Nausicaä from the Valley of the Winds (Manga)

from Wikipedia, the free encyclopedia
Nausicaä from the Valley of the Winds
Original title 風 の 谷 の ナ ウ シ カ
transcription Kaze no Tani no Naushika
genre Science fiction , fantasy , drama
Manga
country JapanJapan Japan
author Hayao Miyazaki
publishing company Tokuma Shoten
magazine Animage
First publication January 1982 - February 1994
expenditure 7th
Movie
► Nausicaä from the Valley of the Winds (1984)

Nausicaä from the Valley of the Winds ( Japanese 風 の 谷 の ナ ウ シ カ , Kaze no Tani no Naushika ) is a manga series by Hayao Miyazaki . The work is about the struggle of several peoples against one another and against a nature hostile to them in the distant future. Nausicaä, princess of a small people, recognizes the reason for the change in nature in the pollution caused by humans and is drawn into a war.

The manga falls into the genres of science fiction , fantasy and drama and was filmed in 1984 with the anime movie Nausicaä from the valley of the winds . The success of the film, whose plot differs greatly from that of the manga due to the early film adaptation, led to the establishment of Studio Ghibli .

action

In the future the world became so polluted by humans that after a great war, the "Seven Days of Fire", a huge poisonous mushroom forest spread, the "Sea of ​​Putrefaction". The expansion of the forest is known as the “great flood”. This is inhabited by huge insects and similar animals, it expands and devours one country after the other. Attempts to destroy the forest only lead to attacks by the animals, especially the huge, isel- like Ohmu , and thus the further expansion of the forest. So humanity is in decline.

Nausicaä is the princess of the "Valley of the Winds", which is protected from the fungal spores by winds coming from the sea. She is popular with her people and has a special feel for nature. While examining the sea of ​​putrefaction, she discovers that its plants are able to cleanse the soil contaminated by humans. When the large neighboring kingdom of Torumekia goes to war against the principality of Doruk, Nausicaä has to go to battle with some warriors from her valley, including the old fighter Mito, under the Torumek princess Kushana. Other small countries also have to send troops. Kushana, however, had previously secretly attacked Pejite, who was also an ally, after a working war titan from the Seven Days of Fire was found there. Doruk is to be attacked with this, but the princess of Pejite flees and brings an important part of the titan to Nausicaä before she dies.

Cosplayer as Nausicaä with her glider

On the way across the Sea of ​​Putrefaction to Doruk, the Kushana fleet is attacked by Asbel, Prince of Pejite, who seeks revenge. Finally he is shot down and ends up together with Nausicaä, who first followed her fallen comrades and then separated from them, in the lowest layer of the sea of ​​putrefaction. Everything here is indeed pure and the air is not filled with poisonous miasm . Nausicaä hands the part from the titan to Asbel. When the two want to leave the sea of ​​putrefaction, they are captured by a Doruk ship of the Mani tribe. These attack with the Ohmus Kushanas camp by making them angry with an injured Ohmularve and luring them to the camp. Nausicaä managed to escape and warn the camp, but few escaped, including Nausicaä's comrades and Kushana with some of their men. Kushana now knows that she was betrayed by her brothers and her father. In order to calm the Ohmu, Nausicaä rescues the larva, for which they heal the Ohmu. The Bishop of Mani recognizes that she is the girl from an old prophecy, who is supposed to reconcile people with one another and nature, the "wearer of the blue robe", as Nausicaä wears one. Nausicaä fears that the Dorukians want to colonize the small countries and that the war will lead to a further expansion of the forest, a new "great flood". The Doruk fleet withdraws and Nausicaä flies further south with Kushana's men.

