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generallypo · 4 years

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in all sincerity, kim dokja makes me happy and he deserves to be so too :^(

incoherent yelling and sobbing under the cut. these fEELINGS will not be contained aaauuunnghhh.

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anyway i binge-read all 500+ chapters of ORV this week and i honest to god feel bad for this -- completely! fictional! aghhhh -- guy. in case you haven’t figured it out, the following is some spoilerly shit

i went in expecting a fun, brainless power trip fantasy for dudes with an isekai addiction. instead, it turns out ORV is actually a gigantic, self-deprecating prank on the entire genre itself. kdj plays more into the sad -- if high-functioning-- clown trope than the sexy, edgy, chuuni bastard type i was prepared to laugh at. there were -- gasp! -- female characters with personalities! parents (aka ADULTS who act like ADULTS) who actually survive and feature prominently! adorable children! a real sexy, edgy bastard! a power trio with amazing fashion! sexual tension and bickering! friendship! life and death bonding!

*breathes in deeply* fouND FAMILYYYYYYY.

like, yeah, the plot around the first few arcs seems a little aimless, but the buildup is worth. the world-building is pretty decent. there’s discernible effort put into the fight scenes, and i can appreciate that. but -- but! what i stayed for were the characters -- namely, the fantastic OT3 of KDJ, HSY, and YJH -- who come together despite their initial rivalries and end up saving each other’s asses, like, every other day. granted, the other characters don’t get as much focus, and they do fall into certain character tropes..

but a trope done well is nothing i would gripe about. every significant character in ORV has a coherent, and more importantly, respectful take on their respective trope. maybe it’s because sing-shong is actually a married couple, but all the interactions between even minor characters are a convincing blend of awkward rambling, suggestive humor, sharp remarks, and casual banter. in other words, this cast of mostly working adults (plus a teen and two kids) talks like working adults. the relationships built throughout the story are, frankly, some of most realistic of its genre. sing-shong has managed to craft a dynamic that undoubtedly brims with fluffy fondness all around, but also drips with sarcastic tension, with unspoken urgency, with a wariness that softens into sincerity over the course of many, many chapters. it’s the kind of progression that makes even stock characters read like more than just the 2-bit villain or comrade or love interest. here, we have relationships both straightforward and not, strained or otherwise, romantically-oriented as well as decidedly the opposite -- and then numerous others scattered along the spectrum with the freedom to shift either way.

it’s also an interesting point of note that our MC kdj actually does not end up with a stated romantic partner, much less a conventional heteroromantic harem. he gets teased about that fact from time to time, but it’s with less of the sleazy shonen locker room humor one would expect and more of the good-natured ribbing you’d find among friends or that one especially nosy auntie at the yearly family reunion. kdj is a grown ass man. in the background, i applaud his maturity, and he handles all the prodding like a champ.

so instead of finding and fulfilling his horny, he builds himself a wealth of loving family. yeah, there are beautiful men and women around him. yeah, they unequivocally adore him. but they’re also adults, and they have priorities, too -- which are not so much finding a way to bang kdj’s brains out and more so simply keeping the damn guy alive. this is truly not ‘oblivious mc with his thirsty, sex kitten harem’. it just so happens that a guy proves himself to be unflinchingly gentle and capable in an apocalyptic setting despite his broken self-esteem, and lots of people find that attractive, romantically and platonically.

it.. kinda makes sense? he’s a hard worker, thoughtful, and good with kids. kdj is the kind of guy you know would make a reliable partner, and anybody with eyes can plainly see and appreciate that.

and it’s not that our MC’s a total brick wall. in fact, it’s likely the opposite, and he’s just too darned repressed to admit it. from what has been implied, kdj does indeed recognize and accept love, or at least a primitive concept of it. i like to imagine that the kind of love that he ends up seeking out simply manifests itself more easily as acceptance and safety, as warmth and a home of people to return to every day. even better, the people who surround him know this, and they give him exactly that. it’s refreshing, and honestly, really sweet.

