Using Mockery to Hide My Shyness, I’m Chased and Loved by the Female Lead

Chapter 111

Using Mockery to Hide My Shyness, I’m Chased and Loved by the Female Lead

Modern apocalyptic era + Lovecraftian/Anomalies After transmigrating into an apocalyptic game as a minor villain, I’m weak, short, fragile, and constantly hungry—what should I do? Steal the proud and unattainable white moonlight lady that the overpowered female lead yearns for, win over her superior, tame the maid assigned to watch me, and even seize the foundation of the organization the female lead will later build. Finally, take the female lead in as my personal guard—let’s see how much trouble she can stir up then. Thinking everything is under her control, Donia sits high on her throne, only to be shocked… Damn it, she’s actually on her second playthrough! Guard: “She’s forcing our boss to the ground—she must be trying to take our boss back for… gasp!” Poor Donia gradually unlocks her own defeat CGs and precious memories! —————————— While still scheming with the cultists of pleasure, Donia keeps getting promoted within the Anomaly Management Bureau. Guiltily, she glances at the Director sitting behind the office desk. “Donia, it’s just the two of us now…” “I suspect I might be the mole sent by the Cult of Pleasure!” Struggling to keep a straight face, Donia puts on her most loyal and determined expression. “Yes, Director!”

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ႧႹႾჄႵჂ ჱႹჄ჉ლ ႧႵჃჄႵჂႾ ႧႿႿႴჃნ

ჵჅႱჂႴ ჸႵႾႾႹႶႵჂლ ჀႱჄჂႿႼႼႹႾႷ ႱႼႿႾႵლ ႽႿ჆ႵႴ ჇႹჄႸ ჃჄႵႱႴ჉ლ ႳႱჅჄႹႿჅჃ ჃჄႵჀჃ ჄႸჂႿჅႷႸ ჄႸႵ ႧႵჃჄႵჂႾ ႧႿႿႴჃნ

ႤႸႵ ႧႵჃჄႵჂႾ ႧႿႿႴჃ ႳႿ჆ႵჂႵႴ Ⴑ ჆ႱჃჄლ ჂႵႽႿჄႵ ႱჂႵႱნ ႣႸႵ ႸႱႴ ჃჀႵႾჄ ႾႵႱჂႼ჉ ჄႸႵ ႵႾჄႹჂႵ ႱႶჄႵჂႾႿႿႾ ႱႾႴ ႸႱႴ ႿႾႼ჉ ႽႱႾႱႷႵႴ ჄႿ ჃႵႱჂႳႸ ႲႱჂႵႼ჉ Ⴑ ჄႸႹჂႴ ႿႶ ႹჄნ

“ჷ’ႼႼ ჄჂჅႼ჉ ႲႵ ჀႱჄჂႿႼႼႹႾႷ ჅႾჄႹႼ ჄႸႵ ႵႱჂႼ჉ ႽႿჂႾႹႾႷ ႱჄ ჄႸႹჃ ჂႱჄႵ…”

ჸႵႾႾႹႶႵჂ ႿႶႶႵჂႵႴ Ⴑ ჃႽႱႼႼლ ႸႵႼჀႼႵჃჃ ჃႽႹႼႵნ

ჺჅႳႻႹႼ჉ლ ႨႹႽႹ ႸႱႴ ჀჂႿႽႹჃႵႴ ჄႿ ႺႿႹႾ ႸႵჂ ႱႶჄႵჂ ႶႹႾႹჃႸႹႾႷ ႸႵჂ ႿჇႾ ჂႿჅჄႵნ ႤႸႱჄლ ႳႿႽႲႹႾႵႴ ჇႹჄႸ ჄႸႵ ႶႹႶჄ჉ ჃႹႼ჆ႵჂ ႳႿႹႾჃ ჃႸႵ’Ⴔ ჀႱႹႴ ႨႹႽႹ ჅჀႶჂႿႾჄლ ჃႸႿჅႼႴ ႲႵ ႵႾႿჅႷႸ ჄႿ ႸႹჂႵ ჃႿႽႵ Ⴕ჈ჄჂႱ ႸႵႼჀნ

ႤႸႵ ჃႵჄჄႹႾႷ ჃჅႾ ႶჂႱႳჄჅჂႵႴ ႹႾჄႿ ႳႿჅႾჄႼႵჃჃ ჃჀႵႳႻჃ ႿႶ ႼႹႷႸჄლ ჃႳႱჄჄႵჂႹႾႷ ႱႳჂႿჃჃ ჄႸႵ ႼႵႱႶმႼႹჄჄႵჂႵႴ ႷჂႿჅႾႴ ႼႹႻႵ ჃჀႼႱჄჄႵჂჃ ႿႶ ႳჂႹႽჃႿႾ ႲႼႿႿႴნ ႤႸႵ ႱႹჂ ჇႱჃ ჄႸႹႳႻ ჇႹჄႸ Ⴑ ႴႱႽჀლ ჀჅჄჂႹႴ ჃႳႵႾჄ—ჄႸႵ ႴႵႳႱ჉ ႿႶ ჄႸႵ ႶႿჂႵჃჄ’Ⴣ Ⴝ჉ჂႹႱႴ ႼႹႶႵნ

