Sep 28, 2024
A spoiled Cinderella is as entertaining as a female character whose fatal flaw of clumsiness only appears when convenient for the plot.
The first chapter introduces us to this spoiled Cinderella character, whose work ethic is majorly questionable with the other servants wherever she goes questioning said work ethic. She is, after all, untrained when she arrives at the royal palace, which in turn is a major source of irritation for the other maids, as is her flaky attitude towards working, instead preferring to make attempts at swooning a prince so she might find out about her past as a former noble. And like her clumsiness,
...
which conveniently shows in time for one of the princes to sweep in, her ethnic work only appears when convenient for the plot, such as when she supposedly does double work once her friend at the palace is serving under another, an important guest, or when the plot brings up her DIY habit of making clothes from curtains.
DIY is a modern concept, or I should say it's a contemporary term for an old idea, with the actual term coming into use after mass production came into being, with the mass production of things such as clothes making someone capable of DIYing their clothes a unique individual during modern times, which the creator of this Manwha thinking this, in turn, makes their character unique, only it doesn't, not in time when everyone, including nobles are doing it themselves. The narrative appears unaware that even women in the noble class participated in handicrafts that any female noble is incapable of sewing.
The female noble in question is Sei-Ann's rival, a tomboy royal in a non-modern setting, because in this narrative all the royals are spoiled to the point of seeming never to have to wear clothes more than once, or at least when these clothes needed mending, they were easily tossed aside. Even in a memory, Sei-Ann is seen learning to use a sword prior to losing her memories, even if this is briefly. She's not ever seen to use them anywhere else in the narrative. Still, there's no getting around how the nobles/royalty don't act like nobles/royalty, such as Sei-Ann, who is supposed to be a servant actually getting away with physically hitting the royal princes which in turn only adds to the reasons why the maids don't like her, at least until she is a noble and that's their pay check.
Sei-Ann is simply that special, with an implication that she has more right to the throne than the three princes, but she even her sob story backstory is special, in that her mother was falsely accused of being a traitor to the crown. Why? Because the second queen, when she was a concubine, became jealous of the first queen because the first queen's son wouldn't be sent away -- according to rumors -- as well as the friendship that Sei-Ann's mother struck with the first queen, leaving the second queen distraught at having lost a friend, but it's impossible for Sei-Ann's mother to be a traitor because, a.) if her mother was a traitor, she would have been executed in front of the king and b.) there is a hidden contract where Sei-Ann's mother swears undying loyalty to the king, because -- it may tie to the fact Sei-Ann's mother has more right to the throne, though the reason given isn't.
It might tie back to the one female noble, her rival, being allowed to run around not acting like a lady when it suits her interests. This is also the character who is supposed to judge Sei-Ann's ability to act like a proper lady before she meets the king. This in turn goes back to putting modern concepts, such as DIY -- a term that, as I mentioned, came about because of mass production, in a non-modern setting without thinking of how these fit, all of which is to make Sei-Ann, by the end, the perfect princess (or I should say noble).
As for the princes, they don't develop beyond each of their set narrative purposes. The first is the crown prince who hid his identity because he wanted to run away only for this to be a non-issue later on, who hold a grudge against Sei-Ann's family because of what happened to his mother yet the series never addresses the fact holding a grudge against someone simply because of what their family did is wrong, although in this, nor does the canon establish that there is a multi-generation punishment in the society this takes place in. It's instead something unique to Sei-Ann's circumstances, and in the end everything goes in her favor, because she's in the end perfect and beyond reproach.
Yet narratively, she is still the girl at the beginning who refused to do a servant's work and thirsted after a prince to marry simply because she was told by the countess that she'd learn the truth to her past when she meets the prince, but she does little to endear herself outsiide of her friend group, which consists of the three princes, her maid friend and her rival for one of the prince's affection. In fact, she does things that should bring some form of punishment, perhaps not the punishment the teachers were to place on her, and yet she's spared from punishments frequently, unless of course she didn't do it and then conviently that plot device is there because it's being unjust to him.
Speaking of nobles getting away with things, it should be forewarned that the third prince isn't a love rival for Sei-Ann because a running gag is he doesn't have an interest in girls, his companions are two young boys
Reviewer’s Rating: 3
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