(as a side note, i really, really do appreciate the cosmic bi energy radiating off of kdj, who canonically earns the title of being loved by all and is all but in name married to yjh and hsy. he also respects women and small children and honestly anyone who isn’t total scum to him or his family. i respect that.)

but the happy stuff aside, you know it it just ain’t ORV without the generous screaming dollop of angst. admittedly, there’s self-sacrifice, injury, lonesome wandering, more sacrifice, some epic fighting, reunion and confrontation. all of it is a lot to digest, sure, but never does it feel entirely hopeless, or truly, truly heart-clenching. ORV, up until the final act, is a mostly light read. you relax in your chair, thinking that nothing beyond this point can disturb you.

yeah fucking right.

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and then the beginning of the end arrives. when the squad finally break through to their ‘ending’, the scene that kind of breaks me is the reveal of the Most Ancient Dream. it ties so much thematically into the little tidbits that we get of kdj’s past, and it though it feels like almost a joke that the source of the goddamn apocalypse is a kid with bruises smeared across his skinny ass body -- it’s such a pathetic picture that it’s kinda poetic, actually. you’re left mystified but somewhat convinced, like a math problem explained halfway through. this.. child.. is a villain somehow, isn’t he?

and then 999th turn uriel speaks up, and she. just. hugs him.

[[You are this universe’s most powerless existence, aren’t you.]]

that. that gets me. kdj’s reaction immediately upon this revelation? absolute murder. seeing him essentially self-destruct upon realizing that all these people he’s surrounded himself with -- some who continuously proclaim their loyalty and affection for him throughout their journey, some who suffered eons of war and loss and trauma because of his existence -- not only forgive his younger self but smother him with unconditional acceptance and love is stifling, is too vulnerable and exposed and he simply can’t cope -- it’s so telling of his true mentality, of his crippling insecurity and crumpled sense of self-worth. kim dokja is a liar, through and through, so much that he fails, or perhaps refuses, to comprehend the veracity of others’ kindness and love towards himself.

by some miracle, the events at the end of the world somehow resolve.. or so it seems. there is a departing train, a liberated team of ex-gods, and a child rousing from his slumber. in the aftermath, i am left shaking. somehow, despite the ending having been (happily?) reached, there’s still another chapter ahead. what is this witchcraft?

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and then ah, yes -- the epilogue arc. i teetered on the edge of being critical for a little bit there -- is that display of deus ex machina, of sad, self-sacrificing nobility a bit too egregious to be acceptable? is this some wild last let-me-yank-this-outta-my-ass plot twist to drag out the chapter count? i sincerely thought that the arc before it would have been the finale. i was wrong. thank god.

anyways, as an answer to the above: no, and no. i stake my firm claim on the belief that the epilogue arc was meticulously planned out well in advance of its release, confusing and time-warpy as it is. i liked it. tremendously. even if it entirely invalidates all of kdj’s supposed development (”haha lol yeah sure i won’t sacrifice myself or anything anymore guys don’t worry about me” -- KDJ, at some point because he’s a lying rat bastard). actually, our beloved MC disappears for a large chunk of this arc, and i think it’s great. in his absence, the other characters not only go absolutely fucking nuts, but they have to figure out this new problem on their own, even if the lure of peaceful complacency in the newly saved Korea might convince them otherwise.

and then the whole time paradox thing comes around. yjh goes to space, hsy saves the only life she can, and kdj grows up. the crew waits, holding onto their hope even if it bleeds them dry. sing-shong does a damn good job of illustrating their fraying calm, their lurking madness, the unseen but pervasive depression that seeps in from kdj’s absence. the kids lose their father, lhs and jhw lose their reliable leader figure, ysa loses a best friend and confidant, lsk -- as distant as she pretends to be from her son -- loses her only child. and then there’s hsy and yjh , who are essentially bereft of the other half of their existences. their pain is palpable, is grounded in the hopeless, gnawing frustration of an utterly meaningless victory. emotionally, ORV hits all the right -- if agonizing -- beats.

