Wow, this thing doesn't hang around, huh? Jeez, girls, you have a week! Pace yourselves! Nobody even tried to figure out what's happening or if "winning" even matters, yet, they just found their bags full of toys and jumped straight to the stabbing. If this is all it took to get them going, I'm amazed that there weren't life-or-death knife fights breaking out in home ec every day.

Also, lol, that girl managed to sneak up on everyone in a straight, open corridor, getting stealth backstab criticals with a goddamn live chainsaw. Just how. How any of this. How's a high school girl even going to sling an actual full-size chainsaw around, anyway? Shit's heavy! It's not even a good weapon! Who decided the equipment loadouts, anyway? You get some girls having to sneak around with a kitchen knife while others get a bag of grenades? So unbalanced.

Didn't somebody say that this author hasn't done anything with action, before? Because it really shows.

last edited at Aug 16, 2015 3:43PM

Alright, well, this got a little non-euclidean, but whatever. Porn physics, sure, whatever. My question is: how is she doing anything that complicated with her toes when she's literally JUST broken a nail badly enough to draw blood? At first I thought she was just using her other foot, but you can see the band-aid! This is some Love/Death level shit, right here, jeez. And then she's dancing on it the next day, too, better than ever.

Pfwa. That escalated quickly. Seems kind of a waste of evil friend, though? Like, she didn't even have a chance to use the main character for her own ends and betray her, she just immediately dies. Kind of anticlimactic. The triggers on those ankle chains also look a bit too sensitive? If the mechanism reacts to a teenager trying to pry them open with her hands, then it seems like it'd probably also react to the person falling over or getting the chain caught on something. Really, the reveal of the poison needles could have waited for later, I don't get why the first chapter had to be in such a rush. It's like the author tried to cram the entire first act of a Battle Royale-style plot into the back half of one chapter. Makes for bad pacing. Hrm.

Oh, right, haha, so "the first time I met [Reimu], I was my past self" refers to Alice first appearing in the PC-98 games, and her design and backstory has changed since then? And the stuff about becoming a different person and being a substitute and getting forgotten is the idea that her character could be changed again and that would feel sort of like death, in-universe? But nobody else would really care because it'd still be "Alice"? That's kind of funny. Incorporating that kind of meta-narrative always makes it hard to take things seriously, for me, but I still enjoy it as a cute story trick.

last edited at Aug 12, 2015 11:22AM

For people saying they are disappointed that such a good premise was wasted, check out the author's other works.

RIGHT HERE

The "plot" might seem more predictable.

Oh, THAT'S the author? I knew I recognised the art, but I couldn't quite place it. Yeah, that makes sense, now. Both the atmosphere that feels sorta-but-not-quite sensitive, and the conspicuously consent-iffy underpinnings. That's about right.

This is why varied and open education about sexuality is important, kids. You got girls out here maxing out their lesbian meters without even realising that secret steamy makeout sessions with another girl would in fact count as infidelity, and you got girls who are completely aware that they're in love with another girl, but don't know how to say the words "Hey, BFF, instead of having dry, awkward, unfulfilling relationships with boys we don't love and will never love, why don't we, like, do the boyfriend-girlfriend thing with, y'know, each other? Like as a girlfriend-girlfriend thing instead?" And so she's compelled to create a live, working set of dry, awkward, unfulfilling relationships with boys to directly compare against, for lack of any existing narratives to work with. DIY isn't always the answer, girls!

Anyway, the plot is sad and all, but the true horror here is the terrifying insulated bubble they're apparently trapped in, where knowledge of The Gay is some arcane secret found only in the dream journals of madmen and/or fujoshi sketchbooks. Mere mortal men may touch upon these truths by chance, but their instincts will tell them to flee (thumbs up, Takeda!) lest they beckon disaster (looking at you, Fujiwara! Looking at you super hard!)

last edited at Aug 9, 2015 12:54PM

Victim blaming is still an accepted tactic to avoid sexual assault/rape charges in Japan, unlike in Western nation where it is illegal

lol ok player, if you say so

You don't have to believe it for it to be true.

