#with multiple figures and complex background and correct perspective

[finngualart]

black sails has such nice compositions and im using stills to try and level up

[fanfoolishness]

Weaponized (Jedi: Survivor)

For @incorrectpizza. Thank you for the prompt! Here's what I came up with:

BD-1 receives new information about Cal on Nova Garon, and he struggles to understand what this means for Cal. BD perspective, ~1800 words, angst, dark side powers. And major Jedi: Survivor spoilers!

incorrectpizza asked:

BD, Nova Garon, shivering? Not sure if that combo will make anything click in your fic writer brain, but figured I'd send something just in case...everything on your prompt list was really great, so hard to pick three.

-

Multiple data streams coursed through BD-1 at any given moment, analytical processes compiling, sorting, categorizing to create an understanding of a situation.  He perched on Cal’s back in Bode’s Imperial officer quarters on Nova Garon, and he was forced to compile many, many things at once.

The easiest thing he needed to understand was the map, and the way back to the ship.  That was all surface level, simple calculations BD could handle even when powered down.  That was easy.

Far more complex was the problem of understanding Bode.  Bode had taken his daughter and ran from a confrontation with Cal, and BD was attempting to process what had happened.  

Cal had tried to talk, and Bode Akuna had fled.  Bode Akuna, who had always treated BD-1 with kindness.  Bode Akuna, who had called Cal important words like “brother.”  Bode Akuna, who had pulled BD’s Master Cordova aside, who had aimed a blaster at him, who had fired at point blank range.  Bode Akuna, who had threatened BD-1 after he tried to help his master.  Bode Akuna, who Cal said had caused Cere to die.

Dead meant no return.  It meant no rebooting, no correction, no healing, no recovery.  It meant gone.  His friends Master Cordova and Cere were gone.

BD did not, could not understand it.  He ran the information backwards and forwards, a whir under the surface that did not rest.  He had had many empathy circuits added, treasures from Master Cordova installed long ago.  But he did not have -- rage.  Anger.  He could not calculate them, and instead there was only a terrible hollowness arcing through his circuits.  A sense of something -- someone -- missing.  It was a feeling he had never identified before in all his cycles.

But missing Master Cordova, and Cere, and the bubbling confusion about Bode, it all hummed in the background.  For now he clung to the back of Cal’s clothing, a stolen Imperial officer’s uniform, and BD knew that something was very wrong.

Biometrics from Cal were easy to pick up from this close vicinity.  Respiration, heart rate, body temperature, they were all simple to read at this distance.  It helped him to help Cal; countless times he had had a stim ready to go, waiting only for Cal’s command, as he watched vital signs spike to dangerous levels.  

Cal ran from Bode’s quarters.  There were no troopers here, not yet, though BD knew that they were coming.  BD also knew that Cal was physically unharmed.  Yet Cal’s heart rate climbed, higher and higher.  He panted, shoulders rising and falling so steeply that BD kept having to readjust his grip.  He shook as if he was desperately cold, but the ambient temperature was adequate for humans.  Every metric suggested that Cal was badly, badly wounded.

Cal charged forward into the next room, and BD braced himself for the wave of troopers coming at them.  Cal drew his lightsaber.

“Get out of my way,” he snarled.

And Cal changed.

BD’s sensors never told him, exactly, when Cal used the Force.  It was a thing that could never be sensed by his kind.  But BD had learned when to suspect it, and he was frequently correct.  Sometimes it came when Cal’s heart rate rose with effort, and sweat beaded on his head; other times his heart rate lowered as Cal focused and connected in silence.  When Cal felt a memory through the Force, BD knew sometimes it staggered him, shifted his balance, disoriented him; BD would wait patiently for Cal to come back.  All of this was familiar to him after these many rotations together.

BD had never seen him use the Force like this.

It was all BD could do to hold on tight as Cal stormed through the room, lightsaber flashing, his breath fast and choppy.  He was used to Cal moving unpredictably by what his parameters listed as normal human standards, jumping higher and farther and faster than they were supposed to, recovering more quickly, withstanding more injury.  

Even with that baseline for reference, Cal whirred through the room at speeds that seemed impossible for an organic, while the droids and troopers surrounding them moved sluggishly as if paralyzed.  BD knew how many swings and parries it should take for certain enemies to fall when Cal engaged them.  Their training and armor, as well as Cal’s own fighting style, created a reliable average.  They were not following the average now.

Trooper after trooper fell after a single blow, their arms severed, their circuits sparking, their bodies limp.  BD clung tighter.  After less than a minute, Cal stood in the center of the room, surrounded by the dead.

Cal normally took a moment after a battle to stop.  He called it centering himself.  He would usually check in with BD, patch up, and meditate briefly -- a few seconds -- enough to help himself “reset.”  For an instant, BD waited for the pause, hoping it would help Cal’s vitals normalize.

He did not rest.  He did not reset.  He screamed “Bode!” in a strained, terrible voice, and he ran.  

He only skidded to a stop in front of a vast blast door, triple-locked with massive round bolts. BD tried to beep a warning to Cal.  These doors didn’t look sliceable with his regular setup.  They would have to find another way --

Cal flung out his hands, fingers curling and shaking with effort.  He twisted his hands into the air, groaning, and the doors groaned too, their massive locks straining, shearing, sparking.  With a growl Cal hurled his hands wide and the door shrieked open, the gnarled wreckage of the locks flying into the walls with a loud clatter.

Cal was running again.  “Have to hurry,” he spat. Troopers, Purge troopers, and probe droids poured from the next doorway towards him.  BD readied a stim.  

Cal wrapped his arms around himself tightly, then pushed out.  BD did not need the Force to understand that Cal had used it again, to see the way he flew and struck and shattered the enemies before them.  BD dug in deeper against Cal’s back, hoping Cal would remember that he was there, but Cal’s vitals crested even higher, into the red.  

The last stormtrooper crumpled beneath his lightsaber, and Cal bellowed, “Bode!”

BD watched as Cal approached another sealed blast door, as he strained and ripped the door apart. He struggled to assimilate this new data.  Perhaps these were simply new powers in the Force that Cal had acquired.  It had happened many times during their journeys together, that suddenly Cal moved in an unexpected way or the environment changed around them abruptly.  Usually all it took was a simple “Broop?” from BD for Cal to explain something had shifted, that he had remembered something old, or learned something new.

He tried a little beep.  It went unanswered, and he clung to Cal, bouncing on his back as Cal sprinted.

Again, the lightsaber flashed.  The troopers fell, their falls unnaturally slow.  Again Cal’s heart rate spiked uncomfortably high.  Cal took a hit and staggered back, clapping a hand to his shoulder.

“I need a stim, BD!” Cal snapped.

BD tossed him the readied stim as quickly as ever, but his circuits whirred, analyzing Cal’s voice.  BD knew he didn’t understand all of the intricacies of human vocalizations, but… Cal didn’t talk that way to BD.  

He just didn’t. 

Cal took the stim, and he kept fighting.

--

BD hopped up to Cal’s back.  Cal stood over Commander Denvik, who lay choking on the ground, his breath ragged.

“Give the Inquisitors my regards,” said Cal, his voice flat and cold.  He turned away to head them back to the Mantis, and BD’s processors whirred mightily, trying to create sense of everything that had just happened. 

Bode had hurt Cal.  He had hurt all of them.  He was trying to keep them from finding a place safe from the Empire, from Tanalorr.

Cere and Master Cordova were dead.  Gone.  This had hurt Cal more than many injuries.  

Tanalorr was being taken away from Cal and their friends, and they were scared.

This information all made sense, though there were still some parts that were confusing.  BD did not know if he would ever understand what had made Bode do these things.  He did not know if he could understand what Cal was doing, either.

Cal had hurt Commander Denvik.  Cal had to hurt many people to survive, to protect his family.  BD understood that much.  But he had never seen Cal hold a person in the air like this with the Force.  He had never seen him scream like that.

He had seen Inquisitors do that.

Even Merrin, who BD knew used the Force in a different way than Cal and Cere and Master Cordova, had been frightened.  Though BD was not usually close enough to get her vitals, he still recognized that normally Merrin was calm and cool.  The way she had pled and shouted for Cal to stop was not normal.  

BD did not know if he could feel fear like an organic could.  But he felt something twitching through his circuits, a collation of the data, a worrisome conclusion.  Cal was hurt on the inside, where a stim or a friendly beep could not help him.  He was hurt very badly.

Cal stalked towards the exit, sensing the right path without needing BD’s map.  BD leaned his head over Cal’s shoulder, tapping him with one leg.  “Boop?” he asked.  Are you okay?

“I’m all right,” said Cal, struggling with the words.  His shoulders heaved; he was still trying to catch his breath.

“Beep?”  Are you sure?

“I’m fine, buddy.”  He swallowed.  His voice cracked.  “You don’t have to worry about me.”

BD cared very much about Cal.  If his empathy circuits produced something like love, love was absolutely what he felt for Cal.  He would always love him, no matter what.

But he knew worry, now.  Worry that Cal was different.  Worry that all the hurt showing in his vitals could come out, that the hurt itself could be a weapon. Not only that, but perhaps the weapon was one that Cal did not know how to control.  A weapon that scared Merrin; a weapon that could hurt Cal, too.

BD-1 settled down against Cal’s shoulder, thrumming with twin streams of love and worry.  He let out one more little beep.  Please be careful.

Cal stopped, reaching up to touch BD’s foot.  He took a deep breath.  His heart rate slowly, slowly lowered, and when he spoke, he sounded like Cal again.

“I will, Beedee.  …Promise.”

[isaacthedruid]

Please allow me to tell you about one of my favourite cartoons through this informal essay I did for school a couple of months back. 

Gravity Falls and How it Did The Unimaginable

**SPOILERS... KINDA**

The 2010s saw the creation of some of the most iconic animated tv shows ever made, the likes of Adventure Time (2010), Steven Universe (2013), Over the Garden Wall (2014) and The Legend of Korra (2012). To explain why this era’s shows are so admirable is honestly rather difficult. Yet, there are many factors that can be taken into consideration when looking for an answer.

The past decade was very successful in perfecting their craft and utilizing the animated format to their favour, creating some of the wackiest and fascinating cartoons ever made. With the advancements made in both 2D and 3D animation for film, this bled into the world of TV as well.

To mention that 2010s cartoons have stunning visuals would be an understatement. Everything about the animation was beautiful; the strong colour palettes, the clean and imaginative character designs, the colourful and immersive backgrounds and especially the mesmerizing worlds that can be found within episodes that are half an hour.

This era’s cartoons also led to a massive shift in storytelling, writing longer-running stories that spread out across seasons while also swapping out episodic adventures for serialization. This heavily aided in the popularization of these shows, due to the rise of internet fandoms and dropping the taboo that cartoons were only for kids. Many shows acknowledged their older viewers by leaving clues and even puzzles to be solved by the theorists who have a large appearance on social media platforms like Reddit, Twitter and Tumblr. As the shows progressed, their fandoms created many theories for what they believed might happen within their favourite series. The top three shows from this era all utilized these changes, being at the forefront of the shift and helping guide the creative vision of 2010s cartoons.

Often regarded as many people’s favourite cartoon, Gravity Falls presented one of the best mysteries of the decade with two seasons and only 40 episodes. Inspired by Twin Peaks and The X-Files, it’s considered as the kids’ version of these two iconic shows as this cartoon acts as many people’s first introduction to horror through bright colours and fun characters.

This series follows the adventures of Dipper and Mabel Pines, twins, who are sent to spend their summer with their great-uncle or Grunkle Stan in Gravity Falls, Oregon. This town is full of oddities like supernatural creatures, insane and eccentric inhabitants, and many puzzles. The Pines twins must adjust to the weirdness while uncovering the mysteries and protecting their new town.

While living in Gravity Falls, the twins are forced to work in the Mystery Shack, a tourist trap created by their Grunkle Stan that overcharges unlucky tourists, teaching about fake monsters despite there being real creatures all over town. On his first day in Oregon, Dipper accidentally came across a mysterious journal written by an unknown author that explains all the oddities to be found in this strange town. This book acts like an encyclopedic of the Weird for Dipper, an inquisitive 12-year-old kid who seeks answers.

Dipper is an extremely intelligent kid, his brain being far more developed than his body. He’s rather awkward and self-conscious as he often stumbles over his words or gets embarrassed trying to talk to girls. Despite this, the boy is an adventurer at heart who just wants to grow up and skip his upcoming teenage years.

While Mabel is quite the opposite in many ways, she is loud and has an in-your-face personality. Mabel is bouncy and fun, she is so excited to start high school. She is easily excitable and for the larger part of the series, she is in her boy-crazy phase. Mabel is a girly-girl as she likes all things; glitter, unicorns, rainbows, partying and crafting. Yet, she doesn’t often compare well with many of the other girls in town, they see her as weird and “too much”.

(In all fairness through, it is not too kind to either of the characters as their personalities are more complex than just awkward nerd and artsy girl-girly.)

Dipper and Mabel’s personalities are very different but somehow, they—along with their Gravity Falls family—manage to solve mysteries and save the town, multiple times.

Gravity Falls is an honestly genius series that completely changed the way cartoons were made. Originally when writing a series, you’d create a base of your story; characters, the universe and a basic plot. Yet, when creator, Alex Hirsch (who was in his early/mid-20)s and his small team first began constructing their show, they planned out everything they could possibly think of for the first season. Additionally, outlining some answers for their biggest mysteries that would be answered at the end of the series.

Despite being rated TV-Y7, this series really pushed the boundaries of kids’ television. From the teeth being ripped out of a deer’s mouth by a demon, rearranging the functions of every hole on a man’s face to an aggressive pop-rock sock puppet show that ended in a dramatic slow-motion scene of the puppets burning. Gravity Falls wasn’t afraid to get a little weird or creepy. Or create some genuine nightmare fuel. 

From the beginning, Gravity Falls had built a mystery into its series, hiding secrets and clues all throughout the show. Most notably were the backwards-recorded message and cryptograms, using roughly nine different kinds, even creating two of their own.

The inclusion of cyphers and mysteries for fans to solve is possibly the reason why this series was so successful. As one of the first shows to do something like this, Gravity Falls used social media and internet fandoms to its advantage.

As mentioned earlier, cartoon fans have quite a presence on social media platforms like Twitter and Tumblr. They create theories and share fun ideas about their favourite shows. Viewers of Adventure Time, Gravity Falls and Steven Universe were all included in their share of theory fun.

Sometimes, fan theories end up being correct but when you’re Gravity Falls creator, Alex Hirsch, you don’t just watch from the sidelines as your viewers figure out the biggest mystery of your show. No, you create a hoax to get your viewers off your trail and that is what he did. Around 2013, only halfway through the first season of the show, viewers had started to follow the clues, theorizing who was the author is Dipper’s mysterious journal.

Unfortunately for the Gravity Falls production crew, the viewers were right— for the sake of readers who have never seen the show, I will not mention who the author was as it would be the biggest spoiler.

In 2013, a supposed leaked image of a tv showing a younger version of the show’s crazy old man character, Old Man McGucket, writing in the infamous journal was uploaded anonymously (by Alex Hirsch) to 4Chan.

Despite the image only being on up for a few hours, it spread like wildfire. Much to the team’s success, theorists stopped searching for the answer to “who is the author” and just accepted the image of McGucket as the truth.

To further push the fake-out, three words were posted to Alex’s Twitter, “fuming right now.”

The tweet was deleted a few minutes later and fans genuinely believed that someone from the Gravity Falls team had leaked the most important part of the story.

While doing research, I came across a Reddit post from April 10th, 2013, the day after ‘leak,’ Alex’s tweet was uploaded. In this post, user, TheoDW uploaded an image of Alex’s tweet with the caption, “It seems that Hirsch got mad at last night’s leak. He already deleted this tweet.”

Seeing the reactions of these Redditors in 2013 is kind of weird and crazy to look at. “He has every right to be upset. Someone internally released a plot revealing screen shot of series breaking spoiler information,” a deleted Reddit account commented.

“This is Alex Hirsch’s biggest success by far, he spent a huge amount of time carefully planning out the series, and then in a moment someone releases a major spoiler. It would make anyone upset,” the user, Time_Loop commented.

“Seriously, this is a nightmare for a storyteller, and shows a breach of trust. I feel so bad for him–honestly, I hope whoever did the leak gets caught and appropriate action is taken. You don’t f–k with someone’s story like this. It’s unprofessional.” the user, lonelybeloved angrily commented.

In 2014, this ‘leak’ was finally disproven when viewers were given an episode on McGucket’s backstory and an amazing tweet from Alex Hirsch. 

Alex had post an image of himself playfully pointing at a monitor with the supposed leaked picture with the caption, “1) Make hoax  2) Upload to 4Chan  3) Post angry tweet about "leak" 4) Delete tweet 5) Let internet do rest”

It is so interesting to look at these comments know that all of this was orchestrated by Alex.

I wish I had been old enough at the time to follow theories and fandom stuff like I do now with current cartoons but really looking at this from an outside perspective, this was insane!

The real author wasn’t revealed until 2015 and when viewers first got the answer to this biggest show on their screens, they must have freaked out!

Following the finale in 2016, a single frame of a stone version of Bill Cipher, the show’s villain, flashed in after the credits had finished.

Alex Hirsch and his team actually created a real-life statue of their villain for their viewers to find and on July 20th, 2016, the Cipher Hunt began.

By following clues, the Hunters found themselves all over the world; Russia, Japan and then travelling throughout the United States for the final 12 clues. When the hunt took them to Los Angeles, actor, Jason Ritter (voice of Dipper Pines, also a massive fan of the series) and Alex Hirsch’s twin sister, Ariel Hirsch (the inspiration for Mabel) joined in the fun helping the search.

Finally, the hunt ended on August 2nd when someone tweeted out an image of the found statue in Oregon, the same state in which the fictional town of Gravity Falls exists. The Cipher Hunt had ended but finding the statue wasn’t Alex’s goal for the scavenger hunt, it was about the journey and bringing together the viewers, more than having them actually find the statue.

Creating its own hoax, an international scavenger hunt and quite a bit of nightmare fuel, Gravity Falls was a show truly unlike any other.

The 2010s saw some of the strongest cartoons ever made, Adventure Time, Gravity Falls and Steven Universe acting as the leaders for multiple different changes in the medium; storytelling, worldbuilding, interaction with viewers, utilizing social media, representation and further pushing music into the cartoon world. From what was created this past decade and what has already been released in 2020, I’m so excited to see what comes next.

I have another one of these which is on Steven Universe’s representation and music if you would like to see that too!! 

[scriptstructure]

part 1 I have multiple alien planets, but the things is I want to to be similiar in earth as in 200 countries, 5000 ethnic groups, 6500 languages, varied climate/terrain/politics. Part of the story is still on earth and obviously as a whole, 99.9999% of stuff on earth isn't even getting used, but we know there is more and sometimes there are little hints. That is stuff we know from real life and generally doesn't need explanation. Example, a character says "We borrowed this from the Russians."

Part 2 Regardless of what is really important, what we know and doesn't need explanation is a lot because we figure readers generally understand--or they can google. Hell, there could even be lots of subtle culture references as well. Anyway, depending on the reader's knowledge, it can enhance the reader's understanding in various and subtle ways. But when I do things similiar in alien planets, it makes no sense and requires extra explanation to fill the details. So, basically useless.

