#also in case there are links that don't work tell me

[darlingofdots]

What is a romance novel, really?

So far, the response to this post has mostly shown me that a lot of people don't actually know what a romance novel is, and that's okay! I don't expect everyone to know! However, for my own peace of mind, I am going to do my best to explain what we mean when we talk about romance novels, where the genre comes from, and why you should not dismiss the pastel cartoon covers that are taking over the display tables at your nearest chain bookshop. Two disclaimers up front: I've been reading romance novels since I was a teenager, and have dedicated the majority of my academic career to them. I'm currently working on my PhD and have presented/published several papers about the genre; I know what I'm talking about! Secondly, all genres are fake. They're made up. But we use these terms and definitions in order to describe what we see and that's a very important part of science, including literary studies!

The most widely used definition of "romance novel" to this day is from Pamela Regis' 2003 A Natural History of the Romance Novel, in which she states that "A romance novel is a work of prose fiction that tells the story of the courtship and betrothal of one or more [protagonists]."* People also refer to the Romance Writers of America's "a central love story and an emotionally satisfying and optimistic ending" and another term you will see a lot is "Happily Ever After/Happy For Now," which posits that the protagonists must be in a committed and happy relationship at the end of the novel in order to count as a romance novel. That's it. That's what a romance novel is.

Of course it's a bit more complex than that; Regis also posited the Eight Essential Elements which describe the progression of the love plot over the course of the book, and there's a similar breakdown from Gwen Hayes in Romancing the Beat that is intended more as writing advice, but both of these are really useful for breaking down how this narrative structure works. My personal favourite part of the Eight Elements is that the romance opens with a definition of the society in which the protagonists exist, which is flawed in a way that oppresses them, and then the protagonists either overcome or fix it in a way that enables them to achieve their HEA. A lot of social commentary can happen this way!

It can also be a bit difficult to pin down what exactly counts as a "central love story" because who decides? A lot of stories have romance arcs in them, including dudebro action movies and noir mystery novels, but you would never argue that the romance is the central plot. A lot of romance novels have external plots like solving a mystery or saving the bakery. A useful question to ask in this case is whether the external plot exists for its own sake or to facilitate the romance: when Lydia runs off with Wickham in Pride & Prejudice, it's so that Lizzie can find out how much Darcy contributed to saving her family from scandal and realise her own feelings for him. The alien abduction in Ice Planet Barbarians happens specifically so the abducted human women can meet and fall in love with the hunky aliens. There are definitely grey areas here! Romance scholars argue about this all the time!

I have a suspicion that a lot of people who responded to the post I linked above are not actually romance readers, which is fine, but it really shows the lack of understanding of what a romance novel is. I have a secondary suspicion that the way we have been talking about books has contributed to this miscategorisation in a lot of people's minds, because especially with queer books we will often specifically point out that this fantasy book is f/f! This dystopian novel has a gay love story! This puts an emphasis on the romance elements that are present in a book when a lot of the time, the romance arc is just flavouring for the adventure/uprising/heist and we are pointing it out only because its queerness makes it stand out against other non-queer titles. It makes sense why we do this, but there is SUCH a difference between "a sci-fi book with an f/f romance arc" and "an f/f sci-fi romance." I could talk for hours about how the romance genre has evolved alongside and often in the same way as fanfiction and how there are codes and tropes that come up again and again that are immediately recognisable to romance readers, even down to phrases and cover design, and how romance is an incredibly versatile and diverse genre that functions in a very specific way because of that evolutionary process. The same way that dedicated fantasy readers can trace the genealogy of a given text's influences ("this writer definitely plays a lot of DnD which has its roots in the popularity of Tolkien, but they're deliberately subverting these tropes to critique the gender essentialism"), romance readers are often very aware of the building blocks and components of their books. These building blocks (that's what tropes are, lego pieces you put together to create a story!) often show up in other genres as well, especially as part of romantic arcs, but that doesn't make every book that features Only One Bed a romance novel, you know?

Romance is an incredibly versatile and diverse genre and I really highly recommend exploring it for yourself if you haven't. I personally read mostly Regency/Victorian historicals and I've been branching out into specifically f/f contemporaries, and there are so many authors who are using the romance framework to tell beautiful, hard-hitting stories about love and family while grappling with issues of discrimination, disability, mental health, capitalism, you name it. The genre has a very specific image in a lot of people's minds which makes them resistant to it and it's not entirely unjustified, but there is so much more to it than Bridgerton and repackaged Star Wars fanfiction!**

*the original text said "heroines" but Regis later revised this. There is a very good reason for the focus on the heroine in the first couple waves of romance scholarship, but that's a different post!

**neither of these are a bad thing and part of that genealogy that I mentioned earlier.

[susartwork]

MULTIVERSE_99 OCs MASTERPOST

Classic!Frisk 99 Incode - from an Undertale timeline

Basic!Sans Outcode - lives on a floating island in the multiverse - from an unfinished AU

Physis!Alphys & Clone!Frisk Outcodes - Omega Timeline inhabitants - from a Horrortale timeline

Quasar!Papyrus Outcode - Omega Timeline inhabitant - from an Outertale timeline

Kyria!Undyne Outcode - Omega Timeline inhabitant - from an Underfell timeline

Reformed Murder!Sans / Dustroyer Incode - from a Dusttale timeline / Outcode - lives in his Anti-void

MY STAR SANSES GUARDIANS TAKE:

Lamplighter!Dream VS Gaslighter!Nightmare No code - from a Dreamtale alt version

Wish!Ink Outcode - wanders the multiverse - Ink!Sans variant

Blueberror 66 / Swap!Sans 66 Outcode - lives in his Anti-void - from an Underswap timeline

UNNAMED UNIVERSE OCs:

Ves!Kris Incode? - Unnamed Universe inhabitant - vessel discarded by their creator

Chéri!Sans Incode? - Unnamed Universe inhabitant - character discarded by her creator

[fragmentedblade]

Not to be a jingfu on main, but it's so cute that Jing Yuan thought of Fu Xuan with those jelly beans

[dduane]

I just received a copy of a book I've been very much looking forward to by a favorite author, but the quality of the book itself is... not great. Cheap paper, weak binding, even a weird illustration of the main character on the cover that I'm having trouble believing the author approved. Obviously, I don't want to leave a bad review on Amazon or GoodReads or anywhere, as I'm 100% certain the content is as excellent as her other work. But how can I best let the publisher (Baen) know I'm disappointed without threatening to never buy her books again? Because, well, if this is the only option, I'm gonna keep buying them even in my disappointment.

Well, the first thing I thought when I read this was "Wow, I'm really glad I don't have anything in print from Baen at the moment except a couple of anthologized short stories." :)

As for the rest of it, let's take it point by point.

Adding a cut here, because this will run a bit long. Caution: contains auctorial bitching and moaning, painful illustrations of cases in point, and brief advice on how to complain most effectively. (Also links to paintings of cats.)

Cheap paper: This has been an accurate complaint since well before COVID—and it's often been worse since, with supply chain issues also being involved. That said: one way publishers routinely save money on printing books, especially the bigger ones, is by going for thinner/cheaper paper. I remember one of our UK editors going on at great length and with huge annoyance—during one of those late-night convention-bar bitch sessions—over how the only way they could get some really good books published (because Upstairs insisted on reducing the per-copy production costs) was by reducing the paper quality to the point where you could nearly read through it. Sacrificing decent text size(s) also became part of this. Nobody in editorial was happy about the result: but there wasn't much they could do.

Bad bindings: Similar problem. Sewn bindings used to be a thing in paperbacks... but not any more: not for a good while, now. These days, it's all glue. Even hardcovers are showing up glued rather than sewn. Don't get me started. :/ (This is why I so treasure some of the oldest paperbacks I've acquired, which are actually sewn.)

Crap covers: I've had my share of these—though my share of some really good ones, too. And one of the endless frustrations of traditional publishing is that the writer routinely has little or even no influence over what the cover will look like... let alone how much will be spent on it, or (an often-related issue) how good the execution will be.

There are of course exceptions. If you're working at the, well, @neil-gaiman -esque level or similar in publishing, a lot more attention is going to be paid to your thoughts. You may even be able to get "cover veto" written into your contracts, so that if you disapprove, changes will get made. But without actual contractual stipulations, the writer has zero legal recourse or way to withhold approval. (And I bet even Neil has some horror stories.)

The normal workflow looks like this. After a book's purchased, its editor and the art director discuss what it's about and what the cover should look like. The art director then hires an artist and tells them what to do. After that, the artist executes their vision and gets paid. It is incredibly rare for a writer to have any significant input into this process. And as to whether or not they approve of the final result, well... the publisher mostly just shrugs and goes back to eyeing the bottom line, muttering "Who told them they get a vote?"

Now, I've been seriously lucky to occasionally be an exception in this regard. In particular, my editors at Harcourt (when Jane Yolen and Michael Stearns were editing Harcourt's Magic Carpet YA imprint) would ask me what I thought would be a good idea for the next Young Wizards cover, and I'd think about it a bit and send them back a paragraph or so about some core scene. They'd then talk to their art director, and after that send their notes and mine to Cliff Nielsen (who started doing the covers for the hardcover and mass-market paperback editions of the series in the mid-90s) or to Greg Swearingen (who was the artist on the digest-format editions). And the results, by and large, were pretty good. ...I also think affectionately of the UK artist Mick Posen, who insisted on seeing pictures of our cats before painting the covers for the Hodder editions of The Book of Night with Moon and On Her Majesty's Wizardly Service (the UK title for To Visit The Queen).

But this kind of treatment is a courtesy—not even vaguely suggested in the books' contracts, and very much the exception to the rule. And for every writer who's midlist, there are times when the luck runs out. For example: one time I wrote a book that was an AU-Earth-near-future fantasy police procedural, thematically pretty dark—dealing with issues of abuse of megacorporate power, institutionalized bigotry, and (explicitly) attempted genocide. And the cover, done by an artist who's a good friend and some of whose fabulous art hangs in our house, came out looking like this. It was... let's just say "not ideally representative."

So I was glad, when my local workflow allowed it, to recover the current, revised version of the book with something at least a little more apropos. But the original cover's not the artist's fault. He did what the art director told him... as a cover artist must do to get paid, and (ideally) to get hired again. At present, that's how the system works.

...So. You've got a badly-built and -presented book on your hands. How best to make your feelings known in some way that might make a difference down the line? (As you make it plain that you'll keep buying this author's books this way if you must.)

First of all: when (as part of my psych nursing training) we were taught how to complain most effectively, we were told that the first and most basic rule of the art is this:

Only Complain To Someone Who Can Actually Do Something About Your Problem

So I salute your desire not to waste your time taking the issue to the reviews on Amazon, or the pages of Goodreads... because they can't do anything. The odds that anyone from production at Baen is reading the comments there strike me as... well, not infinitesimally small, not being hit-by-a-meteorite-while-in-the-shopping-center-parking-lot small... but really low.

So: write to corporate.

In your place I would go online and rummage around a bit to find out who's on record as the publisher at Baen. I would then write them a letter on paper. And I would lay out the problem pretty much as you laid it out up at the top.

The tone I think I'd choose would be the more-in-sorrow-than-in-anger approach. I'd say, "I write to comment about your recently published book by [X Writer], whose work I love. I have to say, though, that I don't think the cover on [X Book] is terribly representative of the quality of the prose inside. And also, the construction and production quality of the book itself was a disappointment to me because [here spell out why].

"I'd really like to see [X. Writer's] books succeed with you, and I'd like to buy more of them without wondering whether I was going to be disappointed again. But if this is typical of how they're being produced, I'd also be concerned that the state of these books is setting up a situation in which the author's sales will be damaged, and you would stop publishing them... which would really be a shame. Whereas on the other hand, better production quality could keep previous purchasers coming back and buying, not only more books by this author, but books by others whom you publish."

This phrasing, as you'll have seen, walks a bit wide around the issue of your further purchases, while directing attention toward the bottom line... which will routinely be what the publisher's looking at from day to day. And—being, one has to hope, in possession of the wider picture as regards what's going on with their production costs—maybe they can actually do something about it.

Anyway, nothing ventured, nothing gained, yeah? It's worth a try. All you can do is hope for the best.

And finally: please know that I admire your commitment to the author: whoever she is, she's lucky to have you. It's a terrific thing to have readers who'll willing to spend the time to hunt you down, and who're willing not to judge a book by its cover. :)

[miraculouslbcnreactions]

Since you've mentioned Scarlet Lady in one of your posts, what's your opinion on it?

I've mentioned before that I'm a big Scarlet Lady fan, which is the only reason that I'm comfortable answering asks like this one. I don't publicly criticize the content of hobby creators. That's wildly inappropriate! Punch up, not down.

The linked post was a general discussion of the adaptation process and how @zoe-oneesama did a fantastic job, so for this one, I'm just going to do some general gushing because I do actually like praising and enjoying things!

Scarlet Lady's chosen format (comic) allows it to have this wonderful conversation with canon where it can rely on the framework of canon to tell it's own story while also using canon for jokes and meta commentary. This means that Scarlet Lady is about as close as fan content can get to a direct reboot because it's able to have moments like this one from the comic's first post:

[Image description: Adrien standing in his room after transforming into Chat Noir for the first time. He is beaming and his eyes are shining with excitement as he exclaims, "This is gonna be awesome!"]

A single picture that communicates everything we need to know about Adrien getting his miraculous. When I've done this same thing in fanfic, I had to write out the full scene because that's how novels work. You have to give the full picture. With a comic, you can just quickly acknowledge this thing that we all already know and then move on to the new stuff. A picture really is worth a thousand words! (Or, in my case, more like two thousand...)

This allows Zoe to keep the same akumas that we get in canon without her story feeling like a boring rehash because she can focus on what's different in her version. A novelization of the same content would have to show both the stuff that stays the same and the stuff that changes for it to be coherent. That's a lot less fun to read and write. It's why I basically never revisit canon akumas in my own stuff. It's just too derivative for the written word.

This is one of the big reasons that I loved Scarlet Lady. Because it was able to have that more directly conversation with canon, it was able to take canon and say, "hey, why don't we embrace the tone that you established in season one and retell the story with that vibe?" That's something that I desperately wanted to see, but that is totally unsuited to my chosen artistic form. It couldn't be a novel. It had to be a comic.

If you want to know what a true formula show version of Miraculous would look like, Scarlet Lady is it. It does everything that Miraculous should have done:

Sticks to a lighthearted tone where nothing is ever super serious

Keeps Gabriel entirely unsympathetic

Has slow character development and background hints at a bigger plot as the only serial elements, allowing the individual episodes to be their own story while never feeling incomplete or rushed

Allows characters other than Marinette to shine while keeping Marinette as the clear main character

Makes Adrien narratively important

MAKES THE LOVE SQUARE CUTE SO I CAN ACTUALLY SHIP IT

Understands that Lila and Chloe can't coexist as antagonists

Reverses the love square, which is the best way to tell their story. Yes, I will die on my "love diamond" hill. It's a good hill. Come join me. I'll bring cookies.

I could keep going, but you hopefully get my point. While Scarlet Lady is certainly not the only way to do a formula version of canon, it's proof that a formula version does work! You don't have to go the serious route for Miraculous to be successful.

I want to take some time to gush about the ending, but I don't want to spoil it, so I'll put that gushing under a "read more" in case anyone hasn't seen it. I'll finish out this less spoilerish section with this:

I feel like some people are surprised when they learn that I love Scarlet Lady because - as some of you have probably picked up - it is quite different from my ideal version of canon. I'm not sure why that would stop me from enjoying a thing, though. It's important to remember that our personal ideals are not the only way to tell a good story. There are lots of ways to take what canon gave us and make something wonderful! It's part of the reason that I enjoy being in a fandom.

If I only wanted to see my ideal take on canon, then I'd stick to writing/imagining my own stories. But I don't want that! I like seeing alternate takes, too. Scarlet Lady is one of my personal favorites. It's completely different from anything that I'd ever think to write and that's why I'm so glad that it exists! I like being entertained just as much as I like creating my own entertainment and I don't want to only read stories that look like something I'd write. That's boring!

Spoilers below:

I've mentioned before that there are many, many ways to properly handle Chloe's character and Zoe did such a good job with her take on that! Chloe isn't absolved of all the things she did wrong, but she's also treated as a young woman with the ability to change.

While the comic bares the name of Chloe's alter ego, she was the never the main character. She never went on a journey. The story kept her to her shallow season-one self: a petty brat who just wanted attention. It did this because that's who Chloe was in canon and who Chloe needed to be for the comic to work.

The first time we see any complexity from Chloe is in the comic's final few episodes, which was absolutely the right call for Zoe to make! In a recent post, I talked about how the end of a formula show is the only time when you can break the formula in catastrophic ways and that's what Zoe did. She kept Chloe static until it was time to end the story and that's when the formula breaks. That's when Chloe gets depth because, once she has depth, the formula doesn't work.

That depth is not used to redeem Chloe, but to show us that there's hope for Chloe. That this petty brat who we've been dealing with has some serious issues and needs help. Help that she's going to get far away from the people that she's hurt because her issues aren't an excuse for what she's done. They don't erase the harm that she caused. At the same time, understanding her issues makes us hope that she can be better now and Scarlet Lady took a moment to give us that hope. To show us the START of Chloe's true story.

That is the kind of ending that I have wanted to see in so many properties!!! It was so wonderful to finally get one that did this right. A story that understood that full redemption to the team and damnation to death/suffering are extremes on a scale of possibilities. You don't have to go to extremes! You can fall in the middle and the middle is a perfect, natural place for Chloe to land in this kind of story. Fully redeeming or even fully damning Chloe simply doesn't work in lighthearted formula content. It's too big a lift as canon has already demonstrated.

I also loved Zoe's take on Emilie. I've mentioned that I don't like evil Emilie in part because it makes her revival feel like the start of a new story. She's back and she'd bad, so we have to take her down now! But I don't want that. I want the story to end when Gabriel is stopped. Zoe does this by giving us an Emilie that is another perfect middle ground. She matches canon's uncomfortable implications without feeling like a true villain who is a threat to society.

[mrs-kmikaelson]

What's in a Name?

Pairing: Aaron Hotchner x reader Summary: 5 times you and Agent Hotchner questionably cross paths over the years, just for him to watch you walk away (+1 time you don't). Warnings: long asf, murder, violence, addiction, unhealthy coping mechanisms, corruption in government, allusions to abuse, one made-up case, hotch is a lil ooc (not rlly), and reader has grey morals (lmk if there's more) Eps incl: S1E21 (secrets and lies), S3E20 (lo-fi), S4E1 (mayhem) Words: 24.4K

Masterlist | Bonus (no.6)

a/n: this is the longest fic i have ever written. guys, one section is literally 10k words long— and i didn't notice!! it's too long for one part (there's a 1k block limit on tumblr) so the bonus is linked above and at the bottom. it took me... a while. so i hope u enjoy! might do a part 2. also i'm only on s4 of cm rn (even tho i know too much alr) so pls don't spoil. ly guys!!

1. The myth

Quantico, Virginia, 2004

The interrogation room was cold and your fingers felt frozen against the metal of the table, but you doubted it had anything to do with the fact that it was December. If anything, you'd bet good money that as soon as you stepped out of the room, the heat would return. You'd bet good money that a certain Agent Hotchner sitting across from you had fucked with the AC unit.

Nonetheless, you didn't show your discomfort, keeping a poker face.

Well, as much of a poker face that you could keep.

You had a smile on your face, a twinkle in your eye. While you preferred not to spend time in police stations, this really was turning out to be quite interesting.

Agent Hotchner didn't seem to hold the same opinion as you. The frown on his face was unmoving, his expression stone cold. High-strung, you thought, and then you wondered what crazy things he might've seen to make him that way.

You turn to the man sitting next to him (the boy really), and asked, "Does he ever smile?" You pointed to the man in question to emphasize your point, even though it was clear as day who you were referring to.

Spencer, as you'd learned his name was, looked somewhat flustered at your question, like he wasn't expecting you to speak to him, but he ignored you regardless. You took that as a no. "Ms. Y/L/N, you're known throughout the United States and many other European countries as 'The Angel of Death.'" Your smile widened at your nickname. "They say that, as soon as you contact someone, they're as good as dead."

"Oh? Is that what they say?" Your voice was sly and teasing.

Spencer ignored you yet again. Rude. "You send them a message through various online media, and then they mysteriously turn up deceased."

"Do they?" you drawled.

The stoic and silent Agent Hotchner took this as his cue to speak up. "As of late, your existence has been nothing more than a rumour, an urban legend amongst criminals and internet sleuths. A myth."

You hummed.

"But your recent attempt on Congressman Baylor has failed. You got sloppy," he deadpanned. "You went for a fish bigger than you could handle, and now the myth is likely headed for life without parole unless you tell me who you're working for."

You were silent for a moment as you held his stare, and he thought that finally, he was getting somewhere with you, but then you broke that silence with a giggle so bubbly it was almost hard to believe you were assassin.

"That's cute," you remarked.

He narrowed his eyes. "What's cute?"

You shrugged nonchalantly. "The fact that you think you can convict me."

It was Spencer this time that spoke up, his voice soft in comparison to the jagged edges of his partner's. Perhaps this job hadn't broken him yet, you thought. "Y/N, arrogance isn't gonna get you out of this."

You snorted. "No, trust me, this isn't arrogant. It's self-assured." You didn't give them a chance to get another thing in. "Tell me, what exactly has your technical analyst, Penelope Garcia, been able to dig up on me?" You saw slight alarm flare up in Agent Hotchner's eyes, surprise in Spencer's. "She's FBI, yeah, and you guys sure do like to play by the rules, but she isn't an agent like you, Hotchner. She must get impatient, bend the rules, perform some illegal activity that you don't question because it helps you with your case. That's why I'm a bit surprised that, even though she likely did run an illegal background on me, she didn't find my records. I mean, they're not that sealed. I bet I could unseal those bad boys right now."

He's lucky you didn't put money on that bet, because you would've won.

Aside from his eyes, no emotion other than irritation showed on his face. "What are you talking about?"

"Oh, you poor sweet things." Another chuckle left you. "Have you ever heard of this little thing called immunity?"

Hotch was quick to dispute. "No. You do not have immunity."

You contested, "Oh, yes, sweetheart, I do. And if you had checked my pockets for anything other than a pistol, then perhaps you'd have noticed this." Since they hadn't cuffed you, you reached into your back pocket easily and pulled out your badge, the words Central Intelligence Agency catching their eyes immediately. 

Hotchner scoffed, the most emotion you'd seen from him since you met. "You're CIA?"

You cocked your head. "Y'know, for some of America's supposed best minds, I'm a little unimpressed."

Reid leaned forward in his seat. "You're—"

"Yes, I am. So your girl back at HQ seemed to miss a few details about me, and you have missed more than a few details about this case— if a case is even what you could call it." You stood up and rested your hands on the table, getting bored of this game already. "What you have, SSA Hotchner and Dr. Reid, is not a serial killer. I hope your victimology analysis picked this up already, but the quote-unquote victims you have are all bad people, people who have broken the law in irreparable ways. And when I say irreparable, I don't just mean Bill Clintoning it up with minors, despite many of them having done that. I mean selling government secrets, espionage, treason. Things that threaten national security, things that my bosses do not like. I'm sure you catch my drift, don't you?"

Before Agent Hotchner could respond, the door to the interrogation room was opening, and a smirk automatically arose on your face. About damn time. 

A man who you instantly recognized as Jason Gideon stood in the doorway. You briefly met once, but you doubt he remembered you. His face was stern, too, and reluctance shined through his voice. "Hotch, the Secretary of Defense is here, and the DOD is demanding she be released."

You maintained Hotch's stare all the while Gideon spoke. The clench in his jaw was small, but you caught it. Something told you this man didn't like to be challenged—you'd keep that in mind.

Eventually, he nodded.

You grabbed your coat from behind your chair, stowed your badge away and flashed them your million-dollar smile. "Well, it was nice meeting you, boys. Let's do this again sometime, yeah?"

Then you were out the door, and Hotch thought that if he went forever without seeing you, it'd still be too soon.

And when Congressman Baylor was found dead a few hours later, he wasn't surprised.

2. Smile

Langley, Virginia, 2006

"I've got the personnel files all set up for you guys. Video, whatnot—it's all there in the conference room. Now if you have any questions, feel free to talk to my senior officers. This is Gina Sanchez, she's the Associate Director of Field Operations. And that guy up there is Kruger Spence, the Assistant Director of Operations. The lady with him is his second-in-command, Olivia Hopkins. And then there's, of course, my boss."

