Sentences with phrase «best narrative her story»

Add to these factors how compellingly a good narrative story can tie it all together — think of Oliver Stone's JFK or Dan Brown's Angels and Demons, both equally fictional.

BEST NARRATIVE Her Story (Sam Barlow) Life is Strange (Dontnod Entertainment / Square Enix) Tales From the Borderlands (Telltale Games) The Witcher 3: Wild Hunt (CD Projekt Red / Warner Bros..

Not exact matches

For all the great tools available to consumers to enjoy seeing an on - screen narrative, you'd expect that designers for theaters would have a better idea of the consumer's story along their online path to purchase.

3) Remember that your narrative should also include your personal story and why you're the best person to be starting your company right now.

But the human mind is made to fall for stories and miscalculate the odds when a good narrative is in place, as has been usefully described by the work of Nassim Taleb and Daniel Kahneman, among others.

But the result is that he frequently sacrifices a good story by chopping it up into smaller units and dropping them in at convenient spots in his narrative.

What we need is better and more responsible and more coherent personal stories, not the complete subsumption of all personal narrative into group narrative.

I have been especially interested in the Creation and Fall stories in Genesis as well as the Flood Narrative.

So when I told you to stick your platitudes where the sun don't shine, what I was saying was that I reject your shamy concern trolling and refuse to allow you to control this narrative... like you tried to control MY statement by calling it «silencing» (the very word we've all been using to accuse TJ's EV crowd... very clever), and you tried to control JULIE»S story by diminishing it to «well there are two sides», and how you tried to control this entire conversation by saying what we think about it isn't important or relevant unless we're having face - to - face convos (and yet you're commenting here?

I call this alchemy «narrative theology» because I'm usually just wanting to write what I think and experience about God and the best way I know how to do that is through story - telling.

We all love a good story because of the basic narrative quality of human experience 22a.

«Story» is better, and «narrative» is better still.

I suggest that the whole biblical narrative, including Jesus, as well as all subsequent theology, is one vast story illustrating the simple fact that, in the end, we are all one, connected to each other and to our common Ground of Being.

This is an infinite which expresses itself in a narrative vision, not a predetermined narrative nor one which intends to include only a particular kind of people or a particular reality, but a story which is much more open than the old story used to be — a story, indeed, with many strands rather than with one, and a story which is not going to any predetermined place but which is constantly open to the best possibility that is relevant for it.

Marcus could read and write — though he could not write well, and had no inclinations to authorship, even in that publishing center of the western Mediterranean in the days of Nero — and so, as one of the few in the local congregation of Christians who could both read and write, he was commissioned to put together in his free time — probably late evenings, after the assembly of the Christians had broken up — the fragmentary translations of narratives from the story of Jesus and his teaching which were in circulation in the Roman church.

Narratives are filled with a variety of experiences that need to be interpreted; this is true of Bible stories as well as personal testimonies.

However timeless, the familiar old stories can seem dated, and one of the reasons is the rather binary «good vs evil» narrative.

We owe the Red Sea story in its present form to them, as well as the narratives of the conquest of Canaan, particularly the story of the fall of Jericho.

If through greater sensitivity to its stories a local church better discerns its constitution and mission, the effort of narrative analysis will have a significant result.

Linafelt attributes to the mutual benefits of the two genres the «very best of ancient Hebrew narrative technique: a lengthy, artful and coherent story, with complicated and conflicted characters who grow and change and who... are capable of surprising the reader» (p. 72).

Tyler Ward recently released Marriage Rebranded, where he debunks modern myths about marriage, tells real - life stories and offers unorthodox best practices that are sure to help anyone write a better marital narrative for themselves.

Semety... I wasn't using the story to illustrate whether he was a «good person»... he may not have been, but if Jesus approved of his response, then it was obviously the «right» response and therefore good.Jesus appears to be giving credit where credit is due.Likewise, we call a familiar story «The Parable of the Good Samaratin», not The Parable of the Not - That - Good Samaritan.The gospel narrative wdn't have the same emotional effect if we cdn't recognize and «identify with the goodness of the hero.&ragood person»... he may not have been, but if Jesus approved of his response, then it was obviously the «right» response and therefore good.Jesus appears to be giving credit where credit is due.Likewise, we call a familiar story «The Parable of the Good Samaratin», not The Parable of the Not - That - Good Samaritan.The gospel narrative wdn't have the same emotional effect if we cdn't recognize and «identify with the goodness of the hero.&ragood.Jesus appears to be giving credit where credit is due.Likewise, we call a familiar story «The Parable of the Good Samaratin», not The Parable of the Not - That - Good Samaritan.The gospel narrative wdn't have the same emotional effect if we cdn't recognize and «identify with the goodness of the hero.&raGood Samaratin», not The Parable of the Not - That - Good Samaritan.The gospel narrative wdn't have the same emotional effect if we cdn't recognize and «identify with the goodness of the hero.&raGood Samaritan.The gospel narrative wdn't have the same emotional effect if we cdn't recognize and «identify with the goodness of the hero.»

Though this is a narrative history, Herrin has more in mind than telling a good story.

