User:SOTO/Forum Archive/The Panopticon/@comment-25117610-20161123164500/@comment-25117610-20161220220918

User:SOTO/Forum Archive/The Panopticon/@comment-25117610-20161123164500/@comment-25117610-20161220220918 But that's the thing: there are many examples of stories on all media which makes absolutely no sense until you actually watch/read/listen to the story.

Look at ...ish (audio story). Does it make any sense, with or without a prefix? No.

The same goes on to Broken (audio story) itself. Until you actually listen to this: what is broken? An arm? A leg? A chair? A relationship? A metaforical way to say "broken heart"? In this case, with or without the "Torchwood" prefix, the title is simply ambiguous

Now, looking at prose: Oh No It Isn't! (novel). Without a prefix: what isn't? With a prefix: (Bernice Summerfield: Oh No It Isn't) so, is it Bernice Summerfield or not?

A final example, on TV: Detained (TV story). Without a prefix: who's detained ? With a prefix: (Class: Detained) so, is a class being detained?

My point is: the titles of stories/anthologies don't need to necessarily form a meaningfull sentence without a prefix. Some titles don't form it even with a prefix. The point of a title is being something eye/ear-catching, so we can remember it, or be interested in it. That's what Extinction, Shutdown and Silenced are: something a bit ear-catching, which gets the buyers interested in listening to these anthologies, so they can understand what is going on.