Dircksey Vol 8 Ed 1

Contents From The (new) Editor’s Chair Elizabeth Harris................................................................page 2 The Question Izzy French........................................................................pages 2-3 Sharing Stories: The Emotional Impact of Video Games Elizabeth Harris................................................................pages 4-5 ‘Saw The Film, Wasn’t As Good As The Book!’

Andrew Douglas..............................................................pages 8-9 The Herbalist’s Apology Elizabeth Harris................................................................page 10 How To Succeed When Jokes Are Your Downfall Aaron Clarke.....................................................................page 11 Born In The Backyard Anka Kasanović................................................................page 12 Children of The Void Michael Ryan....................................................................pages 13-14 SOMA: Bridging The Gap Between mind and Computer Scott Mather....................................................................pages 15-16 Hangman: Origins Izzy French........................................................................page 17 Pa Chip Ball & Gateway Jasmine Lo Presti..............................................................pages 18-19 Elephant Party & Elephant Slide Elisa Von Perger................................................................pages 20-21 Playground Elisa Von Perger................................................................page 22 Dircksey Dogs Milo....................................................................................page 23

June 2022 Dircksey 1

Editor-in-Chief Elizabeth Harris on her sudden arrival in the Dircksey Chair

From The (New) Editor’s Chair Most people would probably remark that the job of the editor is either a brilliant opportunity, or a stressful role based around being consistently organised. Both of these are true, and being able to finalise, layout, and edit this edition has been a similar process.

The creation of this edition was definitely a roller coaster.

I took up the mantle of editor with only a 2 week window until this edition was supposed to reach the printers. Which in short, meant that I’d been presented with a list of names and content and suddenly had to decide whether this edition would even be feasible to produce. Creating something

like Dircksey comes from a huge process – of scouting and editing and designing and so much more, and when that process is thrown for a loop it leaves everyone in the crossfire, no matter how things fell off the rails.

Taking on Dircksey without really knowing where the magazine was at, or what I was supposed to be doing left me more stressed about my own role in the process than the creation of the magazine itself – which thanks to the support of the guild and those involved in this edition – went as smoothly as it could.

For what it’s worth; I’m excited for what the rest of the year

holds and I’m proud to be able to hold this edition in my hands, breathe a sigh of relief, and formally introduce myself to ECU as Dircksey Editor for the remainder of the year.

I hope to see you with me, Elizabeth “Libby” Harris.

THE QUESTION - a really short play by Izzy French.

CHARACTERS: MICHAEL: a somewhat charismatic amateur actor SHANNON: a friend of Michael’s

ACT ONE SCENE ONE An empty stage, Day. MICHAEL, paces around the stage, rehearsing lines for an upcoming run of Hamlet. SHANNON, sits closer to the edge of the stage, silently judging his performance.

MICHAEL: In a bad Scottish accent To be, or not to be! That is the question, aye?

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SHANNON: Okay, stop.

SHANNON gets up and walks to MICHAEL What’s with the accent?

MICHAEL: In a normal accent Well, Hamlet takes place in Scotland, so I thought I’d practice my accent while I practice my lines! It’s called multitasking, maybe you’ve heard of it?

SHANNON: There are so many wrong things you just said… First, Hamlet takes place in Denmark. Where did you get the idea that it takes place in Scotland?

MICHAEL: Well, I saw Andrew Scott on YouTube and just figured…

SHANNON: He’s Irish!

MICHAEL: Well, close enough…

SHANNON: Is that the only part of Hamlet you’ve seen? When is the play?

Beat.

MICHAEL: Two weeks?

SHANNON: Shouting. Two weeks?!

MICHAEL: Maybe three. Maybe five. I don’t really know.

SHANNON: Well, is it two weeks, or not two weeks?

MICHAEL: In a bad Scottish accent. That is the question, aye.

END.

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Sharing Stories: The Emotional Impact of Video Games I’ve always considered myself a bit of a nerd and my love of all kinds of gaming is definitely to show for it. Over the past few years, I started to realize that the types of games I was playing tended to have one significant reason: their emotional impact.

Games which pull you in and wring you dry and leave you stunned into wondering how it could hit you quite so hard.

My empathy for these games, their characters, and their subject matter, naturally got me thinking: Why is it that so many of us can empathise with our video games?

