Minggu, 05 April 2015

Characteristic of Adventure Genre

Action and Excitement
Adventure novels typically have fast-paced, action-packed plot lines. Stories about epic journeys or epic tales -- often involving a mixture of adventure and fantasy -- have slightly slower plot lines that culminate with a thrilling climax or a series of climactic events. Examples include the "Odyssey" by Homer and "Lord of the Rings" by J.R.R. Tolkien. The setting of an adventure story often takes place "elsewhere" and might include maps, intriguing backgrounds and antiquities to help readers understand the tale, says Joyce Saricks in her book "The Readers' Advisory Guide to Genre Fiction."
Courageous Protagonists
Adventure-genre protagonists are traditionally male, but that trend is changing as writers choose brave, assertive females to fit the role. Current examples include Katniss Everdeen in "The Hunger Games" series by Suzanne Collins and Beatrice Prior in the "Divergent" series by Veronica Roth. Heroes in adventure stories often face life-and-death scenarios that test their willingness to sacrifice their own lives -- if need be -- for the sake of the greater good. Adventure stories contain a sense of urgency, so protagonists must accomplish their goals or missions in a short period of time, says Saricks.
Dark Moods
Adventure fiction tends to have a dark, foreboding mood with an expectant tone because readers don't usually find out if the protagonist survives until the end of the story. Some adventure genre authors incorporate humor into their stories to soften the mood, such as Mark Twain's use of light-hearted dialogue in "The Adventures of Tom Sawyer." Military adventures, such as "The Hunt for Red October" by Tom Clancy, "Flight of the Intruder" by Stephen Coonts or "Ender's Game" by Orson Scott Card, reflect an especially menacing mood because characters frequently face perilous circumstances and must constantly guard against intruders, suggests Saricks.
Evil Adversaries
Antagonists in adventure novels tend to be extremely evil, so readers desperately want the hero or heroine to defeat them. For example, antagonists in the James Bond series by Ian Fleming typically lack moral values and deserve punishment for their corrupt behavior. Villains in superhero adventure stories show little regard for human life and have self-serving interests, such as the unquenchable desire for power, fame or wealth. Even though heroes in adventure fiction have character flaws and often evolve during the course of the story, the genre contains clearly defined good and bad guys.


Read more : http://www.ehow.com/list_6820162_characteristics-adventure-fiction.htmlhttp://www.ehow.com/list_6820162_characteristics-adventure-fiction.html

