Gimai seikatsu
義妹生活
Days with My Stepsister
Повседневная жизнь со сводной сестрой

 

Формат: сериал (12 серий начиная с 4 июля 2024 г.), 23 июня 2024г. предпоказ 
Жанры: повседневность (duh), Ъ-нихонский романсу.

Студия: Studio DEEN

Режиссер: Такехиро Уено (отдельные эпизоды Hataraku Saibou и т.п.)

Композитор: CITOCA 

Авторы оригинала: Ghost Mikawa (история), Hiten (иллюстрации)

Сценарий: Мицутака Хирота (Rent-a-Girlfriend, Seirei Gensouki, Nanbaka, Kaiji)

Сейю:

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Саки Аясе -  Юки Накашима (Лиса Имай в BanG Dream, Зеновия в Tensai Ouji no Akaji Kokka Saisei Jutsu)

Юта Асамура - Кохей Амасаки (Отто Сувен в Re:Zero, Нейто в MHA, Харуо Ягучи в High Score Girl)

Шиори Ёмиури  - Минори Сузуки (Фрея Вион в Макросс Дельта)

Акико Аясе - Рейна Уеда (Акане в Гридмане, Резе в Человеке-Дружбе, Канао в Kimetsu no Yaiba)

Таичи Асамура - Чикахиро Кобаяши (Легоши в Бистарс, Сугимото  в Golden Kamui, Ранга в ТенСуре)

Мая Нарасака - Айю Сузуки (дебют)

 

Краткое описание: "- Поздравляю, сына, скоро ты станешь папой нии-чан'ом, - обрадовал ученика старшей школы Юту Асамуру его собственный родитель Таичи. - Не смотря на печальный опыт  с твоей мамой, папка всё же решил попробовать еще раз жениться. И так уж получилось, что у твоей без пяти минут мачехи тоже ребенок есть. Судя по фотографии на телефоне, дочка лет десяти, я сам её еще никогда вживую не видел. Сегодня вечером все вместе ужинаем в ресторане, там  и перезнакомимся. А через пару дней они к нам переедут, и будем жить все вместе. Так что йорошику таному, постарайся  стать примерным пасынком и старшим братом."  Не то, чтоб Юта был в восторге от новостей, всё таки с тех пор как мама их с отцом бросила много лет назад, он в отношении женщин был крайне скептичен и недоверчив, поэтому свое общение со слабым полом что в быту, что в школе старался свести к нулю. И даже постоянный флирт со стороны красавицы-семпайки Шиори на подработке в книжном магазине воспринимал всегда исключительно как подколки и насмешки. Ну не закатывать же истерику самодостаточному и, как ему хочется считать, взрослому парню? Уж с десятилеткой как-нибудь да совладает.
Разумеется, вечером на ужине всё оказалось совсем не так, как описывал родитель. Будущая мачеха оказалась горячей милфой, которая целый день проводит дома, т.к. работает в ночную смену (а папка - на работе, смекаете? )))); фотография - сильно старой, т.к. фотографироваться "имота" не любит; а сама новоиспеченная имота Саки Аясе - ярко размалеванной когал, сверстницей и красивейшей девушкой его школы. Будет жить с ним считай что вдвоем, ведь папка - на работе, а мачеха по пол-дня отсыпается после ночной смены. Смекаете, куда ветер дует? )))) А вот и не угадали.... 

 

Собсна, какого рожна...