Hey man, I'd be over the moon if it really was that different in the west. If we actually cared about victims and didn't immediately jump to calling them lying temptress sluts who just want to ruin the lives of good honest menz, I'd throw you a parade. Unfortunately, pretty much everything Yuri Girl 1001 described is just as true over here as it is in Japan. It's coded differently, and we can argue about relative frequency and prevalence and all that, but if you think victim blaming isn't a problem here in the supposedly advanced, enlightened west, you aren't paying attention.

last edited at Aug 7, 2015 1:30AM

Dunno why people are like "it's porn, so who cares". I mean, we're not on fakku or anything, who the hell is casually browsing the front page with a throwaway fap material mindset? Even then, I'm not even sure it counts as meaningless porn; there's nothing even vaguely ero outside of the rape scene in the second half, and even if it's pretty explicit, it's handled seriously (though victim-blamey) as an actual struggle between two characters with complex feelings. If whole story was like "Whoops! I'm virtually blind, so I didn't notice that I came to school with my boobs out! Uh-oh, I thought I was offering my friend a hankerchief, but instead it was my panties! What japes! I started to have sex with my boyfriend, but I couldn't find a penis anywhere - it turns out she was actually a girl the whole time! Oh well! It felt good!" then yeah, dumb porn, who really cares how rapey it got. But that's not really how this went, and it seems pretty reasonable for people to be surprised and uncomfortable by an otherwise lighthearted story taking such an aggressive turn.

Victim blaming is still an accepted tactic to avoid sexual assault/rape charges in Japan, unlike in Western nation where it is illegal

lol ok player, if you say so

last edited at Aug 6, 2015 3:44PM

If the manga was made by a westerner, we will not have an argument about culture. Ponder about that for a while

...Pretty sure we'd still be talking about culture, in that case. We might not specify the point as often, but it sure as hell would be a big part of the discussion. Ponder about what? Dude, culture exists. This story functions because of culture. In fact, if we didn't think about culture whatsoever and just treated it like it was happening in the west, or wherever we happen to live, the story or its characters would probably seem like total bullshit. This was written by a Thai artist in the context of common social norms in Thailand, ergo we talk about Thai culture when discussing it. It's because of this understanding that we can be somewhat respectfully sympathetic of Elle's position, even if we find it frustrating, rather than simply thinking of her as being insincere, or a coward.

Matter of fact, I'm seriously not seeing where or when folks are arguing about culture, or even making comparisons of east vs. west. I see some people mentioning eastern concepts of family as part of why they felt sad or frustrated with the story, and I see some people telling others to shut up about culture because it's irrelevant(?) and this annoys them somehow.

last edited at Jun 6, 2015 2:49PM

I dunno, I'm all about reading into stuff way deeper than is reasonably justifiable, and trying to set this story in my head against a philosophically metaphorical context feels... I don't know, it doesn't have much traction for me. Part of that is definitely a result of my personal lack of enthusiasm for these kinds of philosophical musings, but more than that, I feel like explicitly casting one character as a specific metaphor for this or that is an incredibly weak way to explore or relate anything. If you're deconstructing the tug-of-war between love and reason, then you can do that far more flexibly and convincingly through theming and motifs. Like, you can talk about complex issues from multiple angles and in various contexts, with real, tangible struggles relating to larger, more essential conflicts of human existence, or you can... literally name a character "love" and have her general character arc vaguely parallel an abstract philosophical theory of how love relates to other stuff.

Like, okay, Tomo represents the concept of reason, and its weaknesses are reflected in the story of the monkey king and her failure to meaningfully challenge this ambiguous something that is greater than herself. Great. The quirks inherent to limited human rationality is also represented by the symbol of human reasoning sleeping with her stepmother? While the distant greater "something" passively accepts it because he just wants a trophy wife? Later, the manifestation of wisdom coolly rebuffs love's tentative attempt to connect on a deeper level, agonisingly distancing herself despite longing for that contact, and was saving up money to fund her suicide vacation by selling women to other women? I'm 100% certain that there is, in fact, a workable reference in that behaviour to some established philosophical musings that I'm not aware of, but if I can't even derive even the POSSIBILITY of a metaphor from it, then I feel like the symbolism is at least somewhat poorly rendered. If you have to be intimately familiar with the entire narrative arc of the concept before you can even parse the metaphor, then how is the metaphor actually useful? What are you even exploring with it?

