Very few games seek to redefine the conventions of roleplaying as does the Mind's Eye Theatre line. There are no tables or dice involved in Mind's Eye Theatre games. Instead, you become a part of the story. You assume the role of your character as soon as you step through the door, enacting every action, movement and gesture. For the purposes of the game, you are your character. The source for creating and playing one of the Changing Breeds: the Nuwisha, the Corax or the Bastet.

In many ways, the history of domestic humor writing is also a history of domestic life in the twentieth century. For many years, domestic humor was written primarily by females; significant contributions from male writers began as times and family structures changed. It remains timeless because of its basis on the relationships between husbands and wives, parents and children, houses and inhabitants, pets and their owners, chores and their doers, and neighbors. This work is a historical and literary survey of humorists who wrote about home. It begins with a chapter on the social context of and attitudes toward traditional domestic roles and housewives. The following chapters, beginning with the 1920s and continuing through today, cover the different time periods and the foremost American domestic humorists, and the humor written by surrogate parents, grown children about their childhood families, husbands, and Canadian and English writers. Also covered are the differences among various writers toward traditional domestic roles--some, like Erma Bombeck and Judith Viorst, embraced them, while others, like Caryl Kristenson and Marilyn Kentz, resisted them. Common themes, such as the isolation and competitiveness of housework, home as an idealized metaphysical goal and ongoing physical challenge, and the urban, suburban, and rural life, are also explored.