#i'm sorry writers but no power aus are just...so boring to me. put them in a normal setting but keep the powers! that's fun

[pokimoko]

🍒 🍊 🍍 n 🥝!

Thank you for the fruit, my fruit. 💜

🍒 What’s your favorite character dynamic to write? (Can be romantic or platonic, specific or general!)

Platonic for sure! Anything found family is my jam, and I particularly love writing sibling dynamics, blood-related or otherwise. I also like writing F/M friendships because I enjoy them and I think they should be normalised more, honestly (though, truthfully, those always end up falling in the sibling dynamic category as well). I also like writing QPRs, though I haven't really had the opportunity to write many, but they hold a special place in my heart.

🍊 Who’s a character you don’t write for that often, but keep meaning to write for more?

Bucky Barnes, definitely; sure, I wrote one fairly long fic about him, but that was one fic; I was obsessed with the guy long and hard enough that there should be at least a few more. But nope. I did plan out a whole sequel to said long fic as well as prequels but those never really came into fruition unfortunately. Not sure if I'll write for him anyone soon but god I've had so many plot ideas about the guy over the years that I just never wrote. Still fond of the 'Bucky bonds with Cosmo the Space Dog' idea I came up with back in 2021. I wrote a post it note but nothing more. Ah. Maybe one day.

Aside from him, I'd say Jake Lockley. I definitely need to write more of him and I want to. He can be a bit hard to pin down character-wise because we were given nothing more than crumbs, but I also enjoy the freedom that offers too. He definitively hasn't been getting enough love from me. But hopefully that will change soon.

🍍 What kind of AUs do you like? Are there any AUs you hate or just generally have beef with?

I generally avoid AUs; in fact, I exclude most of the more popular ones (Collage, High School, Coffee Shop, etc) from my searches because I'm really not fussed about reading them. I just find writers often strip the characters of any distinguishabilty to the point of them being basically a different character (not their fault, really; changing the setting and origin changes the character's experiences and dynamics, which fundamentally changes them, and that can be a difficult thing to wrangle). Some people, though, absolutely excel at using the AU and the worldbuilding therein to explore deeper into the character, their dynamics and motivations from a viewpoint that is different yet still feels like it aligns with what's been established in canon, and I love when it's done right. So I don't avoid AUs completely. Just really picky about them.

As for the ones I like, I like Alternative Universes in the most classic sense of term, where universes are defined by a path not chosen, a mistake not made. That is to say, I really like Canon Divergence and What If? scenarios. Anything that keeps the characters and world somewhat familiar but their dynamics and/or motivations altered. (Also love when alternate selves—or even selves from different points of the same timeline—meet and get to see the verion of themself they could have been if things had been different and/or interact with who they were before that Great Terrible Thing changed them.) For more extreme alterations, I'm not against a well written Fantasy/Sci-fi AU or Fusion AUs (so long as it's not an all-out crossover and the fusion is not all-consuming).

I am not a fan of No Powers/No Magic/Human AUs (or Modern Setting AUs if the original setting isn't modern). That's Just Some Guy in a Just Some Guy world now (which always looks suspiciously like our own). And powers/non-humaness is generally tied up a lot with the character themself, so stripping that from them removes a lot of who they are, in my opinion. And as we established, I'm really picky about characterisation. I don't much care for Soulmate AUs either, but that's a whole amatonormativity essay I won't get into.

Also I wouldn't say I have beef with Coffee Shop AUs, I just will never understand them, and I don't mean in a "urgh why is this so popular" kind of way, I mean I literally don't understand. I don't drink coffee and I've been inside Starbucks maybe once (mostly to gawk because I rarely come across them, even in the city), so words like venti and frappe and just coffee culture in general flies over my head, and I do not care enough about coffee to learn. It is simply a fic space I am not meant to inhabit. I have made my peace with that.

🥝 What’s your favorite trope/AO3 tag to write?

Character Studies are my happy place, my life blood if you will. Is it obvious yet I'm obsessed with exploring characters and their dynamics with others? Because I am. I am nothing more than a clockmaker taking these characters apart to see what makes them tick, and how the gears of the world and those around them fit into it all. Other tags and tropes I'm fond of are and that show up a lot in my writing include: angst (duh), unreliable narrators, memory loss/amnesia (guilty pleasure), dream sequences/unreality, hey! let me patch up your wounded hand, forehead kisses, extended metaphors, horror as a metaphor because I'm pretentious and was fundamentally changed as a person by being taught Gothic and Romantic Literature in my senior school years, and finally mind control/posession (guiltier pleasure).

---

Always a blast getting to answer questions like these, thank you! :D. There's more fruits/questions here if anyone else wants to send some in.

[stitch1830]

🎩

I'm fine and dandy,

Mind i ask your opinion on what became of the Gaang in LOK? I know the Toph being a cop thing ruffles some feathers and some don't accept Aang was a bad father.

HAT ANON HI glad to hear you are fine and dandy on this exquisite day of the week. And OOF this is a loaded question, but I'll do my best! :)

So I feel like there are a couple ways to answer this question based on your shipping preferences, but for the sake of this I'll try and answer everything based on what is considered canon. So ATLA, comics, and LOK.

I'll also preface by saying that I get why there are some controversial takes in LOK... I think they were trying to make the characters have more depth and show that even our favorite characters have flaws, even when they're adults. I just think that in some situations it was OOC and it leaves a bad taste in your mouth when you see where the Gaang went from the start to the end of ATLA, and then to see glimpses of their adult life and only seeing the trashiest parts.

Aang: If he's with Katara, it's not surprising to me that he's not a great father. Like, he has very strong opinions about his culture and while Katara is just as passionate about her upbringing, there isn't a ton of evidence of Aang accommodating the children's upbringing to also integrate SWT traditions in their lifestyle. I don't think he was outwardly trying to be a bad dad or anything, but his desperation to pass down Air Nomad traditions to an airbender overshadowed his primary need to be a father to all three of his kids. It's also really hard to see him as still this happy, lovable nice guy who treats everyone with kindness and respect when we know that he practically ignored 2 of his kids... But basically, his 'bad takes' as a dad were left unchecked, and his actions were probably defended by his wife as opposed to having to face them.

Katara: This one hurt lol. Again, it's not surprising that when she's with Aang that she chooses to settle down and be a wife and mother and healer. Aang's the Avatar, he's busy, their two oldest children are really rambunctious and are craving attention, so it's gonna be Katara to give them the love and care they need. But based on what we see in ATLA, it's just sad that we don't get to see or hear about any changes she made in the world or fighting. She really does seem to be ushered off to the side, left to retire in SWT after Aang dies. It's also sad/crazy that her strength and ability to stand up to disrespectful or ignorant people goes away when she's an adult. And I feel like this is glaring in her relationship with Aang and then also when Korra is finishing up training in the SWT. The other masters are whining that Korra isn't ready and Katara says she is and then the men keep complaining and whining. Like, no way would ATLA Katara let that go without her giving her two cents. Yes, she does help Korra leave, but she definitely would've said something to those old hoots. It's also weird that her strong resolve doesn't show up when she's raising her children with Aang. Why didn't she confront him? And if she did, how come nothing changed? Maybe it was too late, but idk. Katara doesn't seem like the person to let things go after she stood up to the problem once. Essentially, I'm upset that Katara was this strong and powerful female protagonist in ATLA, but not really hear about her amazing strides in the world in LOK (because if she did change the world, they didn't mention it... sad).

