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In China, danmei is considered to have originated around 1998. Some publishers see that times are changing and are taking a chance, with MangaGamer's two new titles and. In China, danmei is considered to have originated around 1998.\
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Mangatopia: Essays on Anime and Manga in the Modern World. Feminism and The Politics of Difference, pp. If you're lucky, there might even be some sneaky kissing involved. However, this data is provided without warranty. For note, fans may lack a credit card for payment, or they may want to keep their yaoi private because of the dual stigma of seeking sexually explicit material which is also gay. In the late 1970s, shōjo magazines devoted to the new genre began to appear; and, in the 1990s, the u boys' love or BL was invented for the genre, which replaced earlier terms such as tanbi, shōnen ai and juné in Japanese usage. Inyou play as the niece of Megaman creator Keiji Inafune, and suddenly get trapped in a game-of-death at the theme park he's just about to ring. Other successful series in GloBL include web comics Teahouse, Starfighter, Purpurea Noxa, and from artist 's studio Guilt Pleasure, all three of which are also being promoted by. Or go on a bunch of dates in one night and get to know what you like.

The stories were written by teenagers for an adolescent audience and were generally based on manga or anime characters who were likewise in their teens or early twenties. In Sherrie Inness, ed. Archived from on 16 June 2006.\
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Yaoi also attracts male readers, but specifically marketed for a male audience is considered a separate. The main characters in yaoi usually conform to the formula of the seme the , or dominant figure who pursues the uke the , or passive figure. Material classified as yaoi typically depicts gay relationships between male characters and may include content. Although the yaoi genre is also called Boys' Love commonly abbreviated as BL , the characters may be of any age above , including adults. Works featuring boys are labelled and seen as a distinct genre. Yaoi derives from two sources; in the early 1970s, magazines published tanbi stories, also known as shōnen ai boy love , featuring between young boys. The other influence began in the markets of Japan in the late 1970s as yaoi, a sexualized of popular and stories. In the late 1970s, shōjo magazines devoted to the new genre began to appear; and, in the 1990s, the term boys' love or BL was invented for the genre, which replaced earlier terms such as tanbi, shōnen ai and juné in Japanese usage. In Japan, the term yaoi continues to refer mainly to parody dōjinshi; among Western fans, however, yaoi is used as a for female-oriented , , , novels and works featuring idealized gay male relationships. The genre has spread beyond Japan, and both translated and original yaoi works are now available in many countries and languages. The genre currently known as Boy's Love, BL, or yaoi derives from two sources. Female authors writing for shōjo girl's manga magazines in the early 1970s published stories featuring between young boys, which were known as tanbi aesthetic or shōnen ai boy love. By the end of the 1970s, magazines devoted to the nascent genre started to appear, and in the 1990s the term boys' love or BL would be invented and would become the dominant term used for the genre in Japan. Although yaoi derives from girl's and women's manga and still targets the shōjo and demographics, it is currently considered a separate category. The phrase also parodies. Kubota Mitsuyoshi says that used yama nashi, ochi nashi, imi nashi to dismiss poor quality manga, and this was appropriated by the early yaoi authors. In the 1980s, the genre was presented in an format for the first time, including the works 1982 which showed a romance between two supporting characters, an adaptation of Kaze to Ki no Uta 1987 and 1989 , released in the format. In China, the term danmei is used, which is derived from tanbi. The term manga was used in the 1970s, but fell from favor in the 1990s when manga in this genre began to feature a broader range of protagonists beyond the traditional adolescent boys. In Japan, the term juné would die out in favor of boys' love, which remains the most common name in Japan. While yaoi has become an in the West for women's or Japanese-influenced comics with male-male relationships, and it is the term preferentially used by American manga publishers for works of this kind, Japan uses the term yaoi to denote dōjinshi and works that focus on sex scenes. In the West, the term yaoi is sometimes used to denote the most explicit titles. The use of yaoi to denote those works with explicit scenes sometimes clashes with use of the word to describe the genre as a whole, creating confusion between Japanese and Western writers or between Western fans who insist on proper usage of the Japanese terms and those who use the Westernized versions. Yaoi can also be used by Western fans as a label for anime or manga-based. Shōnen-ai The term shōnen-ai boy love originally connoted or in Japan, but from the early 1970s to the late 1980s, was used to describe a new genre of , primarily produced by the of women authors, about beautiful boys in love. Characteristics of shōnen-ai include exoticism, often taking place in Europe, and idealism. Jeffrey Angles particularly notes 's 1974 and Keiko Takemiya's Kaze to Ki no Uta 1976—1984 as being groundbreaking, noting their portrayal of intense friendship between males, including jealousy and desire. The origin of shonen-ai is thought to come through two pathways. Mizoguchi traces the tales back to the tanbi romances of. The term tanbi was used for stories written for and about the worship of beauty, and romance between older men and beautiful youths using particularly flowery language and unusual