Topics: Sunni Rashad

Death Battle is a web series that debuted on December 6, 2010, featuring matchups between fictional characters in heavily researched, animated duels—often concluding with a decisive, and usually fatal, outcome.

A major aspect of the show is power scaling, a method used to compare characters’ abilities based on their demonstrated feats. While intended to provide clear answers, power scaling often sparks more controversy than consensus. Even with extensive breakdowns and calculations, fans frequently challenge Death Battle’s conclusions, as different communities value different forms of evidence.

For instance, the show analyzes raw numbers—such as Goku’s energy output or Superman’s speed using frame-by-frame measurements—but some Dragon Ball fans argue that authorial intent should take precedence over calculations. Likewise, in Dio vs. Alucard, many believed Dio’s time-stopping ability should have led to victory, despite the show’s explanation.

Comic book debates add another layer of complexity—should Superman’s most extreme feats from various eras count, or only recent portrayals? Since power scaling lacks a universally accepted method, Death Battle often fuels debates rather than resolving them.

One of the more troubling outgrowths of the propagation of the Internet is the rise of the “lolcow” culture, which is mocking and dissecting Internet figures for entertainment. Figures like DSPGaming, Wings of Redemption, or LowTierGod have become recurring targets, with YouTube documentaries and commentary channels exploiting their struggles for views. Many alleged documentaries blur the line between journalism and pure harassment, turning personal hardships into spectacle. Sensationalized narratives encourage dogpiling, making real people into endless sources of ridicule. As audiences reward negativity, the question remains: should platforms and creators be held accountable for the harm they perpetuate?

Since 2016, stand-up comedy has become a recurring battleground in the never-ending jobs program that is online culture war discourse. Comedians who once sought laughter now chase applause, pandering to their audience’s sensibilities and falling into the hackiest, laziest tropes.

In 2020, Tim Heidecker released an hour-long YouTube special that took the idea of bombing and stretched it into an art form. By delivering a performance filled with forced crowd work, hack premises, and faux-political grandstanding, he exposed the formulaic nature of modern stand-up. What does this say about the state of comedy, and why did an intentionally bad special feel more honest than most real ones?

Originally considered a throwaway creepypasta, Sonic.exe has grown in a way many couldn't have conceptualized upon its first upload. What began as another cheesy story of a cursed game cartridge has become a notable part of the Sonic legacy. How did Sonic.exe escape it's roots as a somewhat obscure internet myth to into a staple in gaming culture, and why does it continue to captivate and evolve within the public imagination?

On Cinema is a review series that first started in 2011 as a podcast and then pivoted into video before ending up on Adult Swim.com
In its 15 years of running the show has maintained a startling consistency with regards to the characterization of it's two leads.
While mainstream critics debate objectivity and audience reviewers chase engagement, On Cinema sidesteps the entire conversation by embracing cluelessness. Tim Heidecker and Gregg Turkington’s arbitrary ratings, personal vendettas, and refusal to engage with films meaningfully feel like an exaggerated version of real-world criticism.

From YouTubers like Nostalgia Critic, who's reviews serve almost as lackluster replacements for Hollywood films, to Chris Stuckmann and Jeremy Jahns, who prioritize likability over depth, and even to culture war-fueled channels like The Critical Drinker, On Cinema unintentionally mirrors how film discussion online is often more about branding and personality than actual analysis. How does the show’s absurd approach expose the flaws in modern criticism?

How does *Moby-Dick* explore queer themes? Look closely at the closeness between Ishmael and Queequeg, the tension in Ahab’s relationship with Starbuck, and the way the all-male crew interacts. What does the story say about breaking norms, hidden desires, and finding yourself in a world that forces everyone into the same mold?

