[JUR-697]

Your Wife Was the Best – An Unexpected NTR Story Written in the Resignation Letter of a New Employee Who Quit After 3 Months Ayano Kato

I received news that Saji, a new graduate assigned to us, had quit less than three months after joining. After a series of unexcused absences, he used a resignation agency to leave the company. Just as I was getting irritated by the selfishness of today's youth, Saji's "resignation letter" was handed to me. When I opened the envelope, inside was a piece of paper with "Your wife was the best" scrawled on it. Was "your wife" referring to Ayano, my colleague and wife? Driven by suspicion, I impulsively ran out of the office.

A masterpiece series where beautiful mature women are stolen. 「New Employee Steals a Married Woman」series seventh installment finally features the long-awaited Ayano Kato. The story begins when new employee Saji accidentally witnesses a kiss between Ayano and her husband, the department head. Threatened with reporting the department head's power harassment to the company, Ayano reluctantly submits to Saji's desires. Though she resists at first, as she continues their secret meetings, she gradually drowns in pleasure, eventually moaning "It feels so good! Maybe I only need Saji-kun's dick?" as she allows a creampie. This psychological shift is carefully depicted. At the opening, Saji uses a resignation agency to mail in his resignation while simultaneously sending a message to the department head. When the department head returns home anxiously, Saji declares "Your wife was the best!"—calling back the title. Meanwhile, Ayano, oblivious to her husband's presence, sleeps immersed in the afterglow of sex, creating a shocking finale that leaves an impression. Compared to the previous installment, which featured light flirting in a car followed by immediate insertion back at the office, this time there's ample foreplay and a full, serious sexual encounter depicted. The office drinking party scene is gone, the sex while the department head lies drunk beside them is cut, replaced instead by a handjob in a breastfeeding position leading to ejaculation. This change in direction makes the series feel like it's evolving. However, when Saji first tries to insert and Ayano resists, he says "He (the department head) gets to put it in, right? And I like you more!"—a line that makes you want to call him out. Obviously, the department head puts it in because he's her husband, and that's hardly a valid reason for Saji to do the same. This contradiction might just be part of the appeal of NTR content. Ayano Kato's refined features and impossibly perfect body are stunning, and her beauty deserves to be used in roles like a mama-san at a high-end club using pillow business tactics, or in a sensual yukata scene for "Creampie Mating at a Chance Encounter Hot Spring." Furthermore, I'd love to see a second installment of "A Mother With Too Much Sexual Appetite" where she becomes an insurance saleswoman seducing her daughter's boyfriend. The classic NTR pattern of a young subordinate stealing his boss's wife ensures the continuation of this beautiful mature woman series. Moving forward, I sincerely hope to see ace actresses like Aoi Ichino, Nami Okimiya, the 40-something Maki Hojo and Meika Nanami, and mid-30s actresses like Meguri and Rei Kimura performing alongside Saji, delivering the title's signature line directly to the department head in glorious scenes. That was good, wasn't it? The series directed by Hiroyuki Kimura had often frustrated me with blurry shots and dim lighting in past installments, but this one shows major improvement in that area. The use of lighting in particular is skillful, effectively enhancing the atmosphere of each scene. Though there were still occasional moments where blurriness bothered me, it remained within an acceptable range, and overall the finish was satisfying. Ayano Kato's greatest appeal is without a doubt her high acting ability. While harboring a sense of chastity and moral conflict, she masterfully portrays the gradual descent—both physically and emotionally—into the young employee Saji-kun. The erotic scenes are exceptionally lustrous: at the beginning, the intensity of the kisses is restrained, but by the end it shifts to a dense, sensual entanglement. Overall, I felt the performance was a bit tamer than usual, but even so, it's a work that lets you fully enjoy Kato. Though unrelated to the sex scenes themselves, it's also worth noting how the design and color of the bra gradually become flashier from the opening to the finale. Through the changes in the items she wears, the process of falling—mentally and physically—for the younger employee is skillfully depicted, and such detailed direction adds depth to the work. I truly think Kato is an actress who embodies the classic Madonna style. I can't help but feel that Kanna Fuji's works would have been much better if they had been shot with this kind of direction. I've bought several entries in this series before, but the works featuring Kato and Fuji are a perfect 100 out of 100. Also, the male actor who played the power-harassing department manager and the young employee Saji-kun both delivered excellent performances. I was reminded once again that Saji-kun is an actor who can express emotional nuances well, not just in the sex scenes. With Ayano Kato perfectly cast, this is the best work. This work was a truly excellent piece, packed with masturbation highlights and nothing to complain about! In particular, there were three memorable standout points. First is the charm of the lead actress, Ayano Kato. Her appearance in a white blouse and gray or navy skirt suit is dignified and truly beautiful. She is renowned for her expressiveness and can transform into any role, but personally I feel she is most suited to playing capable office lady roles. I thought the same in her past work "Stormy Night, Alone with My Female Boss Locked in the Office," but is there any other actress who looks so stunning in business wear? The reason I feel realism in the lively office lady role played by Ayano is not just her external qualities—elegant, pure, intelligent, and refined features—but also the human charm that emanates from within, cultivated through her own career development. While she also works as a stage actress, in a society where unreasonable occupational discrimination and prejudice against AV actresses still exist, it is not hard to imagine that when she ventured outside the AV industry, she