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... я создал тему для вещи, которая выглядит стандартнейшей стартовой диспозицией типОвого хентая или разухабистой эччавой комедии? Ну как минимум потому, что сабж ими не является. Автор изначально ставил себе задачу сделать фокус на повседневке и постарался, насколько это возможно, нарисовать картину того, как вели бы себя в подобной ситуации реальные люди (с поправкой на японские менталитет и воспитание), а не персонажи ранобе / манги /  аниме. С реалистичными поступками и последствиями. Поэтому никаких смехуёчков, гэгов, эччатины и прочих глупостей во имя читательских / зрительских лулзов. Вместо них двое самодостаточных и уже вполне сформированных интровертов с ворохом персональных тараканов займутся гораздо более важным и насущным вопросом - что делать с этим непонятным и загадочным "пришельцем из космоса", который поселился с тобой на одной жилплощади? Как к нему относится, как и ним себя вести или даже просто общаться? В Японии, что важно. Поэтому обе стороны обострят до предела эмпатию, активируют на полную катушку скилл "場の空気を読む" и пустятся долго-долго с истинно японской деликатностью и величайшей осторожностью выписывать друг вокруг друга сложные и замысловатые па, чтоб не дай ками-сама, не причинить друг другу или родителям малейшего неудобства и при этом продраться сквозь такой обманчивый и многослойный обоюдный татемаэ. Основная ассоциация, которая у меня по ходу чтения  постоянно возникакла - танцы японских журавлей. В процессе чего "пришелец из космоса" будет постепенно очеловечиваться, мутируя в знакомого, кого-то вызывающего симпатию, члена семьи, близкого, а со временем и в кого-то незаменимого. "Под громкое молчание, неловкое мычание, нюансов замечение рождается на свет...."(с), где "секрет" по сути всего лишь побочный продукт в последнюю очередь гормонов, а в первую - непрестанных попыток грокнуть другого человека и помочь ему. 
Основной POV - Юты, взгляд с другой стороны (поначалу) представлен дневником Саки. Каждой сказанной фразе или предпринятому действу как правило предшествуют страницы упорных раздумий и попыток поставить себя на место визави, что раскрываетя в длиннющих монологах за кадром. Если от них откажутся, то понять цепочку размышлений и его действия будет задачей сложной. События развиваются правдоподобно медленно, аки вынашивание слонёнка. Не как в ромкомах, где искусственно тянут до момента "держания за ручки" в силу ватсонианского "хадзукашии" и дойлистского "корову надо доить до упора", а по более прозаичным причинам - взаимные тараканы и огромный объем предварительной подготовительной работы, которую необходимо сделать, прежде чем что-либо станет хотя бы теоретически возможным (и точно не в первом сезоне). Перефразирую известную метафору о японских романтических отношениях как "холодном чайнике на горячей плите",  здесь речь идет скорее о "чайнике со льдом, который стоит себе и отогревается с помощью карманной зажигалки". 
Кому это зайдет? Если вам нравится ловить малозаметные нюансы поведения, отслеживать микроскопические изменения, мониторить мимику, читать невербалику, пытаться понять мышление и мотивацию персонажа, то вам, вероятно, понравится. Если же вы привыкли к классической анимешной гиперболизированной экспрессии, то сабж скорее свего покажется скучным и пресным.  
Не самая легкая в экранизации вещь, особенно для режиссерского дебюта, особенно с таким-то сценаристом, студией и ноунемовым композитором, но посмотрим.

P.S. Забавно, что летний сезон оказался богат на разнокалиберную и очень разную по духу романтику. С одной стороны есть Мнимый гарем с очень тёплой и открытой романтикой западного толка, и в противовес ему сабж с очень старомодной субтильно-изящной Ъ-японской концепцией романтики. Собственно,  моей самой большой претензией мешающей приостановке неверия во время чтения был выбор автором для сеттинга современной эпохи. Ибо, КМК, сейчас подобные школьники "старой закалки" даже в Японии уже повывелись. Вот будь дело в поздней Щёва или хотя бы конце 90ых - начале нулевых,  тогда да... Но то я со своей гайдзинской колокольни сужу, а автору у себя в Японии виднее.
 

 

Видеоматериалы:

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ОР ("Tenshi-tachi no Uta (天使たちの歌)" by fhána) & ED ("Suisou no Buranko (水槽のブランコ)" by Kitri)

 

MAL  Shiki  WA  ANN

Спасибо за описание, убрал из Ptv. 

