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.

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.

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.

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.

"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.