Sokka: Hmmm, he's not really ever shown in the show except in one flashback (because he's dead tears), but from what it sounds like, he didn't have any children, didn't sound like he ever really settled down, nothing like that. I think it would be sad if Aunt Wu's fortune was true and he never really ended up happy because of things he did. Would that be considered OOC? I don't think so... He was the goofy guy and the brains of the operations, but he seems like the guy that is afraid of being happy or ruins things when he is happy. My only reasoning for this is when he lost Yue, it changed him on some level, and at first he tried to push away Suki when she was initiating a kiss. Pretty light and lame reasons, but it's something....

Suki: MY GIRL SUKI NOT MENTIONED THAT'S SO OOC. Lol. Like, why didn't she randomly pop up from time to time? Are the Kyoshi Warriors just not around? I don't like that she wasn't in LOK, not even in a small flashback or anything. She was friends with the Gaang and it seems odd that no one mentioned their dear friend that helped save the world with them even if she passed away or anything. And also I don't think a casual statement about her settling in the suburbs counts as canon lol.

Toph: Okay. I don't hate that she's a cop. It's not really in character, but I don't hate it. If all of her friends settled in Republic City, and they all had their own responsibilities to deal with and asked Toph to run the RCPD, I think she would say yes out of loyalty to her friends, maybe out of boredom. I'm surprised she was in the role as long as she was, though... She was starting to get bored of her metalbending academy after a year or two once things were running smoothly, so she seems like the kind of woman that would search for the next adventure. But if she had to be a cop, I think she'd much rather be the one enforcing the rules at the top as opposed to following the rules, but... yeah. In a canon universe I struggle to come up with a long-term career for her, so I made my peace with the cop thing. Many of my friends haven't though lol, which is okay! Another thing I didn't like was how she was portrayed as a bad mother. Not that she was a bad mother (as much as it would suck, I can kind of see her being a bad mom), but they way she was a bad mom didn't really fit her character. She was neglected as a kid, doesn't seem right that she in turn would neglect her kids by giving them too much freedom. Also! My least favorite thing was how she had a 20/30 year rift with her girls, and then it was suddenly resolved. Like... No we need some more context to the conflict, and we need to see work being put into the resolution if we're going to bring this up. If Lin held a grudge against her family for 30 years, a short "sorry I wasn't a great mom, hope you don't hate me" comment isn't going to make her forgive them lol. I do like how she was portrayed as a single mother to two girls. She doesn't really seem like the type to settle down, and it was a nice surprise to see her have daughters from different men. Families come in all shapes and sizes, and it would've been the perfect opportunity to show those differences and show that there's more than one way to have a positive upbringing (Like, let's see the cloudbabies and the Beifongs both happy even though they had two very different parental upbringings? Just... there was an opportunity is all). And yeah, she seems like the one that would never settle down or have a family, so it would've been interesting to see her handle motherhood and her job! So I'm okay with that bit.

Zuko: Okay Zuko seems chill in canon, but who's his wife? Where she at? He got a partner or anything? We may never know... But it's nice that he appeared to have a happy life with good kids and grandkids... And yet I'm confused as to why Korra preferred to go to Zuko instead of the Avatar's wife for advice on what Aang would have done when choosing between saving the Air Nomads and turning herself in to the Red Lotus?? Like, I know Katara was in the SWT, but they have phones now, you're telling me they couldn't have called Katara? Why wasn't Katara the first person they thought to ask about the situation? I know the logistics would've been difficult considering Katara is holed up in the SWT, but why did everyone say that Zuko knew Aang the best? Why didn't his wife know him the best? Thoughts to ponder.

Okay. I wrote a lot and there's probably more that I do and don't like about how the characters were portrayed... But I think what it all boils down to is that there was an opportunity to still get depth in these beloved characters without us being frustrated with situations that are OOC. Then again, that would make it less about the Krew and more about the Gaang... It just seems like a bit of a slap to the face when we see glaring problems with the Gaang's characterization, and yet, we get no explanation. It does allow for canon writers to play with the 70 years in between, but idk. I much prefer AU's where there's time and opportunity to explore the characters as their best selves I suppose. Honestly, with my disinterest and disliking of canon ships, I don't see the bad takes in LOK as OOC, but it makes me wonder how different things could have been if other ships were made canon (thank goodness they weren't, we're not pigeonholed into one type of story, but still).

Does this kind of answer your question? Lol, sorry if not. My thoughts are all over the place with this one! Thank you for the ask, though, Hatty. Hope you have a great day! :)

[houseisekai]

House Miisekai Prologue: The Adventure Begins!

House Miisekai Masterlist Here

====

Our story begins in the land of Miisekaitopia! (No, I couldn't think of a better name.)

It is a world where everyone from both storylines and unholy amounts of AU's can live in peace without worrying about wars breaking out every 4 seconds.

At least it was.

The darkness came without warning, a great and terrible shadow threatening all of Miisekaitopia! An unspeakably huge dick came and stole everyone's faces! Then, to add insult to injury, put those faces onto monsters across the land!

But, we shall follow the perspective of Sara Valestein, Instructor of Class VII and the original House Isekai...

Sara casually strolled through the hills, enjoying the sunlight and wind blowing gently across her.

(Sara) "...Goddess I am so bored."

She had been kicked out of yet another bar recently for drinking too much.

Again.

Left with nothing to do, she decided to take a trip to nowhere in particular, going wherever fate took her.

Sara continued muttering to herself, mocking the established "rules" for drinking in a tavern until she noticed something flying in the air.

(Sara) "Is...that a face?"

She rubbed her eyes to make sure she wasn't seeing things, and saw the eyes slowly float over to a nearby butterfly.

(Sara) "Uh...?"

(Sara) "GAH!"

The horrific creature began floating faster towards Sara, which prompted her to run full speed ahead towards the closest town.

As she ran out of breath, she ran towards anyone would even take a minute to listen.

(Sara) "H-Hey, there's some freaky bug thing out there with a human face!"

BE-LOP!

Tiny lines of text ran down the guide's face.

It showed too many messages at once for her to properly read it, and the person remained completely still.

(Sara) "...Hello?"

(Everyone) "..."

(Sara) "...Right."

Sara moved to the next person she saw.

...

Sara saw a platypus with a name tag 'Perry' calmly sitting on the market stall.

(Sara) "Hello, anyone here?"

The platypus stared at her, not saying a word.

(Sara) "...What in the hell is with this town?"

Next try. That would probably work.

...

(Anakin) "What did we get ourselves into this time?"

(Obi-Wan) "I'm not sure but...I do not like this a single bit."

(Anakin) "At least you're in a taller body, my head barely reaches your stomach!"

(Obi-Wan) "It's not the first time."

(Sara) "Hey, excuse me ma'aaaaaaaaaa...What in the?"

(Anakin) "Listen lady, we got our own problems right now. We're not in the mood-"

(Obi-Wan) "What my young padawan means is that we unfortunately cannot spare any help if you need it ma'am."

(Sara) "...Evidently."

Sara nervously walked away from the two grown men in a child and woman's body.

(Sonia) "Did we get transported again?"

(Gundham) "By the works of dark magic, no doubt..."

(Sonia) "Oh, looks like there's someone over there. Hello ma'am, do you know where we are?"

(Sara) "Eh?...Huh. That's a good question. Where is this?"

(Sonia) "Oh well, I'm a bit more comfortable knowing that someone I like is with me here!"

(Gundham) "I...uh...er..."

(Sara) "That's cute. Ah, to be young again..."

Sara left the two to talk amongst themselves before finding the next...person?

It was an extremely fat rabbit that was grey and white.

(Sara) "What in the hell-"

BIG BIG CHUNGUS, BIG CHUNGUS, BIG-

(Sara) "Okay, screw that."

Sara finally saw the mayor and approached him, and when he turned she almost jumped.

It was a Piranha plant. She thought so anyway, it was covered in white polka dots and bright red.

