The objective of Chapter 3 is to elucidate how Kamigata rakugo differs from Tokyo rakugo. Some differences are plain to see, but an in-depth analysis of their subtleties is key to understanding how they differ on multiple levels. Numerous stories told in both traditions are therefore presented to draw attention to the ways that they contrast in aspects of performance style and aspects of content. I selected merchant stories to analyze to help highlight the fact that Kamigata rakugo is ‘merchant-centered’. Chapter 3 also includes descriptions of ten recurring characters and character types in Kamigata rakugo, as well as some discussion of the two-man standup comedy art of manzai.