Podcasts about Armature

Bio  Brian McDonald, an award-winning author, filmmaker, graphic novelist, and podcaster, is a sought-after instructor and consultant. He has taught his story seminar and consulted for various companies, including Pixar, Microsoft, and Cirque du Soleil.  Interview Highlights 01:30 The Story Spine 04:00 Proposal, argument, conclusion 07:40 Video games – noodles are not cake 11:30 Armature 16:25 Stories in speeches 21:25 Finding your armature 23:00 Tools and weapons go together 25:30 The first act 27:00 Angels 28:00 Brian's memoir 28:45 Paying attention   Connect  ·       Brian McDonald (writeinvisibleink.com) ·       @BeeMacDee1950 on X ·       @beemacdee on Instagram ·       Brian McDonald on LinkedIn   Books and references  ·       Land of the Dead: Lessons from the Underworld on Storytelling and Living, Brian McDonald ·       Invisible Ink: Building Stories from the Inside Out, Brian McDonald ·       The Golden Theme: How to Make Your Writing Appeal to the Highest Common Denominator, Brian McDonald ·       Old Souls, Brian McDonald ·       Ink Spots: Collected Writings on Story Structure, Filmmaking and Craftmanship, Brian McDonald ·       Brian's podcast 'You are a Storyteller'  Episode Transcript Ula Ojiaku Hello and welcome to the Agile Innovation Leaders podcast. I'm Ula Ojiaku. On this podcast I speak with world-class leaders and doers about themselves and a variety of topics spanning Agile, Lean Innovation, Business, Leadership and much more – with actionable takeaways for you the listener. Welcome back to the Agile Innovation Leaders podcast, this is Part 2 of my conversation with Brian McDonald. In Part 1 we discussed defining a story, why we tell stories, among other things, and in this second part, Brian shares more of his insights around the storytelling formula, Brian's upcoming memoir, and building a story's armature. It's been such an honour to speak with Brian and I hope you find Part 2 of our conversation as insightful as I have. Everyone is a storyteller, everyone has a story to tell, and we knowing how to structure it is key to making it impactful and helping people to get information that heals, that helps them survive, that helps them navigate the conflicts of this world. So, you, in your book, Invisible Ink, you gave us a storytelling formula, do you mind sharing that with us? Brian McDonald So the story spine are seven steps that you need to create a story. So they use it at Pixar, I've worked with them quite a bit so we speak similar language, but they use this too, and I think we basically learned it from the same source. So, they are once upon a time, and every day, until one day, and because of this, and because of this, until finally, and ever since that day. So they are once upon a time, and every day, until one day, and because of this, and because of this, until finally, and ever since that day. And you set up the status quo, this is what happened, this is who this person is, this is what they want, whatever it is, and then something changes. Now you're into the ‘until one day', and the second act, now that would be the first act, the second act would be the body of the story. It's really what people say the story is about, so that's the longest part. That's why it's sort of split in two in a way because of this and because of this. There are some people who will add more because of this, but I don't, and some people don't like that I'm so rigid about it, but what I find is that the hardest thing I teach people is how to simplify. That's the hardest thing. So, adding more details is easy, simplifying is hard, right, and so that's why I stick with the seven and the because of this and because of this. And then, until finally, now you're into the third act, and ever since that day, because the third act is all about the conclusion or the resolution, but the conclusion, but the way I like to think about the three acts is this, and I had been thinking about it this way, and this is something that I don't know where Hitchcock got it, but Alfred Hitchcock talked about it, but I've never heard it anywhere else. So it's proposal, argument, conclusion. That's the way stories work, and those are the three acts. Proposal, argument, conclusion. Now, it's the way people talk. That's why it works. So the proposal is, let's say, I say Saturday I went to the best party I've ever been to in my life. That's my proposal. Everybody knows what comes next. My proof, this happened, that happened, this star was there, this blah blah blah, whatever it is, whatever my argument is, that this is the best party in the world, right? And then the conclusion, often stories are circular, so you'll come back around to the beginning again. So, that's the best party I've ever been to, then I talk about it, and then I say, oh, what a great party, oh, that was the best party I've ever been to, whatever it is, it's the way we speak, that's why it works in stories, because it's natural. It's the way a legal argument is constructed. Your honour, my client is innocent. Then the trial, which is all proof, and then the conclusion as you can see, my client is innocent, that's the conclusion of that argument, but the resolution is, do they go to jail or not? And that may or may not matter to your story, depending on the story you're telling. So therapists say, well, we tell ourselves the story that I'm not good enough, we tell ourselves the story that I'm not attractive enough or whatever it is, and that's not a story, that's a conclusion that you have derived from stories, it's not a story, that's a conclusion. The conclusion is I'm not worthy, I'm not smart, whatever it is, but there are stories that made you think that or feel that, that's where the stories are, and so the problem is if you have different definitions for stories, I found this when I'm collaborating, if I'm working for a studio or a video game company or something, if we have a different definition for story, then we are miscommunicating from the very beginning of the conversation.  So they maybe will say, well, we should do this, and I say, well, that doesn't fit the story, well, I think it does, oh, well, we're not talking about the same thing. So the thing is, people can take my definition or leave it, that doesn't matter to me, but they ought to have a definition, and it ought to get results consistently, and then you can make sure everybody's on the same page. Ula Ojiaku What I'm hearing you say is it's important to take time to define the terms being used because that makes things easier when you're collaborating with people. So how do you then approach it? Brian McDonald It depends. Sometimes I come in and my job is to lecture, and that is to give them that shared definition and understanding of story. So sometimes that's my job. If I come in on a specific project to help on a specific project, that's usually because either they've heard me lecture before, or they've read my books and we already have a shared definition. So that's usually how it works, most of the time. Ula Ojiaku What would you advise when you're getting into a new collaboration with people, would you say, take the time to define the terms and what exactly generally would you say? Brian McDonald Yeah, if we're talking specifically about story, I think I would give them the definition. I would probably let them struggle with the definition of story first, because I think that's an important part of the process, because people have to know they were given something, because it sounds obvious when you say it. So we will fool ourselves and think, oh, I knew that, so the struggle is really important, so I would let them struggle, make sure they understood that they got something, oh, now I have a definition, and sometimes just having a definition elevates what you're able to do. Just having the definition. So, then I would break down story, I would break down armature, which I haven't done yet I don't believe in the concept of interactive stories, I think that's a misnomer, because once you interact with the story, it becomes a game. I don't think they can occupy the same space. Now, the word story comes from the word history, where it comes from, comes from the word history. A story has happened. So for instance, if you and I were somewhere and we had some crazy adventure, as it's happening, it is not a story. It's only a story when we're done and we tell people about it. A video game is happening in the moment, the same way as any other experience. It's an experience, but it's not a story till it's done, and you're telling people that, and so I just don't think they occupy the same space. Now they have a lot of the same ingredients, and that's what fools people. So for instance, it's sort of like, I would say you can use eggs and flour to make noodles or cake, but noodles are not cake, and so because you can have characters and settings and scenes and a lot of the same ingredients as a story, I think people think they're the same thing, but they are not, and that's what's interesting to me is that video game