retrosofa:

they drew the peener. 

I used to watch this on rerun during summer vacation, and the opening theme is basically “L! L! something something L! L! something something L! L!" on repeat, and I was convinced until a few months ago that this series was called L!

retrosofa:

they drew the peener. 

I used to watch this on rerun during summer vacation, and the opening theme is basically “L! L! something something L! L! something something L! L!" on repeat, and I was convinced until a few months ago that this series was called L!

Ayatsuri Sakon — Sharakumaro and Obata Takeshi

Ribon furoku feature in Da Vinci magazine (September 2014)

Arabesque — Yamagishi RyokoBallet manga: eien naru utsukushisa artbook

Arabesque — Yamagishi Ryoko
Ballet manga: eien naru utsukushisa artbook

Seito shokun! — Shoji Yoko

Seito shokun! — Shoji Yoko

I found this question in my referrers, and since it’s been archived and I can’t answer it directly (and honestly I don’t know how to use 4chan anyway…), I thought I’d write a reply here and hope maybe the person sees it. Originally I was simply going to link to hoshinohitomi's blog post about the three prominent movements of 70s shojo manga that I remember reading, but I think she's since deleted her blog. :( 

(Also, this person could just have asked me directly, but I guess maybe I’m intimidating? I dunno.)

WHAT WAS THE OTOME-TIQUE MOVEMENT OF SHOJO MANGA?

One of the most prominent and famous movements in 70s shojo manga was obviously the Year 24 Group. They introduced genres such as science fiction to shojo manga, wrote about themes such as sex, gender, and homosexuality, and are deservedly renowned for revolutionizing shojo manga and broadening the horizon of what shojo manga could be about. People such as Hagio Moto, Takemiya Keiko, Yamagishi Ryoko, and Oshima Yumiko are considered a part of the Year 24 Group.

However, many other types of shojo manga were written in the 70s. Obviously. I mean, the Year 24 Group couldn’t fill up all the pages in all the shojo magazines, even if it sometimes seems that way when you listen to people talk about vintage shojo manga. The Year 24 Group had their base in magazines such as Shojo Comic (known as Sho-Comi now) and Lala, both fairly recent and relatively obscure publications at the time, which were thus willing to let them write much less mainstream manga than any of the big shojo magazines would. In fact, Hagio originally made her debut in Nakayoshi! But because she didn’t feel the juggernaut magazine was willing to let her write the kind of manga she wanted to, she moved to Shojo Comic and wrote Poe no ichizoku as well as The Heart of Thomas.

What was running in the big shojo magazines at the time, then? A lot of stuff, much of it probably forgettable and lost in the mists of time, but what hasn’t been forgotten is writers such as Ikeda Riyoko, Satonaka Machiko, and Ichijo Yukari, as well as the otome-tique writers. The former group are what I’d call the “dramatic” movement of 70s shojo manga, who wrote bombastic, plot-driven, emotionally charged epics. This was in contrast to the shojo manga that came before them, which were more low-key and tended to focus on everyday mother/daughter relationships or girls having platonic crushes on the boy next door. These writers were massively popular, and still highly regarded today. (As a side note, I notice that when people talk about Ikeda Riyoko or writers like her, they sometimes conflate them with the Year 24 Group? I think because stuff like The Rose of Versailles and Oniisama e… are 70s shojo manga that dealt with sex, gender, and homosexuality as well? That’s a bit inaccurate.)

Then there were the otome-tique writers, who are probably the most obscure of the three big movements in 70s shojo manga. Usually, this movement is restricted to three writers who all worked in Ribon magazine: Mutsu A-ko, Tabuchi Yumiko, and Tachikake Hideko. “Otome” is the Japanese word for “maiden” or simply a young girl, and “-tique” is the suffix “ちっく  (tikku)” which just means “of or pertaining to” like -tic in English. I’m actually not sure who came up with this romanization, but I think I’ve been using it because I saw it somewhere a long time ago.

What these “otome-tique” writers dealt with was “cute”. Cute, fashionable things that young girls enjoy. Their style is related to another thing that was massively popular in the 70s and 80s in Japan, namely “fancy goods”. The remnants of the obsession Japanese girls had with “cute”, “fancy” things can be seen in the products of Sanrio or San-x, which are still popular today, but back then, there was a huge boom of companies producing Sanrio-type characters and products, as well as shops selling these products exclusively, called “fancy shops”. This connection is especially evident in the furoku that these artists produced for Ribon magazine, which captured the hearts of fancy goods-loving young girls all over Japan.