And yeah, this was one of the issues I had with Feelings Endurance, too. You could, if you referred to the characters versus seven sins breakdown chart, sorta maybe kinda see how each character basically more or less fit their archetype, if you squinted a bit. But the list the author personally wrote and published was indistinguishable from any other random person's post-hoc stab at categorisation, and was actually less compellingly argued than some who had ostensibly gotten the matchups wrong. They're supposed to embody this or that, but what you actually get in the end isn't much more insightful than a ten-minute personality quiz. So sure, if you want to tell me that Amano Shuuninta writes with these complicated philosophical metaphors in mind, I'll accept that, it makes sense. If you want to say she does that WELL, then I'm going to need a looooooot more convincing.

I don't know. I get the whole family obligation, gotta-do-it-hetero-style-or-the-parents-will-be-sad drama schtick, it's really frustrating that they actually love each other but can't be together because reasons. I hate that theme, but it's a real thing, so rather than saying "fuck you, story" I try to say "fuck you, culture". But this really felt like cowardice on the bride's part. Like, really? During the wedding reception? Not like, five years ago, when you realised you wouldn't be with a woman even if you loved her? Not, y'know, when this guy proposed to you, and you decided to accept him partially as a way of locking yourself away from your feelings? The wedding reception? When the both of you, but especially her, will just want to curl up in a ball and cry for four days but she can't because she's got to be the bridesmaid and show her happy supportive smiley face to all the people unknowingly celebrating her torn-out heart? Because, what, you still loved her and she's your bwest fwiend evar and you didn't want to risk splitting from each other because you like her so much? Motherfucker if you like her that much, fucking talk it out! You wanted her to plan your wedding with you, even if it hurts her this much? Suck it up, dirtbag! Maybe you shouldn't always get what you want! Maybe it IS gonna be tough to put some distance between you, but guess what? Letting your longest and dearest love fester and rot from the inside out kinda does feel bad sometimes! Goddamn.

Phew. Anyway. Good manga, (manhua? Dunno what the appropriate word is) very sincere. Really difficult situation for them, you can tell they're both struggling with this, but it does its best to put on a fresh face looking forward, when it could easily ended a lot more bitterly than it did. You really get the feeling that the author's very familiar with this kind of narrative. Thailand is relatively tolerant when it comes to the theoretical existence of same-sex attraction and relationships, but it's not really accepted as a real thing for responsible adults. Kinda twists the knife, since they probably would be able to stay together and get by if it was just the two of them, but the family stuff really is a big deal. I understand the decision the bride made to do things like this.

I mean, I'd still talk shit about her behind her back, but I get it. More or less.

last edited at Jun 5, 2015 1:20AM

Also, while it seems unusual and frankly kind of trite for Ai to remain single for the rest of her life and never fall for anyone else, that kinda WAS her entire life plan, from the beginning. Like, in earlier chapters, she's borderline asexual, having felt no significant attraction to anyone throughout her childhood and teenage years, and Tomo was the first and so far only person she'd ever wanted to have a real relationship with, to the point that she was willing to sacrifice her deeply-valued independence. I think there's enough consistent characterisation of Ai to suggest that, even if she had never even met Tomo, she might easily have ended up with largely the same life either way. I don't think it's exactly a matter of Ai never being able to get over Tomo and therefore spending the next twenty-odd years in chaste mourning; really, it just seems like Tomo was the only person who ever really inspired those feelings in Ai, and Ai is basically fine leaving those feelings in the past, with her memories of Tomo. As mementos go, "all of my love" has a little more poetry to it than a disposable lighter, you know?

last edited at May 25, 2015 3:21AM

If I had to say something about this, I'd probably call it a story about being in love with a chronically depressed person? I feel like it all fits together, in that light. Her empty room, her unsociable nature, the way she was always tired and late to class even though she was never really busy, her cold refusal to connect with the people who care about her in spite of her private sentimentality and longing for contact, the aimlessness of drifting around in college with no meaningful intention of graduating, her vague decision to "travel", with no particular destination, even though she'd necessarily been saving up money for years to do so, her mysterious end in some far away place, where nobody knew who she was... Oh, come to think of it, in that last scene with Ai, she freely gives away the books she'd chosen to take with her, returning the lighter, uncharacteristically letting Ai see more of her feelings than probably anyone else has in years. It's actually quite normal behaviour, among people who have decided to commit suicide. As is everything we ever saw of her.

If it's like that, it's understandable why the entire story seemed so lacklustre and nonsensical for many people. The behaviour of depression is basically incomprehensible if you try to rationalise it in terms of how healthy people think, no wonder it makes no sense. It's alienating, but to a very specific kind of person, it feels deeply, chokingly familiar.