people desperately want their thing to be story, and I don't know why. It's like, no, you have your own thing. They have scenarios. In the old silent movie days, they didn't have screenplays, they didn't write screenplays. So, Buster Keaton would say, get me a fire truck and I'll make a movie, and he would then make it up, Chaplin did the same thing, he would make it up, they didn't write them down. Sometimes Chaplin would shoot and then say, okay, everybody has a week off while I figure out what happens next. He didn't know, so the reason they started writing screenplays, one of them was to budget. Well, what do you want? I'm going to need a truck, I'm going to need this, I'm going to need that. Okay. So they knew how much it was going to cost to make it, that's one of the reasons they started doing it. So you'll see on old silent movies scenario by, so it would be like, what if a guy robs a bank and this happens so that's the scenario. Video games have a scenario, and anything can happen in that scenario because the player has some agency, and that's like being in real life. Being in real life is not a story, it's just not, it's a story later, but I think that when we are experiencing a story, it feels like the present, and so I think it's confusing, and people will argue with me and they'll say, but have you played this video game or that video game or this one? And I'm like, you're not actually arguing. There's a little bit of story, and that stops and then there's gameplay, they don't occupy the same space, they're just close to each other. You have to switch from one to the other, I just don't believe they can occupy the same space, and I think technology has fooled us to thinking that that's the case, because you don't need technology. If there is such a thing as interactive stories, you could do that without technology. Choose your own adventure books were that, so you don't need it. Everybody remembers them, but how many people ever tell the story of a choose your own adventure book? You ever heard anybody say that? No one does, because it wasn't really a story, it was a game. There's nothing wrong with it being a game, I think that's totally fine, but I don't study games, I work with game people. There are people that study games and that's their whole thing. I get that, and there's game theory, and there's a bunch of stuff I don't know, but they seldom study story, and I do know that. So when they say, well, this game has a story, I'm telling you, it doesn't, because that's my field of study. And then an armature. So, I used to work in creature shops in Los Angeles. So I moved to LA in the mid 80s, and my roommate was a special effects makeup artist. And so my first jobs in LA were working in creature shops because he could get me these jobs, and this is before CGI and computers and stuff, so things had to be built. My roommate was working on the movie Predator when I moved there, I remember, it was called Hunter, I still have the script, it was called Hunter at the time, and so they were doing some reshoots. They had gone on location and shot the movie without having a design for the creature. So they came back and they were doing some shoots in studio and stuff with this creature, I remember that vividly. Anyway, but they had to build these things, and so I would work on these movies, I worked on a zombie movie and a movie called Night of the Creeps and all, but you had to make things, and I would watch these sculptors, amazing sculptors, sculpt these little mock cats of whatever the creature was, and they were, I'd never seen in real life, somebody really able to sculpt something that was so amazing, and I was 21 years old, it was amazing to see, and they would make though this wireframe skeleton before they sculpted the clay, and I asked why, I didn't know, and they said, well, we have to make a skeleton, an armature. In fact, the wire is called armature wire. We have to make this armature because clay can't support its own weight, and so after a little while, could be a day or two days or sometimes a few hours, it'll collapse upon itself. So you need to make this skeleton, and I thought, oh, that's really interesting. It's something I'd never thought about, and then when I thought about it in terms of story, I realised that a story has an armature. It holds everything up. Everything is built around this armature. It ends up being one of the most important parts, like with the clay, but it's not anything anybody notices, except when it is in there, it's the thing that makes it work, it's the thing that makes it stable, and the armature for a story is your point. What are you trying to say? What's the survival information you're trying to convey? So, some people would call it a theme, it's a mushy word, people don't quite know what it means. So I usually start with armature, then I use theme interchangeably, but I start with armature because it's a visual idea that people can sort of wrap their brain around, where theme is, I think, almost too intellectual. And the way I like to think of it is this, that a story doesn't have a theme. This is what you always, you hear this, stories have a theme, this story has to have a theme. Stories don't have a theme, stories are a theme, stories are a manifestation of the theme. If you are telling the story of King Midas and you're saying some things are more important than gold, then the story is a manifestation of the illustration of that theme. Ula Ojiaku So if a story is a manifestation of a theme and an armature is your point you're trying to make, so what is a theme then? Brian McDonald Well, theme and armature are the same. It's just that theme takes a long time for people to wrap their brains around, it's too intellectual. I think a lot of terms for storytelling and writing and all of that were made up by people who weren't practitioners, but observers, and so their words are often not very helpful. So it's like, well, theme's not a helpful word. I struggled with the idea of theme for a long time, even though I knew what a theme was, I was lucky because of the things that influenced me would always have a strong theme, and so I knew instinctually how to do it. It was a while before I understood what I was doing, and the word theme completely confused me because it was something I thought I had to put in my story, I had to fit it in there, but it's not that way. Ula Ojiaku So if I said a theme is the point you're trying to make, or a theme is the message you're trying to pass across would that be wrong? Brian McDonald You know, the interesting thing about having a point, is that when we talk, we have no problem with the concept, and in fact, when somebody's talking to you, and it's clear they don't have a point, you lose interest fast, you also don't know what to listen for. So one of the things that often comes up is people will talk about I think mood, for instance, is a trick of literature. So, because you can paint pretty pictures with words and you can do these things, I think that's a trick and has nothing to do with storytelling. It's almost a special thing, and so sometimes people will say, well, what about mood, because you're so into story, what about mood? I go, well, here's the thing, nobody talks in real life about mood. So if I say to you, hey Ula, I have something to tell you, a clear blue sky, seagulls in the distance, the sun beating down on me, salt air coming off the ocean. Okay, I'll see you later. You'd be like, I didn't tell you anything, but if I just add one sentence, if I say my trip to Mexico was amazing, clear blue sky, now you know why you're listening. That changes everything. Armature does the same thing. If you know why you're telling the story, it will all fall together in a different way, and people know they're in good hands, they feel it, they won't know why, but they'll understand why they're listening. Ula Ojiaku People in other disciplines have to give presentations and already is an established case that storytelling helps with engaging people, and when you know the point you're trying to pass across, it's a great starting point to know what message you're trying to pass across to the audience. What advice would you give to leaders? What can they bear in mind to about weaving in stories so that it's engaging without losing the message? Brian McDonald I've helped people write speeches and I've had to give speeches on different things that were not necessarily story related. And in fact, when I was at the creative agency I was at, we would often be asked to help people write speeches, and all the writers would follow basically the rules that I laid down about how that should happen, and we could do it really quickly and the CEOs were always amazed at how quickly we could do it, but they usually have a story, they just don't recognise it. Most people don't recognise the stories that they have to tell because they take them for granted, and so often we would pull that out of them and say, that's your thing, but I once heard an interview, this is pre-pandemic. So