Chinese characters appropriated into Japanese script. The word was originally used to describe an author's distinctive style, for example, the styles of and. Carola Bauer cites the genre as having influenced shonen-ai. Shōnen-ai challenged young readers, who were often only able to understand the references and deeper themes as they grew older and instead were initially drawn to the figure of the male protagonist. By the late 1980s, the popularity of professionally published shōnen-ai was declining, and dōjinshi self-published yaoi was becoming more popular. The terms yaoi and shōnen-ai are sometimes used by Western fans to differentiate between two variants of the genre. In this case, yaoi is used to describe titles that primarily feature sexually explicit themes and sex scenes, while shōnen-ai is used to describe titles that focus primarily on romance and omit explicit sexual content, although sexual acts may be implied. According to this use of the terms, would be considered shōnen-ai due to its focus on the characters' careers rather than their love life. Aleardo Zanghellini suggests that the martial arts terms have special significance to a Japanese audience, as an archetype of the gay male relationship in Japan includes. The seme is often depicted as the male of anime and manga culture: restrained, physically powerful, and protective. The seme usually pursues the uke, who often has softer, androgynous, feminine features with bigger eyes and a smaller build, and is often physically weaker than the seme. Another way the seme and uke characters are shown is through who is dominant in the relationship - a character can take the uke role even if he is not presented as feminine, simply by being juxtaposed against and pursued by a more dominant, more masculine, character. Although not the same, a yaoi construct similar to seme and uke is the concept of tachi and neko. This archetypal pairing is referenced more often in older yaoi volumes - in modern yaoi, this pairing is often seen as already encompassed by seme and uke or simply unnecessary to address. The tachi partner is conceptualized as the member of the relationship who pursues the more passive partner, the latter of whom is referred to as the neko. Seme and uke is similar but not identical to tachi and neko because the former refers primarily to sexual roles, whereas the latter describes personality. Anal sex is a prevalent theme in yaoi, as nearly all stories feature it in some way. The storyline where an uke is reluctant to have anal sex with a seme is considered to be similar to the reader's reluctance to have sexual contact with someone for the first time. Zanghellini notes that illustrations of anal sex almost always position the characters to face each other, rather than in the '. Though these tropes are common in yaoi, not all works adhere to them. Sometimes the bottom character will be the aggressor in the relationship, or the pair will switch their sexual roles. Bara Main article: Although sometimes conflated with yaoi by commentators, gay men's manga or gei comi, also called Men's Love ML in English and bara in Japan, caters to a gay male audience rather than a female one and tends to be produced primarily by gay and bisexual male artists such as and serialized in gay men's magazines. Bara is an even smaller in Japan than yaoi manga. Bara does not aim to recreate the between the masculine seme and feminine uke types prominent in yaoi that is generally for a female audience. This emergent boys' love , while still marketed primarily to women, depicts more masculine body types and is more likely to be written by gay male authors and artists; it is also thought to attract a large crossover gay male audience. Prior to the development of gachi muchi, the greatest overlap between yaoi and bara authors was in -themed publications such as Zettai Reido, a yaoi anthology magazine which had a number of openly male contributors. Several female yaoi authors who have done BDSM-themed yaoi have been recruited to contribute stories to BDSM-themed bara anthologies or special issues. Diminished female characters Female characters often have very minor roles in yaoi, or are absent altogether. Suzuki notes that mothers in particular are portrayed in a negative light, as in when the main character as a child witnesses his mother murdering his father. When fans produce yaoi from series that contain female characters, such as , the female's role is typically either minimized or the character is killed off. In recent years, it has become more popular to have a female character supporting the couple. Yaoi author usually includes at least one sympathetic female character in her works. There are many female characters in Yaoi who are themselves. This spiritual bond and equal partnership overcomes the male-female power hierarchy. To be together, many couples depicted in conventional yaoi stories must overcome obstacles that are often emotional or psychological rather than physical. Mizoguchi remarked that yaoi presents a far more gay-friendly depiction of Japanese society, which she contends is a form of activism among yaoi authors. Some longer-form stories, such as and , depict the couple moving in together and adopting. Although gay male characters are empowered in yaoi manga, yaoi manga rarely explicitly addresses the reality of in Japanese society. Matt Thorn has suggested that readers of the yaoi genre, which primarily features romantic narratives, may be turned off by strong political themes such as homophobia. Rape is a theme commonly found in yaoi manga. Such scenes are often a used to make the uke see the seme as more than just a good friend and typically result in the uke falling in love with the seme. The 2003—2005 , set in a men's prison, has been praised for showing a more realistic depiction of rape. Authors such as Fusanosuke Inariya of fame utilize rape not as the traditional romantic catalyst, but as a tragic dramatic