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The Art of the Princess Mononoke
スタジオジブリ宮崎駿監督映画ファン必携!
人を寄せつけぬ深い神々の森、
鉄を作る城砦の如きタタラ場…。
イメージボード、ストーリーボード、美術ボード、
背景画、本編フィルムなどで構成された、
映画「もののけ姫」の映像美術の集大成。
宮崎駿監督が書いた詩、
クライマックスシーンのためのレイアウト、
デジタル映像スタッフによるCGカットの技術解説
制作デスクによる、約三年にわたる映画づくりの
悪戦苦闘を記した制作日誌なども収められている。
人を寄せつけぬ深い神々の森、
鉄を作る城砦の如きタタラ場…。
イメージボード、ストーリーボード、美術ボード、
背景画、本編フィルムなどで構成された、
映画「もののけ姫」の映像美術の集大成。
宮崎駿監督が書いた詩、
クライマックスシーンのためのレイアウト、
デジタル映像スタッフによるCGカットの技術解説
制作デスクによる、約三年にわたる映画づくりの
悪戦苦闘を記した制作日誌なども収められている。
223 pages, Paperback
First published January 1, 2001
20 people are currently reading
1253 people want to read
About the author
Hayao Miyazaki
367 books3,436 followersHayao Miyazaki (Japanese: 宮崎 駿) is a celebrated Japanese animator, filmmaker, screenwriter, and manga artist, widely regarded as one of the most influential figures in the history of animation. He is the co-founder of Studio Ghibli, the animation studio responsible for producing many of Japan’s most beloved and internationally acclaimed animated films. Over the course of a career spanning decades, Miyazaki has developed a reputation for creating visually rich, emotionally resonant stories that often explore themes such as nature, pacifism, flight, childhood, and the human condition.
Miyazaki was born in Tokyo and developed an early interest in drawing and animation. His father’s work in the aviation industry had a significant influence on him, particularly in fostering his fascination with aircraft and flight, motifs that would become prominent throughout his later works. After studying political science and economics at university, Miyazaki began his professional career in animation when he joined Toei Animation. There, he worked under the mentorship of directors like Isao Takahata, with whom he would later form a lifelong creative partnership.
In his early years at Toei and other studios, Miyazaki contributed to several television series and animated films. He worked as a key animator and storyboard artist, gradually gaining recognition for his storytelling abilities and attention to detail. Among his early projects were contributions to series such as Heidi, Girl of the Alps and Future Boy Conan. His directorial debut in feature films came with The Castle of Cagliostro, a film adaptation of the Lupin III manga series, which already showed signs of his distinctive style and sensibilities.
Miyazaki's breakthrough came with the film Nausicaä of the Valley of the Wind, based on his own manga. The success of that film prompted the establishment of Studio Ghibli, which he co-founded with Takahata and producer Toshio Suzuki. From that point forward, Miyazaki directed and wrote many of Ghibli’s most iconic works, including My Neighbor Totoro, Kiki’s Delivery Service, Porco Rosso, Princess Mononoke, and Howl’s Moving Castle. His films are known for their hand-drawn animation, strong character development, and philosophical underpinnings.
In 2001, Miyazaki directed Spirited Away, which became one of the most critically and commercially successful animated films of all time. The film received numerous awards and international recognition, including an Academy Award for Best Animated Feature. It also became the highest-grossing film in Japanese history at the time of its release. The film’s success further solidified Miyazaki’s reputation as a master storyteller and a visionary in global cinema.
Despite announcing his retirement several times, Miyazaki repeatedly returned to filmmaking. His later works, such as Ponyo and The Wind Rises, continued to showcase his evolving themes and storytelling maturity. His most recent project, The Boy and the Heron, marked a highly anticipated return to the director’s chair and once again captivated audiences with its dreamlike visuals and emotional depth.
Miyazaki’s films are often distinguished by their complex female protagonists, environmental messages, and moral ambiguity. Rather than presenting clear-cut villains and heroes, his stories explore the nuances of human behavior and often focus on characters finding their place in the world. Throughout his career, he has received numerous accolades and honors for his contributions to the arts, including lifetime achievement awards recognizing his impact on both Japanese and international cinema.
His legacy continues to influence generations of animators and filmmakers worldwide, and Studio Ghibli remains one of the most respected names in animation.
Miyazaki was born in Tokyo and developed an early interest in drawing and animation. His father’s work in the aviation industry had a significant influence on him, particularly in fostering his fascination with aircraft and flight, motifs that would become prominent throughout his later works. After studying political science and economics at university, Miyazaki began his professional career in animation when he joined Toei Animation. There, he worked under the mentorship of directors like Isao Takahata, with whom he would later form a lifelong creative partnership.
In his early years at Toei and other studios, Miyazaki contributed to several television series and animated films. He worked as a key animator and storyboard artist, gradually gaining recognition for his storytelling abilities and attention to detail. Among his early projects were contributions to series such as Heidi, Girl of the Alps and Future Boy Conan. His directorial debut in feature films came with The Castle of Cagliostro, a film adaptation of the Lupin III manga series, which already showed signs of his distinctive style and sensibilities.
