In October of 2010, German chancellor Angela Merkel famously—or infamously—remarked in a speech to the Young Union, the youth wing of her ruling Christian Democratic Union party, “The attempt at Multikulti [multiculturalism in Germany] has failed, utterly failed.” Leaving aside criticisms that the attempt had never properly been made on the official level, the truth is that non-official multiculturalism is alive and well on Germany’s menus, in its video stores—and in the pages of its comic books, particularly its homegrown manga. Germany’s locally produced manga since the turn of the century was originally conceived as a lifeline for the recession-plagued major comics publishers, who hoped to capitalize on the manga boom in order to encourage the production of material by German artists after decades of dependence on foreign imports. But after a slow and awkward start, the indigenous production of German manga developed into a small-scale tradition of its own, which continues despite the fact that the manga boom has subsided—and moreover, one that has given voice and pen to young people of different ethnic backgrounds living in Germany, regardless of their legal citizenship status, and permitted them to produce German culture on an even footing with other Germans. Often this work has integrated elements of the artists’ own cultural backgrounds—Korean, Chinese, Turkish, etc.—and allowed them to display their own cultural identities, in German, by means of originally Japanese generic conventions. These culturally hybrid forms thus embody a certain form of multiculturalism that is extremely successful within its narrow field.