almost 30 years after the release of “Princess Mononoke,” Studio Ghibli’s work is as popular now as ever. It has even entered the world of artificial intelligence and generative art, skyrocketing in popularity and controversy amid ethical concerns about originality. A recent trend transforms everyday photos into an artistic, AI-Ghibli-style rendition, turning pictures into a simulation of the studio’s iconic, hand-drawn style.
After watching “Princess Mononoke,” I can’t blame anyone for wanting to Ghibli-fy their family photos. Miyazaki’s iconic work is warm, expressive and vibrant, illustrating the beauty in everyday life. What started with photos of pets and families, however, has since gotten out of hand.
This March, the White House posted an AI Ghibli-style image on X of an ICE officer detaining an undocumented immigrant — the officer’s stern expression contrasting his blushed cheeks. Days later, an X post from the Israel Defense Forces shows AI Ghibli-style soldiers in pastel aircrafts and gorgeous oceans.
Miyazaki previously expressed concerns about AI’s potential dangers in a 2016 documentary.
“We humans are losing faith in ourselves,” Miyazaki said after watching a demo of an AI-generated model. The model itself is a grotesque figure that is only able to move its body by moving its head.
Today, our technology beautifies the world around us much more easily, yet Miyazaki’s concerns still remain valid. The beauty behind the AI Ghibli-style’s delicate attention to detail is quick to hide its users’ intentions, even if it’s in good faith. What faith can we have in ourselves if it can be used against us?
We can turn to “Princess Mononoke” and its spectrum of how we define what is good and what is not. Ashitaka loves as much as he is cursed to hate. Lady Eboshi is fueled by rage as she is by compassion for her townspeople. As for Princess Mononoke, you’ll have to watch the film to find out for yourself.
“Cut off a wolf’s head and it still has the power to bite,” Lady Eboshi warns Irontown about the danger of the forest gods. As generative art threatens the fate of the animation industry, the future of the arts can seem bleak. From harmless AI Ghibli-style family photos to political propaganda, artificial intelligence has transformed the way that we see art, originality and ourselves. However, we must remember that we, too, still have our own strengths against our own evils and the power to bite.
