Name: Omniscient Reader's Viewpoint
Rating: 4.208333333333333 (12 reviews)

Singshong

Omniscient Reader's Viewpoint

I don't know if I want to rate it a 5 star because the plot, the idea was THAT good or express my disappointment by giving it 1 star.

The only thing that was disappointing was the use of religious figures in the novel. Instead of showing a real god in bad light and getting beat up, it would've been better to create a fake god. This really made me very uncomfortable. I don't know about others but I'm not even that much of a religious person but it still made me hella uncomfortable. But I still kept on reading because of the MC and the plot as I thought it was really unique.

A world created by a reader's imagination, for a reader, where only the reader has the upper hand to change the direction of the ending because nobody else knows the story the way that one dedicated reader knows. A world and it's characters or ‘a STORY’ which saved the reader when he was depressed, so in return the reader pledges to save the world to pay off the debt (he feels as though he owes the fav character for saving him.) And the ending makes me question if the world he was living till now is even real. It expresses the pain of a reader parting from the story.

I can't express my hurt in words. I don't know why the author had to include religion in it.

anonymous

I don't know if I want to rate it a 5 star because the plot, the idea was THAT good or express my disappointment by giving it 1 star.

The only thing that was disappointing was the use of religious figures in the novel. Instead of showing a real god in bad light and getting beat up, it would've been better to create a fake god. This really made me very uncomfortable. I don't know about others but I'm not even that much of a religious person but it still made me hella uncomfortable. But I still kept on reading because of the MC and the plot as I thought it was really unique.

A world created by a reader's imagination, for a reader, where only the reader has the upper hand to change the direction of the ending because nobody else knows the story the way that one dedicated reader knows. A world and it's characters or ‘a STORY’ which saved the reader when he was depressed, so in return the reader pledges to save the world to pay off the debt (he feels as though he owes the fav character for saving him.) And the ending makes me question if the world he was living till now is even real. It expresses the pain of a reader parting from the story.

I can't express my hurt in words. I don't know why the author had to include religion in it.

life-changing. i will never recover. a hell of a ride. i was left speechless. i read so many spoilers but it failed to stop me from bawling my eyes out. “is it because there are too many stars that i can’t find you?” was THE line. unreliable narrator that is doomed from the very first start, i enjoy it as much as it kills me. this book had me questioning my entire perception of reality. such a sophistical read with love at its core underneath all the fantasy concept. love transcends the boundaries of the universe, and a stronger love than a romantic attraction or familial love exists here. this book takes the sentence “we accept the love we think we deserve” to a higher level. the concept of love and sacrifice heavily influence the overall narrative. dokja’s development is the most realistic aspect more than anything, and no matter how i despise the heartbreaking ending, i understand why it is the way it is. i don’t think i will be able to reread this book and go through another five stages of grief. 

My Tummy Hurts But I’m Being So Brave About It

 t-shirts, but with a shakily scrawled addendum blaming orv for it. that’s not necessarily a good thing. it’s not necessarily a bad thing, either. it just kind of is. that’s orv. it just kind of is. some days, i could cry over its last few plot points. others, i feel so cold and apathetic to its existence that i wonder if i even enjoyed any part of it. 

someone tweeted at some point that orv is like, what if you were put through hell for eternity bc someone loved you so much and you let them bc you love them back? and i think in many respects, orv is to me about the idea that every story is a three-way relationship between writer, reader and narrative. each one, at least in your typical conception of these positions, is confined to their role: a reader cannot change what has already been written, a writer can only do their best to write the story with no guarantee that the world will receive it how they meant it to be, and a protagonist inside a narrative cannot exceed the boundaries of the plot. but orv collapses those boundaries as many times and as thoroughly as it can, right from the outset, until the only thing you’re left with is the age-old question of: what if a story can save someone’s life? not just a reader’s, but a metaphorical life and a fictional life as well, again and again? what if Story—not simply 

 story, but story without the definite or indefinite article, story as this living concept, this idea with legs and a beating heart—is the only 

 there is to aspire to, no matter what life has produced you, no matter if you’re metaphysically real or less than alive? what if you loved someone so, so much that you keep the story going? what if you loved someone so, so much that you will continue their story for them? what if you loved someone so, so much that you will live out their story if that’s what it will take? the fact that those questions are applicable in so many iterations in orv, even if you rearrange them and look at them from different angles for different characters and dynamics—it’s as reflective of my main issues with the overall story as much as it gives me a permanent stomachache. perpetual orv cramps. inescapable. 

