The Manga Phenomenon

• Pages: 8-11

The origins

Like most comics,

manga

(roughly translated as

“whimsical pictures”) is rooted in sequential art – a

narrative made up of images and presented in se-

quence. The earliest examples of Japanese sequen-

tial art are thought to date from the 12th century

Chōjū Jinbutsu Giga

1 animal scrolls.

The term “manga” is believed to have been first

used by the renowned 16th century woodblock

print (

ukiyo-e

) artist, Katsushika Hokusai (1760-1849).

Together

Chōjū Giga

and

ukiyo-e

influenced the pro-

duction of the low-cost illustrated

kibyōshi

(yellow-

backed) novels from the late 18th century, in which

the beginnings of modern manga first appeared.

Kitazawa Yasuji’s well-known early 20th century con-

tributions to

Jiji Manga

, a weekly comic page in the

daily

Jiji Shimpo

newspaper, did much to popularize

the use of “manga” to describe this emerging art.

In the mid-1940s, low-cost

akabon

(red books) be-

came very popular among adults. Osamu Tezuka,

one of

akabon

’s most popular authors, came to

be known as the grandfather of Japanese manga

because of his work in implementing cinematic

techniques, sound effects, long story arcs and deep

character development across many different gen-

res of manga. The appearance of more serious

manga

gekiga

volumes in the 1950s fuelled the ex-

pansion of manga which, by the 1970s, had grown

into an unparalleled mass media industry.

Manga’s economic

and cultural significance

Manga is a major part of Japan’s publishing indus-

try, accounting for over 25 percent of all printed

materials in the country. They offer something for

everyone and can be purchased from a wide range

of retail and online stores. As Mr. Teiji Hayashi,

former Director of the Public Diplomacy Planning

Division, Public Diplomacy Department, Ministry of

Foreign Affairs (MOFA) of Japan explains, “manga

has a wide range of fans, from small children to sen-

ior citizens, because its storylines are clear and the

characters are rich in humanity.” This is why they are

often “utilized not only for entertainment but also

to provide simple explanations about difficult mat-

ters like history, natural science and social issues.”

Popular manga have a far-reaching influence. Many

become books, television shows,

anime

,2 collect-

able figures and video games. Nearly every aspect

of Japanese popular cultural production can trace

its roots to the industrial complex that is manga

which has become a mainstay of the Japanese

economy and culture.

A cultural pillar of Japan’s

economy

Manga’s striking artistic and thematic styles have

transcended cultural barriers, making an imp ortant

and lasting impression on audiences across the

globe. As a gateway to Japanese culture, it has

attracted a global fan base and fuelled interest in

Japanese culture. It remains one of the country’s

most economically and socially profitable exports

and has helped Japan become one of the world’s

largest exporters of cultural products.

North America is one of manga’s largest foreign

markets worth an estimated US$300 million in early

2011. Sizeable markets also exist in many European

and Asian countries. The

Pokemon

series, launched

in 1996, is perhaps one of the most profitable man-

ga exports with earnings in excess of US$150 billion.

THE MANGA

PHENOMENON

1 Usually shortened to

Chōjū Giga

OCTOBER 2011

8

Photo: Tokyo National Museum

The Chōjū Giga

picture scrolls by the

Japanese Buddhist

monk Bishop Toba

in the 12th century –

an early example of

Japanese sequential

art.

Since the late 1980s, Japanese manga has taken the world by storm to become Japan’s most popular cultu-

ral export. In this article, the WIPO Japan Of fice traces the origins of this global cultural phenomenon and

explores its economic significance.