Man. Now I want a cigarette.

last edited at May 24, 2015 3:17PM

I appreciated that Chihiro was fleshed out a lot more as a character, even if most of it came in the very last chapter. The theme park scene between her and Nao reads a lot better when you know more about her thought processes; I feel like a lot of her more absurdly villainous self-described characterisation turns out to be more of a bluff to try and scare Nao, rather than how she actually thinks. Like, I wonder if the actual reason for her going off with Shino was actually the more cliche shojo tactic of "If I pull away, maybe she'll be more motivated and come after me herself, and I'll be able to confirm her feelings without having to put myself out there and be vulnerable". If she had been more sensitive to Aoi's actual feelings, and realised how much she was hurting, I don't think Chihiro would have kept neglecting her.

From what I saw in the last chapter, Chihiro certainly seems like an opportunist, and she's pretty damn underhanded, but she isn't actually that effective as a schemer, and she does feel empathy for other people's pain. She feels pretty shitty when she realises how miserable Aoi felt after the "just friends/make some distance" thing, and even if she hid what she knew about their feelings, she still pushed Nao to go have an honest talk with Aoi, even though she knew they'd probably get together as a result.

Honestly, more than anything, she seems like the kind of coward who'd rather act mean and be hated than be honest and risk having her inner feelings rejected. Basically, if she was short, flat chested, and had improbably long twintails, we'd have seen right through her entire character in her first scene.

Anyway, I'm pretty satisfied with how it all turned out; happy Takemiya Jin endings are what make her tragic stories bearable, and tragic Takemiya Jin stories are what make her happy endings satisfying. Thanks for working on this, Divulge Scans.

Yeah, I feel like it would generally be an adorable couple teasing and play-fighting, buuuuuut the being made to stand outside the apartment topless holding chilled fruit in February for half an hour until she's seen by a couple of their friends and is literally in tears (on Valentine's day) was way too much, at least for the second strip. Not only is it too jarring and extreme to be effective slapstick, it's one of the first things we see of them, and sets a bad context for the more jokey stuff that comes after. Like, it hasn't even established itself as slapstick, by that point, and I think that's why a lot of the folks talking about unhealthy relationships saw it in that light; the tone of their relationship hasn't been established yet, the level of comedic exaggeration hasn't been established yet, the fact that it's supposed to be a comedy at all hasn't really been established yet, and then BAM, you get "you're such an embarrassment" in your face with no warning.

Really, even if it had already been set up like a Road Runner cartoon and the audience didn't have to make that jump on their own, I still feel like it fails as a visual gag. But at least it wouldn't give the rest of the story a bad aftertaste, if it just failed on its own.

I can basically agree with you up until the line where Emiko says, "What's the difference between having a friend to have sex with and having a sex friend?" because I believe it wasn't her intention to hurt Shiori, but rather it showed Emiko's naivety to the ways of the world which was emphasized in the beginning of the story, and that she only sees being in a relationship as "having a friend to have sex with". So she was asking what's the difference between what they have know and what it would be like if they were dating, and thus the look on Shiori's face in the next panel isn't an expression of shock from terror, but rather from happiness or embarrassment, and that's the face that Emiko likes to see.

That's a valid interpretation, and I can definitely see it that way. Honestly, I had to read it a second time before I remotely understood what had happened, since the characters themselves are difficult to understand by design. The main thing that splits it off into darker territory for me is basically tone and framing, which is pretty vague territory in itself, but I think it communicates a lot that the dialogue leaves unstated. I'll go into specifics in a bit, but basically, my argument is that if the author was trying to write a happy ending of mutual love, reading that last page wouldn't feel so much like drowning at the bottom of the ocean.

However, having looked at it with fresh eyes, I will totally admit that my interpretation skewed darker than necessary, mostly because I automatically assume that anyone THAT airheaded must be putting on an act to hide something. My presumptions aside, I think the shocking last-page twist was actually supposed to be that she really is as bafflingly simple as she seems, and she wasn't hiding anything after all. Sorry to everyone who read my last post and felt terrible about it, lol.

