March 02, 2012
March 01, 2012
Fighting Fantasy Books
I saw James' post on his blog and it brought back so many memories of this chose-your-own-adventure style series of books. I used to read and play these when I was a kid, it's what eventually got me into Dragonlance and Lord of the Rings novels.
Fighting Fantasy was a series of single-player role-playing gamebooks created by Steve Jackson and Ian Livingstone. Originally published by Puffin Books, they are now published by Wizard Books who took over the license in 2002 after Puffin discontinued the series at the end of 1995. Although not the first books to use this format, Fighting Fantasy popularized the format and spawned dozens of imitators.
I was 10 years old when I read through my first book. I was hooked, for the next three years I started collecting them. It definitely got my imagination going and inspired many of the stories and campaigns that I would eventually dream up for the D&D games I would direct for my friends years later. Yes... I am a geek!
The first book I had was Island of the Lizard King. Just as all other books of its kind, the cover art blew my mind, and like most great fantasy novels it fuels your imagination and creates the visual catalyst for the stories within.
My two favourite artists for the interior illustrations were Russ Nicholson and Ian McCaig.
McCaig is still a well established fantasy/sci-fi concept artist for film, including a character/creature designer for the newer Star Wars films.
The Creation of Fighting Fantasy Books
British writers Steve Jackson (not to be confused with the US-based game designer of the same name) and Ian Livingstone, co-founders of Games Workshop, authored the first seven books in the series, after which point the writing stable was expanded.
The Fighting Fantasy gamebooks were similar to other interactive gamebooks that were being published at the time — most notably the Choose Your Own Adventure series – in that the reader takes control of the story's protagonist, making many choices over the course of the story and turning to different pages in order to learn the outcome of their decisions. The Fighting Fantasy series distinguished itself by the use of a dice system to resolve combat and other situations, not unlike that used in Dungeons & Dragons and other role-playing games, though far simpler.
The action in a Fighting Fantasy gamebook is split into small sections, ranging from a paragraph to a page, at the end of each of which the character usually must make a choice or roll a die. Each page features several of these sections, each headed with its number in bold. Where the page number would appear in an ordinary book, a Fighting Fantasy book gives the range of sections appearing on that page, much as some dictionaries do for the words listed on a page.
With the notable exception of Steve Jackson's Sorcery! miniseries, all entries in the series are stand-alone and do not assume any prior knowledge on the part of the player. That said, many of them take place in a single world known as Titan, and the three books which deal with the wizard Zagor, (namely The Warlock of Firetop Mountain, Return to Firetop Mountain and Legend of Zagor), are undoubtedly more rewarding if played in sequence, as are the books Deathtrap Dungeon, Trial of Champions and Armies of Death.
The first book of this series was conceived in 1980, when Steve Jackson and Ian Livingstone met Geraldine Cooke, a Penguin Books editor, at the Games Workshop's annual Games Day exhibition at the Royal Horticultural Halls in London. Initially Cooke was interested in publishing a "how-to-do-it" book on fantasy role-playing games but when creating the synopsis, Jackson and Livingstone became less inclined to write a technical manual. Instead they fused basic role-playing rules and fantasy adventure plots so that the reader would be able to take part in the book as a single-player role-playing game; the gamebook concept. The pair began work on the project in 1980, initially titled The Magic Quest, and spent much of the time formulating the mechanics of how it would work.
Cooke was sent the manuscript and asked whether it was to be aimed at adults or children. Although the two authors believed it should be both, Tony Lacey, head of Puffin Books (Penguin's imprint for children, suggested that a targeted demographic of nine-to-twelve-year-olds would result in the highest sales. Also, the original synopsis was mainly pictures with text at the bottom such as "Do you want to fight this ogre? Turn to page ..." Although Penguin said they would like to go with it, it would have to be without all the pictures because it would cost a fortune.
