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Your game is really great, so much so that when I was catching bugs for copiklaGrogu, I was completely immersed in the game's plot.

I'm not quite sure about the situation in other regions and countries, but in China, this kind of "for your own good" situation is very common (around me, probably 60% - 80% of people are involved in this kind of relationship......) Especially in parent-child relationships. So I think this game with excellent art style and realistic plot is very likely to be very popular in China. In fact, Soren is quite good. At least he can take on the responsibility of making choices instead of forcing others to make choices while refusing to take responsibility for their failures. So when I communicate with copiklaGrogu, I think Soren is really contradictory because his love is quite sincere.

About my ex-boyfriend...... When playing this game, I will see Soren say something similar to his. However, while experiencing and analyzing the plot, I am also healing the self that was once deceived. Thank you for your concern ♥

I'm really, really looking forward to the full version of the game.

English Translation（by ChatGPT）

Soren really loves Y/N very much.

In the game, he does everything he believes he can do for her: he cooks for her, takes her to the hospital to treat her self-harm wounds, and cleans her place. On the surface, it truly looks like love.

So… he really loves Y/N, right?

And yet, Y/N breaks up with him, citing “feelings” and “not being good enough for him” as reasons.

At first glance, this story can look like that of a poor big dog, clutching its leash in its mouth and begging its owner to take it for a walk.

But when I look more closely, I start to question things.

When Y/N breaks up with Soren in his room, is he really listening to her? In Ending D, when he enters Y/N’s room, does he actually have her permission? In Ending F, even though he is the one who opens the door, why does he put all the blame on her?

“You’re just saying that in anger.” “You’re still upset about that thing.” “You’ve been lying to me all along.”

No matter how high or low your “determination” is, no matter what choices you make or what you say during the breakup — the guilt always lands on Y/N. Soren is always positioned as right.

And it’s not just Soren.

The boss says, “I know you have your own troubles,” but really only wants Y/N to work harder. Does he actually understand what her troubles are?

The best friend says, “I just want to help you,” and pushes her toward reconciling with Soren — but does she truly understand Y/N’s inner confusion?

Everyone claims they’re acting “for her own good,” yet no one actually asks: Do you want this?

So what does Y/N truly need? The story never gives a clear answer. She always seems to be waiting for validation from the outside — Soren’s care, the boss’s approval, other people’s reactions.

As for why the other characters behave this way… perhaps they’ve only ever known distorted forms of love. Perhaps they seek safety through control, or satisfaction through possession. Perhaps they simply don’t know how else to act. In any case, they present their gifts as “love.” But what exactly is inside those gifts?

After finishing the game, I felt deeply moved — and unsettled. When I closed my laptop and looked around my own life, I realized how many people around me also interfere with my choices under the banner of “for your own good.”

If only there could be one truly open, equal, and honest conversation. But at least in the game — and often in real life — that never happens.

I really admire the writer’s skill.

The writer didn’t just create a stereotypical yandere character in Soren; they built an entire world in which Soren’s behavior can exist, persist, and even appear reasonable. That world functions like a tightly woven net that traps Y/N completely.

Soren is a character I both love and hate. He often cares about Y/N and is capable of self-reflection — yet he never truly tries to communicate with her as an equal. Instead, he speaks from the position of “what I think is correct is correct.”

Honestly… he reminds me painfully of my ex with NPD.

On top of that, Soren feels completely justified in using Nora to deceive Y/N, and he seems to be monitoring her as well. (And suddenly I realized — he really resembles Heathcliff from Wuthering Heights.) There’s also a song called I Wanna Be Your Slave that strangely matches his mentality.

I also want to thank translator copiklaGrogu. Her translation isn’t just fluent — it’s deeply localized, sensitive to context, and closely aligned with each character’s personality and tone. That made the experience incredibly immersive for me.

That’s all I wanted to say. I’m really looking forward to future updates!