Part 3 Thus it seems I'm unable to fully give the type of experience as when using earth as pretty much everything needs to be important to the story. Unless there's another way to do this so I can make my alien planets seem so much more than what's actually focused on without the needless exposition? It feels like at best I could try to mention a few things but it could never feel as vast as earth does. Perhaps maybe I just need numbers?

Reminder that if your question doesn’t fit in a single ask box, you should use /SUBMIT instead.

I have had a few questions in the past which are very similar to this one, [HERE] is about how to introduce invented elements of secondary worlds (stuff that doesn't exist in the real world but has been made up for the story), [HERE] is about how and why we might include extra details about the places that a character is visiting, [HERE] deals with establishing what a 'normal' day in an invented setting is like, and [HERE] is about ways of thinking about worldbuilding, and how much you need to know vs how much the characters know.

So it is a fairly common shortcut, in scifi writing, and scifi film writing in particular, to portray alien planets as kind of 'one thing' settings. Here is the desert planet, and there is the dessert planet, and over there is the Evil planet, and there's the cute jungle teddy bear planet moon. This can be useful if you're making a film or story where you just want the different worlds to work as shorthand for certain ideas 'shitty home world', 'the seat of democracy', 'the swamp where Yoda lives' etc.

But it is very simplistic, and obviously looking at Earth, as you've said, there's a vast array of different climates, cultures, people, languages etc. We do tend to simplify the way that we portray Earth in film and stories, as well--think about, say, Australia being largely signified by the Opera House/ Harbour Bridge, and the Outback™, or the UK being Big Ben and the houses of parliament, or the USA being a vast stretch of corn fields between New York and Hollywood.

So how do we effectively give the sense of a world being bigger than the particular spot that we happen to find ourselves in?

First off, you need to have background information about the world that you're building. If you know what the major cities are, what the main continents are, if your alien world has countries, or if it has a singular centralised system of government--or is it divided into city states? or is it divided into time zones? or is it divided into... etc

Think about how your characters conceptualise their world, and their place in it. Do they think about the world, with all its variety, as a single vibrant whole? Or do they think of 'us on this continent, and them over on that continent'?

How does trade work on this world? Do they have extensive trade networks among the various cities/ countries/ regions? Or do they rely on off-world suppliers for various things?

What kind of cultural exchange is common among these different areas, and what are the cultural touchstones that your characters might be familiar with, or interact with on a daily basis?

As with the examples I gave in the first linked post above, it is less about providing the readers with an exact view of how the politics and interactions of the various places function, and more about demonstrating what that means in practice for the characters.

Say there's a certain kind of fruit that is PROTAGONIST's mother's favourite, and she spends all day searching the hypermarket for one to surprise her mother with for her birthday, but turns out there's none of that fruit available because it's all from OTHER REGION, and there's a war on, or a volcano has erupted and interrupted trade, or the shuttle crews are on strike and so the fruit can no longer be transported down from the moon.

If your protag's favourite pop group is from a polar region and only produces music six months out of the year, because the other six months they have to work with their community to produce supplies for the long dark winter, that tells us something about the way that polar community is organised, and how it interacts with the rest of the world.

What else can we think about when constructing alien planets/ secondary worlds?

It can be difficult to think 'outside the box' of the culture that we're immersed in. It's very easy to slip into thinking that we're doing things the 'correct' way, and if someone else somewhere else does stuff different, that's weird, wrong, or sinister. Often it can be just a different way of doing things that gives the solution that the person is after.

I think it can be very helpful to read books about ancient history, especially stuff about societies that no longer exist, because a lot of the assumptions that we make about the way the world currently works are less useful when we look at ancient history. There are some extremely varied ways of approaching society and culture and a whole lot of stuff which isn't immediately obvious, but which we can understand by looking at the vast differences between ancient societies.

Well written history books can really help you get the sense of how societies form, and how culture develops, and some of the forces involved in cross cultural relations. Also, there are some great examples from the ancient world, of, for example, the various different Ancient Greek societies, and how each of them thought of themselves as 'doing culture the best', of their neighbouring hellenistic states of 'doing culture not quite as well' and of everyone who didn't speak greek properly as barbaric outsiders.

At the moment I'm reading Philip and Alexander: Kings and Conquerors by Adrian Goldsworthy, and I think one of the things that has struck me as super interesting is the difference between how the Greeks vs the Persians organised their societies, and the way that they thought about and approached warfare.

So what are the basic questions we're working with?

-What is the protagonist/ focalising character's relationship to the world? Were they born on-world? Are they adult settlers? Are they traders passing through? Has the character travelled to other places on the world, or have they mostly stayed in their home city/ area?

-How do the protag/ focalising characters think of the other places in the world that they are not currently visiting? (ie, I am in Sydney, Australia, what do I think of Boston, USA, or Paris, France? Big cities with a Reputation, I probably know something about. Small towns or cities I may or may not be familiar with, depending on my life experience or interests)

-How do the material goods which are needed for daily life pass around the world? Are certain goods only available from certain areas? Are there Events happening which may disrupt supply routes? Are there cultural elements which may cause friction in trade?

-What kinds of cultural export or exchange happen on this world? Is there a particular city which is well known for its entertainment production? (Hollywood, California--movies, New York City--the print publishing industry) Does this mean that portrayals of the rest of the world are skewed by the perspectives of that place? (Remember, Australia is just a bridge, an opera house, and red dirt!)

There's always going to be a gap between what your characters know, or are aware of, and what is 'actually' happening in the world of your story, but as long as you have the information decided, and can write the world consistently and with sensory and suggestive details, the reader can and will pick up the puzzle pieces and fit them together.

It's a complex problem, but it's one that can produce interesting complex settings.

I hope this helps!

[unsafepin]

Optical Illusions: A Study of Aesthetics in Activism in Two Accounts

There’s been a particular thing bothering me about social media for a while. I should probably get a cool editing app, write it in a few bullet points and post it on Instagram. You know what I’m talking about, right? The goddamn infographics. If I have to sit through another slideshow explaining to me another military conflict, another societal issue, another existential unfairness on a baby pink background in a cheery font, I might combust. But the cognitive dissonance of aesthetics in activism has been a problem for a while, hasn’t it? So today, I want to examine the effect of focusing on aesthetics over content, or, on the flipside, not considering the optics of your activism enough, and what it does to the consumer of your content by picking apart two local activist-adjacent media projects, Tetraedras and Giljožinios.

Firstly, I want to make my own bias abundantly clear. I am personally acquainted with the teams of both projects, so obviously there will be innate personal bias involved. I highly encourage anyone reading to check both projects out themselves (@t3traedras and @giljozinios on Instagram, as well as Giljožinios’ YouTube channel) and make their own conclusions on the matter. I believe that while my familiarity breeds deeper knowledge of my subjects, it also makes me more vulnerable to assumptions about individuals involved. My insights come from the perspective of an observer, not an expert. Welcome to the circus.

The use of the word “optics” in a metaphorical political sense sprung up in the 1970s to describe the way major political decisions would not necessarily affect an average citizen, but how it would appear to them, e.g. 'U.S. President Barack Obama temporized for weeks, worrying about the optics of waging war in another Arab state after the Iraq fiasco' (Toronto Star, 19th March 2011). However, it’s become increasingly relevant in our age of social media, an age of perceptions over substance, of shortening attention spans and increased barrage of information one has to stomach daily. Social media is the great equalizer - a random person off the street can theoretically hold as much influence as a politician - thus it is becoming increasingly crucial for the average Joe posting on the countless apps owned by Facebook to be as familiar with PR terms as a firm with a six figure salary. Or at least that would be nice, seeing that more and more average Joes are becoming actively involved in politics and education, seeking to influence their newfound audience.

So, let’s see how successful average people with no media or politics degrees are at balancing their image. Both Tetraedras and Giljožinios lean into their 2010’s social media project optics: millennial pink themes, bold names, young teams. But that’s where the similarities end. Tetraedras’ brand is safety. The shades of color on the profile are calming, the illustrations are youthful and playful, their more serious posts are interspersed with more relaxing content (poetry, photoshoots, etc.). Giljožinios is confrontational. The colors electric, posts loud and to the point, they’re what it says on the box - a leftist project - and unapologetic about it. This might help to explain why audiences react as differently as they do to these two, on the surface, similar accounts. Because while you might’ve stumbled on Tetraedras organically while browsing, them having almost two thousand followers, Giljožinios crashed into the educational/political social media scene by being featured on the goddamn national news, that’s how controversial the project is. And obviously I am oversimplifying the issue, Tetraedras slowly built up to posting more opinionated content, while Giljožinios came in guns blazing accusing USA of imperialism, but you’ll have to let me explain. Tetraedras, in its essence, is a welcoming environment. They explain complicated problems in short bullet points with accompanying comforting visuals, their mascot is a inoffensive geometrical figure and their face is a beautiful girl, make-up matching the theme of the post. Giljožinios is named after a revolutionary device, their profile picture is a monarch being beheaded, their host quite infamously sat in front of Che Guevara memorabilia in their first and (as of writing) only video. It’s a lightning rod for angry comments by baby boomers, no matter what comes out of their mouth. In fact, I would argue that, if presented accordingly, the idea that the US is conducting a kind of modern imperialism is just a simple fact and personally can’t wait until Tetraedras posts that with a quirky illustration of Joe Biden to introduce the concept to the wider public.

This leads me to my next point, because despite what’s been previously suggested, I’m not here to solely sing Giljožinios’ praise. There is a cognitive dissonance in both of these flavors of social media activism, but while I can understand Tetraedras’ on a PR level, I’m kind of personally insulted by Giljožinios’. While purely personally I find aspects of Giljožinios’ radicalism distasteful, I appreciate the honesty in the youthful maximalism, of coming in strong and not backing down, but from the guys that made a communist Christmas tree once I almost expected something more stirring than “military industrial complex bad”. This leads me to ask: who is your content for? Your average breadtube-savvy twenty-something already heard this a thousand times, because they consume similar english-speaking content and I doubt any minds of the vatniks that came by to fume in the comment section are being changed. I’m obviously harking on a newborn project here, the team of which has already been bitten by authorities censoring their content, but so far there has been a lot of optical bark, but no substantial bite, especially considering the team seems to be in a safer place now. And the inverse is true for Tetraedras, while I can understand wanting to be visually interesting yet inoffensive, their visuals are sometimes laughably, morbidly light for the topics they discuss Sexily posing in Britney Spears-inspired outfits while discussing the horrors of her conservatorship springs to mind (funny how Britney’s conservatorship leads her to have next to none bodily autonomy, including her public costume choices). And, once again, your target audience is teenagers. They understand English, they’ve seen the news, they don’t need you to translate infographics filled with statistics and information that’s locally completely irrelevant. There needs to be some kind of middle ground between aesthetic cohesion and common sense, because this all signals to the viewer that the content is meant to be mindlessly consumed first and to educate second.

Which leads me to ponder what kind of consumption accounts like these encourage, which will surely lead me to an early grave as I drink away the existential dread of how social media rots all of our brains. Because yes, actually, producing funky visuals to convey an idea way too complicated for an Instagram post is fun. I myself got distracted multiple times during writing to make the first slide for my own post. Meta, I know. This is obviously more of a problem for Tetraedras, who seem to fervently resist injecting their content with a few more paragraphs and a tad more nuance, but even with Giljožinios choosing a more appropriate long-form format to educate, I still pray everyday they don’t get lost in the revolutionary reputation their group built up and forget to make a point, not just talking points.

Because what all this all inevitably leads to is misinforming the public. Again, this seems to be less of a problem for Giljožinios, as the amount of critical eyeballs they have on them leads to them being corrected on every incorrect numerical figure and grammatical mistake, I just hope all this harassment, once again, doesn’t get them all caught up in the optics of a revolution against all the Facebook boomers and forgetting to do their due diligence to the truth. As far as I know, the only factual mistake is miscalculating how much Lituania invests in NATO and there’s still a historical debate in their comment section about the existence of a CIA prison in Lithuania, if anyone’s concerned. Tetraedras, however, is safe. And safe content goes down just like a sugar-coated pill, you don’t even feel the need to fact-check it. And fact-checking is what it sorely requires, or else you’re left with implying that boxing causes men to become rapists and citing statistics of every country except the one in which, you know, me, the team and the absolute majority of their followers live in.

So what’s my goddamn point? Burn your phone and go live in the woods, always. But in the context of this essay, if you are a content creator that aims to educate, inform, incite, whatever, you need to put aesthetics on the backburner. And, more importantly, we as consumers need to stop tolerating content that puts being either pretty or inflammatory first instead of whatever message it’s trying to send, because the supply follows where the demand goes. Read books, watch long-form content made by experts, not teenagers on the internet chasing followers out of not even malicious intent, but almost a knee-jerk reaction. Because while the story of those two accounts cuts especially deep, expectations for local-, even friend-made content being much higher than that for some corporate accounts shooting their shot at activism, the problem is entrenched deep, thousands of accounts exhibiting the same problems racking up millions upon millions of followers. Having said that, my attention span is barely long enough to read the essays I write myself, so maybe do burn your phone and go live in the woods.

Also, pink is actually my brand so both of these accounts are being contacted by my lawyers and the rest of you don’t try any shit.

[darkarchercatalyst]

All right, rant time, and the theme... is themes. (The other theme is Mirai Nikki. We’ll get there.) Quick disclaimer that I’m far from having any sort of expert opinion on literature, so there are likely people who will disagree with me or say things in a much more precise manner. That aside, here we go.

One of the core elements in whether or not I find a piece of fiction satisfying is whether or not it can maintain a consistent theme throughout. Thematic elements exist across a wide range of moods, goals, genres, and so on, and generally reflect on the driving philosophy of the narrative work. They are the parameters that create the framework in which a fictional world exists, much like the laws of physics in reality. When characters and plot move along with respect to the laws that govern them, it provides a cohesive experience. This doesn’t necessarily mean the story is good, but it is coherent. If characters and plot actively subvert the themes of their setting, then it creates a jarring or dissonant experience in the viewer (I’m looking at you, Gurren Lagann).

Sometimes this can be used to great effect. A “twist” ending or sudden change often relies on a thematic shift to move the story from one paradigm to another, with the jarring nature of that transition intended to create emotion of some sort in the viewer. However, to do so effectively requires for the secondary theme to be present throughout the first theme, but simply hidden or not acknowledged. Whether a second theme that enables the twist was properly set up is often seen in whether an audience feels like the twist “came out of nowhere.” Well-executed thematic shifts reward their more perceptive and invested viewers.

The other important part of themes is that they provide a vector along which the story and characters develop. This doesn’t mean that all characters and story beats evolve in the same way, nor should they, but the theme of the work provides the boundaries for the trajectories each element takes. We ultimately want the end state of the characters we like to be somewhere along the thematic route from where they started. Whether the net movement is positive or negative doesn’t necessarily matter as long as we felt that the character’s path had meaning. This is the predominant reason that most people find the endings of shounen manga disappointing, since often the trajectory of the characters’ stories get narrowed down into some sort of textbook feel-good ending that doesn’t reflect any complexity of the plot that came before.

Now then, for the core of the rant. The reason that I hate Mirai Nikki’s ending is that it completely breaks with the thematic elements of the series in order to provide not even a feel-good ending but a self-serving ending on the part of the author. The core element of Yukiteru’s character from the beginning is that he is a passive observer of the world around him. He is highly perceptive and precise in his observations, but it is entirely outwardly facing without regard for himself. This is stressed multiple times throughout the series, as is Yukiteru’s passivity in the face of ongoing events. It is only when he is thrown into a life-or-death situation where his own survival is paramount that this self-neglect becomes a critical flaw, which is then supplemented by Yuno’s character of being entirely centered on Yukiteru. In a messed-up way, their views of the world are necessarily complementary for both of them to survive. This is a good thematic hook to start off on, and intersects with the other diary holders and the ways they each in turn view the world around them.

Mirai Nikki also deals strongly with the ideas of justice and personal codes of honor. The moral perceptions of the contributing characters and the way that each action is justified against those morals is as important to the themes of the story as their preferred method for recording the events of the world. These morals are often intentionally skewed in the sense that it takes an outside morality, often in the form of characters uninvolved in the battle royale like Nishijima or Yukiteru’s friends, to provide a baseline against which the dynamic personalities involved are measured. So far, so good. Throughout the series this served as a decent dynamic and reference point for just how far afield the characters go.

A two-fold problem arises with the way these thematic elements, and we’ll work backwards through them. First, the baseline that the series relied upon for grounding its moral code is broken in response to the event where Yuno kidnaps Yukiteru and holds him hostage. Eventually Yukiteru is saved and released, only to turn around and decide to stay with Yuno anyway because she loves him and the only way he can “save” her is to stick with her. This alone isn’t a breach of Yukiteru’s passive nature despite being frustrating to the viewer, but the problem is the more meta context in which it is portrayed. The characters serving as the moral basis for the series rightfully are disturbed by Yukiteru’s decision, but contextually they are depicted as being wrong for attempting to convince him otherwise. This initial point of fracturing in the theme of the story carries forward in the sense that the series reorients around Yukiteru’s actions becoming deterministic. He simply does what he has to do without regard for exactly where on the moral spectrum that falls. That could have been handled effectively if the moral backbone was maintained. However, it is cast into doubt by the author’s decision to portray a bad decision (with respect to the story so far) as unilaterally good rather than simply reasonable within the context of the story.

This draws a direct line to the second big fracturing point of the thematic elements of the story, which is the ending. Even after the aforementioned breach in the moral core of the story, there is some attempt to regain it by coming back to Yukiteru’s friends and bringing in Akise as an off-kilter moral foil for Yukteru and Yuno’s actions in the last arc or so. This never quite lands aside from having a plot device by which to force Yukiteru’s “character development” at the very end, but more on that in a moment. The core issues it that by the time the series ends, both Yukiteru and Yuno are “bad” characters not just from a reader perspective but from the baseline morality that pervaded the first half of the series. Yukiteru sacrificed his personal morals and Yuno was revealed to have almost none for the sake of winning the war, and the only reason they are still the protagonists by the end is that Yukiteru at least is still “better” than the other bad guys. However, due to the themes of justice pervading the series there is at least some need for consequence for all of the “bad” characters. Except... this doesn’t happen. Yukiteru ends up winning the war and Yuno dies, at which point the thematic conclusion would be that Yukiteru must suffer some consequence of note or at the very least come to a realization that his behavior should change to atone for the actions he took even if they were out of necessity. Instead, he mopes around until Yuno from the next universe was brought to him and they live happily ever after.

This also creates a problem in that it breaks Yukiteru’s character arc and catapults him back to how he was at the beginning of the series. Yukiteru starts from a passive observer to a more active element, but all of this continues to be outward-facing. He behaves within the story as a response to the stimulus around him, but most personal senses of motivation or responsibility are only cursory at best. Only in the final arc, in order to escape being Reality Marble’d and stop Yuno, does he realize his own responsibility for the state of the world around him and acknowledges that he must be the one to take action out of his own motivation. He gains resolve to do not just what must be done in response to the current state, but the “right” thing. Until... he doesn’t. He certainly does the first step in resolving things by winning the war, but then it stops there. Any personal sense of responsibility is immediately torpedoed because he lost his love interest despite being realizing that it was necessary to correct things. Only when she comes back does he regain motivation. This becomes a direct contradiction to the development that Yukiteru took into becoming an active character. He devolves immediately into his dependence on Yuno for motivation.