Gideon's brows went up. "Your boss?" he echoed. The rest of the team's confusion was just as palpable. When he was brought in by Bruno Hawks to assist the CIA in finding their mole, he assumed he was the one running point. As far as he was concerned, Hawks didn't even have a boss that'd be there.

"Yes, she's flown in from an assignment to help with this case." Right on cue, you walked out of an office, heels clicking on the floor and the same smile on your face that Hotch could remember from two years ago. "Meet Director Y/N Y/L/N; she's head of a CIA black ops initiative and envoy from the NSA."

Your voice was smug. "Oh, trust me, Bruno, we've met before." This time, Hotch couldn't conceal his scoff. He felt Elle glance at him in confusion—she's the only one who didn't know who you were. "Agent Gideon, it's a pleasure to meet you formally." He shook your hand, albeit unenthusiastically. "Agent Hotchner, I knew I'd be seeing you again." He rolled his eyes, making your smile widen, but out of his strong urge to be polite above all other things, he shook your hand, too, pulling away as fast as he could. "Dr. Reid." He nodded back to you, almost hesitant. You nodded to the rest of them individually. "You two I haven't met, but you must be Derek Morgan and Elle Greenaway. I wish we had more time for pleasantries, but lives are on the line, so I'd like to get moving ASAP."

With that, you swiftly turned and walked back to the office you'd made your own. You didn't often spend time at headquarters, but a mole in the Agency was enough to pull you away from the case you'd been working previously.

As you left, you heard Reid explain to Elle in a hushed tone, "That was The Angel of Death."

You stifled a chuckle. Let's see if Agent Hotchner's team was as good as they claimed to be.

❧

You and Hotch stood on either side of Bruno on the platform as he spoke to the entire office, Gideon off standing alone, seemingly in thought. "Now, we all know why BAU and Ms. Y/L/N are here. They have their job and we have ours. And we're down to the wire on this. Aaliyah Nadir risked everything, and now she and her children deserve our fullest attention. Let's find her."

They all walked off after Bruno dismissed them, all but Gina Sanchez. You glanced at her from the corner of your eye as she went to talk to Agent Gideon. You didn't hear their conversation, but you saw the hostility painted all over her face. Interesting.

After she left, Gideon made his way over to where you were standing, speaking quietly. "We think the agent who's tipping off Hassan may have had some kind of extreme event in their life."

"Something that distorted or redefined their belief system," Hotch added.

Bruno was quick to get defensive. Why, you weren't sure. "No, every agent undergoes regular psych evals. You know that. They're trained to cope with extreme events"

"Well, whatever turned this agent must not've been something you can train for," you cut in. You didn't miss the way Hotch glanced at you.

Bruno gestured outward with his hands. "Well, you're welcome to everything I have. Every op undertaken by these guys is on file."

You snickered a bit under your breath. Your ops certainly weren't "on file."

"What about the ones that aren't on file, like the wiretaps of the Saudi Embassy?" Hotch questioned.

"Those don't even exist," Bruno said. You didn't confirm nor deny that statement.

"How long has your department been running operations in Riyadh?" Hotch turned to Bruno, back straight and eyes sharp.

"We have a declared presence in Riyadh, monitoring US interests there. You know that. Now if that's all, I have an informant to save." You hummed as Bruno walked off, finding his attitude quite intriguing.

"And you, Agent Y/L/N?" You turned to face Gideon. "What do you think?"

You tilted your head. "Aren't you and Bruno friends? Why not ask him?" Because he had the same feeling you have.

He responded without missing a beat. "You don't have a belief system—this job is all you believe in."

This caused you to chuckle. He wasn't wrong. "Good profiling, Agent Gideon. And yes, I have my suspicions, but until further information is gathered, I'm not at liberty to discuss them. For everyone's safety." You gave one last glance to Agent Hotchner. "I look forward to see what your team has brought together."

❧

Not long after your talk with Hotch and Gideon, you stood with the latter and Agent Greenaway in a supply office where the body of Olivia Hopkins was lying dead.

Gideon turned to you expectantly. "It's your job to clean house. You do this?"

You scoffed. "If I wanted to kill a CIA senior officer, believe me, you wouldn't have thought it was a murder at all." You glanced around the room you were in. "And I certainly wouldn't have done it in a federal building."

He must've believed you because he ended his line of questioning there, turning back to Elle. "Have any other agents seen the body?" When she shook her head, he replied, "Good. We can use this to our advantage. Get the others."

You met up with the rest of the BAU in their designated conference room as Gideon quickly explained the situation. Your suspects filed into the room shortly after, each confused and annoyed. You analyzed their body language closely, standing next to Agent Hotchner.

"You're pulling us away from our assignments?" questioned Kruger. "There's a woman out there whose life depends on us."

Defensive. Self-centred. Rude. But not your guy.

Gina was the first to ask where Olivia was, which was either genuine or she was covering her ass.

Hotch was the one to answer. "Olivia Hopkins was murdered 10 minutes ago. Her neck was snapped."

"Just like John Summers," you drawled.

Kruger let out a scoff, but you kept your eyes on the other two as he spoke. "What are you talking about?" Gina looked spooked, but Bruno's expression was cold, even as he tried to imitate warmth. "You're lying. Where is she?"

"Right now, she's dead," you emphasized, not really caring to be sensitive.

Kruger looked at you like you'd just killed his dog. "Look, people don't just... get murdered inside the CIA."

Gina looked at him with betrayal in her eyes as if he were a traitor. Shifting blame.

Hawks spoke up. "I realize the enormity of this, but Hassan Nadir is still out there looking to kill his wife, and I need every agent on this." You tilted your head. Deflecting. He didn't even acknowledge that his own colleague, his responsibility, was dead.

Gina was the first to leave the room, deeply frazzled. Gideon followed after Hawks, but you didn't go with him. You stayed in the room with Hotch while the rest of his team filed out.

You weren't expecting him to talk to you, let alone ask for your opinion, but he did. "What are you thinking, Y/L/N?"

You hid your surprise, nodding to the door Gina and Kruger walked out of. "My money's not on her; it's not on Kruger, either."

He furrowed his brows, lowering his voice. "You think Bruno Hawks is the mole?"

You shrugged your shoulders. "Bruno's been leading this unit for all of, what, ten years? And he hasn't advanced at all? Someone like him must have higher ambitions, like leading the Agency one day, but that's not in his cards. Gina Sanchez and Kruger Spence have bright futures here; Hawks is already at the end of the line. So what's the next best thing in this city besides power?"

Realization dawned upon him. "Money."

"And by the looks of the old car he drives, that's something he's lacking, but something that he wants," you deduced, pausing. "But I'll let you continue your investigation."

He caught your hand just as you turned away, and you ignored the small spark that was sent through your body. His eyes were earnest and curious, but most of all you realized that they were beautiful. "Y/N, what's going to happen to the mole when we find them?"

You ignore the unfamiliar flutter you felt after he said your name for the first time, and it's then that you remember Hotch was a prosecutor. Before he was unit chief Agent Hotchner, he was just Aaron Hotchner, a man who valued balance and believed in justice. Even now, after climbing the ladder, he still didn't seem to understand that his own government was different.

In matters like these, the United States government didn't value justice.

They valued revenge.

But still, if not just to help him retain his faith in his country, you shrugged and told him, "The scales will be evened, Hotchner." 

Then you pulled your wrist out of his light grip and walked away, and he couldn't tell if he wanted to know what you meant.

❧

Sanchez and Morgan were on their way to rescue Aaliyah and her children, and then you were made aware that Hassan was already there.

Bruno turned to Gideon. "Look, we can't arrest him. This is still a CIA matter. You do know that?" He then turned to you, like he was expecting to you to back him up.

You shook your head as Gideon said what you were thinking. "How are you going to explain this to the Saudi government?"

"Explain what?" he fired back. "This isn't happening."

You crossed your arms. "That's not how this works, Bruno. You don't just kill a Saudi diplomat and get away with it—that is how wars begin."

He scoffed at you. "Look who's talking. The Angel of Death, giving me a lecture on in-house cleaning."

You narrowed your eyes and stepped forward. "I don't know who the hell you think you're talking to right now, but you need to double back because, at the end of the day, what I. say. goes."

Bruno opened his mouth to argue, but Jason mediated, "Let's just get Aaliyah and her children back alive. We'll worry about Hassan's life after."

You gave Bruno one last hard stare before you turned back to the screen showing the Nadirs with Morgan and Gina outside. "Make the arrest, Morgan," Gideon called out. "It's FBI jurisdiction. You're in charge."

You listened to them over the comms. [FBI! Let the lady go and put the gun down. I said, put the gun down!]

The movement of heat on the screen told you that Hassan listened. [Diplomatic immunity, my friend], he said, and you chuckled.

[Uh-uh, you got it wrong, my friend. This container hasn't passed through customs. Officially, we're not on US soil. Summers was a smart man.]

Suddenly, you heard Gina's voice. [That he was.] Pause. [Drop the gun.]

The feed cut in and out as the figures moved out of the container. Confused, you called out, "Morgan, Sanchez, what's going on?"

Hawks turned to you and Gideon, and you wanted to wipe the smug look right off his face. "You two still certain that Gina isn't the mole?"

Gideon ignored him. "Morgan." No answer. "Morgan, what's going on?"

[Gideon, we got a situation here.]

You raised your voice. "Gina, don't do this. Do not do this."

"She doesn't take orders from you," Bruno snided. 

You took another step forward to him. "Listen here, asshole—"

Gina cut in, [Bruno, what do you want me to do?]

"Gina, you put down that gun. That is an order—"

[Bruno?]

This made you turn to Bruno, and if you were in an animation, smoke must've been coming out of your ears. "Hawks, I swear to god, if you don't stand down, you will be endangering the security of this country—"

Bruno only responded to Gina. "You know what to do."

[Say it!]

"This is not your call. It is not your fucking call, Bruno."

He finally turned to you. "This is strictly in-house and you know it."

"I don't give a damn. It is still not. your. call."

"Finish him."

"Gina, don't you dare do this."

[You're going to cut the visual feed, right, Bruno?]

"Of course. Cut it now. Cut it," he ordered, and the feed was off before you could even protest.

And then you heard four gunshots. 

You sighed, pinching the bridge of your nose. White hot anger rushed through your veins in contrast to your normal playful demeanour. Meanwhile, Bruno turned to Gideon, saying, "I want to thank you, Jason, for your help."

You stayed quiet as Gideon responded, too angry to speak. "Why?" He paused, genuine disbelief evident in his tone. "Why'd you turn against everything you believe in?"

"What are you talking about?"

"When someone asks you how you feel about... losing one of your colleagues, the only human answer is 'I feel guilty,' isn't it?"

Bruno nodded and mocked, "But as you so brilliantly deduced, Kruger Spence is the guilty one." Following that statement, you watched as Elle walked up to where you three stood, a tiny paper in hand that she gave to him. Based on the ignorant smile that graced his face upon reading it, you could guess what it said. "Ridiculous," he deflected, tucking the paper into his jacket pocket. "Absurd."

That's when you snapped out of your anger-induced stupor. "No, Bruno." You shook your head. "The only thing that's absurd is how arrogant you are to believe that you're getting away with this."

Bruno pursed his lips, flashing you a sarcastic smile. "Unfortunately, with Hassan now dead, you have no proof."

"Oh, you son of a—"

Dr. Reid cut you off, announcing to everyone, "Actually, Hassan is alive and well. He's en route—that's all the proof we'll need." At this, you let out a chuckle. You certainly didn't need that proof, but it was nice to prove Hawks wrong before he was sent to where he deserved to be.

He clenched his jaw, stepping closer to Gideon instead of you, likely because he knew he couldn't shake you. "You are a fool if you think they're going to put me in prison with all that I know." He glanced at you and your lips quirked upward, because this was true.

"Why'd you have to kill Olivia?" Elle interrogated. She was straight to the point; you liked her. 

"Economics," Gideon replied, staring straight at Bruno. "Olivia was looking into your financial records when you snapped her neck."

Elle scoffed under her breath. "So she knew your dirty little secret."

"Which one?" Bruno asked. "I have so many."

You stepped closer to the trio. "The one that involves you cashing out through Hassan, maybe buying a real Rolex instead of the fake you don so proudly."

You could see Bruno's façade cracking, his frustration leaking through. "Twenty-million from Hassan will go a very long way to help occupy my mind on a beach somewhere."

Gideon wasn't fazed. "The only beach you'll see is on a postcard I send you from my vacation. Let me have your gun."

Knowing there was no way out of this, Bruno did what he said willingly, but he still had to taunt. "You know, I think the consequences of what you're doing to me, my friend, are going to be a lot harder to live with than you think."

Jason stared at him without blinking, and he stared until Bruno walked out, escorted by agents left and right of him. You found it comical, that petty thieves were escorted to the back of police cars in chains, yet a man who nearly started a war could walk out freely.

Well, you supposed Bruno Hawks wouldn't be free for much longer.

And it was your job to see to that.

❧

You were packing up your things in your office when a knock sounded. You turned to see a raven-haired man in a suit standing there, a hand in his pocket. A grin came to your face. "Agent Hotchner," you greeted. "Congrats on solving the case."

He let out a chuckle that surprised you. Aaron Hotchner didn't look like a man who laughed often. "Yeah, well, thank you, but I have a feeling you knew from the beginning."

Your grin widened. "Ah, I just needed proof." You continued to pack your things. "And besides, I wanted to see what your team was capable of."

He hummed, and you thought he'd leave after that, but he stayed, looking around the room with a careful interest. "No pictures," he noted. "No personal artifacts. It's extremely clean in here—untouched, almost. How much time do you spend here?"

You fully turned to him after that, giving him your full attention. With comments like those, that must've been what he was after. You crossed your arms, but the smile never left your face. "Perceptive, Hotchner," you remarked. "Profiling me now?"

He shook his head. "Not profiling, just observing."

Now it was your turn to hum, looking him up and down. You found that you liked what you saw, visually, but the implications to what you saw weren't very fond. "Well, what I observe, is an accomplished man in a nice suit, but you don't wear that suit because you're unit chief, you wear it because you got used to it as a prosecutor and now it makes you feel on top of things... professional. You're stiff and stoic, but that's because you like to separate your work life from your home life. At home, with your wife and kid, you're lively and relaxed, but that's also to compensate for the fact that this job takes a lot out of you; you're not home often, and that puts a strain on your marriage, which is why you haven't called your wife once today." Your voice was soft as you delivered that final blow. Hotch looked both uncomfortable and, surprisingly, impressed. But thus far, nothing about Aaron Hotchner was what you were used to. "Tell me, Agent Hotchner, was I correct?"

Hotch lightly snorted, but he didn't answer. Instead, he took to staring right back at you. You'd been stared at by bad men, murderers, rapists, terrorists and the like, but for some reason, his stare bothered you. You turned back around and packed one last thing into your bag. Then you walked toward the door, stopping just before you made your exit like an invisible barrier was holding you back. 

You patted his shoulder, telling him, "You should smile more, Hotchner. It'd suit you."

And then Aaron watched you leave for the second time in his life, except this time—for reasons he couldn't begin to fathom—he hoped he'd see you again.

3. The games we play

Washington, D.C., 2007

The air in Washington was always crisp. There was something different about it—like you could smell the power in the air, like you feel it. When you were home, in your apartment, it was suffocating. There was enough politics in this city that you could drown in it, politics you didn't care for. You saw enough of it as is.

Nevertheless, you weren't home often, so it wasn't too troublesome. Today, however, you were home, except you weren't here to rest.

You stepped out of your Mercedes as soon as you parked, locking the car and walking straight into the alleyway. Men in blue stood in your path, hands out. "Ma'am, this is a crime scene—"

You wordlessly held up your badge, effectively shutting him up. With red climbing up his neck, he nodded and lifted up the yellow tape for you.

When you made it past them, there was a woman in a red dress there. She'd be beautiful, you thought, if she weren't sprawled out dead on the ground. Her dress was so dark you almost couldn't see the blood stain. 

But the blood pooled around her was a telltale.

Next to her body was a card with typed-out letters and numbers that appeared random. 

But you knew better than that.

There was a woman taking photographs of the scene and a detective analyzing it. He was just as confused as those officers when you showed up. "Excuse me, who are you?"

You gave him a short smile. "Detective Walker, I wish we could've met under better circumstances. I'm Y/N Y/L/N." You held one hand out and simultaneously held up the other with your badge. "I've been instructed to take over this case."

He furrowed his brows. "I'm sorry, Ms. Y/L/N, but I've already alerted—"

"Detective Walker."

At that, you screwed your eyes shut and cursed under your breath. You recognized that voice—hell, you recognized the sound of his footsteps. And he was exactly what you didn't need.

Composing yourself, you spun around with your signature smile. "SSA Hotchner."

Hotch looked momentarily stunned at your being there, but that was quickly wiped away. "Y/N. What are you doing here?"

"Well, if you mean in the city, I live here. And if you mean at this scene, then that's because it's mine." You paused, letting that soak in. "This is my case."

Confusion was visible on his face. For a second, you thought it was cute. "No, this is a BAU case. Series of murders, victimizing high-level escorts—forgive me, but I don't see why this would require a CIA presence."

Of course, you don't, you thought, but for once, you didn't say what you were thinking. Instead, you explained, "I understand that 4 women have died in the past week, but believe me, Agent Hotchner, that is not the case I'm here to solve." When his brows knitted together, you elaborated, "These women are not the targets of these attacks."

"What do you mean?" 

You sighed, pointing over to the woman's body. "See that card over there?"

"Yeah, it's the unsub's signature."

"No, it's more than that. It's not a way for him to get off; it's not something he does compulsively. It is a taunt," you stressed. "Those letters aren't random. They're part of a code."

"A code to what?"

"A code to an NSA file recording every single undercover operation the United States has in foreign countries." Like your words were a vacuum, they sucked anything lighthearted out of the atmosphere—if there was any to begin with—and left tension in their wake. "6 high-level analysts have parts of that code. I'm guessing that 4 of them are already dead." You glanced back at the dead body before looking back at Hotch. "The unsub isn't a serial killer, Agent Hotchner. He's a traitor with a mission to annihilate everything in his wake."

❧

After looking at the scene, you sent Detective Walker away, telling him it wasn't personal but this case was too sensitive to be worked by local police. They didn't have the clearance nor did they have the means to help. You asked him to send you all of his evidence, and he complied easily, but someone wasn't so easily persuaded.

"You're going to need help."

You snorted. "Thank you, but I think I'll do just fine without it." Just as you reached your car, Hotch grabbed your wrist. 

You turned around, but before you could say anything, he spoke. "You could use my team, and you know it."

Your eyes ever so slightly narrowed. "All due respect, Agent Hotchner, but this is above your pay grade."

He held your stare for a few seconds until you saw his jaw tense. He glanced to the side before he exasperatedly muttered, "Please, Y/N." He looked up at you. "I want to help with this case."

Unknowingly, you straightened your back. Aaron Hotchner surprised you more and more each time you saw him. The corners of your lips curved upward, but something about your smile was more sincere. "You're not a man who says please much, are you?"

He rolled his eyes and neglected to answer. "Does that mean you'll accept our help?"

You paused. Was that what you meant? Your mouth didn't correspond with your brain as you replied, "I'm running point on this." Hotch's shoulders imperceptibly relaxed and he nodded. "I'll tell Detective Walker to send his stuff over to the BAU. I'll meet you there to brief your team." You turned away before you could see him nod a second time.

You don't know why you said yes, but you did. On the drive over, you told yourself it was because he was right, you could use some extra hands, and it helped that the BAU were good at what they did.

Yes, that's why I didn't send him away. 

You didn't explore any other option.

❧

Hotch got to the BAU before you but waited for you to arrive before walking into the building. To make sure you got to the right place, you reasoned. 

You went through the typical security procedure: removed your guns, walked through the metal detector, and showed your ID. In the elevator, you cracked a couple jokes that he didn't laugh at, asshole, but you nearly caught him slipping at one.

"This city's so damn power-hungry that even the serial killers would prefer a fucking computer code over sex. What a nerd. Hey, how often does that happen in your line of work, Hotchner?" You turned your head for his response when you saw his lips twitching.

You let out a dramatic gasp. "Agent. Hotchner. Are you..." you lowered your voice, a devious smile crawling to your lips. "smiling?"

His efforts to suppress his little smile failed after that. "Let's focus on the case, Y/L/N."

"Sureeee," you drawled. The elevator dinged and opened. "Better be careful, Agent. I might just start thinking you have a soul."

He shook his head at you and walked out of the elevator ahead of you so that you couldn't see him as a full smile graced his face. However, once you got to the conference, Hotch erased any sign of that smile and walked in full-stride.

You gave the room a cursory glance, duly noting that they must've spent a lot of time in here. You noticed immediately afterward that some faces were missing, and on the other hand, some new ones had appeared.

You followed Hotch to the front of the room in front of their TV. 

"Everyone, this is Director Y/N Y/L/N from the CIA. She'll be leading this case—and as some of you may recall, she's already worked with us on an investigation about a year ago," he announced, subsequently gesturing around the table. "Y/N, this is SSA Emily Prentiss, SSA David Rossi, our communications liaison Jennifer Jareau, and our technical analyst Penelope Garcia."

You nodded, smiling at them. "It's nice to meet you all—"

"You're— you're her."

You turned to the blonde with pink highlights that'd cut you off, Penelope, and furrowed your brows. "I'm sorry?"

"Oh my god, you're her," she whispered, her eyes wide and her face awestruck. "You're The Angel of Death."

You held back a laugh. "That is what people to tend to call me, yes."

She opened and closed her mouth repeatedly before eventually blurting, "I— you're an icon. I've read some of your code before in snippets, and it's beautiful. And, I mean, when you can code like that and then do what you do, it's no wonder that the government would want you all to themselv—"

"Garcia." At Hotch's command, Penelope's mouth snapped shut and snickers were heard around the table. "We are here to work," he told her, trying to be serious, but you could hear the amusement hiding behind his tone.

"Yes— yes, Sir. Work. Working," she said, but her eyes remained trained on you even as she spoke.

Morgan laughed, swivelling his chair toward you. "Sorry, angel. She gets a little..." he twirled his finger next to his head, "Comicon-y whenever things involve computers."

This snapped her out of her trance and made her whip around to point her finger at him. "You better shut it, Morgan, before I show everyone those pictures of you at Comicon with me."

His smile dropped. "Babygirl, you wouldn't."

"Oh, yes, sugar, I would."

Hotch exasperatedly cut their very entertaining banter off. "Work."

"Morgan, you've been to Comicon?" Without even looking at him, you could hear the smirk in the man's words.

"Leave it, Rossi. You heard the bossman: we've got work," he changed the subject, but based on the fiery look being sent his way by Reid and the teasing one by Emily, you'd bet that this conversation wasn't over.

Hotch signalled for you to start, so you stepped forward, got a little more serious for his sake, and began, "The serial killer you've been phoned in on is not a serial killer. The women he's killed are unfortunately collateral damage to a much bigger problem." Behind you, pictures of the paper left next to the bodies appear on screen. "The unsub is going after high-level members of the NSA who have fragments of a specific code. He's been leaving those fragments at the crime scenes. So far, he has 4—there are only 2 more. Once he gets the last two, it'll only be a matter of time before he's able to unlock a classified file, detailing every undercover op we have or have had in other countries."

The room was quiet. Morgan was the first to question, "So, he's a whistleblower?"

"No, not necessarily. Given his M.O. and need to taunt us with these papers, his goal isn't to expose the government—it's only a stepping stone to what he truly wants, which is chaos."

Emily spoke up next. "Well, he's clearly a narcissist, and he's sadistic at that. Otherwise, he wouldn't have killed these women like this."

Dr. Reid nodded, keeping his eyes on the file in front of him. "Craves control, finds a way to manipulate the situation and mold it into what he wants it to be." He looked up, talking with his hands while explaining, "Narcissists are devoted to themselves and will further themselves in whatever way possible. They lack empathy and find enjoyment in causing others pain, stemming from their grandiose sense of self-importance. Nathan Leopold and Richard Loeb were drawn in and obsessed with Nietzsche's idea of Übermenschen, supermen who possessed such high intelligence that it put them above the law. They later confessed to the police that they sought to commit 'perfect crime.' This unsub is likely suffering from the same sense of entitlement."

Rossi tipped his pen at him, agreeing, "Yeah, he's arrogant and he believes he can get away with this, hence the taunting. All he wants is to feed his ego, but he hides behind the whistleblower façade to absolve himself of blame."

"And he's impatient," Derek added. "4 bodies in one week. We don't have much time before he strikes again."

