#hayaomiyazaki — Public Fediverse posts

The latest stop of "Mundo Pixar Experience" brings full-scale recreations of beloved films to Japan, where Pixar's creative debt to animation giant Hayao Miyazaki has long been well-documented. https://www.japantimes.co.jp/culture/2026/05/15/film/mundo-pixar-experience/?utm_medium=Social&utm_source=mastodon #culture #film #pixar #hayaomiyazaki #animation

Soso, Xi hat mit Trump also *Howl's Moving Castle* gespielt.

#Treppen #DonaldTrump #HayaoMiyazaki

Kiki’s Delivery Service (1989) – Review

By the end of the 80s, Studio Ghibli was cooking, creatively speaking, but was still finding it tough to get the appropriate amount of traction at the box office. While disscussing something as crass as money when dealing with the type of creative alchemy that have given audiences back to back movies that casually enriched the soul, the simple fact of the matter is, Ghibli was still in its relative infancy and anime had yet to make that relentless, worldwide breakout that still wouldn’t occur for a few couple of years yet. However, with Kiki’s Delivery Service, the studio would finally enjoy financial success to go with the fact that in under a decade, they’d been doling out straight-up masterpieces while other animation houses (cough * Disney * cough) had noticably struggled during the decade.
Let’s not forget that Ghibli released both My Neighbour Totoro and Grave Of The Fireflies in the same year, a feat that showed the emotional dexterity of filmmakers who delivered polar opposite assaults on our emotional well-being. But what did it take to help the house of Totoro get flush? Nothing much, just a thirteen year-old witch and a flying broom.

In a world where witches live alongside humans in harmony despite being relatively rare, we meet Kiki, a thirteen year-old girl who decides its time for her to attempt the tradition all witches her age must do – leave home and live an independent life for a year. While that seems a little much to ask any child, Kiki not only is kind and resourceful, but she has the ability to soar through the sky on her broom and has Jiji, her feline familiar, to keep her company. However, after leaving home she soon encounters a number of minor obstacles such as another, pretentious witch and a rain storm that causes her to first drift off course and then take refuge in a box car until the rain chooses to relent.
However, upon waking up, Kiki finds that she and Jiji have arrived in the city of Koriko and decides to stay and try to make a life for herself – but while she’s enamored of the view of the ocean that she has, her small town upbringing leaves her unprepared for how tough life and lonely can be in a bustling city. Still, the plucky child manages to find a place to live with a kindly woman and her husband who own a bakery and so figures out how to channel her paranormal talents into a form of self employment.
Using her talents of flying on her broomstick, Kiki starts up her own small scale delivery service as she can simply zip across the sky with a parcel and drop it off at it’s destination in no time at all. However, despite the kindness of a lot of her early customers and the constant attention of a local boy named Tombo, Kiki soon finds that forging a life in a big city can be fairly trying and as isolation and depression sets in, she finds that some of her witchy gifts are starting to leave her as the day to day pressures take their toll.

The irony of Ghibli’s first financially successful film being about a thirteen year-old going out and starting her own business isn’t lost on me, but there was always a danger that anything that attempted to follow Isao Takahata’s emotion-flaying Grave Of The Fireflies was going to come across as unbelievably twee – after all, the lethally sad wartime drama had been repeatedly hailed as one of the greatest animated movies ever made and proved to be an unforgettable experience. However, the magic of Hayao Miyazaki is that he’s able to benevolently weaponise things that are ridiculously nice in ways that make even the most basic plots warm your heart. For example, on the surface, My Neighbour Totoro wasn’t really about anything really and just followed the lives of two young girls who were excited about moving house and casually had low-energy adventures with a burly, sleepy forest spirit. And yet, despite having no antagonist, no jokes and no action sequences to speak of, Miyazaki turned such unassuming touch points into genuine chicken soup for the soul.
Well, with Kiki’s Delivery Service pulls off the same trick by adapting Eiko Kadono’s novel into yet another beguiling fantasy that, technically speaking, doesn’t fall back on the majority of animated tropes popular at the time. Once again, Miyazaki shrewdly tells another tale that not only proves that he accurately can put himself (and the viewer) in the shoes of a prepubescent girl encountering the world for the first time, but he impressively doesn’t make it creepy either. On top of this, the movie scatters numerous instances about the film that sees a lot of good advice and protection offered to Kiki by an arry of vastly different, but all equally strong women. From Osono the baker generously giving our heroine a place to stay, to the kindly old women who call Kiki to deliver pies baked with pure love to ungrateful grandchildren on their birthdays, to her encounter with jean-short wearing artist, Ursula who lives in the nearby forest, the young witch is given countless life advice by strong mature women to counteract the rather cold and vapid reaction she gets from girls her own age.

Once again, detailing how rich and glorious the animation is is now starting to feel somewhat redundant, but I’ll still say that no one in animation can animate grass blowing on a strong breeze quite like the hard working scribblers who work under the Ghibli umbrella – and if that looks good, imagine how good the flying stuff looks. Yep, Miyazaki’s documented weakness for all things that fly gets yet another outing, although its amusing that for all the high flying heroines that’s populated his films, Kiki has moments where her broom flying is actually quite ungainly due to external forces or the fact that has to improvise at one moment with a brush.
But for all the dazzling wonder and memorable characters (Jiji the sassy cat is effortlessly the movie’s MVP), once again it’s those deftly buried life lessons that hit the hardest and while Kiki finds that the confidence sapping effects of modern life is draining her powers as depression set in, it’s remarkable that Miyazaki’s simple message of being true to yourself is delivered so organically when other animation houses would probably base an entire six minute musical number about it. Most remarkable of all is the fact that I would argue that Kiki’s Delivery Service actually does low-key fantasy and growing pains even better than My Neighbour Totoro did and while that final rescue sequence seems a little tacked on compared to how organic Ghibli usually is, it makes the likes of Sabrina The Teenage Witch look like purest trash in comparison.

