Nausicaä of the Valley of the Wind (manga)

Nausicaä of the Valley of the Wind (Japanese: ⾵の⾕のナウシ

カ , Hepburn: Kaze no Tani no Naushika) is a Japanese manga
Nausicaä of the Valley of
the Wind
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. Nausicaä was
influenced by the Japanese Heian period tale The Lady who Loved
Insects, a similarly-named character from Homer's Odyssey, the
Minamata Bay mercury pollution, and various works of science
fiction and fantasy by Western writers, among other sources. The
First-edition cover of the first
manga was serialized intermittently in Animage from February
1982 to March 1994 and the individual chapters were collected tankōbon volume
and published by Tokuma Shoten in seven tankōbon volumes. It ⾵の⾕のナウシカ
was serialized with an English translation in North America by Viz (Kaze no Tani no Naushika)
Media from 1988 to 1996 as a series of 27 comic book issues and
Genre Adventure, fantasy,
has been published in collected form multiple times.
science fiction[1]
Since its initial serialization, Nausicaä has become a commercial Manga
success, particularly in Japan, where the series has more than 17
Written by Hayao Miyazaki
million copies in circulation. The manga and the 1984 film
adaptation, written and directed by Miyazaki following the Published by Tokuma Shoten
serialization of the manga's first sixteen chapters, received English AUS Madman
universal acclaim from critics and scholars for its characters, publisher Entertainment
themes, and art. The manga and film versions of Nausicaä are also NA/UK Viz Media
credited for the foundation of Studio Ghibli, the animation studio
for which Miyazaki created several of his most recognized works. Magazine Animage
Original run February 1982 –
March 1994
Contents Volumes 7
Film
Synopsis
Setting
Nausicaä of the Valley of the
Plot
Wind (1984)
Development
Precursors and early development
 Influences
Creation
Localization
Publication history
Original edition
Perfect Collection
Deluxe edition
Related media
Film
Other
Reception
Notes
Citations
Sources
External links

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 The Dorok prophecy: "And that one
a weapon disturbs Nausicaä. Her treks into the forest have already shall come to you garbed in raiment
taught her that the Sea of Corruption is actually purifying the of blue and descending upon a field
polluted land. The Forest People, humans who have learned to live of gold..."
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.
Strife and cycles of violence have continued to plague the world in the thousand years following their
interference. She orders the God-Warrior to destroy its progenitors, forcing humanity to live or die without
further influence from the old society's technology.

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.[2] While working primarily on animation
projects for TV and Cinema, he also pursued his dream of creating manga.[3] 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.[4]

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.[5] 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: Warring States Demon Castle
戦国魔城
( , Sengoku ma-jō), 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.[6]

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.[7][a] Miyazaki stated in an interview,
"Nausicaä of the Valley of the Wind only really began to take shape once I agreed to serialize it."[9] 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.[10] 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.[11]

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.[13][b] 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.[16] In his essay On Nausicaä ( ナウシカのこと , Naushika no
koto), 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.[17] Helen McCarthy considers Shuna from The
Journey of Shuna to be prototypical to Nausicaä,[18] and Dani Cavallaro feels
that Lana from Future Boy Conan and Clarisse of The Castle of Cagliostro also
influenced Nausicaä’s characterization.[16] 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 The titular character
Asimov's Nightfall, and J.R.R Tolkien's The Lord of the Rings.[19] Frank of the manga was
Herbert's science fiction novel Dune (1965) was also a major source of named after the
inspiration for Nausicaä.[20] Greek princess,
Nausicaa, whose
Among the inspirations for the environmental themes Miyazaki has mentioned name means "burner
the Minamata Bay mercury pollution.[16] The Sea of Corruption is based on the of ships".[12]
forests on the Japanese island of Yakushima and the marshes of the Sivash, or
Rotten Sea, in Ukraine.[21][c] The works of botanist Sasuke Nakao 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.[23] Miyazaki
has identified Tetsuji Fukushima's Sabaku no Maō 沙漠の魔王 (The Evil Lord of the Desert), a story he
first read while still in primary school, as one of his earliest influences. Kentaro Takekuma has also
observed this continuity in Miyazaki's work and places it within the tradition of illustrated stories,
emonogatari ( 絵物語 ), and manga Miyazaki read while growing up, pointing out the influence of
Fukushima on Miyazaki's People of the Desert which he in turn identifies as a precursor for both The
Journey of Shuna, created in watercolour and printed in colour, and Nausicaä.[24]
Creation

