#I don't think the text supports it I just want it

[chevvy-yates]

Sending out kudos to everyone who has shown their love towards Ryder for the past two years.

I love u all very much and every engagement, be it even just a like, means a lot to me.

I've intended to sorta make a cool post of some older vp of him as of today, September 17th, exactly 2 years ago I have created Ryder,— back then as a supposed supportive character for Vijay, very unsure if I would like him as Ry didn't visually turn out as I wanted him to be in the first place and he never went that way either afterwards — yet I find myself writing those lines instead.

I've accepted his look and his imperfection started to grow on me with each picture I took of him. Unlike my other ocs he went his own way leading me along to discover his personality. That's what makes him so different compared to my other blorbos and has me so attached to him.

I did not plan to make him a raver (he was supposed to become an 80s goth punk, a total different style than he's got now) neither that he would end up with a rogue AI controlling him. Only his name, basic info and the toxic family story was planned right from the beginning but that's pretty much it – Ryder showed me the rest of it.

Within the year 2023 I noticed more and more that Ryder has slowly but surly turned out to be my main character.

He turned out to be the most expressive and photogenic one of them all. I don't see him as the prettiest looking either yet he's my most precious and I love every pixel about him.

He's the one thing in my life I am actually truly 100% proud of.

Almost all my ocs exist because of him. They are his support characters. Without him half of them would not even exist. There would be no Thyjs. Even Garnet exists so Ry can live out his passion (that was not really put into the game but exists as lore: Technoise).

I am beyond happy to have created him.

He helps me in a lot of rather personal ways too I do not need to address here.

I got so much to tell about him (also about my other ocs) yet idk if I should continue or not as I find myself stuck with overthinking about it bc of lack of public response literally everywhere (this excludes private chat talks with close friends). Maybe Ryder's too intimidating (not the first time I would read that), his lore gets overlooked easily, or it's to much (confusing) text.

I cannot make anyone force-like him. Tastes are different. Minority is into others oc lore. Less time to read it all. The list is long. I'm aware of it all.

But I cannot underline it enough: do never hesitate to ask me questions about him. He's on my mind 24/7 and my biggest wish is to get this story out and done some day (whenever it will be) and receive some actual feedback on it what was liked.

Just a tiny detail is enough. <3

Another wish I have ever since I joined the CP77 fandom: that people would go back to comment each other more. We all do have little time for it, we all think "oh no so much text to read", we all are in our own bubbles rarley coming out to explore another bubble within this universe. It takes a lot of effort to do. people do seem scared on top to write anything at all for numerous reasons. I have all those problems as well. But I try to sit down and read the one or other lore chunk others wrote down and give a tiny comment as best as I can to make the creator have a smile on their lips. I truly wish we all would do this at least once a week to one person. once a month would be also fine. But if we don't this fandom will be dead soon enough and all thats left is just liking vp with characters on it we know almost nothing about. And maybe even those characters won't have lore anymore bc people stop creating it.

[rachalixie]

i want minho to always be by my side. i want to come home to him and wake up next to him and say goodnight to him. i want to listen to him complain and have him listen to me complain. i want him to defend me and i want to destroy anyone who ever hurts him. i want to soak in his smiles and make him laugh and dry his tears when he cries. i want to catch him smiling at me and smile back when he tells me he loves me with fondness in his eyes. i want him to validate me when i'm angry but call me out when i'm being unreasonable. i want him to dislike the people i dislike just because he wants to support me. i want him to cook for me when i'm overwhelmed so i don't have to think about it and i want to bring him lunch when he's at work because he forgot to pack it for himself. i want to take up his every waking thoughts and write his name in drawn hearts in my notebook when i'm studying. i want to share a bottle of wine with him until we're both giggling into each other's shoulders. i want to send him silly little texts and get silly little selfies in response. i want to video call him while he's away from home because i miss seeing his face every day. i want to soak up his smell and steal his clothes so i can smell him whenever i want to. i want to kiss him until his eyes flutter shut and i can feel them against my cheeks. i want to run my hands through his hair as he sleeps on my lap and i want him to rub my back when i fall asleep next to him. i want to line my walls with polaroid pictures of him and i.