Zipping out from under the emotional heft of Grave Of The Fireflies with yet another delightful flight of fancy, Kiki’s Delivery Service not only cemented Ghibli’s standing at the box office, but delivered yet another overwhelmingly warm cinematic endevor to boot. While the titular witch may not have too many spells of her own, her movie spins more than enough magic to compensate.
🌟🌟🌟🌟🌟

Kiki’s Delivery Service (1989) – Review

By the end of the 80s, Studio Ghibli was cooking, creatively speaking, but was still finding it tough to get the appropriate amount of traction at the box office. While disscussing something as crass as money when dealing with the type of creative alchemy that have given audiences back to back movies that casually enriched the soul, the simple fact of the matter is, Ghibli was still in its relative infancy and anime had yet to make that relentless, worldwide breakout that still wouldn’t occur for a few couple of years yet. However, with Kiki’s Delivery Service, the studio would finally enjoy financial success to go with the fact that in under a decade, they’d been doling out straight-up masterpieces while other animation houses (cough * Disney * cough) had noticably struggled during the decade.
Let’s not forget that Ghibli released both My Neighbour Totoro and Grave Of The Fireflies in the same year, a feat that showed the emotional dexterity of filmmakers who delivered polar opposite assaults on our emotional well-being. But what did it take to help the house of Totoro get flush? Nothing much, just a thirteen year-old witch and a flying broom.

In a world where witches live alongside humans in harmony despite being relatively rare, we meet Kiki, a thirteen year-old girl who decides its time for her to attempt the tradition all witches her age must do – leave home and live an independent life for a year. While that seems a little much to ask any child, Kiki not only is kind and resourceful, but she has the ability to soar through the sky on her broom and has Jiji, her feline familiar, to keep her company. However, after leaving home she soon encounters a number of minor obstacles such as another, pretentious witch and a rain storm that causes her to first drift off course and then take refuge in a box car until the rain chooses to relent.
However, upon waking up, Kiki finds that she and Jiji have arrived in the city of Koriko and decides to stay and try to make a life for herself – but while she’s enamored of the view of the ocean that she has, her small town upbringing leaves her unprepared for how tough life and lonely can be in a bustling city. Still, the plucky child manages to find a place to live with a kindly woman and her husband who own a bakery and so figures out how to channel her paranormal talents into a form of self employment.
Using her talents of flying on her broomstick, Kiki starts up her own small scale delivery service as she can simply zip across the sky with a parcel and drop it off at it’s destination in no time at all. However, despite the kindness of a lot of her early customers and the constant attention of a local boy named Tombo, Kiki soon finds that forging a life in a big city can be fairly trying and as isolation and depression sets in, she finds that some of her witchy gifts are starting to leave her as the day to day pressures take their toll.

The irony of Ghibli’s first financially successful film being about a thirteen year-old going out and starting her own business isn’t lost on me, but there was always a danger that anything that attempted to follow Isao Takahata’s emotion-flaying Grave Of The Fireflies was going to come across as unbelievably twee – after all, the lethally sad wartime drama had been repeatedly hailed as one of the greatest animated movies ever made and proved to be an unforgettable experience. However, the magic of Hayao Miyazaki is that he’s able to benevolently weaponise things that are ridiculously nice in ways that make even the most basic plots warm your heart. For example, on the surface, My Neighbour Totoro wasn’t really about anything really and just followed the lives of two young girls who were excited about moving house and casually had low-energy adventures with a burly, sleepy forest spirit. And yet, despite having no antagonist, no jokes and no action sequences to speak of, Miyazaki turned such unassuming touch points into genuine chicken soup for the soul.
Well, with Kiki’s Delivery Service pulls off the same trick by adapting Eiko Kadono’s novel into yet another beguiling fantasy that, technically speaking, doesn’t fall back on the majority of animated tropes popular at the time. Once again, Miyazaki shrewdly tells another tale that not only proves that he accurately can put himself (and the viewer) in the shoes of a prepubescent girl encountering the world for the first time, but he impressively doesn’t make it creepy either. On top of this, the movie scatters numerous instances about the film that sees a lot of good advice and protection offered to Kiki by an arry of vastly different, but all equally strong women. From Osono the baker generously giving our heroine a place to stay, to the kindly old women who call Kiki to deliver pies baked with pure love to ungrateful grandchildren on their birthdays, to her encounter with jean-short wearing artist, Ursula who lives in the nearby forest, the young witch is given countless life advice by strong mature women to counteract the rather cold and vapid reaction she gets from girls her own age.

Once again, detailing how rich and glorious the animation is is now starting to feel somewhat redundant, but I’ll still say that no one in animation can animate grass blowing on a strong breeze quite like the hard working scribblers who work under the Ghibli umbrella – and if that looks good, imagine how good the flying stuff looks. Yep, Miyazaki’s documented weakness for all things that fly gets yet another outing, although its amusing that for all the high flying heroines that’s populated his films, Kiki has moments where her broom flying is actually quite ungainly due to external forces or the fact that has to improvise at one moment with a brush.
But for all the dazzling wonder and memorable characters (Jiji the sassy cat is effortlessly the movie’s MVP), once again it’s those deftly buried life lessons that hit the hardest and while Kiki finds that the confidence sapping effects of modern life is draining her powers as depression set in, it’s remarkable that Miyazaki’s simple message of being true to yourself is delivered so organically when other animation houses would probably base an entire six minute musical number about it. Most remarkable of all is the fact that I would argue that Kiki’s Delivery Service actually does low-key fantasy and growing pains even better than My Neighbour Totoro did and while that final rescue sequence seems a little tacked on compared to how organic Ghibli usually is, it makes the likes of Sabrina The Teenage Witch look like purest trash in comparison.

Zipping out from under the emotional heft of Grave Of The Fireflies with yet another delightful flight of fancy, Kiki’s Delivery Service not only cemented Ghibli’s standing at the box office, but delivered yet another overwhelmingly warm cinematic endevor to boot. While the titular witch may not have too many spells of her own, her movie spins more than enough magic to compensate.
🌟🌟🌟🌟🌟

Kiki’s Delivery Service (1989) – Review

By the end of the 80s, Studio Ghibli was cooking, creatively speaking, but was still finding it tough to get the appropriate amount of traction at the box office. While disscussing something as crass as money when dealing with the type of creative alchemy that have given audiences back to back movies that casually enriched the soul, the simple fact of the matter is, Ghibli was still in its relative infancy and anime had yet to make that relentless, worldwide breakout that still wouldn’t occur for a few couple of years yet. However, with Kiki’s Delivery Service, the studio would finally enjoy financial success to go with the fact that in under a decade, they’d been doling out straight-up masterpieces while other animation houses (cough * Disney * cough) had noticably struggled during the decade.
Let’s not forget that Ghibli released both My Neighbour Totoro and Grave Of The Fireflies in the same year, a feat that showed the emotional dexterity of filmmakers who delivered polar opposite assaults on our emotional well-being. But what did it take to help the house of Totoro get flush? Nothing much, just a thirteen year-old witch and a flying broom.