Мимолетное пересечение двух незнакомцев в огромном черно-белом городе. Вокруг медленно танцуют снежинки, или это такие разные и одинаковые в тоже же время сменяющиеся как в калейдоскопе лица спешащих по своим делам прохожих? От них с легкостью защитит зонт, как и от монотонного потока с небес во время обычного душного и липкого токийского сезона дождей.  Где-то по соседству лениво скользят по калавишам  пальцы умелой пианистки заканчивая композицию многоточием открытой ноты. Дождь методично отстукивает по листьям, поддерживая постоянно умытыми пушистые шарики гортензий. Розовые для прекрасной девы, голубые в знак безразличия и холодности, белые в залог свободомыслия и открытости. Гортензии в тазу. Гортензии это семья, ведь они всегда кучкуются. Кто-то рядом тихо мурлыкает I'm singing in the rain. Необычный и кричащий визуал-интродукция. Нелепый и непрактичный. Все равно, что одевать красную косуху поверх кимоно. Первый совместный поход в ресторан, откровения на фоне неоновых вывесок. Гамма незнакомых ароматов смешанная с цитрусом, смущением и испанским стыдом. Их временно глушит неслышный шелест лепестков сакуры в футляре от магнитофонной кассеты. Баррикады коробок с неизменной черной кошкой красной белкой. Тепло горячей ванны убаюкивает и расслабляет, заставляя перегруженную голову проигрывать отдельные события такого длинного дня вторя Акине Накамори, в слоу моушн. Оглушающее дыхание живых существ в паре метров за стеной.  Нечаянно симпровизированная симфония для выключателей. Назойливый писк электроники в ярком утреннем свете не самого приятного пробуждения. Продемонстрированное и засвидетельствованное в гонке вооружений достоинство. Дискомфортный вкус во рту от приготовленной непривычным способом яичницы и неведомый доселе вкус чего-то получаемого просто так, без надежды на равноценную компенсацию. Школа выбранная строго по соображениям эффективности и участливый совет от беспокоящегося товарища такому обычно правильному и социально-адаптированному тебе держаться подальше от плотно окутаной коконом скандальных слухов такой неадаптированной её. Чарующе-обманчивый аромат зрелой жещины смешанный с принесенными на крыльях бриза ароматами лета окрашенного в цвета заходящего солнца. Скука, работа и фрустация от явного непонимания очевидных собеседнику вещей. Первый взрослый опыт, опыт договора на равных и добровольно взятых на себя серьезных обязательств. Странные ощущения и странные желания. Еще более странные разговоры и догадки. Негодование смешанное со стыдом. Будничные подвиги, за которые никто не поставит памятник. Тонкий и контрастный девичий силуэт в холодном свете открытого холодильника. Может, чтобы достать и съесть наконец мороженку в знак попытки понять и принять незнакомую доселе "себя", а может, чтобы выразить то же самое иным способом. Взрослые мысли, взрослые устремления, взрослая помада и взрослое облачение. Резкий выстрел щелчка выключателя. Сменившую его наэлектризованную тишину кромешной тьмы нарушает только прозвучавший тихим плеском вод Рубикона шелест соскользнувшей с плеч ночнушки...  
 