Miyazaki's breakthrough came with the film Nausicaä of the Valley of the Wind, based on his own manga. The success of that film prompted the establishment of Studio Ghibli, which he co-founded with Takahata and producer Toshio Suzuki. From that point forward, Miyazaki directed and wrote many of Ghibli’s most iconic works, including My Neighbor Totoro, Kiki’s Delivery Service, Porco Rosso, Princess Mononoke, and Howl’s Moving Castle. His films are known for their hand-drawn animation, strong character development, and philosophical underpinnings.
In 2001, Miyazaki directed Spirited Away, which became one of the most critically and commercially successful animated films of all time. The film received numerous awards and international recognition, including an Academy Award for Best Animated Feature. It also became the highest-grossing film in Japanese history at the time of its release. The film’s success further solidified Miyazaki’s reputation as a master storyteller and a visionary in global cinema.
Despite announcing his retirement several times, Miyazaki repeatedly returned to filmmaking. His later works, such as Ponyo and The Wind Rises, continued to showcase his evolving themes and storytelling maturity. His most recent project, The Boy and the Heron, marked a highly anticipated return to the director’s chair and once again captivated audiences with its dreamlike visuals and emotional depth.
Miyazaki’s films are often distinguished by their complex female protagonists, environmental messages, and moral ambiguity. Rather than presenting clear-cut villains and heroes, his stories explore the nuances of human behavior and often focus on characters finding their place in the world. Throughout his career, he has received numerous accolades and honors for his contributions to the arts, including lifetime achievement awards recognizing his impact on both Japanese and international cinema.
His legacy continues to influence generations of animators and filmmakers worldwide, and Studio Ghibli remains one of the most respected names in animation.
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Displaying 1 - 30 of 51 reviews
June 10, 2019
I love all Hayao Miyazaki movies!! My favorite is Spirited Away and Whisper of the Heart. Then Totoro and Mononoke and Kiki! Forget it! We will be here all day!!
Here is some of my room art of the movie!
My pillows!
My Tapestry
Some artwork I got in a book box and framed it.
Well crap! I forgot the cool keychain. Anyhoo!
Happy Reading & Watching!
Mel 🖤🐶🐺🐾
March 4, 2018
And so another entry in to my collection of Studio Ghibli books and I must admit as I sit here reading them and marvelling at the artwork I just wish I was more artistic, they are truly amazing.
Okay wishful thinking aside - this series of books and the Art of Princess Mononoke is no exception - they are amazing. Now I know the more I dig on a subject the less I feel I know about it, but I have not come across many anime films or TV shows which have such books available for.
Studio Ghibli is an incredibly influential studio which have (and I have said this many times before) influenced popular culture subtilely inserting their unique style and vision. I remember seeing this film many years ago and being spell bound not only by the scope of the story but also of the sheer beauty of the animation- something I can now stop and linger over with the help of this book.
In short if you enjoy the film (or in fact any anime) books like this allow you to take in the enormity of the work put in to what could be only a mere few seconds of screen time. It almost feels criminal the amount of work a film like this requires and yet so little of it is recognised (or at least registered)as you sit there watching. This book I think is an essential recognition of that mammoth task.
Okay wishful thinking aside - this series of books and the Art of Princess Mononoke is no exception - they are amazing. Now I know the more I dig on a subject the less I feel I know about it, but I have not come across many anime films or TV shows which have such books available for.
Studio Ghibli is an incredibly influential studio which have (and I have said this many times before) influenced popular culture subtilely inserting their unique style and vision. I remember seeing this film many years ago and being spell bound not only by the scope of the story but also of the sheer beauty of the animation- something I can now stop and linger over with the help of this book.
In short if you enjoy the film (or in fact any anime) books like this allow you to take in the enormity of the work put in to what could be only a mere few seconds of screen time. It almost feels criminal the amount of work a film like this requires and yet so little of it is recognised (or at least registered)as you sit there watching. This book I think is an essential recognition of that mammoth task.
March 8, 2015
Another great art book. This was the second Miyazaki movie I saw, the first one being "Lupin III- Il Castello di Cagliostro", and after this one I had to see them all (which I did). My love for Miyazaki's animation goes further back in time. When I was little I watched on TV the post-apocalyptic anime series "Future Boy Conan", or to be precise the Italian dubbed version "Conan il Ragazzo del Futuro" (we on the Adriatic coast used to turn our analogue antennas towards the neighboring Italy- watched obscene amounts of anime that way). Every time someone asks me which was my favorite anime series, the immediate answer is Conan. And let's be clear, I watched everything and anything: from girl stuff such as Candy Candy, series with robots, aliens, animals (like Kimba the White Lion), historical (Lady Oscar-The Rose of Versailles), cross-dressing (Princess Knight, well "Oscar" fits here as well),space adventures (Captain Harlock, Star Blazers, Starzinger, Robotech), magical girls (Creamy, Emi, Gigi, Bia, you name it), witches, sports (soccer, baseball, boxing, volleyball, golf, basketball and professional wrestling-Tiger Mask), horror, martial arts (karate, kung-fu, judo), vampires, alternate dimensions, magical worlds, classic's adaptations (like Little Women or Anne of Green Gables, the latter also Miyazaki's) ninjas, samurais and formidable warriors/fighters/heroes sagas (like Dragon Ball or Ken il Guerriero - Fist of the North Star)....lost myself here (What was I saying?) ... yes ... , still ... Conan is the favorite anime series from my childhood or ever (love those old anime more than the new ones). I know this is a review of the "Mononoke" art book, but since I never found a " Conan" art book, and the series was the sole culprit for my love for Mr. Miyazaki's work, I just had to mention it during my marathon through his art books.
