Sentences with phrase «between different eras»

At times, the jumps between different eras of Jodie's life is slightly disorientating, but it ultimately works really well.

Not exact matches

But his protest came too late to still the rising chorus of voices insisting that something was radically different between the claims of Christ and the assumptions of the modern era.

Inevitably that's led to a number of comparisons between the two, but trying do it through statistics alone is pretty much meaningless since they both raced in completely different eras.

What you are doing, is looking at two clubs, based in two different leagues, with different teams, different finances, different fanbases, belonging to different eras, and finding a grand total of ONE common factor between them, ie Arsene Wenger, have set out to look for patterns where none exist, at least in terms of the data, or facts if you prefer, that you provide.

However, even if the situation turned out similar in practice, the propaganda, what the nations claimed to be, was still vastly different between the worst era of Stalinism and fascist states.

For their study, the researchers looked at three sets of fossils (now housed in museums in Denmark, England, and Texas) of widely disparate creatures from different eras: a leatherback turtle that lived about 55 million years ago, a large predator called a mosasaur that lived about 86 million years ago, and an ichthyosaur that swam the seas between 190 million and 196 million years ago.

Some of the variation the researchers found likely dates back to isolation of different Hermit Thrushes populations by ice sheets during the Pleistocene era, while differences between the two western groups may relate to body size, with larger birds producing lower - frequency songs.

Provides a rich, extraordinarily fascinating account that's sure to have many viewers» minds constantly shuttling between then and now, noting how different certain things about politics and media were in that distant era, yet marveling at how directly those archaic realities led to many of our own.

The film cross-cuts relentlessly between two children living in two different eras.

A decade ago, the No Child Left Behind Act ushered in an era of federally driven educational accountability focused on narrowing the chasms between the test scores and graduation rates of students of different incomes and races.

The Shadow Catcher dramatically inhabits the space where past and present intersect, seamlessly interweaving narratives from two different eras: the first fraught passion between turn - of - the - twentieth - century icon Edward Curtis (1868 - 1952) and his muse - wife, Clara; and a twenty - first - century journey of redemption.

- the team has been adding weapons one by one because they want the same amount of attention for each weapon - the team learned that when they added two new weapons at once, one would end up getting overshadowed by the other - there were more new stages than returning stages because bringing back old stages would have little surprise - since they want to satisfy both new and returning players, they changed the order of stage additions - there weren't any major direction changes in balancing from Splatoon 1 - there have been more pattern combinations between weapons and stages, so there was more involved to balance them all - matchmaking is handled by getting 8 players with similar rank points, and then they're split by weapons - the rank point gap between S + players is bigger than ordinary players - only about one in 1,000 active players are in the S +40 to S +50 region in Ranked Battles - there's even less than one in 10 players that reach S +, while 80 % of the overall player base are in A or less - about 90 % of S + ranked players are within a + / -150 hidden ranked power range - rock was the popular genre in Splatoon, so they tried changing it for the sequel - they prioritized making good background music first before forming the band to play that music - the design team would make the CD jacket - like artwork afterwards - due to this, the band members would often change; some getting added while some others removed - Off the Hook is an exception, as they first decided they would be a DJ and rapper along with their visuals first - Off the Hook's song came afterwards - In Splatoon street fashion was the trend, but in Splatoon 2 they tried adding more uniqueness - the aim was to add Flow with ethnic clothing and Jelfonzo with high fashion - all Jellyfish in this world are born by splitting, which means Jelfonzo was born by splitting from Jelonzo - Jellyfish are like a hive mind - when they hold a wedding ceremony, they're just simply holding the ceremony - Jelonzo and Jelfonzo start gaining their own consciences so they can speak - Flow used her working holiday to go on a trip before reaching Inkopolis Square - during the trip, she met the owner of Headspace - the owner liked her, so she got hired to work there - Bisk has a unique way of speaking: anastrophe - the team tried to express him as an adult man - they made him into a giant spider crab because they wanted someone with high posture - he came from a cold country and broke up with his girlfriend to join a band - just like Flow, he became attracted to squids - Crusty Sean finally has his own shop, but he opened it because he's someone who follows the current trends - one of the trends happens to be people opening their own shops - drink tickets aren't stacked, but the probability is higher than a single brand - the music in Inkopolis Square changes depending on the player's location - sounds contribute to creating atmosphere in the location - the song at front of Grizzco Industries had an atmosphere that feels like some smell can radiate from the game screen - as for Salmon Run, they imagined it as a Japanese restaurant outside Japan that is not run by a Japanese person - each time the player moves between the shops, the game uses an arrange shift that shows the personality of each inhabitant - the arrangement in Shella Fresh is related to Bisk's guitar and mystery files that describe his past - with the Squid Sisters moved to Hero Mode, Off the Hook was put in charge in guiding battles and festivals - Bomb Rush Blush has an orchestra «because it would sound like the final boss» - the team wanted to express the feel of the story's real culprit with this music - the probability of each event occurring in Salmon Run is different - there are no specific requirements, meaning they're picked randomly - this means it's possible for fog to appear three times in a row - the Salmon have different appearances based on the environment they're raised in - if the environment is harsher, they would become large salmon - Steelheads and Maws have big bodies, while Scrappers and Steel Eels have high intelligence - Salmons basically wield kitchenware, but everybody else has a virtue in fighting to actually cook the Salmons - Grill is the ultimate form of this - when Salmons are fighting to the death, they can feel the same sense of unity - they would be one with the world if they were eaten by other creatures, and they also fight for the pride of their race - MakoMart is based on a large supermarket in America - the update also took place on Black Friday in America, which was why Squids are buying a lot of things in the trailer - Arowana Mall looks like it has more passages because there are changes in tenants and also renovation work - Walleye Warehouse has no changes at all, because the team wanted to have at least one map that stayed intact - the only thing different in this map is the graffiti, which is based on the winner of Famitsu's Squid Fashion Contest - all members in the band Ink Theory graduated from music university - they are well - educated girls who also do aggressive things - the band members wearing neckties are respecting the Hightide Era from the prequel - the team will continue adding weapons and stages for a year, and Splatfests for two years - the team will also continue to make more updates including balancing

