Much has been made of how innovative Undertale is for providing players with the opportunity to resolve fights peacefully, without killing any opponents–and, in fact, even seems to punish players for being too eager to kill. However, winning fights without killing is not necessarily easy, and frequently requires players to take a large amount of damage. Indeed, message boards and blogs are full of stories about how virtually nobody can avoid killing all the characters on the first go. What, if anything, could a game like this teach about how to resolve problems in real life? Can you think of any situations where you might be putting yourself in harm's way by being peaceful?
I wrote an essay on Undertale in my first year of uni, particularly on player agency, and I find that it's a really compelling game to write about. I'd suggest thinking not only about the game's unique take on pacifism over violence, but how it gives you that choice again and again and what this means for real-life interactions with people. Additionally, in terms of how Undertale might teach us how to resolve problems, there is always more to someone than initially meets the eye. Every character in Undertale has a story and has their own background and motivations. There might be an interesting parallel to be made with how we treat others in this day and age. – sofiarbarr5 years ago
In the last few years the film/TV rights of roughly 90 different fantasy and sci-fi books have been bought up, with many of them having potential to see the light of day. Interestingly, TV seems to be overtaking movies for adapting fantasy. This may be due to the success of Game of Thrones, but I think it is also about the form itself, which allows a longer and more detailed story to unfold, opposed to fantasy movies that tend to leave out a lot of detail and feel rushed. TV in general seems to have lost the stigma around it, allowing for more nuanced adaptations that rival even the best movies.
Definitely mention The Expanse in the article somewhere. I believe it was also marketed as "Game of Thrones in space." I also agree generally in the assessment that with space operas and epic fantasies, TV shows allow for more details and decent pacing. – Emily Deibler5 years ago
I feel like it largely has to do with the fact that many fantasy works tend to be long-running series, and unless you want to cut a ton of material it's just easier to adapt series as TV shows than movies, or even a series of movies. – Debs5 years ago
Fantasy is much more suited to TV than film. In TV you can have whole episodes devoted to a particular element where you might get seconds of screen time in film. – LauramourFromOz5 years ago
Daniel Craig will soon be suiting up for his fifth and final James Bond film, titled "No Time To Die", set to release spring 2020. The film will reportedly see Bond retired in Jamaica (a familiar spot for the Bond series and original author Ian Fleming) at the start of the film. Presumably, Bond is reluctantly called back for one last mission. With this being Craig final Bond film, changes are on the horizon for the massively successful and long enduring franchise. Rumors have long been floating around the internet that the next bond may break gender or color barriers with the casting of the next 007. After Craig's final film, will the James Bond producers make ambitious changes to its iconic character, or will chose to continue the series's status quo?
If we're going to see a Jane Bond, then I demand to see a Marty Poppins! – Amyus5 years ago
I have a feeling that they will go hard in one of two directions. In one they go even darker and more gritty than they have before, OR they decided to go goofier and more comedic. Either way I will be right there watching. Great idea! – tredmond5 years ago
I think it'll be interesting to compare it to the Mission Impossible series where you have multiple directors of varying backgrounds using an established IP to experiment and tell a new story. Obviously exploring the potential casting decisions is a hot topic right now but what would a James Bond film look with an expressive and experimental director aiming to turn the genre on its head? – CAntonyBaker5 years ago
I don't think James Bond will be as relevant anymore. He'll just be another action star/spy like John Wick or Jason Bourne, no longer as unique. With the #MeToo movement and political correctness, his character would also be more different than it was in the 60's and 70's. Maybe better, but not as distinct.
And no, I don't believe he should change genders. It's James Bond. 007 as a woman isn't James Bond. People watch 007 because he's a man. I feel a gender change would lose more people. Better yet, do a different agent - you don't need a female 007.
Given the fact that he's been a racist at least once and was written as white, it probably also wouldn't be a good idea for him to change races. I wouldn't be against it, but it wouldn't make sense. – OkaNaimo08195 years ago
What could the programs that we choose to watch, queue, and re-watch tell us about our emotional/mental state – and might they be able to reveal more than we are able to communicate/admit ourselves?
The al a carte, self-serving nature of today's digital streaming services allows users to set up their own digital buffet. A little bit of this, a little bit more of that, less of this. What could our choices illuminate – if we had access to the data that streaming service algorithms collect about our taste, what could we learn? Would we see seasonal trends, how do our choices change around major life events (child birth, loss of a loved one, marriage, starting a new job, etc.)
