[KSBJ-429]

On the seventh day after her husband's death, the stepmother receives a night visit from her stepson and his friend, and in front of the portrait, she falls into submission as a female. Tsubaki Kato

Her husband passed away, and on the seventh-day memorial, the chaste widow Tsubaki is suddenly returned home by her stepson, who says, "I've been seeing you not as a mother, but as a woman," and pushes her down. The long-lost pleasure causes her carnal desires to bloom, and she is forced into fellatio while being watched masturbating, writhing in ecstasy. Furthermore, the son calls a friend, and it develops into a frenzied threesome in front of the portrait of the deceased, saying, "Let's show it to Dad in heaven too," unleashing their true natures.

Scenes that make you think, "It's precisely because it's Tsubaki Kato!" are scattered throughout! Tsubaki Kato's beauty is beyond doubt—truly exquisite. However, there are moments when a hint of Kayoko Okubo flickers through, and since that would be disrespectful to both of them, I can't say more. The story unfolds with the stepson, who has been aware of his stepmother Tsubaki as a "woman," assaulting her on the seventh day after his father's death. I wonder if there are regions today that separate the funeral from the seventh-day memorial, but I suppose that's the setting. Tsubaki, who should have loved her husband, offers surprisingly weak resistance for someone who just lost him. Once she is pinned down and her crotch is caressed, sweet sighs escape her. You can sense her inner resistance, so it's a quick progression, but a bit more inner conflict might have been better. The scene where the stepson shouts lines like "Let it out!" and "I smell a woman!" reminiscent of Takeshi Oshima made me laugh involuntarily. After penetration, it's Tsubaki's solo show, and her sensual acting shines. As Tsubaki washes her body in the shower, she seems to be basking in the afterglow as if her earlier resistance was a lie. The sight of her lathering soap, rubbing it over her body, and indulging in masturbation is erotic, and she is caught by the stepson and pressed again. "We shouldn't be doing this!" Tsubaki says, but since her husband is dead, there's no problem. Her solo show begins again, and the scene where she receives the stepson's semen in her mouth and declares, "This is the end now!" is striking. It would have been fine if the whole thing was just the back-and-forth between the stepson and her, so why introduce a classmate? The development where the two of them sneak into Tsubaki's bed while she's sleeping raises questions. I wondered if she wouldn't wake up from such an act, but when she finally does, she says, "No! What are you doing?" and "Come on, go home!" with a 90% acceptance rate. Can that really be called rejection? At first I found the classmate a nuisance, but he turned out to be an unexpectedly good accent. That's probably thanks to Tsubaki's acting skills. At the end, when the two say "Thank you!" to Tsubaki, the gentle smile she looks up at them with lingers in the heart. However, I wish they could have done something about the way it wraps up, ignoring the afterglow. If there had been a more emotionally resonant ending, the quality of the work would have been higher. The actress's sexiness comes across, but... The story unfolds as the stepson confesses to his stepmother that he sees her not as a mother, but as a woman, and finally, unable to hold back, he seeks a relationship with her. The male actor's performance, with its "awkwardness" and "hesitant feel," ironically creates realism and adds a nice flavor. Tsubaki Kato's "excellent way of showing reluctance" is also wonderful, effectively heightening the viewer's excitement. However, one thing that bothers me is the recent trend in AV works where actresses don't refuse kissing or tongue-kissing. Normally, there should be resistance like turning the face away or keeping the lips closed to refuse, but they don't do that. In other words, it's as if they're implicitly showing "I'm not really resisting," and that dampens the excitement a bit. To use an analogy, it's like in baseball, with runners on first and second and no outs in the top of the first inning, the situation calls for a sure sacrifice bunt, but the batter hits a grounder to third base. This is a crucial scene where excitement should be building, but instead, I want to hear the struggling breaths of "ngh, nghhh..." as the lips are forcibly taken. Ideally, the flow would be that she only accepts tongue-kissing at the point when she resigns herself to "resistance is futile..." late in the scene. Otherwise, you're losing one of the key points of excitement. Furthermore, in the third sexual encounter, the "son's friend" suddenly appears, and without any explanation, a threesome starts. This left me confused, thinking "Huh? Who the hell is that!?" Normally, they should be meeting for the first time, so what's with the sudden threesome? Normally, I could understand a threesome if the friend happened to drop by and saw them having sex, then said something like "Let me join in this time," but this work has none of that. It's so abrupt that I laughed, thinking "What the hell is this guy doing? lol" That said, I was able to fully enjoy Tsubaki Kato's sexiness. I wished the male actor had been more voraciously aggressive in the later threesome scene, but that was a bit lacking. I'm telling you straight, you know.