She/her, 40, librarian, writer, reader. EDITOR FOR HIRE. Current obsessions are The Locked Tomb series (Griddlehark) and She-Ra and the Princesses of Power (Catradora). Also a longtime fan of X-Men First Class and the good ship Cherik, Good Omens, Captive Prince (always tagged), cute animals, Star Wars, Jane Austen, and whatever else I fancy along the way. You can find my fanfic here and here. My askbox is here!
When I was in uni my housemates had a baby, and we taught them some sign language so they could communicate before all their mouth parts were coordinated yet. None of us knew Auslan but two of us were familiar with the signs that the State Emergency Services used in the field so we worked with those.
The kid learned to request a drink, which is great, because that's like the #1 most important thing for a baby to be able to request, but instead of learning any of the other signs they just used modified versions of the drink sign to ask for all kinds of things. They couldn't actually make the proper drink sign (it requires some level of hand control) and used a modified wave, so they ended up with a whole bunch of subtly different waves to ask for stuff. Which was pretty fun in public because strangers would coo over this adorable baby who kept waving at them when, in practice, the baby wanted their ice cream.
Our kid used the "milk" sign for any and every liquid, including Lake Huron. We went to Mackinac when they were a toddler, they looked over the edge of the ferry and got so hyped up yelling "wa-juice! Wa-juice!" (Everything was either water or juice at this point in their life) and signing about it. Didn't know what to make of the waves.
My friend's baby also learned some simplified baby AUSLAN and he would sign GIVE at whatever he wanted. Your lunch. Passing birds. The book he just handed you. Just at you, when he wanted attention. The time he demanded *the wind* was perplexing.
I used to have a baby in my class who, any time we had a car go by the classroom window, would watch it go by and then look at me expectantly and start signing "more? more? more?" and pointing at the window. It was adorable, and sweet that he thought I was that powerful, but unfortunately I couldn't make more cars go by for him.
Why does no one talk about the fact that babies can communicate way earlier than when their mouth is developed enough to speak? I didn't even know this was possible! This sounds like accessing a consciousness before the release date. Listening to the thoughts of a brain that's not done cooking yet. Now you can watch how a human brain interprets the environment even earlier in its life, through the eyes of even more underdeveloped senses. Fascinating.
I taught my baby sign language. He was fascinated with fish so we visited the local aquarium frequently. The sign for fish is to make your hand wiggle like a fish swimming. He would stand by the window and sign "fish" so enthusiastically his whole body would wiggle. People thought it was cute he was waving at the fish. No, dear souls, he was naming the fish.
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inception is a decent movie but there's so much horror tragedy potential written into its premise and the implications of its worldbuilding and being able to see that and do nothing about it makes me feel deranged
dream technology was developed by the military "so soldiers could practice shooting, stabbing and strangling each other". the only way to escape a dream before it ends is by killing yourself or convincing someone to kill you. you can live entire lifetimes in a dream, only to wake up to the disorientation of realising that only hours have passed in the waking world. prolonged exposure to dream-sharing tech carries the high risk of inducing psychosis to the point that you can no longer tell the difference between dreams and reality. you can carry a "totem" that behaves differently in a dream to counter this, but if anyone else gets their hands on it and figures out how it works, it's game over. dreaming is so addictive that some people sacrifice their waking lives to keep dreaming for longer. people can be hired to break into your mind and take anything they want from it, down to your most intimate parts, and sell them for profit. if that's not paranoia-inducing enough, entering someone else's mind carries the risk of being hunted down and torn to pieces by manifestations of their own psyche in a subconscious act of self-defence that cannot be controlled, because what you are doing is invasive and violent. the premise of the film rests on a superrich man hiring a group of people to fundamentally alter a man's identity because inheriting his father's corporation has the potential to make him a BUSINESS COMPETITOR. the leader of said heist team is so haunted by the suicide of his wife that he (unintentionally) caused by violating her mind to the point of madness that he locks the rest of them into a labyrinth of his own guilt, stalked by the minotaur her vengeful ghost. oh, and on the right cocktail of drugs, you can't wake up from a nightmare, and will instead end up in pure unconstructed unreality, surrounded only by decaying structures built by those who inhabited it before you, whose intentions and regrets might still haunt the landscape like a malevolent physical presence.
is kind of a tragedy how little impact this movie had in the popular culture beyond the BOOOOOM sound effect and redefining the meaning of the word inception. youd think other people would have grabbed this premise and done more with it and it hasnt really happened. this and paprika were the two movies that did something with the idea and that was kind of it
I have a client who communicates exclusively via Microsoft Word.
