The historical context of the one-child policy, alongside personal anecdotes and experiences, make the stop motion film Sister (Siqi Song, 2018) emotionally impactful. The film’s unique story of presenting a life with his little sister to only take it away and show the life he experienced alone is symbolic of the life of being an older brother taken from him. Creator and director Siqi Song displays the life-altering effects of the one-child policy with details of her own personal experiences of and relationship to Chinese culture. Through historical commentary, she crafts a compelling experience that reflects the policy’s emotional impact on China and its population through the creative treatment of her culture.

The Firebird Suite, based upon Igor Stravinsky’s 1919 orchestral concert work of the same name, is a short animation directed by Gaetan and Paul Brizzi, released in 1999 as a segment within the larger animated feature Fantasia 2000 (Don Hahn, Pixote Hunt, Hendel Butoy, Eric Goldberg, James Algar, Francis Glebas, Paul and Gaëtan Brizzi, 1999) (Fig. 1). Within her introduction segment for both the animation and the orchestral piece from which it was derived, famed actress and film producer Angela Lansbury described The Firebird Suite as a “mythical story of life, death, and renewal.” In doing so, she alighted upon the simultaneous, unified, and diametrical relationships of inherently contrasting elements, such as death and life, and darkness and light, to one another —a concept that would come to serve as the primary narrative catalyst for both media.

Arcane, directed by Pascal Charrue, Arnaud Delord, and Bart Maunoury in 2024, is a tale of two sisters and their tumultuous relationship shaped by the neighbouring cities around them. Their choices influence the future of these cities, and the impact each has on the other is profound. However, there lies an alternate timeline where other aspects of the world are explored, and the audience gets a glimpse of what could have been. As this blog post shows, season two, episode seven of Arcane titled “Pretend Like It's the First Time,” contrasted with the series as a whole, portrays psychological disorders not as a flaw but a facet of character through the lens of narrative and colour using a girl named Powder.

“Which would you choose, a world with pyramids or one without them?” is a central question within Hayao Miyazaki’s The Wind Rises. Released in 2013 by Studio Ghibli, The Wind Rises follows a young aeronautical engineer by the name of Jiro Horikoshi as he navigates through Imperial Japan while pursuing his dream “to create beautiful airplanes.” A real-life historical figure, Horikoshi (1903-1982) is known as the engineer behind the Mitsubishi A6M Zero fighting planes that Japan utilized throughout World War II. Although the film depicts these inventions, Miyazaki shifts the focus to Horikoshi’s life rather than his industrial accomplishments, presenting him as an idealistic dreamer living in a romanticized period of Japanese history. Using Horikoshi’s character as the anchor of my analysis, in this blog I will delve into how Miyazaki confronts the cursed dreams humanity holds through the pacing of the story, the film’s artistic style, and the portrayal of characters, arguing how Miyazaki’s narrative embraces the idea that all dreamers are free to pursue their dreams regardless of the circumstances or consequences.

Considering the various ways that one could visually adapt Imre Madách’s 1861 play The Tragedy of Man - a widely renowned icon of Hungarian literature - Marcell Jankovics’ 2011 animated film of the same name makes a strong case for animation as the perfect medium to do so. Beginning in 1988, the film’s production was halted the following year due to major societal and governmental changes in Hungary after the crumbling of Soviet power in the Eastern Bloc (Ito, Astell). Having spent years raising funds to resume production incrementally, Jankovics saw his work to its completion over two decades later in 2011, its painstaking production process almost mirroring the themes of the work upon which it is based. The journey paid off immensely, as the final film proved to be what many deem a masterclass of both hand-drawn animation and literary adaptation. In viewing the film’s form, specifically its artistically crafted visuals and incorporation of various unique art-styles, this blog analyses how the story and themes that Madách presents are highlighted and powered by the animated medium through which Jankovics relays in the narrative events.

A school shooting is every parent’s worst nightmare. Unfortunately, this nightmare is real for many parents in the United States. According to researchers at Education Week, in 2024, there were 39 recorded school shootings resulting in injuries or death; so far in 2025, there have been 3 events relating to gun violence on school grounds in the US (“School Shootings Over Time”). The persistence of school shootings in the US and the fear and grief they cause are extremely devastating to students and affected families. Communities like Mothers Against Gun Violence, Americans for Responsible Solutions, and Sandy Hook Promise demand change for schools and gun legislation. In this blog, I will analyze the use of colour and sound in Will McCormack and Michael Govier’s animated short If Anything Happens I Love You (2020), reflecting on how these elements of style convey a harrowing outlook on school shootings

Cinderbrew Meadery is one of the most distinctive dungeons in The War Within expansion. Here, players must not only fight enemies but also survive while dodging streams of flame and volatile magical potions that provide both buffs and debuffs. The dungeon is known for its quick completion, and many established groups use it as a fast source of gear and gold. However, if you're a newbie or solo player, the pace and results can be slow and inconsistent due to the random group members.

Joseph Campbell identifies the refusal of the call in his book The Hero with a Thousand Faces as a story trope where the main protagonist of the story is called to an adventure but refuses to go. The hero’s reluctance to act can come from a variety of reasons that are usually psychological in nature. Emotions such as guilt or fear try to keep the hero homebound so that he/she cannot soar and reach their full heroic potential. It is an age-old trend that is found in all mediums of mankind’s story form. Everything from epic poems, oral fairy tales, literary fiction, television shows and finally movies. It is a part of the storytelling tradition that Campbell famously calls “The Monomyth.”