Manga review: The One Within the Villainess

[angelcage]

Manga: The One Within the Villainess
Amount read: Up to chapter 12
Impression: Middling positive.

code

THE ONE

WITHIN THE

VILLAINESS

On genre:

I'm not an Isekai person. I don't find wish fulfillment to be compelling in media. I don't care about game mechanics. I don't like characters going into the narrative with all the answers already and just needing to wait to put them into effect. Isekai may run the gamut of tones, with there being as much seinen edgelord bullshit as there is cute reincarnator sidesteps the plot of the in-fiction original work, so I won't say there's never conflict in isekai but... none of that does anything for me. With rare exceptions, the conflict almost always feels extremely shallow to me even when the stakes are high.

This is because they don't typically feel like they're about the characters, so much as they feel like lore infodumps and following a road map. Then top that off with a main character that has either a narratively convenient power that typically is powerful enough to overcome all conflict by default whilst requiring a lot of info-dumping— or the power is skipped in favor of short-cutting straight to the power being a lore and plot dump... they feel less like stories in and of themselves and more like reading a tabletop corebook. Lore is, in my mind, meant to be the stage upon which we tell stories, not the story itself— and I just don't think the stage can stand all its own and pretend to be a competent story.

And that is even assuming the stage was competent to begin with. A lot of Isekai also are very tropey and reference not just the broad strokes of other fantasy settings writ large but other isekai.

And there is no place this is more exemplary than the Villainess subgenre of isekai works.

They've all got this same basic framework: girl dies somehow and wakes up in an otome game she either played or knew about in her old life! However, she isn't the protagonist of the otome game, she's the villainess: an odious character who existed just to obstruct the heroine's chosen route in the game!

But here's the thing. I play otome games. I'm maybe not an expert, but I do have a casual acquaintanceship with the genre. The villainess rival plot that's endemic to this whole-ass genre? It stems from one of the earliest otome games ever, Angelique. However: it's not a trope that actually stuck around in otome games. To the point that Angelique's own sequels and spin-offs also didn't have the villainess rival. Similarly, the idea of the grindy items or whatever-- most modern otome games are not "dating sims", they're visual novels. You can think of them as choose your own adventure books, way more than a grindy dating sim where you have to raise stats, repeatedly talk to the dating options in certain areas on certain days, or give them items. The last set of actual popular otome games that had those elements is probably the [Heart/Spade/Diamond/etc] no Kuni no Alice series, I'm pretty sure? Someone can correct me if I'm wrong. But either way, I can say pretty confidently that Persona 5 is more of a dating sim than most otome games.

The fact is, these manga and light novels are all cribbing notes off each other, not otome games. So I have a grudge against them for that, first and foremost. It's like, okay you're talking shit about the problems and how terrible it is for the villainess to have to suffer just because she also liked the guy and her life is ALSO BAD and it's like. This is just not a thing. These works exist as critiques of a phenomenon that just isn't widespread and barely exists at all. You are all still just mad at Angelique-- or rather, because they don't know their "source material" at all, they're just empty shells of someone else's subversion of an extremely old game. And the subversion of ACTUALLY THE VILLAINESS IS FINE is also eroded even further by the fact a lot of them just decide to have the plot be actually the heroine is the real bad guy. Look at that hussy, chatting up these dudes above her station and stealing someone else's fiance. The issue isn't that the original plot of the game set up these girls as having their own happiness achievable only as mutually exclusive, implying women are all enemies competing for men, the real issue with the initial story is... genki girl bad, elegant girl good. I'm hating on a few specific manga here, but I'm sure there's more than that out there that have pulled that particular twist.

They have nothing to say. But when the framework of the story is we're going to fix the shit that went wrong in the original... it reads like they're trying to be commentary on the original genre. Which just falls so, so flat. Thanks for the commentary on a thing that isn't even a problem with the genre and also your commentary sucked.

So, enough generalities. Onto The One Within the Villainess.

The Plot:

The basic rundown: The villainess, Remilia, was replaced out as a child by Emi, a Japanese girl who was familar with the game Remilia is from. Emi did all the usual villainess isekai protagonist things-- rescued the male love interests from problems in their lives and came to occupy the same space as the protagnist did within the original game's story. Remilia, from within Emi, watched this and was satisfied because she had lived a loveless life with terrible parents but with Emi's memories of her own family in Japan and the second-hand experience of Emi's new life, she was able to finally experience happiness and became protective of Emi.

However, a fellow isekai'd girl has taken over the role of the game's protagonist. Pissed off that the villainess has changed the plot, she plots Remilia/Emi's downfall. Emi suffers the same fate as the villainess in the game, and retreats within herself. Remilia, back in control of her own body, swears vengeance and to make herself happy to fulfill Emi's wishes for her. To these ends, she does some bog-standard villainess things. She takes control of the land she's exiled to, begins doing damage control to her reputation, saves some poor people who were neglected by fate in the "original" timeline, teams up with a demon lord, and kills god.

I won't say the plot is anything special. A lot of the plot points I have read beat for beat in other manga. It also has the issue of not being very familiar with otome games— aside from my usual otome games almost never have a villainess issue, the whole subplot about the shop shows that the writer is thinking of the mechanics of a mobile game. And granted, I've never played a mobile game otoge, maybe they really are like that. But with the genre as a whole taking cues from a very old otome game, it is weird to see the very modern cash shop mechanics thrown in there. It feels like indiscriminate cribbing off the notes of other isekai that just accidentally took something from the wrong source material-- that any one isekai is as good as any other to crib from, overlooking the thing that's supposed to make the subgenre distinct. Which makes sense-- if you don't play otoge, you wouldn't know what the mechanics were like so you probably wouldn't see an issue with a cash shop existing as a plot point and as a major part of a subplot.

