Sentences with phrase «by other characters in the story»

Writing Huckleberry essays you should pay attention to the themes raised in the book, to the role played by other characters in the story, style of writing and all other important details.

Not exact matches

No less than other stories in the Jacob cycle, it reflects the background of the patriarchal age — frictions between groups (Hamor and Jacob); a level of sexual morality beyond the reach of our judgment and in any judgment ennobled by the integrity of Hamor and the love of his son for Dinah; the effort on the part of both families to effect a peaceful settlement honoring the religious sensibilities of the abused; the despicable violation of the terms of agreement by two of Jacob's sons; and finally, in perfect consonance with the general character of Jacob, his sharp rebuke of his sons not on moral but on utilitarian grounds:

The reader recognizes himself in the hero, and the other characters, and little by little, as the story progresses, sees mirrored his own moral shortcomings.

MacLeish's contribution, other than bringing the story into the 20th century, making a great contribution to the tiny, tiny pool of American poetic drama, and winning the 1959 Pulitzer with it, is quite a bit of additional commentary by his God and Satan characters, a pair of washed - up actors who observe the Job story being played on a stage, and occasionally take part in it.

In the Joseph story in Genesis, God brings about his purposes by working within the network of human causes; God never becomes a character within the story with whom other characters interacIn the Joseph story in Genesis, God brings about his purposes by working within the network of human causes; God never becomes a character within the story with whom other characters interacin Genesis, God brings about his purposes by working within the network of human causes; God never becomes a character within the story with whom other characters interact.

Statement is baffling and is in fact the very thing that guys like cap and others are fighting against the truth is Colin didn't orignaly kneel during the anthem he sat on his bench he was then approached by vets who asked why he was sitting and asked him to do something else because sitting was disprectful it was those army vets who told cap to kneel because it shows your fighting against something and not just sitting to sit they told him it would be a better look and it's funny how people turn around and say he is disrespecting the very people who told him what to do and how to do it to get his message across this is the ignorance of America and everything cap fights against you judge a man by the color of his skin and his upbringing and not the content of his character you don't know anything about cap yet you pull this entire story out your ass go sit down clown

By the time the movie gets to the final climax, basically where every last character is suddenly together in a big obviously - in - a-warehouse-set with an impending action scene pitting them all against each other, I had completely lost interest in the story.

In rich black and white, it's the story of an aspiring young New York filmmaker (Steve Buscemi) in the throes of his creative struggle, his beautiful neighbor and muse (Jennifer Beals), and a lovable con man (Seymour Cassel), chasing their dreams in quintessential 1990s NYC amidst a cast of oddball characters played by Stanley Tucci, Sam Rockwell, Will Patton, Jim Jarmusch, Debi Mazar, Carol Kane, and otherIn rich black and white, it's the story of an aspiring young New York filmmaker (Steve Buscemi) in the throes of his creative struggle, his beautiful neighbor and muse (Jennifer Beals), and a lovable con man (Seymour Cassel), chasing their dreams in quintessential 1990s NYC amidst a cast of oddball characters played by Stanley Tucci, Sam Rockwell, Will Patton, Jim Jarmusch, Debi Mazar, Carol Kane, and otherin the throes of his creative struggle, his beautiful neighbor and muse (Jennifer Beals), and a lovable con man (Seymour Cassel), chasing their dreams in quintessential 1990s NYC amidst a cast of oddball characters played by Stanley Tucci, Sam Rockwell, Will Patton, Jim Jarmusch, Debi Mazar, Carol Kane, and otherin quintessential 1990s NYC amidst a cast of oddball characters played by Stanley Tucci, Sam Rockwell, Will Patton, Jim Jarmusch, Debi Mazar, Carol Kane, and others.

