Category Archives: Art Reviews and Articles

[Film: The Crying Game, Neil Jordan, 1992]
Identity, National and Gendered:

How Neil Jordan’s The Crying Game Talks About Tradition and Modernity, as Compared to the Fiction of Patrick McCabe

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Introduction:

Neil Jordan Sketch by M.R.P. - The Crying Game - gender identity, nationalism

Caricature Sketch by M.R.P.

Well, I know that I said in this week’s Tuesday Tome article that I would wait for a later week to consider the thematic overlap between Patrick McCabe’s novel Breakfast on Pluto and Neil Jordan’s movie The Crying Game, but when I noticed that Terry Cavanagh, the developer behind this week’s Mid-week Mission, was also Irish, I just decided to keep the Irish motif going. (This will probably be a short-lived pattern; if only I had saved some of my primary comments about C.S. Lewis for this week’s Friday Phil!)

As I also alleged in the McCabe article, the conflicted relationship in contemporary Irish art between ‘the traditional’ and ‘the modern’ is emblematic of an Ireland struggling to maintain a sense of its heritage while embracing an intellectual skepticism toward that heritage’s violence and anti-modern sensibilities. In particular, just like Breakfast on Pluto, The Crying Game expresses that relationship with the complexities of gender identity standing in for the modern and forms of Irish nationalism standing in for the traditional.

The nature of this article is such that it requires spoiling basic plot details of The Crying Game, so you should only continue reading after this paragraph if you either do not mind spoilers or have already seen the film. I also recommend, although it is not strictly necessary for understanding my case, reading my article on Breakfast on Pluto before diving into this one.

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[Film: The Crying Game, Neil Jordan, 1992]
Identity, National and Gendered:

How Neil Jordan’s The Crying Game Talks About Tradition and Modernity, as Compared to the Fiction of Patrick McCabe

 was last modified: April 26th, 2023 by Daniel Podgorski

[Game: VVVVVV, Terry Cavanagh, 2010]
A Game with 1980s Cohesion:

The Compelling and Eery Retro Unity of Terry Cavanagh’s Relentless Platformer VVVVVV

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VVVVVV screenshot 2 - Terry Cavanagh

Introduction:

Two weeks ago, your Mid-week Mission was Super Crate Box, a simple, pixel art title carefully constructed around one innovative game mechanic. This week I would like to talk about a game with an even simpler art style, which is built around a less innovative mechanic—Terry Cavanagh’s VVVVVV. And yet, for all of the utter simplicity in its visuals and gameplay, this title manages to be one of the five best platformers I have played in the last five years, and one of my top ten platformers of all time.

VVVVVV is a game whose aesthetics leave everything to be desired, but which uses its sparse, sometimes-baffling visual presentation (in conjunction with Magnus Pålsson’s anachronistic chiptune-esque masterpiece of a score) to set an incomparably other-wordly mood plucked straight out of 1980s video game logic. Meanwhile, the deservedly lauded level design ties the project together for a respectably challenging campaign. For more on why and how this game looks so odd and plays so wonderfully, keep reading.

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[Game: VVVVVV, Terry Cavanagh, 2010]
A Game with 1980s Cohesion:

The Compelling and Eery Retro Unity of Terry Cavanagh’s Relentless Platformer VVVVVV

 was last modified: August 26th, 2020 by Daniel Podgorski

[Work: Breakfast on Pluto, Patrick McCabe, 1998]
Tradition Troubled:

Boisterous Fun, Visceral Bloodshed, and ‘Irishness’ in Patrick McCabe’s Breakfast on Pluto

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Introduction:

Patrick McCabe - Breakfast on Pluto - Irish, gender, violenceOne of the goals of this site is to make sure that the style of the articles in each series (with the possible exception of Your Friday Phil) encompasses a range containing everything from advice lists to simple reviews to deeper analyses. The Tuesday Tome series is one which has spent the past couple of weeks dealing in dense, analytical material, so it is due for a simple review. In fact, this week’s article will take the form of a straightforward recommendation. And the book which I would like to recommend is Breakfast on Pluto, a 1998 novel by Patrick McCabe, one of the two books for which McCabe has been shortlisted for the Booker Prize.

