With the Wicked movie coming out, it'd be nice to see an analysis of how wildly different the Broadway musical is from the novel it's loosely based on. Compare characters and their arcs. For example, Fiyero in the musical is like a Disney prince, while the book version was much more serious. Compare plot details. The musical's ending is quite different from the book's. Compare themes. The book goes deep into political and ethical questions; does the musical do these ideas justice?
Analyse Hayao Miyazaki's use of picturesque European-inspired aesthetics in his movies. Think "Howl's Moving Castle", "Kiki's Delivery Service", and "Porco Rosso" – all are either inspired by 19th and early 20th century Europe, or in the case of "Porco Rosso" use real countries such as Italy in the 1930s. How does Miyazaki draw on these elements of aesthetic to create beautiful and magical settings? How does the source material, British author Diana Wynne Jones' novel "Howl's Moving Castle", and the real world influences of the time period, World War 1 etc, influence Miyazaki's renditions? What does he include, what does he exclude? What is the affect of these renditions on Japanese and international audiences especially when considering Japan's relationship with the West? You can also compare these European aesthetic/story films with the Ghibli films set in Japan, such as "My Neighbor Totoro" and "Spirited Away". Plenty of questions to ask yourself when doing this article. I recommend potential narrowing down the subject to certain aspects of the aesthetic, such as subject, technology, colour etc.
You could also include the set design for the live stage play of "Spirited Away" and if that is catered to the audience or true to the source material. – yoderamy171 year ago
Uglies on Netflix brings back the dystopian genre, but the trend has been out of the spotlight for a while now. Shows like Snowpiercer and others have thrived by taking advantage of the TV series format, which allows for deeper world-building and character development. In contrast, dystopian films often struggle to fit complex narratives into limited screen time. Could Uglies have benefitted from being a series instead of a standalone movie? Let’s explore how dystopian stories are evolving and why the TV format might be their best future.
The Heads of Cerberus by Francis Stevens is one of those early speculative gems that somehow slipped under the radar, despite its daring blend of dystopia and parallel worlds, predating the genre's mainstream appeal. Written in 1919, Stevens’ work subtly tackles themes of oppression, identity, and resistance—issues that still resonate today. This article could reexamine The Heads of Cerberus through a contemporary feminist lens, making comparisons to modern dystopian and speculative fiction. By doing so, it could highlight how Stevens paved the way for today’s narratives of power and rebellion, and why her work deserves a fresh critical spotlight in our current literary landscape.
Book-to-movie films (and—more regularly, now—shows) are especially common in young adult franchises such as The Maze Runner, The Hunger Games, and Divergent. The first three Harry Potter films are some of the most beloved book-to-movie adaptations in history. The latter movies, while successful in other regards, were criticised (especially by book purists) for cutting out, altering, or ignoring large chunks of the source material. I have heard several fans say that they would watch a Harry Potter reboot if it was a high-budget streaming show that adapted each chapter into an episode, with the dialogue and plots and sub-plots remaining exactly the same as the books. Whether this would ever be done remains to be seen,
Movies face an issue in that they are limited in run-time. While there are long movie adaptations out there (The Lord of the Rings is a prime example), more commonly, they are cut to fit at a little over 2 hours. They prioritise entertainment and a streamlined story. Books can vary in length to a great degree—the first Harry Potter book was around 77,000 words while the fifth (the longest) was around 257,000. Yet the fifth movie (2hrs and 18 minutes long) was actually shorter than the first (2 hours and 32 minutes long). The movie arguably benefited from cutting much of the meat of the book, at least from an entertainment perspective, if not from a story and world perspective.
How important is it for the plot to be accurately represented in films, given that they are, indeed, adaptations of the source material and not direct translations? Is it enough for the characters and world to be represented with care and detail? Are fans right in complaining about inaccuracy and missing scenes in book-to-movie adaptations? What are some examples of book-to-movie adaptations done well, and done poorly?