(Plant) "Ah, welcome to the town miss?"

(Sara) "Uh, Sara. Sara Valestein. Listen, there's this weird face that attached itself to a butterfly outside your place! You're gonna do something right?"

(Plant) "Did...did you say a face float down? OH NO."

(Familiar Man's voice) "OH YES."

(Sara) ?

(Anakin) "Uh, master?"

(Obi-Wan) "I've got a bad feeling about this..."

The platypus, fat rabbit, and the discord notification looked up into the skies, getting increasingly alarmed.

(Gundham) "THIS DARKNESS...IT'S...IT'S OVERWHELMING!"

(Sonia) "His voice sounds grating like Souda's..."

(Plant) "COINS PRESERVE US! IT'S..."

[Imperial Will - Final Fantasy XIV OST]

(Dark Lord Chris) "KNEEL BEFORE YOUR GOD, AND OFFER YOUR FACES UNTO ME!"

(Sara) "...Faces? You mean like services or...?"

(Anakin) "Maybe that's metaphorical?"

(Obi-Wan) "I'm not sure I want to find out-"

(Chris) "NO, YOU REALLY DON'T. ALSO NO. I MEAN IT LITERALLY!"

Several faces began to fly off the townspeople.

First was the platypus's face, quickly followed by the discord notification and Anakin's.

(Obi-Wan) "ANAKIN!"

Then it was Sonia and the fat rabbit's faces that floated next to Chris.

(Gundham) "AAAAAAAGH!"

(Plant) "OH MY GOD, THIS IS HORRIBLE!"

(Sara) "Can someone tell me what the hell is happening?!-"

(Chris) "THESE NOW BELONG TO ME! NOW, GO TELL THE OTHERS WHAT YOU'VE SEEN HERE, FOR I WILL BE COMING FOR THEM NEXT!"

Chris flew off into the skies, the faces following closely behind.

(Sara) "What an asshole!"

(Plant) "ADVENTURER, PLEASE YOU HAVE TO HELP US!"

(Sara) "Right uh..."

Sara reached for her sword and pistol, which was nowhere to be found.

(Sara) "Well, that's just great..."

Obi-Wan struggled to walk over to here, still not accustomed to his body and looked at Sara.

(Obi-Wan) "Ma'am, I'm afraid I cannot go into battle myself to assist with this matter. And we don't appear to have our weapons either..."

(Sara) "So, what do you reckon I do? Ask nicely?"

...

(Sara) "Damn it."

OUTSIDE OF TOWN...

Chris was floating away from the town when Sara finally caught up to him.

(Sara) "HEY, JACKASS!"

(Chris) "...Oh, you mean me. I-I mean, OH, IS SOMEONE TRYING TO BE THE HERO NOW?"

(Sara) "Don't play smart with me you glasses wearing freak! Give back their faces!"

(Chris) "Or what? You're going to fight me?"

Sara cracked her knuckles.

(Chris) "...Oh shit. Uh, here have it."

The face slowly floated over to a slime, which reattached itself and began hopping towards Sara.

(Anakin's voice) "OH MAN, I THOUGHT THE KID BODY WAS BAD!"

(Chris) "Uh anyways, LATER!"

Chris quickly flew away from Sara, leaving her and Anakin's face on a slime.

(Sara) "Alright, LET'S GO!"

Sara drove her fist into the slime, which quickly bounced off.

(Sara) "...Oh right. It's a slime."

The slime retaliated by knocking Sara onto her back.

(Anakin's voice) "Sorry!"

(Sara) "Damn, my weapons aren't anywhere to be found either!

"I AM THOU...THOU ART I..."

(Sara) "Oh, what is it now-HURK?!"

Sara reached for her head as the voice boomed thunderously.

"THOU ART...Okay, no we're not rhyming. I'm your guardian spirit, Sara!"

(Sara) "Really now? And where were you during Erebonia?!"

"ANYWAYS, it seems you're in a bit of trouble! Do you need some help?"

(Sara) "It's either getting help or getting killed by a damn slime of all things, so...Yeah, sure."

"Good choice! Now, I bestow upon you the awesome power of the guardian!"

(Sara) "You're gonna explain later where I got this from, right?"

"That depends, do you want the plot to get moving? Our other posts are slowed down as it is, and this has gotten too meta in just the first few lines of this."

(Sara) "Ugh, fine."

Sara's outfit shined forth and became donned in armor, wielding a new sword.

(Sara) "Hey, you cheap bastard, where's my gun?!"

"This is a fantasy RPG, why would you get a gun? Just kill the damn slime already!"

(Anakin's voice) "WHO ARE YOU TALKING TO?!"

(Sara) "Hold on, I'll getcha outta there, HIYA!"

[COOL QUIRK: WEAK POINT]

Sara took one swing of her sword and smacked the slime into the floor, it quickly disappearing.

Anakin's face floated off the slime and back to the town.

"That was..."

(Sara) "Really anti-climatic."

"You should uh...probably go back to the town and check up on Anakin."

INSIDE OF TOWN...

Anakin's face slowly floated back onto the child's body, making him trip over.

(Anakin) "AGH!"

(Obi-Wan) "So, how was it?"

(Anakin) "I was just put into a slime's body, how do you think I feel?!"

(Obi-Wan) "Same as usual, got it."

Obi-Wan turned to Sara, who now looked like a proper knight.

(Obi-Wan) "You have our thanks for helping us, Miss?"

(Sara) "Name's Sara."

(Anakin) "Thanks for helping me out there. What are you gonna do? We'd join you but our bodies would just get in the way."

(Sara) "I'm going to uh...Hey, what is the plan?"

"What do you think? You're the only hero in a fantasy land."

(Obi-Wan) "Is she alright?"

(Anakin) "Yeah, she started doing this earlier, no idea what's up with it."

(Sara) "Might as well go after the others, see what happens I guess. Anyways, I'll be back once I restored this town, until then!"

Sara held onto her sheathe and ran out of the town, those still faceless watching her leave.

(Gundham) "Please hurry. Sonia is...unsettling me."

(Plant) "Miss Valestein, you're our only hope...!"

(Anakin) "Think she'll be okay? That talking thing is really concerning me."

(Obi-Wan) "Probably...?"

[Chase Me - Faky]

(Sara) "Right so...do I just go forward?"

"Where did you see him fly off to?"

(Sara) "Was a lot more focused on trying NOT to get murdered by the slimes."

"It was just a slime, you've killed enemy mechs and demonic beasts like it was nothing!"

(Sara) "That's when I had my weapons and ARCUS unit!"

"..Still. Should've had no problem. I probably didn't even have to interfere."

(Sara) "Good goddess, am I going to be stuck with you? Actually WHO even are you?"

"The narrator! In a sense anyway."

(Sara) "What-"

And so begins the tale of Sara Valestein and her quest to defeat the Dark Lord Chris!

What friends will she encounter on the way?

How much of the meta can we break more than we have?

How many more jokes will the writer run into the ground as this series goes on?

FIND OUT NEXT TIME, ON HOUSE MIISEKAI!

(Sara) "...What?!"

STARRING:

And yours truly as the antagonist for this story!

Here's to some more god-awful written meme stories like this one, everyone!