FANTASY GENRE

Fantasy is, of course, an enormous genre. Definitions of fantasy vary, but the key concept that distinguishes fantasy from all other forms of fiction is the presence of at least one element that does not exist in the real world. By this broad definition, all of science fiction is a subset of fantasy, and indeed many stories usually described as horror, thriller, mystery, and even literature can be classified as fantasies of one sort or another, because they contain references to supernatural phenomena, nonexistent technologies, or impossible materials. But if you’re trying to write and sell fiction under the rubric of “fantasy,” the mere presence of a fantastic element is not enough; it needs to be integral to the story.
If you took the fantastic element away from your story, could it still take place in fundamentally the same way? Would the characters be the same people, would they do the same things, would they have the same priorities? If so, then many fantasy readers would say that the story is not really a fantasy. You need to think through the implications of the fantastic element and consider how its presence would affect every person, thing, and event in the story.
Even a well-integrated fantastic element is still not sufficient, though: the story also must have a fantasy “flavor” — by which I mean its vocabulary, diction, tone, pace, and conventions of character and plot. However, because fantasy is such a large genre, it contains many distinct subgenres, each of which has a flavor of its own. Epic fantasies, for example, are painted on a large canvas; they typically have a large number of point-of-view characters and very high stakes. The setting is often medieval or pseudo-medieval and the prose, both dialogue and description, may be somewhat archaic and flowery. Urban fantasy, on the other hand, is gritty and personal. The setting and language are typically contemporary and, even if the fate of the world is at stake, the characters’ personal issues take center stage. (These descriptions are crude and exaggerated, of course; a successful epic or urban fantasy is far more sophisticated than this sort of two-sentence sketch can convey.)
The various subgenres of fantasy do share a few characteristics. All fantasy readers, I would say, expect and desire the extraordinary in their fiction. They want not only the well-drawn characters, coherent plots, strong emotions, vivid descriptions, and insight into the human condition they could get from non-fantastic literature, they also want a “sense of wonder” — an experience of something outside the mundane world. This is often provided by highly evocative descriptions of the story’s fantastic elements, whether they are settings, characters, or ideas. But “evocative” need not mean “overblown” — a few carefully-chosen but commonplace words can provide as much of a sense of magic and mystery as a paragraph of purple prose.
One common tool in the fantasy writer’s toolbox is “imaginary gardens with real toads in them.” If, early in the story, you describe the character’s world (whether fantastic or mundane) with sufficient carefully-chosen telling details that the reader can easily and thoroughly envision it, you create a sense of trust in the reader that will then pay off when you later introduce a fantastic element. The reader must believe in the laboratory before she will believe in the monster that emerges from it.
Fantasy readers today generally expect fairly tight control of point of view (PoV), with a limited number of PoV characters and crisply demarcated PoV shifts. The more fluid PoV used in many romance stories will be derided by fantasy readers as “head-hopping.” Also, though some non-fantasy readers sneer at cliché fantasy’s apostrophe-laden names and other invented words, the fact is that fantasy readers expect the story’s voice and vocabulary to convey some of its otherworldly feeling.
Of course, genres can be mixed. Bookstores have shelf after shelf of fantastic mystery, science-fictional horror, and romantic fantasy. But very few stories are equally successful in more than one genre at a time. There’s a difference between a romance story with fantastic elements and a fantasy story with romantic elements; a story that tries to be both at once will probably not completely satisfy habitual readers of either.
So what’s the difference? The key, in my opinion, lies in the story’s climax. What matters most to the characters? What is the most important problem that they have to solve? What is the event which brings the story to a resolution? The answers to these questions determine the story’s core genre. Even if the characters realize their love for each other at the very same moment they save the world, one of these will matter much more than the other to the characters and the reader, and that fact determines whether the story is a fantasy or a romance.
It may seem that I’m being flip here, but I’m not. A successful climax is the culmination of every other element of the story. Every event, description, and character decision in the story contributes to it directly or indirectly; even a completely separate subplot helps to lead up to the main plot’s climax by reinforcing, echoing, or contrasting with the main plot. If the relative importance of the romantic and fantastic elements of the climax is unclear or muddled, or if that relative importance doesn’t match the relative importance of the romantic and fantastic elements in the rest of the story, the reader will likely be dissatisfied with the story as a whole. (If the story lacks a distinct climax at all, it is probably experimental, literary, or magical realism rather than fantasy. Is magical realism fantasy? Better critics than I are still arguing that one.)
To write and sell a fantasy, you need to be familiar with the fantasy subgenre in which you are working. Read widely and deeply in your field, so that you can be aware of the trends and tropes your editors and readers are already familiar with. You don’t want to repeat an already-too-common formula, but you also don’t want to stray too far from the reader’s expectations without meaning to. Truly unique stories, which defy conventions and expectations, can become breakout smash hits, but they often fail to sell or find an audience. If you’re going to break the mold, you need to understand exactly what you are breaking and why.http://www.fictorians.com/tag/fantasy-genre/

Jumat, 16 Januari 2015

Manga Bleach akan hiatus minggu depan karena penciptanya sakit

bleach manga hiatus berita jepangPencipta manga Tite Kubo telah mengonfirmasi pada akun Twitter-nya bahwa chapter baru dari manga Bleach tidak akan berjalan dalam edisi berikutnya dari majalah Weekly Shonen Jump terbitan Shueisha, yang mulai dijual di Jepang pada hari Senin.
bleach manga hiatus2 berita jepangPengumuman ini muncul setelah Kubo melaporkan, dalam serangkaian tweet-nya yang dimulai pada tanggal 6 Januari, bahwa ia tidak merasa sehat dan telah mengunjungi suatu rumah sakit. Ia menambahkan bahwa ia baru menggambar setengah dari naskah dari chapter barunya. Ia melaporkan pada hari Selasa bahwa ia meninggalkan rumah sakit setelah delapan hari dan menuju ke studionya.
Kubo memulai arc cerita akhir dari seri tersebut pada tahun 2012. Kubo telah menggambar manga tersebut di Weekly Shonen Jump sejak tahun 2001, dan Shueisha menerbitkan volume ke-66 nya bulan ini. Viz Media akan menerbitkan volume ke-63 nya di Amerika Utara bulan depan.

