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Like Guédira, Raoul is refusing to accept Assane's death, leading Claire to grow worried about his mental state. She gives her phone number to Raoul's new basketball coach, Alex, and asks him to let her know if her son is having any difficulties. Mariama's kidnappers order Assane to steal a painting by Edouard Manet, currently in the illegal possession of a gang leader named Cisco. In disguise, Assane
ingratiates himself with Cisco's gang, managing to gain a position as a getaway driver in a robbery that they are
planning. With some help from gadgets designed by Benjamin, Assane double-crosses the gang, leaving them to be arrested by the police, and makes off with the painting, which he gives to Ferdinand, one of the kidnappers, at an arranged rendez-vous point. Having placed a tracking device made by Benjamin onto the painting, Assane impulsively decides to follow Ferdinand to try and locate Mariama. 144"Chapter 4"Daniel GrouGeorge Kay and François Uzan5 October 2023 (2023-10-05) While at work, Claire is informed that the doctor who examined Assane's body is not in the hospital's database. Beginning to have doubts about what happened to Assane, she finds Raoul's written attempts to prove that his father is alive, in which he has highlighted the name of the Arsène Lupin story Edith Swan-Neck. After a semi-incognito trip to the library, Claire acquires the book and, while reading it, stumbles upon the phrase "with Lupin, there's no such thing as death". Meanwhile, Assane is forced by the kidnappers to plan the theft of a bracelet belonging to Tara Xang, wife of real estate magnate Max Moller, both of whom will be appearing at a gala at the Château de Thoiry. In preparation, Assane shows Benjamin how to escape through a hedge maze on the grounds of the château.
Nami learns that Big Mom is Lola's mother, and that the homies will not attack as long as she carries Big Mom's Vivre Card. Nami uses this advantage to support Luffy, and she creates rainclouds that weaken Cracker's "Biscuit Soldiers". Following Cracker's defeat, Luffy and Nami reunite with Sanji and try to bring him back, but Sanji
hides his situation and repels them. The pair are defeated by Cracker's avenging army, robbed of the Vivre Card (which Nami had split in two in advance), and imprisoned in Mont-d'Or's book. Before Nami can be tortured by Opera for Lola's whereabouts, she and Luffy are rescued by Jimbei. They then
join up with Chopper and others to go into the Mirro-World and rescue Brook, who was captured by Big Mom. After receiving Luffy's decision to rescue Sanji's family, Nami joins forces with Capone Bege's operation to assassinate Big Mom. On the day of Sanji's arranged wedding, she infiltrates the venue as Luffy throws it into chaos and assists in rescuing the Vinsmoke family. When the assassination attempt fails, Nami is caught by Smoothie while attempting to retreat into Capone Bege's body, but is rescued by Sanji's sister Reiju. After escaping from Big Mom's collapsing castle, Nami wields the Vivre Card and pits the homies Kingbaum and Zeus against the pursuing Big Mom. She promises to meet Luffy — who has taken refuge in the Mirro-World — on Cacao Island at a later time.
[25] 1970s and 1980s: The "dark age"[edit] In 1970, manga artist Masako Yashiro published the shōjo manga Shīkuretto Rabu (シークレットラブ, "Secret Love"), which focuses on a love triangle between two girls and a boy. Noted as the first non-Class S manga to depict an intimate relationship between women, Shīkuretto Rabu is regarded by some scholars as the first work in the yuri genre. [27] As both Yashiro and Shīkuretto Rabu are relatively obscure and the work focuses in part on male-female romance, most critics identify Shiroi Heya no Futari by Ryōko Yamagishi, published in 1971, as the first yuri manga. [28][29][30] The 1970s also saw shōjo manga that dealt with transgender characters and characters who blur gender distinctions through cross-dressing,[31] which was inspired in part by the Takarazuka Revue, an all-female theater troupe where women play male roles. [32] These traits are most prominent in Riyoko Ikeda's works,[33]
including The Rose of Versailles (1972–1973), Dear Brother (1975), and Claudine (1978). [34] Some shōnen works of this period featured lesbian characters, though they were typically depicted as fanservice and comic relief. [35] Roughly a dozen yuri manga were published from the 1970s to the early 1990s, with the majority being published in the 1970s. [36] Most of these stories are tragedies, focused on doomed relationships that end in separation or death. [37] Owing to the small number of works published during this period and their generally tragic focus, Yuri Shimai has referred to the 1970s and 1980s as the "dark age" of yuri. [38] Several theories have emerged to
explain the bias towards tragic narratives present in this period. Writer and translator Frederik L.
