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Lolicon art often blends childlike characteristics with erotic undertones.

Lolicon (ロリコン), also romanised as rorikon,[1] is a Japanese portmanteau of the phrase "Lolita complex". In Japan, the term describes an attraction to underage girls,[2][clarification needed] or an individual with such an attraction.[3][4] It is also commonly used when referring to lolicon manga or lolicon anime, a subset of manga and anime wherein childlike female characters are often depicted in an erotic manner. A number of anthology manga magazines have been published since the 1980s which focus exclusively on this subset. Outside Japan, the term is in less common usage and usually refers to the manga and anime.

The phrase is a reference to Vladimir Nabokov's book Lolita, in which a middle-age man becomes sexually obsessed with a twelve-year-old girl, and the art style is an appropriation of the shōjo manga style of artwork. The equivalent term for attraction to (or art pertaining to erotic portrayal of) young boys is shotacon.[5]

Studies of lolicon fans state that lolicon fans are attracted to an aesthetic of cuteness rather than the age of the characters, and that lolicon represents rebellion against society or a shunning of real sexuality, or real members of the opposite sex. Laws have been enacted in various countries, including in Japan, which regulate explicit content featuring children or child-like characters. Parent and citizens groups in Japan have organized to work toward stronger controls and stricter laws governing lolicon manga and other similar media. Critics say that the lolicon genre contributes to actual sexual abuse of children, while others say that there is no evidence for this claim.

A recent law passed in Tokyo on what material could be sold to minors takes effect in July 2011, and has directly affected the long-running Tokyo International Anime Fair (TAF) as multiple large and small publishers of manga and producers of anime have backed out of showing or sponsoring the fair.

Description

In Japan

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Generally, lolicon is a term used to describe a sexual attraction to younger girls or girls with youthful characteristics. In other words, it can refer to actual or perceived pedophilia and ephebophilia. Strictly speaking, Lolita complex in Japanese refers only to the paraphilia itself, but the abbreviation lolicon can refer to an individual that has the paraphilia as well.[3] Lolicon is a widespread phenomenon in Japan, where it is a frequent subject of scholarly articles and criticism.[6] Many general bookstores and newsstands openly offer illustrated lolicon material, but there has also been police action against lolicon manga.[6]

The kawaii (cute) style is extremely popular in Japan, where it is present in many of the manga/anime styles.[7] The school-age girl in a school uniform is also an erotic symbol in Japan.[8] Burusera shops cater to men with lolicon complexes by selling unwashed panties, men can make dates with teenagers through terekura (telephone clubs),[9] and some schoolgirls moonlight as prostitutes.[10] Together, these create the "strange collusion which exists in Japanese culture between the hentai (pervert) and the kawaii (cute)."[11]

Sexual manga featuring children or childlike characters are called lolicon manga and are legal in Japan.[6][12] Kodomo no Jikan is an example of a series that, while not pornographic, draws on lolicon themes for its plot.[citation needed] Lolicon is also a subject of criticism in the Superflat art movement.[2][13]

Gender roles

Lolicon manga was initially created by males for male readers,[14] created for and marketed to both boys and men.[15] Sharon Kinsella wrote that lolicon manga was a late-1980s outgrowth of girls' manga,[16] which included yaoi and parodies of boys' and adult manga.[17] This occurred as more men attended amateur manga conventions and as new boys' amateur manga genres appeared at Comiket. Kinsella distinguished between the attitudes toward gender of amateur lolicon manga and that of male fans of girls' manga.[16] While parody manga created by women ridicule male stereotypes and appeal to both male and female fans, lolicon manga "usually features a girl heroine with large eyes and a body that is both voluptuous and child-like, scantily clad in an outfit that approximates a cross between a 1970s bikini and a space-age suit of armour"[16] This latter feature expresses both fear of and desire for young women, who have become increasingly powerful in Japanese society.[18][failed verification] Kinsella noted dominant British and American genres and imports of animation video in the 1990s derived from lolicon manga, suggesting women, and therefore also men, in all of these countries have gone through similar social and cultural experiences.[19]