The different approaches to book adaptations and the merits or detriments of shifting the medium of a story would definitely be an interesting topic. Another possible aspect of the topic would be the question of whether a movie or an episodic show is the most effective format, whether this is case specific, and what sort of plots and subplots lend themselves to short or long form cinema. – Quodlibet2 years ago
Movies and books are two extremely different mediums with unique characteristics, potential benefits, and potential barriers. Consider this example: In the book Alice's Adventures in Wonderland, there are several significant internal monologues. In my opinion, one of the most substantial ones is Alice's internal monologue while questioning her own identity (inside the rabbit hole); however, I was unable to locate a single movie that featured this internal monologue. In a novel, a character could typically have an internal monologue for a whole chapter, or even more, but in a movie, it would be disastrous. In light of this, I believe the questions to be asked are: Which elements should be removed in order to make room for the new medium? What elements need to be modified to take advantage of the new medium's potential? etc. The issue is not whether there should or shouldn't be disparities between the two - because there will always be disparities between the two; rather, it is how to implement these contrasts without compromising the book's basic concepts and takeaways. – Samer Darwich2 years ago
The benefits of a series format compared with that of a film would definitely be an interesting topic. In my opinion one of the interesting examples to explore would be the adaptation of philip pulman's series 'his dark materials' and how the movie compares to the HBO series. Whils both effectively translate the novels into another format, both fail where the other succeeds. For example the HBO series is more detailed and has better pacing whereas the movie has a tone that is similar to that of the books. Another example is all quiet on the western front which has been adapted into a television sereis and two different movies, the most recent havign been released this year. I'm sure some interesting comparisons can be drawn between the different adaptations that would help furthere develop this topic. – Matilda2 years ago
The debate of making a successful book to movie adaptation is great to engage in. There first needs to be an acknowledgement that there ate two different mediums and depending how abstract or explicit, its down to directors' and writers interpretation the book. – ml223702 years ago
I think that books do more intense and detailed descriptions of the story. But the adaptation of a book to the movie is really good as not all can read books but most people watch movies tho! – dancingnumbers2 years ago
I think the recreation of famous stories in film can be a really beautiful thing and gives more options of accessibility for a wide range of audiences. Although I can agree that film adaptations can be missing the "spark" of the novel, there will always be different versions that exist. A recording of an audiobook with a different voice actor than the original recording will have nuances and tone that transform the story, just as a movie will create a slight variation of the original tale. Within these changed adaptations we can add new, modern factors to elevate relatability and relevance to modern society, such as increasing diversity (which is always a good thing). – tayloremily292 years ago
A lot of this has with the personal connection to the material. I remember hating the Watchmen film when it came out. I was not familiar with the material and I remember not feeling invested in any of the characters - I left the cinema about half way through (the only other time I did that was in Batman and Robin). Friends of mine who I trust and are familiar with the source material loved it and it felt to them like a very accurate representation. There is also the nature of time passing to consider. Perhaps a piece of literature is twenty years old (or more!) and has key elements that need to change to reach a contemporary audience - these might not be the core or 'the message' of the story, but they might be things that seem essential to some readers of the original material. If there were a way to judge the access of the new audience to the original authors intent, that might be something to look at. – ggmills5 months ago
I would argue the best adaptations sit along their source text or are in dialogue with them rather than being carbon copies. Dune the novel is not the same as Dune the film (2021 and 2024) but both can exist side by side and their themes and ideas are have overlap in many ways. How a film or tv show diverges from a source text and why is as interesting as how they remain faithful. Many readers and fans of novels/book franchises need to be more aware/conscious about the necessity of changing a text when adapting it to another medium. Fundamental structures/narrative techniques of a novel or short story may not translate to a visual medium. The more beloved the text, and the more strictly constructed the text, the more potential for criticism there are from fans of the property. The Rings of Power is a fascinating case study in the process of adapting texts for tv. House of Dragons is another fascinating case study. – Sean Gadus2 weeks ago
Breath of the Wild and Tears of the Kingdom are newer Legend of Zelda games that feature open world mechanics and the return of the collectathon, in a sense. A collectathon is a type of video game where there are items and objects to collect in order to either progress in the game or obtain an upgrade. An older example of a collectathon would be Banjo-Kazooie or Jak and Daxter. In Breath of the Wild, the collectathon element of the game is Korok seeds, except there are about 900 to collect in the game. Tears of the Kingdom increases that number.
The topic taker should see if this newer collectathon element is too much to do for the player. The topic taker is free to examine other newer forms of collectathons than the two mentioned in this topic. Research points to include:
– The time it takes to do these collecting elements
– The reward for completing the entire collection
– Player feeling about the collecting element in the chosen game or series
– The topic taker is free to also include an element of the psychology behind why collectathons work, if they wish.