After over six months of frustrating waiting, Jackson and Livingstone were commissioned to write the book and it was not until over a year later that the decision to publish was finally made. In August 1981 they began work. Although both authors disliked this title, after "endless debates" they could not come up with an alternative. Eventually the two came up with a compromise. Livingstone, who wrote the first part, had mentioned in the opening paragraph that the whole adventure took place in Firetop Mountain. Jackson, who wrote the final part, had created a climatic battle with a powerful warlock. On the day the book was handed in it was agreed that the two elements would be combined to create the final title: The Warlock of Firetop Mountain. Ian Livingstone also came up with the brand name "Fighting Fantasy" when prompted by Puffin to do so.
The books editor, Philippa Dickinson, was thorough. She highlighted inconsistencies, made suggestions over formatting, and had much to do with the final combat system that was used. She also pointed out the difference in writing styles for the first and second halves was clear and this ended up requiring a second draft. Each author had written half of the adventure each (Livingstone wrote the first half, up to the river crossing, which made a convenient hand-over point, and Jackson wrote the climax of the adventure), and the writing style noticeably changed part way through the book - so Jackson re-wrote Livingstone's part of the book in his own style. The finished book was made up of a clean 400 numbered references, which set the standard for the books that followed. This was, however a coincidence.
When Jackson and Livingstone combined the two halves of the adventure it transpired that the numbered references, when added together, made a sum of 399. A fake key reference was added to bring to total up to 400. In August 1982 the first Fighting Fantasy gamebook, titled The Warlock of Firetop Mountain, finally appeared and went on to sell out its first print run in a matter of weeks, helped in no small part to the Puffin Book Club and articles in the White Dwarf magazine. It eventually sold over a million copies in fifteen languages.
Sources of my research and images:
http://www.gamebooks.org
http://fightingfantasy.wikia.com
February 29, 2012
Everythimg is a Remix
I love this series.
Watch the previous ones first:
Part 1, Part 2, Part 3, Kill Bill
Watch the previous ones first:
Part 1, Part 2, Part 3, Kill Bill
from Kirby Ferguson
The Suicide Shop
The animated adaptation of the popular French comic is finally complete.
The New Trailer:
The Technique looks like Flash and Photoshop but I don't know for certain.
Directed by Patrice Leconte.
The Old English Teaser:
The New Trailer:
The Technique looks like Flash and Photoshop but I don't know for certain.
Directed by Patrice Leconte.
The Old English Teaser:
February 28, 2012
Peter Nagy's Process for "Mother Earth"
The Work in Progress
The Final Clip
Character model & rig: David Gallagher
Character pre-modeling by Péter Nagy
Character additional models by Patrice Creusot & Péter Nagy
Environmental models by Péter Nagy
Smoke FX by Attila Chovanecz & Péter Nagy
Lighting & Render by Szabolcs Siklósi
Post work by László Maczó
Edited by Péter Nagy
The Final Clip
Character model & rig: David Gallagher
Character pre-modeling by Péter Nagy
Character additional models by Patrice Creusot & Péter Nagy
Environmental models by Péter Nagy
Smoke FX by Attila Chovanecz & Péter Nagy
Lighting & Render by Szabolcs Siklósi
Post work by László Maczó
Edited by Péter Nagy
February 27, 2012
Gap Kim
Get ready to have your face melted off! Korean Animation Director, Gap Kim, launched his new website, and it's crazy awesome. He's the maker of that mind blowing film Aachi & Ssipak I was talking about a few years ago. His site has tons of layouts, color keys, and all sorts of stuff from his new body of work. Check it out.
Aachi &Ssipak :
Forest of Nemi :
Mad Monkey :
Film d'ouverture du festival SICAF 2006 :
Egalement une séquence animée sur laquelle il a bossé pour le film live Petty Romance :
Aachi &Ssipak :
Forest of Nemi :
Mad Monkey :
Film d'ouverture du festival SICAF 2006 :
Egalement une séquence animée sur laquelle il a bossé pour le film live Petty Romance :
The Art of Stephen Gammell
Stephen grew up in Iowa. His father, an art editor for a major magazine, brought home periodicals that gave Stephen early artistic inspiration. His parents also supplied him with lots of pencils, paper, and encouragement. He is entirely self-taught.