If she has something to tell me, Iâll receive an email with nothing in the body, but a Word doc attached. Thatâs where she writes her message.
Whenever she wants to email me a photo, she does so via an empty Word doc with said photo set as its background.
But my favorite thing was the first time I witnessed her visiting a website. She had me spell the URL (âW⌠W⌠W⌠dotâŚâ) and with my own two eyes I watched her type it into Word, made it a hyperlink, and Ctrl click it to go there.
I think fanfiction as a medium is different enough from mainstream literature in the tools it offers writers that it's a shame that it's not talked about more often. And it's not me saying "fanfic is better than books xD" because that sort of mindset is a symptom of people who aren't particularly well read in either medium. I'm just speaking of like... The little things you get to do with a fanfic that you genuinely can't really do in an original story.
I had a big fanfic in a previous fandom where one of the big reveals was the involvement of a kind of infamous villain, whose presence was built up to and foreshadowed through the whole fic until his reveal without ever mentioning his name, so that the name drop would be a gut punch. It worked especially well because of who the villain was and his presence in that fandom space specifically (it's very complicated) and if it was an original story this reveal wouldn't work at all the way it was written in the fic. Because if you don't have a predisposition to think about that character and his relationship to the hero in a very specific way, then just seeing their name won't do much to you; the reveal and the recontextualisation it pushes upon you hinges on your previous knowledge of the source material.
I think it's an interesting tool fanfic authors are given. One of my favorite fanfic of all time is partially a re-imagining of its source material's canon, and something it does is introduce antagonists much earlier in the story or deepen npcs' stories. It then works to evoke a tragic irony that again wouldn't work if you didn't know the source material, and it's something the author obviously has a lot of fun with.
You could call it cheap or a crutch and I mean, yeah, sure, it is a little bit: the fanfic relies on previously established emotional bonds and stakes to achieve its goal, and in some cases it saves the author from having to 'properly' build up its stakes. But I think it's INTERESTING that it has that tool at its disposal. I think it's a fun thing to play with and I think these built in expectations and emotional bonds are especially why I find story driven aus in particular to be fascinating in the amount of ways you can play with them. You know??
Attended a rattlesnake conference yesterday and one of the presenters was talking about public attitudes towards snakes, specifically how showing them in a non-aggressive context helps to create more positive attitudes, and. Y'all. I NEED to show you the image he used as an example
Look at him. Look at this smiley newborn sidewinder sitting in a bottle cap. He is so small and so happy he is EXACTLY the right size to sit comfortably in a bottle cap
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- Entrapta loves Hordaks voice so freakn much. Asks him to read outloud to her often. He doesn't know the true reason she asks this but likes doing it for her anyway. He likes that she asks at all
- They get in old-couple fights over science. They have very different ways if going about things. Especially things they both find interesting. They find the debates and arguments ENDLESSLY refreshing and thrilling. It's nice having a mind that thinks like yours around for once.
- After the show, Hordak is vigilant of Entraptas location AT ALL TIMES. Entrapta does not know this. If he doesn't know where she is; he is asking others, and only half believing their answers. Needs to see where shes at with his own two eyes before he can go back to his day
- NOT in a possessive manner btw. Hordak waits very patiently, practically everyday- for the moment Entrapta finally comes to her senses and rejects him. Even years after they are married.
