
In the early 90’s, a fellow teacher became acutely aware of the effect the role-playing games I was playing at home after school had on the cognitive abilities of the fatherless boys I was constantly entertaining. She suggested that maybe, if it was working at home with a few students and former students, it could also work in the classroom with all students.
This, of course, was a daunting classroom activity to carry out, but enough of a creative challenge to my story telling abilities that I simply had to try.
I began with a cheap RPG book about adventuring D&D style with characters from Greek Myth. This was an opportunity not only to play adventure games, but to teach a little bit about history and a lot about mythology.


So I created generic character sheets using my own personal copier, my own copy paper, and my own overhead projector plastic overlays.


I created adventures that could be conducted on the overhead with dice, and each kid had their own set of skills and useful items. We conducted Olympic games and included mythological creatures like Tritons and Centaurs as player characters. We learned about the city of Olympia, the city of Argos, the city of Corinth, Athens, Sparta, and even Atlantis.


I let students draw their character from a hat on strips of paper that contained a boy option and a girl option. I even let students trade for the character they wanted, and we learned negotiating skills along with problem-solving skills.

Most of the stories were driven by a kidnapping where the beautiful daughter of one of the players was kidnapped immediately after the Olympic medals were awarded. The villain would take her to his evil island base, and the players would have to work together to buy or steal a boat. Gods and goddesses could be called on to intervene, and sometimes they actually did. Another storyline began with the sack of Troy, during which the players either murder or witness the death of a young Trojan boy who just happens to be Heracles’ son.


That story took the players on a quest of penance to visit the underworld and retrieve the boy in the same way that Orpheus tried to rescue his lady love, Eurydice. Potentially, Heracles would even join the quest himself if none of the player characters were the actual killer. And, of course, all sorts of encounters with monsters would ensue.

I ended up using about as many of my personal resources as a storyteller and a cartoonist to create those adventures as I had available. But I had students tell me that the week of classroom time spent playing that problem-solving myth game was one of the most memorable learning experiences they ever had. I never tried it with a high school class, only middle school, and then mostly with 7th graders. But I think the experiment was very successful from about 1992 to 2004, and it taught me even more about teaching than it ever taught them about mythology.
Lynn Johnston’s For Better or Worse is also an old friend. I used to read it in the newspaper practically every day. I watched those kids grow up and have adventures almost as if they were members of my own family. So the mashed potatoes part of the meal is easy to digest too.















How To Write A Mickian Essay
I know the last thing you would ever consider doing is to take up writing essays like these. What kind of a moronic bingo-boingo clown wants to take everything he or she knows, put it in a high-speed blender and turn it all into idea milkshakes?
But I was a writing teacher for many years. And now, being retired and having no students to yell at when my blood pressure gets high, the urge to teach it again is overwhelming.
So, here goes…
Once you have picked the silly, pointless, or semi-obnoxious idea you want to shape the essay around, you have to write a lead. A lead is the attention-grabbing device or booby-trap for readers that will draw them into your essay. In a Mickian essay, whose purpose is to entertain, or possibly bore you in a mildly amusing manner, or cause you enough brain damage to make you want to send me money (this last possibility never seems to work, but I thought I’d throw it in there just in case), the lead is usually a “surpriser”, something so amazingly dumb or off-the-wall crazy that you just have to read, at least a little bit, to find out if this writer is really that insane or what. The rest of the intro paragraph that is not part of the lead may be used to draw things together to suggest the essay is not simply a chaotic mass of silly words in random order. It can point the reader down the jungle path that he or she can take to come out of the other end of the essay alive.
Once started on this insane quest to build an essay that will strangle the senses and mix up the mind of the reader, you have to carry out the plan in three or four body paragraphs. This is where you have to use those bricks of brainiac bull-puckie that you have saved up to be the concrete details in the framework of the main rooms of the little idea-house you are constructing. If you were to number or label these main rooms, this one you are reading now would, for example, be Room #2, or B, or “the second body paragraph”. And as you read this paragraph, you should be thinking in the voice of your favorite English teacher of all time. The three main rooms in this example idea house are beginning, middle, and end. You could also call them introduction, body, and conclusion. These are the rooms of your idea house that the reader will live in during his or her brief stay (assuming they don’t run out of the house screaming after seeing the clutter in the entryway).
The last thing you have to do is the concluding paragraph. (Of course, you have to realize that we are not actually there yet in this essay. This is Room C in the smelly chickenhouse of this essay, the third body paragraph.) The escape hatch on the essay that may potentially explode into fireworks of thoughts, daydreams, or plans for something better to do with your life than a read an essay written by an insane former middle school English teacher at any moment, is a necessary part of the whole process. This is where you have to remind them of what the essay is basically about, and leave them with the thought that you want to haunt them in their nightmares later. The last thing that you say in the essay is the thing they are the most likely to remember. So you need to save the best for last.
So, here, finally, is the exit door to this masterfully mixed-up Mickian Essay. It is a simple, and straightforward structure. The introduction containing the lead is followed by three or four body paragraphs that develop the idea and end in a conclusion that summarizes or simply restates the overall main idea. And now you know why all of my former students either know how to construct an essay, or have several years left in therapy sessions with a psychiatrist.
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