International Journal of Computer in Humanities 5(1)(2025) 30-40 Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum The Use of Danseigo and Joseigo in Manga Titles Muhammad Lazuardi Alfariz*, Anisa Arianingsih Universitas Komputer Indoneisa, Bandung, Indonesia *Corresponding Email: lazuardi.63821016@mahasiswa.unikom.ac.id Abstract. Language is a means of communication humans use through systematically arranged sound symbols, spoken orally or written in various media. This study examines the use of danseigo (male language) and joseigo (female language) in manga titles based on character dialogue. The research employs a qualitative descriptive method by analyzing ten manga titles from the MyAnimeList website to identify language variations based on gender. The findings indicate that ninshou daimeishi (personal pronouns) are the most dominant linguistic element in manga titles, followed by kandoushi (interjections) and shuujoshi (sentence-ending particles). Manga titles that use danseigo tend to have a more assertive and masculine linguistic style, while joseigo is characterized by softer and more polite expressions. This study demonstrates that gender differences in the Japanese language not only appear in everyda y conversations but also influence naming strategies in the manga industry. Keywords: Danseigo, Joseigo, Syntax, Manga Titles, Language Variation 1. Introduction Language is a fundamental tool for human communication, structured systematically through spoken and written symbols (Ali & Alfariz, 2024). Manga functions as a media that both embodies Japanese popular culture and impacts language, art, literature, and academic discourse worldwide. Manga titles serve as the primary means of interaction for readers, significantly contributing to attention attraction and the communication of essential thematic components of the narrative. According to Yunus [7], an engaging title is crucial for attracting readers' attention and promoting further investigation. This study examines the use of danseigo (male speech) and joseigo (female speech) in manga titles, particularly those influenced by character dialogue. The linguistic variations within these gendered speech patterns reflect deeper societal norms and are essential to understanding how language is used to construct identity in media. Prior research has explored various aspects of manga title formation and linguistic features, yet there remains a gap in analyzing how danseigo and joseigo influence manga title structures. 30 International Journal of Computer in Humanities 5(1)(2025) 30-40 Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum Several relevant studies provide a foundation for this research. Several researches analyzed the effectiveness of news titles in Serambi Indonesia, emphasizing the role of linguistic and structural elements in attracting readers [7]. Several Researches examined the application of danseigo and joseigo in Japanese dramas, noting their social and contextual implications [8]. Several researches provided a comprehensive overview of gendered language in Japanese, detailing difference in pronouns, interjections, and sentence-ending particles [9]. Fransiska (2020) explored shifts in male pronoun usage in Japanese song lyrics, while [2] and Alfariz (2024) classified manga title patterns in Shuukan Shounen Jump. While these studies offer valuable insights into linguistic patterns and title formation, none specifically focus on how danseigo and joseigo influence manga titles, highlighting the necessity of this research. The primary objective of this study is to analyze the presence of danseigo and joseigo in manga titles based on character dialogue and to identify their syntactic patterns. This research aims to clarify how gendered language influences the formulation of manga titles, offering a new perspective on linguistic variations in media. A qualitative descriptive method was employed, utilizing data collection from the MyAnimeList website. Ten manga titles were selected from MyAnimeList's top recommendations, and linguistic elements such as personal pronouns (ninshou daimeishi), interjections (kandoushi), and sentence-ending particles (shuujoshi) were analyzed to categorize the gendered language usage in the titles. The findings reveal that ninshou daimeishi (personal pronouns), kandoushi (interjections), and shuujoshi (sentence-ending particles) are commonly found in manga titles. The use of danseigo tends to create a strong and assertive impression, while joseigo conveys politeness and elegance. This research contributes to linguistic and media studies by demonstrating how gendered language variations extend beyond spoken communication into the domain of manga title construction. Analyzing these linguistic patterns enriches the understanding of Japanese sociolinguistics and offers significant insights for translation studies, marketing strategies, and cross-cultural communication within the manga industry. Future research may further explore gendered language use across different manga genres or investigate how these linguistic elements are adapted in translated manga titles. 