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Feminism in Shoujo Manga: NANA by Ai Yazawa July 18, 2006

Posted by Naughty Ninja in Feminism, Manga, Nana, Shoujo.
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Previously >> Feminism in Shoujo Manga: Introduction

This article is the first installment of a series exploring feminism in manga marketed under the shoujo genre outside of Japan.

As of late, more pop culture enthusiasts have come to question the representation of women in manga, particularly those within shoujo. There are those who choose to interpret the soft-spoken heroine as an exemplifier of what they perceive as an inherent regressiveness in Asian gender roles.

The more forgiving choose to regard this as part of a simple cultural difference that can be overlooked in favor of shounen manga. Then there are those who enjoy shoujo well enough to not write it off as completely counterfeminist, but may not have found a way to articulate why this is so.

With this series, I endeavor to find a way to do so.

The immensely popular shoujo manga sensation known as NANA recently hit shores outside of Japan, and starts out strong for its first three volumes. It takes a more mature route than most shoujo titles, and seems to be a perfect place to start our feminist analysis of shoujo manga. However, being immensely popular has always been an invitation for mean-spirited cultural punditry.

I can already imagine a slew of women writing off NANA as another title wherein use of romantic tropes and melodrama makes it just as trite as all the other shoujo entries that have come before it. These naysayers would insist on “stronger female leads” or “girls who don’t need love to be happy”. And let’s face it, there’s no faulting a desire for ass-kicking heroines disinterested in romance.

But to look for feminist value in manga is not the same as looking for ball-breaking monuments to womanhood, as that would be a shallow reading of what feminist values are in the first place. It is not necessary for female characters to masquerade as men and claim masculine qualities to be deemed “strong”.

Proper representation should focus on what is truthful and free of delusion just as much as it should focus on the ideal and the empowered. The girl you find on the street is just as important in her mundane ordinariness as any other representation, complete with her flaws and shortcomings. And one thing manga has proven capable of is showing these women, resolutely mundane or extremely symbolic, as possessing genuine desire for change and self-actualization.

NANA begins with two young women on a train to Tokyo, both closing the final chapters of their late adolescence and journeying towards tumultuous adulthood. No two girls could be anymore different, or lead such disparate lives. It’s love that drives them to the city, but more than that, it’s a calling to find their true selves. Both these girls have the same name: Nana.

Nana Osaki is the emotionally distant vocalist for the band Black Stones, a mysterious girl with a cool exterior that bellies the personal turmoil of an abandoned heart. She comes to Tokyo to fulfill a dream: “to be able to live off music”. She stepped on the train with nothing but a pack of cigarettes, her guitar, and an unrelenting desire to sing in Tokyo.

Nana Komatsu is a country girl who has long suffered from the love at first sight sickness, and finds herself growing up before she’s completely ready for it. She longs to become her own woman in Tokyo, but carries a long history of dependency with her.

Initially, creator Ai Yazawa did not intend for the two to meet and NANA was originally the story of two separate lives — Osaki and Komatsu’s — as parallel narratives of the un-smooth course of true love. As such, the first volume weaves a stimulating tale of two separate hearts, and it is in the second volume that the manga grows into an entirely different creature.

When these two Nanas cross paths for the first time, their personalities grow distinct in the face of opposition: the two women possess an inexplicably entertaining chemistry that grows from their dichotomous contrast. Though they come from two different worlds, they form an immediate bond that grows tentatively but steadily throughout the story.

“Hey Nana. You were a stray cat strutting, so free and full of pride. But I could see your open wound. And without really thinking, I just chalked it up to another cool thing about you. I never realized how much you hurt.”

Nana Osaki walks and talks with a nigh impenetrable air of cool surrounding her every move and word. She is ostensibly self-reliant — unaccustomed to relying on anyone but herself. Her passion for music was first introduced to her by others, but she has made that a fervent dream of her own. That which is admirable in Osaki is immediately apparent, with her strong personality and cigarette-flavored aura, her daring make-up and shocking attire.

Her understanding of loneliness, love, and the treacherous dependency that spans between the two emotions is apparently more sophisticated than that of Komatsu’s. This rocker girl’s tight-lipped nature and reservation towards revealing herself color her a more mysterious creature. But while Osaki’s inner feelings are only apparent to the reader with every few panels, Komatsu seems immediately transparent and is the main voice which we follow.

