new criticism presentation

Literary Theory and Criticism

Home › Literature › New Criticism

New Criticism

By NASRULLAH MAMBROL on May 30, 2021

New Criticism is a movement in 20th-century literary criticism that arose in reaction to those traditional “extrinsic” approaches that saw a text as making a moral or philosophical statement or as an outcome of social, economic, political, historical, or biographical phenomena. New Criticism holds that a text must be evaluated apart from its context; failure to do so causes the Affective Fallacy , which confuses a text with the emotional or psychological response of its readers, or the Intentional Fallacy, which conflates textual impact and the objectives of the author.

New Criticism assumes that a text is an isolated entity that can be understood through the tools and techniques of close reading, maintains that each text has unique texture, and asserts that what a text says and how it says it are inseparable. The task of the New Critic is to show the way a reader can take the myriad and apparently discordant elements of a text and reconcile or resolve them into a harmonious, thematic whole. In sum, the objective is to unify the text or rather to recognize the inherent but obscured unity therein. The reader’s awareness of and attention to elements of the form of the work mean that a text eventually will yield to the analytical scrutiny and interpretive pressure that close reading provides. Simply put, close reading is the hallmark of New Criticism.

The genesis of New Criticism can be found in the early years of the 20th century in the work of the British philosopher I. A. Richards and his student William Empson. Another important fi gure in the beginnings of New Criticism was the American writer and critic T. S. Eliot . Later practitioners and proponents include John Crowe Ransom, Cleanth Brooks, Allen Tate, Robert Penn Warren, Reni Wellek, and William Wimsatt. In many ways New Criticism runs in temporal parallel to the American modern period.

I. A. Richards

From the 1930s to the 1960s in the United States, New Criticism was the accepted approach to literary study and criticism in scholarly journals and in college and university English departments. Among the lasting legacies of New Criticism is the conviction that surface reading of literature is insufficient; a critic, to arrive at and make sense of the latent potency of a text, must explore very carefully its inner sanctum by noting the presence and the patterns of literary devices within the text. Only this, New Criticism asserts, enables one to decode completely.

New Criticism gave discipline and depth to literary scholarship through emphasis on the text and a close reading thereof. However, the analytic and interpretive moves made in the practice of New Criticism tend to be most effective in lyric and complex intellectual poetry. The inability to deal adequately with other kinds of texts proved to be a significant liability in this approach. Furthermore, the exclusion of writer, reader, and context from scholarly inquiry has made New Criticism vulnerable to serious objections.

Despite its radical origins, New Criticism was fundamentally a conservative enterprise. By the 1960s, its dominance began to erode, and eventually it ceded primacy to critical approaches that demanded examination of the realities of production and reception. Today, although New Criticism has few champions, in many respects it remains an approach to literature from which other critical modes depart or against which they militate.

New Criticism: An Essay

The New Criticism of JC Ransom

BIBLIOGRAPHY Brooks, Cleanth. The Well Wrought Urn: Studies in the Structure of Poetry. New York: Reynal and Hitchcock, 1947. Guerin, Wilfred, et al. A Handbook of Critical Approaches to Literature. 4th ed. New York: Oxford University Press, 1999. Jancovich, Mark. The Cultural Politics of the New Criticism. Cambridge: Cambridge University Press, 1992. Lentricchia, Frank. After the New Criticism. Chicago: University of Chicago Press, 1980. Ransom, John. The New Criticism. New York: New Directions, 1941. Spurland, William, and Michael Fischer, eds. The New Criticism and Contemporary Literary Theory: Connections and Continuities. New York: Garland, 1995. Willingham, John. “The New Criticism: Then and Now.” In Contemporary Literary Theory, edited by Douglas Atkins and Janice Morrow, 24–41. Amherst: University of Massachusetts Press, 1989.

Share this:

Categories: Literature , Textual Criticism

Tags: African Literature , American New Criticism , Key points of New Criticism , Literary Criticism , Literary Theory , New Criticism , New Criticism essay , New Criticism in US , New Criticism main points , New Criticism major concepts , New Critics , Practitioners of New Criticism , theories of New Criticism

You must be logged in to post a comment.