Thus far, this review has mostly been negative. But that's because I've focused on what it has in common with most other villainess isekai— a genre I started with saying I don't like. So, next: what sets it apart and what it does well within its trappings.

The Art:

The art fucks /pos.

Manga is a visual medium, and having good art isn't a must persay, but it does a lot to influence audience perception of characters, setting a mood, and just the overall enjoyment of a series. Characters in this manga make great fucking faces. The otoge heroine just runs around making the shittiest faces, the clearest faux-cutesy but complete scumbag expressions ever. They're great. Emi and Remilia technically have the same face but they're very well distinguished by light shines and make-up, sure, but also the kind of expressions they make— Remilia playing at Emi is also distinguishable from what we saw of Emi. Things are telegraphed really well-- you can see the people around Emi being affected by the heroine because they also begin making shitty smug faces (though not to the same degree).

Also, about selling a mood: killing God isn't an exceptional plot point in a JP fantasy series. It's every JRPG I played growing up, it's my beloved Angel Sanctuary, etc. So how do you sell the audience on the gravity of killing this God that was only recently introduced? Radical art style shift from villainess isekai to surreal high contrast Madoka witch labyrinth was the answer this manga landed upon and damn if I can't say it doesn't work. That sequence was great. Excellent choice by the artist.

The character designs are also pretty good. Remilia and Pino Blanchet definitely pass for the villainess and heroine isekai tropes. The demon shopkeep also looks like a minor NPC that for some reason has been taken out of a minor role and been given a more major one, whilst also making sense with the larger world set-up as we get that. The demon king looks like a boy you might romance on an otome route. The gods have weird inhuman forms. The dwarf girls both look like dwarves, in a western fantasy sense whilst still fitting into an otome game! I'm not sure any of them really stand out to me as like damn good job, but I think as a whole they do help get across the setting-- both as a fantasy in its own right outside the "game's plot", and as an isekai into an "otome game".

Emi and Remilia:

Okay. Listen. Listen. I grew up in YGO fandom, alright? Bodyshare romance is peak. And I've got a thing for unrequited love, tragic loves, dead girl haunts the narrative she can no longer directly touch but everyone around her is still impacted by the hole she left. And, to clarify, that isn't what this manga is— I do not think this was written with the intention of being read as hot girl doppleganger ghost romance— but it's got the vibes. That even if that is not the intended reading of the text, it has an appeal that people into that could appreciate.

So, Emi is not textually dead, aside from the whole reincarnation thing. But she is functionally a ghost in the story. After she fell into despair, she retreated within herself and Remilia retook control. In-character, Remilia believes that Emi is as she was— alive, and now merely watching from behind the scenes. With this belief, she seeks to make Emi's ideal world so she can emerge and live happily again, just as she did before. There is no sign of Emi stirring, but Remilia is motivated by her memories and ideals, by what she gave her and honoring her memory. The Remilia the audience knows is a person changed, but not by someone who is in the story any longer. In this way, Emi "reads" as a ghost, haunting the narrative through her effect on Remilia. Dead girlfriend vibes, is what I'm saying.

There's also something to be said for the dynamic necessitated by the bodyshare where despite being deeply invested in the other's happiness, they do and do not have any personal relationship at all. They both know intimately and have never met the other person— we see Emi playing Remilia's game and crying over her; we see Remilia watching Emi living her life on a flat-screen television window in their mindscape. Without direct interaction, they nontheless are invested in each other, their highs and lows, their success and happiness. They're the other's biggest fan, but not in the sense that we usually think of in the modern era when someone says Parasocial. They are aware of each other, and both is individually important to the other. Whilst the situation is fantastical, it comes out feeling like an early internet friendship with both girls lurking on the other's blog, more than it feels like the relationship between stan and oshi.

On Female Characters:

So, this manga is guilty of the whole villainess isekai trend of actually the game heroine is the bad one! twist.

I forgive it.

The most important relationship in the manga, the fulcrum upon which the whole manga's storyline sits, is the one between Emi and Remilia. They're both full characters in their own rights, even though Emi exists only in flashback. Meanwhile, of the major side characters the ratio of male to female characters actually favors women. There's two men, whilst all the other major side-characters with personalities are women. So, Pino being shitty is just like, oh okay she's just a shitty person, not that this author has kind of an unfortunate attitude about women. Also, Pino's character flaws of being incredibly selfish and focused on romantic feelings without caring about the target of her affections as a person-- it rather neatly echoes the evil god featured in the manga as well. The two of them echo each other, so considering we see the exact same flaws in evil incel god and the main female antagonist... Yeah, I don't see the way Pino is written as a problem here.

The Demon King:

So, speaking of side-characters. The Demon King Angel is supposed to have been a secret route from within the game. And while I think this manga gets a lot of shit wrong about otome games I will say this for it: Angel absolutely feels like a true/secret route character. Gorgeous character design, genuinely tragic backstory with a good reason for him to have been an absolute bastard within the story. . . nailed it. Good job. A++. More than anyone else here, I actually buy him as an otoge character.

It's a little bit unfortunate for him that Remilia is only interested in Emi and making Emi's ideals a reality! That just makes him feel like he's properly executed even moreso, though. It really drives home that this manga is about the relationship between Emi and Remilia more than anything else.