however, a story can’t sustain itself just through its pathos. i’m happy to say that ORV doesn’t drop the ball after the first milestone, and after all the hurt, the characters do leap straight back into action. even better, the plot holes actually do get patches, and the poetic cycle of writer, protagonist, and reader comes full circle by making use of all those supposedly throwaway characters from the myriad world lines.

at the end of the road, there is a distinct sense of unity, of a delicate but undeniable cohesion to the world lines and their origins. sing-shong lets us guess a little here at the finish, but there’s just enough information to feel hopeful. maybe there never had been a definite start -- or finish -- to the story of kdj company, and... that’s okay. everybody ends up where they were meant to be, where they fought and struggled to reach. it’s.. almost like a happily ever after, if we’re allowed to dream of that.

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now, i realize, this was all an orchestrated maneuver.

i’ll take it.

to me, all of this work sounds like someone put some serious thought into this behemoth of a plot. it cements the entire original premise of the story. it suggests -- but never explicitly confirms! -- the possibility that breaking free of the cycle is possible through the exact same system that sustains it. it’s terribly interesting -- and inspirational! with all the dramatic revelations and life-threatening scenarios and the cast’s resigned acceptance of them that essentially make up ORV’s entire mood, there’s still that last hint of rebellious and righteous anger that lights up the whole damn nebula. it’s like the kdj company blasting away at the heavens just to yell into the nether: we’re not looking for the happy end, but the free one. stay alive.

it’s subtle, and yet it’s such an emotional gut punch. i came away with the most ruinous, frustrating, bittersweet sense of longing in ages. i pined. for these fictional darlings. god, i am weak.

so. yeah. ORV is pretty good. flawed, but ambitious and impressively thought out. i’m stoked that the webtoon is making pretty good progress, even if it’ll take an eternity and a half to meet that monstrous chapter count. i’m still gonna follow it. hell yeah.

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(by the way the idea that secretive plotter and co are literally gonna take care of and raise baby kdj and spoil him and be the best friggin family a kid could ever want does things to me. protect him. he’s suffered too much. let at least one worldline’s version of him know happiness. and actually, aLL OF THEM DESERVE DOMESTIC BLISS TOGETHER IN A BIG OL MANSION WITH SUN AND FRESH AIR AND TENDER FAMILY MOMENTS UGH)

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and there you have it, folks. you made it to the end. in the far, far distance, i’m cheering you on and crying my eyes out in gratitude. thanks for tuning in!

#omniscient reader #orv #omniscient reader's viewpoint #kim dokja #fanart #kdj happiness rights!#protect him!#let! him! have his big house! with everyone! he loves!#please!#long ass emotional screeching #look i can't do him justice with drawing but hell can i yell out my love for him :'^DD

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cath-with-a-c · 5 years

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This is the comment I woke up to on Friday morning. The amount of bigotry hiding behind the almost polite and seemingly thoughtful wording is astonishing.

I’ve responded to it already, informing the individual behind it that I won’t be discussing the points of the comment with them, as they’ve resorted to personally attacking me, which is...dumb. I mean, attack my work all you like, it either helps me grow as an author by learning from my mistakes or as a person by growing a spine and defending my work. But coming after someone who has no connection to this and can’t defend themselves because they are no longer with us? Low and disgusting. (Also wow, they’ve taken the time to find the only truly personal post I have on tumblr, and it’s more than a month old, what a commitment to come off as pathetic, really)

Anyway, while talking to that particular individual is out of question, I still kinda wanna address the certain things in the comment because wow, my first queerphobic comment and an excuse to talk more about “Nothing and Everything”, my boys and myself? How can I pass that?

(this is like... a long-ass one... prepare yourselves)

(I’m gonna refer to the commentator as “Fox” and, probably, “them” because well, I don’t know what their preferred pronounce are)

NB! I’m using the term “queer” as an umbrella term to mean everyone who isn’t strictly straight and/or cis-gender.

Let’s start from the top

The best part about slashfic writers is that when they write about child abuse, child sex abuse, and drug and alcohol abuse while including gay characters, is that they’re really writing about the lives of gay men without realizing it. To you, gay men being abused and that being the arbiter of their homosexual identity is too homophobic to fathom. But you still confirm it in subtle ways, and that always brings a smile to my face.

