Free book for boys and reluctant readers

Minecraft Adventures - Books for boys

Flynn’s Log is free on the following devices

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Reading is important

Any book that helps a child to form a habit of reading, to make reading one of his deep and continuing needs, is good for him.
–Maya Angelou

Most adults would agree that reading is important, but many kids detest reading. Video games, devices, and TV are preferred entertainment and escape. They provide instant gratification. Reading takes time. For some kids, reading isn’t engaging.

had this same problem with my son, so I solved the problem.

The classic stories I remember enjoying as a kid don’t interest my son and his immediate attention span. If he doesn’t enjoy the story from page one, he will not read further.

Minecraft Adventures - Books for boys

So how did I get my son to read?

I showed him how much fun it is to get sucked into a story.

Your book is amazing I can’t stop reading it
– Joseph Young via twitter

Contemporary and Classic titles alike don’t interest many kids. Don’t worry, the love of reading is learned. We need a starting point. We need that one book that is just as engaging on the first read as the fifth, just like a really great movie that kids want to see again and again. A positive association with reading will make kids want to read more.

A love of reading is cited as the number one indicator of future success. My son didn’t have the desire to read. He didn’t care about the books I chose to read to him, and was overwhelmed with the selection at the library. I want my son to succeed, so I had to do something. Since we struggled to find books he cared to read, I wrote one. An epic saga about the things he loves. I put it in a world he loves and addressed the issues he faces in his life.

I just love your books I’ve been reading them over and over again.
-Carson via twitter 

But it’s a video game book

Don’t worry; it’s not a book about video games, nor is it a game strategy book. Flynn’s Log is a hero’s journey that takes place inside the Minecraft world that today’s kids know and love. The protagonist, Flynn, naturally flows through Maslow’s hierarchy of needs (builds shelter and tools, learns what to eat and discovers a digital friend) and faces questions about his destiny. He learns important life lessons about friendship, integrity, and trust. Flynn’s Log is good for kids without being boring.

Thank you so so much for the free ebook. My son loves Minecraft now with this book I can get him to read to me.
Jennifer Wilkins

Start your son or daughter on journey today, reading Flynn’s Log 1: Rescue Island. Free on available these devices and apps.

Minecraft Adventures - Books for boys

Flynn’s Log is free on the following devices

Choose your device

KindleiPad/iPod/iPhoneGoogle Play (Android Tablets)nookkoboRead Online

US$8.99 Paperback

Shop LocalAmazon-USAmazon-UKAmazon-Canada

Why is Flynn’s Log 1 Free?

My son loves reading — finally. If you have experience with a reluctant reader then I know your pain and I want to help. I’ve seen thousands of kids transform with this book. My readers, who don’t usually read books during the summer, couldn’t put Flynn’s Log 1 down.

Good book I thought I would never read a book on my summer but I feel I’m gonna finish it soon
– Multigamer 47 via twitter

Let this book change your kid’s life too. You have nothing to lose and an avid reader to gain.

Once you learn to read, you will be forever free.

–Frederick Douglas

I am giving away Flynn’s Log 1 free because I want to give you a risk-free way to hook your reluctant reader.

Please and I mean PLEASE, WRITE MORE! I absolutely love it! They’re outstanding books.

-Devon123321 via twitter

What are Books for Boys?

I spend lots of time with teachers and parents. I hear parents ask, “How do I get my son to read? Do you have books for boys?”

I wrote the Flynn’s Log series for my son, and this book is interesting for boys. However, the series is a non-stop read for both boys and girls, especially those who are interested in Minecraft.

The more that you read, the more things you will know. The more that you learn, the more places you’ll go.

—Dr. Seuss

What are you waiting for?

You have nothing to lose!

Minecraft Adventures - Books for boys

Flynn’s Log is free on the following devices

Choose your device

KindleiPad/iPod/iPhoneGoogle Play (Android Tablets)nookkoboRead Online

US$8.99 Paperback

Shop LocalAmazon-USAmazon-UKAmazon-Canada

News for Parents of Reluctant Readers

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Minecraft Marketplace adds 5 new community-created content packs

Minecraft is adding more community content to the Marketplace with a new batch of content packs.

