#inori layouts

[n1ro]

# ♡ ﹏ ©INORI  ⩩ ̤ 𝄒  LAYOUTS . . . ⏲ >_<

[yurimother]

LGBTQ Manga Review — I'm in Love with the Villainess Vol. 1 (Manga)

A New Look on a Compelling and Innovative Series

A manga adaptation of one of the best and queerest Yuri light novels I have ever seen, what is not to love! As a massive proponent of the light novels, I eagerly followed I'm in Love with the Villainess began serialization in Comic Yuri Hime last year. I am thrilled to get my hands on the first English volume, and now that it is finally out (digitally at the time of writing), I am equally delighted to read over the start of Rae and Claire's journey once again. Getting to see my favorite isekai protagonist and her bratty noble crush in full illustrations is terrific. However, it does not make for a completely flawless work.

I'm in Love with the Villainess follows Rei Ohashi, an avid otome gamer who dies and is reincarnated as Rae Taylor in her favorite game, "Revolution." Rather than chase any of the game's handsome bachelors, all students at the Royal Academy in the European-inspired fantasy world, Rae heads straight for her favorite character, the game's villainess! Rae begins to relentlessly tease the bratty and elitist Claire, much to the latter's frustration. Soon a rivalry forms between the two girls, but despite Claire's taunts and coldness, Rae is determined to stay by her side and protect her.

The increased focus provided to Claire and Rae's early relationship will be noticeable to light novel readers. While Inori's writing focuses mainly on world-building in the first several chapters, the manga makes the wise choice to condense much of this information for the sake of reading. Blocks of exposition work poorly in the manga compared to prose. However, establishing a setting is not completely thrown out the window. There are several small conversations and explanations of key aspects of the world. After quickly setting the story, the characters are left with room to explore.

Claire and Rae are the most enjoyable part of this manga. Rae is eager and doting, with a touch of masochistic. On the other hand, Claire is more arrogant, often looking down on peasants like Rae, and is continuously infuriated by her affection. A hilarious rivalry starts to spring up between the two, with Claire pranking or mocking Rae and then getting outraged when she revels in the attention and teases Claire by expressing her undying affection.

These interactions also further the story. They establish the dynamic between our two heroines and add more detail to the political situation and tensions between the commoners and nobility, the series’ main plotline. Interestingly, while Claire may believe commoners inferior, she also sees it as her responsibility to protect and instruct them in her very elitist way. Noticeably none of the torments she subjects Rea could ever cause permanent harm or damage. It is a fascinating insight into this character's mental state, and even in the first volume seeing her start to change and become more aware slowly is fascinating.

Much of the rivalry is comedy and often plays out as such. However, some readers may find it slightly off-putting and understandably see the dynamic as Rae sexually harassing Claire. I strongly encourage you to give this series a chance. This book will undoubtedly be the worst volume of an incredible series. Once I'm in Love with the Villainess breaks into its stride of exploring queer and socioeconomic issues, some point in the next volume based on reading the serialized chapters, I promise it will become a quick favorite. If you know you may not be able to overlook its immediate faults during the wait, consider holding off on the mage until after the second book is out and get them together.

Much of the previously mentioned content is the same or strongly similar to the light novels, perhaps a touch more emphasis on Claire's early hostilities; however, there are some significant points unique to the manga to consider. For one, Aonoshimo's artwork is fantastic! The characters and backgrounds are distinct, with only slight adjustments for the more comedic or dramatic stylistic choices. No matter the panel's tone, though, it is always easy to read without oversimplification. Aonoshimo also relies on very standard square or rectangle panels during most of the manga, but occasionally produces more dynamic boundaries and layouts for action and service scenes. Lastly, all the characters are on full display. It suddenly becomes a lot easier for light novel readers to picture their favorite moments. It is a lovely treat for returning readers as the visuals aid the characters, allowing us to clearly see Rod as the strong-willed if slightly aloof prince and understand how Maximillion Pegasus-cosplayer Thane is the most unpopular character in the fictional otome game when they are displayed visually.

