Ok. I lied about Mangirl's purpose. However, if this anime isn’t an extensive study on transgender politics, then what is it supposed to be?
First and foremost, Mangirl is a love letter to the manga medium; this show succeeds in endearing itself due to its sincere, clever, and authentic portrayal of its subject matter. In spite of its supremely awkward title (and a handful of shortcomings), Mangirl is not only laden with charm but it’s also quite graceful and you simply cannot resist being enticed by it. Each episode is dedicated to a different aspect of manga-making, like phototypesetting, proofreading, and advertising; each aspect is not only thoroughly and expertly profiled but Mangirl’s writing also ensures that there is humor to be wrought from each aspect. In the first episode, it analyzes the financial side of a manga company, delving into logistics, statistics, and expenses with fervor, before it jeers at the pitiful amount of revenue a manga company generates. That Mangirl’s writing strengthens the show overall is largely thanks to its self-aware sense of humor and (to a lesser degree) its cast.
To be perfectly clear, you’re not going to receive complex characterization from Mangirl, but its inventive and eccentric wit livens up an otherwise uninspiring cast. The basis of Mangirl is that the Monthly Comic Earth Star’s editorial staff (a team of certified idiots) aspires to publish a manga despite having zero experience (or so they claim) and the comedic potential is deployed almost immediately. The editorial staff is creating a manga about a formidable cyborg assassin in ancient Japan; the razor-sharp contrast between the dramatic and dreary manga and its whimsical creators is purposefully (and hilariously) jarring. What's particularly charming about Mangirl is the pop culture references, especially the shout-out to One Piece; as part of an elaborate joke, it pays tribute to the long-running shonen in one of its earliest episodes, complimenting its originality and unique concept while never mentioning it by name.
Mangirl's sense of humor is at its finest when it executes a memorable, recurring gag involving its flawed yet lovable protagonist, Hana Sasayama, the group editor-in-chief, where she spouts grandiose, self-serving goals for the company to achieve, which are seen through and dismissed, adding an endearing layer of nuance to Mangirl's relationship dynamics (Hana's tendency spirals out of control in the finale as she fantasizes of an amusement park, a wildly successful pop idol career and...world domination). I appreciate most of all its willingness to tease rather than venerate its protagonist for her vanity like a certain show is infamous for.
*cough* Love Live *cough*
Contrary to what you might believe, Mangirl isn’t all fun and games; there’s an intriguing subplot involving Aki Toori, Hana’s best friend, that not only provides the series with a layer of complexity but it also raises a crucial issue in Mangirl’s overall plot. The first scene preludes its biggest mystery; Aki refuses to join the editorial staff (for vague reasons) but is coerced into changing her mind by Hana alluding to an enigmatic "White Autumn." What it means is Mangirl’s biggest element of intrigue and it’s handled with the utmost care.. up to a certain point. As the series unfolds, we learn through in-universe hints and snarky asides that Aki once crafted lewd manga (possibly “hentai” as well) in her collegiate days. Aki’s sordid past provides a substantial amount of context into her character; it’s something that shames her, something that she’s all too eager to forget but at the same time Aki understands how her past equips her with knowledge that she can share with the rest of the staff. It’s a thoroughly delicate situation that’s shocking for a show of Mangirl’s nature. While each episode provides more and more context to Aki’s past, Mangirl doesn't reveal the meaning of “White Autumn” until it’s thrown in your face in a particularly anticlimactic, graceless, and tactless fashion. Mangirl’s haphazard handling of “White Autumn” is emblematic of the grievance I hold with this series: it possesses a dangerously limited skill set. This show is exceptional at making grand observations, at finding humor in ordinary situations, at laughing at itself, and at zeroing in on the minutiae of its subject matter (this show can pontificate on various fonts and what they represent like no other). However, what's outside of Mangirl’s level of expertise is far, far greater than what isn’t and watching it attempt reaching beyond its capabilities can be uncomfortable, to say the least. Fortunately, the series finale is a redemption of Mangirl’s mistakes.
SPOILER ALERT
Through twelve episodes, this show deceives you into assuming it’s centered on the editorial staff of a manga company and their journey to publishing their manga, only for the finale to reveal the truth. As the series concludes with the editorial staff watching themselves participate in the Mangirl opening theme, you finally realize the show’s real purpose. Mangirl isn't an anime about an editorial staff but an anime about an anime about an editorial staff; it’s a grand Matryoshka doll of a story and I simply adore shows of that nature.
SPOILER ALERT OVER
With an eternal creative streak and a brilliant sense of humor, Mangirl manages to separate itself from its peers. When it involves manga-making anime, Mangirl prizes subtlety while shows like Bakuman and (ugh) Eromanga-sensei prefer crafting broad strokes. When it involves shorts, Mangirl contains more nuance than the likes of Bananya and Plastic Neesan. And when it comes to comedy, Mangirl possesses just the right balance; it’s not hilarious to the point of excess nor is it lacking comically. In spite of my earlier criticisms, Mangirl is a show I’d recommend. However, I must advise you to not let its title give you the wrong impression.