Miyazaki drew the Nausicaä chapters primarily in pencil. The work was printed monochrome in sepia
toned ink.[25][d] Frederik L. Schodt observed differences between Nausicaä and other Japanese manga. He
has noted that it was serialized in the large A4 size of Animage, much larger than the normal size for
manga. Schodt has also observed that Miyazaki drew much of Nausicaä in pencil without inking, and that
the page and panel layouts, as well as the heavy reliance on storytelling, are more reminiscent of French
comics than of Japanese manga. In appearance and sensibilities, Nausicaä reminds Schodt of the works of
Mœbius.[26]

Takekuma has noted stylistic changes in Miyazaki's artwork over the course of the series. He points out
that, particularly in the first chapters, the panels are densely filled with background, which makes the main
characters difficult to discern without paying close attention. According to Takekuma this may be partially
explained by Miyazaki's use of pencil, without inking, for much of the series. Takekuma points out that by
employing pencil Miyazaki does not give himself the option of much variation in his line. He notes that in
the later chapters Miyazaki uses his line art to, literally, draw attention to individuals and that he more
frequently separates them from the background. As a result there are more panels in which the main
characters stand out vividly in the latter part of the manga.[27]

Miyazaki has stated in interviews that he frequently worked close to publication deadlines and that he was
not always able to finish his monthly instalments for serialization in Animage. On such occasions he
sometimes created apologetic cartoons. These were printed in the magazine, instead of story panels, to
explain to his readers why there were fewer pages that month or why the story was absent entirely.
Miyazaki has indicated that he continued making improvements to the story prior to the publication of the
tankōbon volumes, in which chapters from the magazine were collected in book form.[28] Changes made
throughout the story, before the release of each tankōbon volume, range from subtle additions of shading to
the insertion of entirely new pages. Miyazaki also redrew panels and sometimes the artwork was changed
on whole pages. He made alterations to the text and changed the order in which panels appeared. The story
as re-printed in the tankōbon spans 7 volumes for a combined total of 1060 pages.[29]

Miyazaki has said that the lengthy creation process of the Nausicaä manga, repeatedly tackling its themes
as the story evolved over the years, not only changed the material but also affected his personal views on
life and changed his political perspectives. He also noted that his continued struggle with the subject matter
in the ongoing development of the Nausicaä manga allowed him to create different, lighter, films than he
would have been able to make without Nausicaä providing an outlet for his more serious thoughts
throughout the period of its creation.[30] Marc Hairston notes that, “Tellingly, Miyazaki’s first film after
finishing the Nausicaä manga was Mononoke Hime, which examined many of the themes from the manga
and is arguably the darkest film of his career.”[31]

Localization

Nausicaä of the Valley of the Wind was initially translated into English by Toren Smith and Dana Lewis.
Smith, who had written comics in the U.S. since 1982, wrote an article on Warriors of the Wind (the
heavily edited version of the film adaptation released in the U.S. in the 1980s) for the Japanese edition of
Starlog, in which he criticized what New World Pictures had done to Miyazaki's film. The article came to
the attention of Miyazaki himself, who invited Smith to Studio Ghibli for a meeting. On Miyazaki's
insistence, Smith's own company Studio Proteus was chosen as the producer of the English-language
translation. Smith hired Dana Lewis to collaborate on the translation. Lewis was a professional translator in
Japan who also wrote for Newsweek and had written cover stories for such science fiction magazines as
Analog Science Fiction and Fact and Amazing Stories. Smith hired Tom Orzechowski for the lettering and
retouching.[32]
Studio Proteus was responsible for the translation, the lettering, and the retouching of the artwork, which
was flipped left-to-right to accommodate English readers. The original Japanese dialogue was re-lettered by
hand, the original sound effects were replaced by English sound effects, and the artwork was retouched to
accommodate the new sound effects. When Miyazaki resumed work on the manga following one of the
interruptions, Viz chose another team, including Rachel Thorn and Wayne Truman, to complete the
series.[33] The current seven-volume, English-language "Editor's Choice" edition is published in right-to-
left reading order: while it retains the original translations, the lettering was done by Walden Wong. The
touch-up art and lettering for the Viz Media deluxe two-volume box set was also done by Walden
Wong.[34][35]

