The Doctor Cured The Villainess And Ran Away

– Acella von Württemberg

As mentioned earlier, Acella is the same character as Sandra from the previous work [Annoying]. If you’ve read the previous work, you might notice many similarities: she wields magic of rank seven or higher, specializes in ice and space magic, is a mad tyrant, is the emperor of the empire, and has platinum blonde hair. The types of magic she uses, such as ‘Ice Spear’, ‘Divine Spear’, and ‘Teleport’, are also the same.

Moreover, the human realm of the continent, where the story takes place, is exactly the same location as that in the previous work. Since it’s a novel without visuals and the academy was never mentioned before, it must have been hard to fully understand, but the defense and terrain are also the same.

However, I’ll explain below why her name, eye color, and mana color are different.

This work was created for Acella, by Acella, so her character profile is clear. In her mid-thirties, she is a powerful emperor capable of ruling the continent, but she’s also a villain who could destroy it without hesitation, like a sandcastle by the seaside, if things go awry.

In the previous work, Sandra was obsessed with ‘beauty’ and relied heavily on magic while struggling to have the ‘real family’ she never had. Her attempt to raise Luka and become an ideal father figure for her adopted children stemmed from this desire, even ignoring the fact that Luka was younger than the adopted kids, showing that her perspective on family was quite distorted.

In that sense, it quickly became clear how Acella’s childhood might have been and how she became an emperor. It’s likely there wasn’t a single true family member in the imperial family, meaning magic was probably her only friend.

If Lars wants to penetrate Acella’s heart, he needs to be more attractive than magic—a real family member to instill hope in Acella’s heart.

If she is a powerful individual who can seize the continent, she surely would endure greater hardship and adversity to gain the man she loves, often acting like a jealous wicked princess in the process.

Just like how harder materials are difficult to restore once broken, it seems likely that if Acella crumbles once, she would plunge deeply into despair.

Sandra’s endless pride and arrogance might have evolved into genuine beliefs during her time as emperor, and I wondered whether she harbored feelings of inferiority over what she couldn’t possess in her childhood.

Thus, Acella’s character was completed in this manner.

Naturally, she is my most cherished character in this work, given that I dedicated all illustrations to her.

By the way, the names of Lars and Acella were temporary ones assigned before serialization. The naming method in the empire is German. I was picking suitable German names while working, but before I knew it, it was the day of the contest.

I wanted to give them more meaningful names but couldn’t manage to revise them, so their names were settled as they were.

Lars means ‘the shining one’ in ancient Greek. Gothberg is the name of a noble family, and I thought it sounded cool, so I used it.

Acella is a variation of one of the names from the Roman Empire, and Württemberg has been modified from the name of a German principality.

– Gishta Calamurive

Gishta is the second main heroine, simply shaped around the keyword ‘barbarian woman.’ Originally, I thought it was a type of heroine that wasn’t common in Nobelpia, and I expected her to be unpopular, but I was surprised by the good reactions during the Gishta episode.

She was planned from the conception of the work, but some details were hastily created while it was serialized, like being a descendant of the Heavenly Dragon…

If I ever write a male-oriented genre, I’d love to have her return as a type of heroine.

Although her last name exists and is mentioned in the story, she’s actually of royal descent. She’s the type who focuses solely on the present without caring about that.

The episode featuring Gishta in the northern basin was intended to capture a feel reminiscent of the movie Mad Max, but due to my limited writing skills, it didn’t quite work out.

– Lishe / Charles

While spontaneous settings for Gishta worked well, Lishe’s didn’t turn out quite as good. As briefly mentioned above, Lishe was originally not planned as a heroine. Midway through, the development changed and a slot for the Great Demon was lost, leading to her being introduced as a character to maximize Acella’s jealousy.

For a character introduced later and meant to have a bond with Lars as deep as Acella’s, there needed to be significant relational depth. I can’t help but feel that the detailed settings or expression methods might have been slightly off… and I have quite a bit of regret regarding this heroine.

The concept of a reincarnated heroine is a common cliché in Nobelpia, but I believe I mismanaged the relationships and situations. It’s a reflection of the author’s shortcomings.

While many detailed elements were shaped according to the author’s preference rather than public appeal, I believe that’s why there was such a polarized response.

At this point, Acella’s ending felt confirmed, but unlike Gishta, Lishe’s ending being deleted occurred much later, creating confusion for readers due to deliberately polarizing representations.

Maybe that was a mistake.

Personally, I tend to prefer straightforward heroines like Charles, even if they cause some trouble. You can say that it’s a heavy reflection of the author’s tastes.

I think being a hero is quite a draining profession. Charles and future Lishe were shaped with that concept of a weary hero in mind. They are the brightest, most positive people who bring hope to everyone, but I wondered if, amidst that repetition, they might secretly be depressed without realizing it.

