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^ "Yurizoku no Heya". Barazoku (in Japanese): 66–70. November 1976. ^ a b c d e "What Is Yuri?". Yuricon. 28 March 2011. Archived from the original on 2012-01-21. Retrieved 2011-12-05. ^ a b c "Yuri on the Seven Seas!". Seven Seas Entertainment. Archived from the original on 2016-03-03.

For example, you can use it for a granny-type who’s a total sweetheart. Chan is also a common way for girls or women who are friends to refer to one another. But if a guy in a romance anime starts referring to a girl as chan, that means he thinks she’s cute and is probably developing feelings for her. Basically, my personal rule-of-thumb boils down to kun being boy-ish and for buds, and chan being girl-ish, cute, and playful. Sama Sama is basically the intense version of san. Like san, it’s gender-neutral, but it holds a much higher degree of deference. As such, it’s often used to reflect social rank and tacked onto people like kings (“Bossu-sama,” like the king in Ranking of Kings), princesses (“hime-sama” – think Zelda), or god (“kami-sama,” like God Eneru in One Piece). In a true one-sentence summation of the vibe of Japanese customer service, it’s also often used to refer to guests in restaurants, hotels, and other hospitality situations (you’ll now notice “okyakusama” all the freaking time). Sensei Sensei literally means “teacher. ” As such, it’s a plain old noun, but it’s also an honorific. Watch any anime which takes place in a school, and you’ll notice students refer to their teachers not with san, but with sensei.

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And surprise, it turns out they were completely irrelevant. Amazing character development for characters that never mattered with pointless, drawn-out character interaction that did nothing for everyone in the cast.
If all that wasn't enough, the series doesn't even tie itself up properly- The last part of the show involves one of Momonga's minions, who is just as powerful as he is, suddenly being brainwashed through the power of plot convenience because the author thought an actually threatening conflict was needed around this time in the series. Despite taking all the safety precautions with all his power previously, Momonga decides that he needs to make a point about how he's the leader, even though there was absolutely no need for him to do so when all the floor guardians already adore him unquestionably. Basically, Momonga is not very intelligent- Everything goes as he plans because of his raw power and having so many tools to work with- Not because he's actually skilled at strategizing. It also should be noted that this last part of the show was incredibly grating, because the brainwashed minion still sucks up to Momonga while still opposing him. Really, Overlord?
So to summarize what happened in this entire cour: First quarter spends its time on just introductions on characters that have no personality whatsoever outside of all sucking up to Momonga in perfect unison. Second quarter is about Momonga effortlessly beating an army of literal nobodies that won't matter for the rest of the season. Third quarter is about Momonga effortlessly beating an army of zombies and two bad guys that won't matter for the rest of the season. And finally, the last quarter is about Momonga beating a brainwashed minion only because he handicapped himself even though it would've been just as effortless because he's a poorly written character. I can't even really claim that this is a pacing issue with the show itself- This is more like a pacing issue of the novels because the show covers fair amount of the novels. DWMA launches an attack on the moon to defeat Asura, aided by the witches after Death the Kid convinces them to establish a temporary alliance. During the battle, Crona absorbs Asura's body before being overtaken by him. Maka, Black Star, and Death the Kid eventually restore Crona's sanity and defeat Asura by sealing him on the moon with his own blood; Crona willingly remains with Asura to keep him imprisoned, and Maka promises to one day rescue Crona. The DWMA forces return to Earth, where Death the Kid becomes the new Shinigami following his father's death, and establishes a peace treaty with the witches. Production[edit] After the end of his first manga series, B. Ichi, Atsushi Ohkubo created a one-shot story called "Soul Eater" published in June 2003 by Gangan Powered. [8] Japanese readers were so fascinated by it that Ohkubo created two other one-shots called "Black Star" and "Death the Kid", published in September and November 2003, respectively. Since the results were high, the editor of Gangan Comics asked Ohkubo to create a series from his one-shots which became the introductory chapters to Soul Eater. In an interview, Ohkubo said that the series was greatly inspired by ideas from Tim Burton's animations, and by concepts from J. K. Rowling's Harry Potter.