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41 " Neither compares nor competes. "
― Lailah Gifty Akita
42 " This heated (environmental) debate is fundamentally about numbers. How much energy could each source deliver, at what economic and social cost, and with what risks? But actual numbers are rarely mentioned. In public debates, people just say “Nuclear is a money pit” or “We have a huge amount of wave and wind.” The trouble with this sort of language is that it’s not sufficient to know that something is huge: we need to know how the one “huge” compares with another “huge,” namely our huge energy consumption. To make this comparison, we need numbers, not adjectives. "
― , Sustainable Energy - Without the Hot Air
43 " As I stated earlier, I do not believe there is anything inherently wrong with even the most overused elements of epic fantasy. Magic swords, dragons, destined heroes -- even dark lords and ultimate evils can legitimately be used in literature of serious intent, not just mocked in satirical meta-fiction. To claim that they cannot would be much the same as claiming that nothing good can ever again be done with fiction involving detectives, or young lovers, or unhappy families. The value of a fictive element is not an inherent quality, but a contextual one, determined by its relationship to the other elements of the story it is embedded in.In other words, whether a scene in which a dragon is introduced is affecting, amusing, or agonizingly dull depends primarily on the choices made by the scene's author. I say " primarily" because dragons have appeared in thousands of stories over the centuries, and almost any reader may be presumed to have been exposed to at least one such. The reader's reaction will naturally be influenced by how they feel this new dragon compares to the dragons which they have been introduced to in the past. (Favorably, one would hope. A dragon must learn to make a good first impression if it is to do well in this life.) Such variables are out of the author's control, as are any unreasoning prejudices against dragons on the part of the reader. All that can be done is to make the dragon as vivid and well-suited for its purpose as is possible. If all the elements of fantasy and fiction in a work are fitted to their purposes and combine to create a moving story set in a convincing world, that work will presumably be a masterpiece. "
44 " No worldly pursuit compares to the joy of experiencing the change of one soul from death to life. "
― Dillon Burroughs , Thirst No More: A One-Year Devotional Journey
45 " Referencing 2 Corinthians 4:6, Robert Hewitt compares jars of clay in the first century to the same value we would put on a cardboard box. Joni Eareckson Tada queries whether we would question God's right to leave some holes in the box in order to give glimpses of the treasure inside "
― Joni Eareckson Tada , A Place of Healing: Wrestling with the Mysteries of Suffering, Pain, and God's Sovereignty
46 " Yet the laboriously sought musical epiphany rarely compares to the unsought, even unwanted tune whose ambush is violent and sudden: the song the cab driver was tuned to, the song rumbling from the speaker wedged against the fire-escape railing, the song tingling from the transistor on the beach blanket. To locate those songs again can become, with age, something like a religious quest, as suggested by the frequent use of the phrase " Holy Grail" to describe hard-to-find tracks. The collector is haunted by the knowledge that somewhere on the planet an intact chunk of his past still exists, uncorrupted by time or circumstance. "
47 " Since the earliest days of the art form, humans have been the most difficult characters to animate. The more realistic the human being, the more difficult the animation becomes. Audiences will accept distortions in the actions of a cartoony character: no one has ever seen a four-foot-tall rabbit walk on its hind legs, so an artist animating Bugs Bunny enjoys considerable freedom. But everyone knows how human beings move, and if those movements are not rendered accurately, viewers won't believe in the characters.Ward Kimball, one of Disney's " Nine Old Men," commented, " As long as we deal in fantasy, we are on safe ground. The eye has no basis for comparison. But the more we try to duplicate nature realistically, the tougher our job becomes. The audience compares what we draw with what it knows to be true. Any false movement is easily detected. "
48 " Body follows mind. If the mind compares itself to others this could lead to overtraining. Tune out what other runners do and how fast they run. Tune in, instead, to how your body wants to increase speed and distance. "
― Gina Greenlee , The Whole Person Guide to Your First Marathon: A Mind Body Spirit Companion
49 " First and foremost comes my family and my life with Brad. We have so much joy in raising our children and teaching them about the world that nothing really compares to that. "