[flying-elliska]

Okay, I'm reading Chap18, and I really hope this comment won't hurt your feelings because I love your fic and I really just want to understand why you wrote it this way, but I have to tell you that for the first time I've been disapointed with Diamants AU. I already felt it was going this way with Daphné, Arthur, Vallès, Emma and Alexia being LGBT, but I kind of felt betrayed with the Yann/Alex thing, and now I'm sensing Manon and Daphné will be together at some point too and ...(1)

...I don't understand why you made all your characters LGBT. I get that they are under-represented in most of the books and shows, but with Diamants I'm kind of feeling like being staight is a bad thing, like it's either boring or you're juste an asshole. I've always loved Skam because it shows that very different people can be friends and help each other no matter their religion, sexuality... and this kind of felt like the only reason they stand together is they're all LGBT (2) and I guess this comes from personal experience but that would have been so much more powerful to have straight people being as much invested in this war as the others. Honestly I don't see the point of Yann, Alex, Emma, Manon or Arthur not being straight, for me it doesn't bring more to who they are. This really feels like they would be nothing if they were straight. So I juste wanted to ask you why you decided this? Again, really hope this won't hurt you... (3/3)

hey anon. So, I’m going to assume this comes from a place of good faith and a sincere desire to understand, and explain my choices. That said, I do have to say that even though it didn’t really hurt me (it mostly made me laugh), it did make me a little angry too, because there are a lot of harmful implications in your messages.

1) First of all, about you “not seeing the point” of making certain characters LGBT. This functions under the assumption that there needs to be a reason for people to be gay, bi, trans, etc - and that straight people are the default. That is...really not great. People are gay in real life, for no reason whatsoever. If you don’t go to writers asking why they made their characters straight if there is no reason in the story, you shouldn’t do this either. Characters can be queer without it being a big part of the story - it’s just a part of them, and the idea that they have to ‘deserve a place’ in the narrative through their gayness (often through a deeply tragic arc full of suffering to Educate Straight people) is deeply heteronormative, and fucked up. LGBT people are not in a story to make a point, they’re there because they exist. Yes, some of my characters have arcs that are deeply entangled with their sexuality and struggles with it. Some are not. When it comes to Yann and Alex, I didn’t think too much about it, I thought it would be funny and unexpected and give some good shenanigans. Sometimes that’s all you need.

2) As for turning a majority of the canon straight characters LGBT : listen, in the end, this is my fic, and I do it because I want to. I’m bi and my life is full of queer people. This is my normal, this is what comes naturally to me, and what I find interesting to write about. I set out to write a James Bond parody with some deep character exploration, it’s meant to be a very transformative fic. I have no obligation to stick to any Skam ‘guidelines’. I am also not aiming to write a particularly realistic story, if the secret mobster conspiracy didn’t tick you off already. The ethos of fic is to make canon your playground and to let your imagination go wild. That said, this trope you’re probably used to, of having one or maybe two queer characters and not more in any given story, I would say is the less realistic one. In real life, LGBT people often tend to cluster together, often before they even realize their sexuality, especially as they get older. But a lot of mainstream media is afraid of that because they don’t want to alienate their straight audience, so they don’t show it. I have no such compunctions. Your message seems to imply that there is a limit to how many gay people there should be in a story and I find that deeply offensive. There is incredible relief, peace and power to be found in community, especially after being struggling so much with your sexuality, like Lucas did for instance. I wanted to show that joy in this chapter, and how it plays a part in him slowly letting his walls down.

3) I notice you don’t mention Imane. She’s straight, she’s super invested in this war, she’s neither boring or an asshole, in fact she’s probably the most important character in the fic after Lucas and Eliott. She’s badass and amazing and complex and if you don’t feel she counts as ‘good straight representation’ I find that slightly odd. Is she too ‘other’ for you that you would dismiss her like that ? Also, Basile is straight lmao. There’s plenty of straight people in this fic. And plenty of people who have incredibly different life experiences ; sexuality not being the main one doesn’t change that.

4) I do find it sort of silly that you reduce the characters’ reasons for fighting to being LGBT after I spent like 400k words proving otherwise. Like - Lucas wants to avenge his mother, Eliott wants to take down his father, Imane wants to avenge her father, Daphné wants to steal jewels, Alex and Emma are bored, Alexia’s a good friend (and also bored lol), they’re trying to stop horrible people from doing horrible things, their trajectories are layered and complex and if you tell me that can all be boiled down to ‘they’re gay’ I kind of wonder if you’ve paid attention to what you’ve read at all.

5) All that said, a majority of my characters being LGBT does have a symbolic point. It’s an opposition to the world of the Shadow, which is deeply sexist, heteronormative, homophobic, and macho. It represents how questioning your sexuality can be deeply liberating and often put you at odds with the general structures of power and oppression in society and lead you to question a lot more and find people who want to fight with you. Being LGBT can (but not always) make you more politically conscious and that’s a beautiful thing that deserves to be celebrated. And in general, being a minority makes you more aware of inequality because it’s simply your daily life. So it makes perfect sense that most of these characters who fight against symbols of horrible systemic oppression would be marginalized in some way or other. Straight/cis/white/rich/abled/etc people simply have less reasons to question the status quo. I have sat through so many action movies where all-straight heroes save the day ; I’m sure you can sit through the opposite for once. If you can’t, maybe it’s a failure of empathy or imagination on your part.

6) Imagine growing up and never seeing, around you or on TV or in books or movies, someone who shares your sexuality. Or if you ever see somebody like you, they will be a joke, a punchline, deluded, instable, doomed, or worse, a predator. Imagine the sort of damage that does. Imagine that when you finally find some correct representation, you have to make do with crumbs for years. Imagine it gets slowly better, but it’s still overwhelmingly tragic, or incorrect, or stereotypes, or only told after the story is over, or you’re always the best friend, always the minority, the point of interest there to educate, always there to struggle, never the epic breathtaking romance, never centered, never allowed community and to see yourself as the norm. In the best of cases, your identity is more or less ignored. In the rare cases where you find good representation, shows get cancelled prematurely, or your faves never get as much screen time as the straight ones, or storylines get botched because somehow writers think showing queer characters happy has no value. Imagine then you decide to take matters in your own hands and write the sort of queer utopia that makes you truly happy - the one where you’re surrounded with people like you and you don’t have to constantly feel isolated and otherized and you’re badass and don’t have to take any shit and your love story is the epic one that gets centered and you have friends who understand and share your experience. And then imagine someone, instead of taking a deep breath and going back to like, 99% of all media ever made, randomly comes to you and tells you they feel ‘betrayed’ because in this one paltry little fic you wrote, their mainstream experience is not centered like usual. Tell me, how would that feel ?

Again, I don’t bear you any ill will, but your message comes across as ignorant and very entitled. I am open to feedback and criticism but writing a story full of LGBT people is one thing I will never feel sorry for. There are a shit ton of fics out of there where those characters are straight, not to mention canon. If you feel ‘betrayed’ by the amount of queer characters in my fic, then I’d say you have some biases you need to examine. It reminds me of all the times I’ve heard people say that they ‘like gay people but only if they’re not too in your face’ (lol that was my sister, so fun) - this implication that queer people should know their place, never show their difference too openly, accept being a minority in all spaces, need to ‘deserve’ their spot, center straight people’s needs, etc etc...is deeply harmful and toxic.

If you can’t understand all this, then my writing is probably not for you.

[caranfindel]

Recap/review 14.06: “Optimism”

THEN: Starts out pretty ominous, with clock-ticky music, Jack's grace getting sucked out, "this is the end of everything," and Jack considering himself useless. We're reminded that New Charlie exists (aw, Dean looked so pretty in AU Land) and Jack has "the mind of a hunter." Michael hurting people and Dean feels guilty (aw, Sam's Beard of Despair, how I miss you). Sounds like we're in for a real downer of an episode, friends.

