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Throughout the years following the publication of the novel, the character of Carmilla has influenced popular culture in a way that it’s been used a lot of times. Some writers have even written a sequel to the original novel, whilst others have included the iconic character in other forms of media; films, television, video games, comics.

Carmilla’s character seems iconic in the way that she seems to represent a symbol of Gothic literature and the Gothic genre in general, on the same level as Dracula. She is depicted differently in other forms of media, so much that her lore seems to evolve from one author to another. Even her personality varies, depending on how she’s meant to fit in the media that wishes to see her in another way. For example, the 2000 Japanese movie "Vampire Hunter D: Bloodlust" has depicted Carmilla as a noble vampire that was known for her vain and gluttonous tyranny by bathing herself in the blood of virgins. She’d even been named the "Bloody Countess" as a result. Her acts had disgusted Dracula so much that he’d destroyed her himself.

It’s quite a far cry from Carmilla’s original depiction. But somehow, she fits the tone wanted by the author.

Why would other artists choose to depict Carmilla as differently as possible? Examine the reasons why her character has such a great influence in popular culture to the point that she needs to be modified to fit in the tone of another story.

James Gunn and Peter Safran, the new leadership at DC Films, recently announced a slate of ten new projects that will start a new era of DC Films. The team is moving on from much of the properties and actors associated with DC’s past films (for example, Henry Cavill will not return as Superman). The author would analyze the slate of releases announced by Gunn and Safran, as will as discuss the viability of their approach to developing a new connected television and film universe. The author could also touch on their handling of outside universe projects like Joker 2 and The Batman Part II.

Though I am personally unfamiliar with the larger catalog of examples available, there seems to be a hit-or-miss quality to Manga transitioning to live-action shows and movies. It seems on average the live-action shows that are not action based are able to capture the essence of the original work. As an example, Netflix’s "The Makanai" is based on a Japanese manga named Maiko-san chi no makanai-san, first published in 2016 by Aiko Koyama and has been praised for its accurate representation. In contrast, Oldboy and Dragonball flopped both with critics and the original fans. Is the ability to transition these works to screen dependent on the source genre, the director/script, or on trying to reshape it to appeal to a western audience? It seems the more gentle, low-risk mangas succeed in adaptations whereas action mangas fall short. Is this a cultural failing or an industry failing? And if they were adapted more accurately, would they succeed to a global audience?

The slogan "art for art’s sake" arose in the 19th century with the core ethos being that art, true art is divorced, separated, alien from function, any and all functions.

But with this philosophy, there is room for critique, after all nothing is created in a bubble and artists are influenced by their society and as such so are their works.

Does art always have a message? Should it?

Many Marxist thinkers would argue art must have a meaning and purpose but even non-Marxists have levied criticism at this school of thought.

Is Art for Art’s sake a philosophy that is unfairly maligned? Is it a cynical defense from critique?

Social media is buzzing about a disturbing, but not necessarily new trend–the cancelling of sapphic television series, especially on streaming services like Netflix. "Sapphic" refers to content "of or relating to sexual attraction or interplay between women," and disgruntled and confused viewers aren’t seeing enough of it. They point out the short-lived nature of once-popular series such as The Baby-Sitters’ Club (2020) and Paper Girls, to name only two.

Even more disturbingly, some series that might not be called sapphic, but are certainly women-centered, have been cancelled, were panned by critics, or have disappeared into long hiatuses. (See Gilmore Girls: A Year in the Life, Chilling Adventures of Sabrina, and Anne With an E for examples).

Discuss why these series, especially on Netflix, might have been disproportionately represented on the chopping block. Do the "powers that be" see women-centered content, particularly the sapphic, as a threat, and if yes, why? Do cancellations happen just because of the nature of Netflix–shorter seasons and encouragement of "bingeing"–but if yes, why is male-centered content not cancelled as well? Do female viewers want different types of content, and if yes, what do they want? What would it take to bring female-centered shows, sapphic and otherwise, front and center on streaming services again?

For many people, true stories are far more compelling than fiction and so there is an ever growing market for documentaires and tv series based on true stories. However, there are some ethical considerations that need to be taken into account.