Lishe, being Charles, found herself in a groggy state as well, but I wanted to portray her as a character who learns and finds different answers through interactions with the attending physician.

Thinking back, perhaps it would have been better if it had been a harem ending, actively creating a relationship with Lars. Even now, I genuinely regret that.

– Neria, Tanya

These two are positioned as Lars’s family, originally intended merely as support roles as little sisters rather than heroines. I thought I hadn’t given them any romantic lines, but surprisingly many readers consider them both heroines.

Maybe I put too much effort into their design… either way, I’m glad the readers liked them.

– Chloe, Hugo, Ambrosia

Lars’s colleagues in the inner palace were intended to be seen as trustworthy comrades. I especially wanted to emphasize that Chloe was a business-like interest to avoid any misunderstanding of her as a heroine, which I think worked out well. However, a lot of the design reflects the author’s preferences.

As I continued to write Ambrosia, she unintentionally became cuter, resulting in her appearances increasing. I thought there should be at least one cute healing character on both the Marquis side and the inner palace…

Personally, I believe she’d be my first choice if there were a harem route.

– Falkenhayn, Alberich, Boisue, Simon, Livio, etc.

The other attending physicians in the inner palace appeared as opponents to Lars, serving as goals he must surpass. Despite Simon having a strong character presence, it was a one-off. Livio, while he was around for a while, is a bit of a sociopath, which left me somewhat dissatisfied with him.

Boisue is Lau’s attending physician, but I combined his character with an older brother type and couldn’t utilize it well.

Personally, I very much liked Alberich as he seemed to show a great humanity.

– Emperor, Camilla, Gunter, Heike, George, Lauga

Acella’s siblings, parents, and the imperial family became one of my favorite designs and settings throughout this work.

The actual succession battle was described once in the previous work [Annoying]. Here, it was a one-on-one battle and somewhat of a standalone episode enriched by fantasy.

I had great fun writing this section, so I wanted to scale it up and set up a bigger picture. I believe Sandra bled quite a bit to become emperor.

If the family and siblings bear the obligations necessary to rule the empire, they must be exceptionally capable, existing well outside the realm of ordinary families, yet at the same time, I wondered if they functioned merely as typical families.

The perfect emperor is present, with each child inheriting an excellent aspect of him. Gunter has intelligence, Heike has charisma and leadership, George has business sense, and Lauga has sociability. Acella inherited all of these, along with her mother’s magical talent, but also has the flaw of being a villain.

When looking solely at the goal of making the empire great, Acella is certainly the one suited to be the next emperor. The problem is that she has no affection for the empire and possesses a villainous character.

When Camilla and George first appeared, they seemed to exhibit a lack of intelligence (…), but this was somewhat intentional to boost Lars’s character.

Using the settings of separate palaces for each character, I believe every individual could express unique charm. I was quite satisfied, especially with the exit scenes of Gunter, the emperor, and George; I’m glad the readers enjoyed them too.

– Sage Seymour

According to the setting, he is the same as the sage who was the mentor of Tia from the previous work. He is an authority on spirit magic.

– Other Supporting Characters

Supporting characters like Lady Freda, Princess Persiya, the archer Valen, and the alchemist Marsha could have all been included as heroines if this were a harem.

Due to the design having only three main heroines with established end routes and a pure love line for the princess, it feels relatively distant. A character like Valen, who is a bit of a tough girl, showing affection to the protagonist while exhibiting feminine charm is crucial, but I completely failed to express that.

Bruno is based on a real friend of mine, and he’s a character I really like. It seems that the biggest winner of this work is the one who created a harem of barbarian women.

I enjoyed writing with the Moonlight Palace Knights and the Elf guard as well.

I never expected to include Heavenly Dragons or World Trees in the heroine category; perhaps I should consider beings other than humans for the next work.

I want the Demon King to take on a more substantial role as a final boss, but I regret that he felt somewhat disconnected from the overall narrative flow.

He is a completely different entity from the Demon King in the previous work, possessing the backstory of being a fallen noble wizard who made a name for himself using Clairvoyance.

There’s a sort of rule in the demon realm that if selected as the Demon King by the Demon God, all residents of the Demon Realm become loyal to him. Originally, there was no national organization in the demon realm, with countless noble families; it becomes unified only during the period when a Demon King appears.

3. Worldview and Setting

In the author’s works, the fantasy universe has been touched upon four times: [Attending Physician], [Annoying], [S-EX Rank], and [Return D Grade]. In these works, the protagonist was active before their return.

The continent that serves as the stage for this work is the same location, albeit with different timelines and time trajectories.

In this work, my goal was to focus on the protagonist, so I made it a point not to reveal unnecessary settings from Lars’s perspective. Since Lars’s main stage is the imperial family and the marquis house, the continent’s settings are essentially unnecessary.

However, these settings become a bit more significant from Acella’s perspective due to time being treated as an important element in this story.

