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Look closely at the film of The descent and compare to other British horror films to see whether ladder culture is present or whether they portray another theme of British culture. Compare the films of your choice and see whether they have similar themes or whether they portray something different.

Video games that require or encourage violence are prolific. There have been countless studies on whether the violence of such games has psychological impacts.
But, what are the moral implications?

Using a selection of games that involve violence, consider whether it is morally wrong to 'physically' harm a virtual character. Explain why.

You could argue either side of this argument, or argue that the moral implications differ depending on the situation. For example, perhaps some forms of violence are more acceptable than others (e.g. fighting vs. murder). Or, maybe there's a difference between harm the game tells you to inflict to complete an objective, and the harm you choose to inflict but has no bearing on your completion of the game.

Ensure sound justifications are provided for whichever stance you take. Relevant philosophical discussion would complement this topic well.

In 1796, Matthew Lewis published the novel 'The Monk'. An early example of 'masculine', or horror gothic, it covers many shocking and depraved themes.
In 1797, Ann Radcliffe published her 'feminine', or terror gothic novel, 'The Italian'. It is viewed as a reaction or response to Lewis' novel. It discusses some similar themes, but in a milder way.
An article could compare and contrast these texts. Worth noting is the things they do the same, such as offering commentary on Catholicism or exploring issues of love and sexuality.
They also differ in several ways, from opposing treatments of women and the use of supernatural occurrences.
Overall, the article should conclude the ways in which Radcliffe has used the original to build her own story, and also where she has deliberately chosen to deviate from Lewis' text. Potentially offer insight into how the two authors' differing approaches reflect the society at the time. An in depth understanding of horror vs. terror gothic would be worthwhile in building a substantial argument.

Many are likely familiar with well-known anime like Sailor Moon or even Cardcaptor Sakura. But, how do these anime, and others in the magical girl genre, counter (and support) existing gender roles? Are they empowering or do they support existing beliefs? Answering these questions, with available resources, would be an important part of any article on this topic. Such an article could also compare and contrast with Western animation, showing the differences between those animated shows and anime. In any case, this topic is broad enough to allow for a litany of articles, of various types, on this subject, no matter which one the writer chooses to follow.

What causes someone to choose a "nom de plume" ("pen name")? While living in the Internet age, most people are completely comfortable with the idea of identifying themselves online with names other than those they were born with (i.e. usernames). When it comes to writers, the Brontë sisters all used male pseudonyms in order for their work to be taken more seriously. J.K. Rowling was encouraged to hide her sex when the Harry Potter series was initially published because it was feared young boys would not read her work otherwise. Later, J.K. Rowling herself disguised her world-famous name with the pseudonym "Robert Galbraith" when she departed from Harry Potter-related works. However, it is not only women who take up a "pen name." Lewis Caroll, Mark Twain, and George Orwell are just some examples of this. Much like a "stage name" can serve to reinvent oneself into a more exciting character than one's birth name would initially suggest, what are the myriad reasons for which authors choose nom de plumes? What do they seek to change or perhaps maintain? Have the reasons for pen names changed over time? If so, how?

In stories of Greek mythology, Ares is not a god other gods like. Zeus calls Ares (his own son) the god he hates most of all. This is because Ares is out of control, bloodthirsty, and needlessly violent.

Hulk and Ares are parallels in the way they become consumed by rage. But the Hulk usually gets our sympathy, while Ares did not create sympathy. This might show a contemporary hesitation with unequivocally disapproving of raging violence. We could focus on Hulk as just out-of-control and destructive the way Ares was perceived by Zeus and the other gods. But we don't. Could our tendency to sympathize with Hulk show how hardwired we are now to see anything unusual or strange as a victim deserving our compassion?

Anime has such a wide variety of subjects that it explores. There are two animes, Deathnote and Neon Genesis Evangelion that have both subtle and obvious allusions to religion/spirituality. They both posses theological elements, which can be interesting to write about.

Think about these questions:
How do they use various theological elements to add to the overall meaning of the anime?

What seem to be the most interesting symbols and why would you consider them as such?

Does one anime use the symbols in a more effective manner?

I would like to propose an article that studies the evolution of gender diversity and representation in animated media with a particular comparison between Western and Eastern animated media and their subsequent progress. Cultural stereotypes and societal perceptions have always played a great role in influencing the type of media that is usually made available to the public. The same could be said in the case of the animation and anime though through the course of history, the two mediums have taken different approaches in representing gender diversity on screen. How this comes to reflect upon the relevant societies and communities involved as well as the greater evolution of the story-telling medium may offer unique insights into modern discussions on the same topic.

