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Hideki Nogi (乃木 英樹, Nogi Hideki) Voiced by: Jouji Nakata[3] (Japanese); Michael C. Pizzuto (English) CEO of the Nogi Group. He challenges the Kengan Association for the position of Chairman, resulting in the creation of the Annihilation Tournament with a stipulation that, if the Nogi Group fails to win, the company is dissolved and taken by the Kengan Association. He forms the shell company Yamashita Trading Co. , with Kazuo Yamashita as its President and Ohma Tokita as its representative fighter. He also formed a 2nd shell company SF Cold Storage with Lihito as both its President and fighter.

But with this comes downsides- ones not apparent to the viewer at first glance, but looking back on it after watching it around the time it first came out, definitely shine through.
Shingeki no Kyojin starts off with a roar- the first 2 episodes explode right out of the gate with high-octane action that also leaves mystery to draw the viewer in. Who . are the titans? What is in the basement? Why is Eren's dad so creepy? All this and more the viewer asks themselves as the end credits roll for episode 2.
Then episode 3 and 4 jump in. It's a training scene for Eren and his friends, and it's dead slow in comparison. But that's ok- it's episodes like this that reinforce character development and get the plot rolling. And soon, the episodes with action will begin again, right? That High-Octane, bloody, gory action we've all been waiting for!
Well, it does. But then shortly after, it grinds back to a halt.

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Retrieved October 25, 2021. ^ "Insomniacs After School, Vol. 3". Viz Media. Archived from the original on May 25, 2023. Retrieved May 25, 2023. ^ Pineda, Rafael Antonio (May 24, 2023). "Demon Slayer: Swordsmith Village Arc Anime's English Dub Debuts on May 28". Anime News Network. Archived from the original on May 25, 2023. Retrieved May 25, 2023. "[60] Specifically, Verena Maser notes in her analysis of issues of Yuri Shimai, Comic Yurihime, and Comic Yurihime S published from 2003 to 2012 that eight of the ten most-referenced series in the magazines predate the 2003 formalization of yuri as a publishing genre: Apurōzu - Kassai (1981–1985), Sakura no Sono (1985–1986), Sailor Moon (1992–1996), Cardcaptor Sakura (1996–2000), Revolutionary Girl Utena (1997–1999), Maria-sama ga Miteru (1998–2012), Loveless (2002–present), and Strawberry Marshmallow (2002–present). [6] 2010s–present: Genre diversification[edit] While schoolgirl romances remained popular into the 2010s and 2020s, notably Kase-san (2010–2017), Citrus (2012–2018), Bloom Into You (2015–2019), and Whisper Me a Love Song (2019–present), yuri works during this period began to incorporate new genres, themes, and subject material. [61] The mid-2010s saw yuri works expand to genres such as science fiction and isekai, as well as the formalization of shakaijin yuri (社会人百合, lit. "member of society yuri") as a subgenre focused on stories involving adult women. [61] The growth of digital platforms like Pixiv, Twitter, and Shōsetsuka ni Narō allowed for the creation and widespread distribution of yuri works outside of traditional manga magazine and dōjinshi publishing: My Lesbian Experience With Loneliness (2016) was originally published as a web comic, while the yuri fantasy works Sexiled (2018–2019), Roll Over and Die (2018–present), and I'm in Love with the Villainess (2018–present) began as web novels on Shōsetsuka ni Narō before being adapted into other mediums. [61] Yuri stories by openly lesbian creators also became more prominent, such as My Lesbian Experience With Loneliness. [62] Concepts and themes[edit] Intimacy between women[edit] Yuri as a genre depicts intimate relationships between women, a scope that is broadly defined to include romantic love, intense friendships, spiritual love, and rivalry. [63] While lesbianism is a theme commonly associated with yuri, not all characters in yuri media are necessarily non-heterosexual; Welker states that the question whether yuri characters are lesbians is a "very complicated issue. "[64] Characters in yuri works frequently do not define their sexual orientation in explicit terms, and the matter is instead left to reader interpretation. [65] Rica Takashima notes Western and Japanese fans often have differing expectations for the level of intimacy depicted in yuri, which she ascribes to cultural differences between the groups. [66] She notes that yuri works that enjoy international popularity tend to be explicit and focused on "cute girls making out with each other," while Japanese fans "have a propensity for reading between the lines, picking up on subtle cues, and using their own imaginations to weave rich tapestries of meaning from small threads.