Also known as "quick reveries"

Jeff Ryan’s Super Mario: How Nintendo Conquered America reads like a roller coaster. Nintendo of America strapped in for a thrill-ride not exactly knowing how it would end up. The initial climb was scary; NOA took serious gambles by revamping an Arcade game already existing and already failing. The result: Donkey Kong and a man in overalls who would soon take over the world sent Nintendo over the crest and into an exciting journey full of ups and downs.

When Nintendo was up, they were really up. Consequently, when they were down, they were really down. What saved them consistently and kept the ride going were Mario and the gameplay that came with him. Shigeru Miyamoto always focused on the gameplay. Make it fun. By doing so, he introduced techniques that to this day are industry standards.

Jeff Ryan followed Miyamoto’s example and created a work of fun. Rife with puns and anecdotes, Super Mario is a quick read, pushing the reader (like a roller coaster at 70 mph) towards the goal. Ryan’s witty inserts mimic the carefree attitude Nintendo’s famous plumber employs with his big eyes and constant smile.

Also notable (and highly enjoyable) are Ryan’s historical inserts connecting his story with America’s culture. For example, Nintendo declined permission to bring Mario into the PC world and as a result, the very men Nintendo said no to became the ones responsible for classics such as Wolfenstein 3D, Quake and Doom. These historical tie-ins mirror the writings of Erik Larson by adding a richness to a work already brimming with information and excitement.

Super Mario: How Nintendo Conquered America is an obvious must-read for any fan of Nintendo and its beloved Italian mascot. It is a valuable read for Sony and Microsoft fans as well. Nintendo saved the video game industry and paved the way for both the Xbox and the Playstation. The Nintendo roller coaster thrill-ride hasn’t ended and won’t be ending anytime soon.

Beautiful, incredible song. Amazingly talented band.
Please take a break from your life, listen and think…

Up on this hill, in this uncanny house
The wind makes this place creak, the lights they are flickering.
The moon she is lurking, the clock it stopped working
At a quarter past three.
All by myself, but I’m not alone
Cause I remember the days of you.

You haunt me baby, you haunt me here tonight.

Can’t get your memory, off of my mind.
Just want your heartbeat, on top of my mine.
There’s something dancing, here in the shadows
And I wish it were us.

I have no idea why I’ve gotten next to a million 100′s on papers this semester. My honest opinion is that: A) my class is being graded on a High School level and B) my teacher has too many papers to grade and doesn’t spend too much time on any single one. Either of these will suffice.
However, I have decided to share one of such works for your enjoyment. I read one of the Guardians of Ga’Hoole books and was asked to respond to the question, “How is this book a good example of anthropomorphism?”
Enjoy. And don’t steal…

7 A. Depicting Anthropomorphism
Lasky, Kathryn. (2003). The Capture. Scholastic Inc.

Kathryn Lasky’s popular novel, The Capture, accurately represents the genre “animal fantasy.” This exciting story carries with it repeated examples of anthropomorphism. A close study reveals an abundant amount of human characteristics assigned to the animals in Lasky’s tale.
The most valuable indication of humanity is reflected in the ability to create words and language. Every animal in The Capture possesses the proficiency for speech. While there are many moments of identifiably natural animal expressions (noises and grunts), speech remains an essential element for interaction, decision making, etc. Along with their diction, the animals also perform the very human act of naming. Every character in the story has a name. At the novel’s onset the reader witnesses the naming of a newborn: “‘What shall we call the little dear?’ … ‘Eglantine,’ Soren’s mother replied immediately” (5).
Throughout the book the animals both tell and compose stories. Soren narrates for Gylfie to strengthen her resolve against moon blinking: “we should tell those Tales of Yore until the moon goes down” (94). Along with reciting stories, Soren also exhibits a strong imagination by composing as well: “Soren…began to compose a new one” (129). The art of story-telling and composition are both anthropomorphic characteristics.
Gylfie expresses another human trait when she uses humor. She displays humor when she voices to Soren the importance of gaining information: “the last area we have to crack—pardon the pun—is the eggorium and that broody place” (101). To recognize a pun requires the brain functioning that only humans possess.
Another strong example of the animals’ anthropomorphic nature displays when Soren displays both comprehension and problem solving. Soren realizes the reason that the owlets are walking under the light of the moon while repeatedly saying their names and quickly creates a plan to counteract the effect: “Just move your beak or say your number, but don’t say your name. That way it will stay your name” (49). Soren’s ability to recognize a problem and offer a solution shows the mental comprehension of a human mind.
The expression of embarrassment and shame also reflects anthropomorphism. The narrator states, “Soren blinked and shivered his shoulders in the way young owls do when they are embarrassed or ashamed” (78). Along with embarrassment, another arguably human emotion shows through at Eglantine’s hatching: “‘It’s coming!’ Soren’s mother gasped. ‘I’m so excited!’” (2). The father further expresses, “‘Ah! Bless my gizzard, the wonder of it all!’” (2). The owl’s ability to feel embarrassment, shame, excitement and wonder all admittedly point towards anthropomorphism.
Along with feeling emotions the animals also experience pride and attempt to impress others. Soren bares his brother Kludd’s propensity for pride and boasting: “Kludd often used big words to impress him” (19). Farther along in the story Hortense exhibits his own inclination towards prideful bragging: “‘I…am now the hero of stories,’ Hortense said with no pretense of humility” (123). The presence of pride gives a strong sense of the characters’ human traits. All of these examples lead the reader to assume that The Capture shares a tale rooted in anthropomorphism. While the animals retain many characteristics strictly animalistic in nature, they also possess innumerable human attributes as well. The animals’ predilection towards human expression paints a strong image of anthropomorphism.

So what’s better than a night spent ice-skating with all of your friends there?
How about getting engaged?…with all of your friends there!