pun with the Japanese godan verb for 'to sprout', , and its homophone 'to burn', . Along the same line of thought, Kitabayashi has identified it to be a pun with the Japanese ichidan verb for 'to sprout' and its homophone 'to burn' , which mean 'to burn' (in the sense of one's heart burning, or burning with passion). Anthropologist Patrick Galbraith cites Morikawa Kaichirō, who argues that the term came from internet message boards such as NIFTY-Serve and Tokyo BBS in the 1990s, from fans discussing bishõjo (beautiful girl) characters. Galbraith argues that moe has its roots in the development of bishõjo characters in Japanese subcultures in the 1970s and 80s. This was exemplified in the lolicon boom of the 1980s, a "fertile ground" for the "budding desire for fictional characters". Comiket organiser Ichikawa Koichi has described Lum from Urusei Yatsura as being both the source of moe and the first tsundere. The character of Clarisse from Hayao Miyazaki's The Castle of Cagliostro (1979) has also been cited as a potential ancestral example., with Lupin acting like an older brother to Clarisse and taunting the Count for marrying someone half his age. According to culture critic Hiroki Azuma, as Rei Ayanami became a more prominent character among fans, she "changed the rules" governing what people regarded as moe-inspiring. The industry has since created many characters which share her traits of pale skin, blue hair and a "quiet personality". Usage Commercial application Moe characters have expanded within the Japanese media market. In 2003, the market for moe media such as printed media, video, and games was worth 88 billion yen; roughly one-third of the estimated 290 billion yen otaku market in Japan. In 2009, Brad Rice, editor-in-chief of Japanator, said that "moe has literally become an economic force" saying that more products use some element of moe in order to sell better. Rice also goes on to say that moe is used to get anime and manga works out to "hardcore fans who buy excessive amounts of items related to the character of their desire." John Oppliger from AnimeNation traced the first decade of the 2000s as the time when moe became increasingly popular and recognized. Commercialization was a result of interest that followed, and moe evolved from being a non-sexual desire to being a sexually sublimated fascination with cuteness. Oppliger goes on to say that moe shifted entirely from