In this atmosphere, Jean Renoir, anticipating war and deeply troubled by the mood he felt around him, thought he might best interpret that state of mind by creating a story in the spirit of French comic theater, from Marivaux to Musset, a tradition in which the force that sets every character in motion is love and the characters have no other occupation to interfere with this pursuiIn this atmosphere, Jean Renoir, anticipating war and deeply troubled by the mood he felt around him, thought he might best interpret that state of mind by creating a story in the spirit of French comic theater, from Marivaux to Musset, a tradition in which the force that sets every character in motion is love and the characters have no other occupation to interfere with this pursuiin the spirit of French comic theater, from Marivaux to Musset, a tradition in which the force that sets every character in motion is love and the characters have no other occupation to interfere with this pursuiin which the force that sets every character in motion is love and the characters have no other occupation to interfere with this pursuiin motion is love and the characters have no other occupation to interfere with this pursuit.

An exercise in gratuitousness that's fitful by design, Paul Schrader's Dog Eat Dog avoids any relationship between character psychology and visual style; they jab against each other, angrily vying for attention, as a nihilistic commentary on crime movies and genre stories.

With regards to the introduction of previous Heroes from other games, it's done in the similar fashion as to how any new character is introduced, usually by you joining them in battle to assist them, or having to battle them first and then they join you, but while I would like to applaud its story for the way it does mirror that of one you'd expect from a lesser Fire Emblem game, but there can be no denying that despite the approach taken, it's story does feel like that of Fire Emblem Heroes and Hyrule Warriors slapped together with some of the names, items and minor details changed to something else.

He's still writing and ignoring almost everything else, which results in vacillating responses from his wife Lauren (Julia Stiles), depending on whether or not there's conflict from some other character in the story at the moment (She's mad at him when the plot starts to get stale, and she desperately wants to have his child when he's otherwise distracted by other things).

«Penny Dreadful» brings those and other characters into a new light by exploring their origin stories in this psychological thriller that takes place in the dark corners of Victorian London.

Writer - director Shane Black's horribly enjoyable action comedy The Nice Guys is an jauntily arch return to this tradition, the story of two dishevelled and incompetent private detectives in 1970s Los Angeles — played by Russell Crowe and Ryan Gosling — who have been expensively tasked with solving the mystery surrounding the death of a missing porn actress, and what other kind of fascinatingly damaged female character can there be?

I can see by all the other reviews that I'm dramatically in the minority here but if a teen drama around terminal illness is what you're looking for on a Sunday afternoon, then 2014's «The Fault in Our Stars» is much more deserving of your time with characters you'll actually care about and a story that will leave you thinking about life and how to make the most of it long after the end credits have rolled.

Speaking of characters, U4 still delivers on the beloved banter between characters, in fact, it features some of the best moments between character interactions, some of these by the means of the optional conversations mentioned above, characters interactions never fail to amuse and bring joy, and finding other people's stories through journal notes never cease to intrigue.

It's also a film whose impact derives from something other than its story and characters — specifically, Wyatt Garfield's brilliant cinematography, which uses 35 mm, 16 mm and Super 8 mm film at a time when almost everyone in the entertainment business is shooting digitally; and the final lead performance by Anton Yelchin, who died last year in a freak accident.

A small part by Alan Alda, as the original Elysium founder plays out pleasingly, and it is his character Carvin that holds the deed to the farm, offering the story its silly subplot about a big corporation trying to buy out Elysium to build a casino, which at one point has Linda running topless (with others) in front of a television camera.

All five have been trained (for nearly forever, I gather) by the wise Shifu, who with Dustin Hoffman's voice is one of the more dimensional characters in a story that doesn't give the others a lot of depth.

The first film to tell the story of Billy the Kid came out in 1911; the character would go on to be played by Paul Newman, Kris Kristofferson, and Emilio Estevez, among many others.

MOVIE: THE MEYEROWITZ STORIES STARRING: BEN STILLER; ADAM SANDLER; DUSTIN HOFFMAN; EMMA THOMPSON DIRECTED BY: NOAH BAUMBACH AMovieGuy.com's RATING: 3 1/2 STARS (Out of 4) A noticeable trend in The Meyerowitz Stories (New and Selected) is how consistent the characters often talk at each other, talk at the same time, and rarely STORIES STARRING: BEN STILLER; ADAM SANDLER; DUSTIN HOFFMAN; EMMA THOMPSON DIRECTED BY: NOAH BAUMBACH AMovieGuy.com's RATING: 3 1/2 STARS (Out of 4) A noticeable trend in The Meyerowitz Stories (New and Selected) is how consistent the characters often talk at each other, talk at the same time, and rarely Stories (New and Selected) is how consistent the characters often talk at each other, talk at the same time, and rarely listen.

