Someone really needs to not bring back Firefly, but make a space Western that is a Western in the way that the Last of Us franchise is a zombie Western - as in, less focus on "must have literal cows" and more the mythic tropes
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I've discovered that I'm quite fond of Western tropes. Really I'm pretty sure most things I really like narratively fall under Western or neo-noir. ....going back to the whole "my media preferences mark me as masculine and unLGBT"
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I'm also highly curious how, once one abstracts time and place away, one separates (neo-)noir from Western. I feel like noir tends to be in cities or at least single small towns, but again we're abstracting place
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Like Westerns share the following tropes with (neo-)noir: - loner tough heroes - who are either law enforcement, pseudo law enforcement, or criminals - who venture into unknown territory - frequently their quest is quixotic or obsessive - resolutions are usually ambiguous
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Replying to @BootlegGirl
Biggest thing that strikes me here is you've described a somewhat narrow subset of western, like that doesn't really cover something like Stagecoach or Magnificent Seven
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Replying to @saintwalker98 @BootlegGirl
I haven't seen Magnificent, but Samurai definitely had what I would consider an ambiguous ending, with the samurai being "defeated" because the victory belonged only to the farmers.
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Replying to @FroyoBaggins @BootlegGirl
Yeah Magnificent 7 is a much more straight forward happy ending, like it's sad cause we lost a good deal of our lovable heroes but they take it on the chin in that stoic 1950s American film hero way
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No offense, like what you like etc
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Replying to @BootlegGirl @FroyoBaggins
I can like more ambiguous endings like the end of Shane is actually closer to this ambiguous tone which is why it became Logan in 2017
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Shane is clearly dying
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