Although the narrative portrays Asia, it just betrays its setting by making every ideal character Western with long legs, round eyes, and blond curly hair. Shōjo manga seems to have maintained the farthest distance among other genres of manga from the concept of Asia-even now, owing to its appearance, which is often called the shōjo manga style. Unveiling diverse Asian identities and showing ways to unite them, the contributors to this volume recognize the overlaps and unique trends that emerge as a result.Īsia was an untouchable arena for many mangakas of shōjo manga in the 1970s, said Keiko Takemiya, one of the leading mangakas who led shōjo manga at that time. Taking an Asian regional approach combined with investigations of non-Asian cultures which have felt manga’s impact, the book details manga’s shift to a global medium, developing, uniting, and involving increasing numbers of participants worldwide.

With a specific focus on women’s direct roles in manga creation, it illustrates how the globalization of manga has united different cultures and identities, focusing on networks of women creators and readerships. Based on the activities since 2009 of the Women’s MANGA Research Project in Asia (WMRPA), the edited volume elucidates social and historical aspects of the Asian wave of manga from ever-broader perspectives of transnationalization and glocalization. Women’s Manga in Asia and Beyond offers a variety of perspectives on women’s manga and the nature, scope, and significance of the relationship between women and comics/manga, both globally as well as locally.

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