Emancipated Anime
Girls just wanna read (and create) manga
March / April 2005
Melissa Maerz Utne magazine
As Mai the Psychic Girl already knows, the future ain't what it
used to be. In the Japanese comic books of tomorrow, the telepathic
protagonist is likely to have joined legions of heroines who have
changed the face of printed-page anime for generations to come.
Gone will be the fire-breathing men in tights, the beefy cyberpunk
revolutionaries, the Amazonian super-centerfolds for whom XX is not
a chromosomal pattern but a bra size. In their place, fully fleshed
out (and less flesh-revealing) female characters will appeal to a
novel readership prototype. A decade from now, the average comic
book nerd may be more intrigued by realistic narratives than sci-fi
adventures. He may be more fascinated by love stories than fight
scenes. He may, in fact, be a she.
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With increasing numbers of female readers flipping through their
inked pages, Japanese comics (or manga, as they're known
overseas) have already become the fastest-growing sector of the
publishing industry, with 2004 sales reportedly totaling more than
$120 million -- up 20 percent from 2003. Writing in the
Village Voice Literary Supplement (May 2004),
Robert Ito observed that of the 700 fans who attended the San
Francisco manga convention Yaoi-Con in 2003, a majority
were women and girls. In part, this inverted gender gap can be
attributed to the rise of shojo, a subgenre of
manga that's written by and intended for females.
Bust (Dec. 2004/Jan. 2005) noted that in the
mid-'80s, two leading manga publishers, Viz and Tokyopop,
released only four shojo titles between them; last year,
Viz released more than 300, while Tokyopop produced some 450.
'It's refreshing for a girl to read a story written by a girl,
who knows her sensibility, knows what she's into, and can tap into
those feelings she has,' Julie Taylor, editor of the girls'
manga division at Toykopop, told Bust. That
girl-power ethos feels like a coup within Japanese comics, which
often objectify and infantilize women as teddy-bear-hugging Lolita
stereotypes. By contrast, shojo protagonists behave like
normal girls: They rehash their dates in Happy Mania; they
contend with high school cliques in Boys over Flowers;
they start rock bands in Princess Ai, which was co-written
by manga aficionado Courtney Love. Plus, like good
wholesome girls the world over, they obsess over their favorite
after-school activity: sex.