There is an old story that Slavoj Zizek retells in his long essay, ‘Violence’, And this focus makes for a rarely rivalled thrilling experience. The Raid movies are, quite simply, two masterpieces of pure cinema, two films concerned only ever with the powerful locomotive energies of the central image. These films will live to demand a place in the story of the evolution of cinema, from the Lumiere brothers henceforth, a story that has been constantly corrupted and bastardised by Hollywood, but which can be held steady by hands such as Evans. If action films have become one dimensional, dumb, and reliant on CGI rather than stuntsmanship and moxie, then Evans’ two films will do no less than to restore faith in the relevance of the moving image. It made for an exhausting four hours (with a quick pint in between features), but a stretch that bedazzled, invigorated, amazed and floundered. In a typical cheeky programme, Chapter Arts Centre presented, back to back, Glamorgan-graduate and Hirwaun-born director Gareth Huw Evans’ hit Indonesian action films, The Raid: Redemption(2012) and the newly released sequel The Raid 2. That is why we applaud at the theatre, after all because we want to say thank you in person. For a film-maker, absent most of the time, it must be the ultimate accolade, to have convinced an audience to such a degree that immersion is total, and the experience of the film has been one as daring and kinetic as great theatre. It is a rare thing to be moved to applause in a cinema. Gary Raymond reviews the Chapter Arts Centre’s double-billing of Gareth Huw Evan’sThe Raid: Redemption, and The Raid 2: Berandal.
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The first‑person pronoun is “I”-so writing in first person means telling a story as if it happened to you.Įven if you write in third person, try to tell the story through the eyes of just one character-most likely the main character. At the end, wind up the story quickly.ĭecide about writing the story either in “first person” or in “third person.” Third‑person pronouns are “he,” “she,” and “it”-so writing in third person means telling a story as if it’s all about other people. Story StructureĪt the beginning, jump right into the action. The right–wrong steps can repeat.Ī novel can have several conflicts, but a short story should have only one. The basic steps of a plot are: conflict begins, things go right, things go WRONG, final victory (or defeat), and wrap‑up. The tension should reach a high point or “climax” near the end of the story, then ease off. The conflict should get more and more tense or exciting. 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Here's a timelapse video showing the evolution of Viaduct: In order to get some real data on its success or failure as fast as possible, we used Hammer to quickly turn the sketches into a very rough version of the map. Playtesting the new mode on existing maps helped us explore various ideas that we used to generate rough sketches of what would become Viaduct. We quickly found out that fun arena maps weren't necessarily fun KOTH maps. To this end, we converted some of the existing arena maps and started experimenting. The sooner we could prototype the new mode, the sooner we could start gathering data on it. We liked some of the facets of Arena mode, but it was clear that many players don't like to wait for the next round to play. In this case, we wanted a game mode that had an intense, centralized experience with quick player turnaround. The process usually starts with a team discussion: This helps us determine the goals of the map we're going to build. 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