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Persona 4 and it's spinoffs have tended to be everyone's go-to game when it comes to the Shin Megami Tensai series. Especially with the new Persona 5 and SMTxFE coming out, what are some other great games to start out with and prepare for some of these new games.

Talk about some other Shin Megami Tensai games that make the series the fantasic blockbuster it is such as Devil Survivor, the original Shin Megami Tensai games, Soul Hackers, etc.

Real life events often inspire films, yet theatrical convention always works to shoehorn characters into the 'good' and 'bad' guys. Recent releases such as "Argo" came under criticisms for its portrayal of Iranians as 2D 'bad guy' characters, instead of granting more complexity to Iran's complex internal politics. Political enemies may become partners, affecting acceptable portrayals of that nationality. I would be interested to see a kind of "bad guys" ranked. Who seems to have been the most detestable enemies in American film? The Russians? The Japanese? Who has had the most nuanced portrayals?

With the tragic passing of the British actor Alan Rickman, it seems right to look back on his impressive career. His role as Professor Snape in the Harry Potter franchise is one of his most memorable roles and for good reason. There are also roles like Hans Gruber in Die hard, Alexander Dane in Galaxy Quest, The Sherif of Nottingham in Robin Hood: Prince of Thieves, Judge Turpin in Sweeney Todd, and much more.

It seems that in many television series produced for mature audiences, there is an abundance of explicitness, whether it be in gory violence or raunchy romance. Especially in HBO shows such as Game of Thrones, True Detective, and Rome, all of these rather "carnal" appeals almost dominate the shows. It is almost as if these themes are what define these series. What is it about such adult themes that makes these shows popular? Do they take away from the show's overall message? Are there shows that don't even seem to have a message beyond explicitness for entertainment?

The same can be asked about many films of this era, particularly with regard to their portrayal of African Americans. However, this film won Hattie McDaniel an Oscar for her portrayal of Mammy. Did she accomplish something extraordinary as the first African American woman to win an Academy Award or was she being rewarded to cementing stereotypes? An article on the topic would take these and other questions into consideration when finding a place for this film in today's world.

Discuss the huge impact and wild success of the franchise LoveLive!, relating to its various forms (from manga to anime to game), and its problematic themes that have stirred many arguments within the franchise's fanbase and outside anime fans. Is it really problematic, or is it the context, the period, and the many tropes it 'uses' that make it seem like that?

In addition, compare it to different franchises and rhythm games and their own success and popularity.

Discuss MOBAs as a learning experience. What is there to be learned by playing these games? There are many elements one must take into consideration in a MOBA game, especially concerning teammates and teamwork. On top of strategy and planning, MOBA players who expect to be successful must be very effective at cooperating with others – especially when it comes to regularly playing with strangers. While there tends to be a stigma of the "toxic" player in popular MOBAs such as League of Legends or DotA 2, this would be a look in the other direction, seeking out the positive and constructive mindsets that find success in the game. Most importantly, this would consider how the skills learned from playing games in this genre could ultimately benefit individuals outside of the gaming world and particularly within their own careers. Could we learn to be helpful members of a team within a workplace by practicing teamwork in MOBAs? Maybe!

With recent game releases such as "Starwars Battlefront," a lot of gamers are frustrated with the lack of content on the base, $60 game, with most content locked away behind an additional $50 price tag. While some DLC can add a lot to a game, such as extra story missions in the "Borderlands" series or new playable characters in "Super Smash Bros. for Wii U and 3DS," other DLC feels like the developers are just showing their inner greed (ex. downloadable content that is almost crucial to understanding the game's full story.) Explore the ethical issues when developers, almost intentionally, leave games unfinished and devoid of content. When does DLC become less of a "reward" for players looking for more content and more of a quick, money-making business scheme?

Analyze the history of women's roles in martial arts and how it has changed from then to now. If you wanted to, you could broaden it and discuss any type of fighting. You could even mention Disney's 'Mulan' and 'Brave' as examples of progress towards women and fighting.

Discuss the role played by graphic design and art in determining the success or failure of presidential electoral campaigns. Did Shephard Fairey's Iconic Obama "Hope" poster play a substantial role in his electoral success? Describe the evolution of "buttons" used to demonstrate support for candidates beginning at the turn of the twentieth century to today's graphic modes demonstrating support (bumper stickers, t shirts).

There's violence everywhere these days, but it seems most prevalent when it comes to real incidents that are later broadcasted or written about on loop. Anything from random muggings to mass shootings winds up disseminated on every major, and many minor, news sources, which not only makes viewers increasingly anxious, but may inspire copycat attacks by appearing to glorify them. However, few sources will avoid these stories because they're popular and attract more viewers.

What can we do to mitigate this cycle without ignoring the news entirely? While we should know about such incidents, should we change the story, i.e. stop focusing on the criminal and focus more on the victims/aftermath? And, how do we explain violence in a way that doesn't leave the more vulnerable of our population, like children, afraid that something will happen to them as well?

'Hardcore' gamers often separate themselves from other gamers because they play for more than just completion, or the standard definition of 'fun'. Dark Souls may be a tough-as-nails RPG, but some players have completed it never levelling up, or naked (the character, not the player), or with only shields as weapons. The most popular levels on Super Mario Maker are usually the hardest, with players like PangaeaPanga making diabolical levels like Skyzo and Bomb Voyage (youtube them!). Pretty much any single-player game can become highly competitive once you decide to play it 'hardcore', especially if you want to speedrun it.

