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.

the 551 chapters delivered complete satisfaction. it took about 1+1/2 months to finish it. it is a long read, but completely and utterly worth it. it has simple language, (i read the translation i got from 

) certain scenes left me with a wonderful and just-right amount of suspense.

the complex moebius that is kim dokja, the protagonist of "this" novel, is a hard person to understand, like oil on water. he had his own reasons for doing things. he was smart, collected, and a brilliant planner for tough situations (though he had a tendency to self sacrificial plans, which only made him a more interesting person to observe furthermore). the story that he had read for so many years had come to save him, and it will keep saving him.

arguably one of my favorite characters, han sooyoung manages to be a charmingly subtle character. a cruel but loving mind, so many thoughts in a small frame. focused only on saving that one person, she creates and destroys. with this novel, i did understand that love did have no bounds.

yoo joonghyuk, painted as the actual protagonist of the novel, despite kim dokja's distorted view and storytelling, appaers to me as caring and gentle rather than strong and rough. he loved. and that was all that mattered. and being a part of this amazing story, he was also loved, and thereby saved a young kim dokja.

the members of kim dokja's company— all of them have a distinct, lovable quality to each of them. it is hard to hate any character of the novel as they are written with such entrancing characterization.

i also liked the constellations and the concept of the star stream very much. i liked anna croft's character as a whole.  secretive plotter, uriel, ABFD, gabriel have so many things that make them to distinguishable.

in the end, my favorite characters muct be kyrgios rodgraim, the fourth wall, and jang hayoung. han sooyoung, yoo sangah, kim dokja and yoo joonghyuk come very close.

i liked this novel very much. if you are like me, pick up this novel when you are in a tough spot. this novel genuinely saved my life and helped me live further. it truly is, unmistakably, a piece of art. ★★★★★

the 551 chapters delivered complete satisfaction. it took about 1+1/2 months to finish it. it is a long read, but completely and utterly worth it. it has simple language, (i read the translation i got from https://orv-epub.carrd.co) certain scenes left me with a wonderful and just-right amount of suspense.

the complex moebius that is kim dokja, the protagonist of "this" novel, is a hard person to understand, like oil on water. he had his own reasons for doing things. he was smart, collected, and a brilliant planner for tough situations (though he had a tendency to self sacrificial plans, which only made him a more interesting person to observe furthermore). the story that he had read for so many years had come to save him, and it will keep saving him.

arguably one of my favorite characters, han sooyoung manages to be a charmingly subtle character. a cruel but loving mind, so many thoughts in a small frame. focused only on saving that one person, she creates and destroys. with this novel, i did understand that love did have no bounds.

yoo joonghyuk, painted as the actual protagonist of the novel, despite kim dokja's distorted view and storytelling, appaers to me as caring and gentle rather than strong and rough. he loved. and that was all that mattered. and being a part of this amazing story, he was also loved, and thereby saved a young kim dokja.

the members of kim dokja's company— all of them have a distinct, lovable quality to each of them. it is hard to hate any character of the novel as they are written with such entrancing characterization.

i also liked the constellations and the concept of the star stream very much. i liked anna croft's character as a whole.  secretive plotter, uriel, ABFD, gabriel have so many things that make them to distinguishable.

in the end, my favorite characters muct be kyrgios rodgraim, the fourth wall, and jang hayoung. han sooyoung, yoo sangah, kim dokja and yoo joonghyuk come very close.

i liked this novel very much. if you are like me, pick up this novel when you are in a tough spot. this novel genuinely saved my life and helped me live further. it truly is, unmistakably, a piece of art. ★★★★★

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 are 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. 

this changed my life. almost a year. and i’m done.

toch

i swear i've never been more conflicted about how to start a review than i am right now, so i guess this is it.

. the first thing anyone will tell you about it is that it will hurt, and man, it will. i've cried a lot to this novel, way more than i ever thought i would in the beginning or even when i was at the latter parts of the story—but, ultimately, i don't think its tragedies are what make orv a great novel. for me, it's more about the humanity so tangible still in an apocalyptic world where you really can't afford to be anything but selfish if you want to survive. and yet, it's there, in the smallest actions or conversations, the ones that would normally be overlooked, having no impact in the story whatsoever. in orv, it counts.

with a premise of an apocalyptic fantasy, which it is, orv likes to dig deeper. in the summary, the scenarios dokja will have to get through are made to be the main interest point of this novel, but if you ask me, i feel like they're more of different settings and conditions in which we get to know the characters by seeing them in action; how they think, grow, and survive in situations where a single hint of hesitation can get you killed. we see their ideals and how they pursue as well as challenge them, but more than anything, we see how they fight in their own unique way. its characters are orv's strongest point, because no matter how secondary they might seem to be, they all have a role and a reason and a heart, and you can feel each of them beating out of the pages while you read.

 secondary characters are kind of undeveloped, used more for plot's convenience than anything else, but really, it's the minority.)

