Sentences with phrase «often moving story»

Historian Leach tells the intriguing, often moving stories of nineteenth - century American butterfly fanatics who collected, bred, and studied the diverse, resplendent butterfly species that then flourished in our «agrarian tapestry.»

Not exact matches

Mr. Trump, who has often struggled to express empathy in the face of tragedy, appeared moved by the personal stories, even as he asked repeatedly whether anyone in the ornate room at the White House knew how such horrors could be prevented.

I often tell the story about my family in 1969, moving into Harrington Park, New Jersey, this relatively affluent town, as the first black family.

They tell their often sin - filled life stories to the small group, and are moved when members still want to be their friends.

It is memorable, gives some story «hooks» to hang the ideas on, and often keep the reader interested and moving forward when the normal method of teaching / writing would have left them bored.

Every so often, we get cues whispered in to us from the wings, and occasionally, a prop miraculously appears which helps move the story along.

More often than I'd like, those stories finish one of two ways: Either you get beat by a competitor or you move on and forget them.

As we move into the second week of the tourney with the Sweet 16 delivering a mix of perennial powers and Cinderella stories, I'd like to focus this week's Pulse on an often overlooked, but potentially highly lucrative area for savvy bettors — second half wagering.

«More than just a great handbook, this is an honest and often very moving story about valuing truth over hope, even in the face of grief.»

And as adults, we habitually reiterate the same stories over and over again, often moving throughout our days in a sort of robotic hypnosis, repeating the same phrases to ourselves in our heads.

Seeing a woman in her favorite pair of jeans that she wears often and has genuine wear patterns can be sexy because it tells the story of how she moves.

However, if one is able to move beyond the blatant commercialism and focus on the story behind the ad, they will find an often - funny, surprisingly sweet tale that takes full advantage of the chemistry between stars Vince Vaughn and Owen Wilson.

«The goalposts are moved as the story or contents of the film change, and having several layers of approval — often from people who neither understand nor care about the game adaptation — means that schedules can be thrown off by no fault of of the developers, and all the time they're facing down an unchanging release day.

Rather than tell the story in a straightforward fashion, the movie is set in a theater, where sets and backdrops are flown in as scenes shift and characters often move to choreography that feels like it's out of a musical number.

Now, she's moved behind the camera for her delicious feature debut, Lady Bird, the story of an outspoken teen (Saoirse Ronan) awkwardly (and often amusingly) transitioning into adulthood.

Julie Walters (as his mother) and Vanessa Redgrave (as Grahame's mother) also shine in this often - moving, if somewhat predictable, story, scripted by Matt Greenhalgh.

However, Maddin's films are not themselves examples of silent cinema, and are, rather, akin to how Peter Greenaway's films often become moving tapestries of visual innovations, telling stories with enhanced detail that lends the material a «handcrafted» sort of feel.

Their stories are often irreverent, challenging, compelling and unexpected, and not only possess the power to move and hopefully inspire audiences, but also to speak to our shared humanity.»

A close backwoods cousin to Stand By Me (1986), Jeff Nichols» Mud is an often moving and unpredictable coming of age story that benefits from some striking visuals and all around strong acting from its cast.

Given the paper's 53 % Catholic subscriber base, Baron's move is a gutsy one, and though Robinson hesitates, his journalistic pride gets the better of him early and often on the way to unearthing the story and facing his own failings.

Equal parts thriller, mother and son love story, and aftermath picture of coping with the outside world, Irish filmmaker Lenny Abrahamson's «Room» is a deeply moving and suspenseful drama that often has the power to emotionally devastate.

Chilean - born Ruiz is a director whose love of storytelling and narrative play is often more engaging than the films themselves but with Mysteries of Lisbon, an epic based on a classic Portuguese novel (one yet untranslated into English), his engagement with the characters and their defining stories guides his direction, and his graceful camerawork and unerring eye for images both classical (like paintings in a cinematic frame) and fluid (his camera moves with purpose and grace) are in the service of the trajectories of the characters.

Following the typical «don't pay for editing» advice, the next line is often that we should shove this story under the metaphorical bed and move on to another story.

