#direct method

[rigelmejo]

The Nature Method

Information about the old Nature Method institute's textbooks. Note: Lingua Latina is still being published and can be bought from the official publisher. The other nature method textbooks are either out of print (and can be found online if you look), or are being printed by a few companies making them easier to access again (I found a company printing the All Spanish Method since I wanted a print copy badly). This rather long page also mentions some newer books which have come out since for Russian in a nature method like style, which is the first I've heard about: "In addition, we have Marianna Avery’s Сорока (Soroka) children’s books, as well as Stanislav Chernyshov’s Поехали! (Poekhali!) books. There is a new course entitled Дорога в Россию (The Way to Russia) by V.E. Antonova, M.M. Nakhabina, and M.V. Safronova, too. There is also Ignaty Dyakov’s series of books, Рассказ Сенсация (The Story of Sensation), Рассказ Провокация (The Story of Provocation), and Рассказ Канонизация (The Story of Canonisation), to which learners sing praises. Still, though, darn it, I want to find Uncle Oleg’s course!"

A collection of links to several of the nature method and direct method style textbooks. Note: several of these can also be found on archive.org and annas-archive.org. These are not all by the nature method institute. The 'direct method' books are a little bit different, they still use only the target language, but they're often designed with the intention that a teacher will help students understand the meaning of unknown words and the lessons are more dialogue based. Poco a Poco textbook is more 'direct method' styled, compared to say Lingua Latina which is more 'nature method.' Nature method textbooks tend to have more context of what is happening on the page (This is Maria, she is Mary's mom, Mary is the little sister to Sophia, Sophia and Mary are Maria's daughters), more of a connected narrative through each chapter (versus direct method where you see more 'this is a chair' 'this is an elephant' 'this is a rose' 'is this a rose?')

[melioristicbeast]

And I really just want- oh god oh god oh cut, cut Derek! Derek: What happened, Stiles? Stiles: Oh it's a fucking tragedy over here

Listen brad has more golden retriever energy compared to stiles’s feral cat vibes - but late 20s/early 30s stiles with the chaos, the tangents, the interactions with the rest of the staff, calling his editor all kinds of variations of his name/nicknames, derek with the sass in the edit notes - you see the vision

(screenshots from 1st ep of It's Alive with Brad Leone - an iconic opening)

[revvethasmythh]

listen. there are a number of aspects in which c3 and divergence are not comparable and fundamentally work differently (namely the difference in construction between a long-form campaign and 4-part mini-series), but thematically? not only are they comparable, they are designed to be. divergence is being aired directly after the conclusion of c3 in order to further explore concepts introduced in its conclusion. a world with less connection to the gods, the effect of that on the faithful, how the average exandrian approaches the concept of faith in general (in multiple aspects), the connection between the divine and their mortal children, burgeoning hope from post-war darkness, etc. these are concepts we're being asked to compare with the finale of c3. so if someone says that divergence's handling of faith and exploration of the gods blows c3's out of the water, that's valid. if we were meant to be avoiding comparisons, a) they wouldn't have aired this immediately after c3, b) there wouldn't be so many overlapping concepts, and c) they wouldn't be holding off on having the wrap-up until divergence is over. divergence is in conversation with c3, actively and intentionally, and it puts a stark contrast on how poorly faith was handled in c3, but also things like. understanding character motivation. which yes, is going to shine more strongly in short-form content because you have to get the information out quickly, but is a valid thing to discuss if you genuinely feel you understand a short-form campaign character's goals better than you do a character you spent 4 years watching. it's the difference between a woman who has never been shown to seriously engage with the gods at all stating "i don't know if i want to save gods that don't love me" and the moonweaver saying "if the love is true, it will pass through the barrier" and us knowing that divine magic will continue to be granted to mortals, by the sheer love the primes hold for their children, complex as that love might be. and, fundamentally, divergence is an exploration of consequences. the consequences of the calamity on mortals and the gods and the earth itself, decimated as it is. so when people compare it to c3, when a major complaint of the campaign was lack of follow-through and exploration of consequences, divergence shines for being about exactly what a lot of people felt c3 was missing.

