Laughter therapy is no laughing matter. Structured activities designed to elicit joy, such as laughter yoga and hospital clowns, appear to significantly lower anxiety levels and enhance life satisfaction.
Laughing, a behavior observed in various animal species, is believed to boost social bonds and may assist infants in developing their self-identity. Research indicates that interventions involving clowns lead to shorter hospital stays for children.
Yelsynyn-Mauricio Porras-Jiménez from Jaen University in Spain aims to enhance people’s holistic well-being. “It’s not solely about physical health; mental and emotional aspects are crucial,” he notes. “I discovered laughter therapy while exploring ways to implement holistic care effectively.”
Porras-Jiménez and his team performed a meta-analysis of 33 studies from the United States, Europe, Asia, and the Middle East. The participants included nursing students as well as individuals receiving terminal care, undergoing surgeries, in vitro fertilization, or those grappling with depression or burnout.
Each study divided participants into two groups. One group engaged in various laughter therapy activities, such as laughter yoga, clown visits, watching entertaining films, or joining guided laughter sessions. The second group served as a control, maintaining standard care or receiving no interventions.
Results demonstrated a consistent link between laughter therapy and decreased anxiety, alongside heightened life satisfaction. In one measurement of anxiety on a scale of 0-100, the control group’s average score was around 60, while the laughter therapy group scored 8-10 points lower. Regarding life satisfaction, the control group’s score averaged 50, with the laughter therapy group scoring 10-12 points higher.
However, participants were aware they were partaking in laughter therapy, which raises questions about potential placebo effects, according to Sophie Scott from University College London.
Nonetheless, laughter triggers physiological changes correlated with reduced anxiety, she adds. Research shows lowered cortisol levels, a stress hormone, and increased endorphins, neurotransmitters that foster feelings of happiness.
“It’s challenging to determine if the benefits arise from laughter itself or from the social environment that encourages comfortable laughter,” Scott remarks. “It seems to be a combination of both.”
a The third Sonic movie came out with a strong sense of inevitability, creating excitement among its core pre-teen fanbase. The Marvel Cinematic Universe could learn from how it keeps audiences entertained. The buzz around Sonic’s unconventional teeth is now a thing of the past, but Jim Carrey truly shines in his double role, showing his dedication even if it’s just for the money. The movie is doing a good job overall, appealing even to those who may have forgotten the intricacies of early ’00s games. It’s an engaging experience.
The Sonic reboot introduces a “dark” version of Sonic in the form of Shadow, a hedgehog with black and red coloring. As the story unfolds, Shadow escapes from his containment unit, prompting Sonic and his sidekicks to intervene. They end up working alongside Ivo Robotnik to uncover secrets at an abandoned military base, leading to a complex narrative.
Drawing from over 30 years of gaming, the film offers rich plotlines, character development, and dramatic incidents. While the human element may vary, the voices of Keanu Reeves and Idris Elba, along with James Marsden and Tika Sumpter, add depth to the story. Carrey’s performance stands out, injecting humor and energy into the movie. His presence prevents the film from falling flat and enhances the overall experience.
The British sense of humor is cherished among Brits, but it’s natural to assume that many British jokes may be embarrassing to other cultures. There is an interesting point to consider here – humor is not universal. What one finds amusing is not inherent, but rather cultural.
Humor differs significantly from laughter, which is a common experience for all human beings, even the grumpiest ones. Laughter is much easier to comprehend and study scientifically.
For instance, TV producers have long understood that incorporating a pre-recorded “laugh track” can make people perceive something as funnier compared to when they don’t hear that laughter (I’m Looking at You, 90’s Sitcom). However, neuroscientist Robert Provine found that jokes are not even necessary. In a study conducted in 2013, Provine solely played the laugh track, which surprisingly was adequate to induce laughter in nearly all participants.
Provine’s groundbreaking research on laughter involved observing it in real-world settings rather than just in a lab. Observing people laughing in public, he empirically proved that individuals are significantly more likely to laugh in the presence of others than when alone, approximately 30 times more likely. Moreover, laughter is not necessarily a response to finding something funny but serves as a form of social communication, indicating a positive, nonthreatening interaction.
Laughter is not exclusive to humans; it is observed across the animal kingdom. For example, apes enjoy being tickled and vocalize their enjoyment while playing. Kea parrots are known for their playful behaviors and have distinct calls to amuse others. Additionally, mice produce ultrasonic giggles when playing. Rats tickled regularly by their owners exhibit immediate laughter upon the owner’s arrival, displaying excitement for playtime.
Powered by Galaxy AI to provide resourceful assistance Thanks to the Chat Assist feature on the new Samsung Galaxy Z Flip6, Galaxy AI analyzes your chats and messages in real-time and displays contextual suggestions as you type to help craft the perfect reply. Therefore, choosing a casual tone is likely to include lighter and wittier touches.
However, humor poses a greater challenge in understanding. What makes certain things more amusing than others? And how do you define what is considered amusing, depending on individual perspectives?
One compelling explanation for humor is that it involves the buildup and release of tension. This concept can explain some well-known comedic moments, such as Del Boy falling on the bar, Basil Fawlty hitting a car with a tree branch, or Mark Simmons’ joke at the Edinburgh Fringe: “I planned to sail around the world in the smallest ship, but chickened out.” These instances are humorous, especially when viewed from a non-human perspective.