"No, we don't," you said. The screen changed to display the pictures of two men. "The last two people with the code are Malik Hussein and Ethan Torrie. I believe he'll go after Ethan first; he's in D.C. for this big gala tonight. That's where the unsub will make his move."

Emily looked between you and Hotch, almost as if she was unsure who she was addressing her question to. "So what's our plan?"

You, too, glanced at Hotch before looking back at her, splaying your hands out in front of yourself. "Well, we only have one course of action: wait for the unsub to approach Ethan."

Unexpectedly, Hotch interrupted you, saying, "Y/N and I will go in undercover." What? You held yourself back from widening your eyes and whipping your head around. "The rest of you will be waiting for our signal. Garcia, can you get us on the guest-list?"

"Already on it, Sir."

He nodded, firing orders away, "Alright, Morgan and Prentiss, I want you both to go back to the crime scenes. Talk to the owners of the establishments, bartenders, doormen—anybody who could've seen the unsub leave the building with the victims. Garcia, consult with CCTV footage. Rossi and Reid, I want you looking at his M.O. and why he didn't leave the men there with the women. JJ, contact The Post and tell them not to run the latest murder; it's imperative we keep this and the unsub's true motives out of the press. Y/N and I will go over tonight's plan."

They all voiced their confirmations and, like clockwork, filed out of the room until it was just you and Hotch left standing. The air suddenly got heavier—with what, you had no idea.

It felt different, old and new all at the same time, like everything and nothing you'd ever felt before. You couldn't pinpoint it, couldn't describe it.

Growing bored of the silence, you raised a brow, repeating, "'Y/N and I will go undercover?'"

Hotch, who was in the middle of collecting his things, paused and raised a brow of his own, turning to face you. "Yes. Is there a problem?"

You looked him up and down, taking your time and not bothering to be subtle about it. After a moment, you responded, "No." A smirk slowly came to your face. "Let's go over that plan."

He maintained his stare for a few seconds, reminding you of when you met. Eventually, he nodded and got to it. All the while, your mind ran rampant—but not with the case.

Agent Hotchner continued to surprise you.

And you'd be sure to return the favour.

❧

After planning for hours, you and Hotch came up with a decent story. He'd be going as himself. You'd pretend you were his girlfriend, his tag-along for the party, with a fake identity. His presence would make sense, but if people found out Y/N Y/L/N was there, they'd start to wonder things that this plan couldn't afford.

Your name wasn't widely known, nor was your face, but at a party like this, you had to be careful.

That's what you explained to Hotch.

"I don't understand. Nobody knows who you are. Not even Garcia could figure out who you really were when we met." He furrowed his brows in confusion.

You sighed, "There's going to be a lot of powerful people there, Hotchner. Everybody knows The Angel of Death, but there are some big fish in Washington that know she's Y/N."

This seemed to confuse him more. You surmised that he didn't like not knowing things. "Why do you say it like that—say your name as if it's not your name?" 

You gave him a look.

His eyes widened. And for the second time that day, you found yourself thinking that Aaron Hotchner was cute. "It's not your name?"

"Why do you think Penelope had such a hard time finding my credentials?" you inquired. You went on before he could answer. "I take it she didn't find my records at The Academy, either. She found that I went to Caltech, but she didn't find yearbook photos or my social media. She found that I grew up in Massachusetts, that my parents are dead, that I was born in '79. But otherwise, I'm a ghost, aren't I?" Your voice was somewhat playful.

Hotch didn't seem to find the humour in what you were saying.

"So everything about you is a lie." It wasn't a question.

Your eyes glinted with amusement. You leaned in to where he sat across from you on the other side of the table. If you didn't know any better, you'd say that Agent Hotchner stiffened. "'Nothing more than a rumour, an urban legend amongst criminals and internet sleuths. A myth,'" you whispered. "Does that sound familiar?"

He didn't respond.

"As you said, Agent Hotchner, I am a myth. I am not meant to exist. So find me another identity and show me that you're up for the task before this entire plan is derailed by a name."

Your memory was cut off by a knock at your door. You swiped your lipstick across your lips and they immediately quirked upward right after.

You took your time getting the door. Whether Agent Hotchner realized it or not—or rather, whether he was willing to admit it or not—this was a game. And you were nothing if not a damn good player.

Without knowing it, he started it when he picked you up off the street that day in '04. He moved another piece on the board when he walked into your office in '06. And then he asked to work on this case.

It didn't matter what he thought about you or what your name really was. All that mattered was the next move.

You opened the door and his eyes immediately widened on their own accord. They travelled down your body, tracing the outline of the red dress you'd picked out, finding the slit on the side. But this was all within a split-second.

In the blink of an eye, his eyes were back on yours. If you hadn't been paying attention, you would've missed it. He was hoping you did.

But you didn't.

You did, however, miss his ears going red when you turned around, leaving the door open as an invitation inside. 

"You're wearing a suit," you noted, smirking. "How out of character for you."

You heard the door shut, and then footsteps behind you. "Funny, Y/N."

You chuckled. "Please, I know you think I'm hilarious."

He lightly shook his head as you stood in front of your mirror, putting on your earrings. He took that moment to look around your apartment, eyes scanning over your living room. No pictures anywhere, no plants or art. You had a couch, but no television. He glanced to the adjoining kitchen. There was an espresso machine, but he was willing to bet that if he checked your fridge, it'd be empty. 

"You can stop trying to profile my apartment," you informed him, still adding the finishing touches to your outfit. "I don't stay here often."

"I can tell."

He watched as you picked up your heels then went to sit on the couch to put them on. He tried not to let his eyes wander, instead trying to look around the room some more, but even without having his eyes on you, he still couldn't get your picture out of his head.

Distractedly, he heard you absentmindedly ask, "Hey, whatever happened to Gideon and Greenaway?"

He looked at you to respond, seeing you get up. "Things with the job. Certain cases take more of a toll on others." He didn't explain that Elle spiralled or that Gideon lost everything he held dear. He preferred not to think about it.

You tilted your head. "Did things happen with you, too?"

He didn't answer, instead opting to suggest, "Let's go over the case one more time."

You nodded and let him get away with it.

Hotch schooled his expression. "You're Deirdre Carter. You're a CPA. We met years ago on a work conference but hit it off recently. We've been dating for five months."

"Dating," you repeat.

His brows furrowed. "Yes." He didn't understand why you were hung up on it until he saw you glance down at his hand. It's then that he realized he was still wearing his ring. "Oh."

Your voice got softer, and you didn't know if that was part of the game or not. "Look, Hotchner, you don't have to do this if you don't want to. I can do this solo."

"No—" he sighed, looking down at the ring he'd worn everyday for years on end. "I'm divorced. I guess I just wear it out of habit," he revealed.

"Oh."

He took it off and stuffed it in his jacket pocket. "Let's head out," he said. You nodded, leading him out.

And you didn't mention the ring again.

❧

Once you got to the building, you met Derek, who was in a secuirty uniform, at the front. He momentarily disabled the metal detector for you so that the guns on your thigh and in Hotch's boot weren't caught.

In the hall, the music played ceremoniously, an orchestra of jazz players working tirelessly to entertain D.C.'s wealthiest and most powerful. The President would be making an appearance later. You hoped to get this done and get out of here before that happened.

Your eyes found Torrie within a minute, subtly signalling his location to Hotch. He was by the bar, a redhead on his arm. The two of you went that way.

He ordered you drinks at the bar that he wouldn't drink, but as soon as your martini was in front of you, you were picking it up and taking a sip.

"What are you doing?" he hissed, talking through his teeth. "We don't drink on the job."

You smirked at him. "You don't drink on the job. I'm just keeping up appearances." You then took the olive and bit into it. For some reason, you enjoyed getting under Hotchner's skin.

He rolled his eyes at you, likely about to reprimand you again, but a voice in your ears stopped him. "Do the two of you have eyes on Torrie?"

Hotch turned to you and brought his hand to your face, cupping your cheek. To those surrounding you, he was just a man caressing his girlfriend—hell, the leap in your chest told you that you nearly bought it. But you knew he did this so that the mic hidden in his sleeve would be at your mouth. You held his stare, a sweet smile gracing your face as you replied to Rossi, "Yes. By the bar."

"Good. Prentiss is on the floor with the ambassador if you need her."

You leaned into Hotch, too, running your hands down his suit jacket while he glanced around for Emily. "Got it."

The next voice you heard was Garcia's. "Hello, my lovelies, I am watching you on camera. Hotch, to your left is the door through which you'll take our bad guy. It's being guarded by Reid and JJ as we speak."

You lowly thanked her, to which she stammered out a "you're welcome." Hotch took his hand away from your face and you removed yours from his chest, cursing the part of yourself that missed his touch.

If you weren't on a case, you'd have thought more about how pretty his eyes were.

The music suddenly changed, becoming a slow song. Your eyes darted behind Hotch to see Ethan and his date making their way to the dance floor. You downed the rest of your martini then grabbed onto his hand, wordlessly pulling him to the floor.

You felt him lightly tense when you put your hands around his neck. "Relax," you whispered. "Just go with it."

At that, he eased up, wrapping his hands around your waist. You moved to the beat of the song, taking control of your dance while he kept a close eye on Torrie. No one had approached them yet, you gathered.

The dance came easy to you, too easy, like it'd been rehearsed or like it was something you'd been doing all your life. Your feet moved synchronously like they had a mind of their own. You didn't have to think about it—it just happened.

It was funny, almost. The stiff and stoic Aaron Hotchner could dance. Your mind went back to when he smiled in the elevator earlier. It made you wonder what he was like before. Before he was a profiler or unit chief.

You know you were different before you were in this life, before you became Y/N.

You wondered what would've happened if you met back then, when you were just you and he was just him.

And just as soon as you started wondering, you no longer wanted to think about it. Instead, you asked him, "Did you ever think you and I would be dancing together like this when we met?"

He glanced down at you then looked away. "No." A ghost of a smirk came to his lips. "I thought I'd be putting you behind bars."

You chuckled. "I know. It was quite entertaining."

"To you, maybe." He glanced down at you again. "I don't like being blindsided."

"Oh, I know." When he glanced down at you this time, he saw your eyes twinkling. "That is precisely why it was so entertaining, Agent Hotchner."

He chuckled under his breath, and something in you fluttered. "You're something else, Y/L/N."

You hummed, murmuring, "And don't I know it?"

He was gonna say something else but then something in his expression changed. He was back to stoic, eyes hardening. You straightened your back and stopped dancing. "7 o'clock," he muttered.

You unwound your hands from his neck, turning around to see a man beelining at Torrie from across the room. But if you had your way, which you would, then he wouldn't make it to Ethan at all.

With Hotch hot on your heels, you headed his way, moving through the crowd effortlessly. Just before he was about to reach them, you inconspicuously unholstered your gun from your thigh and pressed it against his back, stopping him in his tracks.

Hotch caught up to you, standing to the side and obstructing the view. "Careful, friend. I wouldn't want to shoot you in front of all these people, but I will." As a warning, you clicked the safety off. 

The man tensed as Hotch grabbed his arm. Your voice was sweet in comparison to your sour words. "Now, you're gonna follow him or I'm gonna pump you full of lead. Capisce?" Neither you nor Hotch waited for a response, leading him towards the side doors that Garcia had notified you of.

Upon getting there, Reid and JJ opened the doors without a word and closed them immediately after you'd gone through them.

As soon as the doors closed, the unsub twisted Hotch's arm, prompting him to yelp. Simultaneously, he knocked the gun out of your hand, sending it thudding across the floor. 

He shoved you against the wall, knocking the wind out of your lungs. Meanwhile, Hotch threw a punch his way. A crack resounded through the hallway followed by the unsub growling. He threw a punch back that Hotch narrowly dodged, but in one quick motion, he pulled Hotch's tie, catching him off guard.

In a flash, he had Hotch in a chokehold, fighting for breath. You acted quickly, reaching for the knife sheathed on your thigh, running up behind the ubsub and holding it to his throat, causing him to go rigid.

"Let him go or I slit your fucking throat," you spat.

He didn't ease his hold, making you bring the knife closer, knicking him. "I said, let. him. go."

Begrudgingly, he let Hotch go, who was gasping for breath. You let him catch his bearings for a moment, but you had to alert him, "Hotchner, the cuffs."

He coughed but nodded, grabbing the cuffs from his pocket. You took them from him, shoving the unsub against the wall just as he did to you and pulling his arms behind him. You wrapped the cuffs around his wrists and tightened them until you heard him grunt.

"In case you didn't get the memo, you're under arrest, asshole."

Knowing this would never reach a courtroom, you didn't read him his rights or tell him what he was being arrested for. He knew.

Where he was going, he'd never forget it.

❧

You and Hotch stood to the side in an alley after you'd shoved the unsub into the back of a black sedan, watching the car drive off. 

"I know that you're just itching to interrogate him," you commented, your voice echoing in the night. "But trust me, that's somebody else's job now." You felt Hotch's eyes on you, but you didn't look at him.

His stare burned into the side of your head. "That wasn't a cop car," he said.

"No," you finally looked back at him. "it wasn't."

"Who was driving that car?"

"A CIA agent."

"And where is he going now?"

"To pay for his crimes," you slowly answered, narrowing your eyes. "Stop worrying about it."

He stepped closer to you. "He should be doing that in a federal prison, with a sentence decided by a judge and a jury. The families of those analysts, those women— they deserve closure."

You shook your head, an incredulous laugh leaving you. "You still don't get it, do you?" Your voice was teasing, but your undertone was hard and serious. "A trial means telling a bunch of people, including civilians, about ops that are not meant to exist. It's just not gonna happen."

Hotch kept staring at you for what felt like forever but was really only a few seconds, giving you the urge to squirm under his gaze. For some reason, you didn't like the way he was looking at you. Finally, he looked away, exhaling, "It's not right, Y/N."

Somewhere, deep inside, you felt a pang. You touched his shoulder, softly telling him, "You should know better than anyone that the law isn't about right and wrong." 

He still didn't look at you.

You sighed. "Thank you for your help, Agent Hotchner." You patted his shoulder one last time and then left the alley, walking through the door you came out of and, in doing so, you felt something change. 

The game was over.

You just couldn't tell who won.

By the time Aaron had noticed this change, he tried to follow you, but when he opened the door only to see an empty hallway, he realized it was too late.

You were gone.

And he didn't know why that disappointed him so much.

4. Unpredictable

New York, New York, 2008

Whenever Aaron was in New York, he liked to pick up good coffee and eat good food. But as he stood over a dead man's corpse, he felt his appetite vanish.

He and his team stood at the crime scene, analyzing it. It was different, but he couldn't shake the feeling that everything about these murders were different. There was something off about them, and he couldn't figure out exactly what it was.

Out of the corner of his eye, he saw a black car pull up next to the yellow tape, the Mercedes logo glinting in the light. He furrowed his brows then shook his head, thinking better of it. Stop thinking about her.

"Uniforms are rounding up witnesses."

Detective Cooper and Brustin's arrival made him look away from the car and toward them instead. "Doesn't sound like anyone got a clean look," Cooper said.

Morgan looked up at the security camera that should've caught everything but in reality caught nothing useful. "It's over in a flash," he remarked. "He's probably gone before anyone even realizes what's happening."

Right beside him, Kate asked, "Is this what it felt during the Son of Sam?"

Just as Brustin was about to answer, a new voice sounded from behind them. "Son of Sam is the least of your worries." His breath hitched. They all turned around, and Hotch instantly realized that he was right: that car was yours—and now you stood right in front of him.

You gave him a glance but then your eyes were back on Kate. "What you should be focused on is another 9/11."

Kate lightly scoffed. "My apologies— who are you?" 

"Y/N Y/L/N, CIA," you introduced yourself, flashing your badge. Recognition briefly flickered through her eyes. "And you must Kate Joyner, head of New York's field office." To be polite, you held out your hand, and she reluctantly shook it. "I'm here as the Agency's delegate, and I'll also be representing Homeland Security for the time being."

"Homeland Security?" You looked to Morgan. "It's nice to see you again, angel, but what does Homeland Security have to do here?"

You went to answer, but Joyner cut you off, "I'll ask the questions, Agent Morgan, thank you." Your eyes widened slightly in surprise, and a quick look at Derek told you that his did, too, but then Kate was looking at you again, waiting for you to answer.

Your mind was brought back to the situation at hand. You glanced at Hotch once more to see he was already looking at you, but then you looked away. "I have reason to believe that this guy is more than a serial killer. In fact, I have reason to believe this is more than one guy."

Kate crossed her arms. "What are you suggesting?"

Every time Hotch had seen you, no matter how serious the situation was, you were lighthearted, amused, knowing you'd come out on top. But this time, your voice was devoid of its usual playfulness as you disclosed to them a fact that changed their entire investigation.

"If I'm right, Agent Joyner, then we're dealing with terrorists."

❧

Once the initial shock from your revelation died down, you told them that you'd explain everything back at the field office. Unexpectedly, Morgan asked to ride back with you and you obliged, figuring his company wasn't too bad.

Hotch stared at you the entire time as you got in the car, and he continued to stare at you until you sped out of sight.

You didn't look back once.

"So, terrorism, huh?"

You glanced at Derek and smirked, finding that playful nature again. "I told you, I'd explain at the Bureau."

He shook his head at you, a similar smirk on his face, then he quizzed, "Hey, did Hotch happen to tell you why Joyner's giving me attitude?"

You furrowed your brows as you came to a stop light, turning toward him. "What makes you think I've talked to him?"

Derek snorted. "Please, every time I've seen the two of you together, you're all flirty—even when he was still with Haley."

"So what? I've flirted with Spencer before—doesn't mean I wanted to get into his pants," you defended.

His smirk widened. "I never said you wanted to get into the boss' pants."

"You insinuated it."

"Why, angel? Do you want to get into his pants?"

You deadpanned, "No, I do not." Despite yourself, you couldn't stop red from crawling to your cheeks.

"Yeah, keep telling yourself that." Right after, the light turned green, as if saving you from whatever this was. Then the teasing disappeared from Morgan's voice, replaced with curiosity. "Wait, so you're seriously telling me Hotch didn't call you?"

"Yes, Derek. That is exactly what I am telling you," you insisted, then you glanced back at him. "But to answer your question, Kate doesn't like you for the same reason she doesn't like me: power." He stared at you confusedly, so you elaborated, "Word on the steet is that the FBI wants to reassign her, and you're their star replacement."

"What?" Shock laced through his voice.

"What, are you telling me you actually didn't know?"

"No, I thought the Bureau was so proud of itself for stealing her away from Scotland Yard."

"Well, don't ask me to explain FBI politics to you. I'm in an entirely different organization, my guy."

Derek groaned in exasperation, making you laugh and forget about Hotch, even if it was only for a second.

❧

By the time you and Derek got to the field office, you were all business, unlike any time Hotch had ever seen you.

With the team gathered around you, you stood in front of the evidence board and started, "The unsubs' behaviour is questionable. They're disciplined, they're using countersurveillance. They take a quick shot then leave the scene immediately, not stopping to watch or enjoy the kill at all. There is nothing sexual about it, and that is because these killings are not the work of a serial killer. They're methodical. They look like mob hits at first glance, simulate gang initiations. They seem random, but they're not. The murders, just like the Death card you received, are a smoke screen."

Kate cut you off. "How can you be so sure?"

You suppressed your irritation at being interrupted and kept calm. Cooly, you explained, "Murders like these create panic— not just amongst the general population, but amongst law enforcement, as well; it is terror. It serves their greater goal." You gestured with your hands as you spoke. "The murders simulate a bombing. From there, they station someone to watch, gauge how long it takes police to respond."

Understanding flashed through Morgan's eyes. "At which point they bring in a second bomb."

"Exactly," you affirmed. "The goal is always to take out a first round of civilians, followed by a second wave of emergency responders. It's trial and error—it's how they practice. And if someone catches the shooter, that's fine because we just end up thinking we have a murderer; the cell is never compromised. And in creating such panic, they ensure the most urgent response time short of a bombing. It's by far the smartest way to plan for a terrorist attack."

You crossed your arms, giving them time to absorb your words. You didn't expect anyone to respond so soon, and you certainly didn't expect that person to be Hotch. "It's a theory, Y/N." His voice was soft, and that seemed to only add fuel to the fire.

You resisted the urge to scoff, sharply retorting, "Isn't any profile?"

He didn't answer. Perhaps that was the smartest choice; he didn't want to pick an argument with you, not now.

Hesistantly, Spencer spoke up, "I think— I think she's right." He walked behind you to the board, picking up a red marker and circling spots on the map before turning back around to face you. "I think they're targeting points of entry. All the murders have taken place near a bridge or tunnel."

"Holland Tunnel, Midtown Tunnel, Manhattan Bridge," Emily muttered.

"If bombs went off, emergency response would shut down any ability to get in or out of the city," JJ remarked. "It's— it's like people would be trapped on the island."

It looked like you had everyone convinced, even Hotch—despite his reluctance to believe you—but for some reason, Kate Joyner just couldn't let up. She crossed her arms. "I still fail to see how you came to the conclusion of multiple shooters."

Unbothered, you replied, "Having followers do the shootings would ensure they're willing to kill or be killed for their cause."

She countered, "But is there any evidence that that's the case?" 

You narrowed your eyes, going to respond when someone's ringtone sounded. Derek picked up his phone and put it on speaker. You could almost thank whoever it was for stopping you from saying something you would or wouldn't regret. 

"Talk to me, babygirl."

Penelope's voice came through the phone. "Okay, I have bad news then badder, connected news. What would you like me to start with?"

Derek glanced up at you, then at Hotch. "Gimme the bad news, Garcia."

"Alright, well, I was looking at the surveillance footage from the murders, specifically the most recent compared to the previous, and found something very, very off. I'll share my screen with you." Emily turned on the laptop on the table closest to all of you, and the footage immediately appeared. Silently, you watched the videos one after the other, and you had a feeling that Garcia was just about to vindicate you. "You guys see what I saw?"

"Well, he sprints off in one and walks calmly in the other. It's two entirely different demeanours," Morgan said.

"Exactly, my dove. So check it out, I did a digital perspective analysis rendering on all the shootings we have footage of. Now the first two were inconclusive, but again, in the last two, I found something très weird." Garcia did a freeze-frame, her analysis software appearing. "Your calm, walking type—he's about 6 foot 1." The screen changed to the other scene. "But your sprinter, he's like 5'9", 5'10" tops."

While the air in the office got colder, you stood there holding back the urge to smirk. You saw both Morgan and Hotch glance at you from the corner of your eye, but you only turned to Kate, seeing somewhat of a defeated expression on her face.

"Is this evidence enough for you, Agent Joyner?"

❧

That surveillance footage was enough confirmation for you, no matter what Joyner had to say about it. Following Garcia's revelation, you walked away from the team's makeshift conference room and walked into the bullpen, pulling out your phone and dialling Homeland Security.

You notified them of the situation at hand and that you were expecting something big soon, but not yet, telling them not to act without your say-so. It was of vital importance that you controlled the situation; you couldn't let the unsubs know you were onto them, so you couldn't make any moves just yet, either.

You hung up the phone, sighing. You hated cases like these. Being The Angel of Death was something you got used to; you could control that, but dealing with a cell like this wasn't just more challenging—it was unpredictable, and unpredictable was something you weren't quite fond of.

You turned around and nearly jumped out of your skin when you saw Hotch standing right behind you. Your hand slapped against your chest. "Holy shit, Hotchner, don't they teach you not to a sneak up on a girl in FBI school?"

Something almost like a smile came to his lips, the last thing you were expecting from him, especially at a time like this. "I'd hardly call that sneaking up on you. And according to you, you've been to 'FBI school,' so you should know."

You scoffed. "Regardless." Hotch's eyes remained on you, and the corners of his lips never went down. An uncomfortable silence then settled between you, despite the loud bustling in your surroundings.

You were hoping you could've gone this entire visit without speaking to him alone.

He must've noticed this, because his next words were, "You've been avoiding me."

You tensed ever so slightly. You'd been here all of five minutes, and he thought you were avoiding him. "I have not been avoiding you—"

"Yes, you have."

"We have bigger problems to deal with. Not everything is about you, Hotchner."

"Why are you avoiding me, Y/N?" You hated how his voice sounded, calm and soft. You hated the fact that he was even asking you this right now. You wanted him to be the stoic guy he always was. You didn't like this. And deep down, you knew that that was why you were avoiding him.

You didn't like the unpredictable.

And Aaron Hotchner was just that.

In lieu of responding, you dodged the question, biting back, "Why do you care?"

Hotch stilled as if you'd just hit him with the question of the century. It was then that he realized he didn't know. He couldn't answer you because he didn't have the answer himself.