i can't lie and say it was an easy read, though. personally, some scenarios felt pretty long and, while not pointless, definitely dragged out and/or extended past their time. sometimes i'd stop reading orv for a few days because i didn't have any desire to return to that world full of constellations and tragedies (which, believe me, i 

 tragedies) solely because i either was reading a rather boring arc, or it felt like a bit too much. not in a bad way, just

there's so much worldbuilding in orv, clearly, that sometimes it could feel a bit overwhelming. thus, i took breaks from time to time. i personally think orv could've been shorter and still achieve the impact it usually has on readers, as well as maintain its strong points, and i believe that's one of its biggest flaws from my point of view. 

of course, no novel is perfect. they're written by humans, after all, and humans are full of flaws. our creations are bound to them, too. but just because something is flawed doesn't mean it's any less incredible or impactful, and i think that's the case with orv.

it has a heart. it creates a relationship with its reader, both in and outside of the world of ways of survival. that's something precious and worth praising. as a reader, it has changed me, showed me how much easier it is to endure things when you're not alone and given me hope. i've seen a bit of myself in every character. i've cried and laughed with them and, more than anything, i've lived through what they have, as a reader. 

and, as a writer, it has inspired me beyond belief. because i, too, want to craft a story that will take my hand through hardships and the big, never-ending scenario that life can be. i too want to make people feel things, and i thought i had long ago lost my talent and my love for it before i stumbled across orv and, suddenly, writing, stories and the different roles needed to make one happen (reader, writer, character and narrative) have taken a different shape. it's foreign to me, but oh, i am excited to explore it to the fullest

in the end, long story short, orv is full of mysteries and plot twists, and once again i must praise the author for its intricate world-building and unique story telling, as well as its plot. but the most poignant thing of them all, the question orv asks its readers time and time again--can a story like this really save a life? orv is long, reminiscent of the ways of survival kim dokja read, sometimes a little too much so; still, it's... human. it shines through its cracks, most of the time.

lena

i swear i've never been more conflicted about how to start a review than i am right now, so i guess this is it.

orv. the first thing anyone will tell you about it is that it will hurt, and man, it will. i've cried a lot to this novel, way more than i ever thought i would in the beginning or even when i was at the latter parts of the story—but, ultimately, i don't think its tragedies are what make orv a great novel. for me, it's more about the humanity so tangible still in an apocalyptic world where you really can't afford to be anything but selfish if you want to survive. and yet, it's there, in the smallest actions or conversations, the ones that would normally be overlooked, having no impact in the story whatsoever. in orv, it counts.

with a premise of an apocalyptic fantasy, which it is, orv likes to dig deeper. in the summary, the scenarios dokja will have to get through are made to be the main interest point of this novel, but if you ask me, i feel like they're more of different settings and conditions in which we get to know the characters by seeing them in action; how they think, grow, and survive in situations where a single hint of hesitation can get you killed. we see their ideals and how they pursue as well as challenge them, but more than anything, we see how they fight in their own unique way. its characters are orv's strongest point, because no matter how secondary they might seem to be, they all have a role and a reason and a heart, and you can feel each of them beating out of the pages while you read.

(sure, some secondary characters are kind of undeveloped, used more for plot's convenience than anything else, but really, it's the minority.)

i can't lie and say it was an easy read, though. personally, some scenarios felt pretty long and, while not pointless, definitely dragged out and/or extended past their time. sometimes i'd stop reading orv for a few days because i didn't have any desire to return to that world full of constellations and tragedies (which, believe me, i love tragedies) solely because i either was reading a rather boring arc, or it felt like a bit too much. not in a bad way, just—there's so much worldbuilding in orv, clearly, that sometimes it could feel a bit overwhelming. thus, i took breaks from time to time. i personally think orv could've been shorter and still achieve the impact it usually has on readers, as well as maintain its strong points, and i believe that's one of its biggest flaws from my point of view. 

of course, no novel is perfect. they're written by humans, after all, and humans are full of flaws. our creations are bound to them, too. but just because something is flawed doesn't mean it's any less incredible or impactful, and i think that's the case with orv.

it has a heart. it creates a relationship with its reader, both in and outside of the world of ways of survival. that's something precious and worth praising. as a reader, it has changed me, showed me how much easier it is to endure things when you're not alone and given me hope. i've seen a bit of myself in every character. i've cried and laughed with them and, more than anything, i've lived through what they have, as a reader. 

and, as a writer, it has inspired me beyond belief. because i, too, want to craft a story that will take my hand through hardships and the big, never-ending scenario that life can be. i too want to make people feel things, and i thought i had long ago lost my talent and my love for it before i stumbled across orv and, suddenly, writing, stories and the different roles needed to make one happen (reader, writer, character and narrative) have taken a different shape. it's foreign to me, but oh, i am excited to explore it to the fullest—and, for what, i have orv to thank.

in the end, long story short, orv is full of mysteries and plot twists, and once again i must praise the author for its intricate world-building and unique story telling, as well as its plot. but the most poignant thing of them all, the question orv asks its readers time and time again--can a story like this really save a life? orv is long, reminiscent of the ways of survival kim dokja read, sometimes a little too much so; still, it's... human. it shines through its cracks, most of the time.

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

Shruti<3

I started reading the webnovel because of the manhua and I don't regret it one bit. The plot??? immaculate! Character design???? Amazing. My randomly picking webnovels to read was a good decision that's for sure

Omniscient Reader's Viewpoint

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