The story takes Mortdecai and his faithful, womanizing manservant Jock (Paul Bettany, who also retains an ounce of dignity in spite of his character) through a series of weirdos, played by actors with different silly accents and other grotesque facial tics, from London to Moscow to Los Angeles.

Feige talks about Doctor Strange's origin story, how the movie will be different from the comics, rooting crazy concepts in real science, does Steven Strange know about The Avengers, how the film is more respectful to other cultures than the original source material may have been, how this movie was inspired by The Oath, which characters might connect with the Runaways, Mads Mikkelsen «s character Kaecilius, multiple dimensions, the trouble with writing magic action, how Mordo is different in the movie, Rachel McAdams «character Christine Palmer, is the eye of agamotto an infinity stone, the genre of the film, how this film will defy expectations, Steven Strange's role in the larger MCU, will we see cameos from the other Marvel characters, and much more.

Over the course of this journey, they become able to: - Define the key term «bravery» and understand its position as a theme within the plot; - Read the story «Perseus and Medusa» and interpret the key meanings; - Identify, explain, and analyse the key plot elements and themes in «Perseus and Medusa;» - Storyboard the main plot features in the text; - Engage deeply with the text by inferring the thoughts and feelings of the main character; - Peer assess each other's learning attempts.

Other titles focusing on developing your craft include the Story Structure and Master Chapter Outline Workbook by C. Michelle Jeffries, Blood from Your Own Pen by Sam Knight (on self editing), Hurting Your Characters by M.J. Carlson (how to properly deal with wounds and injuries in your fiction), and Science Fiction Q&A by Mike Resnick (which contains hundreds of answers distilled from his years of writing an advice column).

by Anne R. Allen You can learn all you want about writing powerful prose, well - planned story arcs, lyrical descriptions — or any other aspect of fiction — but if you don't have a protagonist your readers care about, none of the rest matters.I don't think it's terribly relevant to talk about character «likability» in the sense of «niceness.»

While Marvel and DC continue to focus on legacy properties that cater to a fairly narrow range of genre fans and are produced by artists who don't own the characters they work on, Image has gone in a different direction with an array of creator - owned comics that include superhero, science fiction, and other types of stories.

The following YA titles muddy the distinction between graphic and prose novels in varied ways, sometimes by integrating a separate story line only in illustrations, others by punctuating a narrative with a character's imaginative doodles, and still others by weaving expressive illustrations through the text that enhance the emotional weight of the story.

According to Allende's website: «There, in the company of a torture survivor, a lame dog, and other unforgettable characters, Maya Vidal writes her story, which includes pursuit by a gang of assassins, the police, the FBI, and Interpol.»

My other writings include book reviews (published in Fantasy magazine Black Gate, and SF Site), a handful of short stories (I'm a contributor to the Cast of Characters anthology edited by Lou Aronica), and a number of articles on writing and publishing that have appeared in venues such as Writer's Digest and Romance Readers Report.

This gripping, emotional story intertwines the stories of several compelling characters - one by one, through seemingly random acts of selflessness, they discover the vital parts they have played in each other's lives, a realization that shatters the illusion of their separateness.

A Serpent's Tooth and Other Stories (Penguin, 1980) By the time I was thirteen years old, I had come to realise I would always be a minor character in my mother's life.

