Mangaka-san to Assistant-san to is not just sad, it’s tragic.
It’s a humor show, but it’s literally a tragedy.
Both the male protagonist and the female antagonists are at fault here.
The protagonist is a tragic hero with a tragic flaw; he desires more romantic intimacy with women than his limited social skills will allow.
The old-fashioned patriarchal notion of marriage was that once she had entered into marriage, the woman had no right to restrain her husband’s sexual access to her body.
The modern world has turned that neatly upside-down; even when a woman has made every sign of romantic commitment, she still retains veto power over any proposed intimacy.
That used to be a powerful tactic for women, circa 1950 to 1980, but men have gotten bored of the Sexual Revolution.
Nowadays, men are fully aware that women desire sex, and that very often women desire sex more than men do.
The humor only works because the foolish protagonist is “creepy” – that is to say, pathetic and socially vulnerable. His creepiness is due to his lack of social power – he is poor and socially isolated. He depends on these women for crucial day-to-day support. If he were wealthy and the women were not, he would just be a scary Howard-Hughes-type madman. A character with the same psychology but a lot of money would be the protagonist for a psychologically-questionable porn story.
While this show has a rather depressing impact, it’s easy to watch. By contrast, some of this season’s supposedly light-hearted shows are so over-dramatic and over-sentimental that I can’t watch them for more than two minutes at a time.