There are some other vital factors to consider when reading the manga. For one, every character's personality was dialed up a few points, with Rae being a touch more physically affectionate and masochistic and Claire more easily exacerbated. However, the manga and the English translation takes many quirks and exaggerates them further, reducing the series’ performance. For example, while Claire's actions show the complicated relationship to commoners described above, her dialogue contains a surprising amount of vitriol and vulgarity that stands out notably.

Additionally, while Rod is usually the perfect if slightly detached prince acting as the occasional voice of reason in early chapters, his dialogue here appears laughable indifferent and meanspirited. As I'm in Love with the Villainess is one of a very few series that I follow the monthly serializations of in magazines, I was surprised to see this dialogue, as it did not stand out to me in the Japanese version (admittedly, the manga did overblow everyone's personality to some extent for comedic effect). I feel it changes the characters for the worse — do not get me wrong here, calls for "literal translation" are as unfavorable as they are uninformed. Still, the work feels careless at times.

Finally, there is the service. While the first volume contains virtually no romantic caresses or sweeping panels of scenery we associate with Yuri, there is a fair amount of salacious content. Of course, there are Rae's desperate and overblown expressions of admiration for Claire and her slight case of masochism. However, towards the end of the volume, Aonoshimo shows some skin. In one scene, Rae helps Claire get dressed and very openly admires her body, accompanied by some close-up panels of her back, stomach, and butt. There is also a very exposed bathing scene, although light covers the most explicate bits. It is obviously garish, though it tonally fits with Inori and Aonoshimo's more comedic manga interpritation and even includes some wholesome interactions with Claire and Rae alongside the sexualized comedy. Reader's millage will vary here, but I enjoyed it.

This first outing of Aonoshimo's I'm in Love with the Villainess manga adaptation is very likely to be the weakest entry in a phenomenal series to follow. The manga does a fantastic job of bringing the original light novels to life in a new visual format. The artwork is excellent, and the story condensed with a slightly different focus that maintains the feel of the original while providing manga audiences with entertainment that does not feel constrained or lacking. However, the gradual pacing of the plot and the main characters' relationship means that the volume leaves off before showcasing the meat of the series and most of its best features. There is a little bit of the stumble out of the gate, and both the publisher and the manga will likely have to course correct in future volumes or else risk destroying the development and voice of the series remarkable characters. I still recommend the series, but unless you are a diehard fan of the original like you, you might wait a year or so until we have the second volume and can enjoy a more complete vision of Inori's intricate and groundbreaking story.

Ratings: Story – 8 Characters – 7 Art – 9 LGBTQ – 9 Sexual Content – 6 Final – 8

Check out I'm in Love with the Villainess (Manga) Vol. 1 today: https://amzn.to/3wTSJ9R

Thanks to Joshua Hardy, Courtney Williams, Peter Adrian Behravesh, and the rest of the team at Seven Seas for their hard work.

Help support future Yuri news and reviews, and get access to exclusive content by subscribing to the YuriMother Patreon

[atimefordragons]

SO BABY NOW YOU FEEL LIKE NUMBER ONE SHINING BRIGHT FOR EVERYONE LIVIN' OUT YOUR FANTASY THE BRIGHTEST STAR THERE'S EVER BEEN

☾♔; Jan 19, 2022 ☾♔; 3:37pm ☾♔; sotd: NUMBER ONE - SHIRO SAGISU FT HAZEL FERNANDEZ ☾♔; cotd: KUROSAKI ICHIGO ☾♔; THINKIN' TOO MANY THOTS ☾♔; High Fashion Layout (I Guess)

𝐓𝐢𝐭𝐥𝐞: lyrics from number one

alt title, brain buzzing. ik, the set is a mess, but I'm having too many thoughts all at once and can't sort, so trying, like, I'm crying about stuff and mad about other stuff, and excited as FUCCCK about some other and like, my heart can't keep up, it's also been damaged by covid, probably just temperorarily, lol. the chest is almost completely gone now, but god it's taking too long. ik, ik, it can take 2 weeks for mild covid to pass, but still. I'm too tired to do anything and now that I don't have the energy, I have like 6000 things I wanna do. ///sighh/// ANYWAY!!!!

me watching ichigo and hitsugaya in the new trailer: my boyfriend's back and you're gonna be in trouble.

