DPXSU fanfic I'm working on right now, still going to come up with DPXDC prompts in the mean time...
Steven Finds a marble on the beach with a crack on it... he fixes the crack and then bubbles them to keep them safe. Later they notice that they can somehow form through the bubble, everyone's confused. Soon Danny reforms as a little kid! How'd a gem turn into a human boy??
Danny loves space though and he spends hours listening to Pearl talk about space...
I'm deciding on when in the SU I want this to take place but as soon as I figure that out...
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This is an old game, but there is still so much that we don't know.
One of the first things you can unlock in Jak 2 is Big/Small head mode, and I turned it on because I wanted to see how ridiculous it was. And it WAS ridiculous. But it was also a great model to see Jak's hair because I have a PS2, and those games were designed with a very different graphics output than our modern consoles. And I noticed something.
Jak's hair is RAGGED. Not like "It's been buzzed off and grew back messy" ragged, I mean "Left alone without an ounce of care offered" ragged. Weither the unfortunate messy mop he has in 'Daxter' is due to shrinkage or matts, this is still a fairly accurate amount of growth for two straight years. (For reference, the average human grows hair at a rate of one inch per two months)
I understand, as a 3d model, his hair is one object out of convenience, but when Daxter still holds on to that mop during a spin attack and Jak's response is a visual grimace, that hair may likely have ended up being a minimum single object over his time in prison.
Other Finds:
There are signs posted EVERYWHERE, and I DO mean EVERYWHERE. Everything from traffic signs to advertisements to shop signs! And they all say and mean things! Here's a few I noted
There's even a few Zoomer ads, but I cannot for the life of me make out anything more than "Long life" and part of the model
Another neat thing I found, though probably not new, is that when and NPC doesn't have a mission for you, they just don't exist. This is me in the Underground Base while I had misc stuff going on, standing in Torn's spot because he's just not there! Maybe he really DOES get some fresh air once in a while!
There's a map in the Underground Base, and I don't see this map anywhere else in the game, nor does it appear to line up with anywhere in Haven
It's an aerial view, but of what? It HAS to be Haven somewhere, why else would it be there? Is this an old map of the city before the walls were built? How long have the walls been there? How long has Haven been without it's rightful king? It's a very large city, that has heavily populated areas, but given the existence of Dead Town and areas beyond, it clearly used to have a much bigger footprint. The wall clearly wasn't built with travel along it in mind, it intersects houses and security gates. There are no patrols along it. I haven't seen so much as a guard or turret tower. And yet the walls are so tall and so thick, that they contain a whole network of power transportation to keep the shield walls up. Who designed it? And why isn't it maintained better?
Of course we know the answer to the latter question: Baron Praxis.
Baron Praxis is so uncaring toward his people, this much is obvious given the state of the slums, but Riddle me this: What dystopia leaders of note have enough funding to put up a giant FLASHING NEON propaganda ad in the middle of the slums, and still refuses to believe that people in the flooded districts of their city have no trouble getting into their homes?
These people have no way to get to these buildings, no WONDER they build their homes on stilts! The Water Slums is filled with what look like communal hovels and ramshackle dwellings that are staying upright and afloat with twigs and prayers.
Speaking of Prayers: The oracle.
There's this tapestry in the Oracle in the Water slums. There's like eight of them, but they all say the same thing. I've found no translations of this anywhere online, so I got real close and personal and snapped some pics to translate. And it's...it's oddly specific, in context, but I can't explain why in the world it's worded the way it is.
Translation is as follows:
"THE NOBLE WILL BE ASSURED OF A PLACE IN HISTORY THUS BEING GRANTED A FORM OF LIFE TO BE FOREVER VENERATED BY THEIR ANCESTORS AS ONE WHO LIVED A LIFE OF GOOD"
That is such an odd wording. Why "Ancestors?" Why not "Descendants?" that would make more sense, giving that noble person a place in history. It's clearly meant to be a general statement to the people and the followers of the Precursor beliefs to live their best life and BE a good person overall, but the way this is worded feels so specific toward Jak. I can't shake the notion that this is some old prophecy or prayer given from the Oracle before it fell silent that's been woven into that tapestry and hung in that place of worship.
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Allow me a vulnerable moment.
I saw DSMoM at a moment in my life when I needed more in every aspect of my life, and for whatever reason, it became the catalyst that has propelled me forward.
I've started writing again, after an almost 10 year hiatus.
I've (obviously) discovered Tumblr, and an amazing community who adore Benedict/Strange/Sherlock as much as I do.
I've started to choose me again, in a lot of important ways that I haven't been for much too long.
For whatever reason, my run-in with Stephen Strange and this beautiful movie came at the perfect time in my life and lit a fire in me that I haven't felt for a very, very long time.
I cannot explain it. It probably sounds crazy. I just know that I am grateful.