Firstly, when filming documentaires, do producers have an obligation to represent information as wholly and accurately as possible? We can see the simple of nature documentaries wherein the lion eats the zebra, but the event can be seen as either a victory or a defeat depending on whether the documentary focuses ont the lion or the zebra. Do those who make documentaries have a responsibility to represent both perspectives?

Secondly, what kind of obligations should be held in regards to the subject of a documentary or a film based on a true story? Especially in the case of a tragedy, it is possibly for filmmakers to take advantage of a person’s grief for the sake of the story.
Finally, does the dramatisation of true stories in some way glorify the event? This is an especially pressing issue when it comes to films about serial killers, for example ted bundy when he was portrayed by Zac Efron, or Jeffrey Dahmer who was protrayed by Evan Peters. Following the release of Dahmer in particular, there have been complaints from the families of victims and a response from viewers that was shockingly unempathetic. Extremely wicked shockingly vile and evil even garnered fan girls for the serial killer Ted Bundy. Do dramatisations of tragedies create a warped discourse surrounding these tragedies?

It occupied television screens for fifteen years, and two-and-a-half years after concluding its run, it’s still inescapable on social media. Debuting in 2005 and finishing in 2020, Supernatural was an incredibly long-running series about monster-fighting brothers Sam and Dean Winchester. During its run, the show’s immense popularity was demonstrable not only in how long it remained on air, but in the overwhelming presence it had in online fandom spaces. However, despite the love for Supernatural during its run, the show has left a very mixed legacy in recent years. Many fans criticised the show’s last three episodes, with particular critique going towards Castiel’s death moments after confessing his unrequited love to Dean. This criticism has spilled over to Supernatural’s prequel/sequel series, The Winchesters, which has received low viewership numbers, despite the star Jensen Ackles’ involvement in the production. Real-world events, from co-lead Jared Padalecki’s exclusion from The Winchesters to international dubs altering Castiel’s love confession to be requited have contributed to discourses surrounding Supernatural. On the flip side, however, other shows involving Supernatural’s main cast – Jared Padalecki’s Walker, Jensen Ackles’ The Boys, and most recently, Misha Collin’s Gotham Knights – have all achieved high viewership numbers and/or seasonal longevity, suggesting that fans still hold great affection for the series and its stars. The proposed article would explore the legacy left by one of the CW’s flagship shows.

A popular meme showing Blue of Blue’s Clues fame and Bluey of the eponymous Australian cartoon reads, "Every so often, a blue dog appears to guide a new generation." Tongue-in-cheek humor aside, one cannot deny the popularity and relevance of Blue and Bluey for millennials and Gen Z in particular.

Examine and analyze these two blue canines, their compatriots, and their shows. Compare and contrast them. What makes them both so engaging, yet unique to the generations at which they were originally aimed? What makes both so special for both the children and parents who watch them now? Why have both shows succeeded in netting older "periphery demographics" (e.g., older elementary students) where other shows have not? Or conversely, if one show or the other drove, or is driving, other older viewers up the proverbial wall, why is that?

Currently, split time novels are some of the most popular in the fiction market. These novels usually pair a historical protagonist with a contemporary one, connecting their stories across time through similar themes and motifs or sometimes a significant object or event. For instance, one protagonist might have lived through World War I or II, and the other might be that protagonist’s grandchild or great-grandchild looking for answers regarding what happened to that grandparent during the war years, but the other family members never talk about.

Despite the popularity of these stories, they’re arguably becoming formulaic. Some time periods and plotlines are becoming overdone. For instance, it is no longer uncommon for World War II to be the featured historical period. A contemporary protagonist is often drawn to care about the past only if he or she "gets something out of it," such as a promotion at work or a "last chance" to connect with a grandparent dealing with dementia (the question becomes, why didn’t the grandchild ever attempt to connect before)?

Discuss some of the more popular split time novels and what sets them apart from their myriad counterparts. Discuss what historical time periods aren’t being taken advantage of right now that could be, or what plotlines contemporary characters could experience. For instance, could time travel be a possibility? Body or identity switches? Historical and future timelines?