2. Literature Review Language is a key component of identity and social interaction, and in Japanese, gendered speech patterns play a crucial role in shaping communication. Several Researches assert that Japanese linguistic disparities between danseigo (masculine speech) and joseigo (feminine speech) manifest in several linguistic components, such as pronouns, interjections, and sentence-final particles [10]. The inclusion of these characteristics in manga titles signifies wider language and cultural conventions, affecting the perception of characters and plots. Besides semantic distinctions, gendered discourse in manga titles exhibits syntactic and sociolinguistic variances, especially in verb application, sentence construction, and levels of politeness, all of which enhance the overall perception of a character's speech style. Understanding how these linguistic elements shape manga title formation provides insight into both the representation of gender in Japanese media and the marketing strategies used to attract specific audiences. 31 International Journal of Computer in Humanities 5(1)(2025) 30-40 Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum Titles are essential in literature and media, serving as the first point of engagement for readers. According to [1] et al. (2021), a title functions as both an identifier of content and a tool for drawing attention. In the context of manga, Ali and Alfariz (2024) categorize title formation into three primary types: name-based, curiosity-based, and dialogue-based patterns. The dialogue-based pattern, which adapts direct speech from characters, is particularly relevant to this study as it incorporates speech elements that indicate gender differences. Several Researches [7], an effective title must possess significant allure to engage a reader's interest, rendering linguistic selections vital in influencing audience perception. Sultan (2021) elucidates from a sociolinguistic standpoint that language serves not merely as a medium of communication but also as a mirror of societal structures, power relations, and cultural norms. This viewpoint corresponds with the function of danseigo and joseigo in manga, which act as both language elements and indications of gender roles in Japanese society. Japanese manga titles frequently include linguistic constructs that embody the character's personality and convey the story's intended tone. Several Researches asserts that danseigo is frequently associated with assertive, powerful, and self-assured individuals, whereas joseigo is connected to politeness and elegance [8]. Titles that use dialogue elements rely on these speech styles, making gendered language a key component in their construction. Furthermore, variations in syntactic structures, including passive and imperative sentence constructions, contribute an additional dimension to the perception of speech. Passive constructs in Japanese, commonly employed to convey politeness or indirectness, are more common in joseigo, while imperative forms are predominantly found in danseigo, indicating directness and command [6] ; [13]. These syntactic characteristics, when examined via a sociolinguistic perspective, illustrate how societal expectations influence linguistic expression in comics and reinforce prevailing gender standards. Gender differences in Japanese speech have been widely discussed in linguistic research. Mamentu (2024) asserts that variations in language utilization emerge from situational context, societal hierarchy, and gender roles. Several Researches identify danseigo and joseigo as two separate modalities of gendered discourse, with danseigo frequently characterized by directness and assertiveness, whilst joseigo is typically marked by softness and politeness [10]. These distinctions manifest in personal pronouns, interjections, and sentence-final particles, all of which influence character perception. Additionally, syntactic elements, such as verb selection and sentence-final structures, further differentiate the two speech styles. Verbs with softer connotations or indirect expressions are more common in joseigo, while danseigo frequently employs more direct and declarative forms [4]. In a sociolinguistic context, this aligns with Sultan’s (2021) argument that language choice is influenced by societal norms and expectations, where certain speech patterns are historically assigned to specific gender roles, reinforcing power dynamics in communication. Personal pronouns (ninshou daimeishi) are among the most recognizable markers of gendered speech. Male characters typically use ore or boku, which convey confidence or formality, while female characters prefer watashi or