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However, even when presented seriously, the women in these shoujo and shounen works were unhappy and suffering because of their relationships, and thus they ended in tragedy, usually suicide. However, most of the time, yuri was relegated to a smaller role in shoujo manga works exploring ideas of gender roles and identity, like Ikeda Riyoko’s The Rose of Versailles and Claudine.ĭuring this era, the first shounen (boys’) comics with yuri elements began to appear sparsely, but the majority of these mocked and diminished lesbian love. Some featured female-female relationships and attraction as a central element, such as Yamagishi Ryoko’s Shiroi Heya no Futari (The Couple in the White Room), the first yuri manga. In the 1970s, the first yuri manga emerged, again targeted at young women and written by women. They were primarily written by women and popular among girls, many of whom formed their own adolescent same-sex relationships. Such “S” works, which described intense but non-sexual relationships between girls, thrived in contemporary shoujo (girls’) markets and magazines. Yuri, as we consider it, began 100 years ago with Yaneura no Nishojo (Two Virgins in the Attic), a pioneering Class-S work of same-sex love written by a lesbian, Yoshiya Nobuko. It is by and for a variety of people: men, women, heterosexuals, queer people, everyone! Throughout its 100-year history, the genre has uniquely evolved in and moved about multiple markets, often existing in many simultaneously. In reality, yuri has no homologous audience, and is not made primarily by or for men, women, straight people, queer people, or any other demographic.
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In 2012, Verena Maser found the misconception existed amongst many fans and even yuri manga editors: “Aren’t yuri manga the female version of the Japanese boys’ love genre? And since boys’ love is practically read only by women, I thought would be read by males.”
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However, as BL is (incorrectly) perceived to be made by and for women, drawing this parallel perpetuates the false idea that yuri is created by and for men-a belief forwarded by the apparent prominence of men in doujinshi circles during the 1990s. It understandably compares the genre to yaoi (BL). This well-intentioned description inadvertently perpetuated some common misconceptions about the yuri genre. More examples include The Garden Of Words (27 -year -old lady x 15 -year -old child) and though technically not pedophilia they were skating on thin ice with After the Rain (45 -year -old man x 17 -year -old girl).“When you think of LGBT people in anime or manga, ‘yaoi’ and ‘yuri’ come to mind-featuring gay people, but written for straight audiences!” “That’s Gay! Anime and Manga for the LGBT Audience” Panel Description at Anime NYC It should be noted how young girls are almost always the victims of such pedophilic acts. Or Japan presents high school girls (aka teenagers) who are shipped with supernatural creatures that are at least a century old, like in Inuyasha or Noragami.
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A perfect example would be anime like Kodomo no Jikan which revolves around romantic love and sexual lust that third grader Aoki Daisuke (yes, that's right) has for her 23-year-old virginal Daisuke sensei. When pedophilia isn’t presented with rose tinted glasses, Japan uses the “Oh, she looks 12 but she’s actually a 2000 year old mage cursed to forever look like a child” trope to claim that technically this wouldn’t be pedophilia. Not only is anime flooded with pedophilic relationships, it has them presented in such a manner as to make audiences root for them.