NOW: Nebraska. Happy music. A cheerful librarian opens up shop, and she's cute as can be but I wore that blouse in the 80s and it needs to stay there (JUST SAY NO TO THE RUFFLED YOKE, LADIES). Her name is Harper, and she has a kind-of-date with a guy named Winston tonight, though she is clearly Not Into You, Winston. An (apparent) coworker named Miles hears her "scream" and comes to her aid, brandishing a stapler, and is reminded that he needs to mind his own business. Winston leaves, clearly walking on air, and then STAYIN' ALIVE STARTS PLAYING and we focus on Winston's feet just like the iconic opening scene of Saturday Night Fever (if you're too young to remember, watch this, IT'S IMPORTANT CULTURAL KNOWLEDGE and there WILL BE A QUIZ LATER) and y'all don't even know how much I love this song. YOU DON'T KNOW. I can't help it. My mom was a huge Bee Gees fan, partially because she was very into Barry Gibb.

Coincidence?

What can I say? I am my mother's child.

Now, where were we?

(Pretty much where we always are, so could you please just move this along?)

Sorry for the digression. Anyway. Now I suspect this isn't going to be a downer episode after all. (Turns out it was directed by Richard Speight, which would have been a clue if I'd known that earlier, bless him.) While I've been digressing, Winston has happily bopped down the street, only to have a hand cover his mouth and drag him off-screen. There's a record scratch and a squirt of dark goo and a scream, so I guess it did turn out to be a downer for Winston, but not for me.

Title card!

{Sidebar: I didn't realize Saturday Night Fever was directed by John Badham, who went on to direct several episodes of Supernatural.}

Jack's drinking coffee in the bunker. He takes a sip and then pours a huge amount of sugar into it, which immediately makes me think of this scene from The Fly when Jeff Goldblum, who does not yet realize that he is turning into a fly, does the same thing.

(Spoiler alert: Ahem.)

Dean walks in and asks what he's doing, and Jack explains that everything tastes different without his powers, and he can't get the coffee to taste the way he likes it. That's because coffee is nasty, Jack. (And also, thanks to the Continuity Fairy for remembering that food tasted different to Cas when he didn't have grace.) Dean asks if Jack has seen Sam, because that's what Dean does; he probably walked in the door and felt a disturbance in the Force and realized he didn't know where Sam was. From Jack, we learn that (1) Dean went on an overnight run to Mobby's love shack cabin and (b) Sam went on a hunt with Charlie without telling Dean. Is Dean okay with this? Are we gonna okay with this? Couldn't he have at least sent a text message? He's supposed to be setting an example!

"Explain to me again how you just let Sam LEAVE."

I guess Sam had to go himself, rather than send someone else, because this is one of those times when there's no random hunters in the bunker. (And where's Rowena? Did Charlie abandon her in the Southwest? Did they have a fight?) Jack imagines Sam and Charlie are doing something "really exciting."

Cut to Sam and Charlie sitting quietly in a truck outside Memphis, bored out of their minds. Hee! It's the kind of crappy old truck I always want Sam to drive, so I love it. They're staring at a bus stop with an ad for Pete the Pestinator, who seems to be an insect exterminator. (Spoiler alert: ahem again.) Sam confirms that "this is where all those people went missing," although if he's been sitting in that truck long enough to be bored, he really should have nailed that down by now. Charlie says "yep." More silent sitting.

Back to the bunker. Dean seems surprised that Sam left Jack there alone (where's Cas?) and Jack says "Sam wanted someone around when you came back. He's worried about you."

"Yeah, that sounds like him," Dean grumbles, and hello, kettle, the pot just called, and said you're black. Jack offers some encouragement, telling him no one blames him for Michael, and Dean says "Cool. Well, I blame me, so." His self-flagellation is interrupted by Jack's Cough of Great Concern. "Maybe I'm allergic to sitting around doing nothing," Jack snarks.

Dean sits down for a heart-to-heart, and Jack says he's been hunting with Cas and wants to do more. Dean says "No offense, Cas is an insurance policy on those hunts." Jack looks hurt. I don't understand this at all. Why wouldn't Jack already know that Cas is there to protect him? And why would this hurt his feelings? I'm so confused. But I immediately forget it, because Dean says "Sam's just trying to keep you safe, okay? He's a smart guy." AND THEN WE CUT TO THIS.

Bless you, Richard Speight, writer Steve Yockey, bless you both.

I literally did burst out laughing at Sam and his fidget spinner. Charlie is not amused, and Sam puts his toy away with some embarrassment.

Bunker. Jack's found a report on our dead friend Winston, who seemed to have human bitemarks taken out of his corpse. And others have gone missing in the area. We skip part of a conversation, but whatever it was, Dean says Sam won't like it. "Sam's not here," says Jack. Oh, no you don't, Jack. Don't you go ignoring the Chief's directives just because he's not here. Dean says he'll go check it out alone, but Jack suddenly remembers Sam's Law and reminds Dean about the Buddy System.

We can be hunting buddies!

Okay, uh, (a), don't call it that, and (b), YOU'RE gonna back ME up?

Oh, Dean. You didn't do the (1) and (b) thing that I love so much. Jack gets to be the one to bare a little bit of his soul now, telling Dean that he also feels guilty about Michael, because he could have killed him but he was "distracted and stupid." He doesn't want to sit around feeling guilty all day, he wants to hunt.

Looks like that was the right button to push, because we cut to Sam on the phone, clearly not a fan of the plan and telling Dean to be careful. I assume his reluctance is because he doesn't trust Jack to watch Dean's back. But Sam, if you can trust Maggie to hunt alone, you can trust Dean with a novice backup. (I know, I know, Dean is more important than Maggie.)

Sam asks again if Charlie is sure this is the right place, and she says it's where four people disappeared. And while she was scouting around, she found a mason jar full of goo. Is this the same goo we saw when Winston was killed? (Spoiler alert: no.) And now she's trying to figure out what they're hunting, so she's reading. I'd have done my reading before the stakeout, but that's just me. (I'd also have done some reading instead of sitting there glaring at Sam while he enjoyed his fidget spinner, but that's also just me.)

(I also might have thought of more interesting things to do while I was stuck in a car with Sam, but they would have interfered with the stakeout. And they aren't anything Charlie would have been interested in anyway.)

Cut to Dick's Red Rooster Diner (ha ha, I see you, Speight). According to Winston's obituary, he had breakfast here every morning. Jack agrees with me that it's an odd thing to put in an obituary, but Dean says that when someone dies young, you don't know what to put in those things. (Oh, think of 20-something Dean's obituary.) He introduces them to the waitress as Agents Berry and Charles, and the only thing I can think of is Chuck Berry, so if someone has a better idea, let me know. He asks for details about Winston, and the only detail she can provide is that he's dead. Jack dutifully writes that detail in his little notebook. (BLESS.)

This waitress is wonderfully snippy, knows her rights, and isn't the least bit interested in talking to these FBI agents, but when Dean hands her some cash she changes her mind. She says they should should be more interested in Harper, who Winston just started "courting," and Jack is confused.

What's courting?

It's what you do before you start dating.

Ah, and that's the thing you do before the sex.

Sometimes you just have the sex.

Okay, Dean's wrong, courting is what you do instead of dating, but this is still a wonderful exchange. And the next part is wonderful too, cutting between the waitress and some customers explaining that Harper was popular in high school, but her boyfriend ran off, and now all these men connected to her have died, and she's really into romance books, and ending on I've heard too much Dean and I'm confused Jack.

Love this.

Back at the stakeout, Sam's biting his nails, which I also love for some reason, and of course the only time we've ever seen him bite his nails was when he was worried about Dean. New Charlie picks right up on it. She tells him Dean will be fine, and comments that he's got other friends, right? Which I don't understand, because it doesn't matter what other friends he has, he's not hunting with them. He's hunting with Jack. "He used to have a pretty damn good wingman," Sam says, and I think no, Sam, what are you saying, he still has you. She says he should call "that guy" to check on him, and Sam says "that guy was you." Charlie gives him a look. "No, it wasn't." And she's right, Sam. SHE IS NOT YOUR CHARLIE. And also, was Charlie ever really Dean's wingman? I don't think so. Sam, of course. Cas, literal wingman. But not Charlie. Charlie was the little sister.