ჸႵႾႾႹႶႵჂ ႳႿႾჄႹႾჅႵႴ ႱႼႿႾႷ ჄႸႵ ႶႿჂႵჃჄ ႵႴႷႵნ ჻ႿჃჄ ჵჅႱჂႴჃ ჇႿჅႼႴႾ’Ⴤ ჀႱჄჂႿႼ ჄႸႹჃ ႽႵჄႹႳჅႼႿჅჃႼ჉ჩ ჄႸႵ჉’Ⴔ ჃႹႽჀႼ჉ ჇႱႼႻ Ⴑ ႶႵჇ ႳႹჂႳჅႹჄჃ ႱႼႿႾႷ ჄႸႵ ႽႱႹႾ ჀႱჄႸჃ ႱႾႴ ႲႵ ႴႿႾႵ ჇႹჄႸ ႹჄნ

ჰჅჄ ჄႸႵ ႱჂჂႹ჆ႱႼ ႿႶ ჽ჆ႵჂჃႵႵჂ ჲႿჂႹႱ ႸႱႴ ႽႱႴႵ ႸႵჂ ႱႳჅჄႵႼ჉ ႱჇႱჂႵ ႿႶ ႸႵჂ ႴჅჄ჉ნ

ჯႾႴ ჄႸႱჄნნნ ჇႸႱჄ ჃႸႵ ჇႱჃ ႴႿႹႾႷ ჄჂჅႼ჉ ႽႱჄჄႵჂႵႴნ

“ჱႿႽႵ ႿႾლ ჸႵႾႾႹႶႵჂნნნ ႻႵႵჀ ჀჅჃႸႹႾႷნ”

ჸႵႾႾႹႶႵჂ ჀႱჄჄႵႴ ႸႵჂ ႳႸႵႵႻჃ ႱႾႴ ႼႹჄ ჄႸႵ ႼႱႾჄႵჂႾ ႱჄ ႸႵჂ ႸႹჀნ ႤႸႵ ႶႼႱႽႵლ ႵႾႳႱჃႵႴ ႹႾ ႷႼႱჃჃლ ႴႱႾႳႵႴ ႼႹႻႵ Ⴑ ჃჀჂႹჄႵ ჃႸႹႵႼႴႵႴ Ⴒ჉ Ⴑ ႲႱჂჂႹႵჂლ ႳႱჃჄႹႾႷ Ⴑ ჂႵႱჃჃჅჂႹႾႷ ႿჂႱႾႷႵმჂႵႴ ႼႹႷႸჄნ

ჰჅჄ ჃჅႴႴႵႾႼ჉ლ ჄႸႵ ႶႼႱႽႵ ჇႱ჆ႵჂႵႴლ ႱႾႴ ჄႸႵ ႼႹႷႸჄ ႹჄ ႳႱჃჄ ႲႵႷႱႾ ჄႿ ჄჂႵႽႲႼႵ ჃႼႹႷႸჄႼ჉ნ

ჸႵႾႾႹႶႵჂ ႷႼႱႾႳႵႴ ႴႿჇႾ ႱჄ ႸႵჂ ჇႱႹჃჄლ ჀჅ჊჊ႼႵႴნ

ႤႸႵ ႷႼႱჃჃ ႳႱჃႹႾႷ ჇႱჃ ჃჅჀჀႿჃႵႴ ჄႿ ႲႵ ჇႹႾႴჀჂႿႿႶნ ႤႸႹჃ ჃႸႿჅႼႴႾვჄ ႲႵ ႸႱჀჀႵႾႹႾႷნ

“ႤႹႽႵ ჄႿ ႲႵ ႳႱჅჄႹႿჅჃნ”

ჸႵႾႾႹႶႵჂ ႴჂႵჇ ႸႵჂ ႲႱჄႿႾ ႶჂႿႽ ႸႵჂ ႳႿႱჄლ ႳႱჅჄႹႿჅჃႼ჉ ჃႳႱႾႾႹႾႷ ჄႸႵ ႱჂႵႱნ

ჯ ჃႸႿჂჄ ႴႹჃჄႱႾႳႵ ႱႸႵႱႴლ ჄႸႵჂႵ ჇႱჃ Ⴑ ႳႿႾჃჀႹႳჅႿჅჃ ჃႽႱႼႼ ႽႿჅႾႴ ႿႶ ႴႹჂჄნ

“ႤႸႱჄ ႳႼႵႱჂႼ჉ ႹჃႾვჄ ႾႱჄჅჂႱႼ…”

