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everyones-least-favorite-bard · 10 months

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this is just a collection of highlights from my last Goofy Presentation Night in which i discussed (read: forced my audience to listen to) orv/yhk thoughts for two hundred and ten minutes

ill add more and rb/tag accordingly n stuff later bc its a lot of words to post and i am one very eepy boy

ON DOKSOO

In 1973, Ursula LeGuin wrote the short story The Ones Who Walk Away From Omelas, which, if you’ve been around the English side of ORV fandom for long enough, might recognize due to jomeimei, our yhk scholar’s writings. If you don’t know it, the basic premise of the work is that there exists in some far-flung imagined world, a utopia called Omelas that is perfect in every way, save for the fact that its perfection is maintained via the constant suffering of a small child. (One can surmise from the title of course, that there are those who upon learning this, choose to leave the city and live elsewhere.)

One of the ways this intersects with ORV comes in the Epilogues and what happened to the Avatar of Han Sooyoung living in the 1863rd round. The Han Sooyoung of that round, if you recall, found post-suicide attempt Kim Dokja in the “real” world while looking for the author of Three Ways. Judging by her reactions, we see she has two epiphanies:

EPIPHANY ONE: There was no tls123. It was nearing the end of the year that Three Ways was published (in her and Kim Dokja’s memories), but the novel had not been published yet. The only people with knowledge of the original Three Ways timeline in the world were herself and the Dokkaebi King. If she didn't do anything, if she simply sat back and let the year finish out, she could leave WOS as an unpleasant memory and nothing more. She could save the world.

EPIPHANY TWO: Kim "Three Ways to Survive in a Ruined World saved my life" Dokja would not survive without that story.

She is faced with the same dilemma those who left Omelas were faced with: does she condemn the world to save this child, or does she save the world but condemn this child?

Let's leave that thought to simmer for a while.

Now the moral quandary that she’s dealing with is similar in structure to the Trolley Problem. (Which, if the reader of this has been living blissfully unexposed to 20th century philosophy and 21st century bastardizations of such, is a moral thought experiment in which a tram is headed down a track towards five people, with a lever allowing one to switch the tracks placed before the subject. However, the second track has one person on it who will also surely die from a direct hit by the trolley. Does the subject choose action or inaction?)

And this decision, which, according to other iterations of the Trolley Problem (in which the one person is someone the subject knows and cares about) is still not even in line with those theories or justifications.

ORV is utterly rife with these sort of fun moral messes. There are countless moments in which characters are faced with needs-of-the-many versus needs-of-the-few. Kim Dokja, for one, is perhaps most memorable for these given his propensity for (continuing with the Trolley Problem metaphor) throwing himself onto the track before the tram can reach the fork.

The events of the 1863rd round (and its aftereffects) are the most direct parallel of the experiment.

As has been established, Han Sooyoung of the 1863rd round only knew Kim Dokja for a week, if even that, and yet she is fully willing to burn the world to make sure a life in which he might be happy is given to him. This decision is even further warped when we consider that the moment of her epiphany(s) is not the first time this Han Sooyoung was faced with the Trolley Problem.

We know that (based on the conversations she has with Kim Dokja) in the 1863rd round, Han Sooyoung was operating in a utilitarian space in order to seamlessly complete the scenarios. She chose to sacrifice Yoo Joonghyuk and put him in the position of a “villain” (thereby making him spiritually “dead” to all his loved ones and peers) in order to make sure she made a perfect run. And arguably she did–upon arriving in the 1863rd round Kim Dokja (loathe though he is to admit it) cannot find fault with how she has completed the scenarios thus far, and is even (if I remember correctly) somewhat jealous of her for being able to orchestrate such a clean run.

But instead of working with her to finish her run, to draw the period marking the end of the story she’s made, Kim Dokja’s desire to save Yoo Joonghyuk outweighs his desire to save the world, and he steps in and tears it into a comma. (Yes, I’m deliberately referencing the epilogues. No, I haven’t stopped thinking about the fucking period/comma scene. Don’t talk to me.) He switches the lever back to the track with five people because he refuses to sit back and allow the one man to die.

Now, based on what we see of Han Sooyoung in this round and her immediate reaction to Kim Dokja’s dickery, she would have continued operating in her ends-justify-the-means space. She obviously does to some extent as she reaches the end of the scenarios and wrangles the Dokkaebi King into granting her a wish. Upon arriving in the “real” world she is fully prepared to kill tls123 and save the world. But she doesn’t, she has the key to saving the world in her hands, she could so very easily keep Yoo Joonghyuk from suffering a thousand lives, she could save billions of people and live a wildly successful life as a famous webnovel author but! She! Doesn’t!

Why?

Imagine for a moment, if you will, sitting in a hospital room across from a fifteen year-old boy, sleeping or unconscious, fresh from a suicide attempt. Imagine for a moment, if you will, having met this fifteen year-old boy in another life when he was no longer quite so small or physically close to death, but was equally (if not more) close to it in spirit. Imagine for a moment, if you will, knowing the exact thing that will keep this boy if not happy, then at least surviving, for long enough that you might meet him again. Imagine for a moment, if you will, knowing that withholding that thing is certain death for this boy.

How could she condemn him then? How could she, after knowing the depth with which he will love and will fight to save those he wants to save, leave him here to die, alone?

We see therefore, that as a result of her interaction with Kim Dokja, that she is fundamentally changed in her worldview: she is no longer utilitarianally or unilaterally doling out unambiguous justice, sacrificing Yoo Joonghyuk for the world, but rather sacrificing the world now for Kim Dokja.

It is by this that we know that written into the very condemnation of the world that Kim Dokja uses to justify his consistent self-flagellation is a story of love. Han Sooyoung does not walk away from Omelas--no, she reaches in and says to that lonely, suffering child, I will save you. I will love you as you are. The three ways to survive in a ruined world have always, always been love.

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