[starcurtain]

I love your post so much I love how everything is backed by evidence. I wanted to ask for your opinions on ratio and aventurine's relationship (relationship in general, not necessarily in a romantic sense).

My mind keeps goes back to Aventurine and "Aventurine"'s conversation about Ratio's fake betrayal part of the plan and Aventurine says "Or maybe he wasn't acting at all?". I just keep thinking about how even though Ratio did exactly what he was supposed to do to help the plan succeed, Aventurine can't help but doubt the motives of the person that he's working with even when he does exactly what will benefit his plan. I've just been thinking that maybe it's another part of Aventurine where he can't completely trust anyone. I've seen a lot of post where people state that they had a great deal of trust in each other and that's why the plan succeeded but ignore what that line means for how Aventurine might've felt about it.

And then on Ratio's side of this, I do think he cares about Aventurine's well being but only does what he can to help him because if he tried to force Aventurine to be better, to treat himself better, it wouldn't really change Aventurine's mind on his self if it's for someone else's sake instead of his own. The little flavor text of Ratio's sticker in 2.3 mentioned how he's "just doing what a supporting character should do." which is, supporting the main character I'd think. Ratio does genuinely care for humanity so I can't think the only reason he sticks around Aventurine is "because he makes an interesting conversation partner than most."

I just can't stop thinking about how they're undoubtedly connected for another reason besides just their work, and I am just so curious about what the writers have in mind for their cooperation in the future. sorry for my trash heap ✌️ if this is too incomprehensible I understand not answering it

Okay, the full answer to this ask is over here in a separate post, since I thought it might stretch people's dashes a bit if I didn't, BUT before we get to that, there is one little thing I wanted to say and don't have room for in the other post:

You mention: Aventurine says "Or maybe he wasn't acting at all?" I just keep thinking about how even though Ratio did exactly what he was supposed to do to help the plan succeed, Aventurine can't help but doubt the motives of the person that he's working with even when he does exactly what will benefit his plan.

And while I agree that Aventurine has TRUST ISSUES stamped on his forehead, I also think that a lot of people kind of gloss over one major aspect of the scenes between Aventure and "Future" Aventurine, which is that:

Aventurine spends most of those scenes convinced he's actually talking to a manifestation of Sunday's power.

Aventurine starts off suggesting the "Future" Aventurine is a dream or psychotic hallucination.

He rejects the idea that "Future" Aventurine is actually himself at all, and asserts that this "Future" figure is a "newborn of the Harmony's power." He even has a throwaway line asking if he's about to become an Emanator of the Harmony himself. (And the Ena-Gaiathra fans rejoiced.)

Normally I would say that's all there is to this, Aventurine just not wanting to accept this ghostly version of himself and the harsh truths it keeps bringing to light.

But, throughout the entire lead up to the end of 2.1, we get weird moments where the "Future" Aventurine asks for information it should already have. A lot of these are passed off as "Well, I just want to hear you say it yourself!" but... if it's truly Aventurine himself and knows all there is to know about him, why does it need to hear the info from the real Aventurine?

Why do we continually get exchanges that strongly call into question what the "Future" Aventurine even knows?

And:

Later:

(Shouldn't it have already known?)

Repeatedly, the "Future" Aventurine says things that imply it is still learning about the real Aventurine:

Even up their very last scene together, the "Future" Aventurine was constantly pressing the real Aventurine to reveal every detail of his plan:

"Future" Aventurine goes through the cornerstone shuffle, guesses at Ratio's involvement, pushes Aventurine to reveal the broken Aventurine cornerstone, asks what tactics Aventurine intends to use to win his gamble, how the IPC fits into all of this, and finally comes to the realization that Aventurine plans to use Acheron to create "death."

We could go very deep with this and suggest all these weird "Did you or did you not know this information? Are you really me or not?" exchanges are just meant to show Aventurine's doubting nature, that his mind is a mess and that he doesn't, even at his deepest, understand himself, but I don't think the devs did this accidentally. We're being given plausible deniability on purpose.

At the very least, we players are supposed to ask ourselves: Could it be that this really is the Harmony and not Aventurine himself?

Until the very last scene, when "Future" Aventurine completely changes his tune to gentle empathy, real Aventurine is definitely convinced that he's still talking to a manifestation of Sunday's power.

