Ritsu Onodera (the protagonist), Masaki Shirogane (Ritsu's senior and object of his affections).
Below is the article.
Akira is on the verge of confessing his love to his attractive classmate, Nana Shirayuki . However, his plans are derailed when Rio suddenly reappears in his life, even moving back into his home due to her housing situation. anehame ore no hatsukoi ga jisshi na wake ga na new
However, I think there might be a slight typo or abbreviation in the phrase you provided. Based on my understanding, I'll assume you meant to type:
The phrase “wake ga nai” (わけがない — there’s no way) is a logical negation. In detective fiction, such a denial often precedes the revelation that the impossible event has indeed occurred. Here, the denial targets two facts: (1) the protagonist’s sister is “hooked on” something (likely a game, story, or fantasy involving the protagonist), and (2) the protagonist’s first love might be his real sister. By denying the second, the narrative generates suspense: will the protagonist’s denial hold, or will it collapse under accumulated evidence? However, his plans are derailed when Rio suddenly
The tension heightens when Rio notices the striking resemblance between Nana and herself. This realization forces Akira to confront a long-buried secret: his older sister was actually his first love. Media Formats
He snaps the memory shut with profanity — a crude, mocking keystone that keeps the whole thing from collapsing into sentimentality — and then insists, half to himself, that it couldn't be real: my first love couldn't possibly be brought into the light. The contradiction is the point. The vulgar phrase marks the boundary: inside it, the memory is raw, secret, freshly stinging; outside it, the world demands explanations, scripts, frames. To render that first heat in visible form would be to betray how the feeling lives — not as a scene but as a rumor in the chest, a private architecture of small smells and too-bright afternoons. The denial is defensive and telling; what he refuses to let exist in public is precisely what he returns to when lights go down. In detective fiction, such a denial often precedes
: Akira’s older sister, who is portrayed as playful yet manipulative. She discovers Akira's secret fixations and uses them to reassert her place in his life.