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February 18, 2015 - Image 6

Resource type:
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Publication:
The Michigan Daily

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ACROSS
1 Recitals showing
promise
6 A way off
10 Big name in PCs
14 Braid
15 Where to get a
bite on the street
16 Clue weapon
17 Abe’s youngest
son
19 Friend on
“Friends”
20 West Point
newbie
21 Latin phrase
usually
shortened
23 Old hand
25 Exhortation from
Santa, in Moore’s
poem
28 Wrestling
maneuver
30 Term of respect
31 “Liar!” in a
playground
32 Nerdy types
35 Target
37 Shipping wts.
38 Halls product
41 NCR product
44 Reed in a hall
45 Stable rides for
kids
49 Whodunit
surprise
51 Org. with Eagles
53 Coin with 12
stars on its
reverse side
54 Late-inning
substitute
58 Like some grins
59 Crate up
60 Organisms of a
region
62 Not fer
63 Gets the
unspoken
message ...
which includes
one of five
synonyms found
in this puzzle’s
longest answers
68 53-Across
fraction
69 Maui music
makers
70 Lingerie fabric
71 Envelope-
pushing
72 Huff and puff
73 Bard’s “between”

DOWN
1 Go (for)
2 __ française
3 Pond juvenile
4 “This Kiss” singer
Faith
5 Kept in a pen
6 Tap into
7 __ Schwarz
8 CIO partner
9 Keep up on the
issues?
10 Neat
arrangements
11 Nuclear reactor
need
12 Delta-zeta
connection
13 Seasons a bit
more
18 Pistons’ org.
22 Worker who
gives people fits?
23 Honorary deg.,
perhaps
24 Fracas
26 Uppermost
27 Three-time MLB
home run king
29 Advent mo.
33 Voting
enclosures
34 Deli order
36 Word with
modern or cave

39 Mongolian
expanse
40 Key lime __
41 Free from strife
42 Hurt suddenly, as
a muscle
43 Preparing garlic,
in a way
46 Persian Gulf
native
47 Make a faux pas
48 Traditional Asian
sauce base

50 Like a string
bikini
52 If all goes
according to plan
55 Hopping mad
56 Frozen Wasser
57 Holiday entrée
61 Turn to slush
64 Letters in a police
record
65 Novelist Kesey
66 Eighty-six
67 Explosive stuff

By Jeff Stillman
©2015 Tribune Content Agency, LLC
02/18/15

02/18/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, February 18, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

Classifieds

Call: #734-418-4115
Email: dailydisplay@gmail.com

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6A — Wednesday, February 18, 2015
Arts
The Michigan Daily — michigandaily.com

By GRACE HAMILTON

Daily Arts Writer

On the opening night of Chek-

ov’s “The Seagull” in 1896, the
playwright left the theater at the
end of the night
having
vowed

never to write a
play again. It was
a positive flop. The
actress who played
one of the main
characters,
Nina,

had lost her voice,
resulting
in
an

awkward delivery
that drove Chekov
to hide behind the
stage for the sec-
ond half of the play.

Still, the bril-

liance of the story
shone through for
some.
Chekov’s

peer and fellow
playwright, Vladimir Nemirovich-
Danchenko, convinced him into

having the Seagull performed at
the Moscow Theater, which had
only just opened in 1898. The play
was a triumphant success, mark-
ing its path through history from
that point on.

In 2013, contemporary play-

wright Aaron Posner premiered
his “sort-of adaptation” of “The
Seagull,” “Stupid F###ing Bird,”
and the play was no flop; it was an
instant hit, so much so that it has
made its way into this year’s pro-
gram for the Department of The-
ater and Drama.

The play explores themes of

unrequited love, misdirected pas-
sion, romance, self-love and the
power of art. “The Seagull,” and
“Stupid F###ing Bird,” are differ-
ent from other love stories.

In “The Seagull,” the main

character, Constantine, is a play-
wright searching for affirma-
tion and relevance. His mother, a
famous actress, overshadows him
while his father is absent. His girl-
friend, Nina, is drifting from him.

“Both plays associate roman-

tic ambition or any other kind of
ambition as stemming from the
same source. And that source is
longing for relevance, relevance
that is only affirmed in the eyes
of the other, the audience, critics,
or any one who you project your
love on to,” said Daniel Cantor, the
director of “Stupid F###ing Bird.”
This is a profoundly familiar feel-
ing for any 20-something-year-old
searching to define their future.

The play has many layers. The

story parallels that of the Seagull,
with a young playwright longing
for love and acceptance. There is
also the play within the play, the
one that Conrad is writing. This
prompts many meta moments in
which the characters address the
audience directly regarding the
topic of forms of theater: What
works and what doesn’t?