Female mangaka (manga author) who draw material interpreted as lolicon include Chiho Aoshima (The red-eyed tribe billboard),[20] Aya Takano (Universe Dream wall painting),[21] Kaworu Watashiya (Kodomo no Jikan),[22] and Yukiru Sugisaki (Rizelmine).[23] Male artists include Henmaru Machino (untitled, aka Green Caterpillar's Girl), Hitoshi Tomizawa (Alien 9, Milk Closet), and Bome (sculptures).[2]

In shōjo manga, characters of stories may enter into relationships with others due to circumstance or mutual attraction. The relationship may even blossom into romance. In 2006, an editor-in-chief of a major shōjo magazine said "Love affair is a big theme in today's shojo manga. It's impossible to completely take out descriptions of sexual activity—that's just the result of love and affection".[24]

Genre characteristics

Lolicon manga are usually short stories, published as dōjinshi (fan works) or in magazines specializing in the genre such as Manga Burikko[25] and Comic LO (where "LO" is an abbreviation for "Lolita Only").[26] Common focuses of these stories include taboo relationships, such as between a teacher and student or brother and sister, while others feature sexual experimentation between children. Some lolicon manga cross over with other hentai genres, such as crossdressing and futanari.[6] Plot devices are often used to explain the young appearance for many of the characters.[27] Schoolgirls accidentally showing their underwear are common characters in the lolicon genre.[28]

Akagi identifies subgenres within lolicon of S/M, "groping objects" (tentacles and robots replacing the role of the penis), "mecha fetishes" (a combination of a machine, usually a weapon, and a girl), parodies of mainstream anime and manga, and "simply indecent or perverted stuff". Additionally, lolicon can include themes of lesbianism and masturbation.[29]

According to Dinah Zank, lolicon is "rooted in the glorification of girls culture in Japan", and therefore uses shōjo manga vocabulary.[30] The lolicon style borrows from shōjo manga designs and has also been influenced by women creating pornographic materials for men.[15]

Outside Japan

The meaning of lolicon has evolved much in the Western world, as have the meanings of other words such as anime, otaku and hentai. In the West, lolicon refers to anime or manga that contains sexual or erotic portrayals of prepubescent or childlike characters, and is thus close cognate to the Japanese term lolicon manga. The use of the word lolicon in the West is an indication that the material is overtly, even if not explicitly, erotic.[31][32]

Frederik L. Schodt, a manga critic and historian, noted that one reason lolicon manga is popular with some fans is because the female characters portrayed are "younger, slightly softer, [and] rarely possessing an in-your-face aggressive feminism" which is often found in female characters in American comics.[33]

History

Origin

The phrase is a reference to Vladimir Nabokov's book Lolita, in which a middle-age man becomes sexually obsessed with a twelve-year-old girl,[16] The term "Lolita complex" was first used in the early 1970s with the translation of Russell Trainer's The Lolita Complex and may have entered Japanese nomenclature at that time.[27] Shinji Wada used the word in his Stumbling upon a Cabbage Field (キャベツ畑でつまずいて, Kyabetsu-batake de Tsumazuite), an Alice in Wonderland manga parody in 1974.[34] The shortening of the term to "lolicon" came later.[27] Early lolicon idols were Clarisse from Lupin III: Castle of Cagliostro and the shōjo heroine Minky Momo, as female characters in shonen series at that point were largely mothers or older-sister characters.[27][35]

Lolicon manga boom

The lolicon manga genre began in the 1980s with Hideo Azuma's works, such asThe Machine Which Came from the Sea (海から来た機械, Umi kara Kita Kikai). In 1979, Azuma had previously published the first "blatantly lolicon" manga in his own self-published magazine Cybele.[27][36] Azuma's works became popular among schoolboy readers because most of the pornographic manga up until then had featured mature women influenced by gekiga. Following Azuma's success, some pornographic manga magazines, such as Manga Burikko and Lemon People, began featuring apparently prepubescent or underage girls,[37] partly to get around laws which forbade the depiction of pubic hair.[30][8] Throughout the 1980s, notable lolicon mangaka who published in these magazines include Miki Hayasaka, Kamui Fujiwara, Kyoko Okazaki, Narumi Kakinouchi, andYoshiki Takaya peaking in the mid 1980s.[27][38]

