A few, but certainly not many. (But it’s not like we’re overrun with great male characters either.)
One of the best book trailers I’ve ever seen.
Some form principles, it turns out, are surprisingly robust and can sustain even the most nonsensical content.
Ein historisches Dokument, gewissermaßen. Denn im Gegensatz zu Scheinen lassen sich Leistungspunkte nicht in humanistischem Tonfall parodieren.
“The gleaming synthetic permapolish leather holster held a proton blaster. Bat Durston pulled out the deadly weapon and thumbed the power pack release.”
There seems to be some confusion about who the Antagonist might be in Inception but frankly, I can’t see any problems here. Everything has its place, and cleverly so.
Is that a Cartesian Theater which I see before me? What Strawson’s self-observation lacks in methodology, it makes up for with psychological entitlement.
I started to try and sketch Inception’s dramatic structure (in words, not in pictures), and this greatly helps: Co.Design’s Inception Infographic Contest!
I barely remember this poem of yore I happened to come across the other day. It creaks & grates, and I have only the most vague idea about what it was supposed to be about.
If that’s all the witnesses and the testimony you can muster in your favor, you might as well try and get to Mexico while you still have time.
It’s called “Lagoa Multiphysics,” developed by Thiago Costa. But will it blend, in terms of storytelling, if games become ever more realistic?
You’d think when Strawson takes on the psychological Narrativity thesis and lets loose with both barrels, he’d load his gun with something substantial.
According to Strawson, life is experienced in a “diachronic” or “episodic” kind of way: the former is compatible with psychological narrativity, the latter not.
Dramatic conflict in science fiction connects to advanced aspects of a future society. With our accelerating technological progress, this is becoming difficult.
I always loved “Home on the Range.” Here’s a variation on this song, situated in a 21st century where humanity is still kept, or keeps itself, from being free.
Travesty is a powerful form of storytelling not despite, but because we know what’s going to happen. We’re already on the lookout for what’s different.
Flashbacks are a powerful storytelling device, especially when used for missed turns and missed junctions-as-junctures.
The collaborate “Beyond the Still” contest has its second chapter. But not everything about this contest is conducive to collaboration.
What are the circumstances under which true collaborative writing either improves or diminishes the quality of the finished product?
Could collaborative storytelling create works of great art? Before we can answer that, we have to dismantle some cherished notions about author-creators.