#questio

[mus1g4]

I’m fascinated by humiliation would it be possible to have my hands tie above my head with my legs in a spreader bar. Whilst tape gagged as pushiment for talking back?

Talking back!??

Convict, you should know better! We do not tolerate insolence here.

Taped? Damn right!

Hands cuffed above your head? Certainly!

Spreader bar? Maybe not. Not used much in jails!

But we have equally effective means of keeping you quiet!

Question About Hampton Jail Roleplay

[funkymbtifiction]

Something I think about a lot is communication between different personality types (maybe because I'm a 6w7 and good at overthinking about things in the first place). This is anecdotal, but I noticed in a reality show I was watching, there are definitely lots of factors for conflicts and stronger bonds, but I think they could be boiled down to personality differences. People of similar personality types naturally gravitated toward one another for friendship and had more conflict with people who had different functions (especially Fe vs. Fi and Te and Te vs. Ti and Fe).

This doesn't surprise me at all, because judging axis problems are often at the root of miscommunication. Ti/Fe and Te/Fi do not understand one another without being aware of how the other person is thinking and why (essentially, KNOWING about MBTI first) so people do not get along who expect others to be more like them! (Why can't you open up more / why are you so emotional, etc.)

[...] I think knowing someone's MBTI type and understanding it really does help smooth over conflict and help us not take things so personally when someone does or says something different from the way we would do or say in that situation.

That's the point of MBTI in my view -- so that we can start understanding each other instead of just driving each other nuts, and learn to communicate better with each other and respect that while we can't fundamentally change our stacking, we can be aware of our traits and in control over them. And give people more grace.

It got me thinking, if we want to get along with someone and form a real connection with them, maybe we need to get on their level and mirror their communication style. I communicate with other people as if I were a similar personality type to them if I know what it is. [...] if I'm talking to an SFJ, I should try to adopt a more Fe mode of communication. Or if I'm talking to an NTJ, I should communicate to them with Te mode [...] Some people may see this (mirroring the other person's communication style) as fake and inauthentic, but the way I see it, it's making sure our conversations are as agreeable and positive as possible. And I've noticed that my conversations with people are more agreeable and effective when I use this strategy...

I think that's a smart life hack from a high Ti/Fe user that will make you quite gifted in getting people to communicate better. :) I wish more people would do this (me included, but it comes more naturally to Fe users than Fi/Te users... we tend to get too wrapped up in our own opinions... ahem). The way I see it, if you can get people to get along, keep your relationships with them pleasant rather than being full of strife, and benefit as a result, this is a plus. Adapting yourself to the personalities around you is a smart strategy.

It's also because you are an attachment type, who wants to get along with people -- part of being attachment is flexibility, adaptability, and shaping yourself to fit the environment. A 3 does it through positive presentation and adapting the traits of others, a 6 does it through adjustment to what will keep them safe and by making themselves likable (often by being funny and/or easy to get along with), and a 9 does it by being pleasant, calm, and going along with things to avoid unnecessary conflict.

[...] By acting more like them, I naturally understand them better. Also, understanding these personality differences better helps me distinguish between simple misunderstandings and true conflicts, which makes me better at learning how to pick my battles, which you explained very well at the end of your book.

I am guessing you might be a 639/693 in addition to an ENTP? A 9 fix can go a great distance in making an ETP less quarrelsome and you seem to want to keep things 'pleasant' in your conversations, the way a 9 would ("I came here to have a good time!").

I do think this might be different though when trying to pursue someone in a romantic light because I think that's when you really want someone to see you for you and mirroring your communication style to theirs would require way more time and effort and be exhausting.

Romance is hard, because usually both parties are concealing their less desirable traits at the beginning of the relationship. It's an automatic response to allow attachments to form, thus getting a bond in place before the "oh, this thing bugs me" kicks in. ;) In that situation, I would say be pleasant and mirror, but also be sincere in what you say to them and in your opinions.

P.S. I'd also like your input on my MBTI type. I think I might be ENTP because I feel like I use Ti a lot but I don't think it's strong enough to be my dominant function because I'm not someone who tinkers around or invents things. However, I do like understanding and reasoning through things, such as MBTI or politics to get at some universal truth. The reason I like MBTI so much is because it helps me get at a deeper truth behind why we act and do the things we do and discover the meaning of life (6-ness).