Mito returns with the others to the Valley of the Winds and reports there. While the chiefs of the countries are deliberating, Nausicaa's father dies. Mito's group is supposed to find Yupa, a famous warrior from the Valley of the Winds and teacher of Nausicaa. He researches the insect tamers that the Dorukians use for their own purposes. In their village he meets the Mani, with whom Asbel is still with him. Together with the priest of the Mani they destroy the breeding facility of the insect tamers, but they are now attacked by the Doruk priestly council and the just arrived brother of the Doruk emperor. The bishop dies, but lets Yupa, Asbel and his assistant Kecha flee and sends his people the news of the arrival of the girl from the old prophecy. The three are shot down over the forest soon after, but are rescued by the forest people. These live in peace with nature in the middle of the sea of ​​rot; They once adopted this natural way of life from a "wearer of the blue robe". When Yupa, Asbel and Kecha come out of the forest, they meet Mito's group there. They had previously observed the Doruk fleet when, with the help of the Mani people, they brought the war titans from Pejite to Doruk, the holy city of Shuwa.

Miralupa, brother of the emperor, now wants to find and destroy Nausicaä, since she stands in the way of his goals and his authority. But the spirit of the deceased bishop protects them from being accessed by Miralupa's supernatural abilities. Once in Doruk, Kushana and Nausicaä come across a strange mushroom forest. Eventually they reach Kushana's army, which is trapped. Miralupa's fleet arrives, but under Kushana's command and with Nausicaa's help, the Torumekians break open the siege. Kushana goes to the camp of her brothers' armies to steal their ships and save their army. Nausicaä, on the other hand, moves further south and meets the boy Chikuku in an oasis. He takes care of an old monk who is serving a religion in a secret temple forbidden by the Doruk emperor. The monk also recognizes Nausicaä's special abilities and wants to protect them. When he dies, Nausicaä breaks up with the supernaturally gifted Chikuku. Meanwhile, the poisonous slime molds that the Dorukians bred for warfare have gotten out of control near the front in Doruk. In a chaotic attempt to destroy the mushrooms, Miralupa escapes to Shuwa. Shortly afterwards, his commander-in-chief Chalka saves Nausicaä, as he too is impressed by her. During this time, the mushroom devours more and more, destroys and poisons cities and villages and Doruk's troops flee from it. The animals of the sea of ​​putrefaction move to Doruk to stop the mushrooms, which are also poisonous for them.

The camp of the Torumek army is also attacked by the invading insects. Kushana and some of her men barely survive the attack, are found by Yupa's and Mito's group and captured by them. Above all, Asbel and Kecha are hostile to them. Arriving in Shuwa, Miralupa is killed by his brother Namris, who now takes over the government himself. He wants to use the titans for the war and has brought the hydras, artificially created, superhuman fighters, from the holy grave in Shuwa. With them the emperor brings Kushana into his power, Yupa follows him on his ship. Namris wants to make Kushana his wife and found a new empire, because large parts of Doruk are destroyed by the fungus. Meanwhile, Nausicaä and Chalka and his monk soldiers observed the mushrooms. These want to unite and are already expected by the animals of the forest. Nausicaä goes alone to the place of union. She recognizes that the insects are not hostile to the fungus, but rather allow themselves to be eaten by it, make it peaceful and thus want to form a new forest. She can be eaten like this, but an Ohmu protects her from it.

Cosplayer as Nausicaä

When a new forest emerges from the slime mold and the insects, the insect tamers pour in to divide the formerly Dorucian land among themselves. Nausicaä, who has fallen asleep, is found by Chalka, Chikuku and the forest man Selm. When Chalka returns to his company, the others stay with her to wake her up. Selm penetrates her dream and shows her the "forest in her heart" and the land that has been cleansed by the forest. Normal plants and animals live there again and there is no poisonous miasm. Nausicaä wakes up, but refuses Selm's invitation to go into the forest. She wants to stay with the people and prevent another war. So she flies to the emperor's ship, who wants to kill the council of priests, including Chalka. She can save him and warn the assembled peoples of the war that Namris is planning. The Mani present, including Kecha and Asbel, then help her against the emperor's ship, which is attacking Nausicaä. Mito and his men also reach the fleet, as does the ship with the titan. Nausicaä tries to destroy the titan, but thereby awakens him. In the chaos of the battle, Kushana and her soldiers take over the emperor's ship and Namris dies.

