If We Were Villains Access

Rio excels at creating a suffocating, insular world. Dellecher feels like a gothic dream—isolated, rain-soaked, candlelit, and obsessed with beauty and ruin. You can smell the old wood, the stage paint, and the desperation. The dark academia aesthetic isn’t just decoration; it’s the engine of the tragedy.

The final reveal is satisfying but bittersweet. Some readers may want a clearer moral or a more shocking twist. Instead, Rio offers ambiguity and a quiet, aching closure that feels true to the playbooks she’s borrowed from. If We Were Villains

It’s unavoidable. Both books feature an elite, isolated group, a murder, and a narrator looking back in guilt. Rio’s novel is more theatrical and less psychological than Tartt’s. If you demand the sprawling, glacial, intellectual density of Tartt, you might find Villains a little too neat. If you want something more propulsive and emotionally raw, you’ll prefer Rio. Rio excels at creating a suffocating, insular world

A glass of red wine, a rainy evening, and a copy of The Complete Works of Shakespeare nearby for when you need to fact-check a quote and instead fall down a rabbit hole of grief and beauty. The dark academia aesthetic isn’t just decoration; it’s

The seven leads (the “villains” of the title) are archetypal but never flat: the Hero, the Villain, the Tyrant, the Temptress, the Ingénue, the Character Actress, and the narrator Oliver as the “sidekick.” Their relationships are toxic, obsessive, and deeply loving. Rio captures how people who create art together can also destroy each other with surgical precision.

He’s not the most interesting person in the room—by design. He’s the loyal observer, the one who loves too late and acts too hesitantly. His unreliability is subtle but crucial. You’ll finish the book questioning not just who did what, but whether Oliver has been performing for us all along.