Catalix said:
Ha, no kidding? Would've never guessed. I feel you though, I'm always second guessing myself. I'm constantly thinking "Does what I'm saying even make sense?" All I can do is shrug it off and hope for the best :lol
*fistbump*
MoonsaultSlayer said:
I'll give you the oppurtunity to see my view of the show. I can already picture your predictable comments but you'll crack your knuckles, adjust your spectacles and start seperating my post with little quibbles about each passage anyway, so I'm all for it.
I appreciate that.
When I envision a story, I brainstorm key points and then go back and focus on how I get there. After sharing parts of the story with someone, they find a metaphor or underlying statement I never thought of... and it makes so much sense. So I go back and expand on it.
Writing as an organic process? Sure, I'm cool with that.
When it comes to
Lost though...
1) Since the beginning, the writers have claimed they always knew what was up with their mysteries when they introduced them, be it the smoke monster, the skeletons, etc.
And I believe it's blatantly obvious that was complete bullshit. Bullshit they apparently felt was necessary to keep viewers tuned, bullshit they apparently thought was worth defending even if it meant making
more shit up in order to blame others for their own fuck-ups (again, Rebecca Mader... not the first time I bring that one up, I know, but I kinda wonder what hardcore
Lost fans have to say about that, and I have still to hear anything from people in this topic).
2) You said "... and it makes so much sense", and yeah, at the end of the day,
that's what matters most, right? A masterpiece by a lying scumbag would still be a masterpiece, after all.
Does
Lost make sense, in the end?
I'm not even just talking about the "mythology", here... Do the character arcs make sense? And what about the themes the show pretends to be examining?
That's what it's like creating this series. They introduce Ben, fall in love with his character and expand on him. The audience finds meaning and they expand on it. This isn't flawed design. I feel it's very creative and refreshing.
It's actually standard fare for TV shows.
And again, the end result wasn't exactly... Hey, since you brought that up: what about that Ben? Were you satisfied with his character arc? Could you tell us how/when he supposedly redeemed himself, in the end?
throw in a smoke monster and each character has their own interpretation. Is it mechanical? Is it mythical? Is it judgemental? Is it beautiful? Is it an obsticle in my path? It was each of those things to seperate people. The "magic box" started creating reasons and answers and piled on new mysteries to each characters encounters.
None of any of this whole show was a new mystery. It was all part of the only mystery I stated earlier and each character's input added to it as their threads mingle with one another. We see Jack get his hero ending, in touch with his father and some sort of redemption because that's what HE needed. This wasn't the end of the show, it was the end of that character's fringe thread. Nothing more, nothing less.
You probably saw that one coming, but I don't find that convincing in the slightest...
You seem to be arguing (please correct me if I didn't get that right) that
all of the supernatural stuff on the show only existed for the characters to reach some kind of personal closure or redemption. That it could be all seen as
one plot device, and it's perfectly fine that way. And the contradictions? Well, that's because there's a bunch of different characters, so you could say everything is true at once, just not for everybody, or some shit like that! *goes to play with / bury his Schrödinger cat*
That would be a lot more convincing if you could actually interpret the entire show that way (seems like it would be quite the challenge... did Eko need to be killed by that big hand made of smoke, in the end? did Kate need to see that horse? that helped her? somehow?).
Or if we were talking about, say, a David Lynch work or a
Silent Hill game. But the tone
Lost set from the word go was quite different. It never felt like a fevered dream or anything like that at all (nor was it sold as one:
Lindelof even once claimed the show was "firmly ensconced in the world of science fact"... heh).
And of course, that would be a
whole lot of
particularly messy, contradictory and thus overall confusing fluff, if the goal was just to have characters overcome personal issues in the end. Even if the show were successful concerning that last part (and I find it hard to argue it was), it certainly wouldn't be the most efficient way to go at it, for a writer, far from it...
Like I said earlier, it seems you're merely using the presence of supernatural / fantastical elements on the show as a convenient excuse for... well,
anything, there.