On the one hand there are the enormous sweeping novels of Dickens, Zola, Balzac where whole worlds — cities and nations — are painstakingly chronicled and set into play; and then, on the other there is the Victorian ghost story which is often a domestic drama where characters are haunted (literally and figuratively) by figments of their own passions and desires — like those found in the Brontes, Wilkie Collins, and Thomas Hardy.

on The Other Side of the Story with Janice Hardy Helpful Books for the Writing Process by Michelle Ule on Books & Such Literary Agency blog 3 Tips for Writing Heavy Emotional Scenes by Jami Gold Don't Cheat the Reader by Sally Apokedak on Novel Rocket How to Infuse Your Writing with Nostalgia by Frank Angelone on Copyblogger The Secrets Behind Buried Dialogue: Part One and Part Two by Lynette Labelle Crafting Multi-Layered Characters by Marissa Graff on Adventures in YA & Children's Publishing Writing Futuristic Fiction in (What Feels Like) a Science Fiction World by Imogen Howson on Pub (lishing) Crawl How to Spot Mary Sue in Your Writing by Ava Jae Taking the Road Less Taken (With Your Characters), guest post by Kristen Callihan on The Other Side of the Story with Janice Hardy The Ending Debate: Make Mine Hopeful by Marcy Kennedy Unusual Inspiration: Character Arcs Made Easy by Fae Rowen on The Writers In the Storm Blog 25 Things You Should Know About Writing Sex by Chuck Wendig Writing Craft: Action vs. Active Openings to Grab Attention by Kristin Nelson Writing Craft: Mechanics vs. Spark by Kristin Nelson on Pub Rants Writing Craft: Breaking the Rule: Show Don't Tell by Kristin Nelson on Pub Rants Give Characters Interesting Anecdotes by Mooderino on Moody Writiin YA & Children's Publishing Writing Futuristic Fiction in (What Feels Like) a Science Fiction World by Imogen Howson on Pub (lishing) Crawl How to Spot Mary Sue in Your Writing by Ava Jae Taking the Road Less Taken (With Your Characters), guest post by Kristen Callihan on The Other Side of the Story with Janice Hardy The Ending Debate: Make Mine Hopeful by Marcy Kennedy Unusual Inspiration: Character Arcs Made Easy by Fae Rowen on The Writers In the Storm Blog 25 Things You Should Know About Writing Sex by Chuck Wendig Writing Craft: Action vs. Active Openings to Grab Attention by Kristin Nelson Writing Craft: Mechanics vs. Spark by Kristin Nelson on Pub Rants Writing Craft: Breaking the Rule: Show Don't Tell by Kristin Nelson on Pub Rants Give Characters Interesting Anecdotes by Mooderino on Moody Writiin (What Feels Like) a Science Fiction World by Imogen Howson on Pub (lishing) Crawl How to Spot Mary Sue in Your Writing by Ava Jae Taking the Road Less Taken (With Your Characters), guest post by Kristen Callihan on The Other Side of the Story with Janice Hardy The Ending Debate: Make Mine Hopeful by Marcy Kennedy Unusual Inspiration: Character Arcs Made Easy by Fae Rowen on The Writers In the Storm Blog 25 Things You Should Know About Writing Sex by Chuck Wendig Writing Craft: Action vs. Active Openings to Grab Attention by Kristin Nelson Writing Craft: Mechanics vs. Spark by Kristin Nelson on Pub Rants Writing Craft: Breaking the Rule: Show Don't Tell by Kristin Nelson on Pub Rants Give Characters Interesting Anecdotes by Mooderino on Moody Writiin Your Writing by Ava Jae Taking the Road Less Taken (With Your Characters), guest post by Kristen Callihan on The Other Side of the Story with Janice Hardy The Ending Debate: Make Mine Hopeful by Marcy Kennedy Unusual Inspiration: Character Arcs Made Easy by Fae Rowen on The Writers In the Storm Blog 25 Things You Should Know About Writing Sex by Chuck Wendig Writing Craft: Action vs. Active Openings to Grab Attention by Kristin Nelson Writing Craft: Mechanics vs. Spark by Kristin Nelson on Pub Rants Writing Craft: Breaking the Rule: Show Don't Tell by Kristin Nelson on Pub Rants Give Characters Interesting Anecdotes by Mooderino on Moody WritiIn the Storm Blog 25 Things You Should Know About Writing Sex by Chuck Wendig Writing Craft: Action vs. Active Openings to Grab Attention by Kristin Nelson Writing Craft: Mechanics vs. Spark by Kristin Nelson on Pub Rants Writing Craft: Breaking the Rule: Show Don't Tell by Kristin Nelson on Pub Rants Give Characters Interesting Anecdotes by Mooderino on Moody Writing

