It’s Your (Virtual) World. Feel Free to Roam or Slay.

http://www.nytimes.com/2011/11/26/arts/video-games/the-elder-scrolls-v-skyrim-video-game-review.html?ref=arts

      Schiesel is quite positive in his review of Skyrim. His article makes the game sound exciting, and he appeals to gamers with images they can easily slip into.

      Schiesel's diction carries his images. He uses specific verbs and a lot of variety; the player can "infiltrate," "[delve]," "[slay]." These words carry motion because of their unusualness. Towns aren't crowded, but "teeming." The game becomes much more attractive with his specific word choice.

      Tied to the diction is Schiesel's imagery. He describes "steep peaks and river gorges, hidden shrines and bandit keeps," bringing the reader into Skryim. His images of readers being "absorb[ed]... for months or even years" is relatable; he knows his audience. His beginning and ending image, one of being "lost," does the same kind of thing. It's a testimony to the pull of the game.

      The details, similarly, try to convince the reader of the magnitude of the game. Schiesel lists a mass of things found in the game: "giants and ogres and goblins and demons and spirits...." His lists give the reader of what the game's about, as well as the scale. He later gives examples of characters a player could make, again appealing, through variety, to the reader. Schiesel tries to show the reader what they could expect from Skyrim.

Fifth Class Response

      Since the last post, we've been reading Ceremony and discussing it as a class. I loved the book. It's woven with such detail! Close reading has only given me more respect- everything seems connected and meaningful to the point of being overwhelming. Ceremony's a work of art. I'm really glad that we're discussing it so much in class! I hadn't even thought about the relevancy of color, and certainly hadn't thought much about its cultural background.

2004 prompt

2004, Form B. The most important themes in literature are sometimes developed in scenes in which a death or deaths take place. Choose a novel or play and write a well-organized essay in which you show how a specific death scene helps to illuminate the meaning of the work as a whole. Avoid mere plot summary.

      Rocky's death in Ceremony further distances Tayo from his tribe. He was supposed to be the one who brought Rocky back, something he had trouble forgiving himself for. The experience haunts him, and reflects the uncertainty and pain in Tayo's search for belonging.

      Rocky was the child who had grown up to join white culture. He was going to go to college, be a football champion, escape the reservation. He was Auntie's pride, someone who could fit in that promising foreign world. Following that lure was his downfall; he died in a war that he chose to join. He died in a war that was not his own. That betrayal follows Tayo, and, with that so close to his heart, he can see how white people have abandoned the white veterans. He dares the others to see past the illusion; at the bar, he breaks Emo's ceremony, isolating himself.

      The death is also a failing of Tayo's. He was supposed to bring Rocky home alive, or died with him. Instead, he comes home alive, uncertain of whether he still fit in the society. His memories are confused and woven together. The uncertainty of Rocky's death plays a part in that, as well; Tayo blocks Rocky's dying scream out with his own, and in not knowing the noise, anything can bring him back to the memory. It tangles the web of his mind even further.

      Rocky's death leads to the heart of the novel. It reflects the tension that Tayo is going through, and displaces him even more.

      

Fourth Class Response

      Since my last post, we've read and analyzed Death of a Salesman, written and discussed an essay on the "Barred Owl" and "The History Teacher", and had a project on literary eras.
      I read Death of a Salesman last year in Ishall. I don't know whether it was because I had read it before or if it was the different medium, but I found the movie much more emotionally involving. I was surprised that, in the class discussion, others didn't focus on Biff's and Willy's relationship as I did, yet veered into a very separate thematic reading. Death of a Salesman made me more comfortable with annotating.
      The most recent class essay went the most smoothly for me. I tried to worry less about structure and DIDLS and more about analyzing the poems and supporting my claims. Though it accomplished just about the same thing, the second mind set is familiar ground, a comfort with the time limit. Still, I missed the deeper level in the "Barred Owl;" I looked over the shift in connotations and even the contrast of inside and outside, something I feel I'd usually see right away. The poem seemed simple, and, with the time limit prominently in mind, I went with it.

      I hadn't learned much of the literary eras previously, so the presentations were interesting. My group researched Romanticism, which I had previously thought to be rather traditional.; the information I found was surprising and new.