In a world where witches live alongside humans in harmony despite being relatively rare, we meet Kiki, a thirteen year-old girl who decides its time for her to attempt the tradition all witches her age must do – leave home and live an independent life for a year. While that seems a little much to ask any child, Kiki not only is kind and resourceful, but she has the ability to soar through the sky on her broom and has Jiji, her feline familiar, to keep her company. However, after leaving home she soon encounters a number of minor obstacles such as another, pretentious witch and a rain storm that causes her to first drift off course and then take refuge in a box car until the rain chooses to relent.
However, upon waking up, Kiki finds that she and Jiji have arrived in the city of Koriko and decides to stay and try to make a life for herself – but while she’s enamored of the view of the ocean that she has, her small town upbringing leaves her unprepared for how tough life and lonely can be in a bustling city. Still, the plucky child manages to find a place to live with a kindly woman and her husband who own a bakery and so figures out how to channel her paranormal talents into a form of self employment.
Using her talents of flying on her broomstick, Kiki starts up her own small scale delivery service as she can simply zip across the sky with a parcel and drop it off at it’s destination in no time at all. However, despite the kindness of a lot of her early customers and the constant attention of a local boy named Tombo, Kiki soon finds that forging a life in a big city can be fairly trying and as isolation and depression sets in, she finds that some of her witchy gifts are starting to leave her as the day to day pressures take their toll.

The irony of Ghibli’s first financially successful film being about a thirteen year-old going out and starting her own business isn’t lost on me, but there was always a danger that anything that attempted to follow Isao Takahata’s emotion-flaying Grave Of The Fireflies was going to come across as unbelievably twee – after all, the lethally sad wartime drama had been repeatedly hailed as one of the greatest animated movies ever made and proved to be an unforgettable experience. However, the magic of Hayao Miyazaki is that he’s able to benevolently weaponise things that are ridiculously nice in ways that make even the most basic plots warm your heart. For example, on the surface, My Neighbour Totoro wasn’t really about anything really and just followed the lives of two young girls who were excited about moving house and casually had low-energy adventures with a burly, sleepy forest spirit. And yet, despite having no antagonist, no jokes and no action sequences to speak of, Miyazaki turned such unassuming touch points into genuine chicken soup for the soul.
Well, with Kiki’s Delivery Service pulls off the same trick by adapting Eiko Kadono’s novel into yet another beguiling fantasy that, technically speaking, doesn’t fall back on the majority of animated tropes popular at the time. Once again, Miyazaki shrewdly tells another tale that not only proves that he accurately can put himself (and the viewer) in the shoes of a prepubescent girl encountering the world for the first time, but he impressively doesn’t make it creepy either. On top of this, the movie scatters numerous instances about the film that sees a lot of good advice and protection offered to Kiki by an arry of vastly different, but all equally strong women. From Osono the baker generously giving our heroine a place to stay, to the kindly old women who call Kiki to deliver pies baked with pure love to ungrateful grandchildren on their birthdays, to her encounter with jean-short wearing artist, Ursula who lives in the nearby forest, the young witch is given countless life advice by strong mature women to counteract the rather cold and vapid reaction she gets from girls her own age.

Once again, detailing how rich and glorious the animation is is now starting to feel somewhat redundant, but I’ll still say that no one in animation can animate grass blowing on a strong breeze quite like the hard working scribblers who work under the Ghibli umbrella – and if that looks good, imagine how good the flying stuff looks. Yep, Miyazaki’s documented weakness for all things that fly gets yet another outing, although its amusing that for all the high flying heroines that’s populated his films, Kiki has moments where her broom flying is actually quite ungainly due to external forces or the fact that has to improvise at one moment with a brush.
But for all the dazzling wonder and memorable characters (Jiji the sassy cat is effortlessly the movie’s MVP), once again it’s those deftly buried life lessons that hit the hardest and while Kiki finds that the confidence sapping effects of modern life is draining her powers as depression set in, it’s remarkable that Miyazaki’s simple message of being true to yourself is delivered so organically when other animation houses would probably base an entire six minute musical number about it. Most remarkable of all is the fact that I would argue that Kiki’s Delivery Service actually does low-key fantasy and growing pains even better than My Neighbour Totoro did and while that final rescue sequence seems a little tacked on compared to how organic Ghibli usually is, it makes the likes of Sabrina The Teenage Witch look like purest trash in comparison.

Zipping out from under the emotional heft of Grave Of The Fireflies with yet another delightful flight of fancy, Kiki’s Delivery Service not only cemented Ghibli’s standing at the box office, but delivered yet another overwhelmingly warm cinematic endevor to boot. While the titular witch may not have too many spells of her own, her movie spins more than enough magic to compensate.
🌟🌟🌟🌟🌟

Kiki’s Delivery Service (1989) – Review

By the end of the 80s, Studio Ghibli was cooking, creatively speaking, but was still finding it tough to get the appropriate amount of traction at the box office. While disscussing something as crass as money when dealing with the type of creative alchemy that have given audiences back to back movies that casually enriched the soul, the simple fact of the matter is, Ghibli was still in its relative infancy and anime had yet to make that relentless, worldwide breakout that still wouldn’t occur for a few couple of years yet. However, with Kiki’s Delivery Service, the studio would finally enjoy financial success to go with the fact that in under a decade, they’d been doling out straight-up masterpieces while other animation houses (cough * Disney * cough) had noticably struggled during the decade.
Let’s not forget that Ghibli released both My Neighbour Totoro and Grave Of The Fireflies in the same year, a feat that showed the emotional dexterity of filmmakers who delivered polar opposite assaults on our emotional well-being. But what did it take to help the house of Totoro get flush? Nothing much, just a thirteen year-old witch and a flying broom.

In a world where witches live alongside humans in harmony despite being relatively rare, we meet Kiki, a thirteen year-old girl who decides its time for her to attempt the tradition all witches her age must do – leave home and live an independent life for a year. While that seems a little much to ask any child, Kiki not only is kind and resourceful, but she has the ability to soar through the sky on her broom and has Jiji, her feline familiar, to keep her company. However, after leaving home she soon encounters a number of minor obstacles such as another, pretentious witch and a rain storm that causes her to first drift off course and then take refuge in a box car until the rain chooses to relent.
However, upon waking up, Kiki finds that she and Jiji have arrived in the city of Koriko and decides to stay and try to make a life for herself – but while she’s enamored of the view of the ocean that she has, her small town upbringing leaves her unprepared for how tough life and lonely can be in a bustling city. Still, the plucky child manages to find a place to live with a kindly woman and her husband who own a bakery and so figures out how to channel her paranormal talents into a form of self employment.
Using her talents of flying on her broomstick, Kiki starts up her own small scale delivery service as she can simply zip across the sky with a parcel and drop it off at it’s destination in no time at all. However, despite the kindness of a lot of her early customers and the constant attention of a local boy named Tombo, Kiki soon finds that forging a life in a big city can be fairly trying and as isolation and depression sets in, she finds that some of her witchy gifts are starting to leave her as the day to day pressures take their toll.

