◆Book Review: "I Started M-1" by Mr.Ryoichi Tani
Though Mr.Ryoichi Tani’s book was published last year, I wanted to share my review of it again.
It’s that time of year again for the M-1 Grand Prix—the ultimate stand-up comedy (manzai) competition. This year, an astonishing 8,540 duos entered, all vying for a spot in the finals on Christmas Eve. The grueling knockout process spans from August through the semi-finals until only 10 duos remain to compete for the championship. Launched in 2001, this marks the 19th tournament (following a four-year hiatus). It is a spectacular cultural invention of 21st-century Japan.
This book is a documentary chronicle of how M-1 was built from scratch by Tani, a former director at Yoshimoto Kogyo. I am incredibly jealous that he got to be a part of such a project. M-1 isn't just a TV show or a yearly event; it is cultural infrastructure. It turned manzai into a cutting-edge art form and created a pinnacle platform for aspiring young comedians nationwide.
What began 22 years ago as a single project has evolved into a historic cultural phenomenon. At the time, manzai was widely considered a dead medium, with the previous boom having fizzled out in just a few years. Yet today, "M-1" is a household name, and comedians dominate Japanese television. It is a monumental achievement by everyone involved.
Manzai is a remarkably primitive form of entertainment: just two people, a single vintage Type-38 microphone, and an original script. Yet, it can make millions of people roar with laughter. While stand-up and sketch comedy exist in the West and China, Japan has refined the two-person dialogue into a highly sophisticated, lightning-fast art form.
M-1 gives comedy duos just four minutes to showcase their meticulously crafted routines. Most of the 8,540 competing groups (who must be within their first 15 years of formation) struggle to make a living, grinding away at part-time jobs. But winning—or even just making the finals—changes their lives overnight. It is a stoic, high-stakes battlefield.
In the past, young creative geniuses poured their souls into writing novels, staging plays, filming indie movies, or screaming over guitars. Today, that top tier of raw creative talent is flocking to manzai. You don't need instruments, cameras, or computers. All you need is a microphone and two bodies to move an audience. It’s incredibly cool.
Comedians used to be viewed as the underclass of show business, but M-1 elevated them to cultural icons. Those who were once laughed at are now admired. Many were troubled kids with nowhere else to fit in—though recently, we are seeing a massive influx of highly educated competitors as well. Background, lineage, and IQ don't matter on the M-1 stage; the only metric is whether you are funny.
The book also serves as a masterclass in project management. This isn’t the clean, intellectual theory you learn in business school; it’s a gritty, real-world story of how pure legwork, sweat, and relentless persuasion get things done. On the cover, legendary comedian Shinsuke Shimada notes: "M-1 is a treasure that Tani and I built together... Tani took my rough proposal and brought it to life entirely on his own."
They started by interviewing comedians one by one, clashing with TV executives, pitching to sponsors, and even appealing to local shopping districts when funding was tight. They simply refused to give up. Twenty years later, it is a magnificent cultural monument. It’s a classic sign of a successful project when old detractors step forward today to claim credit for its success.
As a massive comedy fan, I go to live shows constantly and have been lucky enough to secure finals tickets through my work with Yoshimoto. This book beautifully captures the backstage tension. I’ve personally wept seeing top-tier artists pacing the corridors of TV Asahi, frantically practicing their lines against a wall right before going live. I have the utmost respect for these performers as artists, and for the visionaries who built this stage for them.
The book highlights the raw, edgy atmosphere of the very first tournament—something television broadcasts can never fully capture. A pivotal moment occurred when Shinsuke Shimada broke agency rivalries to praise the duo American Crayfish (from Shochiku Geino), establishing M-1 as a fair, merit-based battlefield.
Every champion—from the Nakagawa Family to Football Hour, Black Mayonnaise, Tutorial, and Chidori—has a unique story. They chose this battlefield and shaped the entertainment landscape for the next two decades.
Ultimately, this book is a first-class treatise on manzai. Tani traces the evolution of the craft, naming historic reformers like Entatsu & Achako all the way down to Downtown and Warai Meshi. Today’s comedians don't rely on broadcast writers; they are singer-songwriters of comedy who rise purely on their own material. This keeps the medium evolving, preventing it from becoming a rigid, formulaic classic art like rakugo.
Yet, Tani notes a heartwarming truth: comedy isn't truly funny unless the duo genuinely likes each other, which explains the unique strength of real-life brothers like the Nakagawa Family.
I want modern students to study manzai to build real-world communication skills, especially in our hyper-digital era. That’s why, as chairman of the Kyoto International Film Festival, I host the "President's Recommended Stand-up Comedy" showcase for students. We’ve featured incredible, avant-garde lineups like Dr. Heinrich, Kinzoku Bat, and Tensai Pianist. I want to keep doing this every year.
What about me? I still have plenty to learn. My next bucket-list goal is to actually enter M-1 and make it past the first round. I might just have to ask Mr. Tani to coach me.