Sherlock: A Study In Pink review

http://www.denofgeek.com/television/547082/sherlock_a_study_in_pink_review.html
     Brew is very positive about BBC's new take on Sherlock Holmes. He balances all his enthusiasm with a sophisticated tone, remaining reliable. He sees the show in an artistic light, and gives the actors, Moffat, and McGuigan much credit in an informative review.
      Brew starts the essay in establishing the difficulty: making the current audience "take notice" is a "very hard job." The next sentence is isolated, a lone paragraph accenting the final destination of the paper: Sherlock has "an awful lot" to offer. He establishes that it's "different," worthy of new attention, yet is quick to assure that it's also "faithful"- the perfect combination. Tone helps to establish Brew's credibility; he keeps just enough of a formal air to stay credible. He describes Moffat's script as being done "terrifically well," and McGuigan as a "brilliant, brilliant" choice. Cumberbatch being a "superb" choice and the film "rollicking" keeps, again, an interesting amount of distance while still being engaged.

      The review, in its positiveness, appears unbalanced. Brew seems hesitant to give criticism; every negative factor is quickly followed with a redeeming quality. The story is "not the most demonstrative," but "[that]," according to Brew, "[is] not a bad thing." The story, he later admits, didn't have "quite the sense of threat" the beginning promised, yet, again, "it helps is, if anything." 

      Still, he supports his claims, his details backing his legitimacy. He lists other movies that McGuigan and Martin Freeman worked on, and gives quotes from the show when his review calls for them. Noting McGuigan's frequent use of the rule of thirds adds to his artistic authority. It's a good observation. 

      He seems to have great confidence in the creators of the show. McGuigan "wisely" understands what the audience will want. Brew presents the show as an art form: it's specifically "Benedict Cumberbatch's Sherlock" that he's analyzing, a "portrayal" that "anchors" the show. 

      Brew's writing often reflects what he's trying to describe, creating more of an atmosphere for those readers who have not yet seen Sherlock. Sherlock being a "texting-mad, nicotine patch-wearing creation" captures his energy. The first episdoe is a "maiden story," a phrase which, though fitting, is unusual- again, a reflection of the show. Moffat's script "subtley crams," a juxtaposition which sounds like what it means. Throughout the review, Brew creates an energetic yet learned look on the new version of Sherlock Holmes.

1986 prompt

1986. Some works of literature use the element of time in a distinct way. The chronological sequence of events may be altered, or time may be suspended or accelerated. Choose a novel, an epic, or a play of recognized literary merit and show how the author's manipulation of time contributes to the effectiveness of the work as a whole. Do not merely summarize the plot.

      Memories are a kind of time travel. Miller's Death of a Salesman uses this to form a layered narrative of Willy's life. The play, in following Willy to the past and present, lets the audience sympathize with him. Because it's not realistic chronologically, Death of a Salesman leans toward emotion.

      Willy's conversations with Ben don't happen in the "present time" of the play, yet they contribute great meaning. He's haunted by the success that Ben achieved, and sees him as a role model. He frequently quotes how Ben "walked into the jungle" and walked out a rich man. It becomes a kind of fable for him, a legend; the world isn't working that way for him, but it worked for Ben, so he should keep hope! He returns to that memory when he's confused or overwhelmed, asking for advice. This pattern reveals his insecurities to the audience, and shows one of his motivations. Later, when he's talking over the possibility of suicide with an imaginary Ben, Ben already symbolizes someone who Willy trusts. This image helps portray the gravity of the scene. Ben, in being used as a memory, often in the same moment of time, helps to make Willy understandable.

      Willy's flashbacks carry the audience along closer to Willy's pace, suspending their understanding of the situation and its causes. Biff's epiphany is later in the play, after the conflict between him and Willy has been established. Knowing that it is not yet resolved makes the fall even more tragic. Without traveling with his memories, Willy alienated from the audience. His increasing tension is brought from the weight of the conflict in his memories as well as the memories' interactions with the present. He's disturbed whenever he sees Linda with stockings, and the connection between those stockings and the Woman's is understood through the twisting of time. By manipulating time, Miller helps the audience understand Willy and why he committed suicide. 

1970 prompt

1970. Choose a character from a novel or play of recognized literary merit and write an essay in which you (a) briefly describe the standards of the fictional society in which the character exists and (b) show how the character is affected by and responds to those standards. In your essay do not merely summarize the plot.

     
      Death of a Salesman shows the suffocation of a family by a dream. That dream is what created the standards that Happy grows up surrounded by. He strives for them, determined to create his self-identity the way his father showed as the only real way. He was determined to walk out of the jungle rich.
      In the boys' highschool years, Willy clearly favored Biff. Biff embodied the kind of potential that Willy wanted to see: he was popular. Though Happy was liked, he, compared with Biff, was ordinary. Many times, he tries to get Willy's attention by exercising and mentioning that he's lost weight, but Willy doesn't take notice. He constantly pushed for his own father's attention, and had an example- Biff- to work towards. That competitive spirit is instilled in him, and later it's apparent that the principles his father held in high regard became his own.
      In trying to earn his father's praise, he lunges into business. He received a certain kind of dream from his father- one of reaching the top. Greatness, and making his father proud, have become his center.

