This is a quiet story, mostly composed of reflection and character work. The feel of it very much mirrors the calm morning after the storm which happens during the story itself. The vivid blue storm-washed sky is a lovely symbol for Teyla post-amnesia, freer of horror and stress than she's ever been able to be in her life, and the joy she takes in learning the world anew is endearing and infectious. In fact, nifty sybolism notwithstanding, I think the Teyla characterization is my favorite part of this story.
I have to add some love for the side character interactions, though. In very few words, complex relationships are sketched in just enough to give the feeling of interesting layers beneath the surface we have time to see. Elizabeth's fleeting note of Sheppard's smile as "either infuriating or charming, depending on her mood", for instance, or the cryptic exchange she has with Rodney when she's assigning him to take care of Sheppard both serve to make those relationships feel human and complex---which is a pretty deft trick of
( ... )
Considering this story from a Bechdel Test angle, I'm really surprised (and impressed) just how much men in general - and Sheppard and McKay in particular - are barely present despite actually appearing. That's remarkably rare in SGA fiction; I usually find that Sheppard, McKay, or both are large figures in almost every story, but here they're almost a part of the background, as are Halling, Ronon, and the jumper pilot. Women aren't elevated to accomplish this; Keller comes across as timid and unsure. (As if in balance, Ronon is made almost clownish in a passing line.) This story is Elizabeth's and Teyla's, and uncommonly, that really shows through here
( ... )
Oh, that's a good thing to bring up---if sex had immediately followed the recognition of their attraction, I would have been thoroughly squicked and put off. Like Elizabeth, I would have felt that it was taking advantage. I am much happier that they waited. Maturity, repect, and patience are far more attractive and convincing to me, too. I strongly believe that that is what real love looks like, all the swept-away-by-passion scenes in the world be damned.
Also, good point about the Bechdel test factor. The men are there, but it isn't their story---as, at least half the time, it shouldn't be.
Comments 3
I have to add some love for the side character interactions, though. In very few words, complex relationships are sketched in just enough to give the feeling of interesting layers beneath the surface we have time to see. Elizabeth's fleeting note of Sheppard's smile as "either infuriating or charming, depending on her mood", for instance, or the cryptic exchange she has with Rodney when she's assigning him to take care of Sheppard both serve to make those relationships feel human and complex---which is a pretty deft trick of ( ... )
Reply
Reply
Also, good point about the Bechdel test factor. The men are there, but it isn't their story---as, at least half the time, it shouldn't be.
Reply
Leave a comment