It's as contemplative and bizarre as everything else he's put out over his long career.

這與他漫長職業生涯中推出的其他作品一樣，充滿了沉思和怪異。

But there's one thing that sets The Boy and the Heron apart.

但是，有一件事讓《男孩與鷺鷥》與眾不同。

It perfectly illustrates Ghibli's biggest problem.

它完美地詮釋了吉卜力最大的問題。

Once Miyazaki retires, the future of the studio is in peril.

一旦宮崎駿退休，工作室的未來就岌岌可危。

Before we jump in, be sure to like this video and subscribe to Nerdstalgic if you're into video deep dives like this.

在我們開始之前，如果你喜歡這樣的深度視頻，請務必點贊這段視頻並訂閱 Nerdstalgic。

Born in Tokyo, Japan in 1941, Hayao Miyazaki and his family moved out to the safety of the Japanese countryside only a few years after his birth.

宮崎駿 1941 年出生於日本東京，出生後僅幾年就和家人搬到了安全的日本鄉下。

Growing up during the manga and animation boom of the late 1940s and '50s, Miyazaki had always been enamored with drawing.

宮崎駿成長於 20 世紀 40 年代末和 50 年代的漫畫和動畫熱潮時期，一直對繪畫情有獨鍾。

These fantastical worlds provided an escape from the brutal realities of life in a post-war Japan and the plight of those around him,

這些奇幻的世界讓人們從戰後殘酷的現實生活中解脫出來。

including his tuberculosis-stricken mother, whom he revered for the progressive mindset she maintained until her death decades later when Miyazaki was 42.

在宮崎駿 42 歲那年，他的母親因患肺結核去世，幾十年來，宮崎駿對母親一直保持著進步的心態，是以他對母親十分敬重。

Despite attending university for political science and economics, Miyazaki always knew he wanted to pursue a more artistic career.

儘管宮崎駿曾在大學攻讀政治學和經濟學，但他一直知道自己想要從事更藝術化的職業。

By 1963, he found himself doing just that.

到 1963 年，他發現自己正是在做這件事。

Employed as an animator at Toei Animation, Miyazaki contributed to many of the studio's films.

宮崎駿在東映動畫公司擔任動畫師，為該公司的許多影片做出了貢獻。

The most important of those contributions was his work on The Great Adventure of Horus, Prince of the Sun.

其中最重要的貢獻是他創作的《荷魯斯大冒險》、太陽王子

The 1968 movie was the directorial debut of Isao Takahata, and while it didn't exactly set the world on fire, it catalyzed a lifelong partnership between Takahata and Miyazaki.

這部 1968 年的電影是高畑勳（Isao Takahata）的導演處女作，雖然它並沒有讓世界為之瘋狂，但卻促成了高畑勳和宮崎駿的終生合作。

The pair left Toei in 1971 in search of other, less creatively restrictive endeavors.

1971 年，兩人離開東映，尋找其他創作限制較少的工作。

But it wasn't until 1984 that they saw real success when Takahata produced Miyazaki's Nausicaa of the Valley of the Wind.

但直到 1984 年，高畑勳製作了宮崎駿的《侏羅紀公園》，他們才獲得了真正的成功。風之谷的娜烏西卡

Based on a manga also created by Miyazaki, the animated film was a triumph in both its critical reception and box office returns.

這部動畫電影改編自宮崎駿的同名漫畫，在口碑和票房上都取得了巨大成功。

It was so successful that it led to the creation of their own animation studio.

這部電影非常成功，是以他們成立了自己的動畫工作室。

Along with producer and manga editor Toshio Suzuki, Takahata and Miyazaki founded Studio Ghibli on June 15, 1985.

與製片人兼漫畫編輯鈴木敏夫一起，高畑勳和宮崎駿成立了 Studio吉卜力於 1985 年 6 月 15 日出版。

While Valley of the Wind doesn't technically count as a Ghibli film, its theme and animation style would go on to inform everything the studio produced.

雖然《風之谷》嚴格來說不算吉卜力電影，但它的主題和動畫風格卻影響了吉卜力工作室的所有作品。

From My Neighbor Totoro, to Princess Mononoke, to Ponyo, to The Boy and the Heron, Miyazaki has had a hand in 13 Ghibli productions over the years, and each one is a treasure.

從《龍貓》到《夢幻公主》，從《波妞》到《少年與鷺》，宮崎駿多年來參與了 13 部吉卜力作品的製作，每一部都是珍品。

As a writer, director, animator, or all three, he has carried the weight of the studio on his shoulders since its inception.

作為編劇、導演、動畫師或三者兼備的人物，他從工作室成立之初就肩負著工作室的重任。

Borrowing heavily from his own life, Miyazaki created timeless stories that somehow feel deeply personal and widely relatable.

宮崎駿從自己的生活中汲取了大量素材，創作出了永恆的故事，這些故事給人一種深刻的個人感受和廣泛的親和力。

His creative vision was instrumental to the success of the studio and to the trajectory of the Japanese animation industry, so it shouldn't be too surprising that by the mid-2010s, he was exhausted.