В этом сезоне у меня четыре тематических онгоинга: романтота открыто-тёплая западного толка, романтота субтильно-японская, романтота отакунская и романтота корейского образца. Со всем четырьмя первоисточниками был знаком до экранизации, поэтому +/- знаю, чего от них ожидать. И вот это вот единственный в хорошем смысле нежданчик. Отлично попавшие в голоса персов сейю выкладывающиеся на 110%, замечательная дебютная работа композитора с первой же минуты настраивающая на нужный вайб и очень удачный выбор, ИМХО, использованных режиссером приёмов. Для своей дебютной работы в качестве главного режиссера сериала он на мелочи не разменивался и черпал вдохновение из лучших образчиков. Вот прямо с первых минут сильно ощущается влияние двух знаковых вещей: раннего Синкая и мувиков KnK (особенно второго). От первого взяли манеру показывать диалоги без "говорящих голов", фокусируясь на контексте (крупные статичные планы окружения и предметов интерьера), закос под киноэффекты и проработку мелочей. От вторых - выбор эстетики визуала и характера музыкального сопровождения, тусклая цветовая гамма, выбор ракурсов, игра на контрасте яркого света с темным окружением и наоборот, длинные дубли почти без движения или слов и ну очень активное использование невербалики. Во время чтения внимания не обратил, но таки да, со вторым мувиком Садов сюжетных точек соприкосновения достаточно много. Пересмотрел уже несколько раз, и, наверное, еще не раз пересмотрю: в каждой отдельной сцене что-то да есть. Не достающая в отличии от Юты ногами до пола Саки, кринжево-нервная клоунада Таичи, сосредоточенно-нервозная походка Юты по пути в ресторан, синхронные движения тремя головами во время игры в приставку, осторожно принимающий чашку какао так, чтобы не коснуться своими пальцами её пальцев Юта, запутавшаяся в непривычных выключателях Саки, синхронный смех на новоселье, разбиение на пары при заселении и социальная дистанция при разговоре по душам. 
Закадровые монологи Юты вырезали чуть-чуть компенсируя надписями и невербаликой, так что с пониманием мотиваций, поступков и построением причинно-следственных цепочек у аудитории будут траблы. Я было подумал, что это только лишенных культурного контекста гайдзинов привычно отправили лесом читать ранобе, а оказалось, что и местным зрителям далеко не всё понятно, особенно учитывая неизбежное вырезание сцен при адаптации. И частично подтверждая моё  наблюдение о том, что Юта и Саки производят впечатление принадлежности к более раннему поколению конца 80ых - 90ых  - поведение и мышление обоих ГГ для современной школоты не совсем ясны. Поэтому автор ранобе после каждой серии выкладывает в твитор длинные объяснения с разжевыванием произошедшего для аудитории, чего он там имел в виду. Похвально. 

