Author Archives: Daniel Podgorski

About Daniel Podgorski

Daniel Podgorski is a Californian author, essayist, researcher, and web developer. On The Gemsbok, he provides art analysis (on literature, games, and films) and philosophy articles. His areas of expertise are literature and philosophy, with most of his academic research (as well as most of his informal research) focusing on intersections between the two. He has had poetry, short stories, and articles published in various academic and literary journals—and his short fiction has placed first in both competition and conference settings.

[Film: Clue, Jonathan Lynn, 1985]
Parody Done Right:

Jonathan Lynn’s Clue and its Tasteful Lampooning of the Mystery Genre

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Introduction:

Clue movie poster - parody, mystery genreFor film fans the world over, yesterday marked a definitive step into the future, as it was the day of Marty McFly’s forward leap in the iconic Back to the Future franchise. For Your Thursday Theater this week, however, I want to talk about a film with both feet squarely in the past. In the same year that the original Back to the Future was released, 1985, Christopher Lloyd (who played McFly’s frenetic sage Doc Brown) also played a somewhat more composed intellectual named Professor Plum in a cult classic comedic mystery: Jonathan Lynn’s Clue.

Lynn, who later directed the highly-regarded legal drama My Cousin Vinny, both wrote and directed this film (with some story collaboration from director John Landis—whose work includes The Blues Brothers, Animal House, and Trading Places). Christopher Lloyd was joined in an ensemble cast by a slew of other gifted character actors, including Tim Curry, Madeline Kahn, Eileen Brennan, and Martin Mull. This is a film with humble ambitions that surpasses expectations; it is a film which was cared about and well-executed at every level, and which cleverly presents a tongue-in-cheek treatment of the entire mystery genre.

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[Film: Clue, Jonathan Lynn, 1985]
Parody Done Right:

Jonathan Lynn’s Clue and its Tasteful Lampooning of the Mystery Genre

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

[Game: Awesomenauts, Ronimo Games, 2012]
Casual Competition and Awesome Addiction:

The Enduring Joy of Ronimo Games’ Awesomenauts

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Introduction:

Just as I have done across the preceding month, I am following up last week’s more in-depth entry into this series (which, in this case, talked about the qualities of The Binding of Isaac which qualify it as a worthy successor to the original Legend of Zelda) with a light recommendation. The game which I would like to recommend this week is Ronimo’s 2012 side-scrolling platformer MOBA, Awesomenauts.

This game is a truly one-of-a-kind experience, whose indie team has carved out a consistent niche in the perennially monopolized MOBA genre. Anyone who is not impressed by Awesomenauts‘ sustained success has a very short memory. I can effortlessly think of a dozen or more multiplayer indie games I’ve liked and watched die for any number of reasons. But in the three years I’ve been playing Awesomenauts, I’ve never waited over five minutes for a full game of players. And it’s not even free-to-play. Allow me to explain what makes this title superior.

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[Game: Awesomenauts, Ronimo Games, 2012]
Casual Competition and Awesome Addiction:

The Enduring Joy of Ronimo Games’ Awesomenauts

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

[Work: The Death of Ivan Ilyich, Leo Tolstoy, 1886]
Proximity to Death:

Authentic Living and Authentic Dying in Leo Tolstoy’s The Death of Ivan Ilyich

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Introduction:

Portrait of Leo Tolstoy by Ilya Efimovich Repin - The Death of Ivan Ilyich - authenticity, existentialism

Portrait of Lev Nikolayevich Tolstoy by Ilya Repin

The abiding concern of the most controversial and often the most fascinating instances of Leo Tolstoy’s later fiction was the struggle for meaning in the midst of the author’s own existential crisis. Among that later fiction, there is arguably nowhere that struggle attains more pathos nor more honesty than in his novella, The Death of Ivan Ilyich.