Now, English isn’t my first language, so I might be missing something, but If Fox meant being the arbiter of as in defining, being the reason for, than no, it’s not homophobic. It’s just dumb. One, there isn’t a single relevant scientifically accurate study on the abuse causing someone to “turn gay”. Two - there might be a correlation (and it’s not necessary there, I’m just guessing), but the cause and effect will be the other way around, queer kids get abused more because they are queer, not become queer as the result of the abuse. And, most importantly, three - in terms of sexual orientation, you can’t turn someone queer, as well as you can’t turn someone straight. It’s something you are born with and discover as you go along.

And also the other two queer characters, Rob and Penny, weren’t abused by their parents and/or other family members, but we will touch on that later.

“The Brotherhood had no problem with homosexuality” - Of course not, and neither do the Templars. It’s the Current Year. You can marry/have sex with whomever you want, whatever you want, whenever you want.

Ignoring the fact that this was taken out of context, and the whole phrase has a slightly different meaning, there are two things that are factually wrong with this statement. First - even in the Current Year, there is a ton of places where being openly queer is dangerous, from the countries that have “anti-gay” laws (ranging from “you can be gay, but stay quiet or go to jail” to “die a horrible death for being gay”), to certain, let’s say, traditionally oriented places in the US. Second - this is not Current Year. The bulk of the story takes place between 1998 and 2003, this phrase is taken from the chapter taking place in 2003, 16 years prior, things were, let’s say, slightly different.

Also, I don’t understand why Fox tried to make this sound sarcastic, we are talking about two societies, with one canonically being for freedom and choice and the other one relying on public favor to propel their agenda, of course, none of them will have qualms with the GRSM community,

“Honorary gay parents of a gay kid” - Well no wonder the kid is gay. Look at the environment xe/xim/xer grew up in.

I like how Fox uses the non-binary pronounces referring to Penny, when the only thing that has been said about her/them is “I’m into girls.” Also out of 16 kids on the Farm, only 3 are confirmed to be queer. They’ve all grown up in the same environment, so that statement is... meaningless. And in case Fox was referring to Rob and Des turning Penny “gay” well, they’ve also been close with Sam and he’s - what a shock - straight! So again - meaningless.

I’m gonna skip Fox shitting on my friend’s art, again - such remarks are low, pathetic and not worth discussing, let’s get to the juicy stuff.

It’s amusing, no, to have a pansexual – an individual who is attracted to ‘all genders’ - writing about gay men so much? How many genders are there? Thousands? 51? All on the spectrum? Regardless, tumblrinas are as big on their sexual identities as they are on their activism. In this case, we have a person – presumably female – getting wet over two dudes banging. I’m simply wondering if they packed enough lube and had their enemas. Maybe it was hidden in their stash?

Well, as a matter of fact - they didn’t have lube in their stashes because the only way to get it was to essentially ask one of the adults going to the city to get it for them, can you imagine a 16yo asking something like that? Death from mortification would be the most likely outcome.

Seriously though, I write what I like about whom I like. The only thing it has to do with me being pansexual is that I have more confidence in writing non-straight characters and relationships because I know it’s fine, and my queerphobic background can’t silence me anymore. Also - Desmond isn’t gay, he is bisexual. Rob is gay, true.

The amount of genders is still up for debate, in my personal opinion it’s all on the spectrum, and the only reason gender issues don’t come out in fiction as much as sexual orientations do is that gender in a lot of cases is a more personal thing than orientation, that’ll inevitably reflect on the inter-character dynamics. A lot of genderqueer people are fine with using male or female pronounces, which to an outsider would put them in respective categories. There are, of course, androgynous people, trans people, non-binary people and others for whom gender and the perception of their gender are important in day to day life - and there are more and more stories featuring them.