pre-pandemic, there were a lot of people, who were against vaccines, even then, and I heard this doctor talking on the radio and the doctor said, because people were afraid, they were like, well, wait, if my kid gets the vaccines, gets immunised, this leads to autism, that's what they thought,  and the doctors were like, all the research from all around the world does not bear that out, that's not true. So, and they kept trying to provide data that showed that this wasn't true, and I remember listening to this going, they're not going to win with data because we're not wired for data. The reason those people believe what they believe is because they have a story. I knew somebody this happened to, I heard of a person this happened to. You can only win with another story, you're not going to win with data. So the thing is, you find a story, a human story about whatever you're talking about, because there is one, and when you find it, that's what people will latch on to. We're not wired for all that other stuff, we're not wired for charts and graphs, and that's not the way it works. We're wired for stories and we want to know, hey, how is what you're telling me going to help me, that's what we want to know, and so there is a story there, there always is, they just have to find it. How does this thing connect with me? Steve Jobs was good at this, and I've worked with tech companies making pieces for them, and if they have a product, they often want to give you the stats, like it does it's this, and it does this and it does this and it has this many whatever, but do you remember there was a commercial, at least here I don't know if it was everywhere, but there was a commercial for facetime, and when it first came out, there was a commercial for it and the commercial was just people on the computers, or on their phones, connecting with other people. So there was a guy who obviously was stationed somewhere, a military guy, and he sees his wife and their new baby over the thing, somebody seeing a graduation, I think is one of them, all these things that connected people. Now you got, I've got to have, that because you're giving me emotional information. I don't know anything about technology, so you're not going to impress me with technology, you're going to impress me with how is this going to impact my life for the better. So they told you those little stories, those little vignettes, and it was a powerful commercial. So an armature should be a sentence, so it should be something you can prove or disprove through the story. It has to be a sentence. So a lot of times people go, well, revenge, that's my theme, that's my armature. It's like, it can't be. Revenge is sweet, can be. Revenge harms the avenger, could be. It can't be friendship, friendships are sometimes complicated, friendships are necessary, something like that. So companies can have armatures, they're often looking for their armature. What's interesting is that Nike's armature is if you have a body, you're an athlete, and when you have a strong armature, it tells you what to do. So, if you have a body, you're an athlete, which they sort of contextualised as ‘just do it', but the armature is, so they did an ad with an overweight kid jogging. It's just one shot of him jogging and having a very hard time doing it, but doing it, and that's better than having a star. A lot of times clients used to come to us with the agency and go, we got this star and this song. It's like, yeah, but what are you saying, because it won't matter. That was a very powerful ad, that kid just jogging and just doing it, and you were like, it was more impressive than the most impressive athlete, you had empathy for him, you had admiration. It was amazing, it's an amazing ad, and it's simple, it doesn't cost a lot of money. It doesn't have any special effects. It doesn't have any big stars. What was interesting is that Nike changed ‘just do it' for a while to ‘be like Mike', to be like Michael Jordan, be like Mike. Well, guess what? You can't be like Mike. If you have a body, you're an athlete. I can do that, but I can't be like Mike, so they went back. They had to go back, that went away. If you have a strong armature, it's amazing, what it does is sticking to your armature has a way of making your stuff resonate and be honest in a very specific way and feel polished, and so if somebody is giving a talk and they know their armature. I gave a talk, at the EG conference. I was flattered to be asked because James Cameron had spoken there, Quincy Jones had spoken there, they asked me to be there and they said, well, what do you want to talk about, and I said, well I'm a story person, I want to talk about story. They seemed bored by the whole idea of me talking about story and they said, well, what are you working on? Well, I had just started working on a memoir that's not out yet, but I had just started working on this memoir, and they go, tell us about that, and it was a memoir about my brother's murder, and they said, well we want you to tell us about that, what you're going to talk about in your memoir. So I thought, okay, I didn't want to talk about it really, but I didn't want to pass up this opportunity. It was a high profile talk, there were going to be high profile people in the audience, it was an honour to be asked to do it, so I did it. So when I prepare for a speech, or a lecture or anything, the first thing I do is I try to get into that venue as early as possible when there's no one there, and I walk on and off the stage, over and over again, because one of the things that throws you as a speaker sometimes is not knowing how to get on and off the stage. You might trip, so I just do it a bunch of times so I know how many steps. Then I sit on the stage, I just sit there, because I want it to become my living room, so I just sit there, it could be 20 minutes, just taking it all in. I ask them to turn the lights on the way the lights are going to be on during the talk, because sometimes it throws you when you're like, oh, I can't see anybody, or I can see the first two rows, I'm getting rid of all of those things. Then I go into the audience and I sit in different sections. What can these people see? What can these people see? What can these people see? I do all. So that's the way I prepare, and then I do all the tech stuff. Well, the EG conference didn't really let me do that. I got to go on stage for a couple of minutes, but I really didn't get to spend much time up there. I had my PowerPoint. So I had some slides and I had notes, and they said, okay, this is what time you're going up. I go, I've got to know if this is working, my slides and my notes and they didn't let me do it on stage, we did it backstage and I go, it's going to look like this. Fine, I get out there, the monitor on the stage is different, and I don't have my notes. I don't have my notes. I had seen people at this conference when something went wrong, they would stop their talk, they would go talk to a tech person. It took the air out of the room, it sucked the air out of them. So I was like, I'm not doing that, I'm up here without a net now, I'm just going to do this. Here's what saved me. I knew my proposal and I knew my conclusion, which were the same. All I had to do was prove that proposal. So as I'm up there, I had prepared some things, but I'm essentially making things up, that I know will do the job because I know the armature. Now this is not to brag, this is about how well the technique works. I got an immediate standing ovation. Some of those people, they know what they're looking at, some of those people are pretty big deal people, and so they came up, I'm friends with some of them now, like we've got to hang out, I've got to pick your brain, and I was sort of the celebrity of that thing, and there were people who went to the EG conference every year, and I heard from people that it was either the best speech they'd heard, or in the top five speeches they'd heard at that conference, and some serious people had spoken at that conference before. So, but that was just the technique, it's nothing special about me, I just knew the technique, and everybody can learn it, and when I've taught it to people like a guy I used to work with, Jesse Bryan at the Belief Agency, we helped the CEO write a speech, and he's a shy guy, but we found his armature and we said, this is your armature, this is what you have to do this about, and he did it, and we heard back from people who worked with him. It's the best speech he's ever given, he was comfortable, he knew what he was saying, he knew what he was doing up there and he believed what he was saying, because that's key. It's key to believe what you're saying. So it doesn't matter whether you're writing a story or whatever, it always helps. For instance, a lot of times people will write an email to somebody and in the email, there's like 10 or 15 things to pay attention to, and then when that happens, a lot of things don't get addressed. So if your armature is your subject, and everything is dealing with that, and then if you have more to say, that's another email. This one's just about this, now, all of a sudden, I've told people that, and I know other people I've worked with who've told people that, and all of a sudden, people are responding to their emails differently, things are getting addressed that weren't getting addressed, because they started with their armature. Because there's too much to pay attention to. Is this for me? Is this for somebody else, especially if it's a group email, who's this for? Am I supposed to do this? But if it's one thing, hey, Brian, take care of this thing. Oh, okay.  