Sentences with phrase «scale story when»

Not exact matches

Holiness for me was found in the mess and labour of giving birth, in birthday parties and community pools, in the battling sweetness of breastfeeding, in the repetition of cleaning, in the step of faith it took to go back to church again, in the hours of chatting that have to precede the real heart - to - heart talks, in the yelling at my kids sometimes, in the crying in restaurants with broken hearted friends, in the uncomfortable silences at our bible study when we're all weighing whether or not to say what we really think, in the arguments inherent to staying in love with each other, in the unwelcome number on the scale, in the sounding out of vowels during bedtime book reading, in the dust and stink and heat of a tent city in Port au Prince, in the beauty of a soccer game in the Haitian dust, in the listening to someone else's story, in the telling of my own brokenness, in the repentance, in the secret telling and the secret keeping, in the suffering and the mourning, in the late nights tending sick babies, in confronting fears, in the all of a life.

Yet, as Durant's story typifies, one of the challenges for visionary founders is that they often have a hard time staying focused on the present when the company needs to transition into relentless execution and scale.

When mixing prints and textures just remember to keep it simple and make sure the two (or three) things you're mixing have similar color stories and are on a different scale (different size patterns).

The IMAX format, however, gives moviegoers a chance to see the movie as Nolan intended — epic scale to tell the epic story, set at the outset of World War II, when British civilians in small vessels crossed the English Channel to rescue more than 300,000 British and Allied soldiers surrounded and stranded on the French beach of Dunkirk.

Icelandic director Baltasar Kormaker (who was honored with CinemaCon's International Filmmaker Award at Monday's luncheon) introduced clips from EVEREST (in 3D, September 2015) based on the true story of hikers, played by Josh Brolin, Jake Gyllenhaal, and Jason Clarke, who fight for survival when a storm strikes them while scaling the world's highest mountain.

«In fact, Tough describes in detail the story of a boy who is very gritty indeed when it comes to chess, and who scales great heights in that world.

On a smaller scale, when I wanted to introduce my 3rd grade students to creating stories in Storybird, I had to first make sure they knew basic word processing skills.

It's a scale no American SF publication has reached since the Golden Age of magazine fiction publishing in the 1950s, when Amazing Stories defined Science Fiction as a genre.

However, just as the entire industry and consumer base had to do when the e-reader devices appeared on the market in a wide - scale way, Hsu had to look for — and found — a purpose for digital children's books; in Hsu's case, it was the ability to still read a bedtime story to his children via Skype when he traveled, his children holding their print edition and he reading on his iPad.

To give the player more of a sense of the growing scale of the story, when the world changes, Kirby rides a warp star and the camera becomes movable, changing the feel of the controls.

