Sentences with phrase «narrative elements as»

The game will be online multiplayer only, though the developers have said that there will be narrative elements as well.

A good story is still a good story, and a compelling nonfiction travel tale will not just evoke a strong sense of place, it will contain the same human themes and narrative elements as a good work of short fiction.

Not exact matches

These contrasts add to the subjective intensity of the passage of the Bill as an actual event and function as dynamic elements in a narrative.

In a narrative account, the historian offers events in a sequence designed to evoke in the reader's imagination the contrasting elements and potential configurations discussed above, with the expectation that the reader will hold them together in an emerging synthesis as the story progresses.

Further, he insisted, a congregation's particular story, because it draws from a treasury of narrative elements available to all groups of people as they struggle for survival and meaning, is its channel to participation in the worldwide mission of establishing God's shalom.

In later chansons de geste, however» such as Les Quatre Filz Aymon, Enfances Roland, and Entrée en Espagne» the details of Roland's earlier life were filled in, with a variety of fanciful elements becoming ever more prominent features of the narrative, and it was not long before the real Roland (such as he was) had all but disappeared behind the more resplendent figure of the hero of legend.

Barth insisted that to hear scriptural narrative as God's Word has nothing necessarily to do with defending its historical character or some particular historical element within it.

His point was not that scriptural narrative contains no historical elements, but rather that the Bible's historical elements are always mixed with myth, saga and related forms of expression as vehicles of the Word.

In spite of the diversity in the resurrection narratives there is one important common theme which C. F. Evans draws to our attention when he says, «The one element which the traditions, in all their variety, have in common is that the appearance of the risen Lord issued in an explicit command to evangelize the world, yet the early decades of the history of the church, in so far as they are known to us, make it difficult to suppose that the apostles were aware of any such command.»

Recent studies of the miracle stories in the Gospels in comparison with those told of Jewish and pagan saints and sages or «divine men» have brought out the fact that the emphasis on faith as a condition of healing is a distinctive element in the Gospel narratives.

[35] Justin goes on to point to examples as well as paper over disreputable elements in these narratives, and writes that

Although we are not prepared to argue for the authenticity of any of the narratives concerned, we are arguing for the authenticity of such an element in the historical ministry of Jesus: he did help those who confronted him in their need in a way his contemporaries regarded as remarkable, and he did link this with the «faith» of the people concerned.

The biographies, basic and concise, provide lesser - known and engaging elements of each saint's life, though they serve primarily as narrative devices that possess greater value for Campbell than for her readers.

His discussion is such as thoroughly to discredit both the supernaturalistic approach to the gospel narratives, i.e. the understanding of them as historical as they stand, and the rationalistic approach, i.e. the understanding of them as historical after the miraculous element in them has been explained away.

Kuhn reaches the point of recognizing the gospels as kerygma, i.e. as proclamations of Jesus the Messiah in his significance for faith; but whereas the later Protestant view was that the kerygmatic element was in the service of a post-Easter view of Jesus as risen Lord, read back into the narratives by the later community, Kuhn's view is that this element was present in the tradition from the very beginning, part of the gospel before the gospels, part of the message of the apostles from the very first days, part of the very fabric of the ministry of Jesus itself.

I have long remembered the remark of a notable art critic — though I have forgotten which one — that many modernist paintings could be understood as fragments of classical painting blown up for their own sake, displaying the formal and technical elements by which painting is accomplished but eschewing the narrative depiction within which such patches of paint on canvas would earlier have had their place.

