This book is designed to help children to understand and articulate the emotions they might experience - feelings of anxiety and worry, pride, joy and excitement, sadness, anger and jealousy - and provides simple strategies for managing their mental health. Full of monster-themed stories, activities and downloadable worksheets, it is ideal to use individually or in group settings with ages 5-9. Children will meet characters like Thomas, the big purple monster who has a heavy backpack full of his worries, and Geronimo, who inconveniently creates small floods with his tears all around Icicle Island. The second part of the book is a detailed guide for adults with explanations of key concepts, support for delivering the activities, suggested discussion points and drama activities to consolidate learning.

Learn to build monster models and put them into incredible scenes using digital imaging and computer editing. You can even put yourself in the midst of the action. 110 pages of color photos, tips, and ideas. A book any monster lover, model builder, or anyone into digital photography and/or computer graphics will enjoy. www.monstermodeling.com

This fast-paced read will keep readers on the edge of their seats! Someone is killing boys in a small town. The murder weapon is a truck, and the only protection is a curfew enacted to keep kids off the streets. But it’s summer—and that alone is worth the risk of staying out late for James, Willie, and Reggie. Willie, who lost his arm in the first hit-and-run attack, finds it hard to keep up with his two best friends as they leave childhood behind. All of them are changing, hounded by their parents, hunted by the killer, and haunted by the “monster,” a dead thing that guards the dangerous gateway between youth and manhood. But that’s not all: shadowing the boys everywhere is Mel Herman, the mysterious and brilliant bully whose dark secrets may hold the key to their survival. As the summer burns away, these forces collide, and it will take compassion, brains, and guts for the boys to overcome their demons—and not become monsters themselves. In this chilling and poignant debut novel, Daniel Kraus deftly explores the choices boys grapple with and the revelations that occur as they become men.

Monsters, grotesque creatures, and giants were frequently depicted in Italian Renaissance landscape design, yet they have rarely been studied. Their ubiquity indicates that gardens of the period conveyed darker, more disturbing themes than has been acknowledged. In The Monster in the Garden, Luke Morgan argues that the monster is a key figure in Renaissance culture. Monsters were ciphers for contemporary anxieties about normative social life and identity. Drawing on sixteenth-century medical, legal, and scientific texts, as well as recent scholarship on monstrosity, abnormality, and difference in early modern Europe, he considers the garden within a broader framework of inquiry. Developing a new conceptual model of Renaissance landscape design, Morgan argues that the presence of monsters was not incidental but an essential feature of the experience of gardens.

Written by one of the most distinguished commentators in the field, this book asks why we see some bodies as ′monstrous′ or ′vulnerable′ and examines what this tells us about ideas of bodily ′normality′ and bodily perfection. Drawing on feminist theories of the body, biomedical discourse and historical data, Margrit Shildrick argues that the response to the monstrous body has always been ambivalent. In trying to organize it out of the discourses of normality, we point to the impossibility of realizing a fully developed, invulnerable self. She calls upon us to rethink the monstrous, not as an abnormal category, but as a condition of attractivenes, and demonstrates how this involves an exploration of relationships between bodies and embodied selves, and a revising of the phenomenology of the body.

Describes the various characteristics of monsters, such as how much they need to eat to feel full and how some of them can juggle.

Discount ends March 7, 2023 Siren Classic ManLove: Erotic Romance, Alternative, Paranormal, Werewolves, MM, HEA] All his life, Kendrick Savage has been a monster. With his consciousness corrupted by his curse and his body imprisoned by his family, he is forced to accept he will never be free. An unexpected moment of defiance changes that, allowing him to save his brother Zane. But when Zane seemingly turns him away, Kendrick’s ravaged mind succumbs to his instincts, seeking the haven he’s never had. Unexpectedly, he finds it—in his mate, Bailey Addams. When Bailey stumbles into the injured Kendrick, he knows he should be leery of the mysterious werewolf. His heart tells him otherwise. He spirits Kendrick away to safety, teaching him to leave his days as a monster behind and be a person again. Under his mate’s gentle touch, Kendrick begins to heal, and a strong bond forms between them. But that connection isn’t enough to protect them. The cursed moon looms over the monster’s heart, and it may turn his mate into its prey.

A study of the gruesome game characters we love to beat—and what they tell us about ourselves. Since the early days of video games, monsters have played pivotal roles as dangers to be avoided, level bosses to be defeated, or targets to be destroyed for extra points. But why is the figure of the monster so important in gaming, and how have video games come to shape our culture’s conceptions of monstrosity? To answer these questions, Player vs. Monster explores the past half-century of monsters in games, from the dragons of early tabletop role-playing games and the pixelated aliens of Space Invaders to the malformed mutants of The Last of Us and the bizarre beasts of Bloodborne, and reveals the common threads among them. Covering examples from aliens to zombies, Jaroslav Švelch explores the art of monster design and traces its influences from mythology, visual arts, popular culture, and tabletop role-playing games. At the same time, he shows that video games follow the Cold War–era notion of clearly defined, calculable enemies, portraying monsters as figures that are irredeemably evil yet invariably vulnerable to defeat. He explains the appeal of such simplistic video game monsters, but also explores how the medium could evolve to present more nuanced depictions of monstrosity.

In 2005, American experts sent out urgent warnings throughout the country: a devastating flu pandemic was fast approaching. Influenza was a serious disease, not a seasonal nuisance; it could kill millions of people. If urgent steps were not taken immediately, the pandemic could shut down the economy and Òtrigger a reaction that will change the world overnight.ÓÊ The Pandemic Perhaps explores how American experts framed a catastrophe that never occurred. The urgent threat that was presented to the public produced a profound sense of insecurity, prompting a systematic effort to prepare the population for the coming plague. But when that plague did not arrive, the race to avert it carried on. Paradoxically, it was the absence of disease that made preparedness a permanent project. The Pandemic Perhaps tells the story of what happened when nothing really happened. Drawing on fieldwork among scientists and public health professionals in New York City, the book is an investigation of how actors and institutions produced a scene of extreme expectation through the circulation of dramatic plague visions. It argues that experts deployed these visions to draw attention to the possibility of a pandemic, frame the disease as a catastrophic event, and make it meaningful to the nation. Today, when we talk about pandemic influenza, we must always say Òperhaps.Ó What, then, does it mean to engage a disease in the modality of the maybe? Ê