Ask John: Why are the works of director Makoto Shinkai so respected?

Question:
I just watched HOSHI NO KOE/VOICES OF A DISTANT STAR. I’m once again dumbfounded to what people see in SHINKAI Makoto. The very concept of a cell phone (even in “the future”) being able to transmit messages from light-years away back to Earth is already laughable, and the fact that the entire dramatic core hinges on that very notion makes the entire pretentiously weighty concept of the short OVA collapse onto itself into a black hole of ridiculous nothing. The background design is impressive, but the character design is hideous and regularly does things that even exaggerated “anime” based human anatomy is simply not capable of – this is something he didn’t fix during BEYOND THE CLOUDS, either. The mecha action may have been sexy 7 years ago when it was copywritten, but now it’s just kind of quaint. While I thought that Beyond the Coulds was a train wreck, at least I felt it had a few positive qualities struggling to make an impact. I feel only respect for Shinkai’s moxie, not his actual work. And if this guy is supposedly, “The Next Miyazaki,” then I feel legitimate worry for the future of Japanese animation.

Answer:
I’m not sure where the commonly attributed commendation, “The next Miyazaki” originated, but I do think it’s exaggerated, although ironically not entirely inaccurate. I presume that the praise is in reference to Shinkai’s skill as an artist and animator. I do think that it’s extremely presumptuous to directly compare Hayao Mizaki, who has consistently proven himself a world-class director over a 30 year period, with Makoto Shinkai, who burst upon the scene only ten years ago and has directed only two feature length films. It seems quite disrespectful to lavish such generous comparison on Shinkai while not attributing a similar praise to directors including Gisaburo Sugii, Osamu Dezaki, Isao Takahata, Mamoru Oshii, Satoshi Kon, Koji Morimoto, Mamoru Hosoda, Masaaki Yuasa, or Yasuhiro Yoshiura. In fact, even Shinkai himself has deflected the comparison, calling it, “an overestimation.” But from a certain perspective, the comparison isn’t inaccurate because Shinkai and Miyazaki have both primarily based their prominent animation work on their own, original stories. Talented directors including Sugii, Dezaki, Oshii, Kon, and Hosoda have animated numerous adaptations of earlier works authored by other artists.

Although I agree that calling Makoto Shinkai “the next Miyazaki” on the basis of his work thus far is gross exaggeration, I do have a lot of respect for Shinkai as an artist, and a lot of affection for his animation. The acclaim directed at Makoto Shinkai’s anime may be a bit over exuberant, but only by a bit. Shinkai’s strength is not character design, which is why he’s left that duty to other specialists in all of his anime productions following Hoshi no Koe. Shinkai famously did character design himself for Hoshi no Koe because he created all of the animation himself, by necessity. Makoto Shinkai’s strength lies in creating photo realistic backgrounds and employing striking, memorable cinematography. His animation work, including both his well known films and his animation for PC games from studio Minori are consistently characterized by crisp color design, stylized realism, and effective integration of CG visual enhancements. Shinkai’s animation is also typified by themes of youthful angst, the decay of relationships, the struggle against inevitability, and the strength and weakness of love. Noteably, Shinkai anime are absent of supernatural creatures, maids, bunny girls, magical girls, mascot characters, little sisters, fighting tournaments, slapstick comedy, and panty shots. In other words, Makoto Shinkai’s anime reflect what American viewers perceive as respectable animated fine art. Shinkai’s anime are free of obvious pandering to otaku convention, and they don’t look or feel like children’s cartoons. So despite technical flaws, they still seem more heady and praiseworthy than the bulk of conventional anime. Furthermore, because Shinkai’s major works are such personal films, they explore themes which are resonant and affecting to the very viewers that afford him so much praise.

While I think the first segment of Byousoku 5 Centimeter is Shinkai’s strongest work to date, Hoshi no Koe may still be the animator’s finest complete anime. I respect the criticism of the short film’s literal shortcomings, but I think that concentrating on them misses the point of the film. The literal fact that a cellular telephone signal would diffuse before traveling light years is simply an artistic license that has to be granted. Does anyone ever question why the wolf is able to wear human clothes and speak human language to Little Red Riding Hood? That fairy tale is a parable about the danger of trust without suspicion. Hoshi no Koe is a parable about the ability of human willpower to overcome any obstacle. The idea of a love that literally transcends time and space is beautiful and moving. I’m fascinated by the film’s implication that aliens of superior intellect so fully comprehend human psychology that they’re willing to sacrifice their own lives to spur human social evolution. The aliens aren’t antagonistic or malicious. They destroy the Mars base and attack humanity because they realize that threat and the desire for vengeance will motivate humanity to greater progress and development more effectively than peaceful communication ever will. Hoshi no Koe is literally the climax of Gunbuster OVA 6 extended into a full short film. It was powerful and moving when Gainax did it in a few seconds. It’s powerful and moving when Shinkai does it in 25 minutes.

Hoshi no Koe is the film that introduced Makoto Shinkai to the world, setting up the high expectations fans have for him now, and his worldwide acclaim. Hoshi no Koe is an idealized anime on two fronts. It’s a striking looking, intelligent, and deeply affecting film that represents everything American fans respect anime for being. It’s also an encouraging beacon. As a one-man production, it serves as an inspiration for aspiring creators while it renews anime fans’ faith in the creativity of the anime medium. Hoshi no Koe hit with such a tremendous impact that its strengths far outshine its weaknesses in the eyes of most viewers. The Place Promised in Our Early Days, in my opinion, was as much a step forward as a step backward because despite being more ambitious and of better animation quality, its narrative lacks focus and power. Similarly, 5 Centimeters per Second starts masterfully before tapering off into a rushed and incomplete ending. But there’s still enough emotional impact, visual vibrancy, and gratifying absence of stereotype in all of Shinkai’s anime to earn deserving praise. He’s not “the next Miyazaki,” and he humbly agrees. But while the tremendous international adoration levied upon him may be a bit excessive – the “Global Shinkai Day” earlier this year may have been especially overboard considering that so many other deserving animators haven’t been duly recognized – I resolutely believe that Makoto Shinkai is a talented and commendable animator whose acclaim is largely justified and appropriate.