Jin Lee – författare

Intersectional Intimacy: Identity Work of Racialized Women in Online Dating Cultures is the first book to examine both shared and divergent stories from those who identify as women with race-related experiences navigating online dating cultures, and to explore how their experience of intimate relationships is mediated by the apps.While many women turn to dating apps in search of intimacies, their navigations are continuously mediated and challenged by hierarchies of race, gender, class, and sexuality embedded in online dating cultures. This book traces the ongoing and layered processes through which racialized women develop their stories of online intimacies by making use of their identities and further cultivate their subjectivities. It also addresses the global dimensions of these practices, illustrating how global and local power structures intersect with personal experience, afforded by the popularity of dating apps, and how these readings change with their mobility.Intersectional Intimacy will be an essential text for students of gender studies, sociology, and politics, as well as those interested in race, media studies, digital culture, and communications.Chapters 1 and 5 of this book are freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC BY-NC-ND) 4.0 license.

Intersectional Intimacy: Identity Work of Racialized Women in Online Dating Cultures is the first book to examine both shared and divergent stories from those who identify as women with race-related experiences navigating online dating cultures, and to explore how their experience of intimate relationships is mediated by the apps.While many women turn to dating apps in search of intimacies, their navigations are continuously mediated and challenged by hierarchies of race, gender, class, and sexuality embedded in online dating cultures. This book traces the ongoing and layered processes through which racialized women develop their stories of online intimacies by making use of their identities and further cultivate their subjectivities. It also addresses the global dimensions of these practices, illustrating how global and local power structures intersect with personal experience, afforded by the popularity of dating apps, and how these readings change with their mobility.Intersectional Intimacy will be an essential text for students of gender studies, sociology, and politics, as well as those interested in race, media studies, digital culture, and communications.Chapters 1 and 5 of this book are freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC BY-NC-ND) 4.0 license.

Intersectional Intimacy: Identity Work of Racialized Women in Online Dating Cultures is the first book to examine both shared and divergent stories from those who identify as women with race-related experiences navigating online dating cultures, and to explore how their experience of intimate relationships is mediated by the apps.While many women turn to dating apps in search of intimacies, their navigations are continuously mediated and challenged by hierarchies of race, gender, class, and sexuality embedded in online dating cultures. This book traces the ongoing and layered processes through which racialized women develop their stories of online intimacies by making use of their identities and further cultivate their subjectivities. It also addresses the global dimensions of these practices, illustrating how global and local power structures intersect with personal experience, afforded by the popularity of dating apps, and how these readings change with their mobility.Intersectional Intimacy will be an essential text for students of gender studies, sociology, and politics, as well as those interested in race, media studies, digital culture, and communications.Chapters 1 and 5 of this book are freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC BY-NC-ND) 4.0 license.

WORLD OF OZ: THE SIBLINGS WHO WOULDN'T SEPARATEFour Canadian siblings clicked their heels in downtown Toronto and lost everything. Jessi, Kevin, Sabrina, and Hans Martinez are now trapped in Oz separated from their bodies, their lives, their futures. Demons wear their faces in the real world while their souls perform in cosmic horror Shows. Three consecutive Shows with no rest between. Three different Modifications designed to break their bond. Three times they should have lost someone to the statistics. In the first Show, they couldn't perceive each other but had to stay together. In the second, they became each other and had to stay themselves. In the third, they forgot they were family and had to remember love. Expected casualties: Seven Actual casualties: ZeroAll four or none. That's the pact. That's the power. Combined Survival Rate: 4% Martinez Survival Rate: 100% spiteA World of Oz Story

WORLD OF OZ: THE STUDIO OF SCREAMING PIXELSA World of Oz StoryTwelve game developers attended a mandatory diversity training in Vancouver. A puppet show later, they woke up in Oz where cosmic horror isn't a game mechanic, it's Tuesday. Marcus, Aisha, Sarah, and their team thought they understood nightmare design. They'd spent years coding eldritch geometry and impossible monsters. But experiencing it? Living it? Being Modified into literal game components and forced to debug a Show designed to kill them?That wasn't in the project scope. As they lose friends to Shows, they realize something: if they can build games under impossible deadlines, they can build community in cosmic horror. They can create The Respawn Point a haven where survival isn't just individual, but collective. They're not trapped in Oz. Oz is dealing with them. Survival Rate: Variable Community Rate: Revolutionary

