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"Ready Player One" Easter eggs are distracting



It becomes a challenge to sit back and enjoy a movie when there are so many references.

[Thisstorycontainsspoilersfor Ready Player One ]

In the dystopian future of Ready Player One everyone and their aunt are stuck in the OASIS, a VR sandbox where participants can do anything and how everyone can look. You can leave pyramids disguised as Ryu from Street Fighter ; You can visit a planetary casino and roll dice in the form of Jason Voorhees; You can visit Room 237 at Overlook Hotel with Teenage Mutant Ninja Turtles. The possibilities are as endless as they are banal.

Ernest Cline's novel was released in 201

1, a year after Warner Bros. won the rights to adapt, meaning Steven Spielberg's CGI nostalgia Rumpus is an eight-year event. But in 2012, Rich Moore and Disney Animation WB hit Wreck-It Ralph a movie in a video game world, the eyes of video game characters instead of the players controlling them. On his face, Wrack-It Ralph reads as a spiritual relative to Ready Player One both his ancestor and his offspring; however, the change of perspective is one of two main differences that separate them.

The second and most important difference is how Wreck-It Ralph compared to Ready Player approaches the already existing intellectual properties of One as the basis of his action. Wreck-It Ralph does not use every opportunity to overflow his scenes with endless direct references to these IPs; it treats its nod to old classics alongside new favorites as a flavor, without distinguishing one of them by brand. Pick up Ralph, the villain in Fix-It Felix Jr. a naked reef Donkey Kong ; Ralph's role is, well, to ruin things, and Felix Rolle is to fix everything that destroys Ralph. Donkey Kong is the obvious basis for Ralph, but Ralph is not Donkey Kong. He is just Ralph.

Maybe this is a case of hair splitting, but it's hair that's worth splitting. Watching Ready Player One overwhelms the senses, whether you're a pop culture veteran or a casual player. If you are the latter, your head will go crazy of the sheer amount of cameo appearances; If you are the first, you will become dizzy picking these cameos when they rush in front of you. Mortal Kombat . Gundam . Battletoads . Starcraft . A Nightmare on Elm Street . King Kong . Children's Game . Jurassic Park . (Very clever, Steven.) Dungeons & Dragons. Monty Python and the Holy Grail . The parade of genre favorites, geek iconography and gaming avatars marches well over the limit of "too much".

But that's only because Ready Player One introduces the audience to the bookkeeping for the Cavalcade of Walks. ons. The storyline focuses on OASIS creator Jim Halliday's (Easter egg hunt for possession of the VR universe. So maybe the whole movie becomes an easter egg hunt for itself; The Herculean task of driving every guest star of pop culture out of the rest is its most important component. Wreck-It Ralph on the other hand, invites us to play detective with his points of reference by folding him into an otherwise original setting. They are window decoration and not the actual window. The contrast feels small, but is significant enough to Wreck-It Ralph 's gentle tribute to Ready Player One & # 39; s shameless bombast.

Identity is essential. Wreck-It Ralph is a separate film, regardless of its referential nature, while Ready Player One is never more than the sum of its references. Consider the climax of the film, which depends on baseball knowledge that only a longtime player would possess; Cline, who co-wrote the screenplay with Zak Penn, flatters the tale in the story of the Easter egg as a game tradition. The end of Ready Player One literally depends on the familiarity of the protagonist with gimmickiness and not on his character growth. Wreck-It Ralph does the opposite, paying for Ralph's gradual transformation from a lonely, cheeky-brutal hero to a self-sacrificing hero throughout the film. This is a great creator for a picture full of love for video games, which refuses to interfere with this passion in its plot.

Ready Player One 's narrative is of slavish devotion to playing the gaming experience for the big screen. This is a bad cinematic dynamic that is exacerbated by our distance to the game: we are not the ones responsible for the action. Spielberg is. With exceptions – say, League of Legends or Overwatch – watching other people play video games is as exciting as watching colors. (Imagine watching a HGTV show without time-lapse, which is more or less how you feel during some of the key sequences of Ready Player One .) Wreck-It Ralph is free of such design restrictions, so Moore, along with screenwriters Phil Johnston and Jennifer Lee, has a ball that mixes his influences into attitudes and characters that ultimately become unique to the film's aesthetics. They are not interested in hiding their sources because they do not have ; their combined inspirations metastasize to pop-filmmaking that stands alone.

Ready Player One far too burdened by the weight of his own inspirations, never manages to do that. Referentialism is in the foreground in the world in which its characters live; her world is our world, but 25 years in the future and in much, much worse form. (On the positive side, they have much better hi-tech toys.) If the movie cared so much about world-building as Wreck-It Ralph referentialism would not give us any sensory overload or maybe it, but the congestion in reality would have a firmer footing. The world of Wreck-It Ralph is as digital as Ready Player One but this digital world is the end result of referentialism instead of a vehicle for it. The baseness does not stop the movie from feeling real – as Halliday reminds us, reality is better than a game.

Ready Player One


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