Shōjo manga - Knowledge

754: 796: 732: 243: 3138: 1201: 6661: 2787: 2449: 486: 1666: 40: 3758:, readers are invited to submit their opinions on current manga serials through letters and polls. Often, a random survey respondent will receive a prize. Publishers use insights collected from these polls to change plotlines, highlight a secondary character, or end a series that is unpopular. These polls are also used when determining which manga to adapt into derivative works, such as anime and video games. 6649: 1906: 3277: 2961:("panel encapsulations"), refers to the use of layouts that break from the traditional comic approach of a series of sequential boxes. In this style, elements extend beyond the borders of panels, or the panel border is removed entirely. Intervals between panels are also were modified, with sequential panels that depicted the same event from different angles or perspectives. Second is 184:, the emergence and eventual dominance of female artists beginning in the 1960s and 1970s led to significant creative innovation and the development of more graphically and thematically complex stories. Since the 1980s, the category has developed stylistically while simultaneously branching into different and overlapping subgenres. 1185:. To satisfy the need for weekly editorial content, magazines introduced contests in which readers could submit their manga for publication; female artists dominated these contests, and many amateur artists who emerged from these contests went on to have professional manga careers. The first artist to emerge from this system was 3049:

manga artists, especially Macoto Takahashi. Takahashi incorporated Nakahara's style of drawing eyes into his own manga – large, doll-like eyes with highlights and long lashes – while gradually introducing his own stylistic elements, such as the use of dots, stars, and multiple colors to represent the

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In addition to survey responses, letters from readers are used as a means to gauge audience opinion and develop a sense of community. These letters are sent to publishers, but addressed directly at the authors themselves. The content of these letters ranges from questions for the author, anecdotes

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Japanese society also recurs as a motif, such as a curse or vengeful ghost that originates from a murdered woman or a victim of harassment. In these stories, the curse is typically resolved by showing compassion for the ghost, rather than trying to destroy it. Stories about Japanese urban legends

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manga magazines of the era: in addition to publishing manga by renowned female authors, it featured contributions from celebrities in media, illustration, and design; the magazine also operated a website that published music and additional stories. The magazine was a commercial failure and folded

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manga reflect the fashion trends of the era in which the series was produced. Nevertheless, some common traits recur across eras: clothing adorned with ribbons or frills, and outfits that are especially feminine and child-like. Cute and ostentatious outfits are generally more common than outfits

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manga has continued to develop stylistically while simultaneously branching out into different but overlapping subgenres. This development began with a shift in characters and settings: while foreign characters and settings were common in the immediate post-war period, stories began to be set in

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With the end of the war, Japan entered into a period of large-scale artistic production in cinema, radio, and publishing. Fiction novels enjoyed a surge of popularity, while the number of published magazines grew from 41 in 1945 to 400 by 1952; the number of publishing companies grew from 300 to

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manga, with features such as elongated eyelashes, the use of concentric circles of different shades, and the deformation of the iris to create a glittering effect. This focus on hyper-detailed eyes led manga artists to frame panels on close-ups of faces, to draw attention to the emotions being

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manga has evolved in tandem with the evolution of Japanese society, especially in terms of the place of women, the role of the family, and romantic relationships. She notes how family dramas with a focus on mother-daughter relationships were popular in the 1960s, while stories about romantic

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manga was able to develop this distinct style because the category was seen as marginal by editors, who consequently allowed artists to draw stories in whatever manner they wished so long as reader response remained positive. Stylistic elements that were developed by the Year 24 Group became

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in 1937, censorship and paper rationing hindered the development of magazines, which either folded or were forced to merge to survive. The magazines that continued to published were reduced to a few pages of black and white text, with few or no illustrations. 41 total magazines remained in

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from their daily lives, and drawings; some letters are published in the magazines themselves. Meetings between readers and authors also occur regularly. These may be organized by the publisher, who select a group of readers to bring to their offices on a prize trip, or as a

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as a genre that permits its audience to avoid adult female sexuality by distancing sex from their own bodies, as well as creating fluidity in perceptions of gender and sexuality by rejecting socially mandated gender roles. Parallels have also been drawn between

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manga began to focus on adolescents over children beginning in the 1970s, romantic relationships generally become more important than family relationships; these romantic relationships are most often heterosexual, though they are occasionally homosexual.

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publishing, where publishers survived market shifts away from book rental by offering collected volumes of manga that had not been previously serialized in magazines. Hibari Shōbo and Rippū Shōbo were among the publishing companies that began to publish

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magazines continued their focus on fashion by publishing works featuring characters in elaborate outfits, or through promotional campaigns that offered clothes worn by manga characters as prizes. Notable manga artists associated with this trend include

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before transitioning into drawing manga themselves. Rather than following Matsumoto's trajectory of moving away from the visual conventions of lyrical painting, Tani and Takahashi imported them into their manga, with works defined by a strong sense of

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manga was published in general magazines aimed at teenagers in the early 1900s and began a period of creative development in the 1950s as it began to formalize as a distinct category of manga. While the category was initially dominated by male

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in the middle of sentences, the lattermost of which were scattered across pages in a manner resembling verses of poetry. Prose is accompanied by illustrations by lyrical painters, which are characterized by a sentimental style influenced by

417:, an audience that emerged in the early 20th century and which has grown and diversified over time. While the style and tone of the stories published in these magazines varies across publications and decades, an invariant characteristic of 1172:

By the 1960s, the ubiquity of television in Japanese households and the rise of serialized television programs emerged as a significant competitor to magazines. Many monthly magazines folded and were replaced by weekly magazines, such as

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such as stickers, posters, and pens decorated with manga characters, are also used to attract readers, with the items placed in plastic bags that are attached to the magazines themselves. Larger novelty items are occasionally offered by

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Manga publishers often discover new authors through their readership, who are actively encouraged to submit stories and receive feedback from the magazine's editors. This system of talent discovery and development is not unique to

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magazines typically have readers and artists who are of a similar age. By developing a system the authors of manga in a magazine were formerly readers, the distance between the two is reduced and a sense of community is fostered.

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magazines, where artists such as Jun'ichi Nakahara illustrated fashion catalogs that included written instructions on how readers could make the depicted garments themselves. As manga grew in popularity in the post-war period,

3708:. To encourage repeat readership, magazines seek to foster a sense of community with their readership; this is especially true of magazines aimed at an audience of younger reader aged ten or younger, sometimes referred to as 3465:

manga; for example, stories where mothers take on the appearance of demons or ghosts, daughters of demons who are themselves transformed into demons, impious pregnancies resulting from incestuous rape, and mothers who commit

507:. While these magazines were ostensibly unisex, in practice the editorial content of these magazines largely concerned topics that were of interest to boys. Faced with growing demand for magazines aimed at girls, the first 314:(1868–1912) of girls and young women at the age between childhood and marriage. Generally this referred to school-aged adolescents, with whom an image of "innocence, purity and cuteness" was associated; this contrasted the 814:

roughly 2000 during the same period. While not all of theses magazines and companies published children's literature, publications for children constituted a significant percentage of publishing output. Contemporaneously,

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manga's authorship and readership, as the category shifted from being created primarily by men for an audience of young girls, to being created by women for an audience of teenaged and young adult women; since the 1970s,

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manga, with the primary distinguishing exception of a focus on adult protagonists rather than teenaged or younger protagonists. Sexuality is also depicted more openly, though these depictions in turn came to influence

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representations of fashion between works that depicted realistic everyday fashions, and those that depicted fantastical outfits that could be cosplayed. The fashion world itself began to take an interest in

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stories, with a focus on doomed relationships that end in separation or death, as representing a fear of female sexuality on the part of female readers, which she sees as also explaining the interest of

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manga gained and maintained popularity by depicting scenarios that allow female readers to freely explore feelings of jealousy, anger, and frustration, which are typically not depicted in mainstream

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stories of this era were typically focused on tragic and passive heroines who bravely endured adversity. Beside Toshiko Ueda, several female manga artists started working during the 1950s, notably

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manga, with the distinguishing exception of the age of the protagonists, who are typically in their late teens and early twenties. Teens' love magazines proliferated at smaller publishers, such as

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magazines, in some case prompting accusations of obscenity and lawsuits by citizens' associations. These publishing houses folded by the end of the 1980s as they became replaced with mainstream

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similarly created manga based on American romantic comedy films, or which were broadly inspired by western actresses and models and featured western settings. Contemporaneously, artists such as

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layouts, highly detailed eyes) and narrative (a focus on human relations and emotions; characters that defy traditional roles and stereotypes surrounding gender and sexuality; depictions of

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manga magazine operations in response, folding certain magazines and launching new publications. The majority of the newly launched magazines during this period were commercial failures.

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manga focused on the ordinary lives of teenaged Japanese protagonists. The genre waned in popularity by the end of the decade, but its narrative and visual style made a lasting impact on

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between girls. By the post-war period, these works had largely declined in popularity in favor of works focused on male-female romances. Yukari Fujimoto posits that as the readership of

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began developing new manga for their formerly child-aged readers who were now adults. Although their attempts were commercially unsuccessful, with short-lived magazines such as

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represents the synthesis of these two archetypes, wherein a princess who is raised as a prince comes to face her enemies in combat. These archetypes were generally popular in

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manga, particularly those of friendship, affection, and love. Narratives often focus on the interiority of their protagonists, wherein their emotions, feelings, memories, and

1269:(literally "love comedy") manga, focused on protagonists who were ordinary Japanese teenaged girls, with a narrative focus on themes of friendship, family, school, and love. 3766:

organized by schools. In both cases, these visits strengthen the bond between reader and publisher, while also providing the publisher with insights into their readership.

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manga: the imaginative use of flowers, ribbons, fluttering dresses, girls with large sparkling eyes, and words that string across the page, which Honda describes using the

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manga emerged as the most popular category of manga among English-language readers. Nevertheless, every major English-language manga publisher maintains a robust line of

1038:. From this combination of light-hearted stories inherited from the pre-war era, dramatic narratives introduced by the Tokiwa-sō, and cerebral works developed on the 6307: 3783:

magazines develop this system from a young age with the aim of having adult artists one day publish manga in the magazines they read when they were children, while

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expressed by the eyes of the characters. Eyes also came to serve as a marker of gender, with female characters typically having larger eyes than male characters.

3096:, which refers to interpersonal relationships between characters and the interaction of their emotions. Relationships between characters are central to most 2617:, which distinguished themselves by publishing a diversity of narrative genres such as fantasy and science fiction, saw new competitors emerge in the 2000s: 2797: 2576:, all of which were alternately adapted into films, television dramas, anime series, video games, and series-branded music CDs. Older manga series, such as 1169:

manga creators, the editorial departments of magazines noted that their works were more popular with female readers than works created by their male peers.

