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I think it's worth examining the power dynamics in fantasy games and what makes each particular game feel satisfying. Games like "Monster Hunter" and "Skyrim" both offer the player a degree of power over the world, but the difference lies in degree. "Monster Hunter" empowers the player as an exceptional hunter, but only allows them to practice that power in particular ways. "Skyrim" allows players to kill people with only their words. Yet both these games prove to be immensely satisfying. My question is what common factors lie between them? How do each of these games (and others) feel satisfying despite the difference in how they allow their players to act in their worlds?

Analyze how gender issues in the writings of the past and present are similar to how things are now. For example, look at The Handmaid's Tale by Margaret Atwood, and explore something like The Golden Girls, or a play like A Raisin In The Sun. What do they say about womanhood? How have things changed? How is there still relevance from the past? What does this say about women's role in society today?

Since its technological and artistic breakthrough in the character of Gollum from Lord of the Rings, filmmakers have experimented with the possibilities and limits of the technology, with varying success. From single characters (like King Kong) to whole races and worlds (like Avatar and several Robert Zemekis films), motion capture elicits anything from wonder in the face of its breathtaking realism, to criticisms that overuse of the technology dumps the audience smack dab in the center of "Uncanny Valley." Why does motion capture draw from critics and audiences such polarizing responses? What films use the technology wisely, and which overuse it to the extent of alienating its audience? Look at both the original instances, like Gollum, and more recent instances, such as Alita in Alita: Battle Angel, and analyse how the different instances work and how they avoid or encapsulate "Uncanny Valley" in their films and characters.

Analyze the evolution of popular RTS games such as the Age of Empire series alongside others like Medieval and how they serve as education through entertainment by using historical battles and events as the crux of their gameplay material. Also analyze how well-sourced the relevant histories being represented in these genres of RTS games are.

Call Me By Your Name – the book version, ends with Elio and Oliver's separation, but their longings for each other last for what seems like an eternity. Find Me – the sequel, picks up the storyline a few years later, and, spoiler alert, slowly leads the two star-crossed lovers back together in the end. However, the perspective has changed as the Find Me is in the POV of Elio's father, now divorced, and his journey of finding new love with a woman much younger than himself. If Call Me, under Elio's POV, was so successful critically and commercially, why did the author switch to his father's, whose outlook on life may not be on who was responsible for some of the most soul-touching, sentimental and inspiring dialogues in the prequel

Analyse the texts that surround the current royal fantasy trend within young adult books. Worth noting Sarah J. Maas's contribution and how texts such as Red Queen and others compare. Are there any archetypes concerning the female hero within?

Boku no Hero Academia (BnHK) is an anime series that has been rising in popularity over the years in Japan as well as with the Western audience. Among the recent slew of movies and entertainment based around superheroes, Boku no Hero Academia is no different. This follows a current trend in the evolution and redesigning of superheroes' past and present. There are various similarities and identifiable inspirations that the author of BnHK has taken to flesh his characters, and yet there is a unique charm to one of the series' protagonists: All Might that carries forward to other characters in the series and makes it truly unique. All Might is very much the Superman of the series, and yet there is something about his character that makes him far more evolved and endearing than the big boy scout. How does this correlate to the current perspective and revision of the modern superhero?

At the end of the 19th century, a sociologist named Thorstein Veblen argued that privileged people flaunt their wealth in three ways: conspicuous consumption (showing that they can afford to buy products); conspicuous leisure (showing that they can afford to waste time); and conspicuous waste (showing that they can afford to throw things away). Recently, conspicuous consumption and conspicuous waste have lost a lot of their worth as status symbols because goods have become more affordable and both practices are associated with environmental destruction, but conspicuous leisure (which can entail anything from sitting around and doing nothing to lavish vacations to memorizing pointless social rules and regulations) doesn't seem to carry the same stigma. Classically, conspicuous leisure was embodied in an aristocrat who sits around in a large mansion and looks down on people who perform manual labor, but what are some modern equivalents, either in real life or in our media?

Shounen manga and shoujo manga have both been perceived as opposite ends of the spectrum, with shounen being seen as 'for boys' and shoujo being seen as 'for girls'. Analyse how both demographics explore femininity and female empowerment, and how the stereotypes of both demographics can affect the way women are written or interpreted by the audience.

How are women often portrayed in shounen manga? How does this compare with shoujo? Where are the similarities, and to what extent are these similarities cultural? Is it fair to expect a shounen manga to emphasize female characters when the target audience is supposedly largely male? And are our stereotyped perceptions on these demographics even true anymore? Manga like Naruto, FMA, Sailor Moon and Akatsuki no Yona touch on these questions and may be good considerations

Numerous stories have featured plants in the role of villains. These plants range from minor nuisances (like the mandrakes in Harry Potter) to central antagonists (as in the musical Little Shop of Horrors). Why are people so fascinated by the idea of plants as villains? What are some examples of real-life dangerous plants? Are there any particular real-life plants that seem to get used as models for evil plants more often, and if so, why?

