#there are no traitors
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mariana-oconnor · 9 days ago
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One of the things that makes The Traitors so entertaining is how little information they have and how dedicated they are to thinking they have proof.
However, them introducing the Seer role has opened the door, I just don't think it was the right door and it opened too late.
I know that they can't just lift roles from Blood on the Clocktower, but honestly if they were going to introduce a role for a faithful it should have been either a Monk (every night choose a player other than yourself, they are protected from the traitors that night) or a Seamstress (once per game choose two players other than yourself, you learn if they are on the same team). It avoids giving a traitor away directly, it gives the traitors something to try to uncover, it gives the faithful a little more agency. It doesn't just pit two people directly against each other right at the end of the game. I don't think they need it really, I just think those would have been better gameplay options than lategame Seer, which just was never going to have a positive outcome.
It is possible I need to watch less BotC. But at least I didn't suggest they add an Amnesiac or a Wizard.
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dark-rx · 14 days ago
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queerpunktomatoes · 21 days ago
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Here is a list of books that Project 2025 is looking to ban and the reasons for each.
These are the books they are afraid of. These are the books we need to be reading.
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zhukzucraft · 2 months ago
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it was always about FAMILY
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ulyuxe · 3 months ago
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In the past fifty years, fantasy’s greatest sin might be its creation of a bland, invariant, faux-Medieval European backdrop. The problem isn’t that every fantasy novel is set in the same place: pick a given book, and it probably deviates somehow. The problem is that the texture of this place gets everywhere.
What’s texture, specifically? Exactly what Elliot says: material culture. Social space. The textiles people use, the jobs they perform, the crops they harvest, the seasons they expect, even the way they construct their names. Fantasy writing doesn’t usually care much about these details, because it doesn’t usually care much about the little people – laborers, full-time mothers, sharecroppers, so on. (The last two books of Earthsea represent LeGuin’s remarkable attack on this tendency in her own writing.) So the fantasy writer defaults – fills in the tough details with the easiest available solution, and moves back to the world-saving, vengeance-seeking, intrigue-knotting narrative. Availability heuristics kick in, and we get another world of feudal serfs hunting deer and eating grains, of Western name constructions and Western social assumptions. (Husband and wife is not the universal historical norm for family structure, for instance.)
Defaulting is the root of a great many evils. Defaulting happens when we don’t think too much about something we write – a character description, a gender dynamic, a textile on display, the weave of the rug. Absent much thought, automaticity, the brain’s subsconscious autopilot, invokes the easiest available prototype – in the case of a gender dynamic, dad will read the paper, and mom will cut the protagonist’s hair. Or, in the case of worldbuilding, we default to the bland fantasy backdrop we know, and thereby reinforce it. It’s not done out of malice, but it’s still done.
The only way to fight this is by thinking about the little stuff. So: I was quite wrong. You do need to worldbuild pretty hard. Worldbuild against the grain, and worldbuild to challenge. Think about the little stuff. You don’t need to position every rain shadow and align every tectonic plate before you start your short story. But you do need to build a base of historical information that disrupts and overturns your implicit assumptions about how societies ‘ordinarily’ work, what they ‘ordinarily’ eat, who they ‘ordinarily’ sleep with. Remember that your slice of life experience is deeply atypical and selective, filtered through a particular culture with particular norms. If you stick to your easy automatic tendencies, you’ll produce sexist, racist writing – because our culture still has sexist, racist tendencies, tendencies we internalize, tendencies we can now even measure and quantify in a laboratory. And you’ll produce narrow writing, writing that generalizes a particular historical moment, its flavors and tongues, to a fantasy world that should be much broader and more varied. Don’t assume that the world you see around you, its structures and systems, is inevitable.
We... need worldbuilding by Seth Dickinson
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moonbean117 · 5 months ago
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the-uncanny-dag · 2 months ago
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Remember how last year, there were people trying to convince us that laughing at the Oceangate mfs getting pulverised under the sea makes you a bad person. Lol. LMAO
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nando161mando · 3 months ago
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Everybody's a Republican now
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zeropro · 1 month ago
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How do you think Skywarp and Thundercracker would react to Skyfire?
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theantichrists-blog · 18 days ago
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genderkoolaid · 9 months ago
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Because I was now a man, I could not speak about what it was like to be a woman. Because I had been a woman, I could never really speak about what it was like to be a man. Do the math: I could not speak. It was a double erasure, a double bind, in which every experience I had was false, and so nothing I said was credible. I could no longer derive authority from my experiences before transition, and shouldn’t even cite them — I had never “really” been a woman, so those things hadn’t happened — but those experiences could always be weaponized against me to prove I wasn’t “really” the man I claimed to be. They call it erasure, when this happens. I wasn’t prepared for how literal the term was. Every day, I could feel myself disappear.
— Eraserhead: On writer's block and being a gender traitor by Jude Doyle
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ngdrb · 6 months ago
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daisylolezzi · 4 months ago
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