Not All Characters Deserve to be in the Story by Mooderino on Moody Writing 5 Common Writing Blunders that Can Annoy or Bore Our Readers by Kristen Lamb Tools for Writers Part 1 by Annie Neugebauer Flip the Script: Use Adverbs Fearlessly by Jael McHenryat on Writer Unboxed My Favorite Writing Advice — Trust the Story by Shelli Johnson Rules of Storytelling, Part One by Tabitha Olsonat on Writer Musings Going Both Ways: Outlines for Plot, Pantser for Character on The Otherside of the Story with Janice Hardy Book Series — A Whole Other Food Group by Lynn Price

The story ultimately was about the main character having to go through a metamorphosis in order to be accepted by others.

- Ophilia and Cyrus have been announced as the last two playable characters - Cyrus is a scholar working at the royal university who is an incredibly curious and knowledgeable person - Cyrus» Path Action is «Explore» which lets him find out hidden details and information about other characters - during combat, Cyrus can reveal the weaknesses of enemies and exploit them using fire, ice and lightning magic - Ophilia is a priestess and her Path Action is Lead, which allows her to guide characters to certain places by having them follow - in combat, she's a classic white mage - type who can heal allies, buff their stats and use light magic to attack the enemy - Ophilia can also call upon the character she's guiding to aid her in battle - character's special abilities are called Talents - Olberic can take hits in place of other characters in battle - Primrose, like Ophilia, can call upon the character she has charmed and have them aid her in battle - Tressa can sometimes find money simply by walking around the overworld - Alfyn can mix items to damage enemies or heal allies - Therion can unlock treasure chests - H'aanit can capture beasts during combat - your active battle party can consist of four characters, but you can swap them out with the other four characters at any time - even after you've met up with the other playable characters, you can still pursue each character's individual story - you do this by making them the «main» character of your current party

Whilst the powers allowed players to have some fun, ultimately, we were disappointed by just how brief the experience was, how very few meaningful side quests actually existed and how poorly the story was handled, in particular the good vs evil mechanic and the development of other supporting characters.

The story even takes neat stabs at experimental storytelling by periodically putting your player in the nightmares (really) of other characters.

Problem is, as you point out, the total character advancement, which arcs over all the stories, is one of the other key links in the game's greatness, and this would be murdered by dividing the game into a series of smaller games.

Enemies fought in The Commons don't give experience; instead, it is earned by progressing through the story, completing simple requests and by deepening Hinako's bonds with other characters.

Speaking of characters, U4 still delivers on the beloved banter between characters, in fact, it features some of the best moments between character interactions, some of these by the means of the optional conversations mentioned above, characters interactions never fail to amuse and bring joy, and finding other people's stories through journal notes never cease to intrigue.

With regards to the introduction of previous Heroes from other games, it's done in the similar fashion as to how any new character is introduced, usually by you joining them in battle to assist them, or having to battle them first and then they join you, but while I would like to applaud its story for the way it does mirror that of one you'd expect from a lesser Fire Emblem game, but there can be no denying that despite the approach taken, it's story does feel like that of Fire Emblem Heroes and Hyrule Warriors slapped together with some of the names, items and minor details changed to something else.