A whole slew of content is hitting the Minecraft Marketplace today thanks to five new community-created packs. Most notable is the Infinity Dungeon EX map, which generates a new dungeon every time you enter. On top of that, however, players can now get their hands on a bunch of new skins with packs themed after summer fun, sports, medieval kings, and more.

Here’s a quick look at all of the new packs hitting the Marketplace today:

  • Infinity Dungeon EX – Fight alone or alongside friends through an intense randomly-generated dungeon full of horrible dangers, tricky puzzles and amazing treasure! Discover the secret of the Infinity Core, but make sure to watch your back…
  • Summer Festival Skin Pack – Throw on your summer gear and hop down to the beach! Live life like a turtle or a mermaid, and show off those summer colors with this seasonal skin pack!
  • Survivors Skin Pack – The world has gone to ruins, but these characters manage to survive against all odds. This skin pack is all about the rough-and-tough adventurers who use their strength and ingenuity to survive yet another day.
  • Kings and Paupers Skin Pack – From the heights of the castle down to the streets of the city, this pack will immerse you in the European medieval era. Serve as a virtuous queen, live as a beggar, bake bread, or handle the axe as an executioner in service of the crown!
  • Sports Skin Pack – Transform into an athlete with the Sports Skin Pack! Team player? Pick up a ball as a volleyball or soccer player. In the mood for gracefully sliding around? Become a figure skater or hockey player. Choose from 15 different sports and get your game on.

As far as cost is concerned, each pack runs 310 coins each. The exception is the Infinity Dungeon EX map, which is slightly more expensive at 830 coins.

This comes after the initial introduction of the Minecraft Marketplace in May, which is a place for Minecraft community creator partners to sell their work to players. Anyone on the Bedrock Engine, which currently includes Minecraft on Windows 10 and Mobile platforms, can pick up the new Marketplace content now. Minecraft on Xbox One and Nintendo Switch are expected to join the Bedrock ecosystem soon.

Minecraft Marketplace adds 5 new community-created content packs

Game of Thrones addicts recreate fantasy world Westeros in Minecraft six years after first brick was laid

Stunning footage shows how thousands of Game of Thrones fanatics have painstakingly recreated the fantasy world of Westeros using Minecraft .

A video of the model, entitled WesterosCraft , includes some of the most iconic settings in the HBO hit show that have been built using the game.

Featured areas include Kings Landing, High Hermitage, Misty Isle, Castamere and Oldstones in the latest glimpse into the virtual world – where the first brick was laid in 2011.

Thousands of gamers have contributed their efforts free of charge to help construct WesterosCraft since the launch.

Iconic settings in the HBO show have been built in block form (Image: Westeroscraft)
Minecraft players starting building WesterosCraft in 2011 (Image: Westeroscraft)
The model is about 65 per cent completed (Image: Westeroscraft)
It is believed thousands of players have contributed to WesterosCraft (Image: Westeroscraft)
 

Eventually, the world will serve as the setting for a game to allow players to take part in their own Game of Thrones-style adventures.

It was reported GoT star Isaac Hempstead-Wright was so impressed with the large-scale model he contributed to a voiceover to promote WesterosCraft .

Minecraft resembles a Lego simulator and has become an internet phenomenon, with 100 million regular users.

Eventually the world will serve as the setting for a game to allow players to take part in their own adventures (Image: Westeroscraft)
Cities and places of interest have been recreated in the latest video (Image: Westeroscraft)
The hit HBO show is currently in its seventh season (Image: Westeroscraft)
A completion date has not been set on the project (Image: Westeroscraft)

It allows kids and child-like adults to build massive structures out of blocks, before uploading them so others can explore the creations.

According to its website, about 65 per cent of WesterosCraft has been completed.