March 3, 2025
This starts off with several poems written by Hayao Miyazaki to present his vision for several of the characters and beings in the movie. The book is filled with concept art, background art, storyboards, cel art, and CG images, arranged pretty much in the same order as the movie's scenes. The book wraps up with a few text-heavy chapters covering the movie's use of CG, digital compositing, and digital ink and paint. There's also a collection of layouts created by Miyazaki himself, and an English translation of the movie's production diary.
The style of this book was very different from the Disney movie art books I've seen, which took some getting used to. The bulk of it feels a little like rewatching the entire movie via sketches and cel and CG art. It's good-looking stuff, but I appreciated this book most during the more text-heavy portions near the end. I enjoyed learning more about how the CG aspects were integrated. Also, while the production diary was a lot, it still made for interesting reading.
(Original review posted on A Library Girl's Familiar Diversions.)
The style of this book was very different from the Disney movie art books I've seen, which took some getting used to. The bulk of it feels a little like rewatching the entire movie via sketches and cel and CG art. It's good-looking stuff, but I appreciated this book most during the more text-heavy portions near the end. I enjoyed learning more about how the CG aspects were integrated. Also, while the production diary was a lot, it still made for interesting reading.
(Original review posted on A Library Girl's Familiar Diversions.)
August 14, 2022
My favorite section of this book is the set of sketches by Miyazaki for the final sequence of the film. I love his rough, hand-drawn blueprint sketches for that series of shots. Most of the rest of the book is a presentation of concept art, backgrounds, cel art, and other images, all arranged in the order of the film. It's good, but I missed seeing the chronological progression of how the initial concepts developed into the finished film. It's less clear here than in some of the other Ghibli "Art of" books.
July 14, 2024
the last section was a day-by-day breakdown in diary format of how the movie was made from conception to final screening which was very cool
January 6, 2018
I was very disappointed with this art book. It offered very little insight on the movie and was basically a retelling of the film (though not a very good one) with high quality images taken from the film and storyboards. Every so often you get a few concept sketched for characters, but these are very sparse.
For whatever reason they're very selective in translating Japanese texts on the storyboards and concept sketches. For half of the book they go untranslated, then with no explanation they're suddenly translated on every page.
The layout job was terrible as well. I understand the creative design that they were going for, but it's a if they never considered how the layout would turn out in the finished book. This often leaves images spread across pages with the focal point falling in the gap between pages.
There are some poems written by Miyazaki, meant to convey character points to the music composer. These poems I think were the highlight of the book as they actually presented new information about the characters.
I feel too that this book could have been better researched. In the first ten pages of it's mentioned that the character of Mononoke is modelled after an ancient clay figure. There's no picture of this figure leaving the reader to research themselves what it looks like.
If you are a fan of the film then it is enjoyable to flip through and see the art from the film, but don't expect any new insights. They could have done a much better job on this one.
For whatever reason they're very selective in translating Japanese texts on the storyboards and concept sketches. For half of the book they go untranslated, then with no explanation they're suddenly translated on every page.
The layout job was terrible as well. I understand the creative design that they were going for, but it's a if they never considered how the layout would turn out in the finished book. This often leaves images spread across pages with the focal point falling in the gap between pages.
There are some poems written by Miyazaki, meant to convey character points to the music composer. These poems I think were the highlight of the book as they actually presented new information about the characters.
I feel too that this book could have been better researched. In the first ten pages of it's mentioned that the character of Mononoke is modelled after an ancient clay figure. There's no picture of this figure leaving the reader to research themselves what it looks like.
If you are a fan of the film then it is enjoyable to flip through and see the art from the film, but don't expect any new insights. They could have done a much better job on this one.
September 16, 2019
I quite love Princess Mononoke and was wrapped to have won a 20th Year Anniversary copy of the art book! Its very pretty to leaf through and look at, as Ghibli's style of painting their backgrounds and landscapes and designing their characters has always been rather pleasing to my eye.
This is mostly a collection of stills and background images that recap the story of the film. I felt that the layout could have been improved a bit; the sketches and images would be arranged over the spread but only a small paragraph on the corner of one of the pages would tell me what everything was and I had to scan between image and explanation in the corner constantly rather than just having the line of sight flow throughout the images which are extremely beautiful and made me want to appreciate them more.