You could compare this to NGE, which seems to be what the author wanted anyway since they both have a depressed protagonist who “grows up” in the course of messy relationships with girls and authority figures set against a background of apocalypse. They both even have the silver-haired homoerotic male friend with divine knowledge who shows up late in the series as a character motivator for the protagonist. Anyway, whether or not you like Shinji Ikari as a character (I do not), his story follows a linear progression toward the end. He starts as someone with little sense of purpose or belonging and dependency on the affirmation of others, but ends up with the ultimate position of “I want to live in this world.” That final state is a powerful statement of just how far the character has come. Mirai Nikki doesn’t have this. Instead it moves past the character’s resolution and completion of the thematic progression in favor of doubling on the codependency that necessitated the early character state. The protagonist’s development was taken back so that he could still need the yandere girlfriend and they could be together in the end.

So what would have been the proper conclusion to Yukiteru’s thematic progression? It would be the role of an active observer. Throughout the story he becomes privy to the trauma of his friends (especially Yuno) and the many evils of the world that led people to act horribly. Then he was given the power of god by winning the battle royale. The natural progression then would be that he recedes into the background as before but now with the knowledge and influence to fix the problems that burdened the world around him. Instead of shutting down and shutting out things, he would return to his original position of being unseen and only seeing others, yet now with the maturity and capabilities to do something in that role. This carries his resolution from the final arc forward into the epilogue with satisfying consistency. Maybe then after he does all that you could justify bringing Yuno back, but honestly it would be better if she wasn’t even aware of what he does behind the scenes at that point.

That’s a long-winded way to fully articulate why I felt that Mirai Nikki just completely fell flat in the end. This wasn’t even failure to execute, but it was an active deconstruction of what the story seemed to be trying to achieve. All in favor of maintaining the OTP or whatever.

[aion-rsa]

Shadow and Bone’s Alina is What a Modern Feminist Fantasy Heroine Looks Like

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This Shadow and Bone article contains some spoilers.

Young adult fantasy fiction is one of the most popular literary genres on shelves today, full of a seemingly endless variety of stories about faeries, demons, and the sort of complex magical systems that occasionally need a flow chart to explain. It’s also full of young women, both as central characters and primary readers, all struggling and striving to figure out who they are and how they might find their own magic in the world around them.  

Yet there’s a certain kind of genre fan that loves to disparage these kinds of female-focused stories, dismissing them as somehow unserious or otherwise lesser simply because they tend to include heaping doses of romance alongside various other high fantasy elements. For these snootiest of fantasy enthusiasts, the inclusion of things like love triangles and emotional complexity are simply facets of less compelling women’s stories, with no business in this space.

But Netflix’s new series Shadow and Bone understands from its first frames that one doesn’t have to sacrifice one for the other, that it’s okay – perhaps even necessary – to ground its high fantasy storytelling in the very real emotional stakes of young adulthood, from falling in love to figuring out the person you want to become. And, in doing so, it gives us one of the most three-dimensional, satisfying young female leads in years, a heroine who ultimately embraces her power without sacrificing any of her heart.

Based on the bestselling series of Grishaverse novels by Leigh Bardugo, the world of Shadow and Bone is rich and interconnected, spanning multiple continents and encompassing a wide swath of characters, from soldiers and criminals to elite magic users known as Grisha, who can manipulate matter and control specific elements. And at its center is a girl named Alina Starkov, an orphan who’s never quite felt she belonged anywhere, thanks to her lack of family and mixed-race heritage. That feeling of isolation is compounded when she discovers she herself is not just Grisha but a legendary Sun Summoner, possessing a gift so rare that many people believed it didn’t actually exist.

In its simplest terms, the story of Shadow and Bone is the story of Alina, who must not only learn to wield her strange new abilities but to accept her new and often uncomfortable status as a leader in a world that has often seen fit to overlook or otherwise abuse her. Having spent the majority of her life closed off from almost everyone besides the best friend who shares many of her formative and cultural experiences (Mal is also half-Ravkan and half-Shu-Han), this is an Alina that has learned how to survive rather than speak out. For the most part, that has meant learning to co-exist with those that mock her background, to stay silent in the face of racist insults, and to generally make herself smaller rather than step forward.

In a welcome twist, the heart of Alina’s Season 1 journey isn’t her quest to control her light-based Grisha abilities, though that does happen and is obviously important. Instead, it is about her ultimate acceptance that she is worthy of being the person who wields them – and not because she’s a Sun Summoner of legend, but because she is Alina, herself. And she has always been more than enough.

Shadow and Bone also makes sure to underline that it is Alina who drives her own story, a Chosen One who nevertheless is determined to still make her own choices. At every turn, the series makes deliberate narrative decisions that put Alina’s agency squarely into her own hands. It is Alina who burns the maps that means her cartographer team will have to accompany Mal’s regiment across the Shadow Fold, an act that costs several of her unit their lives and ultimately unleashes her latent Grisha abilities.

She decides to embrace her power on her own terms, rather than accept the Darkling’s Fabrikator-made gloves lined with mirrors that are meant to enhance its capability as a weapon. Yes, this is a tiny thing, but it’s another perfect small example of the way that Shadow and Bone subtly shifts the book narrative to center Alina’s perspective in ways the original story does not. It is her choice to flee the Little Palace when Baghra warns her about the Darkling’s hidden agenda. (In the books, it is Baghra who basically forces her to go.)  And is Alina’s decision to both spare the life of the magical stag she spent multiple episodes hunting and to trade her own freedom for Mal’s survival.

Alina’s choices are not always the correct ones, and she pays the price for her bad decisions over and over again. (Heck, she even sort of accidentally arranges her own kidnapping.) But right or wrong, her choices are always hers. In the books this series is based on, Alina is often much more reactive – a frequent victim of circumstance or accident, rather than someone who is driving her own story. That couldn’t be further from what happens in the Netflix adaptation and it is a big reason it is an utter delight to watch throughout. In moments large and small, we get to watch Alina develop into a person who believes in herself, enough so that during the big climactic face-off with the Darkling in the Shadow Fold she is able to both figure out a way to free herself from his control and claim her own power at the same time.

Throughout the series’ first half, we see Alina repeatedly shirk from this magical ability she never asked for and all the responsibility that comes with it. (Having people cross themselves when you walk by and call you a saint to your face has got to be weird af, is all I’m saying.) But when truly faced with the threat of danger and death, Alina not only rejects the Darkling’s claim over her both physically and emotionally, embracing not just her own strength, but her right to wield it as she sees fit.

“You may have needed me,” she tells the Darkling, just before she stabs him through the hand. “But I never needed you.” The moment is further underlined by another minor but wildly powerful change from the books – the fact that she bodily absorbs stag antler amplifier that signifies her increased power. In Bardugo’s novels, Alina still wears the collar physically and for much of Siege and Storm, it serves as a symbol of shame for her and one that she struggles to hide. Here, it is the ultimate sign of self-acceptance, of Alina claiming her abilities and, by extension, her true self. And that, as the kids say, is growth.

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 It’s also what a hero looks like. A hero who is never asked to sacrifice any part of herself – her vulnerability, her emotions, or her heart – or become less than she is, but whose story accepts all of those things as necessary parts of what makes her whole. A woman who may not be a saint, but who is a leader, one that’s more than worthy of not just leading her people to a better future – but who may well bring an entire genre along with her.

The post Shadow and Bone’s Alina is What a Modern Feminist Fantasy Heroine Looks Like appeared first on Den of Geek.

from Den of Geek https://ift.tt/3t0Yq2v

[rema-rin]

How do you create such detailed pieces in such a short amount of time?? Like yo, your art is so fucking amazing and when I see how short of a time it takes even the most detailed of pieces to complete I'm just amazed. Whenever I even attempt to do a detailed piece I take days upon days to finish lmao. Love your art friend (づ｡◕‿‿◕｡)づ

Sorry for the delayed response! Thank you very much!! And I think there are multiple factors contributing to faster/slow art processes; One would be, to avoid having to redo work.Here's a quick video explaining the terms "destructive/non-destructive" https://www.ctrlpaint.com/videos/destructive-vs-non-destructive

I apply that logic to the process itself as well, I might start detailing a limb of a character, but later on, I might realize that I need to add a complex pattern on that limb that I already started shading. If I didn't plan for it, and had already merged the character layers to only 1 layer, then I'd potentially have to redo lots of work.

Though getting smart with your layer usage just takes trial and error I'd say,,

But same idea with rushing to certain stages of the process before having a clear picture of what the end-product /should/ look like. You can correct a bad proportion/perspective/anatomy much much faster in the sketch phase, than in the coloring/shading/detailing phase. Basically, you ensure a much smoother ride, if the skeleton of your building is all laid out on your blue-prints, than if you try to build it blindly. (decide on placement, color choices, light setting, composition, posing, area of focus - all in the first 20% of your art process - the other 80% is for rendering out / refining/clean up) ((it's rare for me to be 100% sure about any of the initial planning, but I at least try to be as satisfied with it as possible before moving on to the next stage)) I heard one artist describe that 80% of their concentrated decision-making is spent on the first 20% of the artwork- the rest is just on autopilot. This is getting rambly,, but you'll have to find what fits you best. It's also true that part of my speed comes from developing lots of muscle-memory basically. I'm familiar with a whole set of shapes, details, bits of knowledge that I can sketch out quickly to make the skeleton-blueprints of dogs, dragons, humans, trees, etc and thus being able to spend more time and energy on planning out more intricate stuff like perspective, composition, color combinations instead of investing all the initial effort into getting the anatomy of a dog leg looking right. (So this brings us back to the age-old advice of: studying the basics :'> but alas, just draw the things you enjoy a LOT, and you'll start to naturally get faster as well, that is what's called getting "mileage" in drawing) ALsO know when there's no need for details!!!! You can suggest the existence of texture/details by just adding it in sparse places, instead of covering the whole area with it!!! You can also plan out your image as if it's taken by a camera; underexposed: the lighted areas are the most detailed https://www.artstation.com/artwork/1V5R3 / overexposed: the shaded areas are the most detailed. https://www.artstation.com/artwork/8A6wq (this can be real subtle too, it doesn't even have to be extreme, but it'll help you balance your picture and workload as well,, gives to image room to breathe too!) ((((and dont spend hours doing fine and clean lineart if your image is gonna be really dark in the end (and you dont plan on making the lineart be bright,, ) too often have I spent way too much time doing thin and precise lineart, just for it to disappear in dark shading. A cleaned up sketch works just as fine too!)))) Lastly, I believe you'll speed up your process real quick, by focusing on improving your sketching speed. Being able to sketch out the ideas in your head faster, you'll be able to nail down your image faster, because you can go through different versions quicker and find the most fitting one quicker. You can train yourself by doing traditional sketching in pen instead of pencil (no eraser = more thoughtful lines, less errors) or by doing timed gesture drawing (You can find websites for doing figure drawing with a stopwatch, 3 min -> 2 min -> 1 min -> 30 sec is possible too) Hope this helped! I'm still figuring out how to properly do the detailing phase, because I actually think I tend to rush it too much? I'm fine with character-focused details, but my stamina runs out real quick when it comes to backgrounds.

[current-mcr-news]

Carry The Fire Podcast with Gerard Way: Full Transcription

Welcome to Carry The Fire, a podcast where we explore the big questions of life through the lens of the good, the true, and the beautiful. I’m your host, Dustin Kensrue, and my hope is that through these conversations with people of diverse and divergent backgrounds and beliefs, we can glimpse the world anew through each other's unique perspectives.

Gerard: Fiction is something to a degree that you'll hide behind in a way, and it allows you to expose yourself… I always saw the characters that I've played as some aspect of myself turned up to 12... Overall, I considered The Black Parade to be a death fantasy… death and rock and roll were kind of intertwined… Every time you get onstage you have to be prepared to die.

Dustin: Hey everybody. It is episode five of Carry The Fire podcast. Today we are joined by Gerard Way who is the singer of the band My Chemical Romance as well as also having released some killer music on his own. He has spent the last few years though, spending most of his time writing comics, including the very popular Umbrella Academy comics which have recently been adapted into a great show on Netflix. In our conversation, we talk about creating worlds and inhabiting characters, we talk about the beauty and the difficulty of creative collaboration, the complexity of trying to incorporate time-travel into a story, and we also get into Gerard’s spirituality a bit, and I want to give a brief heads up for some of you regarding that.

Gerard is going to talk a bit about magick and witchcraft. While I’m no expert on either, I do know enough to know that these words in this context probably don’t mean what most of you think they do. Some of you might not bat an eye hearing them but a lot of you probably came up inside a worldview where someone who was interested in these things was considered very evil. Gerard is very far from that. If I can try to provide a new framework for you it would be this: Generally, modern practices of magick and witchcraft, while being diverse in form, incorporate various insights and rituals from animistic pagan and folk religion, as well as incorporating some psychological intuitions from different fields and traditions. Practitioners generally tend to be very concerned with the earth and our connection with it. While this is not my spiritual tradition or practice, I recognize that we all have things to learn from each other. I think especially the ideas in these traditions about finding our place within the natural world are a helpful corrective to a lot of the western traditions’ tendency to want to dominate over nature, rather than seeing ourselves as a part of an interconnected web of being. I had no idea we’d be talking about any of this going into this conversation, but in the spirit of this podcast, I was so excited to hear from another unique perspective on the good, the true, and the beautiful, and I hope you will be too. Let’s get into it.

Dustin: Thank you so much for doing this.

Gerard: No problem.

D: It's super good to see you.

G: You too!

D: I'm trying to think of the last time we even saw each other and I- it was probably on tour.

G: Was it on the arena tour?

D: That's what I'm thinking.

G: It's been a long time.

D: And we were playing a bunch of World of Warcraft.

G: Yeah! That's my strongest memory. I have a lot of great memories of you guys, obviously, but the one that sticks out in my head the most is when we're all playing Warcraft in this big room and you had to go onstage, and you literally had your rig hooked up, you had your in-ears, they weren't in yet, but you were wired up, and I believe you even had a guitar, and you were still playing. You went literally from the keyboard from the computer right on stage.

D: Dude, I got way too addicted to that game. It's your guys' fault.

G: It was our fault, yeah!

D: Oh dude, it was so fun. It was probably like, what? Eight or nine of us playing in a room.

G: Yeah!

D: I don't know if it was the tour after that or two, and I had started just dreaming in Warcraft, and I went onstage one day and I was onstage and I had this moment where I was like, "I'm done! I can't," because I had tried to wean a little bit and it wasn't working, so I was like, "I gotta go cold turkey."

G: Yeah.

D: And I got offstage and I gave someone the Warcraft and I said, "Don't give this back to me. I'm done. I deleted it." Yeah. Which is funny because I seriously hadn't played video games since then until I just bought my kids a Switch.

G: Okay!

D: And they're playing Zelda.

G: Zelda, yeah.

D: And I decided to treat myself.

G: Nice, nice.

D: That's why I got a Switch for the road because Zelda's the best.

G: Yeah, I play Zelda with my daughter and it's so big though. We're having a really hard time getting a handle on the game because it's so vast.

D: Yeah, it is crazy. 

G: I had to quit Warcraft too. I had to go cold turkey because it was still in my life when I wanted to write The Umbrella Academy.

D: Oh.

G: And I actually had this- I was at the crossroads and I had this moment where I was like, "I can either play Warcraft or I could write this comic."

D: It's a time sink.

G: Totally.

D: That game especially.

G: Yeah.

D: The social aspect, it just ends up being enormous.

G: Yeah yeah, so that was it. I quit and never looked back. 

D: So, I was gonna ask you, prompted you earlier to think about it. What was something that gave you a feeling of wonder as a kid?

G: Okay so, I have a couple really obvious-

D: Or multiple things.

G: Multiple things, yeah, I have a couple real obvious answers.

D: That's alright.

G: And I know this is such an obvious one but Star Wars was really big. It just was and I know it was for millions of people. Once I saw that, it was like the first movie my parents ever took me to see and I was really young, but the thing back then was they were running these in theaters for like three years.

D: Oh really? I don't think I realized that.

G: Yeah. So Star Wars had come out and then they just kept running it until The Empire came out. I must've been two or something and they brought me to the theater.

D: Oh wow! I think I remember, I think my first memory of going to a movie was seeing- Was Jedi '84?

G: '83, yeah. I think it was '83.

D: So I remember going to see that, standing in line with my dad.

G: Me too!

D: That's the first, I don't know, there's just those moments where you have those- I remember listening to certain records in my dad's car.

G: Yeah.

D: And he'd turn it up loud.

G: Yep. That's one of my favorite memories of my dad is him picking me up from school early and then taking me to go see Jedi.

D: Oh that's cool.

G: Yeah, we waited in big lines that wrapped around. Even back then, there were a couple people ordering pizza. That's one of my favorite memories of being with my dad.

D: That's super cool. What about Star Wars specifically created that wonder? Was it the world?

G: The world, I think. It was the world, the scope, just this world you wanted to live in, that you wish existed and there was only three movies back then, so your brain would kinda fill in the gaps like, "What is it like? What are their supermarkets like?" And your brain would kinda- and later, that would come into play when I would RPGs, which is another thing I'll bring up in a minute. There was a time where I was in college, or right before college, where we were playing a Star Wars RPG that I was running, and it's just such a rich world.

D: Like a tabletop one?

G: Tabletop, yeah. And it was a really great game and it was super epic because the one thing about it was everybody already had a sense of that world in their head.

D: Yeah, you don't have to build that already.

G: Yeah, you didn't have to build.

D: You just add onto it.

G: Yeah yeah, so they all knew the world so when you would describe something, everybody had a vivid picture in their head, and then anything you hadn't seen before, you would just describe, but people had a point of reference so they would know.

D: That's pretty cool.

G: But yeah, Star Wars was like the first one and I was just obsessed with that for my whole childhood, playing with the action figures with Mikey, and we had our own sarlacc pit which was a dirt pit, and stuff like that. And then the other thing that was really important to me were tabletop RPGs. So, I was in the 3rd grade at a new school, but I still hung out with my best friend who was still at the old school. Anyway, basically he had an older brother- his friend had an older brother in college and he was way into D&D and he would run D&D for us, and we're all 3rd graders. That was a major moment for me.

D: That's pretty cool.

G: Yeah, it was. And to have a college-aged Dungeon Master who knew the game inside out was a really amazing way to play.

D: That's pretty cool.

G: Yeah. And that really opened up a big world for me. So then I would go on to- so I never stopped playing since the 3rd grade and then I took a try at being a Dungeon Master, and even just from playing and Dungeon Mastering, I learned how to tell stories, and I was really into that. You'd learn things even about leadership if you go to become the party leader, or if you're the DM, you learn how to keep people engaged. You learn how to keep momentum, things moving.

D: That's interesting. I feel like that's something that maybe a lot of storytellers are not paying as much attention to as they used to. There's the book I brought you, it's called Invisible Ink.

G: Oh, cool!

D: This guy, Brian McDonald, who's kind of like a story guru. He consults at Pixar all the time, teaches screenwriting, he's very cool. But he grew up watching a bunch of the classic movie directors coming up in the '60s and '70s or whatever, and they all had this vision of what stories were and really paid attention to how- they thought about how the audience would react, imagined them in the theater, or whatever. And then, something he was talking about is he just feels it's dropped off, that interplay of trying to connect and let that influence how you're actually creating the story.

G: Yeah. I'm excited to read that. I'm a big fan of structure and I'm a big fan of outlines.

D: Okay.

G: Yeah.

