La siguiente resea est en Espaol e Ingls traducida con el apoyo de DeepL La versin leda es la traduccin al espaol por Otak Ichitaka Seto tiene un irremediable error como personaje para el contexto que le es presentado su absoluta carencia de evolucin. Es costumbre que en el harem romntico el protagonista empiece con pocas caractersticas redimibles ms all de amabilidad o atencin destellos de genialidad y en su caso tambin cuenta con ello la diferencia es que en su extenso camino al final sigue slo con las mismas cualidades. Una y otra vez se enfrenta a dilemas bastante similares entre s en los que se equivoca creemos que aprende para que nuevamente se equivoque en lo mismo en el prximo problema. El aparente trazado de una evolucin se resume en nicamente un momento del cul dependa la obra para seguir existiendo. Y es una lstima porque si hay algo de inters a nivel narrativo es lo emptico que puede resultar en ciertas escenas para su pblico objetivo. Porque Seto no exhuma esa confianza o seguridad como otros protagonistas del gnero tiene dudas acerca de sus deseos cmo afectarn a las otras personas y de qu manera quiere asumirlos los cules son expresados de forma transparente y efectiva en el monlogo interno y plasmados visualmente por Masakazu sea por medio de diferentes recursos como el collage de recuerdos o encerrarlo en el panel es ah cundo Ichitaka es la mejor versin de s mismo. Pero ese abordaje no es extendido a travs de cambios en sus actitudes slo deriva en promesas esperando a ser rotas. 440https://i.ur.com/eI5sFYh.png Tambin tiene otra marcada carencia no tener cualquier otra dimensin que no se involucre con sus relaciones es decir carece de pasatiempos intereses o sueos este ltimo se referencia en la narrativa desde cierto punto as que puede tratarse de una omisin intencional sin embargo la ausencia de los otros dos es slo una enorme contra para conseguir inters o empata por l. Un protagonista hueco que slo existe para su relacin y ni an as consigue llevarla bien. Otra razn para ese vaco en el que habita son los personajes secundarios y cmo han sido tratados porque al contrario de su protagonista tienen ms personalidad que es expresada en intereses y las relaciones entre ellos. An con poco tiempo en la narrativa a varios se les puede demarcar una cierta evolucin sin embargo dado que la trama est tan enfrascada en el drama romntico la mayora de sus interacciones con Ichitaka ser el consejo u observacin con excepcin de su mejor amigo Teratani y el elenco femenino principal. Porque como se ha mencionado es un harem de comedia romntica aunque caracterizarlo de harem es algo exagerado en vez podra considerarse como un tringulo romntico repetido diferentes veces durante el transcurso de la narrativa. Un planteamiento narrativo que al darle espacio a la historia debera permitir que se desarrollar apropiadamente sino fuera que la caracterizacin de los personajes femeninos est por debajo del mismo Teratani. 440https://i.ur.com/9qjzd4N.png Katsura utiliza los personajes a su conveniencia no como si fuera pues personajes. Introducir y omitir para agregarle inters a la historia principal sin tener consideracin por los seres que ha creado y nuevamente es una lstima porque contrario a Seto si tienen algunas caractersticas ms all de su dimensin afectiva como los intereses artstico y perspectivas futuro los cules son bordeados no profundizados no se les brinda mayor atencin que para los propsitos del malentendido o el gag. Y quien se lleva la peor parte es la herona principal Iori. Iori es dos personajes diferentes entre antes y despus del hecho principal de la historia y aun aceptando su repentino cambio de personalidad aduciendo a la importancia de ese suceso tenemos un final que contradice sus esfuerzos y actitudes hasta ese momento slo para ser complacientes con el Seto que nunca se ha dedicado a cambiar ni comprender a los dems. Su acto de herosmo sigue siendo el mismo del comienzo un inintencional espejo que refleja lo poco que ha importado los ocurridos sucesos. Me ha gustado el dibujo de Katsura de hecho mi inters por la obra lleg a partir de sus portadas en la que me atrajo ver un estilo ms cercano a lo realista algo que no es frecuente. Y ese talento se ha trasladado a sus pginas porque an si hay un pobre contenido la presentacin lo mejora en varias maneras. Tiene un gran sentido del posicionamiento del personaje respecto al entorno que suele detallar con dedicacin un buen ritmo en el cmo se presentan los sucesos y un diseo de personajes que an si no es excepcional si resulta agradable verlos aterrizados a la realidad hasta cierto punto. 440https://i.ur.com/TzZUMR6.png Si hay un factor de evidente contraste es el abordaje de su fanservice porque por si slo puedo admirar y gustar del talento de Katsura como dibujante ms no su habilidad de escritor la obra abusa de la imaginacin pervertida durante paneles y paneles al punto de que termina cansando por ser un recurso barato de utilizar y cuando no lo usa se vale de las situaciones ms inverosmiles y absurdas en bsqueda de entretener en algo al lector notable en su aumento conforme la serie avanzaba demostrando la necesidad en retener en algo a su pblico. Por lo tanto slo puedo quedarme con su talento al lpiz implicando que me hubiera sido de mayor disfrute y valor ver alguna coleccin de ilustraciones en vez de leer su historia. Podr tener cualidades especficas en momentos particulares ms el despropsito del resto