I think ENTP is correct. You're using a hypothetical system to create a "hack" that makes dealing with people easier, which shows you have a strong Ne/Fe combination. An INTP would not be as good with people as you appear to be, owing to inferior Fe's struggle with knowing what other people need to hear. ETPs find that relatively effortless if they are attachment types. :)

[bluemandycat]

hottest Saw movie?

saw 1 baby! you got adam and lawrence covered in blood and pulling each other closer, what else do you need? runner up goes to saw iii for amanda and lynn's whole deal (particularly the scene where amanda puts the collar on lynn)

[sciderman]

if anyone except mj calls peter hot he gets confused and thinks they're insane. but when mj does it he simply has to agree because mj is the absoloute authority on what is and is not sexy. whatever is trending right now it not hot unless mj thinks so

i wish i could trust mj but after she pulled this i'm really not sure

[cheapbourbon]

Yehya Badr

aka

Dr. Badr

aka

Hunter’s Moon

aka

Fist of Khonshu

aka

✨him✨😩

-Quick character study of Badr, translating him into more my style-

[recursivetransformarray]

from this post, just don't want to tangent on it so I'm making a separate post, but anyway Mirage/V2. the way they contrast with one another is fully unintended by Hakita but I still find it interesting Mirage is what I'd classify as a human-coded machine, her characteristics are nigh indistinguishable from a human's beyond her appearance. V2 is... just a machine. marketed as a sentient swiss army knife as a desperate effort to make money. this shows through their stories, which are strongly themed around the concepts of mind and body respectively: M almost entirely dismissing the physical world around her in favor of obsessing over her mind, and V2 thinking of nothing but the theft of their body. on the more poetic front: despite all odds toward the contrary, Mirage is alive, and V2 is dead. despite this, or perhaps inevitably due to the single-rail nature of their storylines, M begins to intentionally care about her physical world and self, and V2 starts to think about the nature of itself and its role, thus subverting themselves and crossing over one another. neither will make the same mistakes the other happened to make, because they have the other to guide them. conversely both will appreciate watching the other's growth, and see themself in the other. they appreciate each other's company on a general basis of "you won't kill me, and I like to talk to you" but also on the deeper basis of "we're both willing to learn from each other" on the actual relationship note it's kind of a grey area between friends/lovers situation, really no point in defining a relationship when you're the only two beings in existence. general physicality is an inevitability (see latter part of previous statement, plus they're both engineered to connect with others), but I'd imagine anything they do romantically or sexually begins more as a calculated experiment than pure instinct. they also just like each other! they both want to make the other feel good!

TL;DR

[gachahugs]

THE REST OF THE EPHEMERAL COPIES GOT HERE TODAY so I'll be mailing those out !!! Some of the more recent ones will have to go out after kumoricon thx for your patience 🫶

[bunnypopkid]

If your struggling to find your kintype I'm working on a doc with lists of different animals and their subspecies I'm still adding more and am welcome to suggestions

[good-oldfashioned-lover]

it appears I actually have no idea how to conclude this

Rethinking my guess again now. It could just be @daydream-of-a-wallflower trying to get back at me

[lover-girl-for-life]

Another episode of: Who The Fuck Is That!!!

I js saw a video of Redacted Fanart and who the fuck is Hudson, I read something ab them being "DJ Anxiety" and that js confused me even further. I also saw nothing ab them being the fucking inversion?? (Which I've been putting off finishing cause-yeah.) Um and I refuse to do any more digging cause my eyes are on fire and it's 4 am. SO SOMEONE PLEASEEE EXPLAIN AND SAY WHAT VIDEOS THEY POP UP INNN.

(extra: OH MY FUCK. THE APRIL FOOLSVERSE??? i'ma need some silliness to get me though all those unfinished series' during spring break. also- was springbuck a one time thing Orr should I be looking forward to that??)

[mdpthatsme]

Happy Holidays from the cast of Alternate Universe.

[your--isgayrights]

You're like one of the only ones that I feel like can answer my question. But anyways, do you think there is a connection between Bathes framework(death of the author ig) being so prominent in HSY's arc and how it relates to JHY's, YSA's, JHW's arcs and their experiences as a woman. Like ik there was some gender stuff goin on with HSY when she was a guy apostle. But I feel like womanhood isn't as explored in her arcs like it is with the three other characters but I feel like you can somehow make a connection 😭 sorry if this is a tall order.

Anon babe I'm very flattered and I'll try to make some connections here, but if someone who is actually woman has something to say about this please come on in and feel free to tell me to stfu 😭😭. Like obv just from living in Society I have concepts of womanhood/gender dynamics/lived experiences of misogyny but also I need you to understand that identification with and appreciation of a personal identity of womanhood is something that I as a person have consistently been repulsed by my entire life. Like the act of wanting/choosing to be a woman is something I will never be able to fully understand or experience.

THAT BEING SAID I HAVE WRITTEN A FEW PARAGRAPHS HERE IN RESPONSE TO YOUR ASK.

