Read the following passage and questions, then choose the right answer from options, the answer should be one of A, B, C, D.

<passage>:
Machines in the Garden In the animated ecological epic                    Princess Mononoke                , the camera travels over landscapes with a clear, steady gaze, like a Zen hang glider. The images have none of the comin'-at-ya pop-surrealism of American cartoons, many of which have characters that spring out of the frame like jack-in-the-boxes. 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. He captures the texture of light and the currents of air. You could almost settle down in this landscape. 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. But then, "soft" is not a word you can apply to Princess Mononoke , however pantheistic its worldview. The film, which is rated PG-13, is full of splattery carnage. If Miyazaki in long shot is contemplative, in close-up he's ferocious. 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. Watching Princess                 Mononoke --which has been dubbed to Disney/Miramax specifications by American and English stars but retains its two-hour-plus length, its gory beheadings, and its grim, near-apocalyptic finale--you can understand their worship. 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. The hero, Ashitaka, a warrior from the isolationist Emishi clan, is forced in the first scene to kill a marauding boar--a god turned into a demon (covered in roiling, corrosive worms) by an iron ball lodged in its body. Infected, destined to be consumed by--and to die of--rage, Ashitaka leaves his village in search of the iron ball's source. He discovers a fortress-cum-arms-manufacturing plant called Irontown, presided over by one of the most complex villains in modern film: the regal Lady Eboshi. 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. Her second appearance--a lone attack on Irontown to assassinate Lady Eboshi--is one of the movie's high points. It's Miyazaki's use of sound--and silence--that takes your breath away: the determined tap of the wolf princess's shoes as she scuttles over the fortress's rooftops It's a shame that the wolf princess warms up to Ashitaka and spends the rest of the film either saving him or being saved by him. She loses that punk-bitch allure. The voice of Claire Danes doesn't help. When Danes says, "I'd do anything to get you humans out of my forest," she sounds like a Valley Girl peeved over lack of parking spaces at the mall. (San needs a more ragged voice--I'd be interested to hear the original Japanese actress.) Billy Crudup is just as Disneyfied (Miramaxed?), but that doesn't hurt as much because Ashitaka is conceived from the start as a rather bland ingÃ©nu. Gillian Anderson's growling Moro sounds silly (she doesn't have the breath control), and the fey-hick tones of Billy Bob Thornton are too recognizable as the Akim Tamiroff-like mercenary, Jigo. But Minnie Driver--coming off a triumphantly dizzy Jane in Tarzan --once again provides a voice that the animators deserve. "Bring the strange-ah to me late-ah," she commands in sexy Martian Queen cadences that will stir the loins of Flash Gordon fans everywhere. "I would like to thank him puh-sonally." The overfamiliar voices nudge Princess Mononoke closer to its American counterparts--but not by a lot. There's always something wondrously strange. The "kodamas" are little tree spirits on doughboy bodies. They cock their trapezoidal dice heads and emit a series of clicks then their heads pop back with a conclusive rattle. Something about them seems just right I could watch them for hours. (Miyazaki limits their appearances to seconds--he doesn't wear out their mystery the way that, say, George Lucas would.) And no Hollywood animated feature would end with such a powerful vision of apocalypse, as the land is bestridden by a colossus dropping a thick, caustic, tarlike gel that recalls the post-Hiroshima "black rain." Can you take the kids? I think so. As Miyazaki said at a New York Film Festival press conference, "Children understand intuitively that the world they have been born into is not a blessed world." Princess Mononoke , at least, can tell them why.

<question>:
How is Miyazaki viewed by his contemporaries?

<options>:
A Miyazaki is homiletic.
B Miyazaki is an inspiration to artists of many genres.
C Miyazaki is contemplative and ferocious.
D Miyazaki is solipsistic.

<answer>:

B