D: You'll like this.

G: Yeah! Good! I'm a big fan of those things because the way I see it, if you know your whole story, and I always feel like you don't need to know all the details, you don't need to know all of it, but you should know kind of- you should have some kind of outline or a structure, and then you get to have fun because you do know the beats you need to hit, but all the spaces in between, you get to fill that in.

D: I think it's rare that anyone doesn't do that and does it well. Stephen King's maybe the only one that I can think of that just doesn't write that way, and somehow he just has internalized it or something, and it ends up working itself out.

G: Yeah.

D: That's cool, man. So would you say those kinds of things, these imaginary worlds, these built worlds, are the things that still bring you the most wonder and joy in a sense?

G: Yeah! And it's something that I wanted to do when I grew up. I wanted to build my own worlds that people could share and be a part of, and that was something I did all throughout the band was just kinda- and building all these different worlds and the people that inhabit those worlds and the details down to the stickers on the Trans Am for Danger Days, those were all planned out. So my favorite thing to do is world building. And I've done it for projects that haven't come to fruition as well. Like I was working on this sci-fi TV show for a while and I just went deep, and I just came up with- with my friend Jon Rivera, we just came up with this whole world. So world building is something I'm a big fan of. And it's something I've noticed people talk about when they're talking about either my work with Umbrella Academy or My Chemical Romance, is the world building aspect, so. World building as a job title isn't a job, but I think it's- that element is, I feel like, one of my strengths.

D: Yeah. As far as the world building, I feel like you've not only built those worlds, but with MCR, you lead in inhabiting them in a way.

G: Yeah.

D: It's fun to watch. It's scary for me a little bit, watching it. Is it scary for you or is it safe for you? To be in that character.

G: That's a good question. I think there's a bit of safety that comes with being a character, and obviously, I was looking up to my heroes when I was constructing that. I was looking at David Bowie, especially around Black Parade, that's when I was like, "I'm gonna be a character." Early Black Parade stuff was like, I had written this line out that basically said, "What if Death had a rock band?" It obviously changed from that and we all became Death in a way, the whole band, but there was a safety with inhabiting a character, and the character I was during Black Parade was fun because I think in an entertaining way or a positive way, there was this level of disdain that you would have for you audience as playing as The Black Parade. But it was, to me, a healthy kind, because you were just playing really. And I thought that was a fun aspect of that character. But then there's a lot of you in the character and it's kind of- I always saw the characters that I've played as some aspect of myself turned up to 12. It's interesting when I would meet people afterwards and stuff, they would be like, "I didn't think you were gonna be so normal when I met you," just because the way I would act onstage. And I met a lot of kids who were like, "I thought you were gonna be such a jerk."

D: That's funny.

G: Because I would play one, you know. And it was just part of the drama for me.

D: Yeah. That's cool. Have you read any Ursula K. Le Guin?

G: I love her! I just reread Earthsea, the first one.

D: I haven't read it. I've heard it's amazing.

G: Yeah, it is.

D: I just got into- I read The Left Hand Of Darkness.

G: Oh, I've not finished that, but I loved what I've read.

D: It is a very slow book, in a sense. It's not exciting, in a sense, but it's got this patient movement and by the end, I was just floored by it. It was fantastic.

G: I have to finish that one. I love her and her work, especially Left Hand Of Darkness, it does have a patient movement, I think that's the best way to describe it. And I've also loved the way that she talks about storytelling in writing, and one thing I've read from her recently that really stuck with me, this is a quote of hers, and I'm paraphrasing it, I don't know if I'm getting this exact, but she basically said, "Not every story needs to have a message. It could just be the act of telling a story. You don't have to lecture your readership or your audience, or hit them over the head with this big message. It doesn't have to have one."

D: Which is interesting because I feel like she is a very message orientated writer in a certain way, but maybe that's coming in in a very natural sense.

G: Yeah.

D: [C.S.] Lewis talked about that too, where he was like, "The last thing you wanna do is write this thing that's just trying to tell something." He's like, "Whatever truth that you actually believe, those things are coming out if you just write."

G: If you just write, I agree with that.

D: Like Narnia, apparently, started from- he had a picture in his head of a faun in a snowstorm holding a parcel with an umbrella. That's the whole world built out of that, and he loved that image, and his love for it blossomed into something.

G: Yeah! That's awesome!

D: It's super cool. So, the beginning, in the intro of Left Hand Of Darkness,  Le Guin says, "I am an artist, and therefore a liar. Distrust everything I say. I am telling the truth. The only truth I can understand or express is, logically defined, a lie. Psychologically defined, a symbol. Aesthetically defined, a metaphor." So even when you're making music, you were talking about you're making these fictions, you're lying as it were. I was watching something the other day, you said something like, "Sometimes fiction is closer to fact," or something in that range. Is that accurate of how you feel creating, that sometimes by- you're getting at a deeper truth by telling a fiction?

G: Yeah yeah. That could happen, and I think it's kinda magical when it does happen. Black Parade especially is filled with a lot of metaphors and maybe the fiction is something to a degree that you'll hide behind in a way, and it allows you to expose yourself. Because exposing yourself is really hard and one of the- just allowing yourself to be vulnerable is really hard and one of the things that Rob Cavallo said to me when he was producing Black Parade was, "Making a record, a great record, is you're almost pulling open your insides and you're pulling all your guts out," and things like that, and it's a brutal process because of that, but I think I did that on that record a lot. There's a lot of self loathing and there's the Catholic guilt I grew up with appears in stuff like Mama and House of Wolves, how you think you're destined for Hell and things like that, but it's cool, yeah. Fiction gives you a way to express these things and make yourself vulnerable and open yourself up and that's the way I like to use it, and then sometimes, there's stuff that's just straight fiction or fantasy. Overall, I considered Black Parade to be a death fantasy. A rock and roll death fantasy because I thought death and rock and roll were kind of intertwined in a way, because I think Mick Jagger had said once, "Every time you get onstage you have to be prepared to die." 

D: That's amazing.

G: Yeah! So, it was this rock and roll death fantasy, Black Parade.

D: That's cool. I have the worst memory. So, I was preparing for this and somebody was like, "Hey, ask Gerard if he really wrote the treatment for the Image Of The Invisible video," and I was like, "Holy shit!" I totally forgot that-

G: Oh my god! 

D: That you did that.

G: Oh my god! That was so fun too! I totally forgot! I gotta rewatch that.

D: What's funny too is I watching your videos and I was like, "This is so cool, these characters. We've never really done anything like that. I guess Image Of The Invisible is kinda like that," but didn't even make the connection, but it's totally that way because you were building that world!

G: That was so much fun.

D: And I got to live in it and it was cool.

G: That's cool. Yeah, I was really honored that you asked me to conceptualize a video for you guys.

D: It was fun. I don't think we've ever had another one where it was such- well, definitely not such a developed story.

G: Right. Didn't we do something too where we had lights on their helmets?

D: Yeah.

G: Their eyes were supposed to be lights or something?

D: Yeah, maybe it was like a single eye was a red laser-y light.

G: Yeah. That was cool. I'm gonna rewatch that when we're done.

D: So you grew up with the Catholic guilt, you said. Did you ever feel like you inhabited that world, or was it something being kind of thrust on you that you didn't- I mean, it's hard as a kid.

G: Right.

D: You don't even know, but I'm curious about that and then where you'd feel like your kind of big frame worldview is now on like, "What are we all doing on this rock?"

G: Right, right. My family, my parents, they weren't super religious. I come from this Italian Catholic background though so it was the kind of thing, my grandmother would go to church sometimes, but never would push us to really go. But for Christmas or something, my mom would go with her. But I think they thought, my parents thought, "This is the right thing to do. We should raise our child with believing in God and raise them Catholic because we're good. Even though we're not always there, we're good Catholics." So, they kind of put me on that path and I think the first thing I learned from being Catholic, or just religion in general, maybe it's somewhat at times specific to Catholicism, is this fear. And this fear of Hell, that's they really instilled in us. I think I was in the 1st grade or something, really young, and there was this thing that would happen where they would talk about death and Hell and all that stuff, and there was this period which, because of these classes, these after school classes, I would have these bouts of just crying. I guess I was coming to terms with the fact that my parents wouldn't be there forever or I would lose them and they would die. But then the additional fear of, "Well, if they behave bad, they'll go to Hell, and I'll go to Hell too," and so, there was this period where it was really upsetting for me, and I channeled that. I tapped into that stuff on a couple records, and on Three Cheers For Sweet Revenge, I borrowed a lot of Catholic imagery, and that second video for Helena being in a church, and things like that. So I kinda started- and in some of our merch designs too. I remember we had one with a cathedral and a rosary and all this stuff, and then that would come to a head in the song Mama on Black Parade but, yeah, my journey in terms of spirituality and where I came with that. Obviously, at some point, I was confirmed in the 5th grade, so I did that. But then after that, my parents didn't have any more requirements out of me, because it was all about baptism, communion, and confirmation. And if you did those three things, you were good, then you could go as you wanted. So they never pushed me to go. And then, over the years, obviously I got into punk rock and I didn't believe in God for the longest time, and then I just started to really need spirituality in my life as I got older. And I'm more of the sense where I believe in there being some- I don't know if it's a God, but I do believe there's something.

D: Something, yeah.

G: Yeah. There's something out there, there's some kind of reason. I also believe we come from- because we do, we come from star stuff. 

D: Yeah.

G: We come from the universe. We're birthed from the universe. I'm a believer in the fact that the universe is chaos and born out of chaos and it's uncontrollable, and there's kind of no rhyme or reason to anything, and tragedies and accidents and bad things happen and good things happen, and it's really just chaos being this constant true thing in the universe, and I came to those discoveries through my study of magick, occultism, and things like that, which I was inspired to do by my friend Grant Morrison. He's kind of like a big brother to me, mentor, he's really supportive and he's very into magick. And so I became interested and he's given me some lessons, and I actually wanted to do a podcast one day with him where I literally just sit down with him and have him talk about magick, because the way he describes it is, you would almost need it to be recorded to fully explore all the theories and things like that. So, I started to need magick, high magick, chaos magick, and eventually witchcraft, and witchcraft is something I felt more comfortable with because I always felt like, when I was reading about chaos magick, it felt like it was about making the universe bend to your will, whereas I was looking for something more that you were in service to the universe.

D: Interesting.

G: I think I got this from reading Crowley's book on magick, but basically, I don't know exactly what he said, but basically reality is your perspective. And that was kinda one of the key points of magick, your brain builds your reality.

D: Yeah.

G: And I thought that was a really great take away from all that. So, yeah, I've been interested in spirituality and things like that and studying shamanism, and all that stuff. We, with our daughter, we didn't raise her with religion, but we, Lindsey, my wife, is really spiritual too. Not like a practicing witch or anything, but she's just naturally adept at those kind of things. She's really in tune with nature, she knows a ton about herbology, a lot of the founding cornerstones of witchcraft is just kinda part of her life. And so, we do raise Bandit with- Lindsey teaches her all about herbs and plants and we have a witch's garden, and communicating with nature and trees and animals and things like that. So we're teaching our daughter that there is a kind of magick to life and magick does exist. It's not Harry Potter magic, but you know.

D: A lot of that seems like it's about an embodiment, a connectedness to everything, to other people.

G: Yeah, connectedness, for sure, yeah. And just teaching her that she's connected to the universe. And if she grows up and wants a different kind of religion, that's great too, and I know I explored those. I was looking for a religion in art school, because I had a class where we had to study all the religions, or most of them. And I kept going from each one and I was like, "I like bits of this one, but I don't like that." I couldn't find one that I landed on until I got later in life into more spiritual things like magick and witchcraft.

D: Cool. So with something like witchcraft, which for a lot of people are gonna hear it and have not at all the idea that you're talking about I think, so something like the idea of goodness in that, where does that derive from? Is that coming from the inter-connectedness? It seems like there's a moral view to it rather than morality being a decree maybe. It's something that arises out of those connections?

G: Right right, yeah! I think the positivity in it, to me, and here's the thing. I don't consider myself a practicing witch or anything like that, I just read a ton of this stuff. And that's one of the things they kinda warn you about with magick and everything, you could read all the books you want and some people spend their whole life reading books and never practice, but the thing they tell you to do is practice. And I think yeah, the goodness comes from being in service to the earth. Being connected to that and also, what I've learned about witchcraft, or at least the kind of witchcraft that I like, is it's very gray. It's not black magick, it's not totally white magick, it's just understanding that the universe and all things in it are very gray, there's no black and white to everything. And I've really liked that the most, because I get older- when I was younger, I was very black and white about a lot of things. Especially in the earlier days of My Chemical Romance, everything was really military and rigid, and black and white, and this is right and this is wrong. You kind of get older and you start to realize, "No, things aren't that simple. Not everybody's all good or all bad. There's a grayness there." 

D: Which, I think, I have a song of the latest Thrice record called The Grey and it's dealing with that idea of deconstructing the black and the white, and I think the biggest danger there is the idea that even if there was straight black, straight white, you are betting a lot on your ability to discern it at any given moment.

G: You are.

D: And then if you are actually holding to it, and you're basically betting on your ability to discern this thing and now it's of the most ultimate consequence and you filter out everything that doesn't fit into that, which is basically a bunch of yourself and a bunch of everyone around you.

G: Yeah, exactly, yeah.

[ad break]

D: So I have a couple questions I’ll pepper in here from some of the Patrons. James Corvit said, “What is the purest form of goodness you’ve experienced as a human being, and how do you explain it?”

G: Purest form of goodness.

D: I don’t know, it’s deep.

G: Yeah.

D: I don’t know if that’s from someone or just internally.

G: The purest form of goodness. It’s a tough question but it’s a great question. I think the purest form of goodness is forgiveness. Or that would be something I would say is a very strong form of goodness. Even when you see people that the most terrible things happen to them, like a serial killer murders their loved one and then some of these people, not all of them, and I don’t blame the ones that don’t find forgiveness, but some of them find forgiveness and are able to forgive people for the most atrocious things, and so that feels like a really powerful form of goodness.

D: Yeah, I feel like in the middle of me deconstructing a lot of that stuff, something I was like- the idea of grace and forgiveness is something that goes deep there and I’m not willing to let go of that. Over the centuries, there’s been countless efforts to define beauty. Aristotle defines beauty as having “order, symmetry, and definiteness.”

G: Hm.

D: But it’s always struck me as a fairly anemic version of beauty. And then I saw on the cover of the My Chem single Sing, there’s a question on there that says, “Would you destroy something perfect in order to make it beautiful?”

G: Right.

D: This makes me think that you probably also take issue with that definition a bit. I wanted to ask, is there something about brokenness that’s near the heart of beauty for you?

G: Absolutely, yeah. And that, I was trying to remember that phrase a couple months ago too, that was on the cover saying, yeah, “Would you destroy something perfect to make it beautiful?” And yeah, I think beauty is way more complex than symmetry and I think there is a brokenness to beauty. I think, you look at a lot of musicians, you could arguably say from a certain perspective, if you subscribe to symmetry and things like that, a lot of musicians or front-people, men and women in bands, some of them you could say they’re not traditionally beautiful, or not what you would think is beautiful, but something about their vulnerability or their confidence and things like that, make them beautiful. And that’s in any case, even non-musicians. Like people that just go to work in the world and have normal jobs, there is something about beauty that is much deeper than just what you see visually.

D: One of the Patrons was saying that, “My Chem’s music reinforced to me and my friends that being an outcast was okay.” Was that something that you wanted people to feel? What were things growing up that made you feel like it was okay to be an outcast or a misfit?

G: I think by the time I was definitely not in elementary school- well, I didn’t have to struggle with being an outcast in elementary school. I actually went to a really cool school, it was just a normal public school, but the one thing I thought looking back that was very interesting about those years is we all got along, we were all friends, even the weirdest kids, and a lot of kids would just have these parties back then and everyone was invited. And then my first real experience with being an outsider was going to middle school, and then so, you aren’t all friends anymore, and there’s all divisions and cliques and things like that, and then I found myself to be one of these outcasts, one of these weird kids that listened to heavy metal and wore flannels. There were only a handful of us in the school that were like that. But it wasn’t until high school where I fully embraced being an outcast. The first year, freshman year was really hard because I was really an outcast and I didn’t even know where to sit at the lunch tables, because I didn’t fit in with any of these groups. And it turns out I ended up sitting with a table of metalheads because they saw me sitting by myself and they were like, “Why don’t you sit with us?” And that’s where I would learn about certain bands that they were into, like Murphy’s Law and the kind of things they were listening to back then. But it was important for me to have something that spoke to outsiders with My Chemical Romance because when I was that age, there wasn’t anything that really spoke to me like that. Or there wasn’t something so specific to being an outcast. There was lots of stuff that if you were an outcast you listened to like The Cure or The Smiths, so of course, I found all those bands. But there was nothing specifically geared to somebody that feels invisible or is an outcast or rejected and things like that, so when we started My Chem, it felt very much like we were channeling the energy of being an outcast onto whoever listened to us. And in the early days, it wasn’t a lot of kids. I mean, there weren't any kids that really listened to us. It was kinda older punk rockers, it was very interesting in the beginning. And of those older punk rockers, a lot of them were actually outcasts as well.

D: Yeah.

G: Within a scene so. And maybe they weren’t even full-on punk rockers, they were just a guy with a leather jacket at a bar who just saw something in us.

D: Yeah. That’s cool. The Patron Jonathan Clark is asking, “Do you have any rituals or practices that you do to find your center, wait for yes, get connected, see the good, the true, the beautiful in others, or let go a bit?” Basically he’s kinda asking if you have any meditative, mindfulness, something to practice.

G: Right right. I really enjoy T.M., Transcendental Meditation. Actually, I’m in an interesting spot with this though.

D: That’s where you’re chanting.

G: A mantra, yeah. You have a mantra and you kind of just repeat it in your head. It helps you, basically when you’re doing it, it releases negative energy and tension and things like that, and it’s very good. But sometimes, at least in my experience, and this is why I’ve kinda paused my practice at the moment, sometimes it could release trauma and things like that, and sometimes you end up reliving that and it makes it- and granted, your body is letting go of it, but sometimes it’s hard and I found when it would get its most intense, I would catastrophize things in my head and be- so I would be focusing on the mantra, but then things would happen like I would be thinking about the worst things that could happen to my family or my loved one, or something bad happening to them or getting hurt.

D: Is that something that happens to you? Do you tend to catastrophize in general?

G: Sometimes. I do tend to catastrophize sometimes, and it’s something I work on in therapy. I’m a big believer in talk therapy and, I don’t try to push medication on anybody, but I always just share my experience, and that it’s helped me.

D: Yeah.

G: I was somebody who was extremely imbalanced all through the years of My Chemical Romance, and go through these extreme highs and crushing lows where I wouldn’t get out of bed for like three months, but then I would be in a manic phase, and I would be up until 4am working on zines all of the sudden, and I would say to Lindsey, “I don’t need to sleep. Why do people sleep? I don’t get it.” So there was a lot of that, and then Lindsey found me a therapist and we did a lot of really hard work and I faced myself a lot, I looked inward. And at the same time, before we were able- before we explored and did the work, we stabilized my brain chemistry. That was the key. Once we were able to stabilize my brain chemistry-

D: You were able to actually…

G: Do the work, yeah. So, I am a big believer in T.M., it’s just that sometimes I struggle with it, but I know all I have to do is check in with the T.M. center and explain what I’m going through, and actually my therapist had found me this woman who’s one of the heads of, I’m not sure if it’s the David Lynch Foundation or something else, she actually said, “You should come in, I’ll talk to you, I’ll walk you through the trauma stuff and all the hard stuff.” But I’m a big believer in it because when it was cooking, and there were two months this year where it was totally changing my life until some of the negative came out. It was, I was a more productive, more focused, calmer, more engaged, more present. I’m a believer in it and a big believer in therapy and just having somebody to talk to.