“The Last: Naruto the Movie” akan diputar di lebih dari 20 kota di Amerika Serikat pada bulan Februari ini.

aramajapan_the-last-naruto-the-movie-key-visual berita jepang
VIZ Media dan ELEVEN ARTS distributor film yang berbasis di Los Angeles dipilih untuk menghadirkan The Last: Naruto the Movie, film ketujuh yang sangat dinantikan dalam seri film Naruto Shippuden, di bioskop-bioskop terbatas yang ada di 20 kota di seluruh Amerika Serikat mulai 20 Februari 2015.
The Last: Naruto the Moviediangkat berdasarkan seri manga internasional dengan penjualan terlaris, NARUTO, yang dibuat oleh Masashi Kishimoto. Menurut gambaran dari waralabanya, film ini berlatar dua tahun setelah chapter 699 dari manga tersebut. Bulan sudah mendekat dan berbahaya untuk bumi, dan jika tidak dilakukan sesuatu, bulan akan hancur, menghujani bumi dengan meteorit raksasa. Saat detik-detik jam berdetak menjelang akhir dunia, Naruto bertugas untuk menyelamatkan bumi dari krisis ini.
Film ini akan disajikan dengan dialog bahasa Jepang asli dengan teks bahasa Inggris dan durasi 112 menit. Para penonton juga akan menerima poster film NARUTO khusus (selama persediaan masih ada).
Lihat informasi lebih lanjut dan trailer di bawah ini!
 this is the video URL trailer
Negara Kota Theater
AZ Tempe Harkins Theatres – Valley Art
CA Los Angeles Downtown Independent
CA Sacramento Tower Theater
CA San Diego Gaslamp 15
CA San Francisco New People
CO Littleton Alamo Drafthouse Cinema Littleton
DC Washington Angelika Pop-Up
HI Honolulu Ward Stadium 16
MI Bloomfield The Maple Theater
MO Kansas City Alamo Drafthouse Mainstreet
NJ Manville Manville 12 Plex
NM Albuquerque The Guild Cinema
NY New York Village East Cinema
OH Columbus Gateway Film Center
PA Pittsburgh Hollywood Theater
TX Dallas Angelika Film Center & Café – Dallas
TX Houston Alamo Drafthouse Mason Park
TX San Antonio Alamo Drafthouse Cinema Westlakes
UT Sandy Megaplex Theatres – Jordan Commons
VA Fairfax Angelika Film Center & Café – Mosaic
WA Seattle Grand Illusion                                    
 

Gambar kucing yang paling sering diliat di jepang

Orang Jepang banyak yang gemar memelihara kucing, terbukti dengan banyaknya foto-foto kucing yang di-posting media sosial . Bagi beberapa orang Jepang, dengan melihat foto-foto lucu kucing ini dapat membuat sedikit terhibur bahkan meredam amarah.
Berikut adalah beberapa foto kucing yang paling banyak di  liat Jepang.
gambar-kucing-yang-paling-diretweet-di-jepang-1 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-2 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-3 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-4 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-6 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-7 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-8 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-9 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-10 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-11 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-12 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-13 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-14 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-15 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-16 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-17 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-18 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-21 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-22 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-23 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-24 berita jepang gambar-kucing-yang-paling-diretweet-di-jepang-25 berita jepang

