to have caused a certain unease among American audiences." In the movie, Madame Suliman appears to have only sadistic motivations for creating conflict, and despite being omniscient, is unable to recognize the idiocy of the war until the very end of the story. This reflects Miyazaki's desire to show real-world conflicts as also being somewhat arbitrary and fueled by the desires of capricious people. Cavallaro stated that the depiction of the war carried "an unmistakable bitter taste." She also writes that the military presence and warfare was highlighted in the film. From the early concept sketches military elements were emphasized, and when the film shows the bustling commercial district the soldiers in uniforms stand out intentionally. The universe of Howl's Moving Castle is depicted as not having clear-cut villains and heroes; instead, the characters are complex, and even those that are initially portrayed in a negative light, such as Howl, are shown as capable of change. Matt Kimmich has stated, however, that the simplistic message of the film is that "war is bad." A scene where Sophie is standing in a beautiful field of flowers is interrupted by a war machine, "a finger accusing empire as the destroyer of peace." This portrayal is in strong contrast to other Miyazaki films like Princess Mononoke, which criticizes military conflict in a more nuanced manner. Andrew Osmond stated that "Howl's pure-hearted anti-war stance is presented as nihilism with no alternative as he fights forces from each side and becomes the worst terror of all," in the form of the monstrous bird. By transforming into the bird, Howl risks losing his own humanity; Calcifer comments at one point that he will soon not be able to return to human form. In contrast, Ashitaka in Princess Mononoke fights the demonic sickness with which he is afflicted, and tries to negotiate a peace between the two sides. Osmond states that both films also point out the limits of masculinity, as exemplified by Howl and Ashitaka. Flight and critique of modernity Like several other Miyazaki films, Howl's Moving Castle reflects the director's love of flying. Aircraft of inventive design appear in the film, and Howl frequently transforms into a bird. Miyazaki examines flight as a theme most directly in the later film The Wind Rises. Miyazaki stated that he was attracted to military aircraft as a child, but that he grew to detest them because of the