How Do Baritone Romance Stories Reinterpret Stoic Characters' Emotional Conflicts In Manga?

After transmigrating into a novel, I realized the heroine and I had the exact same name. Naturally, I thought I had transmigrated into the female lead. So I marched straight to the man who was still a broke nobody at the time, threw all caution to the wind, and pounced on him like I had plot armor protecting me. He even glared at me with red eyes and told me he hated me. I honestly thought he was just into the whole push-and-pull thing. Everything shattered when the real heroine showed up and I finally understood one thing. He actually hated me. Heartbroken, I packed my bags and got ready to disappear. The next second, he pinned me against the wall. "Where are you going? Already bored of me, sweetheart?"

Anomalies were descending on the world when I got thrown into a horror dungeon. The problem? I was a hopeless romantic. An even bigger problem? The dungeon’s final boss turned out to be more of a lovesick idiot than I was. The moment he saw me, he practically begged to be my personal simp.. Me: Wait… we’re doing that already? The barrage of comments exploded: “Look at him. The mighty final boss is willing to be the third wheel.” “Sorry, sweetie, but our girl already has two anomalies in line. Even if he’s the boss, he still has to take a number.”

What happens when the tormented female lead in a novel wakes up and decides to get together with the second male lead? Coincidentally enough, I'm transmigrated into the body of this tormented female lead!

Hiraya is an intelligent and independent girl who is considerate of others, but she has an inferiority complex. She does not accept her appearance, she feels like it is disconnected from her body. Hiraya works in a company owned by Tanashiri's dad, and Tanashiri is a rude and arrogant guy with an obsessive-compulsive disorder. Contrary to popular belief, he just hides behind that mask-there is more to it than people see on the surface. He also does not feel connected to his existence. Little did they know that the past explains why they behave that way.

My husband, Chandler Goodwin, claims that he doesn't understand what the phrases "silent treatment" or "giving the cold shoulder" mean. Yet, in the three years we have been married, he has never once spoken to me sweetly. The first time we have a falling out, I remain proud and dignified. We end up ignoring each other for seven days straight. The seventh time we have a cold standoff, I start to panic a little. However, despite trying all sorts of methods, he doesn't back down. The 11th time it happens, I have already learned to work through my emotions myself. Chandler doesn't even need to say anything before I take the initiative to apologize first. I simply think that he's just a naturally indifferent person, that nobody can warm his stone-cold heart. Then, on the third year of our marriage, I accidentally ruin his dress shirt while ironing it. Chandler doesn't say a word, but that very night, he packs his things and moves into a hotel. On the third day of being blocked, I head to his company with a handwritten apology. While passing by his office, I spot him leaning over to shoot his angry assistant a doting smile. "I'm sorry for raising my voice at you just now and upsetting you. It's been 57 minutes since you started ignoring me. Please stop giving me the cold shoulder, alright?" I freeze on the spot, the apology letter in my hand practically burning my fingers. As it turns out, it's not that he doesn't know what the silent treatment means—it's just that I've never been the person he wants to coax.

As the male lead, Henry Johnston, forces himself on me, a row of comments suddenly appears before my eyes. "Henry is about to misunderstand and think Aria drugged him! The angst is about to begin!" "I'm thrilled just thinking about Henry regretting dearly after Aria dies!" "Keep up the act, Henry. After she dies, you'll be hugging her corpse and crying every day." That is when I realize that I am the tragic female lead in a story where I am destined to be tormented until I die. The readers treat my death as a highlight to push the plot forward. They are counting down to my death. As I look at Henry, who is panting on top of me, anger courses through me. I grab a table lamp and smash it into him, killing him on the spot. Who says that the one who dies in a toxic romance story must always be the female lead?