Whether or not society is willing to accept this fact, homoeroticism has deep and intriguing roots in human culture. The evidence exists for all to see in countless expressions of art and literature.
During Japan’s Tokugawa era (1603-1868), a form of theatrical drama called Nanshoku became very popular. One of the brightest stars in this arena was a playwright named
Monzaemon Chikamatsu. Known as the “Japanese Shakespeare”, he wrote several dramas featuring romantic adventures and misadventures between males. One of these dramas was the tale of the merchant Hanbei, a former Samurai – who faces the tasks of selecting the most suitable lover for his younger brother, the inexperienced Samurai Koshichirō. Hanbei requires that the lover selected be as a brother to Koshichirō. He must be loyal to the point of committing seppuku (ritual suicide) with Koshichirō, if necessary. In the end, Hanbei rejects several noblemen, selecting instead a commoner named Koichibei - because his heart was the most sincere.
Sadly, Nanshoku had become a dying art in the early 20th century. By then, with the introduction of pretentious Western ideologies of morality to Japanese culture, Nanshoku had evolved into what was generally perceived to be an infamous subculture full of lurid tales of male/male erotic practices. Nanshoku and the acceptance of homosexuality were repressed – but not effectively. In the 20th century, the concept of the bishounen still remained popular, desirable even.
During Japan’s Tokugawa era (1603-1868), a form of theatrical drama called Nanshoku became very popular. One of the brightest stars in this arena was a playwright named
Monzaemon Chikamatsu. Known as the “Japanese Shakespeare”, he wrote several dramas featuring romantic adventures and misadventures between males. One of these dramas was the tale of the merchant Hanbei, a former Samurai – who faces the tasks of selecting the most suitable lover for his younger brother, the inexperienced Samurai Koshichirō. Hanbei requires that the lover selected be as a brother to Koshichirō. He must be loyal to the point of committing seppuku (ritual suicide) with Koshichirō, if necessary. In the end, Hanbei rejects several noblemen, selecting instead a commoner named Koichibei - because his heart was the most sincere.Sadly, Nanshoku had become a dying art in the early 20th century. By then, with the introduction of pretentious Western ideologies of morality to Japanese culture, Nanshoku had evolved into what was generally perceived to be an infamous subculture full of lurid tales of male/male erotic practices. Nanshoku and the acceptance of homosexuality were repressed – but not effectively. In the 20th century, the concept of the bishounen still remained popular, desirable even.
Around this time, manga emerged as the reigning champion of popular art form. The gender variant themes of Japanese literature and drama carved a niche within this genre. By the early 1970’s, female manga artists were becoming increasingly popular, with the rising sales of mangas.
Artists such as Keiko Takemiya were among the first to spin out complex shōjo manga with definite male homoerotic themes with, for example, Kaze to ki no uta (The Song of the Wind and the Trees).
Although the term “Yaoi”, derived from the Japanese phrase ヤマなし、オチなし、意味なし ( yama nashi, ochi nashi, imi nashi ), meaning "no climax, no punch line, no meaning” – was originally coined to describe badly drawn doujinshi, it has evolved into a word encompassing all homoerotic incarnations of anime and manga. Yaoi is anything but meaningless. The storylines feature complex characters and richly fascinating plots.
Artists such as Keiko Takemiya were among the first to spin out complex shōjo manga with definite male homoerotic themes with, for example, Kaze to ki no uta (The Song of the Wind and the Trees). Although the term “Yaoi”, derived from the Japanese phrase ヤマなし、オチなし、意味なし ( yama nashi, ochi nashi, imi nashi ), meaning "no climax, no punch line, no meaning” – was originally coined to describe badly drawn doujinshi, it has evolved into a word encompassing all homoerotic incarnations of anime and manga. Yaoi is anything but meaningless. The storylines feature complex characters and richly fascinating plots.
A perfect example is Reiko Yoshihara’s novel Ai no Kusabi (Wedge of Interval), first published in various magazines in the 1980’s, which was published as a full length novel in 1990 and the anime DVD is reported as having been published in Tokyo in 2003. The story is based on an all male love triangle - set in a futuristic world where the separation of classes has resulted in a seemingly insurmountable societal rift. This story is Science Fiction and Yaoi. It is a complex love story rife with cruelty, betrayal, madness and sacrifice. More than that, Ai no Kusabi is a sidelong critique of the issues currently facing human society.
The artwork has greatly improved beyond the publication of Sanami Matoh’s Fake mangas and anime, which featured a well-written and intriguing plot and loveable characters – but not exactly stellar artwork.
No longer limited to any gender, age-group, or culture – Yaoi creators have discovered a winning formula: a great plot, beautiful artwork, fan service…and more fan service in the form of stunningly beautiful and complex, even twisted boys. Yaoi fans go for the adorable, the exquisite, and sometimes, the dark. It is combining the best of several worlds - including but not limited to romance, horror, mystery, intrigue, fantasy, with the homoerotic twist of flavor.
Over the past decade, Yaoi manga artists and anime producers have been churning out such well received gems as Maki Murakami’s Gravitation, Riho Sawaki and Yuzu Tsutae’s Sukisyo, Shoko Hamada’s Mirage of Blaze and Yun Kouga’s Loveless.
Yaoi has gained worldwide popularity among both sexes all over the world, particularly teenagers. The internet has become the most important medium for sharing Yaoi-related media and discussing works, as well as allowing young and aspiring writers to delve into the genre. This growing trend is a tangible indication of the positive development of human society in general. Perceptions and attitudes are changing. Tolerance and equality are becoming words of the day. Yaoi fans are many in number, passionate - and are steadily changing the world.
The artwork has greatly improved beyond the publication of Sanami Matoh’s Fake mangas and anime, which featured a well-written and intriguing plot and loveable characters – but not exactly stellar artwork.
No longer limited to any gender, age-group, or culture – Yaoi creators have discovered a winning formula: a great plot, beautiful artwork, fan service…and more fan service in the form of stunningly beautiful and complex, even twisted boys. Yaoi fans go for the adorable, the exquisite, and sometimes, the dark. It is combining the best of several worlds - including but not limited to romance, horror, mystery, intrigue, fantasy, with the homoerotic twist of flavor.
Over the past decade, Yaoi manga artists and anime producers have been churning out such well received gems as Maki Murakami’s Gravitation, Riho Sawaki and Yuzu Tsutae’s Sukisyo, Shoko Hamada’s Mirage of Blaze and Yun Kouga’s Loveless.
Yaoi has gained worldwide popularity among both sexes all over the world, particularly teenagers. The internet has become the most important medium for sharing Yaoi-related media and discussing works, as well as allowing young and aspiring writers to delve into the genre. This growing trend is a tangible indication of the positive development of human society in general. Perceptions and attitudes are changing. Tolerance and equality are becoming words of the day. Yaoi fans are many in number, passionate - and are steadily changing the world.