watakushi, which indicate politeness and refinement (Fransiska in Mayasari, 2020). Additionally, kimi and omae are often used in male speech to address others, whereas joseigo relies more on anata as a neutral and polite alternative. Interjections (kandooshi) also exhibit gender-specific tendencies. Danseigo includes strong expressions like chikushoo (frustration) or hora (calling attention), while joseigo favors softer 32 International Journal of Computer in Humanities 5(1)(2025) 30-40 Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum expressions such as ara (amazement) or nee (gentle prompting) [8]. Sentence-ending particles (shuujoshi) reinforce these differences, with zo, da, and na often used in masculine speech, while wa, kashira, and ne create a more feminine nuance [10]. These linguistic choices not only distinguish gender in speech but also reflect broader social expectations about masculinity and femininity. The research of [5] further supports this linguistic differentiation by analyzing the use of shuujoshi joseigo in anime dialogues. Their study found that male characters who use shuujoshi typically associated with joseigo, such as kashira and wa, tend to have unique character portrayals, often emphasizing femininity, eccentricity, or social status. For instance, Griel in Kuroshitsuji frequently employs wa, kashira, and noyo, reflecting a refined and expressive persona despite being male. This demonstrates that gendered speech in Japanese media is not strictly tied to biological gender but can also function as a tool for nuanced character representation. The same linguistic patterns can be observed in manga titles, where shuujoshi influence the perception of characters and their roles in the narrative. While previous research has explored gendered language in Japanese communication, studies focusing on its role in manga titles remain limited. Several Researches have analyzed gendered speech in conversational settings and scripted media, such as dramas and novels, but little attention has been given to its use in manga titles [8] & [10] . [2] and Alfariz (2024) examined manga title formation but did not explore how gendered speech patterns influence title construction. Furthermore, there is a lack of research on how gendered language in manga titles impacts reader perception and engagement, particularly in titles that incorporate direct character speech. Existing studies provide a strong foundation for understanding gendered language variations in Japanese, but their application in manga title construction remains underexplored. This study fills the gap by evaluating the presence of danseigo and joseigo in dialogue-driven manga and their influence on character identity and audience perception. Furthermore, the integration of syntactic and sociolinguistic viewpoints improves the discourse, illustrating how language contains both grammatical frameworks and societal norms. This research improves the understanding of linguistic representation in Japanese media and the evolving dynamics of gendered speech in contemporary storytelling. 3. Methodology This study employs a qualitative descriptive approach to examine the use of danseigo and joseigo in manga titles. A qualitative approach is used to analyze linguistic variations in manga titles through systematic observation and interpretation, allowing for an in-depth exploration of how gendered language influences title construction (Sari, 2020). The descriptive nature of this study aims to illustrate and interpret the phenomenon based on textual data rather than numerical measurement [9]. Data collection was carried out using a listening and note-taking technique, a method commonly applied in linguistic research to systematically observe and record language use (Asmawati in [3] et al., 2023). In this study, manga titles were selected from MyAnimeList, one of the most comprehensive databases for Japanese manga and anime. Specifically, the data were gathered from the Top Recommendations section of MyAnimeList as of February 20, 2025. The selection process focused on titles that explicitly incorporated gendered linguistic 33 International Journal of Computer in Humanities 5(1)(2025) 30-40 Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum elements in their structure, particularly ninshou daimeishi (personal pronouns), kandoushi (interjections), and shuujoshi (sentence-ending particles). The research objects consisted of ten manga titles that met specific criteria relevant to the study. The selection criteria included: (1) titles that contained direct references to character dialogue, allowing for an analysis of speech patterns; (2) titles that featured identifiable gendered language markers associated with danseigo or joseigo; and (3) titles that were currently recognized in popular manga rankings, ensuring their relevance to contemporary manga culture. The analysis involved categorizing