What Is The Genre Of 'Entertaining'?

I've seen 'Entertaining' described in so many ways, but it's primarily a psychological thriller with heavy doses of dark comedy. The story follows a charismatic but morally bankrupt protagonist who manipulates everyone around him, turning social interactions into twisted mind games. The genre blend is what makes it stand out—it has the tension of a thriller, the biting humor of satire, and moments so uncomfortable they border on horror. The way it dissects human nature through its protagonist's schemes feels almost like a dystopian novel at times, but the sharp dialogue and absurd situations keep it firmly in the dark comedy camp. If you enjoy stories like 'Gone Girl' or 'American Psycho', you'll likely appreciate this unsettling yet hilarious ride.

From my perspective as someone who analyzes narrative structures, 'Entertaining' defies simple genre classification. At its core, it's a character study of narcissism wrapped in a satirical package. The protagonist's elaborate deceptions and social experiments give it the pacing of a psychological thriller, where every conversation feels like a ticking time bomb. The humor isn't just dark—it's surgical, exposing societal hypocrisies through exaggerated scenarios that could almost be dystopian if they weren't so recognizably human.

What's fascinating is how the tone shifts. Early chapters read like cringe comedy, with the protagonist's awkward attempts at manipulation. As his skills sharpen, the story evolves into a chilling exploration of power dynamics, reminiscent of 'The Talented Mr. Ripley'. The final act introduces almost supernatural elements, with coincidences stacking so perfectly they feel like cosmic irony. This genre fluidity is intentional—the author constantly keeps readers off-balance, mirroring the protagonist's unnerving ability to adapt and control narratives.

Let me break it down as a fan of unconventional storytelling: 'Entertaining' is what happens when a crime novel and a sitcom have a baby raised by existential philosophers. The protagonist's schemes start small—pranks on coworkers, fake dating profiles—but escalate into full-blown psychological warfare. The genius is how mundane the settings are: office politics, family gatherings, dating apps. These familiar backdrops make the escalating absurdity hit harder.

It's got the meticulous planning of a heist film, except the 'heist' is ruining someone's self-esteem. The dialogue crackles with the wit of prestige TV dramedies, while the internal monologue reads like a self-help book written by a supervillain. The closest comparison I've got is if 'The Office' crossed with 'Death Note', but even that doesn't capture how uniquely unsettling yet hilarious this story manages to be. The genre isn't just mixed—it's alchemized into something entirely new.