Eriko Ogihara-Schuck, lecturer in American studies at the Technical University of Dortmund, conducted a
comparative analysis of the Japanese-language manga and anime with their English translations, and
demonstrates that American translations have resulted in the "Christianizing of Miyazaki's animism". She
indicates that this was probably done inadvertently in the case of the manga translation, which retains
animistic elements and contains pantheistic phrases, but may have been more deliberate in the translation of
dialogue and narration for Disney's release of the film. In the case of the manga she attributes this
"Christianizing" to the limitations of the languages involved, particularly the absence of precise English
equivalents for Japanese words and concepts such as kami, oni and kishin and honorific titles such as sama.
As another explanation, she offers that translators of both the manga and the film work from a Judeo-
Christian background, in a language suffused with Judeo-Christian idioms not found in Japanese, which
they introduce to the text, and she indicates that the translators work for an audience more accustomed to,
and with the expectation of, the Judeo-Christian religions' dualistic, good versus evil worldview in fictional
narratives. Ogihara-Schuck concludes that particularly the film translation erased animistic motifs
completely but that the manga translations, "by enveloping the text in a dualistic world view", also
implicitly reintroduced this dualistic, good versus evil, worldview, absent in the original Japanese language
manga, which she presumes to have been a strategy to make the works more accessible to the American
audience.[36]

Publication history
The manga was serialized in Tokuma Shoten's monthly Animage magazine between 1982 and 1994.[37]
The series initially ran from the February 1982 issue to the November 1982 issue when the first interruption
occurred due to Miyazaki's work related trip to Europe.[38] Serialization resumed in the December issue
and the series ran again until June 1983 when it went on hiatus again due to Miyazaki's work on the film
adaptation of the series. Serialization of the manga resumed for the third time from the August 1984 issue
but halted again in the May 1985 issue when Miyazaki placed the series on hiatus to work on Castle in the
Sky. Serialization resumed for the fourth time in the December 1986 issue and was halted again in June
1987 when Miyazaki placed the series on hiatus to work on the films My Neighbor Totoro and Kiki's
Delivery Service. The series resumed for the fifth time in the April 1990 issue and was halted in the May
1991 issue when Miyazaki worked on Porco Rosso. The series resumed for the final time in the March
1993 issue. The final panel is dated January 28, 1994. The last chapter was released in the March 1994
issue of Animage. By the end Miyazaki had created 59 chapters, of varying length, for publication in the
magazine. In an interview, conducted shortly after serialization of the manga had ended, he noted that this
amounts to approximately 5 years worth of material. He stated that he did not plan for the manga to run that
long and that he wrote the story based on the idea that it could be stopped at any moment.[39][40]

The chapters were slightly modified and collected in seven tankōbon volumes, in soft cover B5 size.[41]
The first edition of volume one is dated September 25, 1982. It contains the first eight chapters and was re-
released on July 20, 1983 with a newly designed cover and the addition of a dustcover.[42][e] Volume two
has the same August 25, 1983 release date. It contains chapters 9 through 14. Together with chapters 15
and 16, printed in the Animage issues for May and June 1983, these were the only 16 chapters completed
prior to the release of the Nausicaä film in March 1984. The seventh book was eventually released on
January 15, 1995.[42] The entire series was also reprinted in two deluxe volumes in hard cover and in A4
上巻
size labeled Jokan ( 下巻
, first volume) and Gekan ( , final volume) which were released on November
30, 1996.[44][45] The seven books, which remain in print individually, have also been released in box sets
twice, on August 25, 2002 and, with a redesigned box, on October 31, 2003.[46][47]

English translations are published in North America and the United Kingdom by Viz Media. As of 2013
Viz Media has released the manga in five different formats. Initially the manga was printed flipped and with
English translations of the sound effects. Publication of English editions began in 1988 with the release of
episodes from the story under the title Nausicaä of the Valley of Wind in the "Viz Select Comics" series.
This series ran until 1996. It consists of 27 issues. In October 1990 Viz Media also started publishing the
manga as Viz Graphic Novel, Nausicaä of the Valley of Wind. The last of the seven Viz Graphic Novels in
this series appeared in January 1997. Viz Media reprinted the manga in four volumes titled Nausicaä of the
Valley of Wind: Perfect Collection, which were released from October 1995 to October 1997. A box set of
the four volumes was later released in January 2000. In 2004 Viz Media re-released the seven-volume
format in an "Editors Choice" edition titled Nausicaä of the Valley of the Wind. In this version the manga is
left unflipped and the sound effects are left untranslated.[48] Viz Media released its own deluxe two-volume
box set on November 6, 2012.[49]

