Matsu's works have been praised for their comedic and light-hearted tone, in contrast to the darker BDSM themes of his peers.
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The label encompasses fans of the yaoi genre itself, as well as the related manga, anime and video game properties that have appeared as the market for such works has developed. Mark McLelland describes this aesthetic as being seen as problematic in recent Western society. The art of this period, typified by Sadao Hasegawa , Junichi Yamakawa and Kimura Ben , is noted for its realism and optimism, and for depicting modern rather than historical scenarios. This usage may be considered offensive by female otaku who are not yaoi fans.
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Often, the older or more senior character uses the younger or subordinate character for sexual purposes,  though some gay manga stories subvert this dynamic and show a younger, physically smaller, often white-collar man as the dominant sexual partner to an older, larger, often blue-collar man. Consequently, much of the criticism of yaoi — misogyny, a focus on rape, the absence of a Western-style gay identity — is similarly levied against gay manga. She argues that the exchange of sexual fantasies between the predominantly female yaoi fandom can be interpreted that although the participants may be heterosexual in real life, they can also and compatibly be considered "virtual lesbians".
Consequently, much of the criticism of yaoi — misogyny, a focus on rape, the absence of a Western-style gay identity — is similarly levied against gay manga. Demographics[ edit ] Most yaoi fans are either teenage girls or young women.
In one library-based survey of U.
Formerly an author of shonen manga, Matsu made his erotic comics debut in Kinnuku-Otoko "Muscleman" , a magazine marketed towards both men and women.