The Titan thinks Nausicaä is his mother and she can tame him. Together they travel to the city of Shuwa to seal the sacred grave from which the war techniques of the Dorukians originated. When she is gone, fighting almost breaks out between the Torumeki under Kushana and the Doruk soldiers. Yupa can prevent this, but loses his life in the process. On the way to Shuwa, the Titan shows intelligence and its own personality. He says that he was created to be a warrior and a judge. During a rest, Nausicaä arrives in a hidden garden. Plants, animals and human cultural achievements from before the Seven Days of Fire are preserved here. She learns that the Sea of ​​Putrefaction and all its plants and animals were created by humans to cleanse the earth during the Seven Days of Fire. The animals now alive and the people themselves have also been changed so that they can live on the poisoned earth. These people and animals can no longer live in a purified environment. For that future, living things and arts have been preserved in the garden. Nausicaä still wants to go to Shuwa to find out what is in the tomb. In front of the garden she meets the group of Mitos and the insect tamers who have followed her, and together with the insect tamers she moves to Shuwa. The Titan has already arrived there without Nausicaä, as have Mito and Asbel. The others return to the Valley of the Winds.

In Shuwa, where Torumekia's king and his army have also arrived, a fight breaks out between the titan and the defending grave. In the course of the battle, the city is leveled, the army is destroyed and the Titan is defeated. The king survives and invades the tomb, where an order resides and explores the tomb's secrets. The Order grants the technologies of the tomb to kings who support them. Nausicaä follows him with the insect tamers, who are supposed to testify and tell others what is happening. When they arrive at the Lord of the Tomb, they learn that it was created at the time of the Seven Days of Fire. He is said to recreate humanity after purification. But Nausicaä has recognized that in addition to purity, there is also impurity, as well as light and shadow, and life is always changing. The grave and its plan, however, are rigid and people only want to harness them for their own purposes. So she calls the titan and with him destroys the grave, whereby the titan dies. When the grave collapses, Asbel saves Nausicaä. At the same time the remaining Dorumekians arrive under Chalka and the Torumekians under Kushana. The Torumek king dies after protecting Nausicaä from the final attack on the tomb. So now Kushana takes over the reign of Torumekia and the Dorukians build a new country.

Origin and style

Hayao Miyazaki

Miyazaki's collaboration with Animage magazine , in which the manga was published, came about after working on the 1979 film The Castle of Cagliostro , which the newly founded magazine had reported extensively on. Thanks to his friendship with editor Toshio Suzuki, Miyazaki was able to bring ideas for films to the publisher on several occasions, as the publisher's director Tokuma Yasuyoshi was planning to enter the anime business. But Miyazaki's ideas were always rejected because they weren't based on already successful mangas. Back then, as now, it was common to film existing material instead of films with an original plot. Suzuki Miyazaki offered to develop a manga series for the magazine. Suzuki himself had probably already planned the later film adaptation, as later statements suggest, Miyazaki had no that in mind and consciously created a work that was clearly different in style from the contemporary anime.

The drawings are filigree and detailed, similar to a copper engraving , but not in black and white but in a shade of brown. The narrative style is not very cinematic, but rather text-heavy and the page structure and panel forms are simple. The manga thus corresponds more to the European than the Japanese comic tradition. Frederik L. Schodt also attributes this difference to the fact that Miyazaki is not a comic artist but an animator and is used to a different way of working. Miyazaki himself said in an interview with Comic Box magazine that he did not want to create a manga that “people read while they eat soba noodles ” .

The creation of the manga took a comparatively long time from 1982 to 1994, because Miyazaki had to stop working for film projects again and again. In doing so, he consciously used the film productions to flee Nausicaä and from the serious, gloomy topics that he did not bring into his more cheerful films, which were produced at the same time. With these pauses and the increasing complexity of the plot, it became more and more difficult for Miyazaki himself to continue the series. Nor had he planned the story to the end, but let it drift from chapter to chapter without an end in mind, as it turned out. During the last hiatus of two years until 1993, Miyazaki no longer knew how to end the story now that Nausicaä is in possession of the titan. After the break, although the magazine would have let the series go on forever, he decided to bring it to an end. After completing the series, he said in an interview with Comic Box magazine : “It was very difficult to continue Nausicaä for even one year. I'm not sure why, except that it's hard to draw things that you don't really understand. "

