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[53] Goodbye Despair was more challenging to localize than the original game due to how much longer the narrative is. The original team tried to work together again on the project to keep themselves familiar with the concepts of the series. In regards to changes NIS America made, Spike Chunsoft was supportive of the ideas they provided. The producer and assistant producers were in direct contact with the original creators of the series, making the interaction between the team to be done quickly. Sonia Nevermind's traits were altered due to how in the Japanese version she was using terms from the 1980s and 1990s in Japan. The team was concerned if her catchphrases should be kept intact for the Western version. Fuyuhiko was also challenging to dub as a result of his initial harsh personality. The casting was made with the help of Bang Zoom!. Similarly, Nagito Komaeda was difficult to dub as a result of his multi-faced personality. Since in the Japanese version both Makoto Naegi and Nagito were voiced by Megumi Ogata, in the English version they decided to also use the same actor: Bryce Papenbrook. [54] Other media[edit] Main article: List of Danganronpa media Printed media[edit] The first Danganronpa has received two manga adaptations.However, this distinction is infrequently made, and yuri and "girls' love" are almost always used interchangeably. [13] Shōjo-ai[edit] In the 1990s, western fans began to use the term shōjo-ai (少女愛, lit. "girl love") to describe yuri works that do not depict explicit sex. Its usage was modeled after the western appropriation of the term shōnen-ai (少年愛, lit. "boy love") to describe yaoi works that do not feature sexually explicit content. [4] In Japan, the term shōjo-ai is not used with this meaning,[4] and instead denotes pedophilic relationships between adult men and girls. [14][15] History[edit] Before 1970: Class S literature[edit] Writer Nobuko Yoshiya, whose works in the Class S genre significantly influenced yuri Among the first Japanese authors to produce works about love between women was Nobuko Yoshiya,[16] a novelist active in the Taishō and Shōwa periods. [17] Yoshiya was a pioneer in Japanese lesbian literature, including the early twentieth century Class S genre. [18] Her works popularized many of the ideas and tropes which drove the yuri genre for years to come. [19] Class S stories depict lesbian attachments as emotionally intense yet platonic relationships, destined to be curtailed by graduation from school, marriage, or death. [17] The root of this genre is in part the contemporary belief that same-sex love was a transitory and normal part of female development leading into heterosexuality and motherhood.
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