My identity seer thing started off hidden to town in the early days, but since then the identities of players have been revealed, or else I was jailed. Like, I can confirm that you're Tywin Lannister from last night, but I figured that was never really in doubt. That and I feel like identities don't even matter when it comes to who is or isn't a wolf. Identity seers feel like theyre all unreliable as each otherother because of that. It's a game of impostors, so I reckon identities only give us evidence in the context of the GoT universe, which is why I don't understand why Tywin would have a killing ability. Could you help me out with some context regarding that ability? Does your PM say why or how it makes sense for you to be able to kill?
I called that Cirt would be Petyr. Like, in day 2 or something she said something like 'I am the other half of Varys' or 'I complement Varys' which, assuming she wasn't his mutilated genitals, insinuated that she was Petyr.
Also I don't get what you mean by insider info, honestly.
And ah, okay. I don't know then. Thinking fairly, that puts you on even terms with everyone else. In fact, it puts you with more verification than Knuckle or Cirt, so, at the risk of killing our chance at an earlier lunch, I'll retract.
I hate square 1. We've spent the majority of this game at goddamn square 1. I could still support a lynch against you, but Bro said this was a pivotal day, so I guess we should continue to be cautious, at least for the time before the final 12 or so hours.
I want pheo to chime in with his thoughts.
Well we're at an impasse here. I say I'm Jaime, you say I'm not. I don't see you budging on this when you've asserted it so much now, and in my position, it smells of slander, with the intention of incriminating me. I cast my vote on Linox. I've already proven my guarding ability by knocking out pheo. You've not really proven much about your ability so far to convince me sufficiently. I don't trust Cirt enough for her word to cut it for me, and I don't recall anyone else verifying your claim (I find it possible that you and Cirt are the remaining wolves, as the two players with immediate inconsistencies in your roles). Do prove me wrong though. There's plenty daytime left for us to think of an alternate solution by inspecting other players, but you're setting off red flags enough for me to make a decision.
There was a car crash outside my flat tonight. I live 3 floors up, and I heard a crash. Nobody died, or even got hurt. Just two cars at angles to one another, and glass on the road. As I sat up to look out, I became aware of how visible I'd be with the light behind me, and so I went through to the unlit living room, to watch the people scurrying about to make calls and assess the situation. There wasn't a lot to see. Living on the corner of a street, I can see the windows of the flats next to me, and at their windows I could see other people silhouetted in the darkness of their living rooms, hiding their voyeurism like me. Their faces were all so dark they appeared featureless; pale fleshy blobs in the windows. So naturally that sounds spooky, and so naturally it warrants a cliche ghost story pitch. Something along the lines of: "There's a narrow street on the edge of town where nobody lives. The buildings are all empty, and the rooms are never rented out, because nobody bought them. Because of the narrow street, crashes are relatively frequent, and speed restrictions on the outskirts mean some of these accidents are fatal. The local housing authority are very bad at their jobs, and they never addressed the poor design, because they're corrupt you see. Witnesses on the scene have reported that, whenever someone dies on the street outside, pale figures can be seen in the window, watching. And jacking off." Classic story.
Well, I'd vote for Linox as well, but I'm also apprehensive about that. Considering we're both apprehensive, I'll abstain my vote until everyone else has chimed in. No sense in two apprehensive voters tipping the scale (although I don't think we could feel very secure with any decision today).
I've always thought you seemed like a good guy, although distant. I noticed you started being more open here though, and there's nothing about you I feel I would reject. What sort of people do you tend to make friends with? I know that, having sort of low to mid functioning aspegers, that I tend to get involved with friends I don't really like, just for a sense of belonging, and that becomes very stressful, as I constantly keep my emotions and actions in check to make myself feel acceptable. I don't think I really paid much attention as a child, or maybe I really don't have good long term memory. I have a brief outline of my childhood, but I can't remember how I felt at the time. Knowing my feelings has always been a problem for me, and it was only last year at age 20 that I understood the concept of boredom. I'm still getting to grips with how to deal with that one. My flatmate with her bigger personality is also indirectly teaching me how to stand up for myself a little. It's good to have friends who challenge but accept youyou, though it's hard to find friends at all. I get the feeling from the way you describe them that the friends you have are more like people you get on with, rather than people who accept and try to understand you, while having your humour and interests common to them. It's hard to find those people though. I figure being open with people (without making them feel like they're carrying your baggage) would be the ideal. But being open is like stepping onto hot coals, and I don't know if there's a way to make people not feel burdened by your problems. I like that you opened up here. You always seemed like a member of the forum who never engaged with us much. I liked you, and your openness makes me like you more.
