Kissing Scenes in Manga - Google Arts & Culture (2024)

The history of the evasive tactics used to show kissing scenes in Manga and how society and readers’ diverse tastes in manga have evolved over time.

By Ministry of Economy, Trade and Industry

“Robin-chan” by Osamu Tezuka, in Tezuka Osamu Manga Zenshū (1979), vol. 73, Kodansha, p.149Original Source: (C)Tezuka Productions

Often, the things we take for granted today were not obvious at all if we go a little back in time. For example, this can be said of the kissing scene, a commonly occurring expression in manga. In each decade, what is considered “common sense” in society has changed more than one might expect. At the same time, there are also parts of “common sense” that haven’t changed as much as one might expect. Here I would like to provide an overview of how manga artists have repeatedly attempted to dodge societal pressures and critical gazes while sometimes changing the meaning of “common sense” up to the present.

“Pistol Angel” by Osamu Tezuka, in Tezuka Osamu Manga Zenshū [Osamu Tezuka Complete Manga Works] (1993), vol. 324, Kodansha, p.49Original Source: (C)Tezuka Productions

1)1940s: Depicting kissing scenes in children’s manga

Pistol Angel by Osamu Tezuka (Tokodo, 1949) is known as the first work of children’s manga in Japan to depict a kissing scene. In actuality, however, kissing scenes also appeared in shōjo (girls’) magazines before WWII (for instance, in “Pichiko to Chākō [Pichiko and Chako]” by Katsuji Matsumoto, serialized in Shōjo no Tomo, 1933–37), and as such, strictly speaking, it is not the “first.”

Regardless, this kissing scene, which appears in the depiction of an illicit love affair between an American Indian boy and a cowboy girl, was a big deal at a time when “common sense” dictated that expressing a romantic relationship in a children’s manga was out of the question.

“Robin-chan” by Osamu Tezuka, in Tezuka Osamu Manga Zenshū (1979), vol. 73, Kodansha, p.149Original Source: (C)Tezuka Productions

2)1950s: Countering “common sense” though strategic story expression

In order to counter the “common sense” that said that kissing scenes, which evoked images of mature relationships between men and women, were unsuitable for media aimed at children, it was necessary to come up with excuses through which one could assert that no romantic elements were involved. In “Robin-chan”, serialized in “Shōjo no Tomo” in 1954, Tezuka depicted a kissing scene framed as mouth-to-mouth resuscitation, a familiar pattern used even today.When the boy continues to press his mouth against the girl who was drowning even after she regains consciousness, telling her to “hush,” it becomes clear that the resuscitation was merely an excuse for Tezuka to depict the kiss.

Itoko Maria [Cousin Maria] by Masako Watanabe, in Watanabe Masako Meisakushū (1993), Home-sha (First published in Weekly Margaret (1964), no. 11, Shueisha)Original Source: © WatanabeMasako/HOMESHA INC.

3)1960s: Changes in the subject matter of shōjo manga

Today, shōjo manga is seen as a genre that depicts romance, but up until the 1950s, romance was hardly depicted in shōjo manga. Even as the taboo around romantic elements was gradually lifted in the 1960s, romance remained at the level of subject matter in manga, and it was not usually accompanied by concrete depictions of intimate scenes.If one were to depict a kissing scene in such an environment, some sort of excuse would be necessary after all. A different type of approach from the aforementioned mouth-to-mouth resuscitation was the kiss as a form of Western-style greeting. Setting a story in Europe, as exemplified by the works of Masako Watanabe, allowed the artist to depict a kiss naturally as a display of affection. There was no problem whatsoever if the kiss was a simple greeting that encompassed no romantic connotations.

Good bye, Nanette by Yasuko Aoike, in Ribon, 1964 New Year’s extended issue, p.205Original Source: © Yasuko Aoike (Akitashoten) 1963

There was no problem when it was a simple greeting, like a kiss between a parent and child, but occasionally manga would depict scenes in which greeting and romantic aspects could not be so easily separated.The kiss in Yasuko Aoike’s debut work “Sayonara Nanette [Goodbye Nanette]” (1963) is used primarily as an expression of gratitude from a girl to the boy who found her precious brooch.

Even if there were a hint of attraction between the two, the kiss itself contains a subtle ambiguity that does not allow for it to be expressly attributed to romantic feelings. Here, there is clearly a gap between the two characters in terms of how they view the significance of the kiss, and these kinds of gaps subsequently lead to romantic comedy-style misinterpretations.

Watashi wa…Tōkyōkko by Akira Mochizuki, in Margaret (1964), no. 4/5, p.124Original Source: -

4)1960s: Using illustrative techniques to avoid criticism

As we have seen, there are various types of excuses for kissing scenes that exist at the level of the story, such as those that assert the necessity of the kiss, as in mouth-to-mouth resuscitation, those that assert that the kiss was an accident with no further intentions, and those that assert that the kiss meant something else as a Western form of greeting. There are doubtless other patterns that emphasize that the kiss was an unwelcome attempt.