The irony of Ghibli’s first financially successful film being about a thirteen year-old going out and starting her own business isn’t lost on me, but there was always a danger that anything that attempted to follow Isao Takahata’s emotion-flaying Grave Of The Fireflies was going to come across as unbelievably twee – after all, the lethally sad wartime drama had been repeatedly hailed as one of the greatest animated movies ever made and proved to be an unforgettable experience. However, the magic of Hayao Miyazaki is that he’s able to benevolently weaponise things that are ridiculously nice in ways that make even the most basic plots warm your heart. For example, on the surface, My Neighbour Totoro wasn’t really about anything really and just followed the lives of two young girls who were excited about moving house and casually had low-energy adventures with a burly, sleepy forest spirit. And yet, despite having no antagonist, no jokes and no action sequences to speak of, Miyazaki turned such unassuming touch points into genuine chicken soup for the soul.
Well, with Kiki’s Delivery Service pulls off the same trick by adapting Eiko Kadono’s novel into yet another beguiling fantasy that, technically speaking, doesn’t fall back on the majority of animated tropes popular at the time. Once again, Miyazaki shrewdly tells another tale that not only proves that he accurately can put himself (and the viewer) in the shoes of a prepubescent girl encountering the world for the first time, but he impressively doesn’t make it creepy either. On top of this, the movie scatters numerous instances about the film that sees a lot of good advice and protection offered to Kiki by an arry of vastly different, but all equally strong women. From Osono the baker generously giving our heroine a place to stay, to the kindly old women who call Kiki to deliver pies baked with pure love to ungrateful grandchildren on their birthdays, to her encounter with jean-short wearing artist, Ursula who lives in the nearby forest, the young witch is given countless life advice by strong mature women to counteract the rather cold and vapid reaction she gets from girls her own age.

Once again, detailing how rich and glorious the animation is is now starting to feel somewhat redundant, but I’ll still say that no one in animation can animate grass blowing on a strong breeze quite like the hard working scribblers who work under the Ghibli umbrella – and if that looks good, imagine how good the flying stuff looks. Yep, Miyazaki’s documented weakness for all things that fly gets yet another outing, although its amusing that for all the high flying heroines that’s populated his films, Kiki has moments where her broom flying is actually quite ungainly due to external forces or the fact that has to improvise at one moment with a brush.
But for all the dazzling wonder and memorable characters (Jiji the sassy cat is effortlessly the movie’s MVP), once again it’s those deftly buried life lessons that hit the hardest and while Kiki finds that the confidence sapping effects of modern life is draining her powers as depression set in, it’s remarkable that Miyazaki’s simple message of being true to yourself is delivered so organically when other animation houses would probably base an entire six minute musical number about it. Most remarkable of all is the fact that I would argue that Kiki’s Delivery Service actually does low-key fantasy and growing pains even better than My Neighbour Totoro did and while that final rescue sequence seems a little tacked on compared to how organic Ghibli usually is, it makes the likes of Sabrina The Teenage Witch look like purest trash in comparison.

Zipping out from under the emotional heft of Grave Of The Fireflies with yet another delightful flight of fancy, Kiki’s Delivery Service not only cemented Ghibli’s standing at the box office, but delivered yet another overwhelmingly warm cinematic endevor to boot. While the titular witch may not have too many spells of her own, her movie spins more than enough magic to compensate.
🌟🌟🌟🌟🌟

Kiki’s Delivery Service (1989) – Review

By the end of the 80s, Studio Ghibli was cooking, creatively speaking, but was still finding it tough to get the appropriate amount of traction at the box office. While disscussing something as crass as money when dealing with the type of creative alchemy that have given audiences back to back movies that casually enriched the soul, the simple fact of the matter is, Ghibli was still in its relative infancy and anime had yet to make that relentless, worldwide breakout that still wouldn’t occur for a few couple of years yet. However, with Kiki’s Delivery Service, the studio would finally enjoy financial success to go with the fact that in under a decade, they’d been doling out straight-up masterpieces while other animation houses (cough * Disney * cough) had noticably struggled during the decade.
Let’s not forget that Ghibli released both My Neighbour Totoro and Grave Of The Fireflies in the same year, a feat that showed the emotional dexterity of filmmakers who delivered polar opposite assaults on our emotional well-being. But what did it take to help the house of Totoro get flush? Nothing much, just a thirteen year-old witch and a flying broom.

In a world where witches live alongside humans in harmony despite being relatively rare, we meet Kiki, a thirteen year-old girl who decides its time for her to attempt the tradition all witches her age must do – leave home and live an independent life for a year. While that seems a little much to ask any child, Kiki not only is kind and resourceful, but she has the ability to soar through the sky on her broom and has Jiji, her feline familiar, to keep her company. However, after leaving home she soon encounters a number of minor obstacles such as another, pretentious witch and a rain storm that causes her to first drift off course and then take refuge in a box car until the rain chooses to relent.
However, upon waking up, Kiki finds that she and Jiji have arrived in the city of Koriko and decides to stay and try to make a life for herself – but while she’s enamored of the view of the ocean that she has, her small town upbringing leaves her unprepared for how tough life and lonely can be in a bustling city. Still, the plucky child manages to find a place to live with a kindly woman and her husband who own a bakery and so figures out how to channel her paranormal talents into a form of self employment.
Using her talents of flying on her broomstick, Kiki starts up her own small scale delivery service as she can simply zip across the sky with a parcel and drop it off at it’s destination in no time at all. However, despite the kindness of a lot of her early customers and the constant attention of a local boy named Tombo, Kiki soon finds that forging a life in a big city can be fairly trying and as isolation and depression sets in, she finds that some of her witchy gifts are starting to leave her as the day to day pressures take their toll.

