“Appreciate the Art”: Complicity and Collaboration in BioShock (2007) and The Evil Within 2 (2017)

Kelly Williams argues that both BioShock (2017) and The Evil Within 2 (2017) use the archetype of the mad artist and the mandate to “appreciate the art,” demanding complicity from players, who are forced to comply with a system created by their respective artists (the game developers), following a scripted plot progression, inhabiting a virtual world with prescribed limits, and using mechanics that are all designed by the developers.

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Female Readership and Corruption in The Dark Phoenix Saga (1980) and Dark Phoenix (2019)

Kelly Williams argues that elements of the original Dark Phoenix Saga in its comic-book form—namely the presence of Jason Wyngarde/Mastermind and the illusions he casts to control Jean Grey—continue to be missing from film adaptions, such as the upcoming Dark Phoenix (dir. Simon Kinberg, 2019), suggesting that women cannot handle cosmic abilities and that once they gain power, corruption is inevitable.

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What Exactly is “Sonnie’s Edge?”: Thinking About Women’s Bodies in Love Death + Robots

Kelly Williams argues that the “Sonnie’s Edge” episode of the Netflix sci-fi animated anthology series Love Death + Robots (2019) both invokes, and ultimately falls prey to, problematic tropes that limit its ability to consider female agency, in ways that serve as commentary on the struggle of the sci-fi genre more broadly.

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