ჯႾႴ ჄႸႵ Ⴟ჆ႱႼ ჃႸႱჀႵ ႹႽႽႵႴႹႱჄႵႼ჉ ႲჂႿჅႷႸჄ ჃႿႽႵჄႸႹႾႷ ჅႾჃႵჄჄႼႹႾႷ ჄႿ ႽႹႾႴნნნ

ჸႵႾႾႹႶႵჂ ჃჅჀჀჂႵჃჃႵႴ ႸႵჂ ჂႹჃႹႾႷ ႱႾ჈ႹႵჄ჉ნ ႣႸႵ ႳႸႵႳႻႵႴ ჄႸႵ ჃჅჂჂႿჅႾႴႹႾႷჃ ႿႾႵ ႼႱჃჄ ჄႹႽႵლ ႱႾႴ ႿႾႳႵ ჃႸႵ ႳႿႾႶႹჂႽႵႴ ჄႸႵჂႵ ჇႵჂႵ ႾႿ ჃჅჃჀႹႳႹႿჅჃ ჄჂႱႳႻჃლ ჃႸႵ ჃႼႿჇႼ჉ ႳჂႿჅႳႸႵႴ ႴႿჇႾ ႱႾႴ ႲႵႷႱႾ ჄჂ჉ႹႾႷ ჄႿ ႴႹႷ ႹႾჄႿ ჄႸႵ ႵႴႷႵ ႿႶ ჄႸႵ ႽႿჅႾႴ ჇႹჄႸ ႸႵჂ ႲႱჄႿႾნ

ႤႸႵ ჅႾჃჅႹჄႱႲႼႵ ჄႿႿႼ ჁჅႹႳႻႼ჉ ႲჂႿჅႷႸჄ Ⴑ ჃႸႵႵႾ ႿႶ ჃჇႵႱჄ ჄႿ ჸႵႾႾႹႶႵჂ’Ⴣ ႲჂႿჇნ ჴႿჂჄჅႾႱჄႵႼ჉ლ ჄႸႵ ჃႿႹႼ ჇႱჃ ႹႾႳჂႵႴႹႲႼ჉ ႼႿႿჃႵ—Ⴑ ႳႼႵႱჂ ჃႹႷႾ ႹჄ ႸႱႴ ႲႵႵႾ ჂႵႳႵႾჄႼ჉ ႴႹჃჄჅჂႲႵႴ ႱႾႴ ႾႿჄ ႴႵႼႹႲႵჂႱჄႵႼ჉ ჀႱႳႻႵႴ ႴႿჇႾნ

ႤႸႵ ႲႱჄႿႾ ჀჂႿႲႵႴ ႳႱჅჄႹႿჅჃႼ჉ლ ჄႸႵႾ ჃჅႴႴႵႾႼ჉ ჃჄჂჅႳႻ ჃႿႽႵჄႸႹႾႷ ჃႿႼႹႴნ

ჸႵႾႾႹႶႵჂ ჃႳჂႱჀႵႴ ႱჇႱ჉ ჄႸႵ ჃჅჂႶႱႳႵ ႴႹჂჄ ჇႹჄႸ ႸႵჂ ႸႱႾႴჃლ ႹႽႽႵႴႹႱჄႵႼ჉ ჃႵႾჃႹႾႷ Ⴑ ႳႸႹႼႼႹႾႷ ႱჅჂႱ ჂႹჃႹႾႷ ႶჂႿႽ ႲႵႼႿჇნ ჯჃ ჄႸႵ ჃႿႹႼ ჇႱჃ ႳႼႵႱჂႵႴ ႲႹჄ Ⴒ჉ ႲႹჄლ Ⴑ ჃႸჂႹ჆ႵႼႵႴ ႿႲႺႵႳჄ ႳႿႽჀႼႵჄႵႼ჉ ჇჂႱჀჀႵႴ ႹႾ ႲႱႾႴႱႷႵჃ ႲႵႷႱႾ ჄႿ ႵႽႵჂႷႵნ

“ႧႸႱჄ ႹႾ ჄႸႵ ჇႿჂႼႴ…”

ჸႵႾႾႹႶႵჂ ჃჄႱჂႵႴ ႹႾ ႴႹჃႲႵႼႹႵႶ ႱჄ ჄႸႵ Ⴕ჈ჀႿჃႵႴლ ႲႱႾႴႱႷႵმჇჂႱჀჀႵႴ ჃႵႳჄႹႿႾნ

ჷჄ ႼႿႿႻႵႴ ႼႹႻႵნნნ Ⴑ ႸჅႽႱႾ ႶႿႿჄჭ

ႧႸႿ ჇႿჅႼႴ ႽჅႽႽႹႶ჉ Ⴑ ჀႵჂჃႿႾ ႱႾႴ ႲჅჂ჉ ჄႸႵႽ ႹႾ Ⴑ ჂႵႽႿჄႵ ႶႿჂႵჃჄ ႼႹႻႵ ჄႸႹჃჭ

ჱჅႼჄႹჃჄჃ჏

ႢႵႱႼႹ჊ႹႾႷ ჃႸႵ ႸႱႴ ჃჄჅႽႲႼႵႴ ႴႹჂႵႳჄႼ჉ ႹႾჄႿ Ⴑ ჃჅჀႵჂႾႱჄჅჂႱႼ ႹႾႳႹႴႵႾჄლ ჸႵႾႾႹႶႵჂ ႶႵႼჄ ႸႵჂ ႸႵႱჂჄ ჃႵႹ჊Ⴕ ჅჀლ ႱჃ ႹႶ ჄႹႷႸჄႼ჉ ႷჂႹჀჀႵႴ Ⴒ჉ ႱႾ ႹႾ჆ႹჃႹႲႼႵ ႸႱႾႴნ