I am still 12 and still in love with them. and bitter that we didn't adult hitsugaya, let my man age with me, god. also, also, hit with the realization that hitsugaya and xiao are very similar and concerned that me and my cousin have the same taste. hitsugaya is also her favourite from when she watched bleach, and like, that's fine, but what about when the older man thing hits, it hasn't yet, but she too much like me, and I'm ace and also had enough sense to be aware it would be really, REALLY bad if the "affection" was reversed or returned, but she ain't me, she's too trusting of people.

OFF TOPIC again, lmao. what was I talking to myself about again? OH right! sorting the thots! ignore this, I'm just self talking and trying to like untangle the mess. ___________________________________________________________________________

STELLARIS PHANTASM I totally forgot everything about this, okay, wait, genshin, and the 88 constellations plus corresponding nations, fallen gods, ummm, something

BOURGEOISIE ACADEMIA

UNTITLED (LET'S CALL IT GETSUGA TENSHOU FOR NOW, LOL) too messy, can't clear. Godai plus bleach plus zero plus the shoujos, the eva one and the inori one, cause they both cute and it funny, what even was the plot? fuck.

SHIZURI + DAISUKE

ahhhhhhhhhhhhhhhhhhhhhhhh, I can't remember anything else, I slept it away. fuck.

VOGEL IM KAFIG

FUCK FORGET ABOUT THAT, WHAT EVEN WOULD BE THE PLOT? I THINK I HAD SOMETHING WITH JJK ELEMENTS OR TK IN MIND BUT IDR! DAMN IT BRAIN

[another-dr-another]

let’s get to the elevator ): it’s been a long day

Taira - ...The elevator doors are opening.

//The metal wiring blocking the elevator off slides away, as the doors open, true to Tairas word.

Kobashikawa - If only that’d happened earlier, when Mekaru and I tried...

Mekaru - Mhm...

//Without another word, Class 79-B files into the elevator, most taking a moment before leaving their trial podiums, but all hurrying once they’ve taken the first steps away.

Tsurugi - …May this be the last time we ever see this room.

//He steps on, and the doors close behind him, as the elevator starts going up to the school.

Maeda - …

Maki - ...Something feels off.

Mekaru - There is one less person on here than we came down with, isn't that it?

Maki - No. It's the elevator, somethings weird. I don't know what's wrong, but it feels different.

Maki - As in, I physically feel that somethings changed...

Maki - There's gotta be a camera room, where all the cameras’ feeds go to, yeah?

Maki - I wonder if someone's watching us.

Hatano - H-huh?!

Kobashikawa - ...I always feel like somebody’s watching me~

Ōtori - Probably not the time for that.

Kobashikawa - Trying to lighten the mood... I wonder if the school has a piano.

Yamaguchi – Prolly, there’s normally a few music talents at the school at any given moment.

Higa – Not like we’ll be able to access anything though.

Maki – And there goes the semi-decent mood.

Ōtori - So back to talking about the cameras. Is it possible they’re just so Monokuma can be sure there's no rule violations?

Tomori - Could be, that'd make sense, and he'd need to see the murders to be sure we vote correctly.

Uehara - Maybe he just kills whoever gets majority vote? And this is just some sorta fucked up social commentary?

Maeda – Maybe they’re gonna upload the footage on some dark web…

Hatano – D-do you think they’d actually?

Tsurugi - ...That’s an... interesting thought actually- Uehara’s thing, no real need to panic over Maedas, I’m certain someone would report the videos for a cash reward if they got uploaded, which the mastermind should know.

Tsurugi - But I think the cameras are actually watching us.