Also, on the note of pansexuality - it’s not “attraction to all genders,” it’s having an attraction to the person regardless of their sex or gender, those labels play an insignificant part in me deciding to pursue a relationship. (Also also there might be like a ton of things to discuss in regards to how sexuality relates to gender identities, but not here, not now)

And yes, I’m afab, so yeah, “female” and I do “get wet over the two dudes banging”. Fox got me. Now what? Shame Fox seemingly can’t conceptualize that I “get wet” because I wrote those boys in a story that contains a hard emotional journey full of heartbreak, and I do revel in the short happy moments they’ve got together. The sexual/sensual part is hot because it’s those particular two guys, not just random two guys.

Oh, and the last thing here - I don’t know if it’s news for Fox, but not all people in a homosexual relationship engage in anal sex. Especially teens in their first relationship. Just saying.

Let’s skip another personal attack part, here we go, sorry that the phrase is broken up

she educated a pansexual SJW into confirming every negative and dirty secret in the gay community: a brutal, abusive father, societal ‘homophobia’, drug and alcohol abuse, and feeling inadequate compared to heterosexual people.

Tbh, this is the part of the comment that had me confused for a moment, as I mistook Fox for one of the “hardcore gay” people, that think that with letters added to LGBT and by putting everything on the spectrum we somehow affect negatively the “real” gay community. The next paragraph cleared this shit for me tho.

Right off the bat - SJW isn’t a dirty word, Fox shouldn’t try to sell it as one. And I won’t label myself as a SJW, because as of now, I lack the commitment to the cause.

For the next part, I’d really, really like to quote a line from one of my fav vines “Bitch, where?” but for the sake of politeness, I’ll go with “Citation needed,” because from all of the things mentioned, the only one that is really prominent in the text is the “brutal, abusive father”. Societal homophobia isn’t exactly in the text (pay attention, teen Rob is cautious about adults being homophobic, it’s a valid fear a lot of queer teens have prior to coming out, but the general atmosphere isn’t homophobic. If I wanted it to be, adding a scene of public shame/shunning for someone caught in the act wouldn’t be hard), no drug and\or alcohol abuse (1 scene of teens trying drinks for the first time doesn’t count - surprise, teenagers try drinking), and feeling inadequate is mentioned once as a fear of a nine-year-old Penny, who has no frame of reference other than heterosexual behavior of the others, and is corrected almost immediately by Rob.

Was this about Assassin’s Creed? No, not really. Despite you being a HUUUUUUUUUUUUUGE fan, you don’t really respect these characters. Miles is a douchebag, it’s true, but he’s respected even by Otso Berg. That should tell you something.

(I’d like to see an example of Fox-approved, really-about-Assassin’s-Creed fanfiction, for a future reference, but alas, they’ve commented from as guest)

Interesting how me not liking or respecting Bill, canonically abusive douchebag known for alienating people because of how cold and manipulative he is, translates into me automatically not respecting every other character in the series.

Also, I don’t see how Otso Berg respecting William as an opponent should sway my judgment. I’ve mentioned here on my blog that I like Garnier de Naplouse as a villain - how self-assured he is, and how much quiet intelligence he has. Do I like him in general as a person? No. Do I respect him? No. He tortured people. I relished in seeing Altair murder him.

With Bill, him being a douchebag and abuser is a deciding fact for me, I do not respect abusers, no matter how great they may be. But tbh, on the leadership front, I can’t quite decide if Bill is a fine leader given the circumstances, or if the number of instances of him being canonically shitty as a leader is big enough to call for his removal.

You crafted him into a predictable homophobic dad, albeit he isn’t Christian. I was waiting for the Bible to be thrown at Desmond.

Again - citation needed. One instance in the text of Bill being homophobic. Not abusive, not overly-demanding, but homophobic.

(Spoiler alert - there isn’t one.)

As for the Christian associations - well, it’s in the tags. Literally. In this story, the Brotherhood is a cult, like the JWs, or the LDS church, but with Creed instead of a holy book. And I guess I succeeded in conveying the feeling.

In another Tumblr post, you wrote about how William is very abusive to Desmond, and how that is inexcusable. You bring up Nikolai and putting his child out in the cold as punishment, and earlier, cited Philosophy Tube in regards to solitary confinement (which really shows a lot). How do you explore this concept?