 中文原文：

Soren真的非常爱Y/N。游戏里的他，在为Y/N做所有他能做事：为Y/N做饭；带Y/N去医院包扎她自残的伤口；给Y/N打扫卫生。

他真的很爱Y/N，对吧？可Y/N却把他甩了，理由是“感觉”和“配不上”。

这个故事看上去是一条可怜的大狗，衔着狗链祈求主人牵着它的故事。

但是，在Soren屋子里，Y/N提分手的时候，他真的在认真倾听吗？D-结局里，他进Y/N房间的时候，有得到Y/N的允许吗？F结局里，明明是他开的门，为什么把原因都推到Y/N身上？

“你在说气话”

“你还在生那件事的气”

“你一直在骗我”

总之，无论分手时“决心值”如何，无论你当时怎么选，怎么说，罪责都在你身上，他永远是对的。

除了Soren之外，嘴上说“我知道你也有自己的烦心事”，其实不过是要你努力工作的老板，他知道你的烦心事究竟是什么吗？

嘴上说“我只是太想帮你”，然后希望你和Soren复合的闺蜜，她知道你内心真实的困惑吗？

他们都在为你好，但是没问过你“要不要”。

可是你究竟需要什么呢？故事里的Y/N没有给出直接答案。你似乎永远期待着外界的反馈，比如Soren对你的关心和老板的肯定。

至于为什么故事里的其他角色会这样......他们或许是因为只见过扭曲的真情，所以只能这样；或许只是想通过控制你来获得安全感和满足占有欲；或许只是不知道怎么办。总之，他们把名为“爱”的礼物献给了你。至于里面装了什么.......

总之，看完游戏后，我真的非常非常感慨。因为当我关上电脑环顾四周，才发现我周围很多人似乎都这样，打着“为你好”的名义干涉我的选择。如果可以有一次彻底敞开心扉的平等沟通，就好了。可惜没有，至少在游戏里没有，现实里也很少见。

我真的非常佩服编剧的文笔。编剧老师不仅仅是在单纯地塑造病娇角色Soren，还创造了一个允许Soren合理生活并且持续追踪Y/N的世界。它就像一张密不透风的网，死死盖住了Y/N。Soren这个角色让我又爱又恨。他很多时候都在关心Y/N，并且会从自己身上找原因。可是，他从来没有尝试过和Y/N平等地沟通，而是以“我认为是什么，就是什么”的态度和Y/N对话。这可太想我那该死的NPD前男友了。除此之外，Soren对于利用Nora欺骗Y/N的事感到理所应当，而且似乎还监视Y/N......（话说回来，我忽然意识到Soren真的很像《呼啸山庄》里的希刺克厉夫）（有首歌叫做I wanna be your slave，真的好像Soren的心态）

在玩的过程中，很感谢麦芽/copiklaGrogu老师。老师的翻译不仅做到了流畅和本土化，在语境和上下文和人物理解方面也相当出色（比如每个人的语气和性格直接挂钩）。所以我在玩的时候非常沉浸。

大概就是这样啦，期待后续的内容！

(Please forgive me for not being a native English speaker. This text was translated with the help of AI. )

I am a player from China, currently majoring in literature, and I occasionally participate in proofreading work. Recently, I completed your game Big_bad_dogs. After finishing it, I spent a long time in shock and reflection, and I felt compelled to write the following.

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 Part I: As a Player — Immersion, Suffocation, and the Urge to Resist

First, please allow me to express my most direct feeling: your game possesses a rare and deeply unsettling sense of “reality” that is uncommon in visual novels. It successfully dragged me into a precise and suffocating emotional structure.

When Lane and BB argue in the convenience store over the “ownership” of the female protagonist, while her inner monologue is simply, “I just want to work, and then survive,” what I felt was not romance, but anger and helplessness—an overwhelming sense that her very living space was being violently invaded.

That feeling was so intense that, in that moment, a subversive fantasy burst into my mind: if I were her, I would calmly take a knife from the shelf, place it in front of the two men, and let them kill each other—and then kill me as well. After all, without my job, I would still have various loans to repay. And random violence lurks around me, ready to swallow me at any moment… well.

This “what if” came from my most instinctive impulse to deconstruct the power structure you created. I believe this may be exactly the kind of critical thinking you intended to provoke in players: when the script of “romantic rivalry” is torn apart, what is exposed beneath it is almost primitive violence and objectification.

