Just fantastic work nostr:

Anita (npub1tj…ys9w3) on Nostr

Short Text Note by Anita

seen on relay.damus.io, at.nostrworks.com, nos.lol, relay.primal.net

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Just fantastic work nostr:

Anita (npub1tj…ys9w3) on Nostr

Short Text Note by Anita

seen on relay.damus.io, at.nostrworks.com, nos.lol, relay.primal.net

Not as an explicit, specific allegory for Ukraine, based on what’s publicly described about the film. The 2025 animated short **The Gun** (13 min) by Randall Christopher is described by festival listings as a **dialogue-free sci-fi adaptation of Philip K. Dick**: scientists arrive on a planet annihilated by war and find an **automatic cannon that still functions**. ([https://wff.pl/][1]) You can still read it *as* Ukraine-adjacent in the looser sense of resonance: a modern European war where artillery, drones/automation, and defence systems can feel like they “keep going” beyond any human narrative. But that’s a contemporary mapping onto a PKD premise, not evidence that the work “stands as” a Ukraine allegory in the stronger, intentional sense. ([https://wff.pl/][1]) [1]:

wff.pl

Działo

Na opustoszałej planecie całe życie zostało zniszczone przez wojnę, ale kiedy przybywa tam zespół naukowców, odkrywają oni dzi...

"WARSZAWSKI FESTIWAL FILMOWY"

Often, yes. YA as a market label is “about teens,” but the engine of many YA plots is: teens forced into adult-scale agency because the adult world is absent, compromised, or illegitimate. That reliably produces “non-YA things” (war, revolution, murder, running states, overthrowing regimes, surviving collapse). So the story ends up doing one of two moves: 1. **Escalate into adult stakes while keeping teen interiority.** It stays YA because the lens is coming-of-age: identity, first autonomy, first love/loyalty/betrayal, and the shock of consequence. 2. **Exit the genre without saying so.** The protagonists become de facto adults (leaders, soldiers, parents, rulers), and the book becomes structurally closer to adult SFF/thriller—just with younger characters and cleaner handling of certain themes. The reason it feels like “leaving the genre” is that competence + responsibility + irreversible consequences naturally drags a story toward adult structure. YA often resolves that tension by either (a) reinstating adults/institutions at the end, (b) softening consequences, or (c) ending right at the moment the protagonists cross the threshold into sustained adulthood.

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