The Peripheral (2022) is a recent sci-fi TV drama series based on the book by the same name by William Gibson. It was developed by Westworld creators and has a similar aesthetic. The series is set roughly a decade in the future with a focus on how technology can change society (similar themes to Westworld), but primarily follows the creation of an alternate reality that a VR gamer gains access to. The main narrative begins in the Blue Ridge mountains in the USA where Flynn and her brother Burton accept an opportunity to beta test an advanced VR game.

What is interesting about The Peripheral is that it is Hard Sci-Fi: it includes alternate realities, consequences of technology, dystopian societal states, VR, body modifications and nanotechnology. Throughout the show the technology both in the near future reality in USA and the futuristic capital of London is based in scientific developments that are a mere step from our present. The extrapolations are linked to scientific discovery and justified well within the scope of the progression in the series. By beginning in a more relatable near future with the slow introduction of different technology, the viewer is lead smoothly and easily into accepting such technology as a reality within the context of this series. The careful handling of the plotting allows even the most mainstream viewers to be eased into what is basically Hard Sci-Fi.

This is a very brief overview of a complicated progression through a series that makes every hour episode feel like a movie with the density of events and character development. It would be interesting to map this more fully, and explore the actual progression of how and in what order different technology is introduced and explored to help scaffold a viewer’s experience of being eased into Hard Sci-Fi. It is also an interesting series to look at how the handling of futuristic Sci-Fi can be managed without becoming disjointed or pretentious (for instance a comparison to MoonHaven would be interesting to explore). Finally, the series eludes quite strongly to the consequences of our current state of affairs with the Jackpot and an analysis of the implications of this to where we are currently located would be interesting to explore the extrapolation of a near dystopic future of our actual world.

Turn based rpgs were at one point the height of video games. Dragon Quest and Final Fantasy are some of the most well known, as their success lead to huge franchises that continue today, but there were also many more inspired by them or experimenting on their format.
Turn based rpgs still exist today – just look at the sweeping success of Undertale, or at strategic turn based rpgs like XCOM or Darkest Dungeon. But turn based rpgs are no longer at the forefront of gaming, instead primarily being a genre used by nostalgic games or indie projects.
Even Final Fantasy, a game that was once synonymous with the turn based rpg, no longer uses that play style. The popular Fallout series did similar.
This article would discuss the turn based rpg, why it was so popular in its heyday, and why many major studios moved away from it.

"The Last of Us" has become an acclaimed game due to its story, memorable characters, and post-apocalyptic world. With the release of two sucessful games, many fans are anticipating a potential third part. However, with this, comes the question: is a part 3 of The Last of Us really necessary?

By exploring the potential direction of the game series, it is important to consider the implications of continuing the story. Has the narrative reached a natural conclusion or is there still more to be told? A part 3 could provide an opportunity to expand upon the world and characters established in the previous games, while also resolving any lingering questions or story arcs.

At the same time, there are valid concerns about the potential risks of a third part. How might a part 3 change the established lore or character dynamics? Could it detract from the impact of the previous games or damage the series forever?

In this article, we could explore the pros and cons of a part 3 of The Last of Us, considering both the potential benefits and drawbacks of continuing the story. Discuss the ways in which a third part could expand the world and characters of the previous games, as well as the potential risks that must be avoided to preserve the integrity of the series.

The future of anime may seem promising with the use of artificial intelligence, but it comes with its own set of challenges. Recent articles have been exploring the pros and cons of automating the animation industry. On the positive side, AI can reduce the time and cost required to create anime, while also improving the quality of the final product. However, the downside is that these tools can potentially erase people’s jobs. Many animators already fear that their jobs are at risk when AI is involved. Additionally, the lack of jobs in the field may lead to less diversity and creativity in anime productions. It’s imperative to weigh the good, the bad, and the ugly of AI in the anime industry and find ways to use this technology fairly and efficiently.

As a viewer, among other reasons, we watch movies and TV shows to escape and be entertained. However, the use of dark imagery has become a trend in many productions, which can contribute to a bad watching experience.

When scenes are overly dark or lack proper lighting, it can make it difficult to see what is happening on screen. This can lead to confusion for the viewer and detract from the story being told. It can also be physically uncomfortable to strain our eyes to see what’s happening.

While it’s important to respect the author’s intent, there are ways to incorporate mood and atmosphere without sacrificing the viewer’s experience. Lighting should be used to create tension or set the tone without compromising visibility.