According to Li & Kim’s Analysis of Emotional Design in Interactive Games and Physical Interaction Mode of the Games, “the uniqueness of the way electronic games convey emotions lies in their interactivity. The game process requires human participation. …Therefore, emotional design is more important in new media products with real-time interactive features” (Li & Kim, 2020). Which initially suggests that our empathetic reactions to these games, lies in their interactivity. Games use, as they put it, ‘emotional design’ through the use of interactivity. Conveying emotions for us to empathise with in our in-game choices and participation. Many praised Indie games do this, such as the Life Is Strange series of games, which

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highlights the way choicedriven narratives can create compelling story function and strong emotional story beats.

But what about games which don’t rely on choice as their primary narrative or gameplay function? Games such as Oxenfree or Night In The Woods which rely on cultivating protagonistcentric relationships? In a study performed by Karen Schrier, “Game participants practiced empathy-related skills and thought processes more frequently after having the time and opportunity to build relationships with

in-game characters.” But what does this actually mean? In the simplest form, it means that our ability to form relationships with in-game characters, despite their fictionality, is what allows us to build up empathy. Our relationships - both as the acting ‘protagonist’ (even if the character we play as might not be anything close to how we are in reality) - and as the player, towards these in-game characters allows us to foster those warm fuzzy feelings and emotional fallout when things get ugly.

Elizabeth Harris investigates how gaming gets into our heart

This, naturally, leaves us with two answers: that gameplay through emotional design allows us to empathise through the choices we make in-game, and that our relationships to ingame characters allow us to empathise with them through those relationships. Answers which allow us to very easily find an explanation to the raw emotional power so many games hold over us, no matter what their content might entail. So, what does this say about us? About our empathy levels and our emotional output?

Some people have started to consider a term known as “therapeutic gaming”.

This idea revolves around the notion that games we can empathise with, have a therapeutic benefit to our mental health. Often this is explored through the idea of perspective. Since, so much of empathy is related to the idea that we can view others’ perspectives and take away messages or ideas for ourselves. Very often this is done through the story that a game will follow, as Pirker, Kopf, and Guetl suggest: “[the] sufficient story-line of video games can positively impact aspects such as the ‘perspective taking’ of players.” . . .and games such as What Remains of Edith Finch or Everybody’s Gone To The Rapture, capture this perfectly. These games are what’s often referred to as

“walking simulators” games without much need for choice, and with little to no other characters to interact with, and yet they desire to tell a deeply intricate and cohesive story based solely on your first-person protagonist walking through an environment - typically with some narration. It’s the closest you can get to an “interactive novel” style of game, and yet so many people talk about the way that scenes in these games, such as the daydreaming sequence where Edith’s older brother fantasises to the point of his own demise within What Remains of Edith Finch, leave them breathless.

can give ourselves permission to live someone else’s life, and when we walk away from the screen, we take their story into our own.

The way that we empathise with games, and how they manage to capture us so well, really seems to be down to the way these games tell their stories. Things like choices, character-relationships, and storylines, are often attributed too, to those old “choose your own adventure” books. Only, I can’t really remember ever feeling as much emotional depth with the amount of page-flipping I had to do.

So, perhaps the gut-punches we’re left with are from a coherent narrative. One that’s got characters for us to take a hold of, choices for us to make, and a story we want to be invested in - without the need for so much back-andforth. In one, well-formatted and digestible sitting. Where maybe for an hour or two we

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Game Descriptors: Life Is Strange: In this choice-driven narrative game,

Max Caulfield – a college student back in her hometown – uncovers a strange power to reverse time. Teaming up with her childhood best friend Chloe, the two journey around town to figure out a deep-rooted mystery; where your choices will make up who lives and who dies in Arcadia Bay.

What Remains of Edith Finch: Edith Finch, last in the long

line of Finches, returns to her grandmother’s fantasy-like abode to try and uncover the truth behind a long-dreaded family curse. This walking-simulator uses clever storytelling attributes to explore the history of the Finch family, and the power of tradition and storytelling.

Oxenfree: Protagonist Alex and brand-new Stepbrother

Jonas meet up with Alex’s high school friends, Ren, Nona, and Clarissa, for a beach bash on Edwards Island. But when a Radio opens a rift through time, their night of fun becomes a horrifying exploration of friendships, history, and sacrifice.