One thing about point, which is interesting. So I've been teaching this a long time now and I don't usually get new questions, but one day somebody had a question I'd never heard before. So I'm talking about having point, and somebody says, what's a point? And I thought it was pretty self explanatory, but I try to honour the question, and so I answered and I talked about armature, talked about having a point, knowing what you want to say and all of that, and anyway, he got it, but afterwards, I went, what is a point? I have to actually know that. So I looked it up, a point, the definition of a point, one of the definitions is the tapered sharp end of a tool or a weapon, and I'm like, that's exactly what a point is in a story, because you can weaponise. As a matter of fact, I actually don't believe that you can make a tool without also making a weapon. I think that they always go together. When we harness fire, that's a tool, but it's also a weapon. A hammer is a tool that can also be a weapon. Writing is a tool that can also be a weapon. Storytelling is a tool that can also be a weapon. I don't think you can make one without the other. It's just what you decide to do with it. Ula Ojiaku It's like different sides of the same coin, really. Brian McDonald Yeah, the tapered sharp end of a tool or weapon, and that's what a point is. Ula Ojiaku So what led to your updating of the Invisible Ink? Could you tell us a bit about that, please? Brian McDonald Well, it took me six years to get the book published. I wrote it and it took forever to get published, it took a long time. And so, I learned more, and when the book was finally going to get published, I thought, well, I know more now than I did then, when I wrote this book. Do I amend the book? Or do I put it out the way it is? Well, I had been teaching, and that book was essentially what I had been teaching, and I knew it worked for people, and I knew it resonated with people, so I went, well, you know, this is fine. I'll just put this one out and then later I'll know enough new stuff that I can put that in the book, and so that's what I did. I started teaching things that weren't in the book, and there were enough of them that I thought, okay, this is enough new stuff that I can justify a new book, and also I changed some of the language a little bit, there was some gender stuff in Invisible Ink that, as the years went on, rubbed people the wrong way, and I understand that, and so I'm like, let me adjust that. It took me a while to figure out how to adjust it, but once I figured that out, because I wanted to be honest about the things I was observing, but the world moved on and I didn't want to be stuck. Now in another 10 or 20 years, there might be stuff in the book that people go, I can't believe you wrote that, but there's nothing I can do about that, but as long as I'm around to make changes, I'll make those changes. So that was a less of it than really I had more to say and I found ways of being more clear and over the years I've gotten questions, like people didn't know how to build a story using an armature, so I started teaching that more and so that's in the book, and also I talk about first acts more because I think the first act is so important and it's actually getting lost, particularly in Hollywood. I was told by an agent I had not to write a first act, because they want to get right to the action, but the first act in a story, there's a lot of work it's doing, and one of the things it does is it creates a connection between the audience and the protagonist. So the difference is this. If I say there was a terrible car wreck yesterday. Oh, that sounds terrible. Was anybody hurt? Yeah, your best friend was in a terrible car wreck. Ula Ojiaku That changes everything. Brian McDonald Everything. That's what the first act does. Oh, I know this person this is happening to. You eliminate that, you get all the spectacle and all that other stuff, but you don't care. That first act makes people care. So I focused on that a lot, and I talk about how to build a story from that armature, how that helps your first act, and how to build the rest of the story using that armature. So that's why I've changed the subtitle to Building Stories from the Inside Out, because that's more the focus of this book Land of the Dead is my favourite of my books right now, because most of what I teach, in some way or another, used to be taught, a lot of it was common knowledge up till about the 1920s. So all I've done is do a lot of studying and reading and all of that. The Land of the Dead has things in it that I haven't read other places, and I feel like it's my contribution, in a different way, to storytelling. I think I've added some vocabulary to storytelling, broadly speaking and there's one thing in particular in that book, angel characters, I talk about angels, not in a religious sense, but in a story sense and how they operate in stories, and I don't know if anybody's ever talked about it. They may talk about it somewhere, but they don't talk about anything I've read about story, and there's some other things too in The Land of the Dead I think I've added to the vocabulary, so I feel proud of that. I feel like I put my handprint on the cave wall with that book. We'll see, I don't know, people like what they like, I like that book, and The Golden Theme I liked too, but those two, I think those two for me, they're actually in a way, opposite books in a way, that one is about the underworld and the information and the lessons we get from the underworld, but they're both, I think, positive. Some of the reviews with Land of the Dead talk about how it's strangely positive, given what it's about, and I'm proud of that. There's just a lot of things, I'm very proud of that book, and the memoir, which will be out who knows when, it takes a long time, it's graphic, so it's being drawn and that takes a long time, so hopefully it'll be out in another year or so. Ula Ojiaku Looking forward to that. So where can the audience find you if they want to reach out to you? Brian McDonald Well, they can go to my website, writeinvisibleink.com They can do that. They can follow me on Instagram, which is @beemacdee Those are the places where people usually find me and they can write me from the website, and my classes are offered there. So I teach zoom classes. Ula Ojiaku Do you have any final words for the audience? Brian McDonald I would say, to pay attention to the stories around you, pay attention when people talk, if you learn how to do that, you will learn everything you want to know about storytelling, because it's in the natural world. So you'll learn when you're bored, why you're bored, when you're engaged, why you're engaged, and it's hard for people at first, but if they can learn, I say, observe stories in their natural habitat. So, the problem is when people are in a conversation, they're in a conversation and it's hard to observe and be in a conversation, but if you practice it, you can do it, and it's really interesting to hear somebody talk and they'll talk in three acts, they'll have a proposal, they'll have an argument, they'll have a conclusion and you'll hear it, and the reason I think that's important is because until you teach it to yourself, you will think, oh, what did Brian say, or I think Brian's wrong about this, or this is his take. When you observe it yourself, you're teaching it to yourself. You don't have to listen to me at all, teach it to yourself. It'll prove itself to you, and then that comes from a different place when you start using it. You're not following my rules and quotes, and so I think that's really important that people have ownership over it and that they know that it's theirs, and they're not painting by numbers. Ula Ojiaku Thank you, Brian. Pay attention to the stories around you. This has been an amazing conversation and my heart is full, and I want to say thank you so much for the generosity with which you've shared your wisdom, your experience, your knowledge. Thank you. Brian McDonald Thank you. Thanks for having me. Ula Ojiaku My pleasure. That's all we have for now. Thanks for listening. If you liked this show, do subscribe at www.agileinnovationleaders.com or your favourite podcast provider. Also share with friends and do leave a review on iTunes. This would help others find this show. I'd also love to hear from you, so please drop me an email at ula@agileinnovationleaders.com Take care and God bless!     

