Sep 11, 2022
Not as deep as it pretends to be. The art is gorgeous, particularly where the eyes are concerned. They’re honestly hypnotic, and I have probably lost hours staring at them. That is where the praise ends. The ending devolves into a bad retelling of the love octagon subplot of Okada’s other work, A Lull in the Sea. But that work was actually enjoyable, so just go and watch that instead. Nina’s a shallow narcissist who refers to herself with ridiculously high praise for someone who wouldn’t be. She can’t decide if she wants her self-restrained pedophile director or Kazusa’s boyfriend. But she knows she wants
to have sex. Why? Doesn’t care. Just because. Kids are horny! Didn’t you know that? We’re gonna pretend like you didn’t! :D
The lesbian gets ignored until the plot no longer can afford to, at which point they have her question whether she’s actually a lesbian as if there was some poll about it a few chapters earlier in which a majority of readers expressed their dissent to this choice. The character with the best development, Jujo, gets written off just to propel the plot to an ending like they suddenly needed one because the printing contract was due to expire. They make the characters behave inconsistently by contradicting previous lines, one of them just to get ahead with a guy (Nina). And this is all played for laughs. What was the point of acting serious in the first place if only for the authors to intentionally laugh off the conclusion? And they act like a teenage boy wanting multiple women in multiple ways is somehow deep and inflective. Every teenage boy is horny. This whole series is just a collection of obvious observations spun with pretty words and layers of purple prose (SO much purple prose) to make you believe that this is anything new and thought-provoking. This literally just gets points for the art. Mari Okada has finally succeeded in creating a steaming pile of hot garbage.
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