Sentences with phrase «get a story sequence»

In terms of the flow of the game: you battle, you find a new town, you buy new gear and spells, you battle, you fight a boss, you get a story sequence which moves the plot further ahead, and you repeat.

The overall structure of the game is familiar - go to town, get a story sequence, get some quests, go out and kill guys.

Not exact matches

«But many scientists focused on DNA sequencing have brushed aside aspects of the fossil data, but when you minimise the potential biases in molecular dating you instead get a story that matches the fossil evidence.»

«The only way to get a real story, the closest we can get, is to sequence nuclear genomes from orchids,» says Victor Albert, a plant geneticist at the State University of New York at Buffalo.

Joy doesn't work entirely, and the structure set up so clearly in the opening sequence is dropped early on for no apparent reason, but I'll be damned if I didn't get carried away at the story of a mop sweeping the nation.

Before you can start any battle, you have to dig thru an endless sequence of branching dialogs which tell you the story (since I am not a keen reader I attempted to just skip all that rubbish to finally see the battles, but got

We get the little robot, countless platitudes about believing in oneself, a heist sequence, a scavenger hunt across Los Angeles, a hastily portrayed rise - and - fall - and - reunion plot, random cuts to viral Internet videos in the middle of scenes, a semi-love story, and an uncritical presentation of fame as the only thing that serves as a genuine measure of self - worth.

To Campbell's credit, the film has some impressive action sequences, but it's ultimately the flimsy and derivative story by Robert King, screenwriter for such flops as CUTTHROAT ISLAND and RED CORNER, that handcuffs Campbell with material that could never get off the ground in the first place.

Before getting into how spectacular the action sequences truly are (and trust me, they save the blockbuster from plundering to the bottom of the ocean), it must be said that Oscar - nominated Kon - Tiki directors Joachim Ronning and Espen Sandberg have no idea whose story the movie should actually belong to, starting out as Henry Turner's (Brenton Thwaites) quest to free his cursed father at sea Will Turner (Orlando Bloom in a glorified cameo along with Keira Knightley as his partner Elizabeth Swann) to locate the Trident of Poseidon subsequently lifting that curse, and while the ultimate goal of the movie for all characters is finding said artifact for different reasons, by the end it's hard to fault the audience if they have forgotten all about that plot element and are just living in the moment of Jack Sparrow and company battling an army of decomposing, undead ghost pirates led by Captain Salazar.

Although there is barely an explanation as to who all of these people how, how they got their powers, and how these powers can actually work, Bekmambetov keeps the action moving so briskly, and with such visual panache, that he never gives audiences the time to sit and contemplate the many egregious story short cuts in order to get to the next stunningly - rendered action sequence or tantalizing story development.

It all starts out with a few short clips to get you into the story line and then immediately follows up with just immense action sequences which has you bashing buttons for ten solid minutes, and then move onto the next level.

The Rookie's best sequence is its intital car chase, in which Eastwood pursues (and boards) the car thieves» semi auto - carrier, but matters get downight nutty by the picture's midsection — in which Pulovski is kidnapped by the baddies: his escape involves a sports car shooting out of a second - story wall, just ahead of an explosion («Fasten your seatbelt,» Pulovski sez).

On the other hand, Capshaw seems especially delightful as she goes through her travails on the set of Temple; her story about how she got through the bug sequence is particularly amusing.

This movie is ridden with plot holes, it has an unacceptable amount of logic issues, Mystique's costume is distractingly fake and silly looking, Anna Paquin gets a title card yet is in five seconds of the movie, multiple story beats are repeated and the narrative puts into question everything that's happened in previous «X-Men» films, but, if you can get past the fact that the «Days of Future Past» narrative is downright ridiculous, you can still enjoy some of the mindless, summer fun — and Quicksilver's sequences, because that's high quality cinema right there.

I realize that there is more to Slumdog Millionaire than just this pivotal scene and the story continues on even after this sequence, nevertheless it still is important to the audience in terms of getting enjoyment out of the film.

Ricky Church reviews Doomsday Clock # 3... One of the best aspects of the original Watchmen series is that it is a slow burn, taking its time to advance the story or get to an action sequence and instead focusing on the characters» complexities as well as the deepening mystery.

As with all of Pixar's movies, The Good Dinosaur was drawn and storyboarded many times, with artists getting notes on how to improve sequences and often times having to rebuild the story over and over again.

Ori and the Blind Forest throws devilishly difficult platforming challenges at you, along with a beautiful opening sequence that gets across a heartbreaking story in very few words.

This is very fitting since the story revolves around sweet Leo, a fur trapper in the early 1800's who is mauled by a bear (in one of the fiercest visual sequences I've ever seen), forced to watch his son get killed in front of him by fellow trapper Tom Hardy (who was supposed to be taking care of him), and then left for dead in the cold, harsh wilderness.

The rest of Dimitri's story follows him trying to get to a job interview for a Hollywood tour of celebrity homes (There's a lengthy, distracting sequence involving his Hollywood adventure).

The story slows down considerably towards the middle without many action sequences to begin with, so those viewers craving some tasty violence may get a tad squirelly, but there's more than enough action in the last hour to justify the slow start.

Strip «Robin Hood» of the pretense and you get a paint - by - numbers «origin» superhero story, resplendent with hissable villains, intense battle sequences, convoluted subplots and a hero with repressed childhood memories.

Cut out the pictures and fix the story sequence to help Jack get his story straight!

The action got lost in chapter after chapter of descriptive narrative filled with back story, as opposed to dialogue and sequences.

Tim Callahan: — I saw this movie, and while some people complain about Emo Pete or the dance sequence, I complain about Sandman getting shafted and having his part diminished so Venom could get wedged into the story along with X-Treme Goblin.

What they are attempting to do is entirely admirable, and at times they succeed throughout the 3 - hour runtime, especially near the end with a few wonderful sequences and story beats that hit home with a sledgehammer made of feels, finally getting me emotionally engaged in a way that the opening hour couldn't.

So now you've got all this board - game wandering bullshit and these long, drawn - out story sequences and «Destiny Points» and «Story Points» and... it's a story sequences and «Destiny Points» and «Story Points» and... it's a Story Points» and... it's a mess.

This creates an issue similar to games such as the Xenosaga or Metal Gear Solid series where story sequences drag on much longer than they should and there's no way to perform a quick save until you get past these sequences and the game decides you can have the ability to do so.

The story gets told mostly through mission briefings and a few animated sequences.

Ready at Dawn does a great job of interspersing small jolts of the plot during action sequences to help keep players fully involved though so even while you're pushing for the next big cut scene you're still getting a great story in the meantime.

As they tell the main story, they increasingly retreat into tedious instances of someone getting kidnapped, Batman having to outwit 10 armed guards in a stealth sequence, and then the Batmobile having to blow up 20 tanks to secure something or other, and then some closed off instance of some gimmicky frippery usually accompanied by a gratuitous difficulty spike.

The lengthy Story Mode's text - heavy sequences may look fine, but they're simply too much of a bore to get into.

I wound up finishing that one by myself just to get the gold PlayStation trophy for finishing the story (and since I killed the final boss at the same time that it killed me, I was awarded the trophy, but not the actual ending sequence, nor did the game itself give me credit for completing it).

Translate the short story sequences into English, leave the Japanese voices intact and you've got yourself a title to release to America and Europe!