The Girl That Can’t Get A Girlfriend

    by Sowmiya Rajamohan

    Reviewer: Sowmiya Rajamohan

    (Instagram: @selai_cinderella)

     

    Title: The Girl that Can’t Get a Girlfriend

    Author: Mieri Hiranishi

    Genre: Fiction/Manga

    Language: English

    Year: 2023

    Publisher: Viz Media.

    Pages: 208

    Price: $ 16.99 (Paperback)

    ISBN: 978-1974736591

    The Girl That Can’t Get a Girlfriend, by Meiri Hiranishi, is an emotionally resonant and moving look at a young lesbian’s journey across the dangerous seas of coming out and finding love. Unrequited love, self-doubt, and the pursuit of meaningful connections are explored in this autobiographical manga, characterised by sensitivity and humour. Meiri Hiranishi’s storytelling is a unique blend of truthfulness and humour. She fearlessly delves into the complexities of LGBTQ+ love relationships, drawing from her experiences. The narrative does not shy away from the painful realities of rejection and heartbreak but also illuminates the protagonist’s resilience, a testament to the power of love. The author’s honest approach and captivating storytelling make this work a valuable addition to LGBTQ+ literature and the broader landscape of autobiographical comics.

    The artwork in The Girl That Can’t Get a Girlfriend is a visual feast that complements the story perfectly. With its vivid imagery and emotionally engaging characters, Hiranishi’s journey is brought to life for the reader. The minimalist graphic style enhances the raw honesty of the feelings and anecdotes, making the story a joy to read and appreciate. Hiranishi’s work resonates with readers of all backgrounds due to its universal themes of isolation, yearning, and searching for companionship. These themes go beyond sexual orientation, which makes her story a potent instrument for encouraging empathy and connection among readers from all walks of life.

    Many media forms, like anime, movies, and video games, have drawn inspiration from manga. The mutually beneficial connection between manga and its adaptations has further cemented manga’s place in Japanese and global popular culture.In the manga, readers participate in the action rather than just watching.  The interactive nature of manga panels invites readers to follow the storyline, decipher visual clues, and complete ‘closure’ between panels. This active engagement transforms reading into a journey of immersion, where readers step into the story and become an integral part of it, fostering a profound sense of involvement and immersion.

    The use of panels also allows for incorporating metaphorical and symbolic aspects into the story. The layout and style of the panels may mirror the story’s overarching ideas and themes. For example, panels that progressively contract could represent a character’s sense of confinement, whereas panels that gradually enlarge could represent their sense of liberation or development.

    Visual metaphors like these enrich the story for the viewer by adding meaning on multiple levels. Just as the panel that reads “The Breakup started from a small misunderstanding” (Hiranishi, p.94) signifies a change in mood from joyful to sad, so does the black square that contains the words. Mieri often grapples with self-doubt throughout the manga, particularly regarding her appearance and how it might affect her ability to find love (Hiranishi, p. 22-23). She questions whether her looks are why she struggles to find a girlfriend, leading to introspection and insecurity. Despite the heartbreak and self-doubt she experiences, Mieri demonstrates resilience by continuing to put herself out there and pursue love. She does not give up on the idea of finding love, even after multiple rejections and disappointments. This theme is illustrated in the later chapters, where Mieri continues to meet new people and remain hopeful about her romantic prospects. Also, she finds self-love as she says she “started working for the approval of myself” (Hiranishi, p.180). The author employs highly expressive facial expressions to convey the protagonist’s emotional states. For example, exaggerated eyes and mouth shapes effectively communicate Mieri’s joy, anxiety, and heartbreak. These visual cues allow readers to instantly grasp the intensity of Mieri’s feelings, making her emotions more relatable and poignant. The manga frequently uses symbolic imagery to represent abstract concepts like love and loneliness. For instance, scenes, where Mieri is depicted in isolated, empty spaces, underscore her loneliness and rejection (Hiranishi, p.104, p.132).

    Conversely, when she is with friends or experiencing moments of happiness, the artwork often includes more dynamic and filled backgrounds, symbolizing connection and support. The panel composition varies to reflect the pacing and emotional tone of different scenes. During introspection or sadness, the panels might be larger and more static, emphasizing the weight of Mieri’s thoughts. In contrast, lighter or humorous scenes often feature smaller, more dynamic panels, enhancing the narrative’s emotional rhythm and engaging the reader more effectively.

    Manga relies on the sequential art form, where the flow of panels guides the reader’s eye across the page, creating a sense of movement and time. In The Girl That Can’t Get a Girlfriend, the transitions between panels often reflect the protagonist’s emotional journey. For example, quick transitions during moments of anxiety or slow, lingering panels during introspective scenes compel readers to pace their reading in line with the protagonist’s experiences, enhancing empathy and engagement.

    The detailed depiction of the manga’s facial expressions and body language invites readers to interpret the characters’ emotions and intentions. When Mieri displays vulnerability or joy, readers can viscerally feel her emotions through the nuanced illustrations. This form of visual empathy requires readers to actively interpret the subtle cues, making the emotional experience more immersive. Visual metaphors, such as depicting Mieri in a small, confined space to represent her feelings of isolation, encourage readers to think beyond the literal images and engage with the symbolic meaning. This deeper level of interpretation fosters a more profound emotional response and invites readers to explore the story’s underlying themes.

    Occasionally, the manga breaks the fourth wall, directly addressing the reader or acknowledging the storytelling process. These moments create a sense of intimacy and direct engagement, making readers feel like part of the story.

    Mieri’s inner monologues and thought bubbles integrate with the artwork, providing insights into her thoughts and feelings. This combination of text and image allows readers to engage with the story’s visual and verbal elements, creating a multi-layered understanding of the character’s experiences. The manga enhances the reading experience with sound effects and onomatopoeia. These visual sound cues require readers to imagine the sounds, enhancing the sensory engagement and making the scenes vivid and immersive.

    ~

    You can purchase the book here.

    R Sowmiya is a Research Scholar, at the Department of English, School of Social Sciences and Languages, VIT University, Vellore, Tamil Nadu. Her area of research includes Queer Studies.

    Subscribe to our newsletter To Recieve Updates

      The Latest
      • For The Love Of Apricots by Madhulika Liddle

        Nandini knew next to nothing about children

      • Bewilderness bby Devashish Makhija

        ‘there are no poems’ (a tribute to the poetry of Alok Dhanwa)

      • The big book of Indian Art by Bina Sarkar Ellias

        Post India’s independence in 1947, the establishment of the Faculty of Fine Arts

      • Smita Sahay Editor-in-Chief Issue 12

        Welcome to Issue 12 of the Usawa Literary Review

      You May Also Like
      • No Place for Stones by Gauri Dixit

        Our memories are crowded With Great grandmother’s jewellery Passed down

      • The Fridge and Other Poems By Arjun Rajendran

        Look, no more chamadumpas, kovakais or obese baingans Just artisanal pork, bhoot

      • Two poems by Yamini Dand Shah

        Ajrakhpur (2001) Work on it today, sell it morrow Add some more Madar seeds