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He refers to himself as a non-existence. At the end of season 3 where he is revealed to be the last of the Eliotropes, a shadow-clone race accidentally created by Yugo in his image before he fought Ogrest. Once his identity is revealed, he shows a dark version side of himself. He identifies the same traits in Yugo and longs to replace him and be the "real" Yugo. Despite wanting to save the world, his ultimate plan still involves destroying all life on the planet, to eliminate the prayers going to the gods, making them vanish. He had no qualms about lying, using, or manipulating others and excused his actions or hypocritically shifted blame onto someone else.

[7] Sometime around 2008, work on the production stalled, and entered development hell. [8] Ellis had completed his script in June 2008, and the show's production blog had said in August 2008 that they were shopping around the idea as a theatrical release, but no further updates followed before the blog was quietly deleted. [7] Around 2012, Adi Shankar was approached to direct a live-action version of Ellis' script. Shankar, who at the time had just finished work as executive producer of Dredd, said that the party was looking to make a film in the style of the Underworld films with a similar budget, representative of a small studio with large independent backing. Shankar turned the opportunity down, saying it felt "250 percent wrong", as he had deep respect for the original game and felt the live-action version would not treat it well. [9] Following this, Shankar stepped back from Hollywood to pursue more self-published works, stating that "the major studios were blatantly disrespecting fandom" as a reason he turned down the offer. [9] The show was revitalized when Powerhouse Animation Studios's Sam Deats was able to negotiate a deal with Netflix for the production, using the existing scripts that had been written nearly a decade prior. Powerhouse reached out to Frederator to help with the show's production. [8] According to Ellis, Netflix was very positive about his original scripts that he wrote in 2007, and so he had to only make a few changes to fit the Netflix format while staying true to the version of the script Konami had accepted. [5] Shankar was approached with the opportunity to produce the work, which he took as neither Powerhouse or Frederator sought to restrict his creative vision from Ellis' scripts. [9][10][11][12] Fred Seibert and Kevin Kolde of Frederator Studios also co-produce.

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However, it has been noted that his specialty is with Wind Release. [45] Using Wind Release, Boruto can generate gusts to repel targets. As an Academy student, Boruto could simultaneously perform Lightning and Wind Release for manoeuvres like the Boruto Stream. As a genin, he learned Water Release,[46] able to use techniques such as Water Release: Splash Bullet (水遁・飛沫弾, Suiton: Himatsudan),[47] Three years later, he learns to channel the Purple Electricity into his sword to increase its cutting power. [48] When first learning the Rasengan, he subconsciously applied lightning chakra to it (wind in the novel), a feat most shinobi prodigies couldn't accomplish. Upon throwing the technique, the nature transformation abruptly activates, turning it invisible, and tricks the opponent into letting their guard down as sufficient damage is inflicted when it makes contact. In the anime, after training under Kakashi, Boruto learned to perform the Wind Release: Rasengan. [18] However, it is incomplete, lacking the power necessary to do much more in comparison to the normal Rasengan. [49] Kāma[] Boruto's Kāma activated. After defeating Momoshiki, Boruto's right hand was forcibly marked with a four-point black diamond seal. Noted to have similar properties to Orochimaru's Juinjutsu, it is a genetic backup of the branding Ōtsutsuki, subconsciously allowing Boruto to access Momoshiki's experience and powers. All of these titles are used by themselves, not attached to names. When mentioning a company's name, it is considered important to include its status depending on whether it is incorporated (株式会社, kabushiki-gaisha) or limited (有限会社, yūgen-gaisha). These are often abbreviated as 株 and 有, respectively. Imperial styles[edit] Heika (陛下 へいか), literally meaning "below the steps [of the throne]", and equivalent to "Majesty", is the most formal style of nobility in Japan, and is reserved only for the Emperor, Empress, Empress Dowager or Grand Empress Dowager. All other members of the Imperial Family are styled Denka (殿下 でんか), the equivalent of "Imperial Highness". [11] Although the monarch of Japan is an emperor, he is not usually styled as "Imperial Majesty", however other members of the imperial family are customarily styled "His/Her Imperial Highness" whilst the Emperor's style in English is simply "His Majesty". [12] Dono / tono[edit] Tono (殿 との), pronounced -dono (どの) when attached to a name, roughly means "lord" or "master". It does not equate noble status. Rather it is a term akin to "milord" or French "monseigneur" or Portuguese/Spanish/Italian "don", and lies below -sama in level of respect. This title is not commonly used in daily conversation, but it is still used in some types of written business correspondence, as well as on certificates and awards, and in written correspondence in tea ceremonies. It is also used to indicate that the person referred to has the same (high) rank as the referrer, yet commands respect from the speaker.