Backlash

The lolicon manga boom ended in 1989 as a backlash to the murders of four young girls by Tsutomu Miyazaki who was found to be a fan of lolicon manga. In the aftermath, the Japanese non-profit organization CASPAR was founded with the goal of campaigning for regulation of lolicon.[27][39] Public attention was brought to bear on this issue when Tsutomu Miyazaki kidnapped and murdered four girls between the ages of 4 and 7 in 1988 and 1989, committing acts of necrophilia with their corpses.[40] He was found to be a "withdrawn and obsessive "otaku and in particular he enjoyed lolicon. This caused a moral panic about "harmful manga", and "sparked a crackdown by local authorities on retailers and publishers, including the larger companies, and the arrests of dojinshi creators".[37] The Tokyo High Court ruled Miyazaki sane, stating that "the murders were premeditated and stemmed from Miyazaki's sexual fantasies"[41] and he was executed by hanging for his crimes on June 17, 2008.[42]

Public sentiment against sexual cartoon depictions of minors was revived in 2005 when a convicted sex offender, who was arrested for the murder of a seven-year-old girl in Nara, was suspected as a lolicon.[39] Despite media speculation, it was found that the murderer, Kaoru Kobayashi, seldom had interest in manga, games or dolls.[43] He claimed, however, that he had become interested in small girls after watching an animated pornographic video as a high school student.[44] He was sentenced to death by hanging.

Controversy

See also: Legal status of cartoon pornography depicting minors

Laws have been enacted to criminalize "obscene images of children, no matter how they are made," for preventing abuse.[45] An argument is that obscene fictional images portray children as sex objects, thereby contributing to child sexual abuse. This argument has been disputed by the claim that there is no scientific basis for that connection,[46] and that restricting sexual expression in drawings or animated games and videos might actually increase the rate of sexual crime by eliminating a harmless outlet for desires that could motivate crime.[47][need quotation to verify] A Japanese non-profit organization called CASPAR has claimed that lolicon and other anime magazines and games encourage sex crimes.[39]

Cultural critic Hiroki Azuma said that very few readers of lolicon manga commit crimes. In the otaku culture, lolicon is the "most convenient [form of rebellion]" against society. Azuma says that some otaku feel so "excluded from society" that they "feel as if they are the sort of 'no good' person who should be attracted to little girls".[32] Sarah Goode describes the accumulation of lolicon materials as being "a medium through which disaffected men may choose to express their sense of anomie and disconnection with society". When questioning the relationship of lolicon to "finding children in real life sexually attractive", Goode presents the argument of a lolicon fan "that even if I could be classified as a kind of anime lolicon, it'd NEVER translate into RL pedophilia. This is predicated on the belief that the anime lolis I like DO NOT EXIST in RL."[48] Sharon Kinsella observed an increase in unsubstantiated accounts of schoolgirl prostitution in the media in the late 1990s, and speculated that these unproven reports developed in counterpoint to the increased reporting on comfort women. She speculated that, "It may be that the image of happy girls selling themselves voluntarily cancels out the other guilty image".[32] Setsu Shigematsu believes that lolicon manga should not be used to equate them to photographic or adult video lolicon materials which involve real children; instead she argues that lolicon represents an artificial sexuality, turning away from "three dimensional reality" and redirecting sexual energies towards "two dimensional figures of desire".[49] Akira Akagi writes that in lolicon manga, the girl represents cuteness, and that it is not her age which makes her attractive.[29] Ito characterises otaku as having more affection towards the anime and manga world than for a realistic world, saying that to the otaku, the two-dimensional world portrayed becomes "more real". Ito views the preference for young girls as sex objects in manga and anime to be due to a change in Japanese society in the 1970s and 1980s. Ito says that at that time, boys felt that girls were "surpassing them in terms of willpower and action". However, as the boys believed girls to be the weaker sex, the boys began focussing on young girls "who were 'easy to control'". Additionally, the young girls of lolicon exist in the media, which Ito points out is a place where one can control things however they want.[50]