D: Yeah. That’s awesome. On the drive up, I was thinking about Umbrella Academy and I really love it in general. I remember getting the comic when it came out. The show turned out so great. Are you really happy with it?

G: Yeah yeah! I’m totally happy. At the end of the day, it was somebody else’s vision and I was able to let go of that. I think I needed to. When the process first started in making it a TV show.

D: That’s gotta be hard.

G: It’s hard.

D: That’s your baby.

G: Yeah yeah! But I was really upfront when I was talking. I went in to meet with UCP and Dawn and the people there. I was with Dark Horse and they said, “What is your goal?” And I said, “My goal is to make great comics because I already went through a whole big thing with Universal trying to make this a movie and it just drained me.”

D: Oh okay.

G: And it was full of really difficult things, it took up a lot of my time, and disappointments, and I really turned my focus back to comics because I was like, that’s where you’re in charge. Nobody can- you have an editor, obviously, if you have a great editor, you’re doing great work together and you’re making changes, but it doesn’t feel like something creative is being ruled by committee, and that’s what it feels like in Hollywood. I was really upfront with Dawn and I said, “I want to make great comics so you guys have good material to make a good show.” I ended up being more involved than that. The extent of my involvement is giving notes, especially about things like wardrobe, costumes, the look and feel of the world, the fact that it’s kind of an alternate reality, and I give notes on scripts and I give notes on edits and things like that, so I am involved for sure. But I was able to realize this is somebody else’s baby and I’m happy with the results for sure. My whole thing is the proof is in the fact that everybody loves it.

D: I like Klaus a lot and I can’t remember, because I read the comics so long ago, how true to the book that character is.

G: Right.

D: Do you feel like it’s capturing what you were trying to get out with it? G: It is capturing, yeah. It’s capturing, to me, what Robert who plays Klaus, he’s capturing this kind of sadness and tragedy to the character. Also obviously, the humor. In the comic, Klaus is a little bit more of what I call a dry goth. He’s very nihilistic in some ways.

D: Not quite as whimsical, maybe.

G: Yeah, not quite as whimsical as what Robert ended up doing. But the way Robert approached the character really ended up working and he adds a lot of humanity to the character, that maybe there’s not so much of it, or you don’t see it very often in the comic with Klaus. Klaus just does bad things and makes bad decisions and obviously, a lot of that is coming from a place of trauma that he experienced as a child, and in the show, it’s cool because the drug use is there to help him quiet the voices in his head. They explored that a lot deeper and I thought that that was really cool.

D: Is that less of a focus in the comic?

G: A little bit. I never really explored the fact that he’s constantly seeing and hearing and talking to ghosts, and so these drugs kind of quiet his mind. I’d never explored that really deeply.

D: Which is cool because you, it’s another evidence of you’re building a world and someone else was living in it, and then they were like, “Well yeah.”

G: Yeah!

D: “Of course he’s like that,” and you’re like, “Well dang.”

G: Yeah! That’s a cool thing. They’re able to point at things you weren’t seeing because sometimes when I’m doing stuff like creating a world like Umbrella Academy, a lot of it is running off the subconscious. A lot of it is, some things you don’t realize you’re putting in there. And when they look at making a TV show or a movie, they really kinda deconstruct it and look at it and say, “Well, this makes sense because of this.”

D: Some of the beauty with the comic is that the concise kind of form makes it to where you don’t always have to trace down all of these rabbit trails, but when you're trying to blow it up into something else, you’ve gotta figure out how to make sense of it all.

G: Mhm. And to bring it back to the question of a sense of wonder. That was the other thing I thought about this morning when you asked me the question was, “what do I get a sense of wonder from,” and comics were a big one. Because to me- and then I would later reinforce these feelings when I started making them and writing them. You could do anything in them and that’s really what’s beautiful about them. I also love the mechanics of them, because there’s definitely things you could do in comics that you can’t do in film and TV and I love that. So I’ve really learned to embrace the medium when I’m writing them. I think I’m writing comics that are definitely comics, and they’re not just a TV show playing out in a comic.

D: Yeah. How much do you draw your own stuff just to get your ideas going? Or is it more conceptual?

G: Quite a bit. No, I do- well especially for something like, less so on Doom Patrol but Umbrella Academy, Gabriel Ba, the artist and I have this really cool relationship and I think the ideas kinda need to start with me, and I’ll do a sketch and then Gabriel will completely reinterpret that and kinda make it much cooler and much better.

D: That's because that’s your complete world from scratch, whereas with Doom Patrol you’re reinventing something?

G: In the beginning, Umbrella was definitely my complete world from scratch and I had this idea, but Gabriel, especially even in the early days, he helped build that world. I was able to give him a couple references and I’m like, “I don’t know, maybe it’s the ‘60s, maybe it’s the ‘70s. People are dressed like the ‘60s and cars look like they’re from the ‘60s, but there's modern things too.” And he loves drawing architecture, which you don’t find a lot of in comics. A lot of people try to stay away from the buildings in the background and the architecture, but he embraces the architecture so he really built that world with me in the beginning. But we still have our process and the process usually, not always but usually is, especially if it’s a villain or something like that, I’ll do some kind of sketch, even if it’s bad, and then Gabriel will take that and make it something.

D: That’s cool. Collaboration is terrifying and super fun when it’s working.

G: Yeah! When it’s working, it’s amazing, yeah. I love collaborating, and I’ve learned to really embrace it over the years. Delegating and collaborating were two skills I really needed to get really good at, and I think I got better at collaborating after the band. Although, we were pretty good about collaborating in the band, I just got better at it though.

D: Yeah. It’s definitely for Thrice, the most fun but also the hardest thing for sure, and it causes the most tension.

G: Right. Yeah, for sure.

D: Just because you care.

G: Because you care, yeah! You care, and sometimes you do see or hear a complete vision so you want that realized.

D: I think that’s the hardest part. You’re like, “I see all this,” and you’re like, “Okay but there’s three other people.”

G: Yeah!

D: Every single time that I’m set on something, and then everyone else is like, “Dude, no,” every time by the end, I’m like, “Wait, what was I stuck on?”

G: Yeah.

D: It didn’t matter anymore.

G: Yeah!

D: It’s totally a psychological issue at that point.

G: It is!

D: “It has to be this way.” No, it could be a million ways and they’re all different and cool.

G: Yeah. And that’s what I learned too when collaborating on music, is exactly what you just said. You don’t even remember what you were hung up on.

D: Totally.

G: Because it’s just much better after everybody's worked on it.

D: It’s very similar to being super upset about something in the moment and you’re just not thinking clear, and you sleep and you wake up and you’re like, “I was real upset about that. It doesn't seem like a big deal anymore.”

G: Yeah.

D: Time travel is a big thing in Umbrella Academy.

G: Yeah.

D: Which it’s notoriously troublesome to write stories with time travel.

G: Yeah.

D: And not have it just fall apart. If you’re trying to get a specific future, you have to have a bunch of people constantly fixing these things.

G: Right right!

D: I like that way of interpreting because usually it’s, “Oh, we fixed this one thing,” and you expect it to just keep going straight, but no way.

G: Right. I really like that the show took that from the comic and really explored it. All these people making these little corrections, sometimes they’re violent corrections, but sometimes they’re very simple. But time travel is such a pain in the ass. I did not envy them when they were starting to do the writer’s room for Umbrella Academy.

D: They try to make it all work.

G: Try to make it all work. And they’d have to put up these big timeline boards and be like, “Alright, this happens this year,” and that’s what I was doing when I was writing the second volume, Dallas, because there’s not much- I don’t think there’s any real time travel, besides Number 5 coming back, there’s no real time travel in volume one, Apocalypse Suite. But Dallas is all about it, so that was the hardest volume I’ve ever had to write, because time travel is just, it’s so hard.

D: Are there any stories that you like that you feel do it really well?

G: I don’t know if I’ve read enough time travel stories. I mean, I thought Back To The Future did it really well.

D: But then I always get stuck on the idea that you have to, there’s an endless cycle of Martys that have to go back.

G: Oh right!

D: And keep- my brain breaks when I try to be like, “But what if he doesn’t? Then none of it works anymore?” It all breaks.

G: Yeah, it can break very easily, and I think almost every time travel story has the possibility of completely breaking, or at least in some person’s mind out there, it is broken.

D: Yeah.

G: So sometimes you have to take time travel stories almost at face value and be like, “Alright, this works.”

D: Yeah, you can’t- well I think part of that is on the writer or whoever’s making it to address and deflect. The Brian McDonald guy I was telling you about, he talks about that somewhere where he’s like, “You gotta spot the problem and then you just need to have some character address it, and then sweep it away,” just so that it helps whoever’s watching or whatever, it helps them be like, “Oh yeah, what about this?” And then, “Oh, they thought about it.”

G: Yep.

D: And it’s not like it’s making it perfect, right? But it gives you permission to let it go, I think.

G: Yeah yeah. And you do have to address these concerns. I realized my answer might have been possibly a little lazy about taking things at face value, but one of the things I had to do in Dallas was address every concern that I thought the reader would have. 

D: Which is great. When you do the addressing, it lets the reader or the watcher or whatever, it lets them let it go and enjoy the story.

G: Yeah, exactly. I’m about to start volume four of Umbrella Academy and I’m really happy because I don’t think it’s gonna have any time travel in it, so I think we’re a little bit away from more time travel in Umbrella Academy.

D: Alright, this is a question from Mike Morale, he says, “In his recent arc, Cliff Steele aka Robotman, regains his humanity, at least in outward form. But on Gerard’s latest, ahem, cliffhanger, Steele burns it all up after facing the painful inhumanity of someone with power to hurt him. I suppose my question is, how do we protect the precious beauty of our humanity while remaining vulnerable to those who have meaning in our lives?”

G: Oh wow. How do we protect that humanity? Well that’s a big question, because especially with given how the world is now and the toxicity out there online and things like that, how do you protect your humanity? Because toxicity, like the kind that Cliff experiences when he goes to visit his mother in that nursing home, it’s a very real thing and it’s something you have to deal with. I don’t know how you hold onto your humanity, it’s hard sometimes.

D: While being vulnerable too.

G: While being vulnerable, yeah exactly.

D: Which I guess is almost synonymous to holding onto your humanity.

G: Yeah. 

D: Because you could close off but that’s not good.

G: Yeah exactly. I know this isn’t the healthier, great answer, but I think one of the things I did was to kind of remove myself from certain social medias. But it wasn't unhealthy because what I did was I decided to look inward at that point. Instead of, and I could tell you as many harsh people are on the internet, I was much harsher on myself. I looked in and I asked myself tough questions, I really asked myself what’s right and wrong. I think about these things deeply when I’m writing, but holding onto your humanity is very hard. And Cliff, obviously, he doesn’t hold on to that humanity, and he goes back into his cage because that makes sense to Cliff.

D: His follow up question was, “And does skin make the man, or can metal reflect who we really are just as well?”

G: I believe metal can reflect who we are just as well. I think Cliff Steele is very much Cliff whether he’s a human or a robot. He’s still Cliff and I think that’s one of the things that’s great about the character and why he’s so fun to write because no matter what, he’s still Cliff.

D: I wonder if there's anything you’ve been listening to, watching, reading, that you think people should check out?

G: Let’s see. What have I been reading recently? Well, this is old but I just decided to reread Lord Of The Rings from start to finish, and I made it through the books rather quickly and they’re just such a joy to read. They’re so relaxing, but there is a real build up to Lord Of The Rings. It gets so dark at one point, and horrific, but there’s a calm and a peace to reading it. And the way Tolkien writes, you’re just thinking about the greenery and the trees and the rivers and all of those things, and so it’s a real relaxing read for as much as it ramps up. I have a hard time watching TV. I feel really trapped when I’m watching it so I tend not to watch it at all, which is interesting about having a TV show. I bring a different perspective when I’m giving notes because I don’t watch a lot of TV. And more or less the only TV I watch is edits of Umbrella Academy. But every once in a while, Lindsey will rope me into a show that she feels like I absolutely have to watch, and she did that with Breaking Bad, and I’m really grateful she did. She literally rewatched the whole thing with me, made me watch it, and it’s still one of the best I’ve ever seen. And then she got me into Cobra Kai, have you seen that?

D: No, is it good?

G: I think it’s really good, yeah. Especially the first season is really amazing.

D: I had huge doubts about if that would be good at all.

G: Yeah, watch the first season and one of the things that actually helped hook me into the show is the episodes are a half hour, so it was really cool. I didn’t feel as much of a prisoner of the television when I was watching them, because you can watch a half hour and be done.

D: But books don’t make you feel that way? They expand.

G: Books are my favorite thing, yeah. Books are- you know how a lot of people will use a television to kind of tune out and shut off and relax? I use books to do that, so there’s piles of books next to my bed.

D: Thanks so much for sitting down. It’s been so good to talk to you.

G: You too! It’s been a long time. I miss you.

[sushmita-devi]

Several creative skills and knowledge was approached towards creating this contact info poster for audiences to get in contact with their chosen members for more information or progress on the exhibition/project. QR code was created for an easy access as we felt it was appealing tot he public than having to enter the each members information manually but instead they are able to scan the QR code for further interest into the project that will be viewed via Tumblr (blogs). We felt this was important as this isn't the end of the concept. Therefore, multiple interest will be held towards the project as ‘the project will be implemented next semester) has been mentioned everywhere in the blogs, the conceptual statement and so forth. 

Explanation of each maps:

 Tutorial Map

This is where the game starts, the player gets the opportunity to get used to the game and develop some skills before going to the deeper and harder parts of the game. The blue color of the water represents calmness which we want the player to feel while playing the game, while the tall rough walls represent intense and being uncomfortable which is something that we are wanting to achieve.

“The Maze” - Classic Cobble Stone Maze

 This is a classic maze with an exciting twist. The player will adventure through the cobblestone walls in one perspective, figuring their way out in complete darkness. There will be no other lights, The only handy object they’ll have on themselves will be a torch. It will be sinister and spooky for the player. There will hear mysterious footsteps following them all the way till the end. This sound will come at different speeds and distances to keep the player terrified and curious but there will be no bot behind the them.

The “Rooms” - The Brick Wall Maze

This is a more complex maze where the player will encounter puzzles. It's a brick wall maze built up of rooms to challenge the player. This is where the fun really begins. The textures used represent the atmosphere do dungeons along with 90’s music to give it a retort style theme. The player needs to follow the knocking sounds all the way till the finish goal in a limited amount of time. Every room will contain a different number of doors and four different types of knocking sounds in each door. This is to confuse the players decisions. In this maze thought there will be a boy chasing the player to death and if they get caught the game will be over. It’s a place where your skills are put to the test, the maze is designed to give the user the best experience of being scared and overcoming your fears.

The “Forest”

Quite separate from the other mazes is this one where it's all about relaxing. It's for the player to experience the beauty of nature with its enchantress surroundings. Here the character will get a chance to rest their mind, feeling comfortable and safe. The maze has trees, bushes and natural mud patches to make the forest feel real. This is a break, where the player can just inhale the tranquil setting and breath the air, listening to the wondrous piano melody and singing birds in the background.

The “Final” - Open Area Maze

 This final open area maze consists of three unique buildings; the room with mirror particles, the room with scraps of metal and the room of natural materials.  in which of the player.  It relates to the theme of the AI competing with the human mind. The player faces the challenge of finding one specific room he or she must enter to achieve success. As the player gets closer to the correct room, the sound of heart beats increase. If it's the incorrect room the player loses and starts again from the forest maze. Apart than the heartbeat sound there is no other music. It is complete silence. The hope is We that at the end of this final maze we have made players get over certain fears that they have kept inside of themselves and have become mentally stronger than before.

[gethealthy18-blog]

348: How to Minimize Your Exposure to Toxins & Effective Detox Protocols With Dr. Sandison From Neurohacker

New Post has been published on http://healingawerness.com/news/348-how-to-minimize-your-exposure-to-toxins-effective-detox-protocols-with-dr-sandison-from-neurohacker/

348: How to Minimize Your Exposure to Toxins & Effective Detox Protocols With Dr. Sandison From Neurohacker

Child: Welcome to my Mommy’s podcast.

This podcast is brought to you by Four Sigmatic… a company I’ve loved for years for their superfood mushroom based products. They use mushrooms like lions mane, chaga, cordyceps and reishi in delicious all kinds of delicious ways. Did you know that mushrooms are more genetically similar to humans than plants are? And that they breathe oxygen and exhale CO2 just like we do but mushrooms spores can survive the vacuum and radiation of space. These amazing fungi are always a part of my daily routine in some way, usually with Lion’s Mane Coffee or Matcha Green Tea in the morning, Plant protein and mushroom elixirs like chaga and cordyceps during the day and reishi at night to wind down. As a listener of this podcast, you can save on all Four Sigmatic products. Go to foursigmatic.com/wellnessmama and the code wellnessmama gives 15% off

This episode is sponsored by Everlywell, at-home lab tests that you can get without a doctor’s order! I’ve used many of their tests and can recommend a couple that have been especially helpful. They have an at-home allergy test for 40 of the most common allergens using the same CLIA-certified labs used by Allergists/Doctors. The labs are reviewed by an independent physician and measure IgE levels of common allergens including pet dander, mold, trees, grasses, and more. I also really like their food sensitivity tests that test for IgG reactions. This was a big key for me in my health recovery, as there were foods that didn’t show up as an allergy that were causing inflammation for me. I used an elimination diet as well, but this food sensitivity test also filled in the missing piece of the puzzle for me. Through healing my gut, I’ve been able to remove all sensitivities except for eggs. Finding out I was highly sensitive to eggs made a huge difference as I ate them often as an inexpensive protein source. I feel so much better now that I avoid eggs and I would never have known that without this test! I also use their at-home Vitamin D test to keep an eye on those levels and know if I need to supplement. Check out all of their tests at wellnessmama.com/go/everlywell. Use code MAMA10 for 10% off orders.

Katie: Hello and welcome to “The Wellness Mama Podcast.” I’m Katie from wellnessmama.com and wellnesse.com. That’s Wellnesse with an “E” on the end. It’s my new line of personal care products like hair care and toothpaste.

This episode is all about toxins and detox. I’m here with Dr. Heather Sandison, who’s the founder and the medical director of the North County Natural Medicine and the founder of Marama, which is a residential care facility for the elderly. The reason I wanted to have her on, she specializes in neurocognitive medicine and neurohacking. And she’s been trained to specifically address things that affect the brain like autism, ADD, depression, anxiety, Alzheimer’s, and she has a really unique system for doing that and her elderly care facility is doing this with patients and seeing incredible results. So, in this episode, we talk about how you can minimize your exposure and how to effectively detox from the three big toxins as well as how to support your natural detox systems in the body. It’s a really fascinating and far-ranging episode. Without further ado, let’s jump right in. Dr. Heather, welcome. Thank you for being here.

Dr. Heather: Thanks for having me.