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in 2007. Magazines in this category publish manga aimed at a male readership, but which use a visual style that draws significantly from the aesthetics of

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manga were including by covering characters having sex with bed sheets to circumvent codes that specifically only forbade depictions of genitals and

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manga. This shift was brought about in part by literalist interpretations of manga censorship codes: for example, the first sex scenes in

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manga, though the practice originates in pre-war girls' magazines, where female readers were invited to submit novels and short stories.

3670: 1493: 6506: 1415:, and numerous others. Works of the Year 24 Group focused on the internal psychology of their characters, and introduced new genres to 1344:

declined, so too did their manga anthologies; most folded, with their artists and writers typically migrating to manga magazines. Most

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Fraser, Lucy; Monden, Masafumi (2017). "The Maiden Switch: New Possibilities for Understanding Japanese Shōjo Manga (Girls' Comics)".

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manga found early success by targeting a then-unreached audience of female comic book readers; English translations of titles such as

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manga, particularly the teens' love genre, had largely abandoned printed formats in favor of the Internet, in response to the rise of

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manga conventions emerged in the 1980s, particularly in the horror and erotica genres. This occurred in the context of the decline of

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as the first manga magazine aimed at an audience of adult women. It was quickly followed by a wave of similar magazines, including

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manga took the form of short, humorous stories with ordinary settings (such as schools and neighborhoods) and which often featured

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of the protagonist. Narration is often punctuated with non-verbal elements that express the feelings of the protagonists; writer

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manga were created by the same, mostly male, artists. During the pre-war period, these artists were especially influenced by the

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were particularly popular in the 1970s, and typically focus on stories that were popular among Japanese teenaged girls, such as

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manga; large eyes have been drawn in manga since the early 20th century, notably by Osamu Tezuka, who drew inspiration from the

884:(1953–1956) by Tezuka is credited with introducing this type of narrative, along with Tezuka's innovative and dynamic style, to 2997:

manga is its depiction of characters with very large, detailed eyes that have star-shaped highlights, sometimes referred to as

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manga in the 1970s, but its portrayals of gay male relationships used and further developed bisexual themes already extant in

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manga was almost invariably simple and conventional love stories, over time and through the works of manga artists such as

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manga inherited some of these influences, the unique style that emerged at the end of the 1950s which came to distinguish

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manga, which itself began to depict sexuality more openly in the 1990s. Several manga magazines blur distinctions between

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manga: a term describing an expression of cuteness focused on feelings of affection and excitement that is distinct from

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manga; the series was groundbreaking in its portrayal of gender and sexuality, and was influential in its depiction of

566:"girls' novel", a term for illustrated novels and poems aimed at an audience of girls) and only incidentally on manga. 6698: 320:("modern girl", young unmarried working women), with whom a more self-determined and sexualized image was associated. 6629: 6515: 5920: 5458: 3159:

Characters that defy traditional roles and stereotypes surrounding gender and sexuality have been a central motif of

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to create more languid and relaxed sequences. Oftentimes in compositions without panel borders, text is removed from

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protagonists in fantastical environments, and which deliberately played with the visual and narrative conventions of

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anthologies beginning to publish horror manga, laying the groundwork for what would become a significant subgenre of

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continued to be associated with an image of youth and innocence after the end of the Meiji era, but took on a strong

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manga, such as the use of non-rigid panel layouts and highly detailed eyes that express the emotions of characters.

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Ueno, Chizuko (1989). "Jendaaresu waarudo no "ai" no jikken" ("Experimenting with "love" in a Genderless World")".

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over printed of entertainment, and the manga market generally had slowed. Many major publishers restructured their

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occurs, the most common medium of exchange is dialogue and conversation, as opposed to physical combat typical in

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magazines had in effect became manga magazines, and several companies launched magazines dedicated exclusively to

3446:. These works are female-focused, where both the human characters and supernatural beings are typically women or 3124:

relationships became more popular in the 1970s, and stories about father figures became popular in the 1990s. As

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magazines now specialized in manga, and no longer published their previous prose literature and articles. As the

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artistic conventions by depicting female characters who were ugly, frightening, and grotesque in his 1965 series

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manga were also heavily influenced by the illustrations published in these magazines, with works by illustrators

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manga is primarily female and heterosexual, female homosexuality is rarely addressed. Fujimoto sees the largely

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and spread across the page, especially in instances where the dialogue communicates the thoughts, feelings, and

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manga of the 1990s depicted emotional bonds between women as stronger than the bonds between a man and a woman.

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manga through their focus on stories of love and friendship. Among the most significant authors of this era was

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followed this trend with the appearance of stories centered on the careers of clothing designers. Manga in the

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Mother-daughter conflict, as well as the fear or rejection of motherhood, appear as major motif in paranormal

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manga became more graphically and thematically complex, as it came to reflect the prevailing attitudes of the

1128:. Though some creators (notably Tezuka, Ishinomori, and Umezu) created works focused on active heroines, most 1006:

magazines began to increase. For example, while manga represented only 20 percent of the editorial content of

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manga is typically defined as manga marketed to an audience of adolescent girls and young adult women, though

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attributes to advancements in gender equality marked by the enshrinement of the equality of the sexes in the

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manga artists were women, and the category had developed a unique visual identity that distinguished it from

3244:. The evolution of these representations of gender in sexuality occurred in tandem with the feminization of 1395:. This movement towards narratively complex stories is associated with the emergence of a new generation of 3104:

are expressed visually through techniques such as panel arrangement and the rendering of eye details. When

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influenced the development of female characters "who fight to protect the destiny of a community", such as

1319:(1968–1970), began to depict physically active rather than passive female protagonists. In 1969, the first 1002:

As manga became generally more popular over the course of the decade, the proportion of manga published by

270: 6209: 3054:– one of the most popular manga artists at the time – which led to its widespread adoption by mainstream 2377: 2649:(male-male romance) fans by publishing manga that closely resembled the visual style of anime, featured 670:

culture and the artistic culture of the United States. Having grown tired of depicting typical innocent

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Fujimoto, Yukari (2014). "Where Is My Place in the World? Early Shōjo Manga Portrayals of Lesbianism".

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By the end of the 1960s, sexuality – both heterosexual and homosexual – began to be freely depicted in

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manga has been a focus on human relations and the emotions that accompany them. Some critics, such as

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subjects in his illustrations, he pivoted to drawing manga in the 1920s, where he was able to depict

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connotation beginning in the 1980s as it developed into a distinct marketing category for girls; the

285:(少女) translates literally to "girl", but in common Japanese usage girls are generally referred to as 6653: 6315:

McLelland, Mark (2010). "The Beautiful Boy in Japanese Girl's Manga". In Johnson-Woods, Toni (ed.).

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and a focus on the emotions rather than the actions of their protagonists. Takahashi's manga series

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stores) experienced a boom in popularity. These stores rented books for a modest fee of five to ten

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and teens' love manga. The genre gradually migrated from small publishers to larger ones, such as

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developed the style significantly. According to manga artist, academic, and Year 24 Group member

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became best-selling books. The English manga market crashed in the late 2000s as a result of the

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manga throughout the decade attracted the attention of manga critics, who had previously ignored

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protagonists. These works began to develop in the 1930s through the influence of artists such as

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Takeuchi, Kayo (October 2010). "The Genealogy of Japanese Shōjo Manga (Girls' Comics) Studies".

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In the 2000s, publishers who produced manga aimed at a female audience faced a changing market:

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manga, these conventions have changed and evolved over time, and none are strictly exclusive to

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manga. This archetype has two primary variants: the "fighting girl" (as in Katsuji Matsumoto's

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Natsume, Fusanosuke; Holt, Jon; Teppei, Fukuda (2020). "Panel Configurations in Shōjo Manga".

3209:, which emerged in tandem with the militarization of Japan in the 1930s, while an emphasis on 155:

manga originated from Japanese girls' culture at the turn of the twentieth century, primarily

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manga, and maintained this dominant position in the decades that followed. The innovation of

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identifies and names the three major aspects of panel construction that came to distinguish

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Japan more frequently as the country began to re-assert an independent national identity.

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and tomboys more freely. His style, likely influenced by American comic book artists like

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Masuda, Nozomi (2020). "少女マンガ黎明期における作家と編集者:「少女マンガを語る会」記録より (Authors and Publishers Behind

856:. During this period, Matsumoto developed his art into a style that began to resemble the 800: 209:

manga. Nonetheless, several concepts and themes have come to be typically associated with

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manga had entered its "golden age". This critical attention attracted a male audience to

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and American cinema of the era, introduced sophisticated and avant-garde innovations in

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market is segmented by target readership, with the major categories divided by gender (

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emerged in tandem with the militarization of Japan in the 1930s, while an emphasis on

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by Motoko Fujita, an autobiography chronicling the author's pregnancy at the age of 43

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culture, and laid the foundations for what would become the major recurrent themes of

451:. This definition accounts for works that exist outside the boundaries of traditional 6625: 6571:(38). Josai University Educational Corporation, University of Hawai'i Press: 81–112. 6553: 6534: 6511: 6490: 6483:

Straight from the Heart: Gender, Intimacy, and the Cultural Production of Shōjo Manga

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Age of Shojo: The Emergence, Evolution, and Power of Japanese Girls' Magazine Fiction

5935: 5916: 5897: 5878: 5859: 5454: 3721:. Magazines seek to appeal to this young readership by publishing content related to 3666: 3443: 3015: 2739: 2582: 2340: 2308: 2047: 2010: 1849: 1826: 1816:

publishers was typically more gory and grotesque than the horror manga of mainstream

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manga artists who had been active prior to the war returned to the medium, including

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targeting an audience of adolescent females and young adult women. It is, along with

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manga. While works of the Year 24 Group were defined by their narrative complexity,

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featuring female figures with slender bodies, fashionable clothing, and large eyes.

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manga: finer and lighter lines, beautiful faces that bordered on exaggeration, and

1432: 1290: 1277: 1186: 940:-influenced style eclipsing Tezuka's dynamic style as the dominant visual style of 912: 835: 652: 644: 6069:(1991). "A Life-Size Mirror : Women's Self-Representation in Girls' Comics". 6049:(Current State of Yuri Culture). Translated by Shiina, Yukari. Seidosha: 143–147. 6025: 3583: 3372:

culture and female-female romance dates to the pre-war period with stories in the

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International Perspectives on Shojo and Shojo Manga The Influence of Girl Culture

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artists who emerged in the 1960s, while in the 1970s artists associated with the

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and has been published across manga demographic groups. A relationship between

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Fujimoto, Yukari (2012). "Takahashi Macoto: The Origin of Shōjo Manga Style".