- If Hordak hugs Entrapta tight enough, her hair will fall limp almost every single time. Any grip she had on tools, books, fizzy beverages, controls- gone. Her hair will fall, or grow very, very weak, and she will not be returning the hug. She will be laying there against his chest like a sac of potatoes. Can and has fallen asleep instantly before.
- Entrapta is an adrenaline junkie. Hordak VERY MUCH IS NOT. He does NOT like taking risks, Entrapta gets bored easily if there ISN'T risk involved.
- They are both EXTREMLY touch starved. But are equally just as sensitive to touch. Touch to both of them can either be an extremely AMAZING experience, or (rarely) a horrifically OVERWHELMING experience. Almost nothing in between. They don't like touching eachother when they are upset anyway.
- But it's almost always a good touch between Hordak and Entrapta. They are eachothers only safe places for skin-to-skin contact. Unless they are in the middle of a (non-science related) argument or conflict. But these are rare and short lived between them.
- Entrapta can watch Hordak literally all day. Just looking at him and watching him. Forgets that it might be rude to stare at someone so intently. Meanwhile; Hordak often avoids looking at her. He likes her a lot and she can make him nervous.
- They can read eachother like a book, and predict the others next move so accurately it's creepy. Entrapta takes Hordak by suprise the most often, but less so as the years go by. It's a good thing. Entrapta raises Hordaks blood pressure too often.
- Hordak rarely interrupts Entrapta. Entrapta interrupts Hordak ALL THE TIME
- Hordak is way better at masking. Hes spent his whole life disguising his fear and true desires, even from himself. Entrapta, however, is ENTIRELY INCAPABLE of being nothing but authentic to herself and others. Cannot lie, keep a secret, disguise her feelings, wants or fears to save her life. It was the very first thing Hordak noticed about her
- Hordak has nightmares almost every night. He is a very light sleeper and grows paranoid often around night time anyway. His entire life has trained him to be terrified of sleep (growing weak, tired, not thinking straight, and to not be working or productive, and vulnerable to political attack)
-Entrapta however, LOVES sleeping. Sleeps well, and often. She adores bed-time, has a lavish routine. Likes to take baths and do face masks and slip into cute and cozy pajamas and slippers. She has a huge soft bed, with the most luxurious pillows and blankets you'll ever see.
- Entrapta learns that if she 'keeps watch' while Hordak falls asleep (quietly reading or writing next to him), it reduces his anxiety tremendously, and chances of him waking up from a nightmare are cut almost in half. Especially if she has some sort of physical contact going on, like holding his hand, or letting him hold her leg or arm, or scratching his head/ears.
- Hordak, even before meeting Entrapta, recorded almost everything he did as well. However, his records are in the form of extensive paperwork and writings. Entrapta prefers the interactiveness and convenience of audial, visual record keeping. Plus her recorder functions somewhat of a stim toy, the buttons and controls soothing to Entraptas hands
Entrapta did have a particular habit of making all of her robots sound activated in the Crypto Castle. I imagine as an engineer, the only reason that would be so effective is if it was a relatively quiet castle to begin with.
She's always humming to herself, and she has a habit of speaking pretty loudly, even in the silence (her first appearance for example)
The context clues of the show indicate she is rarely around people, and thus must be pretty lonely up to the point we meet her.
Her environment changing from Crypto Castle to the Frightzone must've been an ENROMOUS change, given how populated (maybe even overcrowded) and loud and busy the frightzone seems to me. Even in Adoraâs journey entries, she references missing the sounds of the Frightzone
Entrapta, at the point of her capture in the Frightzone, must've been experiencing a LOT of new and overwhelming stuff. However, given this is Entrapta, she's probably loving all the new sights, sounds and smells. I can't think of an example of Entrapta getting thrown into a new environment in which she isn't throughly entertained and fascinated.
I imagine she got used to all the noise and voices and people fast. I bet she liked it a lot. Probably got super used to it pretty fast.
Which I could imagine her waking up on Beast Island was the first time she had realized how used to people she had gotten.
I bet after her time with Hordak in the Frightzone, she made it a priority to ensure she had soothing white noise going at all times to avoid the silence.
