AI may be coming for anime, but Hayao Miyazaki is irreplaceable, son says
Artificial intelligence risks taking Japanese anime artists' jobs but nothing can replicate Hayao Miyazaki, the creative lifeblood of the studio behind classics such as "Spirited Away," says his son.
Thanks to ChatGPT's new image generator, the internet is awash with pictures imitating Studio Ghibli's whimsical style, raising fresh debate over potential copyright infringements. Movies such as "My Neighbor Totoro" and "Howl's Moving Castle" are famous for their lush nature and fantastical machinery, painstakingly drawn by hand. While the studio has not commented directly on the image trend, Goro Miyazaki, 58, predicts that artificial intelligence could one day replace animators.
"It wouldn't be surprising if, in two years' time, there was a film made completely through AI," he says in an interview.
But whether audiences would want to watch a fully AI-generated animation is another matter, he continues.
Despite the rapid changes, new technology also brings "great potential for unexpected talent to emerge," adds Goro, Studio Ghibli's managing director.
He is speaking at the Ghibli atelier in western Tokyo, days before the San Francisco-based ChatGPT maker OpenAI released its latest image generator. OpenAI, which is already facing a barrage of copyright lawsuits, says generating images in the style of individual living artists is banned, but "we do permit broader studio styles."
"Our goal is to give users as much creative freedom as possible," the U.S. company says.
Japan is grappling with a shortage of skilled animators, partly because most spend years in low-paid jobs to learn the ropes. Digitally savvy Gen Z may be also less enthusiastic about the manual labor involved, Goro says.
"Nowadays, the world is full of opportunities to watch anything, anytime, anywhere," making it harder to imagine making a living from the physical act of drawing, he adds.
Goro's father founded Studio Ghibli with Isao Takahata in 1985, a year after directing the post-apocalyptic "Nausicaa of the Valley of the Wind."
After Takahata's death in 2018, Hayao — now 84 — continued to create films with 76-year-old producer Toshio Suzuki.
"If those two can't make anime or can't move, then what happens?" Goro says when asked about Ghibli's future. "It's not like they can be replaced."
Despite his age, Hayao won his second Oscar last year with "The Boy and the Heron" — likely his last feature film.
Anime cartoons are usually for children, but Takahata and Hayao, men "from the generation that knew war," included darker elements that appeal to adults, Goro says.
"It's not all sweet — there's also a bitterness and things like that which are beautifully intertwined in the work," he says, describing a "smell of death" that permeates the films. "That's actually what makes the work so deep."
For younger people who grew up in peacetime, "it is impossible to create something with the same sense, approach and attitude that my father's generation had," Goro says. Even "Totoro," with its cuddly forest spirit creatures, is in some ways a "scary" movie that explores the fear of losing a sick mother, he explains.
As the Ghibli-style AI images proliferated, a 2016 video of Hayao resurfaced that many said showed his disdain for the technology.
"I strongly feel that this is an insult to life itself," the director says in the short clip, taken from a documentary.
However, he was, in fact, reacting to an AI-assisted computer graphic of a zombie-like creature, which he calls "extremely unpleasant" in the full footage.
Goro joined Studio Ghibli in 1998 and directed animations including the 2006 feature "Tales from Earthsea" and 2011's "From Up on Poppy Hill." He also oversaw the development of the Ghibli Museum and newly opened Ghibli Park in Japan. Goro enjoyed drawing as a boy and says he learned a lot watching his father's and Takahata's work, although he didn't think he could live up to their talent.
"My mother, who was also an animator, told me not to pursue this career because it's a tough and busy job," Goro says, adding that his father was rarely at home. "But I always wanted to do something creative."