The manga was also licensed in Australia by Madman Entertainment,[50] in Finland by Sangatsu
Manga,[51][52] in France by Glénat,[53] in Spain by Planeta DeAgostini,[54] in Italy by Panini Comics
under its Planet Manga imprint,[55] in the Netherlands by Glénat Benelux,[56] in Germany by Carlsen
Verlag,[57] in Korea by Haksan Culture Company,[58] in Taiwan by Taiwan Tohan and in Brazil by
Conrad Editora before it ceased after publishing two volumes.[59][60]

Original edition
No. Original release date Original ISBN English release date English ISBN

September 25, 1982 October 1990 (Viz

Graphic Novel)
(1st edition)[42] 0-929279-58-1
1 4-19-773581-2 March 10, 2004
July 20, 1983 1-59116-408-7
(Editor's Choice
(Revised)[61]
Edition)[62]

Chapters 1–8

October 1990 (Viz

Graphic Novel)
0-929279-59-X
2 August 25, 1983[63] 4-19-773582-0 March 31, 2004
1-59116-350-1
(Editor's Choice
Edition)[64]

Chapters 9–14

October 1990 (Viz

Graphic Novel) 0-929279-60-3
3 December 15, 1984[65] 4-19-775514-7
May 5, 2004 (Editor's 1-59116-410-9
Choice Edition)[66]

Chapters 15–21

October 1990 (Viz

Graphic Novel) 0-929279-61-1
4 March 1, 1987[67] 4-19-777551-2
June 2, 2004 (Editor's 1-59116-352-8
Choice Edition)[68]

Chapters 22–27

October 1993 (Viz

Graphic Novel) 0-929279-98-0
5 May 25, 1991[69] 4-19-771061-5
June 30, 2004 (Editor's 1-59116-412-5
Choice Edition)[70]

Chapters 28–35

December 1995 (Viz

Graphic Novel)
1-569310-95-5
6 November 11, 1993[71] 4-19-773120-5 August 10, 2004
1-59116-487-7
(Editor's Choice
Edition)[72]

Chapters 36–46

January 1997 (Viz

Graphic Novel)
1-569311-97-8
7 December 10, 1994[73] 4-19-770025-3 September 7, 2004
1-59116-355-2
(Editor's Choice
Edition)[74]

Chapters 47–59

Perfect Collection
 No. English release date English ISBN

1 October 6, 1995[75] 978-1-5693-10960

Chapters 1–14 (Volumes 1–2)

2 October 6, 1995[76] 978-1-5693-10878

Chapters 15–27 (Volumes 3–4)

3 August 5, 1996[77] 978-1-5693-1111-0

Chapters 28–43 (Volume 5 and part of Volume 6)

4 December 6, 1997[78] 978-1-5693-1211-7

Chapters 44–59 (part of Volume 6 and Volume 7)

Deluxe edition

No. Original release date Original ISBN English release date English ISBN

1 November 30, 1996[44] 4-19-860561-0 November 6, 2012[49] 978-1-4215-5064-0

Chapters 1–27 (Volumes 1–4)

2 November 30, 1996[45] 4-19-860562-9 November 6, 2012[49] 978-1-4215-5064-0

Chapters 28–59 (Volumes 5–7)

Related media

Film

When serialization of the manga was underway and the story had proven to be popular among its readers,
Animage came back on their promise not to turn the manga into an animation project and approached
Miyazaki to make a 15 minute Nausicaä film. Miyazaki declined. Instead he proposed a sixty-minute OVA.
In a counter offer Tokuma agreed to sponsor a feature-length film for theatrical release.[79] The film
adaptation of Nausicaä of the Valley of the Wind was released on March 11, 1984. It was released before
Studio Ghibli was established, but it is generally considered a Studio Ghibli film. Helen McCarthy has
noted that it was Miyazaki's creation of the Nausicaä manga " ... that had, in a way, started the actual
process of his studio's development".[80] The film was released with a recommendation from the World
Wide Fund for Nature (WWF).[81]