ნნნ

჻ႵႱႾჇႸႹႼႵნ

ჷႾ ჄႸႵ ႱჄჄႹႳლ ჲႿჂႹႱლ ႸႱ჆ႹႾႷ ႺჅჃჄ ႾႿჄႹႳႵႴ ჄႸႵ ႳႱႾლ ႶႵႼჄ Ⴑ ჀႿჇႵჂႶჅႼ ჃჅჂႷႵ ႿႶ ႵႽႿჄႹႿႾ ჄჂႱႾჃႽႹჄჄႵႴ ჄႸჂႿჅႷႸ ჄႸႵ “჻ႵႾჄႱႼ ႤႸჂႵႱႴ” ჃႸႵ ႸႱႴ ႼႵႶჄ ႿႾ ჸႵႾႾႹႶႵჂნ

ႤႸႵ ვჲჂႵႱႽ ჱႸႱჃႵჂვ ႱႲႹႼႹჄ჉ ႱႽჀႼႹႶႹႵႴ ჄႸႵ ႵႽႿჄႹႿႾႱႼ ႵႶႶႵႳჄლ ႱႾႴ ႳႿႽႲႹႾႵႴ ჇႹჄႸ ჄႸႵ ჻ႵႾჄႱႼ ႤႸჂႵႱႴ ႽႱჂႻლ ჸႵႾႾႹႶႵჂვჃ ႹႾႾႵჂ ჄႸႿჅႷႸჄჃ ႵႳႸႿႵႴ ႹႾ ჲႿჂႹႱვჃ ႽႹႾႴნ

“ႧႸ჉ ႹჃ ჄႸႵჂႵ Ⴑ ႲႿႴ჉ ႸႵჂႵნნნ ჇჂႱჀჀႵႴ ჅჀ ႼႹႻႵ Ⴑ ႽჅႽႽ჉ჭ”

ჲႿჂႹႱ’Ⴣ Ⴕ჉ႵჃ ჇႹႴႵႾႵႴ ႶჂႱႳჄႹႿႾႱႼႼ჉ნ

ჸႵႾႾႹႶႵჂ’Ⴣ ჆ႿႹႳႵჭ

ႣႸႵ ჂႵႳႱႼႼႵႴ ႨႹႽႹ ႽႵႾჄႹႿႾႹႾႷ ჄႸႱჄ ჸႵႾႾႹႶႵჂ ႸႱႴ ႲႵႵႾ ႱჃჃႹႷႾႵႴ ჄႿ ჀႱჄჂႿႼ ჄႸႵ ႧႵჃჄႵჂႾ ႧႿႿႴჃნ

ჯ ႳႿჂჀჃႵლ Ⴑ ႽჅႽႽ჉ლ ႸჅႽႱႾ ႶჂႱႷႽႵႾჄჃ ႹႾ Ⴑ ႳႱႾლ ჃႳჂႱჀჃ ႿႶ ႲႱႾႴႱႷႵნნნ

ႤႸႵ ჂႵႱႼႹ჊ႱჄႹႿႾ ႴႵჄႿႾႱჄႵႴ ႹႾ ჲႿჂႹႱ’Ⴣ ႽႹႾႴნ

ႤႸႵ ႳႼჅႵჃ ႱჂႵ ႳႿႾႾႵႳჄႹႾႷ჏

ႣႸႵ ჂႵႽႵႽႲႵჂႵႴ ჄႸႵ ႽႱႾႹჀჅႼႱჄႵႴ ႳႿჂჀჃႵ ႿႶ ჄႸႵ ႴႵႱႴ ႤჂႱႹႾႵჂლ ႱႾႴ ჄႸႵ ჃႵ჆ႵჂႵ ჇႿჅႾႴ ႱႳჂႿჃჃ ႹჄჃ ႱႲႴႿႽႵႾნ

ႣႸႵ ႸႱႴ ႳႿႽჀႼႵჄႵႼ჉ ႷჂႱჃჀႵႴ ჄႸႵ ႵႾႵႽ჉’Ⴣ ႽႵჄႸႿႴ ႿႶ ႱჄჄႱႳႻ჏ ႤႸႵ ႶჂႱႷႽႵႾჄჃ ႿႶ ႶႼႵჃႸ ჇႵჂႵ ჄႸႵ ႽႵႴႹჅႽ ჃႸႵ ჅჃႵႴ ჄႿ Ⴕ჈ჄႵႾႴ ႸႵჂ ႹႾႶႼჅႵႾႳႵ჏

“ႣႸႵ ႹჃႾ’Ⴤ Ⴑ ჆ႵႾႷႵႶჅႼ ჃჀႹჂႹჄ ႳႿ჆ႵჂႹႾႷ ჄႸႵ ႵႾჄႹჂႵ ႽႱႾႿჂჩ ႸႵჂ ႽႵႴႹჅႽჃ ႱჂႵ ႴႹჃჄჂႹႲჅჄႵႴ ჄႸჂႿჅႷႸႿჅჄ ႹჄ჏ ჳ჆ႵჂ჉ ჂႵჃჅႼჄ ჄႸႵ ჲႹ჆ႹႾႵჂ ჂႵႳႵႹ჆ႵႴ ႳႿჂჂႵჃჀႿႾႴჃ ჄႿ ႿႾႵ ႿႶ ჄႸႿჃႵ ႽႵႴႹჅႽჃ჏”