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Japan Today
an hour ago
- Japan Today
Scrolling for truth: News for the swipe generation
By Jeff W. Richards In Japan, the media once shaped how the nation saw itself — through the nightly news, the front page of the morning paper or trusted commentators on TV. Today, a different kind of feed defines what people know. For younger generations, the news often comes in fragments: TikTok clips, Line summaries, Instagram reels. The swipe has replaced the scroll. For many, journalism is not really what they're looking for. A Tokyo commuter taps through TikTok, Instagram and Line headlines — catching hints of a scandal, a protest, the aftermath of war and a bit of government legislation all in under two minutes. She scrolls past memes, ii ne (liked) posts and push notifications — but has she really learned anything from the stories? The swipe feels efficient, but increasingly, it replaces depth with a dopamine fix. When headlines become habits A growing number of younger Japanese say their daily news consumption begins and ends on their phones. Image: O2O Creative/iStock Young people in Japan (and elsewhere) aren't avoiding the news, they're just consuming it in new ways. Much of it is filtered through platforms designed for speed and engagement, though, not accuracy or depth. Surveys show traditional TV news and newspapers are barely registering with people under 30. The trend is backed by international data. The Reuters Institute's 2024 Digital News Report found that younger Japanese are far more likely to stay informed through platforms like YouTube, social media or mobile aggregators than from legacy press. When news arrives as headlines, memes or stylish Instagram posts, though, it's harder to tell where journalism ends and something else begins. TikTok offers algorithmically curated outrage and summaries. News becomes a vibe, not a report. Instagram's slick carousel explainers often lack transparency about who makes them. Few are vetted and professionally fact-checked. Line News is a gateway for many Japanese users, but curated snippets rarely include the full context or link to complete stories. According to the DataReportal 'Digital 2025: Japan' and Digital Marketing for Asia's 'Social Media in Japan — everything you need to know,' platforms like TikTok, Line and Instagram are among the most commonly used sources of daily information for younger people in Japan. YouTube content creators sometimes provide in-depth commentary — but more often than not they blur the lines between reporting and opinion. Each platform imposes its own logic, its own computations. What gets surfaced then is what gets engagement — not necessarily what's important. It's the 'social' aspect of social media. Journalism, repackaged Platforms like Facebook, YouTube, Instagram and TikTok are increasingly shaping how news is encountered — if not always understood. Image: hapabapa/iStock With so much "news" being summarized, re-edited or reshared by 'experts,' influencers or anonymous accounts, traditional editorial gatekeeping is disappearing, even disregarded or just plain shrugged off. If there's no byline, no sourcing, no verification of facts — is it still journalism? Reporting is being replaced with repackaging. Japan's legacy media still struggles to connect with younger audiences. Trust hasn't disappeared — it's just migrated. Audiences now follow personalities over platforms. They value transparency and authenticity over institutional authority. That shift brings risks, but also opportunity. Taught to follow, not to question Despite near-universal tech access, few Japanese schools emphasize media literacy or critical engagement with digital content. Image: ferrantraite/iStock One reason the shift toward fragmented, feed-based news is so concerning in Japan is that critical media literacy has never been a strong suit — either in schools or in the public domain. Young people aren't being taught how to engage with news, whether online or off. Most education systems emphasize rote learning and memorization, not independent evaluation or questioning of sources. The result is a media landscape where audiences — especially younger ones — are increasingly consuming information in environments designed to entertain. There is little preparation or education for them to tell facts from spin. Without stronger support for news literacy — both in education and culture — it's not just journalism that suffers. It's the ability of an entire generation to ask better questions about the world around them. New voices, new platforms A new generation of journalists and creators are bringing serious topics to where audiences already are — online. Image: tdub303/iStock Some young and independent journalists are finding ways to bridge the gap — embracing social media without abandoning journalistic principles: Tansa, a nonprofit Tokyo-based