The irony of Ghibli’s first financially successful film being about a thirteen year-old going out and starting her own business isn’t lost on me, but there was always a danger that anything that attempted to follow Isao Takahata’s emotion-flaying Grave Of The Fireflies was going to come across as unbelievably twee – after all, the lethally sad wartime drama had been repeatedly hailed as one of the greatest animated movies ever made and proved to be an unforgettable experience. However, the magic of Hayao Miyazaki is that he’s able to benevolently weaponise things that are ridiculously nice in ways that make even the most basic plots warm your heart. For example, on the surface, My Neighbour Totoro wasn’t really about anything really and just followed the lives of two young girls who were excited about moving house and casually had low-energy adventures with a burly, sleepy forest spirit. And yet, despite having no antagonist, no jokes and no action sequences to speak of, Miyazaki turned such unassuming touch points into genuine chicken soup for the soul.
Well, with Kiki’s Delivery Service pulls off the same trick by adapting Eiko Kadono’s novel into yet another beguiling fantasy that, technically speaking, doesn’t fall back on the majority of animated tropes popular at the time. Once again, Miyazaki shrewdly tells another tale that not only proves that he accurately can put himself (and the viewer) in the shoes of a prepubescent girl encountering the world for the first time, but he impressively doesn’t make it creepy either. On top of this, the movie scatters numerous instances about the film that sees a lot of good advice and protection offered to Kiki by an arry of vastly different, but all equally strong women. From Osono the baker generously giving our heroine a place to stay, to the kindly old women who call Kiki to deliver pies baked with pure love to ungrateful grandchildren on their birthdays, to her encounter with jean-short wearing artist, Ursula who lives in the nearby forest, the young witch is given countless life advice by strong mature women to counteract the rather cold and vapid reaction she gets from girls her own age.

Once again, detailing how rich and glorious the animation is is now starting to feel somewhat redundant, but I’ll still say that no one in animation can animate grass blowing on a strong breeze quite like the hard working scribblers who work under the Ghibli umbrella – and if that looks good, imagine how good the flying stuff looks. Yep, Miyazaki’s documented weakness for all things that fly gets yet another outing, although its amusing that for all the high flying heroines that’s populated his films, Kiki has moments where her broom flying is actually quite ungainly due to external forces or the fact that has to improvise at one moment with a brush.
But for all the dazzling wonder and memorable characters (Jiji the sassy cat is effortlessly the movie’s MVP), once again it’s those deftly buried life lessons that hit the hardest and while Kiki finds that the confidence sapping effects of modern life is draining her powers as depression set in, it’s remarkable that Miyazaki’s simple message of being true to yourself is delivered so organically when other animation houses would probably base an entire six minute musical number about it. Most remarkable of all is the fact that I would argue that Kiki’s Delivery Service actually does low-key fantasy and growing pains even better than My Neighbour Totoro did and while that final rescue sequence seems a little tacked on compared to how organic Ghibli usually is, it makes the likes of Sabrina The Teenage Witch look like purest trash in comparison.

Zipping out from under the emotional heft of Grave Of The Fireflies with yet another delightful flight of fancy, Kiki’s Delivery Service not only cemented Ghibli’s standing at the box office, but delivered yet another overwhelmingly warm cinematic endevor to boot. While the titular witch may not have too many spells of her own, her movie spins more than enough magic to compensate.
🌟🌟🌟🌟🌟

https://www.europesays.com/es/537627/ Cinco películas para entender por qué Studio Ghibli acaba de ganar el Princesa de Asturias | El PAÍS Exprés #Animación #Cine #Cultura #DirectoresCine #Entertainment #Entretenimiento #ES #España #Film #HayaoMiyazaki #Movies #Películas #PremiosPrincesaDeAsturias #PrincesaAsturiasComunicaciónYHumanidades #Spain #Studio Ghibli

https://www.alojapan.com/1483335/everything-i-bought-at-the-studio-ghibli-store-in-sapporo-japan-studioghibli-howlsmovingcastle/ Everything I Bought at the Studio Ghibli Store in Sapporo, Japan | #studioghibli #howlsmovingcastle #donguri #DonguriRepublic #GhibliMovies #HayaoMiyazaki #Howl'sMovingCastle #JapanShopping #Sapporo #SapporoDestinations #SapporoShopping #SapporoTour #SapporoTravel #SapporoTrip #SapporoVacation #StudioGhibli #札幌 Everything I Bought at the Studio Ghibli Store in Sapporo, Japan | #studioghibli #howlsmovingcastle As a big Ghibli fan, this is one

https://www.alojapan.com/1483335/everything-i-bought-at-the-studio-ghibli-store-in-sapporo-japan-studioghibli-howlsmovingcastle/ Everything I Bought at the Studio Ghibli Store in Sapporo, Japan | #studioghibli #howlsmovingcastle #donguri #DonguriRepublic #GhibliMovies #HayaoMiyazaki #Howl'sMovingCastle #JapanShopping #Sapporo #SapporoDestinations #SapporoShopping #SapporoTour #SapporoTravel #SapporoTrip #SapporoVacation #StudioGhibli #札幌 Everything I Bought at the Studio Ghibli Store in Sapporo, Japan | #studioghibli #howlsmovingcastle As a big Ghibli fan, this is one

Studio Ghibli recibe Premio Princesa de Asturias de Comunicación y Humanidades

https://fed.brid.gy/r/https://www.telesurtv.net/studio-ghibli-premio-princesa-de-asturias/

https://www.europesays.com/es/536225/ El revolucionario estudio de animación japonés Ghibli, premio Princesa de Asturias de Comunicación y Humanidades | Cine: estrenos y críticas #actores #actrices #Animación #Cine #Cultura #DirectoresCine #Entertainment #Entretenimiento #ES #España #Film #HayaoMiyazaki #Movies #Películas #PremiosPrincesaDeAsturias #PrincesaAsturiasComunicaciónYHumanidades #Spain #Studio Ghibli

A proposito di #PorcoRosso, una delle cose piú tenere è vedere i piccoli errori di italiano nei testi disegnati, che sono evidentemente quelli originali, e sono per lo piú corretti, tranne qualche piccola concordanza qui e là (ma per poterli apprezzare in genere serve un fermo immagine, tranne per i piú vistosi, tipo il NON‌ SI‌ FO CREDITO nel cartello dietro la testa di Piccolo senior mentre conta i soldi di Porco per il nuovo aereo).

#StudioGhibli #HayaoMiyazaki

Che film straordinario.