他的創意理念對工作室的成功和日本動畫產業的發展都起到了重要作用，是以，到 2010 年代中期，他已經精疲力竭也就不足為奇了。

After many years of temporary leaves and false starts, he officially announced his retirement in 2013.

經過多年的暫時離開和虛假開始，他於 2013 年正式宣佈退休。

The expectation was that Takahata would be taking over the studio, but since we're living in the future, we know that plan didn't pan out.

大家都以為高畑勳會接管工作室，但既然我們生活在未來，我們知道這個計劃並沒有實現。

Takahata died of lung cancer in 2018, and Miyazaki has remained the face and creative force behind Studio Ghibli.

2018 年，高畑勳因肺癌去世，宮崎駿一直是吉卜力工作室的代言人和創作力量。

But that hasn't stopped him from looking for other mentees, and he didn't have to look far.

但這並沒有阻止他尋找其他的被指導者，而且他不用走太遠。

Miyazaki's son, Goro, has been working at the studio since the early 2000s.

宮崎駿的兒子五郎從 2000 年代初開始在工作室工作。

Originally a landscape architect, Goro was put into the family business after Toshio Suzuki asked him to help draft up storyboards on the then-upcoming Earthsea project.

五郎原本是一名園林設計師，在俊夫（Toshio）去世後，五郎開始經營家族企業。鈴木請他幫助起草當時即將推出的《地海》項目的故事板。

Thanks to his impressive ideas, Goro was offered the director's seat.

由於他的創意令人印象深刻，五郎獲得了導演的職位。

Unfortunately, his ideas didn't translate well to the final product.

遺憾的是，他的想法並沒有很好地轉化為最終產品。

2006's Tales from Earthsea was poorly received.

2006 年的《地海物語》反響平平。

He has since gone on to direct two other films for Ghibli, that being From Up on Poppy Hill and Earwig and the Witch.

此後，他又為吉卜力執導了另外兩部電影，即《罌粟山的上游》和《耳螋與女巫》。

None of his projects have been on equal footing with the movies his father has created, and Goro knows this.

他的所有項目都無法與他父親創作的電影相提並論。五郎知道這一點。

The crushing weight of his father's legacy is the reason he got into architecture in the first place.

父親留下的沉重遺產是他進入建築行業的首要原因。

In a 2013 LA Times interview, he confessed to the following,

在 2013 年《洛杉磯時報》的一次採訪中，他承認了以下事實、

"When I was in high school, I was thinking if I were to choose the same path as my father, I would never be able to reach the level he has attained. I thought it would be better to choose my own path."

在我上高中的時候，我就在想，如果我也選擇和父親一樣的道路，那該怎麼辦？我永遠也達不到他的水準。 我覺得還是選擇自己的路比較好。

The relationship between Goro and his father has always been strained.

五郎和父親的關係一直很緊張。

Hayao Miyazaki wasn't a particularly involved parent.

宮崎駿並不是一個特別投入的家長。

Once Goro was brought into Ghibli, his father became his biggest critic, creating friction behind the scenes and making Goro's foray into animation much more difficult.

五郎進入吉卜力後，他的父親成了他最大的批評者，在幕後製造摩擦，使五郎的動畫之路更加艱難。

An intense level of expectation almost certainly contributed to the poor quality of Tales from Earthsea.

強烈的期望幾乎可以肯定是造成《故事》品質低下的原因之一。地球海

Hayao, for his part, has tried to make amends over the years.

多年來，早苗一直在努力彌補。

More recently, he has praised Goro's projects, even though he has strong feelings against computer-generated animation.

最近，他對五郎的項目大加讚賞，儘管他對電腦動畫有強烈的牴觸情緒。

But as far back as 2008, he has been aware of their issues.

但早在 2008 年，他就已經意識到他們的問題。

Ponyo, the story of a little boy with an absent father who has to save the world, was intended as an apology to Goro for abandoning him.

小馬寶莉》講述的是一個父親不在身邊的小男孩拯救世界的故事，本意是向拋棄自己的五郎道歉。

Still, the father-son duo tends to butt heads.

不過，這對父子倆還是經常發生衝突。

Due to this tumultuous relationship and Goro's affinity for CGI, it's safe to say that he won't be the next head of Studio Ghibli.

由於這種動盪的關係以及五郎對 CGI 的喜愛，可以肯定地說，他不會成為吉卜力工作室的下一任掌門人。

Which means the elder Miyazaki is still working, and his most recent film might be the most personal thing he's ever created.

這意味著老宮崎駿仍在工作，而他最近的一部電影可能是他創作過的最個人化的作品。

The Boy and the Heron is essentially Hayao Miyazaki's autobiography.

少年與鷺》基本上是宮崎駿的自傳。

In some cases, this idea is literal, and in others, it's metaphorical.

在某些情況下，這種想法是字面的，而在另一些情況下，它是隱喻的。

Now, if you haven't seen The Boy and the Heron yet, you should pause this video here because we're about to spoil most of it.

