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"cat"), which designates the submissive participant. [71] This distinction is comparable to that of the seme and uke distinction in yaoi, or to the butch and femme distinction in broader lesbian culture. [72] Characters in contemporary yuri rarely conform to these dichotomies,[30] though the dynamic of an active partner and a passive partner that the tachi and neko distinction represents does recur in the genre. [72] Media[edit] Main article: List of yuri works In Japan[edit] In the mid-1990s and early 2000s, some Japanese lesbian lifestyle magazines contained manga sections, including the now-defunct magazines Anise (1996–97, 2001–03) and Phryné (1995). [49] Carmilla, an erotic lesbian publication,[49] released an anthology of lesbian manga called Girl's Only. [73] Additionally, Mist (1996–99), a ladies' comic manga magazine, contained sexually explicit lesbian-themed manga as part of a section dedicated to lesbian-interest topics. [49] The first publication marketed exclusively as yuri was Sun Magazine's manga anthology magazine Yuri Shimai, which was released between June 2003 and November 2004 in quarterly installments, ending with only five issues. [74] After the magazine's discontinuation, Comic Yuri Hime was launched by Ichijinsha in July 2005 as a revival of the magazine,[75] containing manga by many of the authors who had had work serialized in Yuri Shimai. [76] Like its predecessor, Comic Yuri Hime was also published quarterly but went on to release bi-monthly on odd months from January 2011 to December 2016, after which it became monthly. [76][77][78] A sister magazine to Comic Yuri Hime, named Comic Yuri Hime S, was launched as a quarterly publication by Ichijinsha in June 2007. [79] Unlike either Yuri Shimai or Comic Yuri Hime, Comic Yuri Hime S was targeted towards a male audience.

Following the Raid on Onigashima, her bounty was increased to 366,000,000. [4] Contents 1 Appearance 1. 1 Before the Timeskip 1. 2 After the Timeskip 1. 2. 1 Body Measurements 1. 3 Non-Canon 2 References 3 Site Navigation Appearance[] Further information: Nami/Gallery Nami is a slim young woman of average height with orange hair and brown eyes. Many characters seem to consider her to be an attractive woman. [21][22] She has a black tattoo (blue in the anime)[23] on her left shoulder, which represents mikan, and pinwheels (a homage to Bell-mère, Nojiko, and Genzo, respectively), where she used to have a tattoo for being a member of Arlong's crew. [2] Her overall physique matures slowly throughout the series and then suddenly during the timeskip (though this is most likely a simple change in style of artwork). Her fashion frequently changes as does her hair style.

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I’m not only referring to overall productions that have been regarded as having some kind of meta remarks or supposedly-deconstructive genre assertions like *Neon Genesis Evangelion,* but even the casual remarks that characters make in any kind of story, like the above quotation I left. These kinds of remarks get chuckles for the basic reason that we like to pat ourselves on the back for recognizing a pattern and having the thing we watch acknowledge it as such. Considering the sheer degree of prevalence the isekai genre has enjoyed ever since the early 2010s, no doubt because it provides publishers like Kadokawa a lot of money, it makes sense that isekai too would become susceptible to these kinds of remarks from its own works.
But *The Eminence in Shadow* makes the mistake of assuming that being meta is the same as being funny or a worthwhile piece of entertainment. Glimpsing the greater picture, or making casual reference to things that viewers would recognize, is perhaps a short-term solution. But that does not guarantee that the inner substance of the story will be able to stand on its own two feet, either. Within its audience-conscious asides, it attempts to fashion a fantastical story of Cid Kagenou, a fashions-himself-as-the-ultimate-warrior man who attempts to make the best of both worlds, so to speak. Treating his reincarnated situation as the chance to live out his ultimate fantasy, he adopts the moniker of the background everyman archetype on one hand and the “Eminence in Shadow” in the other. Getting involved, investigating, and dispensing his own form of justice when he sees fit, he treats his new environment as a playground rather than being full of actual people with consequences.
Therein lies its initial draw, and its first real gag; take the common thought that many isekai protagonists have (that they’re either dreaming / don’t take their new situation seriously enough), and have it last for the entire show. This gag quickly devolves into overreliance; *The Eminence in Shadow* spends so much of its time with Cid making jokes about the isekai world, drawing upon his knowledge of its conventions and general structure. (1974). "APA PsycNet". Canadian Journal of Behavioural Science Revue Canadienne des Sciences du Comportement. 6 (4): 352–356. doi:10. 1037/h0081881.