Sentences with phrase «narrative choice into»

Even though this trend has been omnipresent ever since the original Donkey Kong, Squaresoft has long been considered the pioneers of this tend with Final Fantasy 7 being described as the first video game that make this type of narrative choice into a possible reality (whether this is true or not is debatable).

Not exact matches

In this documentary, plant - based diets are also shown to have a significant impact on our environment — the film subtly evolves from a narrative around nutrition and into a discussion around climate change, arguing that the decision to reduce meat consumption is perhaps the most profound choice an individual can make to reduce their impact on the earth.

Shot on wide - angle lenses in South Africa (which is skillfully made to look like a road trip from America to just across the border into Mexico), Smith's choices of color and set dressing are key to the ever so slight differentiation in the two narratives.

Kindly and almost unbearably intellectual and autodidactic, Seligman listens as Joe lays out the narrative of her sexual awakening, budding promiscuity, and compulsion, the two often digressing into literary, musical, and fly - fishing references that provides Joe's story a contour, unfolding (as in much von Trier's recent work) in discrete chapters marked by their own title cards and sets of aesthetic choices.

That skepticism is actually one of the interesting narrative choices that Wan and his team have incorporated into this sequel.

The team discusses the unique setting, deep narrative and some of the moral choices the player has to make while venturing deep into Dubai in Spec Ops: The Line.

A few inspired cinematic choices — a roving camera, an unexpected book - ending of the fourth act — help to breathe life into a stodgy narrative.

We can never trust Dominika's true motives in sleeping with Nash, which negates her choice as independent and instead slots it into the «f*ck anyone you must to survive» narrative that hounds her from the moment her uncle (Matthias Schoenaerts, who looks made up to resemble Vladimir Putin) coerces her into the Sparrow program, which she dubs «whore school».

The world is little but a mechanism to advance his narrative — to make him a better filmmaker, to make him a better friend, and perhaps to get him into the college of his choice.

Music and pop culture plays an integral role throughout in «setting the scene,» as it were, and Gerwig's choices for the songs that play in various key moments are almost always pitch - perfect (Dave Matthews Band's «Crash into Me» figures prominently in the narrative — and, as an aside, will be stuck in your head for days after seeing the film).

After students have a chance to make their choices and see the surprising result of the doubling — a payment of $ 5,368,709.12 — they are ready to follow the narrative into exponents.

Through culturally relevant narratives, choice, autonomy, and time for collaboration, one award - winning school is modeling a pathway into STEAM for underrepresented minority groups.

Interactive storytelling tools hook students into creating choice - filled historical narratives with multiple outcomes.

What is front and center in Vilson's narrative — and why it's such an important complement to Green's — is that he grew up in the same circumstances as his students, navigating poverty, making some bad choices, getting into and out of scrapes.

Because this was a historical novel I was faced with the choice of using original and authentic language or of deliberately introducing modern dialogue into the narrative.

Although this particular narrative provides an intriguing look into the dark machinations of the competitive riding world, the choice to give the horse its own first - person narrative — a concept that worked in Anna Sewell's classic, Black Beauty, but not much else — perhaps takes the idea a bit too far.

Essentially adding another dimension, gamebooks immerse the reader into the narrative by allowing them to make choices that influence the outcome of the story.

Thanks to her sharp, wry first - person narrative, readers will gain deep insight into her anxieties, choices, and aspirations.

Brilliantly building a hub world of sorts into an oddly entertaining narrative — which was a rarity for a game about karting — it even boasted boss races and vehicle choice, taking you into the skies as well as the water.

Best of all, while there isn't a lot of side - quests in the game, many of them have stories that also tie into the main narrative, providing extra details and backstory that can influence the choices you make during the story.

The Witcher 2 has also adopted the concept of morality and choices into its narrative, again something that we've seen quite a lot in this generation of games, and again it's an area in which the Witcher 2 excels.

1979 Revolution: Black Friday is a choice driven, narrative game that brings players into the brooding world of a nation on the verge of collapse.

The third entry into the series will be its first full - fledged triple - A title, featuring open - ended wartime environments and a non-linear narrative to give snipers the freedom and choice necessary to execute the advanced missions that tactically - minded gamers yearn for.

These in game moments provide context for what you're doing, and there is even an element of «moral choice» sprinkled into the plot, but none of the narrative hooks held my interest long.

Until Dawn impressively weaves player choice into the overarching narrative with a unique «Butterfly Effect» system which will have small or, what would seem to be, insignificant decisions affecting certain outcomes of the story and determining the fate of corresponding characters.

Remedy Games have been praised for taking their inspirations of literature, film and television to create games that bring the best of their thematic choices into strong narratives.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.