#PorcoRosso #HayaoMiyazaki #Miyazaki #StudioGhibli

https://www.europesays.com/be-fr/86513/ Isao Takahata, cofondateur du studio d’animation Ghibli, à l’honneur du mudac #ArtsEtDivertissement #ArtsVisuels #BE #BEFr #Belgique #Belgium #Culture #Dessin #Divertissement #Entertainment #exposition #FilmD'animation #Films #HayaoMiyazaki #IndustrieCinématographique #IndustrieVidéoludique #IsaoTakahata #Movies #réalisateur #StudioGhibli

https://www.europesays.com/ch-fr/104116/ Isao Takahata, cofondateur du studio d’animation Ghibli, à l’honneur du mudac #ArtsEtDivertissement #ArtsVisuels #Culture #dessin #Divertissement #Entertainment #Exposition #FilmD'animation #HayaoMiyazaki #IndustrieCinématographique #IndustrieVidéoludique #IsaoTakahata #réalisateur #StudioGhibli #Suisse

“Meglio maiale che fascista”. “Porco Rosso” e quei legami che nessun fascismo spezza. Il capolavoro di #HayaoMiyazaki è il film giusto, ora e sempre, da vedere il #25aprile - MOW - Mowmag.com https://mowmag.com/culture/-porco-rosso-e-quei-legami-che-nessun-fascismo-spezza-il-capolavoro-di-hayao-miyazaki-e-il-film-giusto-ora-e-sempre-da-vedere-il-25-aprile

@cultura

#anime

𝐒ortie en 2001

*Le Seigneur des Anneaux de Peter Jackson
*Training Day d'Antoine Fuqua
*Le Pacte des loups de Christophe Gans
*Donnie Darko de Richard Kelly
*Le Voyage de Chihiro de Hayao Miyazaki

#TopFive2001 #Cinegenres
#TheLordOfTheRings #PeterJackson
#TrainingDay #AntoineFuqua
#LePacteDesLoups #ChristopheGans
#DonnieDarko #RichardKelly
#LeVoyageDeChihiro #HayaoMiyazaki
#cinegenres #culte #classic #cinema #film #movie

𝐕ersions 𝐂omplètes :
https://cinegenres.com/news/

Movie TV Tech Geeks #MovieNews #HayaoMiyazaki #StudioGhibli #Fantasy Hayao Miyazaki's First Studio Ghibli Project Since 2023 Gets First Images http://dlvr.it/TRcK07

Fantastik im Feuilleton

Die neue vierbändige Nausicaä-Gesamtausgabe bei Carlsen, vorgestellt im Tazblog

https://blogs.taz.de/comicblog/2026/03/02/tausend-oekologien/

#HayaoMiyazaki #PhantFeuille #Comics

https://www.europesays.com/es/407076/ ‘Little Amélie’: la bebé superdotada animada es candidata al Oscar | Cine: estrenos y críticas #AmèlieNothomb #Animación #Cine #CríticaCine #Cultura #DirectoresCine #Entertainment #Entretenimiento #ES #España #Film #HayaoMiyazaki #Movies #Películas #PremiosOscar #Spain #Studio Ghibli

Featuring concept sketches, character designs, production cels, and much more, Hayao Miyazaki is a richly illustrated journey through the cinematic worlds of the beloved filmmaker. On sale now: amzn.to/4kDNh3Z #Anime #HayaoMiyazaki #Art #Movies #TV #Books #Artist #ComicSky #BookSky #PromoSky

Featuring concept sketches, character designs, production cels, and much more, Hayao Miyazaki is a richly illustrated journey through the cinematic worlds of the beloved filmmaker. On sale now: amzn.to/4aIpkFh #Anime #HayaoMiyazaki #Art #Movies #TV #Books #Artist #ComicSky #BookSky #PromoSky

‘Howl’s Moving Castle’ Gets Lavish $650, Leather-Bound Release For Book’s 40th Anniversary
#Variety #News #HayaoMiyazaki

https://variety.com/2026/shopping/news/howls-moving-castle-40th-anniversary-book-buy-online-1236642245/

Celebrate the art of Studio Ghibli, the beloved Japanese animation film studio, with this extensive collection of 100 full-color postcards. On sale now: amzn.to/4pNjt60 #Anime #Movies #TV #Art #Postcards #StudioGhibli #HayaoMiyazaki #Artist #Retro #Collectibles #Books #AnimeSky #BookSky #PromoSky

“Il ragazzo e l’airone” di Hayao Miyazaki è disponibile in streaming su RaiPlay

https://web.brid.gy/r/https://fumettologica.it/2026/01/il-ragazzo-e-lairone-hayao-miyazaki-streaming-raiplay/

:arigatou: :kodama: :soot_sprite: :totoro: :hearts: #HayaoMiyazaki #anime #art #Miyazaki 🫶🏼
https://dmv.community/@jcrabapple/115842688003528157

Rai 3 trasmetterà il film d’animazione ‘Il ragazzo e l’airone’ di Hayao Miyazaki in prima serata lunedì 5 gennaio alle 21:20.

Uscito in Giappone a fine 2023 e in Italia a inizio 2024, l’anime è l’ultima opera diretta da Hayao Miyazaki, maestro dell’animazione giapponese e autore di film come ‘Principessa Mononoke’, ‘Il mio vicino Totoro’ e ‘La città incantata’, ed è prodotto dallo Studio Ghibli.

https://fumettologica.it/2026/01/rai-3-il-ragazzo-e-airone-hayao-miyazaki/

#Giappone #Anime #Miyazaki #HayaoMiyazaki #StudioGhibli #Televisione #Rai3

Der Junge und der Reiher

In "Der Junge und der Reiher" (2023) verarbeitet Hayao Miyazaki seine Kindheit und den Verlust seiner Mutter. Der zwölfjährige Mahito zieht während des Krieges aufs Land und wird von einem sprechenden Graureiher in einen mysteriösen Turm gelockt. Dieser birgt eine surreale Welt zwischen Leben und Tod, beherrscht von Mahitos Großonkel. Was als Abenteuer beginnt, wird zum tiefgründigen Psychodrama über Trauer und das kreative Erbe des Studio Ghibli. Visuell überwältigend durch Takeshi Hondas Animation und untermalt von Joe Hisaishis Score, fordert der Film sein Publikum: Er liefert keine einfachen Antworten, sondern stellt die Frage "Wie lebt ihr?". Ein technisch brillantes, inhaltlich komplexes Meisterwerk der Unvollkommenheit, das den Zuschauer sehr frustriert zurück lässt.