Tsurugi - At the least, we know they're recording, we just don't know if anyone's sitting there observing right now, or if Monokuma is programmed to identify the culprit based off the video feeds.

Iranami - ...Is the mastermind possibly somewhere in the building, like watching from a monitor room?

Iranami – Ah… there’s not a lot to this theory, I’m sorry… but wouldn’t it make sense, since we’re already pretty sure there’s other people at least interacting with the school?

Tsurugi – It does! At the very least, we should remember that there’s some way of getting supplies here, and inside the building, meaning that not every entrance point is sealed!

Taira – But there could be a bigger storage room somewhere inside the school, where they’re getting things from, no?

Tsurugi – True, but I don’t know how likely that is with Hopes Peaks layout… besides, optimism will keep us going, and we just have to last until someone finds where we are,

Tsurugi - Which, given that we’re Super High School Levels with prominent influences and prior arrangements, people are definitely looking by now!

Maeda – What about me…

Tsurugi – You’re also a Super High School Level, and you have people who care about you!

Tomori – And if you can’t believe that remember that we’re here for you and care about you; we’re all trying to escape together and help one another.

//The elevator opens.

Maeda – Thank… you…

Maeda - Mmm…

Tomori – Maeda? You okay?

Tsurugi – Hey hey, you aren’t looking too good, you feel alright?

Maeda - …My head feels weird… I’ll be fine though, don’t worry about me.

Tsurugi - …

Tomori - …Alright, then.

~*~

Maeda, narrating - ...I want a snack. Never got breakfast today.

Maeda - Waaa... I just spent the whole morning being useless... I'm so stupid!

Maeda - Oh... it’s still only lunch time or so, but the day feels like it’s been should be over by now...

Maeda - ...Is it morbid to say I enjoyed seeing the sun in Inoris execution?

{Leave the Elevator}

[Investigate the Elevator]

[drkreviews]

Faith or Submission?

Here I am with a new song analysis in “Lyrical Love”! Today’s subject is a song by the visual kei band Angelo, precisely Faith, released as lead-track and second song of the same name album, come out on 27th November 2013. This song is strictly linked to the band’s concept, mixing up an energetic and obscure melody with a deep and provoking subject, which makes reflecting.

THE MUSIC

The fast drumming opens the song, along with a really dynamic guitar, leading up to an energetic and fast theme, empowered by aggressive notes; Kirito’s voice is really chilling and psychedelic, making the song more extreme than expected and despite that, it goes on easily and the structure is really simple and enjoyable, even thanks to a certain technique.

Lyrics (Romaji)

Kawaita hoho o shitataru shizuku kunda tenohira Fukai dōkō no oku ni hikaru asenai kibō. Faisu… todoku no ka sō shite ireba Rerīfu… ugokazu ni machi tsudzuketa Tsukiageru dōkoku no mama ni yagate deaeru to shinjita Hikari kou sono yubisaki ni kuruoshiku motometa kyūsai Hijōna made tsukihanasa re ame ni nureru Kanda kuchibiru soredemo mada inori tomezu. Faisu… mieru no ka hizamazukeba? Divine… shinario wa kawaranai mama Wakiagaru gimon o fūji mukuwa reru koto o shinjita Yurushi kou furueru kata o mitsumeru dakedatta ano toki. Fōru out... ki no sumu made inori o Disobey... ushirosugata kono-me ni yakitsuketa. Kanpekina baransu no moto kurikaesa reru kanashimi Haguruma o hitotsu kowasou modorenai taizai o daite.

Lyrics (Translation)

Drops fall from thirsty cheeks, through the palm Shining deep in the pupils, with the hope of not fading.