The charity speedrunning event Awesome Games Done Quick for instance, in progress at the time of writing, is a showcase of the hardest of hardcore gamers. The entertainment those runners provide, also including races between runners and gimmicky events like '2 Players 1 Controller' for Dark Souls II and blindfolded runs of Super Punch Out!!, is a powerful force for fundraising. The last event of this kind, Summer Games Done Quick in 2015, raised $1,215,601.49 for Doctors Without Borders.

This article would explore the benefits of playing 'hardcore' in consideration of the above and other aspects such as, potentially, the impacts of challenging yourself with video games using research on the psychology/sociology of the issue. Why is hardcore gaming popular, to watch and to do yourself? What does it take to be a speedrunner, to spend weeks or months playing the same game daily before you beat your last Personal Best? How can this relate to the science and psychology behind competitive sports in general, and are hardcore gamers really playing with or against each other?

For balance, however, some drawbacks should also be considered. The general focus of the article could be on how the risk/reward system of game design extends into how one chooses to play games in the first place. If research however outweigh the positives of such gaming, the article could suggest that hardcore gaming, while 'hard-nosed', may be harmful to the gamer when pushed too far. The subject can be taken in many, many more ways.

In Japan, the ideologies behind "love" are a little different than that of the United States. Through television and film – which are the primary sources of information on both cultures, outside of individual research – How is the culture and moral beliefs portrayed in affect to how people view "love" in either country? And how does that affect marriages? How do the customs of each country delegate the reasons behind marriage, and does that affect the ideologies behind "love"? Is there a difference between what is being portrayed through the media and what is true to the culture?

In the recent decades, the History channel, as well as other networks have shown great interest in brining major historical characters or events to TV screens. Vikings, an Iris-Canadian historical drama has gained popularity since its premier in 2013. We get a contrary image of the vikings, unusual to the brutal, and "savage" warriors . While brutality and war is a dominant feature of the series, we also get a glimpse of loyalty, honour, compassion and of strong females who occupy significant roles in the storyline. To what extent are these images representative of a true viking culture? What historical events can we detect that are somewhat accurate?

Analyse how the transformation of the United States during the 1970s affected the world of the Mary Tyler Moore Show. These changes can be cultural, such as Mary discovering that her male predecessor in her producer job made more money than she did, Lou's divorce from his wife, and Lou's one-night stand with Sue Ann. But these changes can also be economic, such as Phyllis making cutbacks in the household, and gaining employment (in addition to her housewife duties) due to inflation. These angles are examples of what can be used in an article.

The novel World War Z is structured as an oral history, in which dozens of survivors of a zombie apocalypse are interviewed on their experiences. The interview format is one of the most striking things about the novel, and what sets it apart from other zombie apocalypse stories.
How does this structure change the readers' perception of events? What role does the unnamed and uncharacterized narrator play? If the novel were kept the same but followed a single character, possibly with flashbacks to other events, would our perception of the world change? What does this wide range of stories bring to the novel, and how do the separate interviews still form an overarching story arc?

With the recent rise in popularity in ''choices matter'' based video games, such as Mass Effect, Life is strange, Heavy rain, It's given players a new sense of immersion with each play through and outcome shaped by the flexibility of the one's choices. But does that it essentially It may teaches morality?

In 2003, Joss Whedon's Firefly was cancelled by Fox. The show was witty, original and would retroactively become beloved. The show became a cultural signpost for the idea that fans could "save" a show and the browncoat movement was born, eventually pushing an excellent and satisfying move into production. Jump to 2006 and fans of the cancelled show "Jericho" sent 9 tons of peanuts to CBS offices in protest to the show's looming cancellation. (It made sense in context, honest.) Later, Netflix briefly revives Arrested Development. Later still, Yahoo "saved" Community so it could get its shot at "six seasons and a movie". As the internet improves fans' ability to communicate directly with the creators and distributors, and as those fans get more savvy with their methods, the power of deciding "what's on" is more and more in the hands of the viewer.

But is this always a good thing?

Would Firefly be as beloved if it had continued another 3 seasons? Does Community still work without Donald Glover? As televisions fans gain more power and direct control over their favourite shows, are we not also becoming more responsible for the tough decisions? And ultimately, who has control over when a series ends? The fans who love it, embrace it and for whom it was ultimately for? Or the creators whose blood, sweat and tears are the creative juice that made it so good in the first place?

Serendipity is defined in the 2001 film as a "fortunate accident". The film then progresses to give different philosophical inferences and destiny and fate are constantly mentioned and reflected upon. Which philosophers/theologians have mentioned destiny and fate, specifically, and how can that be related to this film? Suggestions of philosophers and theologians could be Stoic Philosophy, Epicurus, Aquinas, Anselm, Luther and the doctrine of predestination, etc. Does the idea of destiny and fate impede or fulfill our lives, especially with respect to love?

Steven Moffat, the writer for Doctor Who since 2010, has said horrible things about the female fan base of this show, and Sherlock, which he co-created, as well as detestable things about women in general. Highlights might include calling women "needy," calling actress Karen Gillan (Amy Pond) "wee and dumpy" and claiming that women only enjoy Sherlock because they are attracted to Benedict Cumberbatch. This is enough to enrage anyone, but does it affect the quality of his Doctor Who episodes when he dismisses the majority of his own fan base as boy-crazy, "needy" idiots.

There has always been a sort of dismissal for anything in pop culture which attracts female viewership, (especially young female viewership), implying that girls don't know the difference between good and bad entertainment. As feminist scholar Stacy Wolf says, "Historicizing the devaluation of girls' tastes shows how categories of cultural worth are highly gendered." (Changed for Good, 222) Does this apply to Doctor Who since Moffat took over? This study would compare the quality of female characters on Doctor Who before and after Moffat and their overall impact on the quality of events.