Sentences with phrase «other characters of the story»

Furthermore, Nelson mentioned that players can impact the other characters of the story.

Not exact matches

In their new book, Losing the Signal: The Spectacular Rise and Fall of BlackBerry, Globe and Mail reporters Sean Silcoff and Jacquie McNish document the fascinating story through unprecedented access to company co-founders Mike Lazaridis and Jim Balsillie, as well as numerous other important characters.

Some stories have characters with whom we don't personally relate, but they remind us of others in our lives.

It's featured in multiple stories of Old West lore including True Grit and characters Belle Starr, Judge Isaac C. Parker and others.

and apologies to all the pagans that had their spring fertility festival stolen by the christians with the blatantly copied story from other previous cultures of the death and 3 days later resurrection of their god character.

The horror genre in all its forms gives audiences an experience that is shocking yet conventional, tense yet forgettable, and with characters and stories that are interchangeable and instantly recognizable even if the viewers have never seen any of a director's other work.

The human link between them is obviously the person of Naaman, and if these acts are all petty, insignificant, and of no evident worth, it is because God respects the independence of Naaman just as he does that of each of the other characters in the story.

That faith, plus other perceptions about our personal lives and the course of human history, provided a dimension to our stories that I call their setting: the world the story sets in which story's plot can credibly unfold and its character develop.

The funny thing is, though, that this other group knows all of the stories your family likes to tell about the deceased, and the stories they add to the mix sound more like mythic embellishments of his character than outright lies.

Now incorporate the eastern philosophies (A huge portion of what Jesus allegedly said came from the Buddha, Confucious and a few others) into this Jesus character... then tie the story back in to the original god (but also ver2.0 of god, same god, but a kinder, gentler vengeful god)-RRB- and voila... the «new» testament.

Russ — I don't think you'll find people arguing too much about the few character names we have, but more about other pieces of information that should be available to corroborate the supernatural aspects of the stories.

In this way, the Bible guides and informs us, not so that we mindlessly repeat what other characters in the story have said and done, but so that we allow the previous Acts in the story to inform and guide what we ourselves say and do in our part of the story.

No less than other stories in the Jacob cycle, it reflects the background of the patriarchal age — frictions between groups (Hamor and Jacob); a level of sexual morality beyond the reach of our judgment and in any judgment ennobled by the integrity of Hamor and the love of his son for Dinah; the effort on the part of both families to effect a peaceful settlement honoring the religious sensibilities of the abused; the despicable violation of the terms of agreement by two of Jacob's sons; and finally, in perfect consonance with the general character of Jacob, his sharp rebuke of his sons not on moral but on utilitarian grounds:

Even when, like the characters in The Story of the Night, they seem to have fallen away from treating themselves, or their fellow human beings, with the appropriate respect, Jews and others in today's counterculture committed to the mystery of human responsibility before God, and charged with the task of pursuing our own unique individual and communal destiny in a conformist, uncomprehending world, need such reminders.

In other words, it has the character not just of a story but of an adventure.

The interrelated legs of his tripod — the development of an ethics of character and virtue grounded in a view of the self that is unclear and that lends itself to a substantialist interpretation, an essentialist understanding of the Christian story, and a separatist position on the church - world — are mutually dependent on each other for their internal consistency and coherence.

Perhaps, though, the biblical character of Jesus, rather than being entirely mythical, was based on one of many Jewish messiah claimants who had followers who euhemerized his life to a greater extent than those of other such claimants, so that in time the stories were so embellished that he became a god in them, but the Tesimonium Flavianum is hardly proof of his existence.

MacLeish's contribution, other than bringing the story into the 20th century, making a great contribution to the tiny, tiny pool of American poetic drama, and winning the 1959 Pulitzer with it, is quite a bit of additional commentary by his God and Satan characters, a pair of washed - up actors who observe the Job story being played on a stage, and occasionally take part in it.

In the Joseph story in Genesis, God brings about his purposes by working within the network of human causes; God never becomes a character within the story with whom other characters interact.

