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If we're being honest with each other, the idea of throwing Michael Jordan together with the largely dying Looney Tunes franchise was a risky decision at best. And there wasn't much of a precedent for a film like this either, as at the time blending animation with live-action wasn't very common. So how did this film become a landmark of this blend of genres alongside films like Who Framed Roger Rabbit? This essay will discuss the attributes of Space Jam that made it such a success and revived the Looney Tunes franchise.

The list of fictional characters with relatable representation of neurodivergence (ADHD, autism, OCD, et cetera) has a lot of detective characters on it. Examples include Sherlock Holmes, Hercule Poirot, Benoit Blanc, Adrian Monk, Shawn Spencer, and Sonja Cross from The Bridge.
Some of these characters were created before the diagnoses became popular, and yet they match the symptoms remarkably well. Their special interests and hyper-focus help them notice details others might miss. At the same time, their unique way of seeing the world often separates them from society.
Analyze various fictional detectives and consider why so many of them are neurodivergent. Is there some reason neurodivergence would make someone a better detective, as opposed to some other career? Do these characters run the risk of making their diagnosis their entire personality and not being fully developed characters?

Douglas Adams' foray into detective fiction, with his iconic twist of science fiction and extremely British absurdist comedy, was a novel called Dirk Gently's Holistic Detective Agency and its sequel, The Long Dark Tea-Time of the Soul. These books have been adapted into two TV shows, one on BBC4 and one on BBC America. The books and TV shows are all quite different from each other; even the character of Dirk Gently changes a bit between adaptations.
Compare and contrast the book(s) with the TV shows. Why did the shows change so much? Is there something "unadaptable" about Adams' original work?

The RPG controversy of the year was Wizards of the Coast, a Hasbro subsidiary, draft Open Game License changes sent fans and game developers into an uproar. The OGL was a default license established in 2000 that allowed fans to use portions of the Dungeons and Dragons property in their own work. This was framed in similar ways to open software licensing in that it could be used as a foundation to create independent works as long as it was using the specific System Reference Document in doing so. This allowed gamers to develop their own works and even to sell them. The most commercialised version of this was the work of Kobold Press and Green Ronin that developed independent games using the SRD as a base. This has always been a successful space for creative engagement with a beloved property.

On January 4th 2023 a new OGL 1.1 was to be released but an early leak of this content exploded into the zeitgeist with very concerning changes including WOTC ability to claim royalties from sold works and complete control over the content produced. The backlash was huge and fans and content creators both began to rally online and establish a response to the changes. This response included unsubscribing from WOTC's digital toolset and protesting in social media. Further, the largest third party users (whose income was most threatened by the change) announced plans to step away and redevelop their own games.

WOTC has retracted its plans but the damage is done. But a number of key questions have begun to be raised: Was this a failure to listen to its fandom? Was this merely a cash grab? Has this action doomed WOTC and its aligned products into the future? Has this been the initiative needed to get more producers developing independent game engines? What does fully open sourced mean financially for game developers? How will this shape the next twenty years of gaming? And, significantly, does this mean D&D is dead?

Analyse the development of modern cartoons and animations. What impact might they have on young children's perception of the world – whether that is related to how a certain animal/person/character looks like (their visual representation), or whether it impacts behaviours in a certain way. How might kids react to certain characters and relationships portrayed on the screen? Can some of these have a perceptible negative impact on their lives?

As a starting point, trace the development of cartoons (from Disney, to Cartoon Network, etc) and some iconic shows.

Analyse the different ways written and/or spoken word and poetry gets integrated into visual art pieces. These can be artworks where words are used as a visual cue, as an integral part of a performance narrative or any other way. What is the link between the sound and image of a word/poem? What effects does it produce on the viewer/listener? Can words be used as a visual element only? Examine instances where classical poems are reworked through a ontemporary lens and reused in a modern context.

When consuming television media, do you find yourself gravitating more towards the hero or the villain? To whom do you more relate and why? What are your criteria for determining who you're rooting for? This is an extremely subjective question, but often stories are not presented in nuanced ways that fully do justice to all the sides.