I wonder what me citing Philosophy Tube shows, except for maybe that I find Olly to be a very pleasant narrator and that the themes he touches on are rather interesting (Olly is precious, protect Olly).

I think I was rather unsubtle with showing what exactly abuse, inflicted by Bill, did to Desmond. And not, not “turn him gay”, about that in a moment. I don’t delve like deep into what was happening in Desmond’s head because this story is from Rob’s perspective. Not Desmond’s.

This story isn’t about the relationship between Bill and Desmond. It’s about Desmond not living in a vacuum all those years on the Farm.

Write William being SO abusive he turns his son gay. You make him so homophobic Desmond reacts by engaging in self-destructive behaviour and, in turn, becoming your average gay man. Your OC, Richard, Robert is merely the bridge.

“Bitch where?!“ (c)

1. Desmond isn’t gay. He is bi (because I’m keeping it as close to the canon as I can and I love Elijah to death). It’s in the tags, and it’s in the tags rather than stated because Desmond’s sexual orientation isn’t the point of this story, 2. Bill isn’t homophobic, at least not openly. There’s a different issue within the Brotherhood, the fact that they expect everyone born into the Brotherhood to have kids of their own. This is the source of Rob’s unease and perceiving adults as not reacting positively him or any other kid in a queer relationship. 3. If I wanted Bill to come off as homophobic, I’d portray him like that. Using slurs, for example. 4. Bill abuses Desmond not because he thinks his son is gay - he thinks his son is weak. In general. Not related to orientation. Like in the fucking canon. I’m merely turning the abuse factor up to eleven. 5. No one abused Rob, his father is shown in the text to be one of the best parents on the Farm - and Rob is gay. No one abused Penny, her family is mentioned briefly, but I specifically did it in a way that shows that they are nice - and she is a lesbian. Another boy, Colin, got abused by his strict mother - and he is straight. Desmond got abused by his father - and he is bi. There is no correlation between abuse and being queer. 6. Desmond's self-destructive behavior came from him being abused on a daily basis for most of his life and having no way out. Again, if it was linked to his orientation Rob would do that stuff too. He doesn’t.

You make these characters gay because, as a ‘queer pansexual person’ you can. But you don’t really make them human. In fact, every single negative stereotype you want to protect yourselves from our oh-so-bigoted society are confirming them, while simultaneously denying that they exist.

In short, everything and everyone acted the way I expected to, and was written the way I expected a queer pansexual to write them: meaningless, with only the sexual identity taking place. Funny how that’s the only identity politics that’s allowed. Everything else is oh so bigoted.

I’m not denying the existence of the stereotype, I’m just not acknowledging it as valid, because it’s not. It’s like blaming violence on video games - you’d be hard-pressed to find a youngster who doesn’t play a semi-violent game of some kind, with blood and murder, but every time someone brings up that another shooter was playing those games, they forget to mention how many youngsters play and don’t commit murder as a result.

The same way Fox keeps bringing up the “abuse turned Desmond gay” without acknowledging that there’s a ton of straight teens that get abused worse than Desmond in this story, or the two queer kids right in the text who weren’t abused.

It’s also funny that Fox is adamantly holding to the “sexual identity” thing, despite the fact that it came up only in 5th chapter (with 4 chapters before that having nothing to do with sexual orientation) and it’s not even an identity/orientation thing. It’s the “relationship between Rob and Desmond” thing and “Desmond is clinging to as much happiness as he can because he has none” thing. The only time orientation comes up in term of identity it’s when Rob talks to Penny and thinks of himself as a closeted gay man, but it immediately switches back into the “relationship between two people” again.

10.

You call yourself an AC fan?

Yes. Yes, I do. Ain’t nothing some bigot on the internet can do about it ;)

(If you read this through to the end, I applaud you, thank you for your time <3)

#Assassin's Creed #Desmond Miles #william miles #my writing #nothing & everything - AC #bigotry #queerphobia

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