Phrygian to me i sense that you are struggling with issues in your mind that you cant reconcile and these issues are affecting what you believe in your heart and therefore your faith in God.I had something similar happen to me recently regarding the story of the demon possessed man at one point the demons begged Jesus to cast them into the pigs does that mean that Jesus was implicated with the work of satan.It cast my mind into doubt and then i began to question who God is.I prayed and sort the holy spirit for an answer the answer i got was that Gods character never changes he is always holy righteous and sovereign why else would satan ask for his permission.So the answer was that he allowed satans purpose to prevail so that we can see that satans intention is always to destroy it may well have been that the pigs were his anyway.As they were for the gentile nations who offered the pigs to their demon Gods.Just as satan can not change who he is the destroyer the thief the liar God can not change who he is when we realise that despite what we see going on in the world God is still the same yesterday today and forever.The time is coming when those that have hurt others will be judged for there wickedness as we serve a holy and just God.Just as it was in the times of Noah so it is with this this generation that as the wickedness reachs its zenith then the Lord will return to judge the nations.He is coming again and we need to be ready it is not a time to be caught sleeping.brentnz

I thought the characters were flat and unattractive, the story ho - hum, and the premise churlish and clumsy (i.e. the whole point is to tear down the belief system of others rather than put something positive forward as an alternative).

Even many of today's Christians, who in other respects may be regarded as being very liberal in their outlook, have been inclined to rest their faith on the historical reliability of the resurrection narratives, as pointing to at least one incontestable miracle of a supernatural character, and they have been alarmed when the «Empty Tomb» stories came to be regarded as legendary.

We pick up her story only when it is pertinent to the storied lives of other seemingly bigger characters.

Each story has a complete cast of characters, without the need for interaction with the other story, but quite compatible with it.

Stories about female gamers getting hit on; «No Gurlz Allowed» ways of «discouraging» them where the other players would help the DM pull a «run - on - rails» gang - rape scenario on the girl gamer's characters that she was powerless to get out of or stop.

I do not find this so strongly in other process thinkers, and insofar as Muray will not be more specific than that the criterion for reconstituting a tradition is «whatever contributes to the enhancement of relationality and creativity that are true of the fundamental character of reality itself» (93), I do not think he will much like the basis of Hauerwas» critique, namely the stories of the history of Israel and Jesus as they continue to be remembered and enacted in the Christian church.

In other cultures such stories are usually thought of as myths, but it is an offense to suggest to the pious Christian or Jew of the older school that the Bible is in any sense mythical in character.

Statement is baffling and is in fact the very thing that guys like cap and others are fighting against the truth is Colin didn't orignaly kneel during the anthem he sat on his bench he was then approached by vets who asked why he was sitting and asked him to do something else because sitting was disprectful it was those army vets who told cap to kneel because it shows your fighting against something and not just sitting to sit they told him it would be a better look and it's funny how people turn around and say he is disrespecting the very people who told him what to do and how to do it to get his message across this is the ignorance of America and everything cap fights against you judge a man by the color of his skin and his upbringing and not the content of his character you don't know anything about cap yet you pull this entire story out your ass go sit down clown

Thus, compared to other stories of the Prophets, the story of Yusuf (Joseph) shows commonality in the three traditions, with certain variations in the responses of the characters at several stages.

Others are into creating a cast of characters and saving it on the Web; for them The Sims is more like a set of actors and sets with which to tell stories.

Case in point: The surprising medical history of vampires, witches, zombies, and other spooky characters that you're likely to encounter (at least in stories) this season.

Their home at 27 rue de Fleurus was famous for being a hub of budding artistic and literary characters, and of all the couples on this list, the story of Stein and Toklas is perhaps the least convoluted / adulterous / blood - soaked: they pretty much just hung out together and loved each other.

The level of information about the characters and the story is incredible and is a great case study for anyone wanting to study this and other movies of this genre in general.