Unlike other works by Tolstoy, the novella does not seem to contain an easily discernible, specific answer to the question of how one’s life should be lived. Perhaps a reflection of the author’s own inability to see a definite meaning in life or a definite reason for his own impending demise, or perhaps an expression of the very personal anxiety of reflection at such proximity to death, the physical decline of Ivan Ilyich is characterized by a parallel rising search for reason and meaning.

Though one is not given the particulars of Ivan Ilyich’s final realization, one is provided with the context and effect of that most joyous ultimate epiphany, as well as the particulars of the series of smaller revelatory modes of thinking which lead to it. As Ivan Ilyich passes through phases of thought, he gains more and more insight into his past, his life, and the nature of existence, ultimately concluding that what he has lacked and sorely desires is authenticity.

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[Work: The Death of Ivan Ilyich, Leo Tolstoy, 1886]
Proximity to Death:

Authentic Living and Authentic Dying in Leo Tolstoy’s The Death of Ivan Ilyich

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

[Topics: Compatibilism, Determinism, Free Will, Philosophy of Language]
Free Will Twice Defined:

On the Linguistic Conflict of Compatibilism and Incompatibilism

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Arthur Schopenhauer Sketch by M.R.P. - compatibilism - free will - determinism

Caricature Sketch by M.R.P.

Introduction:

“Man can do what he wills but he cannot will what he wills” (Schopenhauer 531).

Attentive readers of last week’s post in this series will have noted that its discussion of meaning, while relevant to the meaningfulness of moral action, is more broadly applicable to all philosophical discussions of meaning. Using that article as a transitional moment, I will now move away from discussing moral action directly and, at least for a time, toward discussing human action more generally.

One of the most persistent debates across the history of philosophy, when it comes to human behavior and morality, is that of whether determinism or free will is true. But in order to get at that debate, I will instead today be confronting an intimately related debate of roughly equal age, that of whether determinism and free will are compatible or not. Many laypeople are casual incompatibilists, and would be quick to dismiss this latter debate as so much sophistry, feeling that determinism and free will are intractable opposites. But various different versions of compatibilism have had some strong defenders over the years, including Thomas Aquinas, David Hume, Peter Strawson, and the majority of professional philosophers in the world today. So what is compatibilism, and how does it respond to incompatibilism?

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[Topics: Compatibilism, Determinism, Free Will, Philosophy of Language]
Free Will Twice Defined:

On the Linguistic Conflict of Compatibilism and Incompatibilism

 was last modified: March 22nd, 2023 by Daniel Podgorski

[Film: Ghost, Jerry Zucker, 1990]
A Ghastly Script:

The Mediocrity of Jerry Zucker’s Romantic Classic, Ghost

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Whoopi Goldberg Sketch by M.R.P. - Ghost, Patrick Swayze, negative review

Caricature Sketch by M.R.P.

Introduction:

A month ago, I wrote an article in praise of The Sixth Sense, a movie from the 1990s which covers the ghost myth perfectly, with just the right amounts of ambiguity and consistency so that the viewers’ credulity is not strained. The gimmicks are kept to a minimum and the actors, including the child actor at the film’s center, put in nuanced and subtle performances. In contrast, the winner of the 1990 Oscar for best original screenplay, Ghost, also puts its best foot forward as a ghost-centric drama, but gets pretty much all of those same details graphically wrong.

The nature of this article is such that it requires spoiling basic plot details of Ghost, so you should only continue reading after this paragraph if you either do not mind spoilers or have already seen the film.

Ghost is a movie that boasts two things working in its favor: the memorable romantic pottery scene, and most of the performance by Whoopi Goldberg. Every other aspect of this movie is as forgettable as it is hackneyed. Taken as a 90s comedy, Ghost is intermittently passable; but taken as the romantic fantasy “thriller” or “drama” it is billed as, Ghost is abysmal.

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[Film: Ghost, Jerry Zucker, 1990]
A Ghastly Script:

The Mediocrity of Jerry Zucker’s Romantic Classic, Ghost

 was last modified: October 10th, 2022 by Daniel Podgorski