3188:, where a girl takes up arms to defend the peasants of her village), and the " 3045:

Contemporaneously, the art of Jun'ichi Nakahara was significantly influencing

2518:, which had previously not published manga, entered the manga market with the 1229:

artists. Hideko Mizuno was the first to introduce romantic comedy elements to

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aesthetic that would emerge several decades later. New manga artists, such as

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out of jealousy or insanity. The social pressure and oppression borne from a

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manga of the 1960s was influenced by American romantic comedy films, such as

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manga of this period was divided by publishers into three major categories:

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in the mid-1950s, by the end of the decade it composed more than half. Many

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manga does not refer to a specific style or a genre, but rather indicates a

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Women's Manga in Asia and Beyond: Uniting Different Cultures and Identities

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University of Trier Department of Linguistics, Literature and Media Studies

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manga does not refer to a specific style or a genre but rather indicates a

181: 137:(targeting adult women), one of the primary editorial categories of manga. 120: 6347: 6177: 6148: 1804:

horror manga in this format, typically as volumes that contained a mix of

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is characterized by a "flowery and emotional" prose style focused on the

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manga magazines remained male-dominated. Over the course of the decade,

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at Shueisha. This category of manga, referred to as "ladies' comics" or

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Ogi, Fusami; Suter, Rebecca; Nagaike, Kazumi; Lent, John, eds. (2019).

6131: 3763: 3735: 3645:

manga in the 2000s, with fashion shows showcasing pieces influenced by

3522: 3480: 3241: 2770: 2425: 2330: 2057: 2052: 1698: 1560: 1552: 1547:

By the end of the 1970s, the three largest publishing houses in Japan (

1404: 1364: 874:

manga: the "story manga", which depicted multi-chapter narratives with

683: 224: 6286: 5932:

Girls and Their Comics: Finding a Female Voice in Comic Book Narrative

5191: 5189: 5187: 2723:

manga were first published in North America in the late 1990s. As the

1880: 1112:

manga was a genre that was created primarily by male authors, notably

6621: 6550:

Japanese Visual Culture: Explorations in the World of Manga and Anime

6548:

Takahashi, Mizuki (2008). "Opening the Closed World of Shōjo Manga".

4297:

Manga Come From? Testimonies on the Establishment of the Genre].

4129: 4127: 4085: 4083: 4081: 4079: 4077: 4064: 4062: 3679:, who is often invoked by Japanese manga, magazines and brands – and 3605: 3484: 3206: 3144: 2823: 2786: 2762: 2553: 2289: 2183: 1769: 1612:

manga became concerned with self-fulfillment. She intimates that the

1537: 1360: 1233:

manga through her manga adaptions of American romantic comedy films:

1024: 816: 498: 311: 6172:. Translated by Fraser, Lucy. University of Minnesota Press: 25–42. 5852:

Shōjo Across Media: Exploring "Girl" Practices in Contemporary Japan

5699: 2539:, where works are published across multiple mediums simultaneously. 5394: 5184: 4803: 3738:

in exchange for coupons that readers can clip out of the magazine.

3529: 3467: 3034:

in the mid-1950s, though these details generally trended towards a

2867: 2225: 2026: 1757: 1613: 1556: 1548: 1450:

manga during the 1970s. Takemiya and Hagio originated a new genre,

1302:

artists depicting darker and taboo subject material in their work.

1029: 1019: 904: 691: 170: 4273: 4271: 4269: 4124: 4112: 4074: 4059: 3434: 3422: 2448: 1665: 987: 981: 39: 6246:

Beautiful and Innocent: Female Same-Sex Intimacy in the Japanese

3617: 3560:

aesthetic was later adopted by women's fashion magazines such as

3385: 3213:

arose from the popularity of the cross-dressing actresses of the

2881: 2411: 2335: 2192: 2040: 1692: 1647: 1428: 899:

market developed its own distinct style through the influence of

515:

magazines came to target boys exclusively. The first exclusively

6527:

Passionate Friendship: The Aesthetics of Girl's Culture in Japan

5723: 5711: 5216: 3151:

came from the popularity of the cross-dressing actresses of the

3050:

iris. At the end of the 1950s, Takahashi's style was adopted by

2641:

in 2010. These new magazines explicitly targeted an audience of

659:, though they were significantly less common than male artists. 6648: 5875:

Le manga au féminin: Articles, chroniques, entretiens et mangas

5689: 5687: 5665: 5375: 4266: 3680: 3548: 3164: 2769:

manga under its Shojo Beat imprint, which it also published as

2671: 2503:

manga had declined in popularity, girls increasingly preferred

2393: 2174: 2017: 1955: 1950: 1516: 991:. Its success with female readers resulted in other generalist 878:

rather than a succession of essentially independent vignettes.

858: 636: 438:, emphasize certain graphic elements when attempting to define 310:

is used to designate a social category that emerged during the

81: 5850:

Berndt, Jaqueline; Nagaike, Kazumi; Ogi, Fusami, eds. (2019).

3902: 3624:

manga in the 1990s, leading to the development of titles like

2727:

market was largely oriented towards male readers at the time,

2531:

after six issues, but came to be emblematic of a new trend in

1824:

manga magazines dedicated to the horror genre, beginning with

5661:"The Intimate Relationship between "Shōjo" Manga and Fashion" 5328: 5326: 4405: 4210: 3722: 3632: 3562: 3528:

By the 1970s, consumer trends shifted from making clothes to

3458:

manga focused on cute characters and melodramatic scenarios.

3023: 2642: 2384: 2347: 2218: 1897: 1893: 1575:

manga or regarded it as unserious, but who now declared that

1034: 362: 332: 107: 5684: 5511: 5005: 5003: 4988: 4200: 4198: 3851: 3815: 3570:. Some women's fashion magazines began to publish their own 3276: 2659:

manga. In sum, the magazines represented the integration of

1905: 5791: 5789: 5075: 5073: 4710: 4671: 4623: 4366: 3955: 3665:

which are sexualized or modest. Major inspirations include

3300: 3282: 3262: 2941:

manga developed a new and distinct style. In his 1997 book

2871: 2646: 1544:

before the category's formal emergence in the early 1980s.

1452: 852:(1957–1962), and Katsuji Matsumoto resuming publication of 457:

magazine publishing but which nonetheless are perceived as

5430: 5323: 5245: 5243: 5060: 5058: 4659: 4567: 4500: 3298:

stories overall, male-male romance manga – referred to as

3196:, where a princess is raised as a prince). Osamu Tezuka's 3061:

From this point on, experimental eye design flourished in

3022:

when drawing eyes. A large central star that replaces the

1478:

became the first major critical and commercial success in

1217:

The emergence of female artists led to the development of

340:

as the archetypical independent woman during this period.

5894:

Manga, Histoire et univers de la bande dessinée japonaise

5595: 5583: 5286: 5284: 5282: 5174: 5172: 5000: 4952: 4940: 4791: 4601: 4599: 4586: 4584: 4582: 4459: 4195: 3428: 951:

conformed to this lyrical style: one of the most popular

825: 5801: 5786: 5776: 5774: 5759: 5631: 5619: 5499: 5477:(1993). ""Josei wa gei ga suki!?" (Women Like Gays!?)". 5418: 5406: 5313: 5311: 5206: 5204: 5121: 5070: 4555: 4478: 4476: 4474: 4102: 4100: 4098: 4013: 4011: 3986: 3984: 3982: 3221:

grew in popularity in the post-war period, which critic

2753:, and when the medium regained popularity in the 2010s, 1844:. The genre shares many common traits with pornographic 1590: 1379:

manga artists were women, though editorial positions at

714:

publication in 1945, two of which were shōjo magazines:

572:

nevertheless played an important role in establishing a

6317:

Manga: An Anthology of Global and Cultural Perspectives

5547: 5535: 5350: 5338: 5267: 5240: 5055: 4918: 4916: 4914: 4754: 4752: 4688: 4686: 4545: 4543: 4541: 4539: 4449: 4447: 4434: 4432: 4395: 4393: 4241: 4239: 4237: 4185: 4183: 4158: 4156: 4154: 4139: 4047: 2943:

Why Is Manga So Interesting? Its Grammar and Expression

2814:

until the late 1950s, a function of the fact that both

6296:"Why are Japanese Girls' Comics full of Boys Bonking?" 5571: 5559: 5487: 5279: 5228: 5169: 5145: 4827: 4764: 4739: 4737: 4647: 4635: 4596: 4579: 4524: 4327: 4256: 4254: 4222: 3945: 3943: 3941: 3343:, with the genre having been called a form of "female 2409: 2401: 2391: 2382: 2355: 2345: 2309: 2299: 2290: 2242: 2223: 2209: 2190: 2181: 2172: 2149: 2125: 2116: 2107: 2098: 2038: 2024: 2015: 497:

As the Japanese publishing industry boomed during the

210: 204: 198: 188: 174: 164: 156: 150: 138: 130: 121: 112: 98: 90: 62: 6195:"Visual Kei Otaku Identity—An Intercultural Analysis" 5825: 5813: 5771: 5747: 5735: 5607: 5308: 5296: 5201: 5157: 5133: 5109: 5097: 5085: 5015: 4976: 4964: 4928: 4781: 4779: 4471: 4378: 4356: 4354: 4315: 4168: 4095: 4035: 4023: 4008: 3996: 3979: 3967: 3926: 3745:

and magazines aimed at older readers, referred to as

2885:. Particular attention is paid to representations of 2546:

manga successes in this cross-media approach include

1103: 790: 5523: 4911: 4899: 4887: 4875: 4863: 4851: 4839: 4749: 4722: 4698: 4683: 4611: 4536: 4488: 4444: 4429: 4390: 4339: 4234: 4180: 4151: 3827: 3438:(spirits), or which are otherwise structured around 3304:

or "boys' love" (BL) – is a significant subgenre of

3253:

manga has been written almost exclusively by women.