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

10 Practicing New Criticism

Now that you’ve learned about New Criticism, practiced this method of analysis with “Ars Poetica,” and reviewed some examples, you will complete a theoretical response to a text using New Criticism as your approach. You will read three different texts below. Choose one text and respond to the questions in a short essay (500-750 words). I have included questions to guide your reading. You may choose to respond to some or all of these questions; however, your response should be written as a short essay, and you will need to come up with a thesis statement about your chosen text. Post your short essay as a response to the New Criticism Theoretical Response discussion board. I have included the theoretical response assignment instructions at the end of this chapter.

Checklist for New Criticism

Remember, when using the New Criticism approach, the goal is to closely examine the text itself and draw interpretations from its inherent literary qualities rather than relying on external context or authorial intent. Use “the speaker” instead of “the author” when writing about the text, and do not assume that the speaker is the author.

• Start with a close reading of the text. If you are working with a poem, number the lines. Then look for meter, rhythm, rhyme, stanzas, etc. (or identify whether the poem is free-verse)
• Try to identify the work’s oppositions, tensions, paradoxes, and ironies (complexities in the text).
• Look for evidence of unity in the work through specific elements including metaphor, point of view, diction, imagery, meter/rhyme, and structure.
• Once you have identified the text’s complexities and found evidence in its elements, create a thesis statement about how the poem’s various elements create unity. What is the the theme of the text, and how do the elements/complexities support that theme?

1. “The Love Song of J. Alfred Prufrock” by T.S. Eliot (1915)

S’io credesse che mia risposta fosse A persona che mai tornasse al mondo, Questa fiamma staria senza piu scosse. Ma percioche giammai di questo fondo Non torno vivo alcun, s’i’odo il vero, Senza tema d’infamia ti rispondo.

Before the taking of a toast and tea.

My necktie rich and modest, but asserted by a simple pin —

(They will say: “But how his arms and legs are thin!”)

Beneath the music from a farther room.

               So how should I presume?

To spit out all the butt-ends of my days and ways?

               And how should I presume?

Arms that lie along a table, or wrap about a shawl.

               And should I then presume?

               And how should I begin?

Scuttling across the floors of silent seas.

And I have seen the eternal Footman hold my coat, and snicker,

And in short, I was afraid.

If one, settling a pillow by her head

               That is not it, at all.”

               That is not what I meant, at all.”

At times, indeed, almost ridiculous—

Almost, at times, the Fool.

I shall wear the bottoms of my trousers rolled.

I do not think that they will sing to me.

Here are some New Criticism questions you can use to guide your response. You to do not have to use every question. You should formulate a thesis statement about the text and include this thesis statement in your response. Then support the thesis statement with evidence from the text.

• How does the poem’s use of imagery and symbolism contribute to the overall meaning of the poem? Explore specific instances of imagery and symbolism, such as the “yellow fog” or the “mermaids,” and discuss how they enhance the poem’s themes.
• Analyze the structure and form of the poem. How does the irregular rhyme scheme and meter influence the reader’s experience? How does Eliot’s use of enjambment and punctuation affect the pacing and interpretation of the text?
• Examine the diction and word choice in the poem. What impact do specific words and phrases have on the reader’s understanding of Prufrock’s character, his anxieties, and the sense of disillusionment conveyed in the poem?
• Explore the use of allusions and references. What are some examples of literary, historical, or cultural allusions in the poem? How do these allusions contribute to the poem’s meaning?
• Analyze the shifts in tone and mood throughout the poem. How do these shifts reflect the speaker’s changing emotions and the complexities of his self-perception? How does tone and mood contribute to the poem’s overall themes?
• Consider the role of time and temporality in the poem . How does the speaker’s preoccupation with time connect to the larger themes of regret, indecision, and mortality? How does the poem’s structure manipulate time?

