I was reading a review about all the things that are wrong and bad about the Ridley Scott movie Blade Runner and why, therefore it was Not a Great Movie.
And when I got to the end, it struck me that the criticisms were factually correct but grossly missing the point. Indeed, I felt that the Arkhaven author ("Dark Herald") had loved the movie to begin-with, but then picked and picked at the movie's flaws, until he had eventually persuaded-himself that Blade Runner was Not great.
But the point is that Blade Runner is great - or, at least, if any movies are great; then Blade Runner is one of them.
For example, it is true to my own experience that Blade Runner did not make a huge impact on first viewing (I saw it on the first theatre release in the UK, without knowing anything about it)... This reflects its early mediocre box-office earning performance.
Yet it is the power of the movie that it works on the imagination such that - for the first time ever - I returned to the theatre and watched Blade Runner again, just a short while later.
I have watched and re-watched it over the forty-plus years since (at intervals of a few years, typically) - during which I discovered its troubled production, its last minute changes, the dissatisfactions of various people, that the director re-cut it a couple of times etc... I had many reasons to down-revise my original opinion - not least that I have changed, and most art-works lose their effect on repetition.
And yet when I watched it again last year - I was again powerfully moved, and filled with thoughts and reflections afterwards.
My point is that Blade Runner works - and if we do not consider it a 'perfect' movie, then maybe we need to think a bit harder about what we mean by perfection.
What should be fascinating us is why - when it is so easy to pick holes and point at absurdities - Blade Runner still manages to pack such a charge - again and again?
It would surely turn-out that those flaws must have something vital to do with its excellence; and therefore that our idea of 'perfect' in the sense of every component part being un-criticizable/ standing-up-to specific scrutiny... must have something seriously wrong with it.
Therefore, the highest form of criticism - the only really valid form - would begin with the fact that Blade Runner is a great movie, and then help us to understand why.
When it comes to Robert Jordan's fantasy series The Wheel of Time, then we are dealing with something much less successful and coherent of its kind than Blade Runner. Indeed, WoT is probably way-beyond the boundary of impossible to do successfully. To write a 14+1 volume novel (+1 = prequel), especially when each volume is so big... and when the author dies before 'completing' it...
Well, I do not believe it can be done by anyone; and clearly not by Robert Jordan.
I would also argue that such an entity can never be completed in the same sense a novel can be completed - thus The Wheel of Time becomes (after the first three volumes) more like a Soap Opera than a long novel; and - like a Soap - more concerned with finding new things to say and keeping-itself-going, then with reaching a satisfying and cohesive end.
So, Wheel of Time is at a lower level of success in art than Blade Runner. Yet, The Wheel of Time was a hugely-loved and life-shaping work (at least in the USA - in the UK it is all-but unknown, hardly to be found in shops or libraries; certainly I never heard of it until after it had been ended).
I eventually read Wheel of Time through 2017 (in the audiobook version, mostly); and was aware of all sorts of problems and annoyances. Picking-out flaws is like shooting fish in a barrel - I did not even think it ended well (which is, for me, usually a lethal problem).
And yet... In the first place I kept reading/ listening-to WoT, right to the end (and the prequel). And, more importantly, I have - over the past six years - gone back and reread the whole thing at least once, and parts of it several times...
In other words, The Wheel of Time works - in its annoying way, it has won my affection and goodwill.
Several of the characters have become like old friends - and archetypal for Life. Several of the events have tremendous and lasting power.
A valid critique of WoT therefore ought to start with this fact: that it works; and the most important thing criticism can do, is help us understand why it works.
This 'why?' understanding cannot be about such things as influences and influence. The Arkhaven retrospective on Blade Runner makes this mistake - talking of the cinematic precursors of the Blade Runner aesthetic (Such as Lang's Metropolis - which I find unwatchable), and its literary consequences (such as Cyberpunk novels - which I don't like).
As experiencers of art; we don't (except as a very secondary activity) care about influences: rightly, because these do not make a work good or bad.
Influences do not affect whether something works - or, insofar as they do, only by being a means to an end, subsumed within the effect.
Why then does Wheel of Time work? Why did Blade Runner? In both instances, I think we need to look outside the work itself, and consider the nature of the persons involved, and their motivations.
The work cannot be greater than the artist, and the artist at the exact time he actually-did the work - greatness doesn't happen by accident; but by aiming high.
From reading interviews with Philip K Dick; it seems to me that director Ridley Scott cared very intensely about Blade Runner (which was adapted-from, or inspired-by, Dick's novel Do Androids dream of Electric Sheep?), had thought about it a lot, and put extreme efforts into the movie... In several aspects, Scott's efforts were way, way beyond that of any previous movie ever made.
Such motivations are the necessary background to the greatness of Blade Runner.
I think the same applies to Robert Jordan. Jordan was, it seems to me, an interesting and thoughtful man; who was deeper than most modern writers, and certainly had greater inner goodness than most modern writers.
Jordan's previous fiction was mostly of the 'hack' variety; and with Wheel of Time he was doing his own thing for his own reasons, writing his own book for the first time: he clearly regarded WoT as his magnum opus - and put his best efforts into it over many years.
Jordan's best efforts were not much directed at artistic form, or concision, or coherence - it was, for him, more a matter of putting-in as much of possible of things that interested and concerned him. The unexpected sales success of the series enabled him to do this, to indulge himself in this respect - to the detriment of the overall work.
But it was that impulse which led to what is good about The Wheel of Time, and what sends its readers back over and again.
Therefore; a valid critique that attempts to answer "why it works" should primarily be focused on these engaging aspects of WoT; and should refrain (except secondarily) from the easy but misleading activity of picking it to pieces... until we have eventually convinced ourselves (and maybe others) that it is nothing-but a sprawling-mess.
The really interesting fact is that The Wheel of Time is indeed a sprawling-mess; but a worthwhile and appealing sprawling-mess!