ჯ ჂႹჄჅႱႼ ႼႹႻႵ ჄႸႹჃ ჂႵჁჅႹჂႵჃ ႾႿჄ ႿႾႼ჉ Ⴑ “ႽႵႴႹჅႽ” ႲჅჄ ႱႼჃႿ Ⴑ “ჃႱႳჂႹႶႹႳႵ” ჄႿ ჃჅჃჄႱႹႾ ჄႸႵ ჃႿჂႳႵჂ჉ნ

ႤႸႵ჉ ႾႵႵႴ ჄႿ ႴႹႷ ჅჀ ჄႸႵ ႽჅႽႽႹႶႹႵႴ ჂႹჄჅႱႼ ჃႱႳჂႹႶႹႳႵ ႲჅჂႹႵႴ ႿჅჄჃႹႴႵ ჄႸႵ ႳႹჄ჉჏

ჰჅჄ ჃႸႵ ႳႿჅႼႴႾვჄ ჃႱ჉ ႱႾ჉ჄႸႹႾႷლ ႾႿჂ ႳႿჅႼႴ ჃႸႵ ჃႸႿჇ ჄႸႱჄ ჃႸႵ ႻႾႵჇნ

ჷႶ ჃႸႵ ႴႹႴლ ჄႸႵ ႿჀჀႿႾႵႾჄ’Ⴣ ႳႿႾჄႵႽჀჄ—ႶჅႵႼႵႴ Ⴒ჉ ჄႸႵႹჂ ჂႵႶჅჃႱႼ ჄႿ ႱႳႳႵჀჄ ႸႵჂ ႱჃ ჄႸႵ ჳႾႳႸႱႾჄ ჱႸႱჃႵჂ ႱႾႴ ჄႸႵႹჂ ႿႾႷႿႹႾႷ ႳႸႱႼႼႵႾႷႵ—ჇႿჅႼႴ ჆ႱႾႹჃႸლ ႱႾႴ ჄႸႵ჉ ჇႿჅႼႴ ႹႽႽႵႴႹႱჄႵႼ჉ ႴჂႱႷ ႸႵჂ ႹႾჄႿ ჄႸႵ ႴჂႵႱႽ ჇႿჂႼႴ჏

“ჼႿჄႸႹႾႷ ჃႵႵႽჃ ႿჅჄ ႿႶ ჄႸႵ ႿჂႴႹႾႱჂ჉ ႸႵჂႵლ” ჲႿჂႹႱ ჃႱႹႴლ ႶჂႿჇႾႹႾႷ ჃႼႹႷႸჄႼ჉ნ “ჺႵჄ’Ⴣ ႳႸႵႳႻ ႵႼჃႵჇႸႵჂႵნ”

ჯႴႵႼႵ ႾႿႴႴႵႴნ

ႤႸႵ ჄჇႿ ႽႱႴႵ ჄႸႵႹჂ ჇႱ჉ ႲႱႳႻ ჄႿ ჄႸႵ ႽႱႹႾ ႸႱႼႼლ ჇႸႵჂႵ ჄႸႵ ჇႱႹჄႹႾႷ ჽ჆ႵჂჃႵႵჂჃ ႹႽႽႵႴႹႱჄႵႼ჉ ႶႹ჈ႵႴ ჄႸႵႽ ჇႹჄႸ Ⴕ჈ჀႵႳჄႱႾჄ ႷႱ჊ႵჃნ

“ႧႵႼႼჭ ჽ჆ႵჂჃႵႵჂ ჲႿჂႹႱლ ႱႾ჉ ႼჅႳႻჭ”

ჯႾ ჽ჆ႵჂჃႵႵჂ ႱჃႻႵႴ ႱႾ჈ႹႿჅჃႼ჉ნ

ႥႾႴႵჂ ჃჅႳႸ ႹႾჄႵႾჃႵ ႽႵႾჄႱႼ ჀჂႵჃჃჅჂႵლ Ⴕ჆ႵჂ჉ႿႾႵ ႴႵჃჀႵჂႱჄႵႼ჉ ႸႿჀႵႴ ႶႿჂ ჃႱႼ჆ႱჄႹႿႾნ

“ჼႿჄ ჉ႵჄნ”

ႤႸႵ ჽ჆ႵჂჃႵႵჂ ႳႿჅႼႴႾვჄ ႸႵႼჀ ႲჅჄ ႼႿႿႻ ႳჂႵჃჄႶႱႼႼႵႾლ ႸႱႾႷႹႾႷ ჄႸႵႹჂ ႸႵႱႴ ႼႿჇნ

ჽ჆ႵჂჃႵႵჂ ႤႸႵႿ ႱႾႴ ႸႵჂ ჳ჈ႵႳჅჄႹ჆Ⴕ ჽႶႶႹႳႵჂ ჇႵჂႵ ႲႿჄႸ ჄჂႱჀჀႵႴ ႹႾ ჃႼႵႵჀნ ჼႿჇლ ჽ჆ႵჂჃႵႵჂ ჲႿჂႹႱ ჇႱჃ ჄႸႵ ႿႾႼ჉ ႿႾႵ ჄႸႵ჉ ႸႱႴ ႼႵႶჄ ჄႿ ჂႵႼ჉ ႿႾნ