Katie: I am so excited to jump in with you and talk about different types of toxins and how to effectively detox. But I also always love hearing the background, especially someone I’ve just met and can’t wait to talk to. So, to start off, can you explain a little bit about your background and how you became a naturopathic doctor that specializes in this?

Dr. Heather: Yes. So I had my own personal health issues. When I was an undergrad, I was doing pre-med and then came up against an autoimmune disease as well as TMJ. I couldn’t open my mouth even enough to brush my teeth. And so I went to the medical doctor and had a horrible experience. And then I went to anyone who would listen. I went to the dentist, multiple dentists, I went to acupuncture. I went to the psychiatrist, you know, the psychologist. I went to pretty much anyone who someone said might be able to help. And finally, I ended up seeing a DO, she was actually a doctor of osteopathic medicine. And she and I chatted, she did craniosacral work and then said, “Hey, have you ever heard of naturopathic medicine? If I could do it all over again, that’s what I would do.”

And so she turned me on to naturopathic medicine. And when I heard just the perspective of naturopathic doctors and the approach that they took to medicine, really looking at the cause of disease versus putting a band aid on it in the form of surgery or medication that had side effects, I was like, ah, this is what I’ve been imagining for so long, I didn’t realize that it already existed. I didn’t have to create it, somebody else had already created this system of medicine. And so then at that point, it just became a matter of when I would go to naturopathic school not if.

Katie: Nice. Yeah, and I think there’s…I would guess most listeners pretty well understand what a naturopathic doctor does and how that differs from other types of medicine. But can you just kind of give a little bit of an overview there as well?

Dr. Heather: Absolutely. So we do the same four years of medical school and we have step one boards after two years. Those first two years are deep dives into the biochemistry, physiology, anatomy, we have a gross lab where we have to dissect a human body. You know, a lot of it is the same. And then we take this big exam that lasts for an entire day at the end of two years. And then at the end of four years, we have, you know, multi-day exams to become licensed.

And the second set of two years and the four-year medical program for us is different from conventional medicine. And then instead of doing rotations, we are in a teaching clinic and we’re learning about modalities, things like hydrotherapy, and herbal medicine, lots of nutrition, lots of the foundations of health.

And so instead of learning about surgery and delivering babies, we are in a clinic where we’re talking to people about their diet and nutrition and lifestyle. And then we can also provide, you know, referrals to surgery. We can also write prescriptions. So we’re trained and licensed as primary care providers but our specialty is more in the lifestyle things that can help prevent people from getting on medications or potentially even help them get off.

Katie: I think that’s awesome. And that was a big part of my own puzzle piece, early on after I started having kids I had what I would eventually find out was Hashimoto’s. But it took years and I had been to many, many doctors who tested…I would guess what the standard of care tests were mainly just T3, I don’t remember what else they tested, but they wouldn’t test antibodies or TSH. And it wasn’t until I found a naturopathic doctor that I was able to actually start figuring out what was wrong and working to correct it.

And it blew me away to realize, after being in the conventional medical model for so long, and it being more just lab tests and prescriptive and even being told by doctors, you know, “Your diet doesn’t really have any impact on your health other than weight.” To work with a naturopathic doctor and be asked about lifestyle, and stress, and food, and sleep, and so many other factors. And that was when I was researching as well and learning just how intricately involved all those things are.

So I think for a lot of people, especially someone with a complex health issue, finding a practitioner who’s willing to look at all of those pieces is super important. And I know, from researching for this interview, that you have done a lot of research specifically in the area of toxins and detox and how to mitigate things like that. So let’s start broad and can you kind of explain…I feel like that word encompasses a lot of things. But explain the nature of kind of what toxins are and what’s happening when they interact with our bodies?

Dr. Heather: So for a minute, I just want to take even one more step back. So I talked about being really inspired to go into naturopathic medicine because naturopaths really value treating the cause of disease. So complex chronic disease like Hashimoto’s, or a lot of what I treat, which is like, autism, brain-related things, autism, Alzheimer’s, even depression, anxiety, these things all have…there’s a cause. If we look at the human body, it’s a complex system and these chronic complex disease states come from an imbalance…and really any complex system, right, if it’s the financial system, or if it’s agricultural systems, whatever complex system we’re talking about, if there’s a glitch in the system, it’s usually because of an imbalance.

I would even go so far as to say it’s always because of an imbalance, too much, too little, in the wrong place, or at the wrong time. And if we can help to correct that imbalance, then we can create more harmony in the system, so that it behaves better, right, you get more optimal function from it. And so the five things that I believe cause complex chronic disease, it really can be distilled down to imbalance in these five areas., toxins, structure, stress, nutrients, and then infections.

And I’ve chosen to really dive deep into the toxins. And that’s because, from the conventional perspective, like you discovered with your Hashimoto’s journey, the conventional medicine, they completely ignore this unless it’s extreme toxicity, right. Unless somebody’s like swallowed a can of paint, right, then they don’t really want to hear about any of these long-term insidious kind of low-level toxins that may be disturbing certainly endocrine function.

So I really feel like it’s almost like my responsibility to go deep into these toxins because so many of my patients have been told that conventional medicine has nothing for them. They don’t know why there’s nothing that they can do, but they have all of this fatigue or headaches or insomnia, autoimmune diseases coming up. And so what can we do about that? Well, from my perspective, there are essentially…I call them flavors like ice cream. There’s three flavors of toxins. And I look at them in these categories because it’s what’s easiest to test.

So the first flavor is heavy metals. And I tend to do that using provocation. So I do wanna get some sort of provocation agents so that we know what’s in the system over time because some of these get stored. They’re not alive so they’re not procreating, so you don’t get more and more and more in your system unless you’re consuming, excuse me. So if you’re ingesting heavy metal either through eating copious amounts of like fish, especially the predatory fish, so things like shark or tuna, swordfish, those have high levels of heavy metals in them.

And then the other way that people are exposed to metals is through their dental amalgams, and often getting them out is one of the highest sources of exposure. And so doing that with a dentist who really understands how to mitigate your risk is important. So heavy metals and then mycotoxins. Mycotoxins are like heavy metals in that they’re not alive. So myco is yeast or mold, and it’s the toxins that yeast or molds produce. So again, with that, I tend to provoke…and I’m mentioning this provocation part because there is disagreement in the field. So if you talk to different experts, some will wanna provoke and others will not. But you know, my pattern is to do it, it’s how I was trained, and it’s the way I’ve done it for so long. But when I look at a lab, I know what it means when I’ve done it my way.

So with mycotoxins, we tend to provoke with some glutathione and with some sweating, and you can do that from home. And then you collect urine and we can see how many mycotoxins are in your system or get a sense of how many mycotoxins are in your system. And potentially even which type of mold created that mycotoxin.

So, Stachybotrys, or you may have heard of this as black mold, that can produce certain types of mycotoxin. And then Chaetomium a different type of mold and that produces different types of mycotoxins, as does Aspergillus or Penicilliums. So if that has been growing in a, you know, office building or in your bedroom or bathroom, a building or a room you spend a considerable amount of time in then those mycotoxins can certainly accumulate in your system.

And then the third flavor of toxin that we look for is the chemical toxins. So I look for about 20 of these in a lab test I run and again, we use a little bit of provocation, through glutathione or sweat. And these ones… I’m sure you’ve heard there’s like 80 something thousand chemicals on the planet, at this point. We don’t test for all 80,000 but we get a sense of okay, what are the petrochemicals, or the ones that are associated with gasoline and you know, are burning fossil fuels. So what are the petrochemicals? What are the parabens or PCBs? Some of the things you might see showing up in personal care products, do you have a few?

So we measure a few of the petrochemicals, a few of the parabens, PCBs. We measure glyphosate, which is what we think of as the active ingredient in Roundup. So pesticides and herbicides, we measure a handful of those but certainly glyphosate. And then we can also look at things like styrene that comes from styrofoam and chemicals that might be associated with getting your nails done a lot.

So we look at a handful of these, about 20 of them, but from different categories. And for me, this is often very eye-opening. I have a patient who… She’s just absolutely amazing, very committed to an organic, non-toxic lifestyle in her home. And we ran this test because I couldn’t figure out why she was so fatigued. And sure enough, after doing some digging, after doing this test, I was like, “Why are your pesticides and herbicides off the charts, higher than any ones I had ever seen and you’re eating an organic diet?” And she was like, “Oh, I do Ikebana” which is Japanese flower arranging.

So this amazing woman, she like…for low-income families, she creates these beautiful flower arrangements to send to the hospital for these people who have been hospitalized but couldn’t afford to get like a beautiful flower arrangement, right. So she does that two days a week, she volunteers, and she’s up to her elbows in the pesticides and herbicides that we won’t even spray on food. So we had no idea that this was gonna pop up. I had no idea to like ask her the question, right, do you do flower arranging? But when we ran the test, it popped up. It surprised us both. But she was then able to wear gloves, you know, a very simple intervention that totally reduced her exposure and then changed her symptoms.

Katie: That’s amazing. Yeah, I think it’s important…that’s why testing is so great to realize…like, who would have thought to even test for that, you know? Like, finding those things that can make such a big difference. So understanding toxins, I think, like all of these inputs that can come in, I’ve always thought of the analogy a little bit like a bucket. Like, we all have a point at which things will overflow, and you can kind of put a lot of stuff in, and whatever you put in eventually when you reach the top, it’s gonna overflow and something’s gonna happen. And that’s kind of how I’ve always thought of sort of toxins, and for my case, autoimmune disease that probably a lot of factors went into that for me like stress and exposure to certain environmental toxins and lack of sleep, and poor diet, and a lot of things.

And then for me, it manifested in Hashimoto’s, but I think that part of the equation seems different for everybody potentially. So what are some ways that you see, clinically, this overflow of toxins manifesting in people?

Dr. Heather: You’re absolutely right, and you bring up such a great point, right. It’s not only what’s going out, but it’s what’s coming in. And I would even start with 75% of environmental illness, 75% of my job is identifying what’s coming in and turning it off. So turning…I think of it, like turning off the faucet that’s filling that bucket. It’s such a great analogy. So how I see this manifesting, you know, my… This is my bias, of course, because this is what I do. But I really think that everyone should be sort of evaluating what degree of toxins they’re exposed to.

So looking at, what is all this stuff I put on my skin, you know, what am I choosing to consume in terms of my diet? My mom came… I had a baby about 18 months ago. My mom showed up at my house for six weeks to help me. And she had been complaining about her memory loss, so she was forgetting names that she would have never forgotten before. She was having to write down grocery store lists, when usually she’s so good at that, missing appointments, little things. At this point, she was just joking about it but she was scared, I could tell she was afraid that she was losing her mind.

So she showed up at my house and I, of course, was adamant there was not one thing that wasn’t organic coming into my house. So every single thing in the house was organic. And she was not committed to that beforehand. So she showed up, we ate only really, really good food because, of course, I had a newborn, and my mom stopped complaining about her memory loss by the time she left just six weeks later. So things like anxiety, depression, of course, autoimmune disease, it’s very hard to link them directly to toxic exposure, because it manifests in so many different ways. Toxins, they’re ubiquitous in our environment, right, you cannot avoid all of them.

But there are some certain things that you can avoid, like certainly what you choose to consume in terms of food, what you choose to put on your skin, you can change that. You can educate yourself about that. So there are some things that we can change and others that we can’t. But taking control of the things that we can change is so important and can have a profoundly big impact on our disease states and our wellness state, how good we feel even.

Katie: Absolutely. Okay, so let’s go deeper on that. I’d love to kind of delve into each of the three different types a little bit more because I think they’re not super well understood yet, or at least there seems to be a lot of confusion on some of them and how we’re exposed, and then how to undo the damage if we’ve been exposed. So let’s start with heavy metals first, can you give us a little bit more detailed overview of what are considered heavy metals, and where are we most commonly interacting with these?

Dr. Heather: Yeah, absolutely. So the big ones that you wanna be kind of most afraid of are lead and mercury, and these tend to be very neurotoxic. So lead…like everyone’s heard of Flint, Michigan, and how there was lead in the water and that led to lower IQs in the children who were exposed. So this is really, really, really important that we’re not exposed to lead. Lead used to be in paint. And in the ��70s that was outlawed so that no longer happens. But if you live in an old house, it’s not that I think people are, you know, licking the walls of the house, but it’s every time you open or close a door, open or close a window, it’s the rub, that friction that’s created, that can release a little bit of paint particle into the air and then you can breathe it in.

So, lead also can come from…you know, if you’re someone who makes jewelry, or if you are somehow exposed through some industrial process, right. If you’re working on cars or welding, you know. So most people aren’t exposed at high levels unless it ends up in the water. At least not… Now, I will say that people who were raised overseas because lead came out of the fuel, out of the gasoline also in the ’70s. But it tended to stay around in Central America and India and more of the third world countries, it was in the fuel for longer. And so I have patients who are in their ’60s and ’70s and they have very high levels if they were, say, raised in another country. And some people also of that generation who were raised in the U.S.

And then Mercury, like I had mentioned before, usually fish and then also the metal amalgams in the mouth. And then, unfortunately, coal power plants they produce mercury as well, so it can be in the air. And that’s one of those things we just don’t have control over. Cadmium is another big one and that tends to come from cigarette smoking. And those are kind of the three big one’s. Aluminum, tin, those come up as well. Gadolinium is a heavy metal that’s found in….if you get a lot of MRIs it’s in the contrast dye. And so I’ll see people with really high levels of that if they’ve had a lot of orthopedic MRIs.

And then, getting rid of those…you know, really all of these in terms of getting rid of the heavy metals, what you wanna do is open up your emunctories. Emunctory is the fancy naturopathic word for organs of elimination. And there are five organs of elimination, your liver, bowels, kidneys, lungs, and then skin and lymph. And I would love to go into the details about how to support each of those.

Katie: Yeah, absolutely. I think that’s such an important part to understand is that the body has channels to detox this and how we can support that. And for people listening who are thinking like okay, I don’t think heavy metals are an issue for me, I like that you went into there are common sources of exposure. And I actually had an uncommon one that ended up being part of my puzzle piece, which was in high school, I worked in a stained glass shop. And I didn’t even think about the fact that the metal that we used between the pieces of stained glass, and then the stuff that we would melt to make those stick together had lead in it. So that was something I had to deal with, as part of my own health journey. But yeah, walk us through how we can support all the different organs in that detox system.

Dr. Heather: You make such a great point, I ask people about their hobbies not only because of my patient who was doing the flower arranging, but also ceramics, the glazes often had lead in them. So like stained glass, glass blowing, jewelry making, some of these really fun, creative, wonderful hobbies can lead to exposures if we’re not savvy about what’s in these things.

So the Emunctory, no matter what your flavor of toxin is, that you’ve potentially been exposed to…of course, we wanna identify it, we wanna be able to identify it and get specific about how we get it out. But opening these amantrees and supporting these organs of elimination really is something that anyone can do.

So the lungs, detox breath work, there are lots of, you know, yogic breathing, yoga breath practices, there is online support that will take you through different breathing practices that help you to detoxify, right. If a cop pulls somebody over for driving funny on a Friday night, they are going to do a breathalyzer because one of the ways that we get rid of the toxins that we produce through drinking alcohol is by breathing them out. So this is true for many toxins. And we sort of forget, I think, that we can get rid of so much through our lungs. And it is certainly a pathway to take advantage of.

Now the flip side of that is that we can certainly inhale a lot of toxins. So one of the cheapest interventions and the best interventions is open your doors and windows in your house for at least an hour a day. And if possible, open the window of your office. The indoor air quality, it’s kind of…I think of it like a pool versus the ocean, right. There’s so much more air outside that is diluted of all of these toxins. So if you can open the windows and let that fresh air come in and dilute the indoor air, you’re gonna increase the air quality.

Now, of course, if you live or work right on top of a freeway, then that’s not gonna work as well. But for most of us, if we open the doors and windows, we can really increase the indoor air quality. So what we’re breathing in, again, we can reduce the particulate count in that.

The other thing that you can do is…particularly if you’re concerned about indoor air quality is you can get an air filter. And so I’ve had lots of patients whose symptoms have improved just by adding an air filter. And they don’t pay me but my favorite one is the GC Multi by IQAir, I really think that’s a very high-end quality one. There’s a lot out there that are very expensive, and they don’t work very well. So when given the opportunity, I do like to turn people on to that one, because it works. So that’s the lungs. Some ways that we can really increase our ability to detox through the lungs is one take breaths in and then two detox breath work.

The kidneys certainly water, water, water, water, water, and minerals. So having enough electrolytes in your system. And I don’t recommend distilled water, that doesn’t have enough of those minerals in it, but good high-quality spring water. And even having your water tested. I live in San Diego and we’re at the end of the Colorado River. We don’t have fabulous water quality for what’s coming out of the tap but we do have access to great spring water. So I recommend that people drink good high-quality mineral water that is out of glass, ceramic or stainless, not out of plastic and particularly those soft plastic bottles that have been sitting in the sun. That is a recipe for ingesting a lot of plastic chemicals, so definitely avoid those.

Drinking plenty of water. And if you don’t love water, then adding a little bit of lemon or adding a bit of mint or cucumber is something that makes it more flavorful for you. And detox teas, of course, can be very, very helpful. Certainly dandelion and thistle are good for both the kidneys and livers. So adding that to your daily routine can be very, very helpful. So that’s lungs, kidneys. Liver, so great things for the liver are certainly dandelion, milk thistle, and then we need all of those good nutrients to help the liver to detoxify.

So the liver, in all of its wisdom, if we don’t have enough of the nutrients that are necessary for phase two detox, the liver will slow down phase one detox. And this is because… Alcohol, again, is a really good example. When we drink a glass of wine or something it goes to the liver and the liver converts it in phase one detox into acetyl aldehyde. That acetyl aldehyde is what makes us hang over, that’s actually more toxic than the wine that we first consumed. And so the liver just blows my mind, this divine design, it’s so incredible. The liver stops phase one detox if we don’t have all the nutrients that are necessary to get that acetyl aldehyde, that toxic intermediate, fully conjugated and eliminated from the body.

So having plenty of those nutrients, things like NAC, the B vitamins, minerals, glutathione, can be very, very helpful. All of those things help to make sure that there isn’t a glitch in the system there, that there’s nothing gumming it up. And then the liver… So getting plenty of that liver support is super helpful. And then the livers spits out a toxic sludge called bile. And that goes into the gallbladder, if you’ve got one, and then into the gut. So ways that we can help support the gut are primarily through fiber. Fiber is one of the best things that you can do, as long as you’re getting plenty of water and it doesn’t turn to concrete. Having a bowel movement every day, at least once a day… If you’re not, it’s constipation and needs to be addressed.

So that’s really where I start with most of my patients it’s, if they are not having a daily bowel movement, we do not wanna start mobilizing cellular toxins. So toxins kind of…I think of it like the snow-capped mountains is the cells and then when you have a bowel movement, that’s like releasing it into the ocean, that’s the end of the river. And so we don’t wanna create a flood in the middle. And so opening up the river mouth or having bowel movements, sweating, urinating, all of those things help us to get the toxins actually outside of you. So elimination is what’s so important.

So the bowel movement, if you can take that toxic sludge called bile and bind it with binders, things like chia, flax, psyllium, charcoal, clay, chlorella, there’s a prescription when it will use, sometimes for certain mycotoxins, called cholestyramine. All of these binders it’s…I think of it like they’re giving the toxic sludge a hug and they’re holding on to it so they can take it out of the body and you can fully eliminate it through a bowel movement.