2. The Parable of the Prodigal Son (c. 90 CE) King James Version

And he said, A certain man had two sons:

And the younger of them said to his father, Father, give me the portion of goods that falleth to me. And he divided unto them his living.

And not many days after the younger son gathered all together, and took his journey into a far country, and there wasted his substance with riotous living.

And when he had spent all, there arose a mighty famine in that land; and he began to be in want.

And he went and joined himself to a citizen of that country; and he sent him into his fields to feed swine.

And he would fain have filled his belly with the husks that the swine did eat: and no man gave unto him.

And when he came to himself, he said, How many hired servants of my father’s have bread enough and to spare, and I perish with hunger!

I will arise and go to my father, and will say unto him, Father, I have sinned against heaven, and before thee,

And am no more worthy to be called thy son: make me as one of thy hired servants.

And he arose, and came to his father. But when he was yet a great way off, his father saw him, and had compassion, and ran, and fell on his neck, and kissed him.

And the son said unto him, Father, I have sinned against heaven, and in thy sight, and am no more worthy to be called thy son.

But the father said to his servants, Bring forth the best robe, and put it on him; and put a ring on his hand, and shoes on his feet:

And bring hither the fatted calf, and kill it; and let us eat, and be merry:

For this my son was dead, and is alive again; he was lost, and is found. And they began to be merry.

Now his elder son was in the field: and as he came and drew nigh to the house, he heard musick and dancing.

And he called one of the servants, and asked what these things meant.

And he said unto him, Thy brother is come; and thy father hath killed the fatted calf, because he hath received him safe and sound.

And he was angry, and would not go in: therefore came his father out, and intreated him.

And he answering said to his father, Lo, these many years do I serve thee, neither transgressed I at any time thy commandment: and yet thou never gavest me a kid, that I might make merry with my friends:

But as soon as this thy son was come, which hath devoured thy living with harlots, thou hast killed for him the fatted calf.

And he said unto him, Son, thou art ever with me, and all that I have is thine.

It was meet that we should make merry, and be glad: for this thy brother was dead, and is alive again; and was lost, and is found.

The speaker in this text is Jesus, as reported in Luke’s Gospel. This passage is Jesus’s response to an accusation from the scribes and Pharisees that he “welcomes sinners” and even shares a table with them. The story seems to answer this accusation. How does knowing the context affect your reading of the parable? If you were raised and/or follow a Christian religious tradition, you may have extratextual interpretations for this parable. In your response, please try to set those aside. Remember that with New Criticism, the text itself is our focus, not the context or our outside knowledge of the text.

• Examine the parable’s structure and narrative sequence. How does the parable’s storytelling structure contribute to its impact? Consider the introduction, the conflict, the climax, and the resolution. How do these elements build tension and emotion?
• Analyze the characters’ personalities and development. How are the characters of the prodigal son, the father, and the older brother presented? How does their characterization contribute to the overall message of the parable?
• Explore the use of symbolism and metaphors. What symbolic elements in the parable contribute to its deeper meanings? How does the idea of the prodigal son’s journey and return symbolize themes like forgiveness, repentance, and redemption?
• Examine the parable’s language and diction. How does a phrase like “the fatted calf” affect the tone of this parable? What other examples of archaic diction contribute to the voice? What impact do specific words and phrases have on the parable’s meaning and emotional resonance?
• Analyze the use of repetition and rhetorical devices. How does the repetition of certain phrases or ideas contribute to the parable’s emphasis and rhythm? How do rhetorical techniques like parallelism or contrast enhance the storytelling?
• Discuss the use of irony in the parable. What examples of irony can you find? How do they contribute to the text’s meaning?

