There are oh so many things I could comment on re the ongoing story on this particular scene. I'm reading for the ideas you're expressing - I think you're making ideas and interactions representative of each other and i'm naturally reading like that so it's an interesting exercise in double vision, plus the ideas in themselves are interesting - but most of that is not anything I can comment on with more than "I like" so far, so.
Usually I classify this story with your SPD ones - written to "fix" canon aspects which hurt too much to be left as is - rather than stories which build on the original with fixing being a secondary goal (Space and NS?) or the JF category of basal agreement sufficient for mostly exploratory mode to the point of messing the universe beyond canonically inherited aspects (Sparkles).
Which is why it's so curious to me that Dillon in this scene is communicatively similar to Casey of Sparkles. In that 'verse, RJ kept blaming Casey of lying because of Casey's instrumental approach to communication - if he got his intent across ("I want you to be happy"), does it matter if the actual content he'd spoken was merely a vahicle?
Why can't Dillon fall asleep? Worried about the possible danger the twins pose, worried for Doc K's emotional well-being, wanting/missing Ziggy, another factor or any combination of the above? The text suggests that the twins are the least of his worries, which - together with his general "intentionally creepying you out" attitude - has me wondering if he's deliberately screwing with Ziggy's balance before practically saying that he'd like to kiss Ziggy.
Which is a very Casey-as-you-write-him thing to do, even outside of the Sparkles universe: that scene in Spirits after the confrontation with Jarrod/Dai Shi, in which Casey has RJ against a wall? (I remember Casey, RJ and a wall; I may have misplaced the time stamp.) Casey's manipulativeness there is rather reminiscent of Dillon's hypothetical manoeuvre here.
(It reminds me sometimes of an endless corridor of mirros, or something reflective falling through a dark pond: an aspect which had appeared in one contex reappears in another, and the contexts are made of aspects reflected from other contexts. Each aspect, in itself, doesn't teach much: it's overlaying the interactions and noting similarities and differences that's helpful - and these data are generated from the particular nature of the aspects.)
no subject
Usually I classify this story with your SPD ones - written to "fix" canon aspects which hurt too much to be left as is - rather than stories which build on the original with fixing being a secondary goal (Space and NS?) or the JF category of basal agreement sufficient for mostly exploratory mode to the point of messing the universe beyond canonically inherited aspects (Sparkles).
Which is why it's so curious to me that Dillon in this scene is communicatively similar to Casey of Sparkles. In that 'verse, RJ kept blaming Casey of lying because of Casey's instrumental approach to communication - if he got his intent across ("I want you to be happy"), does it matter if the actual content he'd spoken was merely a vahicle?
Why can't Dillon fall asleep? Worried about the possible danger the twins pose, worried for Doc K's emotional well-being, wanting/missing Ziggy, another factor or any combination of the above? The text suggests that the twins are the least of his worries, which - together with his general "intentionally creepying you out" attitude - has me wondering if he's deliberately screwing with Ziggy's balance before practically saying that he'd like to kiss Ziggy.
Which is a very Casey-as-you-write-him thing to do, even outside of the Sparkles universe: that scene in Spirits after the confrontation with Jarrod/Dai Shi, in which Casey has RJ against a wall? (I remember Casey, RJ and a wall; I may have misplaced the time stamp.) Casey's manipulativeness there is rather reminiscent of Dillon's hypothetical manoeuvre here.
(It reminds me sometimes of an endless corridor of mirros, or something reflective falling through a dark pond: an aspect which had appeared in one contex reappears in another, and the contexts are made of aspects reflected from other contexts. Each aspect, in itself, doesn't teach much: it's overlaying the interactions and noting similarities and differences that's helpful - and these data are generated from the particular nature of the aspects.)