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Thank you to everyone who watched episode 1. Although it has just aired, I would like to write my thoughts on the anime from the perspective of the original author for viewers. (This post will contain spoilers for the first episode, so please be careful if you haven't seen it yet.) First of all, people who watched the anime without knowing the original (novel version) may have thought, "Huh? It's not what I thought it would be." I think many people imagined a slapstick romantic comedy about a man living with his step-sister. However, this work is not a so-called romantic comedy. If you were to list the elements such as the character placement and basic setting, it would be an average romantic comedy, but I didn't particularly want to show love or comedy, but rather aimed to bring out the lives of the characters that exist. However, I didn't want to lose the charm of the two-dimensional world by leaning too much towards the three-dimensional world (reality), so I explored the expression of three-dimensionality to the very limit without losing the charm of the two-dimensional world. A similar genre would be "human drama," but since it focuses more on romantic feelings, I couldn't find a suitable genre expression in the existing ones, so my editor and I decided to serialize it under the name "romantic life novel." "A personal novel written by a fictional character," "A reading experience that feels like the diary of a real person," - these are the unique features and value of "Stepsister Life." First-time readers who read the bullet-pointed story development alone may not understand why so many readers support this work. This is because the core of its appeal is not in the story development that can be expressed in bullet points, but in the reading experience that includes the small details of daily life, the detailed expressions, and the overall reading experience. ...So far I've been writing about the intention of the original work, but yes, this post is an explanation and review of the anime. I may be scolded for babbling about irrelevant things, but it was necessary to explain the anime. Please forgive me. Well, since I wrote the original work with that intention, I thought it would be extremely difficult to turn it into a film. In fact, in the Stepsister Life Radio (episode 3), Director Ueno said that he "felt it was difficult," and I felt about 50% sorry and said, "I know! I'm sorry!" But the other 50% also thought, "I'm really glad that someone who felt this was difficult directed the film." The fact that it was difficult is also proof that he perfectly understood what I value in Stepsister Life. If you just list the events that occur in the story, it's just a love comedy, so it's possible to just accept it and make it as a "not very interesting love comedy." But instead, he picked out the core of the appeal and faced the difficulties head-on. I'm really grateful for that. Next, we will explain the finer details. ・As those who have watched the film have already noticed, Yuta and Saki's characters and how they met, these two are "super, super argumentative and annoying." This is especially true in terms of their relationships. Both of them have witnessed and experienced the breakdown of their parents' relationships up close. They have often stood neutral between two people who are in conflict and are at odds with each other, such as when one person takes something done out of consideration for the other person as malice, or when they blame the other person for not being able to understand their true feelings, which they should not be able to understand. They have experienced firsthand the fragility of human relationships. People who have one-sided expectations of others, get hurt without their consent, and yell abuse... Yuta and Saki are people who feel the "ugliness" of the "bias" in human relationships. If you were to apply symbolic character attributes to the two of them, you might be able to describe them as "cool," but in fact, if you describe them as "cool," your interpretation of them will be slightly off. They are basically low-key and don't raise their voices much. However, that doesn't mean they lack emotional ups and downs, and they're not indifferent to others. Therefore, they try to be friendly towards people they meet for the first time, and this is also reflected in the conversation they have when they first meet. Although Saki, who is a person of the same kind, saw through his lack of enthusiasm for humor, Yuta has basically lived in society by communicating with people in a way that blends in with them, without being too intrusive, too rejecting, too playful, or too strict. This is communication that makes it difficult to make enemies because you don't expect anything from others. On the other hand, Saki has the same sensibility of not expecting anything from others, but she has a type of communication that rejects people who seek the subtleties of human relationships from the beginning and chooses isolation from them. However, she only does this communication when it is a problem that is resolved by her alone. While she is fine with being alone and is okay with being disliked by everyone else, she cares for her mother Akiko more than anyone else and does not want to do anything that would cause Akiko to lose out. For this reason, he tries to be as friendly as possible towards Taichi, the man Akiko has decided to love, and Yuta, who will soon become his family. That's why he makes a point of smiling when they first meet, something he doesn't do at school. With just under two years left until high school graduation, he vaguely thinks that if he can secure Akiko's place by appearing friendly on the surface, then he can quietly distance himself and live alone to separate peacefully. ...He doesn't want to have any expectations of the men in his family, but he doesn't want to reject them or hurt them either; he became a family with these nuanced feelings that can't be described as black or white. When they were alone, Saki deliberately showed her cool side only to Yuta because she sensed a similarity between them -- sensing the possibility that they could live their family life with the same attitude as she did, she took a gamble and showed a little of her true side, and since Yuta was just the person she expected, they reached a "contract." ・Original elements of the anime Those who have read the original novel will have noticed that this anime actually has a lot of original depictions, and many lines and scenes are omitted (cut). When Saki moves in, she finds a sticker on the wall and traces it with her finger. When Yuta comes home and sees the living room lit up, he thinks of something. The presence of a cup of miso soup is emphasized, and a flashback of a meal from the past occurs. All of these are original to the anime. However, on the other hand, I feel that these scenes were certainly present in the story of these two people, even though they were not described in the original novel. If Yuta and Saki were real people, I have the impression that they reproduced the original (their lives) more faithfully than the original novel -- that Director Ueno and the staff picked up on the things I forgot to write when writing the novel. - About the drawing, directing, art, and editing: I used to watch a lot of live-action movies, but since I became an adult, I have had fewer opportunities to watch TV anime, so I'm not actually that knowledgeable about anime. So I don't have the education to talk much about the unique expressions of anime, but if I were to share my thoughts as an amateur, I couldn't help but feel that every possible technique was used to realize the theme of "Stepsister Life" through animation. The sounds that would exist if they were alive, the breathing, the everyday movements of a human (maybe we could call that everyday acting), and the natural acting of the voice actors all blended together naturally on the screen. This doesn't feel unnatural, so it seems like it would just flow naturally, but in fact, I think it must be incredibly difficult to make it feel unnatural. I hope that viewers will pay attention to the small details, such as the scene where Yuta and Taichi have a conversation about "I've decided to remarry" (the scene where they are making instant breakfast) and the drink bar scene. Also, the city of Shibuya, including the Yamanote Line, is depicted with a definite sense of reality. The backgrounds (art) are all wonderful and beautiful. Since the aim was to make the characters seem real, the world in which Yuta and Saki live also needed to have a high sense of reality, and this was easily overcome. However, what I'm thinking here is that, although it goes without saying that each of these "points" is attractive, that's not the most important thing. It's certainly nice and wonderful to isolate a part of it, such as the artwork, art, or music, and I think they are all wonderful things...but more than anything, I want people to pay attention to how all the elements come together in harmony and are completed as "one work," including the flow of time - I strongly felt that this is a work that should be viewed not as "points" but as "lines" or "surfaces." Even in the original novel, it was a work that did not emphasize "points" such as memorable lines from characters, cute gestures and expressions, cool lines from the protagonist, or easy-to-understand highlights. It was a work that was aimed for, piling up small "points" that were modest but focused on the details, and that when you look at the whole work as a "line" or "surface," you can feel comfortable and like it. And in fact, many readers who sympathized with that sensibility liked it and supported it. I think the TV anime "Stepsister Life" has a similar quality. Immerse yourself in the world, watch over the characters, and feel love in the details... I hope it reaches as many people as possible who are looking for that kind of experience. ...And that was the author's commentary and thoughts on episode 1! I checked the word count check function and it was over 4000 characters... it's too long... Thank you to everyone who read this 4000+ characters that I didn't even bother to proofread. I look forward to seeing you next week.