Sam apologizes, and then says "I'm just saying, I'm not surprised you survived the apocalypse." Which isn't what you were saying at all, Sam. Charlie is surprised she survived, because she was just a programmer at Richard Roman Enterprises (Dick Roman! I wonder what happened to your AU version), living with the love of her life, Cara. My heart skipped a beat because I was so ready, guys, for the love of Charlie's life to be Dr. Cara Roberts from Sex and Violence, but apparently not. {Sidebar fic prompt: Sam. Charlie. Dr. Cara. Three-way.) Charlie's Cara was a baker. Charlie tells a sad story about waiting for help that never came, and Cara eventually being killed by people, not angels. Society falls apart. (Or, as Dean once said, demons I get; people are crazy.) Sam insists society isn't falling apart here, and Charlie says "not yet."

Just like last week, we're getting some needed differentiation between the characters we lost and their AU counterparts, which I appreciate.

I also appreciate pretty, attentive, sympathetic Sam.

Diner. Dean calls Jack "Mighty Mouse," for some reason, and congratulations him on finding a case. He tries to teach him about the importance of pie, but Jack's more interested in courting. He's never been exposed to off-screen romance, unless Gabriel and Rowena counts (Dean assures him it doesn't, but how would Jack have been exposed to Gabriel/Rowena anyway, since it happened while he was in AU Land and Gabriel didn't make it back?) Dean promises he'll give him The Talk when they get back, but right now they need to concentrate on finding Harper. {Sidebar fic prompt: Dean's and Sam's versions of The Talk. Would Dean's be like Dean's speech from Rock and a Hard Place?} Jack speculates she might not be human, and Dean says they're going to find out, and it's going to work like a romance novel. Hmm!

Cut to the library, where Harper is working. Dean enters and identifies himself as FBI, with questions about Winston. She doesn't want to talk, and he pushes. Then Jack shows up, asking for a book about the area's history, and defends her against the big mean FBI guy. Dean says "why don't you back off, kid" and Jack responds "No, you back off, old man" and DEAN'S FACE. This was clearly NOT IN THE SCRIPT. I love it. Dean slinks off, dejected, to examine his gracefully-aging face in the rear-view mirror. {Sidebar: I honestly think Jensen is aging a lot better than Dean is. Dean looks tired a lot of the time, and I'd like to believe Show is doing that on purpose, but I don't think it's the case. Jensen always looks awesome.} Harper is delighted, and apparently smitten, judging by the music. Jack introduces himself as "Jack Smith" and she invites him to her apartment, where she has the perfect book.

Why does this library have those convenience store perp measurements at the door? Does it get robbed a lot? Also, how many episodes have signs in the background with the title of a different episode? Not very many, I'm guessing.

As they leave, Miles the Stapler Guy follows and asks where she's going. It must be close to closing time, because Harper says she'll come back and lock up. Miles, who's carrying a bag of trash, refuses to shake Jack's hand. As Jack and Harper go one way, he stomps off in the other direction. I'm suspicious, and so is Dean, who gets out of the car to follow him. As Miles puts the library's trash in an inappropriately small residential bin, he hears a noise. We then cut to Dean, who hears Miles scream but just keeps walking? But then a trash can is knocked over and that gets his attention. He finds Miles dead, and we get a monster POV shot watching him.

Stakeout. Charlie's still reading. Apparently she brought all the books. She says she hates hunting, which surprises Sam, because she's so good at it. She points out that she's good at it because the alternative was death. "I mean, no offense, but who wants to be a hunter? This job, just a lot of tears and death."

Sam says "you said something like that to me once, long ago, about hunting." He quickly apologizes for once again conflating her with Our Charlie. At first I was annoyed at him, but then I started thinking about how awful Our Charlie's death was for him, with the MoC, and the fear, and the worry, and the guilt, and his brother saying he should be the one on the funeral pyre instead, and you know what? I'm gonna cut him some slack for trying to forget all of that ever happened. A lot of slack, in fact.

Charlie casually drops that she's glad this is her last hunt. Did you give the Chief your two week's notice, Charlie? I DON'T THINK SO. She plans to get away from monsters and people, and "live on a mountaintop or something... as long as there's good wifi." I'm sure Sam can get you set up with his magical wifi, Charlie, if you stay on his good side.

Harper's apartment. She seems to be all about love, with a decorative "amore" sign in the kitchen and a big red heart hanging on the wall. She suddenly realizes it's weird that she brought him to her apartment, though she's thinking "putting the moves on you" weird and I'm thinking "inviting a potential serial killer into your home" weird. But maybe I listen to too much My Favorite Murder.

She leaves the room to get the book (odd that it's not on the stuffed bookshelves in her living room, but they're all full of romance novels). Jack asks why the FBI was "hassling" her, and she tells him about Winston's death as he surreptitiously puts a silver coin on the floor and splashes holy water all over his hands. A call comes from Dean, but he ignores it. When she comes back with the book, she notices the coin on the floor and picks it up. She touches his hand when she gives him the coin and notices that it's wet. I would have put the holy water on the coin, although a wet coin on the floor might be as weird as wet hands. He just laughs weirdly and then does a fake cough AND SAYS CHRISTO. SOMEONE FINALLY REMEMBERED CHRISTO. Oh, my heart. I've been waiting 13 years for this moment. She doesn't react to it, so she seems pretty human. He says he's nervous, so she sits on the couch and pats the seat next to her.

Stakeout. Charlie has found something in the books called a Musca. Sam already knows it's a man-fly hybrid (IT'S THE FLY; OUR MONSTER IS JEFF GOLDBLUM) and that no one's seen them, so if they do exist, they keep to themselves. She's impressed with his Sammy smarts. He says he's read all the books, but if he'd read this one, he'd know that every few hundred years a male Musca can't find a mate and he "abandons his community and starts using people's bodies to nest, binding them together with a viscous goo." Ew.

As they walk, in the background we see a figure approaching the two women who are sitting on the bus stop bench. It's clothed in black, carrying a black briefcase, and it has a giant head. At first I think it's literally a giant fly's head. But when Charlie notices it, we get a closer look, and it's a large black hood, like a beekeeper's outfit. It sits down and then casually scoots closer to the women, who scoot away, and it's hilarious.

Harper's apartment. She asks Jack where he's from, and he tells her he lives in Lebanon, Kansas. NO, JACK. DON'T TELL ANYONE WHERE YOU LIVE. Jack coughs some more and then notices a picture of Harper with her boyfriend, Vance. She says he left town after high school because he wanted to see the world, and Jack seems astonished that anyone would leave her. And that was when her bad luck started, but she tries to stay optimistic. "Me too," Jack says. "I had some not-so-great stuff happen in my past. Trying to be positive... it can be hard." Oh, Jack, sweetie. They gaze into each other's eyes and it looks like they're going to kiss. Jack's phone buzzes with a text from Dean that says CALL ME NOW.

Jack? Do you believe in love at first sight?

Do you... (music swells)... mind if I use the bathroom?

Ha!

Jack hides in the bathroom to call Dean. He tells him Harper isn't a monster, and he thinks she's in love with him. Although Dean's sure that's not the case, Jack says "but if she is, I need to know everything about sex. Go." Ha again! Dean tells him about Miles's death, which makes Jack wonder if she's cursed. Dean says it's more like all the guys around her are cursed. "Like me," Jack ponders, just before we get another monster POV shot and a strangled shout from Dean. The phone goes dead.