The CG Digital Imaging section I feel is hindered by a similar design flaw in which now there are great paragraphs of text paired with small example images that, although were interesting, were a bit hard to get through. This could be due to the layout being changed to an English translated copy but I wouldn't really be able to conclude.
By far my most favourite part of the art book was a collection of animation layouts for the climax of the story sketched out by Hayao Miyazaki due to story changes. Even though they're layout sketches, they're incredibly detailed and emulate such emotion and movement that I couldn't help but feel charmed by them. I definitely would have loved more storyboards and layouts to have been featured! Its ultimately up to you if you want to check this one out :)
This is mostly a collection of stills and background images that recap the story of the film. I felt that the layout could have been improved a bit; the sketches and images would be arranged over the spread but only a small paragraph on the corner of one of the pages would tell me what everything was and I had to scan between image and explanation in the corner constantly rather than just having the line of sight flow throughout the images which are extremely beautiful and made me want to appreciate them more.
The CG Digital Imaging section I feel is hindered by a similar design flaw in which now there are great paragraphs of text paired with small example images that, although were interesting, were a bit hard to get through. This could be due to the layout being changed to an English translated copy but I wouldn't really be able to conclude.
By far my most favourite part of the art book was a collection of animation layouts for the climax of the story sketched out by Hayao Miyazaki due to story changes. Even though they're layout sketches, they're incredibly detailed and emulate such emotion and movement that I couldn't help but feel charmed by them. I definitely would have loved more storyboards and layouts to have been featured! Its ultimately up to you if you want to check this one out :)
December 18, 2019
That moment when you’re super excited to start reading an art book, but open it only to realize that all the text is in Japanese… Especially when the Studio Ghibli art books are ones which I generally do read the text! I mean, I did study Japanese for a long time, but kanji is super complicated, and there’s no way that even at my prime I could have fooled myself into thinking I could read the text here! At least the wonderful artwork is not affected by the lack of textual material, even if I wish that I could have read about how they utilized the (new) CGI technology for this innovative film. The book is separated into various sections (meaning what I’m not entirely sure), but the material seems to flow naturally between segments, and topics like character development, layering imagery, etc are discussed throughout. Roughly I would say that the book is organized more chronologically than other examples from the “Art of…” series, which focus more clearly on topics like the development of characters and colour palettes. Without the text, I can’t really be sure how they’re organizing things and what the major themes they’re trying to discuss are, but compared to the other books this one seemed to be more of an overall celebration of the film than a serious study of animation and cinematographic techniques. Even with this lack of focus, it was a great opportunity to get back into the feudal Japan-inspired world of Princess Mononoke through the artwork.
August 2, 2024
Le livre commence par des poèmes écrits par Miyazaki lui-même sur certains personnages, poèmes destinés à Joe Hisaishi pour l’aider à comprendre le film. J’ai adoré voir les esquisses de décors et les croquis prendre forme pour donner ce film que j’affectionne tant, c’est un véritable et somptueux travail d’artiste. On se plonge et se délecte de la richesse des visuels.
Nous avons ensuite une description des logiciels de montage et des techniques utilisées pour réaliser ce film (qui est d’ailleurs l’un des premiers films utilisant les techniques innovantes d’aujourd’hui), et un cahier de bord daté très précis avec des touches d’humour sur l’avancée de Princesse Mononoké. Cet artbook était super intéressant à lire, et regorgeait de dessins originels magnifiques. Étant mon ghibli préféré, j’ai pris un immense plaisir à me plonger dans sa création.
« Je dessine la haine pour montrer qu'il existe bien plus important. Je dessine la malédiction pour montrer la joie du moment où on en est libéré. Ce qu'il me faut représenter, c'est la manière dont le jeune garçon comprend la jeune fille, et la manière dont celle-ci lui ouvre peu à peu son cœur.
À la fin, elle lui dira sûrement :
"Je t'aime beaucoup, Ashitaka. Mais je ne peux pas pardonner aux humains."
Il devrait alors lui répondre en souriant :
"Je comprends. Soyons voisins."
Voilà le genre de film que je veux réaliser. »
Nous avons ensuite une description des logiciels de montage et des techniques utilisées pour réaliser ce film (qui est d’ailleurs l’un des premiers films utilisant les techniques innovantes d’aujourd’hui), et un cahier de bord daté très précis avec des touches d’humour sur l’avancée de Princesse Mononoké. Cet artbook était super intéressant à lire, et regorgeait de dessins originels magnifiques. Étant mon ghibli préféré, j’ai pris un immense plaisir à me plonger dans sa création.
« Je dessine la haine pour montrer qu'il existe bien plus important. Je dessine la malédiction pour montrer la joie du moment où on en est libéré. Ce qu'il me faut représenter, c'est la manière dont le jeune garçon comprend la jeune fille, et la manière dont celle-ci lui ouvre peu à peu son cœur.
À la fin, elle lui dira sûrement :
"Je t'aime beaucoup, Ashitaka. Mais je ne peux pas pardonner aux humains."