newsroom, uses reader-supported funding to conduct long-term investigations and publish them accessibly online, while also training the next generation of journalists. Magdalena Osumi, reporting for The Japan Times, actively engages with digital audiences, including Reddit AMAs that break down complex issues like immigration in plain terms. Nithin Coca, a freelance journalist based in Japan and focused on climate and tech, offers transparency in sourcing and adapts to emerging platforms to expand reach while maintaining editorial integrity. These journalists are building trust not through institutional authority, but through accountability, direct engagement and clarity. They're showing that journalism can evolve while staying grounded. Meanwhile, Japan's major broadcasters and newspaper groups have been slow to respond. As we've reported here on Japan Today, many lack platform-specific strategies or fall back on simply reposting traditional content. A few experiments exist — TV Asahi has climbed on TikTok to reach younger audiences, offering news update snippets designed for mobile consumption, for instance — but the broader industry remains reactive rather than innovative. Paying attention — or just scrolling? For many, the feed never stops — and neither does the pressure to keep up, react and just keep scrolling. Image: praetorianphoto/iStock Even with a few bright spots — young journalists building trust and finding ways to get real stories out — there's a deeper concern: much of the audience may not be listening at all. Sure, journalism can evolve. Some are already doing the hard work of adapting it to new platforms, new expectations and new voices. Many users scroll through TikTok, Line or Instagram without ever following up. For some, the headline has become the entire story. Algorithms reinforce users' existing views, reducing the need for curiosity or critical thinking. It's not just Gen Z — millennials, too, are deep into this social-media-first news diet, including the misinformation vortex of Facebook. It feels like the feed has replaced reflection. The mobile screen becomes both window and mirror — constantly offering headlines, takes and vibes, but rarely asking for anything deeper in return. In the end, the danger may not just be misinformation. It's the creation of personal or peer group echo chambers that feel like the truth but aren't. When audiences stop looking beyond the end of their noses — or their screens — perspective and truth are easily lost. Tuning out the noise In a world of algorithm-fed fragments, choosing to slow down — and look up — may be journalism's last defense. Image: kyonntra/iStock The way Japan's younger generations consume news (if they do at all) is changing — fast. In some corners, so is the way journalism is being produced. Even the best reporting won't matter if no one takes the time to engage with it. The swipe is easy. The scroll is endless. But the truth? That still takes work. More from this series © Japan Today
SoraNews24
6 hours ago
- SoraNews24
Studio Ghibli umbrellas bring anime joy to Japan's rainy season
Experience the pitter-patter of raindrops like Totoro in the forest. June and early July are the rainiest times in Japan, when continual days of grey skies tend to dampen the mood as much as they do the streets. There's a way to make the cloudy days a little more bright, though, thanks to a trio of umbrellas from Studio Ghibli, which have been restocked just in time for the rainy season. The first umbrella bringing a smile to our faces is dedicated to Howl's Moving Castle, with a design called 'Hoshi no Ko' ('Star Children'), in reference to the magical beings that appear throughout the film. You can summon the shooting stars like Madame Suliman every time you open the umbrella. The umbrella comes with a matching case so you can easily pop it into your bag while it's not in use. The next design is 'Full of Flowers', featuring Jiji and his lookalike offspring from Kiki's Delivery Service. ▼ The cute cats adorn the matching ivory-coloured case. The final design in the lineup is 'Running Race', featuring characters from My Neighbour Totoro. Totoro is pictured holding an umbrella, like some sort of Ghibli-style inception, with Soot Sprites and the Small and Medium Totoro nearby. The Catbus can be seen racing along the edge of the umbrella, towards its forest friends. ▼ The black-and-white colourway gives this design an elegant look. The umbrellas are a charming way to stay dry during the rainy season while adding some much-needed fun and excitement to dreary days. Available at Donguri Kyowakoku stores and online (links below), each umbrella is priced at 5,940 yen (US$41.51). Source: Donguri Kyowakoku Top image: Donguri Kyowakoku Insert images: Donguri Kyowakoku (1, 2, 3) ● Want to hear about SoraNews24's latest articles as soon as they're published? Follow us on Facebook and Twitter!