2834:

became the primary reference point for manga. While

2830:, while in the post-war period the dynamic style of 2526:. The magazine was unconventional compared to other 1563:

established themselves as the largest publishers of

1225:) manga, historically an unpopular genre among male 6411: 5400: 5255: 4734: 4251: 4133: 4118: 4089: 4068: 3938: 3914: 3890: 3880: 3878: 3863: 3649:manga or which were drawn from costumes in popular 3356:, has been historically and thematically linked to 3286:or "boys' love" (BL), is a significant subgenre of 2892:This narrative and visual style began to influence 1881:

2000s–present: Restructuring and influence of anime

1587:readers, remained as an audience for the category. 737:A four-panel manga from the November 1910 issue of 662:Among the most influential artists of this era was 596:between girls and women. The visual conventions of 471: 4815: 4776: 4512: 4417: 4351: 3839: 6333: 5654: 5652: 5650: 5648: 5646: 5222: 5195: 6675: 5929: 5849: 5729: 5717: 5705: 4809: 4277: 3908: 3875: 3857: 3821: 3695: 2714: 1741:, and publish works that aesthetically resemble 1355: 532:, first published in 1902. This was followed by 3360:manga since its emergence in the 1970s, though 2781: 2689:manga through the emergence of so-called "boys 1213:(1954), which was adapted into a manga in 1963. 6219: 5643: 4411: 4216: 3751: 3714: 3660:Generally, the clothing worn by characters in 3173: 3089: 3074: 3003: 2921:manga; many of these elements later spread to 1745:manga but which deal with the adult themes of 1514:manga, particularly the emergent aesthetic of 1446:Numerous artists contributed to innovation in 1158: 1089: 1071: 1053: 964: 765: 556:in 1923. These magazines focused primarily on 458: 452: 439: 418: 412: 407:manga is traditionally published in dedicated 396: 390: 366: 352: 321: 305: 299: 291: 280: 251: 143:manga is traditionally published in dedicated 71: 48: 6434: 5997:] (in French). Custom Publishing France. 5913:Encyclopedia of Contemporary Japanese Culture 4994: 4716: 4629: 4372: 3308:manga. Works in the genre typically focus on 3038:style rather than the emotive style of later 2866:in particular made extensive use of multiple 2471: 1443:that overlapped or were entirely borderless. 6319:. Continuum International Publishing Group. 6300:Refractory: A Journal of Entertainment Media 6011: 5693: 4677: 3961: 2981:("break"), referring to the symbolic use of 30:"Shōjo" redirects here. For other uses, see 6435:Pinon, Matthieu; Lefebvre, Laurent (2015). 6373:in Ladies' Comics and Young Ladies' Comics" 5036:"Shoujo Manga: Let's Hear It for the Girls" 3350:Female-female romance manga, also known as 1095: 1077: 1059: 970: 785: 563: 476: 463:, such as works published on the Internet. 401:manga is also read by men and older women. 128:(targeting young adult and adult men), and 77: 6507:Manga! Manga! The World of Japanese Comics 2490: 2478: 2464: 1904: 1583:manga who, although a minority of overall 1253:. Other artists, such as Masako Watanabe, 772:by Jihei Ogawa, in the July 1920 issue of 27:Manga aimed at a teenage female readership 6547: 6314: 6293: 6192: 6092:"Japanese Contemporary Manga (Number 1): 5957:(38). University of Hawai'i Press: 59–80. 5658: 5505: 5493: 5424: 5127: 5079: 2846:manga was primarily derived from pre-war 1540:in 1972, their works were the origins of 1488:(literally "beautiful boys"), a term for 6566: 6466:] (in French). Editions Tallandier. 6163: 6128: 6089: 6065: 6040: 5896:(in French). Editions Philippe Piquier. 5891: 5553: 5541: 5517: 5473: 5368: 5332: 5273: 5249: 5151: 5033: 4833: 4797: 4770: 4641: 4333: 4204: 3280:Male-male romance manga, referred to as 3275: 3136: 2785: 1808:reissues and original creations. Horror 1664: 1399:artists collectively referred to as the 1359: 1199: 794: 484: 241: 38: 6524: 6437:Histoire(s) du manga moderne: 1952–2012 5961: 5948: 5910: 5671:Ministry of Economy, Trade and Industry 5601: 5589: 5577: 5565: 5442: 5381:Ministry of Economy, Trade and Industry 5362: 5356: 5344: 5290: 5234: 5178: 5139: 5103: 5091: 4665: 4653: 4605: 4590: 4561: 4530: 4506: 4482: 4321: 4291:"少女マンガはどこからきたの？web展～ジャンルの成立期に関する証言より～" 4228: 4174: 4041: 4029: 4017: 3990: 3973: 3932: 3869: 3132: 1852:, which published a wide range of both 1193:("Portrait of Pia", 1964) published in 1189:, who at the age of 16 had debut manga 1165:. While they constituted a minority of 57:imprint at a bookstore in Tokyo in 2004 14: 6676: 6503: 6480: 6457: 6441:Historie(s) of Modern Manga: 1952–2012 6407:from the original on November 4, 2019. 6264: 6071:Review of Japanese Culture and Society 5988: 5872: 5831: 5819: 5807: 5795: 5780: 5765: 5753: 5741: 5637: 5625: 5613: 5436: 5412: 5317: 5302: 5210: 5163: 5064: 5021: 5009: 4982: 4970: 4958: 4946: 4934: 4922: 4905: 4893: 4881: 4869: 4857: 4845: 4758: 4728: 4704: 4692: 4617: 4573: 4549: 4494: 4465: 4453: 4438: 4399: 4384: 4345: 4260: 4245: 4189: 4162: 4145: 4106: 4053: 3949: 3920: 3896: 3845: 3833: 3026:dot began to appear at key moments in 3010:. This technique did not originate in 1724:manga, shares many common traits with 1640:(1991–1997). Fujimoto opines that the 803:dressed as the titular character from 427:curator Kayoko Kuramochi and academic 6583: 6242: 6053:from the original on January 15, 2021 6041:Friedman, Erica (November 27, 2014). 5930:Danziger-Russell, Jacqueline (2012). 5529: 4518: 4423: 4283: 3884: 3769: 3499:culture and fashion dates to pre-war 3420:elements, such as stories focused on 2965:("release"), referring to the use of 2896:manga towards the end of the 1950s; 2807:manga was largely similar to that of 2790:Cover of the September 1926 issue of 2589: 1776: 1591:1980s and 1990s: Subgenre development 1456:(male-male romance), with Takemiya's 1367:, a major figure associated with the 411:that are directed at a readership of 6615: 5448: 5261: 5115: 4785: 4743: 4360: 4002: 3704:before being published as books and 3330:manga. Japanese critics have viewed 1608:writes that beginning in the 1990s, 622: 6362: 6269:Manga: Minutes from the Seminar on 6202:Intercultural Communication Studies 5034:Alverson, Brigid (March 10, 2021). 4821: 3636:readership. This led to a split in 2917:established as visual hallmarks of 1840:manga emerged under the genre name 1791:publications that eschewed typical 1148:, most of them debuted within the 24: 5949:Dollase, Hiromi Tsuchiya (2010). " 5451:Kikan Toshi II (Quarterly City II) 3294:Though they compose a minority of 3155:(actress Sueko Takigawa pictured). 3079:Among the most common concepts in 2796:, with art by the lyrical painter 1104:1960s: Emergence of female artists 866:and other artists associated with 791:1950s: Formalization as a category 666:, a lyrical painter influenced in 25: 6715: 6641: 6369:(Girls) Manga (Japanese Comics): 6220:Koyama-Richard, Brigitte (2007). 5962:Dollase, Hiromi Tsuchiya (2019). 2870:("..."), exclamation points, and 2719:English-language translations of 1323:manga sex scene was published in 702:(1934), and his most famous work 6659: 6647: 6593:Manga – Something for the Girls" 5467: 3700:Manga in Japan is serialized in 3676:Alice's Adventures in Wonderland 3404: 3376:genre, which focused on intense 3322:emerged as a formal subgenre of 3256: 2993:A defining stylistic element of 2693:", beginning with the magazines 2447: 752: 730: 472:Before 1945: Context and origins 425:Kyoto International Manga Museum 6139:. Translated by Thorn, Rachel. 6043:"Yuri: A Genre Without Borders" 5841: 5453:. Tokyo: Kawade Shobō Shinsha. 