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Batman has been one of the most popular characters in the DC Universe and so are the people who voiced, played and created the character as well. The character has some really die-hard fans who try to take up the characters voice, merchandise and personality. The character has been played by many notable individuals including Adam West, Val Kilmer, George Clooney, Michael Keaton, Christian Bale, Ben Affleck, and many other talented individuals as well.

Here we would deep dive inside things that makes Batman, Batman and how his life and personality traits can help us make our life better

This is an outgrowth of a few comments I noticed on my article about The Marvelous Mrs. Maisel–the issue of widows was raised. It might be interesting to see how widows have been presented in movies, say, a movie from each decade from the 1950s to the present (or beginning before the 1950s). Movies can reflect the values and norms of a period in time so what changes are seen and how do they reflect changing values? A 1947 movie, The Ghost and Mrs. Muir, starred Gene Tierney (as a widow) and Tex Harrison (as the ghost). Or, the 2018 movie, Widows, starring Viola Davis and Michelle Rodriguez. What impact did and do these movies have on how the public looks upon widows?

Carl Jung, a disciple of Sigmund Freud, is revered by psychologists as having founded modern depth psychology. Albeit Jung's astounding writing regarding psychology, his work was mostly inspired by Esotericism and the religion and teachings of the ancient Gnostics. This article will elucidate the symbolism of Carl Jung's 'Synchronicity and the Paranormal' wherein Jung's writing regarding the 'psyche' and 'daemons' is taken into an analytical approach, analyzing the hidden meaning of Jung's work on psychology and the paranormal.

Capitalizing on the origin story of a very famous villain was an interesting direction to take by Sony. The Venom movie has critically 'survived' its release, but where will the story eventually go? So much of Venom's origin is built around his interactions with Spiderman, causing some people to criticise the appear of 'web-like' powers from the character despite no canonical appearance of Spiderman. Should other films focus solely on villains? Or can a villain's story only be told when alongside their famous superhero.

The success of the MCU has been one of the hallmarks of cinema for the past decade. Arguably what has contributed to this is a significant amount of planning, and team of people dedicated to the topic, as well as a large amount of source material. Given that the X-Men universe has the third reason locked in, what's to stop 20th Century capitalizing on the blueprint laid down by the founders of the MCU and giving them something to compete against? Arguably all it could take is a team passionate about making this a reality.

With the recent announcements that The Punisher has been cancelled and Jessica Jones will air its 3rd and final season soon, what will happen to the characters featured in all of Netflix's Marvel shows? There is an agreement that Marvel cannot use the characters until 2 years after the cancellation of the shows. When those two years are up, will we see these characters reappeared for Marvel's films or the Disney Streaming Service, or will these characters be completely rebooted?

Ghost in the Shell (1995) and Akira (1988) are each widely acknowledged for their impact on the cinematic world as well as for propelling anime into the global world of popular culture. However, each of these films emerge from or are, perhaps loosely, based on accompanying manga series. While each manga series was published and had its "original run" prior to the creation and release of each film, the plots of the anime versions of both Akira and Ghost in the Shell in some ways present vastly different storylines and themes. Analyze the ways in which each anime film overlaps with or diverges from its respective manga predecessor and the significance of these similarities and differences.

OSR is the popular shorthand for "Old School Revival" or "Old School Renaissance", a popular movement among new tabletop RPGs to draw inspiration from the design choices and play style of the earliest D&D editions from the 70s, rather than the modern products being released today.

The OSR movement is comprised of everything from articles detailing ways to get into "Old School Gaming" to wholly-new games, developed in the style of old D&D.

This topic is quite niche to the tabletop RPG community, but I think anyone interested in game theory and game design could find the research interesting; especially when it concerns why such a widespread return to form has occurred amongst the community. There is often emphasis in OSR put on player agency over the now-prevalent linear adventure plots, so this may be a chance to get to the heart of why these games drew peoples' attention in the first place, and how the new innovations within modern products may be detracting from the initial strengths. Lastly, the role of the internet in gamers organizing their interests and creative ideas in this way cannot be understated and could form another basis for investigating how the movement grew.

In the comments section of my recently published article on Batman’s origin story, the topic of Spider-Man’s origin came up. I’d be fascinated to see an analysis of it. This includes the spider that bit Peter Parker and the death of his Uncle Ben, inspiring him to be a hero.
What changes in the origin story when Spider-Man is rebooted or we get an alternate universe version? What stays the same, and what meaning can be found in that?
What tropes does Spider-Man’s origin story include? Does it subvert any tropes? What impact do these tropes have?
How original, deep, or personally impactful is Spider-Man’s origin compared to others?

The vigilante archetype in superhero movies push the boundaries of societal rules and morality. Last year, audiences were treated to the release of Marvel’s Venom, Deadpool 2, and DC’s Arrow season 7, and these all have strong vigilante archetypes. These characters regularly circumvent the rules to enforce their own type of laws in the name of justice. But does rectifying violence with more violence solve anything? Does bypassing the local law enforcement when they fail to protect the city make a hero? When an antihero blurs the line between good and evil, serving their own form of justice, where do audiences stop and say “this isn’t heroic anymore.”? Characters to analyze could include (from both Marvel and DC respectively): Venom, Batman, Green Arrow, The Punisher, Deadpool, Wolverine, etc. The article could explore: what makes an antihero, what makes a vigilante, and where heroics breech the boundary of evildoing.

It’s important to address sensitive and controversial topics in television and film. Oftentimes, however, these shows and movies can come off as glamorizing and using these issues for pure entertainment purposes.

