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.
Online spaces are known for the communities they attract. One unfortunate element in the modern digital era is the rise of the hater. "Hatedom" in the common parlance is the community of haters a creator attracts.
This perversion of the fandom space into a space of toxic hatred has contributed to numerous creators abandoning their respective fields online as it becomes more trouble than it’s worth for them.
Some examples for the writer are Vivziepop, creator of "Helluva Boss" and "Hazbin Hotel" Hasan Piker, political analyst and streamer, and DarkSydephil, video game let’s player. All of these people have large communities of people who hate them. This aspect of para-sociality has led to a culture of harassment of these creators. What can be done to address the problems this trend creates?
Interesting topic! I'm sure there have always been people complaining about media as long as there has been media, but the internet has definitely allowed people to spread their opinions further more easily, and establish groups of haters. I'm not entirely sure that what can be done to address these problems is quite in the scope of a single article (or at least, that's not where I'd take this topic personally), but there's definitely plenty of stuff to make this an interesting discussion. – AnnieEM1 month ago
"Super Mario Bros. Z" (SMBZ), created by Mark Haynes (Alvin-Earthworm), is a fan-made web series that masterfully blends the Super Mario and Sonic the Hedgehog franchises into a dynamic, nostalgic crossover. Initially released on Newgrounds, SMBZ captivated audiences with its complex storytelling, deep character development, and innovative sprite animation, all while navigating intellectual property challenges. This series not only spurred a vibrant fan community but also inspired numerous other fan projects, highlighting the significant impact of fan creativity on the media landscape. Writers can explore the cultural significance and technical achievements of SMBZ, its role in shaping fan-made media, and its enduring legacy in the context of nostalgic reimaginings and crossovers.
Analog Horror refers to the genre of horror created with the aesthetic of Analog technology, that is to say shot on video, "found footage".
Within the subgenre there exists quite a number of breakthrough hits such as "Backrooms" "Local 58" and "The Mandela Catalogue"
What draws people to this genre and what can be said about the genre tropes and themes? What is the appeal and is there a lesson that can be garnered from the creation of these works?
Good start, but you might want to delve a bit more into what analog horror is, or how your examples achieve it. If you don't know what found footage is (and I, for one, only have a vague idea), you might be a bit confused. – Stephanie M.2 years ago
I was just thinking of leading a topic for this subject too. I think the evolution of analog horror is fascinating, its origins (I think) layered from many concepts and ideas from YouTube. I think constantly about what makes this niche sub genre scary, and what draws people in. This would be a great topic, especially to see where it’s grown from. – eaonhurley2 years ago
On June 3, 2013, comedian and actor Greg Edwards began a series of web videos called Thug Notes. Using the persona Sparky Sweets, Ph.D., Edwards summarized and analyzed classic novels using a mix of modern language and "street slang" (e.g., a character who is murdered is "iced" or "murked," a hard-working character is said to be "hustlin’.")
Thug Notes’ mix of humor, slang, and absolute respect for classic literature helped the series carve a unique niche in the world of web and educational videos. Each video has garnered a plethora of views, and the series’ popularity has encouraged viewers to read or reread books that might not have felt accessible before (many "newer" videos contain a promotion that begins, "Hey, get the book!" followed by a web address at which to do so).
Discuss the impact of Thug Notes, using any of these or other elements. You might choose to discuss favorite episodes, or compare and contrast certain episodes. Also, discuss whether Thug Notes, which has not posted new content in a while, would be an acceptable platform for discussions of more contemporary literature, particularly that which is currently under censorship. Discuss whether a series similar to Thug Notes would work for other subjects. For instance, could there be a Thug Notes-style series for math? History? Theatrical productions?
While I am not familiar with Thug Notes, I think it is worth mentioning that there have been other similar things for other subjects- while it's aimed at a slightly younger audience, Horrible Histories similarly aims to educate in a more 'accessible' and fun manner than, say, a more conventional history book. While Thug Notes may be the first internet example, and it a popular choice, it's been preceded by many other authors and creators attempting to do similar. – AnnieEM2 years ago
Youtube and Twitch have quite notable political niches respectively, but with regards to Leftist Thought, there was/is a loose subgroup of notable creators, Contrapoints, Philosophy Tube, Big Joel, Hasanabi, amongst others who all in someway were affiliated with the term, "Breadtube", taken from "The Conquest of Bread" by Kropotkin.
As universal marker there was a general tone of rebuttal to right-wing political talking points and media but as time has gone on and the subgroup more tenuous it can be asked what is/was "Breadtube" and why did/does it exist?
There has been a marked pushback against many of the creators for a variety of reasons such as their seemingly lacking political advocacy and poor racial representation.
It could argued that there was never a "Breadtube" and that fans of the creators were reading too much into various creators friendships.
There is also room for discussion of the idea of using vaguely Anti-Capitalist talking point a brand without delving into what the concepts actual mean.
Paris has always been a hub of artists, intellectuals and wanderers from the surrealists to the Lost Generation. Recently, one can see a return to the city of love in influencers and vloggers such as Moya Mawhinney, Leah’s Fieldnotes and others. Why are social media personalities leaving places like LA and New York and once again gravitating to Paris?
Main reason people are leaving L.A is because the cost of living is high. Not only that but L.A has a high rate of of crime and homelessness. This combined with the an increased ability to work from home and upload your art work digitally (whether you're a writer, musician, or visual artist.) there is no longer a need to be on location for work. – Blackcat1302 years ago
Mild book recommendation for whoever chooses to write this article and/or is interested in the topic: We'll Never Have Paris, edited by Andrew Gallix (Watkins, 2019). It's a great recent collection of short stories and essays by contemporary authors meditating on their relationships to Paris. – ProtoCanon2 years ago
People seem to be getting more and more disillusioned by the concept of the American Dream by the day. In particular, I would imagine that those who can afford to live in LA are particularly prone to romanticizations of Paris, and want to make a pilgrimage to that heart of culture/intellectual life. I also think of the period after crisis-- WWII-- resulting in a huge flourishing of intellectual and artistic activity in Paris, I wonder if there is a similar phenomenon happening now with COVID (though it isn't "over" we are living in the aftermath of the initial shock of this disaster). – lilikleinberg2 years ago
Several years ago, YouTuber Whitney Avalon gave us a mashup not many people were expecting–Disney princesses competing against each other in rap battles. Some princesses, like Cinderella and Belle, competed alone, while others, like Rapunzel and Anna, competed as couples with their respective princes. Over time, Avalon expanded to Disney and non-Disney villains (Queen of Hearts vs. Wicked Witch of the West), and non-Disney heroines (Dorothy vs. Alice).
The result was a series of memorable, humorous, and surprising videos that showed princesses and heroines in new lights and arguably made the rap battle and surrounding culture accessible to broader audiences. Until Whitney Avalon, it’s fairly unlikely that most of us, this writer included, ever pictured majority-white, extremely feminine princesses and heroines spitting clever, deep-cutting hip-hop lyrics.
Discuss the impact and influence of the Princess Rap Battles, especially when compared to other battles of their type (ex.: Epic Rap Battles of History). Do you think these battles make rap and hip-hop more accessible to women, Disney fans, and other such audience, or does the term Princess Rap Battle pigeonhole them? It’s been awhile since the last Princess Rap Battle; what might Whitney Avalon do to improve on the content and bring new audiences in? What do these battles say about the structure and poetry of rap, hip-hop, and battles in general?
