In this episode, Mr. Wes Schantz and I consider the Great Bay portion of Zelda: Majora's Mask. We specifically consider: (a) the developmental arc of the game and how children develop and learn; (b) we further consider the theme of death and its relationship to life and learning; (c) we conclude with our first description of the Gerudo people and all the potential complications and social-problems they present.

In this first conversation on the final book of the Harry Potter series, Ms. Sarah Miller, Mr. Wes Schantz, and I discuss: (a) the theme of death and how it relates to maturity; (b) continuing contrasts drawn between Voldemort's methods and Harry's, and Rufus Scrimgeour's and Harry's as well; and (c) we examine Harry and Voldemort's particular connections with their respective animal-familiars.

In this episode with Mr. Kozlowski, Mr. Schantz, and Mr. Schmid we investigate: (a) the theme of repetition and its relationship to the Platonic theory of recollection and the process of maturing or growing-up; (b) we consider what can change through repetition and what cannot and what can be lost; (c) we conclude by considering major symbols of perfection/heavenly achievement in the game: the gold dust used to permanently improve one's sword (logos) and the "milk" (Chateau Romani). And more!

In this conversation with Ms. Sarah Miller, Mr. Wes Schantz, and I consider the ultimate chapters of J.K. Rowling's penultimate volume of Harry Potter. Specifically, we consider (a) the personal and mythological significance of Dumbledore's death, (b) the transformation of Harry and whether he is more Christ-like or Disciple-like, and (c) Snape and his ability to wound (sectumsempra) and heal wounds (vulnera sanentur).

In this conversation, Mr. Wes Schantz and I have the pleasure of being joined by Mr. Benjamin Kozlowski. We consider the Temple at Snowfall (Temple 2/4); the themes of "dark shadows" and the cyclical nature of time in this world; and what the value of specific side-quests are to the overall enjoyment of the game.

Additional Links:

1) OCARINA OF TIME - A Masterclass In Subtext: https://www.youtube.com/watch?v=GyUcwsjyd8Q

2) CGI Animated Short Film HD "Majora’s Mask - Terrible Fate " by EmberLab | CGMeetup: https://www.youtube.com/watch?v=dqc4gno0Hso

3) Final Fantasy VII Complete Story Explained: https://www.youtube.com/watch?v=vDCtX9D6n84

4) The Legend of Zelda: A Link to the Past Complete Story Explained: https://www.youtube.com/watch?v=kCLWHH5wQKE&list=PL_Sp78D4KuUcfGaZukykmZ1tbMGGJjhfF&index=7

In this final lecture on Virgil's "Aeneid", we discuss (a) the vitriolic hate which Juno (through Allecto) spreads into the hearts of Queen Amata, Turnus, and the Latin people en masse; (b) we witness the original skirmish between farmers and Trojans and the opening of the Gates of War; and (c) we witness the epic, rage-filled, conclusion of Virgil's "Aeneid" and how all has come full circle since the beginning of Homer's "Iliad".

In this lecture we conclude Shakespeare's tragic masterpiece, "Macbeth". We specifically consider (a) the theme of nature itself rising against Macbeth's unnatural deeds, (b) the role of imagination and prophecy in the decisions and actions of Macbeth, and (c) the rapid denouement of the action of the play and just how quickly both minds and kingdoms can unravel.

In this lecture we discuss, (a) the portentous arrival of the Trojans to Latium (Ausonia, Hesperia), (b) the omens which gather about the Trojan visit and which prefigure the specter of war, and (c) we again witness the dreadful wrath of Juno and its malign effects on all encountered.

 In this lecture we consider (a) the differing sounds emitted from Elysium (singing) and Tartatus (screams) and their connections to Dante's "Inferno"; (b) we meet Anchises again, in memory, and from his memory we learn of the future of Rome; and (c) we leave through the Gate of Ivory, the gate of false dreams, which has plagued interpreters of this poem for millennia. 

In this lecture, we consider (a) the burning of Aeneas' ships and several connections between his "Aeneid" and Homer's "Iliad" and "Odyssey"; (b) Aeneas' "golden ticket" (golden-bough) into the underworld, and (c) the more developed Dis (Hades/Underworld) of Virgil in comparison to Homer's from his "Odyssey".