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The successful manga Death Note by Tsugumi Ohba is about what if one person (the main character Light Yagami) could kill anyone they wish by simply writing down a name.

Since that's how the Death Note works, *spoilers* it isn't surprising that Light loses not only his life but also any compassion he had towards the people he personally knew, including his own family.

As a result, the story of Death Note shares possible connections to the philosophy of nihilism by Friedrich Nietzsche.

Analyze those connections in the Death Note manga to nihilism's definition and practice. Include also how Death Note has been mistaken like nihilism (link) as something to literally follow in real life (link)

Please note that this topic doesn't focus on the Death Note anime/show but the original Death Note manga only (i.e. where Light was told early on that there is nothing after death by his Death Note's shinigami owner.) Therefore, that aspect of the Death Note manga connects back to nihilism as an example since nihilistic belief is also about there being no afterlife.

The anime company Studio Pierrot has been often recognized for the many instances where they take the manga of a creator and then change around certain details or even whole characters or plot points to suit their purposes. More importantly, Studio Pierrot's changes produce very different reactions from creators and fans alike.

With Sailor Moon for instance, while some fans appreciated the extended filler episodes meant to make the one-dimensional villains like the Specter Sisters be more sympathetic and have them survive to be redeemed instead of being killed off like in the Sailor Moon manga; the creator herself though, Naoko Takeuchi, decried the changes made by Studio Pierrot as going against her manga's characters by sexualizing the Sailor senshi as fan-service and altering their personalities to be less serious.

In the case of Masashi Kishimoto, on the other hand, he not only embraced the changes Studio Pierrot made to his manga Naruto, he even wrote out future chapters to have the characters Hinata Hyuga and Naruto Uzumaki become a couple; but because the changes made went against the previously established story, some Naruto fans ended up rejecting the manga along with the Studio Pierrot fan-service this time around.

Therefore, given these conflicting opinions, should Studio Pierrot's changes be trusted or valued at all, even if they may be at odds with the original creators' intent or fan approval potentially?

Analyze whether the anime series Hetalia is a fun (sometimes educational) portrayal of nations around the world for anyone to watch, or a racist portrayal of countries' worst stereotypes and prejudices while trivializing World War II, Hetalia's main setting.

Specifically, this topic focuses on the idea of possible stereotypes, discrimination, and racism in general from Hetalia (whether from the original Japanese version or the English dub).

After Disney's movie Frozen came out in 2013, it quickly became one of the highest grossing animated films Disney ever produced, achieving financial, critical and popular acclaim from fans worldwide. In fact, Disney even announced that there was going to be a "5-year Frozen plan" until the inevitable sequel arrives in 2018. (link) However, Frozen's fame might come at a price for Disney in the future. Despite Disney's later film Big Hero 6 (2014) also gaining the same sort of acclaim Frozen did (even the same Academy Award for Best Animated Film), in contrast, Big Hero 6 doesn't have anywhere near as much of the attention that Frozen currently gets from Disney (which ranges from cruises, theme-park attractions, as well as more advertisement in general). What could this all mean then for Disney's future animated projects? Will the emphasis on Frozen for the next five years become a detriment for Disney? Or should it not be viewed as potentially problematic at all?

In books, it is not too uncommon to find stories about the struggles of male characters with extreme deformities or other unpleasant features such as scarring that cause them conflict towards the outside world. Hugo's Quasimodo and Leroux's Phantom frequently come to mind as examples on the literary subject of beauty being found within.

However, it is uncommon to find such stories for a female character even from books that have female authors such as Bronte's Jane Eyre where the title character is ultimately plain, not hideous. Is this convention of women having at least some physical attractiveness so unavoidable that a female equivalent in extreme ugliness cannot be reached in writing?

While Yugioh is better remembered and known as the franchise for the card game that catapulted it into the limelight, in terms of its story, there exist many darker elements behind the shounen facade. Even early on in Yugioh's creation as a manga, there were depicted all sorts of "games" that would've been more at home in the Saw film series: immolation from ice hockey, a roller-coaster that electrocuted anyone who makes a sound and Russian roulette with a fatally poisoned dish to name a few.

And of course, the losers of these games were often depicted as suffering gruesome ends (sometimes censored even for the anime) that were initially caused by the darker half of the main character Yugi Muto. What's more, all these examples of mortal peril, realistic or supernatural, existed on top of the suspense and mind games into the characters' vulnerability, a noteworthy example being the character Mai Kujaku/Valentine's entrapment in an hourglass of man-eating bugs while she was mercilessly taunted on her own self-worth.

Consequently, with so many sinister themes shadowing the lighter ones throughout, should Yugioh when treated as a story be recognized in hindsight as much of a horror manga as well as shounen despite its creator Kazuki Takahashi saying otherwise?

While Pixar's latest film Inside Out may have received near unanimous praise from both audiences at $40.3 million on its opening weekend and critics alike, their next project The Good Dinosaur is reported to be having problems. With almost the whole cast, the composer, the director, and even the color of the main character Arlo's eyes replaced mere months before the film's scheduled debut in November 2015 which was also pushed back from May 2014, it would be easy to question the business practices of Pixar itself. Could it be then that the studio's success with Inside Out was only a fluke and that the troubled production of The Good Dinosaur is the true foreshadowing of Pixar's future existence instead?