Uglies on Netflix explores a dystopian society obsessed with physical perfection, a theme that resonates beyond sci-fi. True Beauty, both as an webtoon, anime, and K-drama, also tackles beauty standards, but in a contemporary setting. While Uglies critiques the extremes of cosmetic enhancement in a futuristic world, True Beauty addresses the pressures of social media, self-image, and societal expectations in today’s world. This article could explore how dystopian narratives and modern K-dramas approach the same topic from different perspectives, highlighting the ongoing conversation about appearance and self-worth.
The rapid advancement of artificial intelligence has brought forth a myriad of ethical questions, particularly concerning AI relationships as portrayed in media. "My Wife Has No Emotion" serves as a compelling case study to explore these concerns. The anime delves into the complexities of emotional relationships between humans and robots, raising significant issues primarily centered on consent and the nature of companionship. AI entities lack consciousness and free will, challenging the authenticity of their participation in relationships and questioning whether true consent is possible. This dynamic also prompts ethical considerations about creating beings solely to fulfill human desires, potentially leading to a decline in human-to-human interactions and fostering isolation. The societal implications are profound, as traditional concepts of love, built on mutual understanding and emotional depth, might be redefined by the artificial nature of AI relationships. Moreover, the authenticity of emotions simulated by AI blurs the lines between reality and simulation, forcing us to reconsider our perceptions of genuine emotional connections. "My Wife Has No Emotion" highlights the need for ongoing ethical dialogue as we integrate AI into personal lives, urging careful evaluation of the impact on our understanding of love, companionship, and the essence of human connection.
"The Death of the Author" is the title of an essay literary critic and theorist Roland Barthes.
The term itself has been argued to mean that the work should be judged wholly on its own merits despite problematic origins. But, was that the intent of the framework or is it a post hoc justification for supporting creators (and thus their creations) who would otherwise be maligned?
With regards to fandom, how much can be said to be justified under this framework and as consumers should there be a limit to where and how this framework is used as a defense?
I recently studied this essay in my class on Contemporary – thalamouawad2 years ago
I recently studied this essay in my class on Contemporary Writing by Women. I think that Barthes' essay can be juxtaposed effectively with Nancy K Miller's "Changing the subject". It counters Barthes' work by stating that this dismissal of individual identity can be interpreted as a hegemonic tool used to deemphasize the stance of minority writing. – thalamouawad2 years ago
Another point for reference: novelist John Green has publicly subscribed to the Death of the Author philosophy, saying "authorial intent doesn't matter"; how readers interpret metaphors, he says, is as important or more important than what the author was thinking when he wrote them. This makes reading Green's books, like Paper Towns and The Fault in our Stars, which are stuffed full of metaphorical imagery, quite interesting.
Paper Towns, in particular, is about imagining people as multifaceted instead of seeing them as metaphors - but if authorial intent doesn't matter, should we accept our superficial impressions as accurate? – noahspud2 years ago
DON'T LOOK UP was a controversial satire on the climate problem, and while every political satire is bound to divide audiences– this one made a large mistake. It wasn't just a satire, it was a call to action. It was a combination of the greatest forces in entertainment, telling you, the average moviegoer, that we need to solve this problem. Perhaps if the film had given a portion of not all proceeds to climate action, there would be a legitimate attempt at change. However, because of its lack of self-awareness and enormous star-power, whether or you liked the film, nothing is going to change.
Other films have successfully navigated this fine line of educating vs enlisting (Wag the Dog, 1997 comes to mind) but for a giant industry with enough money to solve world hunger to shake their finger at an audience made up of working class moviegoers is both ignorant and somewhat classist.
I'm probably one of the few people who didn't like the movie))) – mikkejames2 years ago
Makoto Shinkai frequently employs the motif of rain in his films to convey a range of symbolic meanings, enhancing both narrative and emotional depth. In "The Garden of Words," rain symbolizes refuge and emotional healing as the protagonists, Takao and Yukari, find solace in their rainy morning meetings. The shifting rainfall mirrors their evolving relationship and personal growth. In "Weathering With You," incessant rain in Tokyo represents the uncertainties and challenges faced by Hina and Hodaka, with Hina's weather-controlling ability highlighting humanity's complex relationship with nature. The rain in this film explores themes of sacrifice, connection, and environmental impact, reflecting the characters' emotional highs and lows. Across Shinkai's works, rain signifies emotional depth, illustrating feelings of longing, melancholy, and hope. This recurring motif invites viewers to reflect on their own emotional experiences, making the narratives more relatable and immersive. Shinkai's use of rain as a symbolic element captures the ephemeral nature of emotions and the beauty of fleeting moments, blending visual artistry with profound storytelling.
