Nausicaä of the Valley of the Wind (manga)

is a Japanese manga series written and illustrated by Hayao Miyazaki. It tells the story of Nausicaä, a princess of a small kingdom on a post-apocalyptic Earth with a toxic ecosystem, who becomes involved in a war between kingdoms while an environmental disaster threatens humankind.

Prior to creating ''Nausicaä'', Miyazaki had worked as an animator for Toei Animation, Nippon Animation and Tokyo Movie Shinsha (TMS), the latter for whom he had directed his feature film debut, '' Lupin III: The Castle of Cagliostro'' (1979). After working on an aborted adaptation of Richard Corben's ''Rowlf'' for TMS and the publishing firm Tokuma Shoten, he agreed to create a manga series for Tokuma's monthly magazine ''Animage'', initially on the condition that it would not be adapted into a film. The development of ''Nausicaä'' was influenced by the Japanese Heian period tale ''The Lady who Loved Insects'', a similarly-named character from Homer's ''Odyssey'' and the Minamata Bay mercury pollution. The setting and visual style of the manga was influenced by Mœbius. It was serialized intermittently in ''Animage'' from February 1982 to March 1994 and the individual chapters were collected and published by Tokuma Shoten in seven ''tankōbon'' volumes. It was serialized with an English translation in North America by Viz Media from 1988 to 1996 as a series of 27 comic book issues and has been published in collected form multiple times.

Since its initial serialization, ''Nausicaä'' has become a commercial success, particularly in Japan, where the series has more than 17 million copies in circulation. The manga and the 1984 film adaptation, written and directed by Miyazaki following the serialization of the manga's first sixteen chapters, received universal acclaim from critics and scholars for its characters, themes, and art. The manga and film versions of ''Nausicaä'' are also credited for the foundation of Studio Ghibli, the animation studio for which Miyazaki created several of his most recognized works.

Synopsis

Setting

The story is set in the future at the closing of the ceramic era, 1,000 years after the Seven Days of Fire, a cataclysmic global war, in which industrial civilization self-destructed. Although humanity survived, the land surface of the Earth is still heavily polluted and the seas have become poisonous. Most of the world is covered by the Sea of Corruption, a toxic forest of fungal life and plants which is steadily encroaching on the remaining open land. It is protected by large mutant insects, including the massive Ohmu. Humanity clings to survival in the polluted lands beyond the forest, periodically engaging in bouts of internecine fighting for the scarce resources that remain. The ability for space travel has been lost but the earth-bound remnants of humanity can still use gliders and powered aircraft for exploration, transportation and warfare. (Powered land vehicles are mostly nonexistent, with humanity regressed to dependence on riding animals and beasts-of-burden.)

Plot

Nausicaä is the princess of the Valley of the Wind, a state on the periphery of what was once known as Eftal, a kingdom destroyed by the Sea of Corruption, a poisonous forest, 300 years ago. An inquisitive young woman, she explores the territories surrounding the Valley on a jet-powered glider, and studies the Sea of Corruption.

When the Valley goes to war, she takes her ailing father's place as military chief. The leaders of the Periphery states are vassals to the Torumekian Emperor and are obliged to send their forces to help when he invades the neighboring Dorok lands. The Torumekians have a strong military, but the Doroks, whose ancestors bioengineered the progenitors of the Sea of Corruption, have developed a genetically modified version of a mold from the Sea of Corruption. When the Doroks introduce this mold into battle, its rapid growth and mutation result in a daikaisho (roughly translated from Japanese as "great tidal wave"), which floods across the land and draws the insects into the battle, killing as many Doroks as Torumekians. In doing so, the Sea of Corruption spreads across most of the Dorok nation, uprooting or killing vast numbers of civilians and rendering most of the land uninhabitable.

The Ohmu and other forest insects respond to this development and sacrifice themselves to pacify the expansion of the mold, which is beyond human control. Nausicaä resigns herself to joining in their fate. However, one of the Ohmu encapsulates her inside itself in a protective serum, allowing her to survive the mold. She is recovered by her companions, people she met after leaving the Valley and who have joined her on her quest for a peaceful coexistence. The fact that the mold can be manipulated and used as a weapon disturbs Nausicaä. Her treks into the forest have already taught her that the Sea of Corruption is actually purifying the polluted land. The Forest People, humans who have learned to live in harmony with the Sea of Corruption, confirm this is the purpose of the Sea of Corruption and one of them shows Nausicaä a vision of the restored Earth at the center of the forest. Nausicaä travels deeper into Dorok territory, where her coming has long been prophesied, to seek those responsible for manipulating the mold. There, she encounters a dormant God Warrior who, upon activation, assumes she is his mother and places his destructive powers at her disposal. Faced with this power and its single minded and childlike visions of the world, she engages the creature, names him and persuades him to travel with her to Shuwa, the Holy City of the Doroks.