TLDR;

authorship is creation outside of motherhood and therefore queer.

narrative control is queer, and therefore disassociation from traditional gender roles comes with increased narrative control.

the narrative of ORV equates Barthes' framework with the "reality" of a reader that has to be challenged by the compassion and love of another person experiencing their own "reality" and authorship of a story is an attempt of that act of impossible communication.

Like ugh ok wanna be clear that I'm not like shim saimdong on the 50,000 won style trying to equate womanhood to this role via like bioessentialist weirdness, but I think that the most obvious connection with authorship and the female characters in orv is the idea of creation that like is sort of tied with motherhood via a character like LSK. Bc yeah if you look at the two big authors writing Kim Dokja's life, it's literally his mom with her prison book and then also Han Sooyoung later on, right?

This is kind of fun to me bc I have a friend whose like actually a lit/film major type person and writing an essay about queer tragedy in film and we were talking about queer narratives and ideas of artificial conception/creation ala Frankenstein, the "unnatural birth." In Western lit tradition this kind of thing has obvi been like connected to horror more modernly, but I think in like early Korean lit (me saying this as a guy who has like only read the Samguk Yusa so 🌾 of 🧂) the connection between unnatural birth and the divine is less complicated and not treated as the same kind of perversion that subversions of nuclear family models have been by narratives in lit largely influenced by a majority religion that values that structure of subservience in the West.

(example of unnatural birth that is fun fine and normal in Samguk Yusa: the first king of Silla is born from an egg and so is his wife and like she even has a beak until it falls off and like Kylie Jenner lip cup style gives her bbl lips /hj.)

The act of authorship can then be seen in/equated with this unnatural birth, or maybe a better term is divine birth. Authorship/narrative control in orv is also shown to be something inherently queer bc like again if you think about LSK and HSY, there is, like you mention Anon, a conflict between the societal role of Woman and becoming an author. Like if you've read feminist lit you are probably already been knew about this but to put it in terms of a referenced text from ORV, there are foundations of an equation of womanhood with motherhood from those very beginnings of Korean lit. The bear mother is a story literally about becoming a woman and that good old neoconfucian influence can be seen in how the path to womanhood for the bear is to completely obey the instructions of a male deity without questioning or straying. She is then "rewarded" by said make deity when they wed and she becomes the mother of Dangun, the deity founder of Korea. This neoconfucian framework of 'womanhood' places emphasis on subservience to higher power and motherhood.

It is notable, then, that the act of becoming an author in Lee Sookyung's case is literally the very action that abandons her child. The act of authorship is juxtaposed from reality, as Kim Dokja's lived experience is retold transformatively and then believed to be true by others and by himself to some degree. Authorship is something that alters the 'natural' and 'real' and divests the author of their subservient societal role. (Abandoning your child #justqueergirlybossthings /j)

So then, let's look at female characters in ORV and their relative relationships to narrative control and femininity. YSA is a good contrast to HSY here, because as you note Anon, reading ORV HSY seems more divorced from womanhood than YSA, but why is that? In all likelihood, it's because YSA takes the place of a certain type of female character that often exists in the stories of this genre, a female colleague who performs her role much better in the original society than the male lead before an entry into the world of the story. Something to also note is, how, despite not being a "character" of the original WoS, YSA is particularly tasked with a role of passivity/narrative inactivity that commonly befalls female characters in the modern day but most notably is exemplified in East Asian lit by the monk Tang Sanzang in Journey to the west. A character who motivates the actions of the main character but is often thwarted in attempts to directly change the narrative and put into inert states (TSZ is told to go somewhere by bodhisattvas and follows their instructions and always gets kidnapped by demons who want to eat his hot cicada body or w/e, YSA studies languages, has her contract renewed, takes the subway when her bike is stolen, gets yanked around by Greek gods and prophetizes herself into a backroom library she can use to peer into the mind of God, etc.) In some ways, bc YSA tends to follow 'the rules,' because she appears to have less awareness and control of the narrative, she also seems to fall more easily into the societal category of "woman." Put directly in contrast with Han Sooyoung, whose perspective on the narrative as a creator leads her to show less care for the lives of those in the story and who actively kills many of said characters without remorse, perhaps contrary to the role of complete creation an comparison of motherhood and authorship might imply, narrative control is power both to create and destroy. If you're in a daoist mood, you could draw a taegeuk and equate this balance of divine birth and unnatural death with the balance of androgyny between feminine and masculine, the balanced whole then being considered a cosmic whole/the absolute/something powerful/ the author, etc. (Singshong being a couple who wrote the book together kind of also adds another layer of context to this in that like in the daoist/Confucian tradition of heteronormativity man and woman together are a complete form, if all cosmos can be divided to binary then the collaboration across that binary recreates the whole, an androgenous true state of creation)

Again, in this way, narrative control/authorship is something that inherently breaks reality and in a heteronormative world this force can be coloured as inherently queer. Thats probably why are transgender girlies JHY and YJH are so significant in that their experiences of womanhood are ones that directly defy the predestination of narrative. There is no direct reveal of YJH having been the Punisher, because it is something beyond narrative understanding, beyond the rules of the universe that Kim Dokja defines as the Reader. JHY's identity directly contradicts the design of the author/creator and reader alike, her choice in her personal gender identity directly defies narrative and in that way gives her agency outside of the realm of "character," her queerness being something that gives her transformative power and control over her reality.