現在，如果你還沒有看過《男孩與鷺鷥》，那麼你應該暫停這段視頻，因為我們即將劇透其中的大部分內容。

Our main character, Mahito, is born into war and uprooted to go live in the Japanese countryside, just like Miyazaki.

主角馬仁出生在戰爭年代，像宮崎駿一樣背井離鄉到日本農村生活。

Mahito has also just recently lost his mother, and must watch his aunt languish in bed for much of the movie, not unlike the way Miyazaki watched his own mother's health deteriorate.

馬仁最近也剛剛失去了母親，在影片的大部分時間裡，他必須看著姨媽在床上苟延殘喘，這與宮崎駿看著自己母親的健康狀況惡化的方式如出一轍。

Mahito's father, though protective of his son, is rarely around, just like Miyazaki and Goro.

麻仁的父親雖然很愛護兒子，但卻很少在兒子身邊，就像宮崎駿和五郎一樣。

Later on, as things take a turn for the surreal, we see representations of other important figures and moments in Miyazaki's life.

後來，隨著超現實風格的轉變，我們看到了宮崎駿生命中其他重要人物和時刻的形象。

The hard-headed heron may very well be a caricature of Iseo Takahata, and the young spirit of Mahito's mother is likely another homage to Miyazaki's mother and her optimistic worldview.

硬著頭皮的鷺鷥很可能是高畑充希的漫畫形象，而 "鷺鷥 "的年輕精神則是 "高畑充希"。麻仁的母親很可能是對宮崎駿母親及其樂觀世界觀的又一次致敬。

Most interestingly, Grand-Uncle, an architect, is tasked with stacking 13 blocks that represent the 13 movies Miyazaki has written and directed over his lifetime.

最有趣的是，建築師叔公的任務是堆砌 13 塊積木，這 13 塊積木代表宮崎駿一生中創作和執導的 13 部電影。

As he grows old, he can no longer maintain the block tower, and the world he built is crumbling around him much like Miyazaki's legacy as he primes himself for retirement.

隨著年齡的增長，他再也無法維持這座積木塔，他所建造的世界在他身邊搖搖欲墜，就像宮崎駿的遺產一樣，他為自己的退休生活做好了準備。

Or perhaps, much like Goro, if he chooses to take up his father's mantle and try to build upon his work.

或者，就像五郎一樣，如果他選擇繼承父親的衣缽，並努力在父親的工作基礎上再接再厲。

The movie tells us these blocks are infused with malice, and that Mahito may be able to make his own tower with fresh blocks, free of burden.

電影告訴我們，這些積木被注入了惡意，馬希託也許可以用新鮮的積木製作自己的高塔，沒有任何負擔。

So The Boy and the Heron gives us insight into Miyazaki's personal life and his feelings toward his family, but most importantly, for the sake of this video, tells us how he views his legacy.

是以，《男孩與鷺》讓我們瞭解了宮崎駿的個人生活和他對家人的感情，但最重要的是，就本視頻而言，它告訴了我們他如何看待自己的遺產。

For decades, Studio Ghibli's biggest issue has been the fact that there is no one capable of continuing Miyazaki's work.

幾十年來，吉卜力工作室最大的問題就是沒有人能夠繼承宮崎駿的作品。

There is no one to stack the blocks as expertly as he has, and nobody seems to know what to do about it.

沒有人能夠像他那樣熟練地堆砌積木，似乎也沒有人知道該怎麼做。

The Boy and the Heron very clearly reckons with this, but it also offers up a bittersweet solution.

男孩與鷺鷥》很清楚地意識到了這一點，但也提出了一個苦樂參半的解決方案。

The movie ends with Mahito refusing to take up the job of stacking the blocks.

影片最後，馬希託拒絕接受堆砌積木的工作。

The tower falls, and the world Grand-Uncle created is destroyed.

塔倒下了，叔祖父創造的世界也毀滅了。

Everyone gets a happy ending, aside from Grand-Uncle, who was swallowed up in the destruction.

除了被毀滅吞噬的叔公之外，每個人都得到了圓滿的結局。

If we're following through with an extended allegory, we have to assume that Miyazaki is telling us that his legacy should end the same way.

如果我們要追尋一個延伸的寓言，我們就必須假設宮崎駿在告訴我們，他的遺產也應該以同樣的方式結束。

The world Miyazaki created was magical and inarguably flawed.

宮崎駿創造的世界是神奇的，也是有缺陷的。

Instead of struggling to find someone to fill his shoes, it might be best to let this era of Studio Ghibli fall, and hope those involved find their happy endings.

與其費盡心思找人來填補他的空缺，不如讓吉卜力工作室的這個時代就此隕落，希望相關人員都能找到自己的幸福結局。

Well, that's all we have for you today.

好了，今天就到這裡。

Thanks so much for watching today's video all the way through.

非常感謝大家一直觀看今天的視頻。

If you liked what you saw, be sure to hit the thumbs up button and subscribe to Nerdstalgic for more content just like this.

如果您喜歡您所看到的內容，請務必點擊大拇指按鈕並訂閱 Nerdstalgic，以獲取更多類似內容。