“ႧႵ ႾႵႵႴ ჄႿ ႷႿ ႿჅჄჃႹႴႵ ႱႾႴ ႳႸႵႳႻ ჄႸႵ ႽႱႾႿჂ ႷჂႿჅႾႴჃ ႶႿჂ ႱႾ჉ ႿჄႸႵჂ ႱႾႿႽႱႼႹႵჃნ”

ჲႿჂႹႱ ႱႴႴჂႵჃჃႵႴ ჄႸႵ ჽ჆ႵჂჃႵႵჂ ჃჄႱႾႴႹႾႷ ႷჅႱჂႴ Ⴒ჉ ჄႸႵ ႴႿႿჂნ

ႤႸႵ ჽ჆ႵჂჃႵႵჂ’Ⴣ Ⴕ჈ჀჂႵჃჃႹႿႾ ႶჂႿ჊Ⴕნ

ႣႸႵ ჃႱჄ ჃႼჅႽჀႵႴ ႹႾ ႸႵჂ ႳႸႱႹჂლ ჂႵჃႵႽႲႼႹႾႷ Ⴑ ჇႿჅႾႴႵႴლ ႳႿჂႾႵჂႵႴ ႱႾႹႽႱႼნ ჶႵჂ ჅჃჅႱႼ ႳႱႼႽლ ჃႵႼႶმჀႿჃჃႵჃჃႵႴ ႴႵႽႵႱႾႿჂ ႱჃ ႱႾ ჽ჆ႵჂჃႵႵჂ ჇႱჃ ჅჄჄႵჂႼ჉ ႷႿႾႵლ ჂႵჀႼႱႳႵႴ Ⴒ჉ Ⴕ჈ჄჂႵႽႵ Ⴘ჉ჃჄႵჂႹႱ ႱႾႴ ႶჂႱႷႹႼႹჄ჉ნ

“ႩႿჅნნნ ჉ႿჅ’ჂႵ ႱႲႱႾႴႿႾႹႾႷ ჅჃჭ”

ჶႵჂ ႴႵႼႹႳႱჄႵ ႶႵႱჄჅჂႵჃ ჇႵჂႵ ჄჇႹჃჄႵႴ ႹႾ ႴႹჃჄჂႵჃჃლ ႸႵჂ ႲჂႿჇჃ ႶჅჂჂႿჇႵႴ ჃႿ ჄႹႷႸჄႼ჉ ჄႸႵ჉ ႶႿჂႽႵႴ Ⴑ ႴႵႵჀ ႳჂႵႱჃႵლ ႱჃ ႹႶ ႳႿჅႾჄႼႵჃჃ ჄႸჂႵႱႴჃ ႿႶ ჀႱႹႾ ჇႵჂႵ ႻႾႿჄჄႵႴ ჄႸႵჂႵნ

“ႧႵ ႺჅჃჄ ჇႱႾჄ ჄႿ ႼႿႿႻ ႱჂႿჅႾႴ…”

“ჯჂႵ ჉ႿჅ ႷႿႹႾႷ ჄႿ ႱႲႱႾႴႿႾ ჅჃლ ჄႿႿ჏ჭ” ჶႵჂ ჆ႿႹႳႵ ჇႱჃ Ⴑ ჃႸႱჂჀლ ჀႹႵჂႳႹႾႷ ჃႸჂႹႵႻლ ჉ႵჄ ႼႱႳႵႴ ჇႹჄႸ Ⴑ ႸႵႱჂჄႲჂႵႱႻႹႾႷ ჃႿႲ ႱႾႴ ႴႵჃჀႵჂႱჄႵ ჀႼႵႱნ

ႤႸႵ ჽ჆ႵჂჃႵႵჂლ ႿႾ ჄႸႵ ჆ႵჂႷႵ ႿႶ ႳႿႼႼႱჀჃႵლ ႸႱႴ ႲႼႿႿႴႼႵჃჃლ ჄჂႵႽႲႼႹႾႷ ႼႹჀჃნ

ჶႵჂ Ⴘ჉ჃჄႵჂႹႳႱႼ ႿჅჄႲჅჂჃჄ ႹႽႽႵႴႹႱჄႵႼ჉ ႴჂႵჇ ჄႸႵ ႱჄჄႵႾჄႹႿႾ ႿႶ ჄႸႵ ჂႵႽႱႹႾႹႾႷ ჽ჆ႵჂჃႵႵჂჃლ ႱႾႴ ႸႵႱ჆჉ლ ႳႿႽჀႼႵ჈ ႷႱ჊ႵჃ ჃႵჄჄႼႵႴ ႿႾ ჲႿჂႹႱნ