After all, silence would allow negative thoughts to slip inside, and she didn't need the signal bothering her when there was an entire island here made of her life-long scientific specialties.
I doubt that habit left her after Beast Island, and its one of many sleep habits Entrapta has that i KNOW Hordak would indulge in. He would probably create some sort of sound design for her at night, to help her sleep, without knowing the recent orgins of such a habit.
In season 5 as well - As soon as she left the lonely Beast Island, Entrapta was forced into a situation where she was in cramped quarters with everyone else, but she seemed completely in her element both in the Rebellion camp and in the space ship. I think everyone in the Rebellion must need a period of adjustment where they get used to sleeping with less people around, and many of them might not like it at all and might have nightmares. It's also a phenomenon seen in real life.
But Entrapta knows what it is to be completely alone for a long time, so even though she's usually the best at adjusting to change, I think being alone again is something she wouldn't enjoy reverting back to. She wants to be where the activity is with her friends. She wants to be useful and included and she never wants to be by herself and the silence just makes all the bad thoughts come back about how she isn't needed or wanted around.
Hordak might be a bit confused by this because he is used to working with Entrapta in relative quiet in his sanctum and he has always preferred being alone to having prying eyes, but he catches on quickly and learns how to help.
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Here's what I mean by talking about all the decision points in the translation problem in Project Hail Mary (which includes all normal translation problems and then some).
There's a lot of Rocky utterances in the movie that are likd: "Grace Stupid." Non-standard sentence of English, perfectly normal sentence of, say, Arabic. Rocky's translated speech doesn't use the copula (be-verbs). The problem is, where in the process does this fact originate? There are a number of possibilities:
Eridian has no copula
Eridian has a copula but Rocky is choosing not to use it
Rocky is using a copula but it is marked in a way that the translation program can't recognize
There is a copula but Grace hasn't recognized or elicited it yet
There is a copula but due to linear placement translating it as such would make Rocky's utterances less comprehensible
Grace doesn't think the copula is linguistically necessarily and so doesn't bother
So for every linguistic feature we can derive, we have to ask (and I think mostly we can't know) - is this a fact about Eridian, is this a choice Rocky is making, is this an artifact of the technology, or is this a choice Grace is making?
What would be really interesting is if it changes over time. I haven't read the book but if it were me I would make it change over time.
The translation software is supposed to just match each Eridian word with its English equivalent.
All of the grammar adjustments come from Rocky, as explained in the book:
Rocky has picked up the basic word ordering of English. I think he realized early on that I canât automatically remember stuff, so he works with my system rather than trying to teach me his. I probably seem pretty stupid, honestly. But some of his own grammar sneaks in once in a while. He always ends a question with the word âquestion.â
One of the things that I think are important but the movie unfortunately left out is that Grace also makes an effort to simplify his speech for Rocky. In the beginning, he speaks in very short sentences with limited vocabulary. Later he starts talking in more complex or casual ways, but the level and style of his speech always match Rocky's pretty closely. This post collected some good examples.
Here are a few other book quotes in chronological order, showing the evolution of Rocky and Grace's dialogue:
Chapter 12 (at the very beginning of their verbal communication):
âHuman bodies must sleep. Sleep is this.â [...] âHumans sleep for twenty-nine thousand seconds.â [...]
âMany secondsâŚâ he says. âWhy be still so many seconds, questionâŚUnderstand!â
Chapter 13:
âYes. No understand why Tau not sick but Eridani is sick. If Astrophage no leave Eridani, my people die.â
âSame!â I say. âSame same same! If Astrophage continues to infect Sol, all the humans will die.â
âGood. Same. You and me will save Eridani and Sol.â
âYes yes yes!â
Chapter 16:
âI not understand science. I just use. Apology.â
âThatâs okay. I canât explain how to make a thinking machine. I just use it.â
Chapter 21:
âWe are much much smarter than animals.â
âWeâre as smart as evolution made us. So weâre the minimum intelligence needed to ensure we can dominate our planets.â
He thinks it over. âI accept this. Still not explain why Earth intelligence evolve same level as Erid intelligence.â
Chapter 24:
I put my chin in my hands. âMaybe I can filter out the toxins.â
âMaybe you can concentrate on Taumoeba.â Thereâs a special warble that Rocky does when heâs being snarky. That warble is especially present right now.
