In Tokyo, I Have a Dangerous Woman at Home

The plot about Miho's whereabouts was written in a drawn-out and tedious way. Normally, they would just rush in, kill everyone, and directly ask the old man where he was. Why all this nonsense?

How strange. Going to the enemy's lair to rescue people, activating berserker mode... If I were the villain, holding a knife to a prisoner, what would the protagonist do? Walk over and stab them in the hand. If they dared to shoot an arrow, just slice their neck. I'm curious... I didn't watch the rest, it got a bit awkward... Shouldn't they be rescuing people before activating berserker mode? You did the opposite!

When writing a satisfying moment, avoid overly verbose narration and excessive filler.

Regarding the matter of being recommended even after being cut.

The more I read, the more annoyed I became. It seemed enjoyable at first glance, but was actually incredibly frustrating. The writing style appeared sophisticated, but it just got increasingly irritating. Towards the end, it started skipping between five or six chapters.

It's not that you write well after you achieve results, but that you achieve results by writing well. You can't even finish three books and you still want to make money by writing books? You can't even persevere. I was really looking forward to this book, but I abandoned it because of poor results.

Isn't it too weak? There's hardly a main storyline.

I feel like I could have written at least a few hundred more points for the last book…

The premise itself is flawed; the unchangeable precognitive ability is the biggest pitfall, because this ability is utterly meaningless except for pointless showing off.

Can you even stand watching this? By chapter 15, I was thinking, "He just finished robbing someone with a bow and arrow, and then he goes to the archery club to defeat their leader, and he's not even from that circle anymore! Wow, this is incomprehensible!"