Game of Thrones is currently part way through its seventh season.

Game of Thrones addicts recreate fantasy world Westeros in Minecraft six years after first brick was laid

We Just Learned How Minecraft Can Do 1080p on the Nintendo Switch

Minecraft for the Nintendo Switch is about to look dramatically better when connected to televisions, and it’s thanks to the cautionary diligence of its console handlers that we’re seeing it now, a few months after release. The game shipped on May 11 locked in both handheld and TV mode at 720p, pushing on the order of about a million pixels. After the update, it’ll run at 1080p in TV mode, and push over twice as many pixels.

How’d they do it? Microsoft told TIME in May that the reason for the lower resolution involved “issues currently experienced shifting from one resolution to the other when docking/undocking.” The company passed along speculation from 4J Studios that 1080p might be attainable, but it couldn’t promise anything.

I just spoke with 4J Studios CTO Richard Reavy, and it turns out the issue of getting Minecraft for the Switch to 1080p involved double and triple checking the interface — and a bit of performance optimization. (4J develops all console versions of Minecraft.)

Reavy tells me the game needed further optimization to handle 1080p comfortably, but that the studio was confident it could make that happen given sufficient time.

“We did spend some time analyzing our GPU usage and optimizing things before we did this move as well,” he says. “We needed to spend some time looking at the fill rate and being more careful with that, just because of the number of pixels in 1080p. We kind of knew we could do the optimization and we would get there with the performance. But yeah, ultimately, the fundamental problem was switching resolution.”

More specifically, switching the user interface at different resolutions. Reavy tells me the user interface on each of the console versions — besides the Switch, they include the PlayStation 3 and 4, PS Vita, Xbox 360 and One, and the Wii U — have custom user interfaces. “Every interface seam is handcrafted by our art team to suit the exact resolution of the console it’s on,” says Reavy. Everything through May ran at a fixed resolution. But when the Switch arrived, 4J Studios had to grapple with its signature feature: transitioning dynamically between different resolutions without hiccups or pauses.

“We wanted to make sure the transition was really slick, and that the user wouldn’t notice anything, like it taking seconds unloading one user interface system for another,” he says. “And also because you can dock and undock your console at any point, it can be quite problematic that the user could switch the console at a really inopportune moment.” This explains Microsoft’s delay in rolling out the feature between May and now: 4J Studios simply wanted the time to thoroughly vet the user interface while changing resolution at any point while playing the game.

For now, 1080p is the biggest technical revision. The draw distance is still a bit lower than on PlayStation 4 or Xbox One, you’re limited to “Medium” world sizes (3,072-by-3,072 blocks versus “Large,” which supports 5,120-by-5,120 blocks) and you don’t get the checkbox to create “Amplified” terrain. “Everything else is unchanged at present,” says Reavy. “We really just wanted to make sure jumping up the resolution wouldn’t cause any problems.”

Those differences may fade when, later this fall, Minecraft for the Switch transitions to the much more versatile and scalable “bedrock engine” that currently runs on Windows 10, iOS and Android devices. And it’s at that point things get really interesting, because Microsoft and Nintendo will be doing something that has no industry precedent, allowing Xbox One, iPhone, Windows PC and Nintendo Switch owners to play together in a single, seamlessly backend-unified ecosystem.

We Just Learned How Minecraft Can Do 1080p on the Nintendo Switch

Official ‘Minecraft’ Magazine out in the UK, coming to the US “SOON”

It’s no secret that Minecraft‘s [$6.99] true intention is to be present everywhere, and the latest endeavor is another step in that direction. As announced recently, Mojang is working together with Egmont to publish an all new Minecraft: Official Magazine, which will exist in physical form. The magazine is already out in the UK and will be traveling to another countries “as soon as logistically possible.” The new magazine is 60-pages long and filled with all kinds of tips, tricks, survival stories, and much more. The tips and tricks part contains various builds broken down into detailed steps to help readers figure out how to improve their skills.