He started his career with commercial freelance work, but became interested in children's book illustration. His first book, A Nutty Business, was published in 1973. Since then, he has illustrated over 50 titles.
If you are interested in studying Steven Gammell’s art first hand, I recommend checking out the Scary Stories boxed set: Scary Stories Boxed: Set by Alvin Schwartz and Steven Gammell
A friend once told Stephen that his illustrations "looked like they just happened before you turned the page." He responded by saying:
"That statement startled me and I've never forgotten it. I have kept that in mind each time I do a book. I try to have that element of surprise and fun in every drawing. This is why I never do any sketches beforehand, or plan ahead. My desire is that it happens for me in much the same way it happens to whoever will be looking at the book." (TTLG).Here's some samples of his art.
This bio written by Stephen for the Children’s Literature Network is just perfect and gives a fan a little more insight into how cool this guy is.
Some of my earliest and happiest memories are of lying on the floor in our old house in Des Moines, books and magazines around me, piles of pads and paper, lot of pencils…and drawing. Just drawing! I was four at the time thinking that I really didn’t want to go to school next year…I just want to do THIS.
Well, these many years later, here I am doing THAT. Drawing. Painting. Making art. Making books. What I wanted to do.
Sometimes there is uncertainty about not getting on paper what I see in my mind’s eye, or wondering about how to achieve a certain effect, or even being puzzled about the direction an illustration is going, or should go. But never any dissatisfaction about what I am doing in life. I’ve alway felt, and I’ve said this, that a bad day at the studio is better than a good day doing anything else (with the possible exception of a wilderness hike, or watching a Laurel and Hardy movie).
So, still at it. Still on the journey. Still taking a perfectly good sheet of paper and ruining it. My thanks to all who enjoy my efforts. Hopefully we’ll continue to enjoy them together.”
- Stephen Gammell
February 26, 2012
Pinball Wizard Steve Kordek - Dies at 100 (impressive score)
Though he was employed by gaming company Genco at the time of his dual-flipper invention, Kordek later moved on to work for Bally Manufacturing and Williams Manufacturing, where he created games like Space Mission and Grand Prix. With the clink and clank of pinball ingrained in our collective cultural awareness as deeply as any other form of entertainment, it's safe to say Kordek has left a lasting impression. We've included some videos of Steve Kordek-designed pinball games below.
Twelve Things You Were Not Taught in School About Creative Thinking
There are many aspects of creative thinking are not usually taught. Here's an article from creativitypost.com by Michael Michalko.
1. You are creative. The artist is not a special person, each one of us is a special kind of artist. Every one of us is born a creative, spontaneous thinker. The only difference between people who are creative and people who are not is a simple belief. Creative people believe they are creative. People who believe they are not creative, are not. Once you have a particular identity and set of beliefs about yourself, you become interested in seeking out the skills needed to express your identity and beliefs. This is why people who believe they are creative become creative. If you believe you are not creative, then there is no need to learn how to become creative and you don't. The reality is that believing you are not creative excuses you from trying or attempting anything new. When someone tells you that they are not creative, you are talking to someone who has no interest and will make no effort to be a creative thinker.
2. Creative thinking is work. You must have passion and the determination to immerse yourself in the process of creating new and different ideas. Then you must have patience to persevere against all adversity. All creative geniuses work passionately hard and produce incredible numbers of ideas, most of which are bad. In fact, more bad poems were written by the major poets than by minor poets. Thomas Edison created 3000 different ideas for lighting systems before he evaluated them for practicality and profitability. Wolfgang Amadeus Mozart produced more than six hundred pieces of music, including forty-one symphonies and some forty-odd operas and masses, during his short creative life. Rembrandt produced around 650 paintings and 2,000 drawings and Picasso executed more than 20,000 works. Shakespeare wrote 154 sonnets. Some were masterpieces, while others were no better than his contemporaries could have written, and some were simply bad.