On the other hand, the pause between the two films» release would have given Tarantino ample time to address some of the criticisms that were made of Volume 1 - its episodic story, lack of three - dimensional characters, needless editing gimmicks and so on.

The rare total package of excellent music and sound, awe - inspiring graphics, incredible gameplay, and an epic story, mixed in with an unparalleled atmosphere that draws you into the character and quest like almost no other game... with at least 25 hours of gameplay and great unlockables to boot, you'll be behind the Visor for quite a chunk of time.

The story delves into Prompto as a character, and provides him with a great amount of depth, as well as explaining other parts of the game's lore.

Laden with lazy writing that drags out clichéd phrase after clichéd phrase — seriously, the line «you don't write, you don't call...» should be permanently retired from screenplays, especially if it's delivered between characters who hate each other — the story kind of plods along, checking off plots points from a list.

The participants get into cast and performances, characters and story issues, sets, production design, and shooting in Louisiana, deleted scenes and changes made for the extended cut, making their directorial debut, and a mix of other production topics.

Despite the lessening of madcap energy, Shrek the Third is still quite funny in parts, with some fresh throwaway gags to produce chuckles now and then from characters you'd think they probably should have jettisoned long ago, but are secretly glad they've kept around (the Gingerbread Man, Pinocchio, etc.) The fact that they are keeping in nearly all of the characters introduced in the series thus far is a bit of a double - edged sword, as they do provide a certain respite from the main characters that are already cycling through the same jokes all over again, but on the other hand, it's getting to the point that the high overhead of injecting scenes for all of these characters takes away from the focus of the story at large.

Maybe I'll have a different perspective on this once I've played the other parts of the story as episode one may just be the character development.

At the beginning of each story, we're introduced to a new character that is somehow connected to the other.

Any screenwriter's dilemma would be all in the balance; how to make sure all these heroes, some who have never interacted with others, many with unresolved issues with other characters, are adequately featured, while pushing forward this new story of this seemingly invincible foe, whose own storyline is widespread and massive.

Story line sucked big time, they said they want to make it follow the real story line but it didn't, first of all, Megatron all the other characters did not look or sound the same as the original, second, The girl who studied the sound waves of the machine that attacked the military base, was not important at all, she wasted pretty much 20 minutes of the movie, all she had to do was just come in and say, «These could be organic machines&raStory line sucked big time, they said they want to make it follow the real story line but it didn't, first of all, Megatron all the other characters did not look or sound the same as the original, second, The girl who studied the sound waves of the machine that attacked the military base, was not important at all, she wasted pretty much 20 minutes of the movie, all she had to do was just come in and say, «These could be organic machines&rastory line but it didn't, first of all, Megatron all the other characters did not look or sound the same as the original, second, The girl who studied the sound waves of the machine that attacked the military base, was not important at all, she wasted pretty much 20 minutes of the movie, all she had to do was just come in and say, «These could be organic machines».

There are a lot of unique ideas at play and I didn't find the story or characters to be too generic as others

I'd love to see more of the other characters background stories too as you don't really get to see it.

His story intertwines with that of two other characters: James Holden (Steven Strait), a rogue ship's captain involved in a planet - threatening accident; and U.N. undersecretary Chrisjen Avasarala (Shohreh Aghdashloo), who's willing to go to any lengths for what she deems is right.

There are a lot of unique ideas at play and I didn't find the story or characters to be too generic as others have stated.

Gillespie smartly uses the known and builds upon it with context and some style, using «modern day» Tonya, Jeff and LaVona among others as interview subjects for a documentary of sorts that frames the film, but also has the characters speak into the camera in non-interview segments to help give Tonya some humanity, or at least make sure you have a better idea about all of her story and life coming out and you did going in.

Mortal Kombat X moves forward with a snappier version of the previous game's fighting and some cool new characters, but the story and other features around the edges feel a bit rough in spots.

In those interviews, Tonya, LaVona, Diane, Jeff, and other characters tell the story their way; text at the beginning of the film explains that it's «based on irony - free, totally contradictory» interviews with Tonya and Jeff.