Night In The Woods: Mae returns to her hometown after a year away at college. The first in her family to attend, she now must face the ways that her town, her friends, and she herself have changed since her departure. Using conversations and outing with her friends as its primary mechanics, this game explores how change and mental illness can truly impact us.

Everybody’s Gone To The Rapture: As the title suggests, an unnamed character awakes to find their town abandoned.

In a walking-simulator style, this game uses environmental exploration to uncover the stories of what happened and who lived there, before the rapture undertook them. With exploration of our own desires as human beings and the need for connection.

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‘Saw the film, wasn’t as good as the book!’

Every time a popular novel is brought to the screen, the inevitable comparisons begin with the screen version often found wanting. Disappointing the expectations of those familiar with the original.

Of course, this is not always the case. For example when a novel is more experimental in form and content, both versions can be equally impressive.

Occasionally a novel may

from conventional structure and themes, that it took several decades before any of them became feature film adaptions. For example, Mrs Dalloway (1925) was the first, where she abandoned the

For movie fans and purists of literature this is a vexing issue leading to other questions such as should one read the book first or wait for the screen version or do the reverse? A few examples might assist those juggling the relative merits of books - whether classics or popular fiction- and their screen adaptations.

One of the most popular novels of the last century was ‘Gone with the Wind’ which a few years after its publication became a blockbuster film.

I saw this film years before I read the original novel. The film is impressive and when I read the novel which is in the vicinity of 1000 pages.

I was equally impressed and found that the novel filled a few gaps and minor inconsistencies in the film.

Viewing the film after this, the inconsistencies and gaps were now understood and minor characters became more significant. Had I read the book beforehand, I would not have been as impressed with the film.

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Director Sally Potter and Tilda Swinton on the set of Orlando be so unconventional, it may be decades before a screen adaptation is even attempted. The experimental novels of Virginia Woolf are a case in point. Some of her novels depart so markedly

form of the traditional English novel. Focusing on internal mental processes rather than external plot developments, It would have been difficult for filmmakers of the period to adequately convey the

Andrew Douglas on the journey from novel to screen

visionary aspects of this work.

Similarly, her more radical work Orlando (1928) had to wait over sixty years before it saw a screen version. Dealing as it does with a man who

given a feature film treatment.

Fortunately, the screen versions of these two books are more than adequate. Each complements the other and the passage of time reflects both how advanced the original work was and how film culture has evolved to accommodate formerly unconventional themes.

Each version enhances the other. So it is of less consequence which one you experience first.

With certain books like murder mysteries (a la Agatha Christie), the final denouement is pivotal to the entire story. Knowing the ending beforehand might take some of the enjoyment of reading the book or seeing the film. In this instance, it depends on whether you enjoy the printed word or the visual big screen reenactment.

Either way, knowing the ending will take some of the mystery out of the viewing or the reading.

lives for serval centuries and halfway through the novel turns into a woman, it explores issues of gender and sexuality that would have to wait for a more enlightened age before they could be

A screen version cannot be a carbon copy of its predecessor, if only for sheer logistics:a feature film is rarely more than two hours long whereas a novel is usually a few hundred pages. Inevitably, sections will be simplified or even omitted altogether. This

stream-lining condenses the overall story by leaving out minor characters or subplots.

Unless the original book is rather short or the film has a few sequels, there will always a degree of omission and reduction. Given this, sticklers for accuracy, will always be disappointed by the film version. For them there are always the classics (Austen, Dickens, Bronte) of which there are now many versions.

This variety might placate them at least a little.

Both books and films inform and entertain. As different aspects of creative media they aren’t easily comparable even when they cover the same material.

Virginia Woolf June 2022 Dircksey 9

creative writing

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The Herbalist’s Apology Oleander is my favourite flower You know this, and so You take it’s meaning to be mine.

That I am dangerous and fierce behind my shell of calm precision.

I have never been a poisoner; I study empathy and ails, Treat the effects of their making, Fill the sickbeds with their resting faces.

We met in Chrysanthemum’s, Your smile all fire and wily, Against my floral-heart.

Like incense burns, it smelled sweet.

When I was young, I’d find Honeysuckle Past the books, in vacant dirt.

I never questioned how they got there.

I drank their sweet, I didn’t think.

We are made of dirt and bones, And roots and mud and spill; And every inch of give and take, Has been lost in our burial song.

I am no Oleander; No undone poison except for me But your Honeysuckle Is sweet relief, my love.