J-Si gave Part-Time Justin a haircut and reminded us of some bad haircuts.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Oggi abbiamo approfittato della presenza di Messer Azzone per parlare della sua grande passione del mondo medievale, potendo maneggiare delle riproduzioni di armi e armature tipiche del periodo. Si parla di come ci si vestiva e come si combatteva!Sostieni questo podcast: https://www.spreaker.com/podcast/space-valley-live--5686515/support.Live su Youtube: https://youtu.be/ef2FfbIgVZoSegui le LIVE su Twitch: https://www.twitch.tv/spacevalleyDal Lunedì al Giovedì alle ore 9:00!Shop Ufficiale Space Valley: https://spacevalley.shop/Canale Yakety-Yak: https://www.youtube.com/@YaketyYakSpace Valley: https://www.youtube.com/@vallespazialeInstagram: https://www.instagram.com/vallespazialeTelegram: https://t.me/vallespazialeAround the Valley: https://www.youtube.com/AroundtheValley

Utah Golf Radio is your destination for all things golf in Utah. Paul Pugmire and Jan Brownstein get you inside the ropes with professionals and leaders from the golf world in Utah.

Listen in as Taryn & Mason plays Doors in an effort to "get good". Will they succeed?!? Probably not... But, tune in for a good laugh!Reminder that our YouTube Channel is LIVE!Support the show

Bentornato in questo canale! Oggi assistiamo all'incontro di Achille con sua madre Teti che che giunge a consolarlo per la perdita dell'amico Patroclo, ucciso in uno scontro da Ettore.Achille decide di tornare a combattere per Agamennone, ma la sua armatura, ora, è indossata da Ettore!Teti vola all'Olimpo e si rivolge a Efesto per cesellare le nuove armi per suo figlio, Achille.L'opera che esce dalle mani del dio del fuoco è il sogno di ogni eroe!Ringrazio i mecenati che su Tipeee supportano questo podcast entrando anima e cuore nel progetto: Speranza, Giacomo, Vanessa.Per avere informazioni su come puoi supportare questo podcast vai qui: https://it.tipeee.com/mitologia-le-meravigliose-storie-del-mondo-antico/ Se ti va di dare un'occhiata al libro “Il Re degli Dei”, ecco qui un link (affiliato: a te non costa nulla a me dà un piccolissimo aiuto): https://amzn.to/3Q50uFR Se ti va di dare un'occhiata al libro “Eracle, la via dell'eroe”, ecco qui un link: https://amzn.to/46dAFYZ Altri link affiliati: Lista dei libri che consiglio (lista in continuo aggiornamento): https://amzn.to/3Q3ZYI9 Lista dei film che consiglio (lista in continuo aggiornamento): https://amzn.to/3DoqTa7 Lista hardware che consiglio per chi è curioso del mondo per podcast (lista in continuo aggiornamento): https://amzn.to/44TYKTWQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/4243371/advertisement

John Laliberte is a former professional Hockey player from Saco, ME. After a number of seasons in the AHL and nine seasons in Germany, John retired to follow his passion for real estate investing and developing. Five years later he is now the CEO of Reveler Development in Portland, ME. Under his leadership, Reveler has successfully completed the historic rehabilitation at Riverdam in Biddeford, played a major role in the repositioning of The Linden in Portland, and continues to develop vibrant communities at The Levee in Biddeford and The Armature in Portland.   EPISODE LINKS Website: www.reveler.com IG - @jlaliberte15   PODCAST LINKS Website: ⁠⁠⁠www.therandyforcierpodcast.com⁠⁠⁠ Apple Podcast: ⁠⁠⁠https://podcasts.apple.com/us/podcast/the-randy-forcier-podcast/id1623732002⁠⁠⁠ Spotify: ⁠⁠⁠https://open.spotify.com/show/0wX5KtQqagmLyvGMshaMgq⁠⁠⁠ YouTube: ⁠https://www.youtube.com/@therandyforcierpodcast⁠   SUPPORT & CONNECT Facebook: ⁠⁠⁠www.facebook.com/therandyforcierpodcast⁠⁠⁠ Instagram: ⁠⁠⁠www.instagram.com/therandyforcierpodcast⁠⁠⁠ Patreon: ⁠⁠⁠www.patreon.com/therandyforcierpodcast⁠⁠   MUSIC Music from #Uppbeat (free for Creators!): ⁠https://uppbeat.io/t/trinity/sky-high⁠ License code: I8PSNL88QYB60D2D --- Support this podcast: https://podcasters.spotify.com/pod/show/randyforcier/support

Le ARMATURE nella PRIMA GUERRA MONDIALE

Torniamo a voi dopo molto tempo per portarvi un episodio che è rimasto nel cassetto a lungo… Crediamo che un episodio che parla di armi ed armature possa interessare a molti poiché sicuramente è uno degli argomenti di spicco dell'epoca medievale, un qualcosa che attira semplici curiosi come noi folli appassionati!BUYMEACOFFEE: https://www.buymeacoffee.com/Giovanni.P INSTAGRAM: https://www.instagram.com/medioevo_fa_storia/ FACEBOOK: https://www.facebook.com/MedioevofaStoria/ Music: sun guard, farm, white woodlands, woods of imaginations, adventure by Alexander Nakarada ( www.serpentsoundstudios.com ) Licensed under Creative Commons BY Attribution 4.0 License Logo design: https://www.fiverr.com/quatorzedesigns

See how to build a sturdy, wire armature for a sculpture of a dog. Tools are explained and the different gauges of wires that are required to build an armature that will hold up well when sculpting. Demo by Art Prof Clara Lieu. Join our Patreon group where you can share your art in weekly voice sessions with staff, get critiques from Prof Lieu, and find support in a small group of artists: https://artprof.org/support-us/ 

A list of things you can do to avoid going out on St. Patrick's day.

The Filmlosophers and Intern Amy aren't finished with the spooky season yet as they immerse themselves in the world of stop-motion Henry Selick's latest work released by Netflix, Wendell & Wild. The Puppeteering Patrons regal the history of the long-lost art form as they review the much anticipated film starring the Key and Peele duo. Will the children's flick come off a bit too heavy handed with their messaging? Or has Selick and Peele created a new way to breathe new life into the art form? Grab your boom boxes & your popcorn, & tune in to find out in this week's episode of The Filmlosophers!

How to make Sans out of clay. 0:00 Intro 0:20 Armature 0:45 Skull 1:45 Body 3:03 Bake 3:06 Painting 4:45 Glamour shots

Bienvenidas y bienvenidos a Recarga Activa, el podcast diario de AnaitGames en el que filtramos lo más relevante de la actualidad del videojuego en pildorazos de 10-15 minutos:1️⃣ Meta compra Armature Studio, Camouflaj y Twisted Pixel2️⃣ FIFA 23 es el mejor estreno de la franquicia, con 10,3 millones de jugadores la primera semana3️⃣ Don't Nod anuncia ocho proyectos para los próximos tres años4️⃣ PlayStation Stars ya está disponible en EuropaSuscríbete para recibir el siguiente episodio en tu gestor de podcasts favorito. Puedes apoyar nuestro proyecto (y acceder a un montón de contenido exclusivo) en Patreon: https://www.patreon.com/anaitreload Hosted on Acast. See acast.com/privacy for more information.

