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[35] Roughly a dozen yuri manga were published from the 1970s to the early 1990s, with the majority being published in the 1970s. [36] Most of these stories are tragedies, focused on doomed relationships that end in separation or death. [37] Owing to the small number of works published during this period and their generally tragic focus, Yuri Shimai has referred to the 1970s and 1980s as the "dark age" of yuri. [38] Several theories have emerged to explain the bias
towards tragic narratives present in this period. Writer and translator Frederik L. Schodt notes that the majority of shōjo manga published during this period were tragic, regardless of whether or not they were yuri. [37] James Welker of Kanagawa University argues that these narratives represent a form of "lesbian panic", where the character – and by extension, the author – refuses their own lesbian feelings and desires. [37] Verena Maser suggests that the decline of Class S removed the
only context in which intimate relationships between women were possible,[39] while Yukari Fujimoto suggests that patriarchal forces were responsible for tragic endings in these stories. [37] 1990s: Mainstream popularity[edit] Cosplayers dressed as Sailor Uranus and Sailor Neptune from Sailor Moon By the 1990s, tragic story formulas in manga had declined in popularity. [40] 1992 saw the release of two major works for the development of yuri: Jukkai me no Jukkai (1992) by Wakuni Akisato [ja], which began to move the genre away from tragic outcomes and stereotyped dynamics;[41] and the anime adaptation of Sailor Moon (1991–1997) by Naoko Takeuchi, the first mainstream manga and anime series to feature a "positive" portrayal of a lesbian relationship in the coupling of Sailor Uranus and Sailor Neptune. [7][33] The immense popularity of Sailor Moon allowed the series to be adapted into anime, films, and to be exported internationally, significantly influencing the shōjo and yuri genres.
During his time in Teikō, Kuroko had perfect attendance. [42] Kuroko's technique Misdirection is inspired from the book "The Art of Manipulating the Gaze" and developed because of his unique observation skills. Kuroko appears as a support character in the Jump crossover fighting game J-Stars Victory Vs. Kenshō Ono, the voice of Kuroko, also sings the second ending of the second season "FANTASTIC TUNE" as well as the second opening of the third season "ZERO". Murasakibara believes Kuroko has really good luck when it comes to winning free stuff from snacks. He eats snacks all the time and never wins anything. However, Kuroko doesn’t want to use his luck on something like that. [43] Murasakibara and Kuroko get along really well, except when Kuroko starts talking about basketball. Then Murasakibara just gets annoyed. [44] Kuroko is the youngest member of the Generation of Miracles, according to the Japanese schooling system. According to Seirin High’s basketball team’s members, Kuroko’s grades are average.
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