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There are a number of variations on the windmill, the most common being the aforementioned one- or two-hand variants. In these cases, the windmill motion may be performed with the previously discussed one-arm technique and finished with one- or two-hands, or the player may control the ball with two hands, with both arms performing the windmill motion, finishing with one or both hands. Additionally, the ball may be cuffed between the hand and the forearm—generally with the dominant hand. The cuff technique provides better ball security, allowing for a faster windmill motion and increased force exerted on the basket at finish, with either one or both hands. Using the cuffing method, players are also afforded the opportunity of performing the windmill motion towards the front, a technique exploited by French athlete Kadour Ziani when he pioneered his trademark double-windmill. Occasionally in the game setting, the windmill is performed via alley-oop but is rarely seen in offense-rebound putback dunks due to the airtime required. Dominique Wilkins popularized powerful windmills—in games as well as in contests—including two-handed, self-pass, 360°, rim-hang, and combined variants thereof. Double Clutch[edit] At the onset of the jump, the ball is controlled by either one or both hands and once in the air is typically brought to chest level. The player will then quickly thrust the ball downwards and fully extend their arms, bringing the ball below the waist. Finally the ball is brought above the head and dunked with one or both hands; and the double clutch appears as one fluid motion. As a demonstration of athletic prowess, the ball may be held in the below-the-waist position for milliseconds longer, thus showcasing the player's hang time (jumping ability).

^ a b "JoJo's Bizarre Adventure Anime Teases Part 3". Anime News Network. April 5, 2013. Archived from the original on April 7, 2013. Retrieved April 5, 2013. ^ Loo, Egan (October 16, 2013).

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If there is any takeaway from this, it’s not only that animated properties being so overtly meta is here to stay, but that it is also a highly-profitable venture. After all, no company is going to change their course if it affects their bottom line. To the company, there’s a simple credo to follow: whether it be about specific properties or about an entire genre’s convention, give the audience a wink. Let them know that you “get it. ”
And in the realm of anime, metacommentary also has its home. 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. Adrian Marcano from Inverse considered Hunter × Hunter 2011 to be one of the greatest anime series ever. He said that the anime set itself apart with one of the greatest story arcs in anime history in which the villain, not the hero, takes the anime to instant classic status. He also said that, "It is in the 2011 version where we see probably one of the best story arcs in anime history: the Chimera Ant Arc. "[148] According to Movie News Guide and Latin Post, the Madhouse's 2011 version received more viewers not only in Japan but also around the world, particularly in North America. [149][150] Digital Fox Media's Michael Basile of Fox Sports Digital Media praised the animation quality of the new adaptation, "the animation actually appears to get better and better as the series progresses. The color palette can shift from vibrant and inviting to grim and menacing at the drop of a hat, the character designs are unique and appealing, the CG is very minimal, and the action sequences are some of the best that the shonen genre has ever produced, on-par with the best works of Studio Bones. It's almost miraculous how consistently beautiful this anime is. " He also considered it to be "one of the best anime of all time. "[151] Nick Creamer held similar sentiments, writing "the show's fantastic aesthetics elevate it above almost everything out there – in direction, in sound design, in pacing, in animation, in basically every relevant aesthetic metric, Hunter × Hunter triumphs. That it's been maintaining this level of quality for well over a hundred episodes is nothing short of astonishing. "[152] Trivia From its debut (issue 14, 1998) to the present day (issue 22, 2019), Hunter × Hunter has been absent from Weekly Shonen Jump 627 times.