kinda obessed with red hood

I played homicipher over the winter and gave the ghost language phonology!

and I would be remiss not to mention how I even discovered this delightful game in the first place: Exultation of the Corpse-Flower, a fantastic Scarlet Hollow fanfic about home renovation. among other things

explanations and screenshots of my process below the cut

Buuuutttllleeeeerrrssss!!!

I WANTED TO SEE RED HUSBAND HOW HE WOULD LOOK WITH BUTLER CLOTHES AND YEEEEESSS!! I NEED TO MAKE THESE CLOTHES FOR HIS PLUSHIE!

AND...

HIS UMBRELLA AS A PIN AHGSDCAHGDAGHSV!!

Bonus

A lot of LADS fans are really upset over Infold's decision to shelve Valko. This is my attempt at creating action items for fans wanting to do something but are unsure where to start.

Here are some methods for giving Infold feedback:

Sign this petition and this petition

Reply to their posts on X (Twitter)

Comment on their Instagram posts and unfollow them

Comment on their Facebook posts and unfollow them

Comment on their YouTube videos and unfollow them

Comment on their XHS/RedNote posts and unfollow them

Join their official Discord Server and voice your dissatisfaction

Leave a 1-star review on the Apple App Store or the Google Play Store

Email them directly • [email protected] (LADS CS) • [email protected] (Chinese LADS customer service) • [email protected] (Japanese LADS customer service) • [email protected] (Korean LADS customer service) • [email protected] (Infold customer service) • [email protected] (Infold customer service) • [email protected] (Papergames customer service) • [email protected] (Papergames branding) • [email protected] (Papergames investment)

Complete the survey in the Love and Deepspace app by selecting the box/pencil icon in the top right corner of the home screen

"Suggest" Valko's release in the Love and Deepspace app by going to Settings > More > Support, then select "Suggestion"

(If you want to be slightly passive-aggressive) On 9 July, go to Settings > More > Support, then select "Bug Report" and fill out the report stating that the promised Valko content is missing

Remember: if we want Infold to listen to us, we MUST remain persistent, civil, and demonstrate our affection for the game. I highly doubt they will be intimidated by non-CN players, which means we are held to a different standard. What is effective for them will not be effective for us.

With that said, remember these do's and dont's:

Do vary your written feedback. Making each piece of feedback you give at least slightly different, particularly in emails, will ensure your thoughts are not filtered out.

Do repeatedly submit/post/send your feedback over the next few weeks. Email them today, in a few days, on 9 July, and in the weeks after. Post on their social media every day. Overwhelm them and show them this isn't going to go away over a few free Wishes.

Do prepare to CONTINUE submitting/posting/sending your feedback over the next few months. Infold needs to see that we won't let this issue go. Schedule emails to be sent to them over the next 3 months. Draft X posts today and copy and paste them to post in a few months time. Draft your long-form in-app feedback in preperation for the update and the upcoming banners. Create reminders to check and comment on their posts weekly. Don't let them get comfortable. Be a dog with a bone (lol).

Until Grace slips out a sentence along the lines of "could you give me a little grace here" and Rocky immediately points out he used a word wrong so Grace has to explain that yeah, grace means elegance but it can also mean mercy sometimes too.

***Please note:*** Sharing merch images + news is not intended to encourage and/or to pressure anyone into making purchases. It is up to the individual consumer to be informed and to choose how they spend their money.

tier 2 media analysis: what is the story communicating by setting things up so that blorbo would do that

> disables a new AI feature that was turned on by default

> opens my email

> disables a new AI feature that was turned on by default

> launches a software

Carolina Milanesi, an independent technology analyst, said Google is trying to make its cash cow business — search — richer and more personalized, and it will make shopping easier. But there is a risk that users may have fewer choices about what to click. "Right now it's: I ask a question, I get a bunch of answers and I feel that I'm in control as to which answer I take, or if I'm looking for something, which product I'm going to end up buying. That is going to be less so going forward," she said. Milanesi envisions AI-enabled search and agents proposing products to consumers — perhaps even those they have requested — but with less clarity or choice around where it's coming from. "If you're going to say: 'I want a pair of Jordans, go find them,' you're not necessarily sure what steps have been taken and whether the AI has used a source or a store that was paid for and therefore came up in the search results," she said, "or if AI actually went and did their due diligence and picked the best for me as a customer."