On today's show, we speak with Hamptons Interactive Brunch founder and co-creator Vanessa Gordon. Vanessa chats all things Hamptons Interactive Brunch and how it benefits the Children's Museum of the East End. She's also the publisher of East End Taste magazine, a foodie, along with being a world traveler and culinary expert. Saturday's event is being orchestrated by event planners to the stars and co-creators of Hamptons Interactive Brunch, Brian Kelly & Sean Kofski of Ticket2Events. To keep up with all things Hamptons Interactive Brunch, follow them on IG at: @hamptonsinteractivebrunch Follow Vanessa's East End Taste on IG at: @eastendtaste For event planning, follow Brian and Sean on IG at: @ticket2events Follow the Children's Museum of the East End on IG at:  @cmeegram Next up on today's show is friend of The Big Fat Joey Show, Joanne, J-Brid, Phillips. Joanne has been involved in music and the arts for over 30 years and now, as the marketing ambassador & consultant for the Strongbox Theater, she is taking her love of the arts and music to new heights by helping to bring, to Long Island, a state-of-the-art live performance theater. Strongbox Theater will be making its official debut in the Winter of 2023 featuring a state-of-the-art Off-Off Broadway theater as well as a lounge with live music that focuses on supporting the indie musician/original music industry, an art gallery, film screenings and live comedy performances.  In the interim, Strongbox Theater will be hosting Strongbox in the Park. This is a short works festival of original plays and live music taking place in the outdoor amphitheater at Memorial Park in East Rockaway, NY. The festival runs Fri-Sun, July 22, 23, 24, 29, 30, 31 and August 5, 6, and 7.   For tickets and info, follow them at: www.strongboxtheater.com On IG at: @strongboxtheater And follow Joanne, J-Bird, Phillips on IG at: @jbirdphillips To wrap up today's show we have multi-talented singer, songwriter, and actress Jaeden Zoe. We'll also be listening to her latest HIT song 'What Is Love' dropping 8.05.22. Jaeden is a Brooklyn native who moved to LA to pursue her dreams and to find her Hip-Hop/Pop Music sound. Jaeden has been on TV shows such as Chasing Destiny on BET, Not Safe Show with Nikki Glaser, and Jimmy Kimmel Live. Apart from music, Jaeden is also known as a fashion muse, being featured in NY and LA Fashion Week for designers Sara Angelucci, ARMATURE, Kristin Silvestri, Armour & Arrows, and Marco Hall. To keep up with all that she's doing, follow her on IG at: @jaedenzoe Thank you for listening and follow us on IG at: @Thebigfatjoeyshow

David sits down with Tom Ivey of Armature Studio to talk about their VR take on Resident Evil 4. The two discuss what decisions went into making the game work for virtual reality and The Mercenaries update. Lisa and David discuss their picks for other classics that could be reimagined in VR and debate which horror game deserves a revival.For more information, follow @OtherGamingPod on Twitter and Instagram and join our Facebook Group at facebook.com/groups/thatothergamingpodcast.

Vadim Mirnichenko, fabbro ucraino di 39 anni, prima che la Russia invadesse l'Ucraina e con i suoi carrarmati arrivasse alle porte della sua città natale, Zaporizhzhia, costruiva spade e scudi. Anche se la specialità della casa erano i pettorali in acciaio, in grado di deviare ogni affondo nemico. Ora, con la guerra in casa, è stato costretto a rivedere le suepriorità.

L'enseignante de chimie Caroline Cormier répond au questionnaire de l'émission; Gabrielle Anctil se demande s'il faut brûler nos brassières; le microbiologiste Yves Brun parle de ses recherches sur les bactéries; et Charles Prémont explique pourquoi les planètes et les galaxies n'ont pas la même forme.

As hearing aids and consumer audio devices converge, a wider range of people with hearing difficulties will have choices on the type of product they want to wear. At the heart of this convergence are transducers. In this episode of This Week in Hearing, find out how Knowles Electronics, a household name in the hearing care business, has been leading innovation for more than 50 years. Be sure to subscribe to our YouTube channel for the latest episodes each week, and follow This Week in Hearing on LinkedIn and Twitter: https://www.linkedin.com/company/this-week-in-hearing/ https://twitter.com/WeekinHearing

Meet Rosie our non-existent producer as we talk about the Twenty-One Pilots concert! We AirBnB it in Tampa and Melissa snore shames Bethany while she sleeps on concrete. We recommend you take a shot for every time you hear diarrhea during this episode. Cheers to one of our favorite places in Florida, TAMPA! Pura Vida shopping link: https://bit.ly/3pYg1dk Places we visited and recommend: The Armature, Dixie Dharma

Episode: 2149 Electrical words and a vision of the future.  Today, a new language for a new technology.

Jack Mathews is a game designer who is most well known for being technical lead engineer on the Metroid Prime Trilogy. We went onto found Armature Studios and work on games like Recore and Batman Arkham Origins: Black Gate. He now works with his wife on her cooking blog Love & Lemons.   SOCIAL MEDIA TWITTER - @jack_mathews FOOD WEBSITE - www.loveandlemons.com   TIMESTAMPS 00:00 - Intro 01:25 - How Metroid Prime Trilogy Consistently Kept 60FPS 05:05 - Jack Tried To Kill Skytown/How Skytown Was Created 08:55 - Jack Stopped MP3 From Having Water In It 10:22 - Jack Killed Off A Dark Water Effect That Tanabe Had For Prime 2 11:52 - Original Concept For Dark Aether 16:49 - Dark Sanctuary Fortress Was The Only Area That Wasn't Based On Original Dark Aether Concept 18:12 - Tilt Of Camera During Platforming/Original Concept For Platforming In First Person 21:10 - Original Concept For The Thermal Visor 22:13 - Scan Visor In Prime 2 23:16 - Michael Kelbaugh Hated Jack's Original Dark Visor Idea 24:01 - Echo Visor Inspired By Ben Affleck's Daredevil Movie 24:44 - Biggest Difficulty Of Visors Was Keeping 60FPS/Scan Visor In MP3/How To Create Bloom Lighting 27:03 - How Nova Beam Worked Technically 29:18 - Visor Effects Weren't Difficult To Implement 29:44 - Difference Between Specular And Diffuse Lighting/How Samus Reflections Were Implemented 32:34 - How Fog Was Created For Splinter Hive Area 33:24 - Nintendo Never Wanted Metroid Prime To Be A TPS/Shigeru Miyamoto Realising How Important Metroid Is In The West 35:10 - Creating The Morph Ball Camera/Mark Haigh Hutchinson Needs More Praise 36:12 - How The R.U.D.E Engine Was Created/Early Days Of Retro Studios 41:30 - Moments Jack Realised That Metroid Prime Was Something Special 45:20 - Jack Left Retro Studios Because Of Metroid Fatigue & Technical Limitations With Wii Hardware 49:35 - Retro Studios Overhaul During MP2 Reinvigorated The Team/MP3 Was When Retro Got More Autonomy  52:04 - Problems When First Forming Armature Studios 54:22 - Nintendo's Approach To Game Design/Problems With Western Game Design 56:30 - Financing Of Game Prototypes/Business In The West Vs Japan 1:03:20 - A Lot Of People Can Design A Game But Cant Build A Game/Time Is Needed To Polish 1:05:10 - Bluepoint Games Are Great At Remasters/Remastering Games 1:06:56 - Jack's Wifes Cook Books/Jack Does Miss Being In The Game Industry 1:09:04 - Where To Follow Jack Mathews/Love & Lemons 1:09:40 - Jack Puts Rumours To Rest That He Doesn't Like Metroid Prime 2

Todd Keller, one of the founders of Armature Studios and director of the recently released Narrative Adventure game Where the Heart Leads for PS4, joins Matt & Geoff to discuss the title's development and the ways player agency and investment can enrich the reality of the stories a game tells You can find this episode's guest and Armature Studio on Twitter You can find art from Where the Heart Leads on Instagram

Armature wrestling has forgotten that it comes from a more exciting style. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/catchwrestlingalliance/message Support this podcast: https://anchor.fm/catchwrestlingalliance/support

Armature wrestling has forgotten that it comes from a more exciting style. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/catchwrestlingalliance/message Support this podcast: https://anchor.fm/catchwrestlingalliance/support

The guys bring you in on the twist and turn of a episode as they discuss the triathlon they competed in, Connor McGregor's ankle, and bring you down memory lane to Travis's college days!

