Sentences with phrase «more characters into»

For example, if you try to push more characters into the Summary section than allowed, your career summary will cut off midstream, creating an incomplete message.

Other objectives include getting one or more characters into a specific zone on the map (which will spawn more enemies every time you defeat one), or to defeat a specific number of enemies before the player is allowed to proceed.

Directors Joe and Anthony Russo (Captain America: Civil War) have managed to take their balanced approach from Civil War and The Winter Soldier and inject even more characters into the mix; we're talking well over 30 big names all mashed into one nearly three hour film that briskly flies by as characters we've grown to love over the years embark on their most important (and personal) battle yet.

It's just so incredibly colorful and charming, managing to pack more character into a single one of its heroes than almost any massive triple - A with its absurd amount of polygons.

Not exact matches

It's a nifty interview trick other leader's might want to emulate, but it's far from the only question that can effectively get you beyond a discussion of skills and impact and into the murkier (but possibly even more essential) realm of character.

One of the show's characters, a somewhat more mature sports agent named Phil, got into an illuminating chat with a couple of the younger guys:

Unlike the recent string of TV shows made into movies, like the «21 Jump Street» franchise, Peña said the intention with «CHiPs» is to be more serious in the hopes to make the audience care and be concerned about what the characters are going through.

The more that you can upend a planned presentation, the more likely you will have an insight into someone's character and see something that will help you make a smart decision.

The Infinity 3.0 team ran into similar challenges with Star Wars, according to one source, juggling priorities to make levels and characters for Star Wars Rebels, a popular animated series even as the game's developers wanted to focus more on the movies, particularly the then - upcoming Star Wars: The Force Awakens.

The rationale for excluding those languages is that users can fit more thoughts into fewer characters given the nature of their written language.

DB will have wasted more than a year engaged with a surreal investor who has disappeared into the mist like a character in a bad Chinese martial arts film.

For the careful reader, foreshadowing creates a particularly effective form of engagement, ultimately moving into the territory of dramatic irony, where the reader knows more than the characters in the story.

f The more original Biblical reference to retaliation was from the mythical character Jesus (invented by Constantine at the first council at Nicaea in 325, and modeled after his own «prophet» the Sun God, Mithra, and named Jesus Christos to combine the Celtic God Hesus and the Indian God Krishna, whose Latin name was Christos, into one God) who said «turn your other cheek» (when struck in the face).

2 is only going to whip those rumors into a frenzy, as this Marvel sequel features Pratt in a role that's even more of a mashup of Harrison Ford's characters in Star Wars and Indiana Jones the first time around.

That was a very interesting read many comments caught my attention I've recently been diagnosed with Bipolar I have hallucinations and hear voices in my ear's when I hallucinate it's likes they are trying to get me thousands of them I can only describe them as dark shadows and they are trying to get me just as they are about to get me a brilliant white light surrounds me and there's three entities humanly shaped but like this brilliant white light they are also glowing this brilliant whiteness I can't understand what they are saying the only way I can explain it is emotions comfort joy love is what I feel emanating from these entities the voices I hear aren't evil telling me to do bad things to people when I get put into a mode of fear I live in a rough area of Scotland and everytime I've got into a fight something possesses me I know this for a fact as I can't control myself I'm an observer watching my family / Friends say I change they say my eyes change and I look evil I personally do think possibly through my own personal experience I» am possessed as I act out of character I've lost interest in many things I've recently I decided it's time for change I've lost my faith I've been trying to connect with God and feel his love which I used to feel the presence of the holy spirit everytime I try connect I get a feeling of abandonment I just think if I am possessed could these entities stop me connecting with «God» I can say from my heart of hearts «JESUS CHRIST HAS COME IN THE FLESH» I think it's more to do with the persons own personal fears which I have noticed my fears have changed if I had to be truthfully with myself I fear God which I know I'm not supposed to just I can't explain it I guess if you ever need a test subject I'm up for the challenge like I said I'm on journey to find myself and my travels have brought me hear I'm going to hang around for a wee while there's lots of good information to be plundered loll

By doing careful research and weaving more of a story arc into the five women's encounter, I hope to show people that the «characters» of the New Testament are actual, breathing people with stress and dysfunction and hopes just like us.

