Gameplay is simple - up to 4 players and/or CPUs take control of a character and duke it out on a stage, knocking everyone else off to either get the most marks when time runs out, to earn a specific number of marks first, to be the last fighter standing, or to have control of a specific area by the end of the time limit. franchise? The plot would also be simple: each and every character is sucked out of their own game and press-ganged into joining a tournament in which they have to face off against each other in combat. I decided that if they were to receive their own game, how about yet another platform fighter crossover, akin to Multiversus, Nickelodeon All-Star Brawl, and the legendary Super Smash Bros. They bemoaned that such a diverse and potentially hilarious cast was relegated to advertisement. Then it turned out that the actual game was just a simple extreme dodgeball game with none of them in sight. Namely, that it featured a group of unique characters, all from different genres, being interviewed and making it seem as though people were going to get, as TV Tropes puts it, a wacky Wreck-It Ralph-esque crossover. It has proven to be the case and it will always be the case.Even though Velan Studios's dodgeball title Knockout City was initially successful and warmly received, there was still a big problem over its initial trailer. According to whose standard? Any narrative that normalizes Western superiority over any group is harmful no matter what decade or century we are in. To be sure, many will say that depictions of the Middle East as exotic are far better than those as violent. As advocates and academics, we suggest that Hollywood’s fascination with exoticizing and othering Muslims, Arabs and their cultures should be a red flag for the industry as a whole. If we are serious about diversifying and creating truly inclusive representations, then it is time to get serious about the negative impact of Orientalism. In this moment in which Hollywood is diversifying representations as never before, when it comes to Orientalism, why is it not controversial enough to stimulate change? Our respective missions are to get better, more nuanced stories told about Muslim communities. This is why we do the work we do at MPAC Hollywood Bureau and History Studio. Hollywood has made billions of dollars “including” us, but unfortunately in ways that are inaccurate and inauthentic. The issue of “inclusion” of so-called Muslim characters and storylines has never been a problem for the industry. Real change requires understanding and approaching the crisis as one that is centuries old rather than a momentary surge. But for real long-term and long-lasting progress to happen, it cannot be a knee-jerk response to the latest instance of police violence against Black people, or the latest hate crime against Muslims, or the latest discriminatory policy against trans people. While there has been this progress in Hollywood, it is often in response to a crisis - #OscarsSoWhite, Black Lives Matter, or President Trump’s Muslim ban. Historically, it has consisted of exotic images of harem girls and desert landscapes, depicted as backward and uncivilized. We define “Orientalism,” popularized by the late scholar Edward Said in 1978, as a paradigm that justifies colonialism or the assertion of Western power over the East.
The film appropriated elements from Islam while diluting the Islamic and anti-imperialist elements from the 1965 Frank Herbert novel on which it is based. When the film was released last year, many Muslims insisted that the film was Orientalist, promoting the old trope of the white savior. Additionally, the style of dress is not unlike what one might find in the Middle East.
The Fremen’s environment is reminiscent of the Middle East, including a language that happens to contain Arabic words. Arrakis, a desert planet where the Fremen people live, is the location of the rare and powerful substance called spice that is used for space travel and needed to save the universe. He develops his special abilities and fulfills his destiny by saving the planet Arrakis and its people from the brutal Harkonnen empire. “Dune” is about a young white man from the fictional planet Atreides. and Legendary Pictures’ “Dune” received a total of 21 nominations, including the highly coveted Best Picture nomination from each group. When the BAFTA and Oscar nominations were announced earlier this month, Warner Bros.
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