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Additionally, the young girls of lolicon exist in the media, which It points out is a place where one can control things however they want. 11.

The term, a portmanteau of the phrase Lolita complex ( rorta konpurekkusu ), a describes this attraction to girl characters (see Definition and scope ), an individual with such an attraction, 2 or the lolicon genre of media types such as manga and anime, where lolis (childlike female characters) are often depicted in an cute-erotic manner ( kawaii-ero ).

Within this context of otaku culture, the concept is distinct from attraction to realistic representations of girls, or real girls as such.

Throughout the lolicon boom of the 1980s, the term was understood among otaku (manga and anime fans) to denote attraction to bishjo (cute girl) characters, rather than sexual attraction to real girls.

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The connotation of lolicon among the public changed in the 1990s after the arrest of Tsutomu Miyazaki, a child molester and serial killer whose crimes triggered a moral panic against otaku.

Outside of Japan, the term usually refers only to the media genre.

Lolicon material, while often erotic or pornographic, encompasses both sexual and nonsexual depictions.

Some countries, such as the United Kingdom, have made it illegal to possess lolicon, 9 while other countries, such as Japan, allow lolicon on the basis of freedom of expression.

Skeptics and supporters alike have debated if the lolicon genre contributes to actual sexual abuse of children or not.

Studies of lolicon fans find that they are attracted to an aesthetic of cuteness rather than the age of the characters, 10 and that collecting lolicon represents a disconnect from society.

Akira Akagi connects lolicon desire to an attraction to cuteness and girl-ness in manga and anime, rather than a sexual attraction to young girls.

Kaoru Nagayama similarly argues that lolicon is less an attraction to girls than an attraction to cute things; 15 other Japanese critics describe it as desire for manga-like characters, cuteness, roundness, and the two-dimensional, as opposed to the real.

Some lolicon manga cross over with other erotic genres, such as crossdressing and futanari.

Plot devices are often used to explain the young appearance for many of the characters.

Schoolgirls accidentally showing their underwear are common characters in the lolicon genre.

Additionally, lolicon can include themes of lesbianism and masturbation.

However, there is disagreement if this definition also applies to childlike characters who are not clearly prepubescent and if it applies to material lacking explicit sexual content.

Manga and anime, being free of the limitations of existing industries, like film, saw an explosion in production in the 1970s.

Despite a marked preference for young and young-looking characters, 42 there was little resistance to putting these characters into sexual and violent situations, or to showing such imagery to children and adults alike.

Kinsella attributes this trend to a weaker compartmentalization of pornography in post-war Japan compared to post-war America or Britain.

Galbraith notes the mature tone of manga set by Tezuka, whose works were inspired by Walt Disney but featured sex, violence and moral ambiguity.

Anime shows targeted at young girls, which often featured young bishjo heroines, began being watched by fans outside of the target demographic who were courted by creators to raise ratings.

A proposal in 2010 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.

The proposal was criticised by many manga artists, 63 and opposed by the Democratic Party of Japan.

The bill was put on hold until June of that year, 65 66 after which it was amended to change the text for nonexistent youths to depicted youths.

Despite the changes, the bill was rejected by the Tokyo Metropolitan Assembly in June.

A revision of the bill was passed in December 2010, requiring self-regulation of manga, anime and other images.

However, the bill no longer uses the term nonexistent youth and applies to all material that is not necessarily meant to be sexually stimulating.

The bill also does not regulate mobile sites or downloaded content and is only intended for publications such as books and DVDs.

In 2011, the title Oku-sama wa Shgakusei (My Wife Is an Elementary Student) was listed as a title to be considered for restriction due to child rape, but was later published online by J-Comi.

Galbraith feels that this is not an argument that lolicon compensates for or relieves real desires, but instead that lolicon imagery does not reflect the desires of readers, or inspire them to commit crimes.

A report by the Sexologisk Klinik for the Danish government concluded that fictional images of the sexual abuse of minors do not contribute to the actual abuse of minors.

It has been suggested 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.

He states that 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.

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, itd NEVER translate into RL pedophilia.

This is predicated on the belief that the anime lolis I like DO NOT EXIST in RL.

Kinsella distinguished between the attitudes toward gender of amateur lolicon manga and that of male fans of girls manga.

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.

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.

It 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.

He 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 focusing on young girls who were easy to control.

Additionally, the young girls of lolicon exist in the media, which It points out is a place where one can control things however they want.