Il devrait alors lui répondre en souriant :
"Je comprends. Soyons voisins."
Voilà le genre de film que je veux réaliser. »
February 2, 2025
A beautiful and detailed register on the making of a masterpiece such as Mononoke-hime. It has a ton of conceptual art, cels, and annotations on the process. It includes a detailed account of the complete production, with dates and names, showcasing the complicated art of making a film, and on top of that: of innovating for the future. The opening of the book with the poems written by Hayao Miyazaki himself for each character, for setting the mood and tone for Joe Hisaishi to compose for the film is a gem that I’ll revisit more than once.
January 14, 2021
I love this so much<333333
October 23, 2017
Message of the film was delivered more meaningfully than Avatar imo. Every party, even the hero, the animal and natural gods, had good intentions but bad consequences. also, the story is pretty relevant now that Singapore has a couple of wild boar attack incidents lately due to forest clearings.
September 23, 2013
Easily my favorite film from Studio Ghibli and of course the art is brilliant as ever. Especially love all the mossy magic forest landscapes.
August 27, 2015
What you want from a movie artbook - great reproductions and a good ratio of concept art and animation backgrounds.
October 1, 2015
Purely for people who already love the film, but there are some great poems written by Miyazaki inside, and lots of great concept art.
April 23, 2018
Posted : 8 years, 4 months ago on 10 December 2009 08:11 (A review of Princess Mononoke)
''You cannot change fate. However, you can rise to meet it, if you so choose.''
On a journey to find the cure for a Tatarigami's curse, Ashitaka finds himself in the middle of a war between the forest and Tataraba, a mining colony. In this quest he also meets San, the Mononoke Hime.
Yôji Matsuda: Ashitaka
Mononoke Hime(1997)Princess Mononoke is quite simply not just a Japanese animation; It is however a phenomenon. During it's box office run in Japan 1997 it didn't only become the highest grossing Japanese film of the year, but the highest grossing Japanese film...ever to be released.
Mononoke Hime takes place in 15th century Japan and opens with a warrior named Ashitaka in fierce battle with a Tatari Gama (a huge boar with worms covering it's body). Ashitaka kills the demon and successfully defends his village from it, but in the battle he is touched by the gigantic monster on his arm; leaving a dark scar as a reminder. The village doctor tells Ashitaka that it is a curse and is slowly killing him. Convinced that there must be a cure, Ashitaka leaves the village never to return....Thus begins the epic story of Mononoke Hime.
So what makes this film so amazing? First of all, the obvious: the writer/director and animator: Hayao Miyazaki. Known for revolutionizing the animation world with his non-conventional children's films (Kiki's Delivery Service, My Neighbor Totoro, Spirited Away), this is his most mature film, and I don't just mean in terms of content. Yes, this film is violent, deep and not for the squeamish but it's beside the point. The story is dark and deeply personal. Miyazaki had stated that after all his more family-friendly films were out, this was the film he felt he just had to make. There is an air of deep seriousness that comes with this film that is hard to miss.
Please remember this, most of all: Miyazaki's films are not strictly Anime.
Miyazaki is completely different in style, animation, texture and story. The one thing that angers more than anything are the people whom hurl abuse at this project because they do not like Anime. A reminder to everyone who hasn't seen this film is to take this into account.
Miyazaki's paints a world like no one has ever seen, and always beautiful and fascinating. What really brings his films to life is the resonating music. Half of what makes his films so beautiful is the score of Joe Hisaishi; perhaps one of the most gifted musicians in films around. His music is intriguing, mysterious and impossible to ignore. With films like this, I get to thinking his music was made for Miyazaki, and Miyazaki's films were made for Hisaishi. They balance each other perfectly and mirror each other in harmonic art.
Visually it's got so much going on to practically experience the abstractions that Hayao Miyazaki folds up into the rest of the story. The story itself trails along with the best of epic fantasy, with this crucial, earth-shattering quest that works on that level of action-adventure; as well as the mythological side of things. Some have stated that it is a piece of complex ideology in structure and storytelling; bordering on confusing and puzzling bewilderment. I would disagree, although I can see what they mean; You have to pay closer attention. On a more profound level, if one could call it such, it's really not hard to follow.
The protagonist of the film, is the type of tragic hero, though with one clear sight amid the chaos in his mind - peace. He is cursed by a sort of worm resembling jelly demon that runs amock in the darker recesses of the world. He searches for something to rid him of his scars while on the human side at some points (mostly dominated by the women impressed- or against- his skills); and with those of the wolves on the other side. The title character is part of the latter, though also human, bringing a little more of the underlying symbolism with a character. Then there are also the boars ready to destroy the humans; even tat the expense of their lives. Amid the battles that rage on, leading to the significance of a certain Deer God as the centerpiece of the balance of the forests and civilizations; not too much is made explicit. At the same time, the side taken by the cursed hero is even questioned by one character; with that part connected among the others, the story elevates what could have been a kind of smothering over-symbolic representation into what is necessary and spectacular about the whole story. Quite simply, another masterpiece of Hayao Miyazaki's Studio Ghibli; that echoes a sensational message about our treatment of animals and the Environment.