He didn't know what he was going to say when he opened his mouth, and he supposed he never would, because a second later, a phone rang.

A sigh left his lips as he went to pick the phone up off some agent's desk, and you watched as the stoic man you knew returned. Yet, for some reason, you weren't as relieved as you thought you'd be.

"Hotchner." Kate chose that moment to walk out of her office while Morgan and Rossi came up from behind you. Hotch's voice became grave. "Does it look it could be one of our guys?"

Derek took the words right from your mouth. "What's going on?"

Hotch put down the phone. "We've got eyes on one of them," he answered. "He's on the subway platform at 59th and Lex."

"59th—? We could've been right there." He looked at Kate with an accusatory glare. The fury that lit up in his eyes and the way she refused to look back told you there was a conversation between them that you missed.

Over the phone, you heard Garcia let out a shaky breath, telling you all that the unsub shot the woman.

Kate paced. "Where the hell are the police?" 

Meanwhile, you picked up another telephone from the adjacent desk. "This is Y/N Y/L/N with the CIA. We have a murder suspect on 59th and Lex, subway platform. Hurry."

You slammed the phone down as you heard Penelope fret, "God, he's getting away."

"Garcia, can you get eyes on him above ground?"

A few clicks were audible as she responded, "He's heading west on 59th Street."

Kate spoke up, stating what you already knew. "If he makes it to the park, we've lost him."

"We lost the visual," another woman said.

Derek scoffed while Rossi questioned, "Are the police on the scene?"

"Negative."

And just like that, without another word, it was clear to everyone in the room that you just lost your only suspect. 

You pinched the bridge of your nose, cursing under your breath. Next to you, Derek made his frustrations much more known. "We could've had that guy," he snapped.

Kate finally looked at him. "Even if we were on that platform, odds are he would have moved onto someone isolated."

This didn't console him at all. "Maybe, but it was worth taking a shot—"

"I had every available man on the street."

Morgan stepped forward, seething. "And I suggested to you that you use this team." Realization came over you. Now you understood why he was so angry; Kate let her resentment of him get in the way of the case, and that decision may have just cost you a life.

Just as you thought Hotch couldn't get any more unpredictable, he scolded, "Morgan, second-guessing doesn't do us any good right now."

Your brows raised, but he didn't look at you, nor did he look at Derek. 

"Hotch, we have a possible terrorist attack coming. How am I supposed to look these cops in the eye and tell them that we're actually here to help them?"

Hotch's reply was sharp. "We're here to present a profile. That's what we need to do."

Derek ignored him, pressing, "I said to put as express stops. 14th, 42nd, 59th— and that's exactly where they hit—"

"It's not your place to have this discussion." This time, Hotch did look at him, and his eyes were hard.

Immediately, you cut in, spitting out his name. "Agent Hotchner." Hotch's eyes went right to you. You stepped forward, firing, "We have six bodies. And right now, I have to call Homeland Security and tell them that we not only have another one, but we also just lost a valuable chance to find one of the perpetrators."

"Which is exactly why we need to stay focused."

"Focused?" Derek echoed. Then he took a step closer, standing eye to eye with his boss. "From where I'm standing, all your focus is on her."

Kate's head ducked down, and from there, it didn't take much for you to connect the dots. All of a sudden, it made sense why Derek had asked you about Kate earlier instead of going straight to Hotch.

And to think that, just a few moments ago, he'd been going after you.

With a tick in his jaw, Hotch commanded, "Take a walk. Now."

Derek stared at him for a split-second before walking off without another word. 

"You know, I think I'm gonna take that walk with him," you muttered. And just like that, it was as if Hotch realized you were still there.

He went to say your name, but you were turning your back and walking away before he could even utter the first syllable.

Unpredictability. What a fickle thing.

You hated it.

❧

You found Derek at a nearby bar, the closest bar to the field office. Contrary to what you said to Hotch, you didn't come looking for him; he just so happened to find the same place you did.

Before you even pulled out the barstool, he was sighing. "I know. I was out of line."

You lightly snorted. "I'm not here to chastise you, Derek." He looked up at you, surprise flashing through his eyes. "I'm just here to drink." Right on cue, the bartender came up to you and asked you wanted to drink, to which you ordered brandy, neat.

When said drink arrived in front of you and you downed it in one go, it prompted him to ask, "Aren't you still on the job?"

A slight chuckle left you. "Morgan, I run an entire CIA ops division and then I also get asked to do things like this." You then deadpanned, "Trust me, I can hold my liquor."

He held his hands up in surrender, an amused expression on his face before something serious took it over, wiping the smile from his face. "I'm sorry about Joyner, by the way." When you look at him confused, he explained, "I didn't have to say that. Not in front of you."

You sighed. Not this again. "Derek, I have nothing going on with your boss. So whatever the deal is with him and Kate is absolutely none of my business." For some reason, the words stung coming out of your mouth, and you didn't like it one bit.

He left it alone and didn't press the issue further (thankfully). You glanced at the beer in front of him. You nodded toward it, stating, "You haven't touched that."

He glanced at it. "Guess I don't have the appetite for it right now."

You hummed. "Or you want to go back."

He let out a long, dramatic sigh, nearly making you laugh. "I have to apologize to her, don't I?" This time, when you nodded and he ran a hand over his bald head, you did laugh. "Fucking hell."

You sarcastically patted his shoulder. "Don't sweat it, sweetheart. I'll walk back with you."

"Sweetheart?" you heard him question as you stood up, putting enough money down for both of your drinks. "And now you're paying for me? You're threatening my manhood here, angel."

"Get over it, Morgan."

And as he let out a hearty laugh, you let yourself pretend that you didn't have a different agent on your mind entirely.

❧

Upon getting back to the office, you suddenly wished you'd had another drink as you were informed that there was not only another shooting, but Detective Cooper was shot after he and Prentiss chased after him.

Kate seemed to have taken Derek's suggestion and sent the team out on the streets in the hour and a half you were away. In that time, Prentiss and Cooper nearly got one of the shooters, but he was fast; he could've gotten away. Yet he stopped and shot Cooper, prompting Emily to fire a shot of her own.

Suicide by cop.

You hung up the phone, walking back into the room after telling Homeland that you'd be calling with another update soon. "Three shootings in one day," you said, catching everyone's attention. "They're ramping up to something."

Morgan held his phone up in the air and wiggled it. "Yeah, well, while you were on the phone, Garcia called. They hacked into at least one camera at every scene and have been watching from day one."

You cursed under your breath just as Kate called your name. "Y/N." You looked up at her in half-veiled surprise, seeing her standing with her arms crossed, a somewhat uncomfortable look on her face. "Aaron told me more about your position in the CIA, how you're more well-versed in situations such as these." It looked like she had a hard time getting the words out, despite the sincerity in her tone. "I'd like you to take the lead on this." 

You were sure that the surprise must've shown on your face, courtesy of fatigue, but you quickly masked it and nodded. You took one deep breath, and then you dived in. "We need to hit the ground running." You turned to everyone individually as you gave them instructions. "Rossi, I'd like you to talk to the Commissioner. He'll be familiar with you." He nodded and left the room. "Derek, you brief Homeland Security, tell them I sent you. I want them to know we're expecting them to strike any minute now."

"You got it, angel."

You turned to Emily, who was already ahead of you. "I'll head to the hospital, check on Cooper, and brief Detective Brustin."

"Good. And Spencer—"

He (with a creepy accuracy) anticipated what you were going to say before you even said it. "JJ and I will talk to the Port Authority Police."

You nodded then realized that left only two people, unwelcome dread filling you. Out of a stubborn attempt to prove his earlier claim about avoiding him wrong, you looked to Hotch but still didn't meet his eyes. "Agent Hotchner, you and Kate should speak to the mayor. I have to make some calls to the DOD. We'll all meet back here as soon as possible. We are crunched for time, but the one advantage that we have is that they don't know we know they're watching."

Everyone who hadn't already left nodded and got to their tasks. Hotch looked like he wanted to stick around and say something to you, but as you said, the clock was ticking. 

You called the DOD and briefly explained what Homeland Security had likely already spoken to them about, that you saw a terrorist event on the horizon. They told you that, luckily, the Deputy Secretary of Defense was in town, only ten, maybe twenty minutes away from where you were. 

Quickly, you gathered your things and made your way out of the building. At the exit, however, you found exactly who you didn't want to see.

Hotch and Kate.

They hadn't left yet.

They stood outside the door, facing each other. He had his hand on her elbow, and he was saying something you couldn't make out. Whatever it was, it made her lips upturn.

You couldn't recognize the feeling that crawled through your veins at that moment. The green monster and you hadn't been acquainted in a while, but for some reason, she was showing up, making your body her home, and you hated it.

Shaking off whatever it was you were feeling, you pushed the door open. Hotch noticed you first. "Y/N," he said. He took his hand off her arm. A weight was lifted off your chest.

"Agent Hotchner," you greeted, promptly turning to the blonde and doing the same. "Agent Joyner. I've gotten word that the Deputy Secretary of Defense is in New York; I'm heading to see her."

Kate nodded. "Good. Aaron and I are on our way to the mayor's office now." She turned, starting to walk away, and then you realized she was heading in the same direction as your car.

Fuck. They parked next to you.

You started walking, too, Hotch now at your side. Kate was ahead of you guys. You're sure that Hotch could naturally walk faster than you, but he remained at your side. This is deliberate, you thought.

Your conversation from earlier hung in the air. With Kate gone, the tension between you was now palpable. But he wouldn't say anything, you assured yourself, not with her in earshot.

But perhaps you underestimated him. With every meeting, Aaron Hotchner continued to surprise you. He had become unpredictable to you.

Yet, the two of you would soon bear witness to just how unpredictable life could truly be.

Just as you were nearing your vehicles, Aaron opened his mouth to say something, but a loud boom cut him off.

Before either of you could register it, you were sent flying backward, shockwaves rippling through your body.

And then everything went black.

❧

New York City has never been so quiet, you thought, blinking your eyes open. And you've never been able to see the stars in this city, either, but tonight, you saw them just fine. Part of you wondered if you were dreaming.

No, not a dream. A hallucination.

There's been an accident.

The thought hit you like a ton of bricks as pain erupted in your side. A groan left you unwarranted. You went to touch it then hissed at the throbbing. There was no blood there, though, no wound, so it must've been the bones.

Nowhere else hurt—not that bad, at least. You tested yourself, trying to sit up. It hurt to do so, but you did it. And when you did, you were met with the sight of an SUV, up in flames.

No, not an accident. This was planned.

But it wasn't your car. It would've made sense if it were your car, if you were the direct target, but you weren't. Your mind ran a mile a minute. Why would they blow up a random SUV?

It's then that you remember it wasn't a random SUV. It was Hotch's.

Hotch and Kate.

They were with you.

With that realization, any and all intellectual thought escape your grasp. You shot upward, the pain becoming nonexistent as a surge of adrenaline flowed through your body. "Hotch!" you screamed. No answer. "Hotch! Kate!" No one answered. "Aaron!" You continued to cry his name but no one answered.

Tears you welled up in your eyes. It was lost on you that you hadn't cried in years. It was equally lost on you that this was the first time you'd ever said his name.

You spun around, letting go of a breath you didn't know you were holding when you spotted a man in a suit, standing there, just staring at the fire. You jogged over to him and called out his name, but he didn't move his head. You tried again. "Aaron." No response. "Aaron!"

Finally, he looked at you. A plethora of emotions could be seen on his face. Confusion. Anger. Fear. Then worry. "Y/N," he breathed. "Are you alright?"

"Yes, I'm fine." That was a lie, but you could handle the pain well. You had good experience. "Are you?"

"Yes, I think so." 

You took a quick moment to examine him, the cut by his brow, the blood by his ear; you think back to how he didn't respond to your calls. Concussion, you thought, and a ruptured ear drum.

You take ahold of his arm, gently but firmly, and slowly asked him, "Aaron, where's Kate?" 

He blinked, glancing back at the wreck and then back at you. You watched him swallow. "I—"

"Hey! Are the two of you okay?"

Your eyes and his simultaneously snapped to the voice that'd just appeared, seeing a scrawny kid stand in front of you. Like a switch had been flipped, the abundance of emotions on his face dissipated into one.

Determination.

"What's your name?" he questioned.

The kid looked at him, confused. "What?"

Hotch repeated, "What's your name?"

As if he thought you two were crazy, he glanced between you warily. "Sam," he replied.

Hotch didn't look at him or acknowledge his name as he ordered, "Call 911." 

"Yeah— yeah, I did."

"Call 911— tell that there's been an explosion."

"Sir, are you okay?" His eyes darted to you. "Ma'am, are you hurt?" Momentarily, he glanced down, his eyes catching the gun on your belt. He looked to Hotch, finding the same thing. Stunned, he looked back up. "Are you guys cops?"

Hotch's eyes were still on the fire. "Call 911. Tell them... that a— that a federal agent—" Without warning, he took off running towards the car, yelling, "Kate!"

"Hotch!" You went to follow him but the kid stopped you.

"Okay so you want me to say you're a federal agent?"

You turned around, eyes blazing. "Call 911. Tell them that there's been a car explosion, involving two FBI agents and one CIA officer." You barely finished your sentence before you were running after Hotch.

By the time you got to him, he was taking off his jacket, about to shield himself and run right into the car but you stopped him. "Aaron!" 

His eyes darted to you then travelled behind you. The dread painted on his features mixed with relief, but you couldn't tell which emotion was stronger. You turned, following his line of sight, and saw Kate lying on the ground, a trail of blood leading to her body.

Without missing a beat, you both ran to her, her coughing becoming more audible as you got closer. Aaron got down immediately, and her first words were, "My purse. I can't find my purse."

He shushed her. "Don't move, don't move."

"Aaron, my purse."

Shock. She's in shock.

If only just to placate her, Hotch glanced around for it. "I don't think you had one," he said.

"I must've dropped it," she gasped, moving her head.

"Kate—" you cut in from above, "Kate, you need to stop trying to move."

She looked up at you, her eyes widening at whatever she saw. "Y/N. Y/N, what happened?"

You ran a hand through your hair. "I don't— I don't know. A bomb. An IED, I think." You glanced back at the car, your mind going back to the same race it was racing in before you found Aaron.

"An IED?" she echoed. "I have to get up."

"No. No, no, no. Lie down. Lie still. You need to lie still," he pleaded with her.

Suddenly, she caught your attention back. "Am I moving my legs?"

Hotch shushed her again at first, then he questioned, "What?"

Both of you glanced down at her legs at the same time. You resisted the urge to cup your mouth.

You were gonna be sick.

Weakly, she asked again, "Am I moving my legs?"

You didn't have the heart to answer her. From the looks of it, neither did Aaron, because he changed the subject. "I'm going to have to turn you and see where the blood is coming from," he said.

"Do it."

"Alright? Okay." He turned her while you focused on the sirens wailing in the distance, getting closer. The sound blended in with Kate's crying until it was all one and the same to you.

Police cars and ambulances soon pulled up just ahead of you, maybe a hundred yards away. You stood taller, yelling, "Officer down!" When they didn't come any closer, you flailed your arms. "Officer down! Here! There's an officer down!"

Kate's voice, ever so quiet, cut through the noise like a knife. "They're not coming." You turned to her, seeing her look at both of you defeatedly. "We told them not to. Remember?"

Your own words rang through your head. The goal is always to take out a first round of civilians, followed by a second wave of emergency responders.

The reality of the situation struck you. They weren't coming.

"The first wave of responders are the targets," she got out. "ESU orders are not— to let anyone in until the area is cleared."

"No." You shook your head. "I'm not taking that as an answer."

"Y/N—"

"We are getting you out of here, Kate, come hell or high water." Your previous aversion to her no longer mattered. She was lying on the ground covered in blood, unable to move her legs. All that mattered was getting her out.

Without wasting another second, you ran toward the barricade. ESU officer braced their rifles, but you had your badge ready as you stood a safe distance away from them. You were trying to think calmly, as calmly as you could. Your ribs stung as you held the badge up in the air.

The words were spoken in an erratic panic. "My name is Director Y/N Y/L/N, I'm a senior officer of the CIA. Behind me are SSAs Aaron Hotchner and Kate Joyner. She is injured— badly—"

A man stepped forward and cut you off cooly, "I understand that, ma'am, but I have orders not to let anyone in—"

You lost it. "Screw your orders! She can't fucking move!"

"Ma'am, my orders are what they are."

"Your orders are what they are," you repeated under your breath, a humourless chuckle escaping. "What's your name?"

He squared his shoulders. "It's Captain Warner, ma'am."

"Well, Captain Warner," you spat. "Allow me to re-introduce myself. My name is Director or Agent Y/L/N, not ma'am. Director. And I am quite familiar with your orders, Captain; I gave them. You are here because I made the call that put you here. And, so help me God, if you don't listen to this order, I will make the call that relieves you of your position."

Warner didn't appear to be shaken, but you could see the cloud of doubt floating in his eyes. You'd think that anyone would grapple for their job, but Warner was being difficult. "I apologize, Director, but I can't do that."

Your nostrils flared. You were just about to continue telling him off when an awfully familiar voice sounded, asking for someone in charge. Your eyes widened. "Derek!"

Derek's head snapped your way. "Holy shit. Y/N!" He came running towards you but was stopped by the same officers that kept you from crossing the barricade, holding up their guns.

"This area is restricted," he said.

He held up his badge. "I'm Agent Morgan, FBI. That's my friend—"

"This area is restricted," Warner repeated, barely looking at him. "I will take care of your friend. Now go back to the Federal Building. There are evac marshaling spots. Check in and make sure they know where you are."

Morgan held his ground, stepping in front of Warner and retaliating, "I am not about to do that."

"Get out of my face or I'll have you bodily removed, Agent."

"Derek." You caught his attention. "Hotch and Kate are down there."

He spun around. "That's my boss down there!"

"My orders are what they are." 

You scoffed at the recycled statement while Derek argued, "I don't give a damn what your orders are!"

"I get it, Agent, but we've been told by you" he gave you a glance "'Responders are the targets.' So, until the blast site is cleared, no one goes in."

Morgan looked back at you then back at the Captain with a renewed resolution, trying a different approach. "You're Marine Corps, right?" Warner didn't respond, looking down. "Right?"

"Please. Go back to the marshaling point."

"I'm not doing it." He pointed to the site. "I'm not just going to let my man lie down there like that."

As if on cue, Hotch screamed, "Someone! Damnit, we're here!" You nearly flinched at the sheer pain in his voice, and Derek certainly didn't look unaffected, either.

"'Never leave a man behind.' You do remember that, don't you?"

Hotch kept screaming as Morgan and Warner stared each other down. It seemed that he must've gotten to him, because within just a moment, he said, "Go."

Derek didn't waste another second, immediately running to you and grabbing onto your shoulders. "Y/N, are you alright?"

"I'm fine! I'm fine, it's Kate."

He nodded and then took off following with you trailing closely behind, but not before you gave Captain Warner a pointed glare.

When you got to Hotch, the kid was back, seemingly tending to Kate as Morgan explained, "They're not letting any ambulances down here until they clear the scene." He glanced at the kid like he just noticed he was there. "Kid, you've gotta get behind the barricades. Let's go." The kid didn't move. "Go!"

"Go, Sam." At Hotch's word, the kid got up and ran, but your attention was focused solely on Kate, checking her vitals.

"Talk to me. Can we carry her?" Morgan barely gave him time to respond. "Hotch, can we carry her?"

"No, I tried. Morgan—" he paused, intaking a shaky breath, "she's going to bleed to death if we don't get her out of here. We've got to do something."

Derek's phone ringing cut off whatever he was going to say. He picked it up immediately. "Garcia, I got Hotch and Y/N, but listen to me, you got to get somebody down here right away. You hear me? Right now." You didn't hear what Garcia said next, but it caused his head to snap up. "What? You're absolutely sure?" He glanced at you then to the kid who you realized never left.

The kid held his hands out like he was asking what you were waiting for, causing you to tilt your head, confused.

Morgan hung up the phone and then his next words shocked you. "Hotch. The kid. He's the bomber."

Your eyes went wide before instantly going to Hotch. "Are you okay to stay here?" you asked.

He didn't even think about it. "Go."

With that, you and Morgan took off running. The kid bolted, leaving you to chase after him.

Despite the heels on your feet (that luckily weren't stilettos) and obvious bruise to your side, you couldn't feel pain. All you feel was the pure adrenaline pumping through your veins. You hadn't been so ready to fight in ages. The anger coursing through your body was unparalleled.

This kid wasn't getting away with this, and you'd make sure of it.

You chased the kid down the street, Morgan ahead of you. An ambulance passed you while you ran, and you prayed it'd be heading Hotch's way.

You kept chasing after the kid, turning a corner and he was gone, but Morgan was already heading down the stairs for the subway, so you knew he was down there.

You ran down the stairs, skipping steps as you went, following Morgan's lead and pulling out your gun. Civilians filled the station, evacuating. "Out of the way!" you screamed, pushing past them.

"Move! Where'd he go? Where?" Some pointed straight ahead, so you kept running.

You got down to where the subway was, but by now, it was empty. You came to a stop next to Morgan, holding up your gun.

"Show your face, you son of a bitch!"

No one showed. You nodded to the train and panted, "Morgan, I'll take the back. You take the front."

Heaving, he nodded, going for the front. You entered the train with your gun held high, pointing it on either side of the door. You walked through the cart slowly, checking beheind yourself periodically to ensure the kid wouldn't sneak up on you.

You pushed open the door to the next cart warily. It was just as empty as the previous one. You went for the next cart. Nothing again. You met Morgan in the middle. "Nothing," you said.

"Me neither. But there's a door at the front. I'm thinking he could've hopped through there," he told you.

You nodded and followed him there, accepting his help and jumping down. Carefully, with your gun and flashlight in hand, you walked on the tracks, avoiding the power supply. You shouted, "We know you're in here, kid. Show your fucking face, you coward!"

A noise sounded, making you turn around to check it while Morgan continued forward. "You've got nowhere to run, man. You hear me? There's nothing down here for you."

"Is that all you see?" At the sound of the kid's voice, you spun around, moving your flashlight around. "Huh? Darkness?"

You caught up to Morgan, and then the kid showed himself. Your flashlight revealed his shoes lying on the ground while he slowly walked on the rail, balancing himself like this was a game. You cocked your gun. "You listen to me, you little shit. This is not a fucking game. Get your ass off the tracks and put your hands on top of your fucking head. Do it now."

When he failed to listen to you, Derek yelled, "Do it now!"

The kid did as you said, but not to listen to you. It was to mock you. "You will lose in the end," he said.

Derek moved forward. "Shut up. Shut your mouth."

"You wanna know why?" He continued on like he'd never said a word. "Because you fear what we embrace."

Before you could do anything, he took one foot off the track and put it on the third rail. "Get off the— no! No, no!" Derek and you were forced backward as the light blinded your eyes. Without even lifting your eyes up, you knew undoubtedly that the kid was dead.

He just killed himself right in front you.

"Damnit." You reached to run a hand through your hair but you were stopped by the stabbing pain in your ribs, suddenly reappearing. You hissed, "Ah, shit."

"Y/N?" Within a blink, Derek was in front of you. "What's wrong? Are you okay?"

"I'm fi— fuck." Your knees buckled, but Morgan caught you, holding onto by your waist. When that caused another hiss, he switched his hold to your arms.

"I think you might've broken some ribs. How the hell didn't you notice this before?"

"I— it didn't feel this bad before."

Morgan cursed under his breath. "Your adrenaline is wearing off. We need to get you to a hospital."

"No, I'm o—" a sharp stab cut you off, making you grunt. "Fine. But what about Kate?" 

"We both saw that ambulance drive their way," he reasoned. "They're gonna be okay. Look, if we get back and they're still there, we can stay, alright?"

You thought over his proposal and eventually relented and let him lead you off the tracks, giving in to the pain. You just hoped that he was right, that they were okay.

Please let them be okay.

❧

You arrived at the hospital in record time, passing through the streets like light work. After receiving confirmation that Hotch and Kate were at Saint Barclays, he drove the two of you there, too, insisting that a doctor see you despite your equal insistence that you were fine.

Now, you sat on an ER bed. You had a few cuts here and there but nothing too deep; you were given sutures for one cut across your cheek. The doctor wasn't looking at you right now; she was looking at your chart, giving you time to glance around the triage room.

You weren't a big fan of hospitals, never were. They were never a source of good news, and every hospital you stepped into smelled the same, like bleach and chemicals. When you were younger, you were convinced that this was to cover up the smell of death.

That wasn't too far off.

