Rather, each new invention is met with wonder and awe, while also appearing without the sheen of an auto-factory, rather the craftsmanship of human hands. Technology here does not disappear into the backdrop, as with today’s society where the latest gizmo is just another in a long line. Automobiles and trains suggest an early twentieth-century time-frame, whereas massive airships appear more elaborate and advanced than anything this world has yet known (no wonder Jules Verne is one of Miyazaki’s favorite authors). He juxtaposes varied clothing styles and technologies as non-indicators representative of an alternate world. Labor movements became a crucial part of the narrative, and since such trends have largely faded from Japan, Miyazaki no doubt took inspiration from the rugged cohesion of Wales’ labor force. Miyazaki avoids clear signifiers of time and setting, despite designing his film’s pseudo-Celtic culture from the mining culture of Wales. While in the United Kingdom researching his script, Miyazaki planned on setting the film in post-industrial England, but when that idea was scrapped, the coal miner strikes in Wales influenced his story nonetheless. The mining town in the opening scenes, where pseudo-European farmers and miners dress in plain and functional clothing, should indicate an Anglo-atmosphere circa the 1910s. Even still, adults should have no trouble getting involved, even if it’s youngsters who Miyazaki wants to entertain.Īs always, the exact setting of Miyazaki’s film is difficult to identify, rendering it universal in its ambiguity. There’s less commentary than there is action, and the visuals feel less like art and more like an attempt to keep children attentive. He sought to “help resurrect traditionally entertaining manga- or cartoon-style films.” Accordingly, the film’s characters have massive eyes and tiny mouths, which might grow as big as their entire head should they laugh or shout loud enough. But within his self-imposed limitations to the medium, Miyazaki’s anime aligns with his other work themes and all, and far surpasses the output of typical anime directors in scope and vision. That the film compares to more classic forms of anime and avoids novel or free-thinking animation on the part of its creator was an intentional choice, as Miyazaki’s original proposal notes suggest.

Visually, however, the outcome feels reduced to mere anime, as opposed to the innovative animation style that Miyazaki’s work usually presents.

The story has incredible momentum and nonstop adventure throughout, nodding to various storybook inspirations as the plot unfolds. To be sure, the 1986 film reflects the Japanese master animator’s intentions both in style and structure. Hayao Miyazaki wanted his third feature-length animated picture, named Laputa: Castle in the Sky, to entertain “elementary school-age children” with a simple and exciting story.

Castle in the sky (1986)