On what would have been the Pulitzer Prize-winning writer's 76th birthday, here are some movies he absolutely loathed including a couple of surprises and his dry assessments of their value.
I came to the conclusion, admittedly a bit of a cop out, that judging art is an individual, subjective process.
Certainly critics, laymen, and others can reach a general consensus about what does or does not qualify as quality, but in the end, each person has to judge for themselves.
That said, Roger Ebert is dead wrong. It takes a certain amount of bravado, even for a celebrated film critic, to declare that an entire medium can never reach the pinnacle of artistic merit. But I think that lets Ebert off too easily.
At base, anything that tells a story can not only be art; it can be high art, and Ebert ought to know that. Anything that uses carefully crafted visuals to evoke a particular sense or emotion can be high art.
Anything that envelops the audience in a character, in a world, and transposes their experiences into a grand fictional adventure can be high art.
In the same way that a great novel crafts a compelling narrative, in the Ebert and hamlet way that great visual art compels with color and composition, in the same way that a celebrated film brings the viewer into another world, a great video game can reach those same artistic heights.
In fact, video games are uniquely positioned to do all three. Which brings us to Braid, the game from Jonathan Blow. The "box art" for the game.
In fact, the game has been invoked so repeatedly that Ebert himself even touched on it in an essay defending his position on video games. Ebert, of course, took a less-than-favorable view of the title, despite not engaging with it beyond watching a few minutes of gameplay.
The devil, of course, is in the details. He also created a haunting, off-kilter world that provokes a palpable sense of unease with each new puzzle.
The big question is — did he succeed? Braid is a perfect example. It has direct references to prior games like Super Mario Bros. It may not look like much, but it was amazing.
I spent many hours as a kid with my dad playing Super Mario Bros. Mario still finds himself empty-handed. The obstacles have been evaded, the enemies defeated, and the dragon slain. That character was messing up the way the victory was supposed to sound and look and feel.
Something was not right, not out in the open, about the quest the player had been tasked with, and it was unsettling in a way that could not be conveyed through exposition alone. The old bait and switch. The Great Divide Between Plot and Gameplay In the same vein, the gameplay of Braid is both plain in how familiar it feels, and strikingly novel in its twist.
The game plays like any Mario-inspired 2D platformer.
You stomp on enemies, work your way through puzzles, travel through various worlds and reach a castle at the end of each level. It all seems pretty standard at first blush. The twist comes in the form of your ability to manipulate time.
Braid is not the first video game to use this concept in gaming, but few integrate it so flawlessly. To the point, there are six main worlds within the game and each uses the time feature differently. Each level starts with a bit of text, not only providing some backstory on Tim and his quest, but more importantly drawing out the theme for each level.
One of the biggest criticisms within gaming is that too many video games have a stark divide between their story and the gameplay. A solid half of the presentation in many games—to wit, the half the player is directly interacting with—frequently has little to no bearing on the story being told.
On the one hand, it seems like this sort of split, all too typical in games today, should help convince Ebert that video games can at least be a type of art. Then, once the game has revealed the latest chapter, it can send the player on their way to some nominally-related mini quest before they get the next one.
Based on such examples, Ebert ought to admit that video games in their popular iterations can be art, or at least some sort of hybrid between artistic expression and gaming. Of course this divide is often a negative when it comes to games rather than a positive.Roger Ebert gave the film three and a half stars out of a possible four and called it "a superbly drawn animated feature" and wrote in his print review, "The saga of Simba, which in its deeply buried origins owes something to Greek tragedy and certainly to Hamlet, is .
These ten best lists for movie critics Gene Siskel and Roger Ebert have been collected from various postings in the Usenet newsgroup tranceformingnlp.com Good god, Kenneth Branagh plays Kenneth Branagh in everything he does.
It's commendable that he chooses to play Hamlet as an ACTIVE character, rather than a PASSIVE one, but his interpretation is. Ebert and Hamlet, in their respective texts, provide quite different perspectives on the meaning and value of life.
Working with your partner, envision a scenario in which Hamlet somehow would have the opportunity to interview. Ebert and Hamlet, in their respective texts, provide quite different perspectives on the meaning and value of life.
Working with your partner, envision a scenario in which Hamlet somehow would have the opportunity to interview Ebert and vice versa. Irish artist Harry Clarke took directly from Beardsley in work like his richly-detailed edition of Goethe's tranceformingnlp.com in , British artist John Austen modernized Hamlet by drawing on Clarke’s earlier work, as well as, quite clearly, on Beardsley.
As artist John Coulthart remarks, “If you’re going to borrow a style then you may as well take from the best.”.