This is both the strangest and second-most recent book which I have covered in the series so far. Breakfast on Pluto‘s strangeness results from its recentness, as it presents a combination of a raw depiction of violence in Ireland during the Troubles with a wistful, campy narrative voice provided by transgender character “Pussy” Braden. She is a person who was assigned male at birth, yet who has typically feminine character traits, fashion, and identification. If you are a reader interested in a work that challenges genre (and gender) conventions in order to tell a violent and uniquely Irish history in a new way, then read on.

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[Work: Breakfast on Pluto, Patrick McCabe, 1998]
Tradition Troubled:

Boisterous Fun, Visceral Bloodshed, and ‘Irishness’ in Patrick McCabe’s Breakfast on Pluto

 was last modified: April 26th, 2023 by Daniel Podgorski

[Topics: Contractarian Ethics, Is-Ought Problem, Moral Anti-realism]
Dealing in What Is:

How the Is-Ought Problem Factors into Moral Anti-realism

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Portrait of David Hume by Allan Ramsay - is-ought problem - David Hume - moral anti-realism

Portrait of David Hume by Allan Ramsay

Introduction:

The towering influence of Enlightenment philosopher David Hume has at least partially informed all of my articles across this past month (and, more indirectly, all of the articles before then as well). And although The Gemsbok’s artist, M.R.P., did a sketch of Hume for the article last week on epistemology, that homage would perhaps have fit better next to today’s article, which will consider a topic often attributed to David Hume—if not as its originator, at least as its first notable, direct, and clear articulator. The topic in question is the is-ought problem (also known as Hume’s Law).

A few of my readers, discussing my article on the exclusively functional objectivity of our socially evolved morality in a forum thread, have raised the is-ought problem as an objection to some of the ideas presented there. While I think that careful readers of that article will already have a fair idea of my response to such objections, I imagine it would be helpful to provide something more explicit. While I would not deny the existence and importance of moral oughts as such, I would seek to offer a moral anti-realist, contractarian account of what oughts ought to be.

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[Topics: Contractarian Ethics, Is-Ought Problem, Moral Anti-realism]
Dealing in What Is:

How the Is-Ought Problem Factors into Moral Anti-realism

 was last modified: October 28th, 2023 by Daniel Podgorski

[Film: The Merchant of Venice, Michael Radford, 2004]
Remakes are Not your Enemy:

Analyzing a Scene from Michael Radford’s Film Version of The Merchant of Venice

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Introduction:

Antonio Reproaching Shylock - The Merchant of Venice - Michael Radford, William Shakespeare - 2004 court scene analysisIn an era when we lament the fact that the remake, the sequel, and the reboot have come to dominate the media landscape, it can be easy to forget that older forms of art (in particular, theatre) used to survive exclusively through their continual reinterpretation and re-presenetation. Since his death, William Shakespeare has arguably garnered more of such ‘remakes’ and ‘reboots’ than any other artist, yet there are still great, interesting, and even somehow new versions of his works every year, on the stage and on the screen.

It is worth pointing out, then, that a remake or reboot is only bad if it adds nothing new to the original work and does not present an interesting version of the original work. And if that seems like a tired point to you, then I would like to make that case in a new way (a remake of my own, as it were) by zeroing in on one of Al Pacino’s scenes from Michael Radford’s film version of The Merchant of Venice, and discussing why it works so well as a new presentation of older material.

The nature of this article is such that it requires spoiling basic plot details of The Merchant of Venice, so you should only continue reading after this paragraph if you either do not mind spoilers or have already seen the film (or read the play, or seen a staging, etc.).

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[Film: The Merchant of Venice, Michael Radford, 2004]
Remakes are Not your Enemy:

Analyzing a Scene from Michael Radford’s Film Version of The Merchant of Venice

 was last modified: March 26th, 2020 by Daniel Podgorski