Berliac’s gaijin gekiga and the Mangaesque - Transnational Perspectives and Cultural Appropriation

Aug 20, 2026

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This paper explores the transcultural scope of manga through Berliac’s latest graphic novel, Sadbøi, foregrounding how the mangaesque shapes what audiences recognize as “typically manga.” It analyzes the interaction between labels for manga, the novel’s aesthetic and formal characteristics, and the mangaesque elements that emerge beyond Japanese origin narratives. The study also considers the debate between defining manga as “made in Japan” versus treating it as a recognizable sequential style adaptable across transnational contexts.

LanguageEnglish

CategoryResearch & Report

FormatPDF

Pages17

Reading Time43 min

AccessFree to download

Introduction

Manga as Style and Manga as “Made in Japan”

Mangaesque in Manga Studies

Formal Features and Labels of “Manga”

Debates on Origin and International Recognition

José Andrés Santiago Iglesias Berliac’s gaijin gekiga and the Mangaesque: Transnational Perspectives and Cultural Appropriation Keywords: Berliac, manga, gekiga, mangaesque, Sadbøi This paper addresses the transcultural scope of manga, and it discusses the role of the mangaesque (Berndt, 2012) in the latest graphic novel by Argentinian comics artist Berliac, Sadbøi. I will pay special attention to the interplay and dynamics of different labels for “manga,” Sadbøi’s aesthetic and formal characteristics, and the mangaesque elements within this graphic novel. In order to do so, the paper falls into two major sections. Firstly, I will briefly introduce the dichotomy of “manga as style”and manga as “made in Japan,” while highlighting some ways in which“manga” is used as a label, especially in relation to Berliac’s approach. Secondly, I will address Berliac’s mangaesque comics and the unique signature label with which he refers to his own graphic narratives: gaijingekiga.1 Throughout this paper I am going to use “mangaesque” in a similar sense to manga studies scholar Jaqueline Berndt. As she describes it, the mangaesque is: […] what passes as “typically manga” (or typically anime) among regular media users […] This focus I call “mangaesque,” in the sense of manga-like or typically manga, which is, of course, no established scholarly term, yet it allows to draw attention to practically relevant popular discourses on the one hand and on the other to 1 Lit. “dramatic pictures” (gekiga) by a foreigner, outsider (gaijin) . See latter half of this paper. Both words are italicized throughout this paper as distinct from already naturalized Japanese words such as manga. Other words like mangaka are italicized only upon first mention. critically informed, theoretical reflections on what may, or may not, be expected from manga (and anime) . (Berndt, 2012, 149) . Accordingly, I prefer to use the term mangaesque to address some comics – and some of their formal features – as it provides a clear grasp of the intertwined manga-like elements in them, emphasizing the autonomy of the manga medium without relying so much on its Japanese roots. Manga as Style, Manga as Movement, Manga as Rooted in Japan When we try to define and contextualize what manga is, especially the international scope of manga, we usually face two different approaches: manga as rooted in Japan (produced in Japan for a Japanese audience within the framework of magazine serialization) and manga as style (sequential narratives characterized by a set of formal, utterly distinguishable elements) which ultimately unfold within a larger transcultural sphere. For some fans and academics these two stances seem to be incompatible. Those who support the approach of manga as “made in Japan” claim that manga are just Japanese comics – inexorably binding this medium to Japan – and mangaesque graphic narratives made outside Japan cannot be acknowledged as manga. However, some mangaesque authors outside Japan stress manga’s form, thinking that manga is a style made of a set of recognizable features which can be assimilated and used in their own creations, and thus be addressed as manga. The first approach is connected to the idea of origin; tracing manga back to the 13th century and the Chōjūgiga picture scrolls (of Frolicking Animals and Humans), or the woodblock prints of the Edo period and Hokusai Manga (1814-1878), outlining a sense of continuity up to modern manga. This approach has been largely contested (Berndt, 2007a), pointing out the absence of real continuity apart from the simple diachrony, and tying instead the origin of manga to the comic strips and satirical cartoons from the US and Europe (Berndt, 2007b; Steward, 2013) . In 2012, the Royal Spanish Academy2 decided to finally include the word manga in the official Spanish lexicon. However, the initial satisfaction of fans rapidly turned into ruckus and disappointment3 when the 2 Generally abbreviated as

FAQs

How does the paper define and use “mangaesque”?

The paper uses “mangaesque” in a way inspired by manga studies scholar Jaqueline Berndt, focusing on what media users treat as “typically manga.” It highlights manga-like elements while supporting critical reflection on what can be expected from manga and anime.

What central debate does the paper address about defining manga?

It contrasts “manga as rooted in Japan” with “manga as style.” The paper discusses how fans and academics dispute whether manga outside Japan can be acknowledged as manga or should be excluded from the category.

Which graphic novel is examined, and what role does it play?

The paper focuses on Argentinian artist Berliac’s graphic novel Sadbøi. It examines how mangaesque elements and the artist’s signature label, gaijingekiga, interact with manga-related labels and formal features.

Aug 20, 2026

Upload by Tawan