The art of Hayao Miyazaki's latest Academy Award, Ghibli's art style is being widely replicated in a sweeping AI trend.

A recent update to the OpenAI service brings a new image generation tool that allows s to render any image they like into the iconic Ghibli style. Unfortunately, in the last few days alone, social media platforms have been inundated with posts featuring such images, leading to major controversy involving artists, AI enthusiasts, Ghibli fans, and people who simply like drama. It's in moments like these that Hayao Miyazaki's stance on AI-generated art becomes more important than ever before.

Hayao Miyazaki Made His Stance on AI Clear

The Legendary Artist and Director Has Already Shared His Distaste for AI Art

As AI-generated Ghibli rip-offs continue to flood social media platforms, concerned spectators have wondered what Miyazaki, one of the studio's co-founders, might think of the trend or whether he might respond. However, there's not much of a need for speculation. In 2016, when shown a demonstration of an AI-assisted animation by Japanese media company DWANGO, Miyazaki didn't hold back expressing his digust. In response, the director said, "I would never wish to incorporate this technology into my work at all."

He then continued, adding, "I strongly feel this is an insult to life itself." Given Ghibli's, and especially Miyazaki's history of creating deeply human works, as well as his comment that the animation reminded him of a friend with a disability, his response is fitting. The demonstrators were left speechless by his response, clearly not ready for the harsh criticism they had just received. AI-generated images have stolen Miyazaki's and Ghibli's style for years, though never to the extent it's happening today.

Despite Pre-Dating Modern AI Tools, Miyazaki's Statements Still Ring True

The Creator Felt the Technology Displayed a Lack of Faith in Humanity

While some ers of AI-generated images have attempted to lighten Miyazaki's comments regarding AI by pointing towards the nature of the horror-inspired demonstration, such arguments are largely in bad faith. Shortly after his scathing review of what he'd been shown, the demonstrators claimed they'd one day like to develop the technology enough that computers would be able to draw "like humans do". In response, Miyazaki sat in a deafening silence.

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The clip then cuts to the creator sitting at his desk, drawing as he's done throughout his entire career. He went on to say, "I feel like we are nearing the end of times. We humans are losing faith in ourselves." These comments cannot be targeted at anything other than the exact notion of machines replicating human art, and frustration in his words is palpable. When removing the human aspect, all that's left is the stolen likeness of an artist's life's work, and Ghibli's leading director isn't the only creator to share those sentiments.

Artists Tend to Dislike AI-Generated Images

Other Figures In the Industry Have Also Chimed In

Hayao Miyazaki smiling in front of a still from Howl's Moving Castle.

While AI-generated Ghibli tragedies run rampant online, the technology is also invading the anime and industries. AI will lead to "a world of con artists", while expressing hope that laws regulating its use will come into effect.

The director of 2024's highly acclaimed Look Back, Kiyotaka Oshiyama, after finishing work on the incredibly drawn and animated film, stated, "I think this will be the last work created solely by human hands." Coming from him, the comment is incredibly dark, given that Look Back is a film centered around the pains and joys of creating art. Main character, Fujino, struggles with her reason for drawing, before realizing the hard work is worth the payoff of being recognized for and connecting through art. A feeling which would all but disappear in an AI-generated world.

Fujino's back to the audience as she draws manga in Look Back

Yoshihiro Watanabe, producer of Trigun Stampede, took to X to express his feelings about the trend, posting, "The only Studio Ghibli is Studio Shibli. That's why it's Studio Ghibli." To real artists who have poured their lives into their crafts, AI-generated images are a slap in the face to all the hard work that's ever gone into improving and creating something. Above all else, art is an expression of self, and there's little to be discussed when there's no self to express.

The Recent Trend Is an Insult to Studio Ghibli

Removing the Humanity From Art Goes Against All Ghibli Has Created

San sucks the poison out of her mother Moro's wound and spits it out as she glares at Ashitaka in Princess Mononoke.

Studio Ghibli's works are more often than not incredibly moving tales that put humanity and nature on display, two things AI diametrically opposes. Removing the humanity at the heart of Ghibli's films to make often unimaginative and mundane images a little more interesting than they are is an insult to the work the studio has released throughout its history, and, according to Miyazaki, it's also an insult to life itself.

Studio Ghibli is arguably the most iconic studio in anime history, boasting a catalog of films that have inspired, motivated, and emotionally moved countless fans throughout its 40 years of operation. From its debut work, Nausicaä of the Valley of the Wind, to 2023's The Boy and the Heron, Ghibli has been able to capture a beauty only human hands could convey. Unfortunately, this recent trend proves that non-human hands will do their best to steal from immensely talented creators. Hayao Miyazaki doesn't use social media to comment his thoughts, and AI ers should be glad he doesn't.

My Neighbor Totoro Movie Poster

Your Rating

My Neighbor Totoro
5+
Fantasy
Family
Release Date
April 16, 1988
Runtime
86minutes
Director
Hayao Miyazaki
  • Headshot oF Dakota Fanning
    Dakota Fanning
  • Headshot Of Elle Fanning In the House of Suntory
    Elle Fanning

WHERE TO WATCH

From Studio Ghibli and Hayao Miyazaki, My Neighbor Totoro follows the adventures of two sisters, Satsuki and Mei, and their encounters with the spirits of the forest living near their new home in rural Japan. The film had two English dubs, first staring Lisa Michelson and Cheryl Chase, and later staring Dakota and Elle Fanning.