SAME-189 - Widow, report of a pregnancy filled with sorrow. Miyayuune

While the visuals are decent with the younger Uchimura, there's a disconnect. When an older guy like Tabuchi or Ozawa says they've lost everything, it feels believable. But with Uchimura being young, it feels like he could just start over. His lines about the 'joy of sex' also feel off. The writing and setup need work. I also think Miya doesn't quite fit the role compared to someone like Shiramime Miu. Both are gorgeous, but Shiramime's more unconventional looks suit the vulnerable widow role, while Miya feels too vibrant and tough. Her line about 'Satoshi was my only husband' doesn't land, and she doesn't seem particularly submissive during the rape scene. The difference between the initial assault and the final sex scene is minimal, which is a letdown. I wanted a more emotionally charged connection like in the Shiramime arc, but it devolved into just a lot of positions. Miya's lack of visible pleasure is a shame. Ultimately, the series' theme of finding a reason to live feels diluted. Uchimura's relentless stamina is a plus, and Miya's detached expression is strangely erotic. It's not a bad film, and might be the best of the three I've seen (excluding Shiramime). But as a drama, it leaves something to be desired.

I thought it was going to address the Miya issues, but the next installment uses the same setup, so it was a series-wide change to revitalize things. They've shifted from a brotherly conflict to a father-son dynamic, and now it's about a stepmother and stepson. The appeal of the series was the resentment between brothers and the young wife's pregnancy and abortion. The problem is that the animosity between brothers is different from the animosity between a father and son. Someone without personal experience might see them as the same, but they're different, even though they're family. What you can forgive between siblings is different from what you can forgive between parent and child. Without considering that, using the same direction will result in a less interesting story. That's the difference between brothers and father-son relationships. Since future installments will continue with the father-son setup, I'm stopping my follow-up of this series. Another potentially good series has gone downhill.

*Akane Mitani becomes the sixth widow on the first anniversary of her husband's death. Her husband, who is far older than her, has a stepchild, Takumi, who appears on the first anniversary of her husband's death and repeatedly inseminates Akane in front of his deceased husband's photograph! The development is the same from the first work. Akane is strong enough to slap her on the cheek when Takumi tells her, ``You're better at handling women than my father.'' However, Akane is attacked and although she desperately resists, he is penetrated and creampied. Akane says, ``I'm not going to lose it to you,'' and carefully gives a blowjob and gets titty fucked, making her look like she's not satisfied.Even after that, when Takumi asks her to do it in front of the deceased's portrait, Akane surrenders herself to the pleasure. Akane Mitani's acting skills have perfected the style of the Attackers, and I think she would have been better as an exclusive member of the Attackers than in Honchu, so until she retires, I want her to be a ``loud neighbor'' who sluts the neighbor, or a ``married woman boss'' who wears thongs and is lusted after by her subordinates. Up until the previous work, he was a middle-aged man because he was her husband's brother, but in this work, he is her son, and the young and womanly Akane will also get rid of his sexual desire, and if she can get pregnant and start a new life, her husband will be relieved from the shadow of Kusaba, and his son-in-law will also be able to take revenge and start his life all over again with the beautiful Akane! It's a wonderfully positive work that doesn't hurt anyone, so it's only natural that they should be exclusive to it, and I'd like to see even veterans like Hibiki Otsuki, Sumire Kurokawa, and Kana Morisawa shoot it.

The widow's sexiness is on full display, and the transition from her crying face to a sensual one feels so natural. The scene has a really heavy atmosphere, but the eroticism is spot on. Juon-chan's moans are a perfect blend of sadness and lust, totally captivating. The intense scene in front of the Buddhist altar was particularly memorable.