It was originally serialized in the manga magazine Shūkan Shōjo Comic in two parts: from March to May 1971, and from August to October 1972.

It is heavily influenced by musical theater, with characters expressing their feelings and emotions through dance and song lyrics, and its largely male cast composed of bishōnen (lit.

Fourteen-year-old con artist Tag Parisian (タグ・パリジャン, Tagu Parijan) arrives in Montmartre, Paris, where he quickly charms the denizens with his skill at music, singing, and dancing.

In September 1970, Keiko Takemiya began drawing a manga tie-in for the television series Majoha Hottona Otoshi-goro [ja] in Shūkan Shōjo Comic, and took a brief hiatus at its conclusion at the end of the year to plot out her next serialization.

[2] Feeling confined by the creative constraints of writing an adaptation, she began to plan for her next work to be an original series.

[5] As Takemiya had never travelled there,[3] she purchased a variety of books and other materials related to the city for use as reference to incorporate its culture and customs into the series, particularly in regards to drawing clothing and buildings that were location-accurate.

[7] She chose the surname "Parisian" for Tag not only as a reference to Paris, but also because it was a last name that was clearly fake, and thus indicated his status as a con artist.

[10] Takemiya speculated that the series was accepted because its depiction of male characters was seen as more palatable than that of Sunroom Nite, a shōnen-ai (male–male romance) manga she had published in the December 1970 issue of Bessatsu Shōjo Comic.

would begin serialization in the March 1971 issue of Shūkan Shōjo Comic and run for ten chapters, with an agreement made between Takemiya and Yamamoto that the series would be extended if it was received well by readers.

[12] Following the conclusion of the series, Shūkan Shōjo Comic received an influx of letters from readers expressing disappointment that Sora ga Suki!

[14] The second part similarly ended after ten chapters, with the final installment published in the October 1972 issue of Shūkan Shōjo Comic.

is influenced in plot and form by musical theater, with characters expressing their feelings and emotions through dance and song lyrics.

[26] This, combined with the ambiguously homoerotic subtext attributed to the central friendship between Tag and Genet, led writer and sociologist Shunsuke Tsurumi to describe it as a shōnen-ai (male–male romance) manga.

[28] In the afterword of the 1984 collected edition, Takemiya described the kiss scene as "the most fun" she'd had as a manga artist since seeing her work in print for the first time.

[12] However, in her 2019 memoir The Boy's Name is Gilbert, she stated that she intended the kiss as an expression of the emotional drama between the characters, and that she ultimately viewed its inclusion as unnecessary in retrospect.

for pushing forward depictions of fashion in manga, specifically noting the black and white spectator shoes worn by Tag, and evaluates the series as unique for its era in this regard.

[32] Manga artist Chiho Saito (Revolutionary Girl Utena) became aware of Takemiya after reading Sora ga Suki!