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With the announcement of The Last of Us: Part 2, there's been a spur of excitement in the gaming world. This topic would explore the differences and similarities between The Last of Us and other survival-horror/zombie games, and what aspects made it become such a household title among gamers. What did it do differently, what didn't it change, and how did the narrative affect audiences and players? In essence, what made The Last of Us so memorable to players, and what new avenues did it open for its genre? (The author who takes this topic may even wait for Part 2 to release and add a comparative section between both games, adding to how Part 2 affected the gaming community as well as its predecessor).

4D movie theaters are known for their immersive qualities including smells, seat vibrations, the simulation of certain weather conditions, etc. to replicate for the viewer what is being experienced in the fictional narrative presented onscreen. So far, 4D movies haven’t exactly dominated the movie-going experience but their existence does raise questions about how reflexivity will be achieved in the future. Self-reflexive films make viewers aware of the fact that they are watching a film, revealing “the artifice” as it were of the narrative and the characters involved. It’s a technique that’s often associated with art house or new wave cinema, though it can be found elsewhere in more palatable and consumer-friendly forms. Moviegoers usually like a fully immersive movie-going experience rather than be reminded that a film is a construct (it provides a nice escape from the tedium of reality for a few hours). With the increasing popularity of virtual reality in gaming nowadays, how will these increasingly more immersive technologies impact future movements in self-aware cinema? Will it undermine it all together? If not, how can reflexive techniques find a loophole around it to engage viewers as participants (not just spectators) again?

Are pokemon starting to cop-out on there designs i.e. A sword, machines you find in your home, a garbage bag. I kind of think they are. Some of the pokemon I like and I'm not saying they are bad mons, so don't be offended but are their designs lacking?

With most major franchises releasing timelines of sequels, prequels, and spinoffs years in advance, it has become increasingly obvious that sequels are a fast way to create interest and reap box office revenue. However, it has also become increasingly obvious that many movie-goers are tired of this industry tactic, and have called for a return to original content. Discuss the relationship between a sequel being successful, and of it being necessary/wanted by the public.

It is no secret that Marvel and DC are the top comic book publishers in the industry. But in recent years, many famous writers and artists like Jonathan Hickman and Rick Remender have left the publishers and have started to create comics for Image Comics or other independent publishers. The results are critically acclaimed comic book series that have become very popular among the comic book community. It would be nice to explore the reasons why comic book writers and artists are leaving Marvel or DC to create their own comics with independent publishers like Image Comics. An examination could even be done into what Image Comics and other independent publishers offer writers and artists that Marvel or DC does not.

One of the most common tropes in pornography today is incest, which has appeared in practically all art forms.The Artifice article "Titillating Anime" codifies many of Anime's more risqué shows as either parodies of hentai, in which incest and other sexual fetishes are ironically used to critique the genre, or as "something for dads;" however, I believe that there are more serious explorations of incest and prevision in anime. I am thinking particularly of Ore no Imouto ga Konnani Kawaii Wake ga Nai. OreImo goes beyond the typical analysis of incest and perversion by exploring the complex relationships between a brother, a sister, and their mutual friends. All of the shows young characters are isolated by their interest in the 'perverse.' Incest and other 'perverse' attractions go beyond ironic critiques of genre and/or an art form that allows us access to the 'forbidden fruit.' I would be interested in an analysis of this more serious artistic form that might suggest why we are interested in incest, or, at the very least, what hides behind the forbidden fruit of incest.

Compare the narrative similarities of season six with the Netflix revival. A lot of the same conflicts were set up, Rory not being fully committed (to Yale or a stable job), Rory and Lorelai fighting, Luke and Lorelai fighting, Rory and Logan's relationship. Amy Sherman-Palladino seems to have re-set these pins again so she can knock them down the way she initially intended. Does the time jump affect the intended narrative in any way? Does it even matter?

With popular book series titles making their way into television, authors seem to be forced to make a switch between writing long-form prose and writing with the television audience in mind. Does the narrative change, for better or for worse, when an author is acutely aware that the next book will be formatted for episodes rather than novels? George R.R. Martin's celebrated Game of Thrones series is a prime example of how an author feels the pressure of a viewing audience baring down as opposed to writing novels at a leisurely pace. What effect does this have on the story, characters and plot when an author is pressed to satisfy an episodic format at a mainstream pace?

South Park is undeniably a trend setter in its crude political, up to date humour. From its conception in 1997 until its 18th season, South Park did not really attempt a full season story arc. There have been a few three episode long specials but none like the 19th or 20th seasons. It is interesting to see these characters who have pushed the boundaries for years, finally have ramifications for their actions that carry over from episode to episode. Personally, I have enjoyed this change of pace and I am excited to see how the 20th season unfolds. It would be interesting to see what this could mean for South Park's style of comedy, for their future story telling and much more!

Watching movies has always been a favourite pastime for many people around the world. However, many people do tend to criticize the fantasy and surrealism of films as they tend to askew audience's expectations of life. Discuss whether or not movies need to be more self-aware of this surrealism and whether or not there should be a balance between fantasy and reality.