ha evitado que le tenga buen recuerdo o lo recomiende por inters genuino o histrico. English Ichitaka Seto has an irremediable flaw as a character for the context that him is presented his absolute lack of evolution. Its common that in the romantic harem the protagonist begins with few redeemable characteristics beyond kindness or attention flashes of genius and in his case he also has that the difference is that in his extensive path to the end he continues with only the same qualities. Again and again he faces dilemmas quite similar to each other in which he makes mistakes we believe he learns so that again he makes the same mistake in the next problem. The apparent outline of an evolution is summarized in only one moment on which the work depended to continue to exist. And its a pity because if there is anything of interest at the narrative level is how empathetic it can be in certain scenes for its target audience. Because Seto doesnt exhume that confidence or security as other protagonists of the genre he has doubts about his desires how they will affect other people and in what way he wants to assume them which are expressed in a transparent and effective way in the internal monologue and visually captured by Masakazu either through different resources such as the collage of memories or enclosing him in the panel thats when Ichitaka is the best version of himself. But this approach is not extended through changes in his attitudes it only derives in promises waiting to be broken. 440https://i.ur.com/DrLPJLo.png He also has another marked lack not having any other dimension that is not involved with his relationships that is he lacks hobbies interests or dreams the latter is referenced in the narrative from a certain point so it may be an intentional omission however the absence of the other two is just a huge counter to get interest or empathy for him. A hollow protagonist who only exists for his relationship and even then doesnt manage to get along. Another reason for this emptiness is the secondary characters and how they have been treated because unlike the main character they have more personality that is expressed in their interests and the relationships between them. Even with little time in the narrative several of them can be demarcated a certain evolution however since the plot is so engrossed in romantic drama most of their interactions with Ichitaka will be advice or observation with the exception of his best friend Teratani and the main female cast. For as mentioned its a romantic comedy harem although characterizing it as a harem is a bit of an exaggeration instead it could be considered a romantic triangle repeated different times during the course of the narrative. A narrative approach that by giving the story space should allow it to develop properly were it not that the characterization of the female characters is beneath Teratani himself. 440https://i.ur.com/FQjsukK.png Katsura uses the characters at his convenience not as if they were well characters. Introducing and omitting to add interest to the main story without consideration for the beings he has created and again its a pity because contrary to Seto they do have some characteristics beyond their affective dimension such as artistic interests and future perspectives which are skirted not deepened not given more attention than for the purposes of misunderstanding or gag. And the one who gets the worst of it is the main heroine Iori. Iori is two different characters between before and after the main event of the story and even accepting her sudden personality change on the grounds of the importance of that event we have an ending that contradicts her efforts and attitudes up to that point only to be pandering to the Seto who has never dedicated himself to changing or understanding others. His act of heroism remains the same as at the beginning an unintentional mirror reflecting how little the events have mattered. I liked Katsuras drawing in fact my interest in the work came from its covers in which I was attracted to see a style closer to realism something thats not frequent. And that talent has carried over to his pages because even if there is poor content the presentation enhances it in several ways. He has a great sense of character positioning with respect to the environment that he usually details with dedication a good rhythm in the way events are presented and a character design that even if it is not exceptional it is nice to see them grounded in reality to a certain extent. 440https://i.ur.com/tDrW6Y2.png If there is a factor of evident contrast is the fanservice approach because I can only admire and like Katsuras talent as a drawer but not his ability as a writer the work abuses the perverted imagination during panels and panels to the point that it ends up tiring for being a cheap resource to use and when its not used it uses the most unlikely and absurd situations in search of entertaining the reader in something notable in its increase as the series progresses demonstrating the need to retain something to its audience. Therefore I can only keep his pencil talent implying that it would have been of greater enjoyment and value to me to see a collection of his illustrations rather than read his story. He may have specific qualities at particular times but the inanity of the rest has prevented me from remembering him well or recommending him for genuine or historical interest.