Right after the line about Ratio's betrayal supposedly being real or not, Aventurine is still saying:

Or, an even clearer indicator that real Aventurine was convinced he was talking to Sunday's manipulations: The "Future" Aventurine is listed as ??? in the dialogue option all the way to the very end, when Aventurine at last accepts that he may be speaking to himself, and the name card finally changes to "Aventurine."

So, what to make of this line then:

Personally, I think there's enough dubiousness to the whole situation to suggest that we can't really take this line at face value.

Is Aventurine genuinely doubting Ratio here... or, convinced that he's still talking to the Harmony, is Aventurine scrambling to try to keep the last details of their plan out of Sunday's reach?

If after this line he's still telling "Future" Aventurine to stop stealing information from his mind, can we really expect him to be speaking truth here?

Throughout all of these scenes with "Future" Aventurine, real Aventurine continually refuses to reveal new details about his plot, forcing "Future" Aventurine to fill in the gaps. It's clear from other lines throughout the theme park scenes that Aventurine is intentionally avoiding giving away any specifics that the "Future" doesn't already know:

So to me, even though I agree that Aventurine has been made into a distrustful person by his traumatic experiences and I think he does doubt the sincerity of everyone around him...

I don't necessarily think this one line about Ratio should be held up as an example of that deep doubt.

I think there's enough suspicion cast on the "Future" Aventurine and its possible connections to the power of the Harmony that many of the things Aventurine says to it might actually be attempts to mislead and distract, so that he can carry his final gamble through without Family intervention.

And I think looking at this line about Ratio from that mindset also introduces an entirely different possibility many people seem to overlook:

Is it out of character for Aventurine to make sure the only person sacrificed in his gambles is himself?

If Aventurine really thought he was talking to a manifestation of Sunday's power, could it be that saying "Maybe Ratio wasn't acting! Maybe he really did betray me!"... wasn't doubt, but an attempt to protect his co-conspirator? To shift the blame away from Ratio and spare him from the fallout if their plan ultimately went awry? To make himself the Family's only target?

I'M JUST SAYIN'!!

Anyway, totally go read the rest of the actual answer about Aventurine and Ratio's relationship now~! It's all posted!

[benegesseritofficial]

Pushing Daisies has immediately struck me as extraordinarily queer coded. Enjoy my rant.

This show came out in 2007 and yet Ned is an extremely gentle man in every aspect of his characterization. He was emotionally wounded as a child, a fact we linger on and explore at length. He drives people away but in an incredibly passive way. He isn't interested at all in the hot woman throwing herself at him. The only person he's interested in was his childhood best friend. The man is passive, sweet, and a romantic; not someone who would chase you but a prize to be won.

Chuck is literally named Chuck. Sure her name is Charlotte but when we first meet her she's in a dinosaur costume and her name is Chuck. No one's called her Chuck since Ned, and when he does again she only wants him to call her Chuck. Almost immediately everyone calls her Chuck. Also... Charolette Charles? Charolette is the feminine form of Charles. Gender fuckery is afoot from square one. And she's assertive. She has no trouble talking over Ned, or any other man for that matter. She cares deeply about feelings and emotions and her perceptions of right and wrong, and she will steamroll anyone who tries to contradict her. She kisses Ned first. She figures out how she can safely kiss Ned. They both wanted it but she's the one who starts problem solving. Now, her actress Anna Friel is slender, her hair is long, and she is dressed exclusively like a 1950s fashion model. She's 5'5", but dwarfed by Lee Pace's 6'5". But what if she wasn't? What if she was opposite a man who wasn't a fucking tree? What if these lines and actions were given to a woman who wasn't a size 2? What if Anna Friel wore jeans for even one scene while Chuck interrupts and problem solves and takes action? Well, the audience might start to notice that the character isn't very feminine at all. Chuck is all character and very little gender. She could really be played by anyone.