A good example is the "Karate Kid" franchise. The first three movies are set up to tell a one sided story following Danny, and until recently, that story has gone unquestioned. With the inception of Cobra Kai" lends more dimensionality to the narrative; it shows how the rivalry between Danny and Johnny still exists, but has changed, and allows for a more nuanced understanding of the story as a whole.

I suppose what I'm asking is how do you determine whether the hero is actually "good" and the villain actually "bad"? Do you hold heroes and villains to the same standards? How, and why?

Brecht has implemented in his theatre the "Verfremdungseffekt", which can be translated to the "alienation effect" or "distancing effect." Essentially, by creating interruptions or fissures within the illusion on stage, the audience can achieve a certain distance to the characters and events, allowing for evaluation and critique. During his performances, the audience is presented to some cues that indicates that what they are seeing is an ilusion, that what they are seing is actually an actor playing a scene. This cues can be strange objects, non-connected actions or actors speaking directly to the audience for example. Different of the Theatre of Pleasure, when the audience is emotionally connected to the play, Brecht seeks to create a critical discussion about what is being showed. He redefine it as Epic Theatre.

Is it possible to have the same effect in Video Games where you, as a player, is somehow intensively connected to the gameplay and the character?

From 2011 to 2017, Tyler James and Cesar Feliciano created a ten-issue comic book series in which a parody of the Justice League were mysteriously murdered in a plot eerily similar to Agatha Christie's And Then There Were None. As in Christie's novel, it was slowly revealed that the superheroes were being killed because they were guilty of dark secrets.
This series bears a resemblance to The Boys, the comic series by Garth Ennis currently being adapted into a TV show. This series has its own parody of the Justice League, hiding their own dark secrets. The titular characters, the Boys, set out to test the heroes' limits and, if necessary, deal out bloody justice.
Compare and contrast these series, their characters, their themes, etc.

In general, the mod (modification) of the game means the process of code editing and changing to add extra flavour on the original game. Usually, the mod makers are game players with sufficient coding or programming knowledge. Each mod can give different experiences to the gameplay and form specific player community. To analyse, how does the mod benefits both game and players? what motivates a player or players to make a mod? Who has the rights on the mod, maker of game company? What is your own opinion towards mod? The article will give insight into creative consumer and new cultural online society. Note: You can focus on specific game or company to give more detail on a specific group of community.

In 'Macbeth', Shakespeare substantially emphasizes the male-female relationship and gender dynamics. Shakespeare shows the relationship between gender and power which can be related to the patriarchal discourse of early modern England. He portrays women as major determinants in men's actions. Men are portrayed as strong willed and courageous, but a female character such as Lady Macbeth is also given a ruthless and power-hungry personality, which was, in that era, typically associated with masculinity. She is a strong character who is deeply ambitious; her role in 'Macbeth' becomes important because it further explains Shakespeare’s presentation of women characters. Lady Macbeth is associated with supernatural subversion as well as sexual temptation – the question is, how did she use her femininity to disrupt her environment and what does her character teach?

Analyse the importance of travelling to experience other cultures on the creative writing process (either your own experience or an author you are familiar with).

"I Don't Like ****, I Don't Go Outside" is the sophomore album by Odd Future Alum, Earl Sweatshirt. Despite maintain a level of darkness in his tone and instrumentation, Earl is distinctly alien from his former self. Gone are the edgy shock-lyrics of cannibalism and murder, replaced instead by a vulnerable young man drowning in depression reliant on drugs and alcohol to keep himself going.

What is it to be a celebrity? A chosen one at that, to be the idol of millions of people you've never met while isolated from your friends and family. The album speaks to the thin veneer of happiness success can really be.

Earl was often a center piece of the fandom from the "FREE EARL" days and yet it doesn't seem as though the freedom was very liberatory. The lack of hope and overwhelming sense of abject bleakness from Earl speaks to the hollow nature of what was gained by his fame and his regrets seem innumerable as each song on the album falls further in further into an inky blackness of despair.

That then begs the question, what does this album serve? Is it just a self-exploration or can there be some universal message garnered from the album? What can be said of Earl and his developments as an artist? What of the raised awareness about depression and how it can shape and distort a person's view not just of themself but of the world around them.

