算得上神作，少女椿漫画中有个前篇，讲的是小绿的同学通过援交挣了不少钱，给小绿以启发。小绿是一个自理能力很差的人，无法面对生活的压力和挫折，既无法照顾生病的母亲，让她因为卫生问题受老鼠撕咬。也没办法保护自己，剧中我印象最深的是人妖和木乃伊，为什么不用自己的力量去反抗，就算是半夜打他们一顿也好啊，让他知道不是好欺负的。而侏儒魔法师就因为跟她有了冲突，就利用对她的信任去害他，可以说心机很深。实际上，她属于那种弱者，自己没有特别的才能，不断的需求帮助

为了猎奇而猎奇的动画
畸形的人畸形的三观，故事以少女小绿的视角，带来了一个黑暗猎奇的故事，故事分了几目来展示，我个人更倾向于是小绿的内心变化，从母亲过世，来到畸形表演，从抗拒这里的一切，到融入这里，魔术师的出现，让我们看到了少女那天真无邪的纯爱
观看畸形秀的人何尝不是一种畸形的表现呢？
人们以他们取乐，可自己其实也是一种笑话，在魔术师的幻术中，观众也以各种畸形的形态出现
『總會夜裡有事叫人驚懼 白天也有飛來的箭矢 幽暗中也有疫病在潜行 下午急病藏会其鋒芒 然你應無所畏懼』

An old friend of mine and an avid collector of 16 and 35mm film prints follows a very strict regime when watching movies: "The celluloid must run through a projector in a theater with a big screen and a crowd, the way those movies were meant to be seen. Watching video copies of them on a couch at home doesn't count. It doesn't provide the true experience of the work in question. You can't say that you have seen a film if you've just watched a video of it."
This is fair enough for most films. But Hiroshi Harada, the director of Shojo Tsubaki (let's stay with the original title for the time being) sets the bar much, much higher. He doesn't even allow his film to be shown in movie theaters in Japan, yet alone let them be consumed on video or DVD.

【地下幻灯剧画 少女椿】必看！继生存游戏之后关于人性探讨2记
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