https://funime.de/2025/12/28/der-junge-und-der-reiher/

#Anime #funime #Animation #Anime #ComingOfAge #DerJungeUndDerReiher #Fantasie #HayaoMiyazaki #JoeHisaishi #Psychodrama #StudioGhibli #Trauerbewältigung

Der Junge und der Reiher

In "Der Junge und der Reiher" (2023) verarbeitet Hayao Miyazaki seine Kindheit und den Verlust seiner Mutter. Der zwölfjährige Mahito zieht während des Krieges aufs Land und wird von einem sprechenden Graureiher in einen mysteriösen Turm gelockt. Dieser birgt eine surreale Welt zwischen Leben und Tod, beherrscht von Mahitos Großonkel. Was als Abenteuer beginnt, wird zum tiefgründigen Psychodrama über Trauer und das kreative Erbe des Studio Ghibli. Visuell überwältigend durch Takeshi Hondas Animation und untermalt von Joe Hisaishis Score, fordert der Film sein Publikum: Er liefert keine einfachen Antworten, sondern stellt die Frage "Wie lebt ihr?". Ein technisch brillantes, inhaltlich komplexes Meisterwerk der Unvollkommenheit, das den Zuschauer sehr frustriert zurück lässt.

https://funime.de/2025/12/28/der-junge-und-der-reiher/

#Anime #funime #Animation #Anime #ComingOfAge #DerJungeUndDerReiher #Fantasie #HayaoMiyazaki #JoeHisaishi #Psychodrama #StudioGhibli #Trauerbewältigung

#StudioGhibli and #Solarpunk - The environmental and humanist themes of the famous #Anime studio

by Mia Milne, Jan 11, 2025

"This past summer, I watched most of Studio Ghibli’s films. The studio or it’s main creative force, #HayaoMiyazaki, are often mentioned as major influences on the solarpunk genre. It’s not a coincidence that one of their composers did the music for the solarpunk-inspired yogurt ad. Despite how connected Studio Ghibli seems to be to solarpunk, I found that only two of their 20+ movies have substantial solarpunk imagery or worldbuilding. Even so, it’s clear that these films were highly influential even if they’re weren’t solarpunk films. The influence comes from Studio Ghibli’s constant themes of environmentalism, humanism, community, anti-authoritarianism, and pacifism."

Read more:
https://solarthoughts.substack.com/p/studio-ghibli-and-solarpunk

#SolarPunkSunday #SolarPunkArt #Anime #AntiAuthoritarianism #Environmentalism #WorldBuilding #Nausicaä #CastleInTheSky

Semaine spéciale Hayao Miyazaki ! Venez, aujourd'hui on parle du Garçon et du Héron !

Qui l'a vu ?

https://buff.ly/orK5mBQ

#HayaoMiyazaki #Miyazaki

Semaine spéciale Hayao Miyazaki -3 !

Venez, on parle de Princesse Mononoké...

https://buff.ly/iPZ48cf

#Miyazaki #HayaoMiyazaki #PrincesseMononoké

RE: https://solarbird.net/blog/2025/12/16/it-took-me-a-while-to-understand-hayao/

Disney corporate investing a billion dollars into OpenAI got me to finish this and post it. Arguably, for companies this size, a billion is just a token - which in and of itself is obscene - but you can't even throw in a token without spitting on your own artists, and that's what Disney's done.

I thought about trying to work that into this piece, but I didn't come up with a way to do it that preserved the flow of the essay, so I'm putting it in the quoot instead.

#ai #art #disney #facebook #meta #slop #contempt #HatredOfArtists #HayaoMiyazaki #miyazaki #ads

New Read - Shuna's Journey

Shuna's Journey is a 1983 manga written by Hayao Miyazaki inspired by the Tibetan folktale "The Prince Who Turned into a Dog." This story follows a prince who is looking for grain to save his people and the hardships he faces along the way.

It's well done. Miyazaki writes the entire story out while simultaneously presenting the gorgeous artwork with aesthetics inspired by traditional Tibetan imagery.

It's a great take on a folktale.

Also, interestingly, the original Japanese release date is two weeks before my literal birth date. So, that's fun.

#Manga #MangaCollector #MangaReview #Mangagram #MangaCommunity #MangaPost #MangaRecommendation #InstaManga #MangaLover #MangaReader #AmReading #Bookstodon #HayaoMiyazaki #MiyazakiHayao #ShunasJourney

Mä tahtoisin katsoa Studio Ghiblin elokuvia: Naapurini Totoro, Prinsessa Mononoke, Henkien Kätkemä, Liikkuva Linna..... Ahh ❤️ ne on niin upeita!!

#studioghibli #totoro #hayaomiyazaki

C'est presque Noël !

Venez on s'offre une semaine spéciale Hayao Miyazaki avec Yannick Chazareng !

Aujourd'hui on évoque Nausicaä de la Vallée du Vent... Du bonheur non ?

https://buff.ly/eXvM1ie

#HayaoMiyazaki #Miyazaki

1300 Still Images from the Animated Films of Hayao Miyazaki's Studio Ghibli

https://www.ghibli.jp/info/013772/

#HackerNews #StudioGhibli #HayaoMiyazaki #Animation #FilmArt #StillImages

Il #film di oggi è #ilgattoconglistivali di #kimioyabuki #unofilm #cinema #unocinema #filmastodon #recensioni #hayaomiyazaki #animazione #cinemadautore

https://www.valeriotagliaferri.it/il-gatto-con-gli-stivali-di-kimio-yabuki/

iscriviti gratis al #podcast #lafogliadacanto e ascolta tutta la #recensione

https://pdca.st/Hyj9

https://lafogliadacanto.podcast.audio/@lafogliadacanto/episodes/recensione-il-gatto-con-gli-stivali-di-kimio-yabuki-1969

https://youtu.be/BynoESuz1qs?si=vEUNO2QRdOwvQx1m

https://creators.spotify.com/pod/profile/valeriotagliaferri8/episodes/Recensione-Il-Gatto-con-gli-Stivali-di-Kimio-Yabuki-1969-e3c0pm2

https://music.amazon.it/podcasts/9959c2cc-0b2e-4c55-b985-b0d7c39aaf2a/episodes/683bb2d2-4cab-4469-aa59-e9fdc3a04556/recensione-il-gatto-con-gli-stivali-di-kimio-yabuki-1969

