The written word, manifesting as poetry, novels, or folklore, has never been confined to the printed or text format. In East Asia, from ancient times, the concept of painting with textiles and other products has meant that art and literature share and rely upon each other. In the early modern era, the entertainment and leisure options for most were public entertainments and shows. Depending on the country and the period, the amateur and the original comic strip records or provide edification of society. Whatever the format or the oldest examples of manga, these depict the various aspects of society through images. In this way, manga can be interpreted as the original folk and entertainment culture. So what are these manga, and what are their relationships with the overall society?
Words and pictures together are not a new phenomenon. Ancient Japan has several records of illustrated books. If the understanding of the definition of manga lies simply in the meaning of its kanji characters, texts with drawings or strokes are the origin of Chinese character illustrations. Later, ink block words became more like shadow play, scroll or fan, hand scroll, or novel illustrations. The Mongol invasions put numerous people on the stage in fundamental Japanese narrative epics or introductory recitations and mimicry. During the medieval period, emakimono and hanging scrolls of illustrations for illustrated books depicted the fast-changing medieval religious life, religious tales, and the era. These merchants purchased prodigious amounts of these so-called Illusive Picture style books, selling dramas lively enough to cause injury to those who stumbled upon them while walking. The books make fun of the tyranny and incompetence of those in power during the turbulent Warring States period.
Definition and Origins
The term “manga” carries three meanings in Japan, as the word serves several functions. First, it describes a particular pattern of speech balloons used in comic stories and novels. Next, in popular publishing, manga encompasses a wide variety of printed matter, including comic stories, novels delineated by drawings, and cartoon-like commentaries on every facet of life. Finally, manga is a form of paper medium, legitimized as a legitimate art and literature expression, as its subjects deal with every topic imaginable from childish humor to intellectual pursuits, reflected through art and literature common to light novels and illustrated novels; thus, the motifs in the former are also called “manga” motifs. Manga is not taken lightly in Japan, for this mere sheet of medium ranging from banal to refined is recognized as a prime adornment of Japanese culture at large. In people’s daily lives, manga constitutes consciousness, elocution, and even moral judgments, thus preserving an unshakable position in its users’ personal world. It is almost impossible to say when the origins of manga are, but the term began to be used more extensively after the Second World War, despite the fact that the comic narrative started to bond much earlier with Japanese culture as we know it today. Japanese illustration with humorous motifs, endemic to its surroundings, or tales from the everyday life of its inhabitants, started to be printed long before the important developments in European illustration, which began in the sixteenth century, due to the advancement of the printing press. The Japanese version of the illustrated topic took place practically since the advent of the graphic arts in its traditional form. When discussing the early Asian narrative, it is noted that India and Japan possess ancient narrations delineated by written and printed drawings and that Japan’s tradition of Ukiyo-e, the so-called small theater, was the main Eastern aspect that grew from this early development in the narrative arts. Mostly in the nineteenth and twentieth centuries, the printed image intended to narrate, either printed or bound, appeared on paper in what we know today as comic books, whether with conventional narratives that adopted mise en scène, with humorous motifs, or even an activity that followed the editorial schedule of some recently invented and countless journals.
Key Characteristics
This chapter aims to review the emergence of manga and its journey over the last century. A variety of characteristics have made manga a popular medium of storytelling, and significance from the perspectives of creativity, culture, heritage, education, and cognition have been discovered. To look at these aspects, this book adopts a holistic approach to analyze its evolution, examining how manga has been developed to include the following characteristics: an affordable form of entertainment, a dynamic, flexible, open, and versatile art style, a powerfully engaging display of creativity, an imaginative and fantastical world for both creators and audiences, a culturally rich artifact that represents thoughts and emotions, a venue for freedom of speech, and a fusion of decision-making and visual thinking.