In addition to the aforementioned sections, the new magazine also contains a comic starring new heroes, Bear, Scout, Sparks, and Monty. As you’d expect from a Minecraft comic, these characters each represent a segment of the Minecraft player base. You have a survivalist, a warrior, a builder, and an explorer. I continue to be pleasantly surprised by all that comes out of the Minecraft universe, and I think this magazine is going to be another big hit with the game’s players. Expect it to hit the US shores in the not-to-distant future.

 

Official ‘Minecraft’ Magazine out in the UK, coming to the US “SOON”

Minecraft’s annual convention is now an online stream

Minecon is being replaced with a free, live-streamed show called ‘Minecon Earth.’

Minecon has been a popular event for Minecraft fans since 2010, but this year the good people of Mojang are switching it up. Instead of a physical convention, it will host Minecon Earth — an interactive, live show that will be streamed online.

In an announcement, the Minecon team said that with such a large following, it’s hard to maximize how many fans can attend the convention while still keeping the “friendly, intimate community atmosphere” of previous Minecons. So instead, on November 18th, you’ll be able to stream the 90-minute-long Minecon Earth or attend a special theater screening. The plan is to “take the best bits of our previous events and incorporate them into a condensed show dedicated to all things Minecraft,” which includes showing off your specially-made Minecraft-themed costume. You’ll be able to submit your costume ahead of time for inclusion in the show. Swag will also still be a part of Minecon Earth. Exclusive goods will be on sale during the show and viewers will be able to order them online.

However, Mojang does want to keep some sort of in-person experience in the mix, so it’s also going to support community events led by approved partners like Minefaire, Minevention and Blockfest. Like regular Minecon, these events will feature popular YouTubers and streamers as well as tournaments and costume contests.

More information about Minecon Earth will be released in the near future and for those who are bummed about not being able to attend Minecon this year, check out our coverage of the 2015 event that took place in London.

Minecraft’s annual convention is now an online stream

The Cubist Revolution: Minecraft For All

The cubist revolution, now in its eighth year, is thriving.

That’s Minecraft cubes, of course.

The game where you build virtual Lego-like worlds and populate them with people, animals and just about everything in between is one of the most popular games ever made; it’s second only to Tetris as the best-selling video game of all time. There’s gold in them thar cubes: More than 120 million copies have sold since Minecraft launched in 2009.*

So what’s behind the game’s enduring appeal?

For Isiah Hammonds, 9, it’s all about the creative potential every time you fire up your computer.

“You can build anything – anything that you put your mind to! You can work with other people. It’s social. It’s just super fun!” he says while focusing intensely on finishing his virtual ice arena with his multi-player team of fellow Minecraft campers in Richmond, Calif. “It’s for our ice boat racing.”

Hammonds, a third-grader, is in a basement room in Richmond’s City Hall, next to the cafeteria and a janitor’s closet. There are long, narrow white tables with black computer monitors on top.

A lot of tech summer camps like this can cost upwards of $1,000 a week — but these 20 children are in a city hall basement because the space is free.

So is the program, which is run by the non-profit Building Blocks for Kids Collaborative with help from a group called Connected Camps.

It serves predominantly low-income African-American and Hispanic children, many of whom face basic barriers to catching the tech and gaming bug — like access to the internet and access to devices.

A lot of the children here are playing Minecraft for the first time, explains the camp’s digital literacy director, Teresa Jenkins. That’s because a lot of the families who come here don’t have computers at home. Or if they do, she says, they can’t afford high-speed internet or it’s simply not a priority.

“Rent. Food. Gas. ‘How am I doing to get the kids back and forth to school? How am I going to get back and forth to work? ‘ ” says Jenkins, “that’s the priority.”

Richmond is gentrifying amid the Bay Area’s tech-driven economic boom. But the city remains one of the area’s poorest, with a poverty rate of nearly 18 percent.

Children here can see San Francisco from their city and hear all about nearby Silicon Valley and its bevy of industry-disrupting companies, “but they don’t imagine they can be a part of that industry,” says Jennifer Lyle, the executive director of Building Blocks for Kids Collaborative.

