animflix
Two games came out of this effort: Baseball Stars (1989) and Crystalis (1990; known as God Slayer in Japan). In 1989, two home video game consoles were released in North America: the Sega Genesis, and NEC and Hudson Soft's TurboGrafx-16. Nintendo followed suit with a new system in 1991, the Super Nintendo Entertainment System (Super NES, SNES). SNK as a whole did not become involved in the "system wars" of the early 1990s. Instead, it refocused its efforts on arcades. Other third parties, such as Romstar and Takara, were left to license and port SNK's properties to the various home consoles of the time with help from SNK's American home entertainment division. With console ports mainly handled
outside the company, it moved on to developing SNK-branded arcade equipment. [13] SNK also
licensed Tiger Electronics to market handheld electronic games from some of its brands. In 1988, SNK created the idea of a modular cabinet for arcades. Up to that point, arcade cabinets typically contained only one game. When an arcade operator wanted to switch or replace that game, it would have to completely remove the internals of the existing cabinet or exchange the entire setup for another game.
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February 2013. ^ "LOI - WET". www. ejustice. just. fgov.
[49][50] 2000s: Publishing and fan culture growth[edit] Faced with a proliferation of stories focused on homosociality, homoeroticism, and female homosexuality, some publishers sought to exploit the yuri market by creating manga magazines dedicated to the genre, coalescing around yuri as the preferred name for this genre in response to its popularity in dōjinshi culture. [6] In 2003, Yuri Tengoku and Yuri Shimai launched as the first manga magazines devoted exclusively to yuri. [51] This was
followed by the female reader-oriented Comic Yuri Hime in 2005 and the male reader-oriented Comic Yuri Hime S in 2007; the two magazines merged under the title Comic Yuri Hime in 2010. [52] Stories in these magazines dealt with a range of themes, from intense emotional connections such as those depicted in Voiceful (2004–2006), to sexually-explicit schoolgirl romances like those portrayed in First Love Sisters (2003–2008),[53] and realistic tales about love between adult women such as those seen in The Conditions of Paradise (2007). [54] Some of these subjects are seen in male-targeted works of this period as well,[55][56] sometimes in combination with other themes, including mecha and science fiction. [57][58] Examples include series such as Kannazuki no Miko (2004–2005), Blue Drop (2004–2008), and Kashimashi: Girl Meets Girl (2004–2007). In addition, male-targeted stories tend to make extensive use of moe and bishōjo characterizations. [59] The publication of yuri magazines had the effect of nurturing a "yuri culture" that influenced artists to create works depicting female same-sex relationships. [30] Further, articles in these magazines contributed to the history of the genre by retroactively labeling certain works as yuri, thus developing "a historical canon of the yuri genre. "[60] Specifically, Verena Maser notes in her analysis of issues of Yuri Shimai, Comic Yurihime, and Comic Yurihime S published from 2003 to 2012 that eight of the ten most-referenced series in the magazines predate the 2003 formalization of yuri as a publishing genre: Apurōzu - Kassai (1981–1985), Sakura no Sono (1985–1986), Sailor Moon (1992–1996),
Cardcaptor Sakura (1996–2000), Revolutionary Girl Utena (1997–1999), Maria-sama ga Miteru (1998–2012), Loveless (2002–present), and Strawberry Marshmallow (2002–present). [6] 2010s–present: Genre diversification[edit] While schoolgirl romances remained popular into the 2010s and 2020s, notably Kase-san (2010–2017), Citrus (2012–2018), Bloom Into You (2015–2019), and Whisper Me a Love Song (2019–present), yuri works during this period began to incorporate new genres, themes, and subject material.