One of the most exciting and unique things about the xenosaga series is that you can look foward to seeing different character models with each new game because appearence of the characters change with each game, not because the characters have aged but for other reasons.There is one special thing that xenosaga episode three has that should have been in the other xenosaga games is the swimsuit mode because it allows you to watch movie scenes with the characters in there swimsuits but for some reason not all of the movie scenes in xenosaga 3 can be viewed in swimsuit mode, I guess it would have made the movie less serious or something.My favorite movie scenes in xenosaga are blue testament, white testament, KOSMOS verses Black Testament, any movie with Luis Virgil becaus ehe is my favorite character in the game because he's passionate and i don't think that he is a bad guy since he was able to brek free from being a testament and the only real reasons why he became a testament was because he wanted to be able to visit that old church on miltia and to gain power to prevent death.I also love Luis Virgil and all of the movie scenes that he appear in becaus they are very dramatic.The best thing about the xenosaga series is thst the story is very dee, interesting, and shocking and anyone who has played the game in order from episode one through three will definitely say the same thing.There is no doubt that anyone who has completed episode one and two will be stunned when every secret and mystery is unraveled in episode three.The one thing that I can't seem to under stand is why do some of the characters have to travel back to the earth in the end, will shion and the gang make it back to earth or will there descendants finish the mission and find earth in the end, Chaos and Nephilim told the group that the key to saving humanity lies on earth, what I want to know is what is it and how will it be used to save the universe, Even in the end new mysteries arose and remained unraveled.If there is any one outher who has has the awnswer to any of these questions please let me know when you write you're review or else there has just got to be a xenosaga four on the way, (crying) they just can't leave the story end this way.The only thing that dissapointed me about the game at first was the battle system because on the back of the case of xenosaga three said that the best aspect of the previous battles systems from episode one were combined to form a new battle system, If namco had really done this Xenosaga episode three would have had a better battle system in my opinion because I belive that the best aspect of xenosaga episode one were the special atacks wich are better than the those of episode three and the best aspect of episode three as the break system wich was also better than those of episode three.I think that namco should have given xenosaga episode 3 the battle system of episode 2 combined episode ones style of special attack, but doing this would have probably made the battle system of xenosaga episode three boring because the same old tactics would have to be used in a new game and the battle system most likely would not be as realistic as it is but it would probably be cooler.However the ability to summon all four Erde Kaisers including the new Erde Kasier Sgma my most favorite summon in the world at will and use new Ether and Tech attacks along with the new Counter and Revenge abilities gave xenosaaga episode three more than boost that it needed to have an descent battle systemThe E.S battle system of xenosaga episode 3 is way more better than those of episod one and two though, I must say that Namco really outdid themselves with the E.S battle system of xenosaga episode because the other E.S battle system from the two previos games weren't good, luckily they made up for it with the character battle system.In episode one I never really wanted to use anA.G.W.S, lucky for me they were optional but in episode two sadly it is manatory that you pilot an E.S to progress in the game in Episode three you piloting an E.S is also mandatory to progress in the game but the difference between the three episode is that will be sorry in episode three you will ge glad that you are using an E.S because their battle system is extremely cool.Xenosaga is most definitely one of the besrt RPG games in the world andit is far more better than any final fantasy game that Square Enix has ever made but for some reason it still score lower than Some Final Fantasy and other Sqare Enix games on this site.I bet that if xenosaga was actually named Final Fantasy and had a subtitle it and if it wre made by sqare Enix it would have probably been more famous and it would have scored higher even though it is still the same gameIn the end with every thing being written said and done all i can say is that I feel more at peace now that I have defended this underated game.All I have to say now is that TURN BASED GAMES RULE!

Bonuses called Ninja Treasures can be earned by meeting certain story mode conditions, by logging in online on a daily basis, defeating certain characters listed in the Storm 4 version of the Bingo Book, and other events.

The story follows Red, a character driven by revenge after the death of family members, and one which could potentially make a return in Red Dead Redemption 2 alongside others.

One story arc is completed by the end of the game, but other aspects (which we don't want to spoil for you) are never resolved and some characters are built up in the early game only to head - scratchingly fade into the background later on.

Ostensibly, his deceptively simple works (drawings, paintings and animations — reflecting choices of medium, which are solidly within the mainstream tradition of the Japanese graphic story - telling tradition of Manga) is predicated around self - portraits of his alter ego, «Bunny», and his adventures in the contemporary world, surrounded by a host of other reappearing symbolic characters.

These resumes at best get a quick scan by a prospective employer and don't succeed in telling the story about your character, attributes, business development skills, and other strengths.