And I am sorry, for all we have done Elizabeth Harris

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A public notice from the Federal Minister for Misinformation and Social Disservice: How to Succeed When Jokes are Your Downfall.

By Principal Policy Officer Aaron Clarke

You’ve all probably come across a situation where you’ve japed a bit too far. Crossed the comedic tightrope. Been sentenced to death for your jestering antics. I certainly have.

You might remember me from previous Blackboard discussion group gold like ‘Seven fun things to do with references’, ‘Marriage as a relative concept in isolated rural areas’, ‘Should spanking be illegal or is it kinky enough already?’, ‘Overcoming Scomophobia: Why insisting on accountability is fuelling hostility towards the conscience-challenged?’ and my personal favourite: ‘How do I submit my final assignment after I used Turn-it-in to convert a Word document with pictures of naked people into a PDF?’ (I was asking for a friend).

No? Never read them? Okay, well maybe it’s because they blocked me from ECU’s social media for posting that article on how the Covid vaccine can give you 5G. Uncalled for, because I know for a fact that I read somewhere that the human body can only take a few Gs before you pass out, so I was well within my rights to point that out. Luckily, we only get 2G in my area so I’m pretty safe.

So, you’ve annoyed your lecturer with a joke and therefore YOU ARE GOING TO FAIL. The important thing is to remain calm.

Take a deep breath and put this event into perspective. While admittedly an unfortunate development, this situation is nothing exceptional in and of itself. It is just the latest in a long series of acts of ineptitude, stupidity, and self-sabotage that you have inflicted upon yourself (and occasionally others) throughout your life.

Accept your situation If it wasn’t your poorly judged attempt at humour that resulted in the failure to complete your education, it would, inevitably, have been something else you did that resulted in a similar outcome. So it’s best that you resign yourself to the rolling consequences of this recent turn of events for which you are at fault.

Acknowledge your limitations I know this might read like one of those pamphlets you get at a sexual health clinic, but the difference is that most of those sorts of things can be cured.

In this case your condition is not likely to improve. Think

it through: you’re doing an arts degree, clearly the best option available to you. So, there aren’t really very many options left to explore - you’re just not cut out for higher order occupations like drug dealing or network marketing. Now that you’ve lost Austudy and your parents have finally lost their patience and kicked you out on the street a life of gainful unemployment is probably the best you can hope for.

Identify your strengths I know it’s a lot to take in. But it could be worse. You could have majored in economics, or politics, or theology, somehow graduated and gone on to ruin other people’s lives instead.

Take comfort in the fact that, outside your own immediate circumstances, you haven’t done as much damage as you might have otherwise. Appreciate this silver lining to your clouded judgement. Of course, in the future you may undo your gains and have (oh pity them and Lord help us all) children. But let’s just deal with one screw-up at a time, okay?

Finally, if, for a change, you can find it within yourself to learn from this experience, then at some point you might want to consider not posting anything anywhere at all.

And remember: tin foil hats are cool, not dorky.

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creative writing

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born in the backyard A child crafts some strange sort of realm of soil where trees are named and dirt is merely finger-tipped fairy dust. Long days of scraped knees and potion-making patience and opportunities for meddling with seeds. Tongues tasting noise joyously, timber tantrums thrown, home in an unabashed backyard.

A child speaks some strange sort of solemn language where leaves learn whispers and share tree sap secrets and worm-gossiped words. Hushed days of hurting and eating and spilling fruit juice from plastic cups they hate to use but have to, clumsy hickory hands gripping sticks too tightly to think of anything else. They bring home pieces of forest and rose bitten skin.

A child grows some strange sort of human, holding on tightly to itself, all long limbs and foliage feet and grocery flowers. Short days of aching and early waking and metal cutlery. Making messes of scratched flesh, soothing burning, returning home to find a gaping garden and not one stick or seed or grain of soil speaking.

Anka Kosanović

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Children of the Void – an excerpt

By Michael Ryan

calmly, waiting for the response he knew was coming.

Walking to the centre of chamber, Draco pressed the gem on his ring and revealed himself without a word, waiting to see how his old allies would react.

He was curious whether or not they still kept the wisdom he’d once taught them, or whether time had dulled their reason.