the linguistic elements found in each title and examining how they aligned with the established characteristics of danseigo and joseigo. By evaluating the patterns present in these titles, this study aims to provide insights into how gendered speech styles influence the linguistic structure of manga titles and their potential impact on reader perception. In order to systematically analyze gendered language in manga titles, this study focuses on ten selected titles that meet the established criteria. These titles were selected based on their explicit use of danseigo and joseigo, particularly in personal pronouns (ninshou daimeishi), interjections (kandoushi), and sentence-ending particles (shuujoshi). The chosen manga titles, sourced from MyAnimeList Top Recommendations as of February 20, 2025, are presented in Table 1. This table gives an overview of the examined titles, emphasizing significant linguistic characteristics that indicate gendered speaking patterns. Table 1. Research Manga Titles No Manga Titles Author 1. Kimi no Koto ga Daidaidaidaidaisuki na 100-nin no Kanojo Rikito Nakamura 2. Saa, Akuyaku Reijou no Oshigoto wo Hajimemashou: Moto Hiironoame Shomin no Watashi ga Idomu Zunousen 3. Nante Nasakenai Bokura da. Hakuri 4. "Hora, Ore no Ue ni Matagare yo": Gouman Joushi no Ijiwaru Zaneri na Tsukiage 5. Mi ni Oboe no Nai Riyuu de Konyaku Haki saremashita En Nekogawa keredo, Kamen no Shita ga Minikui da nante Ittai Dare ga Itta no Kashira? 6. Nee Nee, Nene-san. Chu Amairo 7. Anatatachi Soredemo Sensei desu ka! Ryuudai Ishizaka 8. Dore ga Koi ka ga Wakaranai Tamamushi Oku 9. Keikenzumi na Kimi to, Keiken Zero na Ore ga, Otsukiai suru Makiko Nagaoka Hanashi. 10. Tsundere na Watakushi ga Kawaii nante Shouki desu ka? 34 Konno Jun International Journal of Computer in Humanities 5(1)(2025) 30-40 Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum 4. Discussion The following are the research findings that constitute the results of this study. As shown in Table 2, the use of danseigo and joseigo in manga titles on MyAnimeList, based on the Top Recommendations as of February 20, 2025, varies across different linguistic indicators. Personal pronouns appear most frequently, found in four manga titles, while interjections are present in three titles, and sentence-ending particles are identified in one title. Additionally, two titles incorporate a combination of indicators, with one featuring both personal pronouns and interjections, and another combining personal pronouns with sentence-ending particles. These findings illustrate the varying ways in which danseigo and joseigo are embedded in manga titles, influencing both character representation and audience perception. Subsequently, each of these indicators will be analyzed individually in relation to the manga titles listed on MyAnimeList's Top Recommendations as of February 20, 2025. Table 2. Research Results No. Indicators of Danseigo and Joseigo Used Number of Titles 1. Personal Pronouns (Ninsho Daimeshi) 4 2. Interjection (Kandooshi) 3 3. Sentence-Ending Particles (Shuujoshi) 1 4. Combination (Ninsho Daimeshi & Kandooshi) 1 5. Combination (Ninsho Daimeshi & Shuujoshi) 1 Personal Pronouns (Ninshou Daimeishi) Based on the findings of danseigo and joseigo in the analyzed manga titles, four titles utilize this indicator, including: a) Kimi no Koto ga Daidaidaidaidaisuki na 100-nin no Kanojo The title Kimi no Koto ga Daidaidaidaidaisuki na 100-nin no Kanojo includes the second-person pronoun kimi (君), which is predominantly utilized by men in informal discourse. Several researches approach highlights the differentiation between danseigo (masculine speech) and joseigo (feminine speech) through the utilization of personal pronouns (ninshou daimeishi) [10]. The pronoun kimi is categorized as masculine language because of its familiar tone, though its connotation can also suggest superiority depending on the context. In friendships or love partnerships, males frequently wear kimonos to convey intimacy without coming across as too formal. When Kimi is worn in discussion with women, it can project a soft, loving tone that reflects a thoughtful and caring male personality. Male characters who address their partners in kimi are often shown as charming, loving, or kind in media like manga and anime. This is consistent with the thesis of [10] and Dahidi, which emphasizes how the choice of pronouns in Japanese reflects social relationships, the communication context, and the speaker's gender. 