I'm interested in examining a few monsters that appear in horror films (ie zombies, ghosts) and how these monsters reflect racist ideologies of marginalized bodies. For example, the zombie emerged in Haiti as a result of the transatlantic slave trade and a reflection of the feeling of enslavement. I want to closer analyze how these monstrous figures are embedded in racist histories (maybe examining 2-3 films).
This is a really great topic I'm actually exploring now. For suggestions, I would look at how Frankenstein's monster often represents the Other, especially women. Dracula was full of Eastern European stereotypes and a fear of London being imperialized--like they did to much of the world. The xenophobia and racism I'm exploring are tied to Lovecraft--the "fear of the unknown," which may be helpful to explore. I'd also add, since the topic is films, I'd look at Peel's US (the underprivileged and economically disadvantaged are quite literally in the underground) and The Shape of Water, where a disabled woman, a gay man, and a black woman all connect to the "monster" in some empathetic way because they're underestimated or communicate differently. – Emily Deibler5 years ago
It might also be worth it to bring up Candyman, which explores both racism and classim in complicated and sometimes problematic ways. – Emily Deibler5 years ago
I would also consider addressing the sympathetic monster in The Shape of Water. Most monsters are rooted in racism, but even the simple concept of the other, racist, sexist or otherwise. Even going back to older monsters like Grendel's mother in the Beowulf, and the other to the normative Anglo-Saxon woman implied there. Not really a modern horror film I know but there are several adaptations that stray considerably from the source material to reflect the "horrors" the modern audience would understand. – TabathaCass5 years ago
Maureen Murdock created the Heroine's Journey as an alternative to Joseph Campbell's famous the Hero's Journey. She believed that the Heroine's Journey would align better with the female experience.
Analyze the possible applications of the Heroine's Journey in writing. Compare the Hero's Journey and the Heroine's Journey. What do the differences between them imply about society and our perceptions of masculinity and femininity? Are there any examples of the Heroine's Journey prevalent in literature and pop culture?
I am not as familiar with Murdock's work as I am with Campbell's work and Vogler's interpretation of the Hero's Journey in his book "The Writer's Journey." That being said, Vogler suggests that the real difference between male and female journeys may be in their form: that men's journey is more linear, "proceeding from one outward goal to the next," while women's journey may spin outward, inward and outward again. I think this form suggests that a woman' journey is more introspective than a man's, who--according to Vogler--must achieve his needs of going out and conquering, possessing and achieving. – Paula Rai6 years ago
I'd love to see an article about this topic! – Sean Gadus5 years ago
Great topic! Cheryl Strayed's novel-made-film Wild (2012, 2014) would be a great text to examine through the Heroine's Journey. There's a clear quest structure (leaving home, enduring trials, etc.) along with a lot of movement between the outward and inward and a lot of treatment of the mother/daughter relationship. How we look at something affects what we see end up seeing. It'd be interesting to examine how we get different things from a single text if we look at it through Campbell's model or through Murdock's model. – JamesBKelley5 years ago
There are musical films like "Walk the Line" that tell the story of legendary real-life musicians, and then there are those like "Walk Hard: The Dewey Cox Story," that, while perhaps equally legendary, bring to life new, fictionalized musical talents. In the case of one of the more well-known fictional bands of all-time, Spinal Tap from "This Is Spinal Tap," the band ended up becoming something of a reality. After making their film debut, Spinal Tap actually went on to record a few albums and even embarked on concert tours. Is the experience of Spinal Tap something of an anomaly? Has Hollywood missed out on opportunities to capitalize on a potentially successful musical acts from film that could have been something more than just fictional? If so, what bands/artists from film might have made it in the musical industry?