This Minecraft camp, Lyle says, is trying to change that ‘we’re not welcome in tech’ feeling some low-income families in Richmond have. “To get people to come here and say, ‘No, our child deserves to have access to this,’ ” she says.

It starts by introducing young people and their parents “to the kinds of things wealthier folks get access to because they have the means,” she explains, getting “grounding in computers they’re not getting in school.”

Minecraft gets high marks from diverse quarters for its education potential. The game can help teach the basics of computer literacy and the key foundations of coding, animation, circuitry and more.

Children can absorb the broccoli of computer knowledge while reveling in the popcorn of building elaborate worlds out of cubes. And in camps like this, they can learn to work together as a team, says Morgan Ames, a postdoctoral scholar at U.C. Berkeley who helped create this camp and has studied its impact.

Campers here, she says, get to work through “the steps of designing something technological that somebody else will play.” Using aMinecraft tool called redstone circuits, kids can “think through the basics of circuits.”

But to really get that full experience, kids need the PC or Mac version of the game. A version not all have access to, Ames says. Ames also co-authored a study of Minecraft, this camp, and equity and access gaps by race, class and gender.

“Generally we found that middle- and upper middle-income kids play the PC version more. Boys tend to play it more than girls. And in general, white kids tend to play it more than children of color,” Ames says.

And that’s troubling, she says, because the PC version is simply a richer version of the game. “It has more options. It has more opportunities to learn to code. And we wanted to make it more accessible,” she says.

More accessible for children such as Jaiden Newton, 9. On this day I find her eagerly conspiring with her brother in a multi-player game at the camp.

“So he’s trying to build an underground tunnel to the other person’s arena so he can steal the flag,” she tells me.

She makes her way past a dazzling cube inside one of her elaborate cube structures.

“Those are Ender Pearls. It’s like a teleportation,” she says.

How long have you been playing Minecraft? I ask.

“About three weeks,” she says.

Lots of studies (and books and reports) show African-Americans and Latinos continue to be underrepresented in engineering and technical fields, alongside women. Silicon Valley continues to have a serious gender gap problem.

Ames says she’s collecting more data but her preliminary look shows that the tools out there to learn more about Minecraft — online forums, videos and the like — are dominated by boys.

Camps like this are vital, Ames says, to help change that equation.

Or as program director Jennifer Lyle puts it, this camp helps send a message to our parents, schools and Silicon Valley “we belong here.”

*[Note: Minecraft was purchased by Microsoft Corp. from developers Mojang in 2014. The foundation created by Microsoft founder Bill Gates is a financial supporter of NPR and NPR Ed.]

The Cubist Revolution: Minecraft For All

China’s Forbidden City has been recreated in billions of bricks in ‘Minecraft’

Okay, that’s dedication.

A small team of Minecraft users have spent more than two years building a virtual model of China’s Forbidden City.

The effort eventually came down to two guys labouring over the course of over two years, to lay down billions of bricks to eventually recreate the 600-year-old UNESCO World Heritage site.

The team was led by 22-year-old Su Yijun from Guangzhou, who orchestrated the plan from scratch in 2014, as volunteers dropped out one by one from the gargantuan task, Sixth Tone reports.

Their virtual creation covers a square grid of 100 million blocks, and even replicates furniture inside, from the Emperor’s throne, to the traditional Chinese-style beds of the time.

His video has been viewed some 870,000 times on Bilibili, a Chinese video portal.

The most difficult part of the project, he says, was being unable to visit and construct parts of the Forbidden City that are not open to the public.

“Many areas are not open to the public and….the interior decorations were not as how they originally appeared,” he told Sixth Tone.