5223:Natsume, Holt & Teppei 2020 5196:Natsume, Holt & Teppei 2020 5027: 1336:By the end of the decade, most 6381:The Journal of Popular Culture 5730:Berndt, Nagaike & Ogi 2019 5718:Berndt, Nagaike & Ogi 2019 5706:Berndt, Nagaike & Ogi 2019 4810:Berndt, Nagaike & Ogi 2019 3909:Berndt, Nagaike & Ogi 2019 3858:Berndt, Nagaike & Ogi 2019 3822:Berndt, Nagaike & Ogi 2019 3180:, appear regularly in pre-war 3119:considers that the content of 2685:was additionally expressed in 2514:In 2008, the publishing house 799:An ambassador for the city of 647:; this period saw some female 511:magazines were published, and 343: 230: 215:manga, both visual (non-rigid 13: 1: 6664:The dictionary definition of 6141:University of Minnesota Press 6026:10.1080/10357823.2017.1370436 5892:Bouissou, Jean-Marie (2014). 3808: 3696:Marketing and reader feedback 3630:that directly appealed to an 3364:is not strictly exclusive to 3192:girl" (as in Eisuke Ishida's 3167:protagonists, referred to as 2988: 2751:financial crisis of 2007–2008 2715:In the English-speaking world 1468:(1971). The historical drama 915:drew cover illustrations for 119:(targeting adolescent boys), 6504:Schodt, Frederik L. (1983). 6109:. p. 12. Archived from 5989:Fasulo, Fausto, ed. (2021). 5371:"The Origins of Shōjo Manga" 3574:manga in the 1980s, such as 2782:Context and general elements 1862:and Shogakukan's mainstream 1690:In 1980, Kodansha published 489:Cover of the first issue of 106:is an editorial category of 7: 6689:Anime and manga terminology 6487:University of Hawaiʻi Press 5873:Brient, Hervé, ed. (2010). 3791: 3669:for girls – as embodied by 3075:Interpersonal relationships 2773:in the mid- to late-2000s. 2771:a serialized manga magazine 2410: 2402: 2392: 2383: 2356: 2346: 2310: 2300: 2291: 2243: 2224: 2210: 2191: 2182: 2173: 2150: 2126: 2117: 2108: 2099: 2039: 2025: 2016: 1393:women's liberation movement 741:(artist unknown). Note the 588:genre whose novels such as 459: 453: 440: 419: 413: 397: 391: 367: 353: 322: 306: 300: 281: 252: 250:, portraying an archetypal 211: 205: 199: 189: 175: 165: 157: 151: 139: 131: 122: 113: 99: 91: 63: 49: 10: 6720: 6531:University of Hawaii Press 6510:. Kodansha International. 6443:] (in French). Ynnis. 6208:(1): 87–99. Archived from 6193:Hashimoto, Miyuki (2007). 5955:U.S.-Japan Women's Journal 5953:Spirits in Horror Manga". 5659:Kuramochi, Kayoko (2022). 3690: 3490: 3260: 2945:, manga artist and critic 2454:Anime and manga portal 2431:Anime-influenced animation 1780: 1676:Kōrei Shussan Don to Koi!! 1669:Cover illustration to the 1655: 919:manga anthologies such as 466: 163:(girls' prose novels) and 29: 6569:.S.-Japan Women's Journal 6525:Shamoon, Deborah (2012). 6481:Prough, Jennifer (2011). 6365:"Female Subjectivity and 6090:Fujimoto, Yukari (2008). 5666:Google Arts & Culture 5376:Google Arts & Culture 5369:Iwashita, Housei (2022). 4995:Pinon & Lefebvre 2015 4717:Pinon & Lefebvre 2015 4630:Pinon & Lefebvre 2015 4373:Pinon & Lefebvre 2015 3752: 3715: 3495:The relationship between 3341:lesbianism in pornography 3174: 3163:manga since its origins. 3090: 3069: 3004: 2977:of the speaker. Third is 2928: 1869:By the 2000s, this niche 1833:In the 1990s, a genre of 1375:By the early 1970s, most 1159: 1090: 1072: 1054: 965: 766: 709:With the outbreak of the 292: 72: 6336:US-Japan Women's Journal 6294:McLelland, Mark (2006). 5911:Buckley, Sandra (2002). 5694:Fraser & Monden 2017 4678:Fraser & Monden 2017 3962:Fraser & Monden 2017 3094:, "human relationships") 2933:Beginning in the 1970s, 2776: 2765:in particular publishes 1941:Original video animation 1749:manga; examples include 911:artists Yukiko Tani and 786:1945–1970: Post-war rise 711:Second Sino-Japanese War 584:, a major figure in the 235: 6398:10.1111/1540-5931.00045 5483:. Bungei shunjū: 82–83. 6458:Poupée, Karen (2010). 6243:Maser, Verena (2013). 5041:School Library Journal 3440:Japanese urban legends 3339:and the popularity of 3291: 3156: 2800: 2620:Monthly Comic Zero Sum 1946:Original net animation 1875:mobile phones in Japan 1687: 1471:The Rose of Versailles 1465:The November Gymnasium 1372: 1214: 810: 698:(1930), the cinematic 494: 377:for boys) and by age ( 276: 58: 32:Shojo (disambiguation) 6699:Women's entertainment 6616:Toku, Masami (2015). 6611:on February 19, 2007. 6348:10.1353/jwj.2020.0005 6178:10.1353/mec.2014.0007 6149:10.1353/mec.2012.0000 4278:Danziger-Russell 2012 3803:British girls' comics 3683:costumes, especially 3412:manga often features 3279: 3227:Constitution of Japan 3140: 2789: 2537:cross-media marketing 1835:softcore pornographic 1668: 1631:Magic Knight Rayearth 1363: 1203: 798: 759:The third chapter of 488: 245: 42: 6656:at Wikimedia Commons 6390:Blackwell Publishing 6363:Ogi, Fusami (2003). 6107:The Japan Foundation 6014:Asian Studies Review 4576:, pp. 195–196.. 3741:In the case of both 3610:Teke Teke Rendezvous 3552:fashion inspired by 3378:romantic friendships 3133:Gender and sexuality 3030:manga by Tezuka and 3018:of actresses in the 2803:The visual style of 2001:International market 1648:"Ladies comics" and 1298:, which led to more 1272:While early romance 854:Kurukuru Kurumi-chan 704:Kurukuru Kurumi-chan 594:romantic friendships 6597:The Japan Quarterly 5934:. Scarecrow Press. 5708:, pp. 209–210. 5520:, pp. 143–147. 5439:, pp. 100–101. 5012:, pp. 142–143. 4961:, pp. 134–135. 4949:, pp. 131–132. 4812:, pp. 359–360. 4668:, pp. 104–105. 4509:, pp. 193–194. 4468:, pp. 191–192. 4412:Koyama-Richard 2007 4217:Koyama-Richard 2007 3653:franchises such as 3620:began to influence 3312:men referred to as 2725:American comic book 2068:Best-selling series 1888:Part of a series on 1812:manga published by 1706:at Shogakukan, and 1500:led a new trend of 1462:(1970) and Hagio's 1356:1970s: "Golden age" 1265:became popular for 979:stories focused on 747:in the final panel. 690:manga, such as the 351:Strictly speaking, 304:. Rather, the term 187:Strictly speaking, 6418:Palgrave Macmillan 6310:on April 15, 2008. 6222:Mille Ans de Manga 6103:Japanese Book News 5991:Le Manga D'Horreur 5856:Palgrave Macmillan 3770:Talent development 3719:, "little sister") 3292: 3223:Yoshihiro Yonezawa 3157: 3032:Shotaro Ishinomori 2975:internal monologue 2957:manga. The first, 2947:Fusanosuke Natsume 2801: 2632:Comic Blade Avarus 2087:Demographic groups 1971:Longest franchises 1777:Horror and erotica 1688: 1492:male characters. 1373: 1215: 1118:Shōtarō Ishinomori 891:At the same time, 811: 495: 359:target demographic 336:also replaced the 279:The Japanese word 277: 195:target demographic 59: 6652:Media related to 6559:978-0-7656-1601-2 6540:978-0-82483-542-2 6496:978-0-8248-3457-9 6473:979-10-210-0216-6 6460:Histoire du Manga 6450:979-10-93376-22-6 6427:978-3-319-97229-9 6326:978-0-8264-2937-7 6287:10.14993/00002074 6235:978-2-08-120063-0 6226:Groupe Flammarion 6004:978-2-490308-29-3 5941:978-0-8108-8376-5 5903:978-2-8097-0996-4 5884:978-2-9531781-4-2 5810:, pp. 76–79. 5798:, pp. 74–75. 5768:, pp. 66–67. 5640:, pp. 78–81. 5628:, pp. 78–79. 5604:, pp. 67–70. 5592:, pp. 62–66. 5415:, pp. 45–46. 5335:, pp. 53–54. 5198:, pp. 68–69. 5118:, pp. 24–25. 5067:, pp. 48–49. 4800:, pp. 83–84. 4564:, pp. 61–62. 4207:, pp. 69–70. 4148:, pp. 16–17. 4056:, pp. 12–13. 4005:, pp. 25–26. 3706:collected volumes 3667:Victorian fashion 3598:(which published 3580:Tokyo Girls Bravo 3578:(which published 3546:manga emphasized 3444:Japanese folklore 3083:manga is that of 3058:manga magazines. 