This kind of boy meets girl who brings black history and scars into the life of a haunting male protagonist has always had two ways to deal with it. One is the 90s style. In this mode, the tone of the whole work is gloomy, but in the gloomy and depressing atmosphere, it always reveals a kind of warmth and hope through the description of the daily interaction between the male and female protagonists. In the end There is often a feeling of warm winter sun. The story generally ends with the male protagonist growing up while healing the female protagonist’s wounds. One is the style of the decade. In this mode, the tone of the whole work is positive. The female protagonist will also have scars, and the male protagonist also needs to overcome certain obstacles to grow up, but the focus of the story is not this. On the dark things, the emphasis is on the portrayal of the relaxed and humorous happy daily life. The things that need to be learned, overcome, and defeated are not the main focus of the work, but are set there for the purpose of the story. The problem with JK is that, as an author, Paipai brain puts the female protagonist on a work of this kind of bitter hatred and deep hatred, and it does not produce the gloomy and depressive feeling of the 90s style, and this The setting itself is not as ridiculous as the works of the ’90s. So the problem is not at the level of the virgin chef, disgusting and angry at the bus hostess (of course there is such a lively, I can only say that he is like this, you can forgive him) but the overall tone of JK’s work Not serious enough, I felt this strongly when I was reading a novel, and it was even more prosperous after watching the first episode of the animation. At the beginning, it didn’t reflect the feeling that Sayu would collapse immediately if he didn’t meet Yoshida. On the contrary, there is an inexplicable sense of Onuma’s heart-style love comedy. This sense of violation makes people completely unable to understand the entanglement and pain of this setting, but feels that everyone’s hearts are quite big. From ignorance to being trapped in the quagmire to survive, Sayu, who has a strong smile, shouldn’t be portrayed like this. It’s just a very cute JK now, which is in strong conflict with this setting itself (so the problem is really not whether a virgin is a virgin). This sense of inconsistency is the reason for some viewers, including me, to discuss this work, rather than a nonsense topic like the privatization of buses. (You really want to discuss this. I suggest that we make a few buttery books. The plot tension and character creation are not much more interesting than this?) To put it bluntly, this work is silver. I have an idea but I haven’t done it well. Can’t go up or down is a common problem in new works in recent years (this season’s childhood sweethearts, 86, and the previous uncle are all). Different from 86 and childhood sweethearts, those two works can be animated with organic warfare and seiyuu blessing for extra points. But from the first episode, it seems that picking up JK can only reduce points. The original novel’s brushwork can make people say that the brain can fill up the gray and sunny atmosphere. This animation is really not good-you have never seen ” Yesterday’s Song? I’ll go. Finally, I really don’t want to discuss this work. After all, engaging in pornography and sex topics is a difficult and serious technical job, OK? Can those who say “It’s better to watch Huang Man” and “It’s better to fight butter” can apologize to the author of Huang Man Butter. Huang Manyou really has to carefully design this kind of plot. It means there is no character setting. So what about Sayu’s reason for running away from home? There was no such reason at first. I mentioned that when I saw a novel written by someone, “A good kid like Sayu will run away from home, that must be a pretty incredible reason.” I realized this too. At that time Begin to conceive what this reason is. In order to become a book, I was able to complete the setting and outline of the whole article.