Here's the Forbidden City IRL
Here’s the Forbidden City IRL

Image: PILIPEY/EPA/REX/Shutterstock

The Minecraft version
The Minecraft version

Image: 国家建筑师/bilibili

Real lion at the gates
Real lion at the gates

Image: LightRocket via Getty Images

Minecraft lion
Minecraft lion

Image: 国家建筑师/Bilibili

The Forbidden City was a Chinese imperial palace that served as the home for 24 emperors. It was so named because it was closed to the public for hundreds of years.

The palace grounds cover a span of 74 hectares, and attracts over 14 million tourists to Beijing to see it each year.

China’s Forbidden City has been recreated in billions of bricks in ‘Minecraft’

Minecraft’s cross-platform ‘Better Together’ update arrives in beta

Minecraft’s “Better Together Update” is rolling out now in beta, for players on Windows 10 PCs and Android devices. That means players on either platform with the beta installed will be able to participate in games from either type of device, together in cross-platform play.

This update was originally revealed at E3 back in June, and includes other feature additions like community servers and a community Marketplace with paid add-ons. There are also a range of new in-game item types, multiplayer host and permission options, and more.

The beta is also set to roll out for Xbox One “soon,” Microsoft says, which will add the gaming console to the cross-platform action. Microsoft also said when the update was announced that it’ll eventually add support for the Play Together Update to iOS, Nintendo Switch and VR devices (Sony was apparently offered the chance to participate in the update for PlayStation, but declined).

To get in on the beta, players will need the Xbox Insider app for Windows 10 and Xbox One, and on Android they’ll need to have Google Play and of course everyone will need a copy of the game.

This could be huge for unifying Minecraft’s massive player community, which is already quite the club.

Minecraft’s cross-platform ‘Better Together’ update arrives in beta

This guy who recreated his entire high school on Minecraft must have really, really missed it

Now this is dedication.

A Mincecraft player in Taiwan decided to recreate their entire school on the sandbox video game because they missed it so much.

The gamer, along with a few friends who attended the Banqiao Senior High School in Taipei, started working on recreating their school during their first year of university.

It took them two years to recreate the entire campus:

The amount of detail is incredible. From the athletics field:

Image: @MINECRAFTPCSH/FACEBOOK

To the swimming pool:

Image: @MINECRAFTPCSH/FACEBOOK

And just the general facade — there’s nothing this Minecraft player has missed out on.

Image: @minecraftpcsh/facebook

“I started this [project] in my freshman year because of homesickness,” said the gamer in an online blogpost.

The gamer, along with three other high school classmates, then started on the project in 2014.

But the project is far from over.

“There are still many parts of the school that are not completed, because we are very busy,” they said. “Only 87% is complete.”

The group have set up a Facebook page, to keep people updated about the project that they hope to complete soon.

Given it already looks amazing, we can’t wait to see how it turns out.

This guy who recreated his entire high school on Minecraft must have really, really missed it

Why The Emoji Movie Fails

The Emoji Movie might have been 💯 . It might have been a work of quiet genius, in the manner of Toy Story or The Lego Movie or Inside Out: a quirky and soulful exploration of the worlds that exist in parallel to our own, investing objects that would seem merely to be dully inanimate with story and, thus, empathy. It might have been, too, a particularly timely exploration of smartphones and their contents: Here, after all, are objects that are with so many of us, at our sides and in our hands, humming bits of glass and metal that tell a million little stories with each swipe, and each tap, and each touch of a warm human pulse.

But: no. The Emoji Movie, instead, is a frenetic mishmash—not so much a single story of a parallel world so much as a roller-coaster-y tour of some of the apps of 2017: Spotify, Instagram, Twitter, Candy Crush, even Dropbox. Everything, here, is branded—even the parallel world itself, Textopolis, which is home to Gene, the offspring of two “meh” emojis. Gene is, in the grand tradition of such for-kids-but-also-not-totally-for-kids films, Different. He is not limited, in the way of the emoji, to one expression; he can make them all. But in order to realize that which makes him Different might actually make him Special, Gene first goes on a dizzying journey—through Textopolis, yes, but also through Spotify and Just Dance and YouTube and, in general, late capitalism as it is understood and manufactured by the Hollywood of the moment.