The character of Merlin as he appears in ancient myths and modern stories is somewhat difficult to parse. In the old tales, Merlin is a mysterious, wise figure—a prophet, guide, and shapeshifter with a deep connection to magic and nature though not without his flaws such as his lineage and obsessions with his students. In recent decades, relatively speaking he has become even more fractured as a character. He’s shown in many disparate ways between today’s books, movies, and shows, where he might be a playful teacher (like in The Sword in the Stone) or a darker, more complicated character (like in BBC’s Merlin). How do these versions of Merlin reflect how we see wisdom, power, and right and wrong today?

Deep Dungeon, by LazyGameDev is a dungeon crawler, inspired by Rogue and other retro adventures, that was published to Itch.io in 2021.

How do minimalist dungeon crawlers like Deep Dungeon use simple visuals and repetitive gameplay to explore themes like isolation and persistence? With sparse storytelling and seemingly endless procedural layouts, they mirror life’s routines and uncertainties. Players face basic challenges, finding small victories amid monotony. What does this stripped-down design reveal about human perseverance, problem-solving, or the tension between order and chaos in everyday life?

Analyse the current state of the canon between Eva and it's rebuild. Compare the emotional highlights from the first anime with their analogs in the rebuilds and what the variations between the two mean for the story.

Analyze the characters and how they're different between the rebuild and the original series.

Highlighting the differences not just in the emotional state of the author but in the conceptualization of the story after having been finished once and now finished again.

Pokémon has always had a close relationship with lore communities because of the nature of the Pokemon world being just that, a world. A fictional world, with its own quirks and stories and legends different than but somewhat inspired by real-world folklore.

Mythology within the world of Pokemon serves not only as a main pathway for lore to be shared with fans. It also allows for the world to be explored within the views of the inhabitants. Mythology gives the characterization of the world. That said, mythology within Pokemon has always been contentious with regard to the subject matters addressed and the consequences of said stories.

While many don't have much to say about the myriad stories of the legendary Pokemon, that is the Pokemon that are deemed more powerful and rarer than most, other stories such as the Sinnoh myth of how people used to marry Pokemon were seen and received much more hostility and revulsion

With that in mind, however, in 2024 there was a leak of unprecedented scale of unreleased files about the creation of various Pokemon, their regions, and the lore surrounding both. Because of the leak, the function of mythology within the Pokemon world has come into question again because of the especially controversial nature of some of the stories.

With some clear parallels to Greek and old Japanese folklore of gods and spirits seducing mortals, there was a severe backlash and revulsion.

The general reception to the myths about certain Pokémon raises the question of what is the function of mythology in the games. And even if a myth isn't "canon" for a universe what role does it play in shaping its world and what does it say about the world that was being created?

There Will Be Brawl is a 2009 parody based on the video game Super Smash Bros. Brawl. A contentious game in its franchise, this web series has little overlap with the game it's inspired by or the movie There Will Be Blood.

It's a detective noir where Luigi takes center stage trying to piece together the mysterious deaths of various video game icons.

Its legacy is that many of its stars, from Matt Mercer as Ganon to Kyle Herbert, have gone on to bigger and better things.

But the writer should seek to explore what did this story of a gritty Mushroom Kingdom say about the world of 2009 and more than that what if anything can be gleaned from it over a decade later?

"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?

Skyrim has a video game has a reputation longer it seems than any and it's franchise and more dominant than most in its genre.

Despite its release over a decade ago it's still stands as one of the most popular RPGs to this day.

With that in mind it also has a very immersive and expansive world and within that world there is an innumerable mass of stories and legends.

One such tragedy is the story of what happened to the snow elves also known as the Falmer.

According to the law of the game the snow elves were a people that existed before Mankind and the land of Skyrim and through Conquest or retaliation the humans that settled the area eradicated them forcing them to join forces with the Lost race of dwarves that exist in the universe of Elder Scrolls and becoming cursed to be a fallen race of Mer or elf.

The author can use the lore from previous games they can use the lore from the Elder Scrolls Online they can explore the nature of existence for a species of people who seemingly don't exist anymore within the world that they used to.

Their story is called the tragedy of the snow elves and so one must ask was it a tragedy and Who Weeps for them?