One should not fight God and insist that he give us his Word in another way, or, as we are more apt to do, rework his Word along theological or cultural prejudices that turn into a minefield of principles, propositions, or imperatives but denude it of its ad hoc character as truly human.

James's more general concern and Peter's very specific example point out that the tongue can be an all - too - revealing mirror into one's character.

If you knew how many of the «debaters» in this forum were paid shills sitting in boiler room type operations all day basically getting into character and arguing the agenda their boss gave them you would spend less time debating them and more time talking about their little known but thriving industry.

I think that what this shows is that people are hungry for insights into the character of God and how to understand Scripture which do not chain them ever more tightly to religion.

But some Bunyan, writing Pilgrim's Progress in a prison where it was so damp that, as he cried, «The moss did verily grow upon mine eyebrows»; some Kernahan, born without arms and legs, but by sheer grit fighting his way up until he sat in the House of Commons; some Henry M. Stanley, born in a workhouse and buried in Westminster Abbey; some Dante, his Beatrice dead, he himself an exile from the city of his love, distilling all his agony into a song that became the «voice of ten silent centuries», or some more obscure and humble life close at hand where handicaps have been mastered, griefs have been built into character, disappointments have been turned into trellises, not left a bare, unsightly thing — such incarnations of fortitude and faith have infectious power.

Into this more universal setting MacLeish puts less obtrusive and more human characters than those he had initially created.

I intend to confine myself to the three points that preachers traditionally allow themselves (more aptly, perhaps, the three wishes that fairy - tale characters are always granted just before they are turned back into frogs) I wish, first of all, that one might avoid the statistical traps that lie in the path if one relies too much on changing church membership figures — in this case the figures that are supposed to show drastic decline and weakening in oldline Protestantism since the 1960s.

Whether one gives an answer complimentary to Heidegger or not, one still accepts the appropriateness of an inquiry into the character of his political beliefs and their relation to his general ontology — all the more so, as I have argued, if one is a Heideggerian.

It appears in a different form partly because the problem of social continuity has become as great for us as the problem of change and reform, but even more because the historical, cultural character of human existence has come into fuller view.

What's even more incredible is that PRISM extolls a piece of music written by a man whose very character PRISM would call into question because of his s3xual orientation - except PRISM is so ignorant he failed to educated himself sufficiently to know that Barber was openly gay.

At the same time, it opens the way for theologians more decisively guided by the distinctive character of biblical faith and of Christian symbols and images to appropriate the achievements of process thinkers into their own understanding.

It seems that the Church tends to fall into two extremes when we consider how we might fulfill this call: On one hand, we attempt to make the Gospel message palatable to our culture, and more often than we would like to admit, it has resulted in a weak message that tells half - truths about God's character.

Anyway, the beautiful thing about The Trail by Ed Underwood is that he takes two of the more common approaches to finding God's will and incarnates them into two of the main characters in his book, Matt and Brenda.

The Black Widow has evolved past her Iron Man 2 part into a far more dimensional character, proving key to the storytelling of films like The Avengers and Captain America: The Winter Soldier.

The native genius and character of the several peoples of the Western world; the profound significance of the Greek intellect still potent in the analytic mood of the present; the constructive, organizing genius of Rome: all these and much more have gone into the making of the modern dwelling of the human spirit.

We pray for our brothers and sisters around the world, dying and starving and losing some cosmic lottery that we didn't ask to win and, from far away it looks like we are all losing but there are stories of redemption there, too, and isn't prayer more about us being changed into God's character than actually about moving his hand in our direction?

For me, the character of God comes into question with an everlasting hell where people burn for 100000000 x 1000000000 years and then some more.

Women journal writing has become a genre of its own in the 20th century, but I can not imagine that O'Connor speaking to herself in diary form could give a reader any more insight into her character than O'Connor in dialogue, which is, essentially, what these letters present.

Both questions lead in the same direction, toward the possibility of a provisional and qualified answer: if the character of happening only once is held to belong to the truth and measure of all things in their very reality, then there is indeed an essence which more than any other satisfies this truth - criterion, and this is the pure essence of time: time taken in itself, or pure movement — movement irrespective of any possible differentiation into the different kinds of movement.