Thank you to everyone who has watched the second episode. Following on from last week, I will be writing my thoughts on the anime from the original author's point of view for the viewers. (Please note that this post contains spoilers for episode 2, so if you haven't watched it yet, please be careful.) This long commentary and impression is only from my point of view, so it is not necessarily correct (the director may have other intentions) and it is not meant to define how you, the viewers, should enjoy the anime. Please enjoy it as a sub-content. This is a post for those who want to read the commentary. If you want to read and understand the work yourself, please enjoy the work alone without reading this post.
Now, let's go. Some of you who have already watched episode 2 may have felt that the content was unkind. Even if you didn't take it negatively, you may have found it difficult and confusing to understand, "What the hell is going on?" and may have found it difficult to understand and puzzling. Why is this happening? To understand this, I think it is easier to understand if you first know the intention of the original story.
As I wrote in last week's long commentary post, the core of the appeal of "Gimai Seikatsu" lies in the very fact that it depicts the ironclad structure of romantic comedy, in which you have to live with your stepsister, in an extremely realistic and precise way. And in the process of searching for this realistic expression, we dare not do one thing that is important in romantic comedies. That is to make the heroine's emotions clear. When I write romantic comedies, I often write them in such a way that the reader can clearly recognise that the heroine is embarrassed, angry or sad in this scene. Even when I describe an emotion that is somewhat difficult to understand, I structure it so that the reason for the emotion or action is revealed as soon as possible.
However, in 'Gimai Seikatsu', I dared to write in such a way that we don't know clearly what Saki is thinking until the very end. Why do I do that? It is because 'Gimai Seikatsu' is a personal novel about a fictional character, and the author places great importance on a sense of reality.
The novel version is basically told from the first-person perspective of Asamura Yuuta , but I chose first person not as a technique, but as a result of a thorough investigation into "if Asamura Yuuta were a real person, what kind of flow of thought and description would be most realistic". Even in first person, it is possible to write in such a way that the emotions of other characters are clearly conveyed to the reader. In fact, in other works, I have used such a writing style. However, this was not the case in 'Gimai Seikatsu'. The fact that "from my point of view, I don't know what the other person is really thinking" is itself one of the propositions that I had to depict in "Gimai Seikatsu", which is why I had to write it in such a way that in Yuuta's POV (and the reader's POV as well) he doesn't know what Saki is thinking.
Of course, that alone does not make a novel, so we have prepared an answer part at the end of the first volume. It is a kind of service to the reader to show Saki's true feelings, which Yuuta does not know. Why did Saki say that thing at that time, why did Saki do that ...... thing that was unknown from Yuuta's point of view is told through a certain gimmick. It is like a kind of mystery to be answered. The key to the original novel was to elaborate on things that are very common in the real world, such as the mystery of human relationships and the fact that one event can be interpreted in a different way from a different person's perspective.
Now, on top of that, we will discuss the expression of the second episode. I will explain and comment on each element.
The scene at the beginning of the story, the waking up scene - the conversation between Yuuta and Saki
There is no dialogue and it is very casual, but some information is presented here. 'Yuuta wakes up as per his alarm (he is not sloppy, he is a regular person), on top of that, Saki is already awake when he wakes up and there are signs of activity' 'Yuuta gets himself ready before Saki (in a non-guarded state). Saki, too, has not shown her most vulnerable state of being asleep and awake". This shows that they do not yet consider each other as someone to show their private life to, and that they draw the line as 'strangers who just live in the same house'.
Scene at school
Yuuta looks down at Saki from the cross corridor and is concerned about her during PE time for the ball games, but it is revealed at the same time that he did not know about her reputation until ...... Maru told him. But Saki didn't just appear out of nowhere, and she has always had a bad reputation, so why didn't he know anything about her? The answer is that he was not interested in other people (especially girls). He had no friends other than Maru, nor did he intend to make any, nor did he intend to be a loner. 'If I am spoken to, I treat them normally on the surface, so I don't have many people to remember their names from. ' She only recognises the existence of Maaya Narasaka because she is such a prominent celebrity, but she almost doesn't recognise any other students. Hence, you have also been in close proximity to a student called Ayase Saki, but you don't recognise her, and then suddenly she comes into your sight when you start living together and you get to know each other.
About high-paying job and armament mode.
