Hayao Miyazakiis widely regarded as one of the most influential storytellers in animation, a master whose female characters have long been celebrated for their depth, strength, and relatability. FromSpirited Away’sChihiro toPrincess Mononoke’sSan, his heroines have helped redefine what female protagonists could look like, not just in anime, but in film at large. That is why a recent comment from the legendary director has sparked confusion and debate, leaving many fans wondering how he truly sees the characters he creates.
InThe Art of The Boy and the Heron, an official companion book to his 2023 film, Miyazaki admitted, “It was easier to draw girls because, since I’m a man, I don’t mind if I don’t understand some aspects of girls.”It is a jarring quote for those who have long seen Miyazaki as a champion of women in animation.And whether one reads his comment as a moment of humble honesty or a sign of limited perspective, it contradicts the decades of admiration his work has garnered from audiences and critics alike.
“It was easier to draw girls because, since I’m a man, I don’t mind if I don’t understand some aspects of girls.”
The Contradiction Behind the Curtain of Studio Ghibli’s Founder
Does Miyazaki Truly Understand His Own Characters?
For a filmmaker known for female protagonists who feel unusually real, brave, conflicted, and flawed,the idea that Miyazaki does not really understand women feels counterintuitive.His films have often been praised for moving beyond the simplistic gender dynamics seen in many male-directed anime. In that context, his quote feels less like humility and more like a puzzle piece that does not fit.
Still, there is another way to view it.Miyazaki’s characters may be compelling not because he understands women, but because he approaches them without over-intellectualizing gender.Rather than attempting to imitate what he believes a girl should be like, he draws from universal human emotions and experiences. In doing so, he bypasses tired archetypes and instead creates people who just happen to be girls.
Yet, the statement also suggests a distance between Miyazaki and the very audiences who have looked to his work as progressive. While he has arguably done more than most to elevate female characters in anime, his admission reveals an indifference toward grasping the nuances of womanhood. This does not necessarily diminish his artistry, but it does complicate the legacy of his work.
Hayao Miyazaki Has Been Writing Women as Ideals, Not Individuals
Are Miyazaki’s Girls Just Projections of Himself?
Part ofthe reason Miyazaki’s quote has stirred controversy is that it sheds new lighton a long-running criticism of his work, which is the idealization of his female characters. His protagonists often exhibit extraordinary poise, maturity, and selflessness, qualities not always expected of real girls, especially those in the same age range. Rather than being deeply flawed or realistically messy, they are composed, often echoing adult-like wisdom far beyond their years.
Consider Chihiro fromSpirited Away. She begins the film as a frightened child but quickly transforms into a calm, competent heroine navigating a bizarre spirit world. Kiki fromKiki’s Delivery Service, though only 13, shows the work ethic and emotional resilience of a seasoned adult.These are not just precocious characters, they are often stand-ins for the creator’s ideals or anxieties, filtered through a youthful lens.
In fact, many of Miyazaki’s female protagonists mirror parts of himself. They act how he wishes he could act, or carry burdens he personally identifies with.
There is also the recurring theme of “masculinized” female characters, like Nausicaä or San, who are bold, combative, and driven by duty, which traits more often associated with traditional male heroes in the anime genre. These characters are not written as women so much as written in place of men. In fact, many of Miyazaki’s female protagonists mirror parts of himself. They act how he wishes he could act, or carry burdens he personally identifies with. The result is a gallery of compelling but sometimes inaccessible women, shaped more by his own experiences than by an effort to reflect female reality.
The Limits of Empathy and Artistic Projection in Studio Ghibli’s Works
Hayao Miyazaki Has Empathy Without Understanding
Miyazaki’s confession that he “doesn’t mind” not understanding girlsmay seem flippant, but it also points to a creative philosophy rooted in empathy rather than imitation. He is not trying to be a girl, nor is he writing to appease a demographic. Instead, he creates an inner world shaped by his own reflections and beliefs. Ironically, that inward approach and projecting himself onto characters regardless of gender, may explain why his stories often transcend gender norms.
But this approach has its limitations.When a creator refuses to see the specificity of someone else’s experience, even with the best intentions, they risk flattening that perspective.This is a key criticism from some contemporaries, likeBelledirector Mamoru Hosoda, who has openly critiqued unnamed animators (believed to include Miyazaki) for romanticizing young women rather than portraying them in a grounded, human way.
Miyazaki may be projecting his failings onto his male leads while placing his ideals onto his women.
There is truth to this. Characters like Sophie inHowl’s Moving Castleand Naoko inThe Wind Risesare not allowed the same flaws or messiness as their male counterparts. Meanwhile, the men like Howl, Porco, even Jiro, are often deeply insecure or emotionally volatile. The pattern suggests that Miyazaki may be projecting his failings onto his male leads while placing his ideals onto his women. It creates an uneven dynamic, where female characters become symbols of strength, but not necessarily portraits of realism.
Legacy, Critique, and Hayao Miyazaki’s Humanity
Studio Ghibli’s Miyazaki is a Flawed Genius Still Worth Celebrating
Miyazaki’s quote may contradict the ideals many fans have projected onto his work, but it also reaffirms an uncomfortable truth that even the most progressive art can emerge from flawed, human creators. It is tempting to see artists like Miyazaki as wise, enlightened figures with deep insights into the people they depict. Yet sometimes, what makes their characters work is not knowledge, it is restraint, curiosity, or emotional intuition.
Despite his own claimed detachment from understanding women,Miyazaki’s heroines have become icons precisely because they are more than tropes. Whether by accident or design, he gave his female characters emotional agency, purpose, and individuality long before those qualities became industry expectations.That accomplishment should not be overshadowed by one off-putting quote, but neither should it be excused from critical reflection.
The dissonance between Miyazaki’s words and his work reminds fans of a broader lesson in art, that creators are not always the best interpreters of their own legacies. Miyazaki’s female characters have spoken loudly and powerfully to audiences across generations. And maybe that is the point; regardless of his intent, they have taken on lives of their own. Even if the man behind them does not fully understand women, the worlds he built continue to make millions of them feel seen.
Ultimately, the controversy underscores the paradox of artistry.Hayao Miyazakimay not have set out to be a feminist or even a gender-conscious creator. But through his instincts, his imagination, and perhaps even his biases, he helped redefine what heroines could be by creating complex, capable, flawed, and unforgettable female Ghibli characters. In doing so, he proved that art often speaks louder than its artist, even when the message is not perfectly clear.
