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Navigation was handled by the internal button system and HyperTalk scripts, with image and QuickTime movie display passed off to various plugins; essentially, Myst functions as a series of separate multimedia slides linked together by commands.
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Even that movie displayed telltale signs of Hitchcock's touch.
Critic Russell Maloney wrote that the movie displayed "no trace of imagination, good taste, or ingenuity".
In truth, his movie displays two sides of Poland: the appalling peasants, but also the resistance courier Jan Karski, a hero of the war.
But in digging into the reality of a scenario that suggests a French-Moroccan "Pretty Woman," the movie displays a remarkable empathy and even-handedness.
In a peculiarly negative and inverted way, the movie displays Allen's own lifeboat in a sea of trouble and shows what happens when someone doesn't have one of her own.
The movie displays a strikingly cynical view of human nature and behavior consistent with Giardina's point that "by 1969 … the foundations of Heston's orderly, moderate society were beginning to teeter," reflecting his "growing wariness".
The movie displays thoroughgoing skepticism toward authority, toward officialdom, toward those in power at all levels, from the local L.A.P.D. captain (Paul Gleason) to the F.B.I., whose takeover of the mission is greeted as sneeringly by McClane ("The feds?") as it would have been by Ronald Reagan himself.
Following presentation of the practice movie, participants viewed the movie displaying the summary of the cued frames.
Critic Hugh Hart of San Francisco Chronicle thought that the movie displayed a natural sympathy towards its protagonist.
Each pre- or post-test movie displayed the same 100 frames, but the duration of the movie was varied to prevent participants from giving the same response.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com