dont know who

If you read the original work, you’ll understand, but in reality, the ones who were being killed are Asians and Africans

Err so orcs are Asian?

In the original work, the Men of the West are the good guys. The Easterlings are the bad guys.

>kotaku

it's like relying on amon's review and opinion

Kek
Khak

I never like this 2 movies as he romanticize the subject and only paint Japanese as the victims of WW2.

Grave of the Fireflies is one of the saddest movie ever made but if you think further he made a movie about suffering of Japanese but the rest of the world suffers even worst than Japanese. It is hypocritical for him to criticize American movies but he himself did the same thing where he made one side as victim but ignoring others as victims too.

Wind Rises is worst. He made the man who invented Zero, a pure war machine into some sort of pacifist. Nobody who create war machine can claim themselves as pacifists later. He received money for his creation.

The guy who created noble peace prize.

Anyway there is no pleasing of everyone. Why cant ppl just enjoy a book/ movie without psycoanalyzing everything.

Because art has meaning, sometimes intentionally so on the part of the creator.

Writer and artist drew from their experience.

They will never be able to please everyone.

I don't think artists try to please everyone. In fact, artists often deliberately try to offend some parties.

Tolkien try to do that?

Just speaking in general. I just don't think the point of art is to please everyone. Art is often most effective when someone is offended.

>kotaku

it's like relying on amon's review and opinion

If you read the original work, you’ll understand, but in reality, the ones who were being killed are Asians and Africans

Err so orcs are Asian?

The other race of men that are ally under Sauron such as the Easterling and other barbarians (ones who ride the elephant).
Anyway Hayao Miyazaki view is flawed imo.

Oh sorry, sarcasm meter rosak

Well at least as someone pointed out above, his anti-war stance is universal. And he advocates traditional Japanese cultural values instead of capitalism and consumerism (the subject of Spirited Away). I can agree with that.

But I have little regard for films like Grave of fireflies. They always tell the story of "oooo kesian jepunis kena whack kaw2 by evil A-bombing Americunts" and you can see by HM's comments that this is indeed his message. Conveniently overlooking the horror and misery that the Japanese themselves inflicted on others. It's self-serving self-pitying hypocritical crap. Till today I'm waiting for a Japanese-made film about what THEY did to others during WW2. Why not make a movie about that, eh?

The anti-Americanism is in his comments and personal outlook, read OP

Anyway, if he thinks hurr durr all war/fighting films are bad, what about... jeng jeng jeng

Porco Rosso is one of the few films directed by Hayao Miyazaki in which the historical and geographical settings are clearly defined and where most of the story could have happened in the real world. Marco is an Italian hero from the First World War and is shown fighting against Austro-Hungarian fighter planes in a flashback sequence. The story is set in the Adriatic Sea east coast between Dalmatian and Kvarner islands, a fictionalized city of Fiume after its annexation to fascist Italy and Northern Italy.

Porco makes statements of his being anti-fascist, quipping during one scene that "I'd much rather be a pig than a fascist". Miyazaki shed light on the political context of the making of the film in an interview with Empire. He reflects that the conflicts that broke out during the film's production (such as those in Dubrovnik and elsewhere) made Porco Rosso a much more complicated and difficult film.[9]

Evident historical and political realism aside, at least one scholar has argued that the film's more overt historical references can be understood as representative of wakon yosai (Japanese spirit; Western techniques)—a tendency, since the Meji period, for Japanese artists to paint Europe as spectacular, while simultaneously maintaining the distance necessary to preserve a distinct sense of Japanese identity. "In Porco Rosso", states academic Chris Wood, "Europe is tamed, rendered as a charming site of pleasurable consumption, made distant and viewed through a tourist gaze."[10]