Faith... it will come if I engage myself Relief... I continued to wait without moving (I)

I trust that soon we will find ourselves to outburst our wailing I asked for salvation, madly praying with the light between the fingers Cruelly thrown away, wet by the rain With bitten lips, but still without stopping the prayer. (II)

Faith... see or bow? Divine... the scenery is unaltered

I believed that the doubt would raise up sealed and rewarded At that time I asked for forgiveness, looking for a trembling shoulder. (III)

Fall out... a prayer for calming the spirit Disobey... a retreated figure is impressed to the sight

Repeated sadness, origin of a perfect balance Break one of the gears, embracing the returned deadly sin. (IV)

THE WORDS

Written by the singer Kirito, the song takes a theme directly from Angelo’s concept, unveiling it in all the possible aspects, with a quite simple layout, made by piercing and efficient lines. The subject of the song is indeed the faith, explained as an image which drives a thought, a culture or an ideology, a definition used for explaining the album where this song has been released. The text raises up a fundamental question: how it can be used? Faith is, at one hand, a pure and selfless thing, an act of belief despite everything, but at the other side, it can be used as a device of control and oppression, as the past (and current) history has learnt us. The protagonist finds himself to question the meaning of the faith itself, relying on his prayer, waiting for an answer that might come or not. And now... let’s analyze the song!

I) The text starts with the image of tears falling from thirsty cheeks, thirsty because of the many drops fallen, going through the hand’s palm (Kawaita hoho o shitataru shizuku kunda tenohira), shining deeply in the pupils, hoping to not fade away (Fukai dōkō no oku ni hikaru asenai kibō); the protagonist reflects on the faith, which will appear only if he will behave (Faisu… todoku no ka sō shite ireba, note that the word “faith”, like all the English terms seen here, is written in katakana, as for maintaining a sort of proximity with the text), and this brings him relief, so that he will wait its arrival without moving (Rerīfu… ugokazu ni machi tsudzuketa).

II) He trusts that soon everybody can let out their wailing (Tsukiageru dōkoku no mama ni yagate deaeru to shinjita), while he asks for salvation, praying madly with the light in his hands (Hikari kou sono yubisaki ni kuruoshiku motometa kyūsai); he is thrown away with cruelty, gets wet by the rain, bites his own lips, but despite everything, he won’t stop his prayer (Hijōna made tsukihanasa re ame ni nureru/Kanda kuchibiru soredemo mada inori tomezu).

III) He wonders what is the true sense of faith, whether is seeing something concealed by the reason or being submitted to a more powerful authority, the core contrast of the whole text (mieru no ka hizamazukeba?) and seeing the divine, notice that the reality is always the same, pointing the faith towards its darkest side (Divine… shinario wa kawaranai mama); he believed that the doubt would raise up sealed in its darkness and rewarded for being opened to the faith (Wakiagaru gimon o fūji mukuwa reru koto o shinjita), so at that time he asked for forgiveness, because he looked for someone’s else shoulder, instead of looking inside himself (Yurushi kou furueru kata o mitsumeru dakedatta ano toki). 

IV) He feels like he is falling out and thinks that a prayer can calm his own spirit (Fōru out - ki no sumu made inori o) and aware that such in a way he disobeyed, a figure is imprinted in his sight, haunting him (Disobey... ushirosugata kono-me ni yakitsuketa); this unveils the core of the whole text, a sadness which is repeated every day, in order to reach a perfect “balance” (Kanpekina baransu no moto kurikaesa reru kanashimi), and if one of the gears of this system gets broken, the deadly sin, a metaphor for punishment, will return to the offender (Haguruma o hitotsu kowasou modorenai taizai o daite), ending the text in a dark way.

What is faith really? An unconditioned devotion, whose goal is reaching a perfect comprehension of life itself, or a medium which the oppressors use for annihilating any individual thought? Angelo touch their own concept with a deep and contained composition, made of darkness and a bit of light, in contrast like everything in our world.

That’s all folks! See you with the old chart of October and November 2018!

Thanks for the reading!