''In ancient times, the land lay covered in forests, where, from ages long past, dwelt the spirits of the gods. Back then, man and beast lived in harmony, but as time went by, most of the great forests were destroyed.''
''You cannot change fate. However, you can rise to meet it, if you so choose.''
On a journey to find the cure for a Tatarigami's curse, Ashitaka finds himself in the middle of a war between the forest and Tataraba, a mining colony. In this quest he also meets San, the Mononoke Hime.
Yôji Matsuda: Ashitaka
Mononoke Hime(1997)Princess Mononoke is quite simply not just a Japanese animation; It is however a phenomenon. During it's box office run in Japan 1997 it didn't only become the highest grossing Japanese film of the year, but the highest grossing Japanese film...ever to be released.
Mononoke Hime takes place in 15th century Japan and opens with a warrior named Ashitaka in fierce battle with a Tatari Gama (a huge boar with worms covering it's body). Ashitaka kills the demon and successfully defends his village from it, but in the battle he is touched by the gigantic monster on his arm; leaving a dark scar as a reminder. The village doctor tells Ashitaka that it is a curse and is slowly killing him. Convinced that there must be a cure, Ashitaka leaves the village never to return....Thus begins the epic story of Mononoke Hime.
So what makes this film so amazing? First of all, the obvious: the writer/director and animator: Hayao Miyazaki. Known for revolutionizing the animation world with his non-conventional children's films (Kiki's Delivery Service, My Neighbor Totoro, Spirited Away), this is his most mature film, and I don't just mean in terms of content. Yes, this film is violent, deep and not for the squeamish but it's beside the point. The story is dark and deeply personal. Miyazaki had stated that after all his more family-friendly films were out, this was the film he felt he just had to make. There is an air of deep seriousness that comes with this film that is hard to miss.
Please remember this, most of all: Miyazaki's films are not strictly Anime.
Miyazaki is completely different in style, animation, texture and story. The one thing that angers more than anything are the people whom hurl abuse at this project because they do not like Anime. A reminder to everyone who hasn't seen this film is to take this into account.
Miyazaki's paints a world like no one has ever seen, and always beautiful and fascinating. What really brings his films to life is the resonating music. Half of what makes his films so beautiful is the score of Joe Hisaishi; perhaps one of the most gifted musicians in films around. His music is intriguing, mysterious and impossible to ignore. With films like this, I get to thinking his music was made for Miyazaki, and Miyazaki's films were made for Hisaishi. They balance each other perfectly and mirror each other in harmonic art.
Visually it's got so much going on to practically experience the abstractions that Hayao Miyazaki folds up into the rest of the story. The story itself trails along with the best of epic fantasy, with this crucial, earth-shattering quest that works on that level of action-adventure; as well as the mythological side of things. Some have stated that it is a piece of complex ideology in structure and storytelling; bordering on confusing and puzzling bewilderment. I would disagree, although I can see what they mean; You have to pay closer attention. On a more profound level, if one could call it such, it's really not hard to follow.
The protagonist of the film, is the type of tragic hero, though with one clear sight amid the chaos in his mind - peace. He is cursed by a sort of worm resembling jelly demon that runs amock in the darker recesses of the world. He searches for something to rid him of his scars while on the human side at some points (mostly dominated by the women impressed- or against- his skills); and with those of the wolves on the other side. The title character is part of the latter, though also human, bringing a little more of the underlying symbolism with a character. Then there are also the boars ready to destroy the humans; even tat the expense of their lives. Amid the battles that rage on, leading to the significance of a certain Deer God as the centerpiece of the balance of the forests and civilizations; not too much is made explicit. At the same time, the side taken by the cursed hero is even questioned by one character; with that part connected among the others, the story elevates what could have been a kind of smothering over-symbolic representation into what is necessary and spectacular about the whole story. Quite simply, another masterpiece of Hayao Miyazaki's Studio Ghibli; that echoes a sensational message about our treatment of animals and the Environment.
''In ancient times, the land lay covered in forests, where, from ages long past, dwelt the spirits of the gods. Back then, man and beast lived in harmony, but as time went by, most of the great forests were destroyed.''
May 21, 2020
For those with a love of the Japanese films and animation, this book, particularly these series of books, are a must have.
Mononoke is probably my favorite of the action/adventure/fantasy genre of Ghibli films since, for some strange reason, Whisper of the Heart is my favorite Ghibli film of all time. Mononoke’s meditation on nature vs industry, life and death, and sickness is really impactful. What’s interesting about the book is that it provided more clarity of what Miyazaki and the other artists were going for. Normally I’m not too into authorial intent and more about audience interpretation, but the book definitely pointed out some stuff that made the film even more rich or stuff I haven’t gotten on all of my viewings. It’s a nice complement to the film.