And here's one from Time magazine (May 20, 2026):

While Google already has “AI Mode,” the company will now power the whole search bar through its new Gemini 3.5 Flash model.  Instead of the classic list of blue links, Google Search will now also generate a custom page with an AI-generated summary of what you’re searching about, which will then trigger a conversation with AI Mode on the main page, allowing users to ask follow-up questions—similar to the kind of layout you would see when opening ChatGPT.

And a little more from Time's article on how this may affect the websites that we are trying to search for:

She played bass on 10,000 songs, including the most-played track of the twentieth century. She was paid $55 per session. Her name never appeared on the albums.

Gold Star Studios, Los Angeles, 1964. A woman in a cardigan walks past the receptionist, a Fender Precision bass in her hand like a briefcase. She doesn’t sign autographs. She signs a timesheet.

Her name is Carol Kaye. In three hours, she will record what will become the most-played track of the twentieth century. She’ll pocket fifty-five dollars and head to another studio, on the other side of town, for the next session.

The record label will never put her name on the album.

Between 1957 and 1973, Carol Kaye took part in roughly 10,000 recording sessions. Not as the featured artist, not as a guest, but as a hired hand. She was part of an anonymous collective nicknamed The Wrecking Crew—elite studio musicians who actually played the instruments on your favorite records while the famous bands posed for promotional photos.

The work was relentless. Three albums before the day was over. Stale coffee in paper cups. No rehearsal. The charts arrived minutes before the tape rolled. If you couldn’t read a chart and nail the take in two tries, you didn’t get called for the next session.

Carol could do it on the first try.

She started playing guitar in grimy bars at fourteen because her family couldn’t pay the electric bill. Music wasn’t a romantic dream for her. It was survival. It was a job—factory work with better acoustics and lower pay.

But she was faster and sharper than almost everyone else. She corrected charts in pencil while the producer was still explaining what he wanted. In one session in 1968, she told a famous producer his arrangement sounded like a dying dog. She chose her own line. They kept her version.

That descending bass line that drives the Beach Boys’ “Wouldn’t It Be Nice”? Carol Kaye. The propulsive groove of “These Boots Are Made for Walkin’”? Carol Kaye. The acoustic-guitar intro to “La Bamba”? Carol Kaye. The iconic theme from Mission: Impossible? Carol Kaye.

She invented techniques on the spot, out of sheer necessity. When the bass sound was too muddy for AM radio, she stuck felt under the strings and used a hard pick instead of her fingers. The tone cut through the static like a blade. It became the sonic signature that defined 1960s pop.

Bassists spent years—decades—trying to crack the secret of the Beach Boys’ gear to get that sound. They were studying the wrong people. They should have been studying Carol.

She received no royalties. No residuals. No gold-record ceremony. No credit on the album sleeves. When “You’ve Lost That Lovin’ Feelin’” hit number one, Carol was already back in a studio cutting a soap jingle.

The biggest bands mimed her bass lines on TV variety shows. New York marketing departments decided a mom in classic clothes didn’t fit the rebellious-youth image they were selling. So they simply left her name off the album credits.

For thirty years, almost no one cared. The truth only began to surface in the late 1990s, when music researchers found the same union contract numbers on thousands of hit records. The very documents meant to preserve studio musicians’ anonymity betrayed them.

Think about it. Every time you heard “Good Vibrations,” “River Deep – Mountain High,” the Righteous Brothers, Nancy Sinatra, or Sonny and Cher, you were hearing Carol Kaye. She composed the soundtrack of an entire generation’s youth.

And yet the records still say nothing. She’s now over eighty. She wrote instructional books. She trained countless bassists. She is finally starting to be recognized by music historians who uncovered the truth about The Wrecking Crew.

But she never got what she deserved: her name on those albums. Credit for the music that defined an era. Recognition that those bass lines everyone associates with the “Beach Boys” were, in fact, Carol Kaye’s.

Fifty-five dollars a session. Ten thousand sessions. The most-played track of the twentieth century.