Alexander Lowen, padre e fondatore della bioenergetica, branca fondamentale della psicologia moderna che sancisce un collegamento fondamentale tra mente e corpo, definisce le cinque principali armature caratteriali che l'essere umano dal concepimento fino a quasi i primi sei anni di vita, sviluppa come difesa alla sofferenza della disattenzione di alcuni dei suoi diritti fondamentali durante i primi mesi e anni di crescita appunto. Oggi passiamo in rassegna le cinque principali armature caratteriali che Lowen ha identificato e studiato per una vita intera e che stanno alla base dell'analisi bioenergetica. Iscriviti al #podcast, commenta e condividi con i tuoi amici le #puntate di #thebigfatvoice, seguiti sui #social, rimani in contatto e buon ascolto! Visita il sito http://www.mbgvoice.com (www.mbgvoice.com)  Segui la pagina Facebook https://www.facebook.com/thebigfatvoice (https://www.facebook.com/thebigfatvoice)  Segui il profilo Instagram https://www.instagram.com/thebigfatvoice (https://www.instagram.com/thebigfatvoice) Puoi metterti in contatto con Massimiliano scrivendo a info@mbgvoice.com Fai girare la voce… o meglio… fai girare #thebigfatvoice Musica originale by #audiio @helloaudiio www.audiio.com

Ce lundi 22 mars, les spécificités de leur lingerie et leur stratégie pour se démarquer des autres marques ont été abordées par Caroline Juvin, créatrice et fondatrice de Fleurs Pois & Cie, dans la chronique La pépite dans l'émission Good morning business présentée par Sandra Gandoin et Christophe Jakubyszyn sur BFM Business. Retrouvez l'émission du lundi au vendredi et réécoutez la en podcast.

*We do pray for Dave Palumbo's health and good news*Welcome to The Truth Podcast with Hany Rambod!In Episode 24, Hany Rambod finally has a long time friend CEO RX Muscle Dave Palumbo.Tune in as Hany dives into the health concerns that Dave is currently facing and the importance of blood work and check ups. Armature or Professional this is an episode you don't want to missed Tune in now to hear Episode 24!If you enjoy this podcast please like, subscribe, comment below what you would like to see next and who you would like to see on this podcast!Be sure to hit the bell on the notification to be first to know about the latest episode. INTERACT WITH Dave PalumboINSTAGRAM: https://www.instagram.com/huge285/RX Muscle: https://www.instagram.com/official_rxmuscle/INTERACT WITH MEINSTAGRAM: http://bit.ly/HANYINSTAGRAMFACEBOOK: http://bit.ly/HANYFACEBOOKYOUTUBE: https://www.youtube.com/channel/UCILtJghd5UNT5fOF4zq8uJgTWITTER: https://twitter.com/hanyrambod =============================================

We have another founder episode this week but with someone very special! For this episode, we had the pleasure of interviewing the advisor program lead for the Bronco Venture Accelerator and a founding member at Armature Systems, Alexi Sevastopoulos. In this interview, we dive into how Alexi went about starting Armature Systems, what he has learned throughout the process of growing his company, and how he got involved with the BVA. As always, we end with our personal questions for us to get to know Alexi a little better.

Thank you for tuning in episode eight! In this episode, we talk give you our Christmas and New Year recap. We finally reveal the Christmas gifts we gave to our significant others, which you'll find both sentimental and hilarious. Special shout out to SnowcatRidge, Armature works, Munai.bo and Yes_customs. Follow us on Instagram @katandsarahchroniclez to catch special IG stories.

Connect with Sarah Hempel IraniSupport The Podcast! Featured Music: Songs of Water

Il brand di Bungie che si è fatto amare e odiare ...al quale non possiamo rimanere indifferenti perchè ha cambiato tutto ! Ecco la nostra opinione su Destiny !Da tre amici con la passione per i videogiochi nasce un podcast in cui si parlerà di ciò che accade nel panorama videoludico (e non). Noi siamo Alessandro, Lorenzo e Luca e speriamo che ciò che ascolterete vi possa piacere. Se avete consigli o domande non esitate a lasciare un commento. Ogni feedback servirà a poterci migliorare. Se volete contattarci la nostra mail è:TriangoloNerdAngolo@gmail.comPotete ascoltare il nostro Podcast anche qui:Spotify: spotify:show:5apkLHAcyXPUUhMEcXFgvBApple Podcast: https://podcasts.apple.com/us/podcast/triangolonerdangolo-podcast/id1469691797?uo=4Google Podcast: https://www.google.com/podcasts?feed=aHR0cHM6Ly93d3cuc3ByZWFrZXIuY29tL3Nob3cvMzUyNTQ0OS9lcGlzb2Rlcy9mZWVkCastbox: https://castbox.fm/channel/id2155202Spreaker:https://www.spreaker.com/show/triangolonerdangolos-showInoltre potete seguirci sui nostri social:Instagram: https://instagram.com/triangolonerdangoloFacebook: https://www.facebook.com/triangolo.nerdangolo

L’epoca rinascimentale, caratterizzata da endemici conflitti tra le più grandi potenze dominanti, ci ha lasciato un enorme patrimonio di oggetti relativi all’arte della guerra, armi, armature, che oggi diventano una forte testimonianza, oltre che del progresso scientifico e tecnologico, della cultura e dei valori simbolici che vi erano associati.

Each character in Nightmare Before Christmas has a posable skeleton. Somebody had to make them. Chris tells us about it.

Trees Are Key Do you know the difference between spines, thorns, and prickles? It’s primarily based on the tissue source that develops into the plants weapon. It may not be key for most homeowners to know the difference, but this can be vital for tree identification. Species Spotlight Bluewood, Condalia hookeri, is also known as bluewood condalia or brasil. This tough, Texas native is a small tree or large thorny shrub, often forming thickets. This species grows up to 25 feet tall with a trunk up to 8" in diameter, with a rounded crown. Light green foliage distinguishes it from other brush species.