If we don’t have enough of those binders, then a process called enterohepatic recirculation will happen. And that fancy medical term basically is just saying that your gut is meant to absorb things, your colon is meant to absorb things. So if the bile sits in there too long, then your…and it’s not bound, it’s not being hugged by one of those binders, then your body will just reabsorb it. And then guess what? It goes right back to the liver. So now your liver has to take out yesterday’s trash and today’s trash, so it’s doing all this extra work. If you can just have a bowel movement every day, then your liver has much less work to do.

So lungs, kidneys, liver, bowels, and then skin and lymph. These ones are fun because you get to get a massage, okay, for all our mamas out there, you deserve one. So skin and lymph, lots of ways that we can support this, dry skin brushing even a rebounder. A mini trampoline helps to get your lymph going. Hot and cold showers, going back and forth between hot and cold, or if you have a plunge or something like that, absolutely, that’s fantastic. Lymphatic massage. A castor oil pack over the liver can also help with the liver and skin and lymph. There are so many fun things that we can do here. Saunas. Saunas are fantastic and I like…there’s some sauna blankets and there’s little saunas you can sit in that keep your head out. That tends to help people tolerate them a little bit more and they can stay in there longer.

You only need to sweat for about 10 minutes a couple of times a week and you’re getting a ton of toxins out. It is important to wipe those toxins off. So if you start sweating, you wanna either take a quick shower afterwards or use a washcloth or something, get the toxins off of you. Because when you’re hot like that, your pores are open, we’ve got toxins out, what we don’t wanna do is have you just reabsorb them. So really important with saunas to replace your electrolytes using water and then an electrolyte powder. Coconut water is a great one. And then make sure you rinse. And I typically say with cool water because that’ll get the toxins off and then it will close your pores back up.

Katie: Great advice. And a question I’ve seen come through a few times, I wonder if you might have an answer to, is some people seem to have, especially when they first start doing sauna or things that stimulate the lymph system or even from taking certain supplements that can be detoxifying, like magnesium, or greens, or algae, they’ll notice itching on their skin. Is that like a detox reaction or have you come across anyone having that clinically?

Dr. Heather: Yeah, lots. So absolutely, probably, a detox reaction. Although…you know, certainly itching we always wonder if there’s an allergy. And if you have a known allergy to something, then, of course, avoid it. But what I notice with… And I was sort of alluding to this with the analogy of the snow-capped mountains all the way down to the riverbed, out into the ocean. The analogy here is about mobilization at the cellular level, so that’s our snow-capped mountain. And then elimination at the level of the ocean or, you know, our bowel movements, urination, sweating, anything that eliminates it. So the ocean is outside of the body and our analogy of…our river is inside of the body.

So if we start to have too much snow melts, or we’re detoxing too much, at the cellular level, we’re not able to keep up, we’re not able to get enough elimination, not enough is leaving the body and so now we have more in the bloodstream. And what we see are things like rashes, we see headaches, we see fatigue, this is like the keto flu. A ketogenic diet is very detoxifying. And so sometimes people initially will have an increase in symptoms when they start on a detox diet or a detox plan.

My interpretation of that and my professional approach to that is, that is great information that tells us we’re probably on the right track, but what we need to do is slow down. Really, really important, this is not a no pain, no gain situation. This is an opportunity for us to communicate with our body about what it needs. And so if there is an increase in rashes or fatigue or headaches or anything like that, then we take that and we say, okay, let’s take less of the detox provocation agents or even less of the support and just slow things down a bit. Do the gentler approach, so spend less time in the sauna or, you know, focus on water, focus on the detox breath, focus on the things when you don’t have to add anything to the body but you’re really just focusing on elimination.

Katie: Yeah, that’s such a great point. Like I found for me…I think probably that balance is different for everyone. But when I was in the heat of the autoimmune disease, when it was at its worst, I had to be very careful with diet and eat very low inflammation. And then I had to…anything else beyond that, I had to do very slowly and make sure I was getting extra sleep. I didn’t do any really difficult workouts during that time, it was very much a period of rest and let my body rebuild slowly. And I think that’s such an important reminder is, especially when it comes to any of these things which can be very dangerous if you mobilize them too quickly. More is not always better and it’s not always just, you know, you should push through and do more to get through it quickly.

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Obviously, one of these toxins that you mentioned a little bit and I’d love to go deep on is mold, because this one has risen a little bit more to mainstream knowledge, I think, lately. People are starting to be aware that it can be a problem. But there’s still so much confusion about how to test for it, how to find out if it’s an issue, what to do about it if you do find mold, and if it really can actually have that dramatic of an impact on the body. So what are you finding when it comes to mold exposure?

Dr. Heather: Again, you know, the conventional community has really poo-pooed this idea for a long time. And I feel so grateful to people like Dave Asprey, Ritchie Shoemaker, and Neil Nathan, who have brought this to the forefront and really shown people that this can be a big part of what’s driving your symptom picture. And I have people who, you know, we address this, we figure it out, we address it and they go back to normal. And it’s so satisfying and I feel so lucky I get to do what I do when I get to see someone show up for their families again after treating this.

And I don’t wanna say that it’s an easy road by any stretch. Often when people come in and they test for mycotoxins and there’s a significant amount of that going on, I brace them, you know, this is a months to years long journey, not a days to weeks journey. So typically, we’re looking at about two years, maybe more depending on the amount of exposure and whether somebody is currently being exposed.

A lot of it is speculative in terms of why mycotoxins have become such a problem for people. And I don’t know, you know, if it’s a new thing, or if it was going on for a long time and we’re just kind of realizing it, the science is just catching up, or if it is really that we’re being exposed more. One of the theories is that the building materials, so things like drywall, have created more food for mycotoxins. Whereas, like old homes that were made of plaster, say, or brick, that wasn’t something that the molds like to eat as much, right, so you didn’t have as much risk.

And then the other thing that has changed is there’s a lot of fungicides in paint. And what we see is just like antibiotic resistance, you know, you add a bunch of antibiotics to the system and now the biota, the bacteria, it will change and be more resilient to that antibiotic. So with the fungus, what we think may be happening is that having so much fungicide in the paint is creating…molds are making more and more toxins. One of the things that we see is that like Candida, if you use an antifungal, if you swallow some nystatin say, then the Candida when it’s under threat will make a gliotoxin, so it’ll make a toxin. When you don’t have any nystatin in the system, and you can see this in a petri dish. When you don’t add an antifungal, the yeast, the Candida doesn’t make a toxin, right.

So depending on how threatened… From an evolutionary perspective, like if you put yourself in the role of yeast or a mold who’s on a piece wood competing with other microbes for food, then if you create toxins, then you’re gonna win for that food, you’re gonna get rid of these other, whoever you’re competing against. So you can see how adding more toxins or fungicides to the paint might increase the production of toxins for that mold. So this is all very speculative. I don’t wanna, you know, sound like we know for sure that this is going on, but it certainly can be one of those factors that’s influencing the increase in incidents of mold diseases, mycotoxin-related illness.

So for this, the way I test is I tend to use…like I mentioned, I do tend to provoke these and again, the consensus, there isn’t one. So different experts in this field have differing opinions, but it is the way I was trained and what I’m used to looking at, in terms of the results. So we’ll do a provocation using glutathione and sweating. And then people will collect their urine the next morning and send that off to the lab. There’s a couple of different labs that I use. And then, based on that, we create a plan that is very specific to the type of mycotoxin that shows up. So kind of like heavy metals, for mercury, we use certain chelating agents. For lead, we use different chelating agents.

For mycotoxins we have some degree…even though this is very new, we do have some degree of specificity that we can apply to how we treat the different mycotoxins. And so we create a plan together and then, like you said, we just go at the pace the body can tolerate because what we don’t wanna do is flood the system with toxins quicker than it can get rid of them.

Katie: Gotcha. Yeah, that makes sense. And so, for anyone listening just to make sure, because you’ve mentioned that term a couple of times about provoking. So basically, you can use different substances to provoke different things you’re trying to test for in the body. And then you can use, essentially, those same substances to help the body like continually release those things and eventually get rid of them, but you just want to be careful about the amount?

Dr. Heather: Yeah, thank you for clarifying. So, I started looking for mycotoxins years ago, maybe four or five years ago. And what I was finding is people who we knew had mold exposure, so they knew they were in a moldy house because somebody had done the environmental testing and they found the stachybotrys in the wall. They had awful symptoms that were clearly related to mold, and they might even have allergies to that mold. Well, we test their urine for mycotoxins and there would be nothing in the urine. And we were just pulling our hair out going, “Why is this? We know that they have lots of exposure, we can see that it’s in the environment, where did it go?” And what we found is that the sickest people, the reason they’re so sick is because they’re not eliminating, right, they’re holding on to these toxins.

And mycotoxins, they tend to be fat-soluble. So this is part of why they’re so dangerous for the endocrine system is because they can get glommed up in your pituitary or hypothalamus or up in your brain, in your lymph nodes, in your glands, like your thyroid, or your ovaries. So they can wreak havoc throughout the body because of their nature of being fat-soluble.

But what we found was, if we provoked them using something like glutathione, kind of…I think of it just like shaking it up, right. So you’re releasing some toxin from the cells, like the snow-capped mountains, right? And typically, not always, but a lot of times people feel a little worse after that, unfortunately. And if somebody starts to feel worse during the provocation process, we just stop it right then and go ahead and collect. Because what you’re getting is, again, back to that analogy of the snow-capped mountains, you’re releasing the snow, the toxin that’s in those cells, and now you’ve created flood.

Especially if you’re not having regular bowel movements, like you have a dam there, and now you have a flood and you can be causing a lot of destruction. So really important to have those emunctories open. But yes, that provocation process is also important because we wanna get an accurate result on the testing.

Katie: Gotcha. Okay, that makes sense. And I know that you mentioned you use a lot of this in helping people with brain-related potential issues like autism or ADHD, and that we even see links with depression and anxiety. And before we went live, you also mentioned that you do a lot of work with people with things like Alzheimer’s and dementia. So I’m curious, like, obviously, I can see the connections easily for anyone who is dealing with any of those types of issues or with autoimmune disease, but it seems like in health, anytime we find patterns that can help people heal who are in crisis, also there’s lessons we can learn to optimize, even for people who hopefully aren’t dealing with those same kind of problems. So, from your clinical work and your research, are there strategies that we can all use, even if we’re not in health crisis, to help protect and improve our brain and our body using these strategies?

Dr. Heather: Yeah, absolutely. So my work with the Neurohacker Collective we are really focused on optimizing, especially brain function, right. It’s great when we can all show up and be fully present and engaged in our work, we can be contributing. And there are a lot of people I talk to who don’t really have anything going on right now that has maybe inspired them to reach out to a doctor. Like they don’t feel like they have a pathology or nothing’s wrong on their labs, they really just wanna get the most out of their day, out of their relationships, out of their work.

And so there are things that I certainly recommend. And, like we discussed, you know, toxins are relatively ubiquitous so if we can prevent the accumulation of toxins in our body, then we can prevent disease long term. So, absolutely, you know, one of the simplest easiest things people can do, kind of like opening the doors and windows, just take your shoes off at the door. We track in so many toxins. And then if we’re wearing shoes, and then we’re barefoot later on, we can absorb those toxins through our feet. And then if you’re getting into bed, you know, it’s so gross when you start to think about it. But just taking your shoes off at the door, creating that habit, is one of the best ways to reduce the toxic burden in your home and then in your body.

But other ways to optimize, certainly brain function, is exercise, getting your circulation going. Again, it really goes back to those foundations, really good nutrients coming in, getting plenty of good circulation through exercise. Like you mentioned sleep, we do so much of our detoxifying at night when we’re sleeping, particularly in the brain. So getting really good sleep and prioritizing that, especially those hours before midnight. So if you can get to bed by 9:00 or 10:00, and get a few solid hours before midnight that’s when we get most of our deep sleep, and do a really good job detoxifying.

And then, of course, back to having regular bowel movements. You know, regardless of whether or not you’re struggling with toxic exposure, high toxic burden, having a good regular bowel movement. All of our cells eat and poop, right, so we have our basic metabolic toxicity that builds up every day. And if we’re not eliminating that, then we can get all kinds of accumulation of all the nasty stuff.

Katie: Got it. And I’d love for you to talk a little bit about the facility that you run and the results that you’re seeing there. Because that’s really astounding and incredible what you guys are doing.

Dr. Heather: Thank you. So I have had North County Natural Medicine for a handful of years now and I started seeing a lot more dementia patients. I was trained by Dr. Dale Bredesen, who wrote a book called “The End of Alzheimer’s.” And so we’re getting…really, it was surprising to me how good the results were. I had really bought it, hook line and sinker, right, this story that once you have Alzheimer’s there’s really nothing you can do, like good luck with that, right.

So I was trained by Dr. Bredesen after being very impressed by what he had to say, it was very much in alignment with the way I approach any sort of complex chronic disease. And so I brought it back into my clinic, and then sure enough, kind of created a reputation around that. And had people calling and saying, “Hey, my loved one has Alzheimer’s, and I just don’t have the capacity to take care of them any more, where can I send them? Is there a care facility where, you know, they’re incorporating this?” And what I found was that there wasn’t.

So, of course, I was like, “Well, that can’t be too hard, why don’t we just create one?” And that was how Marama was born. And so Marama, I purchased at the end of December of 2019. And we took over…it was a hospice facility so we inherited five residents. And this also completely surprised me, two of the residents did pass pretty quickly after the transition, but three residents are still there. And one of them who was bed-bound is now walking. Another got kicked off of hospice and the other is about to get kicked off of hospice.

And so, what is this? April, so it’s been five, six months. And the only things we did for those residents…because we couldn’t change anything, you know, we can’t change their meds, they have their doctor’s orders. But what we did was we changed the diet, it’s 100% organic diet, and as much as possible, kind of this keto flex or Whole30 kind of paleo diet.

So we got rid of a lot…of course, all of the candies, the Skippy peanut butter is gone, the Wonder Bread is gone. Occasionally, I get complaints about too many seeds in the bread that they do get, but it’s worth it from what we can tell. We changed the food, add lots more veggies even if we have to hide them. And we switched all of the soaps, all of the personal care products, and all of the cleaning products as well. All of that got switched to non-toxic.

And what we’ve seen is amazing transformation in these people. And I’m not suggesting that at 88 or 94 they’re gonna go back to work or anything like that, but even their families have seen how much more alert they are, how much more engaged they are in conversation with them, how much happier they are, really, day to day. So it’s been really gratifying. And especially this guy that’s up and walking, it’s neat, it’s really fun to see.

Katie: I bet that’s incredible to watch. And it makes me think of, you know, this kind of conversation that’s come about the last few years about… You know, we’ve always had studies and related things to lifespan. And now we’re starting to see more of a focus on healthspan. And the idea of not just living a long time, but living well as long as possible, and living in a way that’s healthy and happy and has quality of life as well. And I think all this work that you’re doing is gonna be things that we start understanding all of the pieces that go into that and hopefully can avoid a lot of these problems.

And for those of us who are like navigating an autoimmune disease, there’s links there that are helpful. But also, just for those of us who want to optimize our lives in the best way possible, and create solid foundations for our kids, I think these are all really important keys to that. And with such a focus on neural health and brain health, I’m curious if you have any other tips for just kind of optimizing cognitive function for moms or for those of us working that can help us to be more efficient and effective and focused at work.

Dr. Heather: So meditation and exercise, essentially, moving meditation, I get it. I have an 18-month-old and two businesses, you know, like, there’s a lot going on. And there is, for all of us, and especially right now in this COVID crisis, you know, when our wearing multiple hats all over the place. And yet, it’s never been more important for me to get in a daily meditation and to get in some exercise. I cannot…it’s the best feeling medicine by far. Like, don’t worry about a test, don’t worry about anything else. If you can just do those things get in…and, of course, good food, you know.

There’s nothing more valuable than taking that time to reduce the stress or to really shift perspective, right. The stressors are not gonna go away but what we have control over…and this goes back to toxicity as well, right. Like, toxins are a lot about what we allow in. And we can think about this as food or as media or as, you know, the arts we allow in or the relationships. It’s what we choose to allow in is that first step of making sure we’re not overburdened with toxins. And then second, are we able to digest? Are we able to break it down into the components that make sense for us? Whether it’s a news story or it’s broccoli, right? Like, are we able to break it down? Do we have the capacity to digest it?

And then third, can we absorb the parts that serve us? So can we get the sulforaphanes out of the broccoli? And can we get the really important information from that news article? And can we get the love from our mother in law? Fourth, can we eliminate the parts that don’t serve us, right? So can we let go of whatever nastiness someone said, and take the good of the critical feedback they gave us? Can we get rid of the fiber? Can we have that bowel movement, right? Can we let go of the information that makes us more anxious and crazed?

So allowing that process to take place and giving ourselves the time, so that we have the capacity to fully process is, I think, paramount to being fully optimized whether it’s in our relationships with our in-laws, or our children, or our boss, or our colleagues, or our clients. Taking that time for ourselves away from all of the needs, and all of the hats and roles that we play, is essential. I cannot understate that or overstate that, excuse me.

Katie: I love it. And you mentioned a lot of resources in this episode, I’ll make sure I link to all of them in the show notes at wellnessmama.fm. But specifically, you also have a podcast as well, right?

Dr. Heather: Yes. So I host “Collective Insights,” which is it through Neurohacker Collective, and it’s so fun. I’m sure you have the same experience. I absolutely love…it’s one of my favorite parts of my job just to pick the brains of experts in different fields whether it’s exercise, or diet, or longevity. There was a guy I got to pick his brain about orgasms. It’s just so fun, the people that I have the privilege to talk to and, you know, getting to be on the show with you today. So that’s been awesome. Thank you for having me.

Katie: Oh, it’s been a pleasure. We’ve covered so much. I think, hopefully, helped a lot of people. Another question I love to ask, as we wrap up, is if there’s a book or a number of books that have really dramatically impacted your life, and if so what they are and why?

Dr. Heather: So, right now professionally, I mentioned “The End of Alzheimer’s” by Dale Bredesen and then “Toxic” a book by Dr. Neil Nathan is the other one. So my practice is almost entirely built around putting those things into practice for people. So my clinical practice really relies heavily on the insights that those guys have gleaned and the data collection and research that they’ve done. And those books, they’re designed not just for doctors, but for people who are struggling with toxins or with Alzheimer’s. And there’s some overlap as well of course, because Alzheimer’s one of the things we wanna check for is the toxic burdens. So those books, if anyone is struggling with mycotoxin and illness or with Alzheimer’s, those are great places to start, where you can really get a lot of quality information.

Katie: I love it. I’ll make sure those are linked in the show notes, as well as have links for people to find you and keep learning if they’d like to or find out more about your clinic or your facility. But thank you so much, this has been such a fun interview, and I’m really appreciative of all the work you do.

Dr. Heather: Katie, thank you so much for making this awesome information available to people.

Katie: And thank you, as always, for listening and sharing your time with both of us today. We’re so grateful that you did. And I hope that you’ll join me again on the next episode of “The Wellness Mama” podcast.

If you’re enjoying these interviews, would you please take two minutes to leave a rating or review on iTunes for me? Doing this helps more people to find the podcast, which means even more moms and families could benefit from the information. I really appreciate your time, and thanks as always for listening.