Jack comes back into the living room and Harper asks if he's okay and if he wants to go for coffee. Then the door bursts open and Dean comes in, and I wonder why she's freaking out until I remember that Dean is Bad FBI Guy to her. He quickly blocks the door and tell her they're here to save her from... whatever it is that's suddenly growling and banging on her door. "At first I thought it was a ghost," he says, "but then it punched me in the face." She's freaked out about a ghost, but Jack reassuringly (NOT!) tells her that he's saying it's NOT a ghost. Dean recognizes a photo and it turns out the monster is her old boyfriend Vance, who she didn't even realize was dead.

For some reason Dean isn't carrying a lot of weapons, but he has a silver knife and finds a silver letter opener on Harper's desk. Silver will slow it down, he tells them, but there's only one way to kill the undead boyfriend. Vance breaks the door down before we learn what that is. Dean starts fighting with the silver knife and tells Jack to get Harper out of there.

Stakeout. It's nighttime now. A lone man sits at the bus stop as Sam tries to convince Charlie that she can't drop out of society. She needs people, and also, it's hard to walk away from being a hunter. "I tried. Our Charlie tried." You know, for someone who did want out of hunting, and did try to get out of it, Sam spends a lot of time convincing others to do it, or at least enabling them. I mean, Dean was all "Patience, if you can live a normal life, do it," and Sam was all "well, Claire, if you're gonna hunt, I guess I should show you how to hack." Although that (and teaching Ghoul!Adam to shoot) was more about protecting someone determined/forced to be a hunter than recruiting. So maybe I don't know what I'm talking about. Anyway, if anyone recognized the futility of getting out of the life, it would be him.

Jeff Goldblum shows up again and sits by his next victim. Charlie wants to go for the kill, but Sam thinks they should wait for him to make his move, in case he's just into weird fashion. Look, Sam, if a guy likes wearing a black beekeeper's bonnet and sidling up to random strangers at bus stops, he deserves to be hunted, whether or not he's actually part bee. When the bus shows up, it blocks their view of the duo. When it leaves, the bench is empty. Which could mean they just got on the bus, but we see something disappearing behind the stop. Sam decides it's a go after all.

Let's stick with this story, rather than cutting back and forth between them like the show did.

Sam and Charlie find a door with a bunch of goo on the handle. Sam says Charlie found something in the books that theorized a brass nail dripped in sugar water would kill a musca. Because yes, of course sugar water, WHICH FLIES EAT, would kill a fly man. (Rolls my eyes at this otherwise delightful episode.) Charlie reminds him they have neither of those things. "So we get creative," Sam says. I'm expecting some kind of MacGuyvering involving a can of Coke, or Sam's sugary coffee. (Spoiler alert: I'm wrong.)

{Sidebar: Why are all the methods of killing monsters so weirdly specific? Chopping off the head should kill ANYTHING.}

They go through the door, which surprisingly leads them into an abandoned warehouse. It's full of flies (normal ones, not half-man flies) and smells like pine cleaner and rotting meat. Yum. Eventually Sam finds the briefcase, which is full of what looks like candy wrappers and also has a white cloth, which he sniffs to discover chloroform. Dude. Don't sniff the chloroform rag. Charlie finds the most recent victim, still alive, by a pile of bodies. Something grabs Charlie's hand. She pulls loose, but falls off a low platform (seriously, it's like two feet high) and... loses consciousness? Okay. Maybe he chloroformed her and I missed it. I'm old and decrepit and this would have barely bruised me. He must have chloroformed her.

Sam tries to wake her up, but is interrupted by the WORST MONSTER COSTUME EVER. Oh god, you guys, this fly man head is so bad. SO BAD.

{Sidebar: Did you know that you don't see much of the shark in Jaws because the model was so bad, Steven Spielberg decided he wanted to shoot it as little as possible? And it actually made the movie better because the unseen monster was so much scarier? Just saying, Speight.}

(Um, have you watched any movies that were made before 1980?)

Well, that was uncalled for.

Jeff Goldblum attacks Sam and gets goo on him, and if this were really a fly, wouldn't that goo be digesting him? Isn't that how flies eat? (Why yes, it is.) Charlie regains consciousness and stabs it with something, which gets it off Sam long enough for him to shoot it in the head. Creativity in action! So, I guess I got my wish. Interesting that, just like last week, the guys figured out that there are actions that will kill anything.

Aftermath! Charlie and Sam are driving, and Sam says he feels bad for the Musca, which could have been happy if it had stayed home with its people. Subtle, Sam. Charlie's all, yeah, okay, I'm like the bug, except not so much. As we see the Musca family coming to retrieve their brother's body, Sam asks Charlie not to leave. "If we help people, then maybe they'll help people, and all that, and that's worth it. Even with all the tears and death, it's worth it." Oh, Sammy. {sniff} She says she'll think about it.

Back to Jack and Harper. It was broad daylight when they got to her apartment, so I don't know why it's nighttime now. How long did he spend in the bathroom? No wonder she asked if he was okay. Cut to Dean gleefully fighting the zombie, who suddenly stops fighting and runs off.

Jack and Harper run to the library, where she struggles with the keys until Jack remembers she left without locking the door. They scurry inside and he locks it. As they hide behind the counter, they see Zombie Vance run by. Jack tells her not to worry, because he locked the door, and she asks if he flipped the switch under the lock? Obviously he didn't, and she goes to do it herself. As she stands, looking out the door, Vance shows up. She unlocks the door, which Jack obviously DID lock, and opens it. He hands her the history book - I guess Jack dropped it - and they kiss.

Um. whoops. Vance is actually still Harper's boyfriend. And he has to eat human flesh. Like, Jack's, for example. Vance lunges for Jack, who hides in the stacks as Harper gives him the villain dialogue over the library's PA system. She likes Jack, but he's obviously a hunter, and she comes from a long line of necromancers, so it would never work out between them. She killed Vance to keep him from leaving after high school, and killing every other guy in her sights is just a fun little romantic roleplay for them. We get a little scare when a hand appears on Jack's shoulder (been a lot of that going around lately), but it's Dean. He tells Jack they have to get Vance back into his grave and then drive a stake into his heart to keep him there. And they're going to convince him using another romance novel method.

Jack tells her he wants to do things Vance can't do - walk her down the aisle, raise a family. This draws Vance out, who lunges at him but finds himself facing Dean. Vance gets Dean against a wall, and Harper calls out to him. Dean thinks she's going to call him off, but she says "Baby, kill him!" and Dean's "huh" look is precious to me. Instead, Dean slaps a handcuff on his arm and cuffs him to a pole or something. Jack cuffs his other arm to a library cart, I think, which is mobile and therefore defeats the purpose of cuffing, but good try, Jack. The cuffs burn Vance, so they're silver or enchanted or something. Seems like a successful hunt, but when the guys look up, the door is open and Harper is gone.

Later we see Harper and her suitcase at a cafe, writing a letter to Jack. So she had time to go home and pack a suitcase, and Dean and Jack didn't go to her apartment and look for her? Guys. Come on. She's sorry she's going to have to kill Jack, but it means she can bring him back to life and they'll be together forever. See you soon, she writes, sealing the envelope addressed to Jack Smith, c/o the Lebanon, Kansas post office. I TOLD YOU NOT TO LET HER KNOW WHERE YOU LIVE, JACK. Is Harper going to be a Big Bad this season? Or maybe a Little Bad? I wouldn't mind seeing her again. She's a charming little villain.

