On August 11, 2026, Singapore media Lianhe Zaobao published an article discussing the true feelings of Japanese office workers as depicted in the Japanese anime "Two smokers behind the supermarket."

The article explained about the work, stating, "It is an anime adaptation of a manga by Mr. Jiguchi. The protagonist of the story is Sasaki, an office worker who works from morning till night. His support for surviving each day, mentally and physically exhausted as he is, comes from smoking and the smile of Yamada, the cashier at Super S. One day, Sasaki, who was disappointed because Yamada was off, was approached by a stranger woman at the back entrance of the supermarket and had a smoke together. What started as a one-time invitation eventually became a daily routine, and the two gradually grew closer by sharing their thoughts while smoking."

It then introduced the work, saying, "It is by no means rare in Japanese literature and visual works for the story to be set in an everyday place like a supermarket. Japanese creators are skilled at depicting familiar public spaces like supermarkets and convenience stores as places where people connect with each other. Such places are also called 'third places' and are deeply connected to the culture of 'tatemae' (public facade) and 'honne' (true feelings) rooted in Japanese society. This work precisely depicts the conflict that arises between one's social role and one's true self."

It also stated, "At the supermarket, Yamada must always be a cashier who never stops smiling. However, when she goes to the back entrance, as 'Tayama,' she can shed her role as a store clerk and show her true self. This change is not accidental; it symbolizes temporarily departing from the role expected by society and returning to one's true self as the space changes. Sasaki, similarly, lives as an exploited salaryman at his workplace. For such a Sasaki, the back entrance of the supermarket is one of the few places where he can be himself."

The article stated, "What this work depicts is not a special event, but the daily lives of ordinary adults. Therefore, there are almost no excessive theatrics or exaggerated lines. Throughout the work, saturation is suppressed, and it is unified with calm tones. Through these subdued visuals, viewers can naturally immerse themselves in a story that adheres to reality without being distracted by flashy productions, and they can project themselves onto the characters."

It also analyzed, "The author's ingenuity can also be seen in the fact that the supermarket, which is the setting, has a very common name, 'Super S.' Precisely because it does not evoke a specific brand, universality is born in the story, and the story establishes itself as 'everyday life found anywhere,' making it easier for viewers to enter the work as a familiar scene."

Furthermore, it mentioned, "In Japan, smoking areas are special spaces separated from society. In this work, the smoking area is depicted as a place where people can have the most natural and frank conversations. There is no need for consideration towards superiors, concern for colleagues, or forced smiles for customers. It's just tired individuals grumbling, and someone quietly listening."

It then evaluated, "The negative gaze directed at smokers stems not only from health concerns but also from social stereotypes against smokers. Even if one is evaluated as an excellent employee or a competent manager at work, it is not uncommon for a different impression to be formed by the sight of them smoking. Furthermore, the work's method of drawing viewers into the story using the act of 'smoking' as an entry point is highly original and a very interesting point."

Furthermore, it concluded, "People continue to play roles expected by society, and those around them rarely know what true feelings they harbor beneath that mask. And in many cases, people do not even care about their true faces. This work quietly reflects the fatigue, loneliness, and suffocation felt by working people around the world, gently reminding us of the fact that 'somewhere in the world, there are people living as diligently as ourselves.'" (Translation/Editing: Iwata)