Source: https://wellnessmama.com/podcast/neurohacker/

[jamiekturner]

Illustration styles: definition and examples of this art

So, what is an illustration? And what are the illustration styles available?

Illustrations mean an artist interprets a text, or even social meaning, turning it into a drawing or painting.

This often means incorporating personality or humor.

An illustration is used to create emotion or give a message.  It is expressive in style and doesn’t demand attention.  Illustrations are used in books, magazines, advertisements, comic books, cartooning, fashion design, storyboards and video games.  There is no single way of illustrating, and there are many illustration styles.

Illustration styles

Although there are many different styles of illustration, these may be categorized into the following groups:

Literal Illustrations

A literal illustration style depicts reality in a similar manner to non – fictional books.  The picture depicts a credible scene, even while using fantasy or drama.  Some examples of literal illustration include:

Photorealism – creating a photographic image

With photorealism, the artist uses a photograph as his source and creates a realistic replica in exquisite detail. 

In photorealism, the artwork is often mistaken for a photograph. Drawing, perspective and color choice are crucial to this form of artwork. The artist often uses airbrushing, or hand-painting with acrylics or oils to achieve the final results.

Illustrations showing history or culture

This type of illustration is used to depict historical or cultural events.  Often used by a culture to depict scenes or circumstances, this form of illustration can also be used even within an era of photography in order to depict mood or add a sense of drama.

Although sometimes used to flatter or degrade a culture or figure, these illustrations are realistic enough to be seen as literal images.

Hyperrealism – as close to reality as possible

This form of illustration tries to erase the line between art and reality and is seen to be an advancement on photorealism. 

Sometimes extra features are added to a representation or an artist may work with monochrome pencils to create a social message.  However, the goal is to create an image that is as close to reality as possible.

Conceptual Illustrations

Conceptual illustrations are metaphorical, with thought or imagery taking the place of realism.  Although this work might contain elements of reality, the goal is to convey mood, metaphor, and subjectivity.  This form of illustration By could be compared to fictional writing, where anything goes.  Examples include:

Images in sequence

Images in sequence tell a story and can be used for cartoons, graphic novels, and even to plan movie scenes.  Styles may differ, from quick sketches, to fineliner drawings with airbrushed detail.  Depending on the message, an image may use crisp, clean colour, or may use ink, jagged lines, and a chaotic layout in order to depict the messy business of politics.

Information graphics

These are graphic representations of knowledge. They are often used to assist with understanding complex information. 

While they show the audience what they are looking at, this is often represented in a way which contains additional insights.  Some may look like literal illustration.

Abstract or distorted designs

An expressive form of illustration, removed from reality, where representations emerge from imagination.  As it is so subjective, two abstract artworks will look very different to one another.

Freehand digital drawings or illustrations

In this type of illustration, the artist draws on a digital pad, allowing for smooth transitions between light and shadow.  An artist can use layers of imagery to create complex backgrounds and add fine detail.  Many of these images use raster (or dot) format, limiting the size they can be blown up to before losing quality.

Vector graphics and illustrations

With vector graphics, mathematical equations are used to produce designs.  As vector diagrams don’t use strokes in the way freehand digital drawing does, the images are not as smooth as freehand designs.  They can, however, be blown up without losing quality.  These images have clear shapes and outlines and are very popular for web illustrations.

Children’s illustrations

Children’s illustrations tell a story or give a visual representation of a tale or even an imaginary being.  The style of illustration depends on the age of the child.  Some may be complex and realistic, while others may be naïve.  Many children’s illustrations are colourful, and contain a lot of movement or activity.  Characters are often bright, colourful and friendly.

Illustrations for commic books and graphic novels

Comic books or superheroes often involve characters in action.  Styles are often complex and range from line drawings to airbrushed images.  However, cartooning is often one of the most frequently used styles in comics.

Comic images often come in panels and often involve speech bubbles, or narratives.  There may be words which combine with actions, such as POW!  The size of panels, as well as how often they feature helps to set the pace of the story.

Book covers and publications

In many old books, such as those which focused on geography or natural history, illustrations were designed by hand and then reprinted.  Now, however, book illustrations are designed in many different ways and then printed.

Illustrators are often used to design covers of books, in order to make them stand out in a bookshop.  A cover often hints at what is inside the book and gives the idea of humor, seriousness, culture or movement.

Book illustrations range from cartoon style drawings to historical or cultural images.  Although the saying ‘never judge a book by its cover’ is often repeated, it is actually the cover which will sell a book, and will assist the book with appealing to the correct audience.

Designs for logos or branding

Logos are a very specific style of illustration.  Very often their goal is to give information about a product, using colour, font or imagery.  Popular and easily recognizable logos include the Nike Swoosh or the Apple associated with Macintosh.  Logos are often simple, but grab attention to a product, defining it as belonging to a particular brand.

Often this brand is associated with imagined qualities, such as speed, power or creativity, and the logo helps to conjure up this emotional message.  Sometimes, businesses use more than simply a logo to assist with branding.

Many use mascots or images of their employees, in order to convey a message.  This helps to transcend a product such as a shoe, and give it a deeper meaning in the minds of customers.

Tips to develop your illustration style

Using the internet, we are frequently introduced to illustrations in online news articles, the music we can download, comic books, adverts and even emails.  This exposes us to a wide range of styles and is a good thing because it creates a wide range of examples to draw upon.

However, if you are bombarded with many good quality illustrations on a constant basis, how do you develop your own style? You  Here are some tips:

Understand the underlying principles

While it is possible to learn illustration through practice, this often means imitating the styles of other illustrators who have already developed a style of their own.  Unleashing your own creative potential is considerably more important so that you can build and grow, developing your own talents and sharing your own messages.

Without copying, you may be asking “What is an illustrator?”  A formal education will teach you the underlying principles, motivations, and techniques of illustration so that you can use these building blocks to create your own designs.

As well as learning from those already within the field, you’ll learn the philosophies which will enable you to join in, expressing your own style as you do so.

Explore new illustration styles

If you feel stuck in a style rut, reproducing work you’ve been doing for a long time, you might want to pick up some new illustration styles or techniques, to develop your own work further.

However, remember that there is no reason to force yourself into uncomfortable spaces.  If you feel stuck, or don’t enjoy the work you are trying out, remember that no artist is capable of doing everything, and if something doesn’t feel right, be prepared to move on.

Try new mediums

If you’re recognized for your pen drawings, how about giving acrylics a try?  Switching the medium you use may give a new dimension to your work, focusing on a new atmosphere, colour or flare.  If you already use multiple mediums, you could try textures, etching, stencils or even metallics.

You could change your format from small drawings to large canvases, or from large-scale paintings to comic books sized imagery.  Even though your results may not be exceptional at first, exploring new mediums will bring you out of your style rut by taking you out of your comfort zone.  Your experimentation will be worth it.

Be true to yourself

When defining your illustration style, don’t work on designing it around what is currently selling on the marketplace at the moment.  Your first commission is a big achievement, and making money from art is rewarding.

However, share your own style in the marketplace so that you are able to develop your own artistic identity. As the market moves constantly, trying to copy or imitate current trends will leave you one step behind.

By developing your own style, you’ll be consistently working on your own techniques, improving and developing them, instead of remaining a second-rate version of illustrators you admire.  Developing your own style means sharing your own meanings and bringing your own imagination into the foreground.

Without this, you won’t have the creative energy which will help to both define your work and keep you motivated.  Without this, you risk losing your love of illustration.

Ending thoughts on illustration styles

There are many different illustration styles or techniques. 

Some of them overlap. 

However, understanding the different styles and the techniques they use gives you access to the principles behind each different design, enabling you to explore and expand on your illustration practice.

If you liked this article about illustration styles, you should check out these articles as well:

Face Cards: The Intricate Playing Card Designs

T-Shirt Design Ideas That Will Inspire You to Design a T-Shirt

Poster Printing: How To Print A Poster Flawlessly

The post Illustration styles: definition and examples of this art appeared first on Design your way.

from Web Development & Designing http://www.designyourway.net/blog/graphic-design/illustration-styles/

[universitystudentsim]

Concept Document

Concept Document - University Student Simulator

Twitter: @unistudentsim 

Tumblr: https://www.tumblr.com/blog/universitystudentsim

Premise and Purpose: University Student Simulator is all about trying to get that grade while at the same time, squishing in as much relaxation time as possible. Experience the fluctuating emotions of a student across campus, through the quiet library, to the coffee shop downstairs. As a student in university, you have one week to get through that netflix series while studying and trying to ace your assignment, and maybe (with some luck) get a date with that special someone. We want to give our users a relatable experience while maybe including a few laughs here and there.

Intended Medium and platform: Web-based (Browser) PC or Mac

Genre:

The genre that the University Student Simulator falls under is Role Playing Simulation/Visual Novel Game. The strengths of this medium is that anyone can access it as long as they are able to connect to the internet. Another advantage is that there are not many graphic limitations. We plan to take advantage of this medium by sharing it with many people and students, integrating several interactive choices and building a rich storyline that develops the environment and characters.

However, this medium does include some weaknesses. One such disadvantage is that it will not be available to console gamers and if the user does not enjoy reading text then it will be difficult to keep them interested in the story. Our strategy of dealing with this problem is to keep the script concise and only include necessary dialogue. We will also try and overcome this problem by including visually appealing graphics and music.

Intended Audience and Market:

Our main intended audience is young adults aged 18 to 23, mainly university students. Due to the rise of video games in the entertainment industry, many people, especially in this age group enjoy playing video games. Therefore, this is a perfect platform to appeal to the technologically savvy population. This should appeal because it is basically an over exaggeration of university life, for students to laugh about similar experience and create that connection since they may have had these experience first hand. Therefore, the intended audience would be interested in our application because it is related to their life and experience at university.

The visual novel simulation genre does increasingly well in Japan, where it originated. It has expanded to the Americas with the increase of cross-culture interest, and is a very good way for new gamers to experience gaming in general. Gameplay is a simple point and click, but the relationships between characters and unfolding narrative appeals especially to younger adults or those that have seen the premise of the story and find that they can relate.

Narrative/gaming elements:

Although at this stage in development the full storyline has not been fully fleshed out (in terms of specific dialogue) we have identified a basic storyline.  The main complications in narrative have been identified with the player character having the following main three objectives to be completed over the course of the week:

(1) get your assignment done

(2) get a date by friday

(3 - bonus objective) finish that tv series you are currently obsessed with

The tone of this narrative is a light hearted, slice-of-life type of story to help a student succeed in his/her everyday life.

User’s Role and POV:

The user directly impacts the character’s academic and love life and gradually learns more about the character’s environment, classes, and relationships. The user is also able to choose between two options at each stage of the game to determine his/her outcome. At the end of the game, the character either fails or passes the assignment - and that all depends on the decisions the user makes. An interactive image map will be used to provide the user with a way to access the different environments where paths of the narrative can take place. The user will view this world in the first-person perspective and therefore feel more connected and impacted by the decisions they make in the game.

Characters:

The main character is a university student and the user is allowed to chose both the gender and name of the character they will be playing as. There are also several non-player characters:

Professor (adversary)

Librarian (helper figure)

Barista (ally)

Friend character (ally)

Love interest character (adversary almost)

Structure and interface:

The interface features simulations of different locations of a university campus (e.g. classroom, library, coffee shop) and each location acts as a stage of the game. Initially, the user will be able to choose the gender and name for their player - they will feel like a real university student! The simulation focuses on the different narrative choices a student has to make based on what they want for their academic career. The game is structured so that different outcomes occur based on decisions made throughout the simulation via a non linear branching storyline.

The player controls their own avatar, and gameplay includes conversing with different characters through correct choices of dialogue. The game lasts over the course of a week - starting on a Monday when the professor character hands out the assignment to the player - and the assignment is due on Friday. The game revolves around complex character and branching dialogue trees, and having the player chose responses as the player character would say them.

An interactive image map of the university which allows the user to view the different locations and chose where to go next. In terms of different modules, each “day” is considered one module that a player has to get through, and each day will include different interactions with different characters and environments.

Storyworld and sub-settings:

The central fictional world is Somin Fresar University, the Library, Blender’s Coffee, and the Player character’s bedroom. Geographically, they’re all in the same city, and will have views of character’s classrooms and everyday environments. Each location will have a different character able to interact with the player (i.e. the prof in the classroom, the barista at the coffee shop). The story is contemporary and takes place in the present day. The storyworld will feature both pleasing and challenging interactions:

Pleasures: unexpectedly seeing your crush at the coffee shop too, seeing your crush on campus

Challenges: going to your classroom and finding your professor there to ask you a pressure-inducing question

User Engagement:

The user will want to unveil the story and choose right options in order to see multiple endings - to either pass or fail the assignment. The important goal would be to complete the story in a way the user would want a satisfactory ending (i.e. getting the girl/boy, getting an A on the assignment). To add tension to the story, the player only has 5 days to do this. There are several rewards and penalties associated with each decision at each stage:

Rewards: more points toward a relationship, more points toward an A, more points toward finishing the series

Penalties: less points toward a relationship, less points toward an A, less points toward finishing the series

The game features meaningful interactivity in the form of allowing the player to have direct power over all the choices the character makes, meaning the player chooses how the story will progress.

Overall Look and sound:

There will be a mix of text on the screen and graphics, including interactive maps and pictures of all environments and characters. The environment will be realistic and based on different locations you can find at a university campus. The non-player characters may speak based on if willing voice actors are found for the dialogue - there will be ambient sound and royalty free background music in every different environment.

[klr]

Metagames in Math Lessons

You play rock, paper, scissors against your friend. He always shows rock and now you start thinking about using his pattern against him-- now you’re playing the metagame.

A metagame takes place outside the supposed scope of a game.

Sometimes a metagame refers to the overt structure outside of the main gameplay. Angry Birds is a game of slingshotting birds, but a metagame is the progression through the levels via collecting stars and unlocking pathways.

But the metagame also refers to the more subtle structure discovered as people attempt to “solve” the game [1]. In our basic rock paper scissors example, the metagame involves trying to figure how your opponent is likely to play so that you can take advantage of it. For a more complex example, take baseball. A metagame of scouting players not only affects who is on the team but has led to changes in how the game is played. With the motivation of competition, deeper structures are sought in the process of attempting to solve the game.

What are the metagames of math class?

Can we leverage them such that the search for deep structure of a metagame becomes entangled with the search for deep structure in mathematics?

[1] more on this below the fold.

Students are great at playing metagames

A teacher asks the class, "if x+5=8, what is x?" The students are now doing calculations -- but not (only) on x+5=8. They are balancing the social and academic costs/benefits of speaking up or raising their hand. In that ruleset, one common strategy might be to tentatively raise your hand hoping to gain the benefit of the appearance of knowing while not necessarily being called on. Another might be to respond with a burst of tentative answers "3? No -3 ya 3. 2. 3." while studying the subtle reactions of the teacher to receive information on which is correct. See: Clever Hans. But students also pick up what subtle notions of what counts as "different" or "sophisticated" or even what counts as acceptable line of reasoning from how the classroom socially and logistically operates. "These normative understandings are continually regenerated and modified by the students and teacher through their ongoing interactions." (Yackel & Cobb, Kamii, Voigt)

Learning from metagames

The upside of all this is that students are motivated and able to learn complex, deep, and subtle concepts via metagaming. Yackel and Cobb explicitly recommend the teachers attend to that space of learning, the acquisition of sociomathematical norms.

Game designer David Sirlin pays a lot of attention to how solvable a game is. For example, tic-tac-toe is solved because there is a strategy that guarantees victory: a pure solution. Player 1 must only follow the procedure to win. But if player 1 is given the procedure they learn nothing about how the game works. It is in the search for the solution that learning occurs. Sirlin designs his games to be as unsolvable as possible.

Constance Kamii has designed learning experiences that directly put students in games that engage one set of mathematical concepts while the metagame exploration engages another math concept. As students play and gain experience, they build ideas in the metagame about how to solve the game. Because Kamii has entangled mathematical concept and practice at both levels, the games have a lot of educational power. 

Motivations and Metagames

A student might be motivated to get high grades, achieve high social status, comply with parent or other authority wishes, resolve curiosities or plainly seek knowledge. These perhaps suggest large "metagame of life" but that is outside of my focus. Instead those items I'll broadly categorize as motivations that are accessed by various metagames in the classroom. Just as we dig into a rock-paper-scissors metagame analysis by assuming a desire to win, we'll dig into math classroom metagames by assuming some set of motivations.

First some low-math-entanglement metagames:

- Perhaps a familiar metagame are riddle worksheets. Students do a drill sheet while completing a riddle/joke. Sample This is of course not leveraging a lot of mathematical thought but I still call it a metagame because the students will eventually balance their math skills against some sort of "phrase completion" logic that will serve to provide or check answers for them.

- Some teachers might explicitly say the goal is to be accurate. This is separate from the motivation but it is trying to utilize it. I feel this is an attempt to wrap the math tightly to its most entangled state: surely if the goal is to do math then they'll learn math in the meta as well! No: it short circuits because there is no second level of information to operate in.

- Goals around achieving grade points or non-grade-linked stickers/badges/rewards do encourage gaming. Highly motivated students will find ways to maximize their grade or badges for minimum effort. They might find ways to socially encourage higher grades, or align themselves to expected behaviors from the teacher. Now sometimes these things are desired and sometimes they're not. But they aren't necessarily mathematical learning experiences.

Things that are better about entangling math:

- Sequenced problems suggest incremental changes of strategy to students without directly giving procedures. While this isn't extremely powerful, I feel it illustrates that the student operating on the set of the problems can use that information to attack a single problem. And if that set of problems is constructed with intent, the information in the metagame (the set) can reveal deeper mathematical structure.

- We already briefly discussed Kamii's games but here's another one:

Finally (but not exhaustively), “How many ways?” Sample: Traincar numbers . Asking students to find "different" ways engages them with the calculations of each individual way (in the example, arithmetic) while also having the metagame explore combinatoric structures (in the example: arrangements, permutations, exponential growth…).

What metagames do you set up with your students? What metagames do you learn from in your own experiences?

Comments at Reddit

Cazden, C. B. (2001). Classroom discourse: The language of teaching and learning (2nd ed., Vol. 6). Portsmouth, NH: Heinemann.

Kamii, C. (1994). Young children continue to reinvent arithmetic: implications of piaget’s theory (3rd grade). Teachers College Press.

Kamii, C., Lewis, B. A., & Kirkland, L. (2001). Manipulatives: when are they useful? The Journal of Mathematical Behavior, 20(1), 21–31. https://doi.org/10.1016/S0732-3123(01)00059-1

Kato, Y., Honda, M., & Kamii, C. (2006). Lining Up the 5s. Young Children on the Web.

Meyer, D. (2009, December 13). Asilomar #4: Be Less Helpful. Retrieved from http://blog.mrmeyer.com/2009/asilomar-4-be-less-helpful/

Sirlin, D. (2014). Solvability. Retrieved from http://www.sirlin.net/articles/solvability

Voigt, J. (1992). Negotiation of mathematical meaning in classroom proccesses. Quebec, Canada: ICME VII.

Yackel, E., & Cobb, P. (1996). Sociomathematical norms, argumentation, and autonomy in mathematics. Journal for Research in Mathematics Education, 27(4), 458–477.

Zevenbergen, R. (2000). “Cracking the code” of mathematics classrooms: School success as a function of linguistic, social, and cultural background. In J. Boaler, Multiple perspectives on mathematics teaching and learning (pp. 201–223).