A Quote by Jeff Grubb

Part of the story of 'Ghosts of Ascalon' is how they got to that tentative truce where you can find humans and charr working together. — © Jeff Grubb
Part of the story of 'Ghosts of Ascalon' is how they got to that tentative truce where you can find humans and charr working together.
Part of the story of Ghosts of Ascalon is how they got to that tentative truce where you can find humans and charr working together.
Tyria's a big world. We get a grand tour in 'Ghosts of Ascalon.' We're in Divinity's Reach, we're in Lion's Arch, we're in Ebonhawke, we're in the Dragon's Land, we're in Ascalon. We're basically hitting a lot of the major human and charr locations.
In the original 'Guild Wars,' one of the big conflicts was the humans versus the charr. The humans and charr are both playable races in 'Guild Wars 2,' and they are on the same side, more or less. They don't hate each other.
It is so important to share experiences with one another. Humans are so often in their own heads and not looking to others. But we have to realize that we are always invited to be a part of someone else's story - we are together in this.
There are a million ideas in a world of stories. Humans are storytelling animals. Everything's a story, everyone's got stories, we're perceiving stories, we're interested in stories. So to me, the big nut to crack is to how to tell a story, what's the right way to tell a particular story.
Working together always works together better... it also appeals to a primal, animal thing, which is that humans are social creatures.
One of my favorite stories is, I got fired off 'Bionic Woman' in part because I was told that I don't know how to write women, and they promptly replaced me with a guy. What I find lovely about the story is how unaware the white dude who said that to me was when he said it.
It's kind of appropriate to me that Batman is still a part of the 'Justice League Dark' story. I think it would be strange if any of the other 'Justice League' characters were involved in putting together this kind of motley crew of dead people and mediums and ghosts and demons and phantoms.
I've found it wise to enjoy any time of truce, while recognizing it for what it is. A truce.
(What are your ghosts like?) (They are on the insides of the lids of my eyes.) (This is also where my ghosts reside.) (You have ghosts?) (Of course I have ghosts.) (But you are a child.) (I am not a child.) (But you have not known love.) (These are my ghosts, the spaces amid love.)
Each of us needs an adequate biography: How do I put together into a coherent image the pieces of my life? How do I find the basic plot of my story?
My first job was actually as a social worker. And then later, I got my PhD in anthropology. And I've always been interested in humans as well as primates. We are all kind of have the same emotions, the same goals and lives really. But to me, when I first got to Madagascar I realized that the lemurs lives are very closely related to what the humans are doing; partially because they've got both looking for natural resources. And if we can make some way that both humans and lemurs can live together peaceably and happily, that would be my goal for Madagascar.
Maybe instead of strings it's stories things are made of, an infinite number of tiny vibrating stories; once upon a time they all were part of one big giant superstory, except it got broken up into a jillion different pieces, that's why no story on its own makes any sense, and so what you have to do in a life is try and weave it back together, my story into your story, our stories into all the other people's we know, until you've got something that to God or whoever might look like a letter, or even a whole word.
Most cats do not approach humans recklessly. The possibility of concealed weapons, clods or sticks, tend to make them reserved. Homeless cats in particular-with some justification, unfortunately-consider humans their natural enemies. Much ceremony must be observed, and a number of diplomatic feelers put out, before establishing a state of truce.
You find a story - or more importantly, you find some characters - that you want to be around as a filmmaker. The style and how we're going to shoot it and how we're going to design it and how it's all going to feel and look depends on that story. They tell me how I should shoot it.
We've got to be moving together, working together, leading the country together, and ensuring that we achieve the objectives that our alliance has set out for itself.
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