Scott McCloud's graphic novel "The Sculptor" gained recognition for its art and plot. "It was the best graphic novel I've read in years" were Neil Gaiman's words to describe how much it is a good read. The events pivot around the protagonist David Smith who was granted the power to turn anything he imagines into reality through sculpture. That was, however, only made possible when Death manifested itself in the form of his uncle Harry to tell him that he will, in return, have just 200 days to live. As the comic book was published in 2015, it could be assumed that it questions the position of art in modern society. Considering the capitalist lifestyle in the American society, McCloud seeks to criticize how art cannot always be treated as a business and that we should not forget its primary purpose.

Vinland Saga began it's first animated season this summer. The series focuses on Thorfinn Thorsson, as he embarks on a quest of revenge. His father, Thors is killed by Askeladd. Thorfinn joins Askeladd's band of Vikings, waiting for the day that he's strong enough to kill Askeladd in a duel. Revenge is a common theme in anime. Analyse how revenge is depicted, what are the effects on the main character and secondary ones.

Consider comparing and contrasting how the theme is presented in anime. You could focus on popular series like Vinland Saga, Attack on Titan, Kill La Kill, Demon Slayer: Kimetsu no Yaiba and Goblin Slayer. Some of these series are more violent than others. How does this effect the depiction of revenge? What happened that warrants revenge? Are the characters justified? Do they attempt revenge in different ways? Do they succeed? Are they all sympathetic figures? Finally, how does the pursuit of vengeance change them.

Korean's broadcast channel Mnet has been found out that they fabricated the final results of their survival shows Produce 101. On these survival shows, the audience has to pay their own pocket money to vote for their contestants, so when the worth contestants don't get to win, it has become a legal issue. The contestants who join the shows can get the ultimate chance to become famous when they debut, but with the scandal going around, they are also in the pitfall of having the "Cheating" tag hanging all over them for the rest of their career. What are some of the risks of Produce 101 and Korea's Talent-Survial Shows in general? Is the temptation of becoming famous worth having your entire career suspected and hated by the nation?

The family unit has been at he heart of both salvation and destruction in recent horror films. Analyze some recent horror movies revolving around questions of family (familial curses in Hereditary, family-making in It) and discuss how the family unit can be a source of both fear and strength in these films

Since humanity's earliest days the ability to fly has long been one of the most innate yearnings of our species. This is reflected heavily in our fictional works, perhaps most noticeably in superhero comic books and films. However, not all heroes can fly (Besides the story's internal reasoning for their powers) what does this indicate about heroes who do have this ability and why? What does it say about those that don't? Comparison of multiple works may yield the most interesting results.

Most actors spend their careers playing fictional characters. However, many actors are chosen to star in biopics, Biblical epics, or similar films at least once. When an actor makes the switch from playing a character to portraying a real person, the gravitas factor goes through the roof, and while most actors will try to play real people respectfully and responsibly, there are some who arguably do it "better" than others. Just for one example, look at the many actors who have played Jesus Christ over the years.

In your opinion, what does it take to play a certain real role responsibly and respectfully? How much of a production team's choice is based on "casting type" and how much is based on say, personality or lived experience? What are some of the best biopic portrayals you've seen, of whom and by whom, and why? Discuss.

Saving Mr. Banks (2013) was something of a groundbreaking film for Disney. The company had done films based on true stories before, but Saving Mr. Banks was the first to juxtapose the story of a Disney classic's making with the story of the original work's author. Saving Mr. Banks met with critical acclaim and is also one of my favorites in the canon. In fact, I'd very much like to see more films like this.

Do other films in the canon, live-action or animation, lend itself to this type of storytelling? Would actors or viewers be interested in say, learning about the personal lives and struggles behind the makings of Disney's Golden, Bronze, or Renaissance films? Are there untold stories to be mined from animators (e.g,, Walt's Nine Old Men, female animators, etc.) and other production staff/voice actors? Discuss.

How does the experience of watching horror film differ when watching on streaming and on-demand services at home? With the rise of Netflix originals, is there still a place for cinema screenings of these films? In particular with the genre of horror, how much is the setting of your viewing an important part of the experience?

Analyse how schools should upgrade their current material to better prepare students for the modern world. May include a change in curriculum, how social media is/may be taught to them, security control, etc.

There is a vast array of literature that, in its time, was written with the intention of some form of social justice. An example of this is the much-cited "Uncle Tom's Cabin," by Harriet Beecher Stowe. However, as modern ideas progress and the willingness to allow every human their basic rights grows, we look back on texts like this and realize that the philosophy within it is antiquated and that its ideas on how to overcome racism simply don't suffice.

This in mind, how should we deal with texts like hers? Should we look at them graciously and say that, given the lack of understanding about true social justice, the author did the best she could based on limited knowledge? Or should we stop circulating and supporting texts like those because they do not go far enough in their attempts at fighting the social injustices of our day? Is there a middle ground?

The writer does not have to choose "Uncle Tom's Cabin" as their example–any older text with out-of-date social justice views would suffice.