My point is that rather than look for the most correctly indoctrinated, we shld appreciate the heart that is correctly turned toward the good, regardless of the doctrines they may confess.We don't know the doctrines of the Roman Centurion or if he even had any, but the story suggests his heart and will were in the right place.I don't read that Jesus took credit for it.Don't let the Pauline «sub-narrative» blind you to the «grand narrative.»

If we are right in these assumptions, the best explanation is that only the name of Goliath is an essential error of the present story and that it is a later addition to the narrative in the only place where it appeared in the original story, namely, at 17:4.

Examples of these human marks include the fact that the Bible was written in Hebrew and Greek, that the Old Testament world was a world of temples, priests and sacrifice, that Israel as well as the surrounding nations has prophets that mediated divine will to them, that Israel was ruled by kings, that Israel's legal system shares striking similarities with those of surrounding nations, that the creation narrative and the story of Noah resemble other ancient stories of the time, that the writers of Scripture operated within the paradigm of ancient cosmology, etc..

We note in any case, and emphatically, that it is, like so much in the patriarchal narratives, a very good story indeed especially in the graphic portrayal of Tamar, in its deft integration of plot, and in its fine suspense.

This point suggests that well before the year 50 at least the Passion Narrative (Mark 14:15 and parallels) was told as a continuous story.

«Lily, Rosemary and the Jack of Hearts» is a good Dylan song for a kid because it tells a story so instead of being confused about what the weird man in the hat and glasses is scratchily singing there's actually a narrative to follow and enjoy.

Although Caroline did indeed have a «well - founded fear of persecution'thanks to her father's affiliation with an opposition party, she felt the need to augment her story with narratives of brutal rapes and torture.

While everyone loves a story about good people triumphing over evil forces, such stories don't encourage us to become a part of the narrative.

The media, meanwhile, need good guys and bad guys to tell a compelling story — and the good guys always win, because they write the narrative.

A clear narrative would be better then a clear Story, or better still a clear set of policies the problem is a lot of what labour has been telling us of late can be seen as Stories or better still fairy tales.

Stages also fit well into a chronological sequence where stories have set narrative patterns.

Well, patents have to do with money, and money turns a lot of beautiful scientific stories into ugly legal narratives.

When a major publisher expressed interest in re-releasing Deep Nutrition, that was very exciting because it gave me an opportunity to put all the science around nutrition that's come out since the original was published into the context of that larger story, to grow the story into an even bigger and better narrative.

His stories regularly appear in Narrative, where he was named to their list of «Best New Writers» in 2011.

Indeed, one of the best things about Sunless Sea, apart from its beautifully crafted elder - horror stories, fantastically drawn artwork and generally creepy atmosphere, is the feeling that the decisions you make within the game are shaping the narrative, and that by playing, you are writing yourself into that story.

If you are interested in this type of narrative games, you're here to telling you a story, and the one that offers A Crowd of Monsters is well shaped and has enough incentives to want to continue it in the next chapters.

Yes, it happens and certainly works well in this story, but it is far from the main action beat or narrative high point.

The head - shaking silliness of all this aside — compounded shortly thereafter when Crowe graces us with a rousingly ahistorical oratorical salute to good old centuries - distant democracy — what's telling is the relative weight of narrative emphasis on this wholly unnecessary chunk of backwards - looking motivation at the expense of the still - progressing story.

Bioshock 2 may have sacrificed storytelling for cleaner gameplay, but the story is still well written and better than your average VG narrative.

While Unsolved isn't quite as slick and incisive as that FX series [American Crime Story: The People v. O.J. Simpson], it is an absorbing, provocative, and extraordinarily well - acted work of television that takes a narrative approach just novel enough to make you feel like you're seeing these long - cold cases through fresh eyes.

When the dance is finally beat, Robert Baker... or Alabama, there's something endearing enough about the pretty points in cinematography and score work, touching occasions in entertainingly well - paced direction, interesting spots in a colorful story, and across - the - board decent performances - especially the one by Evan Rachel Wood - for the final product to border on decent, ultimately falling under the overwhelming weight of the glaring tonal and narrative incoherencies, flat humor, dramatic contrivances, problematic themes, even more problematic leads, ridiculous story and onslaught of clichés which render Andrew Fleming's «Barefoot» an occasionally charming, but mostly mediocrely misguided romantic dramedy.

A tightly focused romantic drama that exudes the narrative terseness of a good short story and the lucid craftsmanship of a filmmaker in full command of the medium.

It's a lot of fun to play in the open world and the gameplay mechanics are fantastic, but the story kidnaps you and railroads you into a very strange narrative which doesn't really fit all that well with the rest of the gameplay experience.

One of the best things the show figured out how to do was to draw lots of stories from lots of different Bosch novels, keeping Bosch, Edgar, and company so busy that there are never the dead spots you get in most shows that use the «It's a 10 - hour movie» narrative approach.

The story is very sweet and has a very good narrative structure.

While well intentioned, the human - and - dog interest story lacks narrative drive and star Kate Mara is a limp noodle.

Impressive visuals and great production design are unfortunately overshadowed by a convoluted plot that struggles to depict its story - a narrative that starts strong but deteriorates as it attempts to balance too many emotional stakes for its own good while including one (or two) too many scenes that unintentionally call attention to itself.