Given that there are some creative licenses taken in the dramatization, does the humanization of the current British monarch make her more likable, respectable, relatable? Or less? Does the dramatization work in favor of public perception of the British monarchy or not?

Why was Dune so successful despite being largely inaccessible to a mainstream audience? How did Herbert manage to write the best-selling sci-fi novel of all time (surpassing classics such as the works of Asimov and Wells)? While rumors of its reboot arise, why might a major studio (Legendary Entertainment) take on such a sprawling project?

Overall, what is the appeal of Dune, and why has it been so enduring?

The anime "Naruto" deals with the concept that no one is inherently evil. All of the "bad guys" have a back story. Their back story explains why they have done what they have done and how they have become who they have become. Often times, the "bad guys" have been wronged in their past and their actions are well intended. What are the implications of showing this gray area in anime and TV? What is the significance in making the audience empathize with the antagonist? Does it become more enjoyable when the villains are more layered than they initially appeared? Does the "bad guy" not actually being evil, undermine the protagonist?

As technology marches on, special effects in movies have gone from being practical to doing everything on a computer. Now as far as convenience goes, going digital is for the better. However, some will argue that digital effects will never compare to something that's in front of the camera. So is it necessary to keep marching onward and keep improving digital effects or should we take a step back and try to make practical effects an honored practice again? We would need to realize the advantages and disadvantages for both of these special effects if we are to bring out their full potential.

Are we entering an era of lost rights for women? Are our futures as bleak as Margaret Atwood predicted in 1986? Analyze Atwood's The Handmaid's Tale in its portrayal of women and its implications in modern day politics. Discuss the importance of the book as speculative fiction and the aspects of Gilead possible in modern society.

The tall, noble and beautiful elf has become almost a cliche in fantasy at this point, but this was not always so. As Tolkien traces in his landmark essay, "On Fairy Stories," from Spenser's "The Faerie Queene" and Shakespeare's "A Midsummer Night's Dream" up to his time, elves had been diminutive creatures of mischief, cutesy and not worth taking seriously. Beginning with Tolkien, and his reliance on Northern European mythology to craft his legendarium, analyze this shift in the treatment of the Elf, and what it meant for fantasy as a genre. Also, compare Tolkien's Elf with a more modern one, and look at recent deviations of the now archetypal elf.

What is the media landscape like right now? What can we expect from the up-and-coming art form of virtual reality? Considering the dominance of the internet as a legitimate source of entertainment, should we re-define the words "movie" and "cinema?" Finally, is narrative losing its importance to us as a form of media to be consumed? Basically, an article pondering the topic of where we came from, and where we are going.

Stream of consciousness writing is an interesting way to gain insights into the nature of mind and consciousness. It would be extremely interesting to see what kind of article could be written concerning writing as a means of discovering insights into the nature of human mind. Perhaps researching areas such as philosophy of mind, consciousness, the relationship between mind and body, psychology, and flow states could reveal valuable ideas into this topic.

Many directors who have a very distinct style; however, some are criticized for not adhering to convention (Batman V Superman's lack of establishing shots, Le Miz's use of handheld and disregard of the fourth wall*) while others are praised for it (Wes Anderson's constantly symmetrical shots, which ignore the Rule of Thirds). Why are these so differently received? Which filmmakers are successful when they challenge convention, and why? Success here is defined by critical and popular opinion ('majority rules'), rather than box office returns.

This topic should mainly address technical aspects of filmmaking such as lighting, camera-work, and cinematography, rather than plot or character.

*from Film Crit Hulk's excellent review

I started reading American Psycho by Bret Easton Ellis during the final debate, and finished the novel shortly after the election. At the start of the novel, there is a particular quote that, I think, mimes the political rhetoric used during election season (well used frequently, but only recognized by a wider audience during election season). While watching a Milo Yiannopoulos talk (shameful–I know), a member of the audience referenced the same quote; which he refers to as the speech given during "the restaurant scene" in the film. The audience member argued that the monologue, performed by anti-hero, Patrick Bateman, mimics some of the language Clinton used during the campaign. I found it very interesting, especially since Bateman is obviously obsessed with Trump throughout the entire novel. While the novel was published in 1991, and the Clinton's weren't yet a household name, I found it very funny that both the audience member and I made that association (despite the fact that I found Bateman's speech to be a satirical monologue that could be applied to Clinton, Trump, and media's impression on the common person's understanding of politics). I want to share this quote, let me know what you think:

"We have to stop people from abusing the welfare system. We have to provide food and shelter for the homeless and oppose racial discrimination and promote civil rights while also promoting equal rights for women but change the abortion laws to protect the right to life yet still somehow maintain women’s freedom of choice. We also have to control the influx of illegal immigrants. We have to encourage a return to traditional moral values and curb graphic sex and violence on TV, in movies, in popular music, everywhere. Most importantly we have to promote general social concern and less materialism in young people."

Ellis, Bret Easton, author. American Psycho : a Novel. New York :Vintage Books, a division of Random House, Inc., 1991. p.15. Print.