I’ve seen people argue that the otome-tique movement rose as a reaction to the psychological and philosophical explorations of the Year 24 Group, as well as to the sweeping epics of the “dramatic” shojo manga popular at the time, but I’m not entirely sure I believe it was a conscious counter-reaction. At any rate, though, the actual manga produced by these writers was very different from manga by the other two groups. Otome-tique manga deals with the everyday emotions of regular girls. Many of their manga are set in Japan, and most feature protagonists who are regular high school or university students. These protagonists enjoy cute, fashionable things, like the “Ivy look” (Ivy League inspired fashion popular at the time; what Americans would call “preppy” today), Vesper scooters, LPs and big earphones, cute stationary, potpourri, fancy tea and vintage porcelain, homemade jam… everything girls wanted, but probably couldn’t have in real life.

These manga are not about the French Revolution or star-crossed lovers or sex or PTSD, but rather about conveying atmosphere and the emotional shifts in the characters that occur in small, everyday situations. As a result, most otome-tique manga are short stories (except Tachikake, who would often throw in slightly more dramatic elements in her stories), and what you’re supposed to enjoy about them is not the dramatic plots, but the art, the atmosphere, the fashion, and the small emotions.

This might sound kind of boring to people, but I’ll assure you, the average shojo manga being written today owes more to the otome-tique movement than they do to either Hagio or Ikeda. Are you a fan of that cute, down-to-earth shojo manga about high school students and their every day lives, which runs in any of the shojo manga magazines popular today? Otome-tique. Do you enjoy the slow-burning romantic plots woven into the card game drama of Chihayafuru? Otome-tique. Are you a fan of that Aoharu Ride anime about regular high schoolers that’s become so popular? Otome-tique. And so on.

To take this back to Tokimeki Tonight, which is what sparked the question in the first place, Ikeno Koi is an interesting case. Her early art is reminiscent of Mutsu A-ko and Tabuchi Yumiko, but Ikeno has often spoken about how Hagio Moto is her favorite manga writer (and this is  why Tokimeki is about vampires — no, seriously). The early art and the way she tells her romantic plots are definitely influenced by otome-tique, like most Ribon manga is, but the fantastical and emotional elements of her manga does seem inspired by many other types of 70s shojo manga! I think the way she has successfully mixed many different elements of popular shojo manga is part of the reason she managed to become so popular.

I found this question in my referrers, and since it’s been archived and I can’t answer it directly (and honestly I don’t know how to use 4chan anyway…), I thought I’d write a reply here and hope maybe the person sees it. Originally I was simply going to link to hoshinohitomi's blog post about the three prominent movements of 70s shojo manga that I remember reading, but I think she's since deleted her blog. :(

(Also, this person could just have asked me directly, but I guess maybe I’m intimidating? I dunno.)

WHAT WAS THE OTOME-TIQUE MOVEMENT OF SHOJO MANGA?

One of the most prominent and famous movements in 70s shojo manga was obviously the Year 24 Group. They introduced genres such as science fiction to shojo manga, wrote about themes such as sex, gender, and homosexuality, and are deservedly renowned for revolutionizing shojo manga and broadening the horizon of what shojo manga could be about. People such as Hagio Moto, Takemiya Keiko, Yamagishi Ryoko, and Oshima Yumiko are considered a part of the Year 24 Group.

However, many other types of shojo manga were written in the 70s. Obviously. I mean, the Year 24 Group couldn’t fill up all the pages in all the shojo magazines, even if it sometimes seems that way when you listen to people talk about vintage shojo manga. The Year 24 Group had their base in magazines such as Shojo Comic (known as Sho-Comi now) and Lala, both fairly recent and relatively obscure publications at the time, which were thus willing to let them write much less mainstream manga than any of the big shojo magazines would. In fact, Hagio originally made her debut in Nakayoshi! But because she didn’t feel the juggernaut magazine was willing to let her write the kind of manga she wanted to, she moved to Shojo Comic and wrote Poe no ichizoku as well as The Heart of Thomas.