In the matter of Barthes, I would say I'm a bit biased, because I find reading less interesting when the context and the intent of the author are not considered. In fact, I kind of resent that death of the author is sort of a literary standard in that a lot of modern English courses will discourage essays that use terminology like "what the author is trying to say could be" and instead encourage only the use of text, because on the whole I find it less interesting to look at words and not imagine the soul behind them. In some ways, I view death of the author as a selfish framework that emphasizes only the reinforcement of a reader's worldview and desire for escapism in text that doesn't have to be connected to the real world, a delusion. Not to say enjoying a book means one must love the author, but I feel that every reader will naturally have their own (mostly one sided, I suppose) relationship to the author within and without the text, and denying that fact denies personhood to the art form in some ways. In this view, I think one of the reasons I love ORV so much is probably that some of its themes seem to very much agree to this sentiment. Authorship and readership are often equated to this act of "impossible communication" between people. ORV views authorship, the sharing of stories, as this way to impossibly try to understand the life of another person. Part of what gives the text of WoS and then ORV itself so much meaning in the end is the fact that we know who wrote them in the fiction and for what reason. Knowing the author is actually phrased within the text as pivotal, foundationally important, the only understanding that can lead to the salvation of the reader in the end, his knowledge of the person he can recognize in the author's words being himself and the fact that the author's understanding means that he is in some way loved and and known by others who love the same story. When the HSY who wrote WoS is shown to literally cease to be, trying to reach the reader and failing to be seen, it's a scene that makes one cry, a tragedy, a loss. Death of the author is not a preferable frame of analysis in ORV, only connected by a morose sense of inevitability defined by a consumerist literary world that holds said framework as truth.

But again, if death of the author is "reality, " then the ending of ORV is one where radical joy can be found in the breaking of said reality. It's pretty notable from a queer framework that the "happy endings" in ORV all occur in non-nuclear family structures, the 999th turn adopting the OD, KdjCo wanting to live in a house together, etc. Also notable that, because that is a dream that KDJ cannot see as "real," the absolute power the reader is given to determine the world keeps it from happening. In this way, death of the author and absolute power of the reader is the final boss of ORV as HSY and the characters batten down the hatches and scream into the void "YOU ARE NOT ALONE, YOUR REALITY IS NOT THE ONLY ONE, LOVE THAT EXISTS FOR NO PREDETERMINED PURPOSE CAN BE YOUR SALVATION."

It's also kind of important to me outside of the text in the understanding that this story, though obviously formulated in the context of trying to appeal to a wide audience for commercial success, is also one that comes from people who experience our reality trying to tell us that love is the answer to it all. Young people today in SK are very likely to at least know someone who has attempted in the past and you know there are some pretty similar statistics if you happen to have friends involved in queer communities here in the US. Because of my own experiences, I've always felt that distinct lack of recovery narratives in fiction, as past generations tend to see it as either so outside the norm or so clearly regulated to certain situations that it's portrayed as obviously wrong choice by a weak person or the obvious right choice by a brave person and ORV is one of very few stories I've seen not try to make a value judgement on it, but rather illustrate exactly the reasons why KDJ wants to die, why he doesn't value himself, and saying please, please stay. There is so much love for you here even though I know you haven't seen it yet. And an understanding that these ideas of love and happiness are something some people in certain situations can only be shown proof of in the stories of others. And I feel like understanding of that context is what makes ORV so important to me as a Reader, even if I know very little about SS aside from that, the fact that they exist as people living in this same world is still important to my enjoyment of the story as a reader.

Ok, sorry, this became more about narrative queerness than death of the author/womanhood but again a lot of my views of womanhood exist in like, opposing it? Lol. Tho my experience of manhood also exists in opposing a lot of it, I just personally enjoy tussling with it much more than I ever would have with womanhood I think lol.

[cattsarts]

Sicklrfmggn

[xadeone]

Love it when tumblr adds get so weird and confusing

[katmk36]

This is for everyone who decorates their character's home. Is there any tips for bringing out the personality of the character when decorating their living space?

[metroid-fusion]

there are 17 locked tomb tags on that post

im so glad i have someone to find the asnwer