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Characters[] World Government Revolutionaries Civilians Pirates Imu Five Elders Jaygarcia Saturn Marcus Mars Topman Warcury Ethanbaron V. Nusjuro Shepherd Ju Peter CP0 Jabra Blueno Kumadori Fukurou Kalifa Marines Issho Aramaki Sabo Arabasta Kingdom Nefertari Cobra Nefertari Vivi Black Drum Kingdom Wapol Kinderella Ryugu Kingdom Neptune Fukaboshi Ryuboshi Manboshi Shirahoshi Dressrosa Riku Doldo III Ballywood Kingdom Ham Burger Other Mari Straw Hat Pirates Monkey D. Luffy (flashback) Franky (cover) Whitebeard Pirates Portgas D. Ace (flashback) Tontatta Pirates Leo (flashback) Happo Navy Sai (flashback) Author Comment[] Author Comment TranslationOriginal I talked properly with Akutami-san for the first time at the Tezuka Prize selection committee. A respectable​ person! A person of character!! 手塚賞審査会で芥見さんと初めてしっかり話した。ちゃんとした人!人格者!—Eiichiro Oda English translation by Awaikage. For comprehensive translation credits, see here.

"boy love") to describe yaoi works that do not feature sexually explicit content. [4] In Japan, the term shōjo-ai is not used with this meaning,[4] and instead denotes pedophilic relationships between adult men and girls. [14][15] History[edit] Before 1970: Class S literature[edit] Writer Nobuko Yoshiya, whose works in the Class S genre significantly influenced yuri Among the first Japanese authors to produce works about love between women was Nobuko Yoshiya,[16] a novelist active in the Taishō and Shōwa periods. [17] Yoshiya was a pioneer in Japanese lesbian literature, including the early twentieth century Class S genre. [18] Her works popularized many of the ideas and tropes which drove the yuri genre for years to come. [19] Class S stories depict lesbian attachments as emotionally intense yet platonic relationships, destined to be curtailed by graduation from school, marriage, or death. [17] The root of this genre is in part the contemporary belief that same-sex love was a transitory and normal part of female development leading into heterosexuality and motherhood. [20] Class S developed in the 1930s through Japanese girls' magazines, but declined as a result of state censorship brought about by the Second Sino-Japanese War in 1937. [21] Though homosociality between girls would re-emerge as a common theme in post-war shōjo manga (comics for girls), Class S gradually declined in popularity in favor of works focused on male-female romances. [22] Traditionally, Class S stories focus on strong emotional bonds between an upperclassman and an underclassman,[18] or in rare cases, between a student and her teacher. [23] Private all-girls schools are a common setting for Class S stories, which are depicted as an idyllic homosocial world reserved for women.

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[94][95] In regards to the art, Silverman initially felt it was "a bit generic shounen",[87] but praised the improvement of the art during the Slave arc. [96] The panel composition, realistically barbaric violence, and attention to detail in constructing the setting were highlighted and compared with those found in Kentaro Miura's long-running series Berserk. [23][86] Comic Book Resources acclaimed the art as one of the reasons to why the manga became highly popular. [97] The return of action scenes in the Merchant arc was praised by Manga News for showing how detailed Yukimura's art can be. [98] Other manga authors have commented on Vinland Saga. Attack on Titan author Hajime Isayama said that Thorfinn is his favorite character from Vinland Saga due to his humanity and guilt. [99] In particular, he enjoyed how the manga went from the action story to a calmer take when Thorfinn becomes a slave as it helps him to form a notable character arc when he lets go of his violent days in favor of a redemption quest. [100] Writer Hiroshi Seko believes Thorfinn's age and role in a story of Vikings to be one of the best reasons for the series' popularity. [37] Golden Kamuy artist Satoru Noda praised Yukimura's artwork for how the manga already starts depicting Nordic elements alongside backgrounds. In regards to characters, Noda particularly enjoyed Askeladd due to his notable skills as well as cruel, and merciless traits. [101] Yukimura recalls receiving several negative responses from the fans after the ending of the first story arc as Thorfinn is no longer portrayed as a Viking and instead spends the time farming. Konohamaru decided to leave Remon in Kankitsu care, despite Boruto insisting that he should tell Remon how he felt about her. One-Tail Escort Arc[] Main article: One-Tail Escort Arc In the anime, as everyone had time off from missions, Boruto's family was preparing to go on a camping trip with Hinata's side of the family. Boruto however was growing bored and wished to resume training under his mentor Sasuke. When noticing Sasuke's hawk flying into the village, he sneaked into the Hokage's office building and discovered Sasuke was heading to the Land of Wind. Seeing this as an opportunity to meet up with him, Boruto lied to his family about being assigned a training mission before sneaking onto a train to the Land of Wind. There, he discovered Sasuke and Gaara fighting Urashiki, during which Sasuke transported to another dimension. Being prevented to engage Urashiki by Gaara, the Kazekage managed to temporally seal the Ōtsutsuki who was targeting Shukaku for its chakra. Shukaku seals itself in a tea kettle in order to not be sensed, leading to Gaara entrusting Boruto alongside with Shinki and Kankurō with escorting the tailed beast to Konoha. Along the way, the three were intercepted by Urashiki's puppets, leading to Kankurō facing the threat alone while Boruto and Shinki went on ahead. Noticing an explosion where Kankurō was, Shinki insisted to head-on, while Boruto refused to leave Kankurō when he needed them most. Returning to the scene alone, he encountered Temari and Shikadai.