35 International Journal of Computer in Humanities 5(1)(2025) 30-40 Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum b) Keikenzumi na Kimi to, Keiken Zero na Ore ga, Otsukiai suru Hanashi. In the title Kimi no Koto ga Daidaidaidaidaisuki na 100-nin no Kanojo, According to [10], the usage of the first-person pronoun (jishou) ore (オレ) and the second-person pronoun (taishou) kimi (キミ) represents elements of danseigo (masculine speaking). Men are more likely to use the pronoun "kimi" in casual settings, especially when speaking to someone younger or of lower rank. In a romantic setting like this one, the ma le protagonist's usage of kimi toward a female interlocutor contains a subtle undertone of masculine control while simultaneously expressing intimacy and familiarity. Ore is a pronoun typically employed by men for describing themselves expressing a sense of masculinity, confidence, and often, informality. Ore, on the other hand, is a pronoun that men usually use to refer to oneself; it conveys a sense of confidence, masculinity, and informality. Ore is more expressive in describing a laid-back yet forceful male character than boku, which sounds more courteous and neutral. These variations in pronoun choice highlight how the Japanese language integrates a system that separates speech patterns according to gender, social hierarchy, and degrees of formality, a ccording to a linguistic analysis based on the theory of [10]. c) Tsundere na Watakushi ga Kawaii nante Shouki desu ka? Several researches, the first-person pronoun watakushi (私) in this title reflects joseigo (feminine speaking) [10]. The most formal variant of watashi is watakushi, commonly utilized by ojou-sama (refined young girls), noblewomen, or anybody seeking to convey a sense of splendor and elegance. This pronoun typically indicates a composed individual, one who maintains a formal detachment, or a character displaying a tsundere personality in anime and manga. Watakushi is most frequently used by older male characters with authority or in professional contexts, though men can also use it. The female protagonist's impression of formality and high social standing is reinforced by the title's use of watakushi. d) Anatatachi Soredemo Sensei desu ka! Several researches theory on the distinctions between danseigo and joseigo, the secondperson pronoun anatatachi (あなたたち) in this title represents a speech style more frequently associated with joseigo (female speaking) [10]. Anata means "you" in a courteous way, yet in some situations it might seem harsh or aloof. This form becomes plural with the addition of -tachi, and women frequently use it in formal settings or when they want to be strong without sacrificing their feminine touch. Conversely, danseigo use pronouns like omaera, which are forceful but also express a more informal and male meaning. Interjection (Kandooshi) a) Nee Nee, Nene-san. The The interjection nee (ねえ) in this title functions as a call to get someone's attention in a soft and familiar manner. Nee is more frequently used in joseigo (female speech), according to [10] view, because it gives a sense of fun, softness, and intimacy, particularly in informal talks. The charming and feminine aspect, which is frequently employed by women in intimate relationships, is further enhanced by the repeating of nee nee (ねえね え). 36 International Journal of Computer in Humanities 5(1)(2025) 30-40 Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum b) Saa, Akuyaku Reijou no Oshigoto wo Hajimemashou: Moto Shomin no Watashi ga Idomu Zunousen The The interjection saa (さあ) in this title functions as an invitation or encouragement to take action, which can be translated as "Let's go!" or "All right!". Several researches thesis on the distinctions between danseigo (masculine speech) and joseigo (female speech), feminine characters can use saa, which has a more neutral nuance, to seem softer and more elegant, particularly when their intonation is delicate [10]. In contrast to more male interjections like yoshi (よし), which men frequently employ to convey readiness or resolve, the use of saa in the context of joseigo can convey a graceful and courteous nature. c) Dore ga Koi ka ga Wakaranai The word of dore (どれ), which means "which one," in this title conveys a lack of clarity or assurance in identifying love. Several researches hypothesis of the distinctions between feminine speech patterns (joseigo) and masculine speech patterns (danseigo), dore carries a softer and more contemplative quality [10]. Dor makes a softer and more refined impression than more direct statements like nani? (なに?, "what?") or docchi? (どっち?, "Which one?"), which are more frequently employed in danseigo. This term in the title also emphasizes a sentimental and reflective element typical of stories with female protagonists. Sentence-Ending Particles (Shuujoshi) a) Mi ni Oboe no Nai Riyuu de Konyaku Haki saremashita keredo, Kamen no Shita ga Minikui da nante Ittai Dare ga Itta no Kashira? This title shows the traits of joseigo (women's language) through the usage of kashira (かしら) as a shuujoshi (sentence-ending particle). Several researches notion, women frequently utilize kashira in their speech to subtly and elegantly express self-reflection or uncertainty. Kashira expresses a softer and more aristocratic connotation, which is