What made this competition unique was that the game players had a chance to pick between two different consoles of the era to play on, either the Sega Genesis or the Nintendo SNES.

SEGA has released a new video with legendary composer, Yasunori Mitsuda, known for his work on Chrono Trigger and Stella Glow, discussing how he composed the music on Valkyria Revolution that reflects the classic feel of the European industrial revolution era that focuses on a war of liberation between two vastly different nations with Tokyo Symphony Orchestra conducting a live concert - hall recording for the soundtrack and his collaborator Sarah Àlainn, a multilingual Australian - Japanese singer with a voice spanning over 3 octaves, lends her hauntingly beautiful voice to a couple tracks.

In aggregate, their works — across different building types and different eras — create a fascinating dialogue between past and present.

Do Ho Suh: in between introduces the attempts of the artist in a global era in which economies and societies would come to a halt without the intersection of people, objects and information to explore the self and make the world a smaller place, while negotiating cultures of different origins and moving to and fro between tradition and innovation, individual and group.

The anachronism implies a continuity between the myths of hard - drinking artists from different eras: as if the beer - swilling painters of the Dutch Golden Age, the absinthe - addled wretches of 19th - century Paris, the tough guys of the New York School, liquored - up and rowdy at the Cedar Tavern, and several generations of British artists, stumbling out drunk in the late afternoon from Soho's Colony Room Club, could all be imagined in some timeless bar - room.

This exhibition takes a fresh look at the relationship not only between the bold colours and forms that defined the era, but also between different media and movements — and explores the strong sense of order underpinning the work.

The ambitious checklist included works by Carrie Mae Weems, Lorna Simpson, Lorraine O'Grady, Ana Mendieta, Senga Nengudi, and many more; the intergenerational conversation between artists from different eras demonstrated the cruciality and timelessness of politically - charged art.

This exhibition, by contrast, will place key sculptures from different eras in conversation with each other in order to examine the age - old problem of realism and the different strategies deployed by artists to blur the distinctions between original and copy, and life and art.

This presentation of historical work — a first at the CAG — is intended to challenge the viewer's understanding of what a contemporary art space should show, building a bridge between image making techniques and endeavors of different eras.

Like Life, by contrast, will place key sculptures from different eras in conversation with each other, in order to examine the age - old problem of realism and the different strategies deployed by artists to blur the distinctions between original and copy, and life and art.

Lastly, Shahryar Nashat breaks down boundaries between the human and machine in his installation Present Sore, and Amy Sillman's animation Triscuits features ghostly characters going through cycles of expulsion and insertion through different allusions to Bernie Boston's Flower Power, Yiddish aphorisms and Soviet - era poetry.

What is fundamentally different between the implementation of Woolf and Jackson is that the reforms in the Woolf era provided a cut in access for claimants through legal aid but greater privately funded access through conditional fees.