3. “Recuerdo” by Edna St. Vincent Millay (1922)

• Explore the poem’s title and its significance. How does the title “Recuerdo” (Spanish for “I remember”) set the tone for the poem? How does the title’s choice of language relate to the theme and content of the poem?
• Analyze the use of imagery and diction in the poem. What vivid images does the speaker use to describe the scene and events in the poem? How does the language style contribute to the poem’s atmosphere and themes? Are there any specific words or phrases that stand out as particularly significant? How does the poem explore the idea of remembering a past experience? What emotions and reflections does the speaker’s recollection evoke, and how are these emotions conveyed through the poem’s language and imagery?
• Examine the poem’s tone and mood. How does the tone shift throughout the poem, from the playful and carefree beginning to the reflective and contemplative ending?
• Analyze the poem’s structure and form. How do the poem’s rhyme and meter contribute to the work? Does the poem conform to a set genre (e.g., quatrain, sonnet, villanelle, etc.)? How does its use of or rejection of a specific genre contribute to the poem’s overall themes?
• Examine the use of punctuation. How does Millay’s use of  punctuation affect the rhythm and pacing of the poem? How does it impact the reader’s interpretation?
• Discuss the use of the second-person point of view. How does the poem’s use of “you” and “I” create a sense of intimacy and immediacy? How does this choice of point of view contribute to the poem’s unity?

Theoretical Response Assignment Instructions

Instructions.

• 15 points: theoretical response
• 10 points: online discussion (5 points per response) OR class attendance.

Critical Worlds Copyright © 2024 by Liza Long is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

Share This Book

• History & Society
• Science & Tech
• Biographies
• Animals & Nature
• Geography & Travel
• Arts & Culture
• Games & Quizzes
• On This Day
• One Good Fact
• New Articles
• Lifestyles & Social Issues
• Philosophy & Religion
• Politics, Law & Government
• World History
• Health & Medicine
• Browse Biographies
• Birds, Reptiles & Other Vertebrates
• Bugs, Mollusks & Other Invertebrates
• Environment
• Fossils & Geologic Time
• Entertainment & Pop Culture
• Sports & Recreation
• Visual Arts
• Demystified
• Image Galleries
• Infographics
• Top Questions
• Britannica Kids
• Saving Earth
• Space Next 50
• Student Center
• Where was T.S. Eliot educated?
• When did American literature begin?
• Who are some important authors of American literature?
• What are the periods of American literature?

New Criticism

Our editors will review what you’ve submitted and determine whether to revise the article.

• Academia - New Criticism and its Postulates
• Poetry Foundation - New Criticism
• Internet Archive - "Jean Jacques Rousseau, a New Criticism"
• New Criticism - Student Encyclopedia (Ages 11 and up)

New Criticism , post-World War I school of Anglo-American literary critical theory that insisted on the intrinsic value of a work of art and focused attention on the individual work alone as an independent unit of meaning. It was opposed to the critical practice of bringing historical or biographical data to bear on the interpretation of a work.

The primary technique employed in the New Critical approach is close analytic reading of the text, a technique as old as Aristotle’s Poetics . The New Critics, however, introduced refinements into the method. Early seminal works in the tradition were those of the English critics I.A. Richards ( Practical Criticism , 1929) and William Empson ( Seven Types of Ambiguity , 1930). English poet T.S. Eliot also made contributions, with his critical essays “Tradition and the Individual Talent” (1917) and “Hamlet and His Problems” (1919). The movement did not have a name, however, until the appearance of John Crowe Ransom ’s The New Criticism (1941), a work that loosely organized the principles of this basically linguistic approach to literature. Other figures associated with New Criticism include Cleanth Brooks , R.P. Blackmur, Robert Penn Warren , and W.K. Wimsatt, Jr., although their critical pronouncements, along with those of Ransom, Richards, and Empson, are somewhat diverse and do not readily constitute a uniform school of thought. New Criticism was eclipsed as the dominant mode of Anglo-American literary criticism by the 1970s.

To the New Critics, poetry was a special kind of discourse, a means of communicating feeling and thought that could not be expressed in any other kind of language. It differed qualitatively from the language of science or philosophy, but it conveyed equally valid meanings. Such critics set out to define and formalize the qualities of poetic thought and language, utilizing the technique of close reading with special emphasis on the connotative and associative values of words and on the multiple functions of figurative language—symbol, metaphor , and image—in the work. Poetic form and content could not be separated, since the experience of reading the particular words of a poem, including its unresolved tensions, is the poem’s “meaning.” As a result, any rewording of a poem’s language alters its content, a view articulated in the phrase “the heresy of paraphrase,” which was coined by Brooks in his The Well Wrought Urn (1947).