Saki is strongly repulsed by her own father's words, who curses her mother, Akiko. In the scene at the dining table, when Yuuta says that it is "nonsense" for some people to complain about Akiko's educational background, she expresses her true feelings when she says, "Agreed!", in a forward manner. In this episode, Saki lists some of the prejudices that women tend to be subjected to, and Yuuta expresses empathy with her, but there is a conversation that was subtly cut from the original story in order to make it into the anime. The reason for the cut is for reasons of length and to focus on disclosing part of Saki's true feelings to Yuuta. In the original story, Yuuta later talks about the prejudices that men tend to be subjected to, and Saki expresses sympathy for this, and this reconciliation of values is the reason why Saki and Yuuta begin to trust each other.
By the way, if you have already watched episode 2, you probably have some inkling of the 'danger' of the character Ayase Saki. She is smart, beautiful, noble, yet flat and unbiased (......), and she does her best to embody these ideals. But an ideal is a perfect one, and as humans are imperfect beings, it is very difficult to maintain an ideal. It is no exaggeration to say that it is impossible. It may be possible to embody the ideal temporarily, but if you try to continue that state ......, there will always be a distortion somewhere. Or rather, there is already a distortion in some aspects of communication. In a conversation, you would normally respond to the word 'A' thrown at you by the other person with an immediate response of 'B', but she respond with 'B' after a roundabout thought: 'I will consider 'B', 'C', 'D' and 'E', weigh them up and choose 'B' as the most fair and better answer'. That is certainly level-headed and correct, but it is quite burdensome and wasteful in terms of brain processing. It is a contradiction in terms: it seems clever, but it is not clever at all.
It is also an error in her nature to show an interest in things like 'quick, high-paying jobs'. It is often said that it is a short-sighted act to get involved in such things, but in her case, the need for a 'quick and profitable high paying job' was what she arrived at in the process of thinking and searching for a practical and efficient means to embody her ideals. It is ironic that ...... is not the kind of person who should be gossiped about, but by choosing the path that feels right, she is getting closer to the kind of act that results in being gossiped about.
The story of wanting to make miso soup
"I'll make miso soup every day" is an old ironclad proposal phrase, but it became ironclad because homemade miso soup is a kind of symbol of the so-called home and homemade cooking (probably). Yuuta had hardly been allowed to drink homemade miso soup since his family had gone cold, and as well as the taste, I think he unconsciously sensed something like affection or warmth, and was soothed by the feeling of a missing piece being filled. Incidentally, the flashback to the past of facing his own mother at the dining table and drinking instant miso soup is an original direction in the anime, and the original novel does not go that far. However, Yuuta's former family environment, what kind of defects he has, and other deep personal details were discussed with Director Ueno, so this anime-original is also a direction that is "not in the original work, but just like the original work". The "deal" that they made here would not be a "deal" if they were family members, and it would seem to be a matter of giving each other free of charge. However, this is not the case with these two. Neither Yuuta nor Saki know what 'free love' is. Maybe they knew it in the past, but they have forgotten it. They believe deep in their hearts that if they don't give something, they can't get something, so even trivial things like 'making miso soup' or 'collecting information on high-paying part-time jobs' don't feel right unless they are accompanied by an exchange condition. I think it's fair to say that it's clearly presented here that 'Gimai Seikatsu' is 'a story of two people who heal each other by helping each other while having distortions and deficiencies in each other as if they were exchange conditions'.
The scene when Saki was almost ... by the truck to when Yuuta gives her his umbrella to
This scene was greatly compressed from the original novel when it was made into an anime. Why didn't Saki notice the car not braking, what conversation did she have with Yuuta afterwards, what thoughts did she give him the umbrella and why did she return home soaked in the rain? Everything is described in such a way that it is impossible to know. If I talk about this in too much depth, it would spoil episode 3, so I'll refrain from doing so, but there is a good reason. It is up to the viewer to decide whether they find the expression accurate or not, so I will leave it up to you to decide what you think, but the intention is there, and it is clear. It is not structured in this way unnecessarily. To put it in a last-minute way that doesn't spoil anything, it's just that the events have inevitably happened because of the little by little effects of the 'Saki distortion' and 'Yuuta lack' mentioned above: 
Now, I have written a lot so far, but it is time to wrap up. For viewers, episodes 1 and 2 may have had a strong sense that they were seeing bits and pieces of Yuuta and Saki's tiggly parts and disparate pieces. I personally believe that this is always a part of the process of deepening relationships. You judge someone on the basis of your first impression (a kind of prejudice), saying 'this is the kind of person he/she must be' → As you continue the relationship, you start to see words and actions that differ from your impression → Gradually you start to see the essence of the person that you did not see, and your understanding of him/her becomes deeper. --This is the process of getting to know a person. If people find this gradual understanding of a person, like a puzzle, interesting and interesting in itself, they will enjoy 'Gimai Seikatsu' even more. In episode 3, "something" is waiting for you, which will allow you to clearly understand the direction in which the work is heading, as well as the sensation of the puzzle being put together. Please look forward to it.