[fddarchive]

Header image featuring Sakura (Rabbigemon/Rabbigermon’s partner) from the Tenshi no Inori layout of Sakura’s World of Time

[rimfaxe]

Meanwhile, I gave Duff and Inori spiffy new bio layouts (from here) *u*

There are still things in them to fill out (as you can probably tell) but I don’t really know what to put ‘w’

[yurimother]

‘I’m in Love with a Villainess’ Volume 3 Released in English Digitally

On June 3, Seven Seas Entertainment released the third volume in Inori’s hit Yuri light novel series I’m in Love with the Villainess (Watashi no Oshi wa Akuyaku Reijou). The isekai fantasy novel is published under Seven Seas Airship label. Paperback editions of the book will be released on July 6, 2021.

I’m in Love with the Villainess Volume 3 continues the story of Rae, as she, her wife Claire, and their two children, May and Aleah, face a new threat. The publisher describes the story:

After the revolution, Rae and Claire start a new life together as teachers, mothers, and wives. But soon the political machinations of the Nur Empire threaten their peaceful days. Worse, Rae recognizes them as the inciting events of RevoLily, the sequel to Revolution. Once again, she must rely on her wit, courage, and love for Claire to overcome an evil end.

I’m in Love with the Villainess has received overwhelmingly positive reviews for its story, characters, worldbuilding, and LGBTQ+ themes. YuriMother awarded the first two books perfect 10/10 scores saying it is “everything I have ever wanted from a Yuri story.“

I’m in Love with the Villainess Vol. 3 is illustrated by Hanagata. It is translated into English by Kevin Ishizaka, with adaptation by Nibedita Sen and layout by Clay Gardner.

You can check out I’m in Love with the Villainess Vol. 3 today digitally: https://amzn.to/2SUHdvi

Reading official releases helps support creators and publishers. YuriMother makes a small commission from sales to help fund future content.

[another-dr-another]

Stairs!

Hatano - Our turn! Time for us!

Iranami - We... just looked at the stairs... sorry...

Yamaguchi - We found two whole sets of stairs though!

Inori - Can we go up any of them?

Hatano - No...

Higa - Then what’s the point of even looking at them?

Tsurugi - It’s good to have a idea of the schools layout!

Yamaguchi - Yeah, stairs take you places!

Maki - Not when you can’t reach them.

Kurokawa - Hm...

Kobashikawa - What is it?

Kurokawa - How are the stairs blocked off?

Iranami - There’s bars in front of them, from ceiling to floor.

Mekaru - Is it possible someone could squeeze through?

Iranami - No... I’m not the skinniest here, but I’m not curvy either, and I couldn’t get past my arm...

Maeda - Huh... do you think we could maybe knock them loose?

Taira - I saw the bars when walking by, they seemed too thick to be pulled out.

Hatano - Yeah... though it’s worth noting, Iranami and I checked the top and bottom of the bars, and while they touch the floor and ceiling, they don’t go through either one.

Uehara - Wait, how’d you two check the top of the bars?

Otori - That’s what I was wondering, you’re both on the shorter half of the spectrum.

Iranami - Oh...

Hatano - It was so cool!

Hatano - Iranami just climbed on up the bar like it was nothing!

Hatano - She was able to go all the way up, and it was like ten feet high, and then she went side to side from the different bars while up there!

Iranami - It’s... really not that much, I always wanted to try different things in the circus, even though my family never let me change my act...

Iranami - It... was still nice to try other things... and I especially liked climbing.

Tomori - That’s certainly very impressive!

Tsurugi - Yeah, skills like yours can come in handy in all kinds of ways!

Iranami - Ah... thank you, but really it’s nothing...

Tomori - Your skill gave us more information, and helpful information about the situation we’re in.

Iranami - ...

Higa - Are we done?

Tsurugi - I think so... why don’t you go next, Higa?

~*~

Maeda, narrating - Hm...

Maeda - I’m still trying to work out a way to get past those bars...

Maeda - I wonder when Monokuma plans on opening the stairs up?

Maeda - And what’s up there?

Maeda - Actually....

Maeda - I wouldn’t be surprised if he never lets us up there, and the whole thing is just tons of replacement Monokumas.

Maeda - How creepy would that be?