In his retrospective on 50 years of Postwar Manga, Osamu Takeuchi wrote that, in an ironic twist of fate,
the Nausicaä film had been playing in theatres at the same time as the 1984 anime adaptation of one of the
illustrated stories Miyazaki had grown up reading, Kenya Boy, originally written by Soji Yamakawa in
1951. Takeuchi observed that the release of its inspirational predecessor "would have been devoured" by
Miyazaki's Nausicaä in a competition of the two works. He went on to note that, in spite of a brief
Yamakawa revival around that time, the media for story telling had progressed and a turning point in time
had been passed.[82]
The story of the Nausicaä film is much simpler than that of the manga, roughly corresponding to the first
two books of the manga, the point the story had reached when film production began.[40] In his interview
for Yom (1994) Miyazaki explained that he worked from the precept that a film requires an opening and a
closing of the story. He stated that, within the confines he set for closing the story, he took the film's
narrative up to Nausicaä's "Copernican turn ( コペルニクス的転回 [83]
, koperunikusutekitenkai)", which
came after the character realises the nature of the Sea of Corruption. There are significant differences in
plot, with more locations, factions and characters appearing in the manga, as well as more detailed
environmentalist themes. The tone of the manga is also more philosophical than the film. Miyazaki has
Nausicaä explore the concepts of fatalistic nihilism and has her struggle with the militarism of major
powers. The series has been interpreted from the views of utopian concepts, as well as religious studies.[84]

In The Christianizing of Animism in Manga and Anime, Eriko Ogihara-Schuck conducted a comparative
analysis of the religious themes in the manga and the film. Ogihara-Schuck wrote that Miyazaki had started
out with animistic themes, such a belief in the god of the wind, in the early chapters of the manga, had
conflated the animistic and Judeo-Christian traditions in the anime adaptation, but had returned to the story
by expanding on the animistic themes and by infusing it with a non-dualistic worldview when he created
additional chapters of the manga, dissatisfied with the manner in which these themes had been handled for
the film. Drawing on the scene in which Nausicaä sacrifices her own life, in order to placate the
stampeding Ohmu, and is subsequently resurrected by the miraculous powers of these giant insects,
Ogihara-Schuck notes that "Japanese scholars Takashi Sasaki and Masashi Shimizu consider Nausicaä a
Christ-like savior, and American scholar Susan Napier considers her as an active female messiah figure".
Ogihara-Schuck contrasts these views with Miyazaki's own belief in the omnipresence of gods and spirits
and Hiroshi Aoi's argument that Nausicaä's self-sacrifice is grounded on an animistic recognition of such
spirits. Ogihara-Schuck quotes Miyazaki's comments in which he indicated that Nausicaä's self-sacrifice is
not as a savior of her people but is a decision driven by her desire to return the baby Ohmu and by her
respect for nature, as she is "dominated by animism". Ogihara-Schuck concludes that in many of his later
films, much more than in the anime version of Nausicaä, Miyazaki expressed his own belief in the
animistic world view and is at his most direct in the manga by putting the dualistic world view and the
animistic belief in tension and, through Nausicaä's ultimate victory, makes the animistic world view
superior.[36]

No chapters of the manga were published in the period between the July 1983 issue and the August 1984
issue of Animage but series of Nausicaä Notes and The Road to Nausicaa were printed in the magazine
during this interim period.[40] Frequently illustrated with black and white images from the story boards as
well as colour illustrations from the upcoming release of the film, these publications provide background
about the history of the manga and development of the film. 1984 was declared The Year of Nausicaä, on
the cover of the February 1984 issue of Animage.[85][86]

Other

Several other Nausicaä related materials have been released. Hayao Miyazaki's Image Board Collection
宮崎駿イメージボード集
( , Miyazaki Hayao imējibōdo-shū) contains a selection from the sketchbooks
Miyazaki created between 1980 and 1982 to record his ideas for potential future projects. The book was
published by Kodansha on March 20, 1983.[87] The Art of Nausicaä ( ジ・アート・オブ ⾵の⾕のナ
ウシカ , Ji āto Obu kaze no tani no naushika) is the first in the art books series. The book was put together
by the editorial staff of Animage. They collated material that had previously been published in the magazine
to illustrate the evolution of Miyazaki's ideas into finished projects. The book contains reproductions from
Miyazaki's Image Boards interspersed with material created for the film, starting with selected images
related to the two film proposals rejected in 1981.[88] The book also contains commentary of assistant
director Kazuyoshi Katayama and a summary of The road to Nausicaä (
[89]
ナウシカの道 , naushika no
michi). It was released by Tokuma Shoten on June 20, 1984. Haksan released the art book in Korean on
December 29, 2000.[90] Glénat released the art book in French on July 7, 2001.[91] Tokuma Shoten also
released the contents of the book on CD-ROM for Windows 95 and Macintosh, with the addition of
excerpts from Joe Hisaishi's soundtrack from the film.[92][93]

