Spirited Away: The Process of Maturity in Visual Design

By Ann Chen

In Spirited Away (2001), director Hayao Miyazaki applies two aspects of visual design to portray the development of Chihiro’s (Rumi Hiiragi) mentality: different lighting modes to carry out the details in makeup and colors and adjustment of the motions of the props in the animation. An essential character that follows Chihiro throughout her journey in the world of the spirits is Kaonashi (Akio Nakamura). His appearance throughout Chihiro’s adventure symbolizes her constantly changing mental state when facing helpless moments and decisions. Miyazaki’s design of Kaonashi’s body changes along with the complex colors and overwhelming props in the bathhouse scene contrast with the mild color tone and moving background in the train scene. The modification of these visual design elements illustrates the turmoil but eventual balance and peace Chihiro experiences in the new environment. 

Miyazaki’s use of high-key lighting in the bathhouse scene when Chihiro confronts the monstrous size of Kaonashi leaves space for the presentation of the makeup and setting, allowing the audience to view the imbalance of the picture directly. The equal ratio of the key and fill lights decreases the contrast between the brightness and darkness, lessening the emphasis on the characters’ outlining details and more on the whole picture. The absence of shadows attracts the audience’s focus solely on the characters’ size difference, demonstrating a full, bright image. The set up of the small body size of Chihiro on the left side of the screen and the gigantic Kaonashi on the other side, taking up half of the screen, constructs an asymmetrical comparison between the two characters. Kaonashi symbolizes Chihiro’s mental state after her arrival in the new environment of the world of the spirits. His enormous body size compared to Chihiro’s small, thin shape indicates that her mentality has reached its maximum stage of imbalance. Before Haku (Miyu Irino) was injured and Chihiro decided to set off on her trip to save him, she was simply a girl striving to survive in this new world by finding a job and resolving all of the challenges put in front of her. Under these circumstances, her mindset was impacted by her busy and complicated surroundings, not knowing what to do in order to save her parents or what to achieve in this new world. Kaonashi’s body size in the bath house scene illustrates the confusion Chihiro is encountering. Just as Kaonashi eats up everything that is in front of him, Chihiro takes in everything that was given to her, like problematic tasks and difficult customers. Given the space created by the lighting, the visual contents of the makeup and set design provide a distinct overview of the comparison, which helps the audience visualize the development of Chihiro’s state of mind. 

Chihiro’s psychological development also progresses through the character design and color tone carried out by the lighting on the train scene when Chihiro and Kaonashi are on their way to visit Zeniba (Mari Natsuki). Miyazaki utilizes the overhead lighting on the ceiling of the train to build up the mood of the atmosphere, constructing a surreal peacefulness and indicating the serenity Chihiro finds within herself. Compared to the opposing positions and body sizes from the bath house, this scene shows Kaonashi returning back to his original size and sitting next to Chihiro, accompanying her through the journey. The transformation of Kaonashi’s body size reflects the change in Chihiro’s mental state. The image of him sitting next to her on the same side of the train instead of being on opposite sides like in the bathhouse shows that after being at its maximum imbalance, Chihiro’s mentality now reaches equity: she knows what she has to do, which is to save Haku and her parents by asking for Zeniba’s help. The overhead lighting illustrated by Miyazaki shoots down and trails on the side, highlighting the positions of the characters as the shadows outline their figures. This emphasis draws the audience’s attention to the change between Chihiro and Kaonashi’s relationship. As yellow lighting usually suggests a warm, harmonious atmosphere, the color of the lighting in the train scene further presents Chihiro’s calmness and determination, differing from her previous status.  

Miyazaki also works with the design of the props and their collaboration with the lighting to support his portrayal of the mental state of Chihiro. The overwhelming props in the bathhouse scene add complexity to the colors, conveying the message of Chihiro’s chaotic mental status. Aside from the focus given to the body features between Kaonashi and Chihiro by the high-key lighting, Chihiro’s small figure being placed among all the leftover food and remnants of the destruction by Kaonashi portray how Chihiro is stuck in turmoil, unable to escape. She signed herself under the control of Yubaba (Mari Natsuki), making her slowly forget who she is. The excessive coloring in the scene reflects Chihiro’s complicated mindset, in which she is trying to appeal to everyone in the bathhouse such as Yubaba and Kamaji (Bunta Sugawara) just to stay and work. Furthermore, the used bowls and plates are scattered in the bathhouse, lying motionless on the floor. This refers to Chihiro’s current, desperate mentality as she is trapped in this completely new world, not having any method to save her parents from the curse, unable to leave. 

In the peaceful setting of the train scene, Miyazaki manages to make similar connections with the props in the bathhouse scene to explain the change in Chihiro’s mental status. The decision of going on the train with no return ticket to save Haku shows her determination to move forward, no matter how dangerous it might be. The train scene is also the first time Chihiro leaves the bathhouse, making her first move towards the unknown journey. Akin to the bountiful colors of the food presented in the bathhouse, supplementary colors are shown in the neon lights outside the windows, presenting another layer of growth in Chihiro’s maturity. The neon lights of the different shops are fancy and eye-catching, contradicting the yellow, warmish lights in the train. The color setup of the props in both scenes signifies the mindset and problems Chihiro is experiencing. The location of the lights on the outside of the train, unlike how the props were placed indoors in the bathhouse, implies how the mentality of Chihiro is changing. She no longer struggles under the commands of others but is capable of following her own path, disregards what others say, leaves the “noises” outside, and listens to her inner feelings. As the train passes among the neon lights, the motion further proposes the idea of how Chihiro’s character is moving on toward another adventure rather than staying in a static position like the stationary props lying on the floor of the bathhouse.

Miyazaki’s use of visual design in Spirited Away combines several elements to produce a detailed presentation of the settings and characters. By making Kaonashi the main reflection of Chihiro’s mental status, the consolidation of lighting, makeup, colors, and props describe the change in the main character’s mentality throughout her journey in the fanciful world of the spirits. From the bathhouse scene where Kaonashi’s makeup contrasts with Chihiro’s body size to the train scene where both characters are next to each other and equal, the change in lighting leads to the change in color tone, directing the audience’s attention from the whole picture in the former scene to the spotlight in the latter scene. The colors and movements of the props stress the moment of change Chihiro experiences in making her decision - stepping out from her bewilderment, taking charge of her situation, and trying to find a way to save those she cares about the most. Using the props to mirror Chihiro’s actions and Kaonashi’s existence to demonstrate the transition of the relationship between Chihiro and her mentality, the audience is able to witness Chihiro’s character growth from hesitant to confident.

Works Cited

Miyazaki, Hayao, director. Spirited Away. Studio Ghibli, 2001.