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Do they follow similar patterns or is one typically more successful than the other? What have you noticed about the reception from fans for each type of adaptation? Why do you think these results have occurred?

Analyse the current state of the canon between Eva and it's rebuild. Compare the emotional highlights from the first anime with their analogs in the rebuilds and what the variations between the two mean for the story.

Analyze the characters and how they're different between the rebuild and the original series.

Highlighting the differences not just in the emotional state of the author but in the conceptualization of the story after having been finished once and now finished again.

Pokémon has always had a close relationship with lore communities because of the nature of the Pokemon world being just that, a world. A fictional world, with its own quirks and stories and legends different than but somewhat inspired by real-world folklore.

Mythology within the world of Pokemon serves not only as a main pathway for lore to be shared with fans. It also allows for the world to be explored within the views of the inhabitants. Mythology gives the characterization of the world. That said, mythology within Pokemon has always been contentious with regard to the subject matters addressed and the consequences of said stories.

While many don't have much to say about the myriad stories of the legendary Pokemon, that is the Pokemon that are deemed more powerful and rarer than most, other stories such as the Sinnoh myth of how people used to marry Pokemon were seen and received much more hostility and revulsion

With that in mind, however, in 2024 there was a leak of unprecedented scale of unreleased files about the creation of various Pokemon, their regions, and the lore surrounding both. Because of the leak, the function of mythology within the Pokemon world has come into question again because of the especially controversial nature of some of the stories.

With some clear parallels to Greek and old Japanese folklore of gods and spirits seducing mortals, there was a severe backlash and revulsion.

The general reception to the myths about certain Pokémon raises the question of what is the function of mythology in the games. And even if a myth isn't "canon" for a universe what role does it play in shaping its world and what does it say about the world that was being created?

Breath of the Wild and Tears of the Kingdom are newer Legend of Zelda games that feature open world mechanics and the return of the collectathon, in a sense. A collectathon is a type of video game where there are items and objects to collect in order to either progress in the game or obtain an upgrade. An older example of a collectathon would be Banjo-Kazooie or Jak and Daxter. In Breath of the Wild, the collectathon element of the game is Korok seeds, except there are about 900 to collect in the game. Tears of the Kingdom increases that number.

The topic taker should see if this newer collectathon element is too much to do for the player. The topic taker is free to examine other newer forms of collectathons than the two mentioned in this topic. Research points to include:

– The time it takes to do these collecting elements

– The reward for completing the entire collection

– Player feeling about the collecting element in the chosen game or series

– The topic taker is free to also include an element of the psychology behind why collectathons work, if they wish.

Links to get you started:

Breath of the Wild Wiki: (link)

Tears of the Kingdom Wiki: (link)

An Explanation of Collectathons and how they transformed: (link)

A brief list of modern collectathons: (link)

Podcasts have a massive impact on shaping the identities of young boys and men. Recent research has shown that young boys and men are falling behind in what consumerist societies consider successful worldwide. In the last decade, we have seen the rise of podcast industries that promise to motivate and change men to be successful. We know this is a business. However, we may need to ponder if these podcasts change or deconstruct the concepts of masculinity. Do they reinforce or deconstruct what we know as "toxic" masculinity? Many of them focus on building successful relationships in family and workplaces. How do you think 21st-century young boys and men respond to them? How do these podcasts interact with feminity and queer identities?

There Will Be Brawl is a 2009 parody based on the video game Super Smash Bros. Brawl. A contentious game in its franchise, this web series has little overlap with the game it's inspired by or the movie There Will Be Blood.

It's a detective noir where Luigi takes center stage trying to piece together the mysterious deaths of various video game icons.

Its legacy is that many of its stars, from Matt Mercer as Ganon to Kyle Herbert, have gone on to bigger and better things.

But the writer should seek to explore what did this story of a gritty Mushroom Kingdom say about the world of 2009 and more than that what if anything can be gleaned from it over a decade later?

The writer could explore the challenges and opportunities in adapting Harry Potter into a TV series. How might this format allow for deeper dives into beloved characters and overlooked subplots? What risks come with retelling a story already ingrained in global pop culture? The piece could also examine the impact of fandom expectations and the controversy surrounding J.K. Rowling’s public statements on the reception of this adaptation.

The writer could analyze how games like The Last of Us Part II and Disco Elysium tackle moral decision-making. Do these choices genuinely empower players, or are they crafted to create the illusion of control? By exploring the narrative techniques behind these dilemmas, the piece could shed light on how game designers manipulate player emotions to craft deeply impactful experiences.

Skyrim has a video game has a reputation longer it seems than any and it's franchise and more dominant than most in its genre.

Despite its release over a decade ago it's still stands as one of the most popular RPGs to this day.

With that in mind it also has a very immersive and expansive world and within that world there is an innumerable mass of stories and legends.

One such tragedy is the story of what happened to the snow elves also known as the Falmer.

According to the law of the game the snow elves were a people that existed before Mankind and the land of Skyrim and through Conquest or retaliation the humans that settled the area eradicated them forcing them to join forces with the Lost race of dwarves that exist in the universe of Elder Scrolls and becoming cursed to be a fallen race of Mer or elf.

The author can use the lore from previous games they can use the lore from the Elder Scrolls Online they can explore the nature of existence for a species of people who seemingly don't exist anymore within the world that they used to.