Finally, Jack's drinking coffee again, probably with a lot of sugar, in the bunker. This scene, with them facing each other, is a nice callback to the beginning of the episode. Dean tells Jack he did good, and Jack pushes for more hunts, because he was right. It's not about being right, Dean tells him, it's about what you do after you're wrong, after you've made a mistake. And about not beating yourself up, Jack points out. Dean tells him he's pretty smart, and Jack smiles and coughs and Dean promises to talk about getting him on more hunts when Sam gets back (BECAUSE SAM IS THE ONE TO ASK, YOU BETTER BELIEVE IT) and Jack lies about being fine and then coughs some more and shows Dean his bloody palm and collapses on the floor with blood oozing from his mouth and nose and WELL. THAT ESCALATED QUICKLY.

And the episode ends, without Sam and Dean sharing a single scene. Has that happened before? It's unsettling. I like the ep, though. I liked the relationship focus - Sam bonding with New Charlie, Dean bonding with Jack. I liked the humor. I liked that Sam wasn't ignored, even though the brothers had separate storylines. I liked the continuation of things that have been happening this season, the gentle reminder (but not constant siren) of Dean's guilty feelings and Sam's leadership and Jack's issues. And, of course, CHRISTO!

And there was one weird thing I noticed on first watch, but it didn't jump out at me on rewatch so I don't remember when it happened... Dean said "Son of a B." This is the second episode where they said something weird instead of bitch. What's going on there? Is Dean never going to say "son of a bitch" again? Because that's not good.

What did you guys think? And please help me stay unspoiled; thanks!

[yenneferw]

1, 3, 4, 5, 7, 8, 10, 12, 15, 20, 27, 28, 30, 36, 39, 40, 42,46, 50, 51, 54 (sorry for all the questions 😓😓I'm just really curios about your writing!

woot no it’s okay i love talking about it!! also thank you so much!!!!! :-)

also i’ll just skip past the ones i’ve already answered 

1. Favorite place to write? 

this is a lame boring answer but just my desk. i’m very comfortable at it as long as my dog isn’t asking to be in my lap bc then i can’t focus

3. Least favorite part of writing?

the writing,,,,,,,,,,,,,,,,, but no probably writer’s block. like even when i’ve done other productive things i don’t feel productive unless i’ve written so i hate being writer’s block

4. Do you have writing habits or rituals? 

when i’m really really really stuck i’ll try to talk to my friend ash about the parts i’m most excited about to get myself pumped back up for it 

5. Books or authors that influenced your style the most?

i’m sure there are some bc i’m so easily influenced but i can’t pick them out necessarily. probably partly the song of achilles bc i loved that book so much and i loved the style but i can’t tell for sure

8. Favorite trope to write?

idk power couple? i love having natalia and rosie from my novel be equally badass together. also heterobaiting bc for a hot second i made it seem like it was gonna be natalia and their friend elias but haha nope. i don’t know tropes well enough to say for certain but these are some of the things i like about my own novel

10. Pick a writer to co-write a book with and tell us what you’d write about.

madeline miller and i are gonna write some more killer gay greek rewriters like a love story between icarus and apollo or some shit

12. How do you deal with self-doubts? 

i reread my favorite parts sometimes and i’m like wow,,,, goddamn,,, did i write that for real?? or i just say “fuck it fuck it FUCK IT i’ll rewrite it later” and try to power through 

15. Where does your inspiration come from?

it depends on what i’m writing. for things like fanfic it comes from the fact that i love hearing back from people like everybody does but genuinely i just love hearing that someone else’s day was made bc they read my work. i love hearing that they think i got the characterization of something right. it makes me so happy. for my novel i’m working on rn, it at first came from the fact that i love 3 things a lot: queer rep, magic, and knights. so i put all that in a book and rolled with it. now it’s because rosalind is my heart and soul and i love writing about her so much that i just wanna keep going

20. Post a snippet of a WIP you’re working on.

i already did this but fuck it i’ll do more of this one. i wanted to do a fic but i don’t have anything started on my fic sdjfsljdfl 

Rosalind woke up to Natalia crawling into her bed and planting herself on top of her legs, and then saying, “Rosieeeeeeeeeeee,” until Rosalind found the energy to swat at her. Her curtains were already drawn, and when she lifted her head to look around, she saw that breakfast was waiting for her at her table. She wondered where Jenna was and why she hadn’t woken her up. Natalia started her whining again, so she groaned and shoved her off of her legs. “Finally!”

“Where is Jenna?” she asked instead of answering Natalia’s impatience. “Why are you waking me up?”

“Why can’t I just wake up my best friend on this fine morning?” Natalia said, with no small amount of grandeur in a gesture toward the window. “The birds are singing, the sun is shining, there is a gentle breeze.”

(followed later by:)

She was holding her head up high like she knew what it was that she was doing out here, but really she was just desperate and scared. But the birds were singing, the sun was shining, and there was a gentle breeze. And above all else, Natalia was a spark of life all around her.

anyway i just love showcasing how much rosalind loves natalia

27. Do you share rough drafts or do you wait until it’s polished?

it really depends on the case but i share rough drafts sometimes

28. Who do you share them with?

well currently i have my doc shared with @the-voice-of-night-vale and @kiss-my-asthma-bitch

30. Favorite line you’ve ever written?

I can’t remember but I really fucking like “She had gone to everything that she had never thought of before except in passing, with a tightness in her chest and a voice screaming, Do not break this. Do not break something so priceless as us.”

36. A spoiler for story: 

well for my novel a spoiler is that rosalind defects from her country later on although no one but ash and sarah will get that

a spoiler for the fic i’m gonna write is idfk bc i haven’t planned it yet someone needs to hold me accountable for this shit asjdklfjd

39. Do you base your characters off real people or not? 

I don’t think I do really. I might because I’m like that but I don’t notice it if I do

40. Original fiction or fanfiction, and why?

a month ago i would have only said original fiction but i’ve gotten back into fanfiction recently. both have their perks i mean original fiction is completely mine and i can do with it what i want without worrying about canon or aus or characterization and i can be proud of every single aspect since it’s all original, but fanfiction is a lot more interactive and gives validation a lot easier and quicker, which i like lol but also it’s easier to get around to people and i like to see how my writing affects other people so that’s important to me

42. How do you figure out your character’s looks, personality, etc?

looks: i base them off of real people sort of bc i fucking suck at appearances (rosalind looks like janelle monae). personality: i fucking wing it. i do a skeleton of the character and let them figure out who they are themselves as i write it

46. What would your story ____ look like as a tv show or movie?

my novel would be hella fucking cool, it would look probably a bit like merlin bc it’s a castle with magic but it would be very colorful and a lot more diverse and everything is very aesthetic hopefully and janelle monae herself is my girl rosalind,,,,,,,,,,,, in a perfect world at least

51. Describe the aesthetic of your story __ in five sentences.

my novel is: pink flowers. bright flames. the top of a castle against a cloudy sky. the way brown eyes look golden in the sunshine. a sword surrounded by vines. 

that sounds really fucking extra but that’s how i think of it at least. with emphasis on the pink flowers bc that’s for rosalind and she’s the mc 

54. Any writing advice?

love your main character. whatever you do, fall in love with them. that’s what’s gotten me through. also OUTLINE!!!! but even with an outline, if you don’t love your main character i don’t think you can keep going. if they’re not a good person, love the idea of them. love writing them. i wouldn’t be able to keep writing if i didn’t have all these emotions about rosalind. and know them. even i, who is the shittiest character builder in the world, have found that writing is so much easier when i can spend hours pacing up and down my room thinking about who rosalind is on the inside, and what she would be in modern times (she’d own a lesbian blog, 10% bc she likes lesbian positivity and 90% bc she likes to gush about natalia) 

thank you for all these!!!! this is fun

send me sleepvoer asks?/asks to keep me motivated?