Will Arrogant CEO'S Babysitter: Daddy I Want Her Get A Drama?

I've dug through release lists, fansub archives, and storefront pages so you don't have to: there is no officially licensed English dub for 'You Want a New Mommy? Roger That?'. From what I can track, this title has remained a pretty niche release — often the fate of short OVAs, special shorts bundled with manga volumes, or region-specific extras. Major Western licensors like the usual suspects never put out a Region A dub or an English-language Blu-ray/DVD listing for it, which usually means the only legal way people outside Japan have been watching it is with subtitles. That said, it hasn’t been completely inaccessible. Enthusiast fansubbing groups and hobby translators have historically picked up titles like this, so you’ll often find subtitled rips, community translations, or fan-made subtitle tracks floating around places where collectors congregate. There are also occasional fan dubs — amateur voice projects posted on video-sharing sites or shared among forums — but those are unofficial and vary wildly in quality. If you prefer polished English performances, those won't match a professional studio dub, but they can be charming in their own DIY way. Why no dub? A lot of tiny factors: limited demand, short runtime, or rights being tangled up in anthology releases. Sometimes a short like 'You Want a New Mommy? Roger That?' appears as part of a larger compilation or as a DVD extra, and licensors decide it isn't worth the cost to commission a dub for a five- or ten-minute piece. If you want to hunt for the cleanest viewing experience, importing a Japanese disc with a subtitle track (or a reliable fansub) tends to be the best route. Communities on sites like MyAnimeList, Reddit, or dedicated retro anime groups can point you to legit sources and alert you if a dub ever arrives. Personally, I find these little oddball titles endearing precisely because they stay niche — subs feel more authentic most of the time, and you catch little cultural jokes that dubs sometimes smooth over. If someday a disc company decides to license and dub it, I’ll be first in line to hear how they handle the dialogue, but until then I’m content reading the subtitles and enjoying the quirks.

The finale of 'You Want Her, so It's Goodbye' surprised me by being quieter than I expected, and I loved it for that. The climax isn't a melodramatic confession scene or a last-minute chase; it's a slow, painfully honest conversation between the two leads on a rain-slicked rooftop. They unpack misunderstandings that built up over the whole story, and instead of forcing one of them to change who they are, the protagonist chooses to step back. There's a motif of keys and suitcases that finally resolves: she takes her own suitcase, he keeps a tiny memento she leaves behind, and they both accept that loving someone sometimes means letting them go. The epilogue jumps forward a couple of years and reads like a soft postcard. She's living somewhere else, pursuing the thing she always wanted, and he has quietly grown into his own life, no longer defined by trying to hold her. The narrative leaves room for hope without tying everything up perfectly — there's no forced reunion, just two people who are better for the goodbye. That bittersweet honesty stuck with me long after I closed the book; I still smile thinking about that rooftop scene.

This series grabbed me so fast that I had to step back and plan how to read it properly. For 'You Want Her, so It's Goodbye' I personally prefer starting with the main volumes in publication order — that means Volume 1, then 2, and so on — because the way the story unfolds and the reveals land best that way. The character development and pacing were clearly sculpted around release cadence, and reading in release order preserves the intended emotional beats and cliffhangers. After finishing a chunk of main volumes I pause to dive into the extras: omakes, side chapters, and any short chapters bundled into later print editions. These little pieces often add warmth or context to moments that felt abrupt in the main arc, like clarifying a minor character’s motivation or giving a quieter epilogue to a tense scene. I usually tuck these in after each volume if they’re clearly attached to that volume, otherwise I save them until I’ve completed the main story. If there’s a spin-off or an epilogue-heavy special, I read it last; it’s sweeter when you already understand the characters’ journeys. Also, whenever possible I go for official translations or editions that include author notes — those notes sometimes change how I view a scene. Reading this way made the farewell feel earned for me, and I still get a soft smile thinking about their final chapter.

My brain immediately pictures a rainy Tokyo alley lit by neon and a camera drifting in on two people who almost touch but don't — that vibe would make a gorgeous live-action version of 'Will You Want Her, so It's Goodbye'. I would love to see the emotional beats translated to faces: subtle glances, the quiet moments between noise, and the kind of soundtrack that sneaks up on you. Casting would be everything — not just pretty faces but actors who can speak volumes with tiny gestures. Realistically, whether it happens depends on rights, a studio willing to gamble on a delicate story, and a director who respects the source material's pacing. If a streaming service picked it up, I could see it becoming a slow-burn hit; if a big studio tried to turn it into spectacle, the core might get lost. Either way, I'd be lined up opening weekend or glued to my couch, popcorn in hand, hoping they nailed the heart of it. I'm already daydreaming about which scenes I'd replay on loop.