i don’t think every story has to be doing something mindblowingly new or innovative to have value, but half of me is still disappointed by the lack of novelty in orv even as the other half understands that the lack in itself, how the story sticks to basics and fundamentals, is the entire point. idk. often, people mistake logistical complexity for narrative complexity just as they mistake excess of sentiment for heart. but not all intricacy is good intricacy, nor is all characterization good characterization. it really is a little unfortunate that i can say that about so many parts of orv. it attempts a lot with good intentions, from dynamics to themes to allusions to resolutions; this doesn’t automatically mean it does all of it well. but maybe that’s uncharitable of me. i did sincerely like some elements. i know i did. i wasn’t totally unmoved by the pieces of my life and personality i shared with dokja. it’s just one of those cases where seeing a writer’s work feels like the horror of walking in on someone about to change. we’ll laugh about it in a flurry of apologies and embarrassed laughter, but that won’t change how i kind of i wish that never happened, for both of our sakes. i wish you’d finished dressing before i walked in. i wish you’d locked the door. we both agree it’s no big deal that you didn’t, but i still wish you did. 

i need one of those My Tummy Hurts But I’m Being So Brave About It t-shirts, but with a shakily scrawled addendum blaming orv for it. that’s not necessarily a good thing. it’s not necessarily a bad thing, either. it just kind of is. that’s orv. it just kind of is. some days, i could cry over its last few plot points. others, i feel so cold and apathetic to its existence that i wonder if i even enjoyed any part of it. 

someone tweeted at some point that orv is like, what if you were put through hell for eternity bc someone loved you so much and you let them bc you love them back? and i think in many respects, orv is to me about the idea that every story is a three-way relationship between writer, reader and narrative. each one, at least in your typical conception of these positions, is confined to their role: a reader cannot change what has already been written, a writer can only do their best to write the story with no guarantee that the world will receive it how they meant it to be, and a protagonist inside a narrative cannot exceed the boundaries of the plot. but orv collapses those boundaries as many times and as thoroughly as it can, right from the outset, until the only thing you’re left with is the age-old question of: what if a story can save someone’s life? not just a reader’s, but a metaphorical life and a fictional life as well, again and again? what if Story—not simply a story or even the story, but story without the definite or indefinite article, story as this living concept, this idea with legs and a beating heart—is the only raison d’être there is to aspire to, no matter what life has produced you, no matter if you’re metaphysically real or less than alive? what if you loved someone so, so much that you keep the story going? what if you loved someone so, so much that you will continue their story for them? what if you loved someone so, so much that you will live out their story if that’s what it will take? the fact that those questions are applicable in so many iterations in orv, even if you rearrange them and look at them from different angles for different characters and dynamics—it’s as reflective of my main issues with the overall story as much as it gives me a permanent stomachache. perpetual orv cramps. inescapable. 

i don’t think every story has to be doing something mindblowingly new or innovative to have value, but half of me is still disappointed by the lack of novelty in orv even as the other half understands that the lack in itself, how the story sticks to basics and fundamentals, is the entire point. idk. often, people mistake logistical complexity for narrative complexity just as they mistake excess of sentiment for heart. but not all intricacy is good intricacy, nor is all characterization good characterization. it really is a little unfortunate that i can say that about so many parts of orv. it attempts a lot with good intentions, from dynamics to themes to allusions to resolutions; this doesn’t automatically mean it does all of it well. but maybe that’s uncharitable of me. i did sincerely like some elements. i know i did. i wasn’t totally unmoved by the pieces of my life and personality i shared with dokja. it’s just one of those cases where seeing a writer’s work feels like the horror of walking in on someone about to change. we’ll laugh about it in a flurry of apologies and embarrassed laughter, but that won’t change how i kind of i wish that never happened, for both of our sakes. i wish you’d finished dressing before i walked in. i wish you’d locked the door. we both agree it’s no big deal that you didn’t, but i still wish you did. 

I loved the novel and the webtoon is just so shshdgdh, i love the art and the characters and the story so much

Omniscient Reader's Viewpoint

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