However, these principles are hardly sufficient to identify the appropriate quantification of obligations
even in a fictional world of otherwise characterless consumers and polluters.
Not exact matches
Season 2 was more subtle and was a good examination of conflict tearing people apart, the characters were developing and were interesting, they have now turned into soundbite gimps, the creators have severely erred
in trying to reconcile a
fictional conflicts of a biker gang with a real
world conflict of the IRA without any attempt to create
even an iota a sense of realism or use skillful tact, (its difficult to see how a biker gang could make such
in roads to the IRA when whole arms of government have tried and failed) The outcome of which is to turn a decent and interesting show into farce.
Even Altman's practice of shooting much of his action with two cameras can be linked to Renoir's TV - inspired use of multiple cameras
in the late 1950s, while his tendency to keep these cameras moving (resulting
in a prowling effect that harks back to The Long Goodbye) adds to the Renoir - like feeling that more is going on
in this
fictional world than one could possibly encompass.
The idea, which Gad went
in on with live action Beauty and the Beast companion Luke Evans, reportedly received a lot of buzz and
even an offer from Disney before Netflix finally landed it, as the two companies continue their quests for total domination over our
fictional worlds.
I'm almost halfway through this book, and
even though it's a page - turner, I find myself reading slowly, savoring my time
in this
fictional world.
Stefan Fatsis's Word Freak: Heartbreak, Triumph, Genius, and Obsession
in the
World of Competitive Scrabble is one of my favorite nonfiction books, and
even though I don't play bridge, I got a kick out of Louis Sachar's
fictional story of kids at a national bridge tournament.
No,
in the past they have created an entire
fictional line of games
in marketing Matt Hazard, decapitated a goat for God of War II, and
even being able to play as Barack Obama and Sarah Palin
in Mercenaries 2:
World in Flames.
This dominant narrative surrounding the inevitability of female objectification and victimhood is so powerful that it not only defines our concepts of reality but it
even sets the parameters for how we think about entirely
fictional worlds,
even those taking place
in the realms of fantasy and science fiction.
«The Empathics» were conceived by Woolfalk as a commentary on the intertwining of cultures
in our increasingly globalized
world, and as such, these
fictional hybrids dissolve race, ethnicity and
even taxonomy.
Even better, turn off the television and read a book — escape to another
world, fall
in love with some
fictional characters, be whisked away.
So, by claiming that AGW fisics isn't teaching this then you are the one pretending, I have given more than enough examples
even if yourself have, for some reason, never encountered AGWSF fisics of its
fictional Greenhouse Effect set
in a
fictional non-existant
world.
You do have such an amazing molecule
in your
fictional world, defying gravity it can stay up
in the atmosphere for hundreds and
even thousands of years accumulating though it's one and a half times heavier than air, and, with no heat capacity to spit at, it can trap heat, or, heck you can't
even get your stories to say the same thing consistently, it becomes this great thermal blanket stopping heat escaping... just how much of that blanket is holes?
Reducing the argument to radiation as if it's «all the same energy» by stripping it of its individual properties and processes, has enabled the swapsies of properties and out of context use of laws to be made
in the descriptions of energies, gases and processes, and, so ground into thinking through repetition
in the education system that
even the absence of the Water Cycle goes unacknowledged as you all busy yourselves arguing about the nuances of your
fictional fisics with real
world applied scientists who know better.