I dug the way 'Finding My Baby Daddy' juggles goofy comedy with a surprisingly warm heart. The movie opens with the main character, Nia, getting an unexpected positive pregnancy test and a half-panicked list of potential fathers she's had in the last few years. Instead of doing a straight DNA drip, she decides to track down the most likely candidates herself — which sets up a road-trip/whodunit vibe as she revisits old flings, awkward reunions, and a couple of embarrassing flashbacks. Along the way the film trades easy jokes for tender beats: Nia reconnects with a college friend who helps her see what she really wants, clashes with an ex who hasn't grown up, and discovers a quietly supportive neighbor who turns out to have more depth than the flashy suspects. The climax is satisfyingly honest — the reveal (with a DNA test and a late-night confession) isn't the point so much as the choices Nia makes about motherhood, independence, and partnership. I left smiling, feeling like it’s one of those small comedies that leaves you rooting for the messy, real parts of life.

If you’ve watched 'Finding My Baby Daddy' and wondered whether it’s ripped from someone’s real life, I’ll put it plainly: it’s presented as a fictional drama that leans on familiar, real-world situations rather than being a straight documentary. In the way writers often do, the creators probably stitched together common experiences—paternity mysteries, messy relationships, legal hiccups—to make a compact, emotionally satisfying story that plays well on screen. The film doesn’t claim to be a verbatim retelling of one specific person’s life; instead it uses recognizable truths about parenting and family dynamics to feel authentic. That’s why so many viewers feel like the characters could be real people—because the dialogue and dilemmas echo things people actually say and go through. For me, that blend of realism and fiction is the strength of 'Finding My Baby Daddy'—it hits emotional beats that feel true even if the plot itself is crafted for drama.

the differences really highlight what each medium does best. The novel is where the story breathes: long internal monologues, slow-burn worldbuilding, and lots of little political or emotional threads that build up the protagonist’s motives. The adaptation, whether it's a comic or an animated version, tends to streamline those threads into clearer visual beats, trimming or combining side plots and cutting down on extended expository passages. That makes the pace feel punchier and more immediate, but you lose some of the granular texture that made particular scenes feel earned in the book. One of the biggest shifts is in characterization and tone. In the novel, we get pages and pages of the lead’s inner thoughts, doubts, and the small hypocrisies that gradually shape their decisions. The adaptation externalizes that: facial expressions, silent flashbacks, and dialogue replace the interior monologue. That works wonderfully for conveying emotion onscreen, but it changes reader perception. Some characters who read as morally grey or complicated in the novel are simplified on-screen—either to make them easier to follow for new audiences or to fit time constraints. Side characters who have slow-burn arcs in the book are often abbreviated, merged, or given a more utilitarian role in the adaptation. Conversely, a few supporting cast members sometimes get more screentime because they’re visually interesting or popular with audiences, which can shift the narrative focus slightly toward subplots the novel handled more quietly. Plot structure gets a makeover too. The show/comic rearranges events to build better cliffhangers or to keep momentum across episodes/chapters. That means some revelations are moved earlier or later, and entire mini-arcs can be skipped or condensed. Endings are a common casualty: adaptations often give a tidier, more cinematic conclusion if the novel’s ending is slow, ambiguous, or still ongoing. Also, expect new scenes that weren’t in the book—ones designed to heighten drama, give voice actors something to chew on, or create a viral moment. Those additions are hit-or-miss; sometimes they add emotional oomph, sometimes they feel like fan-service. There’s also the pesky issue of censorship/localization: anything explicit in the book may be toned down for broader audiences, which alters the perceived stakes or tone. What I love is that both formats scratch different itches. The novel is richer in political intrigue, internal conflict, and connective tissue—perfect when you want to savor character work and world mechanics. The adaptation gives immediacy: visuals, a soundtrack, and voice acting that can turn a quiet line into a scene-stealer. If you want the full emotional and intellectual weight of 'After Rebirth They Want Me Back', the novel is indispensable; but if you want the hype, the visuals, and those moments that hit you in the chest, the adaptation nails it. Personally, I read the book first and then binged the adaptation, and watching familiar lines be given life was such a satisfying complement to the deeper, slower pleasures of the prose.

I went down a rabbit hole looking for 'You Want a New Mommy? Roger That' and here’s what I found and felt about it. Short version up front: there doesn’t seem to be a widely distributed official English release as of the last time I checked, but there are fan translations and community uploads floating around. I tracked mentions on places like MangaDex, NovelUpdates, and a couple of translator blogs, where partial chapters or batches have been translated by volunteers. Quality varies—some translators do line edits, others are rougher machine-assisted reads. If you want to read it properly, my recommendation is twofold: support an official release if it ever appears (check publisher sites like Yen Press, Seven Seas, J-Novel Club, or any press that licenses niche titles), and in the meantime, lean on fan groups while being mindful of legality and the creators. I personally skimmed a fan translation and enjoyed the core premise enough to keep an eye out for a legit English edition—there’s something charming about the story that makes waiting feel worthwhile.