Because of that—and because also, ironically, of the premise that might have been 💯—critics eviscerated The Emoji Movie. Really gleefully eviscerated it. (Schadenfreudenunicoden?) The New York Times called it “nakedly idiotic.” BuzzFeed wrote that “it’s barely a movie so much as a confused attempt to both condescend to an audience about their short attention spans thanks to mobile devices while also trying to profit off of that very same audience.” Gizmodo did an all-emoji review of the film featuring, primarily, the Thinking Face emoji in several permutations. So critically unloved was this film—so squandered the promise it represented—that for a moment it seemed to be in contention for that rarest of honors: a 0 percent approval rating on Rotten Tomatoes. (Alas, even that moon-shooting was a failure: The film currently stands at an awkward score of 7 percent.)

In a weird way, then, The Emoji Movie is not just a critical flop, but also a metaphor for a Hollywood that is struggling to find the line between branding that audiences love and branding that audiences resent. Here is a film that takes some of the most intimate tools of people’s lives—the hearts and eggplants and joy-tears and tacos and other images that help them to express their love, and their desire, and their sadness—and considers how wacky it would be if one of those images was actually a guy named Gene. Here is a film that takes the revolution that has resulted from the advent of digital communication and whimsically brands it. Emojis, after all, are not just the little doodads that live in your WhatsApp. They are also, in the most basic and most profound of ways, tools—parts of a global continuum that has included everything from hieroglyphs to emoticons to text itself. They ask questions about what it really means for something, at this point in human history, to be “universal.”

The Emoji Movie, as it happens, shares a rough premiere date with The Emoji Code, the new book from the scholar and prolific author Vyvyan Evans. Evans’s book (subtitle: The Linguistics Behind Smiley Faces and Scaredy Cats) is an analysis—aimed at a popular audience—of the academic research that has been conducted about emojis since their creation in the late 1990s. It summons linguistics, and psychology, and cognitive science to consider why emojis have proven so popular and, so far, enduring. It reads, often, as a defense of what Evans refers to as Emoji, with a capital E: the complicated system of pictographs that augment text in digital communication. The collection of unicode that, Evans argues, “enables us to provide the non-verbal cues otherwise missing from textspeak.”

Evans’s book is a thorough exploration, in other words, of the extremely two-dimensional stars of The Emoji Movie. But it is also, in its arguments, something of an implied condemnation of The Emoji Movie. In Evans’s science-informed telling, emojis are not a language unto themselves, as has sometimes been suggested, but rather tools of communication that are productively basic: useful bridges of the emotional gaps that can exist in the dull black and white of text as it is rendered on a screen. The Emoji Code in many ways champions emojis against those who have seen the cheeky pictographs not as extensions of English, but as a threat to it—and to, by extension, language as we have known it.

And while that framing can itself occasionally read as overly two-dimensional—there are few people, at this point, who seem to believe that emojis will be the death of English, or any other language—it also situates The Emoji Code well with the ideas espoused by the linguist John McWhorter, and by the linguist Gretchen McCulloch, and by so many other canny observers of English as it lives and grows in its new digital environments: Language, breathing free, is its own kind of democracy. And that is evident online, in particular, where a good turn of phrase, or a new meme, or indeed a cleverly deployed emoji, can be so easily amplified and adapted and woven into the language. Emojis, in particular, are elastic in that way: They can mean whatever the writer, and whatever the recipient, decide they mean, together.

That can lead to a productive kind of ambiguity. Remember that tattoo Drake got a few years ago, which could be read either as two hands, praying, or as two hands, frozen in a high five? The star, as New York’s Adam Sternbergh pointed out, finally settled the matter: “I pity the fool who high-fives in 2014,” Drake clarified on his Instagram. But there would be many more debates in that vein. Are those dancing twins, symbols of female friendship, or Playboy bunnies, symbols of female objectification? Is that a toothy mouth-gape a grin or a grimace? When I texted “Drinks?” and you texted back, “🐙,” what did you mean?