First, the internal monologue: it carries on seamlessly from where she left off a few pages ago, so I'm pretty confident about guessing what she was about to say from context. Summarised, "I know how things would end up if we started going out. I'm sure she's thinking the same thing; that's why we never say 'I love you'. We try to express these feelings to each other through sex, but in the end, nothing changes the fact that we can't really be together, and the longer we cling to these unspoken promises, the harder it will be when we have to grow up." At the point of interruption, she believes that they sleep together because they have a mutual love that they can't openly acknowledge, and the line that cuts her off is specifically Emiko casually talking about the nuances of having sex with friends. Their elusive talk of love didn't phase her, but having the topic move explicitly towards "friends with whom you have sex" immediately stops her in her tracks.

So I think it's not that Shiho realised that they were special to each other after all, or that Emiko was a terrifying sadist queen manipulating everyone for her own pleasure (in other words, Remi) but rather that Shiho thought they had a secret, silent love affair going on, that they couldn't talk about even to each other, and that they slept together out of a desperate need to be feel close and express their feelings and stifle their agonised longing for each other, whereas Emiko just liked having sex because it was fun activity she could do with her childhood friend, and literally nothing else. The thing about Shiho's "funny face" was literally that Emiko thought her expression was weird, because Emiko literally doesn't understand the concept of internal conflict. That's all it is. Shiho got all twisted up in a tragic romance with a love that dare not speak it's name, and then discovered that her partner just thought they were playing Tekken.

I still say it's pretty negative because, looking at the last few frames, it's very much a template of heartbreak. Eyes are important; they imply sincerity, connection, depth of feeling. Characters are drawn without eyes to give them a feeling of alienation, in every sense of the word. We don't see Emika's at all on this page; she's specifically drawn without them, in plain white contrast to Shiho's inner thoughts. In the last frame, not only are Shiho's eyes obscured, she's completely unresponsive, and the entire scene is drawn from a distance, the background becoming darker from left to right, for a sinking feeling. It's just not constructed like a happy or hopeful ending at all.

Anyway, the point is, I read way too much into it, the Dark Thorn Queen edition of Emiko is probably non-canon, and the actual intended character apparently has developmental difficulties, or something, because she really is just super airheaded. Perhaps she's a robot. I don't know. WAY less awful than what I had initially thought, but still quite a gloomy little story.

Edit: fucking spent three actual hours on this post about a twenty page h-doujin, I hate myself so much

last edited at May 12, 2015 2:14PM

It seems like... Shiho (dark hair) and Emika (light hair) began having sex as friends, after knowing each other for a long time. At some point, before or after, Shiho started to feel attracted to Emika, but she becomes increasingly uncomfortable about the idea of doing all these things in the absence of mutual love or a romantic relationship, while also falling into a loop of internalised homophobia and denial. The story begins, and Shiho starts thinking about how she kinda gets taken for granted by her seemingly innocent friend.

Emiko talks about how they only ever kiss when they're already having sex, and that she likes the "funny faces" Shiho makes after they do. They kiss, and Shiho gets turned on, but when she touches Emiko, she realises that she "isn't wet", which I think is supposed to be a red flag about the difference between their feelings: Shiho is aroused just after sitting on the same bed with Emiko and making out a little, but Emiko doesn't seem to feel the same sense of excitement or urgency. Dwelling on this, she starts getting mixed up in damaging thoughts about how it's too difficult for two women to be a couple, that they can't be honest about their feelings for each other because life would inevitably drive them apart, but they could always be together if they stayed friends.

With this conclusion, she decides that it would be better to lock their relationship at that level, and stop putting it at risk by having sex; however, upon hearing this, Emika enigmatically asks what Shiho thinks the difference is between "having a friend to have sex with, and having sex with a friend?" In other words, it's implied that for Emika, at least part of the reason she's friends with Shiho at all is to have sex with her, and that it had never been about love in the first place. Suddenly confronted by the yawning chasm between their feelings, Shiho's expression turns cold, and it's revealed that this is exactly the "funny face" Emiko always loves seeing. While Emiko had never been in love with Shiho, she was very much aware of Shiho's feelings for her; all along, she hadn't been naively taking Shiho for granted, she had been actively pushing the limits of how much bad treatment Shiho would put up with out of love. Whenever they kissed, Shiho's feelings of pain and loneliness would show on her face, and it was that feeling of power, of being loved so desperately, of being able to put someone through so much pain and still have them follow her around like a loyal dog, that turned Emiko on the most.

