Boys Love Manga and Beyond looks at a range of literary, artistic and other cultural products that celebrate the beauty of adolescent boys and young men. In Japan, depiction of the “beautiful boy” has long been a romantic and sexualized trope for both sexes and commands a high degree of cultural visibility today across a range of genres from pop music to animation. In recent decades, “Boys Love” (or simply BL) has emerged as a mainstream genre in manga, anime, and games for girls and young women. This genre was first developed in Japan in the early 1970s by a group of female artists who went on to establish themselves as major figures in Japan's manga industry. By the late 1970s many amateur women fans were getting involved in the BL phenomenon by creating and self-publishing homoerotic parodies of established male manga characters and popular media figures. The popularity of these fan-made products, sold and circulated at huge conventions, has led to an increase in the number of commercial titles available. Today, a wide range of products produced both by professionals and amateurs are brought together under the general rubric of “boys love,” and are rapidly gaining an audience throughout Asia and globally. This collection provides the first comprehensive overview in English of the BL phenomenon in Japan, its history and various subgenres and introduces translations of some key Japanese scholarship not otherwise available. Some chapters detail the historical and cultural contexts that helped BL emerge as a significant part of girls' culture in Japan. Others offer important case studies of BL production, consumption, and circulation and explain why BL has become a controversial topic in contemporary Japan.

Magazine editor Mamiya meets popular high school model Noeru Kisaragi for a story Mamiya's working on. When Noeru suddenly tries to go down on Mamiya and makes sexual advances at him, Mamiya turns him down flat. But Mamiya's loneliness starts to get to him and he decides to try starting over with Noeru on equal footing.

"Boys' love," a male-male homoerotic genre written primarily by women for women, enjoys global popularity and is one of the most rapidly growing publishing niches in the United States. It is found in manga, anime, novels, movies, electronic games, and fan-created fiction, artwork, and video. This collection of 14 essays addresses boys' love as it has been received and modified by fans outside Japan as a commodity, controversy, and culture.

A brand new anthology series of guys in love with guys. First, prisoners of a medieval circus unite against their wicked ringmaster. Then a tale of forbidden love between members of two rival gangs in modern Tokyo. The final tale is of a boy who escapes two sadistic hillbilly captors and recovers from their torture with the help of a romantically vulnerable cop. Our top talent comes together for this brand new yaoi anthology

In the male talent agency run by two women, Hana Fukuhara and Megumi Shimada, many strict rules have to be obeyed. Some of them are hard to follow. No relationships. No sexual activities. Not even self-stimulation. But things happen... Kenta Yamamura is somehow always dragged into forbidden encounters with other boys. His inability to say no causes him a lot of troubles. He does want to be faithful because he has a partner he loves more than anything in the world. His partner is Hana Fukuhara. This is a secret. But... Kenta has more secrets. One of them is... Kenta and Yuta have a special connection… what is it? Find out in this Fate Looked Back. Part of a controversial boys love novel Missunderstanding- My Thread.

Over the past several years, the Thai popular culture landscape has radically transformed due to the emergence of “Boys Love” (BL) soap operas which celebrate the love between handsome young men. Boys Love Media in Thailand: Celebrity, Fans, and Transnational Asian Queer Popular Culture is the first book length study of this increasingly significant transnational pop culture phenomenon. Drawing upon six years of ethnographic research, the book reveals BL's impacts on depictions of same-sex desire in Thai media culture and the resultant mainstreaming of queer romance through new forms of celebrity and participatory fandom. The author explores how the rise of BL has transformed contemporary Thai consumer culture, leading to heterosexual female fans of male celebrities who perform homoeroticism becoming the main audience to whom Thai pop culture is geared. Through the case study of BL, this book thus also investigates how Thai media is responding to broader regional trends across Asia where the economic potentials of female and queer fans are becoming increasingly important. Baudinette ultimately argues that the center of queer cultural production in Asia has shifted from Japan to Thailand, investigating both the growing international fandom of Thailand's BL series as well as the influence of international investment into the development of these media. The book particularly focuses on specific case studies of the fandom for Thai BL celebrity couples in Thailand, China, the Philippines, and Japan to explore how BL series have transformed each of these national contexts' queer consumer cultures.