Komatsu is the “more vulnerable one”, eager to “make it on her own” and working towards her own simple dream: a large house with a picket fence, a husband and a rewarding career. But her dreams are a patchwork mess full of holes made mostly out of the fact that she appropriates these aspirations almost for the sake of owning them.

Her weakness for any semblance of love makes her initially sympathetic, but soon grows a tad tiresome as she hams up her role as girlfriend and continues to be blind to what a real relationship entails. For every moment that Komatsu tries to stand on her own two feet is a corresponding one in which she falls back into dependency.

Osaki provides the most convenient target for this dependency, and Komatsu often tells herself, “If only Nana were a man, I know she’d be the perfect boyfriend for me.” This more vulnerable Nana finds it easy to confuse any form of initial infatuation into full blown romance perhaps unwilling to take on the sense of responsibility or approach to compromise that love actually asks for.

“Yeah, but I’m 20 years old and need to know how to make it on my own! I gotta be a strong successful female role model for all the Nana readers!”

This is not to say that Komatsu (or Ai Yazawa herself for that matter) is completely blind to those shortcomings. If anything, they are meant to endear her to the readers as much as she exasperates and frustrates them. To write these traits off as undermining evidence shoujo’s credibility as a genre of empowerment is a completely wrongheaded way of looking at it.

This is because Yazawa intends Komatsu’s personal journey to be one in which she earns herself a stronger personality. The fact that she ends up taking one step back for every two steps she does forward is a deliberate part of this growth.

Osaki on the other hand is a character whose strength could also be her downfall. Despite the mythical cool she exudes, and the almost unrealistic standard of awesome she represents, her development is limited to the eventual chipping away off her exterior. As the plot continues, it’s easy to imagine that placing the reader as voyeur and breaking past her barriers is what will reveal what makes her tick.

Komatsu is a blank page to be written, her simple desires and passions leaving a wealth of potential. With this amount of room to grow in, we can cheer Komatsu along and watch her find her own dreams and shake off her dependent nature. Komatsu embodies that deep desire for change, and the difficulty of internalizing that desire. Komatsu’s road to betterment does not lie in a magical short cut formula nor does it automatically come with being cognizant of her own flaws.

As a commercial enterprise and minor cultural phenomenon, the NANA franchise is rather impressive. There’s a live-action film adaptation, album tributes to the in-fiction rock groups, a longer-than-average animated series. There are even NANA-themed accessories for the iPod Nano. All this merchandise comes underwritten by the tagline, “Every girl needs Nana,” which by my reckoning is strangely apt in its self-seriousness.

This is because NANA presents us two women so starkly polarized, standing at extreme ends yet somehow meeting in the middle and somewhere in that middle it’s easy to imagine the innumerable shades of women to be found there, a place for every girl and a personal coming of age story for every one of them. Maybe every girl does need Nana.

NANA is less a manga story of the romantic lives of its two leads, and more a story that details the unceremonious passage from child to adult. With that passage comes the rude awakening that they are living in a world far and away from the rural idleness and rock and roll adolescence, and the challenges that come with realizing a dream and the wants of the heart. It’s a story of the converging paths both Nanas take towards their future in Tokyo, and the friends and loves that take them there.

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Comments»

1. MangaBlog » Blog Archive » Nana psychology - July 18, 2006

[...] At Bento Physics, Jamila starts off their promised series on feminism in shoujo manga by analyzing Ai Yazawa’s Nana. [...]

2. MangaBlog » Blog Archive » Potpourri - July 21, 2006

[...] Some reviews to check out: At Standing and Reading, Ginger reviews Legend of Chun Hyang, a single-volume manga by CLAMP. At Comics Worth Reading, Johanna likes Fool’s Gold but feels it didn’t quite live up to expectations. And Noah Berlatsky of the Chicago Reader reviews Nana but also gives a bit of a dissertation on manga. He has clearly done his homework, although I don’t agree with his statement that shoujo manga are the new romance comics (especially when he lumps them in with Chobits two sentences later). It’s a thoughtful review and a nice counterpart to the Bento Physics analysis. [...]

3. Crocodile Caucus » Blog Archive » Friday Tidbits - July 23, 2006

[...] Check out Bento Physics’ sharp feminist analysis of Nana. It nicely captures a lot of what I love about this series. [...]

