The book is a series of big questions about life, the universe, and everything. (No, 42 is not the answer every time.) With each question, Geraint and I go back and forth to connect the concepts in quantum physics to questions at the cosmic scale. It was insanely fun to write this book, and I hope you enjoy reading it as much as we did making it.
Low on reading material? Need some reading material about your own students? How about some reading material about your own students which comes with its own simple quiz? Yes, yes and yes, obviously. Well, fret no more: ChatGPT is here to help.
Check it: I asked ChatGPT to write a TPRS-style story about a boy named Mustafa who likes monkeys. Include humour and dialogue and use a limited number of unique words.
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Well, first principles: language is acquired only by processing comprehended input in a communicative context. And a communicative context is a situation where meaning is created, negotiated and/or exchanged for a given purpose. Meaning is something non-linguistic: enjoying a story, gathering information, evaluating information, etc.
If you want to play games in the TL, here are two suggestions which involve zero prep, are fun, and involve processing meaning.
1. Grab the pen. After you read/create a story, or do anything, get the kids in pairs, put a pen between members of each pair, and say either a true or a false TL statement about your reading, story etc aloud. If they agree, they have to grab the pen. They get a point for grabbing the pen first, but they lose a point if they grab the pen when the statement is false. This game seems ridiculous but kids love it.
UPDATE: Inspired by Blaine Ray, I got a student to be the voice of the penguin. I asked the penguin questions and he asked me questions (like in a TPRS story). So if I narrate the penguin smokes, I will ask the kid speaking for the penguin do you smoke? and they will say yes I smoke, and ask me.
2. If you see something, steal something ?. If the basketball coach does something that works in your Spanish class, you do that. Find a great ____ in the photocopy/staff room, on Facebook/Insta etc? GRAB IT. Do not reinvent the wheel, acknowledge authorship, and definitely prize your non-teaching life.
4. Any successful teacher will do what it takes to get kids to succeed, given who their students are, what the school & community are like, and where the students are in their learning.
It is really important to note that we know very little about how learning actually works, as David Bowles notes. If I could summarise 22 years of teaching and observing kids, I would say that students want to feel like they learned something from a class, and that this learning leads to both freedom and community.
Nominal Christians may be going to church, but have never really been convicted of sin or received salvation personally. When sleepy and nominal Christians get revived, attractive and bold in their witness, people who would never have believed before begin to get converted.
So how do you wake up sleepy Christians and convert nominal Christians? Let me give you what I would call my modernized American versions of the kinds of questions I would ask people if I was trying to get them to really think about whether or not they know Christ. These questions are adapted from The Experience Meeting by William Williams, based on the Welsh revivals during the Great Awakening. He would ask people to share about these types of questions in small group settings each week:
The rules of our Five Questions interview series are simple: we send each of our guests a long list of questions. Some are serious; some are . . . not so serious. They choose their favorites and respond.
When I was at the American Library Association conference in June 2010 to receive the Sibert Honor for The Day-Glo Brothers, Anita invited me to join Eerdmans at their table at the Newbery-Caldecott Banquet. I got to sit next to Gayle, and I suggested to her that Don Tate would be a great candidate to illustrate The Amazing Age of John Roy Lynch.
1. K2 pretty much changed on how the force, the galaxy, the Jedi are portrayed. How did that work in terms that you were making a sequel to a very typical Star Wars game? (KotOR1, we have this evil dude who wants to blow up the galaxy just for the hell of it).
A lot of it came from deep-rooted feelings and opinions about the Star Wars franchise, both positive and negative, and especially what it would feel like to be a Jedi or Sith in that universe. I've always had an issue with the Force because of its predestination aspects, and I wonder if any Jedi or Sith would ever want to rebel against it entirely... and if they'd be willing to give up their ties of the Force (and all that power) to do it. Nihilus in K2 is a being who's wholly surrendered himself to what the Force is, and the fact he's completely consumed by the self-destructive Sith technique sums up my problems with the Force.