The doctor pulled you out of your revierie, snapping the chart shut. "So, Ms. Y/L/N, I've ruled out the possibility of a collapsed lung, but you've broken 4 of your left true ribs," she informed you. "From what your partner has told me, you've over-exerted yourself, and thus exacerbated the issue."

"I'm a CIA officer and had to chase a suspect," was the only explanation you offered.

She deadpanned. "I understand that, Ms. Y/L/N, but you've just made your healing process ten time harder."

You gave her a short smile. "I've been through worse."

She looked at you for a few more seconds before she sighed, re-opening the chart book. "I can prescribe you some medication for the pain."

You declined perhaps a bit too quickly. "No, that's alright."

Slowly, she looked up at you, her eyes questioning. "No? Why not? I can imagine you're in a great deal of pain right now."

At her inquiry, you were reminded of someone else's interrogative questions. Hotch's voice filled your head, Why do you say it like that—say your name as if it's not your name?

Your mind travelled back to a time you weren't Y/N. There was a girl with a different name who wore your face, a girl you separated yourself from entirely. She didn't grow up thinking she'd have a future in law enforcement—she didn't even think she'd have a future at all.

She hung around the wrong crowd and picked up bad habits, habits like oxycodone and amphetamines. But you weren't her anymore.

You were 7 years sober.

You'd rather not explain all of this to the attending in front of you—you'd rather not explain it to anyone. Instead, you just said, "I have a high pain tolerance. I can handle it."

She stared at you warily, but otherwise, there wasn't much she could do but accept your decision. "I'd advise against that, but it is your choice."

You pursed your lips into what you hoped was a small smile. "It is."

She kept her persistent stare until she eventually gave up, leaving the makeshift room. You didn't wait long before you left, too, jumping off the table and pushing back the curtain. You walked through the halls in search of the tan-skinned man you came in with, avoiding looking anywhere but ahead of you.

Hospitals were unpredictacle.

You didn't like that.

You turned a corner, and as if you just had good luck, Derek was there, already walking your way. 

He raised a brow at you. "You all good, angel?" 

You fell into step beside him, letting him lead the way to wherever you were going and flashing him a flirtatious smile. "Never been better, muscles." It wasn't a total lie; the pain had mostly subsided, and you'd felt worse in your life.

Morgan didn't bat an eyelash. "Well, that's good because we need to get moving. The team's on the way."

At the mention of the BAU, your thoughts were re-directed. Without stopping, you glanced over at Derek and gave him a quick once-over. He seemed normal: he was flirting with you, no signs of dejection. So Hotch must've been alright. Still, though, you felt compelled to ask, "Hotchner and Joyner. Are they okay?"

If Derek noticed the small blip in your voice, he didn't say anything. You weren't sure if you even noticed it, either. "Hotch is fine, back to barking orders and being a drill sergeant. Kate's in surgery, though."

You couldn't explain the wave of calm that came over you at that moment. You couldn't explain why you even cared.

But you did.

You nodded in response and changed subjects. "Has anything happened since the first blast?"

"No. Nothing."

An exasperated sigh left you. "That doesn't make any sense. Something should've happened by now." You ran a hand through your hair, your gears turning. "I mean, why go through all this trouble just to hit a single SUV with a few agents? Why not wait until we were in our cars?"

"I don't know," he replied. "What I'm still stuck on is why the kid would stay knowing we'd figure him out."

"Yeah, why would he stay—" suddenly, you halted in your tracks, cutting yourself off as memories rushed to the forefront of your brain.

[Thank you for your input, Ms. Y/L/N. The Secretary of Defense is unavailable at the moment, so the Deputy Secretary will be fielding all defense matters for the moment. She happens to be in town, and she'd like to be briefed in person, if that's alright.]

Yes, I can do that. Just send me an address.

Then you heard the voices of Secret Service agents in your head: I'm sorry, but this hospital is on strict bypass.

"What? What is it?" Derek's voice shook you out of your reverie. You looked up to see him standing in front of you, a worried expression on his face. You would've laughed if it weren't so serious. He probably thought you had a concussion—and while you didn't, what you were going to say was worse than that.

"Derek," you started.

Your tone must've scared him because he stepped closer. "What?"

You paused, mulling over the details in your head. Secret Service was here. Someone important was in the building, someone like the Secretary of Defense. And that bomber just so happened to stick around until an ambulance showed up, taking Hotch and Kate straight here. 

Sam didn't wait until you were cars, and that wasn't a careless mistake. It wasn't because he was so excited that he couldn't wait. It was because that blast wasn't meant to kill you, not on impact.

It was meant to take you here.

When you made up your mind, you took a step closer to him and lowered your voice, not wanting to attract panic in spite of the fact that it'd happen, anyway. Your voice was rigid.

"I think there's a bomb in this hospital."

❧

After quickly explaining your theory to Derek, you parted ways; he went to go find the team while you took off to find the head of that Secret Service detail.

Any uneasiness you felt being in this hospital increased a tenfold, no longer because of the fact that it was a hospital but because it could blow any minute now. You knew you weren't scared, though—and maybe you should've been, but this was the job.

You found the SS soon enough, calling out to them, "Hey, men in black!"

Your volume turned heads, including theirs. The bald man stood up from where he was leaned over on a counter and greeted you first, leading you to believe he was in charge. "Ms. Y/L/N." So he knew who you were. That made this a lot easier.

You didn't waste any time. "The Secretary of Defense is in this hospital, isn't he?"

"Ma'am, I know you're high up on the ladder, but—"

You cut him off briskly, "There is a bomb in this building, and it's rigged to assassinate the Secretary." 

The agent whose name you didn't ask for stiffened but adapted quickly, ordering the agents behind him to hit the alarms all without looking away from you. "Where is it?" he then questioned.

"The ambulance my colleague drove in, I believe." The word colleague tasted wrong on your tongue, but you didn't have the time to dwell on it. "Is it already in the basement?"

"Yes."

"Okay, then you need to evac the building. You need to get the Secretary and everybody else out of here right now."

"We can't do that," he answered. "He's undergoing surgery as we speak."

You were sure that the next words to leave your mouth would be curses, but before you could even get them out, a band of rushed footsteps became audible from behind you. It didn't take you long to recognize who they belonged to.

The footsteps stopped where you were. You glanced to see the team surrounding you, Derek on your left and Hotch on your right. So he was alright. You held back a sigh of relief and kept your eyes off him, directing all your focus to the task at hand. 

Silently, Morgan handed you a Kevlar vest. You nodded to him in thanks and put it on while Hotch hurriedly interrogated, "The paramedic I came in with—do you have eyes on him?"

The Secret Service Agent briefly glanced at you, to which you nodded, prompting him to turn over a computer playing a live feed. 

"Is that a cell in his hands?"

Rossi pressed onto a mic on his chest. "Garcia, can you remote access the grid I'm in and jam all the frequencies?" She said something you couldn't hear and then he added, tone clipped, "There's a bomb in the basement of this building."

Garcia worked quickly, disrupting the satellite feeds in your location within seconds. You could tell she did this by paramedic's actions on the screen. "Look. He's coming back," Prentiss said. "He's going to detonate the bomb manually if he has to."

"Where did Morgan go?" At Hotch's abrupt words, you turned to your left but Derek was no longer there. He'd snuck off while you were paying attention to the feed, and you had no doubt as to where. 

His appearance on the computer screen confirmed your suspicions. You sighed, before tiredly voicing, "He went to find the ambulance."

Hotch's voice was incredulous. "Alone?"

Rossi didn't share Hotch's surprise. "Let's head down."

You were off before he even finished the sentence, trusting the Secret Service agents to do their jobs well enough while you all did yours. You removed your gun from your holster, holding it up and jogging through the now empty hallways with tunnel vision.

You barely noticed the others behind you until Hotch somehow got ahead of you. "He's going to the basement," he called out.

You think it was Emily that replied. "Stairs."

You pushed the door to the stairwell open and Hotch entered quickly, scanning the area with his gun as he moved. It was eerily silent, the only sound being the alarms in the distance and your footsteps rapidly hitting the stairs as you took them two at a time. 

None of you said a word.

By the time you reached the basement, the alarm was non-existent. Your loud footsteps became quieted, soundless with the precision only people like you could have. You could hear a pin drop. 

At the end of the hallway, you wordlessly split into two groups: you with Hotch and Rossi, and Prentiss with Reid.

Hotch led the way while you and Rossi covered him. Your bomber was sitting criss-crossed against the netted gate, gun tossed on the ground with a cellphone in one hand and a knife in the other. Fuck.

You could only pray that Morgan got out before that signal came back online.

You had your gun in the air, even though you knew what was gonna happen. You all did.

Rossi's voice cut through the air. "FBI."

The bomber didn't flinch, staring at the ground with a lifeless look in his eyes. He was a dead man. 

He raised the knife to his neck—and if you weren't with FBI agents right now, you would've shot his shaking hand and knocked that knife straight to the ground. You would've forced him to take accountability—perhaps not in a courtroom, but in a place that would still enforce a semblance of justice.

But you were with FBI agents. And Hotch reminded you of this as he spoke up, "Put it down. It's over."

Yes, it was. Because the coward slit his throat thereafter, and the knife clattered to the ground.

Slowly, you lowered your guns. You holstered yours, and then you were walking away. You didn't spare the body another glance. It wasn't a life lost.

Either way, he would've died. It just shouldn't have been on his terms.

Emily was behind you. She flipped her phone open and then you heard a sigh of relief. "Garcia just messaged me," she told you. "Morgan's okay."

Spencer and Rossi let out their own sighs while you muttered a small "Thank God" under your breath. You hadn't known Derek Morgan for long, but he was good, and he felt like a friend.

You didn't have many of those.

You got back to the floor you were on in little time, and everyone parted ways, likely going to rest. The night was over—this was over. You, on the other hand, still had some administrative work to do, starting with checking on the Secretary of Defense.

But before you did anything, you stood there. You stood there and watched the team trickle out of the area, everyone but Hotch. He was still down there.

You went to glance back to see if he was coming up but then thought better of it, choosing to walk away instead.

He's fine, you thought. He was fine.

And so were you.

❧

You got off the phone with the DOD, your last in a long line of phone calls, telling them that the threat had been eliminated as far as you were concerned. You would've been out of that hospital ASAP, but they asked you to stay there until the new Secret Service detail arrived, and you couldn't really say no.

The lack of action suddenly made you more aware of your surroundings. Your senses returned to you; the smell of bleach became more pungent, and the fluorescent lights seemed to just bounce off the white tile.

With nothing else to focus on, the pain in your side returned, too, but you were good at handling pain. It hurt to breathe, but the alternative was relapsing, and you'd come too far for that.

Normally, when you were craving drugs or just stressed, you'd find a drink. It wasn't the best coping mechanism, but it worked. Alcohol wasn't strong enough to hook you; it was just enough to sate you, to take your mind off the pills.

However, you were in a hospital, and none of that was around. So you went looking for the next best thing: coffee.

You found a mini coffee bar in a nearby waiting room, right next to a vending machine. It was one of the automatic ones that took capsules. The selection was pretty shitty, but you weren't exactly expecting premium Italian coffee, so you plopped a pod into the machine, anyway.

You waited for your coffee to brew in silence, listening to the sound of the machine whirring. The PA dinged in the background and footsteps were muffled. You had a habit of listening for those, for footsteps. Most times, like now, if you weren't preoccupied, you could detect them right away.

You sensed Hotch when he was 5 feet away. You could recognize his footsteps so easily, but that was the habit.

You told yourself it was the job.

Without turning around, you quietly greeted, "Agent Hotchner."

He returned your greeting, grabbing a styrofoam cup and going to stand next to you. "Y/N." His voice was as saccharine as the sugar you poured into your coffee.

 You hated that, and you hated what it implied.

The case was over. The threat was defeated. And now you were alone together with a conversation unfinished, a conversation you'd much rather not have.

To think that, when you last saw Hotch in Virginia, you were all for the game, the chase. But now it felt like the roles were reversed. This was different. He shouldn't be talking to me.

But he was.

"Yo—"

You cut him off, "How's Kate?" Low blow, Y/N. The breath of air he sucked in made you look up from the creamer to his face. His eyes were no longer on you; they were on the machine as it poured his coffee, but you understood. You could taste apology on your lips before you even said the words. "I'm sorry."

Hotch nodded, grabbing his coffee from the tray when it was finished brewing. "She wasn't in pain," he said. That's all there was to say, really. She wasn't in pain when she died, nor was she in pain when you found her.

Kate Joyner was dead the second that blast hit.

But you spoke none of this. You went to grab your cup, intending to walk away, but Hotch stopped you, placing his hand on your arm before you could fully turn away. You stopped yourself from intaking a sharp breath.

"You're avoiding me."

He said it so plainly, like you were talking about a case or the weather, like this was normal, like the two of you didn't see each other every other year at most, like you weren't you and he wasn't him. It made you want to screw your eyes shut, but you didn't. As if to prove a point, you turned yourself toward him fully, facing him head on.

"I'm not."

"You are."

Your eyes narrowed. "I'm not an unsub, Hotchner. I'm not gonna fold to this interrogation tactic."

"I met you as an unsub," he retorted.

"But I wasn't." You let out a little scoff, half amused, half annoyed. "How would you know if I was avoiding you? You didn't know me then, and you don't know me now."

"But I want to."

Whatever reply you were expecting, it wasn't that. Your breath got caught in your throat. His voice was still so soft, a harsh contrast to the cuts littered across his face. He took a step closer to you. "I want to know you."

You blinked once in shock, almost like you were checking if you were hallucinating, but when your eyes opened, he was still there. When you blinked a second time, it was in realization.

He's just been told Kate's dead, and now whatever pain meds they gave him are kicking in.

Reality slapped you across the face. You took a step back, slowly shaking your head. "You don't want to know me, Hotchner."

He took another step forward. "I do."

Another step back. "You don't." You shook your head again, emphasizing your point. "You really don't."

"Y/N—"

The shrill sound of your ringtone cut him off, and you'd never been so grateful. You picked it up immediately. "Y/L/N." The lady on the other end got to it quick; all you had to do was agree. "Okay, I'll be there momentarily. Thanks."

You hung up your cell, snapping it shut. You gave Hotch a glance before you were looking away, letting your eyes wander everywhere else. "That was the DOD. Secret Service is here. I have to go check out with them." You didn't let him get a word in. "I'll see you around, Agent Hotchner."

And then, just like every other time Aaron Hotchner had ever been in your proximity, you were leaving. In his grasp one second, in the mist in the next.

He watched you walk away wordlessly, not knowing when he'd see you again, words he was going to say dying on his lips.

And then you were gone.

He let out a long sigh, and then looked to his coffee on the mini table, spotting a similar one right next to it. 

You left your coffee there, he realized.

With all the other things you left, too.

5. The gavel and the gun

Southbridge, Virginia, 2008

You didn't find yourself down in Virginia too often, not unless you were on business, but Derek assured you that tonight was about everything but that.

"I'm breaking you out of your shell, angel," he said, making a turn on Curtis Drive. "You need to get out more."

You snorted. "One, I don't have a shell. Two, I am literally out so much that my apartment collects dust, and three," you held up a third finger, despite his close attention to the road, "that's bullshit. You just want me to score you some hot chicks."

He let out a burly laugh, something you'd gotten used to after hanging out with him. "Baby, I don't need you to pick anyone up for me. I can do that all on my own."

"What, are you afraid that I'll steal all your girls, Morgan?"

His reply was swift. "Couldn't do that if you tried, Y/N/N. You're still hung up on Hotch."

Your jaw nearly fell, but you were used to this banter you had. You quipped back, "Please, the only one hung up on anyone here is you. You want Garcia."

He choked on his own spit, making you throw your head back and laugh. He didn't see that one coming.

You caught onto Derek's feelings for Garcia early on, but they became especially prominent when he was buzzed one night and told you she was the one on call with him when he drove that ambulance into the field.

That was six months ago. And now, you were in Derek Morgan's car, trying to coax him into asking out a woman with whom he violated many HR regulations.

Derek clearly didn't have a response which only made you laugh harder. You patted his back while he recovered. "Caaaaareful, muscles. I don't want to die on my way to a bar. I'm literally in the CIA—that would be so heavily anti-climactic."

The only thing he heard in that sentence was his nickname, snapping out of his stupor. "Okay, this 'muscles' thing is starting to feel less like a compliment and more condescending." 

You huffed out a little chuckle as he put the car in park. "And 'angel' isn't?"

He furrowed his brows, opening his door. "You love that name."

You copied his movements, getting out of the car before pointedly looking at him. "Yeah, when the words 'of death' follow it."

He snorted. "Cryptic." He held his arm out for you, to which you obliged, wrapping yours in his before walking into the estabishment with him.

You would've responded and teased him further had you not been cut off by an oddly familiar voice. "Morgan!" Your head snapped to a table where not only the object of your teasing stood, but all of their crime-fighting friends. From afar, you watched Penelope's eyes widen behind her glasses. Then she squealed, "And Y/N!" 

To her credit, she did look just the slightest bit embarrassed when people turned to stare at her.

She still wasn't used to you. And God, was that comical.

A smirk crawled onto your face as you walked to their table, glancing at Derek and recalling your earlier quip. "Ooh, careful, Morgan. Your girl's a fan. I might just take her."

For a guy that nearly died in the car at the mention of her, he didn't seem all that startled. In fact, a smirk of his own graced his face. "I doubt you'll be focused on Penelope tonight, angel."

Your brows pinched together, but before you could question what he meant, you reached the table. JJ and Emily greeted you with wide smiles, the latter pulling you in for a hug that was surprising but not unwelcome. Garcia followed right behind her, hesitantly wrapping her arms around you. You cleared this hesitancy by embracing her tightly. Goodness, she's precious.

Over her shoulder, you mouthed to Morgan, Don't fuck it up.

When you let her go, Rossi tipped his glass at you while Reid just gave you an awkward wave. For his benefit, you resisted the urge to laugh.

You spun back around to flash a smug smile at Morgan, eager for him to see that you weren't fazed by this little surprise he so clearly wanted to jar you with, but then your eyes locked with a darker pair and you realized, oh. They weren't the surprise.

He was.

"Y/N."

What was this feeling? Winded? Was it— breathless? You couldn't describe it; you'd only felt it a few times in life, and you didn't know why you felt it right now. Eventually, you realized you had to answer. 

"Hotchner."

You were going to fucking strangle Derek Morgan.

❧

If it wasn't considered rude and you weren't surrounded by a horde of profilers, you would've been texting Derek furiously. It didn't help that the only spot left at the table was next to the man you'd be texting about.

Derek was fun to party with—you went out with him all the time—but whenever he invited you out with the rest of the BAU, you politely declined and came up with whatever excuse was available. Clearly, he caught on to the reason.

You've been avoiding me.

And maybe that was true.

A gasp broke you out of your thoughts. You looked over to see Penelope jumping out of her seat. "Oh, my god, I love this song. Derek, get up right now, we're going to dance," she all but demanded.

It's then that you noticed that JJ and Emily had already beat them to the dance floor, and Spencer was being talked up by some girl at the bar. 

No— "Alright, alright, calm down, mama, I'm coming." You glared daggers at him as he flashed you a sly grin, then he wrapped an arm around Penelope and left. He left you alone with Hotch and Rossi.

At least Rossi's still here— "You know, I think I'm going to get another drink." You're kidding.

Apparently, he was not kidding. Rossi got up, and you could've sworn you saw him wink at Hotch before he left for the bar.

And then there were two.

Fuck.

Now that the others were all gone, you felt his proximity much more prominently. If you moved just the slightest bit, your knees would touch. You hated that the thought even crossed your mind.

But you couldn't leave. If you left, then it'd be obvious that you were, in fact, avoiding him, and you didn't want it to be obvious. It shouldn't have been obvious because there was nothing there to avoid; the two of you were nothing, so you had no reason to avoid him.

You were nothing.

Even if, for a second, you might've felt something.

"What's wrong?" His voice cut into the tension like it was butter. But the question didn't sound like concern; if you didn't know any better, you'd say it was almost teasing. 

You finally looked at him, turning your head and realizing he was closer than you thought. Close enough to see the specks of green in his eyes and the locks of hair falling over his face. Close enough that you could push those locks back if you wanted to. And you wanted to. 

But you didn't.

You schooled your expression and raised a brow, causing him to elaborate, "You were much more flirtatious when we didn't know each other."

Of course, I was, is what you wanted to say. Of course, you were; that was before whatever happened in D.C., before you danced with him and before you let him down. Before reality came knocking and showed him that you were polar opposites, that he was a man of the gavel and you were a woman of the gun. Before he confronted you. Before he told you that he wanted to know you.

So, of course. Of course, I was. Because what the hell was I supposed to do with that?

That's what you wanted to say, but you didn't. Instead, you countered, "Why do you assume something's wrong? Maybe I've just lost interest in our game."

Hotch looked at you like he knew that was a load of bull. He looked you up and down like he could see right through you, and you hated that, because if he looked hard enough, he just might. You thought, for a second, he'd drop it, but then he came back harder. "Is that because you're not winning?"

Taken aback, you laughed to hide how astounded you were, looking away as you deflected, "You must've been one hell of a lawyer, Agent Hotchner." 

He let you re-route the conversation, humming. "I was good at my field," he admitted, pausing briefly. "I actually got my nickname while I was working at the DA's office, Hotch."

"Oh?" you uttered, disinterest shining through your voice that you hoped he'd pick up on.

"Yeah. And now it's what everybody calls me." Another pause. "Everybody but you."

You turned back to him. Clearly, that's what he wanted from you with that statement. He was looking at you expectantly, waiting on you for something—you just didn't know what. "You dwell on what I call you?"

He shrugged like he was unbothered. "It's just an observation. You refer to everyone using their first name, even Kate. At one point, I think you even said our names consecutively. Agent Hotchner and then Kate."

Shit, you didn't remember that, but he was probably right. It must've been a blip, you must not have been paying attention. Still, you shrugged right back at him. "I don't put that much thought into it."

He continued like you'd never said anything. "You said my name after the blast." You stiffened. "Repeatedly. And then, once we were in the hospital, you were back to formality."

You forced a smile onto your face in attempts to mask the discomfort. "So?" you said. Like you weren't affected. Like you weren't surprised that he noticed or equally surprised that he was calling you out on it.

"So," he repeated. "What's holding you back from saying my name?"

Damnit, he had you. He had you, and he knew it. You knew he knew it based on the fire in his eyes, fire with intent to burn.

But you had more. 

You had walked through fire; you were forged in fire, so this was a challenge you'd accept.

You leaned in closer, just until your mouth was next to his ear. He inhaled sharply. Good. Slowly, you breathed, "What's in a name... Hotchner?"

When you leaned back, you were met with a thrown-off-Hotch, but you didn't stick around to savour the image. You hopped off your barstool and left the table, opting to go dance with Emily and JJ as opposed to let him have the last word.

If you had it your way, he wouldn't get another word in for the rest of the night.

If only you could always have it your way.

❧

You danced with the girls the rest of the night, Hotch forgotten. The others were elsewhere, off on their own. They were good company, and it was nice to hang out with other women. Eventually, the dancing wore them out and they decided it was time to head out, making sure to exchange numbers with you and add you to their group chat before they bid you farewell.

Something told you they were a little more than friends, but you weren't sure if they even knew that.

Alone, you decided to get off the dance floor, making your way over to the bar to text Derek. It was getting late; the bar would close soon, and you wanted to head home. But when you opened your phone, you already had a message from him—timestamped an hour ago. Furrowing your brows, you clicked on it.

Sorry, angel, but Pen opened a window for me and I had to take it.

If you know what I mean ;)

Please don't kill me. I'll send a car for you when you're ready.

Audibly, you groaned, closing your eyes in exhaustion. Of course, he shot his shot with Garcia on the night he's meant to drive you home. And you couldn't even be that mad about it. 

You sighed, accepting it and going to open your Uber app when a voice queried from behind you, "Are you alright?"

Fuckkkkkk, you were really hoping he left by now. Reluctantly, you turned around, facing Hotch. "Yeah, Derek was my ride home, but he um," you paused, wiping a hand across your face, "he got lucky."

"With Garcia?"

You laughed at how transparent it was and how quick he, their boss, was to get it. "Yeah, so I'm just gonna catch an Uber home."

"Don't be ridiculous; I'll drive you home." You were shocked at how quickly he shot you down, looking up at him to see he was being totally serious.

"No, you are being ridiculous. I live all the way in Washington."

He shrugged his shoulders like it was nothing, like you were friends and his offer was normal. "I live in Arlington—it's not out of the way. Besides, would you rather pay for an hour-long car ride or have me drive you for free?" 