4. Hige - July 23, 2006

Fantastically written! Thanks for articulating much of why I enjoy this series so much. I look forward to reading your forthcoming articles.

5. MangaBlog » Blog Archive » MangaBlogCast #6: Notes and links - July 27, 2006

[...] Bento Physics analyzes Nana [...]

6. merinitta - November 3, 2006

This is wonderful! Nabors’ article upset me in its refusal to see either shoujo (and it seems all manga), Japanese culture, and U.S. feminism in anything other than the broadest stereotypes.
The line “Many young American girls simply don’t relate to Japanese or Korean heroines” bothered me the most. Who are these young girls? Maybe its because I’m a 4th generation hapa, but I’ve much more problems relating to some of the all white, middle class aspects of U.S. pop culture than any manga I’ve read. My 17 year old, little sister’s white girlfriends also find a lot of inspiration in shoujo because it offers them emotionally sensitive characters (male and female) to whom they can relate.
Thank you for writing such a thoughtful and thought-provoking article.

7. S - November 13, 2006

Great article over here!
It really is an awesome anime/manga that manages to be as realistic as possible yet providing excellent character development.
I can the chills from watching the recent episodes as Nana’s possessive streak is gradually uncovered.

8. Leila - January 22, 2007

I was doing a bit of research on NANA, and I came across this entry. This was very well written and I have had numerous discussions on this manga/anime/movie about the way the women are portrayed. Thanks for writing this. I’ll be pimping this entry as well as Bento Physics in general in my livejournal (url provided) within the next few days. It is really good to see people taking these subjects and the material seriously. I’ll be on the lookout for more interesting entries from bento physics! :)

9. Nenena - January 22, 2007

Thank you so much for writing this. This is awesome. Not only as an analysis of NANA, but for a few nifty comments about comics and feminism as well. Especially this part:

“But to look for feminist value in manga is not the same as looking for ball-breaking monuments to womanhood, as that would be a shallow reading of what feminist values are in the first place. It is not necessary for female characters to masquerade as men and claim masculine qualities to be deemed ‘strong’.”

You just reminded me of why I loved Utena, which I watched/read in high school, and which kindled some of the first feminist thoughts in my little brain. Because being “manly” should not be – can’t be – the only way for anyone (male or female) to be a strong person.

10. RadFemanimewatcher - March 22, 2007

Hang on, whaddaya mean “masculine”, so they have to find a “feminine” way of being empowered?

Needless aggression is stupid behavior on the part of a human, but assertiveness and the willingness to slap someone who is, say, sexually harrassing you (and who you can’t get to leave you alone without said slap) are positive traits, people can claim any positive quality they like regardless of their sex.

I heard that in Hataraki Man someone says that it’s male to be unkempt, no it blimmin’ isn’t, why should you care at all how you look or care particularly if your surroundings are tidy, so long as you can find everything and it’s hygenic what does it matter?

11. ISA - April 6, 2007

NANAAAAAAAAAAAAAAAAAAAAAAAAAAA…… I LOVE YOUUU!!!!!!!
THE MAGIC MANGA

12. Yazawa's fanatic - April 7, 2007

I Love all Ai Yazawa’s Manga!! She’s the gratest Mangaka!!
I LOVE YOU I LOVE YOU I LOVE YOU!

U-ARE-THE-BEST!!

13. rika - May 7, 2007

beautifully done, i feel like ive grown and come to a different understanding by reading this article,

14. SaYuRi~ - May 16, 2007

NANA IS FANTASTIC!!!!!

15. NANAFANGIRL$ETERNITY:) - May 29, 2007

Dudes, i’m a NANA addict!!1 Let me tell u one thing: It Dominates. Period! It’so wonderfully deep, yet sad, and a perfect portrayl on real life. It’s so dramatic and intense, yet soft and sweet and depressing. It’s just so real. It is a soap opera in anime/manga form. Dare to explore it, but let me warn u: U may get lost in the wonderful world of NANA!

16. NANAFANGIRL$ETERNITY:) - May 29, 2007

Ai Yazawa, like many other tremendously gifted few manga-ka, is a true visonary. She RULES!!!!!!!!