Generative AI, trained on vast internet data, is adept at replicating various humor styles, including generating jokes based on given parameters. When prompted with a framework like, “I thought I was going to sail around the world in the world’s smallest ship…”, an AI chatbot replied, “I felt like I was sinking.” Not a bad attempt, right?
However, creating the framework itself, i.e., original humor, involves distilling quirky and unconventional ideas that resonate with shared human experiences but lack any firsthand experience of the world beyond online sources. For now, these unique concepts offer intriguing ways to engage with audiences.
‘WWhen people play video games, they want to have fun,” Josh Mansell, composer of Naughty Dog’s early Crash Bandicoot games, tells me. It’s a simple word, but one that laid the foundation for everything that PlayStation’s most famous mascot would represent. “Crash Bandicoot” was fun, even when players were banging their heads against CRT TVs in frustration when “Slippery Climb”’s paranoid, creepy music started playing his 100th time. And Mansell’s soundtrack was there to remind us of that from start to finish.
However, the characteristically eccentric, manic energy that fuels Crash’s reckless platforming adventures didn’t come out of nowhere. “When I was working on the game, I was throwing things at the wall to see what would stick,” Mansell says.
Crash wasn’t as fast as Sonic or as approachable as Mario. He was scruffier, edgier, and an underdog than his sanitized mainstream stablemates. And the music captured that. It was insistent, encouraging, and quirky. A witty little Looney Tunes cartoon about someone getting addicted to sugar and accidentally wandering into the third dimension. However, that cheerful Hawaiian surf rock atmosphere was almost something completely different.
Early drafts of the score for the first Crash Bandicoot game were ambient and drum-heavy, focusing on creating a sonic jungle around Crash. So you will feel like you are with him on this dangerous island, surrounded by plants as deadly as animals. . This music was actually very similar to one of Mansell’s earliest projects as a composer, his American Kraft cheese commercial. “This commercial is about a little kid going through a jungle, and it’s all animated, and even the beat I used there is very similar to one of the beats that ended up in ‘Crash.’ I did.
“The early, more ambient stuff works better. It draws you into the jungle and into the immersive nature of what games should be.”
Josh Mansell, Crash Bandicoot game soundtrack composer then and now Photo: Josh Mansell
But Crash Bandicoot is not Uncharted or The Last of Us. Mansell had worked with Naughty His Dog during his “punk” days, and created Crash as a rival (and parody) of Sonic the Hedgehog. Developer’s “Hollywood” days were still two generations ahead of him, and at this point the music needed to be weird and quirky, more akin to a Saturday morning cartoon than a prime-time TV show.
And it was Hog Wild, one of Crash Bandicoot’s most infamous levels, that provided Mansell with the inspiration he needed to fit firmly into Crash’s baggy jolt. “‘Hog Wild’ was a big turning point, especially in terms of the feedback I got regarding the music,” he says. “They were pointing me in the direction of creating a more ‘experimental’ score, using all the percussion and ambience. Environmental sounds. And I think the reactions were divided. ”
Some producers at publisher Universal were not convinced by this more experimental approach. Mansell has previously been quoted as referencing the likes of Aphex Twin and Juan Atkins in these early scores, but that is completely untrue. Mansell says he admires the way the musicians were able to create deep soundscapes with limited space and tools. And that’s what he wanted to do with the Clash, more than “imitate the kind of music they were making”. We weren’t going to get someone like Alberto Balsalme from Crash Bandicoot, right?
“Hog Wild’s music was more…I don’t want to make a pun and say Universal…more comical,” Mansell says. “People laughed at it, and I started to feel like there was an even more positive response. It didn’t sound like Mario music, but it sounded like our own version of Mario. It was more animated, more It’s going to be character-driven.”
“This is what it’s supposed to sound like” when you’re jumping over things on a pig’s back, Mansell points out. And he’s right. Both in music and gaming, Hog Wild is a solid introduction to what Crash Bandicoot is all about. This is where this game departs from its infamous 2D platforming cousins Mario and Sonic. Hog Wild is his eighth level in the game and represents what Crash needs to be: fun, fast, reckless, and stupid. The perfect mascot for Sony and his fledgling PlayStation console.
“[Hog Wild] It was an eye-opener. That’s when I started to see what this game was all about. You’re playing a comic. You are a cartoon character. The person who designed the character was involved with Looney Tunes, right? Charles Zembilas brought that sensibility to the game before I stepped in. ”
Mansell is first and foremost a drummer, and you’ll find that Crash Bandicoot’s melodies, from the first game all the way to Crash Team Racing, are all very percussive and assertive. Just as you can tell that Dave Grohl writes vocal parts from a drummer’s perspective, you can tell that Mansell has a rhythmic heart. Everything about Crash feels groovy, uplifting, and tireless. He specifically mentions Stewart Copeland of the Police as an influence in this regard (“one of my favorite drummers of all time”), and for him the Ruins level of Clash 2 is a true “hat”. ). This creates an interesting loop. Two years after the release of Crash Bandicoot, Copland began composing the music for the Spyro the Dragon series, which also happened to be fortuitous for Mansell.
When Crash finds his feet, or “butt,” consider that during development it was called “Sonic’s Butt Game” because everyone kept paying attention to Crash’s polygonal butt. Mansell felt encouraged. According to the composer, Crash 2 (Cortex Strikes Back) and 3 (Warped) became more “musical” and he began drafting in a more personal style, taking liberties with this blossoming series (very Newly encouraged by its unexpected success in Japan) into the stratosphere.
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