Honestly, you'd rather do many things besides let Hotch drive you home for an hour, so you excused, "I'm good for the money."

He rolled his eyes. "It's 1AM, Y/N; I'm not gonna let you take an Uber home." He nodded to the exit. "Come on, let's go."

Now you rolled your eyes. He'd made up his mind, despite your disapproval. Yet you still glanced down at your phone, debating it. You supposed that he was better than a total stranger, and it was only an hour.

Maybe you were tired and your judgement was impaired, but for some reason, you obliged. "Fine."

You didn't know if it was a trick of light, but for a second there, it looked like Hotch's lips quirked upward.

For a second.

❧

The car ride was silent if not for the music drumming lowly in the background. You didn't crack any jokes or say anything playful or innapropriate; you were a silence filler, you hated silence, but you'd rather sit in silence than talk to Aaron Hotchner any longer than you had to.

His presence was already pushing it.

If Hotch noticed how quiet you were, which he likely did, then he didn't comment on it. You were sure that he was profiling you silently, though, the same way you were silently profiling him.

He wasn't driving his official government vehicle, but it was still a black SUV. Not a Tahoe, though; it was an Escalade. It wasn't too proud or boastful but it wasn't too unassuming, either. Expensive but not too much of a head-turner.

A glance to the back displayed a car seat. You suspected that his son was with his ex-wife, since he was here at one in the morning and not at home. He was a stable father, and you could tell.

You knew what instability looked like.

The CD he had in when you got into the car was the White Album, Beatles. That, you could've guessed easily. It fit.

The car was clean. It smelled like peppermint and his cologne. If you opened the glove box, you'd probably find a gun. He carried two on his person while working, so he probably had one in here and then another at his place.

Prepared.

But what neither of you were prepared for was the sudden downpour of rain.

Hotch turned on his windshield wipers, then you saw a flash of white followed by a loud clap of thunder. He cursed under his breath, and you then cursed yourself for finding it attractive. "It's a storm."

"I can see that."

He ignored your quip. "Well, we're already in Arlington. My apartment is two minutes away—we could stop there until it's clear."

You held back a sigh. Regardless of your feelings, it was unsafe to drive in this weather. That's why you agreed. "Okay."

He wasn't lying about being two minutes away. With in no time, you were in front of his complex. Running inside barely did anything; you were drenched after being outside for maybe ten seconds.

The thunder was loud and continuous; the only place you didn't hear it was in the elevator. Then it returned once you were out, walking through the halls to his apartment.

You were on your phone while he unlocked the door, checking the weather app. This time you couldn't repress the sigh that left you. "Forecast says this storm's going all night."

"Oh." He opened the door, holding it open for you. "Well, you can stay the night." What? "I'll drive you home first thing in the morning."

"Um—"

He gestured to his living room, suggesting, "I'll take the couch. You can have the bed." Well, it wasn't really a suggestion, and you didn't have much of a choice, either.

So you nodded. He said something about going to change and fetch you clothes, and then you were alone in Aaron Hotchner's foyer.

You. In his apartment.

You thought back to when you met him, in an interrogation room as he accused you of being a serial killer. And you were a killer, just not that kind. Yet, now, he willingly had you, a gun for the government, in his apartment. This was the same Aaron Hotchner who prosecuted criminals, who hunted down evil, and believed in justice and court of law. The same Aaron Hotchner who frowned upon your unseriousness and grey morals. And he was also the same Aaron Hotchner that stood next to you in a hospital waiting room and told you he wanted to know you.

God, it was ironic. Him wanting to know you. You didn't know if he understood what that meant, what that entailed. 

He was the gavel, and you were the gun.

And that was that.

He walked back into the room after a good three minutes, changed into attire more informal than you'd ever seen him. He wore a button-down and jeans to the bar, but you didn't imagine you'd ever see him in sweats.

"Bathroom's on the left," he told you, pointing to it. "Feel free to use the shower. I left some clothes on the bed for you, and if you need anything, I'll be out here."

You nodded, saying a quiet "thanks" before you walked past him to his room. You'd skip the shower; you didn't have any underwear for that.

Closing the door, you took a moment to scan his room. Bed in the middle, navy blue sheets. Window facing the door, dark red curtains covering them. There was a closet to the side, likely filled with suits, then a dresser across from the bed for ties and everything else.

There were two nightstands on either side of the bed, a frame on one. When you got closer, you saw it was a picture of a little boy with a grin so wide that it brought a smile to your face. 

On the bed, Hotch left you a pair of grey jogging pants and a worn blue hoodie with George Washington University painted on in chipped white in the middle. You changed out of your wet dress, and all hesitation for wearing Hotch's clothes went out the door the second you put on his hoodie.

The sweatpants were just as comfortable, despite having to pull the drawstrings immensely far. You could fall asleep like this no problem, but then just as you went for the bed, the light cut out, drowning you in darkness.

You're kidding me.

There was a knock on the bedroom door soon after. You weren't sure if you could find it without stumbling or knocking something over, so you just shouted, "Come in."

Hotch's head poked in, illuminating the room with the flashlight on his phone. "It's the whole neighbourhood. Do you want a candle?"

Yes, I do. You had a thing about sleeping in the dark, but like hell if you were gonna tell him that. A CIA agent, afraid of the dark—you weren't telling anybody that. "No, I'm good, but um," why am I stammering? "Could I get some water, please?"

"Yes, of course." Hotch was quick to leave the room for what you requested, and you were quick to follow him. He was the one with the flashlight.

His kitchen was barely visible, but you caught a glimpse of a few drawings on the fridge. When he lit a candle and placed it on the counter, you saw the the drawings were finger paintings, one of a whole child's hand. Again, you couldn't stop the corners of your lips from curving upwards.

Aaron Hotchner. You'd seen the prosecutor, the profiler, the unit chief, and now the father.

"Here." Hotch's voice cut through your thoughts as he handed you a glass of water. You didn't even hear when he turned the tap on.

You wordlessly took the water, thanking him with a nod. He stood there as you took a sip, watching you with a gaze that felt scrutinizing but probably wasn't. He was good at hiding what he was thinking, but you could still tell that he was thinking, nonetheless.

In a split-second decision, you lost the battle with yourself not to engage in conversation. "What? Did you poison this?"

He ignored you, like always, and questioned, "Are you afraid of the dark?"

You just barely stopped yourself from choking, masking your cough with a chuckle. "What?" How the fuck did he guess that?

Vaguely, he added, "You seem like the type."

"Oh, 'I seem like the type?'" you echoed. "Is that your normal-person way of saying 'it fits with my profile?'"

He shrugged. "More or less."

Another chuckle left you, this time unforced. You were wondering if he was drinking before you and Derek showed up. This confidence and nonchalance was new, but amusing. Maybe you had one too many drinks, too, or maybe something about this version of Aaron was drawing you in, but you indulged him. "Okay, Hotchner. Give me my profile."

He paused, looking at you like he was debating if you really meant it but you saw the moment he made up his mind, decision flashing through his eyes. He gave you a once-over, but not because he needed to; you had a feeling this profile had been brewing for a while now.

"You're a control freak," he started. "This doesn't just shine through in your work—it also appears in your day-to-day life, like your overwhelming need to fill silence or dislike for the dark. This comes from a period of your life when you weren't in control, and now you have to control every situation you encounter. You come off as easygoing, but in reality, you're closed off. You hide behind jokes and arrogance because you don't want people to know the real you, but every once in a while, she reveals herself. She cares, but you can't have that be used against you, so you pretend you don't. You don't have many friends because that opens doors, and you are afraid of what is behind them. That is why, even as you stand in my kitchen, wearing my clothes, you still refuse to say my name. It's a defense mechanism, a way for you to create distance because, as much as you deny it, you feel something."

Somewhere in his explanation, he got closer to you. He never broke eye contact, not once. He stared at you like you were a puzzle he was waiting to solve, and he had too many pieces. You suddenly wished you'd never asked.

You intook a deep breath. "Ho—"

He cut you off, voice now just above a whisper. "What are you hiding from, Y/N?"

What am I hiding from?

Your eyes involuntarily darted down to his lips, and he caught it. He took another step closer, and you let him. What am I hiding from?

Your breath was shaky as Hotch leaned down, resting his forehead against yours. One movement and your lips would touch. You wondered what it'd feel like. To kiss him. To stop hiding. 

What are you hiding from, Y/N?

You leaned in, and then just before your lips met his, the lights turned back on.

Just like that, you pulled away, the sound of your racing heart concealed by the sound of the heater kicking back on. "I should— I should get back to bed now." You kept your eyes on the tile.

"Y/N—"

"Um, thank you for the water—"

"Y/N."

Finally, you looked up at him, concern and confusion swimming in his eyes, and you understood it. One second, you were on the verge of kissing, and now you were on the verge of tears. You didn't understand it, either.

But this, whatever it was, it couldn't happen. This was a lapse of your judgement. He was Aaron Hotchner, the prosecutor, the profiler, the unit chief, and the father: the gavel. You were Y/N Y/L/N, the hacker, the director, the addict, and the killer: the gun. 

This wasn't gonna happen.

So you loaded a round into the chamber, put your finger on the trigger, and took the safety off. Then you aimed it at yourself and fired, "You're a good man, Aaron." Too good for me.

You think he was too shocked by his own name, and that's why he let you walk away.

And as you closed his bedroom door, you had a feeling that it wasn't the only door you just closed.

6. A lie is the truth (link)

taglist: @flow33didontsmoke

extra a/n: guys i'm so mad ab this block limit and how this can't be one part but wtv!!

[kimberly-spirits13]

Dating Jason Todd General Headcannons

warnings: nothing graphic but there are a few bed preferences in there without being descriptive

He's a very veryyyy touchy person

There is not a time in your entire relationship where he doesn't have his hands on you somehow

he wants you to sit in his lap and be cuddled up against his chest, wants his hand on your thigh, pinkies linked, holding your hand, touching shoulders while standing close together, literally anything

He's a total big spoon almost always

He likes to engulf you and it makes him feel like you're safe

Also likes it when you use his chest or stomach as a pillow

"Don't you have a pillow to sleep on Y/N/N?" "yea, I'm using it doofus."

He likes to sleep on top of you and have you scratch his scalp or run your fingers through his hair

has him out like a light

Jason is a heavy sleeper so if you move around a lot, it won't bother him

That being said, it's hard to wake him up from a nightmare

sometimes you can't wake him up and have to let him ride it out and wake up on his own

He HATES waking up alone and will tightly wrap his arms and legs around you when he sleeps

He likes being able to do things separately but in the same room

maybe you're working on a case and he's reading Jane Austin or something

He really prefers a vigilante S/O because he knows they can take care of themselves

it's one less thing for him to worry about if you can roundhouse someone three times your size

He really thinks that it's hot when you get aggressive on patrol or missions

gets hot and bothered very easily

he's not one to say anything degrading while you two are in the sheets

he's more like a really sweet and attentive type that can also get aggressive but never mean

he's not into choking, sorry but no- you two have been choked to near death enough and he doesn't find anything attractive about it

He also isn't the type to immediately want to get it on the moment you're in shorts or have your shirt off or something

Like he'll tell you that you're fine as hell but he's not immediately a dog towards you unless you want to do anything

He's the kind of person that you can be very very comfortable around

Likes to ride his motorcycle with you since it's another chance for you two to be close

is a hype man and is the kind of person that you take shopping with you

He'll always be bias towards red though

I don't know that I'd say that Jason is the type of person that is sleeping around with everyone

I think that he's had a few relationships before (maybe like 2 or 3, 4 at most) but he's not going around the neighborhood

Is extremely protective and loyal

Like would not even think about doing ANYTHING that could hinder your trust towards him

He is the type to open your car doors and open the door into a building and order for you if you want and walk closest to the road

if scary dog privileges were a human

Jason is the sweetest little thing but he looks like he can snap anyone like a twig with his pinky

He likes being held

Please wrap this man in your arms for a few hours

that's ultimately all he wants

He doesn't have a boobs or butt preference and generally just loves everything about you

There's no being insecure in this house y'all

"What'd you say about yourself?" "Jason it's really not a big deal, I just don't like this scar from that sword fight a few years back." "You know what Y/N, no, uh uh, sit down and let me tell you something you literal angel"

goes on and on and on and on about how perfect you are

Sticks his head under your shirt

It's a common occurrence

ultimately, Jason just wants love

that's it, that's all the puppy wants

He really likes to cook for you since it's very domestic

He likes anything domestic, even cleaning the house or doing something mundane like the dishes

it makes him feel at home with you

he's the one that buys the candles in the house since I think he would secretly have really good taste in things like that

takes care of himself really well after he was resurrected in the Lazarus Pit

uses nice shampoo, conditioner, washes his face and moisturizes, shaves often, he's down to do face and hair masks with you at any point

[uyuforu]

Uyu's Astrological Observations III

₊˚⊹♡ It's so easy to recognize Aquarius placements on instagram, just look at James Deen's Instagram. You will instantly understand why.

₊˚⊹♡ I realized that Saturn in 7H Solar Return Chart is also about limits in relationships, and in this case you could find it hard to find someone else than your crush that year for example. Or your ex. No one seems better. If you are in a relationship, you could find that you are literally only interested in them. Which is a good thing!

₊˚⊹♡ Vertex in 7H in a Solar Return can be a sign of meeting someone that will become very important in your life.

₊˚⊹♡ The more I see people's SR Charts, the more I see many people of different age getting married between 2026-2028. (why?)

₊˚⊹♡ My Juno is in Scorpio 2H 26° (Taurus house & degree), my FS's Juno is also in Scorpio, and he is Taurus rising. His Juno is also in 2H and 2° (both Taurus placements). My Groom is in my 10H, and my FS's Groom falls in his 10H too. My FS's Briede is in Gemini, and my Briede is in my 3H. It also conjuncts my Moon.

₊˚⊹♡ Scorpio placements NEVER forget, and they can hold grudges forever. My grandma has a Scorpio stellium, she has been deceived by a friend when she was a child, and decided to NEVER again trust people too much. She never got a best friend because it.

₊˚⊹♡ The moon persona chart can really tell you about stuff you never realized or stuff you never wanted to accept about yourself.

₊˚⊹♡ Moon/ Cancer/ or Moon influences over the 7H= marrying someone younger than you, or marrying at a young age

₊˚⊹♡ Some people's Juno and Groom/ Briede happen to be the same person, but not for everyone. Juno represents your ideal partner, it has more of a spiritual link and destiny vibe. Some people marry someone they don't have any soul attachment to.

₊˚⊹♡ Saturn/ Capricorn/ or Saturn influences over the 7H= marrying someone older than you, or marrying when you are older.

₊˚⊹♡ Men attracted to women often have their Briede PC looking identical to their wife's Natal Chart.

₊˚⊹♡ My Parents had Vertex in the 5H Composite, and they had a baby (me)

₊˚⊹♡ But they also had Briede and Groom in 3H, they were indeed engaged but never married. And their 7H is empty.

₊˚⊹♡ My step mother's sun also fall in their 9H, conjuncting Chiron. My dad left my mom for her.

₊˚⊹♡ If you want to see if it's gonna work out with someone, don't only check basic synastry, composite, etc. But also Persona Chart synastry! For example, check Boda PC Synastry, and see if your weddings are "the same".

₊˚⊹♡ Gemini Sun on Boda Persona Chart could indicate having two weddings (just a theory)

₊˚⊹♡ In my DSC Persona Chart, my FS's Natal sun fall in the 7H in that PC. My DSC PC's Juno is in the 7H too, and so also conjuncting his Natal Sun.

₊˚⊹♡ Let's talk about the Union PC, it's not something very known.

₊˚⊹♡ Uranus in my Union PC is in 9H in Aquarius, and I met my FS online first and then in a foreign country where technology is pretty advanced. It was also a sudden meeting!

₊˚⊹♡ The rising of my Union PC is Gemini 22°, and when I met my FS, our meeting was very organized, and I didn't know if it was a date or not, so I was a bit cold and detached. But we met in a foreign country, and I was speaking in a foreign language (English).

₊˚⊹♡ Groom in my Union PC is in Leo 25° (Aries), and my FS was flirty, and very showing off when we met. It's also in 3H, he was a true rizz. Also conjuncting Venus, he REALLY wanted to seduce me. He went hard, it was so obvious lmao.

₊˚⊹♡ This could also explain why my Briede in this PC is in Capricorn, and I was cold and detached lol. His rizz was a turn off.

₊˚⊹♡ Speaking of synastry in Union PC, my Sun there is in Virgo, and in my FS Union PC, Briede is in Virgo. In his Union PC, his Sun is in Leo, and in my Union PC, Groom is in Leo.

₊˚⊹♡ My FS's rising in Union PC is the same as his NC, and Cancer is over the 4H. We met in his homeland, where he was born.

₊˚⊹♡ Also, his Natal North Node conjunct his North Node in Union PC, meaning the meeting with his FS is part of his destiny.

₊˚⊹♡ Our Union also conjunct each other in Union PC Synastry.

₊˚⊹♡ My Briede in Union PC falls in his 11H, and his Groom in Union PC falls in my 11H. We met online first.

₊˚⊹♡ My father had a pretty intense and sometimes toxic relationship with his ex-wife, my step mother, and her sun was in his 8H, conjuncting Chrion... 😬

₊˚⊹♡ My father also has Part of Fortune in the 9H and it conjuncts his MC. He travels for work.

₊˚⊹♡ My father had 3 children: my sun falls in his 12H and he was an absent father figure in my life. My brother's sun falls in his 3H, and they tell the same joke, have the same way to talk. They have a lot in common when it comes to topics to discuss. And my sisters's sun fall in his 5H, she is the favorite child.

₊˚⊹♡ My Sun conjunct my mother's Ceres, and she is very protective of me.

₊˚⊹♡ I noticed a lot of people have North Node retrogrades. It usually means they think they are going to struggle to meet their destiny. For example: my FS has scorpio 7H North Node. And he has this thought that he will never marry.

₊˚⊹♡ I don't know much about Astrocartography, but I have been studying it a little recently. I realized that my Sun DC line and North Node DC line falls on the place I met my FS ;-;

₊˚⊹♡ I also checked my FS' Astrocartography and he got his North Node DC on the place we met lol.

₊˚⊹♡ I was Scorpio rising in my SRC of the year a lot of guys wanted to be intimate with me.

₊˚⊹♡ This year SRC I am Leo rising, and I met a lot of guys who happens to have crush on me. It's insane, I feel popular ;-;

₊˚⊹♡ Im not a big fan of Moon conjunct Sun in Synastry, but because it either the best or worst relationship ever. I realized every people who have my moon sign as their sun, we never get along, they hate me while we never truly talked. But, people who have my sun sign as their moon actually annoy me lmao? I guess the sun sign feels threaten by the moon sign embodying their energy?

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[matan4il]

To the Nonnie who asked me about the mass grave in Gaza, you're pretty close to the truth of it rather than the anti-Israel propaganda.

First of all, the mass grave next to the hospital in Gaza has been shown already to have been dug before Israel got there.

Now, it wasn't untouched by the Israeli army, but that is a result of two contributing factors, both of which linked to Hamas.

One is because of the bodies of terrorists, who were using the hospital, and were killed during the fighting. They had to be buried somewhere. This is the Nasser hospital, the biggest medical center which was still active in Gaza after the very biggest, the Shifa hospital, had to be raided twice, because Hamas terrorists returned and re-took it, after the IDF evacuated it to allow the place to function as normal. If during the second operation in the Shifa hospital, there were 200 terrorists killed there, and at least 900 more suspects arrested, of which at least 500 were confirmed terrorists as of the end of the operation on April 1, how many terrorists were fighting against the IDF from Nasser, the last big medical complex they could use, when we know the abuse of Gaza hospitals for murderous purposes by terrorists is systematic? (I'm not accepting any numbers claimed by "Gaza's health officials," where no terrorists are mentioned at all, because that's Hamas speaking) Where do people think all those terrorists went to, those who did not surrender? Do people think this is Buffy the Vampire Slayer, and if you stake a villain through the heart, then their body just goes "poof" into thin air, and there's no need to bury it?

The second factor is that Israel did exhume corpses that had been previously buried on the Nasser hospital grounds, to test them for DNA, in case they were what was left of murdered Israeli hostages, still held captive.

This has been done for a while, before this mass grave by the Nasser hospital started making the social media "headlines," so no one can claim this is an excuse made up now, because of this, and in fact, several bodies of Israeli hostages were returned to Israel thanks to the IDF's work, and the first one that comes to mind is that of 19 years old Noa Marziano, because her body was exhumed from the Shifa hospital grounds. She was held hostage in an apartment near the hospital, then moved into Shifa itself, and murdered in its basement. So yeah, guess where they buried her... Together with Noa, Yehudit Weiss' body was also recovered from the Shifa hospital grounds, and returned to her family in Israel.

If people don't like that the Israeli army has had to check bodies buried on hospital grounds for DNA, and then re-bury them together in a mass grave in the same place, then they should take it up with Hamas for murdering people on hospital grounds and for holding corpses as hostages in the first place. We're all living in the twisted reality created by Hamas.

And you know how we can tell that this part, about the bodies being exhumed to check for DNA isn't made up? Because we have regular Palestinians themselves admitting the bodies they're currently looking for in the mass grave are of their loved ones who were already dead by the time Israel got there.

Just to summarize this lunacy, we are being accused of massacring terrorists (who are legitimate targets, killing them was not a massacre, even if we were really successful at it) and already dead people. Make it make sense.

As for the added accusations that Israel skinned the Gazans and stole their organs... The anti-Israel crowd literally claims Israel stole organs in Haiti, when all we did was to send our military emergency medical staff to set up a field hospital there (to help the victims of the earthquake in 2010), and these lies are currently being repeated in print by The Palestine Telegraph (which is based in Gaza. You know, the place where nothing is published if it goes against Hamas interests). If that act of kindness and help could be turned into something sinister and monstrous just because the Jewish state was involved, it's almost a given the same would happen when Israel is at present dragged against its will into a defensive war. It's a recycling of the age old antisemitic blood libels, portraying the Jews as bloodthirsty and capable of any monstrosity. It's antisemitism, pure and simple. THAT is why the Jewish state has to be "comically evil in every way imaginable," like you said. Remember how for centuries in Europe, the 'bloodthirsty Jew' trope served to lie that we kill Christians to use their blood when baking our Passover matzahs? The following cartoon isn't from the Middle Ages, it's from 2018, and depicts Gazans, not European Christians (see the tire in one Palestinian man's hand? In Hamas-organized violent riots that aimed to breach Israel's border in 2018, as they succeeded in doing on Oct 7, many participants burned tires to create a screen of black smoke that would impair IDF soldiers' vision):

Meanwhile, the Islamist terrorist organization and Hamas' buddy, Hezbollah (which has been intentionally firing at civilian communities in northern Israel for months), has killed yet another Israeli civilian overnight, Sharif Suad, an Israeli Arab Muslim Bedouin. Watch the anti-Israel crowd ignore his murder, just like they erase all Israeli civilians victimized. Arab deaths don't count if they can't be used against the Jewish state.

I hope this helped! Take care. xoxox

(for all of my updates and ask replies regarding Israel, click here)

[descendant-of-truth]

Sooo has anyone else noticed that Chaos Sonic seems to know things about Sonic that he logically shouldn't?

He constantly brings up Sonic's failures, describes him as looking "sad and pathetic" and being "tragic" when Sonic doesn't even look upset, and seems to have inherited chili dogs as his favorite food to boot.

But the Chaos Council doesn't know about Sonic's biggest failures. They don't know that he feels sad about anything, or that he likes chili dogs. Not even Nine knows these things in detail, and even if he did, we're not given any indication that he told the Council anything after giving them the initial idea for Chaos Sonic by accident.

And yet, he takes every opportunity to poke at Sonic's insecurities, even targeting his friends and blaming him for getting them hurt.

How does he know Sonic well enough to make these kinds of targeted remarks? I like that he can, it leads to a lot more interesting interactions than if he couldn't, but what's the in-universe explanation?

Well, Sonic absorbed some of the Prism's energy when it shattered, and Chaos Sonic was created mostly with the energy from the shards. While this could give them a sort of mental connection, it doesn't seem to go both ways, and I have a slightly more specific theory for how it all works.

That being: I think the Prism itself knows Sonic. Which is kind of a bold claim, I think, but hear me out.

First of all, the energy that's in Sonic's body (once tempered with Nine's tech of course) adapts his gloves and shoes to his environment in ways that'll protect him. New Yoke doesn't require anything special, but the Boscage Maze has tall trees that are difficult to climb, so it gives him retractable claws. No Place is filled with water, and Sonic can't swim, so he gets hover shoes to keep him afloat even if he falls in.