WORLD OF OZ: THE PAINTED MOUTHSA World of Oz StoryFive friends from Punjab came to witness a puppet show in an Amritsar gully. Now they're trapped in Oz a living cosmic horror dimension where Shows transform you into twisted puppets and survival is a statistical improbability. Judy, Clara, Jack, Bert, and Billie must survive the Theater of Painted Mouths, where they're Modified into silent, voiceless forms and hunted by a monster that collects screams. To escape, they'll need to build an Idol from components they can't communicate about. When you can't scream for help, when your voice is stolen, when even breathing makes no sound how do you tell your friends you're terrified?In Oz, silence isn't golden. It's lethal. Survival Rate: 38% Reader Survival Rate: 100%

THE PORCELAIN CHILDRENA World of Oz StoryThere's no place like Oz. When an impossible alley appears in Seoul's Hongdae district, five strangers make a fatal mistake: they step inside. Park Ji-woo, a lost seventeen-year-old. Kim Min-seo, an exhausted mother seeking five minutes of peace. Lee Dae-jung, a retired teacher who knows these streets too well. Choi Sung-min, a university student fleeing his failures. And seven-year-old Yoon Ha-eun, separated from her class and crying in the dark. The puppet show promises freedom. A world without rules, without judgment, without the crushing weight of Seoul's expectations. Three clicks of their heels. Three repetitions of the chant. And their souls are ripped from their bodies transported to Oz while demons slip into their skins back home. Now they're porcelain. Now they're prey. Now they're performers in Shows where survival rates drop with each performance: 12%, 8%, 5%... The mathematics are simple and brutal. Modified into dolls, drowned things, forest creatures, and carnival nightmares, they must build impossible Idols, survive cosmic horrors, and watch as each Show strips away more of their humanity. HP Love dies. He always comes back. They won't. Because in Oz, the curtain never falls. The Shows never end. And back in Seoul, no one notices that the people living their lives aren't quite the same anymore. Five strangers. Four Shows. Zero survivors. A Korean horror odyssey where fairy tales have teeth, mathematics determine mortality, and the real terror is that back home, life goes on without you. Perfect for fans of cosmic dread, body horror, and the creeping realization that you might already be in the Show. Warning: Contains graphic transformation sequences, existential mathematics, recursive deaths, and the uncomfortable question how do you know you're still you?

"e;The fog shouldn't have teeth. But then again, houses shouldn't breathe."e;Five strangers. Five countries. One impossible fog that swallows them whole. Raj Singh was walking to evening prayers in Amritsar. Min-Ji Park was rushing home before curfew in Seoul. Marcus Wade was navigating Oxford Street in London. Klaus Muller was calculating trajectories in Berlin. Isabella Santos was lost on a field trip in Sao Paulo. Now they're all in the same nightmare. Transformed into puppets cloth and porcelain and wood where flesh used to be they're thrust into the Hungry House, a living structure that doesn't just trap its victims. It digests them. Slowly. Eternally. Each scream preserved in a jar for later consumption. But the house is just the beginning. Beyond its walls lies Oz Proper, where cosmic puppeteer Ozothoth orchestrates an endless theater of horrors. Where Grandma's cottage hides wolves with too many teeth. Where Shows never end and survival rates drop with each performance. Where HP Love dies heroically, comedically, repeatedly and keeps coming back to guide them through fresh nightmares. There is no escape. Only the space between Shows. As their humanity cracks away piece by piece, as their memories of home fade like smoke, they face an impossible choice: surrender to the eternal performance, or defy a cosmic entity that's been running Shows for centuries. Five children. Zero survival rate. Infinite Shows. But sometimes the most powerful magic is just refusing to stop. A dark fairy tale mashup where international terror meets impossible geometry, puppets have agency problems, and the real horror is realizing survival isn't the same as freedom. Perfect for fans of cosmic dread with sarcastic commentary, breathing architecture, and the uncomfortable realization that you might already be in the Show. Warning: Contains houses with digestive systems, grandmothers with too many teeth, recurring deaths played for both horror and comedy, and the philosophical question if you keep surviving, are you winning or just?? the performance?

In a world that outlawed God, one man carries His last whisper beneath his skin. When Chungho s father was imprisoned for owning a Bible, the boy learned to hide truth under the flesh. Years later, in the Empire where vanity is religion and humility a crime he walks the desert haunted by a serpent tatoo that hurts him every time he prays. Each city he enters worships a new kind of god: one made from appetite, mirrors, or surgery. Each promises salvation through self-creation. But when Chungho frees a caravan of condemned souls and awakens the monster grafted into his spine, he becomes both shepherd and weapon the man who swallows the dark. Hunted by zealots and adored by the desperate, he must cross a continent of synthetic faiths and artificial creations to find a hidden valley where truth still breathes. Epic, lyrical, and terrifying, The Duck that Swallows Night is a vision of faith under extinction where miracles bleed, idols sell redemption by the ounce, and the last believer may be starting to lose his faith.