Chapter 30 (epilogue, after a 16 year long timeskip):
âThink weâll find more of them? Intelligent species?â
âWho knows?â I say. âYou and I found each other. Thatâs something.â
âYeah,â he says. âIt really is something. Go do your job, old man.â
âYouâre a coward and you always have been. You abandoned a promising scientific career because people didnât like a paper you wrote. You retreated to the safety of children who worship you for being the cool teacher. You donât have a romantic partner in your life because that would mean you might suffer heartbreak. You avoid risk like the plague.â
This paragraph is the emotional center of the novel's Big Reveal, which prompts the reader to take it at face value as the objective truth about the character that you previously couldn't see. But I don't think it is.
It's not even Stratt's subjective opinion, genuinely â it's something she yells in the middle of an argument, angrier than ever before, throwing the most venomous insults into the face of the man who betrayed and insulted her.
Now, the first part, about his change of career, is more insightful, and is actually echoed by something Grace himself thought a couple of chapters before:
I missed my kids.
Dozens of them. Hundreds, really, over the course of a school year.
They didnât swear at me or wake me up in the middle of the night. Their squabbles were usually resolved within a few minutes, either by a teacher-enforced handshake or detention. And, somewhat selfish, but here it is: They looked up to me. I missed being that respected.
Plus, the entire book, down to the very structure of it, is evidence of how much Grace loves working in a lab, solving problems, making discoveries. And he did give up on the career of it in favor of explaining the same things to children year after year after year. And he, as demonstrated by the quote above, does enjoy being an admired authority figure at a low-stakes workplace. It's not the full picture (I'll get to it later), but let's give Stratt this one.
On the other hand, âYou donât have a romantic partner in your life because that would mean you might suffer heartbreakâ is not supported by anything in the rest of the text. The only mention of Grace's involvement in romance is a (misogynistically) contemptous memory of his college girlfriend and their âtotal disasterâ of a relationship. He ignores Lokken's bashfulness around him, and when confronted with other people's relationships or their idea that he's in a relationship with Stratt, there's not even a smidge of wistfulness in him. He doesn't have a romantic partner because he! is! not! interested!
You could have replaced âromantic partnerâ with âclose friendâ, and even that isn't particularly true to what we see. The only time Grace represses the feeling of affection for his friends to save himself from heartbreak is at the very beginning of the book when he tries not to think about Yao and Ilyukhina, and in that case managing his negative emotions is actually a reasonable and mature decision: giving in to grief in that moment could have put the entire mission at risk.
I think this is one of the cases where the movie's script provides a clearer and more emotionally intelligent summary. âYou just need to find someone to be brave forâ, cut to âWho would you die for?â, cut to Rocky saying hi.
The thing is, both in the book in the movie, Grace simply didn't like anybody enough to try to get close to them, and love anybody enough to die for them, until he met Rocky.
And there are many reasons why he grew to care about Rocky more than about anyone ever before! Where do we even begin:
Even before they understand each other on a personal level, Rocky is the most interesting individual Grace has ever met just by virtue of being an intelligent alien. Of course he is more motivated to get to know Rocky than any old human!
The two of them need to establish communication from scratch. This forces Grace to recognize that the other person has an entirely different perspective from him, and put effort into understanding his partner, expressing his own perspective clearly, and making sure they're on the same page. Same on the physical level: the incompatibility between their living spaces and difference between their physiologies makes Grace more aware and considerate of someone else's needs.
