The movie later uses the image of boats returning to the harbor to show the restoration of balance between man and nature. In his Little Mermaid riff Ponyo, magic turns a child’s toy boat into a full-sized one, fit for a rescue mission. The heroine of his pre-Ghibli movie Nausicaä of the Valley of the Wind uses a futuristic wind glider to travel between her lush, green village and the toxic post-apocalyptic world that surrounds them. Hayao Miyazaki’s movies in particular tend to have fantastical modes of transportation. Actually flying a plane isn’t just an act of skill and courage, it can also represent a meditation on the human toll of its use as a weapon, or the opportunity to save the day before it’s too late. Public transportation can give characters a spiritual pause, a chance to reflect on where they’ve been, and where they’re heading next. Ghibli’s movies use planes, trains, buses, boats, and cars to herald the start of an adventure, or serve as a prelude before something extraordinary happens to the heroes. Throughout the Ghibli catalog, transportation often plays a major role in storylines or character development, so much so that car trips or plane flights almost always carry some extra layer of significance. Studio Ghibli’s movies always look and feel like they’re on the move. To celebrate the arrival of the Japanese animation house’s library on digital and streaming services, we’re surveying the studio’s history, impact, and biggest themes. May 25-30 is Studio Ghibli Week at Polygon.
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