It’s gratifying and instructive to see how the filmmakers have figured out a way to use their limited resources to maximum effect. Scenes are built around the actors’ existing talents (card tricks, martial arts), set designs are full of character, the plotting intricate and downright professional, and the jokes have more bite – the show now has the muscle and daring to explore darker emotional territory.

Being a niche web serial, the filmmakers can go even further than, say, Kevin Smith and Simon Pegg with geek-world insider observational humour and an outrageous (yet sweet) narrative tone. This is exactly the kind of content we go to the web for: smart, alternative media we couldn’t get from the mainstream.

Impressively, the show never uses the plot reset button – it depicts a screwball world where actions nonetheless have lasting consequences. The unexpected, poetic use of special effects in the closing scene – the heroine’s ghostly avatar escapes and breaks into a run while her emotionally crushed real-life self stands still – raises the series to whole new level.

This is no longer a calling-card sitcom reshaped into downloadable chucks, but a coherent, self-sustaining artistic project fully aware of the quirks and potentials of its own medium. Bravo.

Does that make it a FlitCom?

Her character becomes her, not the other way around as critics of the gaming culture would have us believe. Her choices are good choices. Her shrink is wrong. She is of her times, in her times, growing up online becoming aware of just how much greater is the space she evolves in. Her day is of the day.

Felicia Day gives me hope. The first generation of imaginative, professional, clever and innovative storytellers on the web have arrived and the medium is in good hands.

Time to blog it behind the curve, but glad to so do.