As Shiho grapples with the idea that Emiko might simply discard her if they stop having sex, her expression of shock gets Emiko in the mood again, and the story ends. Whether Shiho breaks away from her childhood friend, heartbroken and disillusioned, or if she is trapped by love and despair as Emiko's plaything, doomed to be twisted up and pushed around until Emiko inevitably loses interest and throws her away, we never know.

last edited at May 12, 2015 2:35AM

...So this whole book is just going to be a cavalcade of misery, is it? Okay then. Good to know. Next time I see an update, I'll remember to get a drink first.

Yeah, it felt kind of weird to have "believing in Santa" be a major plot point of a relatively straight-faced doujin. It wouldn't be out of place if the overall tone was more comedic or absurd, but drawing attention to it this much starts to strain the suspension of disbelief. If Nico can make something up about Santa being sick and standing in for him, and Maki will just accept it no problem, then it goes beyond Maki being pure, and into the realm of Maki being a four-year-old.

I don't actually care that much, though, because that page where Nico finds her present is everything forever. That one frame eclipses the rest of the doujin in feels. Except maybe for Maki learning that the keyboard was from Nico's childhood. That was also very sweet.

...She's still marrying that other guy, though? "If only I had the power to protect you" my ass. The person she needs to be protected from is your own damn self. The ending tries to feel all fluffy and happy with them realising their mutual feelings or whatever, but what's actually happening just feels grimy.

I'm annoyed, but the entire theme of this side-story is the series of horrifyingly bad decisions the cafe owner and her friend made in their youth, and why their current relationship is so complicated. It's not the "let's fuck around with scumbags because our true feelings are murky and we need to shake ourselves up before we can discover Twu Wub" show. It's small comfort, but I'm at least glad that the author doesn't assume we like the guy. (Hm? "Am I still mad about that"? I couldn't possibly know what you mean.)

Person saying it's consensual because she agreed: yes, she agreed under false pretences, after he figured out that he could effectively hold the other girl hostage to trick her into doing what he wants. At best, that's a cartoon villain forcing someone to choose between killing a bus full of orphans or their lover; more realistically, it's coercion. And anyway, this is the guy who's entire introduction to the story was trying to rape a girl while she was unconscious. Are we seriously concerned about not being sufficiently charitable towards his moral standing? C'mon.

last edited at Apr 29, 2015 2:35AM

I'm not going to talk about it being unoriginal, per se, but as a standalone story, there's not much to it. It's more like a container for the flower metaphor than anything else. It's just vague enough that you can infer all sorts of symbols and make them sound deeper than they were probably meant to be. Good fun. Better read like it's a poem, rather than a straightforward manga.

Edit: I mean, yeah, there are all sorts of possible follow-ups in a literal fictional chronology sense, but what actually happens to the characters in their theoretical lives seems less significant than the single idea that the manga is trying to embody. It's like it's trying to take a specific feeling in a specific moment and put it in a form that's communicable to others, and I don't know if people might get kind of distracted by the unexplained life choices of the paper thin characters, when they're not as important as the scenario they're being used to convey.

last edited at Apr 23, 2015 3:22PM

Maaaaaaaan, this was nice, but the idea that it's been ten years and Maki's still listening to Nico's singles in her car and anxiously picking out clothes for lunch is the most overwhelmingly tragic thing in the world. Like, okay Nico, I'm sorry you feel kind of scared and aimless about having to give up your idol persona and everything, hope you figure that shit out or whatever, but OH MY GOD MAKI PLEASE JUST MAKE OUT WITH HER OR MOVE ON.

Yeah... If you're all excited to show your test scores to your older girlfriend and start making out for the first time with her, why would you bring a kouhai girl you've been making friends with recently along on the big date, unannounced, and then spend the entire time chatting with her while completely failing to notice how glum and lonely your girlfriend obviously is? Kouhai failed to exploit this rift between them and was rejected offscreen, and she was certainly making an effort to be that clingy, but I can't actually blame her for thinking she had a shot when the girl is this easily distracted. "Is this all she thinks of us, anymore?" Good question.

Awh, the set up would've been okay if Arisa was also in the know (assuming she isn't). Also, compromises should be made in a relationship; one can't always be the top.

Yeah, um. Not quite following her logic, here. "No, you can't top. Completely impossible. Mm? Sleep with my sister on the side? Sure! Go for it! I'm still on top, though." Like... Really? These are your priorities? Whatever, girl.