But to unknowing millennials and nostalgic Gen-Xers, that derivativeness generally worked in its favor.
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Last year, the overarching critique of the cultural phenomenon came down to its derivativeness, as an unabashed stew of our favorite '13s horror and sci-fi tropes.
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Worst Movie: The epitome of all that's wrong with modern blockbusters—ugly CGI, unconscionable derivativeness, open-ended resolutions that make room for possible sequels—Warcraft killed my soul.
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Bringing a small budget and a big heart to a dystopian story so familiar it could nestle comfortably inside the "X-Men" franchise, Adam Stein and Zach Lipovsky's "Freaks" wears its derivativeness with pride.
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This ritual had been set up by Mr. McMurray. It worked three degrees - Endentured Apprentice, fellow Workman and Perfect Artisan. The rituals lengths and derivativeness led to some controversy within the organization and it was shortened. The shortened version was kept essentially unchanged into the 1970s.
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On the whole, it marks a return to the uneven style and derivativeness of her first book. There is, however, one very short Imagist gem. It is the second of a series of poems called "Portraits of Five Sinners": :Her little window-sills were all too narrow :To hold her pots of lilting daffodils. These two lines exemplify the power of the image to evoke the deepest of insights with the least amount of verbiage.
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The playwright Thomas Killigrew drew upon Brome's The Novella for his Tomaso, or the Wanderer (1654).Alfred Harbage, Thomas Killigrew, Caroline Dramatist 1612–83, Philadelphia, University of Pennsylvania Press, 1930; reprinted New York, Benjamin Blom, 1967; p. 219. In the Restoration era, Aphra Behn borrowed from Tomaso for her play The Rover; when she was criticised for her derivativeness, Behn pointed out Killigrew's debt to Brome's play in her Postscript.W. R. Owens and Lizbeth Goodman, eds.
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Blood Magic won the Best Debut award at the Russian game developers conference KRI 2006. Dawn of Magic has a ranking of 52 on the review aggregators Metacritic and GameRankings. GameSpot gave the game a score of 3 out of 10, criticizing its derivativeness, limited choices and numerous bugs. Martin Korda of IGN gave it 6.9 out of 10 and said that "despite its bold proclamations of reinventing the tried and tested Diablo template, Dawn of Magic remains an RPG with more than a whiff of the past hanging around it." while Emily Balistrieri of the same site gave it 5.4 and criticized its multiplayer, which according to her, lacked variety.
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He assessed it as "better structured, funnier and more absorbing" than the previous single episode "Victory of the Daleks" and praised the comedy and acting of Alex Price. However, he thought the "expensive-looking locations are let down by shonky special effects". Gavin Fuller gave the episode a negative review in The Daily Telegraph, calling it "highly disappointing" and "a tragically wasted opportunity." He criticised the writing and plot for "sheer derivativeness", noting that the opening scene was "similar in concept" to Whithouse's previous Doctor Who episode "School Reunion" and thought the "aliens-posing-as-humans idea" was taken from that script as well.
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Pitchfork, which rated the album a 7.4 out of 10, addressed potential critiques by remarking that while much of the album may seem familiar, Years & Years distills rather than dilutes the formula of "reimagined '80s and '90s club pop". Multiple reviews, however, commented on the derivativeness of the songs with The Independent calling the album a "slick amalgamation of 2014's sounds". Alex Petridis of The Guardian wrote that the group doesn't "seem to have an original idea in their collective heads", but still acknowledged that the album's "watertight" pop songwriting made it enjoyable. Jon Caramanca of The New York Times made a similar critique of the album, to which he referred as "diet-club music", but again praised the songwriting as excellent and effective.
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Chabrier's ebullient orchestral works have always been popular with the public and critics, but there is less agreement about his serious stage works, and in particular the influence of the music of Wagner. For some critics, the Wagnerian ethos and French sensibilities are simply incompatible, and consequently much of the music of Gwendoline and Briséïs has been denigrated; others have argued that Chabrier so transformed his influences that the music does not sound especially Wagnerian. Huebner puts the truth somewhere between the two, noting Wagner's influence in the similarities between Gwendoline and The Flying Dutchman and Tristan and Isolde, but noting Chabrier's "un- Wagnerian concision", the retention of conventional self-contained numbers, and Chabrier's recognisable melodic and instrumental characteristics. He suggests that preoccupation with supposed derivativeness has deprived the repertory of works such as Gwendoline "with substantial musical and dramatic interest".
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