3. You must go through the motions of being creative. When you are producing ideas, you are replenishing neurotransmitters linked to genes that are being turned on and off in response to what your brain is doing, which in turn is responding to challenges. When you go through the motions of trying to come up with new ideas, you are energizing your brain by increasing the number of contacts between neurons. The more times you try to get ideas, the more active your brain becomes and the more creative you become. If you want to become an artist and all you did was paint a picture every day, you will become an artist. You may not become another Vincent Van Gogh, but you will become more of an artist than someone who has never tried.
4. Your brain is not a computer. Your brain is a dynamic system that evolves its patterns of activity rather than computes them like a computer. It thrives on the creative energy of feedback from experiences real or fictional. You can synthesize experience; literally create it in your own imagination. The human brain cannot tell the difference between an "actual" experience and an experience imagined vividly and in detail. This discovery is what enabled Albert Einstein to create his thought experiments with imaginary scenarios that led to his revolutionary ideas about space and time. One day, for example, he imagined falling in love. Then he imagined meeting the woman he fell in love with two weeks after he fell in love. This led to his theory of acausality. The same process of synthesizing experience allowed Walt Disney to bring his fantasies to life.
5. There is no one right answer. Reality is ambiguous. Aristotle said it is either A or not-A. It cannot be both. The sky is either blue or not blue. This is black and white thinking as the sky is a billion different shades of blue. A beam of light is either a wave or not a wave (A or not-A). Physicists discovered that light can be either a wave or particle depending on the viewpoint of the observer. The only certainty in life is uncertainty. When trying to get ideas, do not censor or evaluate them as they occur. Nothing kills creativity faster than self-censorship of ideas while generating them. Think of all your ideas as possibilities and generate as many as you can before you decide which ones to select. The world is not black or white. It is grey.
6. Never stop with your first good idea. Always strive to find a better one and continue until you have one that is still better. In 1862, Phillip Reis demonstrated his invention which could transmit music over the wires. He was days away from improving it into a telephone that could transmit speech. Every communication expert in Germany dissuaded him from making improvements, as they said the telegraph is good enough. No one would buy or use a telephone. Ten years later, Alexander Graham Bell patented the telephone. Spencer Silver developed a new adhesive for 3M that stuck to objects but could easily be lifted off. It was first marketed as a bulletin board adhesive so the boards could be moved easily from place to place. There was no market for it. Silver didn't discard it. One day Arthur Fry, another 3M employee, was singing in the church's choir when his page marker fell out of his hymnal. Fry coated his page markers with Silver's adhesive and discovered the markers stayed in place, yet lifted off without damaging the page. Hence the Post-it Notes were born. Thomas Edison was always trying to spring board from one idea to another in his work. He spring boarded his work from the telephone (sounds transmitted) to the phonograph (sounds recorded) and, finally, to motion pictures (images recorded).
7. Expect the experts to be negative. The more expert and specialized a person becomes, the more their mindset becomes narrowed and the more fixated they become on confirming what they believe to be absolute. Consequently, when confronted with new and different ideas, their focus will be on conformity. Does it conform with what I know is right? If not, experts will spend all their time showing and explaining why it can't be done and why it can't work. They will not look for ways to make it work or get it done because this might demonstrate that what they regarded as absolute is not absolute at all. This is why when Fred Smith created Federal Express, every delivery expert in the U.S. predicted its certain doom. After all, they said, if this delivery concept was doable, the Post Office or UPS would have done it long ago.