Youth Bill

Main article: Tokyo Metropolitan Ordinance Regarding the Healthy Development of Youths

In February 2010, a proposal to amend the Tokyo law on what material could be sold to minors included a ban on sexualised depictions of "nonexistent youths" under the age of 18.[51][52] This proposal was criticised by many mangaka,[53] and opposed by the Democratic Party of Japan.[54] The bill was put on hold until June of that year,[55][56] where after some amendments, including changing the text for "nonexistent youths" to "depicted youths".[57][58] However, the in spite the changes, the bill was rejected by the Tokyo Metropolitan Assembly in June.[59]

A revised edition was presented in November that year to the Tokyo Metropolitan Assembly,[60] which would require self-regulation of "'manga, anime and other images'...that 'unjustifiably glorify or emphasize' certain sexual or pseudo sexual acts"...depictions of 'sexual or pseudo sexual acts that would be illegal in real life'". However, the bill no longer uses the term "nonexistent youth" and applies to all characters and to material that is not necessarily meant to be sexually stimulating.[61] It was approved in December and will take full effect in July 2011,[62][63][64][65] however, the bill does not regulate mobile sites or downloaded content and is only intended for publications such as books and DVDs.[66]

Industry response was swift and negative. The Association of Japanese Animations claimed the process that allowed the bill to pass violated due process.[66] The bill is expected to have a chilling effect and multiple anime and manga companies pulled out or back from the 2011 Tokyo International Anime Fair in response to the bill's passage.[66][67][68] In response, Japanese Prime Minister Naoto Kan made a post on his blog urging parties to work together to resolve the situation.[68]

Criticism

Responding to the portrayal of Clarisse from Lupin III: Castle of Cagliostro, Hayao Miyazaki criticized the artists and fans who idolized her as an lolicon idol. He differentiates his female protagonists labeling those the aforementioned idolize, according to The Otaku Encyclopedia, "as pets".[27] Later, he would go on to say,

"It's difficult. They immediately become the subjects of rorikon gokko (play toy for Lolita Complex males). In a sense, if we want to depict someone who is affirmative to us, we have no choice but to make them as lovely as possible. But now, there are too many people who shamelessly depict [such protagonists] as if they just want [such girls] as pets, and things are escalating more and more."

— Hayao Miyazaki in a 1988 interview with Animage[69]

He expressed concern as to what this might mean for "human rights for women."[69]