This is an exciting and intriguing topic. My favorite is "Stillwater" from Almost Famous, which is almost the prototypical 70s rock n rock band. – Sean Gadus5 years ago
I sort of love this topic! I'll admit, I'm a big sucker for transmedial narratology and anything that blurs lines between fiction and reality, so this just pushes all the right buttons. Two more "anomal-ish" examples that come to mind are The Monkees and Hannah Montana, although they operated as almost an inverse of Spinal Tap, being conceived from the outset as both TV characters AND actual pseudonymous touring musicians, as opposed to Spinal Tap having (as you mentioned) only beginning to tour in response to the success of the film. Honestly, I think leaning into the anomalies might make for a more fruitful and thought-provoking discussion than what might otherwise read a bit like a Buzzfeed-esque list of micro fan-fictions about "what if Dewey Cox/Conrad Birdie/Llewyn Davis/Stacee Jax/School of Rock/Hedwig and the Angry Inch/Stillwater/Chum Bukkit/Mouse Rat/etc were real." Anyway, just some food for thought. Looking forward to reading the finished article! – ProtoCanon5 years ago
I’m not going to lie, I don’t think I’ve ever genuinely thought about this topic. But I would have loved to see school of rock tear it up as a kid, Jack Black is something else. – ShaniaRachelle5 years ago
Even prestige television shows require something of an episodic format, and the plot must progress as a series of mini-climaxes and narratives for each episode. One of the advantages of television is the fact that the repetitive nature of the episodic structure lets us see the character in a gradient of contexts. Some recent films and "cinematic universe" projects seem to be following the television model, and place characters through iterative encounters to reveal more and more about them. The Marvel films are the most obvious example, but even series like John Wick are taking this approach. As big "intellectual properties" and sequels grow increasingly important to the success of films, is film starting to treat its characters more like television's and less like the traditional film protagonist?
While it is crucial to note the profitability of franchise in the movie industry, and that has been a huge trend since the start of this century really, but it is undeniable that this television-style arcs have established better understanding and depth of the characters (I’m referring to the multidimensional ones worth dwelling into), consequently audience connections. To answer your question, yes, the movie industry has been going at length to, say, milk every possible layer of a blockbuster. That’s partially, in my opinion, because us the fans are curious to see if the sequel lives up to or outdoes its predecessor. However, no franchise can be in existence if creators are not sharp in stearing the wheel. – LisaV1325 years ago
Analyze the connection between the game Horizon Zero Dawn and what it takes form Indigenous Cultures to create its world. Does it portray tribes in a respectful light? Do you consider any parts of the game or the game its self as appropriative or appropriation of these cultures?
The Mercer Effect is known as players and DMs having extremely high expectations for what to expect from a D&D game. Do you think the Mercer Effect has become prevalent in the last 12 months, increasing with Critical Role's popularity? Or do you think that it has grown with the knowledge of more D&D shows and an expectation that all DMs should be up to this level. Or – does it not exist at all?
Maybe it's because I'm not super familiar with Critical Role, but is the name "Mercer Effect" based on the DM? To pursue this topic, I think it might help to explain the cultural significance of Critical Role and its players/DM, and how D&D in Critical Role is played differently than the average game. I really like the idea of analyzing the rise of D&D shows and how that might impact expectations for new players! – Eden5 years ago
Sounds like a great topic, I would include how to set expectations for your players and foster a fun environment without expecting the polish of an expert I will say that Critical Role and D&D media are increasingly becoming peoples first contact with RPG's rather than playing them witch does change the expectations of a new player. – cjpetersen1235 years ago
As a long time DM who does not listen to Critical Role, this topic seems worth pursuing. However, you would need to describe (as another poster mentioned) why Critical Role is so popular. My question is: is the Mercer Effect a product of those who get into D&D because of Critical Role, or has it "spread" to longtime players who are beginning to expect something different from standard play? – Derek5 years ago
Over the past year I have watched more action movies than I had ever cared to and I couldn't help but notice that each one is exactly the same. Sure, the plot might be altered just slightly but they follow an identical formula in an identical pattern: brief exposition – initial complication – bland nothingness – punching – running – car chase – running – punching – final monologue – more punching – and everything's fine. If we can sit through this repetitiveness over and over again then are we not complacent with repetitiveness in our lives?