8. Trust your instincts. Don't allow yourself to get discouraged. Albert Einstein was expelled from school because his attitude had a negative effect on serious students; he failed his university entrance exam and had to attend a trade school for one year before finally being admitted; and was the only one in his graduating class who did not get a teaching position because no professor would recommend him. One professor said Einstein was "the laziest dog" the university ever had. Beethoven's parents were told he was too stupid to be a music composer. Charles Darwin's colleagues called him a fool and what he was doing "fool's experiments" when he worked on his theory of biological evolution. Walt Disney was fired from his first job on a newspaper because "he lacked imagination." Thomas Edison had only two years of formal schooling, was totally deaf in one ear and was hard of hearing in the other, was fired from his first job as a newsboy and later fired from his job as a telegrapher; and still he became the most famous inventor in the history of the U.S.
9. There is no such thing as failure. Whenever you try to do something and do not succeed, you do not fail. You have learned something that does not work. Always ask "What have I learned about what doesn't work?", "Can this explain something that I didn't set out to explain?", and "What have I discovered that I didn't set out to discover?" Whenever someone tells you that they have never made a mistake, you are talking to someone who has never tried anything new.
10. You do not see things as they are; you see them as you are. Interpret your own experiences. All experiences are neutral. They have no meaning. You give them meaning by the way you choose to interpret them. If you are a priest, you see evidence of God everywhere. If you are an atheist, you see the absence of God everywhere. IBM observed that no one in the world had a personal computer. IBM interpreted this to mean there was no market. College dropouts, Bill Gates and Steve Jobs, looked at the same absence of personal computers and saw a massive opportunity. Once Thomas Edison was approached by an assistant while working on the filament for the light bulb. The assistant asked Edison why he didn't give up. "After all," he said, "you have failed 5000 times." Edison looked at him and told him that he didn't understand what the assistant meant by failure, because, Edison said, "I have discovered 5000 things that don't work." You construct your own reality by how you choose to interpret your experiences.
11. Always approach a problem on its own terms. Do not trust your first perspective of a problem as it will be too biased toward your usual way of thinking. Always look at your problem from multiple perspectives. Always remember that genius is finding a perspective no one else has taken. Look for different ways to look at the problem. Write the problem statement several times using different words. Take another role, for example, how would someone else see it, how would Jay Leno, Pablo Picasso, George Patton see it? Draw a picture of the problem, make a model, or mold a sculpture. Take a walk and look for things that metaphorically represent the problem and force connections between those things and the problem (How is a broken store window like my communications problem with my students?) Ask your friends and strangers how they see the problem. Ask a child. How would a ten year old solve it? Ask a grandparent. Imagine you are the problem. When you change the way you look at things, the things you look at change.
12. Learn to think unconventionally. Creative geniuses do not think analytically and logically. Conventional, logical, analytical thinkers are exclusive thinkers which means they exclude all information that is not related to the problem. They look for ways to eliminate possibilities. Creative geniuses are inclusive thinkers which mean they look for ways to include everything, including things that are dissimilar and totally unrelated. Generating associations and connections between unrelated or dissimilar subjects is how they provoke different thinking patterns in their brain. These new patterns lead to new connections which give them a different way to focus on the information and different ways to interpret what they are focusing on. This is how original and truly novel ideas are created. Albert Einstein once famously remarked "Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand."
And, finally, Creativity is paradoxical.
To create, a person must have knowledge but forget the knowledge, must
see unexpected connections in things but not have a mental disorder,
must work hard but spend time doing nothing as information incubates,
must create many ideas yet most of them are useless, must look at the
same thing as everyone else, yet see something different, must desire
success but embrace failure, must be persistent but not stubborn, and
must listen to experts but know how to disregard them.
1. You are creative. The artist is not a special person, each one of us is a special kind of artist. Every one of us is born a creative, spontaneous thinker. The only difference between people who are creative and people who are not is a simple belief. Creative people believe they are creative. People who believe they are not creative, are not. Once you have a particular identity and set of beliefs about yourself, you become interested in seeking out the skills needed to express your identity and beliefs. This is why people who believe they are creative become creative. If you believe you are not creative, then there is no need to learn how to become creative and you don't. The reality is that believing you are not creative excuses you from trying or attempting anything new. When someone tells you that they are not creative, you are talking to someone who has no interest and will make no effort to be a creative thinker.