See also


Notes

  1. ^ Connolly, Julian (2009). A reader's guide to Nabokov's "Lolita". Studies in Russian and Slavic literatures, cultures and history (annotated ed.). Academic Studies Press. p. 169. ISBN 1934843652.
  2. ^ a b c Darling, 82.
  3. ^ a b Rosemary Feitelberg (June 22, 2007). "On the drawing board. (Lehmann Maupin gallery)". Women's Wear Daily. Retrieved January 13, 2008.
  4. ^ "ロリコン" (in Japanese). SPACE ALC. Retrieved January 7, 2008.
  5. ^ Pandey, Ashish (2005). Ashish Pandey (ed.). Dictionary of Fiction. Delhi, India: Gyan Books. p. 234. ISBN 8182052629.
  6. ^ a b c d Kinsella, Sharon (2000). Adult Manga. University of Hawai'i Press. pp. &#91, page needed&#93, . ISBN 0-8248-2318-4.
  7. ^ "The Darker Side of Cuteness," The Economist, May 8, 1999.
  8. ^ a b Schodt, Frederik L. (1996). "Modern Manga at the End of the Millennium". Dreamland Japan: Writings on Modern Manga. Berkeley, California: Stone Bridge Press. pp. 54–55. ISBN 1-880656-23-X.
  9. ^ Hills, Ben; Kanamori, Mayu (6 October, 1995). "Breaking the mould". The Sydney Morning Herald. p. Spectrum, p.9. Retrieved 13 February, 2011. {{cite news}}: Check date values in: |accessdate= and |date= (help)
  10. ^ Willis Witter (April 6, 1997). "Teen prostitutes sell favors after school in Tokyo" (fee required). The Washington Times. Retrieved January 13, 2008.
  11. ^ "TURNING JAPANESE? TURNING JAPANESE? I REALLY THINK SO," by Nick Currie. The Herald (Glasgow), September 26, 1998.
  12. ^ Gelder, Ken. The Subcultures Reader, 2nd ed. Oxon: Routledge, 2005. p. 547. ISBN 0-415-34415-8
  13. ^ May Abbe (July 20, 2001). ""Superflat" art from Japan collapses hierarchies by merging "high" and "low" art, populist and elite genres, advertising and noncommercial media, even 2-D and 3-D concepts". Star Tribune. Retrieved January 20, 2008.
  14. ^ Dr. Bryce, Mio (2006). "Manga/Anime, Media Mix: Scholarship in a Post-Modern, Global Community" (PDF). Macquarie University: 6. ISBN 1741081270. Retrieved March 8, 2011. {{cite journal}}: Cite journal requires |journal= (help); Unknown parameter |coauthors= ignored (|author= suggested) (help)
  15. ^ a b Shigematsu, Setsu (1999). "Dimensions of Desire: Sex, Fantasy and Fetish in Japanese Comics". In Lent, J.A. (ed.). Themes and Issues in Asian Cartooning: Cute, Cheap, Mad and Sexy. Bowling Green, OH: Bowling Green State University Popular Press. p. 129. ISBN 9780879727796.
  16. ^ a b c d Kinsella, 305.
  17. ^ Kinsella, 304.
  18. ^ Darling, 82. Kinsella, 306.
  19. ^ Kinsella, 307.
  20. ^ Darling, 85–6.
  21. ^ Darling, 86.
  22. ^ Jason DeAngelis (May 29, 2007). "Seven Seas Entertainment Talks about Nymphet". Anime News Network. Retrieved January 18, 2008. ...those who are speaking out against Nymphet seem to be disturbed by the relationship between two characters in the story, namely an elementary school student and her adult teacher.
  23. ^ "Rizelmine (book review)". Publishers Weekly. September 19, 2005. Retrieved January 18, 2008. {{cite news}}: Cite has empty unknown parameter: |1= (help)
  24. ^ "A History of Shojo, Loli, and Harmful Books". Comipress. July 17, 2007. Archived from the original on 2008-07-31.
  25. ^ Shinpo, Nobunaga [in Japanese], ed. (February 14, 2000). "すべてはエロから始まった". 消えたマンガ雑誌 (in Japanese). Tokyo, Japan: Media Factory. pp. 30–37. ISBN 4-8401-0006-3. {{cite book}}: Unknown parameter |trans_chapter= ignored (|trans-chapter= suggested) (help); Unknown parameter |trans_title= ignored (|trans-title= suggested) (help)