It is natural to be inspired by the works of your favorite author when writing your own story. Needless to say, there are many books whose stories show signs of inspiration from older works leading to a contesting balance between seeking inspiration and plagiarism. One such book that skirts the border between the two involves Terry Brooks' "The Sword of Shannara" often criticized to have plagiarized Tolkien's Lord of the Rings. The book has nevertheless found its share of audience and was a massive success. I propose an article that discusses how Brooks took Tolkien's fantasy formula and used it to provide major boost to the fantasy genre in the post-Tolkien era.

The genre of "Chick Lit" is often seen as nothing other than feel good and fluffy. However, can the argument be made where this genre can be seen as anything more? Should it be seen as more? Should those who read this genre feel shame?

Choose a few books that support your position on the topic, and explain why you think it is one way or the other.

Analyze how writing techniques are used by journalist on all aspects of the political spectrum to paint politicians in a specific light. Some journalist might play with elements of the truth or take phrasing out of context to go after an opponents reputation. An example of this from the United States of America might be how journalist on the right side of the spectrum go after progressive senators like Bernie Sanders or Alexandria Ocasio-Cortez. They tend to portray them as communist, but they are actually self-proclaimed democratic socialists. The left in the United States of America also does similar things to the right. The article can also go into the the dangers of avoiding neutrality in political journalism and letting readers come to their own conclusion about political figures. Or, it can dive into the risks of creating a veiled portrayal of neutrality regarding political figures when the writing is not. The writer can also discuss the effects of polarization when it comes to political writing. This topic could be a delicate subject to write about since, for readers in the U.S, it is very close to elections. Nonetheless, it could be a good opportunity for an analysis of journalistic writing.

It seems as though in more recent years, video game developers are adding familiar faces to their stories. We saw Ellen Page in Beyond: Two Souls, the star-studded cast in Death Stranding, and Keanu Reeves in the highly anticipated Cyberpunk 2077. Does seeing a specific actor in a game entice you to purchase it, or do you lose the immersion factor?

Even though the manga has been around since 1997, One Piece is still active. Eiichiro Oda, the writer, has hinted possible endings in the past. However, he seems to continually extend the timeline of the story. Other popular manga that originated around the same time have long since ended; for example, Naruto, Hunter x Hunter, and Bleach. But, that is not the case for One Piece. The writer can discuss whether or not the decision to keep this manga going has damaged the storyline. Some speculate that the writer has the ending written already and he is simply filling in the gaps. Does the manga's continued popularity show that it has become living Oda's legacy?

On September 21st 2020, Microsoft purchase Bethesda Softworks and its parent company ZeniMax Media in a massive $7.5 billion dollar deal that has the potential to reshape the video game landscape. Due to the massive deal, Microsoft now owns acclaimed game studios like Arkane Studios (Dishonored), ID Software (Doom), Machine Games (Wolfenstein) and Bethesda Studios (Elder Scrolls and Fallout), all of which create multiplatform games that regularly release to critical and commercial acclaim. Microsoft and Xbox have been criticized for its lack of first party games (in comparison to its competitors Nintendo and Sony) but the purchase of Bethesda and its parent company could rewrite this narrative and push more consumers toward the Xbox platform. Will the massive purchase help Microsoft sell its new Xbox consoles this fall?

The Mandalorian Season 1 has been a huge critical success for Disney . One of the key factors for the series's success was the lack of prior Star Wars knowledge that was necessary for viewers of the series. The series was largely accessible to new audiences who may have never watched Star Wars film before, though it still contained many references and connections for long time Star Wars fans. For season 2 (which debuts October 30th), there have been many rumor circulating that the series will include characters from other Star Wars books and animated series. Rumored among the cast include characters from The Clone Wars and Rebels like Mandalorian warrior Bo-Katan and former Jed Ahsoka Tano. While these characters are popular among Star Wars fans, their appearances may required more complicated explanations/exposition for those who have only watched The Mandalorian. Should The Mandalorian remain largely separated from other Star Wars stories, or it should it integrate characters from the wide Star Wars universe, at the risk of losing some of what made the first season so refreshing and distinct?