As the narrative moves between the decks and holds of the ship and the boy's adult years, it tells a spellbinding story - by turns poignant and electrifying - about the magical, often forbidden, discoveries of childhood and a lifelong journey that begins unexpectedly with a spectacular sea voyage.

Preston's account of the exploration of this extraordinary world is a true - life adventure story that is at times terrifying, often moving and, occasionally, a little long winded.

Critics consider it to be one of her most moving stories and it has often been anthologised.

But the destination is often not what's important; it's what happens on the journey that can truly move a story forward.

«Sloan has created a story where the line between youth and adulthood moves back and forth, often more than once in a single day — and where kids and adults «have relationships that are real and go both directions,» she says.

Often laugh - out - loud funny, this moving and simply told novella of two Mongolian brothers learning to fit in to a British school tugs at the heart - a unique story of immigration both fierce in its telling and magical in its characters.

In other paired stories, an Imperial policeman who is forced to leave the continent after rumors spread of his homosexuality reappears as a doorman in New York City who brings solace to a young betrayed woman; a young girl held hostage in a brothel plots a brutal revenge against the madam who keeps her, and then the madam reappears as a wizened midwife who delivers a baby to a Hindu woman forced to make a terrible choice about the child; a Muslim boy who escapes a train raided by a murderous mob reemerges as a grandfather who has moved to London to be with his family and whose granddaughter struggles to save her marriage after the death of their child; a young cartographer alters a small section of the Radcliffe Line with terrible consequences, and then his boss reappears as a senile old man who sets off in search of a prostitute he often hires.

In particular, she is so skilled at seamlessly shifting between different narrative points of view that readers will often be entirely unaware of these moves unless and until they choose to analyze the story more fully.

Fans of Jennifer Haigh's Faith, Jhumpa Lahiri's Interpreter of Maladies, and Katrina Kittle's The Kindness of Strangers will be captivated by Umrigar's The World We Found - a moving story of bottled secrets, unfulfilled dreams, and the acceptance that can still lead to redemption, from a writer whom the New York Times calls «perceptive and often piercing.»

Like Janet Finch's 1999 bestseller White Oleander, this is a raw and all too realistic story about a California teen forced to move from house to house — and often from bad situation to worse — after her well - intentioned but self - centered mother...

Told with humor and warmth, The Mouse - Proof Kitchen is the moving and thought - provoking story of how the best parts of life are often the most complicated, and how love can be found in the least likely of places.

Writing flash has taught me how to move a story along by implications, through escalating hints, and that what's left out of a story is often more important than what's included.

My novels now often move with a flash aesthetic — I like imagining stories in a fragmented, elliptical way — so I think there's a little flash in all of my writing.

I've often found that if I just keep telling the story — even if that means sticking in some really pedestrian transition just to keep moving forward — that when I go back later in rewrites the perfect transition jumps out at me.