‘Quixote,’ Colbert and the Reality of Fiction

http://opinionator.blogs.nytimes.com/2011/09/25/quixote-colbert-and-the-reality-of-fiction/?pagemode=print
      Egginton writes his article to an interested, yet not expert, audience. He tries to make his piece relatable with a balance between an informal and intelligent tone.
     Egginton welcomes the readers by calling for participation in his outrage. "Does their fictional art not offer insights into human nature as illuminating as many of those the physical sciences have produced?" His rhetorical questions are meant to cause a pause and consideration. They call for the readers to choose a side and enter his argument aware. His diction also pulls the reader to his side. The opposing intellectual "breezily dismissed" fiction, and the act, now light, can be dismissed by the readers. 
      Throughout, the tone of the piece is specific to an audience. While Egginton's voice is simple, it's not so simple as to not sound informed. Common words such as "packed," "naive," and "savvy" help readers to relax into his piece. Still, he includes language like "the very epistemological signature of modernity," an intelligent phrase. His readers aren't very focused on literature; he takes a large amount of time describing Don Quixote. He knows they're interested, however, and follows the etymology of "reality." To avoid confusing literary terms and to relate to the audience, Egginton uses examples from current culture, such as his Stephen Colbert quotes. The piece takes an developed intellectual response and makes it understandable.

third class response

      Since my last Response to Course Material, we've been close reading The American Dream. Though the process of close reading is definitely not new to me, I haven't had time to read a work more than once before analyzing. I'm used to taking the first read more slowly, like it's the second, and revisiting the places that are relevant to my argument after finishing. In close reading The American Dream, I'm aware of many more connections than I would have been. Breezing through, I hadn't really considered gender roles, but now it's difficult to read any passage without seeing that struggle; it seems central to the piece. With the slow pace, I find myself writing an odd combination of analysis and observations in the margins; the two are much less separated than I'm used to. With that map of how my arguments formed, I'm hoping evidence will be easier to find.

1972 prompt

1972. In retrospect, the reader often discovers that the first chapter of a novel or the opening scene of a drama introduces some of the major themes of the work. Write an essay about the opening scene of a drama or the first chapter of a novel in which you explain how it functions in this way.

      Rereading literature allows one to see much more in a work. In The American Dream, for example, the beginning echoes the themes of the rest of the play, both foreshadowing and connecting the play back to itself.

      Childishness is quickly introduced. The first two characters the audience meets call each other "mommy" and "daddy," something usually reserved for when among children. Mommy talks to Daddy like he is a small child, often stopping to ask for proof that he had been listening. The two treat each other condescendingly, she with her style of speech, and he with his agreement that she "did get satisfaction" after stating that it was impossible. Mommy's immature behavior in the store also makes them seem less like responsible adults; she was upset over something as trivial as beige and wheat.

      The beige and wheat are an example of the miscommunication so central to absurdist plays. The difference between them is shown as one of opinion. The characters, throughout the beginning of the play, don't respond to or present ideas clearly. While Daddy can repeat what Mommy last said, he's not focused on the meaning; he rarely adds his own responses to the conversation, and is disinterested.

      Satisfaction is often referred to in the play, as well. Mommy proclaims that shopping gives her satisfaction, while Daddy says "you just can't get satisfaction." The opening of The American Dream prepares the rest of the play through introducing themes.

Shockingly Orange, Invitingly Meandering, Immensely Imposing

http://www.nytimes.com/2011/10/06/arts/design/richard-serras-sculpture-at-gagosian-gallery-review.html?ref=design
      Rosenberg describes the two pieces as formidable and moving, praising the artists as "perhaps the only artist who is capable" of making such dynamic usage of the gallery space. To capture the readers and make the article relevant to those who haven't experienced the pieces, he brings the feelings they inspire forward and draw the readers to its mystery.
     Even the title reflects his image of the pieces. The commas support the "meandering," the action in the fragment make it seem more modern, and the repetition of sounds- in the "ly"s and "Immensely Imposing"- call to mind the ties he describes between the two works. He brings the reader through the "intimate and even claustrophobic" feel with his phrasings. The pieces are "giant, snaking swaths of steel." The comma and alliteration accent the winding quality he's reaching for. they are "graceful spirals" and "blind curves." The pieces, Rosenberg suggests, are a break from the norm, even calling to mind a dark forest, the "buzz of fluorescent light fixtures" being "miles away." He describes the experience of walking through and meeting other travelers "appear[ing] and reappear[ing]," trying to describe how individual the journey is. The viewer "emerge[ing]... discombobulated" focuses on the break between being in the pieces and the rest of the museum, assuring of its effectiveness.
     Rosenberg shows the pieces as being intriguing. The viewer is "forced to make a choice" in which way to go. The viewer is "propelled" through the second piece, a strong, interesting action. They are "velvety sweeps of metal," a contradiction, again, drawing the reader in.Through phrases like this, Rosenberg is making the installation appealing. the reader can imagine both its physical qualities and the emotional experience through the dynamic writing.

