In this paper, I argue that Takahata’s works possess aesthetic qualities that have not been addressed sufficiently, partly due to the lack of an overall recurring theme and specific visual traits that allow viewers to easily identify with the characters. The impact of Takahata’s work rests on their narrative meaning rather than centering on the personalities and visual charm of the key characters. The meaning stays within the animation itself, rather than branching out through merchandising or fan activity. Takahata contested the way viewers often engage with the animation medium in a popular context. He went beyond the light-hearted genre framework to produce narratives that do not lead to happy, emotionally satisfying endings. Neither did he glorify the enchanted transformative potential of the animatic image. To address his aesthetic qualities in context and examine his construction of character and their worlds, this paper analyzes his works, including Heidi, Girl of the Alps (1974), The Tale of Princess Kaguya (2013), Grave of the Fireflies (1988), and Only Yesterday (1991). Through close examination of selected sequences, Takahata’s challenge to the norms of anime structure and aesthetics are shown to be a part of his creative production process that resulted in the distinctive impact of his work.