MMF: Why Fruits Basket?

With almost every installment of the Manga Moveable Feast, we tend to ask the question, “Why this particular title?” In the case of Natsuki Takaya’s Fruits Basket, published in English over the course of 23 volumes by Tokyopop, I think the answer is complex.

First of all, it’s almost always interesting to dig into a cultural phenomenon. In the period between the initial English-language publication of Sailor Moon by Tokyopop and its upcoming republication by Kodansha, Fruits Basket was the most commercially successful shôjo manga and one of the most commercially successful manga, period.

Many people have made the argument that romantic fantasy for a female audience tends to be critically undervalued. Commercially successful romantic fantasy for a female audience adds another potential disclaimer for a book’s artistic value. Fruits Basket wasn’t just primarily for girls, but girls liked it a lot. And they bought as many copies of it as boys did of manga they liked. What’s that about? Or, at least that sometimes seems like the psychological subtext.

And Fruits Basket, which originally ran in Hakusensha’s Hana to Yume, is difficult to quantify. It’s shares a number of qualities with more generic manga of its category – an optimistic but kind of dingbat heroine, two hunky boys engaged in a rivalry for her attentions, a seemingly cutesy curse, and so on. But Takaya approaches that material with quite a bit of craft and emotional ruthlessness. She doesn’t brutalize her characters (or her readers), but she doesn’t spare them much. It’s not a creepy, “suffering and terror are hot” kind of approach; it’s more of a fluid, applied grasp of the nature of tragedy. Fruits Basket has scale. If the aesthetic were less contemporary-casual, the Takarazuka Revue could operetta up this sprawling epic.

It takes a while for things to fall into place, to be honest. Initially, the series seems like what its cover blurb describes: a story about a plucky orphan who moves in with a family of hot guys who are living under a curse! They turn into animals represented in the Chinese Zodiac when they’re hugged by someone of the opposite sex! Eventually, though, the cutesy sheen of the curse gives way to the profound dysfunction and deep, deep pain of the Sohma family. And the ditsy charm of Tohru Honda, the outsider in the tearstained zoo, resolves into resolve and force and generosity of spirit.

I hope you’ll give a few volumes a try. My plan for the week is to focus on some of my favorite moments from the series and to keep a running tally of each day’s posts, if posts there are. I’m looking forward to the contributions of anyone who cares to do so.

Previous Manga Moveable Feasts:

 

Comments

  1. That’s a great point about how anything popular with teen/tween girls has a specific stigma associated with it (yes, Rebecca Black’s “Friday” is lightweight and silly… as is “Please Please Me” and a lot of other beloved classics, so what’s the problem?). Yet even beyond that, “Fruits Basket” is a series that always seems to have the “it’s better than it sounds” disclaimer attached to it, largely because its premise of magical comic transformation promises, to many genre-savvy minds, something along the lines of “Ranma 1/2″, if not “The Nude House of Wacky People”.

    Even as a cross-genre manga omnivore — I will happily vouch for “Sand Chronicles” as the best thing I’ve read in years — “Fruits Basket” held zero appeal to my 43-year-old male mind, until I happened across the “Fruits Basket Audio Drama” being put together by anime reviewer JesuOtaku (bias disclosure: I’ve contributed a few lines as an extra to the project). Reading through the audition scripts, I found Big Moments from interesting characters, damaged people who’ve settled into very uneasy truces with their predicaments. I couldn’t help but look through every audition script, just to get a sense of the tenor and possibilities of it all. It was very clear from these that the “Fruits Basket” manga isn’t at all what it would appear to be at first glance, or at least it eventually becomes something far more substantial than it ever needed (or intended?) to be.

    I’m on the third volume now, and I’m looking forward to seeing the MMF discussion of it.

  2. I didn’t even need this post to get me super excited. I’ve been excited since we agreed on this one. I’ve been working on my post for weeks now (it will go up tomorrow morning).
    So, anyway, yeah, I’m EXCITED.

  3. The only downside to “Fruits Basket” would be how the character designs started going downhill after Takaya-sensei’s surgery. By the end of the manga, closeups of certain characters are indistinguishable and they’ve lost most of their physical charm for sharp simplicity (if you will). Story-wise, its great and I hope it gets license-rescued.

  4. Fruits Basket is one of my all-time favorites and one of the best shoujo titles. I got interested in the manga after watching the anime adaptation and I have been a fan ever since. I am planning on rereading it sometime soon. It would be great if it gets license rescued, which I think will happen eventually given the popularity of it.


Trackbacks

  1. [...] Feast features Fruits Basket, and host David Welsh gets the discussion started with a post on why Fruits Basket is worth discussing and another on romantic [...]

  2. [...] David explains why Fruits Basket is this month’s “Manga Movable Feast” title. [...]

  3. [...] his first post, David has a nice explanation of why this title for the MMF, explaining some of the key points of appeal of the series and fruitful (heh) grounds [...]

  4. [...] review was written for the Manga Moveable Feast, but I tried to make it as spoiler-free as possible. I won’t guarantee that there are [...]

  5. [...] of an era: Tokyopop shutting down US publishing division MMF: Why Fruits Basket? Tokyopop Website Replaced by Facebook Tokyopop shutdown, CLAMP launch Bookmark/Share [...]

  6. [...] David explains why Fruits Basket is this month’s “Manga Movable Feast” title. [...]

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