17. NANAFANGIRL$ETERNITY:) - May 29, 2007

There r so many great things in this world, an there r so many great people. NANA, and it’s creator, ( Ai Yazawa), r one of those wonderful few. NANA rules. Yazawa rules. Try to challange them!!! THEY RULE!!!!!!!!!!!!!!:)

18. NANAFANGIRL$ETERNITY:) - May 29, 2007

The anime is really intense. It follows and meets the expectations of the manga very well. The characters(epecially the Nanas) r gorgeous!

19. wind - June 7, 2007

hi
cool manga

20. dragonwriter - June 23, 2007

Nana rocks! Yeah!

21. Kana - June 27, 2007

love, that’s what it is! the art just pulls you right in!
Rock 4-ever!

22. Kana - June 27, 2007

sure, the Nanas are gorgeous,
but the guys are hot ^_^ yea!!

23. Hachiko_kawaii! - June 27, 2007

nana xinh ghe co
hachi cung vay

24. darkblut - July 25, 2007

yoroshiku onegaishimasu….nana is romantic manga.I dont lie..rock and metal

25. temuulen - September 15, 2007

nana is very beatiful.hatchi is pretty.me wonderfool theirs fen

26. Alecia Hamilton - September 18, 2007

Thanks. I really appreciated your take on Nana. One thing about this manga that stood out for me was that the relationship between these women was slightly disfunctional. Women have complicated relationships and sometimes we are jealous and possessive of each other. We aren’t always reasonable and supportive as seems to be a favored representation. Our love for each other can be deep yet conflicted. It was nice to see a female friendship that includes some hiccups.

27. gravitation,nana,elfenlied - October 12, 2007

NANA is the best the girls are cool! they have such great separate lives even if hachiko ends up pregnant cuz wel I’m into pregnancy and I’m a rocker so the other NANA is like so cool and not to sound sexist but the guys where definetly hot!!!….btu it was a very long series ( to me) but very much worth it!! nana IS the BEST !!!

28. G,N,E. guess who??? - October 12, 2007

NANA IS COOL EVERY ONE WHO LIKES NANA I MUST meat TALK TO ME: serghjane@hotmail.com

29. G,N,E. guess who??? - October 12, 2007

NANA IS COOL EVERY ONE WHO LIKES NANA I MUST meat TALK TO ME: serghjane@hotmail.com NANA SUGOI

30. Jenny - October 13, 2007

Very well written.
I’h a huge NANA fan, I have the movies, mangas and cd’s.
I’ve recognised alot of myself in Hachiko but I’d want to be more like Nana Osaki instead.
But the friendship that the Nana’s have is something that I’d love to have, a real loving friendship.

31. Lili-chan (Maylis) - October 24, 2007

Me too Reconised myself very well in Hachiko We have a lot of thing’s in comun.
Big Fan of that Manga

32. yanabee - November 3, 2007

i really enjoyed reading this article, but i dont agree with how you say Nana Osaki is dependent, afterall she had to depend on the drummer in Black stones

33. Latoya Peterson - November 29, 2007

Well done. I adore the Nana series for the exact reason you describe – I can find pieces of myself in both heroines.

I am also loving the focus on life after high school and the idea that sometimes, people just do things that are fucked up. Even when it isn’t good for us. The unexpected vulnerabilites in Nana O and the random moments of strength in Hachi keep me intrigued.

34. Cilla - February 25, 2009

awwww you did nana sooo much justice!!!!

awwwwww soooo good im crying hahaha

never have i thought that any summaries or reveiws have done this manga right

but you’ve done a ridiculously RAD job of it!

high five, thumbs up, and a peace haha :P

Cilla.

35. phil eklund - June 23, 2009

I am a 54 year old male rocket scientist, living and working here in Tucson Arizona on a Star Wars space project. As far outside the shouji target audience as the two Nana persona are from each other. But while in Mannheim Germany, I picked up almost by accident Nana #2, hoping for fluff light enough for me to learn German. It took me a day to puzzle out every page. But I was hooked. Every character has an identity and acts accordingly, in a tightly woven sequence, really some of the best material and characterization I have read in any genre. I have now read 19 volumes in German.

36. silvia b. - January 13, 2010

I found yor article very intersting and clearly written. food for thought. Just a question: in which chapter did you find the quotation “Yeah, but I’m 20 years old and need to know how to make it on my own! I gotta be a strong successful female role model for all the Nana readers”
I really like it but I can’t find it
Silvia B. (italy)

37. kelly - June 6, 2010

This is such a good essay :O


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