• Entertainment
• Celebrities
• Ticket Sales

Recommended

Ryan murphy responds to erik menendez’s ‘monsters’ criticism, defends incest innuendo.

Ryan Murphy has no regrets about his latest Netflix series.

“Monsters: The Lyle and Erik Menendez Story” has faced criticism for suggesting an incestuous relationship between the infamous brothers who went to jail for the 1989 murder of their parents, Jose and Kitty Menendez .

Erik, 53, spoke out in a statement and said the “dishonest” show is filled with “horrible and blatant lies” about himself and his brother Lyle, 56.

Murphy, 58, responded to Erik’s criticism on Monday at the premiere of his new FX series, “Grotesquerie.”

“I think it’s interesting that he’s issued a statement without having seen the show,” Murphy said in an interview with Entertainment Tonight .

“It’s really, really hard — if it’s your life — to see your life up on screen,” he added.

The famous TV producer went on, “The thing that I find interesting that he doesn’t mention in his quote, is if you watch the show, I would say 60 to 65 percent of our show in the scripts and in the film form center around the abuse and what they claim happened to them. And we do it very carefully and we give them their day in court and they talk openly about it.”

Murphy explained that exploring sexual abuse on television “can be controversial,” adding, “It’s a ‘Rashomon’ kind of approach, where there were 4 people involved in that. Two of them are dead. What about the parents? We had an obligation as storytellers to also try and put in their perspective based on our research, which we did.”

When asked about the “romantic relationship” between the brothers that’s portrayed on the show, Murphy said he merely wanted the story to be told from all perspectives.

“If you watch the show, what the show is doing is presenting the points of view and theories from so many people who were involved in the case,” he said.

“Dominick Dunne [Vanity Fair journalist] wrote several articles talking about that theory,” Murphy noted. “We are presenting his point of view. And we had an obligation to show all of that and we did.”

“Monsters” takes viewers through the events leading up to the sensational slaying of the Menendez parents at the hands of their two sons, who insisted their father sexually abused them — along with the aftermath of the brutal crime.

There are several examples of incest innuendos between the brothers in the show, a theory allegedly floated at the time by Dunne.

Erik, who is serving life in prison alongside his brother , released a statement about “Monsters” on Lyle’s Facebook page on Sept. 20.

“It is with a heavy heart that I say, I believe Ryan Murphy cannot be this naive and inaccurate about the facts of our lives so as to do this without bad intent,” he wrote.

Erik blasted Murphy and said he “shapes his horrible narrative through vile and appalling character portrayals of Lyle and me and disheartening slander.”

“Is the truth not enough? Let the truth stand as the truth,” Erik added. “How demoralizing is it to know that one man with power can undermine decades of progress in shedding light on childhood trauma.”

Erik and Lyle’s first trial ended in two hung juries in 1994. The admission of evidence regarding the siblings’ alleged sexual abuse was ruled as inadmissible during their second trial.

The brothers were convicted of murder in their second trial and were sentenced to life in prison without the possibility of parole in 1996.

Cooper Koch and Nicholas Alexander Chavez play Erik and Lyle, respectively, in the show. Javier Bardem and Chloe Sevigny also star as the Menendez parents.

Advertisement

Sabrina Carpenter Setlist Revealed for 'Short n Sweet Tour' After Opening Night!

Kendall Jenner Joins Eva Longoria, Cara Delevingne, Jane Fonda, & More on the Runway During Le Défilé L'Oréal Paris Event!

Usher Explains Why His Tweets Disappeared, Seemingly Addresses Theories Circulating Online

Apple TV+ Cancels 6 TV Shows in 2024

Cooper Koch's Brother Responds to Criticism for How Erik Menendez is Portrayed in 'Monsters' Series

Cooper Koch is gaining praise for his work as Erik Menendez in the new Netflix series Monsters , but he’s also faced some criticism for being part of the show.