2. Creative thinking is work. You must have passion and the determination to immerse yourself in the process of creating new and different ideas. Then you must have patience to persevere against all adversity. All creative geniuses work passionately hard and produce incredible numbers of ideas, most of which are bad. In fact, more bad poems were written by the major poets than by minor poets. Thomas Edison created 3000 different ideas for lighting systems before he evaluated them for practicality and profitability. Wolfgang Amadeus Mozart produced more than six hundred pieces of music, including forty-one symphonies and some forty-odd operas and masses, during his short creative life. Rembrandt produced around 650 paintings and 2,000 drawings and Picasso executed more than 20,000 works. Shakespeare wrote 154 sonnets. Some were masterpieces, while others were no better than his contemporaries could have written, and some were simply bad.
3. You must go through the motions of being creative. When you are producing ideas, you are replenishing neurotransmitters linked to genes that are being turned on and off in response to what your brain is doing, which in turn is responding to challenges. When you go through the motions of trying to come up with new ideas, you are energizing your brain by increasing the number of contacts between neurons. The more times you try to get ideas, the more active your brain becomes and the more creative you become. If you want to become an artist and all you did was paint a picture every day, you will become an artist. You may not become another Vincent Van Gogh, but you will become more of an artist than someone who has never tried.
4. Your brain is not a computer. Your brain is a dynamic system that evolves its patterns of activity rather than computes them like a computer. It thrives on the creative energy of feedback from experiences real or fictional. You can synthesize experience; literally create it in your own imagination. The human brain cannot tell the difference between an "actual" experience and an experience imagined vividly and in detail. This discovery is what enabled Albert Einstein to create his thought experiments with imaginary scenarios that led to his revolutionary ideas about space and time. One day, for example, he imagined falling in love. Then he imagined meeting the woman he fell in love with two weeks after he fell in love. This led to his theory of acausality. The same process of synthesizing experience allowed Walt Disney to bring his fantasies to life.
5. There is no one right answer. Reality is ambiguous. Aristotle said it is either A or not-A. It cannot be both. The sky is either blue or not blue. This is black and white thinking as the sky is a billion different shades of blue. A beam of light is either a wave or not a wave (A or not-A). Physicists discovered that light can be either a wave or particle depending on the viewpoint of the observer. The only certainty in life is uncertainty. When trying to get ideas, do not censor or evaluate them as they occur. Nothing kills creativity faster than self-censorship of ideas while generating them. Think of all your ideas as possibilities and generate as many as you can before you decide which ones to select. The world is not black or white. It is grey.
6. Never stop with your first good idea. Always strive to find a better one and continue until you have one that is still better. In 1862, Phillip Reis demonstrated his invention which could transmit music over the wires. He was days away from improving it into a telephone that could transmit speech. Every communication expert in Germany dissuaded him from making improvements, as they said the telegraph is good enough. No one would buy or use a telephone. Ten years later, Alexander Graham Bell patented the telephone. Spencer Silver developed a new adhesive for 3M that stuck to objects but could easily be lifted off. It was first marketed as a bulletin board adhesive so the boards could be moved easily from place to place. There was no market for it. Silver didn't discard it. One day Arthur Fry, another 3M employee, was singing in the church's choir when his page marker fell out of his hymnal. Fry coated his page markers with Silver's adhesive and discovered the markers stayed in place, yet lifted off without damaging the page. Hence the Post-it Notes were born. Thomas Edison was always trying to spring board from one idea to another in his work. He spring boarded his work from the telephone (sounds transmitted) to the phonograph (sounds recorded) and, finally, to motion pictures (images recorded).