That's a suspicious amount of intent going on there, isn't it? And they appear the instant Sonic enters a new world, so he doesn't even encounter the obstacles his clothes are protecting him from before getting them. It's like the energy already knows what the world is like and what Sonic's capabilities are.

Secondly, Shadow reacts physically to the giant sparkly specter of Tails that shows up in the void, which tells me that those are all Actual Things that the Prism conjured up.

And that's. kind of weird, right? I just assumed these were symbolic of memories flashing through Sonic's head, but I guess they're also flashing through space itself, which I will admit did get a laugh out of me the first time I watched it

(They might not be "memories" exactly since we never flashback to when these lines were originally said, but they're certainly Something that came from Sonic's head so my point still stands)

Finally, when the Chaos Council uses the Prism energy to make the Giant Eggman, it specifically takes the form of the original. That didn't come from Mister Doctor's imagination - that's how Sonic remembers Eggman.

Not to mention, they keep hammering home how uniquely linked Sonic is to the Prism, so why not have it be the other way around? I'm not saying that the Paradox Prism has to have any kind of sentience for this theory to work (in fact I'd be surprised if it did), but it could be acting as a sort of container for data on Sonic, just like how Sonic is a container for its power.

And if that's the case, then it explains how Chaos Sonic knew so much; he's tapped into that very data bank from the get-go. It also complicates the question of how to restore the Prism a bit, because yeah Sonic might have to put his energy back into it, but does the Prism have to give anything back to him in return?

Regardless of the answer, I'm really looking forward to learning more about how the Paradox Prism works (and also any potential future Chaos Sonic appearances because I loved every moment he was on screen)

[secrets-of-ty]

Danny Phantom Fanfic Masterlist

I've been meaning to do this for a bit! Since I've been in the Phandom for 10+ years I've picked up a lot of good fanfics over the years and I think it'd be great to share them again in case people have forgotten/haven't encountered them!

I mostly used Fanfiction.net in my older days so a lot of them will be linked there. I'm also pretty picky when it comes to fics being completed, so expect the ones listed to be bingeable with an ending! And finally, I'm not huge on romance/smut so most of them probably won't involve those genres, I'll point out ones that do. (These are in no particular order).

👻 Happy Reading! 👻

👻 = Regular Fic

🟢 = Alternate Universe Fic

⚔️ = Crossover Fic

💙 = Would Recommend!

💙💙 = One of my Favorites!

💙⚔️💙 Mirrored by Lynse

"As a general rule, diving into unknown swirly vortexes in the Ghost Zone is a bad idea, but this was a time when Danny had no other real choice. Meanwhile, Jake thought he was through dealing with ghosts, but Rotwood, well, he's just getting started."

I posted about this one a few years ago and the author, @ladylynse , said it's also available on AO3. This is by far one of my f a v o r i t e fanfics that I read annually or so! If you're a sucker for American Dragon too, definitely check this one out <3 The characterization of both Jake and Danny, plus watching their friendship grow, always gets me in the feels.

💙👻 Phantom's Sketchbook by AkoyaMizuno

"Mr. Lancer finds himself in an unparalleled situation, he has access to something which can give him incredible insight into the personal workings of Amity Park's local ghost teen hero, Danny Phantom."

It's been a while since I've read this one, but I remember it having a lovely characterization of Lancer plus his mentor relationship with Danny. (I loved this one a great amount back in the day that I, uh, made fanart and turned it in for a school assignment. Which is lost to the ages now 😅)

👻 Darkness by Cordria

"Maddie and Phantom are trapped in the dark. Can they come to an agreement to work together before they both die at the full moon? Part 1 of Illuminations Saga."

I don't quite remember this one but I DO remember Cordria had some absolute bangers. You'll probably see their name a few more times on this list.

💙👻💙 Masks by Cordria

"Sometimes, people hide who they truly are behind masks. This is a short story about the day that Lancer decides enough is enough when it comes to Daniel Fenton. Sequel is 'Plunge'"

When I said Cordria had bangers, THIS is one of them! Another fic that I read annually, this one involves Lancer getting closer and closer to Danny's secret while he's stuck in detention for the weekend. I love love LOVE the characterization of Danny and Lancer in this, another at the top of the favorite list!

👻 Plunge by Cordria (sequel to Masks ^)

"Sequel to 'Masks'. Now that Lancer has learned the truth and has let Danny out of his office, Danny needs to face the next hurdle: his parents."

For some reason, I always forgot to put this on my favorite list so I often missed out on reading it with my annual read of Masks. I remember it being a decent sequel where the Fentons pick up the pieces of Danny's reveal.

👻 Pits by Cordria

"Danny has been captured and thrown into the Pits by Walker to fight for his life. Listen in as he tells his dark, twisted tale of surviving despite the odds. Warning: dark and depressing. Sequel is 'Final Exam'."

Another one I don't fully remember, but it had to be a solid read since it's on my favorites haha! I have a vague sense that it was a little angst/gore-y(?) as the description warns, so just heads up!

👻 Lab Rat by AnneriaWings

"The look on my parents' faces – eager, curious, somewhat hateful – wasn't exactly hard to give away their intentions. I knew what they were going to do to me even before Mom snapped on a pair of rubbery, white latex gloves."

*** This one is definitely a vivisection fanfic with graphic descriptions, so beware that content. Again, haven't read it in a long time but it had satisfied my angst itch back in the day.

👻 Wondering by Phantomrose96

"A continuation to Cordria's starshot #69 "Wondering". Danny's been captured and tortured by his parents, but he refuses to say a word until his psychiatrist starts connecting the dots. Can he risk keeping it a secret any longer?"

*** Another angst, lab experiment-esque fic. There are definite graphic scenes (as warned in the first chapter). I do remember this fic being huge in the 2010s (definitely a staple of the Phandom). The relationships and Danny recovering from his torture were great highlights.

👻 Connections by Lynse

"Maddie knows that the Booo-merang has keyed into Danny, for whatever reason, so what's she to think when she sees it collide with Phantom?"

Don't quite remember this one, but Lynse is amazing at writing, so it's bound to be a good read.

👻 Confessions by Lynse (Sequel to Connections ^)

"Follows Connections. Danny's secret's not as safe as he thinks, what with Maddie unable to ignore her wild suspicions any longer and piecing things together and Jack asking questions all on his own."

Same as above!

💙👻 Earthquake by Turkeyhead987

"Danny leaves with his bathroom excuse and leaves Dash curious. He follows Danny and ends up the the gym room with him. While they're in there, an earthquake occurs and leaves them trapped inside. Will any secrets be revealed? No DashxDanny! They're just the main characters!"

This one is another one that I've read multiple times over the years! From what I remember, it was a fun read involving Dash and Danny being trapped in the gym after an earthquake, and explores how Danny handles his secret around Dash while they wait for rescue.

💙👻 A Jock and a Hard Place by AnneriaWings

"Danny and Dash were silent, trying to wrap their mind around that stupid, simple fact – the door was locked. They were trapped. In a janitor's closet. Together. (Collab with Haiju)"

No romance in this one! Another story where Danny and Dash get trapped together. I've read this one several times, and remember enjoying the tension of Danny's secret being revealed. I also think they explored Danny and Dash's relationship in a fun way!

👻 An Unlikely Alliance by Represent

"Maddie wants her family back. In an attempt to understand her Danny's change in behavior, she unwittingly enlists the GIW to exorcize Phantom from her son."

Gonna be real with ya'll, I don't remember this one at all. But uhhh I'm gonna throw it on here just because I can. :)

👻 Flip Turn by dreamsweetmydear

"Danny's life the last couple of years has been chaotic and pretty scary, to say the least. However, one detention with Mr. Lancer opens a window of opportunity that promises to turn his life around in more ways than one. Revelation fic. Post-"Kindred Spirits.""

Yet again, I don't remember this fic. Sorry! But it's under 8000 words, so it's a little bit of a shorter read than some of the ones on this list!

👻 Journey of Secrets by WolfKael

"First Danny Phantom fic! DXS, TXV, but not super-heavy. Lancer's class is on a trip to the Ghost Zone, courtesy of the Fentons! (Takes a couple chapters to gain momentum, and I promise it isn't your average 'field trip' fic!) T because I'm paranoid, but it could probably be K ."

Also not a fic I remember. It's got about 50,000 words so thought I'd throw it in for anyone that likes a longer fic!

👻 Vulnerable by HaiJu

"A desperate moment leads to a difficult choice, and Danny must deal with the consequences. A collaboration between Anneriawings and Haiju."

Don't remember it, but HaiJu had/has some great fics! Seems to involve Danny and Maddie after skimming the first chapter.

👻 Little Fires by Represent

"My family's supposed to be geniuses, yet they've never figured it out. Now I know why. Because they already know I'm Phantom. They must know. The better questions are: Have they known this whole time? What's in that vial? What happened to Skulker? And what's in the locked drawer?"

You know what, if I remember it, I'll say something 😂

👻 Judge, Jury, Executioner by Cordria

"The Observants and the Ghost Council are sick of the Fentons creating half-ghost creatures that disobey the rules of the universe. It's time for them to step in before more are made. Can Danny save his parents and keep his secret intact? A three-part fic."

💙👻 A Phantom Marooned by LordPugsy

"No one but Danny was suspicious when his English class was awarded an all-expenses paid cruise trip by an anonymous benefactor. Everyone but Danny thought it was bad luck when they became ship-wrecked on an island in the middle of nowhere. No one but Danny fully understood the dangers lurking in the trees. No one but Danny knew how much danger they were all in so far from home."

This one involves Danny and his class getting out of Amity Park, so it's a little more oc-filled and explores a nontraditional setting for the trio. There might be a little SamxDanny in this one if I remember correctly, but overall I do remember having fun reading through this!

🟢 Candlelight by HappyLeif

"Sam's only friend is the ever-loyal Tucker, ever since Danny began slowly distancing himself from them after some accident freshman year. She wanted a friend, but she never thought she'd find the one she was looking for in the highly debated ghostly hero of Amity Park.

AU = Danny alone during the portal accident. Looks like there's some SamxDanny in this one! Don't remember it but heck I might have to reread it since the synopsis has me interested.

👻 Crashing and Burning by GriffinRose

"For two years, Maddie has put up with Danny's ridiculous lies and excuses. She's tried everything to get through to him, but the pattern just goes on. She's so tired of fighting him on this all the time. And so, after two years, she's done. She doesn't care what her son does anymore, because Danny doesn't seem to care that he's her son."

👻 I'll Be Here by HaiJu

"Some days you can't pick yourself up. Having family means you don't have to. Danny-centric, three oneshots. Completely shameless hurt/comfort. Bring tissues… and antiseptic."

👻 What Little Girls Are Made Of by HaiJu

"Phantom and his younger double save Amity Park from a monstrous ghost, nearly destroying themselves in the process. The Fentons have always hunted ghosts; now it's time to save one."

💙👻💙 You Should Be Dead by SaphireDragon11

"Dash and Kwan are horrified to discover they've accidentally killed their classmate, but perhaps even more so when he shows up at school the next day. With his secret on the line, Danny soon discovers Dash and Kwan are the least of his worries."

THIS story is definitely a favorite and fun read! The ending battle chapters always gets me excited to reread! ***Danny does get straight up shot by Dash at the beginning so be warned for that content. But I remember a post going around a year or so ago where someone had drabbled about Danny getting up after being shot by Dash. This story explores that concept with a longer plot!

💙👻💙 Roughing It by HaiJu

"Lost deep in the woods with an undead pack on their heels, Maddie and Phantom find themselves entangled in an awkward alliance. Can they cooperate long enough to get out of this mess?"

Another favorite! This one explores Maddie and Danny's relationship, kind of similar to how the show did in the Maternal Instincts episode. I adore how HaiJu explores Maddie's thought-process with dealing with Phantom in a situation where she kind of needs him and he won't leave her alone. Great mother-son fic!

👻 Phantom of Truth by Haiju

"Locked away in a secret government lab with Phantom as her subject, nothing stands between Maddie and the truth... except, perhaps, herself."

Haven't read this one in a loooooong time, but I remember being around for HaiJu updating this fic, posting about it on Tumblr, and the Phandom being generally hyped for it. Another staple for the Phandom! It's another torture fic, so heads up regarding that content!

💙👻 Shadow of a Doubt by Haiju (Sequel to Phantom of Truth ^)

"The truth was supposed to save Danny. Fix things. The lab, the experiments, the lies, those were all in the past. Weren't they? Sequel to Phantom of Truth."

And then BAM on top of finishing Phantom of Truth, HaiJu hit us all with a completed sequel! I was super excited whenever this fic got updated, felt like I was waiting for a new episode to air on TV every time! There's some OCs in this since it explores Danny running away from Amity, but I remember genuinely loving the OCs and loved reading about Danny mentally recovering from being experiment on.

👻 Just a Boy by Tay1019411

"Maddie and Jack finally have Phantom right where they always wanted him: in there lab, helpless, but everything is different now. Now, Maddie faces the truth about what Phantom really is."

🟢 Make It Go Away by DarkNymfa

"Not for the first time, Danny cursed himself for never telling anyone about his extra-curricular activities. And now, far more injured than he could fix himself, Danny desperately wished that he had told just one person."

No one knows AU

👻 Flicker by DarkNymfa

"It had taken just one moment, one split-second in which she had seen Phantom instead of Danny. Now she found herself on a path she didn't want to be on. One she couldn't leave, not anymore."

👻 The Scientific Method by ReconstructWriter

""After two years of failures you'd have better luck asking Phantom to be your lab-rat," Jazz said. The Fentons decide to try just that."

👻 Phantom Hitchhiker by ghostanimal

"Phic Phight Oneshot: While students get to leave early after a ghost attack, teachers have to stick around for boring meetings to discuss the attack. The ghost attack was now over, but it didn't mean all the ghosts were gone. Lancer finds himself driving a certain Phantom home while reflecting on how young the poor kid is."

👻 Returning After the Reveal by Illusn

"Phic Phight attack, using a prompt by Love-ly-ish. Danny returns to school after his secret was revealed in a ghost attack, having to deal with people suddenly treating him differently."

👻 Vantage Point by Lynse

"Phantom was young. Painfully young. Somehow, Lancer had never really noticed that before. One-shot, written for the 2019 Phic Phight."

👻 Oddities by Lynse

"Jack can't deny that their ghost hunting equipment malfunctions around Danny-consistently and exclusively around Danny-and decides to get to the bottom of it, once and for all. One-shot, written for the 2019 Phic Phight."

👻 To Be a Hero by cosette141

"Danny has always known the consequences should he be captured by the Guys In White, but now Tucker is going to learn firsthand just what the stakes are for his superhero friend and what it really means to be a hero. (not slash) hurt/comfort"

👻 Family Reunion by Dp-Marvel94

"For Phango. Prompts used- Setting: Family Reunion, Wes Weston, Aunt Alicia, Stuck in the thermos. And Identity Reveal…kinda (does it count if Wes had already worked out that Fenton was Phantom but hadn't seen him actually transform so wasn't completely sure?)"

Wes Fic!

👻 Stuck by SummersSixEcho

"[OneShot] After a prank from two of his ghostly acquaintances, Danny is stuck in ghost mode during one of the most important events of his young half-life. If only he didn't have to give a speech on top of it... [Phic Phight 2020 entry; prompt by Ghostanimal]"

👻 One-Eighty by SummersSixEcho

"[One Shot] After a grueling battle, two teenagers at a diner try to sort out a night of revelations. [DannyMay 2020, Day 28: Diner]"

👻 Threads of Time by ZombieRed

""I just want to know what's going on with you, Danny! I wish I could just, I don't know, spend the day figuring out what you've been hiding from me. Then maybe I could help you. But you being closed off from everyone is only hurting you. Can't you see that?" Or Maddie keeps on waking up to Thursday morning [No PP, pretty much ignores season 3 as a whole]"

👻 Invisible Stitches by Lynse

"Family bonding time might be less dangerous now that his parents know his secret, but that doesn't mean Danny is wild about being kept in the dark when it comes to his dad's plans for the weekend. One-shot."

Loved the concept of Danny having trouble being away from Amity Park!

👻 Whenever You're Ready by SummersSixEcho

"[OneShot] Jack and Maddie try to show their son they are very supportive of Phantom once they find out his secret. They want him to tell them on his terms, but everything ends up in bigger misunderstandings and more revelations they weren't prepared for. [Belated Phic Phight entry for Star G, Arioz, Bird, Dekalkomania, and Wife]"

Written in a Journal-Entry style! Interesting format if I remember correctly.

👻 An Attempt at Camping by Seasilver17

"They should have known that even when they were in the middle of nowhere camping. Something would have to go wrong. Curse his Fenton luck"

👻 Secrets Secrets and Advice (This Teacher's Vice) by AppleScentedLazers

"After a particularly grueling day Mr. Lancer just wants to go home, kick up his feet, and read some Shakespeare. But, when he runs into two of his students looking for their missing best friend, Lancer ends up with more questions than he has answers for. Such as, who is Phantom? And just what is Daniel Fenton hiding?"

👻🟢 Going Ghost by cosette141

"My take on the moment Danny turns on the ghost portal and becomes half-ghost… as well as an alternate way for Sam and Tucker to find out. Friendship Oneshot"

👻 Lair by Lexosaurus

"When something goes wrong with a piece of Vladco tech, Valerie ends up stuck in the Ghost Zone. With Phantom."

💙👻 In Case of Emergency by Unlucky Alis

"Lancer is grading papers when he gets the call. "I'm calling from Amity West. I have an underage patient here who has named you as their emergency contact." Lancer rushes over, of course, fretting all the while about what accident Danny Fenton has gotten himself into now, because it could only be him. Except, when he arrives, it's not the Danny he expected to find."

I remember enjoying the little twist on Lancer being the emergency contact for Phantom yet having no idea. Lancer handles it pretty well all things considered. (I think you guys can tell I just like Lancer fics at this point HA)

👻 Furthest from Myself by WastefulReverie

"An accident during a ghost invasion leaves nearly a hundred citizens with inexplicable ghost powers. Little did they know, this was only the catalyst for a series of revelations."

👻 Ghost Smarts! by Dekalkomania

"When it becomes clear the ghosts are here to stay, the Amity Park school district decides they need to teach proper safety precautions. In dire need of extra credit, Danny takes Mr. Lancer's offer to be the assistant in an assembly titled, "Ghost Smarts!"

Very unprepared for what he signed up for, Danny must deal with the eccentric detective J.J. Bittenbinder, all while not blowing his cover."

[ineffable-suffering]

Why Aziraphale is an unreliable narrator

Part 1: The Story of Job

I'm absolutely not the first one to talk about this on here and I probably shan't be the last either. Alas, here's my take on why all of the minisodes in Season 2 should be enjoyed with great care – and taken with a grain of angelic salt.

I'm gonna split this into 3 parts, aka the three minisodes we are shown, since I tend to get a bit waffley in my posts and want to still be able to include all the little details. Once I've written them, I'll link Part 2 & Part 3 here as well!

Alright, let's get into it under the cut of doom.

Episode 2 opens with the Story of Job. Right off the bat, I noticed that it sort of looks like an old film playing. At first I didn't read that much into it, but once we see the cut-away to Aziraphale at the bookshop, currently reading that part of the Bible (presumably), I immediately thought: "Oh! It's because it's his memory. He's remembering how it went down and therefore it plays like a figurative film in his head."

This, I then came to realize, is a very crucial difference to all the flashbacks of S1, which were exclusively told and narrated by God. May her intensions be as ineffable as they are: She did tell us all of these stories from an objective outsider's point of view. Now, however, it's Aziraphale who's re-telling those stories to us from memory.

And if there's one thing that's for certain, it's that a memory is something entirely different to an objective narration of a story. Just think about how you yourself remember things. Especially things that happened years, maybe even decades (or, in an angel's case, millenia) ago. What is it, that you really remember? Can you know for sure, that a conversation was held with those exact words? Are you 100% certain that the clothes someone wore weren't different? Had it really been snowing or would that make very little sense given what you're remembering happened in May? And did it even happen in May? Or does that just happen to be your favourite month, the current weather, your preferred style of clothing and what it was that you would imagine someone would have said to you?

What I'm trying to say is: The further away it is that something happened, the more your brain has to fill in the gaps. This is why, for example, your parents will remember the family summer holiday entirely different when you ask them about it 20 years later.

"No, it was Sarah who puked on the car ride home!" "Nonsense, Sarah never puked as a child. Bobby had that gone-off pizza, he's the one that was sick the whole ride long!"

We've all been there. Bobby made it out alive. Don't buy gas station pizza.

Alright, back to the plot: Naturally, Aziraphale is not actually human, so it is a pure assumption on my part that the way his memory works is similar to ours. However, the whole topic of "memory" is actually quite a recurring one on Good Omens.

Crowley seems to have lost his in the Fall, yet somehow managed to get most of it back. Not all of it, though, he clearly has some major gaps ("You used to jump on me back, little monkey in the waistcoat!"). Beelzebub helps Gabriel store all his memories in their little fly container before they get wiped entirely too, by the Metatron and/or Saraqael. Crowley and Aziraphale (and possibly Jimbriel) perform a miracle together that makes everyone in Heaven and Hell forget who Garbiel is or what he looks like. And we know that the Book of Life apparently has the ability to completely erase someone from existence – ergo also erasing them from everyone's memory and making it is as though the person had never been in them at all.

So, clearly, angels and demons being able to remember, forget, reconstruct and, if you're the Metadork, wipe memories, is very much canon. Apart from that very last one, it does make them quite human-like in a way. We too can forget or (wrongfully and incompletely) reconstruct memories, due to things like trauma, illness or simply a lot of time having passed.

So, just like Crowley remembers going into battle but doesn't remember Furfur being there, or just like Jimbriel has entierly forgotten who he is but still remembers the tune and lyrics to Buddy Holly's song Everyday, and just like archangel Michael was miraculously made to forget Gabriel and yet says "Don't I know you?" when seeing him again – just like that, Aziraphale's memories of the story of Job, the story of wee Morag and the story of the magic show in 1941, might not actually be the whole truth.

So, time to look at where the furniture isn't.

Now, it could very well be that the costume designers of S2 thought: "Fuck it, let's go crazy" – but given that this show has a track record of meticulously making sure to stick to accurate and cohesive character design, doesn't it strike you as odd that Crowley would go from this look at the Flood in Mesopotamia, 3004 BC:

... to the (very iconic, don't get me wrong) Bildad the Shuhuite drip in 2500 BC:

... back to this at the crucifixion of Jesus Christ in 33 AD:

I mean ... I mean– come on, that seems like a bit of a far stretch, even for someone as enthusiastically experimental with fashion as Crowley.

And it's not just that: Where did the sunglasses come from, all of a sudden? And why do they look like some sort of obscure, ancient optometrist's device? It's a known historical fact that the Romans were the ones to have invented sunglasses, somewhere around 50-ish AD. Which actually matches perfectly with when Crowley and Aziraphale meet again in Rome 8 years after the crucifixion (51 AD).

So, where do the weird spectacles come from, over 2000 years too early? Maybe from Aziraphale's brain filling in some gaps? Hasn't Crowley always worn those ridiculous sunglasses? Was it Rome? Or Golgotha? Wessex? Oh, blimey, what does it matter!

And it's not just Crowley: Aziraphale's own clothes, as well as the other angels', seem to be very different from the rather plain linen we see him wear before and after the story of Job.

They're laced with golden embroidery along the neckline and sleeves. The remind almost of the clothes angels are depicted wearing in biblical and historical drawings. Ornate and decadent. Not at all like we see Aziraphale in the other flashbacks of S1.

Even Bildad the Shuhite's hair within the minisode keeps changing, going from all pouffy and voluminous to rather deflated and straight-looking:

The costume department either had to fix up two seperate wigs or manually straighten out the volume of the one again to give it a more sleek look. I'm not a professional in this field, but if there's anything I've learned from watching hours of behind-the-scenes material of movies and shows, it's that very little about costume, character, prop and set design is purely coincidental.

You know what it could be, though? An accurate representation of how memories aren't linear, historically correct and objective representations of a certain event, but rather an ever-changing, jumbled mess of impressions, emotions and exaggerations.

More specifically: Aziraphale's impression, emotions and exaggerations.

Like "remembering" Crowley with sunglasses because he's been wearing them for so long.

Like "remembering" himself wearing more luxurious, angelic clothes because that's how he thinks of the difference between Heaven and Hell.