frequently linked with female characters from noble or highly educated backgrounds, in contrast to ka (か), which is more neutral, or no ka (ぶか), which sounds more assertive. The use of no kashira? (のかしら？) in this title enhances the feminine impression while also portraying the protagonist’s reflective thoughts or disbelief. Combination (Kandoushi & Ninshou Daimeishi) a) "Hora, Ore no Ue ni Matagare yo": Gouman Joushi no Ijiwaru na Tsukiage In this title, the use of hora (ほら) as kandoushi (interjection) and ore (俺) as jishō daimeishi (first-person pronoun) reflects the characteristics of danseigo (men's language), in accordance with the theory of [10].Hora is used to draw attention and can sound more dominant or commanding, especially in the context of a male figure in a position of authority. In contrast, women tend to use interjections like ara or nee for a softer tone. Meanwhile, ore is a masculine first-person pronoun that conveys confidence, masculinity, and, in some cases, an air of arrogance. Ore is more frequently employed by strong, dominant male characters in media like anime and manga than boku, which is more neutral. The impression of a powerful masculine persona with a superior attitude in social relations is reinforced by the title's mix of these two parts. 37 International Journal of Computer in Humanities 5(1)(2025) 30-40 Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum Combination (Shuujoshi & Ninsho Daimeshi) a) Nante Nasakenai Bokura da. In this title, the use of boku (僕) as jishō daimeishi (first-person pronoun) and da (だ) as shuujoshi (sentence-ending particle) reflects the characteristics of danseigo (men’s language), as explained in the theory of [10]. Boku is frequently used by guys who wish to come across as kind and soft, particularly by personalities who are shy, delicate, or non-aggressive. Younger men or in instances where courtesy is required tend to use boku, which conveys a softer impression than ore, which is stronger and more manly. In contrast, da is the colloquial form of desu and is usually used in masculine speech patterns. When used, it gives interactions a direct and forceful tone. The title's use of boku and da emphasizes the male character's harmony between softness and assertiveness, which is consistent with Japanese danseigo standards. Several researches, gender distinctions in the Japanese language are illustrated by a variety of linguistic components found in manga titles, including ninshō daimeishi (personal pronouns), kandōshi (interjections), and shuujoshi (sentence-ending particles) [10]. The results of this study are consistent with research by Fransiska (2013), who found that Japanese women speak more elegantly and politely than males do. The usage of pronouns like watakushi (私) in "Tsundere na Watakushi ga Kawaii nante Shouki desu ka?" reflects this, as it emphasizes the politeness and elegance that are characteristic of women. In contrast, pronouns like ore (俺 ) are used more often by men, giving the statement "Hora, Ore no Ue ni Matagare yo" a manly and authoritative tone. The title Mi ni Oboe no Nai Riyuu de Konyaku Haki saremashita keredo, Kamen no Shita ga Minikui da nante Ittai Dare ga Itta no Kashira? illustrates gendered language through kashira (か しら), a joseigo marker expressing uncertainty, while da (だ) in Nante Nasakenai Bokura da... reflects masculine assertiveness. Interjections also highlight gender differences; hora (ほら) in Hora, Ore no Ue ni Matagare yo conveys a strong male tone, whereas nee (ねえ) in Nee Nee, Nene-san creates a soft, intimate effect. Several researches found similar patterns in anime, where male characters like Griel in Kuroshitsuji use shuujoshi such as wa, kashira, and noyo to enhance character portrayal [5]. These findings show how Japanese enforces polite, gentle speech for women and assertive speech for men. However, deviations occur due to character roles, social contexts, and evolving linguistic trends in modern media. 4. Conclusion and Recommendation Thus, the use of danseigo and joseigo in manga titles reflects gendered speech patterns that influence character portrayal and audience perception. While Joseigo is associated with refinement and decorum, Danseigo is associated with boldness and dominance. In Japanese media, this serves to maintain traditional gender norms. Based on the results, personal pronouns are the most prevalent, appearing in four manga titles, while sentence-ending particles are the least prevalent, appearing in only one title. In manga titles, the development of gendered language is influenced by the combination of linguistic markers and interjections, which emphasize the variations in usage that are contingent upon the context and character 38 International Journal of Computer in Humanities 5(1)(2025) 30-40 Journal homepage: https://ojs.unikom.ac.id/index.php/injuchum identity. 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