The topic taker should analyze the requirements of some trophy lists to beat games on the "Hard" Difficulty and/or unlock special items or extra difficulties in the game. Examples that come to mind are Final Fantasy Remake and Rebirth, Kingdom Hearts III, DOOM, and the God of War series. The topic taker is free to include other games to the list that they may know about–the list serves as a jumping off point to get the topic taker started. The topic taker should consider the following for their article as well:
– Is completing a game on Hard Mode enjoyable?
– Is requiring finishing a game on a Hard mode restrictive or prohibitive in any way?
– If someone chooses to play at difficulties other than hard mode, does that mean they are more or less of a gamer in the eyes of the game's community?
– Should Hard Mode be a requirement for getting certain items or cutscenes or trophies, or should that content be available regardless of the difficulty?
The topic taker should address these points with research and examples from the games they choose that is relevant to the points. If desired, the topic taker can look at the psychological research done on this subject and how it affects players' self esteem, if the research exists.
I think that it’s worth including as a separate item a description of hard fashion through an analysis of the creativity of the FromSoftware studio – MagnoliaDunbridge2 months ago
Replayability is a measurement of how much fun a game is to play over and over again – how much new content there will be on each playthrough, how much you can vary your playstyle, how many different endings or paths the different quests/stories have for you to explore each time. It is something it is generally considered good for a game to have, especially in certain genres. Many players want to be able to play their favourite games again and again, but with enough variation that it is never boring.
However, replayability is something that cannot be (and isn't) pursued in every game. Many story focused games are not particularly replayable, as their goal is to focus on telling one very good or in-depth story – and to focus on replayability could take away from that. There is also the fact that to make a game very replayable takes a lot of time and effort to code and design all the different playstyles/endings/quests etc. This is time and effort that may be needed elsewhere or would possibly be better spent polishing the main game. Not everyone plays again and again after all, so is it really so crucial to ensure that every single playthrough is entirely unique?
This article would delve into the concept of replayability, exploring whether it is truly important for games to be infinitely replayable or more important to create a good experience the first time round.
Very nice! As a longtime player, may I particularly suggest Hogwarts Mystery for examination? The developers added a replay option within the last year or so, so that players could change their houses or relive certain moments if they wanted. The downside though, is that replay kicks you all the way back to first year, and you lose access to anything you've won or purchased. It's a conundrum for sure. – Stephanie M.10 months ago
A very interesting topic! Although I don’t think every game has to be replayable, replayability is certainly a feature unique to the game as a storytelling media. If there is only one possible storyline, novels, anime, or film allows the producers to polish the story even better because those media have a better control on the pace of the stories than games. However, Baldur’s Gate and Elden Ring cannot be easily transformed into other media, because they have various possible ending. That is something only possible with games. – AlisaN9 months ago
Cool point, I've found that replayability has a bit of a personal edge for me. Replaying games at different stages of life is way more of an experience than any new game plus content or add-on. – jsmilo9 months ago
Recently, a lot of books have been making it onto the infamous banned books list in America, due to containing such themes as "strong female leader" in the case of Wizard of Oz, "racism", especially with children's books that tend to point to the systemic nature of racism in America, and of course, "sexuality and gender" that basically gets slapped on anything that even remotely hints at an LGBTQ relationship or gender expression outside of the cisgender spectrum. Most of these entries to the ever-growing ban list seem to be coming from conservative areas. It might be good to take a small sample of the banned book list from the past 2 years or so and see how it would compare to, say a European banned books list, if the idea of a banned books list isn't something that is wholly limited to America in the first place, and see if there are any overlapping topics between the lists to see what trends might exist cross-culturally.
If this cross-examination is not possible, the topic taker could instead talk about whether or not book bans should exist, and the reasons why they do, and could choose to take a few selections from the banned books list and make an argument as to whether or not the themes presented in the literature truly merit a spot on a banned books list.