Like "remembering" the permit as a ridiculously long scroll that folded out over an entire valley.

Like "remembering" Job's children to be weirdly sassy in an almost Aziraphale-esque way (Enon: "Don't be silly!") for the fact that Job would have probably taught them to be more humble and obedient in the presence of a literal angel.

Like "remembering" eating an entire fucking Ox after having just one bite of it while Crowley watched him lustfully, sipping on his wine.

Like "remembering" Crowley calling him 'angel', despite them having barely known each other back then.

There's a reason why the flashbacks in S2 seem so much more alive, quirky and, at many points, confusing and all over the place. Because they're not objective stories being told by a third party. They're Aziraphale's. So much of his own thoughts and feelings at the time get projected onto them because that's simply how memory works!

It's subjective. It's unrealiable.

It's not that I'm calling Aziraphale a liar. He's no more a liar than your parents are, mixing up Sarah and Bobby. Or you, remembering snow instead of sunshine. Memories aren't lies. They can simply be faulty, focus on things that you thought were more important and leaving out or changing things that weren't, to you.

The real challenge in all of this, is trying to filter through Aziraphale's stories to see what it actually is they're telling us. Where it is that the furniture isn't. And I think in this case, that's 6 main things (eff you, God, I know you like sevens, but I don't care):

God and Satan (still) talk to each other We see that Aziraphale is quite surprised when Muriel mentions that the whole Job thing is God's bet with Satan. But clearly, despite having made him and the rest fall, God still converses with Her number one traitor about whether or not the humans simply love Her because she gives them nice things or because they truly believe in Her.

God and Satan (and Heaven and Hell) can and do collaborate with each other when they feel like it So much for choosing sides, huh? Truthfully, this is not the first time this is shown to us, but still. It's another piece of evidence on the growing pile.

Aziraphale understands the World and humans way better than any of the other angels "Well, you see ... Citis is 58 ..."

Aziraphale, despite having troubles voicing it, absolutely disagrees and even condemns God's plan of destroying Job's children (and goats and camels and––)

Aziraphale is willing to lie and thwart the will of God Also not the first time we're being shown this but again, piiiile of evidence.

Angels don't automatically Fall simply by doing the above To me, this is one of the most important take aways. It's already hinted in S1 as well that 'Falling' seems to have been a one time even back when the first war broke out in Heaven. And I actually believe that ever since then, no other angels have Fallen again. Aziraphale is the best example for this. He has gone against God's plan numerous times and even lied to her very face (voice?) about it. And yet, nothing ever happened to him. Why exactly that is the case remains a topic for another meta (that I might or might not be working on already, teehee).

Alright, that concludes this first look at the Job minisode! If there's anything I missed, feel free to share it with me. I'll try and add Part 2 (the story of wee Morag) and Part 3 (the magic show of 1941) soon.

Update: Part 2 and Part 3 have officially been written, you can find it them right here:

Part 2: The Story of wee Morag

Part 3: The Story of the Magic Show in 1941

Hugs and kisses, (God)!

[felassan]

New today on DA:TV from Game Informer: 'A Deep Dive Into BioWare's Companion Design Philosophy In Dragon Age: The Veilguard'

"A Deep Dive Into BioWare's Companion Design Philosophy In Dragon Age: The Veilguard by Wesley LeBlanc on Jul 15, 2024 at 02:00 PM During my visit to BioWare in its Edmonton, Canada, office earlier this year for the current Game Informer cover story on Dragon Age: The Veilguard, I heard a sentiment repeated throughout the day from the game's leads: in past Dragon Age games, BioWare stumbled onto great companions, but with Veilguard, it's the first game where the studio feels it purposefully and intentionally created great companions. As such, those companions are key to everything happening in Veilguard.  With such a significant emphasis on these characters, I spoke to some of the game's leads to learn precisely about BioWare's philosophy on companions in Veilguard.  [embedded link to DA:TV reveal trailer] "No, that is the case," BioWare general manager Gary McKay tells me when I ask if he agrees with the stumbled-onto-greatness sentiment. "I would first start with Dragon Age – each installment in this franchise has been different, so we didn't set out to make a game that was a sequel or the same game as before. We really wanted to do something different and we did push the envelope in a couple of areas, companions being one of them. Once we got knee deep into it, we really realized we had something special with these companions, again, around the motivations, the story arc, and it really started to become the centerpiece for this game.""

"The Philosophy Behind Dragon Age: The Veilguard’s Companions Game director Corinne Busche agrees, adding that Veilguard's companions are "the most fully realized complex companions we've ever crafted." She also believes they're the Dragon Age series' best. "They're complicated, they have complicated problems, and that's what's interesting," she continues. "As much as I adore the companions and the journeys I've been on with them in past Dragon Age titles – previously, it feels like companions are going on an adventure with me, the main character, whether it's the Hero of Ferelden or Hawke, you name it. But in [Veilguard], in many ways, the companions are so fleshed out that it feels as though I'm going on a journey with them. I'm exploring how they think and feel; I'm helping them through their problems. We're working through their unique character arcs. They feel like my dear friends, and I absolutely adore them." Busche says these companions participate in the game's darker and more optimistic parts. "We've really moved into a place where you can have the highest of highs, and it can be colorful, it can be optimistic, but also, you can have the lowest of lows where it gets gritty, it gets painful, it gets quite dark. But throughout it all, there is a sense of optimism. And it creates this delightful throughline throughout the game."  When I ask creative director John Epler about BioWare's philosophy behind Veilguard's companions, he reveals a phrase the studio uses: Dragon Age is about characters, not causes.  "What that means for us is [...] let's take the Grey Wardens, for example – the Grey Wardens are an interesting faction but by themselves, they don't tell a story, but there are characters within that faction that do," he tells me. "And the same thing with other characters in the story. They represent these factions, they show the face of the other parts of Thedas and of the storytelling we really want to do, which, again, shows Thedas as this large, diverse living world that has things going on when you're not there.""

"Epler says one of BioWare's principles when creating Veilguard was that the world exists even when you – Rook – are not around. There are things, ancient conflicts, grudges, and more, that happen even when Rook isn't participating in them, he says.  "You kind of come in 'in media res' in some of these, so that's where we wanted to go with the companions," he says. "They have stories of their own. Where can Rook come into these stories, and what interesting ways can those stories develop not just based on themselves but also based on Rook's presence within them?" Dragon Age series art director Matt Rhodes adds that companions are the load-bearing pillars for everything in Veilguard, so "when you're designing them, it's not just designing a character; they're the face for their faction, the face for, in [some cases like Bellara Lutara], an entire area of the world." From his aesthetic-forward part of developing companions in Veilguard as the game's art director, he tells me Veilguard's characters are (hopefully) going to give cosplayers a challenge.  "The previous art director had the mindset we should make things easier for [cosplayers], which I think is a misunderstanding of cosplayers," Rhodes says. "We've seen the kind of challenges they're willing to take on, and so we've gone for, in some cases, a level of complexity and detail that I hope a lot of them are excited to rise to the challenge for." A Quick Detour: Neve Gallus"

"As Neve Gallus is the companion I spend the most time with during my visit to BioWare, I asked Epler about this character and her role in the game. Here's what I learned: "So Neve is a private investigator in Minrathous. Minrathous is the capital city of the Tevinter Empire. It’s also a mage-ocracy; mages run the entirety of the Empire – they’re all-powerful. A lot of them still believe in slavery, they keep slaves, it’s a very oppressive, totalitarian regime. And Neve is a member of the Shadow Dragons, which is a rebel faction within Thedas that fights back against this mage-ocracy, fights back against this oppressive, very damaging regime that’s taken over the city, because she believes there’s good, and she is there for the common people. So if you’re not a mage in Tevinter, you are lower than dirt for a lot of people. She and the Shadow Dragons, in general, fight back, but Neve, in particular, is this character that represents this more, ‘voice of the streets, the voice of the common people.’ In previous Dragon Age games, you go to Orlais, you meet Emperor Celene, you meet Briala; we wanted to have a character that showed not just what is Tevinter at the top, but what is the average person who lives in Tevinter. And she is very much about, again, fighting oppression, fighting tyranny and, as a private investigator, finding clues and ways through problems that aren’t maybe as action-focused as some of the other companions." Companions, In And Out Of Combat"

"Rook's companions in Veilguard have roles both in and out of combat, but since I only saw a few hours of this game (which is sure to be multiple dozens of hours long), I wanted to ask Busche about these roles and how they play out. Here's what I learned:  In Combat Bushce: "So companions as realized characters, we have to take that premise when we talk about how they show up in combat. These are their own people. They have their own behaviors; they have their own autonomy on the battlefield; they'll pick their own targets. As their plots progress, they'll learn how to use their abilities more competently, and it really feels like you're fighting alongside these realized characters in battle. So I love that, I love the believability of it. It feels like we're all in it together.  "But then when it comes time for the strategy, and the progression I might add, that's where a sense of teamwork comes into play as the leader of this party as Rook. When I open the ability wheel, I almost feel like we're huddling up. We're coming up with a game plan together. I see all the abilities that Harding has, and I see all that Bellara is capable of, and sometimes I'm using vulnerabilities synergistically. Maybe I'm slowing time with Bellara so that I can unleash devastating attacks with Harding, knocking down the enemy, and then me as Rook, rushing in and capitalizing on this setup they've created for me. It is a game about creating this organic sense of teamwork.  "Now, there are more explicit synergies as well. We very much have intentional combos where your companions can play off each other, you can queue up abilities between them, and each of those abilities will go off and have their effect. But it results in this massive detonation where you get enhanced effects, debuff the entire battlefield, all because of planning and teamwork. What makes it really cool is you can introduce Rook into that equation as well. One of my favorite things to do is upgrade some of Harding's abilities so she will automatically use some of these abilities that normally I'd have to instruct her to do. And she'll actually set my character up to execute that combo that, again, has that detonation effect." [embedded link to DA:TV gameplay reveal video]"

"Outside Combat Busche: "It's one of my favorite topics. I talked about the idea that these are fully realized characters, that they're very authentic and relatable. So outside of combat, what that means is they're going to have their own concerns, fears, distractions, and indeed, even their own sanctuaries, their own personal spaces. In our base of operations this time, our player hub, the Lighthouse, each of the companions has their own room. And what I love about it is it becomes a reflection of who they are. The more time you spend with them, as the game develops as you work through their arc, their room and their personalities will evolve and flourish and become more complete as they trust you more and you understand them better.  "What's interesting, you mentioned romance, the companions also develop romantically and I'm not just talking about with the main character Rook; I'm talking about each other. There are moments in the game where two of our companions fell in love with each other and I had to make some pretty challenging choices as it related to the quest we're on. And it broke my heart, it absolutely did [Editor's Note: I get the sense Busche is talking about a specific playthrough of Veilguard here – not a definitive sequence of events for every playthrough].  "So I would say, as you're adventuring with them, as you're returning to the Lighthouse and getting to know them – all these decisions and conversations and things you learn about them – it endears them to you in a way that I honestly haven't experienced before. And sometimes that fills me with joy and sometimes it breaks my heart." For more about the game, including exclusive details, interviews, video features, and more, click the Dragon Age: The Veilguard hub button below."

[source]

[creatingblackcharacters]

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My preferred genres are fiction and specifically fantasy, but I will read pretty much anything. I also read for erotica and NSFW stuff, as well as fanfiction, so if you want to feel secure that your black and/or queer characters aren't harmful depictions, then I'm your go-to pal for that.

Payment is based on word count, and my rate is $0.009/word. I usually have a turn-around time of two weeks, but that might scale depending on the length of your manuscript. I work on a half-up front, half-upon completion system (or alternatively, you can pay in full upfront if you'd like), and payment can be received here. The email for paypal payments is sa.bouraleh@gmail.com or PayPal.me/sabouraleh, in case the links don't work on mobile.

If you want a quicker turn around time, I can most likely accommodate that, at anywhere from a 1.25 to 1.5x multiplier of my rate, depending on just how fast you want the feedback returned to you. Next day feedback is possible, in some cases, but is of course subject to the multiplier.

If you have ever donated to me in the past, send me a screenshot of it and you'll get a 10% discount off your first two reads. If you like what I do and am satisfied with the result, please do recommend me to your friends, I'm always looking to take on clients.

I do reserve the right to decline a project, and if I find the material within the manuscript extremely objectionable, I reserve the right to cancel and refund you. I am not easily disturbed, however, but I thought I'd mention that anyways.

Here is a list of stuff I read for. I'll also include the two levels of edits I do, "Write-Up" (this is shorter and quicker, with no in-line comments), and "Sensitivity Read" (this is the premium package with the in-line comments, thought-provoking/armour-piercing questions, guaranteed to make you do some introspection, and write-up at the end).

What I read for:

The following are topics (and genres) I’m willing to read for. If something is not listed here, it doesn’t necessarily mean I don’t read for it! I am definitely willing to broaden my horizons, so feel free to ask.

Topics:

Race (Black)

Ethnicity (Somali)

Religion (Islam)

Sexuality (Queer)

Gender (Non-binary, trans)

Mental Health (ADHD, Generalized Anxiety Disorder, Major Depressive Disorder, OCD)

Disabilities (Physical, IBS, GERD)

Body Image Issues

Gender Identity Issues

Abuse (Domestic, Physical, Emotional, Mental, CSA)

Racism/Anti-Blackness (microaggressions, discrimination, dehumanization)

Poverty

Islamophobia

Homophobia

Transphobia

Genres/Mediums

Fantasy (Especially Urban Fantasy)

Noir/Neo-Noir

Sci-Fi

Thriller

Mystery

Whodunnit

LGBTQ+ (anything queer, especially MLM)

Children's Books

Young Adult

Comic Books

Manga

Anime

Video Games

Geek Fandom

In addition to original fiction, I also read for fan fiction and erotica/NSFW content.

SERVICES OFFERED

Write-Up

No, not like when you get in trouble at work! (You won’t get in trouble, I promise.) In academic terms, think of the write up or a full-sensitivity read as a peer-reviewed work, vetted by those with the expertise in the relevant experience(s).

This is the simplest service I offer. I read your work and write-up my thoughts. This includes areas I think you did well, and areas of improvement.

The content contained within the edits are suggestions, not expectations for change, and it is ultimately your work and your decision as to whether or not to incorporate the feedback.

Turn-around time is usually two weeks, but depending on the length or requested turn around time, this is subject to change.

Quicker requested turn-arounds are subject to a 1.25x to 1.5x multiplier, depending on how soon you would like the material returned with my notes.

I work on a half upfront, half upon completion payment model, via PayPal only. You can pay in full upfront, if you so desire.

The price for this is $0.007 USD/word.

Sensitivity Reading

The fact that you’re even here indicates your desire to do right by the marginalized communities represented in your work. That shows your intentions are good, and I would be delighted to help make your literary dreams come true.

You will receive in-line comments and feedback as I read through your piece, as well as a detailed Editor’s Letter, explaining areas of strength and pin-pointing areas of improvement, as well as suggestions for how to resolve any issues raised.

As always, the feedback are ultimately only suggestions as opposed to expectations, and you are free to choose what you take away from the feedback provided.

Turn-around time is usually two weeks, but depending on the length or requested turn around time, this is subject to change. Quicker requested turn-arounds are subject to a 1.25x to 1.5x multiplier, depending on how soon you would like the material returned with my notes.

I work on a half upfront, half upon completion payment model, via PayPal only. You can pay in full upfront, if you so desire.

The price for this is $0.009 USD/word.

[nyerus]

🎧A Guide to the TGCF Audio Drama🎭

With the release of the new season of the fabulous TGCF audio drama, I wanted to make an updated guide on how to make an account, purchase, and listen (with English subs) to it! Hopefully, this will help more people enjoy it and join in on the fun!

As a quick reminder, the audio drama is based on the revised version of the novel! It's a very faithful adaptation, but if you're a new fan, that might throw you for a loop! If you need an overview of the different versions of TGCF, check out this post first!

Part One: Making an Account & Purchasing

The process is a lot easier than you may expect! The site where the audio drama is hosted is "missevan.com," also known as "MaoerFM." They are one and the same!

Check out these infographics to create an account and buy the audio drama. (Due to tumblr compression, they may be difficult to read. If this is the case, please view these images in full-screen and preferably on a web browser for best quality!)

ADDITIONAL INFORMATION

General Info:

It costs 319 diamonds for the first season, and 359 diamonds for the second season of the TGCF audio drama. This was less than $5 USD, for each season. Future seasons will likely be similarly priced.

Episodes typically release weekly. Mini-episodes/bonus content releases intermittently, and often continues after the main season "ends."

This guide will work for any other audio dramas you want to purchase and support (such as MDZS)! They obviously have different costs, but the process of buying is pretty much the same.

Account/Registration Info:

If you do not see your country/region code listed when making an account, it is unfortunately unavailable there. I do not know any workarounds at the moment, apart from asking a friend/relative in a different country to help you out! If anyone does know other options, please let me know!

Step One of the guide is technically optional, as logging in on the app for the first time will automatically create a new account, if there’s not already one associated with your mobile phone number. I recommend doing that step anyway, as it will ensure that you have a password linked to your account. Several people in the past have reported that they sometimes cannot receive the verification code to log in. (Especially from South America and SEA for some reason.) Having a password bypasses this, if it happens to you.

Unfortunately, it seems that you MUST register with a mobile number to begin with.

Otherwise, you can use an existing Bilibili/QQ/WeChat/Weibo account if you have it. They all require a number for registration too, as far as I know, so you may run into the same problem. They may still be worth trying if you have no other options! Once again, if anyone is aware of other workarounds, do let me know.

Additionally, it’s possible to link your account to an email AFTER you register with a mobile number. (There’s no escaping that, from what I can tell.) You can then use that to log in.

It seems useful to have your email and a password associated with your account, especially in case your country code gets nixed from availability -- which has been known to happen without warning in the past.

The mobile browser seems to prefer you log in with a number/email and a password, rather than a verification code.

LINKING AN E-MAIL TO YOUR ACCOUNT (Optional)

This must be done via web browser, or with your mobile browser set to desktop mode. It’s VERY easy if you use a browser with an auto-translate feature like Google Chrome:

(These images are the MTL translated versions!)

Unfortunately yes, you will need to receive a verification code via mobile number to enable this. The second verification code gets sent to your email, though! (Try not to lose your password, because I'm pretty sure you'll still have to use your phone to verify and change it.) Don't forget to check your spam folder if you don't see it. It will be from "猫耳FM."

Once again, this is optional! I just wanted to include it as an extra avenue for people who may struggle with the verification codes, as they can be finicky. And it happened to me while I was making this section, so I knew I had to....

Part Two: How to Enable English Subtitles

First things first: there are no official English subs for the TGCF Audio Drama. Though I'm fairly sure this applies to all dramas on MaoerFM.

However, there are Chinese (Simplified) subs for each episode.

OPTION ONE: MTL

The main method that non-Chinese speakers have been using to understand the Audio Drama is via MTL (machine translation) on those subs! Browsers like Google Chrome not only have auto-translate, but it works in real time as you watch/listen to the episode.

Make sure that it's turned on and that you've selected English -- or your preferred output language!

Be aware there are TWO types of subtitles on MaoerFM. There are the official subs, and the temporary subs.

At the bottom of the audio player, there is a button labelled "字幕," which is circled in purple in the image below. If it is there, it means that episode has official subs available, and you can toggle them on/off. Meanwhile, the "弹" that the green arrow is pointing to is known as the "barrage." That's the scrolling text that you will see filling the screen. It's other fans screaming and crying in chat. You can turn it off if it feels overwhelming!

New episodes may take anywhere from a few hours to a day or two to be officially subtitled. (The bonus episodes don't have official subs for whatever reason.) In the meantime, there will be subtitlers working on adding temporary subs! I'd advise waiting a little while before listening to a new episode so they have more time to work, and you'll have better coverage!

While official subs are entirely separate, the temporary subs are part of the barrage. So you will have to keep the barrage turned on. (Notice how there is no "字幕" button next to it yet!) Unlike the rest of the barrage, the subs will be stationary, color-coded, and at the very bottom of the window -- so they're easy to differentiate.

However, since the barrage can be a lot if you aren't used to it, there is a way around it.

Hit the settings menu (blue circle) and block the scrolling comments. You can also turn off the top ones, but just make sure not to turn off the bottom ones -- because those are the subs!

DO NOTE that this all works best on desktop! If everything's gone correctly, you should have something like these:

Right -- regular view, temporary subs Left -- full-screen, official subs

It's possible to get this to work on mobile if you enable desktop mode in your Chrome app. You will probably need to refresh a few times after that, or open the page in a new tab to have it work properly. Then it's the same steps as above!

You should have something like these:

Right -- landscape mode Left -- portrait mode

The scaling on mobile can be troublesome, and I have noticed that the auto-translate is slower than on desktop. It seems to take an extra second or two to work on each line -- whereas on desktop it's pretty instant -- and that can get annoying, especially in fast-paced scenes.

Additional Info:

This does not work for the mobile app! It is for the website ONLY!

If the translation stops working, refreshing usually fixes it.

There are potentially other options to using Chrome. Any browser that has an auto-translate will work, assuming it's as quick as Chrome's. If anyone has tried other browsers and seen success, please leave a reply!

OPTION TWO: FANSUBS

TreasureChestSubs here on tumblr have been doing high-quality fansubs for several audio dramas, including TGCF as of recently! However, at the time of making this guide, their TGCF translations currently only cover the first few episodes of season one. You will need to request an invite to their Discord server via the form in their posts. Please do check them out if you're interested.

I don't personally know of any other fansubbers who are actively working on the audio drama right now. But I do want to mention that Xyra_Rei on twitter has a Discord server where they share some translated snippets from various episodes. There are other great resources by fellow fans, too. Links and more info about the server can be found in the pinned post on their profile!

Part Three: Enjoy!!!

I hope this updated guide helps more people experience the wonder that is the TGCF audio drama (or really, any audio drama)! I cannot overstate how good it is in every aspect, and I think every TGCF fan deserves to be able to hear it for themselves! 💖

[blueskittlesart]

Tell me about the road design of Hyrule!

YESSS ok so my tangent last night was mostly about the changes between the botw and totk maps but the map design of botw/totk hyrule in general is a really great example of environmental storytelling imo!!

in botw, most of the roads we see are kind of implied to be pre-calamity remnants. we very rarely see travelers, especially not along roads that aren't stable or village connectors, and a lot of the roads in hyrule field especially are near-deserted and clearly haven't been kept up. many of them lead through the ruins of what would have been villages or cultural hubs pre-calamity but are now either completely deserted or overrun with monsters. if you do come across travelers along the path, there's about a 50/50 chance they'll either be fighting monsters (and losing, badly) or disguised yiga clan members trying to ambush you. (and I think there's an implication in the yiga posting disguised members along the sides of old roads that since so few people use the roads nowadays, it's reasonable for them to use that kind of disguise as a way to catch specifically link--it's probably 10 to 1 that if you meet a traveler along a road, it's gonna be him.) the roads are like the ruins we see scattered around hyrule--reminders of what the kingdom USED to be, back when travel was a safe and sustainable option for its citizens, but now littered with monsters and slowly falling into disrepair.

in totk, though, the map and the roads along it are much more populated. they get WAY more use--you'll almost never follow a road for more than a few minutes without passing an npc now. there are a few new roads that allow for more convenient travel between previously difficult-to-access places. roads that were previously in disrepair and obviously too dangerous for the average person to travel are better-maintained and more populated. new stables are popping up. The observation that prompted this whole thing last night was specifically the walkability of the roads--in botw they tend to be wide and seemingly optimized for horse travel, which, given the amount of monster activity along them, makes sense since horses are the easiest way to travel safely on that map. in totk, though, several of the roads seem narrower and more winding, with sharp turns and obstacles that are hard to navigate on a horse at top speed. This is partially due to the upheaval adding more small obstacles to the map, but I also think it speaks to how post-calamity it's likely become a lot safer to travel on foot, so having wide, straight roads is no longer as much of a practicality issue.

the way the roads are built i think also gives us some insight into how travel worked pre-calamity and just generally what culture was like in different regions of pre-calamity hyrule. the field is heavily populated by roads and old structures, implying a culture of travel between the hylian villages and outposts that would have once been there. races that we know to have been historically more isolated, however, like the zora and the gerudo, only have one road leading in and out of their settlements, and in the gerudo's case the road isn't even clearly marked, making it extra difficult to traverse if you don't know what you're doing. by the time we get to totk, the gorons have gained a couple more roads in and out of their main city, allowing for easier access, which i think implies that their isolation during the calamity was involuntary and they were eager to open up to other races as soon as it was safe to do so!