I like a lot of what you said, especially
So now we're going to have to have a conversation, because my gut took me the other direction:
I started by putting New Miles into Psychology>Being>Ability because it's his ability to do things with such ease that makes him such a foil for Old Miles.
This forces Old Miles into Activity>Doing>Skill, which also felt good because we know Miles has it in him (he's been nominated for the Golden Pencil before) but he's having trouble accessing it. It also seemed to fit with his sperm test: does he have the potential to be a father?
I want to go back and add that I also have these choices that we've never talked about:
• Change (he goes from being a lump on a log to someone who can destroy a credenza)
• Male (If I send New Miles to work, then I can write my play)
• Optionlock (They are clearly trying out arrangements to see what will work.)
• Good (They all smile and hug after the Mileses got their anger out with a fistfight. I'm not 100% on this)
I don't have •Success• chosen because... what's the Story Goal again? I have an idea, but we haven't addressed it, and this is where I think the show falters. I suspect this will be •Success•, but we'll get there.
Anyway, all of this prevents me from choosing OS Issue>Threat.
I'm down to four storyforms now.
In the OS, I like the feel of Process/Result because:
• The problem seems like it comes from the screwed up results from the spa. And,
• Old Miles (who I see as Protagonist) is trying to figure out a Process by which he can benefit from the existence of the New Miles.
But I don't like Effect/Cause in the Problem/Solution spots.