- the team has been adding weapons one by one because they want the same amount of attention for each weapon - the team learned that when they added two new weapons at once, one would end up getting overshadowed by the other - there were more new stages than returning stages because bringing back old stages would have little surprise - since they want to satisfy both new and returning players, they changed the order of stage additions - there weren't any major direction changes in balancing from Splatoon 1 - there have been more pattern combinations between weapons and stages, so there was more involved to balance them all - matchmaking is handled by getting 8 players with similar rank points, and then they're split by weapons - the rank point gap between S + players is bigger than ordinary players - only about one in 1,000 active players are in the S +40 to S +50 region in Ranked Battles - there's even less than one in 10 players that reach S +, while 80 % of the overall player base are in A or less - about 90 % of S + ranked players are within a + / -150 hidden ranked power range - rock was the popular genre in Splatoon, so they tried changing it for the sequel - they prioritized making good background music first before forming the band to play that music - the design team would make the CD jacket - like artwork afterwards - due to this, the band members would often change; some getting added while some others removed - Off the Hook is an exception, as they first decided they would be a DJ and rapper along with their visuals first - Off the Hook's song came afterwards - In Splatoon street fashion was the trend, but in Splatoon 2 they tried adding more uniqueness - the aim was to add Flow with ethnic clothing and Jelfonzo with high fashion - all Jellyfish in this world are born by splitting, which means Jelfonzo was born by splitting from Jelonzo - Jellyfish are like a hive mind - when they hold a wedding ceremony, they're just simply holding the ceremony - Jelonzo and Jelfonzo start gaining their own consciences so they can speak - Flow used her working holiday to go on a trip before reaching Inkopolis Square - during the trip, she met the owner of Headspace - the owner liked her, so she got hired to work there - Bisk has a unique way of speaking: anastrophe - the team tried to express him as an adult man - they made him into a giant spider crab because they wanted someone with high posture - he came from a cold country and broke up with his girlfriend to join a band - just like Flow, he became attracted to squids - Crusty Sean finally has his own shop, but he opened it because he's someone who follows the current trends - one of the trends happens to be people opening their own shops - drink tickets aren't stacked, but the probability is higher than a single brand - the music in Inkopolis Square changes depending on the player's location - sounds contribute to creating atmosphere in the location - the song at front of Grizzco Industries had an atmosphere that feels like some smell can radiate from the game screen - as for Salmon Run, they imagined it as a Japanese restaurant outside Japan that is not run by a Japanese person - each time the player moves between the shops, the game uses an arrange shift that shows the personality of each inhabitant - the arrangement in Shella Fresh is related to Bisk's guitar and mystery files that describe his past - with the Squid Sisters moved to Hero Mode, Off the Hook was put in charge in guiding battles and festivals - Bomb Rush Blush has an orchestra «because it would sound like the final boss» - the team wanted to express the feel of the story's real culprit with this music - the probability of each event occurring in Salmon Run is different - there are no specific requirements, meaning they're picked randomly - this means it's possible for fog to appear three times in a row - the Salmon have different appearances based on the environment they're raised in - if the environment is harsher, they would become large salmon - Steelheads and Maws have big bodies, while Scrappers and Steel Eels have high intelligence - Salmons basically wield kitchenware, but everybody else has a virtue in fighting to actually cook the Salmons - Grill is the ultimate form of this - when Salmons are fighting to the death, they can feel the same sense of unity - they would be one with the world if they were eaten by other creatures, and they also fight for the pride of their race - MakoMart is based on a large supermarket in America - the update also took place on Black Friday in America, which was why Squids are buying a lot of things in the trailer - Arowana Mall looks like it has more passages because there are changes in tenants and also renovation work - Walleye Warehouse has no changes at all, because the team wanted to have at least one map that stayed intact - the only thing different in this map is the graffiti, which is based on the winner of Famitsu's Squid Fashion Contest - all members in the band Ink Theory graduated from music university - they are well - educated girls who also do aggressive things - the band members wearing neckties are respecting the Hightide Era from the prequel - the team will continue adding weapons and stages for a year, and Splatfests for two years - the team will also continue to make more updates including balancing

These stories can often move you as much as any great storytelling medium.

When this happened, I often moved to the WANTED Versus mode to fight and level up the characters that were involved in the particular story mission I was stuck on before attempting it again.

Often times, it proved to not be the smartest move, but I wanted them to be apart of my story, if you know what I mean.

Each level moves the story forward and often strays from the generic formula.

Powerful characters, a moving story, and engaging battle and leveling mechanics don't come together in modern JRPGs often enough.

Whilst you'll still hear the same stories over and over again, their quips are often more relevant and detail the impact of each of your moves, sometimes even mentioning smaller things that you may have missed.

Although social progress moves in fits and starts (and often retreats), the movement towards inclusivity does coincide with a broader enthusiasm for women's voices and stories, visible in other cultural fields including television, film, literature, and music.

In Stettheimer's paintings, friends and family move and are staged across the canvases as though participating in a story line, often appearing several times within a single composition.

The close connection is represented in the many stories of the physical and social world passed on by ancestors — stories that often start out at sea and move closer to land — stories creating seascapes of islands, reefs, sandbars — and travel on to create the landscapes.8 They are evidenced in song and storylines, ceremonies, dance, art works, coastal shell middens, and many sacred sites, places and artefacts along the coastline of Australia.

The number of levels or floors in the structure often determines this factor, though even two - and three - story homes are moving away from entries with soaring ceilings.