  26. ^ "COMIC LO エルオー最新刊". Akane Shinsha. Archived from the original on March 12, 2010. Retrieved March 12, 2010. {{cite web}}: |archive-date= / |archive-url= timestamp mismatch; July 18, 2008 suggested (help)
  27. ^ a b c d e f g h Galbraith, Patrick W. (2009). The Otaku Encyclopedia: An Insider's guide to the subculture of Cool Japan. Foreword by Schodt, Frederik L. and Photography by Katsuhide, Asuki (First ed.). Tokyo, Japan: Kodansha International. pp. 128–129. ISBN 978-4-7700-3101-3.
  28. ^ Darling, p.82
  29. ^ a b Shigematsu, Setsu (1999). "Dimensions of Desire: Sex, Fantasy and Fetish in Japanese Comics". In Lent, J.A. (ed.). Themes and Issues in Asian Cartooning: Cute, Cheap, Mad and Sexy. Bowling Green, OH: Bowling Green State University Popular Press. pp. 129–130. ISBN 9780879727796.
  30. ^ a b c Zank, Dinah (2010). Kawaii vs. rorikon: The reinvention of the term Lolita in modern Japanese manga. In Comics as a Nexus of Cultures (Jefferson, NC: McFarland). pp.215-216
  31. ^ "Glossary Entry: Lolicon". Anime Meta-Review. Archived from the original on October 11, 2007. Retrieved January 6, 2008. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  32. ^ a b c Tony McNicol (April 27, 2004). "Does comic relief hurt kids?". The Japan Times. Retrieved January 18, 2008.
  33. ^ Schodt, Frederik L. (1996). "Modern Manga at the End of the Millennium". Dreamland Japan: Writings on Modern Manga. Berkeley, California: Stone Bridge Press. p. 336. ISBN 1-880656-23-X.
  34. ^ Shinji Wada, "Kyabetsu-batake de Tsumazuite" in Bessatsu Margaret, June, 1974, p.121
  35. ^ Lam, Fan-Yi. 2010. Comic market: How the world's biggest amateur comic fair shaped Japanese dōjinshi culture. Mechademia: An Annual Forum for Anime, Manga, and the Fan Arts, Volume 5, pp. 236, 247.
  36. ^ Template:Ja icon Maruta Hara and Kazuo Shimizu, "The Lolicon Dōjinshi Reviews" (ロリコン同人誌レビュー, Rorikon Dōjinshi Rebyū)[1] in Apple Pie, March, 1982, p.116
  37. ^ a b Gravett, Paul (2004). "Personal Agendas". Manga: Sixty Years of Japanese Comics. London,England: Laurence King Publishing. p. 136. ISBN 1-85669-391-0.
  38. ^ Template:Ja icon "伝説の美少女コミック雑誌". 漫画ブリッコの世界. Retrieved 2007-07-10.
  39. ^ a b c "Lolicon Backlash in Japan". Anime News Network. January 13, 2005. Retrieved June 7, 2007.
  40. ^ "Serial killer Miyazaki must hang: Supreme Court", The Japan Times. 01/18/2006. Retrieved July 7, 2007.
  41. ^ "Court rules serial killer Miyazaki sane", The Japan Times, 06/29/01. Retrieved June 7, 2007.
  42. ^ "Reports: Japan executes man convicted of killing and mutilating young girls in 1980s". International Herald Tribune. June 17, 2008. Retrieved June 17, 2008.
  43. ^ "Otaku harassed as sex-crime fears mount". The Japan Times. February 6, 2005. Retrieved January 6, 2008.
  44. ^ "Child porn, if animated, eludes regulators", by Akemi Nakamura, The Japan Times. 05/18/2005. Retrieved June 7, 2007.
  45. ^ "Prosecutorial Remedies and Other Tools to end the Exploitation of Children Today Act of 2003". U.S. Government Printing Office. April 30, 2003. Archived from the original on February 6, 2011. Retrieved February 6, 2011.
  46. ^ In Free Speech Coalition v. Reno (later Ashcroft v. Free Speech Coalition), the court held that "[f]actual studies that establish the link between computer-generated child pornography and the subsequent sexual abuse of children apparently do not yet exist."