- the game's shading mechanism has changed, which allows for increased gear texture quality - all graphical aspects and programming mechanisms have been built up from scratch for this sequel - maximum resolution is 1080p in TV mode - a bigger focus for Nintendo was the 60 frames per second - occasionally the resolution will be scaled down when there is too much ink displaying on the screen - Nintendo reduced the CPU load and refined the way to use CPU power effectively to maintain 60 fps in all matches - weapons were tweaked to let players be more creative by thinking about unique weapon characteristics and their best uses - weapons are designed to be effective when they are used during the right occasion - Special weapons are stronger than the original ones when used in the right situation, but weaker otherwise - the damage and effect of slowing down your movement when you step in the opponent's ink are reduced from original - you can jump up in rank if you're good enough, but only up until S - you can't jump up from C, B or A to S + - when you win battles in Ranked mode, the Ranked meter fills and your rank goes up when its fully filled - when you lose a battle, the gauge does not decrease, but the meter starts to crack - once the meter reaches its limit, it breaks - when the meter breaks, you have to start over again from the beginning or from a lower rank - highest rank is still S +, but if you fill up the Ranked meter, you get numbers after the alphabet such as «S +1», «S +2» and so on - maximum number is «S +50», but this number will not be displayed to your opponent - you are the only one to see it, and you can check it on your own status screen - Ranked Power is calculated by an algorithm to measure how strong each player is with minuteness - this will determine if a player's rank is worthy of receiving a big jump (like from «C» to «A»)- Ranked Power has no relation to your splat rate, and is more tied into to how well you lead your team to victory - you won't drop off more than one rank even if you play poorly - stage rotation time was changed to two hours - this was done because the devs expected people to play for an hour or so, but they found people play much longer - with Salmon Run, Nintendo considered how to implement a co-op oriented mode in a player - versus - player type of game - the devs will monitor how users are playing this mode to see if there's some tweaks they can throw in - more Salmon Run maps will be added in the future, but Nintendo wouldn't comment on adding more enemy types to the mode - rewards are changed each time Salmon Run is played - you can obtain rewards when playing locally, but not gear - originally Nintendo had an idea for this mode, but had no background setting, enemy designs, etc. - Inoue suggested that it should be salmon - themed - when Nintendo hosted the Splatfest that pit Callie against Marie, the development of Splatoon 2 had started - the devs had already decided to have the result reflected in the sequel - they even had an idea to announce the Splatfest with a phrase «Your choice will change the next Splatoon» - the timing to announce a sequel wasn't right, so they decided against this - they eventually released a series of short stories about the Squid Sisters to show how the Splatfest affected the sequel's story - Nintendo wouldn't say if Marina is an Octoling, and noted that Inklings are not paying attention to this too much - Inklings don't care about appearances, as long as everyone is doing something fresh - the Squid Sisters had composers who produced their songs, but Off the Hook are composing their music by themselves - Pearl is genius artist, but she couldn't find a right partner because she's a bit too edgy - she eventually found Marina as a partner though, and their chemistry is sparkling right now - Nintendo is planning a year of content updates for Splatoon 2 - when finished, the quantity of stages will be more than the original - some of the additional stages are totally new and some will be arranged stages from the first game - not all original stages will return and they are choosing stages based on the potential for them to be improved - Brella is shotgun-esque weapon, so the ink hits your opponent more if you are closer - it can shield damage when you open it, but the amount of damage has a limit and once it reaches it, it breaks - you can shoot ink, but you can't use the shield feature when it breaks - the shield won't prevent your allies ink - there are more new weapon categories which haven't been revealed yet - there are no other ranked modes outside of the three current options - the future holds any sort of possibility, but the devs didn't get specific about adding more content like that - for the modes, they adjusted the rule designs so that players will experience the more interesting aspects

With so many high - profile games these days revolving around saving the world or saving the universe, I always find it refreshing when I see a big - budget title that deals with a story that's on a smaller scale and more personal in nature.

The first time is understandable and somewhat justifiable; but the second time is done in the last chapter, for a villain with no buildup that seems like it was desperate trying to give the story a sense of scale when the game is LITERALLY ABOUT SAVING FREE WILL IN THE KNOWN GALAXY!

London's Marlborough Gallery was apparently the first to sellFrancis Bacon's work — as the story goes, the artist's 1958 contract with Marlborough began with gallerist Frank Lloyd's undertaking to settle a # 5,000 gambling debt Bacon had incurred (this at a time when his works sold for about # 200 a piece)-- so it seems appropriate that this year the gallery should bring some important works to set alongside fascinating smaller - scale material.

As the story goes, and it is well known enough not to bear repeating, in 1952, when Frankenthaler was all of 23 years old, she painted «Mountains and Sea,» an epic - scaled abstraction (86 5/8 by 117 1/4 inches) now in the National Gallery of Art, Washington, DC.

As the third story in our series will discuss, there are certainly times when wood energy can be beneficial — but those scenarios tend to play out at much more local scales, in which true waste wood is used for heat and power.

Whereas most game in the series focus on the adventures of a hero rising up against the forces of darkness, DQM is the much smaller - scale story of a little boy and girl, Terry and Milly, characters from Dragon Quest VI, when they were just small children.

Four of the original MCAST scales were thought of as capturing secure base script knowledge in children's stories, as they fit well the description of the core elements of the secure base script (Psouni and Apetroaia 2014): Proximity (seeking contact and closeness by both child and caregiver when a difficulty arises), Sensitivity (caregiver's physical and emotional response to the child's distress, orientation to the child's behavior and state of mind), Assuagement (degree to which child's distress is moderated, both as a result of appropriate caregiver actions and because the child accepts the care and soothing — from the child's and from the coder's perspective) and Warmth (inferred caregiver emotional warmth in dealings with the child).