One of the game’s bad endings—the unavoidable random stalking violence, followed by the disappearance of BB/Lane, and the protagonist’s slow self-destruction in the absence of any social support—plunged me into a prolonged emotional low. Its impact is so devastating precisely because it reflects, with brutal realism, the systemic survival dilemmas many women may face. Your narrative does not offer comfort; it forces every player to stare directly into the abyss.

This is also the reason I admire your work so deeply. You portray the characters and the situation with remarkable honesty. (Even though the story is not yet fully updated, I am truly, deeply looking forward to what comes next.)

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### Part II: As a Researcher — An Analysis of the “Three-Layer Structure of Oppression”

When I stepped back from my emotional response and examined the game analytically, I discovered an astonishingly well-constructed model of systemic oppression. I understand it as a “three-layer encirclement structure”:

1. **The Survival Layer (Lane / the convenience store)**

   This represents the most immediate form of economic and everyday power deprivation. Workplace injustice and underdeveloped labor protections force women to accept unequal rules simply to “stay alive,” fundamentally weakening their autonomy.

2. **The Control Layer (BB)**

   This represents more concealed psychological oppression. Stalking, surveillance, and objectification carried out in the name of “deep affection” strip away a woman’s sense of safety and psychological privacy, imprisoning her in the position of a constantly observed object.

3. **The Random Violence Layer (the stranger)**

   When the first two systems fail—economic injustice, the collapse of social oversight, and cultural tolerance of abuse—this final risk descends at random. It symbolizes society’s total absence of protection for women and the complete deprivation of bodily autonomy.

These three layers do not exist independently; they are nested within one another, together forming a suffocating apparatus of survival. As a creator, you present this structure to players without concealment or softening. In a cultural environment where popular media often prefers to offer “emotional painkillers,” this kind of courage is exceptionally precious.

---

### Part III: As a Cultural Observer — Pain, Anesthesia, and Historical Echoes

Your work also led me to think about a broader cultural landscape. As a literature student, I have read the works of French writer Annie Ernaux (whose writing is truly remarkable, capturing generational complexity with piercing honesty). In your game, I sensed a similar approach: placing individual suffering within a larger social and historical framework.

Although the game is set in 2009, the dilemmas it reflects—gendered power imbalances and the systemic lack of safety for women—remain painfully common in the world of 2026.

I also noticed a particularly interesting phenomenon: many players describe their emotional projection onto Lane and BB as “love.” This reminded me of a personal experience having my wisdom teeth removed. During the procedure, the dentist gave me four injections of anesthesia. When the anesthesia wore off, I was in unbearable pain and desperately wanted more injections. (In China, if I had actually asked for that, the dentist would probably have thought I was joking and handed me an ice pack instead.)

Your work is like a powerful medicine, yet some readers misinterpret it as an anesthetic. This may reveal how, in a world still saturated with distorted relationship narratives, people sometimes confuse *“pain”* (being intensely desired, fought over) with *“healing”* (being equally respected and fully seen). You expose this addictive “pain–anesthesia” cycle, which in itself is profoundly insightful.

---

Part IV: Sincere Gratitude and Personal Gain

Finally, please allow me to express my heartfelt thanks. Thank you for creating such an uncompromising and thought-provoking work. Although, as an ordinary player, my “mental health points” were severely tested during the experience (please forgive this small joke), that is precisely what proves the strength of your creation.

With sincere respect,

Yuyu

2026/1/31

Hello, I am a player from China, can you send your merchandise which is sold on TGK Matsuri to China? Thank you for your answer, your game is popular in China.

maybe you can recording a  video which concludes the CGs you want.  Then you can use some video editing software to make the video slowly. (my mother language is not English, too.hope the words are clear enough. )

may be you can click this

It is also possible that the book predicted the death of a murder victim (beheading?)  

YES!!!So I am much looking forward to the game.

Besides, as the poem have deep connection of the story ( For the beginning of the stroy is the poem, and you can find the corresponding poetic symbols in the story.), the other poetic symbols are important too. So now I have some questions. Who will be the “ highborn kinsman” to “bore her away”？ Who will be the "ANGEL" to kill "Annabel Lee"? Who will love "Annabel Lee" even she is dead?   （Crowe/Sol/Hyugo....?)     (My english is so poor that I might not say something clearly, sorry .orz)