  47. ^ "「ホットライン運用ガイドライン案」等に対する意見の募集結果について" (in Japanese). Internet Association Japan. May 31, 2006. Retrieved January 10, 2008.
  48. ^ Goode, Sarah D. (2009). "Paedophiles online". Understanding and addressing adult sexual attraction to children: a study of paedophiles in contemporary society. Taylor & Francis. p. 29. ISBN 9780415446259. Retrieved 8 March 2011.
  49. ^ Shigematsu, Setsu (1999). "Dimensions of Desire: Sex, Fantasy and Fetish in Japanese Comics". In Lent, J.A. (ed.). Themes and Issues in Asian Cartooning: Cute, Cheap, Mad and Sexy. Bowling Green, OH: Bowling Green State University Popular Press. p. 138. ISBN 9780879727796.
  50. ^ Ito, K. (1992), Cultural Change and Gender Identity Trends in the 1970s and 1980s. International Journal of Japanese Sociology, 1: 79–98. doi: 10.1111/j.1475-6781.1992.tb00008.x
  51. ^ "Tokyo Bill on 'Virtual' Child Porn Set for March Vote (Update 3)". Anime News Network. 2010-11-24. Retrieved 2010-11-28.
  52. ^ "Tokyo Reps: 'Nonexistent Youth' Bill May Still Pass in June". Anime News Network. 2010-11-24. Retrieved 2010-11-28.
  53. ^ "Creators Decry Tokyo's Proposed 'Virtual' Child Porn Ban (Update 7)". Anime News Network. 2010-11-24. Retrieved 2010-11-28.
  54. ^ "Tokyo's 'Nonexistent Youth' Bill Faces Defeat in June". Anime News Network. 2010-11-24. Retrieved 2010-11-28.
  55. ^ "Asahi: Tokyo's 'Virtual' Child Porn Bill Put on Hold". Anime News Network. 2010-11-24. Retrieved 2010-11-28.
  56. ^ "Tokyo's 'Nonexistent Youth' Bill Officially on Hold (Updated)". Anime News Network. 2010-11-24. Retrieved 2010-11-28.
  57. ^ "Tokyo Governor: 'Nonexistent Youth' Bill Needs Changes". Anime News Network. 2010-11-24. Retrieved 2010-11-28.
  58. ^ "Tokyo's Nonexistent Youth Bill Voted Down in Committee (Updated)". Anime News Network. 2010-11-24. Retrieved 2010-11-28.
  59. ^ "Tokyo's 'Nonexistent Youth' Bill Rejected by Assembly". Anime News Network. 2010-11-24. Retrieved 2010-11-28.
  60. ^ "Tokyo to Resubmit Bill on Sexual Depictions of Youths". Anime News Network. 2010-11-15. Retrieved 2010-12-16.
  61. ^ "Tokyo's Revised Youth Ordinance Amendment Bill Posted". Anime News Network. 2010-11-22. Retrieved 2010-12-16.
  62. ^ "Full Tokyo Assembly Passes Youth Ordinance Bill". Anime News Network. 2010-12-15. Retrieved 2010-12-16.
  63. ^ "Tokyo introduces manga restrictions". BBC. 2010-12-15. Retrieved 2010-12-16.
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  65. ^ Hall, Kenji (2010-12-16). "Tokyo bans sales of sexually explicit comics to minors". Los Angeles Times. Retrieved 2010-12-16.
  66. ^ a b c "News: Tokyo: Mobile Sites, Downloads Not Subject to Youth Bill". Anime News Network. 2010-12-21. Retrieved 2011-02-06.
  67. ^ "News: 20% Less Booths at Tokyo Anime Fair as Talks Continue". Anime News Network. 2011-01-26. Retrieved 2011-02-06.
  68. ^ a b "News: Tokyo's Youth Ordinance Bill Approved by Committee (Updated)". Anime News Network. 2010-12-13. Retrieved 2010-02-06.
  69. ^ a b source: Animage, vol. 125, November 1988. Retrieved June 8, 2007.
  70. ^ Hongo, Jun (May 3, 2007). "Photos of preteen girls in thongs now big business". The Japan Times Online. The Japan Times. Retrieved March 26, 2008.

References

Further reading

Look up lolicon in Wiktionary, the free dictionary.
Wikimedia Commons has media related to Lolicon.
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