[ADN-780]

I Was Fucked by My Daughter’s Boyfriend. The Story of Being Fucked Repeatedly Since the Day I Was Forcibly Pushed Down Yuna Shiina

I gave birth young, and despite opposition from those around me, I raised my beloved daughter Miku single-handedly. I never wanted her to suffer the same hardships I did. I wished for her to be happier than anyone else. Yet, her boyfriend Gou, of all people, stole a moment behind my daughter's back and forcefully took me. I am that child's mother, and yet... Torn between motherhood and womanly feelings, I felt it so intensely that it was infuriating.

A Woman Who Graduates from Being a "Mother" and Opens the Box of Desires She Has Kept Hidden Deep in Her Heart for a Long Time While Yuna Shiina has established a solid position as a Madonna exclusive and shown stable acting skills, this work appears as a main collaboration piece with Attackers. The protagonist of the story is a woman who became pregnant at age 20 while in university, chose to give birth despite strong opposition from her boyfriend's parents, abandoned her studies, and worked continuously to raise her daughter. Currently she works from home at a call center listening to the complaints and worries of strangers. Some days she can meet customers' needs and be of help, other days not. She never denies people's worries or hopes, just accepts them. However, she feels no emotion towards the work itself. Not only regarding work, she carries a loneliness where she had to kill her emotions to survive. Even after child-rearing settled down, unfulfilled days continued. One late night, her drunk daughter brought home a young man she was meeting for the first time. The daughter became pregnant at age 20. Before she knew it, her daughter had become the same age she once was. She herself had parted with her lover, abandoned her youth, and chose the path of becoming a mother. Meanwhile, her daughter enjoyed college life and brought a man into their female household. The man was a young elite employee at her internship. There was certainly happiness in seeing her daughter's smile. But she could not hide her envy towards her daughter who might grasp the happiness she herself could not obtain, and the loneliness of her daughter's imminent departure. The anxiety of what would remain for her after her daughter became independent grew. Each of Yuna's beautiful yet seductive eye movements strongly conveys to the viewer the heart and body's longing of a single mother hiding loneliness but putting on a brave face. A stranger daughter with a woman's face, and a man who likely was the one who made her a woman. Witnessing the two of them, her body begins to ache. The next day, the young man who forgot his notebook visits the house. He shows interest in the woman's efforts and work content. He skillfully slips into the gaps of the woman who has lived a daughter-first life. The expression of her writhing at the first insertion in a long time is truly excellent. The act in the living room and the final entanglement take place in the same location, effectively depicting the change in the woman's state of mind. The next morning, the woman is sought again by the young man who had fucked her and probably also fucked her daughter. She is confused when he compares the tightness of her pussy to her daughter's and praises her. Later, a foreshadowing is set where she competes with her daughter as a woman. The young man is engaged to the managing director's daughter while preying on job-seeking students. The woman cannot refuse such a man as he steps into her heart and body with dirty shoes. The fleeting pleasure escalates to the point where she cannot bear to see the affectionate sight of the young man and her daughter. The catharsis of the woman who, despite wanting to protect her daughter's smile, ends up destroying it together with the young man is depicted. The monologues are also excellent. This is a work in which Yuna brilliantly portrays a woman who discards the mask of a mother and chooses the path driven by her own emotions. She demands insertion with a pussy fart rather than words. Yuna Shiina plays a mother who gets fucked by her daughter's boyfriend in the eighth installment of the series. This time, she appears as a single mother. One night, her drunk daughter Miku is brought home by her boyfriend Tsuyoshi, and since it's late, he decides to stay over. There, Yuna accidentally witnesses Tsuyoshi and Miku having sex. The next day, when Tsuyoshi comes back to pick up something he forgot, he hears that Miku will be home late, so he pressures Yuna, saying, "You saw us last night, didn't you? Let me comfort you," and proceeds to fuck her raw and creampie her. Tsuyoshi has a fiancée who is the daughter of his boss at work, but since she won't have sex with him, he's been involved with Miku. However, once he gets a taste of Yuna's tight pussy, he starts coming over to pressure her, and Yuna, despite her inner conflict, begins to give in. After seeing him having sex with Miku, Yuna calls Tsuyoshi to a love hotel, saying, "Break up with Miku! You're just playing around, right?" and when Miku goes out, she summons Tsuyoshi for a creampie. When Miku catches them in the act, Tsuyoshi panics, but Yuna ignores it and kisses him, asking for more. During a standing doggy-style creampie at the entrance, a "bibi-bi" pussy fart sounds, and though Yuna pleads with words, her pussy seems to speak first. When transitioning from standing doggy-style to cowgirl on the sofa, a rich "boryuryu" pussy fart echoes, making it incredibly sensual. Throughout the series, the boyfriend is a sadist, and in this installment, his rotten scumbag nature stands out even more. However, Yuna, who has fallen into the trap of sex after a long dry spell, can't resist the pleasure despite feeling bad for her daughter. The mother, who has lived for her daughter, has her femininity awakened by a young dick. The hopeless tragedy of the mother enjoying sex, shaking her hips with abandon, while her daughter watches, is fascinating. Since this is a collaboration with Madonna following the previous work, I'd