MyGO!!! Am I Sakiko the Succubus?

When will the author change the mother's age? Giving birth at ten years old is just too outrageous!

Endless Shennong, come forth!

I think it's the parents of Wakaba Mutsumi, as described by the author, that are what really trigger people's defenses. Because the extreme cases of parents who treat their children like enemies in the original work are a minority, but now it's been changed to Chinese-style parents who say things like, "I'm doing this for your own good," or "I'm suffering so much, isn't it all for you?" That's what triggers people's defenses, because it represents the majority of parents. Even among some more open-minded parents, there's still a shadow of that. Many readers live in families like this, which is why it's so triggering and hard to accept.

The author wanted to write a saintly transmigrator, a succubus version of Saint Bai Xiang, but perhaps didn't realize that his protagonist was already somewhat inhuman. He lacked reasonable responses to his own tragic circumstances and to people like Xiang's father, and the sleepless all-night work was beyond human endurance. It gives me the feeling that the author might have become obsessed with Naruto, thinking that characters like Naruto are normal.

It was so upsetting to read. After resting the book, I reread over 200 pages and noticed the tone shifted. It felt like a completely different style from the beginning. Initially, it was about Xiangzi and the others resolving their inner conflicts and finding mutual redemption. But later on, it seemed to be pushing too hard. Why did it deviate from its initial tone when it was supposed to be a slice-of-life story, with playful banter between girls and romance within a band? As the story progresses, the amount of everyday life content decreases, which clashes with the tone of the earlier parts. Why does it have to end in such a dramatic way? Continuing to depict the everyday life and the girls' playful antics from the earlier parts could have resulted in a much better and more natural ending. Like emotional trauma, not all of them need to be confronted directly to heal; they can also be healed by letting them flow slowly in daily life. I'll subscribe to all of them, but I won't watch them.

I couldn't bear to read any further, so I'll talk about the most off-putting aspect of the character of Mu Mu. Firstly, the book itself is very well-written, and the character of Sheng Baixiang is captivating; otherwise, I wouldn't have continued reading. However, Mu Mu's character feels disjointed, which manifests in two ways. Firstly, there's the disconnect from the original work. The author portrays Mu Mu as a completely different character from the original, except for the shared role of playing a villain. There's almost no connection whatsoever, so I almost dropped the book after chapter six. Fortunately, the later chapters didn't require much further reading. Secondly, there's the mismatch with her identity. A large part of the criticism leveled at the original Mu Mu stemmed from the question: "Would a mother and a successful actress do something like this?" It seemed utterly absurd. While the Mu Mu character in this book is somewhat different, less absurd, she still appears very petty. Forcing this mentality onto Mu Mu makes it hard to imagine how she rose to become a nationally acclaimed actress. Secondly, there's the issue of coping with problems. In the original work, Mutsuko was indeed quite passive, only able to endure. However, the Mutsuko in this work should have sufficient mental and financial resources to cope, yet her actual performance is that these past few months seem wasted; she's still timid and easily stressed. As a thoughtful and imitative child, even if she never considered it before due to family-induced manipulation, now that she's in a band, she should at least be learning something. At best, like Aine, she'd proactively achieve her goals, at least have a chance to talk things out. At worst, she'd be like Rakuna; a cat will run away when it's uncomfortable, and moving away from the sand wall would solve the problem, instead of just seeking out suffering like this. In this situation, you have a longing to escape this suffocating life, and you have the financial means to survive independently. Shoko even mentioned renting a place before, essentially pointing out a path—why wouldn't you run? Yet, you still haven't responded at all.

Because of its low popularity, it wasn't affected (I don't know if that's a good thing or a bad thing, but I'll subscribe to all of them).

Has Lao Xiang found out he is Miss Fengchuan after all this time?

I just had to vent. I came here to see cute girls arguing and their romantic entanglements. Why are all the recent plots just students fighting against tycoons, and it's not even a business war, it's just kids playing house? Zhongdeng and some other oddballs keep jumping around, it feels like Xiangzi could easily crush them in the story, but he just doesn't. Writing like this all the time is really annoying ૮₍ɵ̷ɵ̷̥̥᷅₎ა

The protagonist seems to be under increasing pressure; I suggest renaming him "Jack".