3016:theatrical makeup 2740:Boys Over Flowers 2583:Boys Over Flowers 2505:television dramas 2488: 2487: 2341:Anime music video 1850:Ohzora Publishing 1827:Monthly Halloween 1767:at Shueisha, and 1634:(1993–1996), and 1595:Since the 1970s, 1421:adventure fiction 1403:, which included 1389:sexual revolution 1263:Yoshiko Nishitani 664:Katsuji Matsumoto 651:artists, such as 606:Jun'ichi Nakahara 263:in the 1939 film 171:lyrical paintings 45:collected volumes 16:(Redirected from 6711: 6663: 6651: 6635: 6612: 6607:. Archived from 6580: 6563: 6544: 6521: 6500: 6477: 6464:History of Manga 6454: 6431: 6408: 6406: 6377: 6359: 6330: 6311: 6306:. Archived from 6290: 6275:武庫川女子大学生活美学研究所紀要 6261: 6255: 6239: 6216: 6215:on June 7, 2011. 6214: 6199: 6189: 6160: 6125: 6123: 6121: 6116:on June 22, 2021 6115: 6105:. Vol. 56. 6100: 6086: 6067:Fujimoto, Yukari 6062: 6060: 6058: 6037: 6008: 5985: 5958: 5945: 5926: 5907: 5888: 5869: 5835: 5829: 5823: 5817: 5811: 5805: 5799: 5793: 5784: 5778: 5769: 5763: 5757: 5751: 5745: 5739: 5733: 5727: 5721: 5715: 5709: 5703: 5697: 5691: 5682: 5681: 5679: 5677: 5656: 5641: 5635: 5629: 5623: 5617: 5611: 5605: 5599: 5593: 5587: 5581: 5575: 5569: 5563: 5557: 5551: 5545: 5539: 5533: 5527: 5521: 5515: 5509: 5503: 5497: 5491: 5485: 5484: 5471: 5465: 5464: 5446: 5440: 5434: 5428: 5422: 5416: 5410: 5404: 5398: 5392: 5391: 5389: 5387: 5366: 5360: 5354: 5348: 5342: 5336: 5330: 5321: 5315: 5306: 5300: 5294: 5288: 5277: 5271: 5265: 5259: 5253: 5247: 5238: 5232: 5226: 5220: 5214: 5208: 5199: 5193: 5182: 5176: 5167: 5161: 5155: 5149: 5143: 5137: 5131: 5125: 5119: 5113: 5107: 5101: 5095: 5089: 5083: 5077: 5068: 5062: 5053: 5052: 5050: 5048: 5031: 5025: 5019: 5013: 5007: 4998: 4992: 4986: 4980: 4974: 4968: 4962: 4956: 4950: 4944: 4938: 4932: 4926: 4920: 4909: 4903: 4897: 4891: 4885: 4879: 4873: 4867: 4861: 4855: 4849: 4843: 4837: 4831: 4825: 4819: 4813: 4807: 4801: 4795: 4789: 4783: 4774: 4768: 4762: 4756: 4747: 4741: 4732: 4726: 4720: 4714: 4708: 4702: 4696: 4690: 4681: 4675: 4669: 4663: 4657: 4651: 4645: 4639: 4633: 4627: 4621: 4615: 4609: 4603: 4594: 4588: 4577: 4571: 4565: 4559: 4553: 4547: 4534: 4528: 4522: 4516: 4510: 4504: 4498: 4492: 4486: 4480: 4469: 4463: 4457: 4451: 4442: 4436: 4427: 4421: 4415: 4409: 4403: 4397: 4388: 4382: 4376: 4370: 4364: 4358: 4349: 4343: 4337: 4331: 4325: 4319: 4313: 4312: 4310: 4308: 4300:Meiji University 4287: 4281: 4275: 4264: 4258: 4249: 4243: 4232: 4226: 4220: 4214: 4208: 4202: 4193: 4187: 4178: 4172: 4166: 4160: 4149: 4143: 4137: 4131: 4122: 4116: 4110: 4104: 4093: 4087: 4072: 4066: 4057: 4051: 4045: 4039: 4033: 4027: 4021: 4015: 4006: 4000: 3994: 3988: 3977: 3971: 3965: 3959: 3953: 3947: 3936: 3930: 3924: 3918: 3912: 3906: 3900: 3894: 3888: 3882: 3873: 3867: 3861: 3855: 3849: 3843: 3837: 3831: 3825: 3819: 3757: 3755: 3754: 3720: 3718: 3717: 3511:Macoto Takahashi 3215:Takarazuka Revue 3179: 3177: 3176: 3153:Takarazuka Revue 3095: 3093: 3092: 3020:Takarazuka Revue 3009: 3007: 3006: 2898:Macoto Takahashi 2798:Kashō Takabatake 2569:Nodame Cantabile 2480: 2473: 2466: 2452: 2451: 2415: 2405: 2397: 2388: 2359: 2351: 2313: 2303: 2294: 2248: 2229: 2215: 2196: 2187: 2178: 2153: 2129: 2120: 2111: 2102: 2044: 2030: 2021: 1908: 1885: 1884: 1684: 1602:Meiji University 1524:artists such as 1433:historical drama 1278:Machiko Satonaka 1251:Akage no Scarlet 1187:Machiko Satonaka 1164: 1162: 1161: 1099: 1097: 1093: 1092: 1081: 1079: 1075: 1074: 1063: 1061: 1057: 1056: 974: 973:"Ghost Stories") 972: 968: 967: 958:anthologies was 913:Macoto Takahashi 905:lyrical painting 836:Shosuke Kurakane 771: 769: 768: 756: 734: 653:Machiko Hasegawa 645:Shosuke Kurakane 618: 610:Kashō Takabatake 565: 530: 462: 456: 443: 437: 422: 416: 400: 394: 389:for men). Thus, 370: 356: 325: 309: 303: 297: 295: 294: 284: 274: 266:Hana Tsumi Nikki 255: 214: 208: 202: 192: 178: 173:). The earliest 168: 162: 154: 142: 134: 125: 116: 105: 102: 94: 79: 75: 74: 66: 53:manga under the 52: 21: 6719: 6718: 6714: 6713: 6712: 6710: 6709: 6708: 6674: 6673: 6644: 6639: 6638: 6632: 6560: 6541: 6518: 6497: 6474: 6451: 6428: 6404: 6375: 6327: 6277:(in Japanese). 6253: 6236: 6212: 6197: 6119: 6117: 6113: 6098: 6056: 6054: 6005: 5974: 5942: 5923: 5904: 5885: 5866: 5844: 5839: 5838: 5830: 5826: 5818: 5814: 5806: 5802: 5794: 5787: 5779: 5772: 5764: 5760: 5752: 5748: 5740: 5736: 5728: 5724: 5716: 5712: 5704: 5700: 5692: 5685: 5675: 5673: 5657: 5644: 5636: 5632: 5624: 5620: 5612: 5608: 5600: 5596: 5588: 5584: 5576: 5572: 5564: 5560: 5552: 5548: 5540: 5536: 5528: 5524: 5516: 5512: 5504: 5500: 5492: 5488: 5475:Takemiya, Keiko 5472: 5468: 5461: 5447: 5443: 5435: 5431: 5423: 5419: 5411: 5407: 5401:Ogi et al. 2019 5399: 5395: 5385: 5383: 5367: 5363: 5359:, pp. 6–8. 5355: 5351: 5343: 5339: 5331: 5324: 5316: 5309: 5301: 5297: 5289: 5280: 5272: 5268: 5260: 5256: 5248: 5241: 5233: 5229: 5221: 5217: 5209: 5202: 5194: 5185: 5177: 5170: 5162: 5158: 5150: 5146: 5138: 5134: 5126: 5122: 5114: 5110: 5102: 5098: 5090: 5086: 5078: 5071: 5063: 5056: 5046: 5044: 5032: 5028: 5020: 5016: 5008: 5001: 4993: 4989: 4981: 4977: 4969: 4965: 4957: 4953: 4945: 4941: 4933: 4929: 4921: 4912: 4904: 4900: 4892: 4888: 4880: 4876: 4868: 4864: 4856: 4852: 4844: 4840: 4832: 4828: 4820: 4816: 4808: 4804: 4796: 4792: 4784: 4777: 4769: 4765: 4757: 4750: 4742: 4735: 4727: 4723: 4715: 4711: 4703: 4699: 4691: 4684: 4676: 4672: 4664: 4660: 4652: 4648: 4640: 4636: 4628: 4624: 4616: 4612: 4604: 4597: 4589: 4580: 4572: 4568: 4560: 4556: 4548: 4537: 4529: 4525: 4517: 4513: 4505: 4501: 4493: 4489: 4481: 4472: 4464: 4460: 4452: 4445: 4437: 4430: 4422: 4418: 4410: 4406: 4398: 4391: 4383: 4379: 4371: 4367: 4359: 4352: 4344: 4340: 4332: 4328: 4320: 4316: 4306: 4304: 4293:[Where did 4289: 4288: 4284: 4276: 4267: 4259: 4252: 4244: 4235: 4227: 4223: 4215: 4211: 4203: 4196: 4188: 4181: 4173: 4169: 4161: 4152: 4144: 4140: 4134:Ogi et al. 2019 4132: 4125: 4119:Ogi et al. 2019 4117: 4113: 4105: 4096: 4090:Ogi et al. 2019 4088: 4075: 4069:Ogi et al. 2019 4067: 4060: 4052: 4048: 4040: 4036: 4028: 4024: 4016: 4009: 4001: 3997: 3989: 3980: 3972: 3968: 3960: 3956: 3948: 3939: 3931: 3927: 3919: 3915: 3907: 3903: 3895: 3891: 3883: 3876: 3868: 3864: 3856: 3852: 3844: 3840: 3836:, pp. 7–8. 3832: 3828: 3820: 3816: 3811: 3794: 3772: 3756:, "big sister") 3749: 3712: 3702:manga magazines 3698: 3693: 3515:Masako Watanabe 3493: 3407: 3274: 3261:Main articles: 3259: 3199:Princess Knight 3194:Kanaria Ōjisama 3186:Nazo no Kurōbaa 3171: 3135: 3117:Yukari Fujimoto 3102:inner monologue 3087: 3077: 3072: 3001: 2991: 2971:speech balloons 2931: 2860:inner monologue 2784: 2779: 2717: 2599: 2574:Tomoko Ninomiya 2572:(2001–2010) by 2562:(2001–2006) by 2552:(2000–2009) by 2522:manga magazine 2497: 2484: 2446: 2441: 2440: 2373: 2365: 2364: 2285: 2275: 2274: 2270:Anime directors 2260: 2252: 2251: 2144: 2134: 2133: 2088: 2080: 2079: 1986: 1978: 1977: 1916: 1883: 1785: 1779: 1773:at Shogakukan. 1678: 1663: 1654: 1606:Yukari Fujimoto 1593: 1474:(1972–1973) by 1425:science fiction 1358: 1255:Chieko Hosokawa 1223:romantic comedy 1156: 1142:Masako Watanabe 1114:Leiji Matsumoto 1106: 1087: 1069: 1051: 962: 944:manga. Not all 881:Princess Knight 806:Princess Knight 793: 788: 783: 782: 781: 778: 763: 757: 748: 735: 629: 612: 602:Yumeji Takehisa 590:Hana Monogatari 524: 483: 474: 469: 431: 409:manga magazines 361:. The Japanese 349: 289: 268: 248:Hideko Takamine 240: 233: 145:manga magazines 108:Japanese comics 69: 55:Margaret Comics 35: 28: 23: 22: 15: 12: 11: 5: 6717: 6707: 6706: 6701: 6696: 6694:Women in Japan 6691: 6686: 6672: 6671: 6657: 6643: 6642:External links 6640: 6637: 6636: 6630: 6613: 6581: 6564: 6558: 6545: 6539: 6522: 6516: 6501: 6495: 6478: 6472: 6455: 6449: 6432: 6426: 6409: 6360: 6331: 6325: 6312: 6291: 6262: 6240: 6234: 6217: 6190: 6161: 6126: 6096:(Girls Manga)" 6087: 6063: 6038: 6020:(4): 544–561. 