Influences and Analysis

One motif of the manga is the toughness and resilience of nature, which absorbs the poisons of humans and can continue to thrive. In a conversation with Ernest Callenbach, the author of Ökotopia , Hayao Miyazaki said in 1985: “ There was a great event that led to the creation of Nausicaa: the mercury pollution of the Japanese coast off Minamata . Because of the pollution levels, people stopped catching fish in this area - a few years later fish were living there again, well above the normal fish distribution. This news gave me goose bumps. "Mio Bryce and Jason Davis describe the manga as a" post-apocalyptic exploration of ecological issues with a focus on the shōjo character Nausicaä as a youthful mediator between the war-driven world of humans and the insect-dominated world of nature ". The giant insects and themes of war destruction, alternative energies, wind power and advanced ceramic technologies featured in the Nausicaä storyline as part of the past are references to current interests and concerns in Japan. Miyazaki himself has repeatedly expressed doubts about the modern lifestyle and individualism in interviews.

The world of comics is shaped by Miyazaki's Marxist ideals, especially the Valley of the Wind as an idealized, egalitarian agrarian society - albeit ruled by a prince. The lifestyles shown correspond most closely to those of medieval or late feudal Europe or the Asian steppes. But there is also some modern technology such as flying machines, which are in stark contrast to the otherwise very simple technology and often manual work. Miyazaki himself gave three English-language books as inspirations for the manga. These are Dune , whose Japanese name of sandworms sando UOMU is derived the name of the Ohmu; On the eve of eternity by Brian Aldiss , in which exotic plants overgrow the earth and a boy is attacked by an intelligent fungus and learns the truth about the world from him; and The distant shore from Ursula LeGuin's Erdsee series . From this Miyazaki was inspired to deal with the mysteries of life and death and to the special relationship of the main character to the wind. And so, in the end, Nausicaa's decision to destroy the grave with the eggs of real humanity and her justification for the moral of the conversation between the hero Ged and the immortal Cob in The Far Shore , as Marc Hairston observes.

The model for the character Nausicaäs was the phaiakische Princess Nausicaa as she describes Bernard Evslin in his Dictionary of Greek mythology. She is "a nimble, imaginative, beautiful girl" who is sensitive and is more interested in the harp and singing than in earthly happiness. So Odysseus washed and cared for her without hesitation when she found him covered in blood. In the original version by Homer, however, the character is described differently than in Evslin. The second model was the Mushi Mezuru Himegimi , "the insect-loving princess", an old Japanese tale from the Tsutsumi Chūnagon Monogatari , set in the 12th century (late Heian period ). This princess followed her own interests, those in insects, and did not care about conventions and what others thought of her. Miyazaki eventually fused the two characters into one when he started with Nausicaä . In addition to Greek mythology, elements from Christian and Nordic mythology have also been incorporated. Elements of Japanese culture do not appear openly.

The themes of the series are also influenced by previous work by Miyazaki. In 1978 he created the television series Mirai Shōnen Conan based on the novel The Incredible Tide by Alexander Key , which, like later Nausicaä, deals with the way people deal with technology and its effects on people. Already in Alexander Key's novel, the female main character has the ability to talk to animals and lives in a post-apocalyptic world that is marked by the effects of weapons of mass destruction. At the same time, these themes and some motifs, such as the gemstone that activates technology and is controlled (or controlling) by a girl, overlaps with the Ghibli film The Castle in Heaven, made under Miyazaki in 1988 . Thomas Lamarre therefore sees Miyazaki's works from Conan to the Manga Nausicaä on Castle in Heaven as the further development and variation of his preoccupation with technology and modernity. According to Marc Hairston, Miyazaki is revisiting the themes of Nausicaä - the coexistence of humans with nature and wars between humans - in Princess Mononoke (1997), his first film since the conclusion of the manga Nausicaä , which is also the darkest of his work because, in contrast to earlier films, Miyazaki lacked the balance through the manga. The end of Mononoke is just as serious as that of the manga Nausicaä . Miyazaki divided the character Nausicaä into: the rational Prince Ashitaka and the wild, nature-loving San. Miyazaki's music video On Your Mark , from 1995 and his first work after Nausicaä, can be read in the light of the manga, according to Hairston. The winged figure in the short film, first freed from a sect and then from a laboratory, can be interpreted as Nausicaä, who is released here by Miyazaki. Even smaller motifs and scenes from the manga appear in later films again, the Emperor Miralupa in to Nausicaä and Ohngesicht in Spirited Away released from the heroines and then accompany them.

