In his succinct essay here on Yoshinaga, Natsume applies his trademark tools, created a decade earlier, to look at this contemporary artist and her bold, new approach to the shōjo style. Originally, Natsume outlined these shōjo manga characteristics in his seminal contribution to the co-authored Manga no yomikata ( How to Read Manga) (Takarajimasha, 1995), and he further discussed ma and mahaku in his near-final chapter of Manga wa naze omoshiroi no ka: sono hyōgen to bunpō ( Why Is Manga So Interesting?: Its Expression and Grammar) (NHK Library, 1997), which is now available in English via our translation of “Panel Configurations in Shōjo Manga” in U.S.-Japan Women’s Journal Vol. For Yoshinaga, such techniques are crucial for the type of humor and pathos she produces in her otherwise restrained stories. Natsume here discusses the kind of panel “beats” ( ma) and “white break space” ( mahaku) which he sees as being two important components of panel configurations in shōjo manga. In his “manga columns” ( manga koramu) from 2005, Natsume Fusasnosuke returns to his trademark formal analysis of the shōjo manga style, applying it to Yoshinaga Fumi, author of award-winning manga such as Ōoku: The Inner Chambers (2004-2020). Features Yoshinaga Fumi: Those Gallant Girls’ Comics of Hers
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