I can only hope that this attempt is taken more seriously than the largely muted and clearly unsuccessful protests of late last season... although the plane writing escapade brought some much - needed attention to the matter, it failed to resonate with fence - sitters and those who had just recently fell off the Wenger truck... without a big enough showing of support the whole endeavor appeared relatively weak and poorly organized, especially to the major media outlets, whose involvement could have significantly changed what was to follow... but I get it, few wanted to turn on their club, let alone make a public display of their discord... problem is, they are preying on that vulnerability, in fact, their counting on you to keep your thoughts to yourself... who are you to tell these fat cats how to steal your money... they have worked long and hard to pull the wool over your eyes... they even went so far as to pay enormous sums of cash to your once beloved professor to be their corporate spokesmodel so that the whole thing would be more palatable... eventually the club made it appear as if this was simply a relatively small fringe group of highly radicalized supporters, which allowed the pro-Wenger element inside the club hierarchy to claim victory following the FA Cup win... unfortunately what has happened to this club can't be solved by FA Cups or a few players coming in, the very culture of this club needs to be changed and that starts at the top... in order to change the unhealthy and dysfunctional narrative that has absorbed this club we need to remove everyone who presently occupies a position of power... only then can we get back to the business of playing championship caliber football, which should always be the number one priority of this organization... on an important side note, one of the most devastating mistakes made in the final days of this hectic and poorly planned transfer window didn't have to do with the big name players like Sanchez or Lemar, but the fact that they failed to secure Jadon Sancho, who might even start for Dortmund this season... I think they might seriously regret this oversight... instead of spending so much time, energy and manpower pretending that they were desperately trying to make big moves, they once again lost the plot due to their all too familiar tunnel vision

As published today in Social Psychological and Personality Science, the researchers found that narrative game elements contributed to a more immersive video game experience.

Luna, who is the author of The Art of Scientific Storytelling, noted that this is becoming a popular idea, as «a growing list of publications, scientific conferences, and academic institutions [are] encouraging scientists to integrate narrative elements into research and public communications.»

The game boasts a strong narrative that shows the dangers and strains associated with gang membership, and promotes a strong sense of morality via game elements inspired by classic gang movies, such as «New Jack City,» «Boyz»n the Hood» and «Menace to Society.»

As this film progresses in its short narrative, we find out deeper elements of the real addiction of the few characters that we get to know.

It's worth noting, however, that the movie does lose some steam as it takes an expectedly dramatic turn towards the end, as, despite what screenwriter Bert V. Royal clearly believes, the narrative simply isn't deep enough to withstand the increasingly pervasive emphasis on sentimental elements (and all the John Hughes references aren't really helping, either).

It's a seemingly foolproof premise that's employed to distinctly (and consistently) underwhelming effect by director Johannes Roberts, as the filmmaker, working from a screenplay cowritten with Noel Clarke, Dave Fairbanks, and Marc Small, offers up a narrative that's been jam - packed with generic, hackneyed elements that slowly - but - surely drain one's interest - with, for example, the movie's absence of sympathetic characters growing more and more problematic as time progresses.

As a screenwriter first and foremost (and a director with little to no innate visual sense), I tend to prize narrative and story over most other elements in film.

For while it is technically a sequel, taking place in the same world as Scott's film and extending the narrative to thirty years later, Blade Runner 2049 at the same time wants to provide a sumptuously studied remake of Blade Runner, copying countless elements from it in order to evoke rich sense - memories of the original film.

The plot borrows many narrative elements from The Matrix, which itself, truth be told, borrowed many elements of its own from comic books and martial arts films, so it's hard to qualify this feature as a direct rip - off.

Filmmaker M. Night Shyamalan has infused the majority of The Visit with many of the touchstones one has come to expect from found - footage chillers, and yet it's worth noting that the movie never quite becomes as predictable as many of its similarly - themed brethren - as the writer / director does an effective job of peppering the narrative with surprising elements and an undercurrent of unexpected drama.

It adds a few unique gameplay elements, such as isometric camera movement, but the game lacks in categories like speed, strong personality and a compelling narrative to drive it above a game like Hotline Miami.

It's an unabashedly high concept premise that's employed to positive effect by director John Landis, although it does go without saying that the lion's share of praise for the film's success belongs to both Aykroyd and Murphy - as the actors» exceedingly engaging work ultimately proves instrumental in smoothing over some of the more questionable elements within the narrative.

The Hobbit would have been successful as one, epic film instead of three different films all operating on extended narrative plateaus, and Jackson could have combined elements of all three and still retained his bombastic vision of Tolkien's material.

That this is the note on which the film ends lends a conclusive element to what in its early stages seems to be a more free - form narrative careening between depictions of place and circulation which is notable in its exclusion of the global north as a central point of reference.

