ZMysticCat

ZMysticCat t1_j6mj2fc wrote

Reply to Question about No Country for Old Men by CentralParker20

First thing to note is that by this point in the story, Moss had already removed the transponder. It happened right before he and Anton had their confrontation that led to both getting injured. That meant that only Moss and Wells knew where the case was. Moss was in the hospital, so Wells had a comfortable advantage in retrieving it.

That's the core idea in his decision. There was no rush. There was no need to climb over a hard-to-climb fence in broad daylight in a suit, risking an injury and drawing attention. There was no need to immediately go trekking around in tall grass. Wells could wait for night, get backup, change into something more appropriate, and still likely be the one to retrieve the case.

That said, I don't believe it's ever explicitly stated what his plans were. He just clearly did not want to climb the fence.

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ZMysticCat t1_j2epp3k wrote

Reply to High agency movies? by mewtsly

Alien: The whole crew pulls their weight and does pretty well all things considered.

Die Hard: Mostly here for John and Hans, but most of the rest of the characters are pretty capable themselves.

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ZMysticCat t1_j298xdo wrote

Reply to What type of storytelling do you prefer by Secret-Marzipan7807

Both have their place.

The first type is literally how we got our understanding of irony. Characters in stories would say things that meant a lot more to the audience than it did to them in the moment. This could be used for both comedic and tragic effect. For building tension, it's less about what's around the corner and more about whether or not the character will deal with a situation that we know they're in but they're still ignorant of.

The second type is great for mystery and building tension from the unknown. As the unknown becomes known, we may find it shocking, scary, humorous, or exciting. It's also probably better for setting up major plot twists, but you can still pull off twists with the first type.

Plenty of stories will also incorporate both. For instance, a story may have a set of characters whose perspective we follow, and while following them, we really only see what they see. However, little details may be relevant to another character before they become aware of it.

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