GKids, the U.S. distributor for Studio Ghibli animations, has made a striking statement regarding the box office performance of the re-released classic, “Princess Mononoke.” This comment seems to reflect on the increasing presence of AI technology that seeks to mimic the studio’s iconic animation style.

A stunning 4K restoration of the beloved 1997 film, directed by renowned filmmaker Hayao Miyazaki, debuted in IMAX theaters across 330 locations on Thursday, accumulating an impressive $1.2 million in preview earnings ahead of its official opening. Chance Huskey, the Vice President of Distribution for GKids, commented, “In a time when technology tries to replicate humanity, we are thrilled that audiences value a theatrical experience that respects and celebrates Hayao Miyazaki and Studio Ghibli’s masterpiece in all its cinematic hand-drawn glory.”

This announcement coincides with the recent viral release of an AI tool by OpenAI that allows users to generate images in the style of Studio Ghibli. While many enthusiasts embraced the tool to transform their vacation photos and family portraits into whimsical Ghibli-esque artworks, it sparked a significant backlash from the animation community. Creators lament the threat of commodifying the intricate, labor-intensive art of animation through automated processes.

Hayao Miyazaki, who co-founded Studio Ghibli and is known for his intense dedication to hand-drawn animation, has made his feelings about AI-driven animation quite clear. In a notable 2016 meeting where he was introduced to an AI animation demo, Miyazaki expressed his disdain, stating, “I am utterly disgusted. If you really want to make creepy stuff you can go ahead and do it. I would never wish to incorporate this technology into my work at all,” further adding that he views such technology as “an insult to life itself.”

Illustrating the depth of Miyazaki's commitment to artistry, Akihiko Yamashita, who served as supervising animator on “Howl's Moving Castle,” explained in a recent interview with Variety how painstaking Miyazaki’s animation process is. “He is somebody who actually draws himself. From the layout to the storyboards — everything — he draws it himself. If a key animator submits work that doesn’t meet his expectations, he revises it personally before it goes out to the other animators.” Yamashita mentioned the staggering amount of drawings involved—an indication of just how laborious and detail-oriented Miyazaki’s creative process is.

As the cultural landscape navigates the intersection of technology and traditional art forms, the contrasting values of human creativity versus automated replication continue to emerge. Ghibli’s re-release of “Princess Mononoke” serves not only as a nostalgic revival but also as a critical reminder of the irreplaceable essence of artistry in animation. Will Miyazaki’s legacy endure in a world increasingly overshadowed by artificial intelligence? Only time will tell.