The simplification of visual presentation without compromising the quality of emotional portrayal, as well as the visual appeal of courageous and amicable characters, has reinforced the enjoyment of manga while making it more accessible. In addition, the diverse subjects in manga, which include world peace, environmental care, urban renewal, education reforms, individual growth, friendship, exotic and ancient cultures, economic globalization, ultra-technical modern transformations, scientific myths, and fictional manipulations, have expanded its intellectual appeal. These qualities, resulting from the synergy and natural extensions of the key characteristics of manga, have given this seemingly ephemeral art form intriguing and inspiring properties. These characteristics have contributed to making manga an indispensable and dynamically important agent. The role of manga as a promulgator of culture is one of the most remarkable ones. The properties have in turn justified the creation of many organizational schemes, thus revitalizing preserved heritage.
Historical Development of Manga
Manga are a powerful source of mass culture created in Japan. They have circulated widely since the era immediately following the Second World War, and as Japan’s cultural presence has grown since the latter half of the 1980s, so too has the popularity of manga spread across Japan as well as throughout Asia. In every season, there is always a large crop of manga. Manga are interesting as an industry and as an information medium that relates the spirit of the times. At present, manga are referred to as an important creative industry. The manga capability that circulates within Japan and throughout the world is essential, whether viewed from the standpoint of national power, culture, or the current development of new information technology.
However, while manga are easy to see and fun to read, because of the unique method of manga genres and because of frequent misunderstandings of manga in Japanese society, their deep aspects are not widely understood. Particularly in fields related to mass media, the field is a necessary area whose construction requires an understanding of both the surface and the deep aspects of manga. In that sense, it is essential for students interested in the mass media fields to learn more about manga, a type of contemporary popular culture that has transcended borders such as age as well as between different areas of society.
Definition and Origin
When referring to the early history of manga, it is important to clarify the meaning of the term. Manga is a dualistic form of art and a medium of expression that implies both comics in their original form of sequential art and the technical idiosyncrasies of manga culture. The term is used in the international lexicon to refer exclusively to Japanese comics, often yielding an artificial barrier between the Euro-American tradition and other regional manifestations of sequential art. To address this polarization, it is important to clarify the conceptual distinctions regarding the objects that historical documents present. The first manifestation of Japanese comics is Kibyōshi, a type of monogatari-e satirical story scheduled for hand coloring in 1793, which talks in a jocular tone about the affairs of the day and does not present a continuity from page to page.
Before the Heian era, there are several examples of successive paintings, having the most notable achievements in the hand-scroll called Shigisan engi, written in 1134, and Emaki no Jōo of the twelfth century. In the fourteenth century, there are known e-maki of satirical or humorous character. The connection between these early examples and the later permanent mixture of word and image is a matter under development in contemporary critical studies and, although worthy of long debates that substantiate their own methodologies, they are alien to the several flights of this essay.
Key Characteristics
Using outlines, as well as many of the particular elements, is one of the distinctive characteristics of traditional manga. The manga of Hokusai became the basis for modern manga because the accounts of a number of foreigners who visited Japan during the later Edo period told of their having seen something like the original form of manga created by Hokusai, the ukiyo-e painter. In this respect, manga’s development is similar to the development of other Japanese traditional arts such as flower arrangement, tea ceremony, and carpentry. In the Edo era, there were already characteristics apparent in manga that are almost akin to the characteristics of manga today. Manga from the early days are also forms of cartoons, printed by conventional carver and woodblock printing methods, and enclosed in the written sentence on the back of the print. The picture of manga was mainly done with ink monochrome. Of course, there were also manga using colors. Hokusai sometimes used color in his manga, but drawing with ink monochrome was the prevailing style of those days. Hokusai’s manga were mainly portrayals of people. Many of them were of odd personalities. The drawings were often of plump people or strange personas such as Mt. Fuji with a face.
Manga Genres and Categories
One of manga’s defining characteristics is its variety of genres and target audiences. This diversity ensures there is something for everyone, regardless of age, gender, or interests. Key categories include:
Shōnen (Boys’ Manga)
Targeted at young male readers, shōnen manga often features action, adventure, and themes of friendship and perseverance. Popular examples include Naruto, One Piece, and Dragon Ball.