I think for this to be good analysis of cultural differences it should look at time frames as well. 90s America vs 90s China for example. Or a myriad of differing ideologies within the nations and have they remained the same or evolved as times have changed. – Sunni Ago7 months ago
I think this is a very interesting topic! I think it would be fascinating to research if book bans come from liberals as well. The comparison could be what each side of the spectrum is trying to ban. Also, I think your second paragraph could be an interesting focus. – shoafhannah7 months ago
The idea of an apocalypse has existed in history for hundreds of years, but why in recent times has the idea of an apocalypse become to mainstream? Whether it's zombies, nukes, or anything in between, these stories have taken a deep root in our modern culture. Is it because we feel detached from our primal survivalist selves? Take for example the show The Walking Dead. The show is a massive success, second only to Game Of Thrones during its run time. Apart from the amazing writing and impeccable acting performances, there is a certain allure to the idea of a group of at-first strangers growing into a family through trials and tribulations and lots of zombie guts. It is also interesting to see how these stories are received in different cultures around the world. For example I know that in many parts of Asia, there is a massive love for all things zombie. Why do you think this is?
Good topic! I think apocalypse-style media is cathartic. People consume it as a way to reassure themselves that what they see can't really happen for one reason or another, or that if it did, they would survive. Sometimes people consume this media and plan what they would do in certain situations. There's also an element of dark humor, as in, if we laugh at the poor decisions we think characters are making, the apocalypse won't seem so threatening and potentially realistic. – Stephanie M.3 years ago
Something really cool that was taught at the UNiversity I attended was an analysis of 'Ecocriticism and Popular Culture'. It took a deep dive into enviro-apocalypse stories (like Snowpiercer) - why we tell them and why we love reading/watching them. The concept of 'man vs wild' is a binary that has long existed conceptually as a means by which humans understand themselves. However, contemporary ecocritics have been challenging this binary. Especially now in an age where climate change and environmental catastrophe (referred to by scholars as the Anthropocene) continue to escalate. Things to research when exploring Environmental Apocalypse stores in pop culture:
- Anthropocene
- Biopolitics
- Examples of this in film/literature: Snowpiercer, Elysium, Interstellar, MaddAddam Trilogy (by Margaret Atwood) – Amaani3 years ago
Something to consider: for many people and species on this planet apocalypse is already here and we are living in a post-apocalypse scenario. So maybe these representations of "another apocalypse" are how we confront our reality that we don't want to see. – ProfRichards3 years ago
It might also be worthwhile to bring up how many cultures and people who have experienced genocide often say they live in a post-apocalyptic world and how that translates into the art and media they create (i.e Indigenous, Black cultures) – Anna Samson3 years ago
Another thing to consider is how differently post-apocalyptic films and shows are written nowadays compared to the 70s, 80s, and 90s. So many shows have been redone, with some performing well and others being worse than the originals. I think it's important that we compare what captured viewers back then compared to now. – cbrneticwrites3 years ago
What came to mind when I read this was Amazon's adaptation of the 'Fallout' series which attempts to appeal to fans of the franchise while capitalizing upon and making light of our sentiment and horror with real, seemingly apocalyptic events. Recreating a post-apocalyptic landscape with acute attention to nostalgic detail without any meaningful storytelling serves as performative sympathy and distraction from our reality. It seems to be mostly an attempt by major streaming networks to relate to their audiences and garner sympathy without taking accountability or advocating for real change. – Erin2 months ago
Whilst the series "Chainsaw Man" has much in common with other shounen action series, it also appears to be trying to make some sort of spiritual point. The frequent invocation of devils and the Four Horsemen, for instance, seems to be drawn from Christian theology. It is also possible to read Denji as a Christ figure (whose friendship with others causes them to become better versions of themselves) and Makima as a Satanic figure (who wants to bend the entire world to her will).
On the other hand, Christianity does not appear to be the only influence in "Chainsaw Man." For instance, Denji may be less a Christ figure per se than a generic "savior" figure, similar to Neo from "The Matrix," who has his roots in multiple religious traditions. Moreover, there are actually some interesting parallels between Makima and the way certain atheists understand the God of the Bible: namely, as a sort of controlling, wicked stepfather.
What spiritual dimensions can be found in the characters and setting of "Chainsaw Man?" Is there any influence of traditional Japanese spirituality, such as Shintoism or Buddhism, and if so, what does it consist of? Are any of the spiritual references in the series deliberate, or are they purely aesthetic?
In general, it is worth mentioning Rousseau’s concept of the proud savage and, in general, how a person develops higher and higher needs; this plays a very important role in the anime itself and in the issue of spirituality of mysticism too. – MagnoliaDunbridge2 months ago
There is a very interesting blog entry on the Harry Potter Amino Apps page that compares Lord Voldemort (nee Tom Riddle) from the Harry Potter series to Andrew Nehman, the protagonist of Whiplash. The main thrust of this argument is that both characters come from a long line of mediocrities, and develop an obsession with being the best in their chosen fields in order to counter this, even if it costs them their humanity and personality. They also share at least one other similarity that goes unremarked upon in the blog: namely, that both of their mothers died in childbirth.