Without warning, two long chains flew at Draco from both sides, wrapping around his arms and pulling in opposite directions, not enough to cause any real damage, but certainly enough to catch the First Chosen off guard and limit his movement. Though Draco was in pain, he couldn’t help but smile at the trick; it was quite effective.

“You’re the one claiming the title of a god?” A figure called out from ahead of Draco, a voice he recognised immediately.

“Of course not, there’s only one god.” Draco replied.

“But Draco, you do claim to be him, don’t you?” The voice continued. It was a male voice, the voice of one of the

The two figures stayed quiet for several moments, taking the time to both observe Draco and consider his words.

Then, suddenly, the chains came loose and fell to the ground, freeing the First Chosen. As Draco regained his composure, the woman he’d heard before walked up beside the male figure. strongest people Draco had ever met.

“I’m sorry, is the new face putting you off? Yes, I claim to be Draco, because I am.” The Chosen replied, grimacing in pain as the chains pulled even harder.

“You finally came back.” The woman said, the joy in her voice clear.

“It’s been so long, but you’re finally here.”

“I told you that I would return; don’t tell me you lost hope?”

Draco asked.

“You’re in pain.” A woman called from behind him. “Are you telling us that Draco, the First Chosen, is in pain?”

“Of course not, but we can’t say the same for the rest of the army; our ranks are smaller than they’ve been in centuries.” The man explained.

“Of course, I’m in pain. Have you forgotten everything I taught you, or are you testing me? Either way, I recommend that you remove these chains before I have to exert myself breaking them.” Draco spoke

“I’m not surprised, I was gone far longer than I intended.

Despite all that time, you two still look so young. You’ve been so strong.” Draco said, looking over his two old friends.

Continues overleaf Illustration based on: Parte di ampio magnifico Porto all’uso degli antichi Romani, ove si scuopre l’interno della gran Piazza pel Comercio by Giovanni Battista Piranesi

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creative writing

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Children of the Void (continued) “It wasn’t strength, it was faith; we promised that we’d always stay by your side.” Virgil replied.

“Faith is strength; it couldn’t have been easy. We have much to discuss, but you know what comes first.” Draco reassured, placing a hand on Virgil’s shoulder.

“She can still hear us, just like before; we’ve been looking through our books for anything that could help; any artefacts we might’ve missed, unique Chosen that slipped

“Chaos is history, what else is there? What other options do we have?”

“Chaos.” Veronica stated.

“Where is she?

It’s been too long since I’ve seen her.”

“Further down the catacombs, protected. We can take you now.”

Virgil answered, motioning for his old friend to follow him.

The trio walked through countless halls until they reached their destination, a room beyond hidden doorway tucked within a shadowy alcove. In the middle of the room, laid upon a long pedestal, was a woman in a long black dress, sleeping soundly and silently.

“She hasn’t changed either.

She still looks so peaceful.”

Draco noted, slowly running his hand across the woman’s cheek.

out, the remnants lost or in hiding; we can’t keep looking for solutions in the past, it’s time to look forward.” Draco said regretfully, as if he was remembering something that he’d lost.

through the cracks, some kind of myth or legend that could hold the answer.” Veronica said, looking over Draco and the woman with a sense of sadness.

“When’s the last time you saw a dragon or a centaur?

When did you last see those weapons of legend, even the ones we used? All those myths and legends have died

Draco looked over the woman that was Chaos, his oldest love.

Throughout all of history she was the one constant; even those who claimed to be gods feared her, what she represented.

She was the beginning of existence, the first being and the creator of all, the one true God; and yet despite her power, despite her place in the universe, despite everything, she still slept, trapped in an endless slumber reaching back millennia, waiting for those who believed in her, for Draco, to wake her up.

“The Void, it’s the only option.”

Illustration based on: Parte di ampio magnifico Porto all’uso degli antichi Romani, ove si scuopre l’interno della gran Piazza pel Comercio by Giovanni Battista Piranesi

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Scott Mather is a 21-year-old Psychology Undergraduate with a passion for bridging the gap between mind and computer

SOMA: Bridging the Gap Between Mind and Computer Just prior to the recent summer holidays, Scott Mather fell in love. Or fell down a rabbit hole.

However you want to put it, Scott was soon struggling to contain his enthusiasm for the developing field of braincomputer interfaces (BCI).

Determined to map his own neural networks to computer commands, Scott wasn’t about to let the high cost of commercial BCIs get in his way.