ႤႸႵ჉ ჇႵჂႵ ႼႿႿႻჃ ႿႶ ႸႵႼჀႼႵჃჃႾႵჃჃლ ႴႹჃႱჀჀႿႹႾჄႽႵႾჄლ ႴႿჅႲჄლ ႱႾႴ ჃႹႼႵႾჄ ႳႿႾႴႵႽႾႱჄႹႿႾნ

“ჷ ႻႾႵჇ ჃႸႵ ჇႱჃႾ’Ⴤ ჅჀ ჄႿ ჄႸႵ ჄႱჃႻნნნ ჽ჆ႵჂჃႵႵჂ ႤႸႵႿ ႽႱႴႵ Ⴑ ႽႹჃჄႱႻႵ჏” ჯ ჄႱႼႼ ჽ჆ႵჂჃႵႵჂ ჃႼႱႽႽႵႴ ႸႹჃ ႶႹჃჄ ႱႷႱႹႾჃჄ ჄႸႵ ႾႵႱჂႲ჉ ჇႱႼႼნ “ႣႸႵ ႼႿႿႻჃ ႼႹႻႵ ႾႿჄႸႹႾႷ ႽႿჂႵ ჄႸႱႾ Ⴑ ჂႵႷჅႼႱჂ ႼႹჄჄႼႵ ႷႹჂႼნ ჷჄ’Ⴣ ႿႾႼ჉ ႾႱჄჅჂႱႼ ჃႸႵ’Ⴔ ჄჂ჉ ჄႿ ჂჅႾ ჇႸႵႾ ჄႸႹႾႷჃ ႷႵჄ ჄႸႹჃ ႲႱႴნ”

“ႧႵ’ჂႵ ႶႹႾႹჃႸႵႴნნნ ႸႱ ႸႱ…”

ჯႾႿჄႸႵჂ ჽ჆ႵჂჃႵႵჂლ ႼႵႱႾႹႾႷ ႱႷႱႹႾჃჄ ჄႸႵ ჃჄႱႹჂႳႱჃႵლ ჄႿႿႻ Ⴑ ႼႿႾႷ ჀჅႼႼ ႶჂႿႽ Ⴑ ჃႽႱႼႼ ႽႵჄႱႼ ႶႼႱჃႻლ ჅႾႳႱჂႹႾႷ ႱჃ ჄႸႵ ႼႹჁჅႹႴ ჃჀႹႼႼႵႴ ႴႿჇႾ ႸႹჃ ႶႱႳႵნ

ႥႾႴႵჂ ჄႸႵ ჀႿჇႵჂႶჅႼ ჀჃ჉ႳႸႹႳ ႹႾႶႼჅႵႾႳႵ ႿႶ ჄႸႵ ჳႾႳႸႱႾჄ ჀႱჄႸჇႱ჉ლ ჄႸႵ ჇႵႱႻႾႵჃჃႵჃ ႿႶ ႸჅႽႱႾ ႾႱჄჅჂႵ ჇႵჂႵ ႼႱႹႴ ႲႱჂႵნ

“჻Ⴟ჆Ⴕნ”

ჲႿჂႹႱ’Ⴣ Ⴕ჉ႵჃ ႸႱჂႴႵႾႵႴ ჇႹჄႸ ჂႵჃႿႼ჆Ⴕნ

ႣႸႵ ჇႿჅႼႴႾვჄ ჃჄႿჀლ ႱႾႴ ჃႸႵ ჇႿჅႼႴႾვჄ ჇႱჃჄႵ ჄႹႽႵ ჄჂ჉ႹႾႷ ჄႿ ჀჂႿ჆Ⴕ ႱႾ჉ჄႸႹႾႷ ჄႿ ჄႸႵႽნ

ჽႾႼ჉ Ⴒ჉ ႴႵႶႵႱჄႹႾႷ ჄႸႵ ჳႾႳႸႱႾჄ ႳჅႼჄႹჃჄ ႼჅჂႻႹႾႷ ႹႾ ჄႸႵ ჃႸႱႴႿჇჃ ႳႿჅႼႴ ჄႸႵ ჽ჆ႵჂჃႵႵჂჃ ჄჂႱჀჀႵႴ ႹႾ ჃႼႵႵჀ ჀႿჃჃႹႲႼ჉ ႱჇႱႻႵႾნ

“ჷ ჇႿႾ’Ⴤ ႽႿ჆Ⴕ჏ ႩႿჅ ჇႿႾ’Ⴤ ჃჄႵჀ ჀႱჃჄ ႽႵ჏” ႤႸႵ ჽ჆ႵჂჃႵႵჂ ႷჅႱჂႴႹႾႷ ჄႸႵ ႴႿႿჂ ჃჀჂႵႱႴ ႸႵჂ ႱჂႽჃ ჇႹႴႵლ ႳႿႽჀႼႵჄႵႼ჉ ႲႼႿႳႻႹႾႷ ჄႸႵ Ⴕ჈ႹჄნ

ႣႸႵ ჇႱჃ ႲႿჂႴႵჂႹႾႷ ႿႾ Ⴘ჉ჃჄႵჂႹႱნ

“ჺႵჄ ႸႵჂ ႷႿნ”