On the one hand, having a weak story never stopped the original Blade Runner from being revered as a classic, but all of the elements are in place for Villeneuve to create a compelling narrative.

Reduced to its essential narrative elements, Hardware is an elaborate «stalk and slash» movie, with a relentless killer as its antagonist, onscreen sexual encounters shown from the killer's point of view, ineffectual authority figures, and an androgynous heroine who eventually succeeds in killing the killer (9).

Individual elements are ambitious, even praiseworthy, but the narrative arc of this comedy - drama about Hawaiian legends, the privatization of space, and a hunky guy with commitment issues falls apart almost as soon as the whirl - a-gig ride begins.

Both films share many motifs and themes as well as other elements, such as non-linear narrative structure, the extensive use of the color red, and interpretations of vintage songs.

Sharp's screenplays are marked by a narrative complexity and situations gravid with implication and doom.1 Take the moment in the Arthur Penn - helmed Night Moves where broken - down P.I. Harry Moseby (Gene Hackman, reuniting with Penn for the first time since Bonnie and Clyde), after discovering a body in a sunken wreck off the coast of Florida, watches as his two sleazeball hosts (John Crawford and Jennifer Warren)-- who've previously exchanged an odd nod and a knowing glance in which something is silently decided about how to handle this new, inquisitive element dropped in their midst — break into a broken tango to a tune on the radio.

Unfortunately, the misleading confusing titling of The Raven is hardly the project's biggest problem — as, despite a mostly competent (albeit sometimes campy) effort from both John Cusack (Poe) and Luke Evans (Detective Fields), the mystery narrative elements, as well as the respective kills, are surprisingly underwhelming.

Midler's scenery - chewing turn as the brassy central character remains virtually the only worthwhile element within Stella's overlong running time, as the movie suffers from a fairly stale narrative that's compounded by an absence of compelling supporting figures and an often unreasonably deliberate pace.

And although Mendoza has admittedly peppered the narrative with creepy images (eg a woman covered in boils makes a brief appearance), Sapi does, in the end, suffer from a paucity of compelling (or even competent) elements that ultimately cements its place as an aggressively worthless piece of work.

There does reach a point, however, at which the narrative becomes far too convoluted for its own good, as scripter Fenjves begins overloading the proceedings with periphery characters and subplots - with the aforementioned heist certainly ranking high on the movie's list of hopelessly uninvolving elements (ie it's just endless).

His visual elements remain crisp, even as the narrative turns to mush.

In truth, these elements exist as nothing more than cheap setup for the violence to come, so the narrative never draws us in or makes us care about the participants.

What was once pure Gothic horror adds elements of the Western to its palette, and the narrative moves fluidly from London to Africa to the New Mexico Territory and the frozen Arctic as it catches up with (most of) our regular characters and introduces a few new ones.

The story follows a teenager's life as her mother (Eva Green) suddenly disappears, and there's some kind of surreal, dream element to the narrative in this teaser trailer.

Tomorrowland has hanging about it, in other words, all the elements of disaster: winky meta references, lack of narrative cohesion, desperation - born mistakes, bad screenwriter / Nick - Riviera - bad script doctor Damon Lindelof as Bird's co-author... and yet it's good somehow.

Lawrence Roeck's film has been explicitly conceived as an opportunity for the younger Eastwood to emulate the persona that cemented his elder's legend, fusing elements of The Outlaw Josey Wales, High Plains Drifter, Unforgiven, and the Dollars trilogy into a revenge narrative spanning portions of the American West during the period of unrest following the Civil War.

As the film's genre reveals, however, there will also be comedic elements sprinkled within the film's story to counteract this somber narrative.

While both projects, as well as Maggie's Plan, are distinctly different, they do share a common element: a narrative with a complex woman at the forefront.

You can consider using thematic elements or a narrative thread to convey the story as the game progresses.

You will experience how you can help children develop early language and literacy skills, such as expressing thoughts, ideas and opinions, having conversations with others, understanding narrative structure and elements and much more.