And finally, Olive. Dear, sweet, Olive, longing after a man who shuts down one half her advances and doesn't seem to notice the other half. Olive, who is bold and brash and catty and fun and (apparently, by the costuming department's choices) obsessed with '70s fashion. It's 2007. A gay writer cannot express his struggles longing after a straight man who will never care for him. Not in so many words. But he could write most of that character. He could just swap a few little details and pronouns. By the time a minuscule, high voiced actress is reading Olive's lines, the average straight viewer would never even guess. But there Olive is; a readymade gay icon, over the top and feminine and unapologetically attracted to men. Everything a more feminine gay man wishes he could be out in the open. Olive can tell gay men's stories when they couldn't use their own voices. Relatedly, once you see her and Chuck's aunts as drag queens, you just can't unsee it. When Olive first meets those two, they take her under their wing as a kindred spirit. In the course of telling a story, it's not a trope or action that makes much sense for straight women. Younger women don't seek out and value the advice of old women. Not on TV, not in the cultural wisdom of 2007 or today. Gay men on the other hand. Drag queens on the other hand. If you were in the culture, you understood to value your elders when they bestowed wisdom.

And none of that addressing the situation. Ned absolutely cannot touch the person he's in love with. He and Chuck kiss in (I think) the third episode. Chuck isn't a love interest, she is arguably his girlfriend for most of the series. And yet, a forced wall must remain between them. Chuck has to remain in disguise when they're in public. They are together, but still feel they have to restrain themselves. There is no clear future for their relationship, no matter how in love they are. Much like a gay couple might feel, years before widespread societal acceptance and legal recognition of their relationship. It isn't safe, and only a few close friends can know.

[silusvesuius]

g*lmar rly has to be the best skajrim character on the real like even if you don't like him he just is . literally The best one i think......... on dat note i also imagine that he and ulfr*c despite being fairydust BFFs for lyfe genuinely have the worst communication skills ever seen

[spookykestrel]

you make plans with your friends when youre growing up that you'll move in togehter and always stay near and go to each other's weddings and always talk and always call and then you get to the age you're supposed to start doing that kind of thing and realize all the friends you had hoped would stay by you forever have gone off to do things without you and you're just in the same spot and suddenly you have to do it all on your own

[talkorsomething]

I have Got to get more transgender

[wonder-worker]

Margaret of Anjou’s visit to Coventry [in 1456], which was part of her dower and that of her son, Edward of Lancaster, was much more elaborate. It essentially reasserted Lancastrian power. The presence of Henry and the infant Edward was recognised in the pageantry. The ceremonial route between the Bablake gate and the commercial centre was short, skirting the area controlled by the cathedral priory, but it made up for its brevity with no fewer than fourteen pageants. Since Coventry had an established cycle of mystery plays, there were presumably enough local resources and experience to mount an impressive display; but one John Wetherby was summoned from Leicester to compose verses and stage the scenes. As at Margaret’s coronation the iconography was elaborate, though it built upon earlier developments.

Starting at Bablake gate, next to the Trinity Guild church of St. Michael, Bablake, the party was welcomed with a Tree of Jesse, set up on the gate itself, with the prophets Isaiah and Jeremiah explaining the symbolism. Outside St. Michael’s church the party was greeted by Edward the Confessor and St. John the Evangelist; and proceeding to Smithford Street, they found on the conduit the four Cardinal Virtues—Righteousness (Justice?), Prudence, Temperance, and Fortitude. In Cross Cheaping wine flowed freely, as in London, and angels stood on the cross, censing Margaret as she passed. Beyond the cross was pitched a series of pageants, each displaying one of the Nine Worthies, who offered to serve Margaret. Finally, the queen was shown a pageant of her patron saint, Margaret, slaying the dragon [which 'turned out to be strictly an intercessor on the queen's behalf', as Helen Maurer points out].

The meanings here are complex and have been variously interpreted. An initial reading of the programme found a message of messianic kingship: the Jesse tree equating royal genealogy with that of Christ had been used at the welcome for Henry VI on his return from Paris in 1432. A more recent, feminist view is that the symbolism is essentially Marian, and to be associated with Margaret both as queen and mother of the heir rather than Henry himself. The theme is shared sovereignty, with Margaret equal to her husband and son. Ideal kingship was symbolised by the presence of Edward the Confessor, but Margaret was the person to whom the speeches were specifically addressed and she, not Henry, was seen as the saviour of the house of Lancaster. This reading tips the balance too far the other way: the tableau of Edward the Confessor and St. John was a direct reference to the legend of the Ring and the Pilgrim, one of Henry III’s favourite stories, which was illustrated in Westminster Abbey, several of his houses, and in manuscript. It symbolised royal largesse, and its message at Coventry would certainly have encompassed the reigning king. Again, the presence of allegorical figures, first used for Henry, seems to acknowledge his presence. Yet, while the message of the Coventry pageants was directed at contemporary events it emphasised Margaret’s motherhood and duties as queen; and it was expressed as a traditional spiritual journey from the Old Testament, via the incarnation represented by the cross, to the final triumph over evil, with the help of the Virgin, allegory, and the Worthies. The only true thematic innovation was the commentary by the prophets.