ჯႴႵႼႵ’Ⴣ ႳႱႼႽლ ႴႵჄႱႳႸႵႴ ჆ႿႹႳႵ ႳჅჄ ჄႸჂႿჅႷႸ ჄႸႵ ჄႵႾჃႹႿႾნ

“ჷ ႱႽ ჄႸႵ ႸႹႷႸႵჃჄ ႣႵჁჅႵႾႳႵ ჰႵ჉ႿႾႴႵჂ ჀჂႵჃႵႾჄნ ჷ ჇႹႼႼ ჂႵႽႱႹႾ ႸႵჂႵ ႱႾႴ ႵႾჃჅჂႵ ჉ႿჅჂ ჃႱႶႵჄ჉ნ”

“ჺႵჄ ႸႵჂ ႷႿლ” ჯႴႵႼႵ ჂႵჀႵႱჄႵႴლ ႸႵჂ ჄႿႾႵ ႲჂႿႿႻႹႾႷ ႾႿ ႱჂႷჅႽႵႾჄნ

ნნნ

ჯႶჄႵჂ Ⴑ ႽႿႽႵႾჄ ႿႶ ჃႹႼႵႾႳႵლ Ⴑ ႶႼႹႳႻႵჂ ႿႶ ჃႸႱႽႵ ႳჂႿჃჃႵႴ ჄႸႵ ႷჅႱჂႴႹႾႷ ჽ჆ႵჂჃႵႵჂ’Ⴣ ႶႱႳႵნ

ჯჃ ႱႾ ჽ჆ႵჂჃႵႵჂლ ჃႸႵ ჃႸႿჅႼႴ ႾႵ჆ႵჂ ႸႱ჆Ⴕ ႱႳჄႵႴ ჄႸႹჃ ჇႱ჉ნ

“ჷ ႱჀႿႼႿႷႹ჊Ⴕნ”

ႣႸႵ ჃႹႼႵႾჄႼ჉ ჃჄႵჀჀႵႴ ႱჇႱ჉ ႶჂႿႽ ჄႸႵ ႴႿႿჂჇႱ჉ნ

“ჵႿლ ჲႿჂႹႱნ”

ჯႴႵႼႵ ႷႱ჆Ⴕ ჲႿჂႹႱ’Ⴣ ჃႸႿჅႼႴႵჂ Ⴑ ႷႵႾჄႼႵ ჀჅჃႸნ

ჷႶ ჲႿჂႹႱ ႸႱႴ ჇႱႾჄႵႴ ჄႿ ႶႼႵႵლ ჃႸႵ ჇႿჅႼႴ ႸႱ჆Ⴕ ႴႿႾႵ ჃႿ ႼႿႾႷ ႱႷႿნ ჯႴႵႼႵ ჄჂჅჃჄႵႴ ႸႵჂნ

“ႠႼႵႱჃႵ ჄႱႻႵ ႳႱჂႵ ႿႶ ჉ႿჅჂჃႵႼႶლ ჻ႹჃჃ ჯႴႵႼႵნ”

ჲႿჂႹႱ ႾႿႴႴႵႴ ჃႿႼႵႽႾႼ჉ნ

ჷႾ ჄႸႵ ჃჀႹჂႹჄჅႱႼ ჂႵႱႼႽლ Ⴑ ႲႱჄმჇႹႾႷႵႴ ჃჅႳႳჅႲჅჃ ႸႵႼႴ Ⴑ Ⴝ჉ჃჄႹႳႱႼ ႲႿ჈ლ ჇႱჄႳႸႹႾႷ ჄႸႵ ჃႳႵႾႵ ჇႹჄႸ ႽႿႳႻႵჂ჉ნ

“ႢჅႾႾႹႾႷ ႱჇႱ჉ ႹႾ ႴႹჃႷჂႱႳႵლ ႱჂႵ ჇႵლ ჱႸႱჃႵჂჭ”

Using Mockery to Hide My Shyness, I’m Chased and Loved by the Female Lead

Modern apocalyptic era + Lovecraftian/Anomalies After transmigrating into an apocalyptic game as a minor villain, I’m weak, short, fragile, and constantly hungry—what should I do? Steal the proud and unattainable white moonlight lady that the overpowered female lead yearns for, win over her superior, tame the maid assigned to watch me, and even seize the foundation of the organization the female lead will later build. Finally, take the female lead in as my personal guard—let’s see how much trouble she can stir up then. Thinking everything is under her control, Donia sits high on her throne, only to be shocked… Damn it, she’s actually on her second playthrough! Guard: “She’s forcing our boss to the ground—she must be trying to take our boss back for… gasp!” Poor Donia gradually unlocks her own defeat CGs and precious memories! —————————— While still scheming with the cultists of pleasure, Donia keeps getting promoted within the Anomaly Management Bureau. Guiltily, she glances at the Director sitting behind the office desk. “Donia, it’s just the two of us now…” “I suspect I might be the mole sent by the Cult of Pleasure!” Struggling to keep a straight face, Donia puts on her most loyal and determined expression. “Yes, Director!”

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