Tokyo Reported
9 hours ago
- Tokyo Reported
How Japan Is Gradually Rethinking Cannabis
Despite some of the strictest cannabis laws in the industrialised world, Japan is quietly undergoing a cultural shift. Beneath the rigid surface of prohibition, attitudes toward cannabis – especially among younger generations and within creative subcultures – are gradually evolving. While legislation remains unchanged, public curiosity, wellness trends, and global influence are beginning to challenge long-held taboos. Unforgiving Law, Relentless Stigma Cannabis remains highly illegal in Japan. The Cannabis Control Act of 1948 prohibits possession, cultivation, and distribution, with violations punished by prison sentences of up to five years for personal use and up to ten years if linked to trafficking or profit. Even the smallest infraction can end a career and provoke intense media scrutiny. In 2020, actor Yūsuke Iseya was arrested for possessing 13 grams of marijuana and received a suspended sentence. Earlier cases involving celebrities like Pierre Taki and Erika Sawajiri led to similar public reckonings – including immediate removal from commercial campaigns, erased film roles, and public apologies delivered through tightly controlled press conferences. In Japan, punishment doesn't end with legal sentencing – it continues through prolonged social exclusion. A Legal Loophole and a Booming Market Yet even in this environment, cannabis-derived products are finding a way in – so long as they're THC-free. CBD, the non-intoxicating compound found in cannabis, is legally permitted in Japan if extracted solely from hemp stalks or seeds. This distinction has enabled a booming CBD industry in Tokyo and beyond. The Japanese CBD market was valued at approximately ¥18.2 billion (around $130 million USD) in 2023, more than doubling since 2019. According to Statista's latest forecast, the market is projected to grow steadily and exceed ¥24.4 billion (roughly $175 million USD) by 2027. This surge reflects a rising demand for cannabis-derived wellness products, despite Japan's ongoing restrictions on THC. Trend-conscious districts like Harajuku and Shibuya now house CBD cafes, skincare boutiques, and even yoga studios that incorporate CBD into wellness rituals – an ironic contrast to the nation's zero-tolerance stance on THC. This duality has sparked debate among legal experts, with some calling for clearer definitions of what should be considered a cannabis 'drug' versus a wellness supplement. For now, CBD's popularity offers a culturally acceptable way for consumers to interact with the cannabis plant – without the social and legal consequences. Cultural Undercurrents and Global Influence Despite low reported use – less than 2% of Japanese people say they've ever consumed cannabis, compared to over 40% in the U.S., according to UNODC data – underground interest is growing. Young adults, especially those exposed to Western culture via music, fashion, and streaming platforms, are quietly shifting perceptions. Japanese hip-hop, streetwear, and nightlife increasingly borrow from cannabis-infused aesthetics. Artists like KOHH have referenced weed in lyrics. Visual design elements – from stylised leaf motifs to green-themed branding – have crept into fashion. Though subtle, these signals mark a generational change that's harder to detect in surveys but easy to spot in street culture. Globally, Japan is also under pressure to modernise. Nearby countries like Thailand have moved to legalise medical cannabis, and South Korea now permits some medicinal use under strict regulation. In 2023, Japan's Ministry of Health took a small but meaningful step by recommending revisions to the Cannabis Control Act that would legalise specific medical cannabis formulations such as Epidiolex, already approved in the EU and U.S. for rare seizure disorders. Such changes are incremental, but they indicate that the conversation – long absent from mainstream discourse – has officially begun. The Risky Business of Seeds and Access Where recreational use remains criminalised, demand often shifts to discreet, private alternatives. Some users cultivate their own cannabis, risking harsh penalties in exchange for personal supply. They often obtain seeds online through international seedbanks that operate in a legal grey zone. Platforms like Herbies Seeds, known for global distribution, are frequently cited in user forums and cannabis communities as a source of high-quality genetics – though importing even ungerminated seeds remains illegal under Japanese law. With growing digital literacy and access to encrypted messaging, such practices continue to spread below the radar. But the risks are real: Japanese customs and cybercrime units are well-resourced, and arrests for seed importation, while rare, can result in serious legal consequences. A Culture in Transition Japan's cannabis culture isn't being driven by protests or mass movements. Instead, it's evolving through quiet interactions – a CBD latte here, a discreet vape pen there, a whispered conversation between university friends or music producers backstage. Whether this gradual change will lead to meaningful legal reform remains unclear. But what's certain is that the rigid narratives around cannabis – once seen as absolute – are beginning to soften. For now, Japan remains a place where the plant is both feared and cautiously explored, vilified in headlines and quietly discussed over drinks. In this contradiction lies the truth: change, in Japan, rarely comes as a wave. It arrives slowly, patiently – and by the time it's visible, it's already well underway.