The Art of Nausicaä of the Valley of the Wind: Watercolor Impressions was released by Tokuma Shoten on
September 5, 1995. The book contains artwork of the manga in watercolor, a selection of storyboards for
the film, autographed pictures by Hayao Miyazaki and an Interview on the Birth of Nausicaä.[94] Glénat
released the book in French on November 9, 2006.[95] Viz Media released the book in English on
November 6, 2007.[96] Viz's version of the book was released in Australia by Madman Entertainment on
July 10, 2010.[97]

In 2012, the first live-action Studio Ghibli production, the short film Giant God Warrior Appears in Tokyo,
was released, which shares the same fictional universe as Nausicaä.[98][99]

A kabuki play adaptation, covering the entire story of the manga, was performed in December
2019.[100][101]

Reception
In 1994, Nausicaä of the Valley of the Wind, received the Japan Cartoonists Association Award Grand Prize
(⼤賞 , taishō), an annual prize awarded by a panel of association members, consisting of fellow
cartoonists.[102][103]

The manga has sold more than 10 million copies in Japan alone.[102][104] After the 1984 release of the film
adaptation, sales for the manga dramatically increased, despite the plot differences between the two
works.[105] In the spring of 1994, shortly after serialization had concluded, a combined total of 5.27 million
Nausicaä tankōbon volumes had already been published. At the time Volumes 1 through 6 were in print.
Volume 7 was not released until January 15, 1995. By 2005, over 11 million copies had been released for
all 7 volumes combined.[106][f] In December 2020, it was announced that the series had more than 17
million copies in circulation.[109][110]

Nausicaä was included by Stephen Betts in the comic book–centered reference book 1001 Comics You
Must Read Before You Die, who said of the series:

Miyazaki's sepia-inked art is precise, delicate, and detailed. He achieves an incredible

dynamism and motion across the page. The rich array of characters, multiple themes, and
densely interwoven plot ensure that the message, while worthy, is nuanced. Exploring conflict,
politics, and religion, Miyazaki achieves a grand, epic sweep that is rarely seen in comics, and
particularly in such a stunning action comic. Yet he also manages to keep the whole story
accessible and relevant through the human qualities of his timeless heroine.[111]

Setre, writing for Japanator, said "Nasuicaa [sic] is an amazing manga. And no matter what you may think
of Miyazaki this story deserves to be read. It has great characters (some of which could star in their own
series), a great sense of adventure and scale, and an awesome story."[112]

In his July 14, 2001 review of Viz Media's four volume Perfect Collection edition, of the manga, Michael
Wieczorek of Ex.org compared the series to Princess Mononoke stating, "Both stories deal with man's
struggle with nature and with each other, as well as with the effects war and violence have on society."
Wieczoek gave a mixed review on the detail of the artwork in this, 8.08 in × 5.56 in (20.5 cm × 14.1 cm)
sized, edition, stating, "It is good because the panels are just beautiful to look at. It is bad because the size
of the manga causes the panels within to be very small, and some of these panels are just crammed with
detailed artwork. That can sometimes cause some confusion about what is happening to which person
during an action scene."[48][113] The Perfect Collection edition of the manga is out of print.[114]

In his column House of 1000 Manga for the Anime News Network (ANN) Jason Thompson wrote that
"Nausicaa is as grim as Grave of the Fireflies ".[114] Mike Crandol of ANN praised the manga stating, "I
dare say the manga is Hayao Miyazaki's finest work ever—animated, printed, or otherwise—and that's
saying a lot. Manga allows for a depth of plot and character unattainable in the cinematic medium, and
Miyazaki uses it to its fullest potential."[115]

Final Fantasy creator Hironobu Sakaguchi has cited the manga and film as an influence on his series.[116]

In the Coda On Your Mark and Nausicaa to their April 1999 lecture series on manga, anime and the works
of Miyazaki at the University of Dallas Pamela Gossin, Professor of Arts and Humanities, and guest
instructor Marc Hairston, research scientist in the William B. Hanson Center for Space Sciences, discussed
On Your Mark, the music video Miyazaki created for the song of the same title by Japanese duo Chage and
Aska and drew parallels to the Nausicaä story, its titular character and its conclusion. Gossin and Hairston
interpreted the release of the winged girl at the end of the music video as Miyazaki setting free his character
in a manner reminiscent of William Shakespeare's symbolic liberation of his characters, through Prospero's
release of his servant Ariel in his play The Tempest.[117] Miyazaki started creating On Your Mark the same
month the seventh volume of the Nausicaä manga was released.[118]