6009: 6003: 5986: 5973:978-1438473918 5972: 5966:. SUNY Press. 5959: 5946: 5940: 5927: 5921: 5908: 5902: 5889: 5883: 5877:. Éditions H. 5870: 5865:978-3030014841 5864: 5846: 5845: 5843: 5840: 5837: 5836: 5824: 5812: 5800: 5785: 5770: 5758: 5746: 5734: 5732:, p. 216. 5722: 5720:, p. 211. 5710: 5698: 5696:, p. 553. 5683: 5642: 5630: 5618: 5606: 5594: 5582: 5570: 5558: 5546: 5534: 5522: 5510: 5506:Hashimoto 2007 5498: 5494:McLelland 2006 5486: 5466: 5459: 5441: 5429: 5427:, pp. 82. 5425:McLelland 2010 5417: 5405: 5403:, p. 221. 5393: 5361: 5349: 5347:, p. 109. 5337: 5322: 5307: 5295: 5278: 5266: 5254: 5239: 5227: 5215: 5200: 5183: 5168: 5156: 5144: 5132: 5130:, p. 122. 5128:Takahashi 2008 5120: 5108: 5096: 5084: 5082:, p. 115. 5080:Takahashi 2008 5069: 5054: 5026: 5024:, p. 141. 5014: 4999: 4997:, p. 124. 4987: 4985:, p. 137. 4975: 4973:, p. 134. 4963: 4951: 4939: 4937:, p. 139. 4927: 4910: 4898: 4886: 4874: 4862: 4850: 4838: 4826: 4824:, p. 781. 4814: 4802: 4790: 4775: 4763: 4748: 4746:, p. 169. 4733: 4721: 4709: 4697: 4682: 4680:, p. 551. 4670: 4658: 4656:, p. 236. 4646: 4634: 4622: 4610: 4608:, p. 100. 4595: 4593:, p. 328. 4578: 4566: 4554: 4535: 4533:, p. 194. 4523: 4511: 4499: 4487: 4470: 4458: 4443: 4428: 4416: 4414:, p. 139. 4404: 4389: 4387:, p. 195. 4377: 4365: 4350: 4338: 4326: 4314: 4282: 4280:, p. 140. 4265: 4250: 4233: 4231:, p. 145. 4221: 4219:, p. 133. 4209: 4194: 4179: 4167: 4150: 4138: 4136:, p. 209. 4123: 4121:, p. 201. 4111: 4109:, p. 165. 4094: 4092:, p. 208. 4073: 4071:, p. 207. 4058: 4046: 4034: 4022: 4007: 3995: 3978: 3966: 3964:, p. 546. 3954: 3937: 3925: 3913: 3911:, p. 357. 3901: 3889: 3874: 3862: 3850: 3838: 3826: 3813: 3812: 3810: 3807: 3806: 3805: 3800: 3798:Romance comics 3793: 3790: 3771: 3768: 3697: 3694: 3692: 3689: 3614:George Asakura 3525:doll in 1967. 3492: 3489: 3477:Kuchisake-onna 3432:(demons), and 3406: 3403: 3258: 3255: 3211:cross-dressing 3149:cross-dressing 3134: 3131: 3115:Manga scholar 3076: 3073: 3071: 3068: 2990: 2987: 2930: 2927: 2910:Keiko Takemiya 2864:Nobuko Yoshiya 2856:Shōjo shōsetsu 2849:shōjo shōsetsu 2828:George McManus 2783: 2780: 2778: 2775: 2716: 2713: 2598: 2588: 2559:Lovely Complex 2496: 2489: 2486: 2485: 2483: 2482: 2475: 2468: 2460: 2457: 2456: 2443: 2442: 2439: 2438: 2433: 2428: 2423: 2418: 2417: 2416: 2407: 2398: 2389: 2374: 2371: 2370: 2367: 2366: 2363: 2362: 2352: 2343: 2338: 2333: 2328: 2318: 2317: 2316: 2306: 2286: 2281: 2280: 2277: 2276: 2273: 2272: 2267: 2261: 2258: 2257: 2254: 2253: 2250: 2249: 2240: 2235: 2230: 2221: 2216: 2207: 2202: 2197: 2188: 2179: 2170: 2165: 2160: 2155: 2145: 2140: 2139: 2136: 2135: 2132: 2131: 2122: 2113: 2104: 2095: 2089: 2086: 2085: 2082: 2081: 2078: 2077: 2076: 2075: 2073:Longest series 2070: 2060: 2055: 2050: 2045: 2036: 2031: 2022: 2013: 2008: 2003: 1998: 1993: 1987: 1984: 1983: 1980: 1979: 1976: 1975: 1974: 1973: 1968: 1966:Longest series 1958: 1953: 1948: 1943: 1938: 1933: 1928: 1923: 1917: 1914: 1913: 1910: 1909: 1901: 1900: 1890: 1889: 1882: 1879: 1781:Main article: 1778: 1775: 1656:Main article: 1653: 1646: 1592: 1589: 1498:Mariko Iwadate 1419:manga such as 1409:Keiko Takemiya 1357: 1354: 1259:Michiko Hosono 1108:In the 1950s, 1105: 1102: 1098:"scary manga") 1080:"happy manga") 1028:, followed by 934:Arashi o Koete 792: 789: 787: 784: 780: 779: 761:Mikeko Romance 758: 751: 749: 744:henohenomoheji 736: 729: 726: 725: 724: 700:Nazo no Kurōbā 680:George McManus 628: 621: 582:Nobuko Yoshiya 570:Shōjo shōsetsu 559:shōjo shōsetsu 482: 475: 473: 470: 468: 465: 348: 342: 298:and rarely as 239: 234: 232: 229: 159:shōjo shōsetsu 26: 9: 6: 4: 3: 2: 6716: 6705: 6702: 6700: 6697: 6695: 6692: 6690: 6687: 6685: 6682: 6681: 6679: 6670:at Wiktionary 6669: 6668: 6662: 6658: 6655: 6650: 6646: 6645: 6633: 6631:9781138549036 6627: 6623: 6619: 6614: 6610: 6606: 6605:Asahi Shimbun 6602: 6598: 6594: 6592: 6586: 6585:Thorn, Rachel 6582: 6578: 6574: 6570: 6565: 6561: 6555: 6552:. ME Sharpe. 6551: 6546: 6542: 6536: 6532: 6528: 6523: 6519: 6517:0-87011-752-1 6513: 6509: 6508: 6502: 6498: 6492: 6488: 6484: 6479: 6475: 6469: 6465: 6461: 6456: 6452: 6446: 6442: 6438: 6433: 6429: 6423: 6419: 6415: 6410: 6403: 6399: 6395: 6391: 6387: 6383: 6382: 6374: 6372: 6368: 6361: 6357: 6353: 6349: 6345: 6341: 6337: 6332: 6328: 6322: 6318: 6313: 6309: 6305: 6301: 6297: 6292: 6288: 6284: 6280: 6276: 6272: 6268: 6263: 6260:(PhD thesis). 6259: 6252: 6251: 6247: 6241: 6237: 6231: 6227: 6224:(in French). 6223: 6218: 6211: 6207: 6203: 6196: 6191: 6187: 6183: 6179: 6175: 6171: 6167: 6162: 6158: 6154: 6150: 6146: 6142: 6138: 6134: 6133: 6127: 6112: 6108: 6104: 6097: 6095: 6088: 6084: 6080: 6076: 6072: 6068: 6064: 6052: 6048: 6044: 6039: 6035: 6031: 6027: 6023: 6019: 6015: 6010: 6006: 6000: 5996: 5992: 5987: 5983: 5979: 5975: 5969: 5965: 5960: 5956: 5952: 5947: 5943: 5937: 5933: 5928: 5924: 5922:0-415-14344-6 5918: 5915:. Routledge. 5914: 5909: 5905: 5899: 5895: 5890: 5886: 5880: 5876: 5871: 5867: 5861: 5857: 5853: 5848: 5847: 5834:, p. 87. 5833: 5828: 5822:, p. 82. 5821: 5816: 5809: 5804: 5797: 5792: 5790: 5783:, p. 61. 5782: 5777: 5775: 5767: 5762: 5756:, p. 66. 5755: 5750: 5744:, p. 60. 5743: 5738: 5731: 5726: 5719: 5714: 5707: 5702: 5695: 5690: 5688: 5672: 5668: 5667: 5662: 5655: 5653: 5651: 5649: 5647: 5639: 5634: 5627: 5622: 5616:, p. 76. 5615: 5610: 5603: 5598: 5591: 5586: 5580:, p. 59. 5579: 5574: 5568:, p. 60. 5567: 5562: 5556:, p. 34. 5555: 5554:Fujimoto 2014 5550: 5544:, p. 25. 5543: 5542:Fujimoto 2014 5538: 5532:, p. 46. 5531: 5526: 5519: 5518:Friedman 2014 5514: 5508:, p. 91. 5507: 5502: 5495: 5490: 5482: 5481: 5476: 5470: 5462: 5460:4-309-90222-7 5456: 5452: 5445: 5438: 5433: 5426: 5421: 5414: 5409: 5402: 5397: 5382: 5378: 5377: 5372: 5365: 5358: 5353: 5346: 5341: 5334: 5333:Fujimoto 1991 5329: 5327: 5320:, p. 73. 5319: 5314: 5312: 5305:, p. 29. 5304: 5299: 5293:, p. 87. 5292: 5287: 5285: 5283: 5276:, p. 52. 5275: 5274:Fujimoto 2012 5270: 5264:, p. 25. 5263: 5258: 5252:, p. 49. 5251: 5250:Fujimoto 2012 5246: 5244: 5237:, p. 82. 5236: 5231: 5225:, p. 71. 5224: 5219: 5213:, p. 49. 5212: 5207: 5205: 5197: 5192: 5190: 5188: 5181:, p. 99. 5180: 5175: 5173: 5166:, p. 21. 5165: 5160: 5154:, p. 24. 5153: 5152:Fujimoto 2012 5148: 5142:, p. 84. 5141: 5136: 5129: 5124: 5117: 5112: 5106:, p. 79. 5105: 5100: 5094:, p. 34. 5093: 5088: 5081: 5076: 5074: 5066: 5061: 5059: 5043: 5042: 5037: 5030: 5023: 5018: 5011: 5006: 5004: 4996: 4991: 4984: 4979: 4972: 4967: 4960: 4955: 4948: 4943: 4936: 4931: 4925:, p. 85. 4924: 4919: 4917: 4915: 4908:, p. 74. 4907: 4902: 4896:, p. 54. 4895: 4890: 4884:, p. 22. 4883: 4878: 4872:, p. 55. 4871: 4866: 4860:, p. 54. 4859: 4854: 4848:, p. 52. 4847: 4842: 4836:, p. 12. 4835: 4834:Fujimoto 2008 4830: 4823: 4818: 4811: 4806: 4799: 4798:Takeuchi 2010 4794: 4788:, p. 27. 4787: 4782: 4780: 4773:, p. 83. 4772: 4771:Takeuchi 2010 4767: 4761:, p. 50. 4760: 4755: 4753: 4745: 4740: 4738: 4731:, p. 81. 4730: 4725: 4719:, p. 60. 4718: 4713: 4707:, p. 26. 4706: 4701: 4695:, p. 51. 4694: 4689: 4687: 4679: 4674: 4667: 4662: 4655: 4650: 4644:, p. 82. 4643: 4642:Takeuchi 2010 4638: 4632:, p. 66. 4631: 4626: 4620:, p. 97. 4619: 4614: 4607: 4602: 4600: 4592: 4587: 4585: 4583: 4575: 4570: 4563: 4558: 4552:, p. 25. 4551: 4546: 4544: 4542: 4540: 4532: 4527: 4520: 4515: 4508: 4503: 4497:, p. 38. 