Shōjo (Girls’ Manga)
Aimed at young female audiences, shōjo manga focuses on romance, relationships, and emotional storytelling. Iconic titles like Sailor Moon and Fruits Basket have defined this genre.
Seinen (Men’s Manga)
Seinen manga caters to adult male readers and covers mature themes such as politics, existentialism, and crime. Works like Berserk and Ghost in the Shell exemplify this genre.
Josei (Women’s Manga)
Josei manga targets adult female readers, offering realistic depictions of romance, work life, and personal growth. Titles such as Nana and Paradise Kiss are well-known in this category.
Specialized Genres
Beyond these broad categories, manga also explores niche genres like sports (Haikyuu!!), horror (Junji Ito’s works), science fiction (Akira), and historical drama (Rurouni Kenshin).
The Artistic Style of Manga
Manga’s distinctive art style is one of its most recognizable features. Artists employ techniques such as exaggerated facial expressions, dynamic motion lines, and creative panel layouts to convey emotion and action. Common elements of manga art include:
- Character Design: Manga characters often have large, expressive eyes, which allow artists to convey a wide range of emotions. Hair styles and colors are also used to reflect personality traits.
- Panel Layout: Unlike Western comics, manga often uses unconventional panel shapes and sizes to enhance storytelling and create dramatic tension.
- Black and White Art: Most manga is published in black and white, emphasizing contrast and shading to depict depth and atmosphere. Color pages are reserved for special editions or promotional chapters.
The Manga Industry
The manga industry is a significant cultural and economic force in Japan. Manga is serialized in magazines such as Shōnen Jump and Shōjo Beat, where readers enjoy new chapters weekly or monthly. Once a series gains popularity, it is compiled into tankōbon (collected volumes) and often adapted into anime, live-action films, and merchandise.
Manga Creators: Mangaka
Mangaka, or manga artists, are the creative minds behind these stories. Their work involves immense dedication, often requiring long hours to meet tight deadlines. Iconic mangaka such as Osamu Tezuka, Akira Toriyama (Dragon Ball), and Rumiko Takahashi (Inuyasha) have left lasting legacies in the industry.
Publishing and Global Reach
Japan remains the epicenter of manga production, but its influence extends far beyond its borders. Translations into multiple languages have made manga accessible to global audiences. In countries like the United States, publishers such as Viz Media and Kodansha have played pivotal roles in introducing manga to Western readers.
Manga’s Cultural Impact
Manga is deeply intertwined with Japanese culture and society. It reflects societal norms, challenges taboos, and explores complex issues such as gender, identity, and morality. Moreover, manga has influenced various aspects of pop culture, from fashion to music.
Manga and Education
In recent years, manga has been used as an educational tool. Titles like Barefoot Gen offer insights into historical events, while others teach science, mathematics, and language skills in an engaging format.
Global Fandom and Community
The global popularity of manga has fostered a vibrant community of fans who share their passion through cosplay, fan art, and conventions. Events like Comic Market in Tokyo and Comic-Con International in the U.S. celebrate manga and anime culture on a massive scale.
Challenges Facing the Manga Industry
In spite of its prosperity, the manga business faces difficulties. The ascent of advanced stages has impacted the manner in which individuals consume content, with robbery compromising makers’ jobs. Also, the requesting idea of the business has started discussions about the psychological and actual strength of mangaka.
Endeavors are in progress to resolve these issues. Advanced circulation administrations like ComiXology and Shonen Hop’s internet based stage give lawful admittance to manga, while distributers and fans advocate for better working circumstances for specialists.
Conclusion
Manga is something beyond a type of diversion; a social peculiarity proceeds to develop and rouse. Its capacity to recount to assorted and convincing stories, joined with its creative advancement, guarantees its getting through request. As manga spans societies and ages, it stays a demonstration of the force of narrating and the widespread human experience.