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By Robert Kirkman

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In 1962 Kodansha discontinued its flagship shōjo manga magazine, Shōjo club, replacing it with a weekly girls’ magazine called Shūkan shōjo furendo (Weekly shōjo friend) (Maruyama 1999, 209). In 1963 Shueisha launched a weekly oldersister magazine for Ribon, Shūkan Maagaretto (Weekly Margaret, replacing Shōjo book), and Shogakukan followed suit a few years later, introducing the Shūkan shōjo comikku (Weekly shōjo comic) in 1965. These magazines would soon become stars in the shōjo manga magazine galaxy.

What has manga meant to us in the past, what is it to us now, what will it become in the future? The goal [of the Japan Society for Studies in Cartoon and Comics] is to create a forum for people who have posed this question to themselves that they might enrich their ways of thinking through the mutual sharing of ideas. ” This speaks both to the growth in the quantity and quality of research on manga in recent decades and to the prominence that manga has acquired as a part of the landscape of postwar Japan.

2). 7 not only to the recession, but also to new media trends. Beginning with the famicon (Nintendo Family Computer, marketed internationally as the Nintendo Entertainment System) boom in the mid-1980s, video games have captured some of the manga audience. Until the late 1980s manga still had the edge on games because of their portable format and the propensity for long commutes in urban Japan. However, the invention of handheld games cut into manga’s commute status, particularly with shōnen manga’s audience.

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