Manga scholar Deborah Shamoon concurs that while the works of the Year 24 Group are "often characterized as revolutionary," she argues that the ascendance of the group "was less a counterculture takeover and more a recognition by (male) editors that stories penned by female artists were and still are more popular with girl readers than works by male artists and hence more profitable."
Manga scholar Deborah Shamoon agrees that the Year 24 Group's rise to prominence is often seen as revolutionary, but she argues it was more a recognition by (male) editors that stories written by female artists are more popular with young girls than those by male artists and thus more profitable.