second class response

      The in-class essay practice has helped me understand where everything should go and how they should connect in the AP English format. I questioned the topic sentences before, but now have a better grasp on their purpose; they are both stepping stones to the thesis and sub-arguments leading to the thesis stated at the beginning. The essay does nothing more than provide evidence and logic to support the thesis; it does not further its claims.
      Reading about syntax was interesting, but it seemed like the majority of examples focused on "form follows function," making me wonder if the packet was trying to make a point, or if the technique really is that common.
      It was nice having comedic terms laid out, but most of it, as well as the purpose of comedy, were review. After reading Beckett's Endgame last year, The American Dream seemed, though complex, accessible. Still, it was difficult to write about after one reading and a limited discussion. Not being able to draw out quotes did not help me, either.
      The small lesson on plagiarism was surprising and intimidating. Common knowledge not depending on the context and audience struck me as odd. I hadn't thought of being so careful in homages, either. Still, the buffer that academic students have was comforting to hear of.

1997 Prompt

1997. Such scenes may reveal the values of the characters and the society in which they live. Discuss the contribution the scene makes to the meaning of the work as a whole.

      Weddings are usually joyous occasions, symbolizing a new beginning. In The Jungle, Sinclair uses that cliché to introduce the contrast between the “American dream” and the reality of the novel. The scene, which should traditionally be filled with hope, sets the family off on their trail of hardships.

      The wedding scene emphasizes the Rudkus' original innocence. The family invites everyone who walks past to join them, despite the cost of the bar and feast they'll have to pay for; they trust the people to give donations. They are more welcoming than they can afford; after eating and drinking, many of the guests sneak out of the building, leaving the poor family with a staggering bill. The behavior is shocking to the Rudkus family. It's a betrayal. The family, still, carries on with innocence and optimism, Jurgis confronting the situation by saying he “will work harder.” it's clear that they still believe in the America that had been advertised to them, a place for hope. The wedding sets up a place for the characters to fall from. It's the reference point to compare the darkness in the rest of the book with.

      The family's traditional values go through a similar fall. In this environment, their generosity harms them. It's traditional to invite people nearby inside, but it's not as practical in Chicago as it was in Lithuania; the sidewalks are much more crowded. Their kindness, unrequited, is out of place. They're faced with people out for themselves, a foreshadowing to their own eventual loss of values.

      The family, battered by harsh surroundings, is later broken. The structure of the novel is an ironic twist, beginning with a wedding and ending apart, again emphasizing the family's fallen hopes.

thoughts on information so far

      I'm not used to the style of analysis in this class. It's a little disconcerting for me to use acronyms with analysis. Becoming comfortable with it, though, will no doubt be useful during the AP exam. The structure we're supposed to use for essays, built with sub arguments and starting with a full thesis, will help as well. Still, paired with the textbook's mention of a five paragraph essay form, I'm wary. Should we develop a thesis through those sub arguments, or, as the thesis is supposed to “answer the prompt,” according to “TAP,” are the sub arguments there purely as stepping stones to our point?

      Most of the textbook felt like review, both from past years of literature and from this class. Still, it was a new way of seeing the information. I have little knowledge when it comes to specific poetic terms, such as elegy and petrarchan, and am confused about how we'll need to apply the information.

      “DIDLS” are the textual evidence used to support an argument. The AP prompts often call for “techniques,” which are those five. The letters' specific meanings took me two or three days to understand. At first, I didn't realize that diction was one word at a time, and that it and language really were separate. Details, however, are still unclear to me. They seem closely linked with diction, imagery, and language, and I'm afraid I'll have difficulty distinguishing between them.

      There have been many clear definitions in this class so far. Acronyms have provided a universal strategy in both gathering evidence and how to approach the prompt, which will be a welcome safety when facing the stress of such short essay times. Still, I'm not always comfortable with those divisions. The way prose, poetry, and doggerel were separated, for instance, was interesting and will help in most cases, but it seemed flawed; some short stories could be written about for longer than the length of the text itself. Would they, then, be considered poetry?

