MAKI Miyako


See/read more in my post on early shōjo manga at

“The revolutionary material produced in the 1970s by the “Year 24 Group” — the first major wave of women mangaka – was a culmination of aesthetic and thematic developments of the previous 50 years.  I don’t think the term “genre,” as we generally use it, fits here; for me, shōjo manga, as it has evolved, embodies a broad, complex aesthetic category, one that can accomodate many genres — maybe we can call shōjo a gender of manga (regardless of the biological gender of its creators or readers — see Itō, Kimiō, When a “Male” Reads Shōjo Manga).Shōjo represents an example of the power of a marginalized aesthetic, one of those cases  in popular culture where a form designed to reinforce a power structure (in this case the gender roles of girls and women in Japan), can expose the conflicts and contradictions within that structure and have a destabilizing effect.”