An analysis of how disney characters have changed over time. Describing the differences in the characters and plotlines of the old disney as it started to how it is today. Figuring out why these changes have happened or how they benefited disney.

Art in its classical sense and form has a soul. A human puts a part of their soul into something that later can be highly appreciated by society. Digital art, where all images generated by neural networks can be attributed without direct human participation, is soulless. It will acquire a soul only when it is created by artificial intelligence. One can be sure that the first picture painted by AI will be costly.

The most recent horror film on Hollywood's docket is Prey for the Devil, which concerns Sister Ann. This devout nun wants to be an exorcist and would be great at it, but her training school accepts only men. Yet Sister Ann may be the only one who can help the patients in the school's attached hospital for the possessed, including a ten-year-old girl. The blending of Christianity and horror in this film is by turns respectful to the Church and seems to encourage audiences to explore, if not root for, the demonic.

It's a conundrum found in many similar films, such as The Exorcist and The Nun. The question is why this blend comes up so often, and especially why the Catholic Church is presented on the front lines in this murky battle between good and evil (they aren't always on the "good" side). Are these portrayals as balanced as they could and arguably should be? How can or should horror films stay true to their genre, while portraying Christians or perhaps people of other faiths, as those who would protect or save innocents from the demonic? What do these films say about spiritual battle lines in real life? Discuss.

Countless famous writers– Maya Angelou, Kerouac, Victor Hugo– have been documented as having strange writing rituals that jumpstarted their creativity. Angelou only wrote in motels, Victor Hugo wrote naked… the list goes on. What were the strangest rituals in the history of the greats? What are some rituals proven to work? How should writers looking for structure embrace the practice of rituals before writing?

Provide an overview of what's wacky, what's working, and what's downright weird.

Among the many motifs in Quentin Tarantino’s cinematography, food is one of the most important ones. It has been pointed out that the relation between food and power/domination is key to understanding the functionality of violence in his films. For example, when Jules bites some guy’s hamburger and drinks his soda (“Pulp Fiction”), he does it as a prelude to intimidate and kill. When Hans Landa forces Shosanna Dreyfus to try strudel with a glass of milk (“Inglourious Basterds”), he does it to let her know he knows who she really is. When Beatrix struggles with chopsticks and finally uses her hands to eat (“Kill Bill”), Pai Mei throws her food away and tells her that if she wanted to behave like an animal, she will be treated like an animal. These are just some examples of the many ways food is used to dominate and to impose over someone, and ultimately to exert violence. A study that analyzes this phenomenon in deep using one or two specific examples in Tarantino’s movies is something that has not been done yet. The goal of an article on this subject would be to delve into an aspect of Tarantino’s films that has not been fully explored, but it is evidently important to understand how this director’s mind works.

I have been wanting to write an article about the Japanese movie Helter Skelter by referring to the manga that is based upon it. I decided to submit a topic beforehand to see what the Artifice community thinks about it. This movie is unforgettable because it makes the audience realize how ugly it is to go desperately after physical beauty. It is a great lesson about youth, beauty, self-esteem, and ethics. The article is expected to be about the analysis of the main character Ririko, the way the plot evolves, and how other minor but important characters contribute to delivering the message that obsessively seeking outer beauty is a toxic behavior. Since the movie is about models, focusing on the fashion industry as the concerned context would be appropriate. However, this phenomenon of having certain beauty criteria on social media is becoming a lot more common nowadays and it is causing a lot of mental health issues particularly among teenagers and young adults. Connecting the ideas generated in this film to a real contemporary problem would also be interesting to provide interpretation and discussion of the analysis.

Especially with the change of villains after the 2000s, the history of cinema has gained many cult characters. Joker, Ozymandias, Magneto, Thanos, Bane, and more. These villains, whose sole purpose is not to destroy the world, as before, all have different motivations. All of them have different purposes. They are far from being an ordinary villain, thanks to their delicately written characters like the main character of the movie. For this reason, they have many viewers who see them right and love them. The best example might be the Vikings. Although they were bloody raiders, we had a great time watching them. So how right is it to enjoy it, to support the Joker, to love these villains who are essentially trying to harm? Or trying to break the society we live in?