At times, josei manga seems to be divided between two extremes. At one end are the socially-conscious dramas that helped to define the genre, such as the works of Kyoko Okazaki and Moyoco Anno. At the other end are the smutty Harlequin-esque ladicomi that seem to make up the bulk of the genre (not to mention search results on many a digital manga site). Then there are josei manga like Izumi Miyazono’s Everyone’s Getting Married.
For years, it was common knowledge amongst manga industry insiders and fans alike that josei manga—comics targeted at adult women—were simply too risky to license for English release. Sure, a number of publishers had tried to do so during the heyday of the 2000s manga boom, but their efforts were mostly met with middling sales and a lot of indifferent readers. The history of the genre in the U.S. is largely a depressing one, and for years it seemed as if josei was doomed to be one of the few manga demographics that would never find a foothold with English-speaking readers.