I couldn't agree with you more, although many at the Artifice would disagree with your opinion. Perhaps an angle to take would be to look at why formula works - and not just in action movies. Romance films also have a formula, as do crime films, detective films etc. I'd therefore suggest that people sit through the same old same old, over and over again because of its familiarity and the sense of comfort that offers. We know that the hero/heroine will always beat the bad guy, we know that when boy meets girl (or vice versa), boy will inevitably lose girl, only to find girl again and all will be fine. Is this complacency? To a large degree, yes, but then many mainstream cinema goers are there to be entertained not challenged. – Amyus5 years ago
I think something that could be helpful here is clarifying whether or not you believe the comfort of repetitiveness is inherently wrong or not. It seems that you are inclined to think it is not a virtue. Also, another thought--does repetitiveness of a movie necessarily reflect the lives/characters of the audience enjoying said movie? – rachelwitzig5 years ago
Since the early 2000s, the superhero genre has saturated our screens with no intention of slowing down. And I wonder why this is. Why are Marvel and DC superhero movies the front runners in the current cycle of action cinema? What might be the cultural conditions which boosted the popularity of this genre? Is it simply a matter of evolved special effects adding a more realistic spectacle to the narrative, or does our love of superheroes expose a wider cultural anxiety about the need for national protection (an after-effect of 9/11, perhaps)?
I've always wondered this myself. A great source for this piece would be Robert Kirkman's Secret History of Comics, because viewers see just where these superheroes came from and how they affected society at that time and continue to do so now. Everyone wanted to BE Superman or HAVE a Superman. Marvel comics took a step forward from black-and-white "bad guys" to villains with complex backstories and motivations. I believe that the heart of superheroes continues to be so relevant and prevalent nowadays because we still have that yearning to see good triumph over evil, as well as see these comic book characters come to life. – EJSmall5 years ago
On top of all the factors which you have mentioned, part of me (the optimistic side) believes that the superheroes genre provides a fertile ground for experimentation especially with diversity. Though it is not perfect, superheroes movies tend to make an effort to be inclusive with diverse casts and I believe, rightly or wrongly, that it has contributed to the success and appeal of the cycle of those movies. – kpfong835 years ago
The release of Todd Phillips's Joker film is imminent. With Joaquin Phoenix in the title role, the film received honors and praise at the Venice Film Festival. Though the film has been generating controversy for its content, the film is projected to have an opening week of about $80 million dollars when it debuts on October 4th. This is a massive projected gross for a R rated film. Will the critical and potential commercial success of stand alone (and more mature) films like Joker influence the direction of Warner Bros. and D.C.'s future films?
I notice that you write about Batman quite consistently. But, this new chapter in the scheme has definitely caught my attention. I watched with awe at Cesar Romero in the 1966 TV series, Jack Nicholson in 1989, and the role that brought me back into the mix, Heath Ledger in 2008. Don't see why this highly anticipated depiction would disappoint. I would like to see a good block of writing on Heath Ledger's outstanding and highly acclaimed characterization. – L:Freire5 years ago
I think this is a valid question to ask and unless this movie somehow becomes a stunning flop (which, let's be honest, is unlikely) then I think it will have a major impact on future D.C. films. Taking in the poor reviews for Suicide Squad and other D.C. films lately, it appears that D.C. definitely wants to go in a more artsy and niche direction, something that previously hasn't existed (at least to my knowledge) for comic book adaptations. I think D.C. has been criticized a lot for its inconsistency in regard to the tone of their movies, and this new Joker movie may solve that problem for them. – BakerQ5 years ago
Analyzing how fan-fiction has evolved as something sort of niche and obscure on the internet, written by a usually younger audience to explore the different ideas they wanted to see from shows and movies they loved. Now it has become a wildly viral thing where some people explore those same ideas but with real people including YouTubers, band members and Hollywood celebrities. An interesting approach might be how the ones based on true people might affect those celebrities or internet personalities.
cool idea, but it seems somewhat broad? something that could narrow this down could be picking a specific theme/celeb (like you say in the prompt) and examining that, while also synthesizing it to related themes/contexts if you so wish. any stats/additional credible information you could find on this topic supporting its increased prevalence would be useful! – r5 years ago
Analysis of how using a blogging platform can free the mind and creativity, as well as potentially even releasing writer's block. Open to any other thoughts on where to take this.