Why should the onus be entirely on Grace? It takes two to tango. And you know who invites Grace to tango? Rocky does (in the movie, literally). Rocky does all the hard work at the beginning. He's the one to notice Grace, approach him, send the first message, arrange a way to meet. It is Rocky's idea for him to move in with Grace. It is Rocky who sacrifices himself to save Grace's life first, long before Grace does the same in return (or shortly before, if you count the risky airlock maneuver in the book). âI like to keep a wall up in my relationships anywaysâ? Rocky goes through that wall for Grace's sake, figuratively and literally. By the end, Rocky has won Grace over fair and square. Has any of the humans who ever wanted to befriend or date Grace put in a fraction of Rocky's effort?
Grace connects to people through mutual interests and partnership, and of course, Rocky is a perfect partner for him, that's what the story is built on. The science of their societies is more advanced in different areas (Earth has better theory, Erid has better materials). Their personal skillsets are perfectly complementary, and together are just enough to accomplish the mission (Grace does science and EVA, Rocky does engineering/design and manufacturing). At least in the book, they are on the same intellectual level, think and speak in similar ways, have a similar sense of humor.
Rocky is an exceptionally admirable person. Everything he invents and makes is flawless. He persevered through the decades of his horrific backstory. He is brave and caring, honest and perceptive.
Grace and Rocky are the only two living people within a dozen light years, bound together by their extremely stressful missions. The fate of their planets rests on the quality of their teamwork. They live together, make difficult decisions together, risk their lives together and for each other. What stronger bonding mechanism is there? Even if half of the points above weren't true, this situation practically guarantees they would develop some kind of strong feelings about each other.
...This is what it took for Grace to finally grow as a person, get over himself, and, when presented with the same choice for the second time, get it right and pay back his debt to the universe. It took fate (i. e. Andy Weir) dropping a perfect soulmate into his lap, while cornering him into a situation that maximized their bonding.
And this kind of bond is not something you can just force! If you don't vibe with someone then you don't. If you don't vibe with anyone then you don't. If you only like the people in your social circle up to the level of âwork friendâ, what are you supposed to do about it, exactly?
It is true that on Earth, Grace 1) has no close relationships and 2) is a coward. But the lines in the book and in the movie that I'm discussing interpret the causal relationships between these two facts in an opposite way. According to book Stratt, Grace has no close relationships because he's a coward. According to the movie, it's the other way around: Grace is a coward because he has no close relationships. And I think the events of the book, outside of that one Stratt line, support the latter interpretation too.
Another aspect that is present in both the book and the movie, in different ways, is that Grace's moral character is also strongly dependent on his self-image, which is in turn largely influenced by his surroundings. In the book, he slowly explores the ship, and comes to the conclusion that he was a competent volunteer. In the movie, Grace has a long breakdown, finally accepts his identity as a member of the crew when he remembers what Project Hail Mary was, and continues to act terrified, but Rocky's presence forces him to take action and each next step proves to him that he can indeed do it, gradually increasing his confidence. In the book, Stratt explains that once he wakes up, he is a âfundamentally a good manâ enough to have no choice but to do his job, especially with no memory of his cowardice (and Grace confirms she was right: âPlus, come on, of course I was going to give it my all. What else would I do? Let 7 billion people die to spite Stratt?â). In the movie, Stratt says: âThis may seem like me betraying you, but it's actually me believing in youâ. In the book, Grace grows into the man he believed himself to be; in the movie, Grace grows into the man Stratt believed him to be. Once Stratt takes away Grace's memory of being terrified (book) or insecure (movie), he has the opportunity to rebuild himself from the ground up into a better man.
That is not to say that Stratt is an entirely positive influence on him. Perhaps her absence is, at least in the book. I'm going back to the book-specific perspective when I say this:
Being in academia and on Stratt's team made him a worse person, while working at a school and with Rocky made him a better one.