[riskerat]

[mollysunder]

The Medarda arc of s2 struggled to be good, because the plot viciously smothered it. You can argue that Arcane was never about politics but you cannot say the Medardas were never explicitly a family defined by politics. So when the show shifted it's priorities from a drama steeped in political conflict where even though the setting was fantastical the stakes were grounded to a shift where magic is the end all be all threat to humanity, the Medardas are rendered largely irrelevant.

In s2 Mel's agency over her own story is both largely stripped from her and poorly communicated. Arcane has Mel abducted from the plot to be the Black Rose's captive. Even when Mel manages to free herself it's not through the traits the audience understands are her strengths, her cunning and social intelligence, it's through an innate instinct that natural to her and indecipherable to the audience.

Ambessa as a character is more or less a villain of convenience, which would be fine if she wasn't immediately following Silco's act. Once Mel is removed from the story Ambessa is largely disconnected from any emotional tension fuels conflict between the characters and previously drove the plot in s1. She's there to play the worse bad guy for Caitlyn and then give Viktor the man power for the Glorious Evolution.

It's frustrating to see the Medardas used the way they are in s2 because when they're together I can see how it could be good. When they're together Mel forces emotion out of Ambessa. In Act 1, Ambessa proved she could do circles around Piltover's court, which could actually put Mel in a tight spot.

Their final scene on paper sounds like a good idea where the true resolution to Mel and Ambessa's story was that Ambessa saw Mel's own ruthless behavior as she not only betrayed Ambessa to the Black Rose, but used her as BAIT to double cross LeBlanc. Ambessa died proud that her daughter killed her the way she did, and that's so cool and tragic, but the execution was a flop.

One, their final fight is completely unimportant to the actual Glorious Evolution, Mel's grief can't even be a highlight because it's interrupted by Viktor's mind trap. Two, their fight didn't rely on any of Mel's actual strengths, just magic and the poorly explained MacGuffin LeBlanc gave her. How did Mel even know it would do that?

It's like the writers had the bones for a great story for the Medardas, but then they're like the world's worst archeologists and fit those bones together in the worst way possible because they were convinced the bones made a stegasaurus instead of a T-rex or something.

[quietwingsinthesky]

the thing is, i don’t disagree that what and how you choose to write about things is a reflection of you, the writer, and cannot be divorced from your beliefs and biases. but to assume that anyone can perfectly pick out your beliefs from a piece of fiction you’ve written is an extremely weird and paranoid thing to claim, especially if you’re positing that the secret truth is that the writer is a dangerous person and they’re “revealing” that through fiction that upsets you, personally. at the end of the day, the artist is not the art, and no matter how upsetting, no matter how much you dislike it, no matter how much it disgusts you, you don’t know the person who made it and you can only guess how who they are shaped what they made.

like, really, is it more likely that the secret “belief” that’s being revealed when you’re reading something that is really upsetting to you is that the author is a secret Bad Person™️ who wants all of this fantasy to happen in real life, or that the author knows it’s a safe and normal thing to create upsetting works of fiction and so did that.

[sollucets]

Why do you have to manage everything by yourself?

[piecesofchess]

Tartarus is still a little broken and that's Fun !

[front-facing-pokemon]

[fisheito]

Fish Yakumo is canon. Magical girls event is shining on the horizon. Kuyorb. We are free

the complete confusion on my saggedskin dehydrated face as i rouse from my impromptu hibernation and everyon'es talking about orbs

[yzafre]

"Gotta Draw Fast" Day 3 - Donatello group shot! Slightly different coloring method this time! Timed at 1 hr 24 minutes.

[sysig]

Talk yourself into it (Patreon)

[downybirbs]

Why he so silly

Why does he love iron maidens so much

Do you think his hobbies are like, 1. candy making 2. Reading about medieval torture devices

[samipekoe]

another day of working hard at the being normal factory

[anxious-shifter]

NEW SHIFTING METHOD!!!

Just fucking shift.

[nenoname]

seeing discussions on whether bill could trick stan and yeah it is pretty akldhkasjdha to think stan is untrickable when the last regular ep is him getting tricked by darlene (and we know that eda/"marilyn" stole his stuff/almost got his car by tricking him with a vegas marriage)