7. Expect the experts to be negative. The more expert and specialized a person becomes, the more their mindset becomes narrowed and the more fixated they become on confirming what they believe to be absolute. Consequently, when confronted with new and different ideas, their focus will be on conformity. Does it conform with what I know is right? If not, experts will spend all their time showing and explaining why it can't be done and why it can't work. They will not look for ways to make it work or get it done because this might demonstrate that what they regarded as absolute is not absolute at all. This is why when Fred Smith created Federal Express, every delivery expert in the U.S. predicted its certain doom. After all, they said, if this delivery concept was doable, the Post Office or UPS would have done it long ago.
8. Trust your instincts. Don't allow yourself to get discouraged. Albert Einstein was expelled from school because his attitude had a negative effect on serious students; he failed his university entrance exam and had to attend a trade school for one year before finally being admitted; and was the only one in his graduating class who did not get a teaching position because no professor would recommend him. One professor said Einstein was "the laziest dog" the university ever had. Beethoven's parents were told he was too stupid to be a music composer. Charles Darwin's colleagues called him a fool and what he was doing "fool's experiments" when he worked on his theory of biological evolution. Walt Disney was fired from his first job on a newspaper because "he lacked imagination." Thomas Edison had only two years of formal schooling, was totally deaf in one ear and was hard of hearing in the other, was fired from his first job as a newsboy and later fired from his job as a telegrapher; and still he became the most famous inventor in the history of the U.S.
9. There is no such thing as failure. Whenever you try to do something and do not succeed, you do not fail. You have learned something that does not work. Always ask "What have I learned about what doesn't work?", "Can this explain something that I didn't set out to explain?", and "What have I discovered that I didn't set out to discover?" Whenever someone tells you that they have never made a mistake, you are talking to someone who has never tried anything new.
10. You do not see things as they are; you see them as you are. Interpret your own experiences. All experiences are neutral. They have no meaning. You give them meaning by the way you choose to interpret them. If you are a priest, you see evidence of God everywhere. If you are an atheist, you see the absence of God everywhere. IBM observed that no one in the world had a personal computer. IBM interpreted this to mean there was no market. College dropouts, Bill Gates and Steve Jobs, looked at the same absence of personal computers and saw a massive opportunity. Once Thomas Edison was approached by an assistant while working on the filament for the light bulb. The assistant asked Edison why he didn't give up. "After all," he said, "you have failed 5000 times." Edison looked at him and told him that he didn't understand what the assistant meant by failure, because, Edison said, "I have discovered 5000 things that don't work." You construct your own reality by how you choose to interpret your experiences.
11. Always approach a problem on its own terms. Do not trust your first perspective of a problem as it will be too biased toward your usual way of thinking. Always look at your problem from multiple perspectives. Always remember that genius is finding a perspective no one else has taken. Look for different ways to look at the problem. Write the problem statement several times using different words. Take another role, for example, how would someone else see it, how would Jay Leno, Pablo Picasso, George Patton see it? Draw a picture of the problem, make a model, or mold a sculpture. Take a walk and look for things that metaphorically represent the problem and force connections between those things and the problem (How is a broken store window like my communications problem with my students?) Ask your friends and strangers how they see the problem. Ask a child. How would a ten year old solve it? Ask a grandparent. Imagine you are the problem. When you change the way you look at things, the things you look at change.
12. Learn to think unconventionally. Creative geniuses do not think analytically and logically. Conventional, logical, analytical thinkers are exclusive thinkers which means they exclude all information that is not related to the problem. They look for ways to eliminate possibilities. Creative geniuses are inclusive thinkers which mean they look for ways to include everything, including things that are dissimilar and totally unrelated. Generating associations and connections between unrelated or dissimilar subjects is how they provoke different thinking patterns in their brain. These new patterns lead to new connections which give them a different way to focus on the information and different ways to interpret what they are focusing on. This is how original and truly novel ideas are created. Albert Einstein once famously remarked "Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand."
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