plot element, rendering her stories a subversion of contemporary tropes that reinforce and reflect older tropes such as the prevalence of romantic tragedy themes. Other yaoi tend to depict a relationship that begins as non-consensual and evolves into a consensual relationship. However, Fusanosuke's stories are ones where the characters' relationship begins as consensual and devolves into non-consensual, often due to external societal pressures that label the character's gay relationship as deviant. Her stories are still characterized by fantasy, yet they do brutally and realistically illustrate scenes of sexual assault between characters. By the mid-1990s the fashion was for. A 2008 assessment estimated that the Japanese commercial yaoi market grossed approximately 12 billion yen annually, with novel sales generating 250 million yen per month, manga generating 400 million yen per month, CDs generating 180 million yen per month, and video games generating 160 million yen per month. As of this time, magazines for BL included , GUSH, CHARA and CIEL. A 2010 report estimated that the yaoi market was worth approximately 21. Besides manga and anime, there are also Boys' Love BL games also known as yaoi games , usually consisting of visual novels or oriented around male couples for the female market. The defining factor is that both the playable character s and possible objects of affection are male. As with yaoi manga, the major market is assumed to be female. Games aimed at a homosexual male audience may be referred to as. A 2006 breakdown of the Japanese commercial BL market estimated it grosses approximately 12 billion yen annually, with video games generating 160 million yen per month. English-speaking countries Yaoi manga are sold to English-speaking countries by companies that translate and print them in English. Companies that formerly published yaoi manga but are now defunct include , 's , under their imprint BLU, under their Boysenberry imprint, and under their imprint. Yaoi Press, based in Las Vegas and specializing in yaoi that is not of Japanese origin, remains active. In March 2007, stopped selling shōnen manga and increased their yaoi lines in anticipation of publishing one or two titles per month that year. Among the 135 yaoi manga published in North America between 2003 and 2006, 14% were rated for readers aged 13 years or over, 39% were rated for readers aged 15 or older, and 47% were rated for readers age 18 and up. Although American booksellers were increasingly stocking yaoi titles in 2008, their restrictions led publishers to label books conservatively, often rating books originally intended for a mid-teen readership as 18+ and distributing them in shrinkwrap. By December 2007, there were over 10 publishers in North America offering yaoi materials. Only a select few yaoi games have been officially translated into English. In 2006, announced they would be releasing Enzai as , the first license of a yaoi game in English translation. Some fan communities have criticized the choice of such a dark and unromantic game as the US market's first exposure to the genre. JAST USA subsequently licensed under the title Absolute Obedience, while licensed ; the later game, although already nonexplicit, was censored for US release to achieve a 'mature' rather than 'adults only' rating, removing some of both the sexual and the violent content. The lack of interest by publishers in licensing further titles has been attributed to widespread copyright infringement of both licensed and unlicensed games. Fan fiction The Japanese subculture emerged contemporaneously with its English equivalent in the 1970s. The early yaoi dōjinshi were amateur publications not controlled by media restrictions. The stories were written by teenagers for an adolescent audience and were generally based on manga or anime characters who were likewise in their teens or early twenties. The group began as an amateur dōjinshi circle who worked together to create parodies. Certain professional artists such as Kodaka Kazuma also create dōjinshi. Some publishing companies reviewed dōjinshi manga published in the 1980s to identify talented amateurs, leading to the discovery of and numerous other artists. This practice lessened in the 1990s, but was still used to find. Typical yaoi dōjinshi features male-male pairings from non-romantic manga and anime. Much of the material derives from male-oriented shōnen and seinen works which contain close male-male friendships and are perceived by fans to imply elements of , such as with and , two titles which popularized yaoi in the 1980s. Any male character may become the subject of a yaoi dōjinshi, including characters from non-manga titles such as or , video games such as and , or real people such as politicians. Amateur authors may also create characters out of of abstract concepts such as the personification of countries in or complementary objects like. In Japan, the labelling of dōjinshi yaoi manga is typically composed of the two lead characters' names, separated by a , with the seme being first and the uke being second. The term global yaoi was coined by creators and newsgroups that wanted to distinguish the Asian specific content known as yaoi, from the original English content. Global BL was shortened by comics author in interviews and on her blog to the acronym GloBL. High-Volume North American publishers of 'Global BL' are , which continues to release illustrated fiction written by the companies CEO, under the imprint Yaoi Prose. Prior publishers include , which debuted its 'Global BL' quarterly anthology RUSH in 2006, and Iris Print, both ceased publishing due to financial issues. Some publishers of German GloBL were traditional manga publishers like Carlsen Manga, and small press publishers specializing in GloBL like The Wild Side and Fireangels Verlag. Other successful series in GloBL include web comics Teahouse, Starfighter, Purpurea Noxa, and from artist 's