a section of abstract architectural structure inlaid with three glowing coins separates the dark green underground from a sliver of sky, barely visible above.

one character stands at the top of a set of stairs in the background, presenting or reaching for the central coin-bearing section of the structure. further ahead of this background character is a fall into a pit, followed by a plateau. this character's journey is laid out for us to observe: their past, and perhaps their future.

two characters observe from the foreground. they are not participating in the journey but from their position they see -- as we see, as readers of the card -- what the character in the background cannot. and, between them, they share different expressions; even the two observers seeing everything do not necessarily have the same response.

at this moment, different perspectives are coming together. the collective action is productive, as long as these perspectives remain simultaneously distinct and focused on a shared goal.

a character stands on the crest of a hill, supporting the center of a slightly off-balance lever. on either side of the lever, a single coin, light reflecting off their faces. the character is surrounded by sparkles, indicating triumph or a triumphant attitude.

to the left, a second character has lost their balance and is falling off the side of the hill. to the right, a third has fallen headfirst into a hole. these non-central characters are desaturated in colour, brought out of focus -- they indicate the potential for struggle and failure, in the self or in others, or in the past or the future of the querent.

a moment in which glorious balance between opposites is possible.

impulsive, and headed in what appears to be the wrong direction, ...

the seated character is offered a cup, and making no move to accept either it, or any of the other three. the one cup decorated with green gems is real, while the cups with red gems, including the one offered, are fake.

we might interpret the seated character's idleness either as blindness, as in not seeing what is offered; or as wisdom, as in keenly recognizing that the true prize is not what is on offer here. regardless, there is a lack of action.

an offer is being made and rejected.

[AB]

Also, when giving a talk, just go as straight as possible to giving a dry run.

[ A. It's hard to know how to make a whole thing, and tempting to plan it out meticulously, scratching out mistakes before they have a chance to take root.
  B. But you just have to make the whole terrible thing, as impossible and simple as that sounds. Make it in a form that's as close as possible to its final form, but only up to a limit -- if its final form is too big and complicated to do it all in one go, choose a lesser final form. Make the lesser version all in one go, then allow yourself to work your way up. ]

[AB]

[ A. i'm interested in therapy and art therapy, but i am a game designer and not a trained or certified psychotherapist; i've got some strong opinions about conversations about game design, and i think people enjoy having these conversations with me, in some part related to this interest of mine.

  B. perhaps i can offer good conversations about game design that are aligned with my therapy-inspired values, and informed by the good practices of therapists as i have seen them; if i discover these conversations are valued enough, then i can make a little business of it. ]

*also, i had a conversation with my therapist today that allowed me to perceive this role not as having the responsibility of finishing or helping to finish things -- which i find frustrating when the control is not in my hands -- but instead as a perpetual sounding board, someone there to assist in another person's ongoing process of being creative, and alive.

[AB]

[AB]

I had a realization this morning about working in teams.

Decisions with a right answer.

Decisions with no right answer.

[AB]

[AB]

(director's commentary on video containing droqen & sylvie interviews, 14:00-)

[AB]

"kill gameplay." how many times have i said this specific phrase, or pointed the 'gameplay' finger at something in a derogatory context? "that's gameplay," i said knowingly, irritatingly. it's a bad habit, maybe.