like to see Mita Kana, Ayumi Yumi, and Kato Ayano in it too, and I'd also love to watch Attackers exclusive Natsume Saeharu, former Madonna exclusive Yoshizawa Yuki, and Tono Miho. It's more like a story about being touched by my daughter's boyfriend, but actually... I was truly overwhelmed by Yuna's acting ability. Her expressiveness tightens the entire work. The story is an NTR development where she steals her daughter's boyfriend, and the complex emotions as a mother role were brilliantly depicted. In the latter part, the scene where Yuna, jealous of her daughter and friends getting excited about a trip, begs her boyfriend who has a fiancée, "Break up with my daughter soon," is impressive. There, she says, "If it's just for fun, I'll satisfy you. I want my daughter to keep smiling," and actively kisses him, but it's clear that reason still prevails. Then she urges the man to pull her close, and when he replies, "Miku is right over there. Don't you want her to keep smiling?" Yuna says, "Haah haah... that's right," as her reason collapses, and she begins to lewdly stroke his penis, transitioning into a sloppy fellatio. However, due to editorial reasons perhaps, it cuts off there, and honestly, since it was the most lascivious NTR scene, I wanted to see more. I would have loved to savor Yuna's erotic fellatio in detail. My personal wish: at the end, while she's doing a loud, erotic cleanup fellatio, the daughter appears with "Oh, Miku!" and after glancing at her daughter, she kisses him, says "Give me more ♡," and Yuna's sadistic side kicks in, leading them to the bedroom for a full-on fuck—I wanted to see that. In the middle, the scene where they can't hold back and fuck in the entrance, the line from Yuna's waist to her hips as she moves herself in doggy style was very beautiful. Also, the dazed expression in the facing seated position overflowed with Yuna's cuteness, and her disheveled hair was incredibly sexy. If I were to mention two points for improvement: first, the foreplay from the initial sex scene to the fellatio at the beginning repeats similar content, wasting 11 minutes (though Yuna's Tiffany blue knit was very cute). If it had to be around 120 minutes, I wish that time had been used for another scene. Second, instead of the daughter saying "I'll be late because I have an orientation," I'd suggest changing it to "I'll call you if I'm going to be late," and then on her way out, she spots the man and calls out, but he's looking at his phone and doesn't notice, or she runs into him near the house after seeing a LINE from Yuna. The daughter asks, "What's wrong?" and he replies, "I came to pick you up ♡," but then walks with her only to say, "Sorry, I forgot something at the client's," and they part ways. Anyway, since the phone is on the table, I wanted a scene where Miku calls during the sex. The lighting design also beautifully highlighted Yuna's body, which was very good. Since Madonna has a surplus of actresses, is this a temporary rental transfer in the form of a collaboration? I'd also like to see older works like "You Forgive Me" or "Slave Soap" and Season 2 of "Slave-Colored Stage" from Attackers. Why this setting, I wonder? I watched a single mother work performed by Yuna Shiina. Previously, the first installment of the series starring Maihara Sei resonated deeply with me, so I checked out the new work with high expectations. However, my honest impression after viewing is that the charm of the first work is not fully utilized in the new one. The core of this series lies in the setup where the daughter's boyfriend makes a move on the daughter's mother. The interest of this situation heavily depends on the relationship between him and the daughter. The ideal development is that he maintains a stoic relationship with the daughter without any premarital intercourse, gradually becomes drawn to the mother's charm and emotions, and ultimately makes a move on her. I think this is the most dramatic and easiest form to empathize with. However, since the series' concept itself is that the mother's feminine passions erupt after witnessing sex with her daughter, there is inevitably an upper limit to its appeal. No matter how much the direction is refined, his scumbag nature never completely disappears. Therefore, it remains within the realm of combining a somewhat cruel good story with a tale of female passion, and it never reaches the ideal form of interest. So, when considering the best possible direction, it is to suppress his scumbag nature as much as possible. Yet, in the new work, the setup pushes his scumbag nature to the extreme: he is engaged to the managing director's daughter but not allowed premarital intercourse, he makes a move on the job-hunting daughter, and then also makes a move on her mother. This makes it difficult to empathize with him and immerse in the story, appealing only to a limited audience that likes "that kind of scumbag nature." In the first work, under the premise that he does not care about the daughter, the development depicted the mother unleashing her feminine passions. Therefore, his scumbag nature was limited to that toward women, achieving the maximum interest of the concept. However, in the new work, the addition of the "managing director's daughter" setting disperses his scumbag nature across multiple elements, and the interest is not properly sublimated. Even if the daughter and mother clash, his attention is directed toward the managing director's daughter, making the entire story feel hollow. To elevate this work to a certain level of interest, it is essential that he is a genuine scumbag. However, the ending provides a conclusion where he is shaken after being seen by the daughter in his relationship with the mother, so his scumbag nature does not reach its peak, and the dramatic interest collapses there. As a series work, it is clearly less interesting compared to the first installment. If the concept inherently limits the interest, then at least it should aim to reach that ceiling. Personally, I strongly wish for the story to focus on the feminine passions of the daughter and mother.