Il #film di oggi è #ilgattoconglistivali di #kimioyabuki #unofilm #cinema #unocinema #filmastodon #recensioni #hayaomiyazaki #animazione #cinemadautore

https://www.valeriotagliaferri.it/il-gatto-con-gli-stivali-di-kimio-yabuki/

iscriviti gratis al #podcast #lafogliadacanto e ascolta tutta la #recensione

https://pdca.st/Hyj9

https://lafogliadacanto.podcast.audio/@lafogliadacanto/episodes/recensione-il-gatto-con-gli-stivali-di-kimio-yabuki-1969

https://youtu.be/BynoESuz1qs?si=vEUNO2QRdOwvQx1m

https://creators.spotify.com/pod/profile/valeriotagliaferri8/episodes/Recensione-Il-Gatto-con-gli-Stivali-di-Kimio-Yabuki-1969-e3c0pm2

https://music.amazon.it/podcasts/9959c2cc-0b2e-4c55-b985-b0d7c39aaf2a/episodes/683bb2d2-4cab-4469-aa59-e9fdc3a04556/recensione-il-gatto-con-gli-stivali-di-kimio-yabuki-1969

Il #film di oggi è #ilgattoconglistivali di #kimioyabuki #unofilm #cinema #unocinema #filmastodon #recensioni #hayaomiyazaki #animazione #cinemadautore

https://www.valeriotagliaferri.it/il-gatto-con-gli-stivali-di-kimio-yabuki/

iscriviti gratis al #podcast #lafogliadacanto e ascolta tutta la #recensione

https://pdca.st/Hyj9

https://lafogliadacanto.podcast.audio/@lafogliadacanto/episodes/recensione-il-gatto-con-gli-stivali-di-kimio-yabuki-1969

https://youtu.be/BynoESuz1qs?si=vEUNO2QRdOwvQx1m

https://creators.spotify.com/pod/profile/valeriotagliaferri8/episodes/Recensione-Il-Gatto-con-gli-Stivali-di-Kimio-Yabuki-1969-e3c0pm2

https://music.amazon.it/podcasts/9959c2cc-0b2e-4c55-b985-b0d7c39aaf2a/episodes/683bb2d2-4cab-4469-aa59-e9fdc3a04556/recensione-il-gatto-con-gli-stivali-di-kimio-yabuki-1969

Il #film di oggi è #ilgattoconglistivali di #kimioyabuki #unofilm #cinema #unocinema #filmastodon #recensioni #hayaomiyazaki #animazione #cinemadautore

https://www.valeriotagliaferri.it/il-gatto-con-gli-stivali-di-kimio-yabuki/

iscriviti gratis al #podcast #lafogliadacanto e ascolta tutta la #recensione

https://pdca.st/Hyj9

https://lafogliadacanto.podcast.audio/@lafogliadacanto/episodes/recensione-il-gatto-con-gli-stivali-di-kimio-yabuki-1969

https://youtu.be/BynoESuz1qs?si=vEUNO2QRdOwvQx1m

https://creators.spotify.com/pod/profile/valeriotagliaferri8/episodes/Recensione-Il-Gatto-con-gli-Stivali-di-Kimio-Yabuki-1969-e3c0pm2

https://music.amazon.it/podcasts/9959c2cc-0b2e-4c55-b985-b0d7c39aaf2a/episodes/683bb2d2-4cab-4469-aa59-e9fdc3a04556/recensione-il-gatto-con-gli-stivali-di-kimio-yabuki-1969

Il #film di oggi è #ilgattoconglistivali di #kimioyabuki #unofilm #cinema #unocinema #filmastodon #recensioni #hayaomiyazaki #animazione #cinemadautore

https://www.valeriotagliaferri.it/il-gatto-con-gli-stivali-di-kimio-yabuki/

iscriviti gratis al #podcast #lafogliadacanto e ascolta tutta la #recensione

https://pdca.st/Hyj9

https://lafogliadacanto.podcast.audio/@lafogliadacanto/episodes/recensione-il-gatto-con-gli-stivali-di-kimio-yabuki-1969

https://youtu.be/BynoESuz1qs?si=vEUNO2QRdOwvQx1m

https://creators.spotify.com/pod/profile/valeriotagliaferri8/episodes/Recensione-Il-Gatto-con-gli-Stivali-di-Kimio-Yabuki-1969-e3c0pm2

https://music.amazon.it/podcasts/9959c2cc-0b2e-4c55-b985-b0d7c39aaf2a/episodes/683bb2d2-4cab-4469-aa59-e9fdc3a04556/recensione-il-gatto-con-gli-stivali-di-kimio-yabuki-1969

“Principessa Mononoke” di Hayao Miyazaki torna al cinema con un nuovo doppiaggio

https://web.brid.gy/r/https://fumettologica.it/2025/12/principessa-mononoke-cinema-nuovo-doppiaggio/

Essay - How the climate conversation went punk

From #SlowFashion to #GuerrillaGardening, the internet has transformed solarpunk, a literary movement, into an alternative lifestyle trend.

Written by Sonal Gupta
Mumbai | Updated: November 20, 2025

Excerpt: "In 2020, #SolarPunkFarms cropped up in California as a #communal living space whose inhabitants grow and share their own food. The leftovers are sent to local markets. They have designed their #greenhouse after the animations of #HayaoMiyazaki. In fact, the works of the #StudioGhibli founder have found resonance among solarpunks, as he places nature as a character in his plots. In his visions, nature is at its most beautiful—lush greenery, rays of light, the dew on leaves, and the wind blowing life into trees.

"Though these changes are encouraging, it’s ironic that as we move past dystopian visions, the #capitalists of the world, running in the #AI race, threaten to steer us to the very future. The use of AI itself depletes water resources and generates immense amounts of greenhouse gases and electronic waste. If we are to live in a world where technology exists in harmony with #nature, #activists, stakeholders, and individuals must actively call for more #SustainableSolutions, #AffirmativeAction, and policy changes.

"If cyberpunk warned us of what happens when technology consumes humanity, solarpunk invites us to imagine what is possible when humanity reclaims technology. It reminds us that hope, like sunlight, is a renewable resource too."

Read more:
https://indianexpress.com/article/fresh-take/what-is-solarpunk-climate-change-10334376/

Archived version:
https://archive.ph/8loNL

#SolarPunkSunday #SolarPunk #HopePunk #DeGrowth #DeCapitalize #RightToRepair #NatureRocks #AISucks #ClimateChange #RenewablesNow #GrowYourOwnFood #ABetterWorld #StabilizedWorld #ClimateAdaptation