By Chihiro Tamaki
Published by Aurora Publishing
Rating: 16+

Awkwardly tall and perpetually a misfit, Michiko is determined to achieve success in the fiercely competitive world of modeling—and to one day walk in snarky designer Mihara’s runway show. The road to the top isn’t easy, however, as Michiko battles her own internal demons and deals with the potential loss of both her agent and her love interest. But Mihara too is faced with tough choices and disappointments, as he struggles to reconcile his private label dreams with the realities of the market and the strict opposition of his family. The countdown is on to Tokyo Fashion Week as Mihara and Michiko search for success and redemption—and maybe find each other in the process.

It’s a shame publishers balk at importing josei titles to the U.S.; Walkin’ Butterfly serves as the perfect reminder of why good josei puts most shojo to shame. This isn’t to say that the same themes of change, growth and self-discovery aren’t employed here, but rather that they’re used in a much more convincing and authentic way and to much greater effect. Michiko’s transformation is not one of sad-sack depression to cheery happiness, but rather one of measured successes leading to greater bouts of confidence offset by occasional relapses. It’s humanistic, realistic and, frankly, pretty enjoyable to read.

The choice to offset Michiko’s story with Mihara’s is also a good one, as both come off as fundamentally dysfunctional people whose devotions and commitments keep them moving in the right direction. (Not to mention the effectiveness of the classic straight man/funny man pairing on the part of the pair.) Initially given over to bouts of self-loathing, Michiko’s evolution towards positive thinking and self-confidence, while slightly repetitive, is nonetheless a refreshing change from the stagnant, mournful lily flowers that populate the majority of the “confidence-building” genre. On a purely functional plot level, the series also demonstrates a strikingly realistic perspective when it comes to the fashion industry. No vapid generalizations here; in this more realistic rendering, designers are caught between personal ambitions and European house offers while ethnic minority models face discrimination and difficulties landing runway work.

Tamaki’s scribbly, pen-ink linework is perhaps the most notable technique at play here, with some of the smaller panels seemingly taking on a slightly haphazard look. Tones are relegated to necessary moments, and the lack of clutter, while occasionally a bit sparse, ultimately works for the series. Walkin’ Butterfly also demonstrates a remarkably good usage of angle and perspective; it initially seems like good paneling at work, but further inspection reveals that the novelty stems not from how the panel is placed, but rather how the characters are placed within it. Overall, it’s an unusual, albeit impressive showing.

Short of “manly comics only” readers, it’s hard to find anyone with whom Walkin’ Butterfly would be a bad fit. Shojo reader? Upgrade here. Slice of life type? Come on down. Older comics reader? Twentysomething ruminations and career frustrations abound. Walkin’ Butterfly seems poised to enter that paradoxical pool of good-but-underloved comics; do yourself a favor and pick up a copy before someone (mistakenly) decides josei isn’t worth the investment anymore.

Volumes two and three of Walkin’ Butterfly are available now.