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Īmateurs as well as professional manga artists shared their works in a public hall called Comic Market (コミックマーケット Komikku Māketto), a channel for distributing and sharing work outside publisher restrictions. The popularity of Year 24's works spurred interest in male-male romance narratives from the 1960s onward. Conversely, Keiko Takemiya's work, In the Sunroom (サンルームにて ) is said to depict the first male-to-male kiss in shojo manga. Ryoko Yamagishi’s Shiroi Heya no Futari (白い部屋のふたり) was credited as the first manga to portray a lesbian couple. Works from these groups contained the earliest examples of same-sex intimacy and relationships found in manga. The artists broadened the content of shoujo manga, adding science fiction, historical, and dramatic elements that changed how readers consumed the genre. The mangaka in this period transformed the writing and drawing style within the genre, thereby creating a space for women artists in manga. A few artists who were associated this group were Moto Hagio, Yumiko Oshima and Keiko Takemiya. The Magnificent 24 group referred to women mangaka who were born in the Year 24 Shōwa (1949) according to numerous scholars, and the exact membership is not defined. In the 1960s, a group of women mangaka called the Magnificent 24 or the Year 24 group heavily influenced the genre of shoujo manga by introducing philosophical and radical ideas, including themes focusing on gender and sexuality. Over time work that focused primarily on male to male intimacy was referred to as " shonen ai", "yaoi" and " boy's love" (BL). These stories were primarily created and consumed by adolescent girls and women reading shoujo genre tales. Media and related materials depicting young men in same-sex relationships started to materialize in the 1970s. Osamu Tezuka grew up in Takarazuka where the troupe is based. Tezuka was inspired by Takarazuka Revue, a Japanese all-female musical troupe that performs both feminine and masculine roles. Sapphire, the main character of Princess Knight, was born female but was raised as a male to prevent the antagonist, Duke Durlamin, from inheriting the throne. Yukari Fujimoto mentioned how in Tezuka's work, Princess Knight, the main character fluctuated between feminine and masculine identities. Scholars and manga artists generally agree that Osamu Tezuka greatly influenced manga. 3.7.1 Motivations for consuming Yaoi and Yuri anime.2 Anime distribution, censorship and changes.However, publishing companies continued to expand their repertoire to include yuri and yaoi, and conventions were created to form a community and culture for fans of this work. Anime that contained LGBTQ content was changed to meet international standards. The rise of yaoi and yuri was also slowed due to censorship laws in Japan that make it extremely hard for Japanese manga artists ("mangakas") and others to create work that is LGBT themed. Many of the earliest works that contained LGBT themes were found in works by dōjinshi who has specifically written content outside the regular industry. LGBT-related manga found its origins from fans who created an " alternative universe" in which they paired their favorite characters together. There are also multiple sub genres that target specific consumers and themes: yaoi, yuri, shoujo-ai, shonen-ai, bara, etc.
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This includes characters who express their gender and sexuality outside of hetero-normative boundaries. Manga genres that focus on same-sex intimacy and relationships resulted from fan work that depicted relationships between two same-sex characters. According to Harry Benshoff and Sean Griffin, the fluid state of animation allows flexibility of animated characters to perform multiple roles at once. Outside Japan, anime generally refers to a specific Japanese-style of animation, but the word anime is used by the Japanese themselves to broadly describe all forms of animated media there. In anime and manga, the term " LGBT themes" includes lesbian, gay, bisexual and transgender material. Japanese-style of animation addressing LGBT material