Sentences with phrase «primary story characters»

Primary story characters finally have meaningful and / or funny dialogue.

Not exact matches

The lesson seems to me to be larger and more direct, and we shall make the characters in the story our primary consideration.

Syracuse.com broke a story Sunday that said rumors were swirling about state money for a possible stadium to replace to the Dome, but none of the primary characters were sharing their stories.

But co-directors Anthony and Joe Russo and primary screenwriters Christopher Markus and Stephen McFeely adroitly use Thanos» hunt to yoke together stories and characters that range from the pompous gods of the Thor chronicles to the practical jokers of the Guardians of the Galaxy franchise.

Putting aside this tiresome plot - thread, which, quite frankly, adds very little tension or drama to the story, the film does introduce the personal lives of the crew, albeit only the primary characters.

Divided into four sections designated by the seasons of the year, the story revolves around three primary characters.

But he's a supporting character in the primary story of Matt, a man who has suffered the same mistreatments (he served time for a crime he didn't commit, a sentence that cost him his family) and emerged wary and self - sufficient, but steadfastly moral.

But unlike the director's earlier films, Stone no longer starts with characters and shrouds them in issues of cultural significance, but has acquiesced to being a director who conceals his primary interest in issues with thinly - veiled stories and characters that are ciphers for, again, expository revelations or political screeds.

Their perspective is distanced, symmetrical and greenery - flanked, communicating that while the primary characters may be in the centre of the frame — and of the story — they are not the centre of this universe; more powerful forces are at play.

The details of what exactly happened can not easily be summarized, because questions remain to this day — about her intent, her involvement, and the story's primary concern, her character.

Our plan is grounded in the following two premises: 1) When purposefully synchronized with one another across multiple forms of media («cross-media»), children's and adolescents» exposure to high quality youth - oriented social and ethical story content, i.e. stories of substance specifically about character development, compassion, and courage (CCC), is a powerful way to promote youth academic achievement and ethical values; 2) Especially if these stories, told and «read» across media, in their various genres (human interest, biography, history and historical fiction, civic engagement, coming of age, social change, spiritual awakening, moral issues, etc.), are «taught» by «educators» (broadly defined) using an «evidence - based» pedagogy that A) makes use of peer to peer, and adult facilitated group discussion and debate as a primary form of instruction, and B) takes advantage of access to the texts of the story that are made available cross-media (narratives, scripts, videos, etc.) to foster students» critical thinking and ethical reflection skills.

This one - page film guide on the film West Side Story the musical adaptation of the play Romeo and Juliet, set in 1950s New York, incorporates themes around street crime, immigration and the American dream, is designed to support pre - and post-screening discussions of character, genre and the key themes of the film for use with primary school pupils aged 7 and over.

Those observing in primary grades noticed that when students were asked to draw pictures or write simple sentences that captured the main idea of a story, the students focused their pictures and sentences on the primary characters but didn't necessarily communicate the main idea or theme of the story itself.

Based on thousands of primary documents and 180 on - the - record interviews, the story unfolds day by day, hour by hour, and at times minute by minute, with a rich cast of characters — military officers, American and Viet Cong soldiers, chancellors, professors, students, police officers, businessmen, mime troupers, a president and his men, a future mayor and future vice president — moving toward battles that forever shaped their lives and evoked cultural and political conflicts that reverberate still.

The latest book depicts the story of Sakura Haruno, a faithful and skilled member of Team 7 and the primary lead female character in the NARUTO canon.

What I am looking for, what my primary goal as a writer is... is to entertain people with my stories and characters.

If you can cross market your book to music teachers or coffee lovers or the home building industry because your story and primary characters are connected with that subject, you are tapping into a new market.

I don't need to yell about how annoying it is for the central female character to be defined in the title of the story by the primary male figure in her life!

Playing story mode is just a matter of selecting a location of the world and then deciding on your primary & secondary characters to use.

This style of storytelling derives from the theatre of ancient Greece, where the primary purpose of their morality plays was further development of their characters, and it is here where XIII's story truly shines.

Given that the majority of Halo campaigns games play so similarly and aside from a few tweaks, the elegant and addictive gameplay has remained a constant, the primary reason I prefer Reach is from a story and character point of view.

The only difference really between story mode and Free Roam is that Story Mode gives you a series of «Primary» missions, which can sort of guide you through the game and to each area, all while going through the story of the character you're plastory mode and Free Roam is that Story Mode gives you a series of «Primary» missions, which can sort of guide you through the game and to each area, all while going through the story of the character you're plaStory Mode gives you a series of «Primary» missions, which can sort of guide you through the game and to each area, all while going through the story of the character you're plastory of the character you're playing.

He also acknowledges a bifurcation that often happens with fighting games — the hardcore audience that enjoys technical or competitive play, and a softer audience whose primary interests lie with character personalities and relationships, story or dialogue, and music or art (though not to say that there's no overlap, as people often taken interest in «both sides» too.)

Dauntless has no classes and minimal character progression (there is a story, but it predominantly exists to unlock new hunts), so gear is the primary means of progression and expression.