In a world where faith is outlawed and gods are man-made, one broken soldier walks the ruins searching for truth. Chungho was a child when the corporations became kingdoms and their executives turned themselves into living idols rat-faced, scale-skinned, worshipped like gods. Owning a Bible became a death sentence. His father whispered Proverbs by candlelight, and those verses became his only compass when the world demanded kneeling. Now grown and cursed with the monstrous power of the Ba aal serum Chungho wanders the deserts and shattered cities of the new empire. He frees prisoners marked Heathen, faces creatures who have purchased divinity through flesh and wealth, and carries the sin of every god he s slain. Each victory births another false savior, and every salvation costs a child, a mother, a friend. But when a young believer named Ha-yeon tells him of a secret city in the mountains a refuge where the faithful still sing Chungho must choose: remain the monster that terrifies tyrants, or learn to stop before he becomes one himself. The Duck that Jumped the Gun is a searing dystopian epic of faith, rebellion, and the fragile line between man and god. A brutal, poetic odyssey for readers of dark sci-fi novels where every proverb is a weapon, and every act of mercy is an act of war.

Idols rule! Scripture is illegal! And Chungho hunts a living Cat God with a hammer, stolen maps, and the monster that wakes inside him. Break the island. Free the captives. Pay the price. In a world where worship of pagan gods is mandatory and truth is contraband, Chungho carries two secrets: a smuggled packet of Proverbs and the thing living under his ribs that only wakes when the world tries to end him. When whispers surface of an island ruled by a living Cat God an augmented idol who buys prisoners of faith to feed her spectacle Chungho crosses the black water with nothing but a hammer, stolen maps, and verses he s not allowed to say out loud. The island purrs like a machine. Its priests smile like knives. Beneath the shrine, a manufactured heart beats for a goddess who demands obedience and calls it love. To free the captives, Chungho must become the very monster they taught him to fear: the duck-thing that tears through steel and regret alike. Part revenge tale, part outlaw hymn, The Duck and the Island That Purred Like a Machine is a brutal, beautiful descent into a future of false gods, engineered miracles, and quiet scripture whispered in the dark. If you ve ever wondered what it costs to keep your soul when the world sells new ones open this book. Lean in. Truth is quieter than idols, but it wins if you listen.

Looking at the phenomenon of visibility labour and attention economies on social media, this open access book focuses on the Asia Pacific region to examine the use of ‘drama’ online for internet fame/infamy and financial gain.On social media, the attention economy shapes and governs our engagement. Social media actors use a variety of tactics to gain our attention, to 'go viral', and to become 'internet famous'. They manufacture extraordinary events, curate their lives for us to consume, and play on our emotions to draw us in. But relying on only the picture perfect, the pristine, and the prestigious a la ‘aspirational’ role-modelling is fast becoming stale to audiences in this very saturated space.Enter the use of ‘online drama’ to wrestle for the attention spans of audiences, when social media actors use discursive and visual narratives centred on angst, shock, fear, shame, pity to generate visibility, yield interest, and provoke conversations in the gladiatorial arena of social media.Through a range of lively case studies spanning platforms like Instagram, TikTok, Twitter, and YouTube, and popular online for a in the Asia Pacific region, this book explores topics such as 'shamelebrity', the ‘influencer apology’, ‘call out culture’, ‘cancel culture’, and ‘meme factories’ to unpack that peculiarly contemporary online phenomenon: the culture and economy of online drama.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by an Australian Research Council Discovery Early Career Researcher Award (DECRA) from the Australian government.

Looking at the phenomenon of visibility labour and attention economies on social media, this open access book focuses on the Asia Pacific region to examine the use of ‘drama’ online for internet fame/infamy and financial gain.On social media, the attention economy shapes and governs our engagement. Social media actors use a variety of tactics to gain our attention, to 'go viral', and to become 'internet famous'. They manufacture extraordinary events, curate their lives for us to consume, and play on our emotions to draw us in. But relying on only the picture perfect, the pristine, and the prestigious a la ‘aspirational’ role-modelling is fast becoming stale to audiences in this very saturated space.Enter the use of ‘online drama’ to wrestle for the attention spans of audiences, when social media actors use discursive and visual narratives centred on angst, shock, fear, shame, pity to generate visibility, yield interest, and provoke conversations in the gladiatorial arena of social media.Through a range of lively case studies spanning platforms like Instagram, TikTok, Twitter, and YouTube, and popular online for a in the Asia Pacific region, this book explores topics such as 'shamelebrity', the ‘influencer apology’, ‘call out culture’, ‘cancel culture’, and ‘meme factories’ to unpack that peculiarly contemporary online phenomenon: the culture and economy of online drama.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by an Australian Research Council Discovery Early Career Researcher Award (DECRA) from the Australian government.

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