OK so at the end with the vault, there was knocking and immediately I counted the amounts because the Master and though mostly they were sporadic or in threes, I swear the last set was four. And four knocks as well as John Simm this series, my bets are on the Master being in the vault.
A/N: Not that anyone cares I’ve been hella busy and haven’t had time to literally write anything and I still really don’t, but I’m going to anyways bc I have some inspiration. Enjoy. Feedback is always appreciated(:
Characters: Dean x sister!reader, Sam x sister!reader
Warnings: swearing, angst, overprotective Dean, mention of death, yelling, very close relationship b/w Dean and reader? let me know if I missed anything
Tagging: @winchesters-favorite-girl because I think she might be interested and I really love and look up to her as a writer. I hope you don’t mind.
You loved your brothers more than anything in the world. I mean, you were practically raised by them. John was never around, your mom was just some quick fuck that John had on a hunt. As soon as demons got word that John Winchester knocked up some chick and he had another child, they came and killed your mother when you were only a few months old. Thankfully, your mom got John on the phone as they were trying to get in and he was in town so he saved you. Not your mom though. Dean had been 16 at the time, Sam was 12. You were by far the baby of the family and Sam and Dean made it their mission to protect you from everything. And when I say everything, I mean literally everything. You were never even supposed to have been born. But nevertheless, here you were seventeen years later, alive and kicking, living in the bunker with Sam and Dean, the two best brothers in the entire world.
John expects reality to conform with his symbol language. A tree in a kid’s yard MUST have a tire swing to be authentic (1927). “A fire BELONGS in a FIREPLACE” (1950).
A father without a pipe is like a strapping roughneck without a toothpick. That is to say, HE IS A RATHER PISS-POOR EXCUSE FOR A ROUGHNECK IF YOU ASK ME.” (1970)
The meta-textual winking in the comic is a distraction. When John knocks over his Nana’s ashes, John understands his mistake to be a “virtual certainty” (1953) because he views the event to be the actualization of a cinematic trope. That is a character moment. That is how John sees the world.
TANGENTIAL: In the living rooom, John comments that he should “exhaust all possibilities before plunging into a DAD encounter” (1979). This is the attitude of a gamer finishing every quest in the game before facing the final boss. Earlier, John took the time to inform us that pipes are his dad symbol. So when the final boss on LOWAS is in a lair covered in pipes, we can see that John’s very concept of ultimate conflict involves confronting his dad.
This attitude is stated most concisely at the fireplace: “As domestic myth of unaccountable origin holds, a home borrows the spirit of the flame for as long as it makes a guest of it” (1950). For John, there is an essence of flame, an idea of flame, that is eternal. Every fire John has seen is simply an instance of an ideal fire-object burning away in the elsewhere. This is essential Plato’s theory of forms, but in the language of a kid who thinks movies reveal that higher reality.
I’m grappling with what this implies about putting the bunny back in the box. Dave’s gift introduces the word “authenticity” into the story, and putting the bunny back in the box clearly takes on a ritual significance for John. I don’t know what the ritual means though.
The boxes themselves tell part of the story. Jade sends her rabbit in a green box – a dead ringer for the Perfect Generic Object, marking its contents as a fundamental idea, an indivisible unit of reality. Yet Jade’s package contains the most complicated version of the rabbit, augmented through several iterations.
Is the augmented rabbit closer to it’s essential symbolic reality? Does it mean a complex idea becomes basic over time? Not sure, but I’ll keep an eye out.