Ryan Murphy ‘s series has faced backlash for featuring “blatant lies” about the Menendez Brothers story and the real-life subjects have even slammed the show .

Cooper doesn’t have social media, but his brother Payton took to Instagram to defend his brother’s performance and explain how he took “immense” care in his work.

Keep reading to find out more…

“I won’t speak for Cooper but I will say that he cares immensely for the boys and stands with them and all victims of abuse,” Payton said (via People ). “He did everything he could to ensure their stories of abuse were seen on screen and I think in episode 5, it is abundantly clear where he stands.”

Episode five was filmed in one take and has the camera slowly zooming in on Cooper ‘s face as he sits in a prison interview room while discussing his experience with sexual abuse with his lawyer.

Cooper joined forces with a surprising celeb this weekend to visit Erik in prison.

JJ: Latest Posts

• 'Sinners' Trailer, Starring Michael B....
• 'Chicago Med' Season 10 Cast - 1 Star...
• 'Outer Banks' Season 4, Part 1 Trailer...
• How Sierra McClain's Grace Was Written...
• Lorne Michaels' Real-Time Reaction to...
• Ryan Murphy Responds to Erik...
• Christina Aguilera Celebrates Debut...
• The Richest 'Suits' Cast Members...
• Sabrina Carpenter Skips 'Nonsense'...
• Floriana Lima Will Star in Both...
• Broadway Star Desi Oakley Brings...
• 'Murder in a Small Town' Actor Rossif...
• Dustin Hoffman Helps Aubrey Plaza Fix...
• The Menendez Brothers to Release...

Just Jared Jr.

• 'Pretty Little Liars' Reboot Canceled...
• Miya Cech Joins Live Action 'Avatar:...
• Joe Locke Receives Rave Reviews For...
• Pete Davidson Voices Villain Cat In...
• Chandler Kinney Gets Support From...
• 'Heartstopper' Season 3 Trailer...
• 'Zombies 4' Star Freya Skye Drops New...
• © 2005-2024 Just Jared, Inc. ||
• Accessibility
• Privacy Policy
• Manage Cookies
• Return to Mobile

• My presentations

Auth with social network:

Download presentation

We think you have liked this presentation. If you wish to download it, please recommend it to your friends in any social system. Share buttons are a little bit lower. Thank you!

Presentation is loading. Please wait.

NEW CRITICISM.

Published by Merry Harvey Modified over 5 years ago

Similar presentations

Presentation on theme: "NEW CRITICISM."— Presentation transcript:

Poetry Presentations Take notes on the following requirements of your presentations. Ask any questions that come to mind, so that you are clear about this.

Thinking & Writing about Poetry

ELA Mrs. Okie Flowers for Algernon.

ENGL 6480/7480, Studies in Contemporary Literature: Mad Men and the Sixties Dr. David Lavery Summer 2015 Sylvia Plath.

Selection Focus Transparency 1-1 Literary Elements Transparency 1-1.

Selected Poetry of Norman MacCaig

Poetry. Author Observations “A poem begins in delight and ends in wisdom.”– Robert Frost “...the best words in the best order.”– Samuel Taylor Coleridge.

Literature and Composition II DRAMA AND POETRY Course Objectives 1.Critical reading: understanding and interpretation. 2. Discussing poetry and drama.

Cut, Copy, Paste, Font Size, Font Style &

Literary Theory "Poetry, the workings of genius itself, which…has been called Inspiration, and held to be mysterious and inscrutable, is no longer without.

New Critical Approaches to Poetry From Analysis to Critical Essay.

How Catholics Do It. In Sacred Scripture, God speaks to us in a human way. To interpret Scripture correctly, the reader must be attentive to what the.

Poetry Lesson Objective: By the end of the lesson I will be able to use AF3 to analyse a poem AF3 – deduce, infer or interpret information, events or ideas.