This kind of ambiguity, Evans suggests, also gives way to useful flexibility. It allows emojis the kind of semantic suppleness that helps them to humanize, and augment, and otherwise expand, our text-based communications. Emojis can function as punctuation. They can work as pictographic versions of “lol.” They can convey personality—identity—with notable economy. Slack, the group-messaging service widely used for professional chatting, recently offered users the ability to add emojis to their handles, as a kind of status update—a 📅  would mean “in a meeting,” a 🚌  would mean “commuting,” a 🌴  would mean “on vacation,” and so on. Almost immediately, though, the service’s users expanded on Slack’s idea: They began using the emoji-status capability to augment their handles in more playful and expressive ways. Suddenly, Slack chats proliferated with people whose names were accompanied by screaming cats and expressionless faces and tiny, squared portraits of Jay-Z. The emojis had been used for a different purpose than the one originally intended. They had been made at once more fun and more expressive of users’ identities. They had been, in their way, democratized.

It’s a small point when it comes to emojis but a bigger one when it comes to the political power of language. Emojis are part of a broader phenomenon playing out across social media: English is exploding, at the moment, with new words and new grammars and new modes of human expression. It is alive—not in the way the creators of The Emoji Movie have imagined on our behalf (hey again, Gene), but in a much more meaningful way. As Evans puts it:

While Emoji will surely continue to evolve, and other systems and codes will be developed that will complement and, doubtless, replace Emoji as it currently exists, its emergence provides the beginning of a more or less level playing field, between face-to-face interaction and digital communication—better enabling effective communication in the digital sphere.

The Emoji Movie is notable in part because, in its very conceit, it pushes back against all of that buzzing evolution. It tries to brand it. It tries to turn it into intellectual property. As Alex French reported in a fantastic piece for The New York Times Magazine, there’s a booming business in Hollywood right now, one that involves taking existing intellectual property and, through the insistent alchemy of the studio budget, converting it into a Story. Angry Birds. Battleship. Fruit Ninja. Jumanji. And on and on.

Films like this are of course part of a much larger trend in Hollywood, the one that involves comic-book franchises, and sequels-to-sequels, and a hefty reliance on the general notion of the “universe”—films that give rise to anxieties about the reboot industrial complex and that cause people to wonder, extremely fairly, whether Hollywood is simply out of new ideas. (In 2016, La La Land was the only film of the year’s 20 top-grossers to have been wholly original—that is, not based on existing material. In 1996, nine of those 20 had been based on original screenplays.)

But The Emoji Movie and its fellow travelers are different. They aren’t merely adapting stories from another genre; they are taking something that has no story of its own—the toy, the game, the emotion—and attempting to inject story into it. As the producer Tripp Vinson told French, the changes that have come about in Hollywood over the past decade have “forced me to look at everything as though it could be I.P.” Sometimes, the results of that general approach to the world—everything can be a story—are delightful. Sometimes, they can be creatively Lego Movie-esque, their imagined worlds allowing for satire and allegory as well as entertainment. Many more times, though, those films read as cynical. They scan less as works of cinema than as weary exercises in forced anthropomorphism: big-screen versions of Clippy. (“It looks like you’re writing the script for a soulless cash grab! Would you like help?”)

And that’s another problem with The Emoji Movie. It takes all the productive linguistic experimentation that is happening every day—every minute—every second—in people’s phones and lives and reduces it down to stock characters who go through the motions of extremely conventional storytelling. Sony won The Emoji Movie in a bidding war against, reportedly, Warner Bros. and Paramount. In that sense, Gene belongs to the studio. But in another sense, Gene does not belong to anyone. Those silly little pictographs belong to us all. The Emoji Movie grafts its own plot onto the tools that real people, people who are not Hollywood studio executives, have been using to write their own stories, to have their own fun, to tell their own truths. No wonder the movie made them, in the end, a little bit 😡.

Why The Emoji Movie Fails