ORV transcends language | how ORV is kind to readers (1.1k words)
the difficulties in analyzing text are already numerous without a language barrier, the way one word can mean 5 things and when you put it in a sentence suddenly it can mean 50 things and put that sentence in a paragraph? go further and put that paragraph in a page? construct a whole world around it, weave it into the fabric, and suddenly you are painting with words.
ORV is a daunting text, it calls and references so many mythos world wide, greek, roman, indian, chinese, japanese, it plays with meaning and intent and uses gaps in our knowledge like weapons, making us extrapolate our own meaning between the sentences, it is a tome of knowledge when it comes to histories and philosophies it feels at times like I will never understand all these things inside it.
One of the difficulties of reading a translated text is that when we analyze a text the authorial intent weighs very heavily in our minds, sure we can immerse ourselves in the world but once we start picking apart at the threads we hit a wall pretty soon when we start asking ourselves "what did the author mean by this?" however in a translated text there is an obvious gap, a game of telephone, did the translator actually capture the authors intent? or are we just reading the translators perception?
sadly I don't know korean, and I cant say I have the drive to learn it, as such I know there will forever be a side of ORV that I will never be privy to - however I am bilingual and had the pleasure of reading two translated versions of ORV, an English translation and an Arabic translation, I didn't finish reading the said Arabic translation but a couple things stood out to me when I briefly did
ORV is very kind to readers, following along in other stories can seem confusing at times, the pacing might be too fast and you might miss some details in a characters actions, the wording might be too vague and ah damn 20 pages later you realize you don't actually know why the characters are doing what they are doing. A big writing adage that you will see a lot is "show dont tell" and it holds merit, but ORV doesn't subscribe to it, because ORV shows AND tells.
ORV built a world around readers and reading, and it makes sure that there is clarity every step of the way on what is happening, first by starting out as a homage to the isekai genre, and not deviating too much at the start, making the readers feel at home in a worldview they are familiar with, systems, leveling, videos games etc, and when it starts deviating it explains things with clarity that no matter how bad the translation is you understand the general intent, and secondly by being VERY blatant about the names of things and having a built in "story" system that is built on common story tropes and names the themes for you!
take for example "unbroken faith" and "Blade of faith" both of these are two translated versions of dokja's sword. I will never know which one is closer to the original authorial intent, but I can tell you something, dokja's sword is symbolism to the faith he is wielding.
(CH386 vague spoilers) or the entirety of "the great war of saints and demons" being about the concept of good and evil fighting and how kimcom aren't just above being good and evil, they are both. By using story tropes that we are familiar with to explain the complexity of situations in a simple forms you no longer have to worry about losing you readers understandings through language barriers. Every story in the world in every language knows what good vs evil is, every language has the words to explain them.
and therein lies the beauty of ORV.
But of course this isn't to say translations don't matter, it does speak to the strength of an original texts clarity when it accounts for the big things by making them simplified, but when we get down to the nitty gritty it starts to lose form
take for example
"Tell me, you fool. If I continue to regress, will I ever get to meet you again?"
this person here has a great write up explaining the translators thoughts behind this specific line
but it has spawned a lot of debate in the English speaking fandom, as to the strength of its translation, I remember when I first saw someone claiming that its a mistranslation and "you fool" isn't part of the original, my first thought was "and so?"
I do not mean to be dismissive to the original text, but I do not exist in a space where I can appreciate it in the original korean, I do not exist in a worldview where I can understand the historical implications of a lot of the characters, and even when I try to research it in English sadly the resources do not exist yet and its even more laughable to think of finding these things in Arabic. (Goryeos first sword doesn't have an English wikipedia page as a clear example)
a lot of people have issues with the most popular English fantranslation of ORV - and I can understand why, being bilingual I have a lot of opinions on how a lot of things SHOULD be translated most of the time, and have done my own translation work
but as I sit and think about this popular translation I cant help but just feel love for it, it might be lacking to some, it might be inaccurate at times to others, but its just enough for me to paint the gaps in the text with my perceptions, the words used are tied to my affections
the Arabic translation of ORV is clunky, it is messy, it doesn't have as much grace as the English translation of ORV does, the words barely string together cohesively, but it has enough clarity, enough intent, and enough love for its readers, to catch their hearts, their attention and their energy
and so I want this to be the first post on this blog because, the author is dead here, not because I buried them, but because the tower of babel fell down a long time ago, and all we have is rubble and each other.
a lot of the analysis on this blog will try to be respectful to the korean original wherever it can, however my words will be coming from an anglosphere perspective, and build on other English reader's perceptions of a text translation that a decent amount of people don't think is adequate, but just like ORV is kind to us, we can be kind back, I will quote the most popular version because its what connects us together, and while the authors intent might be lost, we can share our own meanings with each other, and build our own intent from the rubble.
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Obsessed with seeing warrior cats posts when I know nothing about warrior cats. "omg I sobbed when slimylung betrayed globetrotter by killing firefart with the sacred bow of cosmology that she stole during her Trials, now globetrotter can't trust anyone from their clan (?) and also broke up with starrymilk leaving their thirteen kits to fend for themselves in the Earth Quakening". Utterly unintelligible to me.
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Germania with Germany and Prussia as kids?
underrated family dynamic! i like to think germania is a tired, single dad who wants his kids to excel in school (to which they do!)
ger (germany) and pru (prussia) as kids is fun to think about. pru is REALLY excited to have a younger brother, like he walks ger to school everyday, invites him to everywhere he plans to go, even talk to him about his day everyday.
it gets kinda overbearing for ger due to the constant teasing and ruffling of hair, but he knows that pru really cares about him. i need to see more germanbros content uuu
my favorite potrayal is from a fic i read where the german fam owns their own mechanic shop to which both germania and prussia worked at while germany works in a reputable workplace
germania is proud of his smart and hard-working sons, though he wonders why they are very different from eachother.
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(Open in new tab for better quality)
Re-ordered some stuff but here we go
will I color it one day? maybe. For now here we go.
--
In this AU, the Bishops were children who were raised in a temple together, chosen from a young age to bear the crowns.
Shamura the eldest, who loved to read and learn and share this knowledge with everyone around;
Kallamar the second, who loved to entertain his siblings with stories and tales;
Heket the third, who loved to try new things and share them with her siblings;
Narinder himself, who loved too much for the embodiment of death;
and Leshy the youngest, who dreamed of a future beyond the palace walls, where he and his family could simply be.
As they grew older, though, things began to change. Vows were made and stations were created- and everyone settled into their roles, learning and growing and expanding upon their domains... they of war, he of blight, she of famine and he of chaos...
But Narinder, he of Death, could not. And that already widening chasm only grew as he did, anyway.
Azri, eventually, came to view Narinder not as a cruel god, but as a victim of his station- a pathetic personification, a pitiable brother betrayed by those he loved, the very ones who placed those lofty, unreachable, unnatural dreams into him in the first place.
And, well, why become Death when you can simply put Death on a leash?
--
Since the Lamb spares Narinder, Narinder remains god of death but is essentially under Azri's control. The other four Bishops get revived, but since they died they lost their god status and only retain their immortal souls. Azri is a god themself after defeating all 5 Bishops (killing 4 of them) and obtaining their crowns.
All five crowns are now in Azri's possession and they are nigh on unstoppable. Luckily for everyone, they just want a peaceful and happy life. Being worshiped is a nice side effect, and sure, there's a sacrifice here and there, but all in all it's a very peaceful life.
Just... don't step out of line. When you have Death under your thumb, death has no meaning.
you can't die without their permission.
also don't mess with Nari bc the Lamb will have Words™ for you.
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