Second 1970 Prompt

      "Choose a work of recognized literary merit in which a specific inanimate object (e.g., a seashell, a handkerchief, a painting) is important, and write an essay in which you show how two or three of the purposes the object serves are related to one another."
      Possessions often begin describing a person's character. Laura's glass menagerie, from the drama of the same title, helps define her; her fragility and the figures' delicate forms are easily comparable. The glass menagerie's purpose, however, runs deeper; it serves as her escape into the ideal.
      Laura's unusual anxiety hinders her ability to function in the world. She was embarrassed of her typing on the first day of classes, and instead of returning the next day to improve her skill or talking to her mother about it, she avoids conflict and spends the days wandering about the park and zoo. Her behavior exhibits her detached nature. Jim, later, comments on her personality. "It's unusual to see a shy girl nowadays." Laura's favorite figure in her glass collection is a unicorn. The unicorn is a metaphor for who she wishes to be- someone loved both despite and for her uniqueness. She frantically tries to keep distance between herself and her desires, terrified that she'll find they are impossible. When she realizes Jim is her old crush, she refuses to sit at the table, not wanting him to see her and either not recognize her or be disappointed by her. When she and Jim talk about high school, Jim is surprised by how self conscious about her leg brace she was. He kisses her, wanting her to have more self confidence. In a way, her ideal has been realized- Jim has shown her affection due to her standing out.
      The dream is soon cracked. The unicorn falls off the table when she's caught up in dancing with Jim. Jim, in bumping the table, breaks the unicorn's horn off- the unicorn becomes, as Laura puts it, "just like the other horses." Laura parts with the unicorn, giving it to Jim as a "souvenir." After her return to an unwelcoming reality- Jim having a fiance- she needs something to keep a connection with that moment, something to make it more real. Finally, she had felt like other girls- the distance had been crossed.
      The glass menagerie's function changed throughout the play. It begins by focusing her longing, accenting it by how often she played with and dusted it. Later, it illustrates the lack of sustainability her ideal holds. The glass menagerie adds depth to Laura's character.

"Extra Punctuation: Death in Videogames"

http://www.escapistmagazine.com/articles/view/columns/extra-punctuation/8753-Extra-Punctuation-Death-in-Videogames

         Yahtzee's article, while discussing a game design choice, remains humorous. The image of Cooking Mama's look “[implying] impending murder” introduces his sense of humor. As he begins setting up his argument by giving examples, his voice and imagery betray his preference. In Prince of Persia the character is “rescued by [his] nanny an instant before death,” an undignified comparison. Still, he describes the more widely accepted death as “bull-headed,” giving it a sense of stubborn repetition, and through that, a lack of originality. He uses images both to forward his argument and to exaggerate to the point of satire. Describing an average death in Call of Duty, the initial damage is “strawberry jam smeared on his spectacles.” While unexpected imagery in association with death, it does serve the insubstantially that the oncoming loading screen will bring. He goes on to dramatize the player's last sight: the vision of his goal, “its sheer distance taunting him with his failure.” Again, he's playing with the drama that lies before the simple redo. These images are contrasted with the easy way out: “Private Protagonist's belt-mounted patented Death-Away device kicks in and he's jolted back onto his feet by a burst of pixie dust.” These divides are one way Yahtzee keeps his article light and funny.

          The diction in this article aids the imagery, as well as the weight and voice. The “Death-Away device” certainly has a nice ring to it, and the phrase “pixie dust ration” is worthy of a giggle. Even when not in an image, the diction sets the tone. From the first paragraph, his word choice is light and informal; his mind is “sparked,” and he deems the debate “old” despite his current examples. Later, his confident choice of words makes him seem more trustworthy: “It can't possibly be a gameplay issue” as they are “functionally identical.” Finally, the diction shows he knows his audience. When he starts to describe a Nicholas Cage movie, seemingly out of the blue, he reassures the reader that he knows they're confused, but they should trust him anyway: “Just roll with it.”

           This consciousness of his readership displays itself in his choice of details, as well. He begins the article by establishing the audience as people who enjoy video games with the mention of Kirby's Epic Yarn. When he describes his idea, he knows he can say that “[it'd] be controlled Hitman: Blood Money style” and be understood. He knows the call to Nintendo at the end will not go unappreciated. His details, like the other two techniques, aid in humor. When telling of the road one of the universes in the game must have taken, he chooses a cliché: the bad guys have a doomsday device. All three techniques are used to make the article interesting and funny.