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Later remade for the PS3 with (what is generally regarded as) superior character design.
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Aquaplus, developers of the classic Bishoujo Game To Heart, initially released its game on the PC under the Leaf label with explicit adult content, but re-released the game for the PlayStation home console with adult content excised (then re-released that version on the PC with some more extras), expanding its following dramatically (in conjunction with the release of a clean TV adaptation).Note, however, Nanoha is based around a character from the game who didn't have any H-scenes. There was, however, a hentai OVA of the second Triangle Heart game.
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In the PS2 port of Fate/stay night, Heaven's Feel was toned down by having Sakura drink Shirou's blood (which also provides mana), removing all references to sex, and toning down Shinji's comments regarding Sakura.It can be taken out of most routes without too many problems, but the plots of Kohaku's route for Tsukihime and the Heaven's Feel route of Fate/stay night involve sexual material much more directly, and require heavy rewriting to not be somewhat nonsensical in their safe-for-work forms. It's noteworthy that sex is actually a mechanic that's important for the Nasuverse's magic system. The anime adaptations of the TYPE-MOON adult Visual Novels Tsukihime (as Shingetsutan Tsukihime) and Fate/stay night with the erotic content mostly toned down.SHUFFLE!, openly - somewhere around episode 10, an R-15 warning was added to the television broadcast, after which the ecchi content was upped.Otoboku - Maidens Are Falling For Me started as an H-Game, which is ironic, given how shy Mizuho is in the only slightly ecchi anime.As a result, the Japan-derived concept, while still situated, begins to offer possibilities for broader conceptualizations of girlness within the contemporary global digital mediascape. While acknowledging that shōjo has mediated multiple discourses throughout the twentieth century-discourses on Japan and its modernity, consumption and consumerism, non-hegemonic gender, and also technology-this volume shifts the focus to shōjo mediations, stretching from media by and for actual girls, to shōjo as media. Through its diverse chapters this edited collection introduces the two main currents of shōjo research: on the one hand, historical investigations of Japan’s modern girl culture and its representations, informed by Japanese-studies and gender-studies concerns on the other hand, explorations of the transcultural performativity of shōjo as a crafted concept and affect-prone code, shaped by media studies, genre theory, and fan-culture research.
The term refers to both a character type specifically, as well as commercial genres marketed to female audiences more generally. Since the 2000s, the Japanese word shōjo has gained global currency, accompanying the transcultural spread of other popular Japanese media such as manga and anime.