From all over the globe, Orson Scott Card’s Ender’s Game has received a mixture of constructive criticism and praise. Published in 1985, the story centers around a young, tactical genius, Ender Wiggins, and his ambition to save the world from the Buggers. Creating the Innocent Killer displays how the writer, John Kessel, is another person influenced by “the most popular science fiction novel published in the last twenty years”. Throughout the entire article, Kessel argues that Ender’s Game revolves around the fact that only intentions matter when it comes to the severity of actions. He persists in an ineffective and opinionated claim by stating that “it [Ender’s Game] is the classic excuse of someone who commits a heinous act to say that his
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One can reason that these sources are slightly biased, but another can point out that the pieces are meant for analytical purposes. After all, the citations were made by analysts whose sole intention is to arrange evaluations of topics pertaining to Ender’s Game. ¶With the help of his citations, Kessel constructs pathos as a tool that essentially aids his statement that despite the fact that Ender’s incidents are “not a result of his intentions”, the unfortunate act continues to linger. Kessel bring up the point that we experience “consequences of such a mode of thought in the heaps of dead bodies that history has piled up” that are done by “leaders who tell us they only meant to protect us from evil”. Kessel compares our real world occurrences with Ender’s situation that seems to be a simulation in which the adults manipulate the title character himself; he gives us thought-provoking reasonings pertaining to our morality. When it comes to the handling of ethos, Kessel is moderately lacking. However, in the beginning of Kessel’s essay, he claims to “might have been one of its biggest fans”, probably to assure onlookers that he commends some aspects of Ender’s Game but, overall, finds a subplot to be bothersome. Because a
One can reason that these sources are slightly biased, but another can point out that the pieces are meant for analytical purposes. After all, the citations were made by analysts whose sole intention is to arrange evaluations of topics pertaining to Ender’s Game. ¶With the help of his citations, Kessel constructs pathos as a tool that essentially aids his statement that despite the fact that Ender’s incidents are “not a result of his intentions”, the unfortunate act continues to linger. Kessel bring up the point that we experience “consequences of such a mode of thought in the heaps of dead bodies that history has piled up” that are done by “leaders who tell us they only meant to protect us from evil”. Kessel compares our real world occurrences with Ender’s situation that seems to be a simulation in which the adults manipulate the title character himself; he gives us thought-provoking reasonings pertaining to our morality. When it comes to the handling of ethos, Kessel is moderately lacking. However, in the beginning of Kessel’s essay, he claims to “might have been one of its biggest fans”, probably to assure onlookers that he commends some aspects of Ender’s Game but, overall, finds a subplot to be bothersome. Because a