This work begins with the setting of the third anniversary of my brother's passing. Three years ago, my brother passed away, leaving behind his wife, Hibiki-san. I remember that sweltering summer seven years ago when my brother first brought Hibiki-san home; we cut watermelon, boiled corn, and shared a meal together. At the end of the year my brother died, she moved out, but we've maintained a relationship where we meet on the anniversary each year, and I occasionally check on her at her apartment out of concern.
After actually watching this work, I found that despite being in a raw filming style, the male performer often covers the action with a fixed camera angle, making the crucial joining parts almost invisible, which is disappointing. There are several sex scenes, but all lack practicality and fail to deliver the impactful depiction fans might expect.
When it comes to Natsume Hibiki's works, they've often been characterized by fantasy creampie scenes or monotonous interactions that feel lukewarm, but this production takes it a step further. The intimate scenes are so questionable that one might doubt if they're genuinely happening, feeling like a work where she's just moaning without substance. As a solo actress, I wish she'd put more effort into the intensity of the interactions.
The premise of interactions with a brother-in-law also raises doubts about its market demand. Moreover, in the first crucial intimate scene, there's an abrupt shift where she's asked to perform oral sex while holding the camera, and she doesn't say anything, creating an unnatural feel. Midway through, there's talk about erotic stories with her husband, but nothing ignites excitement. The sequence moves from a playful bath scene to a finale with yukata-clad creampie, but the idea of getting pregnant two weeks later leaves me scratching my head. Where did the father-in-law go? Honestly, I wished for Ginji to appear and turn the finale into a threesome.
Overall, this is a work with potential in its setup, but the direction and filming methods don't fully capitalize on it. Fans of Natsume Hibiki might want to give it a watch, but it's best to keep expectations modest.
After actually watching this work, I found that despite being in a raw filming style, the male performer often covers the action with a fixed camera angle, making the crucial joining parts almost invisible, which is disappointing. There are several sex scenes, but all lack practicality and fail to deliver the impactful depiction fans might expect.
When it comes to Natsume Hibiki's works, they've often been characterized by fantasy creampie scenes or monotonous interactions that feel lukewarm, but this production takes it a step further. The intimate scenes are so questionable that one might doubt if they're genuinely happening, feeling like a work where she's just moaning without substance. As a solo actress, I wish she'd put more effort into the intensity of the interactions.
The premise of interactions with a brother-in-law also raises doubts about its market demand. Moreover, in the first crucial intimate scene, there's an abrupt shift where she's asked to perform oral sex while holding the camera, and she doesn't say anything, creating an unnatural feel. Midway through, there's talk about erotic stories with her husband, but nothing ignites excitement. The sequence moves from a playful bath scene to a finale with yukata-clad creampie, but the idea of getting pregnant two weeks later leaves me scratching my head. Where did the father-in-law go? Honestly, I wished for Ginji to appear and turn the finale into a threesome.
Overall, this is a work with potential in its setup, but the direction and filming methods don't fully capitalize on it. Fans of Natsume Hibiki might want to give it a watch, but it's best to keep expectations modest.