The question is, does Voldemort have any other traits that make him similar to other obsessed creatives (real or fictional) besides just Nehman? What, if any, artistic talents does he possess, and what are some of the lengths he goes to master them? In terms of his characterization, just how essential a role does creativity play in making him who he is? Is there actually anything to the idea that Tom Riddle/Voldemort's backstory and arc are that of an obsessed artist or creative personality, or does he just happen to have some traits in common with one obsessively artistic character purely by chance?
Discuss how to discern genuine quality from exploitative storytelling. Gratuitous sadness in movies and books is a contentious issue, with some works blurring the line between genuine emotion and exploitative storytelling. To determine if a movie or book is truly good or just trauma porn, readers and viewers can look for key indicators. Examining the intent behind the portrayal of sadness, evaluating the depth and complexity of character development, and considering the impact on the audience's emotional well-being are crucial factors to consider. For example, novels like "A Little Life" by Hanya Yanagihara and the 2023 movie "Close" by Lukas Dhont, have sparked debates on the fine line between authentic emotional storytelling and gratuitous trauma exploitation. Understanding these nuances can help discern between quality storytelling and sensationalized trauma porn.
I think how you define "genuine quality" and "truly good" should either be elaborated on; or, the effects of gratuitous sadness should be judged according to a less subjective measure than goodness and quality, for example, by authenticity – Yusra Usmani2 years ago
A good place to look for uses of 'trauma porn' is within the BooTok world, particularly when it comes to the dark romance genre. An example of this is 'Haunting Adeline' which exploits conspiracy theories, sexual assault and stalking. This book is on the USA Today Bestsellers list and only moving up the ranks. It is definitely an example of exploitative storytelling. – morgantracy11 months ago
The topic taker should explore how roguelike games can be used to tell complex stories. Specifically, the topic taker should consider The Binding of Isaac and similar games that use its roguelike mechanics, like unlocking new characters, new powers, or new stat boosters to tell a multi-layered story. For example, in The Binding of Isaac, clearing a run usually unlocks a new ending to the game, and then opens up a new path and/or character for the player to choose.
As always, the topic taker is free to include other roguelike games they know of that use the game mechanics to tell a complex story in their analysis. Things to consider would be as follows:
– The story gets told in various parts, in some manner, as referenced with my example above.
– The roguelike offers a story in some way, so, this excludes things like Brotato, to my understanding.
– The topic taker is free to add in whatever elements they might need for this article. For example, the topic taker, if focusing on The Binding of Isaac may consider looking into how the religious elements in the game tell a deeper story. Or, if the topic taker chooses to include Hades in this analysis, they could include aspects of the Greek Pantheon that highlight elements in the story and/or mechanics.
– The topic taker can consider the merits of comparing and contrasting two different roguelike games to see if storytelling is similar or different between them, but, given the nature of roguelike games, I would advise limiting this article to two games.
Here is a link to the Wikipedia for The Binding of Isaac for topic takers who may not be familiar with the game or its mechanics: (link) Binding of Isaac is,to OS X, and Linux.
Hades is a really interesting case study for this topic. A lot of the story is told through multiple runs/run ins with characters, as well as multiple times beating the final boss. – Sean Gadus3 months ago
Following the departure of the creator of channels The Game Theorists, Film Theorists, Food Theorists, and Style Theorists, MatPat, from YouTube, there has been discussion about the changes of YouTube's platform and if viewers of the platform are going to see other long-standing YouTubers leave. In MatPat's goodbye video, he references other YouTubers who have decided to leave the platform and notes that "the platform is changing". We have also seen the trend of short-style videos in the vein of TikTok rise in popularity. The topic taker should address what changes they see taking place, possibly using the host of recent goodbye videos as a jumping off point, for the web-video platforms and analyze what those trends might mean for others looking to get into the content creation space.
The topic taker is free to include the psychological impact of content creation, especially with the constant stream of short-form videos, has on a person. In addition, the topic taker can compare and contrast the platforms of YouTube and TikTok on multiple levels, such as monetization strategies and algorithms if they wish in order to predict where the trends might be going and indicate what those trends suggest for viewers and creators alike.