Considering that all previous works had touched upon the theme of time, this might be a fundamental aspect running through the entire narrative.

The shape of the timeline as seen by Acella resembles a tree. From a single root, it branches out like stems depending on the choices made.

This is what appears from Acella’s perspective, and in terms of the world’s overall timeline, this tree is only a small branch.

The Clairvoyance used by the Demon King reflects that of the perspective of the Demon King; it’s also the reason Acella viewed a different branching.

When the continent was born, this branch, the timeline, was once unified. The meaning is, that there is only one absolute history recorded in any dimension.

There are a few reasons why history branches. The largest one lies in the choices of the heroes and the Demon King.

For instance, it would be the split between the history of the first hero’s victory and defeat, creating two timelines.

Within one timeline, only one history exists. Whether someone eats bread or meat for lunch, whether a die rolls a one or a six—these probabilities affect all events.

Minor events do not cause the timeline to branch. They exist within the same timeline. Therefore, if you look closely at a timeline, it resembles a rope twisted with countless thin strands creating a single branch.

Perhaps Acella’s belief that fate doesn’t exist is right. Individuals’ lives can greatly differ even within the same timeline.

Significant events sufficient to branch timelines can only be caused by heroes and the Demon King.

This explains why heroes are referred to as the ones who change fate.

There are several other people capable of causing branches in timelines: reincarnators, possessed individuals, revived souls, and transmuters are all such exceptions.

If Lars hadn’t existed, the shape of the tree Acella sees would have been much simpler, merely observing the branching point created by Lishe and the Demon King.

However, Lars is a reincarnator and a possessed individual capable of reaching over a hundred different endings.

One reason Claire’s Clairvoyance could not function from the time Lars got involved is that.

For reference, the Clairvoyance in this work is somewhat different in nature from the previous work. The Clairvoyance from the previous work can be viewed as being of lower rank.

However, there’s one important point to note.

That “even if timelines branch, characters do not change.” This is due to the predetermined cycle of souls’ reincarnation, meaning that being born is akin to fate.

In other words, no matter how much history changes and the world shifts, given a few differences in years or genealogy, Acella will certainly be born during that time.

This is why the background history does not change significantly. Ultimately, history is made by humans.

For instance, the character Balthasar must have been born in every timeline, as he would have laid the groundwork for the empire’s greatness.

[Attending Physician] and [Annoying] deal with the same timeframe.

Lishe, and characters from the previous work like Luka, Tia, and Yuri, are all the 11th Heroes.

However, the different depictions of the two worlds arise because the history above has changed considerably.

In principle, it had diverged since the third hero’s time. In the past, due to an overly competent saint, the power of the religion became so strong that the Kingdom of Law became the greatest power. During that period, the corrupt papacy schemed for over 300 years to maintain their power by suppressing folk remedies and medicine, making the populace dependent on healing spells and divine power.

However, since this background wasn’t necessary from Lars’s perspective, I didn’t mention it in the main text, but I still think it detracted from the story’s persuasiveness.

Perhaps it was inherently unrealistic.

Moreover, in the timeline of [Attending Physician], only Lars exists, not the Wicker. The soul of a reincarnator does not circulate within this universe, meaning it doesn’t exist within all timelines.

The only exception to this is when Lishe meets the Wicker in the Hero’s Hall; that place is free from the timeline.

The reason [Attending Physician] and [Annoying] seem very different despite being set in similar timeframes is because of that.

In reality, [Attending Physician] is about 20 years ahead. In [Annoying], Sandra is in her mid-thirties. At that time, Luka, Tia, and Yuri are around twenty, and if Lars returned 10 years back, the Royal Princess would have been 14, which means she might have been born somewhere in the world of [Attending Physician].

The fact that Sandra has blue eyes and Acella has golden eyes comes from the differences in history, meaning some aspects of genealogy have changed, affecting mana color. The eye color displays the area where mana manifests, so they’re designed to change according to the mana color one is born with.

Along with the setups surrounding the demon realm, the intermediate realm, and the human realm, as well as the race, magic, mana, skills, stats, the medical instruments Lars created through magic engineering and Dwarven craftsmanship, deities and demon gods, demons, demon king forces, history of continent creation, creator gods and celestial realms, dragon legions, and Charles’s Kabbalah settings—there are many detailed aspects. But many things are unnecessary to Lars, so I often think that elaborating on these details would bore readers.

In particular, the part regarding the goddess and Lars’s faith is interesting; the goddess is the system of the world, so Lars understands she’s not a typical object of worship, allowing his faith to be heightened in a reverse way, but there wasn’t enough space for that explanation.

If I end up writing another fantasy work, I may use this world as a base little by little.

Although it appears there was a complicated process, in summary, [Attending Physician] was written simply.

It started from a straightforward idea wanting a happy ending for the princess.

I don’t think my desire to write stories where everyone finds happiness will change going forward.

That’s it for the story. Thank you.

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