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If my mom sees a significant amount of blood she gets lightheaded, and has fainted on some occasions. Once it happened when we were kids, I wasn't there to witness it but I heard the story from my dad. Basically my brothers, around 7 or 8 at the time, were playing outside while my mom was making their lunch, and she accidentally cut her finger. It wasn't anything serious, but it drew a fair bit of blood and she passed out. My dad saw this and rushed over, but he didn't really know what to do so he just sort of started slapping her to wake her up (not recommended, but he had no idea and panicked)
At that exact moment my brothers both came in from playing, and all they saw was our mom unconscious on the floor and our dad slapping her. So, like, without even saying a word to each other they both just INSTANTLY start whaling on him, like, full blown attack mode to defend our mom. Which obviously didn't help the situation, but she did wake up and everything was fine.
Now our dad says that he's actually really glad they attacked him over what they thought was going on, because it means he raised good boys. And I still think that's true, they're very good boys.
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justice of toren collecting songs and one esk/breq constantly humming/singing them is such a good detail and ann leckie does so much with it. an incomplete list:
justice of toren's eager collection of songs is part and parcel of its violent destruction of cultures: these songs are cultural artifacts that it only learns because of its presence on those worlds during their conquest, and in many cases breq is the only one to remember them because their people have died out due to that violence. JoT preserves cultural artifacts for its own use at the same time it directly contributes to the need for that preservation in the first place.
the matter-of-fact way in which this is narrated to us gives us information about JoT's stance on respect and imperialism - that is, contrasted with other characters who look down on the conquered cultures, JoT does actually seem to appreciate their value. and yet it communicates to us no sense of remorse over its role in their genocide.
singing can be a communal activity. this allows us to feel the difference between one esk's multiple bodies singing together in harmony/in a round vs. breq singing alone. this has emotional weight, is an evocative image, and illustrates quite nicely some of the logistic considerations of having one vs. multiple bodies.
the constant humming/singing is extremely notable and idiosyncratic according to other characters, which is a dangerous combination for someone who's supposed to be undercover, so it adds a lil bit of fun suspense for us.
the fact that no one ever figures out breq's identity despite this giveaway tells us something about the other characters' attitudes towards artificial intelligences (though see below about seivarden).
the fact that it's so idiosyncratic also tells us something about the ability of individual AIs to have personalities that distinguish them from other AIs, and the fact that one esk sings constantly but two esk doesn't tells us something about the ability of different ancillary decades that are all part of the same AI to have distinguishing characteristics. this is very relevant to, and illustrative of, the series' thematic throughlines around identity, personality, continuity, etc.
the fact that breq personally has a bad voice also serves multiple purposes. because breq and seivarden both believe that the medic could have chosen a body with a good voice if she had wanted to, we can infer something about how ancillary bodies work, how much the AI (and, by extension, its medics) knows about the individual capabilities of those bodies while they're in suspension, and what kinds of things the AI can and can't control once it has unfrozen and taken over a body.
we can also draw conclusions about the medic that chose that body and about intracrew relations on that ship.
breq's bad voice creates moments of humor and irony in the narrative, such as when breq's constant singing - aka the most obvious clue that she is one esk - is precisely what makes seivarden so sure that breq can't be one esk, because no esk medic would use a body with a bad voice for an ancillary.
constant singing/humming imposes itself on the shared soundscape, meaning other people can't easily avoid it and it has the potential to annoy them, especially if the voice itself has annoying qualities. the reactions of other characters to the frequency and/or quality of this verbal tic tells us something about the level of affection those characters have for one esk or breq.
because singing involves words, the meaning of the lyrics being sung can be used to advance the plot, communicate things about specific characters, create irony in juxtaposition with what's happening on the page, etc.
i especially like what's done with the lyric "it all goes around". it's woven throughout the story in such a way as to manifest its own meaning (the repetition of "it all goes around" is, itself, an example of something going around). by repeating the lyric, breq is the one making it true, and i would argue that her repetition of this particular lyric about things orbiting other things contributes to, and/or is a sign of, her growing understanding of the necessity/reality of interdependence and her place in that framework/her role in constructing it, or in other words, the extent of her own agency and the rights and obligations it confers upon her.
because the singing/humming is a constant, background, automatic action, it only ceases when breq is experiencing a strong emotion. from this we are able to infer things about the emotional state of our famously-omits-details-about-her-emotional-state narrator based on other characters' comments about whether or not she is currently doing this thing.
we also aren't even aware that breq is doing it constantly until another character says so. on a narrative level, this serves the dual purpose of making sure we know about how much she hums AND of reminding us that she's not telling us everything.
the humming is not mentioned constantly even though it is happening constantly - this helps us forget in between mentions that it's going on while also simultaneously reinforcing just how constant it must be, so constant that to mention it every time it happens would be like narrating every time she breathes in or out. whenever someone brings it up, we are reminded anew that something has been happening all along that we forgot about. this means that ann leckie is able, by leaving information out, to hammer home to us how much we are not being told.
through this one character trait, ann leckie efficiently and elegantly communicates not just aspects of character but also of setting, plot, tone, theme, and narrative. there's no extraneous exposition just to tell us about the song collection or singing; everything that tells us about it is serving other functions in the narrative as well. the ways in which she manifests this one character trait in the universe and in the narrative contribute to and exemplify both the story itself and the method of its telling.
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