Additionally, it’s essential to think about accessibility. Dark imagery can be particularly challenging for viewers with visual impairments or older audiences who may struggle with their sight. It’s important to ensure that everyone can enjoy the production fully.

Is this really a question of opinion or fact? Some even say that the alleged similar experience faced by a character in the dark is not faithfully reproduced on screen because of the way our eyes and vision adapt to dark surroundings.

Analyze what makes Itachi Uchiha, from Naruto, a villain or a tragic hero (based on the Greek archetype of tragic heroes).
He was responsible for the massacre of his family, even if for noble reasons. A pacifist, a prodigy, who caused lots of pain.
Contrary to villains, however, his motivations were pure, and he led a miserable life, maculated by his choices.
Compare him to either Batman or a "darker" or tragic hero, as opposed to a villain or even an anti-hero.

Along with medics and police officers, lawyers are the most portrayed professionals in movies and TV shows. This portrayal, most of the time, is not very favorable because society at large sees lawyers as deceiving and cold-hearted. Professor Michael Asimov, who dedicated a great deal of research to the representation of lawyers in film, contends that lawyers in solo practice are usually depicted as more upright or honest than law firms, which are definitely seen as an “embodiment of evil.” After the final season of “Better Call Saul,” this affirmation is more likely to be demonstrated. As a solo practitioner lawyer, Jimmy McGill daily confronts the obstacles that his brother and his gigantic law firm put up for him. Kim Wexler also realizes that law firms are usually at the service of huge corporations and powerful people who systematically oppress and crush the poor and marginalized, so she decides to do solo practice. An analysis of this TV show’s takes on lawyers and law firms could definitely be something interesting, especially if it stays away from the habitual subjects that people associate with this show (drugs, cartels and crime).

Major comic book publications DC and Marvel have been around for the better part of the century. In that time, the most popular superheroes in the world have been through a lot — far too much for just one life. Comic books use a sliding or floating timeline to allow characters to remain relatively ageless and storylines to stay relevant. For example, Peter Parker (Spider-man) debuted in 1962 and aged in real time for 3 years until his high school graduation in The Amazing Spider-man issue #28. Yet, nearly 60 real-time years and 900 issues later (not to mention countless other limited and extended runs), Peter is still a young adult. While engaging storylines can still be written in the ongoing Spider-man comics, some readers may find there is a limit to how far their suspension of disbelief can be stretched. Discuss the prevalence of the sliding timeline in major comic book publications and how it creates problems with continuity, character development, and reader engagement. Consider solutions to these problems, such as with DC’s ever-rebooting universe, the increasing popularity of standalone series, ‘Elseworlds’ and ‘Black Label’ stories, and limited runs.

Meticulously crafted by From Software, the Dark Souls games are infamous for their frustrating difficulty. But the real masterpiece of the Dark Souls franchise is its environmental storytelling, which forces the player to explore and deduce the narrative for themselves. Every way they turn, players are faced with bewildering dialogue, obscure item descriptions, and mystifyingly grotesque enemies. Discuss how the sense of mystery and confusion is integral to the Dark Souls series and how its unconventional narrative structure offers a distinct experience and has contributed to its cult status.

The Internet has wielded unprecedented impacts on writing: from methodology, to modality, to publication, to dissemination, to memory. In all of these cases, the Internet has (seemingly) offered expansion. New, inventive methodologies; an ever-changing landscape of modalities; an explosion of publication avenues; a global, instantaneous system of distribution; and endless memory and storage.

However, with the absolute profusion of writing (from documents, to webpages, to web-text, to user-generated content like Facebook and Instagram, etc.), it feels as though writing is getting lost. Search Engine Optimization (SEO) has become crucial, and writers and companies struggle to craft their content to be relevant and, most importantly, to be seen.

The writing is certainly stored online, but does storage equate to permanence? Does storage equate to memory? Do permanence and memory even matter, if the writing cannot be found?

Theosophy was an American religion which emerged during the Spiritualist movement of the late 19th century, and is considered to be the starting point from which various new-age ideologies originated. Analyze the ideas espoused by Theosophical texts, its effects on American art and culture, and how these ideas have influenced modern thinking.