In late 2021 I became obsessed with the systems that allow for controlling computerised commands with different states of mind - brain computer interfaces (BCI).

After discovering the field of BCI’s in late 2021 I couldn’t wait to get my hands on this technology to try it out. I really wanted to try mapping my own neural activity to computer commands through electroencephalography (EEG), the process of recording electrical activity of brain waves via electrodes placed on the scalp. I soon discovered the prices of commercial EEG BCIs were prohibitive. Sometimes reaching into the thousands, and the software to use these products was almost as expensive. This wasn’t about to stop me…

At my local electronics store I was able to purchase what I needed to build an EEG BCI for around $200. Due to the lack of information online about how to build a homemade EEG BCI, I first had to learn how to build sub processes of the EEG, such as how to access brainwaves, how to amplify and transmit the electrodes’ signal to a computer.

Once the EEG was built, I took to my whiteboard and designed a code that allowed for my EEG to become an EEG BCI. The BCI code functions by mapping the brainwaves associated with concentration and relaxation to computer commands, therefore bridging the gap between brain and computer. I sent these commands to a simple video game that allowed for up and down controls of a helicopter. Although I’m thrilled with these results now, they did not come easily. At the beginning of the process, I had little knowledge about soldering, coding, and circuitry and had to learn as I went along. I think I spent at least 50 hours staring at a screen, trying to move a helicopter that either wouldn’t budge or would unintentionally fly off. Each time meant slightly tweaking the calibration, then trying again and this was just one

aspect of the testing stage!

Even so, I wouldn’t have wanted to do anything else because I knew where it was all headed…By the end of the summer holidays I’d built a Bluetooth, battery powered, homemade EEG BCI and was able to direct the video game

Continues overleaf June 2022 Dircksey 15

SOMA: Bridging the Gap Between Mind and Computer (Continued)

helicopter up and down just by concentrating or relaxing my mind.

My aim now is to raise awareness about the field of homemade BCIs. I hope that my system, named “SOMA”, inspires others to explore this field and understand that this is not technology of tomorrow, but technology of today!

I want to say “hey, this is what I did, you can do it too.”

SOMA is intended to act as a reference point for further development and innovation in the homemade BCI field, it isn’t a commercialized product. I’m sharing the resources I’ve developed so they’re available for anyone wanting to access and control computers with their brainwaves. By making my resources freely available, the only cost to home EEG BCI developers will be in sourcing their materials for their chosen EEG hardware components. I do stress though that people need to do their own research outside of SOMA before beginning projects because, unlike commercially available products, it hasn’t been through a safety testing process.

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I’m now working on several projects with the purpose of providing interested people a bridge between their brain and computers. In one of my projects I’m building software that people can download free of charge and use to connect their own homemade EEG BCI to their custom code or the software built into video games. The video games that accompany the software will be controllable with the user’s homemade EEG BCI.

and implementation. BCIs will also be able to connect people to their appliances and computers, increasing accessibility, productivity and entertainment. I believe that personalisation and individualisation will stem from progress in the homemade BCI field and its naturally accompanying person-centred systems.

I want people to know that the future of BCI is bright and that the possibilities are truly endless!

Initially I just used the commands of concentration and relaxation as that only requires three electrodes.

Now I’d like to see a homemade EEG BCI with fivefold this number. This would significantly increase the amount of ‘neural real-estate’ available for mapping to additional and more precise brainwave patterns/thoughts.

I’ll be really excited to see other homemade EEG BCIs outperform mine and add value to the field.

I envision a future for BCIs that is person-centered, where they could become familiar with each person’s unique neural activity, and could help give early warnings of any changes. As BCIs become a common part of daily living in the future they will increase in their ease of use

To make your own Brain Computer Interface, you need to do your research.

Understand the risks, and how to work safely.

Reach out to Scott via SMATHER1@our.ecu.edu.au to discuss SOMA

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The Gallery

Pa Chip Ball Dress Jasmine Lo Presti

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The artists of ECU share their talents

Gateway Jasmine Lo Presti

June 2022 Dircksey 19

The Gallery

Elephant Party Elisa Von Perger 20 Dircksey June 2022

Elephant Slide Elisa Von Perger June 2022 Dircksey 21

The Gallery

Playground Elisa Von Perger 22 Dircksey June 2022

Dircksey Dogs Milo June 2022 Dircksey 23

Mindfulness colouring in

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