All of the pre-production, character sketches, and background art are definitely worth just staring at for hours on end. They are so richly detailed and wonderfully animated. Two of my favorite parts happened at the end of the book: the entire section on how they utilized computer graphics to enhance some shots of the film, in which they had to develop new technology to even do it, and also Miyazaki’s storyboards for the ending of the film done at the last moment. For those interested in the history of animation, both these sections and the book as a whole provide a lot of value to your book and movie collection. I would definitely recommend.
Mononoke is probably my favorite of the action/adventure/fantasy genre of Ghibli films since, for some strange reason, Whisper of the Heart is my favorite Ghibli film of all time. Mononoke’s meditation on nature vs industry, life and death, and sickness is really impactful. What’s interesting about the book is that it provided more clarity of what Miyazaki and the other artists were going for. Normally I’m not too into authorial intent and more about audience interpretation, but the book definitely pointed out some stuff that made the film even more rich or stuff I haven’t gotten on all of my viewings. It’s a nice complement to the film.
All of the pre-production, character sketches, and background art are definitely worth just staring at for hours on end. They are so richly detailed and wonderfully animated. Two of my favorite parts happened at the end of the book: the entire section on how they utilized computer graphics to enhance some shots of the film, in which they had to develop new technology to even do it, and also Miyazaki’s storyboards for the ending of the film done at the last moment. For those interested in the history of animation, both these sections and the book as a whole provide a lot of value to your book and movie collection. I would definitely recommend.
June 5, 2020
It was good, I really want to give it 3.5 stars instead of 4 though. I liked the sketches and cels but I wish there was a little more included about the inspirations for various aspects of the film. It does mention field visits to Yakushima’s cedar forests, but it doesn’t include much textual explanation of historical context, design elements from Japan’s archaeology/anthropology, etc. Some things that are relatively self-explanatory in Japanese language (what Mononoke means, for instance) don’t translate well into English. But maybe I’m expecting more from a book that is titled “The Art of Princess Mononoke” and was translated from Japanese. It delivers what it implies, and the character sketches, background paintings, and explanations of the groundbreaking use of computer graphics were really interesting. It basically has a selection of images from the film, arranged chronologically, and the end of the book also includes one of the producer’s(?) work journal. The journal really helps to drive home just how much work was put into this film. This is one of my favorite films and I always find something new when I watch it. It was a good read, so maybe 4 stars is apt...
July 19, 2024
I’m separating my feelings about the film from this book so I can better critique what I feel is strong and weak about The Art Of Princess Mononoke.
It’s no surprise that the art is all very gorgeous and incredibly well done. I personally wish there was more concept art, but I understand that there might be a short supply of significant concept work.
I would have really liked to see more full pages displaying a single piece of art/frame and have them not try to fit quite as much art onto every page. I’m sure they should be able to display the art on full pages without compromising quality because, at least in the case for the cell artwork, they were intended to be seen on the big screen.
The page and text layout is also a bit wonky making for a lot of awkward white space on many pages. I’m not sure if this book was first published in Japanese and that’s why the text design looks off in English paragraphs, but again there are lots of weird empty spaces.
You’ll probably enjoy this book if you’re a fan Miyazaka’s work or animation generally, but I only wish this book was better executed.
It’s no surprise that the art is all very gorgeous and incredibly well done. I personally wish there was more concept art, but I understand that there might be a short supply of significant concept work.
I would have really liked to see more full pages displaying a single piece of art/frame and have them not try to fit quite as much art onto every page. I’m sure they should be able to display the art on full pages without compromising quality because, at least in the case for the cell artwork, they were intended to be seen on the big screen.
The page and text layout is also a bit wonky making for a lot of awkward white space on many pages. I’m not sure if this book was first published in Japanese and that’s why the text design looks off in English paragraphs, but again there are lots of weird empty spaces.
You’ll probably enjoy this book if you’re a fan Miyazaka’s work or animation generally, but I only wish this book was better executed.
March 9, 2019
Al ser este un libro de arte, realmente no hay mucho texto que comentar, pero el poco que hay es merecedor de unas pocas palabras. Para comenzar, el libro se abre con numerosos poemas escritos por Hayao Miyazaki sobre cada uno de los personajes principales de la película y uno general en la misma primera página. Todos me parecieron muy justos con cada personaje y, aunque se pierde la rima y la lírica de los mismos, son igualmente muy bonitos (una pena que se pierda tanto con la traducción, pero es algo que no se puede evitar).
El libro te dirige muy bien durante toda la película y remarca fotogramas importantes en la misma. También, el añadir sketches y escenas desechadas donde deberían haber estado me parece todo un acierto.
Muchísimas gracias a la persona que me lo regaló, me ha encantado descubrir el arte de una de las mejores películas de este director.
El libro te dirige muy bien durante toda la película y remarca fotogramas importantes en la misma. También, el añadir sketches y escenas desechadas donde deberían haber estado me parece todo un acierto.
Muchísimas gracias a la persona que me lo regaló, me ha encantado descubrir el arte de una de las mejores películas de este director.