What was running in the big shojo magazines at the time, then? A lot of stuff, much of it probably forgettable and lost in the mists of time, but what hasn’t been forgotten is writers such as Ikeda Riyoko, Satonaka Machiko, and Ichijo Yukari, as well as the otome-tique writers. The former group are what I’d call the “dramatic” movement of 70s shojo manga, who wrote bombastic, plot-driven, emotionally charged epics. This was in contrast to the shojo manga that came before them, which were more low-key and tended to focus on everyday mother/daughter relationships or girls having platonic crushes on the boy next door. These writers were massively popular, and still highly regarded today. (As a side note, I notice that when people talk about Ikeda Riyoko or writers like her, they sometimes conflate them with the Year 24 Group? I think because stuff like The Rose of Versailles and Oniisama e… are 70s shojo manga that dealt with sex, gender, and homosexuality as well? That’s a bit inaccurate.)

Then there were the otome-tique writers, who are probably the most obscure of the three big movements in 70s shojo manga. Usually, this movement is restricted to three writers who all worked in Ribon magazine: Mutsu A-ko, Tabuchi Yumiko, and Tachikake Hideko. “Otome” is the Japanese word for “maiden” or simply a young girl, and “-tique” is the suffix “ちっく (tikku)” which just means “of or pertaining to” like -tic in English. I’m actually not sure who came up with this romanization, but I think I’ve been using it because I saw it somewhere a long time ago.

What these “otome-tique” writers dealt with was “cute”. Cute, fashionable things that young girls enjoy. Their style is related to another thing that was massively popular in the 70s and 80s in Japan, namely “fancy goods”. The remnants of the obsession Japanese girls had with “cute”, “fancy” things can be seen in the products of Sanrio or San-x, which are still popular today, but back then, there was a huge boom of companies producing Sanrio-type characters and products, as well as shops selling these products exclusively, called “fancy shops”. This connection is especially evident in the furoku that these artists produced for Ribon magazine, which captured the hearts of fancy goods-loving young girls all over Japan.

I’ve seen people argue that the otome-tique movement rose as a reaction to the psychological and philosophical explorations of the Year 24 Group, as well as to the sweeping epics of the “dramatic” shojo manga popular at the time, but I’m not entirely sure I believe it was a conscious counter-reaction. At any rate, though, the actual manga produced by these writers was very different from manga by the other two groups. Otome-tique manga deals with the everyday emotions of regular girls. Many of their manga are set in Japan, and most feature protagonists who are regular high school or university students. These protagonists enjoy cute, fashionable things, like the “Ivy look” (Ivy League inspired fashion popular at the time; what Americans would call “preppy” today), Vesper scooters, LPs and big earphones, cute stationary, potpourri, fancy tea and vintage porcelain, homemade jam… everything girls wanted, but probably couldn’t have in real life.

These manga are not about the French Revolution or star-crossed lovers or sex or PTSD, but rather about conveying atmosphere and the emotional shifts in the characters that occur in small, everyday situations. As a result, most otome-tique manga are short stories (except Tachikake, who would often throw in slightly more dramatic elements in her stories), and what you’re supposed to enjoy about them is not the dramatic plots, but the art, the atmosphere, the fashion, and the small emotions.

This might sound kind of boring to people, but I’ll assure you, the average shojo manga being written today owes more to the otome-tique movement than they do to either Hagio or Ikeda. Are you a fan of that cute, down-to-earth shojo manga about high school students and their every day lives, which runs in any of the shojo manga magazines popular today? Otome-tique. Do you enjoy the slow-burning romantic plots woven into the card game drama of Chihayafuru? Otome-tique. Are you a fan of that Aoharu Ride anime about regular high schoolers that’s become so popular? Otome-tique. And so on.

To take this back to Tokimeki Tonight, which is what sparked the question in the first place, Ikeno Koi is an interesting case. Her early art is reminiscent of Mutsu A-ko and Tabuchi Yumiko, but Ikeno has often spoken about how Hagio Moto is her favorite manga writer (and this is why Tokimeki is about vampires — no, seriously). The early art and the way she tells her romantic plots are definitely influenced by otome-tique, like most Ribon manga is, but the fantastical and emotional elements of her manga does seem inspired by many other types of 70s shojo manga! I think the way she has successfully mixed many different elements of popular shojo manga is part of the reason she managed to become so popular.

Haikara-san ga toru — Yamato Waki

Haikara-san ga toru — Yamato Waki

Haikara-san ga toru — Yamato Waki

Haikara-san ga toru — Yamato Waki