The end, less hopeful than in the film adaptation, makes Nausicaä, according to Schodt, the ultimate destroyer of ancient humanity in order to save the people of their time. It is also a disillusionment that the nature of the mushroom and insect forest as well as the surviving humans were all created by the earlier mankind with genetic engineering. Marc Hairston also attributes the dark end to the fact that Miyazaki's Marxist ideals, which were a basis for the construction of the world in Nausicaä , fell apart after the fall of the Soviet Union and the wars in Yugoslavia. A happy ending in an egalitarian society was impossible for him at this time; his view of the future had increasingly darkened. Nausicaa's development is also a reflection of Miyazaki's own search for answers to philosophical questions. Nausicaä takes on many different roles: leader, warrior, peacemaker, teacher, mother and big sister, scientist and finally messiah, who reflect Miyazaki's search and worldview at the time. According to Marc Hairston, the key to the transformation of Nausicaä's character into the Messiah lies in the scene in which she reaches the cleansed middle of the forest in a dream. From then on she traveled to warn against war as in preaching and to call for a peaceful life with nature. This culminates in an end in which it frees nature from its purpose by destroying the eggs in the grave. Only without this purpose planned by earlier people does it become true nature again, just as in Ursula LeGuin's Das Far Ufer, life cannot be life without death. Hairston compares the deed that prevents Nausicaä from suffering a fate similar to that of the former Emperor of Doruk, who had lofty goals, to the destruction of the ring by Frodo in Lord of the Rings . However, this ending was very controversial among the readers and Miyazaki himself remained unsure whether he had chosen the right ending.

publication

The manga by Miyazaki Hayao first appeared in issues 2/1982 (January 1982) to 3/1994 (February 1994) in the magazine Animage of the Tokuma Shoten publishing house in Japan. With four interruptions in the publication, a total of 59 chapters with 16 pages each came out. The chapters were summarized in seven anthologies ( Tankōbon ), the first of which appeared in July 1983. The other volumes were published at irregular intervals until December 1994. The edited volumes appeared in the larger wideban format, i.e. H. here with JIS B5 , in a format twice as large as usual for manga. In 1996 a new publication appeared as an even larger ( DIN A4 ) hardcover collector's edition ( Aizōban ) in two volumes, as well as a "Perfect Collection" from 1995 to 1997 in four volumes.

The series was published in German by Carlsen from 2001 to 2002 under the title Nausicaä from the Valley of the Wind . As in the Japanese original, the printing was done in a shade of brown, and the original Japanese onomatopoeia and the Japanese reading direction (from right to left) were retained. Volumes one through six have fold-out posters with illustrations and maps. A new edition followed in 2010. In the USA, the manga was first published by Viz Communications from 1988 to 1996, in monthly issues. In 1993 Nausicaä was first published in Italy, here by Granata Press in album format. This very early international release is mainly due to Miyazaki's fame as a director, who was also expected to make the manga a success. It was later published again in English by Viz Media in seven volumes and in almost the same format as the original edition, as well as in French by Glénat , Spanish by Planeta DeAgostini Comics and Italian by Planet Manga . Dutch, Portuguese, Korean, Cantonese and Chinese translations also exist.

more publishments

Movie

Soon after the series was published in Animage , many readers asked when the manga would be made into a film. Since the demand was so great, the publisher Tokuma Publishing financed a film adaptation directed by Hayao Miyazakis. Nausicaä from the Valley of the Winds hit Japanese cinemas in 1984. Since the plot of the manga was not very advanced, a separate ending was developed for this one. Nausicaä became successful in Japan and received attention outside of the country. Those involved in the production of the film then founded Studio Ghibli .

