[icu]

I think Studio Ghibli's 'secret sauce' is the "Kishōtenketsu" or four act structure that makes Studio Ghibli special:

1. Ki (Introduction) - Sets up characters and situation.

2. Shō (Development) - Expands the characters and fleshes them out.

3. Ten (Twist) - Introduces a new element or change.

4. Ketsu (Conclusion) - Shows the outcome and connections between elements.

In contrast Western films usually follow a three act structure:

1. Setup - Introduces the hero, often stepping into the unknown, and establishes the initial conflict and sets the stage for the story.

2. Confrontation - The hero faces mounting challenges and conflicts, often involving threats to innocent people or community. Stakes are raised and the story progresses to a conclusion.

3. Resolution - The story culminates in a climatic confrontation between the hero and the villain. Some sacrifice is usually paid, the hero triumphs, justice is served and order returns to the community.

I grew up on Disney and the three act structure, so when I experienced Studio Ghibli for the first time with Princess Mononoke it felt very different, fresh and more mature. While I don't necessarily love all of Studio Ghibli's catalogue, I do treasure Princess Mononoke, Kiki's Delivery Service, and Porco Rosso.

In the case of Nausicaä of the Valley of the Wind, I highly recommend reading the manga over watching the Studio Ghibli anime.

[kouru225]

Miyazaki stated that he was trying to break everything he knows about story structure with Mononoke. Last time I saw it, it became clear to me that it’s almost impossible to fit into any story structure and it’s just one giant crescendo to the end. More like a minimalist music piece than anything.

[sleepybrett]

Mononoke and Spirited Away specifically feel like they have several 'extra' acts that make them seem longer than they are. Though looking back at both I'm not sure what I'd cut.

[chuckadams]

They look like the same steps to me, with steps 1 and 2 both being Setup. The dramatic arc is fairly universal, and Miyazaki is hardly an exotic unfamiliar with western culture.

[Hemospectrum]

GP's lists fall somewhat short of explaining the two most important differences:

1. Kishoutenketsu prefers to introduce the primary conflict as late as possible, whereas any writer in Hollywood will try to introduce it as early as possible.

2. Kishoutenketsu prefers to frame the primary conflict as a difference in perspective that must be bridged from both sides, rather than outright competition between irreconcilable goals.

These differences aren't fundamental (you can find all the counterexamples you like, especially if you cite movies with twist endings) but they are encouraged by style guides and deliberately (or even subconsciously) prioritized by writers, to varying effect.