April 18, 2024
Me hubiese gustado que contara con más entrevistas/comentarios de Miyazaki, sin embargo, contiene muchos bocetos, escenas en storyboard, ilustraciones y fondos que me parece super bonito poder ver a detalle.
Trae unos poemas escritos por Miyazaki sobre algunos personajes. Nunca hubiese imaginado que comunicara la esencia de sus personajes a través de poemas.
También contiene un diario sobre la producción entera de la película, cualquier curioso sobre producción y animación va a poder apreciarlo y disfrutarlo.
La Princesa Mononoke es una de mis películas favoritas en la vida, y sin duda este libro es una pieza muy especial en mi librería.
Trae unos poemas escritos por Miyazaki sobre algunos personajes. Nunca hubiese imaginado que comunicara la esencia de sus personajes a través de poemas.
También contiene un diario sobre la producción entera de la película, cualquier curioso sobre producción y animación va a poder apreciarlo y disfrutarlo.
La Princesa Mononoke es una de mis películas favoritas en la vida, y sin duda este libro es una pieza muy especial en mi librería.
June 6, 2020
Los poemas que escribió Hayao Miyazaki sobre los personajes para que Joe Hisaishi compusiera la banda sonora... Qué.
No es que el libro cuente mucho sobre la toma de decisiones a la hora de escribir la historia o por qué eligieron una paleta de color en vez de otra (a decir verdad no cuentan nada de eso, y muy poco sobre el aspecto técnico y creativo a la hora de desarrollar la película), que es lo que se espera más de este tipo de libros, pero merece la pena sólo por la descripción de los personajes en formato poema. Y ya está.
No es que el libro cuente mucho sobre la toma de decisiones a la hora de escribir la historia o por qué eligieron una paleta de color en vez de otra (a decir verdad no cuentan nada de eso, y muy poco sobre el aspecto técnico y creativo a la hora de desarrollar la película), que es lo que se espera más de este tipo de libros, pero merece la pena sólo por la descripción de los personajes en formato poema. Y ya está.
March 24, 2021
This is a brilliant companion book to my favorite movie. The artwork is superb, and the book is filled with interesting details. I especially loved the last three sections of the book, on digital animation (the movie, produced in the mid-90's, was made using a hybrid of hand-drawn and digital animation), the last scene's layouts drawn by Miyazaki, and a production log by Kazuyoshi Tanaka. Overall, this book is just a glimpse of incredible amount of work that went into making the movie, and it makes me appreciate the film even more.
January 21, 2022
in a book meant to break down the arts and process / production of a film, this is (almost) everything I could want :) I adore the artwork, the breakdowns of character design / building, the balance of hand drawn and VFX, but most of all the production diary.
I love being able to see into the team and hear about all the small details, often with films (especially now) it feels like there’s less and less people behind films, like it’s all the same checklist of production companies creating and acting in the film, but books like these make the process so real :)
Mwah
I love being able to see into the team and hear about all the small details, often with films (especially now) it feels like there’s less and less people behind films, like it’s all the same checklist of production companies creating and acting in the film, but books like these make the process so real :)
Mwah
February 8, 2020
It is exactly what it says on the cover, so I am unsure why anybody would be disappointed. It has screencaps from the movie, concept art, gouache backgrounds and details about the production process. Quite handy if you want to relive the story but don't have time to watch the movie, or for artists who want to use the illustrations for reference since these are some of the finest gouache illustrations out there.
September 24, 2020
I feel like this book could’ve gotten a better review if there was less still-shots from the movie itself and more production sketches (or even larger ones). It also doesn’t seem as informative as it first appeared since most of the pages in this artbook are stills of the movie.
Regardless of that, I did still enjoy reading and looking through the entirety of the book. Princess Mononoke is a very lovely movie and this book is almost just as lovely.
Regardless of that, I did still enjoy reading and looking through the entirety of the book. Princess Mononoke is a very lovely movie and this book is almost just as lovely.
November 8, 2020
Again, these books are incredible. I am so happy they exist, as they give me new insight to the beloved Studio Ghibli films. It is so cool to get to see preliminary sketches of the characters, such as Princess Mononoke herself and the kodama spirits. The illustrations are beautiful, and I love the ecological message of the film. Even though this was an art book, my favorite section involves several poems written by Hayao Miyazaki that encompass the spirit of the story. Loved this!
January 7, 2022
"I am not attempting to solve the entire world's problems. There can never be a happy ending in the battle between humanity and ferocious gods. Yet, even amidst hatred and carnage, life is still worth living. It is possible for wonderful encounters and beautiful things to exist."
Impeccably put together, the production diary and the emergency layouts by Miyazaki for the end of the film being particular highlights.
Impeccably put together, the production diary and the emergency layouts by Miyazaki for the end of the film being particular highlights.
January 19, 2020
The insight into the inner workings of the studio at the end is wonderful - though the inclusion of a 3 act story snippet about a bird’s nest is heartbreaking. Missed the usual screenplay that tends to come at the end of these books, but forgive the omission for it’s reveal that Miyazaki is a serial CD stealer. Your fav could never 😂
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