a day in life of police detective

A lot of people who chose law enforcement for a career do so with the goal of becoming a detective or criminal investigator, and with good reason. There's a certain satisfaction that comes from solving a complex case, much like putting together a difficult puzzle. Whether you're considering a career as an investigator or just curious about the job, you'll want know what a day in the life of a detective is like.
Time to Go to Work
It's Monday morning and your alarm pulls you from your sleep, which you didn't get a lot of last night. Because you work in the Criminal Investigations Division (CID), you get to work day shift with weekends off, which is great. This past weekend, though, you were the detective on call, and it was a busy one. You're holding three new case before the work week has even started.
You ease out of bed, shower, shave and put on a shirt and tie. You can't decide if you miss wearing a uniform; on the one hand, you'll always be a patrol officer at heart. On the other, and especially when it's 95 degrees out with 80% humidity, you're thankful you're not working traffic or walking a beat in a dark wool outfit like your police oficer buddies in patrol have to.
You grab a travel mug of coffee, strap on your side arm and head to the office in your unmarked car. At first, you were excited about getting an unmarked car, until you realized that instead of the sleek new Dodge Charger you were expecting you were issued a 5-year-old low-end import to avoid conspicuity. CID, you were told, tries to avoid standard patrol car models so that they're not as easily pegged as cop cars.
Just Another Day at the Office
When you get to the office and check your voicemail, you have 5 new messages, all from the family of the victim from the murder scene you worked Saturday night. They're understandably hurt, shocked and desperate for answers, and they're calling with what they believe are more leads and evidence for you to look into.
You return the calls and take down the information, which turns out to be promising. You assure them you're going to do everything you can to get answers, and you give them your mobile number so they can get in touch with you more easily. It's a small gesture and an even smaller comfort, but it brings a little more relief to the family and lets them know you really do care about their plight.
After you get off the phone, you look through your case files and plan your day. You've got 5 witnesses you need to interview, as well as the primary suspect from Saturday's murder scene. He "lawyered up" and has declined to answer questions to date, but his attorney reached out to you and said he's ready to talk. You set up the interview for late afternoon to give you time to talk to the witnesses and get as much extra information as you can to help you look for holes in the suspect's story.
The Waiting Game
You spend the rest of the day making notes in your file, reviewing photos and contacting the crime sense unit to follow up on an older case. You're hoping for some breakthroughs from either the DNA analysts or the fingerprint examinater or, better yet, both. You don't hold out a lot of hope because you know that - despite how TV shows portray CSI cases - it usually takes months, not hours, to get any kind of actionable evidence analysis back from the lab.
Interviews, Interviews and More Interviews
With no new progress from the evidence techs, you leave the office, grab a quick lunch, and make your way to meet your witnesses. You take recorded interviews with each of them. Most of the information you get confirms what you already knew from the evidence, but a couple of new pieces of the puzzle are falling into place. Progress.
A couple of the statements contradict each other, which is a frustrating but common occurrence when dealing with different people who have different perspectives; witnesses' minds often try to make sense of what they saw after the fact. The challenge is to separate the facts from the speculation.  A challenge to be sure, but nothing you haven't dealt with a hundred times before.
After your last witness interview, you pull into a vacant parking lot to make some notes and go over your facts before you meet with your suspect. You develop a line of questions and devise a game plan and then make your way to the suspect's attorney's office for the interview.
Your suspect's answers are short and somewhat evasive, and it's clear he's been coached. He offers an alibi, but you've got some witnesses who contradict that. You're not ready to play that card just yet, though. You can tell he's lying, but you want to get more proof to back it up before you call him on it. When the interview is over, you play nice with the suspect and the lawyer and assure him you're exhausting all leads.
Playing by the Rules
With the new information you gathered, you've got some good leads and ideas of where to look for some key evidence. You head back to the office and draw up a search warrant so you can collect the evidence you expect to find. You send a draft to the district attorney's office for review. Since it's not time sensitive, you know you won't get a thumbs up or thumbs down until at least tomorrow.
It Doesn't End at the End of the Day
It's been a long day, coming off of a long weekend. As quitting time rolls around, you head out to your car and make the short drive home. When you get home, you pine for a shower and a cold beer to wash away the day. The shower, you can do. The beer is out because you're still on call.
After a few hours of reading and watching TV, you're ready to turn in for the night. You rest your head on your pillow and hope for sleep to come. Sometimes, when you close your eyes at night, you see the faces of the victims whose deaths you've investigated. Sleep doesn't always come easily, but fortunately it does tonight.
Right Back at It
You're not sure how long you've been asleep when the ringing telephone wrenches you awake. A glance at the clock tells you it's 2:30 AM. The fog of sleep slowly lifts as you answer. It's dispatch. "Good morning Detective," the dispatcher says. "We've got a signal 7 for you. Are you ready to copy?" You grab the pad and pen you keep by the bed and start to take notes. It's going to be another long day.

Kamis, 15 Januari 2015

police and detective

What Police and Detectives Do

Police officers protect lives and property. Detectives and criminal investigators, who are sometimes called agents or special agents, gather facts and collect evidence of possible crimes.

Work Environment

Police and detective work can be physically demanding, stressful, and dangerous. Police officers have one of the highest rates of injuries and illnesses of all occupations. Working around the clock in shifts is common.

How to Become a Police Officer or Detective

Education requirements range from a high school diploma to a college, or higher, degree. Most police and detectives must graduate from their agency’s training academy before completing a period of on-the-job training. Candidates must be U.S. citizens, usually at least 21 years old, and able to meet rigorous physical and personal qualifications.

Pay

The median annual wage for police and detectives was $56,980 in May 2012.

Job Outlook

Employment of police and detectives is projected to grow 5 percent from 2012 to 2022, slower than the average for all occupations. Continued interest for public safety will lead to new openings for officers; however, jobs may be competitive, depending on location.

Similar Occupations

Compare the job duties, education, job growth, and pay of police and detectives with similar occupations.

More Information, Including Links to O*NET

Learn more about police and detectives by visiting additional resources, including O*NET, a source on key characteristics of workers and occupations.