4496: 4491: 4485:, p. 89. 4484: 4479: 4477: 4475: 4467: 4462: 4456:, p. 47. 4455: 4450: 4448: 4441:, p. 24. 4440: 4435: 4433: 4425: 4420: 4413: 4408: 4402:, p. 23. 4401: 4396: 4394: 4386: 4381: 4375:, p. 22. 4374: 4369: 4363:, p. 26. 4362: 4357: 4355: 4348:, p. 14. 4347: 4342: 4336:, p. 47. 4335: 4334:Fujimoto 2012 4330: 4324:, p. 97. 4323: 4318: 4302: 4301: 4296: 4292: 4286: 4279: 4274: 4272: 4270: 4262: 4257: 4255: 4248:, p. 17. 4247: 4242: 4240: 4238: 4230: 4225: 4218: 4213: 4206: 4205:Bouissou 2014 4201: 4199: 4192:, p. 32. 4191: 4186: 4184: 4177:, p. 56. 4176: 4171: 4165:, p. 30. 4164: 4159: 4157: 4155: 4147: 4142: 4135: 4130: 4128: 4120: 4115: 4108: 4103: 4101: 4099: 4091: 4086: 4084: 4082: 4080: 4078: 4070: 4065: 4063: 4055: 4050: 4044:, p. 70. 4043: 4038: 4032:, p. 31. 4031: 4026: 4020:, p. 58. 4019: 4014: 4012: 4004: 3999: 3993:, p. 19. 3992: 3987: 3985: 3983: 3976:, p. 29. 3975: 3970: 3963: 3958: 3951: 3946: 3944: 3942: 3935:, p. 19. 3934: 3929: 3923:, p. 11. 3922: 3917: 3910: 3905: 3899:, p. 10. 3898: 3893: 3886: 3881: 3879: 3871: 3866: 3859: 3854: 3847: 3842: 3835: 3830: 3823: 3818: 3814: 3804: 3801: 3799: 3796: 3795: 3789: 3786: 3782: 3778: 3767: 3765: 3759: 3748: 3744: 3739: 3737: 3732: 3731:novelty items 3728: 3724: 3711: 3707: 3703: 3688: 3686: 3682: 3678: 3677: 3672: 3668: 3663: 3658: 3656: 3652: 3648: 3644: 3639: 3635: 3634: 3629: 3628: 3623: 3619: 3615: 3611: 3607: 3603: 3602: 3601:Paradise Kiss 3597: 3593: 3589: 3585: 3584:Kyōko Okazaki 3581: 3577: 3573: 3569: 3565: 3564: 3559: 3555: 3551: 3550: 3545: 3541: 3540: 3535: 3531: 3526: 3524: 3520: 3516: 3512: 3507: 3502: 3498: 3488: 3486: 3482: 3478: 3473: 3469: 3464: 3459: 3457: 3453: 3450:. Paranormal 3449: 3445: 3441: 3437: 3436: 3431: 3430: 3425: 3424: 3419: 3415: 3411: 3405:Paranormality 3402: 3400: 3396: 3391: 3388:bent of most 3387: 3383: 3379: 3375: 3371: 3367: 3363: 3359: 3355: 3354: 3348: 3346: 3342: 3338: 3333: 3329: 3325: 3321: 3317: 3316: 3311: 3307: 3303: 3302: 3297: 3289: 3285: 3284: 3278: 3273: 3271: 3266: 3265: 3257:Homosexuality 3254: 3252: 3247: 3243: 3239: 3235: 3230: 3228: 3224: 3220: 3216: 3212: 3208: 3205: 3201: 3200: 3195: 3191: 3190:crossdressing 3187: 3183: 3170: 3166: 3162: 3154: 3150: 3146: 3143: 3139: 3130: 3127: 3122: 3118: 3113: 3111: 3107: 3103: 3099: 3086: 3085:ningen kankei 3082: 3067: 3064: 3059: 3057: 3053: 3048: 3043: 3041: 3037: 3033: 3029: 3025: 3021: 3017: 3013: 3000: 2996: 2986: 2984: 2980: 2976: 2972: 2968: 2967:decompression 2964: 2960: 2956: 2952: 2948: 2944: 2940: 2936: 2926: 2924: 2920: 2915: 2911: 2907: 2906:Year 24 Group 2903: 2899: 2895: 2890: 2888: 2884: 2883: 2878: 2873: 2869: 2865: 2861: 2857: 2853: 2851: 2850: 2845: 2841: 2837: 2833: 2829: 2825: 2821: 2817: 2813: 2811: 2806: 2799: 2795: 2794: 2788: 2774: 2772: 2768: 2764: 2760: 2756: 2752: 2748: 2747: 2746:Fruits Basket 2742: 2741: 2736: 2735: 2730: 2726: 2722: 2712: 2710: 2706: 2702: 2698: 2697: 2692: 2688: 2684: 2680: 2678: 2674: 2673: 2668: 2664: 2663: 2658: 2654: 2653: 2648: 2644: 2640: 2639: 2635:in 2007, and 2634: 2633: 2628: 2627: 2622: 2621: 2616: 2615: 2610: 2609: 2604: 2596: 2592: 2587: 2585: 2584: 2579: 2575: 2571: 2570: 2565: 2561: 2560: 2555: 2551: 2550: 2545: 2540: 2538: 2534: 2529: 2525: 2521: 2517: 2512: 2510: 2506: 2502: 2494: 2481: 2476: 2474: 2469: 2467: 2462: 2461: 2459: 2458: 2455: 2450: 2445: 2444: 2437: 2434: 2432: 2429: 2427: 2424: 2422: 2419: 2414: 2413: 2408: 2406: 2404: 2399: 2396: 2395: 2390: 2387: 2386: 2381: 2380: 2379: 2376: 2375: 2369: 2368: 2361: 2358: 2353: 2350: 2349: 2344: 2342: 2339: 2337: 2334: 2332: 2329: 2326: 2322: 2319: 2315: 2312: 2307: 2305: 2302: 2297: 2296: 2295: 2293: 2288: 2287: 2284: 2279: 2278: 2271: 2268: 2266: 2265:Manga artists 2263: 2262: 2256: 2255: 2247: 2246: 2241: 2239: 2236: 2234: 2231: 2228: 2227: 2222: 2220: 2217: 2214: 2213: 2208: 2206: 2203: 2201: 2198: 2195: 2194: 2189: 2186: 2185: 2180: 2177: 2176: 2171: 2169: 2166: 2164: 2161: 2159: 2156: 2154: 2152: 2147: 2146: 2143: 2138: 2137: 2130: 2128: 2123: 2121: 2119: 2114: 2112: 2110: 2105: 2103: 2101: 2096: 2094: 2091: 2090: 2084: 2083: 2074: 2071: 2069: 2066: 2065: 2064: 2061: 2059: 2056: 2054: 2051: 2049: 2046: 2043: 2042: 2037: 2035: 2032: 2029: 2028: 2023: 2020: 2019: 2014: 2012: 2009: 2007: 2004: 2002: 1999: 1997: 1994: 1992: 1989: 1988: 1982: 1981: 1972: 1969: 1967: 1964: 1963: 1962: 1959: 1957: 1954: 1952: 1949: 1947: 1944: 1942: 1939: 1937: 1934: 1932: 1929: 1927: 1924: 1922: 1919: 1918: 1912: 1911: 1907: 1903: 1902: 1899: 1895: 1892: 1891: 1887: 1886: 1878: 1876: 1872: 1867: 1865: 1861: 1860: 1855: 1851: 1847: 1843: 1839: 1836: 1831: 1829: 1828: 1823: 1819: 1815: 1811: 1807: 1803: 1798: 1794: 1790: 1784: 1774: 1772: 1771: 1766: 1765: 1760: 1759: 1755:at Kodansha, 1754: 1753: 1748: 1744: 1740: 1736: 1732: 1727: 1723: 1719: 1715: 1711: 1710: 1705: 1702:at Kodansha, 1701: 1700: 1695: 1694: 1685: 1682: 1677: 1673:manga series 1672: 1667: 1662: 1660: 1651: 1645: 1643: 1639: 1638: 1633: 1632: 1628:(1990–1998), 1627: 1626: 1622:(1995–2002), 1621: 1620: 1615: 1611: 1607: 1603: 1598: 1588: 1586: 1582: 1578: 1574: 1570: 1566: 1562: 1559:) as well as 1558: 1554: 1550: 1545: 1543: 1542:ladies comics 1539: 1535: 1531: 1530:Hideko Mizuno 1527: 1523: 1519: 1518: 1513: 1509: 1505: 1504: 1499: 1495: 1491: 1487: 1486: 1481: 1477: 1473: 1472: 1467: 1466: 1461: 1460: 1455: 1454: 1449: 1444: 1442: 1438: 1434: 1430: 1426: 1422: 1418: 1414: 1413:Yumiko Ōshima 1410: 1406: 1402: 1401:Year 24 Group 1398: 1394: 1390: 1386: 1382: 1378: 1370: 1369:Year 24 Group 1366: 1362: 1353: 1351: 1347: 1343: 1339: 1334: 1333:(1969–1971). 1332: 1331: 1326: 1325:Hideko Mizuno 1322: 1318: 1317: 1312: 1311:Chikako Urano 1308: 1305: 1301: 1297: 1294:published in 1293: 1292: 1287: 1283: 1282:Yukari Ichijō 1279: 1275: 1270: 1268: 1264: 1260: 1256: 1252: 1248: 1247: 1246:The Quiet Man 1242: 1241:Sutekina Cora 1238: 1237: 1232: 1228: 1224: 1220: 1212: 1211: 1206: 1202: 1198: 1196: 1192: 1188: 1184: 1183: 1178: 1177: 1170: 1168: 1155: 1151: 1147: 1146:Eiko Hanamura 1143: 1139: 1135: 1134:Hideko Mizuno 1131: 1127: 1126:Tetsuya Chiba 1123: 1119: 1115: 1111: 1101: 1085: 1067: 1049: 1045: 1041: 1037: 1036: 1032:in 1955 with 1031: 1027: 1026: 1022:in 1954 with 1021: 1018:manga: first 1017: 1013: 1009: 1005: 1000: 998: 994: 990: 989: 984: 983: 978: 961: 957: 954: 950: 947: 943: 939: 935: 931: 926: 922: 918: 914: 910: 906: 902: 898: 894: 889: 887: 883: 882: 877: 873: 869: 865: 861: 860: 855: 851: 847: 844:(1949–1955), 843: 842: 837: 833: 829: 827: 823: 819: 818: 808: 807: 802: 797: 777: 776: 762: 755: 750: 746: 745: 740: 733: 728: 727: 723: 721: 720:Shōjo no Tomo 717: 712: 707: 705: 701: 697: 693: 689: 685: 681: 677: 673: 669: 665: 660: 658: 654: 650: 646: 642: 638: 634: 626: 620: 616: 611: 607: 603: 599: 595: 591: 587: 583: 579: 575: 571: 567: 561: 560: 555: 554: 550:in 1912, and 549: 548: 543: 542: 541:Shōjo no Tomo 537: 536: 531: 528: 523: 519:magazine was 518: 514: 510: 506: 505: 500: 492: 487: 480: 464: 461: 455: 450: 447: 442: 435: 430: 426: 421: 415: 410: 406: 402: 399: 393: 388: 387: 382: 381: 376: 375: 369: 364: 360: 355: 346: 341: 339: 335: 334: 329: 324: 319: 318: 313: 308: 302: 288: 283: 275: 272: 267: 262: 261: 254: 249: 244: 238: 228: 226: 222: 218: 213: 207: 201: 196: 191: 185: 183: 182:manga artists 177: 172: 167: 161: 160: 153: 148: 146: 141: 136: 133: 127: 124: 118: 115: 109: 103: 101: 95: 93: 87: 83: 68: 65: 56: 51: 46: 41: 37: 33: 19: 6666: 6617: 6609:the original 6603:(3). 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