Jaime is not an NPC. I am Jaime. If only Varys was still in the game you could have proven that. I wouldn't be surprised if this game was set up as a faceless men consoiracy plotline, so that identities would add more discursive value without making it too easy to figure out who's who. In that case, I would begin to question peoples' abilities, and their relevance to the character. On that logic, Linox's killing ability seems suspect. Out of all of you, pheo is the only one I feel I can really trust. I feel like we really know his character, and it holds up. I still can't remember if Knuckle said he had extra abilities, or if he told us what his night actions have been (this is not BS, I just really havent been paying attention). Linox's abilities seem balanced, but I don't know why The in would have a killing ability. Cirt I can believe is a redirector, but I agree that the cooldown seems suspect, though I have seen moves with cooldowns where you would sacrifice a night action for another. Like with Knuckle, I feel like there has to be something else. So I have three little unresolved red flags, pinned on Knuckle, Linox, and Cirt. If we assume there are two wolves, I'd say they would be two of those three (and do forgive me for not suspecting myself). I would be inclined to vote for linox though, on the faceless man idea. It'd make sense for you to have an identity based ability if you were some kind of hunter. You could be straight up independent though. Even if I'm casting my suspicion mostly on Linox, it's just based on what I remember. There are a lot of things I missed or forgot. But I'll be open with my thoughts so you can pick at them. I think that, along with scrutinising my thoughts, everyone should make a summary of theirs. It's time we started rounding this all up.
Some things I was thinking about, in regards to scenes in painting. Last year in my introduction art course, we did a 'contextual studies' module; aka art history. For it we would learn about a period of art history, and choose one painting from that period to write about that week. One week, I chose William Hogarth, because I was charmed by his Marriage a-la-mode series of paintings. Through him I learned about early examples of sequential art, of which this series was one. I liked how much character he could fit into a scene with minimal details. Just by the way the characters's designs and composition, you could extract a whole story out of a single painting. I'd never really encountered that, so it was fascinating. I'd never thought to consider the intentions of a painting so deeply before. And then, thinking about scenes, I can't help but think of Katamari Damacy's level designs. They're scenes in themselves, frozen in a time loop while character models move back and forth, or stay on the spot with some idle animation. It doesn't give much illusion of time passing. Everything in the level is as if it's happening in one prolonged moment, and you're allowed to move through it and explore all it's components. Like bears queueing up at a vending machine, a mother spinning his son around above her head, cats in scuba gear fishing underwater. Lots of nice details, just as subtle but in the open as the details of Hogarth's paintings. Scenes on television and in comics are developed in a similar way, with cutaways. I can imagine that, in an adaptation of the Hogarth painting I covered; the first of the Marriage a-la-mode series, the camera would cut mid-conversation to the rich man's gouty leg, or to the groom-to-be's distant indifferent glances away from the table, or the bride-to-be listening intently to a sly-looking man whispering in her ear. In that way, I guess you can consider the subtleties of a stationary scene to be like cutaway shots in television and film. They offer some detail which isn't entirely necessary to your understanding of the plot, but which offers depth which makes it all the more satisfying to pay close attention. Those cutaways are what I like in manga by Taiyo Matsumoto, and in shows by Masaaki Yuasa. I mention those two because those are the ones I was reading/watching when I started to notice cutaway shots. Cutaway shots and strong, consistent symbolism which doesn't force the viewer's involvement. Just things to add more depth to a scene. I'm going to continue finding more media that uses this. Graphics on news stories, setting build-up in novels, and of course in other comics, shows, and movies. I like that I feel like I'm finally getting an eye for detail, where before my viewing of things seemed shallower.
Eleanor Davis's book I mentioned up there was really neat. Lots of good observational comics, alongside sci-fi, fantasy, and comedy. Felt more like a book they keep on the table in coffee shops which you can get something out of at a glance without having to commit to it. Today I got this ~700 page hardback book with comics and commentary. Felt like it'd be a good way to both branch out my interest, and maybe learn a little too.
Or even just travel books, written by good observers. I've been considering looking into travel novels. I have one book I've been meaning to read which starts off in a stopped train in the snow sometime around the turn of the 19-20th century. At least I think that was the time. It set a good atmosphere. English murder mystery novel, Mystery in White. Picked up for the sake of the nice cover.
On the radio yesterday some woman who moved from Sudan to Scotland said that, when acquainting herself with Scottish culture, she found it most effective to read Scottish fiction. I guess fiction books boil down the culture of the author and the subject in a very revealing way. I liked that idea.
I don't think I really have the patience for long JRPGs. I played Persona 3 til about halfway and stopped, and I'm still near the beginning of disc 2 in Final Fantasy VIII. Probably won't stop me getting Persons 5, if I feel like playing games at all anyway. Not for lack of faith in my dedication at least.