Depression Quest in 2013 is a Twine engine game made by Zoe Quinn. The game / interactive fiction
dealt with the difficulties of living with depression. Although, it was praised by the more mainstream gaming media for its depiction of struggling with mental health, the game also sparked polarizing reactions, and became a focal point for the online culture was. It was particularly of note as a justification for the harassment campaign Gamergate in 2014.

With that in mind the author can explore the value of the game as a game and delve into how did this game challenge traditional gaming norms at the time? What does its critical and consumer reception reveal about the the world of indie game development and the modern social media landscape?

Eiken (2003) is a two-episode OVA filled with all manner of slapstick and innuendo that on its face are immature and sophomoric but veer into grossly distasteful as the show continues. The question then is upon seeing this content who is it for and why does it exist?

What was the mandate that called for the product and what can be gleaned from engaging with the material?

This is not meant as something opposed to sex or depictions of sexuality, this is a question of the low quality and base manner of titillation that the show engages, though looking at the character designs and ages the author could also question what was the logic behind the creation of the characters and why were those the decisions the creators went with.

Nemesis by Mark Millar is a comic that is centered on a sadistic and wealthy villain who systematically dismantles the lives of top law enforcement officers. With that context in mind, does this story actually say anything? That is to say, what does the violence and shock do for the plot and what the story hopes to communicate?

How does Nemesis challenge traditional ideas about morality in the superhero genre, and what might this say about our cultural fascination with anti-heroes? In what ways does the depiction of wealth as a tool for chaos reflect or critique societal power dynamics today? Does the comic’s shock-value storytelling serve to deepen its critique of heroism, or does it undermine its long-term impact on the genre?

Depictions of the ideology of Karl Marx and Fredrick Engels are lacking in the world of video games. Many critics of Marxism have at best a child-like understanding of the term often reducing it to a string of buzzwords and malformed propagandist talking points.

As a result most games that feature any sort of Marxism, Socialism, or Communism, end up regurgitating the same played-out tropes. "No food, no freedom, all leaders are dictators"

One game that avoids the typical negative stereotypes of Marxism is "Victoria 3." In this grand strategy video game, players can explore and implement socialist policies inspired by Karl Marx and Friedrich Engels. By prioritizing workers' rights, collective ownership, and economic planning, the game allows for a nuanced exploration of Marxist principles, demonstrating their potential benefits while navigating the associated challenges. How does "Victoria 3" provide a balanced and respectful depiction of Marxist ideology compared to other video games?

Saltburn (2023) was one of the biggest viral films on Tiktok for it's numerous shocking scenes, excellent cinematography and catchy soundtrack. But one element of criticism it received was that many couldn't follow the theme of the film.
While it drew elements from "The Talented Mr. Ripley" and many other film classics it's message seemed muttled to many critics.
The writer can target the films core thesis, which is that the rich, should rightly fear their economic lessers because they're scoundrels.
The writer can draw from historical rage against the rich along with the contemporary resentment of the wealthy and widespread calls of "Eat The Rich" along with the general antipathy of classes as economic disparity grows more every day.

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?

Since the genesis of the genre rap beef has been endemic. From the Bridge is Over to Not like us the evolution of rap beef has witnessed numerous escalations. From the legendary tragic clash between Tupac and Biggie to the slanderous and venomous beef of Jay Z and Nas, and even more recently, the heated rivalry between Kendrick Lamar and Drake. These conflicts have not only been characterized by intense verbal attacks and lyrical jabs, but have also seen an escalation in the level of slander and even physical violence. Many beefs have ended with the death or deaths of the participants. While the participating musicians have used their music as a forum to air their complaints, they have also engaged in a verbal sparring match that frequently goes beyond simple amusement. What changes have occurred in rap beef? Have fans grown too accustomed to the increasing demise of artists? Beef has captured fans' attention while also illuminating the nuanced relationships within the hip-hop scene. When creative rivalry blends with personal rivalries to produce a spectacle that transcends the music itself, where is the line drawn?