Introduction to Poetry EOG Vocabulary List 5

TPCASTT Shift: Note shifts in speakers and attitudes

Introduction to poetry Part 2 “In a poem the words should be as pleasing to the ear as the meaning is to the mind.” -- Marianne Moore.

Poetry Analysis Using TPCASTT English I Pre-AP. Getting Started… This is a process to help you organize your analysis of poetry. We have already learned.

Introduction to Literary Criticism Part One Goals: -define Literary Criticism -define and describe Reader Response Criticism -define and describe Formalism.

Introduction to Critical Theory

“Ozymandias” and Irony Formalist Criticism. What do Literary Critics do? Literary critics make observations about and connections between works of literature,

About project

© 2024 SlidePlayer.com Inc. All rights reserved.

A new Sonic Central presentation is airing today with a look at "upcoming projects" - here's how to watch and what to expect

Endless possibilities?

A new Sonic Central presentation is scheduled to go live later today (September 24), bringing what should hopefully be a slew of new Sonic-related announcements across games, movies, shows and merchandise.

The latest Sonic Central presentation was announced by the official Sonic the Hedgehog X / Twitter account . The announcement graphic reads: "Tune in for a sneak peek of some of our upcoming projects, partnerships, and events happening through 2025."

If you want to watch the Sonic Central 2024 presentation live, there are two ways you can do so. The first is over at the official Sonic the Hedgehog YouTube channel , and the second being over at the franchise's official Twitch page .

Sonic Central is airing today at 9am PST / 12pm EST / 5pm BST / 6pm CEST , so if you're keen on catching all the new announcements as they happen, be sure to have either the YouTube or Twitch page open at the times listed above to be among the first to learn about all the latest Sonic news.

Think fast! Sonic Central premieres TOMORROW at 9am PST. pic.twitter.com/zJkyW7Zzxi September 23, 2024

To help keep your expectations in check, Sonic Central presentations are never anything too out there. We may get some updates on existing projects like Sonic X Shadow Generations as well as the third Sonic movie.

Previous Sonic Central showcases announced projects like Netflix's Sonic Prime as well as merch lines from Lego and other toy brands. Expect a decent portion of today's Sonic Central to be focused on merch such as this.

As for what's happening for the franchise in 2025, we may get a bunch of new dates and venues for the live Sonic Symphony World Tour. There may even be an outside chance at the reveal of some new games, whether that be the next mainline entry after Sonic Frontiers , a spin-off or a remaster of another classic Sonic title. 

Get daily insight, inspiration and deals in your inbox

Sign up for breaking news, reviews, opinion, top tech deals, and more.

The latter two seem much more likely than the former at this present date - especially as there's interest in the fanbase for remasters of Sonic Heroes and Sonic Unleashed. Personally, I'd love to see a new Sumo Digital-led Sonic racing game - ideally one of the Sonic Riders variety.

You might also like...

• PS5 Pro pre-orders go live this week: here's when you can buy one, and the retailers to try
• New PS5 Pro 30th Anniversary Edition pictures highlight tiny hidden details
• PS5 Slim 30th Anniversary Edition price has reportedly leaked

Rhys is TRG's Hardware Editor, and has been part of the TechRadar team for more than two years. Particularly passionate about high-quality third-party controllers and headsets, as well as the latest and greatest in fight sticks and VR, Rhys strives to provide easy-to-read, informative coverage on gaming hardware of all kinds. As for the games themselves, Rhys is especially keen on fighting and racing games, as well as soulslikes and RPGs.

The Nitro Deck is the best Nintendo Switch accessory you can buy and it's just hit a record-low price at Amazon

NYT Connections today — hints and answers for Tuesday, September 24 (game #471)

Google TV gets a big free update with cool new AI and smart home skills

Most Popular

• 2 Turtle Beach Burst 2 Air review: a gaming mouse that’s light on weight, but not on price
• 3 Google Maps and Android Auto are making it easier for you to find the right lane
• 4 Apple just declared a bunch of Macs obsolete – these are the affected MacBook and iMac models
• 5 Screaming, yelling, and 30,000 complaint emails: a report lays bare what went wrong at Sonos