[...] The messages of the pageants firmly reminded the royal women of their place as mothers and mediators, honoured but subordinate. Yet, if passive, these young women were not without significance. It is clear from the pageantry of 1392 and 1426 in London and 1456 in Coventry that when a crisis needed to be resolved, the queen (or regent’s wife) was accorded extra recognition. Her duty as mediator—or the good aspect of a misdirected man—suddenly became more than a pious wish. At Coventry, Margaret of Anjou was even presented as the rock upon which the monarchy rested. [However,] a crisis had to be sensed in order to provoke such emphasis [...]."

-Nicola Coldstream, "Roles of Women in Late Medieval Civic Pageantry," "Reassessing the Roles of Women as 'Makers' of Medieval Art and Culture"

[missrosegold]

Looks like I just lost another close friend to guy who isn't worth a pile of dog shit. 😊

[taegularities]

being here has never felt this suffocating.. it feels impossible sometimes to continue

[hippo-pot]

Btw, re: my opinion that computers are not gonna be able to translate sign languages in our lifetime, it's not that sign languages are necessarily More complicated than spoken/written languages (I truly don't know how you'd measure that but I'd assume they're equally complicated). But video is, in terms of sheer data, much bigger and presumably harder to process than audio. I cannot imagine this happening without *astounding* computational resources which would take far more energy, water, and money than a human interpreter (and, more importantly, wouldn't work as well, at least for the foreseeable future). I assume the computation would happen off site in most cases if it did work, meaning the Internet connection is gonna need to be phenomenal (there is already widespread dissatisfaction with VRS human interpreters used in medical settings because half the time the connection drops). Speech to text, with all the issues it still has, seems like a breeze in comparison to 'understanding' a video.

I also cannot wrap my mind around how a machine would handle depictions. Like, with some practice behind me, my human mind is now able to understand (some) depictions I've never seen before (thank goodness, because there will ALWAYS be new depictions I haven't seen before, bc Deaf people are resourceful and creative), but I don't see how a machine would. That's pure sci fi to me. I also wouldn't expect a machine to do a good job translating stuff it's never heard before in a spoken language (e.g. wordplay, or the way you can sometimes tell the meaning of a new slang word from context, or an uncommon name even), but the thing is I think depiction is a much bigger part of daily life than wordplay is?

[neverendingford]

hardwood comb project

I forgor to buy a lighter colored wood for the spine/core so I can't keep working on it tonight cause all I've got is the walnut.

[dying-suffering-french-stalkers]

.

[izzy-b-hands]

I really wish blocking someone meant their stuff wouldn’t wind up on your dash at all. Like I understand why it doesn’t, but. still.

Actually, I just need to get better abt checking source urls before I reblog. I try to be mindful, but now and again I Forget and have only myself to blame lmao

[organizationhimself]

character: hi. i've been spending my entire narrative being told i'm not actually a girl, but i'm very sure that i am. the literal point of my story is that i have chosen an identity that defies other characters' impressions of me as a boy, and that identity is of a girl.

fandom: this character is nonbinary!!

other character: hey there! i actually don't have any sort of strong attachment to my gender even though i've been put under a lot of pressure to act like it, and my presentation tends to include both masculine and feminine qualities.

fandom: this character is definitely a trans man for sure.

different, third character: what's gender?

fandom: cis boy! <3

anyone: uh. so, wait, that first character is literally a trans girl?

fandom: WHY DO YOU HATE NB HEADCANONS

[aeide-thea]

wot show is so obsessed with architecture and tbh i'm not mad about it???