Their story is called the tragedy of the snow elves and so one must ask was it a tragedy and Who Weeps for them?

Mark Twain's portrayal of Widow Douglas, another of Huck's guardians, emphasizes the topic of religious hypocrisy. The Widow Douglas represents a respectable, "civilized" society that seeks to reform Huck by imparting Christian moral standards in him. She educates him about prayer, urges that he be "civilized," and opposes his reckless behavior. Twain, on the other hand, gently challenges Widow Douglas' moral authority by exposing her errors. For example, she discourages Huck from smoking yet readily consumes snuff, a type of tobacco. Her own habits reveal the moral contradictions in her faith.

A critical analysis of Peacock’s Based on a True Story, this piece could delve into how the series critiques our cultural fascination with true crime. It might also compare the show’s satirical approach to the glut of documentary releases, examining why audiences are drawn to these stories and the ethical questions they raise about entertainment based on real-life suffering.

Depression Quest in 2013 is a Twine engine game made by Zoe Quinn. The game / interactive fiction
dealt with the difficulties of living with depression. Although, it was praised by the more mainstream gaming media for its depiction of struggling with mental health, the game also sparked polarizing reactions, and became a focal point for the online culture was. It was particularly of note as a justification for the harassment campaign Gamergate in 2014.

With that in mind the author can explore the value of the game as a game and delve into how did this game challenge traditional gaming norms at the time? What does its critical and consumer reception reveal about the the world of indie game development and the modern social media landscape?

The Story of an Hour illustrates the dual themes of confinement and freedom. Mrs. Mallard's story reveals the restricted roles of women in 19th-century society and the profound yearning for selfhood that lay beneath those constraints. The brief and intense exploration of freedom in Louise's mind highlights both the allure and the cost of autonomy in a world that does not yet recognize a woman's right to it.

Gatsby throws parties to entice Daisy Buchanan, the love of his life. The magnificence of the gatherings underscores Gatsby's attempt to reclaim Daisy by achieving the American Dream of success, fortune, and social position. However, the superficiality of these events highlights the novel's portrayal of the American Dream as empty. Despite the glamor, the parties are attended by people who do not know Gatsby and have no interest in him, underscoring the futility of his quest.

One of the most well-known linguistic innovations in Ulysses is Joyce's use of stream of consciousness, a storytelling method that attempts to recreate the flow of thoughts and experiences in the human mind. This technique captures the fragmented, nonlinear form of mind. Characters' inner dialogues, memories, and immediate experiences combine fluidly, giving the reader a real-time experience of consciousness. For example, the protagonist, Leopold Bloom,'s thoughts are presented without clear distinctions between past and present, fantasy and reality, illustrating the chaotic and associative nature of thinking.

One of the play's protagonists, John Proctor, battles with his own type of deception – self-deception. To protect his reputation, he first avoids involvement in the witch trials, unwilling to expose his connection with Abigail, which would jeopardize his name. However, his moral integrity eventually pushes him to confront his lies, prompting him to publicly confess his faults in an effort to expose Abigail's deception. This act of honesty, while ultimately leads to his demise, reinforces Miller's condemnation of a culture that values appearance over truth, demonstrating that true integrity necessitates confronting hard facts, even at tremendous personal cost.

Pi's storytelling is another method of psychological survival. The narrative itself can be seen as an attempt to make sense of his trauma and find solace in a version of events that is more bearable than the brutal reality.

This article could analyze how schizoid personality disorder (SPD) is portrayed in movies, examining both accurate depictions and those that lean into stereotypes. It could explore characters from films like Taxi Driver, Her, or Donnie Darko, discussing how their emotional detachment, introspection, and isolation reflect aspects of SPD. The article might delve into how these portrayals provide insight into the human experience of disconnection, often serving as metaphors for broader societal issues.

You might also consider discussing the challenges filmmakers face in representing SPD authentically while balancing narrative engagement. Exploring the potential impact these portrayals have on public understanding of the disorder — both in terms of awareness and misconceptions — could add a valuable dimension. Addressing how the nuanced representation of mental health contributes to more empathetic storytelling would make the topic particularly relevant in today's cinematic landscape.

Eiken (2003) is a two-episode OVA filled with all manner of slapstick and innuendo that on its face are immature and sophomoric but veer into grossly distasteful as the show continues. The question then is upon seeing this content who is it for and why does it exist?

What was the mandate that called for the product and what can be gleaned from engaging with the material?

This is not meant as something opposed to sex or depictions of sexuality, this is a question of the low quality and base manner of titillation that the show engages, though looking at the character designs and ages the author could also question what was the logic behind the creation of the characters and why were those the decisions the creators went with.

Nemesis by Mark Millar is a comic that is centered on a sadistic and wealthy villain who systematically dismantles the lives of top law enforcement officers. With that context in mind, does this story actually say anything? That is to say, what does the violence and shock do for the plot and what the story hopes to communicate?

How does Nemesis challenge traditional ideas about morality in the superhero genre, and what might this say about our cultural fascination with anti-heroes? In what ways does the depiction of wealth as a tool for chaos reflect or critique societal power dynamics today? Does the comic’s shock-value storytelling serve to deepen its critique of heroism, or does it undermine its long-term impact on the genre?