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Analyze the path the Fighting Game Community has taken and how its path towards more mainstream "Esports" appeal may be pulling it further from its roots. Look at how the origins of Fighting Games, which until about 2009 were competitively played primarily in arcades, separated them from other competitive fighting games primarily played online. Look at how the economic factors required to play online games in the early 2000s vs the quarters required to play in an arcade created two separate groups. Look at how attempts to court sponsors to major FGC events could be seen as disrespectful to its roots. The racial undertones of Evo's "No Thuggery" rule.

Podcasts are becoming more and more popular, and many are hosted by comedians, even though their show's topics range from murder to history. Is this candid, improvised, and comedic take on these more serious topics changing the way that we discuss them or even deal with them in our daily lives?

The Pokémon franchise has captivated audiences worldwide from generation to generation. But what is it about Pokémon that has captivated the people for all these years? Is it the characters within the game, the story plot, the setting, or the phrase "gotta catch 'em all"? Each Pokémon game consisted on having a focus ( a representation on what the game is about). Analyze each game of Pokémon and discuss what these games are talking about.

Harry Potter continues to be an endearing franchise. What thematic elements make it so loved years after the books and films have been completed?

Analyse the passing of time and how it is depicted in Tarkovsky's films. How is the concept of time relevant to the overall poetry of the work?

In the run up to mothers day what better way to prepare than by reconnecting with some of our favourite movie mothers who have had an influence on use as much as our real relatives. From Maria in the sound of music to 'the cool mum' Mrs. George in mean girls who are some of your favourite movie mums?

"Horror" has become a rather subjective term nowadays in that people define it differently and recognize certain qualities of a horror game differently. What is it about certain horror games and/or horror franchises that makes them so successful and so appealing? Is it atmosphere? Is it the amount of jump scares? Is it audio? Is it all of these things combined? Analyze the way the horror game has evolved over the past few decades.

The writer may want to consider (but is certainly not limited to, or required to consider) notable franchises and games such as the Silent Hill franchise, the Resident Evil franchise, Doom, Alan Wake, Five Nights at Freddy's, Amnesia, Until Dawn, Outlast, and/or Dead Space. What is it about these games that makes them so successful in the horror genre? How thin is the line between horror and just plain silly or ridiculous? Lastly, how might publishers prevent recycling and rehashing the same horror tropes when making a new horror game?

In 1818, the theme of immortality was considered by novelist Mary Shelley. Today, science has nurtured the desire to prolong life, with Cryonics. In between, the film industry thrives on the possibility of advanced human existence. From the earliest civilizations, the theme of longevity has been pursued and immortalized in monumental structures, lore, and ritual. A variety of human achievements can be traced from these contributions to reveal a long-standing preoccupation with thwarting the inevitable termination of life.

I have recently been faced with this question and I find that my response is not as black and white as I had originally supposed. Yes, you can teach someone the fundamental aspects of writing: thesis, introductory paragraph, syntax, diction, body paragraphs, topic sentences per paragraph, and a conclusion. But what about teaching someone to think like a writer? The love/hate relationship with writing that leaves one elated or deflated? Do you believe being a good writer is an innate gift, or something that can solely be taught? I do understand that some people need to be pushed to realize they do have the gift for writing, but what if it is not there, can it be induced?

After the passing of its iconic and lovable star Carrie Fisher, the makers of Star Wars have reached a standstill about how to respectfully write out her character of Princess Leia. Consider the ethical, technological, and creative methods by which Fisher's memory can be served in a series built on a foundation of visual breakthroughs in film.

Are video games getting better or worse at depicting women? What should they do to change it? How can they find a balance?

It is always exciting when a console or handheld device launches! But there isn't always great games to play day 1 when a system comes out. With the Nintendo Switch and The Legend of Zelda: Breath of the Wild launching tomorrow (Zelda is receiving rave reviews from a variety of critics), what are some of the best launch games (on any consoles/handheld) in history?

Analyze the way racial stereotypes are utilized in comedic settings such as Chappelle's Show. Are racial stereotypes permissible when used for comedic effect, and perpetrated by members of the race being stereotyped? Do these representations bring light to social justice issues, or further engrain harmful thought patterns? Is is possible to do both?