Люди жалуются на графоний, а мне вполне нра. Надеюсь они весь бюджет не угрохали в эти три первые предпоказные серии. 

Изменено 15 июля, 20241 г. пользователем Bistriy
Edit: grammar (смотреть историю редактирования)

Тоже видел в режиме предпоказа. ...В итоге сделал вывод, что смотреть его надо после окончания выхода всех серий и с свободном режиме, не ожидая каждую новую серию.

Показалось, что классический формат сериала этому произведению не совсем подходит. Тут нужен был другой формат, типа ОВАшек по 40-50 минут.

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Изменено 15 июля, 20241 г. пользователем Сёгун (смотреть историю редактирования)

3 часа назад, rewersi сказал:

Показалось, что классический формат сериала этому произведению не совсем подходит. Тут нужен был другой формат, типа ОВАшек по 40-50 минут.

Пожалуй да. Всё развиваются настолько неторопливо, что в трех сериях событий уместилость примерно как в половине обычной ромкомовской серии, да еще и на пропусках эндингов дополнительный хронометраж выгадывают. Двадцать две минуты это слишком мало, чтобы с таким темпом выразить более-менее законченную мысль или полноценно показать какое-то событие. А разбивать его на несколько выходящих раз в неделю серий значит риск для зрителя забыть чем оно там вообще начиналось и в чем конкретно сыр-бор, особенно в таком зависящем от мелочей источнике и требующей прочувствования экранизации. Но тогда ОВАхи по пол-года каждую ждать...