 According to the reviewer, Miyazaki believes that technological and industrial advancement has had a/an ______ effect on the force of nature:
The Japanese director, Hayao Miyazaki, who spent three years on Princess Mononoke and is reported to have done 70 percent of its paintings himself, seems to work from the outside in: to begin with the curve of the earth, then the mossy hills, the watercolor foliage, the nubby stones, the whorls on the wood, the meticulous carvings on a teacup. A view of nature that some would call "tree-hugging" doesn't feel softheaded when the trees are rendered in such brilliant and robust detail. He's both inside and outside the action: He knows when to rock your world and when to induce a state of sorrowful detachment. According to the New York Times , Toy Story animators screened reels of his work when their imaginations flagged, and writers for Star Trek named an alien species after one of his features. It isn't that Miyazaki's work is technically so dazzling in this age of digitized miracles; it's that everything is sublimely in proportion. The movie has a scope that makes Hollywood's homiletic, follow-your-dream fables look even more solipsistic. Miyazaki is after nothing less than the moment in our history (the film is set in the 14 th and 15 th centuries) when the power shifted from a "natural" world to one shaped by human technology. It's the beginning of what Bill McKibben called "the end of nature"--that is, when nature became no longer an autonomous, self-regulating force but one touched (and, in Miyazaki's view, poisoned) by human industry. On one hand, she's a benevolent industrialist who presides over a warmly matriarchal society; on the other, she wants to destroy the forest, harness its resources, and exterminate its animal deities--chiefly the Spirit of the Forest, a magnificent deer god whose touch brings instant life or death, and who transforms at dusk into the towering Night Walker. P rincess Mononoke builds to a full-scale war between humans and the animal kingdom--which does not, by the way, consist of your father's cartoon critters. In fact, the boars and apes have little patience with Ashitaka's call for nature and mankind to live together in harmony; they'd like to eat him. The wolf god, Moro, is slightly more sympathetic, but that's because her adopted "daughter," San (a k a Princess Mononoke), is human. San is first seen sucking a wound of her huge wolf mother, then, as the gore drips from her mouth, training her dark eyes on Ashitaka with feral hatred.
 Lethal
 Cannabilistic  Befuddling  Lethal  Solipsistic