Kyle Anderson of Nerdist describes the setting as a steampunk post-apocalypse.[119] Philip Boyes of
Eurogamer describes the technology in Nausicaä and Castle in the Sky as dieselpunk.[120]

Notes
a. See in particular Miyazaki's answer to Saitani's question: "Were you asked, from the
beginning, to draw the comic with the intention of it becoming an animated work?"[8]
b. Mentioned as Minoru Kobayashi ( ⼩林稔 , Kobayashi Minoru) in the Japanese Webcat Plus
database and in Hayao Miyazaki's Watercolor Impressions. In the Japanese edition on page
150 and in the English edition on page 149.[14] On page 150 in the French translation of
Watercolor Impressions book and on some Nausicaä related websites, the translator's name
is given as Yataka Kobayashi.[15]
c. The Japanese name for the Sea of Corruption 腐海 (fukai), consists of the kanji for decay
and sea. Also translated as Toxic Jungle or Sea of Decay in manga translations and in the
film's subtitles. Miyazaki mentioned its origin in the interview published in Watercolor
Impressions.[22]
d. In the interview with Ryo Saitani, published in 1995, Miyazaki very briefly mentions
discussing the use of pencil with Hideo Ogata, chief editor of Animage at the time, in the
context of their talks on the development of the manga and his desire to quit creating it.
Ogata persuaded Miyazaki to continue.[8]
e. Volume one was published as Animage Special, Nausicaä of the Valley of the Wind (( アニ
メージュ増刊 ⾵の⾕のナウシカ ).[43] Subsequently released volumes were published as
Animage Comics Wide Ban, Nausicaä of the Valley of the Wind ( アニメージュコミックスワ
イド判 ⾵の⾕のナウシカ ).[42]
f. In Yom, the publication statistic is broken down by published tankōbon: Volume 1 and 2
combined, 1.3 million; Volume 3, 1.2 million; Volume 4, 1.1 million; Volume 5, 870,000;
Volume 6, 800,000. This adds up to a combined total of 5.27 million tankōbon volumes
published for the entire series up to that point in time. [107] Seiji Kanō cites the following
numbers as of March 2005: Volume 1, 1.85 million; Volume 2, 1.8 million; Volume 3, 1.7
 million; Volume 4, 1.6 million; Volume 5, 1.45 million; Volume 6, 1.31 million and volume 7,
1.3 million.[108]

Citations
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2. McCarthy 1999, p. 30.
3. McCarthy 1999, p. 39.
4. McCarthy 1999, p. 219; Comic Box November 1 1982, p. 111; Animage June 10 1983,
pp. 172,173.
5. Miyazaki & Takahata 2009, p. 249; Kanō 2007, pp. 37ff, 323.
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7. McCarthy 1999, p. 73; Saitani 1995, p. 9.
8. Saitani 1995, p. 9.
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22. Miyazaki 1996, p. 149; Adachi 2012, p. 184.
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27. Takekuma 2008.
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External links
Nausicaä of the Valley of the Wind (http://www.viz.com/manga/print/nausicaa-of-the-valley-of
-the-wind) at Viz Media, the English language publisher
Nausicaä of the Valley of the Wind manga (http://www.nausicaa.net/miyazaki/manga/nausic
aa.html) at Nausicaa.net, an English language Studio Ghibli fansite
Nausicaä of the Valley of the Wind (https://www.animenewsnetwork.com/encyclopedia/man
ga.php?id=1264) (manga) at Anime News Network's encyclopedia
Comic Box, January 1995 (http://www.comicbox.co.jp/e-nau/contents.html), Special
Memorial Issue, the finale of Nausicaä; Nausicaä of the Valley of the Wind
Yuen, Isaac (May 31, 2013). "The Greatest Ekostory Ever Told: The Nausicaä Project" (http://
ekostories.com/2013/05/31/the-greatest-ekostory-ever-told). Archived (https://web.archive.or
 g/web/20150207025456/http://ekostories.com/2013/05/31/greatest-ekostory-nausicaa/) from
the original on February 7, 2015., an analysis of the manga

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