Here she enters the Crypt, a giant monolithic construct from before the Seven Days of Fire. She learns that the last scientists of the industrial era had foreseen the end of their civilization. They created the Sea of Corruption to clean the land of pollution, altered human genes to cope with the changed ecology, stored their own personalities inside the Crypt and waited for the day when they could re-emerge, leaving the world at the mercy of their artificially created caretaker. However, their continual manipulation of the population and the world's environment is at odds with Nausicaä's belief in the natural order. She argues that mankind's behaviour has not been improved significantly by the activities of those inside the crypt, and the crypt itself is incapable of change. Strife and cycles of violence have continued to plague the world in the thousand years following their interference, as Nausicaä believes humanity has no need for the crypt any longer. She orders the God-Warrior to destroy its progenitors, forcing humanity to live or die without further influence from the old society's technology. Nausicaä exits the crypt in time to see its total collapse, and the death of the old king of Torumekia. Nausicaä commands the crowd that has been waiting outside the crypt that "... heymust live."

Development

Precursors and early development

Miyazaki began his professional career in the animation industry as an inbetweener at Toei in 1963 but soon had additional responsibilities in the creation processes. While working primarily on animation projects for TV and Cinema, he also pursued his dream of creating manga. In conjunction with his work as a key animator on ''Puss 'n Boots'' his manga adaptation of the same title was published in 1969. That same year pseudonymous serialization started of his manga '' People of the Desert''. His manga adaptation of ''Animal Treasure Island'' was serialized in 1971.

After the December 1979 release of ''The Castle of Cagliostro'', Miyazaki, now at the Tokyo Movie Shinsha (TMS) subsidiary Telecom Animation Film, began working on his ideas for an animated film adaptation of Richard Corben's comic book ''Rowlf'' and pitched the idea to Yutaka Fujioka at TMS. In November 1980, a proposal was drawn up to acquire the film rights. Around that time Miyazaki was also approached for a series of magazine articles by the editorial staff of Tokuma Shoten's ''Animage''. During subsequent conversations he showed his sketchbooks and talked about basic outlines for envisioned animation projects with Toshio Suzuki and Osamu Kameyama, at the time working as editors for ''Animage''. They saw the potential for collaboration on their development into animation. Initially two projects were proposed to Tokuma Shoten, that are significant for the eventual creation of ''Nausicaä'': , to be set in the Sengoku period, and an aborted adaptation of Corben's ''Rowlf'', but they were rejected, on July 9, 1981. The proposals were rejected because the company was unwilling to fund anime projects not based on existing manga and because the rights for the adaptation of ''Rowlf'' could not be secured.

An agreement was reached that Miyazaki could start developing his sketches and ideas into a manga for the magazine with the proviso that it would never be made into a film. Miyazaki stated in an interview, "''Nausicaä of the Valley of the Wind'' only really began to take shape once I agreed to serialize it." In the December 1981 issue of ''Animage'', it was announced that a new manga series would start in the February 1982 issue of the magazine, despite the fact that Miyazaki had not completed the first episode. The illustrated notice introduced the new series' main character, title and concept. The first chapter, 18 pages, was published in the February issue. Miyazaki would continue developing the story for another 12 years with frequent interruptions along the way.

Influences

Miyazaki had given other names to the main character during development, but he settled on Nausicaä based on the name of the Greek princess of the same name from the ''Odyssey'', as portrayed in Bernard Evslin's dictionary of Greek mythology, translated into Japanese by Minoru Kobayashi. Nausicaä’s personality was also patterned in part on Homer's character, particularly in regard to her love of nature and music, her imagination and disregard for material possessions. In his essay , printed in volume one of the manga, Miyazaki wrote that he was also inspired by ''The Lady who Loved Insects'', a Japanese tale from the Heian period about a young court lady who preferred studying insects rather than wearing fine clothes or choosing a husband. Helen McCarthy considers Shuna from '' Shuna's Journey'' to be prototypical to Nausicaä, and Dani Cavallaro feels that Lana from '' Future Boy Conan'' and Clarisse of ''The Castle of Cagliostro'' also influenced Nausicaä’s characterization. The story’s fantasy and science fiction elements were influenced by a variety of works from Western authors, including Ursula K. Le Guin's '' Earthsea'', Brian Aldiss's '' Hothouse'', Isaac Asimov's '' Nightfall'', and J.R.R Tolkien's ''The Lord of the Rings''. Frank Herbert's science fiction novel ''Dune'' (1965) was also a major source of inspiration for ''Nausicaä''. The setting and visual style of the manga often reference Jean Giraud (Mœbius), whose wordless 1975 comic '' Arzach'' had deeply impressed Miyazaki.

Among the inspirations for the environmental themes Miyazaki has mentioned the Minamata Bay mercury pollution. The Sea of Corruption is based on the forests on the Japanese island of Yakushima and the marshes of the Sivash, or Rotten Sea, in Ukraine. The works of botanist were among Miyazaki's inspirations for the environment of the story. Miyazaki mentions Nakao in the context of a question he was asked about the place ''Nausicaä'' takes in the ''ecology boom'', explaining his shift from a desert to a forest setting. Nakao's influence on his work has been noted by Shiro Yoshioka. Miyazaki has identified Tetsuji Fukushima's ' , a story he first read while still in primary school, as one of his earliest influences. Kentaro Takekuma

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