faced unfair evaluations and unkind treatment. Yet her continued efforts toward her goals are why I feel deep respect and affection. I imagine that her inner strength and perseverance naturally come through, positively influencing her portrayal of working women. Although there are almost no actual work scenes in this work, just being able to see her beautiful suit-clad figure was enough happiness. Second is her acting ability in the sex scenes. This work features four sex scenes, all sensual and well worth watching. Particularly in the first scene, I was overwhelmed by her realistic performance of refusing to let her private parts be seen, her expression of resisting insertion, and the skill of her line, "Saji-kun, this is the office, you know." Third is the third sex scene. At home, with her husband passed out drunk, the scene where she gets her nipple sucked and a handjob while worrying about her husband. Her expression, a mixture of bewilderment and ecstasy, was truly the crowning glory. The melting expression in the fourth sweat-drenched intercourse scene was also superb. In the second scene, the white blouse with pink underwear and a pink scrunchie emphasized her neatness and loveliness, while the contrast with the provocative underwear from the third scene on was an exquisite accent. The male cast also all performed well and were well-cast for their characters. In terms of direction, clever details such as effectively using the reflection on the table in the third scene made this work shine. The miracle of her beautiful witch persona is still going strong. Given that she is an actress who has continued to perform at the forefront for so long, I know it’s hardly necessary to write a new review at this point. However, this particular work was so exceptionally satisfying that I want to jot down my impressions briefly. It’s been nearly 15 years since her debut, I believe. Still, the fact that she continues to reign as a top-tier exclusive actress for a major studio is truly astonishing. But after watching this work, the reason is immediately clear. Her unchanged beauty, outstanding proportions, and above all, her mature ass that has reached the peak of obscenity. Her acting ability, backed by years of experience, and her sensual expressiveness have truly reached the level of craftsmanship. She is a rare presence who fulfills almost all the elements one seeks in an AV. With an actress and actor of stable skill, and a trustworthy production team supporting them, this is undoubtedly a work you can purchase with confidence. Personally, I love the development in this NTR series where the actress falls into pleasure relatively early on, and I can’t help but buy it. In this work, Ayano Kato is no exception—from the very first scene she has already transformed into a woman’s face, and at that point it’s already more than erotic enough. Director Kimura’s signature shooting style, such as intentionally blurring the focus or using slightly dim lighting, felt noticeably toned down in this work compared to past ones. Thanks to that, I was able to fully enjoy Kato’s lewd expressions as she writhes in pleasure, her incredibly erotic voluptuous hips, and her beautiful breasts. Ayano, whose husband won’t perform cunnilingus on her, is instead thoroughly licked and caressed not only on her private parts but also on her toes, armpits, and even her navel, gradually melting away. Her appearance is so erotic that it’s bound to make you burst—this is a work you absolutely must pay attention to. The change in direction was a bad move… The series work starring my favorite actress, Yuna Shiina, had an excellent concept where viewers could choose based solely on their preference for the actress. Following that, I watched this new work starring Yuna Kato with high expectations. However, after actually viewing it, the changes in the progression of the scenes significantly diminished its appeal, leaving me deeply disappointed. The charm of the script lies in five sexual encounters, each skillfully intertwining four stages of degradation: physical degradation, mental degradation, complete degradation, and further degradation after complete degradation. In the first encounter, the new employee pressures her into a physical relationship, depicting physical degradation. The second encounter shows mental degradation by threatening her with a weakness but avoiding actual intercourse. The third encounter serves as supplementary degradation to compensate for the lack of impact from the previous intercourse-free scene. The fourth encounter, a cuckolding act at the boss's home, cements complete degradation. Finally, the fifth encounter, an intense sexual act, depicts further depravity after complete degradation. This flow should have maintained consistent appeal even with a different actress. However, in this work, that meticulous structure has been brutally dismantled. While the first pressured sex scene and the final erotic sex scene remain unchanged, the supplementary degradation has been moved to second place and includes intercourse, changing the sequence. Moreover, the number of encounters has been reduced to four, and the cuckolding scene has also been changed to no intercourse, causing the parallel approach to the four stages of degradation to completely collapse. Fundamentally, there is a huge difference in impact between scenes with intercourse and those without; in crucial degradation scenes, the sense of fall is halved if there is no intercourse. To depict from the start of the relationship to the aftermath of complete degradation, intercourse must be essential in the initial encounter, the complete degradation encounter, and the post-degradation encounter; otherwise, the degradation feels half-baked. Therefore, when reducing to four encounters as in this work, one must include intercourse in the first, third, and fourth encounters; otherwise, the impact will be insufficient, leaving a sense that the degradation is incomplete. The brilliance of the structure and staging perfectly matching the four stages of degradation—established in the Yuna Shiina version: first encounter with intercourse, second without, third with quasi-intercourse as supplement, fourth with intercourse, fifth with intercourse—has been completely lost in this work. There may have been some circumstances, but if this series is to continue as a quality product, I strongly feel that efforts should be made to return to the original structure and staging and further refine it.