vostanime
And by the way, that’s what it is. Just a satire, not a deconstruction. It’s not
doing something we have never seen before to count as though provoking, and it doesn’t lead to a permanent, meaningful change in-series to count as a deconstruction of something. I keep hearing how it never gets old because it’s self aware, and that means . absolutely nothing if they don’t do something
with it. It also feels pretentious when it tries to sound serious without having consequences, such as the dramatic scenes when Mumen Rider cries about doing his best despite being weak, and everybody blaming the protagonist for not doing his job that well. As soon as the arc is over, everybody go on with their lives, as if nothing happened.
Archived
from the original on December 5, 2022. Retrieved December 10, 2020. ^ オーバーロード12 聖王国の聖騎士 上 [Overlord 12: The
Paladin of the Holy Kingdom (Part 1)] (in Japanese). Amazon. September 30, 2017. ISBN 9784047348455.
"member of society yuri") as a subgenre focused on stories involving adult women. [61] The growth of digital platforms like Pixiv, Twitter, and Shōsetsuka ni Narō allowed for the creation and widespread distribution of yuri
works outside of traditional manga magazine and dōjinshi publishing: My Lesbian Experience With Loneliness (2016) was originally published as a web comic, while the yuri fantasy works Sexiled (2018–2019), Roll Over and Die (2018–present), and I'm in Love with the Villainess (2018–present) began as web novels on Shōsetsuka ni Narō before being adapted into other mediums. [61] Yuri stories by openly lesbian creators also became more prominent, such as My Lesbian Experience With Loneliness. [62] Concepts and themes[edit] Intimacy between women[edit] Yuri as a genre depicts intimate relationships between women, a scope that is broadly defined to include romantic love, intense friendships, spiritual love, and rivalry. [63] While lesbianism is a theme commonly
associated with yuri, not all characters in yuri media are necessarily non-heterosexual; Welker states that the question whether yuri characters are lesbians is a "very complicated issue. "[64] Characters in yuri works frequently do not define their sexual orientation in explicit terms, and the matter is instead left to reader interpretation. [65] Rica Takashima notes Western and Japanese fans often have differing expectations for the level of intimacy depicted in yuri, which she ascribes to cultural differences between the groups. [66] She notes that yuri works that enjoy international popularity tend to be explicit and focused on "cute girls making out with each other," while Japanese fans "have a propensity for reading between the lines, picking up on subtle cues, and using their own imaginations to weave rich tapestries of meaning from small threads. "[66] Lack of genre and demographic exclusivity[edit] Though yuri has been historically and thematically linked to shōjo manga since its emergence in the 1970s, yuri works have been published in all demographic groups for manga – not only shōjo (girls), but also josei (adult women), shōnen (boys) and seinen (adult men). Shōjo yuri works tend to focus on fanciful and fairy tale-inspired narratives that idolize Takarazuka Revue-inspired "girl prince" characters, while yuri works in the josei demographic tend to depict same-sex female couples with a greater degree of realism. Shōnen and seinen manga, conversely, tend to use yuri to depict relationships between "innocent schoolgirls" and "predatory lesbians".
