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Photopia is a piece of literature by Adam Cadre rendered in the form of interactive fiction, and written in Inform.
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Some Related Sentences
Photopia and is
Adam is the author of Photopia.
:" Photopia has made more of a mark, I suppose, but Photopia is a short story ; Varicella is a world.
Photopia and piece
His 1998 piece Photopia pioneered a new direction in interactive fiction, removing the gaming elements that had previously been dominant ; it has been cited as " hugely influential to IF development " and " important to video games as a whole, to the advancement of our understanding of the interactive medium.
Photopia and by
* 1998: Photopia by Adam Cadre
Adam Cadre has stated that Photopia was heavily influenced by The Sweet Hereafter, a film that prominently features a babysitter and a bus crash.
Photopia and Adam
Adam Cadre, author of several works of Interactive Fiction, including Photopia and Varicella, announced the Spring Thing in 2001, both to promote works that would be longer than those entered into the Interactive Fiction Competition, and to encourage authors to submit works to the general public during other times of the year.
Photopia and .
Photopia has few puzzles and a linear structure, allowing the player no way to alter the eventual conclusion but maintaining the illusion of non-linearity.
He submitted Photopia to the 1998 Interactive Fiction Competition pseudonymously.
Years later, he dropped the pretense that there was a real " Opal O ' Donnell " who had submitted Photopia for him: " it started to bother me that v1. 0 of the Phaq had lies in it.
* Interactive Fiction Competition ' 98 in which Photopia took first place.
is and piece
But it is characteristic of him, we are told, `` his little artifice '', to be able to introduce `` into a fairly vulgar and humorous piece of hackwork a sudden phrase of genuine creative art ''.
`` History has this in common with every other science: that the historian is not allowed to claim any single piece of knowledge, except where he can justify his claim by exhibiting to himself in the first place, and secondly to any one else who is both able and willing to follow his demonstration, the grounds upon which it is based.
The volume is a piece of passionate special pleading, written with the heat -- and often with the wisdom, it must be said -- of a Liberal damning the shortsightedness of politicians from 1782 to 1832.
The most appalling aspect of Krim's piece is his reflection of the beat aesthetic.
That is how the real routine of resistance goes on, and its strength is directly proportionate to the number of insignificant people who can let themselves be taken to pieces, piece by piece, without quitting.
every man is a piece of the continent, a part of the main ''.
N.C.'s editorial `` Confrontation '' is a stunning piece of writing.
Moreover, the piece is written in five movements, rather than the conventional four of most quintets, and this gives the opus a serenade or divertimento flavor.
Pattern for circular base piece B is diameter of Aj.
After the frames and transom are set up on the jig and temporarily braced, a piece of three-inch-wide mahogany ( only widths will be given since the 13/16-inch thickness is used throughout ) is butted between frames one and two below the line of the keelson.
It is over this piece that the laminated stem and keelson are spliced.
The first piece is glued and screwed to the frames and transom and the piece butted between frames one and two.
The second piece is in turn glued and screwed to the first.
Note another piece of wood six inches wide is fastened to the transom between these pieces.
Another method of assuring a clean hole is to first drill a small pilot hole all the way through, then drill half way with the dimensional bit, turn the piece over, and finish from the other side.
As we find out at the end, it is not the stool ( symbolizing Doris, therefore the English ) that he is punishing but the piece of Venetian blind.
After a few tortuous moments of wondering who `` he '' is, the camera pans across the room to the plaster statue, and we realize that Neitzbohr is trying to redeem himself in the eyes of a mute piece of sculpture.
is and literature
But the South is, and has been for the past century, engaged in a wide-sweeping urbanization which, oddly enough, is not reflected in its literature.
It is possible that the study of literature affects the conscience, the morality, the sensitivity to some code of `` right '' and `` wrong ''.
Probably the most important thing to focus on is not the development of conscience, which may well be almost beyond the reach of literature, but the contents of conscience, the code which is imparted to the developed or immature conscience available.
In a small way this is illustrated by the nineteenth-century novelist who argued for the powerful influence of literature as a teacher of society and who illustrated this with the way a girl learned to meet her lover, how to behave, how to think about this new experience, how to exercise restraint.
A need so deeply planted, asking for direction, so to speak, is likely to be gratified by the vivid examples and heroic proportions of literature.
How literature does this, or for whom, is certainly not clear, but the content, form, and language of the `` message '', as well as the source, would all play differentiated parts in giving and molding a sense of purpose.
A third idea is that artistic literature serves to reduce emotional conflicts, giving a sense of serenity and calm to individuals.
There is a second feature of the influences of literature, good literature, on emotional life which may have some special value for our time.
It is at least possible that the capacity to postpone gratification is developed as well as expressed in a continuous and guided exposure to great literature.
One of the most frequent views of the value of literature is the education of sensibility that it is thought to provide.
The study of ideas in literature is one of these.
Most students of literature, whether they call themselves scholars or critics, are ready to argue that it is possible to understand literary works as well as to enjoy them.
It is through such reflection that literature approaches philosophy.
It is obvious that the historian who seeks to recapture the ideas that have motivated human behavior throughout a given period will find the art and literature of that age one of his central and major concerns, by no means a mere supplement or adjunct of significant historical research.
Criticism is as old as literary art and we can set the stage for our study of three moderns if we see how certain critics in the past have dealt with the ethical aspects of literature.
Such a list must naturally be selective, and the treatment of each man is brief, for I am interested only in their general ideas on the moral measure of literature.
When we turn to Aristotle's ideas on the moral measure of literature, it is at once apparent that he is at times equally concerned about the influence of the art.
In Krutch's view, this is one way to show how literature may be moral in effect without employing the explicit methods of a moralist.
What is not so well known, however, and what is quite important for understanding the issues of this early quarrel, is the kind of attack on literature that Sidney was answering.
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