Don't get me wrong, though, I found a lot to enjoy in the Star Wars universe, much like the other franchises I've worked with. I do like to go into a campaign setting though and poke at the foundations a bit.
2. The ending of the game was pretty much a buildup for a (where is?) Kotor III. I imagine that you had the details pretty much figured out - but how much details did you have in mind before the game (the time between K1's ending and K2's start).
Not much, was mostly struggling with K2 storyline at that time. The events that were to lead into K3 came more and more as we backtracked through Revan's plotlines in K2 and wondered if we could do a Babylon 5 spin with it, where Revan had a greater plan in mind when attacking the Republic. Just thought that would be kind of cool.
Nothing, overall, I liked it. In fact, there were a number of high points when I was playing where I almost broke the controller because I didn't see how we could possibly top some of the events or locales in K1 (like walking on the sea floor in Manaan). I wish Juhani could have been a lesbian, though, not for a crude reason, but because that seemed true to her character arc.
The whole team for different reasons. Really, we had such a small team that everyone really had to wear a lot of hats to get it all wrapped up, and everyone pitched in and pushed themselves, even those that came on at the end (Tony Evans, one of our senior designers and the lead designer for Storm of Zehir, showed up in the last part of the project, and he was instrumental in getting the game done).
Totally - it would obviously be a much more polished experience. However, it would suffer from the fact that if it had been worked on in 1999, some of the character arcs (notably Kreia) would not have been present, since much of that was spawned from NPC ideas in Torment.
7. Were there some things that you had to change due to disagreements with LucasArts or other Obsidian employees (not talking about cut content) If so, what - overall, are you happy about those changes or do you think the game would have turned out better without them?
Lucas Film had about 5-6 comments on the game over the course of the title, which I'd like to think was because we "got" the universe, but might have been more because they were so swamped with making Episode III. We do try to thoroughly research the franchises we work on at Obsidian and do due diligence to the franchise holders so we can match their ideas for the license. As such, we've rarely had problems in the approval process. There are times we've asked to do things with a franchise that have been turned down (we wanted to make Gann in Mask of the Betrayer a bi-sexual, for example, because that felt true to how he perceived love).
In the Obsidian ranks as far as K2 is concerned, I think we probably wasted time with the mini-games (we should have dumped those), done one less planet, and did less with the interface (we lost a lot of scripting and programmer time to it in exchange for not a lot of impact) and just concentrated on making a great polished adventure.
The Handmaiden did, some characteristics of Kreia, and so did the planet Peragus, but almost nothing else did, which was for the best after playing K1. The original premise had the player drafted for help by the Handmaiden to free her world from matriarchs led by a figurehead reminiscent of Kreia. After playing K1, we ditched the storyline - and it sucked that we wasted 2 months on it considering how little time we had over the course of the project, but LucasArts couldn't legally give us copies of K1 to examine or play until the contract was signed, so no one's to blame, it was just circumstances.
Maybe it was just that because I didn't grasp the Force (or want to, initially) that seemed a natural character to start the game with. I also had been watching Chinatown and the whole ending for that movie (that there's an event in the character's past that's never spoken about that haunts him) also seemed to be appropriate.
Bao-Dur - we didn't have time to finish his thread, but if I recall (it's been a while), he was supposed to die on the attack on Telos to help HK-47 get to the HK-50 factory and shut it down to save the planet.
I wanted some more unrequited romance sequences between Sion and a female Exile player (there was supposed to be more build up to Sion's obsession for the player stemming from something other than just hate), but that didn't get in. Also, obviously, the companions turning on each other at the end didn't have time to get in and polished, and I've never been happy with the final confrontation with the Jedi on Dantooine.
One last thing - I guess what I miss most about K2 that never got in was an audio sequence where the Exile is meditating about where Nihilus and Sion are striking from, and there's a telepathic blending sequence of all the companion VO that culminates in the revelation of Malachor V. I was so sad there wasn't time to do it, because the blending just sounded soooooo good. Ah, well, I guess that just adds another brick to the Fortress of Regrets. 152ee80cbc