3d Lolicon Video

[Antonette Hespe]

<div>In Japanese popular culture, lolicon (ロリコン, also romanized as rorikon or lolicom) is a genre of fictional media in which young (or young-looking) girl characters appear in romantic or sexual contexts. The term, a portmanteau of the English words "Lolita" and "complex", also refers to desire and affection for such characters (ロリ, "loli"), and fans of such characters and works. Associated with unrealistic and stylized imagery within manga, anime, and video games, lolicon in otaku (manga/anime fan) culture is understood as distinct from desires for realistic depictions of girls, or real girls as such,[1][2][3] and is associated with the concept of moe, or feelings of affection and love for fictional characters as such (often cute characters in manga and anime).</div><div></div><div></div><div>The phrase "Lolita complex", derived from the novel Lolita, entered use in Japan in the 1970s, when sexual imagery of the shōjo (idealized young girl) was expanding in the country's media. During the "lolicon boom" in adult manga of the early 1980s, the term was adopted in the nascent otaku culture to denote attraction to early bishōjo (cute girl) characters, and later to only younger-looking depictions as bishōjo designs became more varied. The artwork of the boom, strongly influenced by the round styles of shōjo manga (marketed to girls), marked a shift from previous realism and the advent of "cute eroticism" (kawaii ero), an aesthetic now common in manga and anime more broadly. The lolicon boom faded by the mid-1980s, and the genre has since made up a minority of erotic manga.</div><div></div><div></div><div></div><div></div><div></div><div>3d lolicon video</div><div></div><div>Download File: https://t.co/HMZiYynDjs </div><div></div><div></div><div>A moral panic against "harmful manga" in the 1990s has made lolicon a keyword in manga debates in Japan. Child pornography laws in some countries include depictions of fictional child characters, while those in other countries, including Japan, do not.[4] Opponents and supporters have debated if the genre contributes to child sexual abuse. Cultural critics generally identify lolicon with a broader separation between fiction and reality in otaku sexuality.</div><div></div><div></div><div>The meaning of lolicon in the otaku context developed in the early 1980s, during the "lolicon boom"[d] in adult manga (see History). According to editor and critic Akira Akagi, the term's meaning moved away from the sexual pairing of an older man and a young girl, and instead came to describe desire for "cuteness" and "girl-ness" in manga and anime.[17] Other critics defined lolicon as the desire for "cute things",[18] "manga-like" or "anime-like" characters, "roundness", and the "two-dimensional", as opposed to "real".[19] At the time, all eroticism in the manga style featuring cute girl (bishōjo) characters was associated with the term,[20] and synonyms of "Lolita complex" included "two-dimensional complex" (nijigen konpurekkusu), "two-dimensional fetishism" (nijikon fechi), "two-dimensional syndrome" (nijikon shōkōgun), "cute girl syndrome" (bishōjo shōkōgun), and simply "sickness" (byōki).[21][e] As character body types in erotic manga became more varied by the end of the lolicon boom, the scope of the term narrowed to more young-looking depictions.[22][23]</div><div></div><div></div><div>Lolicon became a keyword in debates after the 1989 arrest of Tsutomu Miyazaki, a serial killer of young girls who was portrayed in media reports as an otaku (see History).[24] As lolicon was conflated with desire for real children in debates on "harmful manga",[f] the early meaning was replaced among otaku by moe, which refers to feelings of affection and love for characters more generally.[24] Like moe, lolicon is still used by otaku to refer to attraction that is consciously distinct from reality;[24] some otaku identify as "two-dimensional lolicon" (nijigen rorikon)[g] to clarify their attraction to characters.[11] The term has become a keyword in criticism of manga and sexuality within Japan,[25] as well as globally with the spread of Japanese popular culture.[26]</div><div></div><div></div><div>The rise of lolicon as a genre began at Comiket (Comic Market), a convention for the sale of dōjinshi (self-published works) founded in 1975 by the group Meikyu [ja] (Labyrinth), made of adult male fans of shōjo manga; in 1979, a group of male artists published the first issue of the fanzine Cybele [ja],[40] whose standout work was an erotic parody of Little Red Riding Hood by Hideo Azuma, known as a pioneer of lolicon.[39][k] Prior to Cybele, the dominant style in seinen (marketed to men) and pornographic manga was gekiga, characterized by realism, sharp angles, dark hatching, and gritty linework.[41] Azuma's work, in contrast, displayed light shading and clean, circular lines, which he saw as "thoroughly erotic" and sharing with shōjo manga a "lack of reality".[41] Azuma's combination of the stout bodies of Osamu Tezuka's manga and the emotive faces of shōjo manga marked the advent of the bishōjo character and the aesthetic of "cute eroticism" (kawaii ero).[l][42] While erotic, Azuma's manga was also viewed as humorous and parodic; only a minority of readers found his style erotic at first, but a large fan base soon grew in response to the alternative to pornographic gekiga that it represented.