Careful reading of Book Z of the Metaphysics, to be sure, makes clear that there are at least two conceptions of substantial form in Aristotle's philosophy: one more Platonic in character whereby the form possesses its own substantial unity and communicates that unity to the material elements (stoicheia) from the outside, so to speak; the other apparently originating with Aristotle himself according to which the substantial form comes into being as it unifies the elements into an organic whole (cf. TKT 67 - 120).

The enactment, however, must still at some point include a «speech act» pointing out the meaning of the action, and here once more Shakespeare is able to exploit the resources of folk wisdom, to turn it into music, and to place it in the mouth of one of his characters, who at that moment becomes the chorus commenting on the meaning of the play.

What is the true character of this misty but ever - present horizon that continues to deepen as we plunge more fully into it?

Whitehead defined more precisely the character of determinateness in its becoming and of indeterminateness in its perishing as a relationship between coherence and incoherence: «An actual entity... is self - creative; and in its process of creation transforms its diversity of rôles into one coherent rôle.

To say that Yahweh abondoned and left Pharoh alone to his own devices, I believe would fall more into the character of Jesus Christ, like Jesus did with Judas when he was about to betray him.

While commentators of an earlier generation sought to save Shakespeare and the Christian characters from the charge of intolerance and anti-Semitism by turning the play into an allegory, more recent readings often maintain, to the contrary, that Shakespeare in fact lays the groundwork for the racialist anti-Semitism of a later era in the character of Shylock.

@Godpot... (God — pot... I'll have to try that... seems Dad has been holding back...) and that Moses character... I'll wager there was more than just a bush burnin» up there... (wouldn't know... me and that bird were trying to figure out the physics of stuffing «God» into a human womb right about that time... I'm thinking all these characters, not just me, were a bit «touched» as my child «Reality» likes to say...: 0)

This promissory and storied character of reality allows it to unfold in such a way that novelty and surprise can continually come into view and thus render the universe and history both more complex and more intelligible than we could ourselves imagine on the basis of previous patterns of occurrence.

More insight into Greene's attitude toward death can be gained by analyzing the deaths of the main characters in the novels cited in the Time comment — The Power and the Glory, Brighton Rock and The Heart of the Matter.

In the «organic» theory, (i) there is only one type of temporal actual entity; (ii) each such actual entity is extensive; (iii) from the standpoint of any one actual entity, the «given» actual world is a nexus of actual entities, transforming the potentiality of the extensive scheme into a plenum of actual occasions; (iv) in this plenum, motion can not be significantly attributed to any actual occasion; (v) the plenum is continuous in respect to the potentiality from which it arises, but each actual entity is atomic; (vi) the term «actual occasion» is used synonymously with «actual entity»; but chiefly when its character of extensiveness has some direct relevance to the discussion, either extensiveness in the form of temporal extensiveness, that is to say «duration», or extensiveness in the form of spatial extension, or in the more complete signification of spatio - temporal extensiveness.

The complexity of such a theory, when fully spelled out, is exhibited in the baroque character of Nobo's argument.2 More importantly, such a theory violates Whitehead's understanding of temporal atomicity, for his analysis of Zeno's paradoxes concludes that «the act itself is not extensive, in the sense that it is divisible into earlier and later acts of becoming» (PR 69) 3

A magician may get rabbits out of a hat, but no magician can ever get a character like Christ from the mere fortuitous play of atoms, any more than he can toss type into the air and have it fall by physical gravitation into the score of Handel's Messiah.

My evening with Parmigiano Reggiano showed me once again that Parmesan cheese deserves to take centre stage - the more mature examples have depth and character that just gets lost if it is only being melted into a risotto or grated over a pizza.

But going further into the chewing, the contrast of wasabi paints a light but noticeable pungent touch, imparting a more Asian character over a soy sauce marinade and a natural meat flavor reminiscent of roast tri-tip.

A hint of curry and soothing tarragon ease the pumpernickel into place and invite the usual characters, rosemary and nutmeg, to dance with more flavor this year.