Just compare the major events that ended each of these eras of his life:
academia â grows so arrogant and fixated on his pet theory that he ruins his professional relationships and career
teaching â successfully reins in his temper, volunteers for PHM for the sake of his students
Stratt's team â increasingly buried in administrative work, loses touch with the outside world and the big picture, turns his back on the entire planet to save his skin and tries to hide behind his students' backs in the process
partnership at Tau Ceti â successfully establishes communication with an alien, it grows into partnership and close friendship, he sacrifices himself for the alien and his planet
I feel the need to make a disclaimer that all of the statements above are about this specific story and its protagonist, not about human nature in general. I'm sure there are many people, fictional and real, who find the strength to act selflessly in something other than personal connections. I assume not every academic would throw a fit and burn bridges after failing to find support for their controversial theory. And I think it's safe to say that in the book version, where the coma gene matters, it is the only thing stopping some of the other scientists in the upper echelons of PHM from volunteering. But I'm not talking about them, I'm talking about Ryland Grace and his storyline, which boils down to âcaring about another person made a selfish guy more selflessâ.
I've gotten pretty far from my original point. I was annoyed with a single line said by a character, and was saying that we should take it less seriously â and look how far that train of thought led me! I take not taking things seriously too seriously, I guess. But I still stand by it. And, frankly, this sentence is part of a pattern in which Andy Weir had Stratt say jarringly dumb weird shit sometimes, making her look ignorant next to the male scientists present in the same scene. âPeople always assumed our first contact with alien lifeâif any existedâwould be little green men in UFOs. We never considered the idea of a simple, unintelligent speciesâ?! âMy guidelines were that all candidates must be heterosexual menâ?! There's a reason why none of these lines made it into the movie. And speaking of the movie, the line in question would have made even less sense in that version, because there Grace and Stratt are each other's closest, most emotionally intimate connection throughout the entire Earth storyline, and Stratt is the one intentionally keeping others at arm's length.
As for Stratt's accusation about his career change, I think it's part right and part wrong. On the one hand, teaching puts him into a position of power/authority while requiring less responsibility compared to many other jobs due to low stakes. It is a win-win kind of relationship for someone who is friendly and extraverted, but likes to âkeep a wall upâ: he gets to talk to young energetic people for hours about his favorite topic, and to keep personal emotional vulnerabilities to himself. Maintaining distance is not only allowed and expected but mandatory, and behaving otherwise would have been unthinkably inappropriate. On the other hand: that's not a bad thing! Having healthy distant professional relationships is no less important than having healthy close vulnerable ones. Children are a good influence on Grace; in the book, it's them who inspire him to step up and demand Stratt to let him continue research, and his insistence that he cares about them and not about his ego and disproven theory is what convinces Stratt that the two of them are on the same page. (Conversely, one of the most appalling parts of his refusal to go is when he does the reverse, having the gall to say he should go back to the classroom For The Kids; in the book, he makes an entire speech in the style of most bullshit propaganda possible; in the movie, it's shortened to a single sentence, and Stratt calls it âinsultingâ.) And, of course, something that's crucial to Grace's character and the themes of his story is that teaching really is his calling no less than science is. At the beginning of the book he says to Stratt âIâm much happier now as a teacherâ, and that doesn't seem to be a lie. The very structure of the narrative proves it right: the reveal that Grace has become a teacher on Erid is the pinnacle of the happy ending of both versions of the story. When I watched the movie for the first time, that was the big reveal for me: that Rocky isn't the only connection Grace has on Erid â he is a part of the community and he can do the work that makes him happy and fulfilled again.
And to bookend this post even more, here's a caveat to my original point: this paragraph only exists in the book, and is only relevant to the book, because only in the book is Grace's cowardice a Big Plot Twist. In the movie, it's not a surprise reveal at all, neither for the audience nor for Grace himself: it is his primary character trait that is shown repeatedly from the very beginning. In this way, I guess the movie was more effective at presenting it as a consistent long-standing personality flaw, instead of a one-off incident. If Andy Weir wanted the reader to take Stratt's accusations at face value, perhaps he should have provided evidence for them with a bit of âshow, don't tellâ too.
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hey do me a favor and reblog with what you call the game where you stand in a line/circle and one person picks a word or a phrase to whisper to the next person, going down the order until they get to the last person who repeats what they heard out loud.