JoJoShabadoo said:
So I was watching Sundown and wow, I almost forgot how embarrassingly bad season 6 is. The army marching behind Locke like something is actually going to happen... If I recall correctly, later in the season, after 10 episodes of twiddling their thumbs, they "scatter into the jungle" after the mortar blasts.
Yup, despite all the ominous foreboding, the "Barry is
recruiting!" subplot only served to pad the season out, apparently...
I mean, it's not like they had a lot of stuff to cover in that final season anyway, right? In fact, there you go: take this "Sun hits her head and forgets how to speak English" subplot: it's on the house!
I also liked how it gave us more classic "
Lost speech":
LOCKE: Alright everybody, listen up. Come on in, gather round. I know that everyone is tired. It was a... a long and traumatic night for all of us. And you all have got a lot of questions, I know. And I will make myself available to answer them. But right now we need to keep moving. We have to take advantage of the daylight.
We never got to hear the promised answers, sadly enough. Maybe the extras did at the end of the day though, I dunno? Or were they told that they "should take some rest because they still have a long way ahead of them tomorrow"? (this shit writes itself!)
And
where the fuck were they going anyway? The Ajira plane? Was that really so urgent they couldn't spare a few minutes to explain
anything?
Oh, I know, I know! I can solve a whole bunch of issues with the show in one fell swoop and just a few minutes of footage!
RICHARD: I never want to die. I want to live forever.
JACOB: Now that... I can do.
RICHARD: Wow, really? Thank you! You know, for a second there, I was wondering how I was going to help those people against that monster, but I didn't know you could make me immortal. Now I guess I could at least try to fight it and...
JACOB: Wait... Wait. I wouldn't try that if I were you. I made you immortal. Not invulnerable. He
can kill you.
RICHARD: Well, that... That's too bad. Now, how am I supposed to... Wait. So I can still die after all? Because, like I said, I
really don't want to.
JACOB: Yes. Please be careful.
RICHARD: Well, I generally am, but I'm not entirely confident I won't break my neck or something...
JACOB: You could. Not on purpose though.
RICHARD: What?
JACOB: You can't kill yourself.
RICHARD:
What? I mean, I guess I'm fine with that... but why not? Why did you make it so? I thought you valued free will? How did you get that from what I asked? And
how does that even work anyway?
JACOB: ... Man, it's not going to be like that everyday from now on, is it? I got used to the quiet, after a few centuries of getting my guests slaughtered before I could even meet them...
RICHARD: But I'd just like to understand!
JACOB: My mother used to say... Oh, you know what? Fuck it: I just made it a rule people can't ask follow-up questions on this island.
RICHARD: .........?!
JACOB:
Indeed.
And what did Locke need them for anyways, if all he had to do was deactivate the pylons, leaving him free to march against bullets and snap the necks of Widmore's army?
Did he even need them for that? After all, that fence was as much of an obstacle for human beings as it was for him. So I don't know who of Barry and Sayid deactivated that fence, in the end, nor how exactly... but I see no reason to believe Sayid was any more qualified for that than Barry. In fact, Barry was
also impervious to bullets, something that could come in handy for such a task.
What a piece of shit show. No wonder Erigu is still here.
So much material.
Blader5489 said:
they were living the dream before crashing on the island?
How was Sayid doing, when Jacob met him?
oatmeal said:
So basically your initial post is like the show LOST?
Good thing I don't get paid for this shit, huh?
Then again, I
still do my best to fix all that... Doesn't take me all that long either, does it? You'd think that would still all be part of the "writing" phase, for those guys...
But you have the option of going back and fixing it, whereas they just changed things to fit their ever-evolving ideas.
(and it made no fucking sense in the end, so
victoly!)
Wouldn't have been too hard to, say, go back and change the date of Richard's flashback so it would fit with what had been said earlier about the last journey of the Black Rock, for the video release. Did they?
(then again, it would have been natural, easy
and fast to check that shit in the first place... using Lostpedia, it should take anybody a couple of minutes
tops...)
MoonsaultSlayer said:
The characters themselves all had tight storylines when you take away the mysterious happenings.
Nope, the character arcs were a mess as well (
Jack).