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[68] The Sailor Moon example further illustrates how fans, rather
than publishers or creators, often determine whether a work is yuri; Sailor Moon was not conceived as a yuri manga or anime, but "became a yuri text"[69] based on how the work was interpreted and consumed by yuri fans. [63][67] Nominal sexual content[edit] A page
from Kisses, Sighs, and Cherry Blossom Pink (2003–2012) by Milk Morinaga. Sexual content in yuri is rarely more explicit than the hand-holding and kissing depicted here. Yuri works generally do not depict graphic sex scenes. Unlike yaoi, where explicit depictions of sexual acts are commonplace and stories typically climax with the central couple engaging in anal intercourse, sexual acts in yuri are rarely more explicit than kissing and the caressing of breasts. [30] Kazumi Nagaike of Oita University argues that this general avoidance of sex "does not mean that female sexual desire is effaced" in yuri, but rather that the absence of sex "clearly derives from the importance which is placed on the spiritual female-female bond. "[30] "Crimson Rose and
Candy Girl"[edit] The majority of yuri stories published in the 1970s and 1980s were tragedies, focused on doomed relationships that end in separation or
death (see History above). [37] Yukari Fujimoto, a manga scholar at Meiji University, notes that the tragic plot of Shiroi Heya no Futari became a common yuri story archetype that she dubs "Crimson Rose and Candy Girl". These stories depict "Candy", a physically smaller character with lighter hair and a naive personality, who admires "Rose", who is generally taller, with long dark hair and a serious demeanor. [37] The characters bond over a common unhappiness, usually originating from their respective home lives. [70] The attachment between Candy and Rose becomes the subject of rumors or even blackmail, even while Candy and Rose grow to acknowledge that their relationship has become romantic.
Nikkei Asian Review. May 2, 2017. Archived from the original on May 29, 2018. Retrieved May 28, 2018. ^ Chen,
Lulu Yilun (March 18, 2016). "Tencent taps ninja Naruto to chase China's $31 billion anime market". The Japan Times. Archived from the original on May 29, 2018. Retrieved May 28, 2018. ^ "Europe Anime Merchandising Market Analysis Report 2023-2030 - Market
Poised for Substantial Growth with Expansion of Figurine and E-commerce Sectors". Yahoo! Finance.
Ippo blocked a barrage of punches coming at his face before realising
that Volg will strike from below where he isn't guarding. As Ippo moved his guard to protect his body, he is hit by a left uppercut that went between his arms, and then a right hook, directly getting hit by the White Fang. While Ippo is stunned from the attack, Volg moved away with footwork and lands a Hien. Ippo followed Volg and, after getting hit again by a left jab, he ducked under another one
while pressing his right fist on the middle of Volg's outstretched arm, and then slides his right fist to Volg's face, doing the Parry Counter. Volg retaliated with a left uppercut that lands. Ippo crouched down and threw a Gazelle Punch that Volg blocks, however, it pushed him to a corner. Ippo motioned the Dempsey Roll, and was about to throw a punch from below with it, however, Sendō got in the ring and stopped him, scolding both of the boxers as it was suppose to only be a "touch spar". Ippo agrees to be a second for Wally. Ippo slept in a room upstairs while Miguel and Wally watched over him. When Ippo got up, Miguel asked how Ippo is feeling, as they may need take him to the hospital. Ippo answered that it is only painful where Volg hit him and he was just tired from the flight.