Artbook

In 1995 Tokuma Shoten published the first art book on the manga under the title Kaze no tani no Naushika Miyazaki Hayao Suisaiga-shū ( 風 の 谷 の ナ ウ シ シ 宮崎駿 水彩画 集 ) , which contains illustrations in watercolor, material about the film and interviews. It has also been translated into English and French. More art books on the film adaptation followed.

Glider

Replica of the Nausicaä glider

The protagonist, Nausicaä, owns a one-person glider with a jet engine called Möwe ( メ ー ヴ ェ , Mēve ). In 2003, the OpenSky Aircraft Project was initiated with the aim of making an airworthy replica of the glider. Two gliders without their own drive with the code names M01 and M02 were built. The first successful test flight with a jet-powered glider (registration number JX0122) took place on September 3, 2013.

reception

Nausicaä has been a huge hit since the Animage began publishing . In 1994 the manga was awarded the Japan Manga Artists Association Prize, and in 1995 the Seiun Prize , like the film ten years earlier, but here in the Best Comic category. By 2008 the anthologies had sold more than 12 million times. The long duration of the series sees Jonathan Clements as one of the reasons for the continued high popularity of the character and the film adaptation. The manga had a core fan scene for a long time, even if the film, which was seen by a lot more viewers, was long in the past.

In the English-speaking world, especially in the USA, the manga was successful, so it was reprinted several times. He was also generally positively received by the criticism. The work is described as a unique classic, which stands out from other mangas mainly due to the more European narrative style. The complexity and complexity of the plot is also praised. Stephen Betts emphasizes the alternation between dramatic action and subtle scenes, Paul Gravett calls the work an "ecological and spiritual science fiction story" that is conceived as a haunting warning to the people, and Jason Thompson describes Nausicaä as similarly gloomy later made Ghibli film The Last Fireflies . Miyazaki draws in magnificent, dense pictures with striking cross-hatching a previously unseen world that is only remotely reminiscent of that of Dune . The story breaks stereotypes and confronts idealism and realism, ending with the realization that there are no easy answers. In terms of complexity, the manga is most similar not to its film adaptation, but to Princess Mononoke , which was created after the completion of the Nausicaä manga. The style is more similar to that of European draftsmen than that of mangas. Frederik L. Schodt also sees the unusual nature of the manga in the fact that it was designed by an animator, not a comic artist. All elements of the plot are seamlessly interwoven: a future world that is reminiscent of the Middle Ages, but whose themes are relevant to today's world. As an epic, the series is comparable to Phoenix , Lord of the Rings or Star Wars .

Even German critics see themselves in Nausicaä with their filigree, detailed drawings more reminiscent of Moebius ' work than typical Manga styles. The complexity and thoughtfulness of the plot are praised and the ecological message of the work emphasized. The AnimaniA writes of a "epic masterpiece" and "epochal eco-fantasy work" and Christian Gasser lifts in the taz show that the manga despite "almost unbearable purity" of the main character is gloomy, pessimistic and complex. Andreas C. Knigge , like Schodt, does not shy away from comparison with the Lord of the Rings in the Frankfurter Rundschau .

literature

  • Frederik L. Schodt: Dreamland Japan. Writings On Modern Manga. (Collector Edition). Stone Bridge Press, Berkeley 2011, ISBN 978-1-880656-23-5 , pp. 275-282. (English)
  • Marc Hairston: The Reluctant Messiah: Miyazaki Hayao's Nausicaä of the Walley of the Wind Manga . In: Toni Johnson-Woods (Ed.): Manga - An Anthology of Global and Cultural Perspectives . Continuum Publishing, New York 2010, ISBN 978-0-8264-2938-4 , pp. 173-184.