In almost every 'which is better, book or movie?' debate, the book wins. For a plethora of reasons, from intense detail to unique character-building, books are almost always dubbed better than their adaptations.

But what about the film adaptations that are better than their original book?
Offer several examples of adaptations better than their original. Discuss what they do so correctly that allows them to win this battle.

Do they take away the difficult language of a book to make an important story more accessible? Are the characters better rounded and more realistic? Does the film cut out unnecessary details that are included in the book? Is there a changed detail that improves a film — different setting, different main character, different conclusion, perhaps. Is it simply a case of visuals portraying the content better than words can (say, an intense action sequence for example).

There could be ANY number of reasons and ANY number of films to be discussed.
This topic does run the risk of coming across as too subjective though, so ensure that sound analysis is offered to justify your claims.

In past decades, situation comedies and dramas were often known for their "very special episodes." These stories took a break from more lighthearted fare to discuss serious topics or issues, often those facing young audiences of the day. Special episodes could often be categorized thus:
-Featuring "special" characters (often disabled), who rarely if ever appeared again but existed to educate audiences and teach the main characters lessons about compassion and tolerance
-Analyzing the dangers of teen life (peer pressure, drugs, drunk driving, child/teen molestation)
-Focusing on particular current events (the explosion of the Challenger space shuttle, the AIDS epidemic, 9/11, etc.)
-Teaching young audiences when and how to give or seek help in serious situations (eating disorders, abuse, CPR, etc.)

Pick a few "very special episodes" to focus on from sitcoms or sitcom/dramas (Diff'rent Strokes, Punky Brewster, Seventh Heaven, Full House…) How has the "very special episode" evolved? Why are they often mocked, even by those who enjoyed their affiliated shows? Is the "very special episode" still around now, and what does it look like?

My article investigates touchable art and introduces artists who recover in their practices the bodily needs for physical contact. Amongst the restrictions imposed by COVID-19 are ‘no touch’ policies and the closing of art institutions for unlimited periods of time.
But our crave for touch grows with the passing of time, and so does our need for seeing new, beautiful things.
My article suggests different ways in which the public can soothe their desire for physical contact by experiencing art in the virtual space. It engages with the works of British artist Lucy Clout, Berlin-based Americans Claire Tolan and Holly Herndon and American artist Julie Weitz. Most recently, Australian artist Michelle Vine was awarded a residency with Museum of Brisbane for which she produced work that brought together touchable art and participatory art forms.

Besides HIV/AIDS, there has been no wide-reaching pandemic since the 1918 Spanish Influenza and, from a movie point of view at least, it's pretty boring to live through. Despite what zombie movies might suggest, viruses are relatively slow moving and the deadlier a virus is, the less transmissible it tends to be. And the vast majority of people remain uninfected. It doesn't make for great storytelling. However, up until now, the majority of people had no firsthand experience of living through an epidemic / pandemic and so could more easily suspend reality while watching these types of movies. But what happens now? Will the genre move away from the thriller type movie towards to personal suffering, either in lock down or the loss of loved ones?

Buddhism teaches that we can let go of illusion by letting go of “our story,” i.e. letting go of our insistence on seeing reality our way. Many literary classics teach us the same lesson, sometimes through characters metamorphosing by undergoing evolutionary cycles including tragic moments. We see this struggle and more or less successful letting go performed by protagonists such as the Buddha, Oedipus, Shakespeare’s Hamlet, Henry James’ Maisie, Edith Wharton’s “Ethan Frome,” Ishiguro’s characters in The Remains of the Day, Toni Morrison’s Sethe in Beloved, and Murakami’s un-hero in The Wind-Up Bird Chronicle who learns to let go of all his stories by sitting in a dark well for a long time.

The common theme in these fictions as well as in many others is letting go of illusion by letting go of one’s story, all unfolded in fiction. What sort of fiction must one invent to not add to the world of illusions? Does something distinguish these fictions in addition to the theme, something that makes them resist becoming part of our illusions? Or is it impossible not to add to the illusory? Where do commonalities between letting go of one’s story end and differences in consequences thereof open up, according to whatever works of fiction we decide to look at? What do these fictions have to say about what stories we rarely let go of? How does this theme of letting go of story in story speak to the story-telling during the global pandemic in 2020, specifically about the stories we tell of the “before-the-pandemic” world? Are we, like Murakami’s character, in the well, or are we emerging? How can we tell? Tell us.