In addition, there is also the method of preparing an excuse at the level of expression by leaving out or hiding the kissing scene so that readers cannot see it, without attempting to justify the existence of the kiss at the level of the story. In “Watashi wa…Tōkyōkko “I am… a Tokyoite]”(1964) by Akira Mochizuki, the artist uses both strategies of concealment: the kiss is presented as an accident resulting from the shaking of a passing train (despite the fact that the kissing scene takes place at the characters’ own wedding), and the view of the kiss itself is left out of the frame, which only shows the two from the knee down. During this period, numerous evasive tactics were already being tried in various forms to avoid public criticism.

Stop! Nii-chan: Sangakki [Stop! Older Brother: Third Term] by Hisashi Sekiya (Complete Edition, 2008), vol. 1, Manga Shop, p.5 (First published in the 1962 New Year issue of Shōnen, a monthly manga magazine by Kobunsha)]Original Source: -

5)1960s: The “common sense” wall in shōnen (boys’) manga

In shōjo manga, artists sought to express romance through concrete depictions such as kissing scenes. On the other hand, shōnen manga in the 1960s was a tough world centered on sports and action that was basically disconnected from anything frivolous like romance or love. To be more precise, such aspects were excluded from shōnen manga by strongly adopting societal norms of what a boy should be. Just as how romantic elements were unsuitable for children, a boy approaching young adulthood was seen, in a different way, as something to be avoided. Here the wall of “common sense” loomed high as well.

Haikara-San: Here Comes Miss Modern by Waki Yamato (New Edition, 2016), vol. 2Original Source: ©Waki Yamato / Kodansha

6)1970s: The “discovery” of the issue of sexuality and tropes in romantic comedies

Entering the 1970s, artists were no longer required to create special excuses for kissing scenes in shōjo manga. They then moved on to the next stage in which they explored how they could depict bedroom scenes. A representative example of this is the scene in Riyoko Ikeda’s "The Rose of Versailles" (1972), in which Oscar and André consummate their love the night before the last battle of the French Revolution. In their search for how to depict bedroom scenes, artists “discovered” that the issue of sexuality, which is a heavy, serious topic in its own right in people’s actual lives, was something that could be, and should be, expressed in manga.

On the other hand, the opposite direction taken in exploring romance in a comedic framework was not necessarily entirely frivolous. Although the term “romantic comedy” is often used to mean that its contents are meant to be taken as a joke, the popularity of comedy and the spread of manga as a form of popular culture are two sides of the same coin, and neither could have been established in the absence of the other.

The evasive tactics surrounding kissing scenes in the ’60s reappeared, this time as methods of delaying the fulfillment of romantic relationships, and became established as a trope in romantic comedies. Take, for example, this scene in Waki Yamato’s "Haikara-san ga Tōru" [Here Comes Miss Modern] (1975), a monumental work in 1970s romantic comedy. It is set up as a romantic scene in which the male character, facing Benio, the heroine, conveys his feelings for her outright by saying “I liked you.” She, however, stares blankly with her mouth agape and falls out of the tree in the next moment, ruining the mood. Even though, seen objectively, the pair have long known of their feelings for each other, these ludicrous missed opportunities cause delays in the progression of their relationship.

Urusei Yatsura by Rumiko Takahashi (New Edition, 2006), vol. 1, p.177Original Source: -

7)Late 1970s: The romantic comedy boom in the shōnen manga world

From the end of the ’70s, romantic comedies were transplanted into the world of shōnen manga as well, leading up to the romantic comedy boom of the ’80s typified by Rumiko Takahashi’s “Urusei Yatsura”(1978) and Mitsuru Adachi’s “Touch”(1981). In an early episode of “Urusei Yatsura”, we can even see how tropes from earlier manga became established as fixed formulas in romantic comedy-like scenes. Here, in a variation of the classic trope of a romantic heroine who fails at cooking, the heroine uses alien technology to ruin what should have been food, making everything explode.

Around the same time, in “Weekly Shōnen Jump”, erotic elements began to be depicted in a more natural way using sports as the main subject matter. Tatsuo Kanai’s “Hole in One” (1977) is a work of manga that frequently depicted scenes in which female characters’ underwear could be seen when the wind blew (the so-called “upskirt” view) while they played golf.These methods of justification for what could be called “legal erotica” inherited the same structure of the evasive tactics used in romantic comedies.

Credits: Story

Text: Toshiyasu Hidaka
Edit: Yuka Miyazaki(BIJUTSU SHUPPAN-SHA CO., LTD.)
Supervisor: Hirohito Miyamoto(Meiji University)
Production: BIJUTSU SHUPPAN-SHA CO., LTD.

Credits: All media

The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.

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