Whether it's True Detective, Fargo, Mad Men, Boardwalk Empire, Stranger Things, etc. there has been a strong shift of interest from movies to TV. TV shows now have high production levels that mimic large-scale movies in both aesthetics and tone. TV is perhaps taken more seriously now than ever before. Does this have to do with ease of access? With services such as Netflix, viewers can binge-watch entire seasons if they want to. There is also the bankable element of episodic teasing out of narrative compared to the contained narratives of movies. Are TV shows taking more risks? Orange is the New Black and Stranger Things cast mostly unfamiliar faces yet Netflix is also responsible for reboots of familiar shows as with Fuller House and the upcoming Gilmore Girls. Even actors have shown greater interest in moving to TV, which was once seen as lesser than being a film star. Or is something else at work here? Can films make a comeback from this and how?

Juxtapose the Biblical story of Cain and Abel with Milos Forman's film Amadeus. Posit that the relationship between Salieri and Mozart mirrors the relationship between Cain and Abel.

Salieri perceives that God has betrayed his faith by granting more talent to Mozart, similar to the ways in which Cain feels that God has given Abel the upper hand. While Mozart's cause of death was not murder, Salieri repeatedly expresses a desire to kill him. Salieri also spends so much time manipulating Mozart, while Mozart spends most of his time composing; similar to the work ethic of Cain and Abel.

At the end of the film, Salieri attempts to play God by "absolving" himself and his fellow psych ward inmates, much like Cain tries to play God by taking away a life.

Princess Mononoke (Miyazaki), Paprika (Kon) and Akira (Otomo) were landmark films in the development of Japanese animation in the late 1900s and early 2000s. Otomo's magnum opus has had an unprecedented impact on science fiction. Miyazaki's groundbreaking work established his reputation as Japan's most skilled animator. Kon's film, on the other hand, is a showcase of his inimitable style paired with his excellent editing, detailed in a video by Every Frame a Painting.

(Spoiler Alert)
All three sport a familiar plot device that kicks in in the third act: the presence of an omnipotent being, though not quite fitting entirely in the definition. The three films end with the presence and emergence of a godlike figure-in PM, the Forest Spirit, in Paprika, the chairman and eventually Chiba/Paprika herself, and in Akira, the eponymous character. Personally, i found these three films (both because of their similarity in portrayals of omnipotence yet varying style, as well as the proximity of their releases) as good examples of a possible investigation into Japan's preoccupation with omnipotent and powerful beings (most involve a kind of ascension, a veil that is passed through, a barrier crossed). Perhaps one could go further into analyzing Japan's postwar cultural booms and how they eventually culminated in such films.

Analyze the steady push of AAA developers to offer "early-access" to an unfinished game, the economics of pre-release hype and how it can immensely help the numbers of a sub-par game (see: No Man's Sky), and the disturbing trend of releasing a game whether it's finished or not–only to release the rest of the game as expensive DLC (Star Wars Battlefront). Are these methods sustainable or will enough disappointment eventually dissuade gamers from preordering?

Pomegranates have been cultivated by humans for thousands of years, and perhaps one of the oldest harvested fruit. The red, bulb-like fruit is mentioned in Ancient Egyptian texts, Greek mythology, the Bible, and the Quran. Different cultures used this fruit as treatment for various ailments (i.e. tapeworm in ancient Egypt). It is interesting how different ancient cultures viewed pomegranates and used them symbolically in their literature.

I'd like to see a discussion on the rising costs of games and the resulting considerations that are being made re: industry trends, such as where the resources are going, and what that means for creativity, innovation, etc.

Also what this means for the on-going discourse re: content vs costs. How much content justifies the cost of the Day One pricetag? Developers are pushing a notion that many hours in an open world will equal more bang for your buck, and so we've seen on-going debate about quality vs. quantity while more and more games are being made in accordance with the "more hours = worth it" mentality. What of those of us who don't have the hours in a week to sink into a game? Do we get left behind?

It would be enticing to examine graphic novels that explore very powerful themes. "V for Vendetta" is a story that explores totalitarianism. These books could have important meanings that could potentially apply to the real world. These powerful themes can be based of off real-world problems such as government corruption. Whoever writes this can choose any graphic novel or comic book series they feel is relevant to today's world.