studio Guilt Pleasure, all three of which are also being promoted by. In China, danmei is considered to have originated around 1998. Main article: Most yaoi fans are either teenage girls or young women. In Thailand, female readership of yaoi works is estimated at 80%, and the membership of Yaoi-Con, a yaoi in , is 85% female. It is usually assumed that all female fans are , but in Japan there is a presence of lesbian manga authors and lesbian, or female readers. Recent online surveys of English-speaking readers of yaoi indicate that 50-60% of female readers self-identify as heterosexual. Although the genre is marketed at girls and women, there is a gay, bisexual, and heterosexual male readership as well. A survey of yaoi readers among patrons of a United States library found about one quarter of respondents were male; two online surveys found approximately ten percent of the broader Anglophone yaoi readership were male. Some gay men, however, are put off by the feminine art style or unrealistic depictions of and instead prefer , which some perceive to be more realistic. Lunsing notes that some of the yaoi narrative elements criticized by homosexual men, such as rape fantasies, misogyny, and characters' non-identification as gay, are also present in gei comi. In the mid-1990s, estimates of the size of the Japanese yaoi fandom ranged from 100,000 to 500,000 people. At around that time, Juné magazine had a circulation of between 80,000 and 100,000, twice the circulation of the best selling gay lifestyle magazine. As of April 2005, a search for non-Japanese websites resulted in 785,000 , 49,000 , 22,400 , 11,900 and 6,900 sites. In January 2007, there were approximately five million hits for yaoi. A large portion of Western fans choose to yaoi material because they are unable or unwilling to obtain it through sanctioned methods. For example, fans may lack a credit card for payment, or they may want to keep their yaoi private because of the dual stigma of seeking sexually explicit material which is also gay. In addition to commercially published Japanese works, amateur dojinshi may be scanlated into English. General Boys' love manga has received considerable critical attention, especially after translations of BL became commercially available outside Japan in the 21st century. Different critics and commentators have had very different views of BL. In 1983, , an American manga writer and translator, has observed that portrayals of gay male relationships had used and further developed bisexual themes already in existence in shoujo manga to appeal to their female audience. BL has been compared to by English-speaking librarians. Other commentators have suggested that more radical gender-political issues underlie BL. In 1998, Shihomi Sakakibara argued that yaoi fans, including himself, were gay female-to-male. Dru Pagliassotti sees this and the yaoi ronsō as indicating that for Japanese gay and lesbian readers, BL is not as far removed from reality as heterosexual female readers like to claim. A trope of yaoi that has attracted criticism is male protagonists who do not identify as gay, but are rather simply in love with each other. This is said to heighten the theme of all-conquering love, but is also condemned for avoiding the need to address prejudices against people who state that they. Yaoi stories such as 1987's and 1996-1998's have increasingly featured characters that identify as gay. Japanese gay activist Satou Masaki criticized yaoi fans and artists in an to the feminist Choisir in May 1992, writing that the genre was lacking in any accurate information about gay men and conveniently avoided the very real prejudice and discrimination that gay men faced as a part of society. More significantly, its portrayal of gay men as wealthy, handsome and well-educated was simply a vehicle for heterosexual female masturbation fantasies. There has been similar criticism to the Japanese yaoi debate in the English-speaking fandom. He notes that in the , cartoons are exempt from child pornography laws unless they are used for. In 2001, a controversy erupted in regarding gay male comics. Television reports labelled the comics as negative influences, while a newspaper falsely stated that most of the comics were not copyrighted as the publishers feared arrest for posting the content; in reality most of the titles were likely illegally published without permission from the original Japanese publishers. The shōnen ai comics provided profits for the comic shops, which sold between 30 and 50 such comics per day. The moral panic regarding the gay male comics subsided. Although in Japan, concern about manga has been mostly directed to shōnen manga, in 2006, an email campaign was launched against the availability of BL manga in 's public library. In August 2008, the library decided to stop buying more BL, and to keep its existing BL in a collection restricted to adult readers. The Japanese media ran stories on how much BL was in public libraries, and emphasised that this sexual material had been loaned out to minors. Debate ensued on , a Japanese social networking site, and the library would return its BL to the public collection. Takemiya attributes the gap between the idea and its publication to the sexual elements of the story. Archived from on 5 June 2009. Retrieved 12 August 2008. Feminism and The Politics of Difference, pp. Reading Japan Cool: Patterns of Manga Literacy and Discourse. In Sherrie Inness, ed. Intersections: Gender, History and Culture in the Asian Context Issue 12, January 2006 Accessed 12 August 2008. New Feminism Review, Vol. Archived from on 6 March 2016. Retrieved 6 February 2016. Accessed 12 August 2008. Retrieved 12 December 2014. Archived from on 5 January 2010. Retrieved 28 November 2014. Intersections: Gender and Sexuality in Asia and the Pacific. Signs: Journal of Women in Culture and Society. In Sherrie Inness, ed. 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