PRED-200 - 妻と倦怠期中の僕は逢花（義妹）に誘惑されて何度も、何度も、中出しをしてしまった…。 山岸逢花

*Ayaka Yamagishi exudes a sense of sisterhood. . . It's a play that makes you feel the misfortune of wanting the same thing as your older sister through your actions (not through your lines). It's so erotic. You can feel the heat in her body as she heads to the hotel for the secret meeting, unable to contain her excitement. Even when they meet again, they don't suddenly hug each other, and the way they keep a slightly reserved distance is also the eroticism of adults. He has met her so much that when he finally meets her, he gets discouraged, and his mood is clever because he wants her to think that he really likes her, and not that he's just a bastard. It's even more tempting. The long-awaited insertion was from behind, and I was left alone for a while without being allowed to hug her. I can't stand it anymore, but I can't help but ask for it with my hips, but I can't help but feel frustrated and frustrated when he doesn't respond. Of course, the purpose was probably to create a position that would make Yamagishi's beautiful breasts and tall belly look attractive, but it was a wonderful drama that brought out the character of the younger sister in a three-dimensional way.

*When I look at the actress Aika Yamagishi, there are moments when I feel something that is not enough to just be described as "beautiful." This work is the culmination of this, and the danger of being a step-sister and the immorality that is supposed to be an extension of everyday life, and the sense that it is slowly eroding reason, are very vividly depicted. The first thing that catches your eye is the perfection of her body. The round buttocks that spill out from the thong, the softness that makes you want to hug her even though she is slender, each one of them exists on the screen as a ``real life'' without any sense of life. Her charm lies not in her artificial eroticism, but in the "serious temperature" that mixes with her casual expressions and gaze. The story begins with a quiet gap in the relationship between a married couple in a period of boredom, but when the sister-in-law, Aika, enters the relationship, the balance suddenly collapses. At first, the man is supposed to be rational, but every time he comes in contact with her gaze or sense of distance, he gradually falls apart. I was impressed by how carefully the process was portrayed, and how it was depicted as a ``choice with no escape'' rather than just a turbulent relationship. Aika's cowgirl position can be said to be the core of this work. He lowers his back and seems to dominate the other person, and in some ways he seems to be on the "wanting side." The fluctuation is very erotic and gives you a sense of depth that goes beyond being just a slut. As was praised in the reviews, the movements of her hips are not mechanical, but there are moments when they seem to be the sway of her emotions. Also, her relationship with the actor is characteristically intense, with long periods of kissing and close contact, creating an atmosphere that feels more like an ``irreversible accomplice relationship'' than just a physical relationship. The humidity of the kiss, the sweaty skin, the erratic breathing at the moment when the distance becomes zero, these details add up to give the entire work a weight of immorality. The strength of the actress Aika Yamagishi lies not in her flashy production, but in her ability to show extremely realistically the moments when an ordinary woman falls into a state of decline. The process by which reason gradually crumbles is so convincing, and that's why viewers find themselves drawn to the same place before they realize it. Before I knew it, it was no longer just an affair drama, but a work in which we heard the sounds of everyday life being broken.

A bit late to say this, but this is truly a masterpiece. It became the start of a series that continues to this day. Yamagishi-san, who was entrusted with the first installment, was a top actress at the time.

Even taking that into account, it's an excellent work bursting with eroticism. As expected of the golden duo, Yamagishi Mineka and Director Sapporo Taro. It's a shame you can see the condom, but if not for that, it would be a 7-star work, so I'm docking points to give it 5 stars. It's a significant drawback, so if that bothers you, I recommend not buying it.

*There's no way one actor can do so many shots, so it's an unreasonable setting based on a pseudo-simulation.