On this week’s episode of our weekly Nintendo gaming podcast Aj & Parker discuss details from Nintendo’s Q2 2019 financial reports, 3DS franchises coming to Switch, Toby Fox’s Pokémon Sword & Shield song, Metroid Prime 4 development updates, Q&A, & MORE! Directly To You - News Segment Episode: 86 0:00 - Housekeeping - What we’re playing - Nintendo Q3 Results - More 3DS Franchises Will Come To Switch - Toby Fox music in Pokemon - Rumor: Metroid Prime 4 Outsourcing to Armature & Appoints Art Director - Blizzcon - AJ Video - Parker Video - Q&A Headline: Nintendo’s Q3 Results Source: https://nintendoeverything.com/nintendo-million-sellers-october-2019-mario-maker-2-and-links-awakening-over-3-million-fire-emblem-at-2-29-million-more/ https://nintendoeverything.com/nintendo-financial-results-six-months-ended-september-30-2019-switch-now-at-41-67-million/ ------------------------------------------- Headline: More 3DS Franchises Will Come To Switch Source: https://nintendoeverything.com/nintendo-says-it-will-make-more-3ds-franchises-available-on-switch/ ------------------------------------------- Headline: Toby Fox composed a song for Pokemon Sw/Sh Source: https://www.lootpots.com/articles/toby-fox-composed-one-of-pokemon-sword-and-shields-music-tracks-01112019/ ------------------------------------------- Headline: Rumor: Metroid Prime 4 Outsourcing to Armature & Appoints Art Director Source: https://www.videogameschronicle.com/news/metroid-prime-4-team-secures-artist-behind-halos-spartans/ https://www.youtube.com/watch?v=73m1khgKsuk ------------------------------------------- ► Twitter - https://twitter.com/FanatixFour ► Aj's Twitter - https://twitter.com/AMcRaeJr ► Parker's Twitter - https://twitter.com/ParkerDeal ► Facebook - https://www.facebook.com/fanatixf ► Instagram - http://www.instagram.com/fanatixfour --- Send in a voice message: https://anchor.fm/dty/message Support this podcast: https://anchor.fm/dty/support

I read from arm to armature. The word of the episode is "armadillo". dictionarypod@gmail.com https://www.facebook.com/thedictionarypod/ https://twitter.com/dictionarypod https://www.instagram.com/dictionarypod/ https://www.patreon.com/spejampar 917-727-5757

Fore delivers his formative understanding of story craft and running tabletop roleplaying games. Many props go to Brian McDonald who's Invisible Ink plays prominently in this tentative beginning. Mainly, it is to cover all the bases of how I'll be interpreting and relating the techniques discussed here with that of ttrpg's.

Welcome to D&Diy! Dungeons and Diy is a show for everyone. This week we talk to Tyler from @Dicemail about how he makes custom chain bags for your dice! Follow Tyler Here: Insta: @Dicemail Kickstarter: https://www.kickstarter.com/projects/dicemail/dicemail supplies for making your own Chain mail! Sterling Seal ORBN008x1000 Number-008 Standard O-Ring, Buna Nitrile Rubber, 70 Durometer Hardness, 3/16" ID, 5/16" OD (Pack of 1000) https://www.amazon.com/dp/B015O325V4/ref=cm_sw_r_cp_apa_i_bL1mDbZ5MZGE3 Mandala Crafts Anodized Aluminum Wire for Sculpting, Armature, Jewelry Making, Gem Metal Wrap, Garden, Colored and Soft, 1 Roll(16 Gauge, Copper Tone) https://www.amazon.com/dp/B00T831T8M/ref=cm_sw_r_cp_apa_i_6L1mDb6ZJ6WXY Subscribe and follow us on social media Insta: @Dungeonsanddiy Twitter: @Dungeonsanddiy Want to leave us a message and be featured on the show? You can do that here! https://anchor.fm/D-n-DIY/message Want to help support this show? Consider a small donation to keep these episode rolling! Go to Anchor.fm/D-n-diy and click "Support this Podcast!" --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/D-n-DIY/support

FREELANCERS, stop limiting yourself to local business! Kate Bouchard is pro-freelancing and believes that the best time to be creative doesn't have to be within the hours of 9-5. Don't be afraid to find your competitive advantage and go against the grain. Kate has proven to be a powerhouse in her field and within one year of Armature Collective, she has been nominated for this year’s RBC Women of Influence Awards and will be submitting in the “Ones to Watch” category. CHECK THIS EPISODE OUT! Running a freelance remote team How to get the best quality work Finding the best clients Marketing YOURSELF as a marketing company Watch on Youtube: https://youtu.be/Q5UwGI9ZqZE ♥ Stay sassy with us!  ➝ INSTA: http://www.instagram.com/glowradioco ➝ FACEBOOK: https://www.facebook.com/glowradioco ➝ WEBSITE: https://www.whoaglow.com (https://www.whoaglow.com/)

  Megan Dooley is back to discuss Stanley vs. Winkle, old-timey cinema, and personal horror stories, including a monster sarcoma.   Download the file here: Shining Episode 43     Photos from my visit to The Cinema Museum, London   Possibly the oldest of Willis O’Brien’s animations (1915).   Armature of one of the ape puppets […]

Let’s talk about WINE. Today, we’re chatting with Tampa-based sommelier Jen Bingham all about the basics of growing wine, plus: some labels on wine (“natural”? “organic”? “biodynamic”?) + how you can make some smarter, more eco-conscious wine purchases. Find Cru Cellars on Instagram or in Tampa at: 1910 N Ola Ave, Tampa, FL 33602 + ArmatureRead more The post 27: The Wine Down, Jen Bingham, Cru Cellars Tampa appeared first on Laura E Diez.

Mastering the Storm is a Heroes of the Storm Podcast Tweet at us @masteringstorm Host LDAP - @ldaptv Host Wenzeltron - @erichwenzel Episode 6 - Do Freudian Slips matter in Hots / eSports ? * Gladwell on Freudian Slips and performance - https://tinyurl.com/yaos2ayw * Armature vs Professionals or Resistance vs Mastery - https://tinyurl.com/y9stnf5u * Does Grit matter in performance? - https://tinyurl.com/y7dsg2gp Hero Lab Mephisto Release - https://tinyurl.com/ydyj3ure Possible Role changes coming soon? - https://tinyurl.com/ybpala5p Ragnaros Hero Discussion - https://tinyurl.com/y9ar3g37 The Lost Vikings Hero Discussion - https://tinyurl.com/y85ermwv JHow's Main Tank Table - https://tinyurl.com/y7v4fyrm

In this episode of "You Are a Storyteller," Belief Agency founder and creative director, Jesse Bryan, and chief storyteller, Brian McDonald, cover the most essential component of any story: the armature. The armature is what holds everything up; it's the scaffolding so to speak. Not all stories have an armature, but all the best ones do—and we'll teach you how to spot one.

Hey all! No episode this week as we prepare for the next step in our heroes' adventures, but there is bounty still to be found in the Endless Sea! The Celestial Armature Frame Expansion booklet is out now on Drivethrurpg!!!Check it out, make your own CAF's, and make sure to tell us all about it on Twitter using the hashtag #rolldiceandcry! We'll be back with your regularly scheduled fantastical adventures next week, but until then, have a great day, and thank you so much for listening! See acast.com/privacy for privacy and opt-out information.

FEATURING: Discussion of hands-on time with Nintendo's first-party titles.Interview with Armature Studios, who are making Batman for 3DS

http://www.polymerclaytv.com In this episode of Polymer Clay TV we show you how a simple aluminum beer bottle can be used as an armature with polymer clay. We silkscreen a fun design on to the clay and add some fun embellishments. Have fun!