For instance, Thirteen Reasons Why faced backlash for its portrayal of depression and suicide. Another example would be the depiction of Joe Goldberg, a killer and stalker, in Netflix’s YOU and how it caused some viewers to lust for him. Likwise, the brief movie trailer for Extremely Wicked, Shockingly Evil, and Vile where Zac Efron plays Ted Bundy had many people upset about how the trailer seemed to romanticize the killer.

Do these shows and movies use controversial topics and issues as a mechanism for entertainment? And if yes, to what extent? Perhaps, it invites discussion and attention to these issues that people would not have become a part of had they not seen these shows and movies in the first place.

Analyze how shows and films approach controversial and sensitive topics, how viewers respond to it, and what this ultimately reveals about our society.

Once hailed for its attention to detail, fascinating back story, and historical accuracy, the Assassin’s Creed’s legacy has slowly begun to diminish. As a fictional universe, it can be expected that not all historical features will be completely accurate, but has the furthering of plot and milking of the franchise begun to corrupt the series as a whole?

Analyse the historical periods that the franchise has covered as well as which games most effectively combined the assassin trope within its historical context. This article would also try to avoid “playability” as an argument (e.g. Black Flag: is it fun to play? Sure. Are assassin’s and pirates accurate? No.) From this regard, an article like this could also look into what the true identity of Assassin’s Creed is and whether game-play and the templar plot-line is more crucial than its historical back drop. It would also need to consider whether Assassin’s Creed Origins was an attempt of getting rid of the series’ baggage and whether its new format can help bring the series back to its former glory.

Throughout literature and games studies there have been many kinds of heroes (such as the Romantic hero and its offset the Byronic hero) and different hero archetypes (the unwilling hero, the anti-hero, etc.) However, amongst these categories for characterization, has Bethesda in its Elder Scrolls Series created a new heroic archetype? With the start of every game, the player starts off as a prisoner of unknown cause. By the completion of the main quest line, they are renowned as a hero for the ages: (The Agent, The Nerevarine, The Hero of Kavatch, The Dragonborn, etc.). Analyze the significance of "the prisoner" archetype as the starter for all major heroes in the Elder Scrolls Universe.

A great place to start in terms of research would be the Elder Scrolls podcast: Written In Uncertainty which deals with the metaphysical aspects of the Elder Scrolls. Episode 10 talks about this while listing in-game and real-world sources that would be of great value to consider. Other areas of research good include looking at the moral ambiguity players can embody and whether these correspond with existing archetypes.

So often we are drawn to the darker side of life, a quick purview of most films coming out in the last 5 years tends to support this. Yet why is this?

Why are we so drawn to the dark, to the evil, to the bad?

Is it a desire to engage safely with taboos? Does this appeal to our baser natures that desire an interaction with danger and amoral ideas? Or simply do we want to watch safely from our seats the downfall of others?

There are obvious genre appeal in watching horror or thriller films, an aspect of the viewing is the narrative structure and the expectation of the horror themes. But what about drama or action or even romance films that are also engaging with these darker tones? Why is there a trend towards the macabre, the sinister and the frightening?
Consider 'Coco' a Pixar animation in the land of the dead, or 'Three Billboards' about the lack of progression in the investigation of the murder of a young girl, or even 'I, Tonya' with its brutal depiction of domestic violence, even the romance 'The Shape of Water' features a rather horrific villain.

Emerald City is a TV series that ran for one season before being cancelled. Its premise was a darker, grittier vision of the Wizard of Oz mythos – something like Gregory Maguire's Wicked, but turned up even further. The original Wizard of Oz books and movies had much less heavy themes and a much less grim worldview, so why were these changes made? Are they merely trying to piggyback on the popularity of Game of Thrones, or is this more related to the shift in cultural expectations over the past twenty years? Or perhaps there is a deeper reason? The essay could speculate on what such changes add to the Oz mythos or tell us about it, and could also branch off into similar evolutions seen in other series, perhaps even in other genres like video games.

Explain and analyse why it is necessary to have modern young adult novels. In other words, authors should now include modern technology (e.g., social media) into their character's lives and how it may affect their decision-making.

Analyse how videos games released around the 1900s-2010s were better suited for youth than today's modern ones.

Steve McQueen's Widows is an excellent film but the film that was advertised in trailers is not the film that audiences received. How did this deception, and the deceptive marketing strategies of other now-beloved films (think Shyamalan's The Village), affect Widow's box office gains (or lack thereof) and critical reception?

"The Romanoffs," an anthology series found on PrimeVideo follows the lives of self-proclaimed descendants of the Russian Romanov dynasty. Episode One, "The Violet Hour," depicts an elderly woman, Anastasia, living in Paris in need of a new caregiver, Hajar. A topic of interest is the treatment of Hajar, a nursing student and Muslim. Various interactions between Anastasia, Anastasia's family, and Hajar reopen the topic of Western Imperialism/Post Colonialism and the Middle East. One particular scene involves Hajar confessing to Anastasia's nephew that their one-nightstand (where Greg pursues a hesitant Hajar) produced a pregnancy, where Hajar's family demands a restitution of sorts at the symbolic invasion of their daughter. (I immediately thought of the symbolic rape of the Nile with the occupation and construction of the Suez Canal by Britain.) Greg responds with "I should be mad, but I'm not…" This also introduces the age-old notion of women bearing the responsibility of unplanned pregnancies.

Last week it was announced that the development of Metroid Prime 4 for Nintendo Switch would be completely scrapped due to quality concerns and restarted with Metroid Prime Trilogy developer Retro Studios. The game joins a long line of games have that went through multiple versions and studio changes. This includes monumental failures like Duke Nukem Forever (moving game studios and engines multiple times), or the acclaimed Fall Out 3 (move to Bethesday Studios and completely overhauled). This article could examine the successes and failures of these drastic moves and the merits of changing studios/starting over from scratch.