If I can go to other places by myself when I grow up, I would like to go to a distant country. I want to visit a distant island, an island where no one is there, an island where there is neither pain nor sorrow. There are no children, no adults, no teachers or classmates, and no mother on the island. On that small island, I can climb trees when I want to, swim when I want to swim in the sea, and rest when I want to rest. On the island I would think of cities where only I do not exist. Children still go to school as always, adults still go to work as always, and mother still eats as always. Whenever I think of the city where only I don't exist, my mood is very light. I really want to go to that far place. ——The reasoning part of Kayo Hinazuki is very general, and it is wise to avoid the specific ability of re-screening. Real emotions, delicate descriptions, and just the right music make people feel very immersed, happy or nervous for the character's behavior. The warmth with Kayo Hinazuki is also quite touching. In fact, I can't understand it with Jiadai. It's better to say this. After all, it is a difference of nearly 20 years. But the front is really too sweet, and the transformation in the back is a bit blunt. The scene on the rooftop was a bit rushed and handled a bit bluntly.
The animation actually wants to discuss quite a lot, righteous partners, redemption of sins, domestic abuse, and the power of trust. But it is true that time is limited, and some aspects are not handled very well. Even so, the delicate and tender stories are enough to move people.
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