“There’s a weird irony in doing

that,” Cantor said. “You think, well
this is further from reality now so
it must be less honest, but in fact
the meta-theater makes the play
more honest, because the reality is,
that we are doing a play! It accepts
and acknowledges the core experi-
ence, which is human beings com-
ing to a building to watch other
human beings perform a play.”

The most important layer to the

play, however, is its encompassing
relationship with Chekov himself.
As a genius in storytelling, all other
artists are, in a way, overshadowed
by Chekov. This parallels the rela-
tionship between Constantine or
Conrad and his mother.

“In
switching
around
the

form of Chekov, Posner is almost
thumbing his nose, and at the same
time writing him a love letter. ‘Stu-
pid F###ing Bird’ then, is a giant
expression, a similar expression,
to what Constantine does in the
Seagull,” said Cantor.

In this way, the play represents

the best of what Chekov can be,
according to Posner.

“American audiences tend to

think of Posner as dull, droll, and
sort of drawer and he’s not. He’s
energized; it’s fun, it’s funny,
passionate, contradictory,” Can-
tor said, “ ‘Stupid F###ing Bird’
brings all of that very vigorously to
the surface.”

In this way, the play honors

Chekov by reimagining his story
and bringing it into a contem-
porary setting. Since the idea of
retelling and recapitulating sto-
ries is in itself traditional, Cantor
points out, “Stupid F###ing Bird”
preserves a classical element.

The play has a cast of seven,

with some surprise performances
from the crew, and includes move-
ment and dance as well as live
music. There seems to be some-
thing to appreciate for everyone in
this: Chekov lovers, comedy lovers,
theatergoers, 18-year-olds search-
ing for angst and curse words, and
romantics.

When I asked Cantor what he

thought the simplified, main mes-
sage of the play might be, about
love or theater, he said, “Well, I
don’t think there is a message. It
just asks questions and explores
possibilities. It explores contradic-
tions, imperfections and asymme-
tries.”

COMMUNITY CULTURE REVIEW

‘Bird’ isn’t so stupid

‘Majora’s Mask 3D’
explores the reality

of death

By JACOB RICH

Daily Film Editor

Death pervades mainstream

gaming. Health bars and the cycle
of dying and respawning are seem-
ingly
inescap-

able tropes that
video games have
been
structured

around since the
earliest days of
the arcade. Yet
very few games
are actually about
death. Dying in a
video game rarely
means more than
“well shit, time to

try again.”

In the year 2000, one Nintendo

game dared to explore death as
the mysterious, terrifying thing it
really is. In doing so, it created one

of the greatest video games ever
made.

“The Legend of Zelda: Majora’s

Mask” is the definitive black sheep
of the Nintendo library — a dark,

Daring ‘Majora’

VIDEO GAME REVIEW

A

‘The Legend
of Zelda:
Majora’s
Mask 3D’

3DS
Exclusive

Nintendo

NINTENDO

“It puts the lotion on the skin or else it gets the hose again.”

mature, offbeat side story that
takes the excellent core gameplay
the “Zelda” franchise is known for
and twists it, using a unique time
travel mechanic to explore the
concepts of the passage of time and
mortality itself.

This 2015 release is its 3DS

remake, the same game with a
graphical overhaul and numerous
improvements to its gameplay and
save system.

Sent back in time after the events

of “Ocarina of Time” to relive his
childhood, player surrogate Link
sets out on a quest to reunite with
his fairy companion, Navi. Myste-
riously, he ends up stumbling upon
Termina, a dreamlike parallel
world to his homeland of Hyrule.
Soon, he discovers that a bullied,
Gollum-like creature named Skull
Kid accidentally attained great
power with the help of a magical
mask and is intent on crashing the
moon into the earth, ending all life.

“Majora’s Mask” bends this

classic “end of the world” fantasy
trope to its will, using a countdown
timer and a world whose denizens
go through real-life daily sched-
ules to give the incoming apoca-
lypse a real sense of imminent
doom. In the three days prior to
the world’s end, the game’s char-
acters begin to figure out that they

will soon die. The player watches
in horror as the townsfolk go from
cheerful to cautious to cowering
and crying, helpless in avoiding
their own demise.

However, there is hope — using

his trusty magic ocarina, Link can
restart the three-day cycle at will,
appearing at the beginning of the
first day, “Groundhog Day”-style.
The player must live these three
days over and over again in order
to figure out how to stop the moon
from crashing. While the citizens
of Termina are unaware of these
three days repeating again and
again, the player slowly but surely
gains knowledge and power. By
helping the people of Termina
and completing dungeons, Link
obtains helpful equipment as
well as magical masks that grant
him unique powers. It’s a genius,
rewarding gameplay mechanic
that has not been replicated in the
fifteen years the game has been
out.