[39][43] Erotic manga mostly moved away from combining realistic bodies and cartoony faces towards a wholly-unrealistic style.[39] Lolicon manga played a role in attracting male fans to Comiket, an event originally dominated by women (90 percent of participants were female at its first run in 1975); in 1981, the number of male and female participants was equal.[44] Lolicon, mostly created by and for men, served as a response to yaoi (manga featuring male homoeroticism), mostly created by and for women.[45]</div><div></div><div></div><div>While the lolicon boom in commercial erotic manga only lasted until 1984,[66] it marked the beginning of its now-dominant bishōjo style.[67] Near the end of the boom, because "readers had no attachment to lolicon per se" and "did not take [young girls] as objects of sexual desire",[51] a majority of readers and creators of erotic manga moved towards the diversifying bishōjo works featuring "baby-faced and big-breasted" characters, which were no longer considered lolicon.[68] At Comiket, lolicon manga had declined in popularity by 1989 with developments in erotic dōjinshi, including new genres of fetishism and the growing popularity of softcore eroticism popular among men and women, particularly in yuri (manga with lesbian themes).[44]</div><div></div><div></div><div>In 1989, lolicon and otaku became the subject of a media frenzy and moral panic after the arrest of Tsutomu Miyazaki, a young man who had kidnapped and murdered four girls between the ages of four and seven and committed sexual acts with their corpses.[69] Widely disseminated photos of Miyazaki's room revealed an extensive collection of video tapes, which included horror/slasher films on which he had modelled some of his crimes,[70] and manga, including shōjo and lolicon works.[71][r] In the extended public debates that followed, Miyazaki's crimes were blamed on supposed media effects: namely, a reduction in his inhibitions to crime, and a blurring of the lines between fiction and reality.[73] Miyazaki was labelled as an otaku, and an image of otaku as "socially and sexually immature" men, and for some as "pedophiles and potential predators", was established for much of the public.[74] The decade saw local crackdowns on retailers and publishers of "harmful manga", and the arrests of some dōjinshi artists.[75][76] Despite this, lolicon imagery expanded and became more acceptable within manga in the 1990s,[77] and the early 2000s saw a small boom in the genre sparked by the magazine Comic LO.[78]</div><div></div><div></div><div>According to Kaoru Nagayama, manga readers define lolicon works as those "with a heroine younger than a middleschool student", a definition which can vary from characters under age 18 for "society at large", to characters "younger than gradeschool-aged" for "fanatics", and to "kindergarteners" for "more pedophiliac readers".[80] Elisabeth Klar observes that girl characters in lolicon can show an "contradictory performance of age" in which their body, behavior, and role in a story conflict;[81] an example is the roribabā[s] ("Lolita granny") archetype, a girl character who speaks with the mannerisms of an old woman.[82] Curvy hips and other secondary sex characteristics similarly appear as features in some of the genre's characters.[83] Plot devices often explain the young appearance of characters who are non-human or actually much older.[84]</div><div></div><div></div><div>Lolicon manga, often published as dōjinshi or compiled in anthology magazines,[85] is mostly consumed by male audiences,[9][t] though Nagayama notes that the works of Hiraku Machida [ja] have "resonated with female readers" and "earned the support of women".[87] Other notable artists include Aguda Wanyan and Takarada Gorgeous.[88] Female creators of lolicon works include Erika Wada[89] and Fumio Kagami [ja].[90]</div><div></div><div></div><div></div><div></div><div></div><div></div><div>Lolicon imagery is a prominent theme in Superflat, a manga-influenced contemporary art movement founded by Takashi Murakami. Prominent Superflat artists whose works feature lolicon imagery include Mr. and Henmaru Machino.[91] Murakami himself did a lolicon-inspired photoshoot with Britney Spears for the cover of the magazine Pop.[92]</div><div></div><div></div><div>In the 1990s, lolicon imagery evolved and contributed to the mainstream development of moe, the generalized affective response to fictional characters (typically bishōjo characters in manga, anime, and computer games) and its associated design elements.[14][93] The bishōjo character form moved from niche, otaku publications to mainstream manga magazines, and saw explosive popularity in the decade with the rise of bishōjo games and anime series such as Sailor Moon and Neon Genesis Evangelion, which pioneered media and merchandising based on fan affection for their female protagonists.[94] Moe characters, which tend to be physically immature girl characters exemplified by cuteness,[95] are ubiquitous in contemporary manga and anime.[96] In contrast to lolicon works, sexuality in moe is treated indirectly[14] or not at all;[97] the moe response is often defined with emphasis on platonic love.[98]</div><div></div><div> dd2b598166</div>