Web links

Commons : Nausicaä from the Valley of the Winds  - Collection of images, videos and audio files

Individual evidence

  1. ↑ German Film Institute - DIF / German Film Museum & Museum of Applied Arts (Ed.): Ga-netchû! The Manga Anime Syndrome. Henschel Verlag, 2008, p. 99.
  2. ↑ a b c Paul Gravett (ed.), Andreas C. Knigge (transl.): 1001 comics that you should read before life is over. Zurich 2012, Edition Olms, p. 447.
  3. ↑ a b c Fred Patten: Watching Anime, Reading Manga - 25 Years of Essays and Reviews. Stone Bridge Press, 2004, p. 210 f.
  4. ↑ a b c d e f g h i j k Marc Hairston: The Reluctant Messiah: Miyazaki Hayao's Nausicaä of the Walley of the Wind Manga . In: Toni Johnson-Woods (Ed.): Manga - An Anthology of Global and Cultural Perspectives . Continuum Publishing, New York 2010, ISBN 978-0-8264-2938-4 , pp. 174-183 .
  5. ↑ a b c d e Schodt, 2011, pp. 276–279.
  6. ↑ a b c AnimaniA 10/2005, p. 20.
  7. ↑ a b Thomas Lamarre : The Anime Machine. A Media Theory of Animation . University of Minnesota Press, Minneapolis 2009, ISBN 978-0-8166-5154-2 , pp. 58 f .
  8. ↑ a b c d Schodt, 2011, pp. 280–282.
  9. ↑ Mio Bryce and Jason Davis: An Overview of Manga Genres . In: Toni Johnson-Woods (Ed.): Manga - An Anthology of Global and Cultural Perspectives . Continuum Publishing, New York 2010, ISBN 978-0-8264-2938-4 , pp. 45 f .
  10. ↑ Nausicaä from the Valley of the Winds. Volume 1: About Nausicaä. Carlsen Comics, 2010.
  11. ↑ 【特集】 コ ミ ッ ク ス で 一 気 読 み! ア ニ メ ー ジ ュ ・ コ ミ ッ ク ス ・ ワ イ ド 判 『風 の 谷 の ナ ウ シ カ』 . In: 絵 本 ナ ビ . Retrieved April 23, 2016 (Japanese).
  12. ↑ 風 の 谷 の ナ ウ シ カ 1 . (No longer available online.) Tokuma Shoten, archived from the original on October 18, 2012 ; Retrieved January 12, 2013 (Japanese).
  13. ↑ 風 の 谷 の ナ ウ シ カ 上 巻 . (No longer available online.) Tokuma Shoten, archived from the original on November 12, 2013 ; Retrieved January 12, 2013 (Japanese).
  14. ↑ Wendy Goldberg: The Manga Phenomenon in America . In: Toni Johnson-Woods (Ed.): Manga - An Anthology of Global and Cultural Perspectives . Continuum Publishing, New York 2010, ISBN 978-0-8264-2938-4 , pp. 283 .
  15. ^ Paul M. Malone: The Manga Publishing Scene in Europe . In: Toni Johnson-Woods (Ed.): Manga - An Anthology of Global and Cultural Perspectives . Continuum Publishing, New York 2010, ISBN 978-0-8264-2938-4 , pp. 321 .
  16. ↑ OpenSky. Retrieved September 9, 2013 (Japanese).
  17. ↑ ナ ウ シ カ の 飛行 機 、 飛 ん だ ネ ッ ト 上 で 動画 人 気 . (No longer available online.) September 3, 2013, archived from the original on October 29, 2013 ; Retrieved September 9, 2013 (Japanese).
  18. ↑ 本 屋 さ ん も ジ ブ リ で い っ ぱ い! 「崖 の 上 の ポ ニ ョ」 公開 記念 フ ェ ア 開 催 中 . (No longer available online.) Tokuma Shoten on July 17, 2008, archived from the original on June 19, 2013 ; Retrieved January 22, 2013 (Japanese).
  19. ↑ Jonathan Clements : Anime - A History . Palgrave Macmillan 2013. p. 165. ISBN 978-1-84457-390-5 .
  20. ^ Paul Gravett: Manga - Sixty Years of Japanese Comics. Egmont Manga and Anime, 2004, p. 115.
  21. ↑ Jason Thompson: Jason Thompson's House of 1000 Manga. Anime News Network, accessed March 16, 2018 .
  22. ↑ Jason Thompson: Manga. The Complete Guide . Del Rey, New York 2007, ISBN 978-0-345-48590-8 , pp. 238 f .
  23. ^ Nausicaä in the valley of the winds (press review). perlentaucher.de, accessed on January 21, 2013 .