While the original release’s

genius was somewhat hampered
by instances of rather obtuse logic
in its puzzle solutions and a weak
save system, this 3DS remake
addresses those problems excel-
lently. It implements an improved
quest-log system that more closely
resembles one of a western RPG

like “Skyrim,” a hint system to help
with the more confusing puzzles,
and adds tons of extra places to
hard-save the game. IGN’s excel-
lent article detailing the full extent
of the improvements and changes
can be found here. Most of these
improvements are excellent, less-
ening the game’s structural issues
and bringing its thematic and
philosophical elements to the fore-
front.

“Majora’s Mask 3D,” like its

original release, isn’t perfect.
One of the game’s four lengthy
dungeons is significantly more
tedious to complete than the
rest, and a mandatory late-game
trading sequence quest serves
to annoy instead of entertain. In
addition, a helpful swimming
ability gained halfway through
the game is inexplicably made
less effective in the 3DS version.
Weird.

Despite this, “Majora’s Mask

3D”
stands
as
an
excellent

improvement to one of the most
daring games in history, a vast
departure from its franchise that
explores the human condition in a
way no other video game has.

The Legend of Zelda: Majora’s

Mask 3D” was reviewed using an
advance digital copy provided by
Nintendo.

By GREGORY HICKS

Daily Arts Writer

When lead singer Dan Reynolds

stated that Imagine Dragons was
an “atypical band,” he meant the
opposite of what
conclusion
you

might come to. The
rock group is atyp-
ical for being, well,
typical people —
not
necessarily

the
drugged-out

hyper-artsy types.

The group isn’t

constantly
turn-

ing creative corners, and its mass
appeal doesn’t just accumulate
album sales, but many radio hits as
well — longevity that’s proven to be
unattainable for pop-rock groups
of the past few years. Its willing-
ness to make commercially rea-
sonable decisions (like its recent
$8 million live Target ad-perfor-
mance during the Grammys) is
what keeps the wheels turning on
this record, released on the heels of
its internationally acclaimed Night
Visions.

The group was off to a rocky

start with its record’s lead single
“I Bet My Life,” which fell some-
where between a Mumford & Sons
hit and the instrumental track for a
coming-of-age themed movie trail-
er, but eventually found its former
sonic footing in the release of its
follow-up promotional singles —
the pop-hot “Shots” and sonically
biting “Gold.”

Take Imagine Dragons for what

it is — a producer-driven band as
a front for Reynolds’s vocal per-
formances — and you’ll find wise
decision-making left and right,
such as re-hiring Alex Da Kid for
another round. The “Love the Way
You Lie” producer engineers the
group’s notoriously gritty synths
that come with an edge of hip-hop
beat samples (which often over-
step any sense of being a rock band,
but successfully separate Imagine
Dragons
from
pansy-pop-rock

groups like Maroon 5 and Cold-
play).

However, that being said, Imag-

ine Dragons retains some Cold-
play-esque leans. The album is
sequenced to balance every bass-
pounding track with a treble-driv-
en counterpart (hence introducing

the record with “Shots,” swapping
to a hard-hitting “Gold,” switching
back to an airier “Smoke + Mir-
rors,” and trading off from there
on out). But given how Coldplay
underwhelmed with Ghost Stories
— the watered-down follow-up to
its widespread Mylo Xyloto elec-
tro-rock success — perhaps there’s
some wiggle room for Imagine
Dragons to expand on the new-
found gap.

The Las Vegas band has the lux-

ury of being able to linger around
in its same style for this sophomore
record, but might not be so fortu-
nate in its plans for the coming
year. Pop-rock artists fall victim to
monotony more so than any oth-
ers, and a sonic do-over is in order
for album number three.

There continues to be some

‘smoke and mirrors’ that surround
Imagine Dragon’s productions,
and its “night visions” tend to be
somewhat narrow, but the group’s
upfront honesty regarding its
standing in commercialized rock
has managed to keep the topic out
of the limelight. And there’s some-
thing to be said about maintaining
the writing credits within its work.

ALBUM REVIEW
No leaps on ‘Smoke’

B

‘Smoke +
Mirrors’

Imagine
Dragons

Columbia

‘Stupid
F###ing
Bird’

Thursday at

7:30 p.m. Friday

and Saturday at

8 p.m. Sunday

at 2 p.m.

Lydia

Mendelssohn

Theater

$22-$28 for adults,
$10 for students

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