[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-137163-en":3,"doc-seo-137163-105":30,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":11,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},137163,8814010472675,"Xiajie","https://avatar.qwps.com/avatar/WGlhamll",2,"Literature","Ghostly: Asian Graphic Narratives - Nonnonba and Manga","The essay examines how Asian graphic narratives attract growing critical attention while resisting any simple definition of a shared “Asian” culture. By comparing diverse works—from manga and webcomics to gekiga short stories and anthologies—it highlights how creator backgrounds and comic form shape storytelling differently across readership, publication formats, genres, and cultural status. It argues that generalizing “Asian” comics functions as a projection, requiring contextualization and methodological tools to expose universal presumptions that persist in cross-cultural scholarship.","JAQUELINE BERNDT  \n(Kyoto)  \nGhostly: ‘Asian Graphic Narratives,’ Nonnonba, and Manga  \nOn ‘Asian Graphic Narratives’  \nGraphic narratives from Asia enjoy an increasing critical attention.1 However, a common ‘Asian’ culture can hardly be determined. Works as diverse as Marjane Satrapi’s Persepolis (2000–2003), Kishimoto Masashi’s long-running series “Naruto” (1999–),2 Tatsumi Yoshihiro’s gekiga short stories of the early 1970s,3 Doha’s webcomic The Great Catsby (2005–), Kaoru’s Maid Maiden (2009–),4 and Liquid City, the second volume of which was nominated for the Eisner Awards (Best Anthology) in 2011,5 share mainly two things: their creators’ descent, and the most basic formal properties of comics. At the same time, they differ significantly in terms of readership, publication format, genre, cultural status, and the broader mediascape in which they are located.6 Including the historically changing influx of American comics, Franco-Belgian bande dessinée, and Japanese  \n_____________  \n1 See Lent 1999, 2001, 2004, 2010; as well as the contributions in Berndt 2010, 2011, 2012; Berndt and Kümmerling-Meibauer 2013; Berndt and Richter 2006; or Lent’s International Journal of Comic Art, such as Ogi, Lim, and Berndt 2012. One of the earliest accounts from an insider’s perspective was Wong 2002. Noteworthy is also the City Tales comic-blog (Goethe Institut Jakarta, since 2011), which conjoins artists from Jakarta, Hanoi, Bangkok, Kuala Lumpur, Singapore, and Melbourne working in a variety of styles and genres.  \n2 Titles of manga that started out as magazine series are given in quotation marks in order to distinguish them from their publication site, that is, the magazine the title of which is italicized. Japanese (Chinese, Korean, and other Asian) names are given in their domestic order, surnames preceding given names (except in the works cited and in citations to authors’ works published in Western languages, where they appear in the English order) .  \n3 On gekiga (lit. dramatic picture), see Brophy 2010; Holmberg 2011; as well as the second and third sections of this chapter; one example of Tatsumi’s works in translation is Tomine  \n2005. The Romanization of Japanese words in this chapter follows the modified Hepburn system ([http://en.wikipedia.org/wiki/Hepburn_romanization](http://en.wikipedia.org/wiki/Hepburn_romanization)). Japanese words are written without “s” in their plural form. For technical reasons, this chapter refrains from marking long vowels, either by means of macrons or spelling (such us ‘shounen’) .  \n4 Kaoru is an original non-Japanese shojo manga artist of Chinese descent located in Kuala Lumpur who publishes in the Malay language prior to Chinese and English. See Gan 2011.  \n5 See Liew and Lim 2011.  \n6 Tojirakarn 2011, for example, highlights the importance of domestic popular novels by female writers for the establishment of original manga-style girls’ comics in Thailand. Wong 2010b introduces an example of girls’ comics uninfluenced by shojo manga.  \nmanga, these conditions affect what kind of stories are told and how, often to an extent which outweighs fundamental aesthetic similarities.  \nIn view of both the diversity of graphic narratives and Asia’s geopolitical, religious, and linguistic diversity (which applies to other continents as well), any attempt to generalize ‘Asian’ comics reveals itself to be a projection, a ghost haunting contemporary criticism in the wake of Western orientalism. In turn, against the backdrop of occidentalism and self-orientalization in Asia, ‘European comics’ become subject to homogenization, for example, in the name of bande dessinée.7 While this mutual desire to generalize deserves to be acknowledged and not just tobe deconstructed, it also calls for contextualization, albeit not at any cost and not only applied to the Other. If a notion like ‘Asian graphic narratives’ is to make sense, then as a tool that helps to raise critical awareness of allegedly universal presumpti","cbCailJQVLzYZOCW","https://ap.wps.com/l/cbCailJQVLzYZOCW","pdf",564810,1,32,"English","en",105,"# On ‘Asian Graphic Narratives’\n## Defining “Asian” comics and the problem of generalization\n## Western orientalist frameworks and their effects\n## Manga media structures and authorship assumptions","[{\"question\":\"Why does the essay question the idea of a single “Asian” comics culture?\",\"answer\":\"It argues that works labeled “Asian” vary widely in creators, formats, genres, readership, and media contexts, making a shared culture difficult to determine.\"},{\"question\":\"What does the essay mean by “ghost haunting contemporary criticism”?\",\"answer\":\"It describes how attempts to generalize “Asian” comics often reflect projections in the wake of Western orientalism rather than grounded critical understanding.\"},{\"question\":\"How does the essay explain constraints on manga artists compared with European comics frameworks?\",\"answer\":\"It notes that manga are usually tied to weekly and monthly magazines with fast-changing fashions and editorial/consumer discrimination, so artists cannot simply choose aesthetic devices as if from an open pool.\"}]","Ghostly: Asian Graphic Narratives - 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