I like this, but I would suggest a little clarification. What does it mean to "free the mind" and what is the advantage for writers? Can you find any concrete examples (i.e. quotes, statistics, examples of authors) that either support or do not support blogging as beneficial for writer's block? I think this could be a useful article for young writers. – Eden5 years ago
I agree with Eden that this needs to be more fully outlined, especially as there are many blogs used for a range of purpose, are you advocating the process of blogging about writing or just doing a blog in general? This is an interesting suggestion but obviously difficult to measure. – SaraiMW5 years ago
Since I won't be the one writing it, I decided to leave it up to whoever decides to, and let them have free reign on it. Sorry if it sounds kind of floppy, but I wasn't sure how to go about it. – sophiebernard5 years ago
I began blogging to release all the anxious thoughts that were piling up in my head. I found it much more cathartic than simply writing it in a notebook because submitting something to the internet makes it feel as though that thing has been taken out of your hands and released to strangers forever. – veritygrace5 years ago
A good idea-probably requires some theme, where the writing develops around some central issue or theme so readers see how it expands. – Joseph Cernik5 years ago
For whoever takes this, I might also suggest thinking about the social aspect of blogging. How might this help--or complicate things if someone lacks confidence or is shy when engaging with others online? – Emily Deibler5 years ago
I would recommend as a blogger myself discussing how blogging creates a community and an ability to network as well, which can catalyse this 'escape' – waveofsalt5 years ago
Do you mean blogging as in writing about day to day life for the world to read? Or do you mean blogging as in writing about one's passion? If you elaborate more on your view, it would help bring this piece together. – Dena Elerian5 years ago
Just how influential is dragonball on the shonen anime of today? Hunter x hunter, Fairy Tale, and Black Clover are just a few anime with components that mirror the Dragonball series. Having large casts of characters with superpowers, and different "levels" a character can progress through. Think of all the elements that make up a shonen anime, do you agree that newer shonen anime take from DB? Where would you rank the Dragonball series in terms of influence on the shonen/action genre in anime?
I think it would be useful to define some terms here. "Influential" in which ways? Which concrete similarities/differences are visible to audiences in, for example, the storyline? The characters? The setting? And what does it mean to be "influential" and why does it matter? I love Dragonball and I think it would make a very fascinating article if someone could point out how things like the character designs and fighting moves have been emulated and imitated across other series. – Eden5 years ago
This has long been a question, that usually doesn't get answered because most people don't really care. Why do a lot of anime characters not look Japanese? Is it because of diversity on screen? It would be interesting for someone to dive in to this topic. Hopefully, appropriately without any negativity or hate. I have my own theories, but I am curious to hear what other fans think.
A really good topic to discuss and would be great if you could find some interviewers with creators to include as I am sure this question will have been asked of them at different stages. Perhaps even look at comparisons to others that do depict diversity also. – SaraiMW5 years ago
My understanding is that it's not so much that anime characters "don't look Japanese" per se, as that they have muted racial features in general. The audience members are then supposed to project their own race and background onto the characters. To a Japanese audience member, the character will likely still look Japanese--but to a Westerner, they'll look Western because that's what they're most used to seeing if race is ambiguous. – Debs5 years ago
I think part of the charm with anime is the different art styles and the variety of different characters we are exposed to. The unique and vibrant styles of each individual character is what sets anime apart from other TV shows. It's also fun to see people portray anime in real life, with cosplays and digital art. – chelseaatmaja5 years ago
It is worth tracing a path from the works of Katsushika Hokusai - Hokusai manga (1814). Then looking at the influence of Disney on Tezuka Osamu. This helps to see how the characters have come to look westernised while retaining a unique Japanese aesthetic. – Chris Carter5 years ago
It's great to see any characters design. However it choose who is the beat – GlennMandagi5 years ago
What has led to the rise of entrepreneurial filmers in the 21st century and taking the risk by themselves to develop their own company when there are so many out there. What has benefited to the rise of individuals doing so now and not before?
Analyse the popular opinion that Harry Potter has increased youth literary interest. Has Rowling inspired young readers to go on to new and different content outside her stable, or has her pervasive Wizarding Universe sought to monopolise marketshare?
A good issue, I'm just not sure how to measure this. In addition, interest in Harry Potter books may not carry over to reading other literature or the New York Times. This might be approached as a pedagogy issue at the middle school level: Has Harry Potter been added to classrooms to help inspire other reading. – Joseph Cernik5 years ago
Analyse the complementary color play that defines a particular aesthetic in the science-fiction sequel. Consider how variable settings implement a refreshing palette that supplements the tone, atmosphere, and dystopian elements of the film (i.e. the unsaturated orange contrasting the metropolitan neon, etc.).
Fascinating topic! I would also consider including some discussion comparing/contrasting/referencing the original as well, and how this color play affects the audience's experience. I would include some discussion about *why* this matters and what makes it unique from other genres, films, and cinematic techniques. – Eden5 years ago